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Iron Maiden - Heaven Can Wait Dave Murray's - Guitar Solo Tab

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Key E minor
Iron Maiden - Heaven Can Wait Dave Murray's guitar tab video
Steph Le Gratteux
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Iron Maiden Heavy Metal E minor
Capo Advisor 0 E minor · Original key

About Heaven Can Wait Dave Murray's

Few Maiden tracks from the "Somewhere in Time" era show off their twin-guitar interplay quite as clearly as this one. Running at 120 BPM in E minor on standard tuning, "Heaven Can Wait" is approachable compared to some of the band's more frantic material, but there is real detail to get right. The main riff sits in the lower registers and rewards a firm, controlled picking hand, while the lead work asks you to phrase melodically rather than just run scales. The chorus build is deceptively wide in its movement across the neck, so if the position shifts are catching you out, use the Practice Toolbar to loop that section slowed down until the jumps feel automatic. Iron Maiden is a cornerstone of Heavy Metal guitar writing, and this song is a good entry point into their style because the tempo gives you room to be precise and musical at the same time.

  • Played in E Standard tuning and E minor, the riff centres on the low strings and benefits from a consistent, controlled alternate-picking technique.
  • At 120 BPM the song sits at a moderate pace for Maiden, giving you genuine time to focus on clean fretting and accurate position shifts.
  • The twin-guitar arrangement means learning both rhythm and lead parts separately before combining them is the most efficient way to get the full picture.

How to Play Heaven Can Wait Dave Murray's

Tuning: E Standard · Key: E minor · Tempo: 132 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 132 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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