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Michael Jackson - Beat It - Rhythm Guitar Parts - Guitar Lesson

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Key Em minor
Michael Jackson - Beat It - Rhythm Guitar Parts guitar lesson video
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Classic Rock

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Bass6
Mid7
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Master7
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Michael Jackson Pop Em minor
Capo Advisor 0 Em minor · Original key

About Beat It - Rhythm Guitar Parts

"Beat It" is a rock-inflected pop track by Michael Jackson, released on the landmark 1982 album Thriller and produced by Quincy Jones. Written by Jackson himself, the song was crafted as a genuine rock crossover, blending hard guitar-driven rhythm work with pop songwriting. For electric guitarists, it is a rewarding study thanks to its tight, punchy rhythm parts and a legendary guest solo by Eddie Van Halen that has become one of the most recognizable in rock history.

  • Eddie Van Halen played the iconic guitar solo as a guest, making it a landmark moment in rock and pop crossover history.
  • Michael Jackson wrote the song specifically to appeal to rock fans, drawing on influences like 'My Sharona' by The Knack.
  • The rhythm guitar parts are tight and riff-focused, making them excellent practice material for players developing precision and groove.

How to Play Beat It - Rhythm Guitar Parts

Tuning: E Standard · Key: Em minor · Tempo: 139 BPM

The rhythm guitar work in Beat It centers on a driving Em-based riff played at 139 bpm in E Standard, and the main challenge is maintaining tight, percussive downstrokes without losing the locked-in groove the track demands. Start by isolating the main verse riff before moving to the fuller chord stabs in the chorus sections, as the transitions require quick left-hand shifts under a consistent right-hand attack. A common pitfall is letting the rhythm parts get sloppy when the energy builds; muting unwanted string noise is essential here because the production is clean and every loose note will be audible. Use the section loop on the verse riff specifically to drill the pick attack consistency before attempting a full run-through.

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 139 BPM to build it up to tempo.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

Slash wielded a '59 Les Paul replica on 'Give In To Me,' delivering that warm-yet-cutting midrange essential to MJ's hardrock guitar moments. The guitar's thick body resonance pairs perfectly with Marshall stack overdrive for Michael Jackson's most aggressive rock tracks.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

The Les Paul's humbucker firepower cuts through MJ's dense pop production with natural tube saturation and sustain. This guitar provides the weighted tone needed for Slash's solos and rhythm work across the Thriller-era rock-influenced catalog.

Marshall JCM800
Amp

Marshall JCM800

Slash cranked a Marshall JCM800 2203 head to achieve natural tube overdrive on 'Give In To Me,' delivering the aggressive rock punch that defines Michael Jackson's harder-edged guitar moments. The amp's responsive gain structure lets the Les Paul's humbuckers shine through dense production.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Eddie Van Halen's modified Marshall Super Lead (variac'd for sag and compression) powered the legendary 'Beat It' solo, creating that compressed, singing lead tone perfect for tapping techniques. The Plexi's harmonic richness made the single humbucker's output cut through MJ's production.

Fender Twin Reverb
Amp

Fender Twin Reverb

The Fender Twin Reverb's clean headroom and natural reverb capture the glassy, percussive rhythm tones on tracks like 'Billie Jean' and 'Rock With You.' This amp provides the transparent platform that lets funky single-coil snap and light chorus effects define Michael Jackson's pop-soul foundation.

Seymour Duncan Alnico II Pro
Pickup

Seymour Duncan Alnico II Pro

Slash's Les Paul uses Seymour Duncan Alnico II Pro pickups, delivering warm-yet-cutting midrange that sits perfectly in MJ's pop arrangements while maintaining rock credibility. The pickup's balanced output ensures clarity and sustain whether driving Marshall heads or cutting through dense studio mixes.

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