smells like teen spirit tabs: Beginner Guide

If you want to learn the riff that defined a generation, you're in the right place. This guide breaks down the core smells like teen spirit tabs step by step — from tuning and tone to exact power‑chord shapes, rhythm patterns, and practical practice tips. I’ll share what helped me teach this song to students and the small details that make the difference between sounding “close” and sounding convincing.

Why this song matters (and how I approach teaching it)

“Smells Like Teen Spirit” is deceptively simple: a handful of power chords and a strong sense of dynamics. When I first learned it, I focused only on chord shapes and missed the nuance in palm muting and attack that give the riff its personality. Over years of teaching, I’ve seen students make rapid progress when they learn three things together: the accurate chord shapes, the rhythmic push-and-pull, and the correct tuning. This article bundles all three with playable tabs and practice steps.

Tuning and tempo — two small changes that make a big difference

• Tuning: The original studio recording is played roughly a half‑step down (Eb Ab Db Gb Bb eb). That means everything you play should be down one semitone to match the recording exactly. If you want to play along with most live covers and many tabs, standard tuning (E A D G B e) works fine. I provide both tips for standard tuning and notes on playing half‑step down.
• Tempo: The recorded tempo is about 116 BPM. Playing the riff at the right speed while keeping the aggressive dynamic contrast (quiet verses, explosive choruses) is essential.

Core power chords — the foundation

The song revolves around four power chords. Here are simple shapes in standard tuning that you can move to match other tunings:

F5    (root on low E string, 1st fret)
e|---|
B|---|
G|--3|
D|--3|
A|--1|
E|--1|

Bb5  (root on A string, 1st fret)
e|---|
B|---|
G|--3|
D|--3|
A|--1|
E|---|

Ab5  (root on low E string, 4th fret)
e|---|
B|---|
G|--6|
D|--6|
A|--4|
E|--4|

Db5  (root on A string, 4th fret)
e|---|
B|---|
G|--6|
D|--6|
A|--4|
E|---|

These are the power‑chord shapes you’ll use repeatedly. If you tune down a half step, your fingers stay in the same positions — the pitches just sound a semitone lower (and will match the original recording).

Simple tab for the riff (standard tuning)

Here’s a straightforward tab showing chord hits through one phrase. It’s simplified to focus on timing and attack. Play it at ~116 BPM and pay attention to when the chords are palm‑muted or strummed fully.

Intro / Verse (cleaner, palm-muted)
  F5        Bb5       Ab5       Db5
e|-----------------------------------|
B|-----------------------------------|
G|--3-3-3-3--3-3-3-3--6-6-6-6--6-6-6-6|
D|--3-3-3-3--3-3-3-3--6-6-6-6--6-6-6-6|
A|--1-1-1-1--1-1-1-1--4-4-4-4--4-4-4-4|
E|--1-1-1-1--x-x-x-x--4-4-4-4--x-x-x-x|

Chorus (loud, full strum)
  F5        Bb5       Ab5       Db5
e|-----------------------------------|
B|-----------------------------------|
G|--3--------3--------6--------6-----|
D|--3--------3--------6--------6-----|
A|--1--------1--------4--------4-----|
E|--1--------x--------4--------x-----|

Notes:

• For the verse feel, lightly palm‑mute the low strings for the repeated 1/8th‑note chugs. Mute a little — not so much that the notes die immediately. The goal is a tight, chunky thump.
• For the chorus, remove palm muting and hit the chords full and aggressive. This loud/quiet contrast drives the song.
• If you tune down half a step, the shapes remain the same; the resulting pitch will match the recording.

Rhythm and dynamics — what to focus on

Rhythm is where many players fall short. The riff is less about complex fretting and more about consistent right‑hand attack and deliberate dynamics:

• Practice the verse with a metronome at 70% tempo. Focus on even palm‑muted 8th notes.
• Then practice the quick transition to a full, open strum for the chorus — exaggerate the difference. The chorus should feel like a release after the verse tension.
• Accent the first downstroke of each measure. That push accent is crucial to the groove.

Lead ideas and simplified soloing

The recorded solo isn't overly complicated—it's built from pentatonic runs and melody fragments. If you're comfortable with the F minor pentatonic scale, you can improvise over the progression easily. Below is a beginner-friendly lick in standard tuning that fits the chorus:

Simple lead lick (fits over F5 -> Bb5)
e|-----------------|
B|--6-6-5-3---------|
G|-----------5-3----|
D|----------------5-|
A|------------------|
E|------------------|

Approach solo practice by learning small melodic motifs and repeating them with variations. Bend notes slightly and use vibrato to add character: Kurt’s playing often favored attitude and feel over technical flash.

Gear and tone — getting “that” rough edge

You don’t need an expensive rig to get close. Kurt’s tone was raw and compressed; here’s a basic starting point:

• Guitar: Single or double‑coil guitars both work. A jaguar/mustang/strat gives that Nirvana spark, but any solid‑body electric is fine.
• Amp/Drive: Moderate to high gain, but not fuzzy in the modern metal sense. Use an overdrive or distortion with the gain around 40–60% so chords are thick but still punchy.
• EQ: Slight boost on lows and highs, mids slightly scooped helps but don’t overdo it — guitar needs mids to cut through.
• Pedals: A simple distortion or overdrive plus a bit of compression or light reverb will get you in the ballpark.

Common mistakes and how to fix them

• Loose rhythm: Use a metronome and practice the verse at slow speed (60–80 BPM) until the chugs are mechanically even.
• Over‑muting: Some players mute too aggressively. Aim for a percussive but sustaining palm mute — you should still hear the chord’s pitch.
• Missing accents: Mark the downbeat in your head or tap your foot. Accent the first hit of each bar to maintain drive.
• Wrong tuning: If playing along with the original recording, tune down half a step; otherwise you’ll sound slightly sharp.

Practice plan (4 weeks)

1. Week 1 — Shapes & timing: Learn the four power chords and play them cleanly with palm muting at slow tempo.
2. Week 2 — Dynamics: Alternate verse palm‑muted sections and chorus open strums. Practice transitions for smooth changes.
3. Week 3 — Lead & embellishments: Add the simple lead lick and try easy variations using the pentatonic scale.
4. Week 4 — Performance practice: Play the full song, focusing on consistent tempo, clean chord changes, and the loud/quiet contrast.

Links, tabs, and further resources

If you prefer a quick reference or printable version, check out comprehensive smells like teen spirit tabs resources that collect multiple variations (standard tuning, half‑step down, simplified versions). Compare different renditions to decide which best matches your gear and singing key.

Final tips from my teaching experience

When I coach students on this song, I emphasize faithfulness to feel over technical perfection. A slightly imperfect, aggressive chord hit with the right timing sounds better than a sterile, perfectly fretted chord. Practice slow, exaggerate the dynamics, and then bring the speed back up. Record yourself on your phone — hearing your tone in a mix will reveal whether you need more palm mute, a touch more drive, or a stronger first beat.

Ready to start? Tune (or detune), dial your amp to a crunchy but clear distortion, and work through the tabs above. With consistent practice, you’ll be able to play not only the recognizable riff but also adapt it to your own style. For more references and downloadable versions of smells like teen spirit tabs, check the linked resources and compare a couple of transcriptions — you’ll be surprised how many slight variations exist, and that helps you choose the one that sounds best with your guitar and voice.

Have questions about a specific bar, riff variation, or gear setup? Tell me what level you’re at and what gear you use, and I’ll give targeted advice to get you sounding closer to the recording.