Whole Lotta Love

Introduction

In this lesson we'll cover the main sections and crucially the ideas behind the different sections, so that we can really understand what Jimmy Page is doing, and won't be thrown by any small (or big) variations. The first thing to know is that we're in the key of E, and we can think of it as an E blues key, which would allow us to use E minor and some E major too for the lead playing.

The riff

This is what hooks you in right from the opening of the track, and is an essential riff for any electric guitar player to learn, so it's the obvious place to start for this lesson.

This riff is based around an E minor pentatonic in box 3, sliding up into the first note. But there's a twist which is often overlooked!

If you combine that with a small bend on the A string note, just enough to make it slightly out of tune (no more than that) you'll get a huge sound on the guitar!

Here is the shape we're in for that first part:

Take your time with this first part. You'll need to practice that micro-tonal bend to make sure you're not overdoing it, while also allowing the open string to ring out unobstructed. Give it the time it needs!

From there we go into a chunkier section based around an E5 power chord. We slide up from a D5 into that E5 shape, so make sure you can do that comfortably before going into the rhythmic section. Here's the E5 shape for you:

Then we're into the chunky high/low rhythm part where we alternate between the power chord and the low open E string. To further emphasise the dynamic range we can also palm mute the open low E string, and let the power chords ring out. Listen to the rhythm in the video and try to internalise it, that's always good practice and will help you remember it. Here's the pattern to help you get started:

Once the vocals come in we half the time on the chugging section!

The chorus

Once again, the guitar part here changes depending on the version you listen to! Jimmy Page is a brilliant part writer (obviously) and it seems he had more guitar part ideas than it was possible to fit into a single recording! We have two main ideas here, first the album version and second a live version.

Album version

We go into the chorus straight from the verse, but instead of looping the verse we switch to a nice D major triad voicing based around the A CAGED shape. Here's how we get that shape:

We hit that shape 3 times with an upstroke, then once with a downstroke and finally hammer onto the E triad, which is the same shape but 2 frets up. Try to hammer on a barre with your 3rd finger.

From here we can return to the chugging rhythm of the intro riff, or let the E chord ring out. both sound great so try them and see what feels best to you!

Live version

For the live version we take a very similar idea, but turn it around a bit and play just the 5th and 3rd of the E then D triad. Check the diagram above to reinforce your knowledge of where they are!

So, take the same shape as in the album version but only allow the D and B strings to ring out. This means you shouldn't barre it this time, just fret the individual notes. You'll also have to think a bit more about muting the strings

Solo

After the famous middle section featuring the theremin the song switches to a lead break with some really great call and response solo lines.

The 'call' is always an E or E5 and in between Jimmy Page plays some awesome blues licks. He uses various shapes for this section so I recommend taking them all individually, listening to the track to internalise the parts and then putting to together with the shape, before playing it all in one solo. Remember if you can't hum the part you shouldn't expect to be able to play it! There are six phrases in total, each focusing on a particular area of the neck. We'll break them down here

Phrase 1

For the first phrase we're using the old faithful minor pentatonic box 1:

Phrase 2

For this phrase we come all the way down to the open position on the neck:

Phrase 3

For phrase 3 we're back up to box 1 pentatonic, exactly the same as phrase 1. See if you can remember the shape without having to scroll up to remind yourself!

Phrases 4, 5 & 6

All of these phrases are right up at the top of the neck and make a lot of use of bends! There are a few potentially difficult parts here to really make sure you nail.

Phrase 4 has a huge 2 tone bend so listen carefully to make sure you're pitching it correctly. There's also a Dorian note too!

Phrase 5 is still in box 3 here but making use of the b5 from the minor blues scale on the high E string. Try to be aware of where that is:

For the final phrase we are in the same place on the neck but we're playing a lick that really just uses bends to get the notes. You could picture this an an E major pentatonic box 4 idea, but really it's all going to come down to listening out for those bends!

These licks are really creative and great fun to play! You may want to take them slow to begin with to get them under your fingers and give you time to think about the shape you're in and where to go next. Thank you for reading and good luck!