“In the Pines” is an expressive standard folk tune with a rich and many-faceted history spanning generations and musical genres. It’s also known by various titles, including “Where Did You Sleep Last Night?,” “Black Girl,” and “The Longest Train.” Believed to originate from southern Appalachia in the 1870s, this song has captivated audiences for over a century. Its enduring appeal is showcased through performances by artists such as Bill Monroe, the Louvin Brothers, Lead Belly, Doc Watson (on banjo), Dolly Parton, Loretta Lynn, Nirvana, and, more recently, Fantastic Negrito and Jake Blount.
One of the most iconic interpretations of “In the Pines” comes from Lead Belly, the legendary blues and folk artist, whose 1944 recording for the Library of Congress helped to popularize the song and introduce it to a wider audience. Lead Belly’s raw and emotionally charged delivery set the stage for numerous subsequent artists who tackled this enigmatic classic.
Fast forward a half century, and “In the Pines” experienced a revival when the iconic grunge rock band Nirvana included their rendition on the live 1994 MTV Unplugged in New York album. Kurt Cobain’s haunting and passionate performance added another layer of depth to the song’s history.
While bluegrass and traditional country renditions of the song, like those by Bill Monroe or Loretta Lynn, use a three-chord I– IV– V progression, Lead Belly included the bIII chord, which adds a bluesy edge. Nirvana’s take follows this same progression.
The arrangement provided here, inspired by Nirvana’s version, serves as a study of acoustic rock guitar accompaniment. If you’d like to play along with the original Nirvana recording, tune your guitar down a half step. Based in the key of E major, the arrangement features 4 primary chords: I (E), IV (A), bIII (G), and V (B), with an eight-bar progression that repeats throughout.
The notation includes an introduction patterned after what Cobain used in the MTV performance, along with 2 suggested accompaniment patterns. The first is more riff-based, while the second emphasizes simple strumming. All 3 parts demonstrate how pared-down chord voicings can be effectively used in a rock context. Instead of strumming a full open E chord, try playing 2- or three-note fragments, and either silence the G string with your first finger or mute that string with your 4th finger at 4 for an ambiguous-sounding E5.
When it comes to the lyrics, you’ll find many versions floating around. Do a Google search to identify commonly used sets and choose the ones that resonate with you the most.
There are 2 ways to access the musical notation and tab for this song: Join our community atPatreon.com/ acousticguitarplusORacquire theJanuary/February 2024issue ofAcoustic Guitarmagazine.
