Neil Young’s timeless classic “Old Man” is a favorite among guitar players for its heartfelt lyrics and beautiful, intricate guitar work. Like many, I’ve spent countless hours learning from other musicians, and Neil Young has been a significant influence on my guitar journey. It’s a rewarding experience to share knowledge and say, “This is a song I learned from Neil Young,” even without a personal encounter.
Truthfully, Neil Young has been a massive teacher for me, both on acoustic and electric guitar. That’s why you’ll find him referenced often, including on our Songs for Intermediates page. And today, we delve into another Neil Young gem.
(Please note: The following interpretation is for private study, scholarship, or research purposes only.)
In this lesson, we’ll explore how Neil Young masterfully crafts unique chords from familiar shapes. Sounds complex? Let’s break it down with “Old Man” from his iconic album Harvest.
Believe it or not, “Old Man” is quite accessible. You might be surprised at how quickly you can grasp it. The initial challenge lies in the timing and a distinctive chord voicing right at the beginning. Let’s tackle these step-by-step, starting with the chord.
Begin by forming a standard open position D major chord. Your middle finger should be on the 2nd fret of the high E string, ring finger on the 3rd fret of the B string, and index finger on the 2nd fret of the G string. Familiar? Great!
Now, lift your middle finger from the high E string, allowing the open E string to ring out. This creates a Dsus2 chord, sometimes called D(add9). But for now, let’s keep it simple.
Next, maintain the shape of your index and ring fingers and slide them up the neck. Position your ring finger on the 6th fret of the B string and your index finger on the 5th fret of the G string. Strum all strings except the low E string (and optionally, avoid the open A string too). Does that sound familiar? That’s our opening chord!
“Cool,” you might say, “But what chord is that exactly?” Let’s analyze the notes. The open strings are E, D, and A. The 6th fret of the B string is F, and the 5th fret of the G string is C. From low to high, we have A, D, C, F, and E.
Chords can have multiple names. Given that “Old Man” is centered in D, we’ll call this chord Dm9. It’s a D minor chord (D, F, A) with the added flat seventh (C) and ninth (E), which makes sense. Technically, Dm9/A is more accurate as A is the bass note, but we’ll stick with Dm9 for simplicity, especially since the bass note might not always be emphasized.
The song’s intro involves switching between this Dm9 and a regular D major chord. Listen to this example:
Dm9 Chord Shape for Old Man by Neil Young
Image: Dm9 chord diagram as described in the text, showing finger positions on the fretboard.
Alt text: Dm9 chord shape for Neil Young’s Old Man, guitar chord diagram illustrating finger placement for D minor 9th chord.
Now, about the timing…
This section features shifting time signatures. The first measure is four beats of Dm9, followed by a measure of two beats of Dm9, and then a four-beat measure of D major. This sequence repeats. The D major measure is interesting in itself, and we’ll explore it shortly.
If it helps, try syncing the chords with the lyrics. “Old man look at my life” fills the four-beat Dm9 measure. “I’m a lot like…” takes two beats, and “you were” lands on the D major chord. Alternatively, count it out as demonstrated in the audio example. Choose what works best for you.
In the provided strumming pattern, “D” indicates a downstroke, and “U” an upstroke. Occasionally, I strike only the open high E string on the upstroke. The tension between the E and the F note (6th fret B string) creates a compelling dissonance, resolving beautifully into the F# (2nd fret high E string) within the D major chord. It’s all achieved with remarkable simplicity.
Speaking of simplicity, during the D major measure, we use a common guitar technique. Starting with your standard D chord, add your pinky finger to the 3rd fret of the high E string. This creates a Dsus4 chord. Lift your pinky for D, then remove your middle finger for Dsus2, and finally back to regular D to complete the sequence.
Focus on catching the D (3rd fret B string) as the final note in this sequence; it creates a lovely melodic line on the guitar. Pay attention to the partial chords in this measure. Precise string articulation will yield more interesting lines than simply strumming through the chords.
But strumming isn’t the only approach. Here’s a version closer to the original recording:
Download MP3
In this example, we use arpeggio strumming for the Dm9, playing mostly single notes. Almost entirely, I should clarify. Start with your fingers in the Dm9 position, then lift your index finger from the G string, leaving it open. Strike the open D and G strings (proving we don’t need to hit the A!), then hammer-on your index finger back onto the 5th fret and continue the arpeggio. I’m using a medium pick for this, if you were wondering.
Experimentation is key here. You might prefer a mix of arpeggio and straight strumming. I even had to consciously work to play it consistently each time!
My consistency wavered when I reached the D measure! In this example, I hit the bass note on the first beat, immediately followed by a downstroke of the full chord, letting it ring before the D, Dsus4, D, Dsus2, D sequence. This creates a dynamic shift, with the full chord slightly off-beat, adding a cool rhythmic element – a valuable technique to practice.
The notes in parentheses (like these, ( )) represent unintentional notes in the MP3. These happen! But as I often say, it doesn’t fundamentally change things. Feel free to play it note-for-note, but ideally, use it as a springboard to explore your own patterns.
Speaking of patterns, on the second pass of this measure in the MP3, I play this:
The main change here is starting the measure with two single eighth notes. This rhythm is closer to the verse rhythm.
“And what about the verse rhythm?” you might ask. Good question! Remember the rhythms from Heart of Gold or Wild World? It’s quite similar. Honestly. So, I’ve added a bass line to offer a slightly greater challenge:
Download MP3
The same strumming guidelines as in Wild World apply here. On the first beat (the two eighth notes), feel free to play a single note, partial chord, palm-muted string, multiple palm-muted strings – whatever you prefer. You’ll hear me using all these techniques.
Try incorporating the bass line in the second measure (C to G), even though it’s not on the original record! Why? Because these details are great practice, and when playing solo, they enhance your sound.
It’s quite simple to do! From the C chord, move your middle finger from the 2nd fret of the D string to the 2nd fret of the A string for the B note. Then lift your finger entirely (as you’ll do for the G chord anyway! Sneaky!) to get the open A string.
Going from G to D is even easier. Simply free up the open A string by slightly lifting any finger fretting the B note at the 2nd fret. After striking the A string, hammer the finger back down. Then hit the open D to begin the next measure.
Beginner versus intermediate guitar playing? It’s not easily defined. But part of it is evolving from simply changing chords to making chord changes sound more musically interesting. This is a fantastic way to start!
For those who enjoy a challenge, I’ve included an alternate C to F to D transition in the last line, also using this bass line approach. No MP3 for this one – brave players will know if they nail it!
Believe it or not, that’s almost the entire song! The “intro” part begins the song. It’s played twice instrumentally, then twice more with the “Old man look at my life, I’m a lot like you were” lyrics. Next, the verse chords are played instrumentally once, and then repeated twice with lyrics. Then comes the chorus – the missing piece!
The chorus, like the other sections, gets an initial instrumental run-through. The original recording features a banjo prominently in the mix. But, as the MP3 voice says, “We don’t have a banjo, so we’re just going to have to fend for ourselves!” Shall we?
Download MP3
Okay, so it’s a tame banjo! I’m no banjo virtuoso. The main goal here is to contrast the full strumming of the verses with some arpeggio work. It’s a dynamic shift, creating musical breathing room. As I’ve mentioned in other lessons, songs should feel organic, especially in the chorus.
Astute listeners (and readers) will notice the D measure arpeggios incorporate the D, Dsus4, D, Dsus2, D sequence used throughout the song. If you’re curious about “sus” chords (suspended chords), check out my older article, Building Additions (and Suspensions).
Also, note the C to G to D bass line from the verse reappears in the “pre-chorus” section. In the chorus prelude and chorus itself, I’ve switched to different voicings for C and G chords, primarily to capture the melody line. The C is a standard C chord, but with the pinky on the 3rd fret of the high E string, making the G note the chord’s leading tone. For G, we add the D note (3rd fret B string). I usually play this G with my pinky on the 3rd fret of the high E, ring finger on the 3rd fret of the B, index finger on the 2nd fret of the A, and middle finger on the 3rd fret of the low E string.
This instrumental break isn’t overly complex, so feel free to experiment! Make it simpler or more intricate, have fun with it.
The rest of the chorus is mostly straight strumming with occasional partial chords and single notes. The D measure should be familiar by now, though played in yet another variation. Rhythm is about variation!
The C and G measure timing is a bit tricky. I use full chords and follow the song’s melody (“…lot like you…” section), which is slightly ahead of the beat – “anticipation,” as we’ve discussed in past lessons. I start with the C chord (G note on high E) on “lot.” On “like,” I shift my ring finger from the 3rd fret A string to the 2nd fret high E string, mirroring the melody. You can simply play two C chords if you prefer.
By the way, technically this chord could be called D9add4/A. I prefer to think of it as a passing tone!
Finally, on “you,” I play the G chord with the D note on the B string. Avoid striking the high E string initially – make the D note the last note of the chord. This highlights the melody line. If you, like me, need vocal assistance, this chorus arrangement can be a big help.
After nailing the G chord’s D melody note, feel free to strum the G chord freely. That’s what I did.
In the last MP3, I played the entire chorus, back to the “intro,” and finished with the verse chord progression. That’s essentially how Old Man ends. On the final D chord, I like to add the F# note on the 2nd fret of the low E string with my thumb. Fingering: 200232. No particular reason, I just like the sound.
So, let’s piece it all together. Again, word accuracy not guaranteed!
I hope you enjoyed this lesson. For me, learning the intro as a beginner was a revelation, sparking experimentation with chord voicings and ultimately improving my guitar playing.
Remember to experiment once you grasp the song’s basics. Old Man, like many Neil Young songs, can be played in countless ways, yet the song’s heart remains. I think Neil would appreciate that.
As always, send questions, comments, song requests (riffs, solos too!) via the Guitar Forums or email me directly.
Until next time…
Peace.
Where Did The Guitar Tab Go?
On February 11, 2010, legal action required us to remove guitar tab and lyrics. Read more here. The complete article with tab and lyrics is archived here.
