Ain’t No Mountain High Enough | TAB
Let’s break down Ain’t No Mountain High Enough section by section using TAB. The intro and verse offer loads of possibilities, so I’ve included four different ideas. Here’s the first one:
For more theory on these chords, check out the Ain’t No Mountain chords lesson, which dives deeper into Roman numerals for the verse. But here in TAB form, the focus is on the static chord shape with a chromatic bass line underneath.
We start with a Bm7 chord and maintain the Bm triad shape while the bass drops chromatically. Loop this part a few times before moving on to the next idea.
If the first idea blended smoothly into the mix, this second one—with sharp stabs—is much more assertive. Play it like this and you’ll definitely stand out in the band.
Here’s a third approach to the verse. This version includes the final two bars that lead into the chorus.
It’s even more rhythmic and percussive. I’ve intentionally suggested you vary which strings the chord stabs land on—it breathes life into the part and avoids sounding robotic.
The fourth way to play the verse will be revealed as we look at the key change, let’s now instead go to the chorus, here’s idea 1.
This chorus version keeps everything on strings 2–4. That’s crucial for finding a “pocket” in the mix that works well for guitar.
In the final bar, I break the rule slightly by sneaking in string 6. Try it with the band—it works, but only because that note is super short.
Here’s another way you could play the chorus, I’ve now included what happens before we go to the middle 8 as well.
In this version, we stick to strings 2–4 again, which allows us to use loads of hammer-ons and make the part more intricate. That focused frequency range really lets you shine without clashing with other instruments.
In the final two bars, we move from Em – D/F# – G. This is a great place to kick on a boost and strip things down—just root and 5th: E5 – F# – G5.
This all takes us to the middle 8 which, in my opinion, should be played like this:
Here, I’m going for big, open rhythms with a power chord on the first A (chord V). There’s an A major pentatonic lick that takes us to F#m, where a new syncopated rhythm kicks in.
That sliding F#–G moment is a cool little detail—it breaks the rhythm nicely. When A returns, we play a more intense variation of the original rhythm.
We then shift to Bb, setting up the key change. Use the same rhythm on Bb as you did on A.
This is the fourth (maybe fifth!) approach to playing the verse.
We start with long, drawn-out rhythms to leave space—because by now, everyone else in the band is probably overplaying.
On the repeat, we bring back the stabs. The final bar includes a new chord lick I’m especially pleased with.
Here’s the chorus in a new key.
This might just be the best way to play Ain’t No Mountain’s chorus. Feel free to mix this with the previous chorus ideas to eventually create your own version.
If you listen closely to the original recording—you’ve now learned every section. However, there’s one more bit I often encounter live…
Many live versions include Diana Ross’s iconic breakdown, followed by another chorus. Here’s how that looks in TAB:
When you can play all this TAB, test yourself by playing with my backing tracks and chord chart.
Ain’t No Mountain High Enough Backing Tracks + TAB | Related Pages
Ain’t No Mountain High Enough | Chords + Lyrics
Learn to play Ain’t No Mountain High Enough by Marvin Gaye using chords, lyrics, chord analysis, a chord chart, and the original recording.
| Bm7/A | G#m7b5 | Gmaj7 | Em9 (F# G G#) |
Ain’t no mountain high, ain’t no valley low, ain’t no river wide enough, baby…
Five similar tunes | Chords + Lyrics
