Rock Guitar: Riffs and Power Chords

When to read this: Session 10 assigns this handout as optional “Go further” reading (15 minutes). Read it after the session: it is not part of the session’s 50 minutes. Read the three sections under “Beginner Arrangements”, which are for songs you have already met: “Arrangement 1 — “Come As You Are” Intro Riff (Nirvana)”, “Arrangement 2 — “About a Girl” Verse Accompaniment (Nirvana)” and “Arrangement 3 — “Knockin’ on Heaven’s Door” Simplified Chord Accompaniment (Bob Dylan)”.

Rock guitar is built on riffs. A riff is a short, repeating musical phrase that drives a song forward — the part you hum walking down the street, the part that makes you reach for your guitar. This handout explores the techniques and patterns that define rock guitar, with arrangements of two Nirvana songs and one Bob Dylan song. Every arrangement here uses skills from the course sessions, and each one lists the sessions it needs.

Genre Introduction

Rock guitar emerged in the 1950s when blues musicians plugged their guitars into amplifiers and turned up the volume. Chuck Berry, Muddy Waters, and then the British Invasion bands — The Beatles, The Rolling Stones, The Who — built a genre on guitar riffs, driving rhythms, and raw energy. By the late 1960s and 1970s, bands like Led Zeppelin, Deep Purple, and Black Sabbath had pushed rock into heavier territory with louder amplifiers, distorted tones, and power chords.

What makes rock guitar distinctive is its emphasis on riffs over complex chord progressions. A rock song lives or dies by its signature riff — think of the opening of “Smoke on the Water” or “Iron Man.” You do not need to know twenty chords to play rock. You need to know power chords, palm muting, and how to lock into a groove with attitude.

Your Saga SF-600C-BK is an acoustic guitar, not an electric with distortion. The arrangements in this handout sound different from the recordings — cleaner, more transparent. That is not a weakness. Playing these riffs on acoustic trains your ear to hear the raw harmonic structure underneath the distortion. When you eventually plug into an electric guitar and an amplifier, your technique will be solid because you learned it clean.

Key Guitar Techniques

Power Chords

Power chords are the backbone of rock guitar. A power chord uses only two or three notes — the root and the fifth — making it neither major nor minor. This neutral quality lets it fit anywhere with a driving, aggressive sound.

Two-string E5 power chord:

OXXXX

EADGBe

String 6 (E): Open. String 5 (A): Fret 2, Finger 1 (index). Strum only strings 6 and 5.

Two-string A5 power chord:

XOXXX

EADGBe

String 5 (A): Open. String 4 (D): Fret 2, Finger 1 (index). Strum only strings 5 and 4.

Power chords are introduced in Session 9. Moveable power chords (played up the neck) appear in Session 20.

Palm Muting

Palm muting gives power chords their signature tight, chugging sound. Rest the fleshy edge of your strumming hand on the strings at the bridge saddle — lightly enough that the strings still vibrate with a “chunk” sound, not so heavily that they go silent.

This technique is introduced in Session 9 and used throughout Phase 3 and 4.

Riff-Based Playing

Many rock songs are built on single-note riffs rather than strummed chords. A riff is a melodic pattern played on one or two strings, often with palm muting. Riff-based playing uses your alternate picking skills (Session 4) combined with fretting accuracy.

Essential Patterns

Pattern 1 — The Power Chord Chug

This is the most basic rock rhythm pattern. Palm-muted power chords in eighth notes.

E5 power chord, palm muted throughout:

e|--------------------------------------|
B|--------------------------------------|
G|--------------------------------------|
D|--------------------------------------|
A|------2---2---2---2---2---2---2---2---|
E|------0---0---0---0---0---0---0---0---|
Count:  1   &   2   &   3   &   4   &
PM:     PM  PM  PM  PM  PM  PM  PM  PM

Tempo: 70 BPM, strumming D/U (down on the click, up between clicks). After the course: up to 80 BPM. What makes it sound like rock: The tight, rhythmic chugging creates forward momentum — like the engine of a song. Nearly every rock and punk song uses this pattern in some form.

Skills needed: E5 power chord (Session 9), palm muting (Session 9), alternate picking (Session 4)

Pattern 2 — Open and Muted Contrast

Alternating between open (ringing) power chords and palm-muted hits creates dynamic punch.

E5 — alternating ringing (O) and palm muted (PM):

e|--------------------------------------|
B|--------------------------------------|
G|--------------------------------------|
D|--------------------------------------|
A|------2---2---2---2---2---2---2---2---|
E|------0---0---0---0---0---0---0---0---|
Count:  1   &   2   &   3   &   4   &
Strum:  D   U   D   U   D   U   D   U
PM:     O   PM  PM  O   PM  PM  O   PM

PM = palm muted. O = let the string ring (palm lifted). The strumming hand keeps a steady down-up swing: down on every number, up on every ”&”. Only the palm changes.

Tempo: Start at 60 BPM and work up to 70 BPM, strumming D/U (down on the click, up between clicks). After the course: up to 75 BPM. What makes it sound like rock: The contrast between the ringing strums and the tight muted strums gives the rhythm a breathing, pulsing quality. This quiet-against-loud contrast is the idea behind the soft verse and loud chorus of “Smells Like Teen Spirit”.

Skills needed: E5 (Session 9), palm muting (Session 9), D/U strumming (Session 5)

Pattern 3 — The Two-Chord Rock Riff

The Em–G alternation is one of the most common patterns in rock music, from Nirvana to Green Day.

Chord:  Em                        G
Strum:  D     D  U     U  D  U    D     D  U     U  D  U
Count:  1     2  & (3) &  4  &    1     2  & (3) &  4  &

One measure of Em, then one measure of G. Play the two measures twice (Em, G, Em, G).

On beat 3 your hand still moves down, but it misses the strings: a silent downstroke. That keeps the hand swinging down on every number and up on every &.

Tempo: Start at 60 BPM and work up to 70 BPM, D D U U D U pattern. After the course: up to 80 BPM. What makes it sound like rock: The D D U U D U strumming pattern (learned in Session 5) has a natural swing and drive. The Em-to-G movement — dark minor to bright major — is the sound of alternative rock.

Skills needed: Em (Session 2), G (Session 10), D D U U D U pattern (Session 5)

Beginner Arrangements

Arrangement 1 — “Come As You Are” Intro Riff (Nirvana)

Original artist: Nirvana (Nevermind, 1991) Credits: “Come As You Are” - Nirvana, from the album Nevermind (1991). Words and music by Kurt Cobain. Arrangement type: Single-note riff (TAB) Skills needed: Alternate picking (Session 4), fretting on strings 6 and 5 at frets 1 and 2

This is the two-measure riff taught in Session 4, on the same strings and frets as the published transcription.

What this is: Excerpt, slowed down: the two-measure guitar riff that opens the song, on the same strings and frets as the published transcription (the notes are not simplified). Played far slower than the record and, in standard tuning, a whole step higher. Not yet play-tested.

Listen first: Nirvana, “Come As You Are” (Nevermind, 1991). Listen to the first eight seconds, where the guitar plays this riff twice on its own before the drums and bass come in. Listen for two things: the three quick notes that lead in before the first strong beat, and the two places where a note is held longer than the others.

Tuning note: On the record every string is tuned one whole step (two frets) lower than standard: D G C F A D from the thickest string to the thinnest. You are in standard tuning, so the same frets sound one whole step higher than the record. That is expected: if you play along with the recording it will sound wrong even when every note is right. Do not retune. (Optional, to match the record’s pitch without retuning: play exactly the same fret numbers on strings 4 and 3 instead of strings 6 and 5. The notes then match the record, one octave higher. This follows from the tuning arithmetic; it has not been play-tested.)

Tempo: Follow the Session 4 tempo ladder; course target 60 BPM, two notes per click (the record is at 120 BPM)

"Come As You Are" - intro riff (three pick-up notes, then 2 measures that repeat)
e|------------------|-----------------------------------|-----------------------------------|
B|------------------|-----------------------------------|-----------------------------------|
G|------------------|-----------------------------------|-----------------------------------|
D|------------------|-----------------------------------|-----------------------------------|
A|------------------|-----------0-------0---------------|-------2---------------2-----------|
E|------0---0---1---|---2-----------2-------2---2---1---|---0-------0---0-----------0---1---|
Count:  &   4   &       1  (&)  2   &   3   &   4   &       1   &   2   &  (3)  &   4   &
Pick:   U   D   U       D       D   U   D   U   D   U       D   U   D   U       U   D   U

The three notes before the first bar line are a pick-up: lead-in notes that come before the first full measure.

Form: The riff is two measures long. After the three pick-up notes, play measure 1, measure 2, measure 1, measure 2 without a gap; the last two notes of measure 2 lead back into measure 1. The three pick-up notes are played once only, at the very start. After the second time through, let the last note ring.

Finger guide:

Fretting hand - one finger per fret:

0 = open string, no finger.
Fret 1 on string 6: finger 1 (index).
Fret 2 on string 6 and fret 2 on string 5: finger 2 (middle).
Measure 1: keep finger 2 pressed on string 6 fret 2 while you pick the open string 5, so the two strings ring together. Arch the finger so it does not touch string 5.
Measure 2: finger 2 moves across to string 5 fret 2. Leave it there until the last note of the measure (string 6 fret 1, finger 1).

Picking hand: learn the riff first with downstrokes only. Then follow the Pick row: a downstroke on every numbered count, an upstroke on every ”&”. That makes the very first note an upstroke. On the two counts in brackets, (&) in measure 1 and (3) in measure 2, do not pick: say the count and let the note before it keep ringing.

Performance tips:

Keep alternate picking even — downstrokes and upstrokes at equal volume
The original uses a chorus effect pedal on electric guitar. Your acoustic version will sound drier, and a whole step higher than the record, which is tuned a whole step low
Let each note ring into the next — do not cut notes short
The course target is 60 BPM. Anything faster is an extension; the record is at 120 BPM.

Arrangement 2 — “About a Girl” Verse Accompaniment (Nirvana)

Original artist: Nirvana (Bleach, 1989) Credits: “About a Girl” - Nirvana, from the album Bleach (1989). Words and music by Kurt Cobain. Arrangement type: Chord strumming (verse only, simplified) Skills needed: Em (Session 2), G (Session 10), D D U U D U strumming (Session 5)

This song is taught in Session 10. Here is the verse accompaniment; only the verse is taught.

What this is: Accompaniment (simplified): a strumming pattern over the verse’s two chords, with the chord changes where the record has them, at about half the record’s speed. It is not the guitar part as played on the record, and only the verse is taught. Not yet play-tested.

Listen first: Nirvana, “About a Girl”, the studio recording on Bleach (1989). Listen to the introduction, about the first 15 seconds: the guitar plays the two chords alone for four measures, then the band joins for four more. Count “1, 2, 3, 4” with it: the darker chord (E minor) is on 1 and 2 and the brighter chord (G) on 3 and 4, in every measure. The verse carries on in exactly the same way for eight measures.

Tuning note: The Bleach studio recording is in E minor in standard tuning, the same pitch as this chart, at about 130 BPM. The better-known MTV Unplugged in New York recording (performed 1993, released 1994) is tuned a half step (one fret) lower and is a little slower, about 122 BPM; if you play along with that one, every chord you play will sound slightly too high. (Standard pitch for the Bleach recording comes from two published transcriptions; it has not been checked by ear.)

Tempo: The Session 10 tempo ladder; course target 70 BPM (the record is at about 130)

Verse (8 measures):

"About a Girl" - verse accompaniment (8 measures)

Measure:   1        2        3        4        5        6        7        8
         | Em  G  | Em  G  | Em  G  | Em  G  | Em  G  | Em  G  | Em  G  | Em  G  |
Beats:     12  34   12  34   12  34   12  34   12  34   12  34   12  34   12  34

Every measure is the same: Em for beats 1 and 2, G for beats 3 and 4. Eight measures make one verse. On the record the introduction is this same measure eight times (four with the guitar alone, four with the band).

Step 1 - four downstrokes (use this first, and keep it if Step 2 breaks down):

Chord:  Em      G
Strum:  D   D   D   D
Count:  1   2   3   4

Step 2 - the course’s main pattern, D D U U D U:

Chord:  Em         G
Strum:  D     D  U     U  D  U
Count:  1     2  & (3) &  4  &

The strokes fall on 1, 2, the ”&” of 2, the ”&” of 3, 4 and the ”&” of 4. Nothing is strummed on beat 3, shown as (3): your hand still swings down but misses the strings. Use that silent beat to change to G, so the first G stroke is the upstroke on the ”&” of 3. Change back to Em for beat 1 of the next measure. This is the course’s own accompaniment pattern, not the strumming on the record, where G is also struck on beat 3.

Form: Verse, measures 1–8, once through. To finish, play one downstroke of Em on beat 1 of a ninth measure and let it ring. (The ending is written for this course.)

Performance tips:

The verse is dark and restrained (Em–G).
This is a rock song, not a ballad, so it can be loud. Use a bigger, faster strum with the same loose grip. Loud does not mean tense.
The record is about twice as fast as the course target. Work up gradually; faster than 70 BPM is an extension for after the course.
Only the verse is taught. The record’s chorus uses different chords, power chords further up the neck, and is not part of this course.

Arrangement 3 — “Knockin’ on Heaven’s Door” Simplified Chord Accompaniment (Bob Dylan)

Original artist: Bob Dylan (Pat Garrett & Billy the Kid, 1973) Credits: “Knockin’ on Heaven’s Door” - Bob Dylan, from the soundtrack album Pat Garrett & Billy the Kid (1973). Words and music by Bob Dylan. Arrangement type: Chord strumming Skills needed: G (Session 10), D (Session 7), Am (Session 3), C (Session 11), D/U strumming (Session 5)

This song is taught in Session 10. It uses four chords in two alternating lines — one of the most covered songs in rock history.

What this is: Simplified accompaniment: the song’s own chords in the right order, written at half the record’s speed (every chord lasts twice as many beats), with the course’s own gentle strumming pattern. Not yet play-tested.

Listen first: Bob Dylan’s original 1973 recording, from Pat Garrett & Billy the Kid. Listen to the introduction, before the singing starts (about the first half-minute): the same two lines of chords are played twice. Line 1 goes G, D, A minor; line 2 goes G, D, C. G and D pass quickly; the third chord of each line lasts as long as the first two together. The verses and the chorus use these same two lines.

Tuning note: The recording is in G major in standard tuning with no capo, at about 69-70 BPM: the same key and chords as this chart. But the learning chart is written at half speed. On the record G and D last two beats each and Am or C four beats; here they last four beats and eight beats. So you cannot strum along with the record from the learning chart; that comes with the record-speed chart, the last step of the tempo ladder.

Tempo: Course target 70 BPM, half the speed of the record. Follow the Session 10 tempo ladder.

Verse and Chorus (same progression):

"Knockin' on Heaven's Door" - learning chart (half speed): 8 measures, one chord per measure

Measure:   1    2    3    4
Line 1:  | G  | D  | Am | Am |

Measure:   5    6    7    8
Line 2:  | G  | D  | C  | C  |

In Session 10, before you have learnt C: play Am in measures 7 and 8. That is a stand-in, not what the record plays. From Session 11, play C.

Strum:  D   U   D   U   D   U   D   U
Count:  1   &   2   &   3   &   4   &

Straight down-up eighth notes, light and even, the same in every measure. This is the course’s own gentle pattern; the strumming on the record is busier. On D strum strings 4 to 1 only; on Am and C, strings 5 to 1; on G, all six.

Form on the record: The introduction is Line 1 and Line 2, twice. Each verse is Line 1 and Line 2, twice (four sung lines, one sung line to each line of chords). Each chorus is the same again: verse and chorus use the same chords.

Form for this course: Line 1 and Line 2 (measures 1–8), twice through: 16 measures. To finish, play one downstroke of G on beat 1 of the next measure and let it ring. (The ending is written for this course.)

Later target, the last step of the Session 10 tempo ladder:

Record-speed chart (later target): the same chords in 4 measures

Line 1:  | G  D  | Am     |
Line 2:  | G  D  | C      |
Beats:     12 34   1234

In the record-speed chart G and D last two beats each and Am or C four beats.

Performance tips:

This song has a gentle, reflective feel. Strum lightly with a smooth D/U pattern.
The two-measure chords (Am, then C) give you a rest between changes.
The G → D transition is the hardest (all fingers move). Practice it in isolation.
Many rock bands have covered this song (Guns N’ Roses made a famous version). The acoustic original is beautiful in its simplicity.

Listening List

Five essential rock tracks to listen to. Pay attention to the guitar — how it drives the song, when it uses riffs vs chords, when it is loud vs quiet.

“Smoke on the Water” — Deep Purple (Machine Head, 1972) — One of the most famous guitar riffs in rock. It is played as pairs of notes a fourth apart (for example, the same fret on strings 4 and 3), plucked together, not as power chords. Listen for the two-note shapes and the space between each hit.
“Back in Black” — AC/DC — Open chord riffing at its finest. The intro riff is built on the open E, D and A chords, all of which you know, with a quick single-note run between them. Notice how the strumming pattern creates groove.
“Wish You Were Here” — Pink Floyd — Acoustic guitar intro that shows rock does not always mean loud. Beautiful fingerpicked and strummed acoustic arrangement.
“Heart of Gold” — Neil Young — Acoustic rock with Em, C, D, and G. Almost identical to chords you know. Listen for the harmonica interplay with the guitar strumming.
“Everlong” — Foo Fighters — Modern rock with dynamic contrast between quiet verses and loud choruses. Listen for the shift in strumming intensity.

Practice Tips

Start slow, play clean. Rock sounds exciting at high tempos, but messy playing sounds bad at any tempo. Learn every riff at 50-60% of the target speed first.
Palm muting is your secret weapon. Practice palm muting for 5 minutes every session. The difference between a beginner rock guitarist and an intermediate one is often just palm muting control.
Use a metronome. Rock is built on groove, and groove requires steady time. Set a metronome and lock in. A riff played in perfect time at 60 BPM sounds more rock than the same riff played sloppily at 120 BPM.
Listen to the originals first. Then play your version on its own with a metronome. Each arrangement says whether the recording is at your pitch.
Acoustic is a starting point, not a limitation. These riffs are born on electric guitar with distortion. On your Saga SF-600C-BK, they sound cleaner and more transparent. This is excellent for learning — you hear every note clearly. When you move to electric guitar, these riffs will sound massive because your technique is already solid.
Play with attitude. Rock is not polite. For a loud downstroke, use a bigger, faster strum with the same loose grip: loud does not mean tense. Accent beat 1. Let power chords ring with purpose. Your body language matters too — sit up, lean into the guitar, and play like you mean it.