This lesson teaches you how to play AC/DC’s “Back In Black” on electric guitar with precise goals: nail the iconic opening riff, lock the verse and chorus groove, reproduce Angus Young’s tone, and learn the solo phrases so you can perform the song confidently.
Who this lesson is aimed at and the exact song goals
This lesson fits three levels: a complete-beginner adaptation that focuses on a simplified riff and power-chord rhythm; a confident-beginner path that covers the full rhythm parts and muting; and an intermediate route that breaks down the solo and tone replication.
Learning outcomes are concrete: 1) play the main riff cleanly and in time, 2) perform verse and chorus with the correct attack and pocket, 3) execute the solo phrases with accurate bends and vibrato, and 4) match an Angus-style tone using realistic gear choices and settings.
Quick technical snapshot: tuning, tempo, key center, and song map
Tuning is standard E A D G B E. The tempo sits around 92–96 BPM. The song centers on low-E power-chord shapes and low-register riffs.
Short-form song map: intro riff → verse groove → chorus power-chords → solo → outro. Riffs repeat; memorize the intro and two verse/chorus patterns first, then slot the solo and outro around those anchors.
Gear and tone recipe to get a believable Angus Young sound
Guitar: SG- or Les Paul-style body with humbuckers gives the closest core tone; single-coils work if you boost treble and tighten the low end. Amp: cranked Marshall-type tube head or a high-gain amp sim set to British-voiced gain yields the signature bite.
Basic amp EQ starting point: bass 4–5, mids 3–4 (slightly scooped compared to modern tones), treble 6–8. Drive: moderate gain; not full metal distortion. Use a clean boost or overdrive in front to push the amp into harmonic saturation without flubbing clarity.
Pedals and extras: a Tube Screamer-style boost, a light compressor for sustain control, and a slight plate or room reverb for space. Avoid heavy modulation on rhythm parts; add a touch of slapback or short delay for lead color only.
Pick and strings: use a heavier pick (0.88–1.2 mm) for attack. Strings in a medium–heavy gauge (.010–.052 or .011–.054) help sustain and tuning stability when bending. Set action and intonation so bends land in tune and sustain rings without choking.
Master the opening riff: note-by-note breakdown and rhythm feel
The intro riff sits on the low E string and moves to fretted notes around the 2nd and 5th frets, alternating with open-string hits for punch. Focus on exact fret positions and the use of open low E as a drone through much of the riff.
Key tab pointers: start with the open E and land the fretted notes precisely on beat subdivisions; avoid sliding through the open-string hits. Watch common tablature pitfalls: some tabs add ghost notes that aren’t in the record; trust timing over extra embellishments.
Syncopation and rests define the groove. Place the rests cleanly — don’t fill them. The attack is as important as the note itself; silent space keeps the riff powerful and tight.
Right-hand technique and attack
Use dominant downstrokes for the chunk and attack; alternate pick only for long single-note runs. A strong downstroke on the beat gives the riff its aggressive thrust. Keep wrist movement compact to maximize speed and consistency.
Palm muting should be just behind the bridge for a tight, percussive sound. Too far forward chokes sustain; too far back loses definition. Angle the pick so the bevel catches the string and adds a sharp bite on attacks.
Dynamics matter: accent the first hit of each bar, employ light ghost notes between main hits, and release pressure on muted notes to let the groove breathe.
Verse and pre-chorus: power-chord shapes, groove locking, and muting
Power-chord voicings: E5 root shapes on open E, movable E5 shapes at the 7th and 9th frets for octave doubles, and compact barre-style options to switch quickly between riffs without large hand shifts.
Use open low-E with fretted octave doubles where you need fullness; use fretted octave for faster changes to avoid string noise. Keep fingers anchored over the strings to mute unwanted ringing during quick switches.
Groove locking relies on consistent down-stroke rhythm and strategic palm muting to keep definition. Mute dead strings with the edge of your picking hand or the underside of your fretting fingers to avoid sympathetic ringing.
Chorus and turnarounds: timing, accenting, and voice-leading
Chorus progression is built on punchy power chords with tight staccato accents. Angus accents the upbeats occasionally; copy that to add punch. Place accents on the second or last eighth note of the bar for drive.
Add small fills and turns between sections using picked double-stops or single-note turns that connect the chorus back into the verse. Keep fills short and rhythmically clear so they serve the song rather than steal attention.
Solo deconstruction: scale choices, licks, and phrasing the Angus way
Primary scale tools: E minor pentatonic and E major pentatonic boxes. Angus mixes minor and major pentatonic tones to get that bluesy, happy-sad contrast. Target notes to resolve phrases are E (root), G (minor third), B (fifth), and D (flat seventh).
Chromatic passing tones and small approach notes give the solo its voice. Use short chromatic fills to connect pentatonic phrases. Keep most bends to 1.5–2 whole steps and land them cleanly before adding vibrato.
Phrase-by-phrase method: break the solo into 2–4 bar slices. Loop each slice slowly, lock the exact bend destination, count vibrato beats, then raise tempo in 5 BPM increments. Prioritize phrasing and rhythm over raw speed.
Little fills, transitions, and signature licks that make it sound authentic
Common fills: short hammer-ons and pull-offs inside pentatonic boxes, two-note double-stop licks on the B and high G strings, and tasteful pinch harmonics placed on long notes for emphasis. Keep them sparse.
Insert small melodic embellishments between riff repeats rather than over the vocal lines. Tasteful pinch harmonics on the ends of phrases can mimic Angus’s stage phrasing without cluttering the groove.
Timing, feel, and how to lock with drums and vocals
The song is a straight-rock feel — not swung. That said, slight anticipations on certain hits add forward drive; use them sparingly and only after your pocket is solid. The groove breathes on the rests; don’t overfill.
Practical exercises: play the riff to a metronome with subdivisions (eighths and dotted-eighths), loop a drum groove and mute to hear where your parts sit, and count vocal cues to lock transitions. Record small sections and listen back to check alignment with the drum hits.
Common student mistakes and quick fixes for accuracy and tone
Typical error: sloppy timing on the riff. Fix: loop one bar at a slow tempo and play only the first hit and the rest; add subsequent notes only when the first is locked. Use metronome drops to test absolute timing.
Typical error: inconsistent palm muting. Fix: mark the exact bridge contact point on your pick hand and practice moving only the fingers while keeping that contact static. Record to hear muted versus unmuted differences.
Typical error: inaccurate bends and vibrato. Fix: practice bending to a reference pitch (use a tuner or piano) and hold the target note to match pitch before adding vibrato. Use 1–2 minute focused bending warm-ups daily.
A practical 4-week practice plan to learn Back In Black start-to-finish
Week 1: Memorize the main riff and basic chord shapes. Daily micro-practice: 10–20 minutes looping 1-bar sections, focus on clean attack and muting.
Week 2: Lock verse and chorus grooves with a metronome. Increase tempo in 3–5 BPM steps. Add short practice sessions playing along to a drum loop twice per week.
Week 3: Solo phrase practice and tone dialing. Break solo into 2–4 bar phrases, loop, and raise speed only after phrasing is solid. Spend time adjusting amp/drive settings and test with recorded rhythm parts.
Week 4: Full play-throughs and play-along integration. Do three full runs per practice, record one, and review timing and tone. Add stage-ready details: transitions, small fills, and pedal changes.
Simplified arrangements and advanced variations for different players
Beginner stripped-down version: play only the root power-chords in time, slow the tempo to 70–80 BPM, and use a single-note simplified intro riff with fewer string changes. That builds confidence and groove before adding complexity.
Advanced options: add octave runs, harmonized leads using parallel thirds, and extended solo improvisation over pentatonic/blues scales. Add tasteful effects like short slapback delay on select phrases for extra sheen.
Play-along tools, tabs, and the best resources for learning (legal tab & backing tracks)
Use official tabs and licensed Guitar Pro files from reputable vendors or the publisher. Reputable video lessons and backing tracks from licensed services give better timing and mixing than random free uploads.
Backing track tips: use slowed-down, licensed tracks or tempo-shifted stems to practice solos, and ensure you have legal rights to any purchased material. Respect copyrights and avoid unauthorized tab copies.
Performance and recording tips to reproduce the song live or in a home studio
Live: if you’re the only guitarist, choose whether to cover the solo or play rhythm and trigger a pre-recorded solo spot or use a pedal-switch to step into a lead patch. Keep stage amp settings consistent and use a boost for solos.
Home recording: try both a miked 4×12 cab close mic and an amp-sim DI to blend direct clarity with cabinet color. EQ choices: cut a touch of low-mid muddiness (around 250–400 Hz), push presence at 3–5 kHz for bite, and add a narrow boost at 1–2 kHz for lead clarity.
Troubleshooting Q&A from students learning this AC/DC classic
Do I need a capo? No. The song is in standard tuning and uses open low E power-chords, so a capo is unnecessary.
Can I use single-coil pickups? Yes. Single-coils can work if you boost treble and tighten the low end with amp EQ or a preamp pedal to approximate humbucker thickness.
How long will it take to learn? Expect basic rhythm and riff to be comfortable in 2–4 weeks with regular practice. Solo accuracy and tone dialing can take 4–8 weeks depending on daily focused time.
What should I practice next? After mastering this song, practice another downstroke-intensive tune and a pentatonic-based solo to reinforce the same skill set and improve speed and phrasing.
Use this plan, keep practice focused and short, and you’ll move from a workable riff to a performance-ready version with tone that sits right in the mix.
