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Van Halen - Panama Pt.2 - Chorus, Verse & PreChorus - Guitar Lesson

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Key E major
Van Halen - Panama Pt.2 - Chorus, Verse & PreChorus guitar lesson video
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Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
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Van Halen Hard Rock E major
Capo Advisor 0 E major · Original key

About Panama Pt.2 - Chorus, Verse & PreChorus

Few riffs in rock are as immediately recognizable as the one driving "Panama," and learning to play it well demands more precision than it first appears. The main riff leans on tight, palm-muted low-string work combined with open-position chord stabs, so your right-hand muting has to be consistent or the whole groove falls apart. The pre-chorus builds tension with a rhythmic chop that needs clean synchronization between both hands. Then the chorus opens up with a fuller, more aggressive strum pattern that contrasts nicely with the controlled verse feel. Van Halen built a lot of their rhythm work on that contrast between coiled, muted riffing and wide-open power chords, and this song is a solid place to study it. If the transitions between the verse muting and the chorus strum are tripping you up, use the Practice Toolbar to isolate each section slowed down until the movement between them feels automatic.

  • The core riff relies on precise palm muting on the low strings, so right-hand consistency is the first thing to lock down.
  • Getting the pre-chorus rhythm chop tight requires close coordination between both hands, making it a good candidate for slow, looped practice.
  • The song is in E major, which keeps the chord shapes guitar-friendly but does not make the rhythmic precision any less demanding.

How to Play Panama Pt.2 - Chorus, Verse & PreChorus

Key: E major · Tempo: 96 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 96 BPM to build it up to tempo.

Gibson ES-335
Guitar

Gibson ES-335

Eddie Van Halen pulled a Gibson PAF humbucker from a ES-335 to load his original Frankenstrat, giving him a low-output pickup that maintained clarity during lightning-fast tapping and legato runs despite heavy gain.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Eddie's 1968 Marshall Plexi Super Lead, run through a variac at 90 volts, created his legendary 'brown sound' by pushing power tubes into sweet, spongy saturation at gig volumes, defining his harmonic sustain and responsiveness.

Soldano SLO-100
Amp

Soldano SLO-100

Eddie adopted the Soldano SLO-100 as a tonal alternative to Marshalls, delivering the high-headroom, articulate gain he needed for his finger-tapping technique while maintaining clarity in complex legato passages.

Peavey 5150
Amp

Peavey 5150

Eddie co-designed the Peavey 5150 to capture his signature tone in a modern platform, offering three channels from clean sparkle to crushing high-gain with EL34 power tubes for dynamic responsiveness across his entire playing vocabulary.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Eddie employed the Dunlop Cry Baby wah strategically on select solos, using it to add vocal-like expression and sweep to his lead lines without relying heavily on effect-driven tones.

MXR Phase 90
Pedal

MXR Phase 90

Eddie's MXR Phase 90 script-logo version created his signature swirling, vocal sweep on 'Eruption' and 'Ain't Talkin' 'Bout Love,' becoming one of rock's most identifiable effect tones through minimal, tasteful use.

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