Tab
A collection of transcriptions — free to download and use. My own work, transcribed for accuracy and laid out to actually be readable.
Angus and Malcolm parts transcribed separately. The reason that you sound wrong on this is a subtle swing feel that nobody talks about — think big band jazz. I'm not kidding.
Don't worry about trying to play this at the intended speed — it sounds just as awesome slower, and there are tons of great ideas here to steal for soloing. Some challenging parts, and I haven't gotten to the left hand fingering yet — that's coming in a future update.
These are my own transcriptions — you won't find them anywhere else. I care about accuracy and I care about layout. One more thing: for songs tuned down to E flat, I write them in the key the guitarist is actually playing. If Hendrix is thinking in E, the tab should be in E — writing it in E flat just creates confusion.
Social Distortion is one of my favorite bands. Your typical Instagram shredder will turn their nose up, but it would be unwise to do so. Tuned to E flat, written in E.
Seven pages covering the intro solo, chorus licks, bridge, the big middle solo, and the outro. The note in the middle solo says it all: "Remember to be really tasty." That's the whole lesson. Elliot Randall at his best — learn some Boomer rock, it won't hurt you.
Angus and Malcolm parts transcribed separately. The reason that you sound wrong on this is a subtle swing feel that nobody talks about — think big band jazz. I'm not kidding.
Rhythm and lead parts transcribed separately. More going on here than people realize — I extract the guitar parts individually, so there are licks Rivers plays that may sound new to you but they're all there. Rivers Cuomo has a serious background in metal and it shows.
It's been done a million times and I didn't get to the solo — but there's no shortage of that elsewhere. If you don't have Randy Rhoads' tone, it's not your gear. It's how you're doing it.
John and George parts transcribed separately. Classic tune — you should know it.
Neil Geraldo doesn't get enough credit. This solo is a masterclass in economy — all rhythm parts included.
These notes are not alternate picked or downstrokes — sweep your pick over the strings like a slow strum.
Pay attention to the down/up strokes. This strum pattern is what trips up a large percentage of beginners — if you're having trouble, hit me up. Most instructors are too impatient to work through it with those who struggle.
A guitar arrangement of the piano parts, plus the guitar solo. A good solo to learn if you're just starting out.
One of the first Zeppelin songs I learned — with more detail on how I think Page actually played it.
I must have taught this 10,000 times in the 90s. A good beginner song when you're ready for the F chord. Watch your down and up strokes.
All parts transcribed separately. This one is notated in G flat — which means as a guitar player you're just thinking in G. Tuned to E flat, written as the guitarist hears it.
This song is probably the one that really inspired me to learn how to play. Taken from the live Woodstock version on "The Kids Are Alright" — not the album version. Includes Pete's fingering for the main chords plus an alternate voicing for those of us without huge hands.
It's 16th notes, but not a constant strum at full intensity. Pay close attention to the accents and try playing just the accents first with the correct up/down stroke — the rest will fall into place. Trying to strum constant 16th notes will sound wrong and clunky, and you'll fatigue before you can get up to speed.
I got distracted about 40% of the way through the solo and will finish it in a future update — but the rest is all here. Pro tip: don't try to alternate pick it all, you'll sound like a shredder. Hendrix used more downstrokes than most people realize. Tuned to E flat, written in E.
Vintage Mike Campbell. Seven pages of rhythm and lead together. The chord stabs in the intro are deceptively specific — getting the feel right matters more than getting every note. Note at the end of the outro: "I'm too lazy to learn them all. Go for it."
Just a great tune — transcribed the way Pete actually plays it.
Do you remember in Fast Times at Ridgemont High when Mike Damone said "You don't have any Blue Öyster Cult?" You're probably too young. Well, I got the Blue Öyster Cult. Never finished the solo but the rest is here.
Tune to E flat, written in E. More going on here than the power chords suggest — ghost notes, muting switches, and a solo labeled "Shred Time!" on the tab, which was tongue in cheek. It's actually the opposite of shred — less is more. Pay attention to the muting and release and your pick angle. If you don't sound like him, just hit me up, I will help you with that.
More going on than it looks. Palm muting, power chord articulation, and a two-guitar arrangement worth understanding even if you're playing it alone. "Subtle accents on downbeats."
One page. Use alternate strumming — all downstrokes will make it sound like Metallica. The challenge isn't the notes — it's 178 bpm without sounding stiff. Pay attention to how Johnny Ramone was savvy about not playing all the notes in the chord — avoid the top two strings on the A chord and just mix in the third a bit.
The intro solo is pretty famous — Billy Squier before he killed his career with that video. Three pages covering the intro solo, verse, chorus, bridge, and what the transcription honestly calls the "Meathead Solo." It's a good solo. The intro hammer-pull sequence sets the tone for the whole piece.
The arpeggio pattern is the whole thing — but to make it sound legit, play the last note of each chord staccato. They should not ring together, and use all downstrokes. Also a great finger exercise or warmup.
Full arrangement — acoustic rhythm, electric rhythm, and lead parts all transcribed separately. More layered than it sounds on the record, and there are some insanely cool guitar parts in here. Tune to E flat, written in E.
If you're starting to think I'm a big fan of the Weezer Blue Album, you would be correct. Tons of cool stuff here.
Side note: I had the opportunity to play on a project produced by Ric Ocasek of The Cars, who produced this album, and got to record with the Les Paul Special that was the main guitar on the record. Ric told me why My Best Friend's Girl always sounded wrong when I played it — the song is in F, but they played it in E and sped up the tape, which is where that super punchy sound comes from. And when he showed me how he played it, he didn't remember anything beyond the first chord. So I ended up teaching Ric Ocasek the rest of his own song.
Only Rush can write a catchy pop song that switches from 4/4 to 3/4 to 7/4 to 6/4. The rhythm parts are fully transcribed. Alex Lifeson's approach to tone and space is worth studying regardless of whether you finish the solo — which is about 97% accurate. Got a little fatigued at the end.
My professor at USC, Richard Smith, got me into Bach and I've been playing it ever since. One thing worth knowing: these aren't classical fingerstyle pieces — they're Bach transcribed for electric or acoustic guitar, the same lines he wrote for violin. These pieces reward a specific kind of patience — learn measure 1, then measure 2, play them together, then add measure 3, always starting back at the top. The repetition isn't the practice. It is the point.
Don't worry about trying to play this at the intended speed — it sounds just as awesome slower, and there are tons of great ideas here to steal for soloing. Some challenging parts, and I haven't gotten to the left hand fingering yet — that's coming in a future update.
Full piece with left hand fingering and extensive notes throughout — please pay attention to them, they matter. This is not an afternoon project, but it will be worth your time. Pay close attention to the pedal tones — I've drawn a lot from Bach's drone-based writing for my own work in alternative music, and once you hear it you can't unhear it.
One of the most beautiful pieces ever written — and it sits surprisingly well on guitar. "Let ring throughout" is the governing instruction. The challenge isn't the notes; it's keeping everything ringing while the melody moves. Left hand fingering included and it's key to playing this correctly.
The most accessible of the three. Don't let the 200 bpm scare you — it's in 9/8, so it's just one note per click. And don't let the tempo scare you on any of these pieces — they sound great fast or slow. A fast, flowing piece that rewards a clean right hand above everything else. Left hand fingering warnings are there for a reason — ignore them at your own peril.
Not songs — building blocks.
All of your favorite blues-based players use stock licks and there is nothing wrong with that. Here are about 16 of them — the core pentatonic and blues vocabulary every guitarist needs. Includes the major 6th "Joe Walsh note," Chicago-style 3rds, turnaround phrases, and a lick labeled "If you don't know this one you suck." Open position included — don't skip it.
If any of these have you spinning your wheels — or you're working on something like this alone and want another set of ears — that's what the first call is for.
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