What if you were Jimi Hendrix’s Guitar Teacher?


Im a guitarist and a composer. I’ve also spent a large amount of my time teaching; teaching as a music classroom teacher and as a peri (one to one) guitar teacher; and I wanted to raise a few questions for my fellow educators and musicians…

Many of our most loved guitarists, Jimi included, don’t or didn’t play ‘correctly’, sorry, but its true!… Jimi’s thumb over the neck, or Wes Montgomery’s picking hand thumb obsession would make a lot of us guitar teachers loose sleep.

Many guitar teachers, and syllabuses teach what is claimed to be a ‘right’ way of playing our instrument or even on how to approach music itself (and no I don’t just mean in the classical world!). The right wrist position, the right approach to theory, the right way to hold your guitar etc etc..

And, why not? teachers are here to teach after all?…right!? – we don’t want students ‘doing it wrong’ do we!?!

My question is; If Jimi had experienced (no pun intended!) this type of lesson and had gone along with the rules, would we have had a Hendrix? and more to the point …Imagine for a moment (presuming you’re a guitar teacher) if you had of taught mr Hendrix, would you have corrected his hand position? Or forced him to turn his guitar around? Would you have told Wes Montgomery to stop just using his thumb? Or told Van Halen to stop tapping around and to play properly!!!? Have you been responsible for stopping jimi the 2nd from rocking our world?!?!

So, as you might be guessing I reckon many guitar teachers out there are in danger of stopping the next Jimi, or in fact any instrument teacher, from quashing creativity…

I think what made Jimi ‘Jimi’ or what made Wes ‘Wes’ was their creativity, creativity in bucket loads. The fascinating thing about creativity is we can all do it, but the conclusions we reach are always entirely individual. So I reckon this creativity thing might be pretty important right?…perhaps we should teach that?

It confuses me how even though its often the creativity and originality that makes us love an artist in such a fanatical way, its that very thing which is often left behind in music education. Much of our music Ed culture is instead seemingly obsessed with justifying a right and a wrong or a good and a bad. In fact its so weird in some establishments that pieces of paper (certificates and all that!) are used as badges of ‘Im this good and I did it right’ and without it some of you ‘aren’t that good and did it wrong’. The certification process has needed a ‘ruler’ a ‘right way’ to aspire too, and a ‘wrong way’ to avoid. Ultimately, you mustn’t do it wrong, because if you do…. well…anything could happen, terrible terrible things!! Check out the Arts award for a great example of measuring without quashing originality.

My journey to being creative took a good while. For many years I was striving to sound like others, (I guess thats where we all start ,right?). I was obsessed by theory and scale shapes, I was terrified I would ‘do it wrong!’. I needed to validate the endless hours I spent playing with tangible knowledge, the understanding of music theory. I became a creative void, churning hendrix lick after hendrix lick (slightly ironic!), glued to scale shapes and stylistic patterns. Eventually frustrated by my lack of originality I began de-tuning my guitar, deliberately disorientating myself, forcing my musical ear to work hard, and detaching myself from a lot of the ‘rote learned’ knowledge I had spent years obsessing over.

Of course it was ruddy scary, I was sure as hell ‘doing it wrong’ a lot, so wrong in fact that I had never done it before, I had no idea what I was doing….and ladies and gentlemen from the unknown comes new and exciting things.

The result was this kinda thing…tunes like.Edinburgh. I now use a different tuning in almost every piece of music in order to be absolutely creative, and its not quite so scary now, but its still new every time. Percussive techniques etc came as a logical progression, ultimately I was in creative flow and doing things for a musical and emotive purpose, rather than trying to do it ‘right’.

Since then I’ve concerned myself with applying this new freedom to my teaching. Below are four ideas that I think can help deliver creativity as a guitar (or any instrument ) teacher. Four points that when kept in the back of the mind consistently have helped me to avoid killing off another Hendrix…of course, they are not ‘rights’, or ‘wrongs’…just another creative idea…

1.You do not always know better.

There is no right way or wrong way. I know a way and I think its darn good, but your student may develop a better way, even if that student is six years old, give them room to develop their own approach. The problem solving that their seemingly illogical technique demands will help creative thinking and result in original ideas…hell, you might even learn something!

2.Give them bricks and mortar, let them make a house their own way.

yeah, its lazy aint it!? but seriously, we don’t want to create clones… if for example teaching a twelve bar blues, why not teach the foundations, then offer a whole host of different glimmers of inspiration, perhaps a full version from an artist, then perhaps a lesson on melodic strumming, then maybe look at some scales. Let the student put the building blocks together. Okay, its the long way around but the results are far more valuable.

3.Teach vs facilitate

No need to always push that knowledge. Relax mate, your student will progress, but let them breathe, be there to support encourage and guide. Not to dictate to.

4. Encourage students to work together/group work.

Seems simple, but I really find that getting students of any age to work together is hugely successful in nurturing creativity and originality. Work on turning a poem in a piece of music? or creating a soundscape? anything, but let them work together and just facilitate. (This is a project Ive been working on regarding group lessons, check it out..and if you want it in your school get in touch.)

okay so I wana hear your approaches too… email me contact@chriswoodsgroove.co.uk

A final word: I love some of the amazing leaps forward in music education that we have seen in recent years, and I am constantly inspired by the work of my peers; this blog is about the parts of our music ed culture that are not so inspiring. I also do not oppose learning theory, or learning the works of other artists, or in fact playing with a logical or economical wrist position… I just think we need teach it in creative way.


  1. andrew ingram says

    Interesting piece Chris. Got me thinking.

    I’m a jamming / join-in kind of musician, and I’ve learned to follow what people want to play/sing by lots of informal jamming since age 12.

    BUT my mum obliged me to do 18 months of “proper” guitar tuition which I now often realise is helpful – more helpful than I knew at the time. The structure of the lessons was about scales, discipline, reading notes, metronome etc etc.

    But it answered questions – what are the patterns of notes up the neck and why. How do notes make a chord.Why is it important to hold the guitar properly (although I never do now, but I know why).

    That great stuff was what “proper” lessons gave to me.If you know where the fence is, you will be a better cartwheeler.

    Thing is, I didn’t realise it at the time, and was consequently a difficult pupil. I can only offer an apology to the late Mrs Hurd.

    Conclusion? Sometimes “note-bashing” teaching techniques have a long term value which can only be promised. Sometimes kids need looser techniques to set their music free.

    Carry on.

  2. Damien says

    Personally I think lsd is overlooked and underplayed as a significant part in jimi hendrix’s success. The history of lsd ins in large written by the establishment so while we can praise his social awareness for setting up ladylike studio’s and jamming with all.and giggle a blues man’s interest in ufos and Hindu deities.we can marvel at the idea of someone going insane to phychosis and setting fire to their guitar.but the fact these are all common experiences of lsd psychotherapy Is a step too far for many to accept.

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