Solo 2

Holy Diver - Introduction

Holy Diver is one of the most iconic heavy metal songs ever recorded, serving as the title track of Dio’s debut album in 1983. Written by the legendary Ronnie James Dio after his stints with Rainbow and Black Sabbath, the song showcases his signature lyrical style—filled with medieval imagery, heroic themes, and battles between good and evil. The lyrics tell the story of a mysterious, divine warrior, often interpreted as a metaphor for spiritual struggle and redemption. Dio’s powerful, operatic vocals and Vivian Campbell’s crushing guitar riffs made the track an instant classic.

The music video, though dated by today’s standards, became legendary for its fantasy aesthetic, featuring Dio as a sword-wielding hero battling demons. The song’s mid-tempo groove, anthemic chorus, and unforgettable riff solidified its place in metal history. Over the years, "Holy Diver" has been covered by bands like Killswitch Engage and referenced in pop culture, proving its lasting influence. Ronnie James Dio’s performance on this track remains one of the greatest in metal, blending raw power with theatrical flair.

Holy Diver Guitar Lesson

Taught by Mike Walker, this lesson dives deep into playing "Holy Diver" in dropped C tuning (C-G-C-F-A-D), which gives the song its thick, heavy sound. The main riff, played by Vivian Campbell, is built around power chords (C5, G5, A♭5) and uses palm muting to create a tight, aggressive groove. The tuning allows for easy sliding between chords while maintaining a massive low-end presence.

The verse follows a C5 - G5 - A♭5 progression, with the riff emphasizing the open C string for a chugging effect. The chorus shifts to a C5 - G5 - F5 pattern, adding a melodic lift before returning to the main riff. The solo section is where Campbell’s playing shines—using the C minor pentatonic scale (C-E♭-F-G-B♭) with fast alternate picking and wide bends for dramatic flair. The harmonic minor scale (C-D-E♭-F-G-A♭-B) also appears in the solo, giving it a darker, classical edge.

For the rhythm parts, focus on tight palm muting and consistent downstrokes to match the song’s driving feel. The pre-chorus introduces a syncopated riff that requires precise timing—practice it slowly with a metronome before speeding up. The bridge features harmonized leads, where two guitars play complementary melodies, a technique Dio borrowed from his Rainbow days.

Beginners should start by mastering the main riff and power chords in dropped C tuning. Intermediate players can work on the syncopated rhythms and solo licks, paying attention to vibrato and bends. Advanced players should study the harmonic minor passages and experiment with adding their own fills.

FAQs

Q. How do I tune my guitar to dropped C for this song?

Lower your sixth string from E to C, fifth from A to G, and leave the rest in standard tuning (C-G-C-F-A-D).

Q. What scales does Vivian Campbell use in the solo sections?

Primarily C minor pentatonic (C-E♭-F-G-B♭) with touches of C harmonic minor (C-D-E♭-F-G-A♭-B) for a classical metal feel.

Introduction

In this video lesson your instructor, Mike Walker teaches how to play the song Stairway to Heaven as part of our guitar series on English songs. It is one of the most iconic piece of rock music. Playing it on your guitar instantly earns you street cred as a guitarist. 

Don't forget to make use of the chords and tabs provided with the song lesson!

Strumming Pattern 

The intro and the verse section of the song are all about fingerpicking, but as the song moves towards the more guitar-centric section strumming does come into play, and the strumming pattern is as follows: D - D U - U D U

• D = Down strum
• U = Up strum
• - = Pause or hold

Song Structure 

• Introduction: Mike Walker will introduce this song lesson. He will be your guitar instructor for this lesson. He will teach you how to tune your guitar and share his advice on why every rock fan should learn this song. 
• Intro Piece: This is the part when you play instantly makes everyone acknowledge that you are playing Stairway to Heaven. 
• Section A and B: Section A is pretty similar to the intro piece, Mike tells you which chords to play to make it sound different and how to play Section B.
• Section C and D: This part of the guitar lesson continues with the acoustic guitar chord. 
• Section E and F: Here, you will learn the most repeated guitar part of the song, section E. The F section is about the last acoustic part of the song. 
• Song Demo: In this part, Mike will show you how to play the entire acoustic guitar section alongside the backing track. 
• Solo Lesson: This is the most anticipated part of the song; Mike breaks Jimmy Page’s iconic solo with multiple licks and plays them with the backing track. 
• Overdubs: This is the last section of the guitar lesson, and here, you will learn about overdubs, which are basically the additional layer of guitar tracks used in the song. 

B.Y.O.B. – Introduction

Welcome to the guitar lesson on one of the greatest anti-establishment rebellion songs that brings together metal, punk, and Middle Eastern melodies into a politically charged anthem. – B.Y.O.B. by System of a Down. The song has been received with love across the world and has won a Grammy for the best hard rock performance in 2006. The song has amassed more than 500 million views on YouTube since its release in 2005.

The song name is an acronym for Bring Your Own Bombs, and was made as a form of protest against the american coalition led Iraq War (2003–2011), with lyrics calling out, “Why don't presidents fight the war? Why do they always send the poor?”. It is a song written in strong political commentary on the situation of wars and oppression around the world. The band has a reputation for speaking out for social justice and matters like drug abuse, politics, and suicide in the heavy metal genre.

B.Y.O.B. Guitar Lesson

The lesson on B.Y.O.B. is brought to you by our beloved instructor, Mike Walker, who demonstrates the song in its entirety and explains all parts of the song in great detail. Since this is a heavy metal song, there are a number of unconventional rhythmic patterns and fast melodic lines for the electric guitar, which is a signature sound for this genre of music.

The song is in the key of F major, but the tuning is half a step down; all the strings are tuned down a semitone. This, firstly, widens or brightens the tone, which makes it feel ‘heavy’ and secondly, loosens the strings, which makes it easier to play at a high tempo.

The lesson is easier to master as it only requires rhythmic proficiency to play in its entirety. The song is very drums and lyrics forward, as is with most heavy metal songs. The song is fun to play because of the distorted tone of the guitar. It’s a saturated machine-like sound that has low-frequency notes, which give it a slightly percussive vibe, usually called ‘djent’.

This is also a short lesson, taught easily by Mike, comfortably suited for beginners and advanced players alike.

FAQs

Q. Can I play BYOB in standard tuning?

Yes, you can play BYOB in standard tuning, but then you’ll have to play the song in E major instead of F major, and you’ll also lose the ‘crunch’ in the strumming.

Q. How to sound like Daron Malakian?

If you want to sound like Malakian, you need an Ibanez Iceman DMM1 guitar, going into a Boss HM-2 Heavy Metal distortion pedal, into a Marshall MF350 amp.

Q. Can I play this on an acoustic guitar?

Yes, you can, but it will not have the rage that is needed to lead a rebellion against the war profiteering world leaders.

Black Magic Woman - Introduction

"Black Magic Woman" is one of Santana’s most famous songs, though it was originally written by Peter Green of Fleetwood Mac in 1968. Santana’s 1970 version, featured on the album Abraxas, transformed the track into a Latin rock masterpiece. The song blends bluesy guitar riffs with Afro-Latin percussion, creating a hypnotic and rhythmic groove. Carlos Santana’s smooth yet fiery guitar playing gives the track its signature sound, making it instantly recognizable.

The lyrics tell the story of a man enchanted by a mysterious woman, a common theme in blues music. Santana’s version extends the original with an instrumental section that transitions into "Gypsy Queen," a piece by jazz guitarist Gábor Szabó. This fusion of styles helped define Latin rock and cemented Santana’s place in music history. The song became a massive hit, reaching No. 4 on the Billboard Hot 100 in 1971, and remains a classic rock staple today.

Black Magic Woman Guitar Lesson

Taught by Mike Walker, this lesson breaks down how to play "Black Magic Woman" in the original key. The song revolves around three main chords: Dm7, Am7, and Gm7, giving it a moody, bluesy feel. The rhythm follows a Latin-inspired groove, with a steady pulse that makes it perfect for practicing timing and feel.

The intro features Santana’s iconic minor pentatonic lick, played with smooth bends and vibrato. The verse uses a repeating chord progression (Dm7 - Am7 - Gm7 - Dm7), with a laid-back strumming pattern that locks in with the percussion. The chorus shifts to a more open sound, letting the chords ring out before returning to the verse groove.

For the solo sections, Santana uses the D minor pentatonic scale (D-F-G-A-C) with added bluesy bends and expressive phrasing. The key is to play with emotion—let notes sustain, add vibrato, and slide between positions for that signature Santana sound. The transition into "Gypsy Queen" introduces faster, more intricate picking patterns, so start slow and focus on clarity.

Beginners should first master the chord changes and basic rhythm. Intermediate players can work on the intro riff and solo licks, paying attention to bends and vibrato. Advanced players should experiment with improvisation over the Dm7 vamp, using Santana’s phrasing as inspiration.

FAQs

Q. What tuning is used for this song?

Standard tuning (EADGBE)—no drop tuning or capo needed.

Q. How do I get Santana’s tone?

Use a smooth overdrive (not too distorted), with slight delay and reverb. Roll off some treble for warmth.

Q. What’s the strumming pattern?

A relaxed down-down-up with emphasis on beats 2 and 4 to match the Latin groove.

Q. Can I play this without a band?

Yes, but focus on keeping the rhythm tight—the groove is essential.

Q. How do I practice the bends in the solo?

Start slow, ensuring each bend reaches the correct pitch (e.g., bend G to A in the D minor scale).