Wonderful Tonight (intro) - Eric Clapton

"Wonderful Tonight" is a grade three song that showcases all the essential phrasing techniques for ballad-style lead guitar. This lesson focuses primarily on the intro lead line, which is a perfect study piece for intermediate players, along with the triad-based verse accompaniment and lead variations throughout the song.

Tone and Setup

The sound uses the neck pickup with a Tube Screamer set to neutral (everything at 12 o'clock) for added sustain and midrange. A clean tone works fine, but the slight overdrive helps the notes sing and sustain like the original recording. A touch of reverb completes the tone. The key is picking lightly - let the amp and pedal do the work rather than attacking the strings hard.

The G Major Scale Position

The intro uses G major scale starting from the G note at the 8th fret on the second string. The scale runs through frets 8-10-12-13-15, giving you the five notes (G-A-B-C-D) needed for the melodic lines. This position becomes the foundation for all the lead work in the song.

The Intro Bend

The intro opens with a whole-tone bend at the 10th fret. Proper technique requires the handshake grip into the neck, bending with the wrist rather than the fingers. The bend goes up, then unbends without re-picking - you get two notes from one pick. The phrase continues: 10 bend up, unbend, 8, 10, 10 bend up, 8, 9. Adding vibrato to sustained notes (marked with the squiggly line in tab) brings the line to life.

Slides and Phrasing

The second phrase starts the same but then features a series of slides: 10 slide to 12, slide to 13, slide to 17 from 15, finishing on 15 with vibrato. You can use a whammy bar for that final vibrato if your guitar has one. These slides need to be smooth and deliberate - they're not quick position shifts but part of the melodic expression. Vibrato comes from the inside of the first finger, moving the wrist to create that singing quality.

Triad-Based Verse Accompaniment

The verses use G-D-C-D chord changes, but rather than full open chords, the accompaniment uses triad shapes higher up the neck. The G chord becomes a D-shaped G major triad at frets 7-8-7. The D chord uses frets 5-7-7 (the top part of a D triad), and the C chord sits at frets 5-5-5. These compact shapes allow for smooth voice leading and create that sophisticated, upper-register sound. Individual string picking within these triads adds detail and movement.

Sus2 Variations

Throughout the verses and chorus, sus2 chords (D sus2 and C sus2) add color to the basic triads. These suspended chords create tension and release, adding emotional depth to the accompaniment.

The Bridge Section

The bridge ("And the wonder of it all") uses G major pentatonic with a descending pattern: 9-8-10, slide to 12-10, hammer-on 12-10-12-10-12-10-8. This section introduces the three-note pattern concept that appears throughout intermediate lead playing. A whole-tone bend at the 7th fret (bend up five full steps) adds intensity before returning to the triad shapes.

Outro Lead Variation

The final solo at the end of the song starts like the normal intro but then varies: 10 bend up, little finger on 10 unbent, hit 10 unbent again, then 9-8-9-8, jumping to 15th fret, 15 to 17 bend up, 15-15-17-15. Using a hammer-on for the 15 to 17 helps the phrase flow smoothly. This variation shows how Clapton develops the original theme while keeping the emotional character consistent.

The Essential Takeaway

The biggest lesson from this song is all about phrasing, feel, and tone. It's not just hitting the right notes - it's how you bend them, when you add vibrato, how long you let notes sustain, and how you shape the slides. The triad sections in the verses and chorus demonstrate sophisticated chord voicings that go beyond basic open position playing. Getting all these details right is what defines grade three proficiency and separates technical ability from musical expression.