Who Made Who
by AC/DC
Difficulty Profile
Skill LevelOverall
IntermediateRhythm
IntermediateLead
AdvancedBass
IntermediateWhy "Who Made Who" Works Harmonically
Beyond standard guitar tabs and chord charts, discover the exact music theory mechanics, modal interchange, and voice leading choices that give AC/DC's classic its unforgettable emotional power.
The 4-on-the-Floor Funk-Rock Groove Fused with a D Mixolydian ♭VII Cadence and ♭III Chorus Borrow
Unlike typical AC/DC 12-bar shuffles, "Who Made Who" locks into a 1980s disco-influenced 4-on-the-floor kick pulse with a D Mixolydian cadence (D5 - C5 - G/B - D5). The whole-step flat-7 (C5) gives the groove an effortless bounce, while the chorus introduces a borrowed flat-3rd (F5) from D minor, slamming the track from danceable groove to aggressive hard rock.
Harmonic Progression (Roman Numerals)
Verse: I - ♭VII - IV/6 - I | Chorus: I - ♭III - IV - IStep-by-Step Movement
- •D5 (I): Unwavering tonic pedal that anchors both Angus Young's single-note theme and Malcolm's downstroke stabs.
- •C5 (♭VII): The defining Mixolydian degree. Flattening the 7th removes classical resolution tension and delivers pure swagger.
- •G5/B (IV/6): First-inversion subdominant chord providing a smooth scalar bass descent: D -> C -> B -> D.
- •F5 (♭III): Power chord borrowed from D Aeolian/Blues in the chorus, creating an explosive burst of grit.
- •G5 (IV): Subdominant lift resolving forcefully back to the D5 tonic home base.
Voice Leading & Counterpoint
- ›Notice the smooth descending bass movement in the verse: D (open string) → C (3rd fret A string) → B (2nd fret A string in G/B) → D (resolution).
- ›Angus Young’s intro theme counterbalances the low-end pulse with syncopated open-string pedal notes and high double-stops around the D major triad.
- ›In the solo, Angus freely blends the major 3rd (F#) from D Mixolydian with the minor 3rd (F natural) and diminished 5th (G#) from the D blues scale for iconic vocalized biting bends.
Fretboard Mechanics
Malcolm Young’s Gretsch Firebird uses zero clipping pedals—just natural Marshall tube compression. Staccato cutoffs on beats 2 and 4 create the breathing room that gives the rhythm section its massive, punchy pocket.
You can write a rock song that grooves like dance music by pairing a straight four-on-the-floor beat with a Mixolydian I - ♭VII - IV loop, then escalating energy in the chorus with a borrowed ♭III minor-pentatonic power chord.
The primary scale governing the verse progression and flat-7th chords.
The foundation for Angus Young's aggressive lead fills and soloing.
The blue note (G#) that injects grit into Angus's high-register bends.
The definitive hard rock mode used in Who Made Who.
Master the root-fifth voicings for D5, C5, G5, and F5.
How first-inversion G/B connects the bassline between C and D.
The signature rock cadence powering Who Made Who.
Musical Analysis
🎹 Key & Tonality
⏱️ Song Structure
💡 Understanding D major:
D major has a bright, uplifting character typical of major keys. The Mixolydian (Major with ♭7) mode gives it a stable, resolved feeling. This key works well for anthemic rock songs and creates a powerful, confident mood.
Primary harmonic framework providing the flattened 7th (C natural) that creates the signature hard-rock groove without classical leading-tone stiffness
Lead guitar fills and Angus Young's fiery solo work, utilizing the blues diminished fifth (G#) and minor third (F) over the major tonic
Sweet melodic phrasing in the intro theme and resolution lines, emphasizing the major third (F#) and sixth (B)
The harmonic character shaping D major
The harmonic character shaping D major
Understand major chord construction and voicings
Primary Chords Used
Scale Patterns in D major
D Mixolydian mode
Notes: D - E - F# - G - A - B - C - D
Application: Primary harmonic framework providing the flattened 7th (C natural) that creates the signature hard-rock groove without classical leading-tone stiffness
Interactive Fretboard Map
Chord Progressions & Movement
Main Progression
Signature driving groove combining D tonic with Mixolydian ♭VII (C5) and first-inversion subdominant (G/B) resolving back to tonic D
💡 Theory Insight:
These borrowed chords from the parallel minor key add darker, more dramatic colors to the progression. This modal interchange gives rock and metal its signature swagger.
Chord Shapes In This Section:
D5
C5
G5/B
Harmonic Functions & Roles:
- D5 (I)Anchors the track with an unwavering tonic tonal center and powerful low-end resonance
- C5 (♭VII)Borrowed from D Mixolydian, eliminating the classical leading-tone to produce pure rock attitude and drive
- G5/B (IV/6)Subdominant chord with B in the bass, smoothing the voice leading between C and D
- F5 (♭III)Borrowed from D Aeolian/Blues, injecting gritty tension into the explosive chorus shout
Key Techniques
Syncopated Open-String Pedal Riffing
AdvancedAngus Young's signature intro motif combining open D-string pedal notes with syncopated double-stops and hammer-ons on the G and B strings
Uses chords:
Progression:
D pedal vamp
Technique Tips:
- •Practice with a metronome at 90 BPM before pushing to the record tempo of 128 BPM
- •Use the flesh of your fretting index finger to lightly mute the low E and A strings
- •Focus on rhythmic bounce rather than brute picking force
Locked-In Downstroke Power Chords
IntermediateMalcolm Young's rock-solid rhythm foundation featuring tight, uncompressed downstrokes with precision palm muting and rhythmic rests
Uses chords:
Progression:
D5 - C5 - G5/B - D5
Technique Tips:
- •Use medium-heavy picks (1.0mm+) for crisp attack and dynamic punch
- •Keep the right hand wrist relaxed to maintain stamina throughout the song
- •Do not over-distort: Malcolm's tone is famously clean and articulate
Mixolydian & Blues Scale Lead Hybrid
AdvancedAngus Young's fluid transition between major pentatonic sweetness and aggressive minor pentatonic blues biting bends
Progression:
Over D5 - C5 - G5 - D5 backing track
Technique Tips:
- •Support bends with your index and middle fingers behind the ring finger
- •Listen to the vocal phrasing of Brian Johnson to mimic vocal inflection
- •Control feedback organically using volume and guitar position relative to the amp
Practice Exercises
Scale and technique exercises in the key of D major. Switch instrument sounds (Acoustic Steel, Nylon, Clean Electric, Piano) and practice at your own tempo.
Intro Theme Riff
Syncopated Pedal Riff Exercise
Angus Young's iconic single-note syncopated intro establishing the danceable rock tempo and modal D center
- •Open D string acts as a ringing pedal note throughout the phrase
- •Accent the syncopated hammer-ons on beats 2 and 4
- •Keep the rhythm crisp and in the pocket with the straight 4-on-the-floor kick
Verse
Mixolydian Power Chord Groove Exercise
Punchy verse groove driven by Malcolm Young's signature rhythm precision with D5, C5, and G/B
- •Use exclusively downstrokes for heavy attack and consistent tonal weight
- •Release fretting pressure immediately after striking to create staccato spaces
- •The C5 chord anticipates the beat for irresistible forward momentum
Chorus
Chorus Power Chords & Modal Borrow Exercise
Explosive vocal hook backed by the heavy D5 - F5 - G5 - D5 chord sequence featuring the borrowed flat-third (F5)
- •F5 power chord at the 1st fret low E string injects dark blues-rock grit
- •Full band vocal gang shouts answer the rhythm stabs
- •Let chords ring slightly longer than verse staccatos for wall-of-sound resonance
Guitar Solo
High-Register Blues Soloing Exercise
Angus Young takes center stage with a soaring, blues-drenched guitar solo featuring rapid triplet runs and screaming bends
- •Solo starts in 10th fret box of D minor pentatonic
- •Aggressive whole-step bends on B string at 13th fret
- •Combines blues grit with clean rhythmic syncopation
Equipment & Tone Setup
🎸 Guitar
Recommended Model:
Pickup Type:
Bridge humbucker with moderate vintage output (Gibson PAF / T-Top or Gretsch Filter'Tron)
Alternatives:
⚡ Amplifier & Settings
Recommended Amp:
Tone Stack Dial-In:
Gain: 6/10
Treble: 7/10
Middle: 7.5/10
Bass: 5/10
Presence: 6.5/10
Alternatives:
🎛️ Effects Pedals
Overdrive / Distortion:
Amp overdrive driven by master volume; no overdrive/distortion pedals used
Reverb / Delay:
Natural room acoustics from Compass Point Studios, Nassau
Modulation / Other:
Schaffer-Vega Diversity System (SVDS) wireless unit for midrange boost, companding, and clean preamp punch
Recommended Learning Path
Rhythm Fundamentals
⏱️ 1 - 2 weeks
- •Master the D5, C5, and G5/B power chord hand grips
- •Practice downstroke muting and staccato cutoffs with a metronome at 100 BPM
- •Memorize the verse chord sequence (D5 - C5 - G5/B - D5)
Groove & Intro Theme
⏱️ 2 - 3 weeks
- •Lock in Angus Young's syncopated intro riff at full tempo (128 BPM)
- •Smoothly transition between the verse rhythm and the F5 chorus modal borrow
- •Coordinate fretting-hand cutoffs with the four-on-the-floor kick drum pulse
Angus Young Solo Mastery
⏱️ 3 - 5 weeks
- •Execute rapid-fire D minor pentatonic triplet pull-offs in position 1
- •Master accurate whole-step and minor-third bends on the 13th fret B string
- •Develop Angus's wide, vocal-like hand vibrato on sustained lead notes
Practice Notes & Routine
⚠️ Common Mistakes to Avoid
- •Using too much amplifier distortion, which causes the syncopated chord spaces to sound muddy instead of punchy
- •Rushing the offbeat C5 chord entry before Simon Wright's snare hits on beats 2 and 4
- •Allowing unused strings to vibrate during Angus's intro pedal riff
- •Playing the chorus F5 with sloppy finger positioning, resulting in buzzing on the 1st fret
⏱️ Targeted Practice Routine
- •10 minutes: Angus intro theme practice at 90, 110, and 128 BPM with a metronome
- •10 minutes: Malcolm downstroke power chord endurance drill over the D5 - C5 - G/B - D5 verse groove
- •10 minutes: Chorus modal borrow transitions (D5 to F5 to G5 to D5)
- •15 minutes: Guitar solo lick isolation and whole-step bend pitch accuracy work
⏱️ Metronome Drills
- •Start at 90 BPM to nail the exact note values and staccato rests of the verse groove
- •Increase by 4 BPM increments every 3 clean repetitions until reaching 128 BPM
- •Practice muting all strings exactly on beat 2 and 4 for high-impact rhythmic tightness