TUHFTH HA?f.EOords and Music by Jimi Hendrix

Figure 29 - Introduction

Another oft-misinterpreted lick, th* "Purple Haze" intro is performed by combin-ing an alternating octave Bb figure, played on guitar, with an alternating octava E figure,played on the bass. The combination ol these two parts creates an intervallic relation*ship known as a tritone, because the distance between Bb and E is three whole steos(tri=three, tone=whole tone).

In measures 3-10, Jimi plays the signature single-note figure based on E minorpentatonic {E-G*A*B*D}. Notice all of the subtleties in the way the phrases are articu-lated*herein lies ihe true beauly" ln measures 4, 6, and B, a second guitar adds aheavily altacked G note {sixth string, fifteenth fret), played on heat 4 and irnrnediately(and dramatically) slid down the neck. A Fuzz Face is used on both guitar tracks.

In rneasures 11-14, Jimi moves from his signature E7f9 chord (previouslyfamous for its use in the song "Hold lf by Bill Doggett) to G and A major chords, voicedwith "thumbed" root notes cn the 6th string,

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Figure 30 - Verse

The same chord figure played in measures 11-14 of the intro (E7*9-G-A) is

used for the first six measures of the verse. FollowinE the "stop-time" figure in measure

7. measure I features the use of a sliding octave figure, followed by an E minor penta-

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Figure 31 * f iuitar $olo

The end of verse two features a three-measure section*moving from A to B toD*designed to carry the listener back into the E minor tonality ol the solo section. lnthe first measure, the single-note melody is based on E majar"pentatonic(E-Ft-Gr-B-Cr) and, as it is played over A, alludes also to A maior pentatonic(A-B-Ct*E-Ff ). In nleasures 2 and 3, Jimi moves back to E minor peniatonic.

The guitar solo is based on a combination of E Mixolydian{f-Fi-Gf-A-B-Cr*D) and E Dorian (E*FI*G-A-B-Cf,-D). Notice that the only differ-ence between these two scales is the third scale degree: E Mixolydian is a major rnode,and includes the major third, Gf ; E Dorian is a minor rnode, and includes the rninorthird, G.

Jimi's phrasing is a bit quirky and unpredictable here, as he makes allusions toIndian (as in Far East) classical music. The Octavia, an octave-splitting device designedby gadget guru Roger Mayer, is heard in all of its glory on this solo. To recreate the soloon this CD, I was lucky enough to acquire a vintage Octavia.

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Figure 32 - Outro

This section begins at the same relative spot as the soto section, at measure l0of the third verse. The difference here is that there are two distinct guitar parts-thebasic rhylhm guitar, and the Octavia guitar, as heard on the solo. For the rhythm guitar,everything after measure 5 is random improvisation, beginning with a tritl (as shown)and succeeded by ad lib tremolo bar diving. The lead guitar essentially picks a high D,bent one whole step up to E, repeatedly, creating sorne unusual rhythmic groupings.Use what is written here as a guide; feel free to play similar figures of your own. Again,the pan presented here is wider than on the original.

On the original recording, similar lead guitar figures are played, recorded withthe track at half-speed, which results in the figures sounding twice as fast when thetrack is played at normal speed. These "cellophane typewriter" guitars have been omit-ted in this instructional recording.

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