The Main Riff and What Makes It Recognizable

"Beat It" is built on a single, repeating guitar riff that you hear from the first second of the song. The riff sits in the key of E minor and uses mostly the lower strings of your guitar. If you can nail this riff cleanly, you've got the foundation of the whole song — the rest builds from there.

The riff uses three main notes played in a specific rhythm: E, G, and B. You'll play these on the low E string (the thickest string) and the D string (the fourth string from the top). The pattern repeats every four beats, and the timing is tight — the original recording uses a crisp, almost staccato attack that cuts through the mix. Your goal is to make each note pop without letting it ring too long into the next one.

Start by placing your index finger on the 3rd fret of the low E string (that's the G note). Then move to the 2nd fret of the D string (that's the E note). Then back to the 5th fret of the low E string (that's the B note). Play them in that order, and you've got the core shape. The rhythm is straightforward: quarter notes with a slight pause between each one.

Key Takeaways

  • The main riff uses three notes on the low E and D strings, played in a tight, staccato rhythm that repeats throughout the verse.
  • The lead guitar solo comes in after the second verse and uses a combination of single-note runs and bends, mostly staying in the E minor pentatonic scale.
  • Muting the strings slightly between notes is what gives the riff its signature crisp sound — let the notes ring too long and it loses the punch.
  • The solo requires clean string bending and some fast finger movement, but the notes themselves are not spread across the entire fretboard.
  • Practicing the riff slowly with a metronome at 60 beats per minute, then gradually speeding up to the original tempo of around 139 BPM, is the fastest way to lock it in.

Getting the Timing and Muting Right

The riff's power comes from how short each note is. In the original recording, Eddie Van Halen (who played the guitar on the track) uses what's called palm muting — he rests the side of his picking hand lightly against the strings near the bridge, which dampens the vibration and makes the notes sound percussive instead of sustained. Without this technique, the riff sounds muddy and loses its definition.

To palm mute, rest the fleshy part of your picking hand's palm on the strings just in front of the bridge. You're not pressing hard — just making light contact. Pick normally, and the strings will sound muted and short. Practice this on a single string first: pick a note, let it ring for a split second, then mute it. The goal is a "thunk" sound, not a full ring.

Once you have the palm muting down, explore it to the three-note riff. Play the G note (3rd fret, low E string) with a muted attack, lift your muting hand just slightly to let it ring for a beat, then mute again as you move to the next note. The rhythm should feel like: note-rest-note-rest-note-rest, with each note taking up about half a beat and the muting creating the space between them.

The Lead Solo: Bends and Runs in E Minor Pentatonic

The famous guitar solo enters after the second verse and is the showpiece of the song. It's played mostly in the E minor pentatonic scale, which is one of the most common scales for rock and metal solos. The scale uses five notes: E, G, A, B, and D. Most of the solo stays in one or two positions on the fretboard, so you don't need to jump around wildly.

The solo opens with a series of single notes that climb upward, starting around the 12th fret of the high E string and moving down the fretboard. The notes are played quickly but not impossibly fast — think of it as a controlled run rather than a blur. After the opening run, the solo uses string bends to create the expressive, wailing sound that makes it memorable. A bend means you push the string upward (or pull it downward) after picking it, which raises the pitch without picking again.

The most important bend in the solo happens around the middle: you'll bend the 15th fret of the high E string up by a whole step (two frets' worth of pitch). This creates a dramatic, crying sound. Practice bends slowly: pick the note, then push the string upward with steady pressure until the pitch matches the note two frets higher. Use your ear to guide you — if it sounds flat, push harder; if it overshoots, ease back slightly.

Breaking Down the Solo Phrase by Phrase

The solo is roughly 16 bars long and falls into three main sections. The first section (bars 1–4) is the ascending run I mentioned — fast single notes that climb in pitch. Start this run on the 12th fret of the high E string and work your way down toward the lower frets, using notes from the E minor pentatonic scale. The exact notes are E–G–A–B–D–E–G–A, repeated and varied slightly. Play these notes cleanly and evenly, without rushing.

The second section (bars 5–12) is where the bends and expressive playing happen. This is the part that sounds like the guitar is "singing." You'll play a note, bend it up, release it back down, and then move to the next note. The bends are usually a half step (one fret) or a whole step (two frets). Listen to the original recording and match the pitch of the bent notes by ear — this is where your ear training matters more than reading tab.

The final section (bars 13–16) brings the solo back down and ends on a sustained bent note that fades out. This closing bend is typically on the 17th or 18th fret of the high E string, bent up a whole step and held while the volume decreases. It's the dramatic finish that makes the solo stick in your memory.

Practicing at the Right Speed

The original recording of "Beat It" sits at approximately 139 beats per minute, which is moderately fast. Don't start there. Begin with the main riff at 60 BPM using a metronome — half the original speed. Play the three-note pattern cleanly and with good palm muting. Once you can play it five times in a row without mistakes, bump the tempo up by 10 BPM and try again.

This incremental approach takes longer than trying to play at full speed right away, but it builds muscle memory correctly. You're training your fingers to find the right frets and your muting hand to stay consistent, not training yourself to play sloppily fast. Spend at least a week on the riff alone before moving to the solo.

For the solo, start at 80 BPM and focus on the opening run. Play it slowly enough that each note is clear and distinct. Once the run feels comfortable, add the bends section at the same slow tempo. The bends are harder to control at high speed, so don't rush this part. When you can play the entire solo cleanly at 100 BPM, you're ready to gradually speed up toward the original tempo.

Common Mistakes and How to Avoid Them

The most common mistake is playing the riff without palm muting, which makes it sound like a bass line instead of a guitar riff. The second most common mistake is letting the notes ring too long — each note should be short and punchy. If you're hearing a sustained hum instead of distinct notes, your muting hand isn't making enough contact with the strings.

In the solo, the biggest pitfall is bending the strings out of tune. A bend that's even a quarter step flat or sharp will sound wrong. The only way to fix this is to listen carefully and adjust. Record yourself playing the solo and compare it to the original — your ear will catch the difference even if your fingers haven't learned it yet.

Another common issue is playing the solo too fast too soon. The solo sounds impressive at full speed, but if you haven't built the muscle memory slowly, you'll rush through it and lose the clarity. The original solo is impressive because every note is clean and intentional, not because it's a blur of speed.

Gear and Tone Considerations

The original "Beat It" solo was recorded on a Gibson Les Paul guitar plugged into a Marshall amplifier with some overdrive and reverb. You don't need that exact setup to play the song, but understanding the tone helps. The guitar sound is warm and slightly overdriven — not heavily distorted, but with enough grit to cut through the mix.

If you have an overdrive pedal or your amp has an overdrive channel, use a moderate amount of gain. Too much distortion will make the bends sound muddy; too little will make the riff sound thin. A small amount of reverb (the effect that adds space and echo) also helps the solo sound more expressive. If you don't have effects, a clean tone with the amp turned up slightly will work fine for practice.

The gauge of your strings matters slightly for bending. Thicker strings (like a .046 or .048 gauge low E string) require more finger strength to bend, while thinner strings bend more easily. If you're new to bending, slightly lighter strings can help you learn the technique without tiring your hand. Once you're comfortable, you can move to heavier strings if you prefer.

Frequently Asked Questions

Do I need to play the riff and solo exactly as Eddie Van Halen did?

No. The riff and solo have a specific shape and rhythm, but there's room for your own interpretation. The important parts are the palm muting on the riff and the bends in the solo — those are what make it recognizable. The exact fret positions and note choices can vary slightly without losing the essence of the song.

What if I can't bend the strings in tune yet?

Bending is a skill that takes time to develop. Start by bending slowly and listening carefully to whether you're matching the target pitch. Record yourself and compare to the original. Practice bending on a single string for five minutes a day — this builds finger strength and ear training faster than trying to play the whole solo.

Can I play this on an acoustic guitar?

Technically yes, but it won't sound right. Acoustic guitars have thicker strings and higher action (the distance between the strings and the fretboard), which makes palm muting harder and bending more difficult. An electric guitar is the right tool for this song. If you only have an acoustic, focus on learning the riff first and move to electric when you can.

How long does it usually take to learn this song?

The riff can be played cleanly in two to three weeks of daily practice. The full solo, including the bends and the speed, typically takes four to eight weeks depending on your starting level. If you already play guitar regularly, you might learn it faster. The key is consistent, slow practice rather than long, rushed sessions.

What if I want to play the song with a backing track?

Search for "Beat It backing track" or "Beat It minus guitar" online — many versions exist on YouTube and music sites. Playing along with a backing track helps you lock into the tempo and feel the groove. Start at a slower tempo (many backing tracks offer speed options) and work your way up to the original speed.