Practice Studio

Jimi Hendrix - The Wind Cries Mary - Intro, Verse & Chorus - Guitar Lesson

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Key E minor
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Amp Settings

Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
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Roll back the gain slightly and pick near the neck for a warmer, more open crunch.

Capo Advisor 0 E minor · Original key

About The Wind Cries Mary - Intro, Verse & Chorus


Few guitar intros teach you more about touch and phrasing in a short amount of time than the one Jimi Hendrix wrote for this song. The movement between chords is unhurried and conversational, but getting it to feel that way takes real control: you need clean, deliberate chord changes with just enough vibrato and finger pressure to let each note breathe. The key of E minor keeps things approachable on the fretboard, yet the challenge is not finding the notes but playing them with the right weight and timing. The verse and chorus sections build on that same expressive approach, so sloppy rhythm work will stand out immediately. Pay close attention to how the chord voicings resolve, since those half-step moves are central to the whole feel of the piece. Use the Practice Toolbar to loop the intro slowed down until the transitions between chords feel effortless before you bring the tempo back up.

  • The signature intro relies on smooth half-step chord transitions, so clean fretting-hand movement and relaxed grip pressure are the main technical hurdles.
  • Playing in E minor allows open-string resonance to enrich the chord voicings, a detail that becomes very clear when you slow the intro down.
  • The verse and chorus demand consistent, expressive rhythm guitar: even small variations in pick attack and vibrato will noticeably change the feel.

How to Play The Wind Cries Mary - Intro, Verse & Chorus

Key: E minor · Tempo: 82 BPM

Loop each section and focus on clean, even timing rather than speed, with the metronome at 82 BPM.

Fender Stratocaster
Guitar

Fender Stratocaster

Hendrix's reversed left-handed Strats with stock single-coils delivered bright, articulate tone with pronounced string separation that sang when driven through cranked tubes. The in-between pickup positions created his signature quack tones, while the volume knob let him dynamically shape fuzz in real time.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Hendrix pushed the Marshall 1959's power tubes to natural saturation, generating thick, harmonically rich overdrive that became his signature sound. The amp's aggressive breakup complemented his single-coils perfectly, delivering singing sustain without compressing his dynamic touch.

Fender Twin Reverb
Amp

Fender Twin Reverb

In the studio, Hendrix used the Twin Reverb's cleaner headroom to capture sparkling, articulate tones and explore different breakup characteristics than the Marshall. Its built-in reverb added spaciousness to tracks like 'Little Wing' without relying on external effects.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Hendrix treated the Cry Baby as an expressive tone-shaping tool, rocking it rhythmically mid-riff on 'Voodoo Child' rather than just switching it on and off. The pedal's resonant sweep perfectly complemented his fuzz textures and added vocal-like expressiveness to his soloing.