Landslide chords

How to play Landslide

Play Landslide by Fleetwood Mac with capo 3 and standard tuning. The verse exercise uses C–G/B–Am–G/B shapes; the chorus-entry exercise uses G–D/F#–Em. These chord-only studies give each entry four beats at 80 BPM. They separate the moving bass from the fretting changes before you study a complete fingerstyle arrangement.

Hear the verse bass before adding a picking pattern

David Hodge’s Guitar Noise lesson supplies the C–G/B–Am–G/B verse sequence used here and the G–D/F#–Em movement into the other section. The lowest notes of the verse shapes are C, B, A and B. You should hear that down-and-back movement even if you play each whole chord only once.

C is x-3-2-0-1-0, while G/B is x-2-0-0-3-3. Both begin on the fifth string, but their upper voices differ as well as their bass. Am is x-0-2-2-1-0 and also begins on string 5. Keep the low E out of all three grips. Test the bass separately, then let the upper strings ring without squeezing harder to compensate for an accidentally struck sixth string.

Distinguish the two tonal regions

Acoustic Guitar’s single-guitar lesson describes a move from C-major shapes in the verse to G-major shapes in the chorus. Capo 3 makes those regions sound Eb and Bb. That explains why references can discuss different keys while showing the same third-fret capo. The Eb label above names the starting region of these exercises.

In the first exercise C, G/B and Am sound Eb, Bb/D and Cm. In the second, G, D/F# and Em sound Bb, F/A and Gm. Do not interpret every Roman numeral against one unchanging tonic and then call the resulting difference a wrong chord. The page’s transpose control shifts all printed shapes together; it does not independently detect or display a new key badge when the chorus-entry section starts.

Keep the slash bass in the chorus entry

D/F# is 2-x-0-2-3-2. The low sixth-string second fret provides F#, while the fifth string stays silent. With capo 3 that bass sounds A. A normal D shape would start on the fourth string instead, changing the bass movement even though both grips belong to the same upper D-major chord.

The printed D/F# uses four fingers: index on the sixth string, middle on the third, ring on the first and little finger on the second. Check that the unused fifth string stays quiet. First change G to D/F# with one relaxed strum per practice bar, then join Em. Listen for the bass names G–F#–E in the shapes, sounding Bb–A–G under the capo. The fingering chart describes relative frets; the actual guitar positions are three frets higher.

Restore shorter changes with one chosen lesson

The present boxes stretch all seven chord entries to complete four-beat bars. They do not preserve the two-beat changes described in Acoustic Guitar’s opening arrangement or its altered phrase ending. Use the enlarged version to prepare each grip, then return to one chosen lesson for that arrangement’s exact durations and complete chorus.

A general fingerpicked accompaniment can begin by separating a bass pluck from a soft upper-string response, but that is a technique exercise rather than a transcription of Lindsey Buckingham’s recorded part. Six String Fingerpicking’s lesson confirms standard tuning, capo 3 and the 1975 Fleetwood Mac version. No picking tab or electric solo appears here. Keep a consistent four-beat count while learning these chord changes, and add the detailed fingerstyle part only from a suitable complete lesson.