The 12-string guitar has sort of a mystique all its own. It’s the secret weapon behind some of the most unforgettable riffs in rock history, from the jangling intro of “Mr. Tambourine Man” to the atmospheric shimmer of Led Zeppelin’s “Over the Hills and Far Away.” For decades, this double-strung wonder has added depth, resonance, and a touch of magic to countless tracks, making it an essential tool for guitar heroes and songwriters alike.
So whether you’re on the hunt for some of the best twelve-string guitar songs to blow your mind or just looking for the easiest 12-string guitar songs to learn, this list pulls back the curtain on the tracks that made this instrument legendary. These are the songs that defined a sound, influenced generations, and proved that sometimes, more really is more.
Ranking these songs by popularity and impact can be a bit subjective since they all made significant contributions to music history. However, based on chart performance, cultural influence, and long-lasting impact, here’s a general ranking:
While Jimmy Page is often associated with his iconic Gibson Les Pauls and Fender Telecasters, he also brought the rich, full tones of a 12-string acoustic guitar into some of Led Zeppelin’s most memorable tracks. One of the standout examples is “Over the Hills and Far Away,” where the 12-string adds a lush texture to the intro and verses, creating a layered and immersive soundscape.
If you’re feeling adventurous and want to try your hand at “Over the Hills and Far Away” on a 12-string, be prepared—it’s a pretty challenging piece! The intricate intro and main melody can be tough to master, so finding a good step-by-step tutorial on YouTube might be the best way to get it right. But here’s a little sneak peek at the intro to get you started:
G D e|-----------------3-3--------------------------2-2----| B|-----------------3-3-3------------------------3-3----| G|-0h2p0-----0--0--0-0-0----0h2p0---0-4p2p0-----2-2----| x2 D|-------4p0----0----0-0----------4---------0---0-0----| A|--------------2------2-2-----------------------------| E|--------------3--------3-----------------------------|
“Breaking the Girl” is a standout track from the Red Hot Chili Peppers’ 1991 album Blood Sugar Sex Magik. Inspired by Anthony Kiedis’s tumultuous relationship, the song explores themes of heartbreak and self-reflection. Departing from the band’s usual funk-driven sound, it offers a haunting, melodic vibe that showcases their versatility.
What makes this track especially captivating for 12-string guitar enthusiasts is John Frusciante’s use of the instrument to create its distinctive sounds, perhaps influenced by some of the Led Zeppelin recordings. The band also experimented with percussion, using junkyard items like metal pipes to create an almost tribal beat. This experimental approach gives the song a unique, atmospheric quality that sets it apart from the rest of the album.
If you’re looking to play it yourself, the chords are relatively simple. However, the strumming pattern may take some practice if you’re a beginner, as it adds to the song’s complex and layered sound.
Pre Chorus
C G A
Feeling so good that day
C G F
A feeling of love that day...
Chorus:
Am G C D
Twisting and turning your feelings are burning
E
You're breaking the girl
Am G C D F
She meant you no harm
Am G C D
Think you're so clever but now you must sever
E
You're breaking the girl
Released in 1987 on the Slippery When Wet album, “Wanted Dead or Alive” was inspired by the band’s grueling tour life and the loneliness that comes with constantly being on the road. Jon Bon Jovi and guitarist Richie Sambora wrote the song as a reflection of their experiences, comparing themselves to modern-day outlaws, wandering from town to town (“I’m a cowboy, on a steel horse I ride”).
The track became one of Bon Jovi’s biggest hits, cementing their status as global rock icons. It reached number 7 on the Billboard Hot 100 and has since become a signature song in their live shows. The song’s legacy grew even stronger thanks to the band’s acoustic performances, where Richie Sambora often showcased his custom-made Ovation triple-neck guitar, which featured a 12-string, 6-string, and a mandolin neck.
The song’s iconic intro is played on a 12-string acoustic guitar, creating a rich, layered sound that instantly grabs your attention. It’s one of the most memorable parts of the track, making it a favorite among players who are just getting themselves into learning a 12-string guitar.
[Intro] e|------13---------12----|------10--------8---|-----5-------3---|-3\1-------------| B|-----------------------|--------------------|-----------------|-----------------| G|---14----14---12----12-|---10----10---9---9-|---5---5---4---4-|-4\2-------------| D|-0----------0----------|-0----------0-------|-0-------0-------|---------------0-| A|-----------------------|--------------------|-----------------|-----------------| E|-----------------------|--------------------|-----------------|-----------------| e|------13---------12----|------10--------8---|-----5-------3---|-3\1-------------| B|-----------------------|--------------------|-----------------|-----------------| G|---14----14---12----12-|---10----10---9---9-|---5---5---4---4-|-4\2-------------| D|(0)---------0----------|-0----------0-------|-0-------0-------|-----------------| A|-----------------------|--------------------|-----------------|-------------0-0-| E|-----------------------|--------------------|-----------------|-----------------| e|-------------------0-------------| |----0-----2--------------| B|-----------------------3-3-------| |----1-----3--------------| G|---------------------------2---2-| |----2-----2--------------| D|-----0---3b--0---------------0---| x3, |----3-----0--------------| A|-3b------------------------------| |-3--3-----0--------------| E|---------------------------------| |-------------------------|
Released in 1991 on the Into the Great Wide Open album, “Learning to Fly” is one of Tom Petty and the Heartbreakers’ most uplifting and memorable tracks. Written by Petty and frequent collaborator Jeff Lynne, the song is often seen as a metaphor for personal growth and navigating life’s challenges. Petty has shared that the song was inspired by the universal journey of figuring out life, and its positive, hopeful message resonated with listeners in the ’90s and beyond.
Musically, “Learning to Fly” blends rock and folk, built around a simple yet powerful chord progression. The 12-string acoustic guitar forms the backbone of the track, giving it a wide, open sound. Petty’s laid-back vocals and Jeff Lynne’s smooth production create a calm, optimistic vibe. It remains one of Petty’s most beloved songs, symbolizing hope and perseverance for fans around the world.
The song is in the key of C major, with the main chords being F, C, Am, and G. The progression moves fluidly between these chords, with the major chords (F, C, and G) providing a bright, hopeful tone, while the Am adds a touch of emotional depth.
[Verse] F C Am G F C Am G Well I started out, down a dirty road F C Am G F C Am G Started out all alone F C Am G F C Am G And the sun went down, as I crossed the hill F C Am G F C Am G As the town lit up, the world got still [Chorus] F C Am G F C Am G I’m learning to fly, but I ain’t got wings F C Am G F C Am G Coming down is the hardest thing
Released in 1990, “There She Goes” by The La’s is a quintessential Britpop anthem, beloved for its jangly guitars and irresistible melody. Written by Lee Mavers, the song beautifully captures the feeling of infatuation and longing, with lyrics that express the thrill and confusion of seeing someone who captivates you.
Musically, “There She Goes” features a bright and uplifting chord progression, centered around a catchy guitar riff. The song is in the key of A major, with major chords contributing to its buoyant and carefree vibe. Its simplicity, combined with the shimmering 12-string guitar, gives the track a timeless quality.
The song opens with a simple yet iconic 12-string guitar intro that extends for almost half a minute before the first verse kicks in, setting the tone for the rest of the track.
[Intro]
e|-----|-3-----5-----2-----3-----|-0-----0-----0-----------|
B|--3--|----3-----3-----3-----3--|----3-----3-----3-----3--|
G|-----|-------------------------|-------------------0-----|
D|-----|-------------------------|-------------------------|
A|-----|-------------------------|-------------------------|
E|-----|-------------------------|-------------------------|
[Chorus]
G D C
There she goes
G D C
There she goes again
G D C
Racing through my brain
[Hook]
Am G C
And I just can't contain
Am G C D
This feeling that remains
Released in 1977 on the Even in the Quietest Moments… album, “Give a Little Bit” is a heartfelt anthem about love, generosity, and human connection. With its uplifting message, the song encourages listeners to embrace kindness and openness.
Musically, “Give a Little Bit” stands out with its catchy chord progression in the key of B major. The combination of major chords gives the track its bright, feel-good vibe. A key element of the song’s charm is its use of a 12-string acoustic guitar, which, alongside the memorable piano melody and rich harmonies, creates a full, warm sound.
D A7 D G A G A G Give a little bit, give a little bit of your love to me D A7 D G A G A G I'll Give a little bit, I'll give a little bit of my love to you Bm Esus4 E There's so much that we need to share G Bm A D A Send a smile and show you care
“A Horse with No Name” is one of those timeless classics that lingers in your mind long after you hear it. Released in 1971 as America’s debut single, it quickly became a hit and still resonates with listeners today. Written by Dewey Bunnell, the song paints vivid pictures of vast deserts and open landscapes, inspired by his childhood trips to the southwestern United States. The simple yet evocative lyrics touch on themes of freedom, isolation, and self-discovery.
While some initially interpreted the song as being about drug use, Bunnell clarified that it’s really about escaping into nature. The song’s haunting, laid-back vibe struck a chord with audiences in the ’70s, sending it to number one on the U.S. charts.
For guitar enthusiasts, the song’s distinctive acoustic arrangement is one of its standout features. America blended six-string and twelve-string guitars to create the rich, layered sound that defines the track. The 12-string guitar adds depth and texture, giving the song its airy, expansive feel—perfectly capturing the desert imagery that Bunnell envisioned.
“A Horse with No Name” is remarkably simple, relying on just two chords: Em and D. Despite its simplicity, the song uses variations and different voicings to keep things interesting. It’s an easy and accessible song to play, even if you’re just starting out.
Em D6/9
On the first part of the journey
Em D6/9
I was looking at all the life ...
Chorus:
Em9 Dmaj9
I've been through the desert on a horse with no name
Em9 Dmaj9
It felt good to be out of the rain
“My Sweet Lord” is a timeless classic that beautifully showcases the 12-string guitar. Released in 1970, it became George Harrison’s first number-one hit in the U.S. and reflected his deep spirituality. The song’s rich, layered sound is largely due to Harrison’s use of a Rickenbacker 360/12, which adds to the track’s signature warmth and depth.
Though the song stirred up some legal controversy over its similarity to “He’s So Fine,” that hasn’t tarnished its legacy. In fact, even fellow Beatles John Lennon and Paul McCartney reportedly admired the track for its musicality and heartfelt message.
If you’re thinking about playing it yourself, you’re in luck—the chords are quite simple, especially if you use a capo on the second fret, which puts the song in the key of F#m. However, nailing the feel and mastering the slide guitar parts might take a bit more practice to get just right.
[Chorus]
A Em
My sweet lord
A Em
Hm, my lord
A Em
Hm, my lord
[Verse]
A D
I really want to see you
Bm D
Really want to be with you
Bm D
Really want to see you lord
F#dim B7 Em
But it takes so long, my lord
“More Than a Feeling” is a classic rock anthem that opens with a 12-string guitar intro, giving the song its rich, full-bodied sound. Released as one of Boston’s biggest hits, it’s known for its unforgettable riffs and soaring vocals, which have kept the song timeless over the years.
If you’re thinking about playing it yourself, the song isn’t too difficult, but capturing the precise tone and feel of the original can be a bit tricky.
The main riff and intro are played on a 12-string acoustic guitar and are relatively easy to learn, making it a fun and rewarding song for guitarists of all levels.
Dsus4 D C G
e|------------3-----2-----------------------------------------|
B|------3--------------3-------------3---------3--------3-----|
G|---------2--------------0-------0----------0----------------|
D|---0-----------0--------------------------------------------|
A|-----------------------------3----------2-------------------|
E|----------------------------------------------------3-------|
“A Hard Day’s Night” is a timeless Beatles classic, instantly recognizable thanks to the distinctive sound of George Harrison’s 12-string guitar. That famous opening chord that grabs everyone’s attention? It’s Harrison’s 12-string in action, adding an air of mystique and charm to the song.
Recorded in February 1964, the track became an immediate hit, playing a key role in both The Beatles’ career and the wider music scene. The catchy melody, paired with innovative guitar work, solidified the band’s position as leaders of the British Invasion and helped make this song one of their most iconic.
[Intro]
G7sus4/D
[Verse]
G C G F G
It's been a hard day's night and I've been working like a dog
G C G F G
It's been a hard day's night, I should be sleeping like a log
C D G C G
But when I get home to you, I find the things that you do, will make me feel all right
From their 1971 album Sticky Fingers, “Wild Horses” is one of The Rolling Stones’ most emotional and enduring ballads. Written by Mick Jagger and Keith Richards, the song delves into themes of love, longing, and regret. Jagger has mentioned that the song was partly inspired by his relationship with Marianne Faithfull, though it also reflects the emotional struggles both he and Richards were facing at the time.
Musically, “Wild Horses” carries a country-rock vibe, with Keith Richards using open G tuning on acoustic guitar to create a warm, rich tone. Mick Taylor’s 12-string guitar adds even more depth to the track, while the soft piano and subtle rhythm section contribute to its melancholy atmosphere, perfectly complementing Jagger’s heartfelt vocals. Over the years, “Wild Horses” has become a timeless classic, covered by many artists and remaining a staple in the Stones’ live performances.
[Verse 1] Bm G Bm G Childhood living is easy to do Am C D G D The things that you wanted I bought them for you Bm G Bm G Graceless lady you know who I am Am C D G D You know I can't let you slide through my hands [Chorus] Am C D G F C Bm Wild horses couldn't drag me away Am C D G F C Wild, wild horses couldn't drag me away
“The Sound of Silence” is a timeless classic that beautifully showcases the resonant sound of the 12-string guitar. The haunting melody and reflective lyrics are perfectly complemented by the depth this instrument brings. There are two main versions of the song: the original acoustic version from 1964 and the more famous 1965 version featuring electric instruments. Interestingly, the latter was remixed by producer Tom Wilson without Simon & Garfunkel’s initial knowledge, but it ended up becoming a massive hit that launched their career.
Paul Simon played a Guild F-212 12-string guitar on the original recording, which added a captivating layer to the minimalist arrangement. If you’re thinking of playing it yourself, the song isn’t too complex, but the fingerpicking pattern can be a bit tricky, especially for beginners.
The intro is fingerpicked, while the rest of the song is strummed. The original version is played with a capo on the 6th fret, which helps capture the song’s signature sound.
Am G
Hello darkness, my old friend,
Am
I've come to talk with you again,
F C
Because a vision softly creeping,
F C
Left its seeds while I was sleeping,
F C
And the vision that was planted in my brain
C/B Am C
Still remains
G Am
Within the sound of silence.
Jimi Hendrix’s cover of “All Along the Watchtower” is a masterclass in reinterpretation, taking Bob Dylan’s original and elevating it to new heights. In the studio recording, Hendrix used a 12-string acoustic guitar for the rhythm parts, which added a rich, textured depth to the track. His version was so influential that even Dylan himself praised it, acknowledging that Hendrix had improved upon his original composition.
For those looking to play it, the song’s structure isn’t overly complicated, but replicating Hendrix’s fluid lead guitar work can be challenging. Interestingly, during live performances, Hendrix opted for a 6-string electric guitar. With no other guitarist on stage, the live versions carried a different energy, less layered but still powerful.
Cm Bb Ab Bb Cm Bb Ab Bb "There must be some kind of way out of here," said the joker to the thief, Cm Bb Ab Bb Cm Bb Ab Bb "There's too much confusion, I can't get no relief. Cm Bb Ab Bb Cm Bb Ab Bb Businessmen, they drink my wine, plowmen dig my earth, Cm Bb Ab Bb Cm Bb Ab Bb None will level on the line nobody offered his word."
“Oh, Pretty Woman” is one of the most iconic rock and roll songs of the 1960s. Released in 1964, the song quickly became a massive hit, topping charts around the world and solidifying Roy Orbison’s place as a legendary singer known for his distinctive voice. Co-written with Bill Dees, the song tells the story of a man admiring a beautiful woman as she walks by, brought to life through its catchy rhythm and famous guitar riff.
The song’s strong rock beat and signature riff, played by Billy Sanford, have made it one of the most recognizable tunes in rock music history. Its popularity has endured, with countless artists covering it over the years. The song also gained a resurgence in the 1990 film Pretty Woman, which introduced it to a new generation of listeners.
“Oh, Pretty Woman” is set in A major, with a classic chord progression that’s commonly found in rock and pop music. This familiar structure gives the song its timeless, feel-good vibe.
[Intro]
e|-------------------------------------|
B|-------------------------------------|
G|-------------------------------------|
D|-------------0-----------------------| x2
A|----------2--------------------------|
E|-0--0--4-----------------------------|
e|-------------------------|
B|-------------------------|
G|-------------------------|
D|-------------0--4--2--0--| x4
A|----------2--------------|
E|-0--0--4-----------------|
[Verse 1]
A F#m
Pretty woman, walking down the street
A F#m
Pretty woman, the kind I like to meet
D
Pretty woman,
E
I don't believe you, you're not the truth
E
No one could look as good as you
The Byrds’ 1965 rendition of “Mr. Tambourine Man” was a game-changer that helped bridge the gap between folk and rock, introducing the folk-rock genre to a mainstream audience. Originally written by Bob Dylan, The Byrds took a different musical direction with their version. While Dylan’s original was acoustic and introspective, The Byrds turned it into a polished, radio-friendly hit with electric guitars and their signature harmonized vocals. A key part of this transformation was the jangly sound of Roger McGuinn’s 12-string Rickenbacker guitar, which became a defining feature of both the band’s style and the folk-rock sound of the era.
The Byrds’ version was a huge success, both commercially and critically. It soared to number one on both the Billboard Hot 100 and the UK Singles Chart, firmly establishing the band’s place in music history.
Played in the key of D major, the song uses mostly simple chords from the D major scale, making it accessible even for beginner guitarists. The main chords are G, A, and D, with an E minor thrown in for a bit of variety. The progression is straightforward, starting on G, moving to A, then D, with the occasional Em adding a slightly more melancholy tone.
G A D G
Hey! Mr. Tambourine Man, play a song for me,
D G Em A
I'm not sleepy and there ain't no place I'm going to.
G A D G
Hey! Mr. Tambourine Man, play a song for me,
D G Em A D
In the jingle jangle morning I'll come followin' you.
Released in 1989 on the Full Moon Fever album, “Free Fallin’” quickly became a rock classic. Written by Tom Petty and Jeff Lynne, the song explores themes of yearning and freedom, telling the story of a man reflecting on his life choices and emotions after a breakup.
Musically, “Free Fallin’” is built around a simple yet effective chord progression in the key of F major. The repetitive structure creates a drifting, laid-back feel that mirrors the song’s introspective lyrics. Over the years, it has become one of Petty’s most iconic tracks, celebrated for its relatable themes and catchy melody. Its popularity has only grown, with many artists covering the song, further cementing its place in rock history.
Free Fallin’ uses the same chord progression throughout the entire song. If you’re not familiar with the suspended chords used, a quick search will provide easy explanations—they’re simple to play and part of what gives the song its unique sound.
[Verse]
D Gsus2 Gsus2 D Asus4
she's a good girl, loves her mama
D Gsus2 Gsus2 D Asus4
loves Je-sus and America too
D Gsus2 Gsus2 D Asus4
she's a good girl, crazy 'bout Elvis
D Gsus2 Gsus2 D Asus4
loves horses and her boy - friend too
Released in 1969, “Space Oddity” is one of David Bowie’s most iconic songs. It tells the story of Major Tom, an astronaut who becomes stranded in space, cut off from Earth. Written around the time of the Apollo 11 moon landing, the song captures both the excitement and underlying fears of the space race. Its themes of isolation and disconnection resonated deeply with the mood of the era, and it marked a major turning point in Bowie’s career, propelling him to stardom.
Musically, “Space Oddity” is a blend of folk, rock, and orchestral elements, creating a dreamy, otherworldly atmosphere. Bowie incorporated a Stylophone, an electronic keyboard, to give the track a futuristic edge. His haunting vocals, paired with a 12-string acoustic guitar and lush string arrangements, evoke a feeling of both loneliness and wonder, perfectly complementing the song’s narrative.
[Pre-Verse] C Em Ground control to Major Tom C Em Ground control to Major Tom Am Am/G D7/F# Take your protein pills and put your helmet on C Em Ground control to Major Tom C Em Commencing countdown engines on Am Am/G D7/F# Check ignition and may God's love be with you
“Wish You Were Here” is a timeless Pink Floyd classic that prominently features the 12-string guitar. Released in 1975 on the album of the same name, David Gilmour used a Martin D12-28 to create the song’s warm, distinctive sound, particularly in the intro and main riff.
The song is a heartfelt tribute to former band member Syd Barrett, who was grappling with mental health issues at the time. In a poignant moment during the recording sessions, Barrett made an unexpected visit to the studio. His drastically altered appearance left the band members shocked, adding an emotional layer to the track’s creation.
A 12-string guitar is used in both the intro and throughout the song, adding to the richness and depth of the track. Secret tip — there’s actually a way to play this 12-string part on a regular 6-string guitar. If you would like to know how check out this – Guitarist Makes a 6-String Guitar Sound Like a 12-String in Wish You Were Here.
[Intro]
Em7 G
e|-------------------3-3----------------3-3---------|
B|-------------------3-3----------------3-3---------|
G|-------------------0-0------0---------0-0---------|
D|----------0--2-----2-2---2-----2--0---0-0---------| x2
A|-----0h2-----------2-2----------------2-2---------|
E|--3----------------0-0----------------3-3---------|
Em7 A7sus4
e|-------------------3-3----------------3-3---------|
B|-------------------3-3----------------3-3---------|
G|-------------------0-0----------------2-2---------|
D|----------0--2-----2-2--2--0----------2-2---------| x2
A|-----0h2-----------2-2--------2--0----0-0---------|
E|--3----------------0-0----------------------------|
G
e|-------------3-3-------|
B|-------------3-3-------|
G|-------------0-0-------|
D|-------------0-0-------|
A|--0-2-0------2-2-------|
E|---------3---3-3-------|
“Hotel California” is perhaps the most iconic song featuring a 12-string guitar, with its unforgettable intro setting the perfect mood. The track has cemented itself as a staple in rock music history. Don Felder handled the 12-string guitar parts, while Joe Walsh joined him for the legendary solo, creating the rich, layered sound that’s instantly recognizable.
During the ’70s, the Eagles were a rock powerhouse, and “Hotel California” became their defining hit. For guitarists who love classic rock, learning this song is a rewarding challenge. While it may take some effort, mastering it on a 12-string guitar captures the magic of the original recording.
To recreate the song’s distinctive sound, a capo on the 2nd fret is essential for your 12-string guitar. It’s a key factor in nailing the original tones that define “Hotel California”.
Am E7 On a dark desert highway, cool wind in my hair G D Warm smell of colitas rising up through the air F C Up ahead in the distance, I saw a shimmering light Dm My head grew heavy and my sight grew dim E7 I had to stop for the night
“Stairway to Heaven” is undoubtedly one of the most iconic songs to feature a 12-string guitar. Released in 1971 on Led Zeppelin IV, it remains a timeless masterpiece. Jimmy Page used a Harmony Sovereign H1260 acoustic along with a Fender Electric XII to craft the song’s rich, layered sound in its early sections.
The 12-string guitar takes center stage in the verses, adding a lush depth to the song’s folk-inspired melodies. As the track evolves, it transitions to a 6-string guitar, eventually building to one of the most legendary solos in rock history. Due to these transitions, for live performances, Page famously used a Gibson EDS-1275 double-neck guitar, allowing him to switch effortlessly between 12-string and 6-string parts.
If you’re interested in playing “Stairway to Heaven,” the early sections are perfect for showcasing the 12-string guitar’s beautiful, resonant sound. It’s a rewarding piece that blends acoustic warmth with electric energy—a must-learn for any 12-string guitar enthusiast.
The 12-string guitar enters around 2:14 in the studio recording, adding richness to the already enchanting arrangement.
Am7 D Am7 Em/D D C/D D
Ooh, it makes me wonder...
Am7 D Am7 Em/D D C/D D
Oooooooooh, it makes me wonder...
C G/B
There’s a feeling I get,
Am
When I look to the west.
C G/B Fmaj7 Am
And my spirit is crying for lea - ving.
C G/B
In my thoughts I have seen,
Am
Rings of smoke through the trees,
C G/B Fmaj7 Am C G/B
And the voices of those who stand loo - king.
The byrds at number 5? Give me a break.
They are actually number 6. 🤷♂️