How To Master The Iconic "Something In The Way" Tablature: A Guitarist's Deep Dive
Have you ever stumbled upon a simple guitar tablature and felt it hold the weight of an entire generation? That’s the magic of Nirvana’s "Something in the Way". This isn't just a song; it's a raw, unfiltered emotional landscape captured in a handful of chords and a haunting melody. For millions, the opening riff is instantly recognizable, a sonic fingerprint of the early '90s grunge movement. But for the aspiring guitarist, the "Something in the Way" tab represents something more: a gateway. It’s a deceptively simple piece that, when played with feeling, connects you directly to Kurt Cobain’s tortured genius and the seismic cultural shift Nirvana ignited. This guide will transform that tab from a sequence of numbers on a page into a profound musical experience, whether you're a beginner picking up a guitar for the first time or an intermediate player seeking deeper authenticity.
The Genesis of a Grunge Anthem: Context and Creation
Before we even look at the Nirvana Something in the Way tab, we must understand the conditions that birthed it. This song is a product of stark reality, not studio polish. It was recorded in 1991 for the album Nevermind, a record that would explode and redefine popular music. Yet, "Something in the Way" exists in a world apart from the anthemic fury of "Smells Like Teen Spirit."
The Living Room Studio: Recording in a State of Decay
The legendary sessions for Nevermind took place in Sound City Studios, but the genesis of "Something in the Way" lies elsewhere. Kurt Cobain had beenworkshopping the core riff and lyrics for years. The definitive, chilling version we know was famously recorded in a unique setting: the living room of producer Butch Vig’s house in Madison, Wisconsin. Cobain, weary and under the weather, laid down the basic track in a single, exhausted take. He was lying on the floor, surrounded by amps, with a microphone dangling above him. This context is crucial for the guitarist. The take isn't perfect by technical standards; you can hear him shifting, breathing, and the room's natural reverb. That imperfection, that sense of a private moment accidentally made public, is the song's soul. When you play the tab for Something in the Way, your goal isn't clinical precision. It's to channel that same weary, intimate, and slightly broken vibe.
Kurt Cobain's Songwriting: Simplicity as a Weapon
Cobain’s genius often resided in his ability to wield simplicity as a profound emotional tool. He famously said he wanted to write songs that anyone could play on a cheap acoustic guitar. "Something in the Way" is the pinnacle of this philosophy. The song is built on a foundation of just a few chords, primarily D minor and F major, played in a specific, arpeggiated pattern. The power doesn't come from complex chord changes or blistering solos; it comes from the rhythmic insistence, the melodic melancholy of the vocal line, and the devastating weight of the lyrics. Understanding this is your first step in mastering the Something in the Way guitar tab. You are not learning a showpiece; you are learning a mood. The technical barrier is low, but the emotional barrier is high.
Decoding the "Something in the Way" Tablature: A Bar-by-Bar Breakdown
Now, let's get our hands on the fretboard. The standard tablature for Something in the Way is famously sparse and accessible. Here is a typical representation of the core riff/verse progression:
e|-0---0---0---0---| B|-1---1---1---1---| G|-2---2---2---2---| D|-2---2---2---2---| A|-0---0---0---0---| D|-----------------| This pattern repeats. But what does it mean? Let's break it down.
The Open D Tuning Secret
Many guitarists, upon seeing this tab, play it in standard tuning (E-A-D-G-B-e). And it works. However, a significant number of sources and purists will tell you Cobain often used Open D tuning (D-A-D-F#-A-D) for this song, especially on the acoustic version heard on the MTV Unplugged in New York album. In Open D, strumming all six open strings rings a beautiful D major chord. The tab above, when played in Open D, creates a richer, more resonant D minor chord because the F note (3rd fret on the high string in standard tuning) is now an open string (the F# becomes F when you flatten it, but the voicing is different). The practical takeaway? Try it both ways. In standard tuning, it's a simple, clean D minor shape. In Open D (tune your 4th string down to D, 5th to A, 6th to D, 1st to D, 2nd to A, 3rd to F#), the same tab produces a fuller, more open, and slightly more dissonant sound that many feel is truer to the recorded version. For the authentic Unplugged feel, Open D is essential.
The Arpeggio Technique: Fingerpicking vs. Picking
The tab shows all strings being played sequentially from high to low (or sometimes low to high). This is an arpeggio. You are playing the notes of the chord one after another, not strumming them all at once. The classic Nirvana version uses a fingerpicking pattern. Cobain would typically use his thumb for the bass notes (the two D strings) and his index and middle fingers for the treble strings. The feel is slow, deliberate, and heavy. Each note should have equal weight and sustain. There is no "chuck" or percussive strumming here. Practice this pattern exceedingly slowly. Focus on making every note ring cleanly. The beauty of the Something in the Way guitar tab is in its hypnotic, repetitive pulse. Get that pulse steady and unwavering.
The Bass Line: The Song's Unseen Anchor
Look closely at the tab. The two lowest strings (the two D's) are the same note. This creates a droning, pedal-point bass line that anchors the entire harmonic structure. This is a classic technique in folk and blues, used here to create a sense of stagnation and despair—mirroring the lyrical theme of being stuck "under the bridge." When you practice, accentuate these bass notes slightly. Let them be the heartbeat of the phrase. They provide the gravitational pull that the higher strings orbit around.
From Tab to Tone: Achieving the Signature Sound
Playing the notes is one thing. Making them sound like Nirvana is another. The "Something in the Way" tab is just the blueprint; the tone is the architecture.
The Acoustic Foundation: Martin D-18E and Beyond
On the Nevermind version, Cobain used a Martin D-18E acoustic guitar run through a amplifier. The sound is woody, mid-range focused, and slightly broken-in. It’s not a bright, jangly acoustic tone. It’s dark and intimate. For the Unplugged version, he famously used a Martin D-18E (the same model, but the Unplugged one was a 1950s vintage) and a Fender Twin Reverb amplifier. The result is a clean, warm, but present sound with a touch of natural amp breakup. Your Actionable Tip: If you have an acoustic guitar, roll your tone knob back slightly if it's very bright. Use a slightly thicker pick (like a .73mm) and attack the strings with the fleshier part of the pick for a softer attack. If using an electric, use the neck pickup, dial back the tone control, and play through a clean amp channel with a touch of reverb.
The Electric Texture: Feedback and Noise
The Nevermind version has a faint, distorted electric guitar doubling the acoustic in the final choruses. This is where the iconic, swirling feedback comes in. Cobain would often hold a note and let the amp feedback, then dip the volume knob to control it. To approximate this without a wall of amps: use a distortion pedal set to a low-to-medium gain (think Ibanez Tube Screamer or similar). Find the "sweet spot" on your guitar's volume knob where, when you hit a chord hard, it breaks up into a gritty, sustaining roar. For the feedback swells at the end, play a high D (on the B string, 10th fret) or F (on the high E, 1st fret), and slowly bring your guitar's volume knob up from zero while standing near your amp. This is an advanced but rewarding technique that captures the song's chaotic climax.
The Cultural Earthquake: Why This Tab Matters
The "Something in the Way" tab isn't just a set of instructions; it's a cultural artifact. Its simplicity was a direct challenge to the prevailing rock guitar orthodoxy of the late '80s, with its shredding solos and flashy techniques. Cobain presented a new paradigm: authenticity over virtuosity.
The Antidote to Shred: Grunge's Democratic Ethos
In the early '90s, guitar magazines were filled with tabs for Joe Satriani and Steve Vai. Nirvana, with songs like this, said, "You don't need to be a technical wizard to express profound pain." This was liberating. A teenager in their bedroom could pick up a guitar and, within an hour, play a song that felt as powerful as anything on MTV. The Something in the Way tab became a rite of passage. It represented a shift in power from the guitar hero to the everyman (or everywoman) with something to say. This democratic ethos is a huge part of why the song—and its tab—remains so beloved.
Lyrical Dissonance and the Voice of a Generation
The lyrics paint a picture of isolation ("Under the bridge / Tarred and feathered"), yet the music is almost soothing in its repetition. This tension is key. Cobain’s vocal melody, while simple, is full of idiosyncratic phrasing and a signature nasal, anguished delivery. When you learn the Nirvana Something in the Way tab, don't just play the chords. Hum or sing the melody. Notice how the vocal line often clashes slightly with the guitar's minor tonality, creating a feeling of unease. That’s the point. The song isn't a lament; it's a state of being. Your guitar playing should support that vocal narrative, not overpower it.
Your Step-by-Step Practice Roadmap
Ready to make this tab your own? Follow this structured approach.
Phase 1: The Foundation (Days 1-3)
- Tune Up: Decide on standard or Open D tuning. If trying Open D, use a reliable tuner. The strings from low to high should be: D, A, D, F#, A, D.
- Slow Motion: Set a metronome to 60 BPM. Play the arpeggio pattern, one note per click. Focus on clean fretting. No buzzing. Ensure every note rings clearly for its full duration.
- Finger Independence: Practice the thumb (bass strings) and fingers (treble strings) independently. Try the pattern without looking at your fretting hand.
Phase 2: Building Rhythm and Feel (Days 4-7)
- Increase Tempo: Gradually raise the metronome to the song's actual tempo, which is around 72-76 BPM. This is slow, but it's a heavy, deliberate slow.
- Dynamic Control: Play the pattern, but make the bass notes (the two D's) slightly louder than the treble strings. This creates the "heartbeat" effect.
- Connect the Phrases: Practice transitioning seamlessly from the end of one 4-note pattern to the beginning of the next. There should be no pause. The flow is continuous, like a slow, grinding machine.
Phase 3: Adding the Human Element (Days 8-14)
- Incorporate the Vocal Melody: Strum the chord pattern once, then play the vocal melody on top using your voice or by fretting the notes on the high strings. This connects the guitar part to the song's emotional core.
- Embrace "Imperfection": Record yourself playing. Listen for a too-perfect, robotic quality. Now, try to introduce a slight, humanized timing push or pull on certain notes, especially the last note of the pattern. Let it breathe.
- Experiment with Tone: Dial in your amp or pedal settings. Aim for a warm, mid-focused, slightly dark clean tone. Add a touch of reverb (spring reverb is ideal). If you can, add a very subtle, low-gain overdrive to the treble strings only—this mimics the electric guitar layer on the studio version.
Phase 4: The Full Context and Performance
- Play Along: Find a backing track of "Something in the Way" on YouTube. Play your part along with it. This trains your ear and locks in your timing against the original.
- The Ending: The song ends with a slow fade of feedback and noise. To simulate this on acoustic, simply strum the D minor chord harder and let it ring, placing your hand lightly on the strings to create a controlled "choking" sound. On electric, use the volume knob swell technique mentioned earlier.
- Feel, Don't Just Play: The final step is mental. Before you play, recall the song's story—the isolation, the weary recording. Let that inform your touch. Play it like you're telling a secret, not performing a trick.
Common Questions About the "Something in the Way" Tab
Q: Is this song good for absolute beginners?
A: Absolutely, with caveats. The chord shape is one of the easiest possible (just barring two strings). However, the fingerpicking coordination and the required slow, controlled feel can be challenging for brand-new players. It's a perfect early beginner song, but maybe not day-one. Start with just the bass notes, then add one treble string at a time.
Q: Do I need a specific guitar?
A: No. An acoustic, electric, or even a nylon-string classical guitar will work. The song's power is in its simplicity. However, a guitar with a warm, balanced tone (like a Martin-style dreadnought or a Fender-style single-coil electric) will get you closer to the iconic sound faster than a very bright, thin-sounding instrument.
Q: What's the deal with the capo?
A: Some tabs show a capo on the 2nd or 3rd fret. This is to change the key to better suit a singer's vocal range. The core tab pattern remains identical. If you put a capo on the 2nd fret and play the tab as written, you are actually playing in the key of E minor (which sounds like F# minor relative to the open capo position). For learning the song as recorded, no capo is needed. Use the capo only if you need to sing it in a different key.
Q: How can I make it sound more "grunge"?
A: Grunge tone is less about effects and more about attitude and context. 1) Play with a loose, slightly sloppy feel. Don't over-articulate. 2) If using an electric, add a touch of analog delay (set to a single, short repeat) to simulate the natural room echo of the original recording. 3) Sing it with conviction, even if it's just a rough vocal. The marriage of the simple guitar part and a passionate, unpolished vocal is the grunge sound.
Conclusion: The Enduring Power of a Simple Tab
The tablature for Nirvana's "Something in the Way" is more than a sequence of numbers on six lines. It is a musical time capsule, a democratic manifesto, and a masterclass in emotional economy. It proves that you don't need a hundred notes to convey a thousand feelings. By understanding its context—the weary recording, Cobain's songwriting ethos, the cultural rebellion—and by dedicating yourself to the feel over the flash, you do more than learn a song. You connect with a pivotal moment in music history. You learn to wield simplicity as a weapon. You discover that the most powerful tablature isn't the most complex; it's the one that, when played with honesty, can silence a room and speak volumes. So pick up your guitar, find that D minor shape, and let the slow, heavy pulse begin. The bridge is waiting.
