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Iron Maiden - Caught Somewhere In Time Dave Murray's - Guitar Solo Tab

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Key E minor
Iron Maiden - Caught Somewhere In Time Dave Murray's guitar tab video
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Gain6
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Iron Maiden Heavy Metal E minor
Capo Advisor 0 E minor · Original key

About Caught Somewhere In Time Dave Murray's

Dave Murray's guitar work on "Caught Somewhere in Time" sits at the heart of one of Iron Maiden's most ambitious tracks from 1986. The song opens with a layered, melodic guitar intro that sets a sweeping, almost cinematic mood before the full band kicks in, and nailing that intro cleanly is the first real challenge. Playing in E minor at 120 BPM in E Standard tuning keeps things accessible in terms of fretting hand position, but the melody demands precise picking attack and smooth position shifts across the neck. Murray's solo sections call for fluid legato runs combined with picked passages, so getting that balance right takes focused repetition. The rhythm parts underneath carry a galloping feel typical of Heavy Metal, and locking in with that pulse is just as important as the lead work. Use the Practice Toolbar to isolate the solo and intro phrases, slowing them down until every note speaks clearly before bringing them back up to tempo.

  • The song is in E minor with E Standard tuning, meaning no retuning is needed and open-position reference notes are available throughout.
  • The melodic intro line requires clean single-note picking across multiple positions, making it a strong exercise for right-hand accuracy and left-hand shifts.
  • At 120 BPM the galloping rhythm guitar parts demand consistent alternate or downpicking stamina to stay tight across the full song length.

How to Play Caught Somewhere In Time Dave Murray's

Tuning: E Standard · Key: E minor · Tempo: 142 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 142 BPM to build it up to tempo.

Fender Stratocaster
Guitar

Fender Stratocaster

Iron Maiden's signature choice for heavy metal, the Strat's bright single-coils in neck and middle positions deliver the glassy, articulate tone that defines their melodic passages. Dave Murray and Adrian Smith pair bridge humbuckers with this platform to preserve pick dynamics and note definition rather than drowning in compressed gain.

Marshall JCM800
Amp

Marshall JCM800

The backbone of Maiden's iconic sound, the JCM800's moderate gain structure lets the power tubes sing without preamp saturation, preserving the punch and harmonic clarity that makes their riffs cut through a mix. Murray and Smith set gain moderately to maintain definition while pushing the amp into natural tube breakup.

Seymour Duncan JB
Pickup

Seymour Duncan JB

Adrian Smith's weapon of choice, the JB's balanced output drives Marshall amps into singing sustain without over-compressing dynamics, allowing his lead lines to breathe with clarity and snap. This moderate-output humbucker maintains the attack and articulation essential to Maiden's punchy, defined metal tone.

DiMarzio Super Distortion
Pickup

DiMarzio Super Distortion

Dave Murray's bridge pickup at 13k output strikes the perfect balance, hitting the Marshall hard enough for thick sustain yet retaining enough dynamics for expressive bending and harmonic control. It's hot enough to sing but not so overwound that it flattens the natural Strat character underneath.

Boss SD-1 Super Overdrive
Pedal

Boss SD-1 Super Overdrive

Murray and Smith use this clean boost to push their Marshalls harder during solos, adding aggression without relying on pedal distortion, keeping the tube amp saturation as the true tone source. The SD-1 preserves their natural playing dynamics while giving leads extra presence and cut.

ISP Decimator Noise Gate
Pedal

ISP Decimator Noise Gate

Smith occasionally employs this noise gate to manage feedback and hum from his high-output rig without sacrificing sustain, staying true to Maiden's philosophy of minimal pedal intervention. It's a practical tool for live performance that doesn't color the natural tube amp tone.

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