Also, note that this same exact approach is used for the final verse - which is modulated up 3 half-steps.
basically, add 3 frets to everything you see here and you'll have it. Here's the chords for the section played at the end of each verse (immediately after ".sure plays a mean pinball"). Nothing too tricky here, though you'll need to have your barre chords down. "A pinball wizard, he's got such a supple wrist." Bridge "He's a pinball wizard, there has to be a twist." Again, listen along for the exact timing. In the bridge section, you'll want to do this simple walkdown from C to Cadd9 to G. "How do you think he- does it, I don't know." Videos Official Album Version Listen along, and check out the tutorial videos for reference. Here's a recording of the song as it appears on the album "Tommy". If you don't have a recording handy, use this for reference. Here is a terrific video of Mike Masse doing an acoustic version of this song. This is a great example of how a single guitar can still make this song rock.
PINBALL WIZARD CHORDS ACOUSTIC HOW TO
If you want an in-depth look of how to play the entire song on acoustic guitar, I recommend this video. Each section of the song is carefully deconstructed.
PINBALL WIZARD CHORDS ACOUSTIC FULL
The video quality is quite good as well.Ĭhord Progressions Intro Droning walkdown section: Bm (refer to the tab for the exact chord variations) Full strumming section: | Bsus4. | x4 Verse "Ever since I was a young boy." | Bsus4. | Just after the "Sure played a mean pinball." lyric | B B → A → D | E. | x2 Chorus "He's a pinball wizard, there has to be a twist." | E → F# → B B | x3 "He's got such a supple wrist." | G. | x1 Bridge "How do you think he does it, I don't know." | D D → Cadd9 → G | x4 Final Verse "Even on my favorite table." | Dsus4. | Just after the "Sure played a mean pinball." lyric | D D → C → F | Bb. More Classic Guitar Chords here.The Who’s Pinball Wizard was released as a single in 1969 and reached No. To be honest the B string doesn’t necessarily come into play. First playing an actual G to G/F at pitch in standard EADBGe six-string tuning, and then in the same tuning A to A/G with some bending on that bottom string and then ascending through C-C/B to D-D/C and back to riffing on the A chord with the thumbed G note on the sixth string. Here’s a snippet of me doing some of that kind of stuff. A similar pattern was used on other songs and by other bands, not least Rush, who were/are massive Who fans (hear the that A to A/G trick in the likes of “Natural Science” from Permanent Waves and elsewhere. But in reality he was tuned down a tone and playing the bottom notes of an Amaj shape and then adding the descending bass with the thumb to take him from A to A/G (by pitch it was actually the G to G/F). So, we have the opening of “My Generation”, which nominally just goes from G to F. One of Townshend’s tricks, when pitting his wits against the massive power of John Entwistle’s pounding and intricate bass licks was to play the part of a more conventional bass guitar line but on his six-string.
But, some would say Link Wray invented the power chord in “Rumble”, but that’s not a power chord to my ear! I seem to recall reading the it was Townshend who not only was first to use a stack of 4×12 speaker cabinets, which became the staple of heavy rock from its definition in the late 60s of the increasingly loud British Blues Explosion but also the inventor of the power chord (the hard attack, heavily distorted, long sustained, major triads missing their third not, the 5th chords in other words. On the louder than loud live rockers like “My Generation” it was power and distortion that mattered. On the acoustic there was the high-speed percussive, expansive rhythmic strumming, the big sus4 chords of “Pinball Wizard”. Stacks of amps and speakers, his windmilling right arm, the leaps and kicks and, of course, the smashing up the guitars and hotel rooms in equal measure, allegedly.
The Who’s Pete Townshend was by turns a maestro on the acoustic guitar and a wall-of-sound man on the electric.
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