In this detailed guitar lesson, we’re diving deep into the mesmerizing song “Gravity” by John Mayer. As part of our How Does This Song Work series, we’ll explore everything that makes this track a modern classic for guitarists. From the underlying chord progressions and unique time signature to Mayer’s signature soloing techniques and the scales he employs, we’ll dissect every layer of “Gravity”. We’ll even touch upon the nuances of the live version to give you a complete understanding.
To demonstrate the sounds and techniques discussed, I’m using an Epiphone Dot semi-hollowbody guitar, equipped with PRS 57/08 pickups in the neck position. My amp setup is a Kemper Profiling Amplifier, dialed in to a clean Marshall amp profile with a touch of reverb and tremolo, aiming for that smooth, soulful tone synonymous with “Gravity”.
Unraveling the Chord Progression of “Gravity”
“Gravity” is rooted in the key of G major. If you listen closely to the song’s intro, you’ll notice an organ laying down a simple yet effective chord progression: G and Am. In the key of G major, these chords represent the I (tonic) and ii (supertonic) chords respectively.
|G / / / / / | / / / / / / | Am / / / / / | / / / / / / |Before we move further, it’s crucial to understand the time signature. “Gravity” deviates from the common 4/4 time signature and is written in 6/8 time. This means each measure contains six eighth notes, creating a distinct rhythmic feel. Count it as “1 2 3 4 5 6, 1 2 3 4 5 6…” or feel the pulse in groups of three beats.
As the song progresses and more instruments join in, the chord progression shifts from G-Am to G-C. The bassline clearly establishes the C chord, making these the I (tonic) and IV (subdominant) chords in G major.
|G / / / / / | / / / / / / | C / / / / / | / / / / / / |However, the C chord in “Gravity” has a subtle twist. The presence of an A note within the voicing adds a 6th to the C chord, creating a C6 sound. You can even think of a C6 as an Am chord with a C bass note, adding a richer harmonic color.
Interestingly, John Mayer’s guitar part in the verse isn’t explicitly playing full chords. Instead, the bass and organ handle the foundational chords, while Mayer’s rhythm guitar work is more about adding texture and embellishments. He weaves in fragments of chords and melodic fills, along with a captivating lead guitar line that we’ll explore shortly.
John Mayer’s Rhythmic Guitar Style in “Gravity”
Mayer’s rhythm guitar in “Gravity” is a masterclass in tasteful embellishment, drawing heavily from R&B and Hendrix-inspired guitar vocabulary. Around the G chord, he incorporates 6th and 2nd intervals, adding melodic interest and rhythmic groove. These embellishments are largely based within the G major pentatonic scale, making it a useful framework for understanding his approach. Visualizing G major pentatonic patterns 2 and 3 can be particularly helpful for learning these parts.
When the chord changes to C (or C6/Am), Mayer’s playing adapts, hinting at C6 voicings and even first inversion C chords played in a “G form” shape. His improvisational style shines through as he rarely plays the same phrase twice, creating a dynamic and organic feel.
When learning to play the rhythm parts, it’s more effective to absorb the essence of Mayer’s style rather than trying to replicate every single note. Focus on the chord shapes, the pentatonic scale framework, and the R&B-infused licks, and you’ll be able to capture the spirit of his playing.
Exploring the Guitar Solos in “Gravity”
The guitar solos in “Gravity” are primarily based on the G major pentatonic scale. This aligns perfectly with the G major key of the song and the straightforward harmony of the verses. Unlike some blues-based music where minor pentatonic scales are played over major chords, “Gravity” stays firmly within the major key context for its solos.
Mayer often starts his solos in pentatonic pattern 4, focusing around the root note G on the 8th fret of the second string. He frequently uses bends from A to B (the 2nd and 3rd degrees of the G major scale), adding soulful expression to his lines.
But the soloing isn’t confined to just vertical pentatonic patterns. Mayer incorporates a horizontal approach, reminiscent of Jimi Hendrix, utilizing legato techniques like hammer-ons, pull-offs, and slides along the second string to create fluid and melodic phrases. While the solos are predominantly pentatonic, Mayer occasionally ventures outside, incorporating the natural 4th of the G major scale, the C note, adding subtle melodic color.
Chorus Chord Progression: A Touch of Modal Mixture
The chorus of “Gravity” introduces a more complex and emotionally charged chord progression:
|Am7 / / / / / | / / / / / / | D7 / / / / / | / / / / / / |Gm/Bb / / / / / | Ebmaj7 / / / / / | D7 / / / / / | / / / / / / |The first two chords, Am7 and D7, are familiar territory, functioning as the ii7 and V7 chords in the key of G major. However, the progression takes an unexpected turn with the Gm/Bb and Ebmaj7 chords. These chords introduce what’s known as modal mixture, borrowing elements from the parallel minor key – G minor.
Where does this shift come from? It’s a testament to Mayer’s musicality, likely stemming from experimentation and a deep understanding of harmony. The Gm/Bb chord itself is closely related to the C6 chord from the verse – it’s essentially the same chord shape, just transposed down two frets. This connection might have sparked the idea for this modal shift.
The Gm/Bb chord signals a temporary move into the key of G minor. In minor keys, a common progression is the bVI-V7 movement. In G minor, the bVI and V chords are Eb major and D major, respectively. Adding 7ths to these chords gives us Ebmaj7 and D7, the chords Mayer uses. These chords, particularly the D7, create a strong dominant pull back to the tonic G, resolving back to the G major tonality of the verse.
“Gravity” Live Version: Exploring G Mixolydian
The live version of “Gravity,” notably featured on the album Where the Light Is, expands upon the studio version with a new instrumental section around the 6-minute mark. For this live rendition, Mayer often switches to a Stratocaster, further shaping the sonic landscape.
This extended 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 mode. G Mixolydian is a major scale with a flattened 7th (b7), in this case, F natural.
Interestingly, the bassline in this section remains consistent with the verse, alternating between G and C root notes. When these bass notes are combined with the 6th interval shapes played in G Mixolydian, they create a series of implied chords: Dm/C, C, G/C, and Am/C. Guitarists can explore different voicings and combinations of these notes across the fretboard, but Mayer often leaves the foundational bass notes to the bassist.
For soloing over this G Mixolydian section, Mayer often utilizes the G minor pentatonic scale. The bluesy, dominant 7th character of Mixolydian mode combined with the minor pentatonic creates a powerful and soulful sound. Influences of Stevie Ray Vaughan are particularly evident in this section, with some suggesting a similarity to SRV’s “Life Without You” in terms of musical feel and emotional depth.
Conclusion: Mastering the Gravity of “Gravity”
“Gravity” by John Mayer is a rich tapestry of musical ideas, blending soulful melodies, sophisticated harmonies, and masterful guitar work. By understanding the chord progressions, time signature, soloing techniques, and modal shifts within the song, you can gain a deeper appreciation for Mayer’s artistry and expand your own guitar vocabulary. Experiment with the chord shapes, explore the G major and minor pentatonic scales, and delve into the nuances of the rhythm and lead guitar parts. With practice and a keen ear, you’ll be able to unlock the secrets of “Gravity” and bring its soulful essence to your own playing.
