Now we’re getting into the fancy stuff, boys and girls. In Part 1, we learned how Jimi built that foundation with the E pentatonic bass riff. But what separates a good player from a great one? It’s the ability to move between positions smooth as butter. That’s where one-string scale runs come in.
Jimi had this incredible knack for taking a single string—in this case, the G string—and making it sound like he was flying across the whole neck. He’d connect his open position E pentatonic with the 12th fret position, and he’d do it with hammer-ons and pull-offs that’d make your head spin.
The E Diatonic Minor Scale Is Your Roadmap
Here’s the thing about Jimi—he knew his scales cold. The E diatonic minor scale has seven notes: E, F#, G, A, B, C, D. That’s your full toolbox. When you’re on the G string alone, you’re working with a subset of those notes, but they’re all still there waiting for you.
Start up at the 12th fret on that G string. That’s a high E. From there, you’re gonna hammer-on the next note without picking it. Hammer-on again. And again. You’re creating this descending run using hammer-ons and pull-offs, one pick for every three notes. It’s efficient, it’s smooth, and it’s got that fluid quality that made Jimi so special.
Connecting Two Positions With One String
Here’s the real magic. You start at the 12th fret position, and as you descend with those hammer-ons and pull-offs, you’re moving toward the open position pentatonic scale. By the time you hit the lower frets, you’ve transitioned from one position to another without stopping, without shifting awkwardly. It’s like one continuous line.
When Jimi recorded “Voodoo Child,” his guitar was tuned a half-step down to Eb. Why? It made the strings easier on his hands and gave that slightly thicker tone. You don’t have to do that, but it’s worth trying. You might find you like the feel and sound.
One Pick, Three Notes—The Technique
The picking pattern here is crucial. You’re picking once, then hammering-on, then pulling-off. One pick stroke, three notes. That’s efficiency. That’s what lets you move fast without wearing out your picking hand. Young players often try to pick every single note, and they wonder why they get tired. Jimi knew better. He let his left hand do the work.
Practice this slowly first. Get those hammer-ons and pull-offs clean and quiet. Then, gradually speed it up. You’ll be amazed at how fast you can go when you’re not picking every note. And remember, this ain’t about speed for speed’s sake. It’s about control and musicality. A slow, clean run beats a fast, sloppy one every time.
If you’re ready to explore more techniques, check out our guitar riffs resource to see how other legends approached their craft.
The Bridge To Part 3
You’ve got the bass riff down. You’ve got the one-string runs. But Jimi’s got one more trick up his sleeve. In Part 3, we’re gonna look at those string stretches that really showcase what your hands are capable of. That’s where things get really fun.
