Welcome to an in-depth guitar lesson dissecting the iconic song “Gravity” by John Mayer. In this guide, we’ll explore the chord progressions, compositional techniques, and scales that make this song so captivating. Whether you’re a seasoned guitarist or just starting, you’ll gain valuable insights into Mayer’s masterful songwriting and guitar playing. We’ll even delve into a segment from the electrifying live rendition of “Gravity.”
To emulate Mayer’s signature tone, I’m using an Epiphone Dot semi-hollowbody guitar, selecting the warm neck pickup. This guitar is equipped with PRS 57/08 pickups. My amp setup is based on a Kemper Profiling Amplifier, dialed in to a pristine Marshall amp sound, enhanced with reverb and tremolo for that spacious, soulful feel.
Decoding the “Gravity” Chords
“Gravity” is elegantly composed in the key of G major. The song subtly opens with an organ laying down a foundation of G and Am chords. In the key of G, these are the I and ii chords, respectively, establishing a familiar yet intriguing harmonic landscape right from the start.
|G / / / / / | / / / / / / | Am / / / / / | / / / / / / |It’s crucial to note the time signature here. “Gravity” deviates from the common 4/4 time, opting instead for 6/8. This means each measure is structured around six eighth notes, counted as “1 2 3 4 5 6, 1 2 3 4 5 6…” This rhythmic foundation gives the song its distinctive gentle sway. You can internalize this rhythm by tapping your foot to every beat or every three beats.
As the full band joins in, the chord progression shifts to G and C. Now, C becomes the IV chord in the key of G. This transition enriches the harmonic texture, adding depth and movement.
|G / / / / / | / / / / / / | C / / / / / | / / / / / / |However, the C chord isn’t quite straightforward. There’s an A note subtly woven into the C chord, creating a C6 sound. Think of C6 as having the essence of an A minor chord but grounded by a C bass note, adding a touch of harmonic sophistication.
Interestingly, John Mayer doesn’t voice the C chord as a typical guitar chord. Instead, the bass guitar anchors the root note, while the organ sustains the body of the chord. Mayer’s rhythm guitar part is a tapestry of chord fragments and embellishments, alongside a captivating lead guitar that we’ll explore shortly.
Let’s zoom in on the rhythm guitar intricacies. Mayer’s playing is infused with R&B and Hendrix-inspired licks, artfully dancing around the basic chords. The G chord is adorned with 6th and 2nd intervals, drawing from the G major pentatonic scale. Visualizing G major pentatonic patterns 2 and 3 can be particularly helpful here.
Alt text: John Mayer passionately performs “Gravity” live on stage with his signature Stratocaster guitar, bathed in warm stage lighting.
For the C chord, think C6 (or Am) and a first inversion of a C chord in “G form.” Mayer’s improvisational style means he rarely plays the same riff twice, adding a spontaneous, live feel to the studio recording. By studying recordings and tabs, you can distill key variations to incorporate into your own playing, capturing the essence without needing to replicate every nuance.
Moving to the guitar solos in “Gravity,” they are predominantly based on the G major pentatonic scale. This is a logical choice given the song’s G major key and conventional harmony. Unlike blues, which often blends minor scales over major chords, “Gravity” stays within the major tonality. Mayer begins his solos in pentatonic pattern four, focusing around the root note G on the second string, 8th fret, and incorporating bends from A to B (the 2nd and 3rd).
We’ll delve deeper into soloing shortly, but first, let’s unpack the chord changes in the chorus. The chorus introduces a richer harmonic palette with the following progression:
|Am7 / / / / / | / / / / / / | D7 / / / / / | / / / / / / |Gm/Bb / / / / / | Ebmaj7 / / / / / | D7 / / / / / | / / / / / / |The initial Am7 and D7 chords are familiar ii and V chords in G major. However, the progression takes an intriguing turn with Gm/Bb and Ebmaj7. These chords inject a modal mixture, borrowing from the parallel G minor scale. This unexpected harmonic shift adds emotional depth and complexity to the chorus.
Where did this idea originate? It could be inspired by other songs or born from Mayer’s experimentation with chord voicings. Notice that Gm/Bb can also be viewed as a Bb6 chord, mirroring the C6 shape from the verse but transposed down a whole step. This connection might have sparked the idea for this harmonic detour.
The Gm/Bb chord momentarily shifts the tonal center towards G minor. In minor keys, a bVI to V7 movement is a common and effective technique. In G minor, bVI and V correspond to Eb major and D major. Adding 7ths to these gives us Ebmaj7 and D7, creating a smooth and compelling harmonic sequence. The D7 chord then acts as a dominant, powerfully resolving back to the tonic G, seamlessly transitioning back to the G major verse progression of G to C6.
Exploring the “Gravity” Guitar Solo
The guitar solo in “Gravity” is a masterclass in using the G major pentatonic scale in a fluid and expressive way. Rather than just moving vertically through pentatonic patterns, John Mayer employs a horizontal approach, reminiscent of Hendrix. He emphasizes legato phrasing, utilizing hammer-ons, pull-offs, and slides along the second string. Occasionally, Mayer steps outside the pentatonic framework, incorporating a C note for added color. This C note appears both as a bend and as a fretted note, demonstrating his improvisational freedom within the solo.
Alt text: A detailed close-up of John Mayer’s hands expertly playing guitar during a live performance, showcasing his fingerstyle technique and expressive touch.
“Gravity” Live Version Insights
We’ve covered the essential elements of the studio version of “Gravity.” However, the live rendition on the album Where the Light Is introduces a captivating extension, starting around the 6-minute mark.
For the live version, Mayer typically switches to a Stratocaster, prompting a change in guitar for this lesson as well to better understand the tonal differences. This new section is built upon a simple yet effective idea: playing 6th interval shapes within the G scale, but shifting from G major to G Mixolydian. The G Mixolydian mode is characterized by a b7th, the F natural, adding a dominant flavor.
Throughout this section, the bassline remains consistent with the verse, alternating between G and C root notes. When these bass notes are combined with the 6th interval shapes, they create the harmonic impression of chords like Dm/C, C, G/C, and Am/C. Experimenting with different fretboard voicings for these combinations can be rewarding, although Mayer often leaves the bass notes to the bassist, focusing on melodic and harmonic interplay with the 6th intervals.
John Mayer masterfully leverages the dominant 7th sound of the Mixolydian mode in his live solos, frequently drawing from the G minor pentatonic scale. The influence of Stevie Ray Vaughan is palpable in his playing here. In fact, this section bears a resemblance to SRV’s “Life Without You,” suggesting a possible inspiration or homage. The similarities highlight how Mayer incorporates his influences while forging his unique musical voice.
By understanding these elements – the chords, time signature, scales, and improvisational techniques – you can begin to unlock the magic of “Gravity” and incorporate these lessons into your own guitar playing.
