Practice Studio

Bon Jovi - Wanted Dead or Alive - Guitar Cover

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Key D minor
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Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
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Roll back the gain slightly and pick near the neck for a warmer, more open crunch.

Slippery When Wet album cover
Slippery When Wet
1986 5:09
Bon Jovi Hard Rock 1986 D minor
Capo Advisor 0 D minor · Original key

About Wanted Dead or Alive


Few Hard Rock songs are as guitar-forward as this one: the opening fingerpicked arpeggios in D minor set the whole mood before a single word is sung, and nailing that intro cleanly is the first real challenge for any guitarist picking this up. The riff sits in E Standard tuning, which keeps everything familiar, but the fingerpicking pattern demands a steady, controlled right hand, especially at 120 BPM where any hesitation shows up immediately. When the song opens up into the heavier strummed sections, you shift from that delicate picking into full chords with real conviction, so switching between those two feels is something worth drilling separately. Bon Jovi guitarist Richie Sambora leaned on a 12-string acoustic sound for much of the texture here, giving the track its wide, cinematic quality that a standard 6-string approximates but does not fully replicate. Use the Practice Toolbar to loop the intro arpeggio pattern at a reduced speed until the right-hand pattern becomes automatic, then gradually bring the tempo back up to match the track.

  • The song opens with a fingerpicked arpeggio pattern in D minor that requires a controlled, independent right-hand technique before any strumming appears.
  • Richie Sambora used a 12-string acoustic guitar to achieve the wide, resonant tone heard throughout the track.
  • Practising the transition between the delicate fingerpicked intro and the heavier strummed chorus sections is the key coordination challenge in this song.

How to Play Wanted Dead or Alive

Tuning: E Standard · Key: D minor · Tempo: 120 BPM · Difficulty: Medium

The intro and verse rely on a fingerpicked acoustic-style pattern in D minor that demands clean string separation at 76 bpm, so isolate that picking hand movement before adding the fretting hand. The main challenge is the dynamic shift from that restrained fingerpicking into the full electric chord sections of the chorus, and rushing that transition is the most common mistake. Richie Sambora's solo sits in the mid-section and uses expressive bends and vibrato that reward slow, deliberate practice with the speed control before attempting full tempo. Use the section loop on the solo to focus on matching the phrasing rather than just hitting the notes.

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 120 BPM to build it up to tempo.

Fender Stratocaster
Guitar

Fender Stratocaster

The most iconic electric guitar ever made. Its three single-coil pickups, contoured body and versatile tone make it the go-to for blues, rock, funk and everything in between. Players from Hendrix to Gilmour to Clapton built their sound on it.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

The definitive rock guitar. Its mahogany body, maple top and PAF-style humbuckers deliver warm, thick sustain with natural compression. From Slash to Jimmy Page, the Les Paul Standard is the backbone of hard rock tone.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

The 'Black Beauty' - Gibson's premium Les Paul with bound neck, multi-ply binding and upgraded hardware. Its ebony fingerboard and heavier construction give it a darker, more refined tone compared to the Standard.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

The most recognised wah pedal on the planet. The Cry Baby's vocal frequency sweep gave Hendrix, Clapton and Kirk Hammett their signature lead voices. Rock, funk, metal - no pedalboard is complete without one.

Boss DS-1 Distortion
Pedal

Boss DS-1 Distortion

Arguably the most sold distortion pedal ever made. The DS-1's hard-clipping circuit produces an aggressive, buzzy distortion with a wide tonal range from mild crunch to all-out fuzz. Kurt Cobain and Steve Vai both used them heavily.

Play with Backing Track

Play with Backing Track

Solo (Backing Track)

Solo (Backing Track)