It sounds easy. On paper, it really does. You look at a one way or another tab and you see a simple D-chord shape, a bit of movement on the A string, and some straightforward power chords. But then you try to play it at 133 BPM like Nigel Harrison and Debbie Harry intended back in 1978. Suddenly, your wrist is on fire. Your timing is slipping. You realize that Blondie wasn't just a "pop" band; they were a group of power-pop architects who knew exactly how to make a simple riff feel like a runaway freight train.
Most people looking for this tab are trying to capture that specific New York City grit. It's the sound of the Bowery. It's the sound of Parallel Lines, an album that basically saved Chrysalis Records from bankruptcy. But if you just follow the numbers on a screen without understanding the "how," you're going to sound like a MIDI file.
What the Average One Way or Another Tab Gets Wrong
Most tabs you find on the internet are, frankly, a bit lazy. They’ll give you the basic D, C#, and B progression, but they miss the nuances of the ghost notes. If you look at the opening riff, it’s built on a D major chord at the 5th fret, but the "hook" is that descending line on the 5th string.
A lot of beginner tabs will tell you to just strum the whole chord. Don't. If you do that, you lose the clarity of the melody. The actual recording features a very specific palm-muted technique on the lower strings while letting the higher notes ring out just enough to stay "jangly." It’s that intersection of punk aggression and disco-era precision.
The Main Riff Breakdown
The core of the song lives in that iconic opening. You're holding a D shape (index finger barring the 5th fret, ring finger barring the 7th fret of the D, G, and B strings). The movement happens with your middle finger and pinky.
- Start with the D.
- Drop the root to C# (4th fret A string).
- Drop it again to B (2nd fret A string).
Here's the kicker: the rhythm isn't a straight 4/4 "down-down-down-down." It's syncopated. It's "One-and-TWO-and... (rest) ...and-FOUR." If you miss that eighth-note rest before the transition back to the D, the whole song loses its bounce. It becomes a slog.
Downpicking: The Secret Sauce of Blondie’s Sound
If you watch live footage of Blondie from the late 70s, you’ll notice something about the guitarists. They aren't alternate picking. To get that "chugging" feel, you need to use almost exclusive downstrokes for the verse. This is where the physical demand comes in.
Downpicking provides a more aggressive, uniform attack. It’s a technique famously mastered by Johnny Ramone, but it’s used here with more finesse. Because "One Way or Another" has a bit of a "spy movie" vibe—fitting for a song about a literal stalker who was harassing Debbie Harry—the notes need to be staccato. Sharp. Short.
If you alternate pick (up and down), the "up" strokes will naturally sound thinner and lighter than the "down" strokes. That creates a "galloping" sound that doesn't fit the vibe. You want a consistent, driving "thud" for every single note.
The Chorus Transition
When the song hits the "I'm gonna getcha, getcha, getcha" part, the tabs usually switch to standard power chords.
- A Major (5th fret E string)
- B Major (7th fret E string)
- F# Major (2nd fret E string)
The transition from that high B power chord down to the low F# is where most players trip up. It’s a huge jump across the fretboard. If you're using a one way or another tab that suggests playing the F# on the 9th fret of the A string instead, ignore it. It sounds too thin. You need the resonance of that low E string to capture the "drive" of the chorus.
Gear and Tone: Don’t Overcomplicate It
You can have the best tab in the world, but if you’re playing through a high-gain metal distortion pedal, it’s going to sound like a mess.
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Nigel Harrison and Chris Stein used relatively clean, "pushed" tones. Think of a Fender Twin Reverb or a Marshall JMP with the gain set just high enough that it breaks up when you hit the strings hard. You want "crunch," not "fuzz."
- Pickups: Use a bridge humbucker or a P90. If you’re on a Strat, stay on the bridge position.
- Tone Pot: Keep it wide open. You need those high frequencies to cut through the mix, especially during the "One way or another, I'm gonna lose ya" bridge section.
- Pedals: A light overdrive (like a Boss OD-1 or an Ibanez Tube Screamer) is all you really need. Maybe a touch of reverb to simulate the room sound of a 70s studio.
The Bridge: Where Most People Give Up
The bridge of "One Way or Another" is a chaotic, spiraling descent into musical madness. The tabs for this section are often a nightmare to read because the rhythm becomes incredibly loose.
It’s essentially a series of sliding power chords and dissonant lead lines. The key here is not to be too precious about the notes. It’s more about the energy. You’re mimicking the feeling of being followed. It’s supposed to feel a little bit "off."
If you're looking at a one way or another tab for the solo/bridge, focus on the G and B strings. There’s a lot of unison bending happening—where you hold a note on the B string and bend the G string up to match the pitch. This creates a "chorus" effect that sounds like a siren. It’s brilliant.
Why This Song Is a Milestone for Intermediate Players
Learning this track is a rite of passage. It teaches you that "pop" music isn't necessarily "easy" music.
To play it right, you have to master palm muting, syncopation, and endurance. It’s a three-minute cardio workout for your right hand. Most players can play the riff for thirty seconds. Playing it for the full duration of the song while keeping the tempo rock-solid? That’s the real challenge.
It also highlights the importance of the bass line. If you're a guitarist, listen to what the bass is doing. The guitar and bass are locked in a tight, rhythmic embrace. If the guitar wanders, the whole song collapses.
Actionable Steps for Mastering the Riff
- Slow Down: Set your metronome to 90 BPM. Play the main riff perfectly ten times in a row. If you mess up once, start over. Only increase the speed by 5 BPM once you've mastered the current tempo.
- Record Yourself: Most people think they are downpicking consistently until they hear a recording. Listen for "weak" notes. Every stroke should have the same velocity.
- Focus on the Mute: Use the "meat" of your palm to rest on the bridge. You want to dampen the strings, not kill them. There’s a sweet spot where the note still has pitch but lacks "ring." Find it.
- Watch the Original Video: Go to YouTube and watch Blondie’s 1979 performance on The Midnight Special. Watch the guitarists' hands. You'll see that they aren't moving their whole arms; the motion is all in the wrist.
- Check Your Tab Against the Record: If your one way or another tab says to play an open string where you hear a fretted note, trust your ears over the paper. The 5th fret D is much "thicker" than an open D string. Stick to the 5th fret for that authentic New Wave punch.
The goal isn't just to hit the notes. It's to capture that specific blend of 70s cool and punk-rock urgency. Once you can play the main riff without your forearm cramping, you've officially leveled up.