Landslide by Fleetwood Mac sits comfortably on ukulele using open-position shapes; the most common approach uses a C-based progression built around C → G/B → Am7 → G/B with sparse fingerpicking and gentle strums that let the vocal breathe.
Core chord chart (GCEA tuning) — open-position chord shapes and uke-friendly equivalents
Standard tuning: G C E A (recommend low-G for a fuller low end or high-G for traditional bright uke tone).
Clean chord chart (open-position, listed as name — fingering — descriptor):
C — 0003 — full open C (root, easy to hold; ukulele chords, chord shapes, chord chart).
Am7 — 0000 — open Am7 (very uke-friendly, great for sparing fingerpicking; ukulele tab, fingering).
Am — 2000 — full Am (use for brighter minor color if needed; easy chords for beginners).
G — 0232 — full G (standard melody-friendly voicing; chord map label: G).
G/B (slash alternative) — 4232 on low‑G uke or 0232 with emphasis on the A-string 2 for high‑G; use 4232 for a true B bass inversion on concert/tenor with low‑G.
Em7 — 0432 — common uke Em7 voicing (opens the pre-chorus nicely; listed as ukulele tab and fingering).
F — 2010 — full F (stable for chorus; printable chords and chord map friendly).
Dm — 2210 — Dm full voicing (subtle color for endings and transitional measures).
Two-to-three variants per chord (full, simplified, slash/bass alternatives)
C variants: full 0003; simplified 0003 (same on uke); C/E alternative: 2003 on low‑G for a lower E bass-like fill (label: chord map / fingering).
G variants: full 0232; simplified: 0002 (drop fretted C-string 2 and play 0002 for a thin G flavor); G/B: 4232 on low‑G for real inversion (tab note: use for smoother bass walks).
Am/Am7 variants: Am 2000 (full), Am7 0000 (simplified and common in this song), Am/G alternative: 0200 to add descending bass motion (label as ukulele tab).
Em7 variants: 0432 (full), 0402 (simplified Em), Em/D: 0202 or 0002 as a bass-step option between Em7 and C (fingering and chord map info).
Capo recommendations and how capo changes voicing and timbre
Capo choices: no capo for original C shapes; capo 2 (transposes to D) and capo 3 (transposes to Eb/D#) are the most singer-friendly options; capo 5 moves to F which suits alto voices.
Practical capo chart: capo 0 = C, capo 2 = D, capo 3 = Eb, capo 4 = E, capo 5 = F; use this capo chart to match vocal range quickly.
How capo affects tone: nearer the nut gives brighter, chimey timbre; higher capo narrows string vibration and makes voicings sound tighter; capo can also let you keep simple open shapes while changing pitch.
Tuning, string gauge, and quick mute/tone tips
Recommended tuning: standard GCEA; prefer low‑G if you want a walking bass and fuller bottom end, choose high‑G for classic bright shimmer.
Suggested strings: medium‑tension fluorocarbon or quality nylon (brands like Aquila Nylgut or fluorocarbon medium tension) for warm sustain and clear note separation.
Tone tips: anchor the thumb lightly on the low strings during fingerpicking for a consistent bass; mute unwanted ring with the palm for a warm, intimate cover; roll your index finger slightly to emphasize bass note attack.
Song structure and exact progression — section-by-section chord map
Intro (bar-by-bar): | C | G/B | Am7 | G/B | — repeat twice to set the picking motif (progression chart, song form).
Verse (each lyric line typically uses the four-bar pattern): | C | G/B | Am7 | G/B | — use gentle fingerpicked arpeggios on each bar to match the original phrasing.
Pre-chorus (bar-by-bar): | Em7 | G/B | C | C | then | Em7 | G/B | C | C | — shift to slightly fuller strums on the second repeat to prepare the chorus.
Chorus (bar-by-bar): | F | G | C | C | then | F | G | C | C | — hold the C on the last bar for lyrical resolution before returning to verse.
Outro: mirror the intro/verse pattern and end on C or close with Dm → C → G/B → C for a soft cadence.
Highlight tricky spots: the G/B motion between C and Am7: smooth this with a low‑G 4232 or lift and place finger on the g-string 4 to create a true B bass; that keeps voice-leading clean.
Verse and pre-chorus — step-by-step chord changes and timing
Typical counting: four beats to the bar. For each bar: bass note on beat 1, arpeggio or down‑strum on beats 2–4; example count for a bar of C: 1 (bass pluck C) 2 & 3 & 4 & (fill with fingerpicked pattern).
Exact sequence for first verse line (measure counts): Measure 1 C (1–4), Measure 2 G/B (1–4), Measure 3 Am7 (1–4), Measure 4 G/B (1–4); repeat for subsequent lyric lines.
Visual cue for changes: sing the first syllable of each line and change chord on the downbeat of that syllable; melody often lands on chord tones, so watch the vocal for chord shifts.
Chorus and outro — sustaining voicings and harmonic resolution
Sustain strategy: hold the top note of C (A-string fret 3) when moving between F and G to preserve melody tone; use partial finger lifts to sustain ring while changing lower fingers.
Final cadence options: end softly on C (0003) for solo; add Dm (2210) → C (0003) → G/B (4232) → C for a fuller duo finish that gives harmonic motion and closure.
Embellishments: gentle hammer‑ons on the A-string 3→5 over C, or a soft slide into Am7 from B on the g-string (4→0) to echo Stevie Nicks’ delicate phrasing.
Strumming vs. fingerpicking — rhythmic patterns and BPM guidance
Tempo guide: 70–76 BPM is the sweet spot for a faithful, intimate cover; slower works for ballad focus, faster risks losing the lyric space.
Three rhythmic options: basic down-strum (beginner: D — 1 per beat with light palm muting), syncopated groove (D‑DUDU with accents on beat 2), Travis-style roll (thumb on bass, fingers alternate; creates a gentle rolling accompaniment similar to the original).
When to use each: start with down-strum to lock chords; switch to Travis roll for verse fingerpicking; use syncopation on chorus to lift dynamics.
Fingerpicking pattern — broken into lickable phrases
Phrase A (bar 1, bass + two trebles): thumb pluck bass on beat 1, index pluck C-string on beat 2, middle pluck E-string on beat 3 — repeat across the bar.
Phrase B (bar 2, inner movement): bass on beat 1, quick pull-off or hammer on the A-string on beat 2, then two light trebles on beats 3–4 to create forward motion.
Phrase C (connectors): link phrases by adding a bass walk: C (0003) → G/B (4232) executed as single-note bass slides on beats 1–2, then return to full arpeggio.
Right-hand fingering: thumb = G/C strings for bass, index = E, middle = A; keep the thumb anchored for consistent bass attack and stronger independence.
Beginner-friendly adaptations and easy chord substitutes
Substitutions: replace G/B with plain G (0232) if you don’t have low‑G or find 4232 awkward; use Am7 (0000) instead of Am for simpler transitions and similar color.
Capo trick: capo 2 and play open C shapes to sing in D without extra finger stretches; capo 3 brings keys up and can remove the need for F if you want exclusively open shapes.
Pared-down practice path: start with single down-strum per bar, then split bars into two down-strokes, then shift to basic arpeggio, finally layer the Travis roll and small fills.
Intermediate voicings, embellishments, and melodic fills
Inversions and partial barres: play C with a low E (2003) for a C/E effect; use G with low‑G 4232 to create true bass steps that walk C → G/B → Am7 smoothly.
Fill ideas: short hammer-on from A to B on the A-string over C (3→5), slide from open E to 2 on the E-string as a passing tone into Am7, and quick single-note bass walk 3→2→0 between C and G/B.
Arranging tips: solo uke players should prioritize thumb bass + melody on top; accompanists should occupy mid-range chordal strums and leave space for a second uke or vocal harmony.
Transposing Landslide for voices and duet arrangements
Capo vs. rewrite: use the capo to keep simple C-family shapes while shifting pitch; rewrite chord shapes if you need different voicings or fuller low bass not possible with capo placement.
Quick key-capability chart (capo position → sounding key): capo 0 = C, capo 1 = C# / Db, capo 2 = D, capo 3 = Eb, capo 4 = E, capo 5 = F; pick the capo that puts the melody in a comfortable vocal range.
Duet arrangement: Uke 1 fingerpicks and plays melody hits; Uke 2 strums soft on the chorus with added sus2 or sus4 voicings for color; add a harmony on the “mirror in the sky” line for effective duo texture.
Four-week practice plan: a progressive path to performance
Week 1 — chord clean-up: lock the shapes C, G, Am7, Em7, F; practice transitions slowly with a metronome at 50–60 BPM until clean.
Week 2 — rhythm locking: introduce down-strum and syncopated patterns, increase to 70 BPM, practice bar-by-bar and loop tricky measures.
Week 3 — fingerpicking integration: add Phrase A/B/C patterns, practice linking verse to pre-chorus, use backing track to develop dynamics.
Week 4 — run-throughs and polish: full song with capo/key for singing, add fills and voicings, record short takes and check intonation and tone.
Common mistakes, troubleshooting, and quick fixes
Sloppy chord changes: practice moving two fingers at a time and use silent practice—lift fingers slightly and return to grip the next chord cleanly.
Weak thumb anchor: drill bass-only plucks for 5 minutes daily to strengthen the thumb; play slowly and keep motion economical.
Uneven fingerpicking: loop a single four-beat pattern at a slow tempo and increase by 3–5 BPM once consistent for 30 seconds.
Buzzing strings and intonation: check nut slots and action height, replace old strings, and push the capo just behind the fret to avoid sharp/buzz problems.
Performance and recording tips to make a Landslide cover shine
Microphone placement: place a small diaphragm condenser 20–30 cm above the uke’s sound hole angled slightly toward the neck for balanced body and string detail; for phones, position microphone toward the 12th fret for natural blend.
Simple EQ & compression: cut a small shelf at 300–400 Hz to reduce muddiness, boost 2–5 kHz lightly for string presence, and use gentle compression (ratio 2:1, low threshold) to even vocal and uke dynamics.
Live staging tips: strip to basic fingerpicking in small rooms; open up with added strums and a second uke or harmony for larger rooms or recorded takes.
Vocal pacing: breathe before long phrases, aim to phrase with the chord changes and leave micro-pauses to keep the song intimate.
Useful resources: printable chord sheet, tabs, tutorials, and cover-license basics
Printable resources: export the chord chart above as a one-page printable PDF or use trusted ukulele tab sites and PDF chord sheets labeled ukulele tab PDF and printable chords.
Video lessons and play-alongs: pick 2–3 step-by-step tutorials that show both strumming and fingerpicking; use backing tracks at 70–76 BPM to rehearse timing and dynamics.
Cover-license basics: for audio distribution or monetized covers check mechanical and sync license requirements in your territory; credit the songwriters and list “Landslide — Fleetwood Mac (Stevie Nicks)” in descriptions for clarity and respect.
Quick legal guidance: perform covers live or on platforms with built-in licensing features; if you plan to sell recordings or monetize a cover on streaming platforms, secure the appropriate mechanical and sync licenses through a licensed agent or rights service.
