Mastering the Southern Rock Classic Heading South
You’ve heard that iconic, driving riff. Maybe it was in a movie, a classic rock playlist, or a friend’s garage jam. The song “Heading South” by ZZ Top, specifically from guitarist Billy Gibbons, is a rite of passage for any blues or rock player. It sounds deceptively simple, yet nailing that raw, gritty tone and relentless groove can be tricky.
If you’ve been searching for how to play it, you’re likely stuck between the open-tuned slide version and the standard tuning interpretation. This guide cuts through the confusion. We’ll break down the main riff, the solo, and the gear you need to get that signature sound, all in a practical, step-by-step format.
The Foundation: Understanding the Riff and Tuning
First, a crucial piece of context. The original recording of “Heading South” by Billy Gibbons is famously played in open G tuning with a slide. However, the song has become a standard in the rock repertoire, and many players perform it in standard tuning (E A D G B E) using fretted notes. We will cover both approaches, starting with the more accessible standard tuning method.
The core of the song is a relentless, repeating blues riff built around the E minor pentatonic scale. It’s a study in economy and feel. You don’t need blistering speed; you need solid timing and a dirty tone.
Gear Up for the Gibbons Sound
Before we place fingers on the fretboard, let’s talk tone. Billy Gibbons’ sound on this track is raw and overdriven, but not a modern high-gain distortion. Aim for a classic rock or blues overdrive pedal pushing a slightly crunchy amp.
– Guitar: A Gibson-style guitar with humbuckers is ideal, but any guitar with a bridge pickup will work.
– Amp Settings: Set your amp for a clean-ish foundation with good mids. Crank the gain just enough so it breaks up when you dig in.
– Pedals: A Tube Screamer-style overdrive is perfect. Set the drive low to medium, tone to taste (often around noon), and level up to push the amp.
– Pick: Use a medium or heavy pick for attack.
Playing the Main Riff in Standard Tuning
This is the workhorse riff you’ll play throughout the verses. It’s centered around the 12th fret, giving it that signature high, singing quality.
Place your index finger on the 12th fret of the B string (the note B). Your ring finger will handle the 14th fret on the same string. The riff uses quick hammer-ons and pull-offs between these two notes.
Here is the basic tablature pattern for the main phrase. The numbers indicate frets, and the letters indicate strings (A=5th string, D=4th, G=3rd, B=2nd, e=1st).
e|—————–|
B|-12-14-12-14h12-|
G|—————–|
D|—————–|
A|—————–|
E|—————–|
The “h” means hammer-on. You pick the 12th fret, then without picking again, firmly press your ring finger down on the 14th fret to sound the note. The pattern then pulls off back to 12.
The full riff incorporates this phrase with a descending run on the G and D strings. A more complete tab for the core loop looks like this:
e|————————–|
B|-12-14-12-14h12———-|
G|————–14-12-14—-|
D|———————-14–|
A|————————–|
E|————————–|
Practice this slowly with a metronome. The feel is a steady, driving eighth-note rhythm. Mute the strings you aren’t playing with the edge of your picking hand to keep it tight.
Adding the Rhythmic Chunk
The riff isn’t just the high notes. In the song, it’s punctuated by low, chunky power chords on the A and D strings. After a couple of repetitions of the high phrase, you drop down to this pattern.
Play the 7th fret on the A string (5th string) and the 9th fret on the D string (4th string) together. This is a power chord shape (root and fifth). Strum these two strings with a strong, percussive attack.
The transition is key: you play the high lick, then immediately shift your hand down to hit that low power chord, then return to the high lick. This creates the dynamic push-and-pull that makes the riff so powerful.
Tackling the Slide Guitar Version
For the purists, here’s the open G slide approach. This is how Gibbons did it on the record, and it delivers that smooth, vocal-like quality.
– Tuning: Tune your guitar to Open G (D G D G B D). From standard tuning, you need to detune the 6th string (low E) to D, the 5th string (A) to G, and the 1st string (high E) to D. The 4th (D), 3rd (G), and 2nd (B) strings stay the same.
– Slide: Use a glass or metal slide on your ring or pinky finger. A medium weight is good for starters.
– Technique: Do not press the slide down to the fret. It should rest lightly on the strings directly above the fret wire (the metal bar). You need to mute the strings behind the slide with your other fingers to prevent unwanted noise.
In open G, the entire guitar is essentially one big G chord. The main riff is played by sliding between the 12th and 14th fret positions on the 2nd (B) and 3rd (G) strings. The concept is the same as the standard tuning tab, but the notes ring together differently due to the open tuning.
Start by practicing simple slides on the 3rd string: slide from the 12th to the 14th fret and back. Focus on clean intonation—hitting directly over the fret.
Breaking Down the Guitar Solo
The solo in “Heading South” is a masterclass in blues phrasing. It’s not overly technical, but every note counts. It stays firmly within the E minor pentatonic scale (E, G, A, B, D) around the 12th fret position.
The opening phrase is a series of bent notes. Try bending the 15th fret on the B string (2nd string) up a whole step (so it sounds like the 17th fret). Release the bend and follow it with notes on the 12th and 14th frets of the G string.
Use lots of vibrato on sustained notes. Gibbons’ vibrato is wide and slow. After you hit a target note, like the 14th fret on the B string, rock your finger back and forth parallel to the fret wire to make the pitch waver.
Incorporate double-stops (two notes played at once). A classic move is playing the 12th fret on the G string and the 12th fret on the B string together, then sliding that shape up to the 14th fret.
The best way to learn it is to listen closely and slow down the recording. There are many accurate solo tablature transcriptions available online. Start by learning it in small, two- or four-bar phrases, then connect them.
Common Mistakes and How to Fix Them
The riff sounds muddy. This is almost always due to poor muting. You must use the side of your picking hand to dampen the lower strings (E, A, D) when playing the high phrases. Similarly, lift your fretting fingers slightly to mute strings when moving to the power chord section.
The timing feels off. This riff is a groove machine. Practice with a drum track or metronome at a slow tempo (around 80 BPM) until the transitions between the high lick and the low chord are seamless. Count “1 and 2 and 3 and 4 and” out loud.
The slide version is screechy and noisy. Ensure you are muting the strings behind the slide with the fingers of your fretting hand. Also, use a lighter touch with the slide itself; too much pressure creates a harsh, choked sound.
Practice Routine for Mastery
Don’t just play the riff mindlessly. Structure your practice to build muscle memory and stamina.
– Minute 1-5: Warm up with the E minor pentatonic scale at the 12th fret.
– Minute 5-15: Practice the main high lick alone at 70 BPM. Focus on clean hammer-ons.
– Minute 15-25: Add the low power chord transition. Practice switching between the two positions slowly.
– Minute 25-35: Put it all together with a backing track. Search for “Heading South backing track” on YouTube.
– Minute 35-45: Work on one phrase of the solo. Isolate the hardest bend or run and repeat it.
This song is a marathon, not a sprint. Its power comes from playing it consistently and heavily for three minutes straight. Build up your left-hand strength and right-hand endurance.
Your Path Forward from Here
Once you have “Heading South” under your fingers, you’ve unlocked a foundational piece of blues-rock vocabulary. The techniques you’ve honed—the pentatonic box, hammer-ons, pull-offs, slides, and dynamic riff construction—are directly applicable to a universe of other songs.
Explore other ZZ Top classics like “La Grange” or “Tush” to hear similar concepts. Dive into the playing of early blues masters like John Lee Hooker, whose boogie rhythms are the direct ancestor of this riff. Most importantly, record yourself. Play along with the original track and listen back. Does your riff have the same relentless drive? Does your tone have that barking, midrange punch? Use that analysis to guide your next practice session.
The journey to playing “Heading South” convincingly is a rewarding one. It teaches feel, tone, and rhythm as much as it teaches notes. Grab your guitar, dial in that gritty tone, and start the engine. The road heads south, and it’s a great ride.
