Practice Studio

Nirvana - Something in the Way - Guitar Lesson

Sections · Loop · Speed · Metronome

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Tools

BPM
Key C minor
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Amp Settings

Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
AI tone preset

AI-selected preset based on genre and era — adjust the knobs to taste.

Roll back the gain slightly and pick near the neck for a warmer, more open crunch.

Nirvana Grunge C minor
Capo Advisor 0 C minor · Original key

About Something in the Way


Few Nirvana songs feel as bare and deliberate as this one. The guitar part sits almost motionless, built around a low, droning figure in C minor that demands patience rather than speed or aggression. The challenge here is not technical difficulty in the conventional sense but control: keeping the tone hushed and even, letting notes sustain without over-picking, and resisting the urge to add movement that the song simply does not want. A clean or very lightly processed tone works best, and right-hand dynamics matter enormously since the whole mood collapses if you dig in too hard. Nirvana wrote this as a closing track, and that sense of stillness should inform every note you play. If the droning chord transitions feel awkward at first, use the Practice Toolbar to loop them slowed down until the shifts become automatic. Once the fretting hand is comfortable, the real work is purely in touch and restraint.

  • The guitar part centers on a minimal, droning figure in C minor, so clean tone and soft picking dynamics are more important than any complex technique.
  • Because the tempo is slow and the arrangement sparse, even small fretting-hand buzzes or pick-noise are clearly audible, making clean contact essential to practise.
  • Looping the chord transitions slowed down with the Practice Toolbar helps you internalize the subtle timing and pressure needed to keep the part sounding smooth.

How to Play Something in the Way

Key: C minor · Tempo: 76 BPM

Loop each section and focus on clean, even timing rather than speed, with the metronome at 76 BPM.

Fender Stratocaster
Guitar

Fender Stratocaster

Cobain used the Stratocaster on several Nevermind tracks, leveraging its bright single-coils to cut through dense arrangements. Though less iconic than his Mustang, the Strat provided tonal clarity for melodic passages within Nirvana's heavy sonic framework.

Fender Twin Reverb
Amp

Fender Twin Reverb

Cobain deployed the Twin Reverb's clean headroom and natural breakup for softer verses and intros, creating dynamic contrast against his saturated Mesa preamp tones. The amp's warm response complemented his sparse, dry-focused signal chain.

DiMarzio Super Distortion
Pickup

DiMarzio Super Distortion

Cobain swapped DiMarzio humbuckers into his Jaguars and Mustangs to fatten their typically bright single-coils, pushing harder into his Mesa preamp for compressed, fuzzy sustain. This high-output bridge pickup was essential to Nirvana's thick, aggressive midrange distortion.

Boss DS-1 Distortion
Pedal

Boss DS-1 Distortion

The DS-1 functioned as Cobain's heavy-hitting boost pedal, slamming the front end of his already-overdriven Mesa preamp to intensify saturation during explosive chorus sections. Its gritty character helped define Nirvana's raw, in-your-face distortion tone.

Electro-Harmonix Small Clone
Pedal

Electro-Harmonix Small Clone

Cobain's signature chorus voice, heard prominently on Come As You Are and clean passages of Smells Like Teen Spirit, added subtle wobble and width. The Small Clone's lush modulation provided dynamic relief against his otherwise aggressive, compressed overdriven tones.

Play with Backing Track

Play with Backing Track

Solo (Backing Track)

Solo (Backing Track)