Introduction
Hey everyone, Darrin from GuitarControl.com here, bringing you another engaging guitar lesson. Today, we’re diving into one of the most recognizable and beautiful guitar intros of all time: the solo from “Wish You Were Here” by Pink Floyd. Even if you’re just starting your guitar journey, this solo is surprisingly accessible and incredibly rewarding to learn. It’s a personal favorite, even for someone who isn’t the biggest Pink Floyd devotee, simply because of its melodic richness and emotional depth. To make your learning process even smoother, we’ve provided free guitar tabs that perfectly accompany this video instruction. You can find the link to these tabs in the description below. So, grab your guitar, and let’s get a closer look at how to play this timeless classic and get you playing it tonight!
Breaking Down the “Wish You Were Here” Intro Solo: Measure by Measure
Let’s start our exploration of the “Wish You Were Here” intro solo. We’ll begin on the second fret of the G string. You’re going to pick this note and then smoothly slide up to the fourth fret. The key here is to make the slide slightly staggered, allowing you to distinctly hear the transition as you pass over the third fret.
Image of Wish You Were Here Intro Solo Guitar Tab: Learn to Play Pink Floyd’s Iconic Acoustic Intro
I find using my middle finger for this initial slide is most effective. This is because the very next note we need is on the third fret of the B string. By using my middle finger for the slide, my index finger is perfectly positioned and ready to fret that note on the B string. This efficient finger placement makes the sequence flow much more naturally.
So, the movement is pick and slide… Timing this section can feel a bit unconventional to count. You essentially rest on the downbeat of ‘one,’ and the slide starts on the ‘and’ of one. This initial note is a 16th note, followed by 32nd notes. Honestly, getting caught up in counting here can be more confusing than helpful. It’s more about feeling the rhythm and groove of the music.
After the slide and quick notes, we arrive at a quarter note, landing on the downbeat of ‘two.’ From here, we move up to the fifth fret of the B string. Keep your index finger anchored at the third fret of the B string as a reference point. Then, use your second finger to fret the fourth fret of the G string, and quickly return to the third fret of the B string with your index finger. Maintaining your finger position is crucial for the fluidity of this transition.
Following that sequence, you’ll notice there are subtle rests interspersed throughout the solo. These aren’t just silences; they serve as brief moments to allow you to reposition your hand and prepare for the next phrase. It’s like taking a quick breath before continuing a sentence.
Moving to the subsequent section, shift your hand position slightly down the neck. Now, your index finger should be on the second fret of the G string, and your third finger reaches the fourth fret. Pick the fourth fret of the G string, followed by the open high E string. Immediately after, play the open D string.
Next, we introduce a slide from seemingly nowhere up to the second fret of the A string. Finish this measure with two more open D strings. That completes the first two measures of the intro solo.
Now we arrive at what many guitarists find the trickiest part of the “Wish You Were Here” intro solo, particularly those I’ve taught in private lessons. This section involves a series of tight double stops. The way I find easiest to execute this is by using my third finger to barre across the third fret of both the B and high E strings. Pick these two strings together and initiate a slide up to the fifth fret. It should feel like a slide that starts from ‘nowhere,’ even though we’re beginning at the third fret.
After sliding from the third to the fifth fret double stop, immediately slide back down to the first fret and repeat the same slide up to the third fret. This completes the first part of this challenging measure.
We then apply a similar technique to the G and B strings, but now staggered by a half step. I recommend using your second and third fingers for this. Place your second finger on the third fret of the G string and your third finger on the fourth fret of the B string. Perform the same sliding motion, moving up a half step, so you end up on the fourth fret of the G string and the fifth fret of the B string.
You could certainly use your first and second fingers for this, but I find that using the second and third fingers allows for a more natural hand position. Since your middle finger is typically longer than your ring finger, this finger combination often feels more ergonomically sound for this particular stretch and slide.
After this slide, come back down to the second fret of the G string and the third fret of the B string. Follow this with an open G string. Repeat the double stop slide again, and then play another open G string, concluding with an open B string. This encompasses the fourth measure. Let the final B string ring out for the duration of the measure. This marks the end of the first half of the entire riff.
Starting on the fifth measure, the solo takes on a familiar feel, echoing the beginning. We again start on the second fret of the G string, using the middle finger, and slide up to the fourth fret. Follow this with the third fret of the B string, then back to the fourth fret of the G string and finally to the fifth fret of the B string. This is why I suggested using the middle finger earlier; it sets you up perfectly for this recurring phrase.
Upon reaching the fifth fret of the B string, let it ring out with a touch of vibrato. Then, we introduce a bend on this note, followed by a release and a pull-off back to the third fret. So, the sequence is bend, release, pull-off back to the third fret, and then transition to the fourth fret of the G string, and finally back to the third fret of the B string.
Moving into the next measure, we immediately go to the second fret of the G string. From there, we aim for the fourth fret of the G string. To prepare for an upcoming bend, position your fingers strategically: index finger on the second fret, middle finger on the third, and ring finger on the fourth fret. Having these fingers in place provides support and makes the bend smoother.
Next, shift your focus up to the B string, fretting the fifth fret. Descend back down to the G string, again utilizing the second through fourth frets as before. Execute a bend on the fourth fret of the G string and conclude on the second fret.
In the subsequent measure, the melody again revisits the opening phrase. Start with the slide from the second fret through the third and fourth frets on the G string, leading to the third fret of the B string, then back to the fourth fret of the G string, and up to the fifth fret of the B string.
Now, bend the fifth fret of the B string and release it, pulling off back to the fifth fret. Transition to the second fret of the G string, and finally, play the fourth fret of the G string, bending and releasing it to conclude on the second fret of the G string.
To help with timing and playing along with the original track, a useful practice technique is to play along with the song. The song’s chord progression plays through twice before the lead guitar intro comes in on the second pass. You can practice playing in unison with the lead guitar track to get a feel for the timing. Then, try playing it from the very beginning of the song, where only the rhythm guitar is playing, to practice your entry point. The rhythm part provides cues: [Example of rhythmic cues described in the original text, but better explained if possible with musical notation or more descriptive text]. These rhythmic cues act as your pickup notes, signaling the perfect moment to begin playing the lead intro. You’ll hear these cues again shortly after, before the song transitions into the G chord and the verse begins.
Conclusion
And there you have it – a breakdown of the intro solo for “Wish You Were Here” by Pink Floyd. As you can see, it’s not overwhelmingly difficult, but it’s packed with fantastic techniques to practice and refine. While it’s arguably easier to play on an electric guitar, the original was famously performed on acoustic, which is why I demonstrated it on acoustic as well, to honor that iconic sound. However, if you only have an electric guitar, or if you’re newer to playing and find acoustic guitars challenging, don’t hesitate to learn this on your electric guitar. It will sound fantastic either way.
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