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ria{ In Miff! l1onk'? k"k www.lp with the lesson mn. tmok' ts d~i.king .making up some pieces of yow uwn. Olr~ entwlned 01 blues-both wHIi the COUn- roots of slide [tlJ~tal!".~. gerpic.Spel or American music.h most of the lar-gest guitar is often considered itself is a rllv·erse one.With 11 gOQd ~rasp' of the has res.'l.gned ha--w tlev€I' put bottleneek IIl~l will certainly acoustie cllIlaUII!l: ...'-'Hel ostwar. . there are eoundess shades try and urban.hed thls book. Reriand the evocattvo landscapes Nitty. book you will_ Each chapter o I Awusrfc or E:!fight-bar these terrns stral&l-lt-eL~htih. playing llngen.lr. and varoet'y Q~ lff:hmtql. and the slide sound has traveled branches up ~hroug.it Ami rh"e slide pantheon II) both the classic .i)_ you call start here.syou to a parrlc war aspect throughout ellcll chapter walk yll'u through of plaJyiil& sljde. Short examples ~ pro- gression of Jicks phrases. While..p.•1lready play some blues. the Jehnson r.wppor.ryllt:ing tog'ether pl<.glliflly. om recordings or transcriptions and: tQ begin . torum ill the Gullar Talk section of . learning vartous left-hand ami right-hilnd ting .e proliflc Tampa .U Sing 11s]ide may b~ one uf the most evocatjve gllitar. p~n(!rJli~ to playa ss th e end of the.~OllUd tracks.re.0.tyle played by your fingers shuffle. home and ~he botttene .1.'hi'c-n you put eve. The Ioeus here or chord pattern With ()P~~!l unlngs t !rtrodu:ction fun-damCflial:s of p!O)yJng solo (coerfor getwith bass pattern muJ alterbecause by sHele: llllder-5lallding Op~Il-U and open-D tuning.Uf_:oJistic.r1S. Guitar . hang in there. or have fool~e{j around help. and pattems central to the slide wllHe highlighting too speclfic mustcat concepts style.xp. Eacln chapter also inf.e~- s1.Oelta repertoire recordtngs of of Robert to !JuU.!ll you've Finls. and l2-barl-1V-V chord p[()gr.a~ sounds of American roots music and one or rh(: mos.:ll_ld~!.ssive WlIYs to coax . Ofl-line. 1i played by yom tl~llfll!JJ.m!!!J Withe Johnson.'l)' tune .11.t rny.steriO'IlL': to ~he llJlurltiated_ Wht. melody as an illD:ro(l uetlon to acous tic slide gult~r. a .] d~oo. H YUll don't know 'What sorue mean..'lIM!!? Basics iIltTOdl.red to start figurins.J.d:. ~Q. d~ar sound with the sJide. lh.stwo or three longer examplClS In w. you"lI [)e wen equip. o even i1 you s to striIl!. pO!h.~tiH:Ie.hed solo IIl~tmmental>s oi of Ry Cooder's present-day This. H yuu've ip~ on the done a little llnat :. prewar .slide guitar b uue of the gre. you'll be on yuur way_ Iii II Need hp.srll!md h\t-JLn <In aeousnc TIle mob o~ the blues.cmn_ (1 qU!?sHon in: our fte'e.les U~glJ~ na~ing~b. solo and band-slide p 'the e-pitorn¢ of lilt: blues spir.

stem" aad f ag.ff:flf'fliit wa. 1iJ:u. The tracnoa ({!4. the }J.tJrrere are ~'OurHith notes per be:at). nurn boer1nclic~"J:~es. piece of music denotes top IIIUmb@f tells the bottom the time sIgl"I<lt!Me.) is hall of that. anD a 16th. ·Indj(':<lt~d by i for the ~ndex rir~er.~· v. 'l'he lltlm bers re~('!~ Jrt>ot nUI'l1 bers W l<l:rld~ir~r~rer to the notation A q narter note (J) eq uals em one beat. stands lor em time (2/2} Most songs are e~theI 4/4 or ~1/4- lABLAfURE ih.~:.S II I I I III Tlh.ated with I fol' the 11'!1d~ rlTl:ger"2 the m id. bouok<lr~ designed to be ussd h1 to get the rhythmic and note dur aUQrnl. I I I I I I I I I II J .tJl:" i1f. gHVf!T1 ~trlng .~<'J. 4~he p!nl!y.e.J j I!~ ~. 3/4.-. with the ltrst SU'~l"Igon the top and sixth on the bottem.. "[he a[ld] of each heat (4 you how many beats are in 'each measure. . A whoLe note ( ~) equalsfeur kali note (. and :r the tnmno. horjzontal .3 ~h~ fing.llph[lbet~cal NOTATION w[itten em a fi"'e-]iW~ ~t<lH._ z • a~.quais <l.1l': dlJJf:3!tiUll of if nul. a the ring. of the notes on th~ gul.-)I't~r heal C. Here's how to read it. two beats aote ()1) is <I the guitar.I • <1 J4 an. 16 <.rJ.~lf ~_~~.n('lsof J.ti'l Nous J J --:-. In tabli)ture. and refer to the tablature locations.'11~e iuiormOltioLJ note head.~he six. ~TI Ci!ilhth nme (}) equat'l half of ene beat.lines represent the six st. m Jj •• the middle.(UG.G the pinky. Notes are.rtedfJ:g 1. 6/S.. Ckcled • J.*~) EnOS~ common t~me slgl1 aThe Siwncllard notatlonts ttire is 4/4. ~f1I TIle symbol q. ~Qya 15 <I quartet note. ""IHll small numbers and letters in the :j3Jj1. rhythl'ilh:: value the STANDARD ten ilL . 8 etllla~s all elgh~h note. our quarter notes per measure and f is sometimes deg~Wla~ed with the symbol ~ (for {Common time). on~y suggesUons: rm you. use U_ nlllmbers·il'rciicai:e the sbtn.and :2 ~l! u<:~b at"I. writorder from Ato C. which sjgnme~.'.J FINGERINGS· =iTt ~~illJ~t: t~i~l1l.JJWJJ::J. HitI'! fI o~.:l 1 Funger.y tl.g the note is played on.:1 3 F'n~l·tlng-hand fl:ng~ring i~~ndic.olalioTl.: Sl!¢eetlfttl Nott?£- Picl!:lnffhand rill. ffo~~'lon <lfld tablat:Jjl~ in Ill].t: :2. and p the thumb.) er e character sho-wn OIl the be~j_mlilJJ~of a.=raaslc inth'is book Is ~'I"in en In ~~Ilnflm'd notalion and tablature.1_geri)ollnt b) get the exact 4 Half !'>iote15 9 --Liir==.At:U us II C G III TAR St 'E ~A~ I('.'"()~ksbetter I I I . etc.-.ings are indicated fl.e is delt:rmined by three things: beats.::::::=:::::::==:======e===========Jj IJC"-'IIT.s.. Remember H you JlnG a that the fi[l~ert[lf}S indicatedare cll.

1rd u otation and with small r!tlmben ~Il the tah. <I.ASe the top borl!zontaI llne is 11~ltl). strum OF written with aiully tabhed-ous with chord diagrams is usually il1. The secasa quick pull-aff from tht~ second ire to the open strtng.gf!r numbers. raises the s'~rlng's pitch: \'4 lor a slight bend.lkates an open string.ed l~igher lip the neck (in this C. filn(. The th lck top line represents the A Rl~ C U lA TrON S There ~re a uurnber of ways ym_1COlI!articulate tar. if you a. t1H~tingCfS go on t befi rlgerboard. tnnlngs next example. All X Imllt'ates a..l. are writtf!ll as Likewls<:l.flng'eXs go.a. you should pldi. then qulckly hamll1~r onto the sevellth tret.1 uote indlcntes <I. IeadlJl.!) str. .ll) string D A D t~H r. hammer-ens: notes ilre played are played as.OLll(1he muted played. or slide. capoed shapes anywhere: tip the ned: mOld played will bl:' written CtlTH'I' connected wltb a slide.. For lnsrnnce.n'lt~tl by smal! notes.aff. r!l~lody sung by the Ol'(:as~o-:FI. harnmer-ons OJ' pull-offs. l ~I~'c~ 1:is '<. J. Dots show wber. Notes connecter! the tablature.>. th~ number IV10-51ends b havt.p. notes or standard !IS a note on the glti~ with tlus.:::. vdth a dash UIfough the stem in stand. The mei10dy With ~l'. I II II f.y to )indicate. A.rI. destination IJitdl- st<lIIdard !lining wll'h tile bottom fDr songs ln alternate string dropped ahl)v(> the bend symbol shows how much lilt! bend always reflects id pitches of the notes. 11 speeltlc. L11efingerings are only SUi!!or not gestions.':h s.'hiE. and thlcl! horizontal lilaes mdtcate haeres.Ilerl"dlj ~uitar tunmgs to the hlghest notation arc given rrnm the lowest (slx. Nl!]mb~r5.d~rec.~Ji. pattern to use in the rest of the piece.~. 1'2. NOTAtiON HY 7 CHjO. / lLZ . hammer-on.le.ed!simultaneously (even though tr appears accompaniment and to heat tlle'singing :reacli.!I$ usee! in standard n otatton. In the. lo!!. the tirslt note and then slide into the second.Jn Pllll-off.e with slurs (not to be confused Lower notes slurred notatron are articulatedwtth higher notes slurred pUII.ng.r a to h:lgher to tower II II I I III I I I I I I - nut.J[ th~ cote to an h:udefa in tbe dtrection ol the sHd'~. third examp.ric.o. trings S rat ~eft represents far ftght represents are showu as verttcal the lirst (hlgilest) lines. das h following a Roman numeral mdlcnrcs HIe fret where the is a lnlte point .de..ritten Wtth the melo.rlng· that S.-r-etl notes capo shouk] be placed. open open strl n gs.i! in~o a note. Agaln. J _ Slides art'! represented wlrh a dash.mall are notes thilll inflicate melodies ttl.) In einu~. Standard the actulhey HL~IlJ5 are represented wlth upward CUI'VC:S.rom standard tm:dng and whether VOCAL TUNES Vocal tunes are sometimes dllt'tio!1 and a Vfli'all'rlelody the piece.fI't skllled at tllal the .inlI a note re'p'res'ems l!'Ito CAPOS ll a capn is t!5~U.tit~H01 the . pluck the note <It the fifth fret On I the piece to get a Ieel for the ~uiL'!r the beat.<"lre w.trr(jf- Wr the rest of ·fhe tal:! lntro ring&piddn~ your inrliiC<rtion or willch Grace flates 'i3Jrerepn'_~f.. both notes at the firth oud example is executed fret are ".trltllil5 held down by the TUNilN.Iay.ng vocal meiodtes.a section ls repeat. The line on the U1Csixth (lowest) string.. above the diagram are . ListC:ll to a recording (I~ A Iff ace aote hi a very qutck ornament executed ~s <I hammer-an. A Roman numeral to the rIght of a 4iii"ll!l"raffi ind~cates a chord piay. These are net to be contused With t'li~ notes. Anows Imd!:!nLeath tunIng notes indtcal'lJ fltriiU:gs fll'lal are altered are' til !'I ed up or down.r~ced. that the . 01]" the follm v I'ngex:ample. st. for a IJrdf step. pullo()n_~_While !t's lJsually obVious.er'l-haJ[lQ t~n.s um]erJI~<dh is ~he.I II II I MUSI. and the line on l he string.~D DIAGRAMS Chnnj diagrams F~els ate shown show wh~ horlzolltruly. sl L1 rred notes are p!ayed as. hrdicates to D. th e harnu::Jr1:Y part Sl1f~ by another vocalist. most commonly slide. smaH~ notes . key-of-(j chord !Inri fIngerings In lhe key of G. vocalist" ed. For two slur.1t vary when .Il)f. For Instance. ami an S l~ Included OJ slide <Ibove th(> tab.GS . Th~ standard Iline lJJotatiu·n and tablature using written as il" the capo were the nut oi the gUltar.rl. ail H or .P is included ahove the tablatllre !IS an ~x~ril rem ll1Jd~. slide aU . as shown III the (fiT'<. I for a w hole src. the nole from an In(Jlefl[lite polnl iOJ the . dash p.

lsto be played by UsdO.:!l:!-.C stands [Ot capo or "from the l"lQgcrming. wlth the text "Harmonica" articnlOllmJ with lh(! dEfbt repeat sYrn. A C{J.1 Fine tells j.n:lingal1.s I rl I t.----l__ ----~~ syrn bol with d ors on the lelt .. Is.3.the opposite .o.~ rM~ encounter tills indication. p. such as re. of th~ plece).ruusing D. Iourth ~I.iH:rre It an. HARMONICS HanJ1Ionic:s rn'l. lcs Harmon h-s" Or "RH_ Harm.e breeketed ilng.r nfI(. Ilrst lime ttrru~tghl I I I I I I I II I I I II II I I I I I I .g with tin l~ thumb In o. PIa}.1~ "Ilarm.sa~e lIle~r the end or a piece and ~s ]ndicated with ~~.'{mIJQI.-'t. skip rhe measures HnGeE the bracket <IIId jump are Indicated artjfiCj.~ represented dard notarlon N"tural and <I hMIJIOniCS unless u A sectron by (jjalIlond-shap~u notes III to the l'CPt"ltlt symbol... For :xtmdeJ Hng.'j: the lrenerl notes an.- L~)" 'l'. first end- The example the stanor llllltl below includes nll~repeat you hit s.:(~ I]' H ~0 ~A==J Vou should ignore repeat symbols sl dc the furst 'IIme you encounter repeat prevlous with the duts OIl the right 11. and then eomluue..jump b. jump ba ck to the prei vious repeat sym hot fating. Fine indicates the end of a plece. at D. (B:). C. fur dar .' shown In the tab alnrl.j~ ~)m. Harmorues hand (often c." When you rr.(/{l is a fjn." __ .. S at Corio. ~_ ~I.~!:..f a m u~~c<ll~COIe can be the f'p"lle. Repeat symbols are placed at the b~gir.Ssage to bt. tal).~lJ.~li!t1nOor ~trom the sign. _----_- Irl'!ls above ~!he OJWlI string or rf(:tteci note) with the tight-hane! or pick.:.. end oi th e pOl.'UU to jlllUp to the beginning of a tune ami continue until YOl! encount er the Fine Indicatin~.yrnbol. a first and a second ending. an . slfllply tells you to jump back to the algn and conttnne on untn you are Instructed ~o lump to the coda.C 0.. l1~tmu:mics) lnclude ~hr: ~r~Jd ~R_H.- . jump immei1iately to the sign." above the. then the sevtmU1 tret.! repeated.rthe end of the piet~~ Ugnore lhe Fi'nf2 l/'!(.llIrUP to the r~rt~ o.!J1have a c11f1cremending OlIll:ll" leach repeat. 1l1lllifll3t1on syruDolll.11led to the se:t:':orKlendl ng.S.Oi.usually accompanied hy at Fine Or at Colia.a nIth rl1.. ~o to the begJnnlng ~Ime you COme OJ there The 18flo 1leJ!t..ckto the previous lmsnedtately small (lot next to the tablalUl'e numbers." above the tliibI1:l1urE'. i:£". REPEATS One .ring.cl." will nH1.ir:s. Rigru:-Jl<lnJ harmon are lU.~de. D. fourth sEring. them: when you come to direc:tlon 1~-_.t'l I!:eep gCling· ImJudes iTl.ted by il£. c w:r.htlJ' l()llcl1~n@~hc harmomc aidex linge.~ tap of the piece when you encounter ~hj5 lndtcatton. lJ S.. D.1rll right-hMld harl1lon.5_?_.r phrases pTayed v. in d lcated w~th :r{J Coda $ .l!l with lnstructlons much tl1r~harmonics ]::': Ih!t~ above the notes.1plucking Thode (l!lsuaUy or ring 12 ~.~tr1Jcticms such a~ "Repeat ~hree Umes. D.e...r1I'" '["1"1 ~'t!:lO'r"f. the ..(I.pellt.oE the most t:o... stanch. is quickly h<tmmeore. (d Coda.hol and play umll you reach th.

stan W 111:i!:' a slide. There's boaJ'(] that longer scale lengt. all easier they create more reststance whellyou voacan dig ill press the shd e to the with the slide. Itgo1'i:<mge st1l"1'!1.~ are pr 17.'lr$ rOf C-damp. hat's going OTi .!>tend! tn h. and some peos. SLID. gu. 5uialMmdl IO-d ~ftLIit.iTl~:l' thts book.it[lgejplck~.oIl or guit..1Ve.itar8' will 'work: much better HULIl oth- ers. warped ple dD u getting dose to tile fretdown the strings with Lhe tota II)' into the ftets as you slide up r_ Of "COQI!W)'UU f.u or mlne I)e(:K <lind the chee~f!lrllte:r actually prefer cheap n 111dr.gs (.~. <Ill inch of tJ.~d by f. you need to ge1!: yO~L 'g~red up and re1:ldy"Let's look at v. To narrow much better it dOWD ".h guitar all contnbure 50 to...~enel":llly.yi~ and smaller-bodied !!IlIitm'. let's look at .loIlSL~r it is. for e.ES'I AND TUNINGS B efore we "U::tLlal~y start playing slide.lIt .ctI:laUy pressing t I'H~strings to 'the frelboard. W.ar. steel strlng'S art? 1!!uingto wurk than nylon slide.1l1nple.drcad[lought"s'l). s horteJi' IlCtlle li:'f1~th. They'll sustain belter with :-t get more of that .luit... You can Uttlrally play slide .S wlthln haH 't W~I~.~' slide_they more.rs. making ~(l more holding you back. but unlike II. niU~rNrl models 'lr guitars have dm~rcnt scale !cngths. h SETTING 'UP FoOR su DE HIgher -aC:UOJil. the MHter the Mrlcllgs..1r.hy not? Well. ler. but wme. You wanl dear the Frets eas. you could. After tnat.h 1!1k.1(. Uttle.. .1thcml' UStn.characterL~tkilJly ~sllde guj~ ttl id tal'" lone.. to youfsel wr II JUS! US~ that acUmlr-YOll {l. mOM like what the efll:ly 1~lue5men played.Wltlm"s have a lon. you move the.a:y these inst ruments create 11. Dobro or lap .and the stH1cr response setup ror slide because strings. seale length tant factors. but th ~l'~ not r1f!(':e:ssarily Ille best !iling for plajo1ng slide.ily with the slide. whll~ jl1mbo-sl. gt:Jlthose st l'illg.~lIld~and 110w ill ':i!et into Hle open tlibliHgs we'U tie (Jl. the . knoc:kil:l~ stronger contsct "". {'O 01(1 gutt. ln SIZE AND SCALE lENGTH nec~~~1:IrHymean that YOll Sorry.. bur playiug slide doesn't kind' have' allY to buy a new «(l'r uIdj guitar. setup are the most imporfrom I'he nut to Ihl::! Is the distance and . But here's 10 tbe tricky part. need" ""'hal the optlmllim how to pick out a.j·e Ul1gerbGaro v.ith the striIlg (Which is . . authen Uc tone. sprlngter tecl their shorter ~('~ Ie length pmvl des.GETTING 5TAUED 9 'GUITARS. en you.ij f..rs fin the easier.[JO{ld) withoul you start (which Is bdd). Scale length bridge.012 on top) or heavof it Vi/hen you play slide. slide allonijl the strIngs withoU1 ~. 'U y smngs.~eF s'c:aio ~ellgth.'liat kind (it 1I:Uiiar setup ls.le . ami ... feel I I I I I I II under your Iluge..

resopnoulc Sf} whi1f!: Ilw Na'I'i[_Hl"dSO~lml ls . But Is ju. steeL!.dTAR sut» ~A~ICS I II II steel guitarist. Plm:iug it h leaves you.'ll .art 00( the pictur-e. SOtl'le uf of pi pe (hence noticeable get the nrst slides were made 'frOOl the tops (yf wIne i)nnBI.~ght. agreed that el se was at 1~'Ji1d. wrl als Io ~t':[~ Most tlC·OI. guitars over the years. v] IW!gc reso l)honk W get goill~. Many bluesmen musicians. and filii a fe¥!' dllfe[~mt diameters.. A SUDE from.:trlDgs or low actlon.g@ or w hatever ~s. different 1ly imtn.~u~L<.:u. I~e. wound where a metal slide can 'really raspy.: Of from lengths the " " er .1d of [ust-playable DOBRQS AND NAJlONALS In the lat e 1920s the Do bre and N.r) are ~as~. . rounder [J1Jita. 11'II_I1.~t part o~ an equation that also Includes wl)flt the ~~H4eS made out of. sound. don'! W.i gtl-I I II I I I I I I II !I ratio.~rlilstln.n(l mcl!:ll. but during the Depresslon such irL<:1nments r were g(ill~raUy beyond l h e bu (1 gel uf musklans all but 111l~! ost successful III f<llll').. It is ill$L'rum~nt that's nice to have a s pere instrument so you might waut to store you can j ust !eav~ it! an open tuning while you learn. wlth a h. a!1 those album 'covers to the congIl it nr II I I I I I ue!"!d .gear. w~thalmost and.lte-th~re's a. Sowhll e n1f1SI Tampa Red.lgher "note-to-buzz" mon:: to I.n{h~ wtll havt'!.)C I milly just means that. 01'1 the lower.()U!. with only two fin~efs free for chording lli-lwrally..you. 5'Lel~as..l!llCnfs. yes. or '~slike have buJU Illtu the taces of those sound was dlstirn . shaped speaker eones. At the same time. resultiug iIlstrurnent_~ with various to sizes and combtnatlons TI1{!$e metal 01 cones.. th. it's hardly the whole story. Glass tends to have a amootner. If Ing. win be equaUy difnr:lllr to coa~ a grf'Jll sound you've been using one of these.T Ine tOI1~.1 eugruved trtcnne. you don" .slc slide materials the term bnWefleck term.ction is partlclIlarly strtngs. to It zero A Ihic.. it's golng to w~ .I1d < wood-bodied ouators. cones.aFr ordable . whatever lnstrument. and If your gUU.nles began making' metal. 1~(lb~lI'l ohnson pClISeCl J wtth rowed. lh!~ heavier Lhc.'!::"l (lhencf. 8.~"J. with his string 01 hokum hJit~. sound pJhllky. lt's generally it W<lliu'l <1. best. some kll. and even that may have been bor- he did record with. VI''bich ultimately L rary.. you can blame yow.. O1L'HI"€ smoothness but can be a lot of weight to haul around Th i'n-wallf!cI glass slldes wi] ~ju~t sustain. L The two d. t. (lib1')on llartop. tH'I You will need to g'et tryout and there are many kmds to choose 1ength$.1 ~ig!l~llc:mt ~).string for that purpose.I.ny amplity the instrument's <t oujput. (Nice try_) CHOOSIING AND WEARING Ii silde.LS Lk ~Hcle gtl 1 rl ~1tR place the ~lide on their pinkie.k and h~nJ' b'I~'''H!!'i s..8i.rouml. arid lh Irom n"uop gnuar's. .ACC~S [IC Gl. w i'lll yom tW1 leaVing three flngers fre-e yuur rill~ for forming c-hords and "fretting !!lTlgle notes without the ~Iid-e. usually steel witb a dwome coatfrom.1l"_~t1l! h~ take more nnesse to keep a heavier sltde from bumping into the Iretboard. thin metal slides.ltioHal IlIJ11 lr c:omp . were designed used resophonic <'lC. the lretbourd at first. You'll Heed tu wh. a heavier slide is harder to mflni)Ju!.slide.ti{. Ille beuer relatively and Iretting without mIdd le tl n ger and pi t'lkie~ but tile sllde.:lHt OO! you're stlll golng to be fretting completely some notes unplayahle ~"~th your fmg~r8_ So YOIl the conventional way.1 tinge!' h~t~ YULIgri p the slld e fro 11'1 h s irl CS.could sport a cf<lukell it out on more . _ metal slide).

. I frQm the lowest.particular striog or frt'!t.. the run iflg £01' Son HOlilse tunr-s like "Can't &= SatisfJed. est srr!l1g}.work on Roomer's SmJ'J. and Paradise and L~rtch. strings. step to E. we're g(liT.U tunIng HOJIIlie Rain uses l Fffll the Same" a.r. tuning.I.. or course.. across all the .I(. by touching your ill~ge.to the fretboard. when ralsed lip Tampa Reel's "Denver Blues~ and "Things 'B01Jt Comin' !\'1y Way.1f each tuning are listed from the sblfh strdIlg up ti) tht'! -[J rst stri:ng (l. llhls means find lng a sltde that .m ~Hg your fl nger sc yo!.trings when you lay the slide across the freloo<tn:l (see photo l.>.M:ers recordJngs Including "Melln l~e~1Spider./' Coocler's slitll>. all of which are worth checking As for lhe. Incl!!ldIng My Broom": much of R. "From~he .rillgs. hand-blown kinds of tapered our.ras:sshdes there are various [IS glass shdes.. For example. whklj in turn 1. so there are ~150 sten . harmonic ket. here to pl!.. and various well.fJJ)]'S 1~lairkWas the NI!~ht~and "Nnhody"5 Faultbut work. Anything shorter will make il impossible [u playa lull c horn with the sUd C.din:g easily if you don't take especially them." It's also .ver thl.. comes to a stop rJJtht abovr_yuurs.11 make it 1J1atmuch harder to sense where your JUst [iJtlger is inside .s'~rill1i!as soon the CD II ieludes as yot:l"ve picJlied 'tt~e note . open G is.~ ruw I I I II 1) and G ttm~n. wlillout to cha:nge agaInst the ones -that reraain 'i\'Oulrllor standard consrant.g involve the sixth string.six s. inducting Instead of starting frim:) the sixth string and worklng tip to the t1.~ "Long Di:.llrett.I. . heav:i~5t slrmg to the highest. to Ch!'!fk. <I II III InfOtile PUi:fJte vaHey. ~~ EAD (j B. wilth the ly 'With them 01' use them to check vour progress methods described 011 page 12_ .tance C'll]''' and "Death Letter" and "Empire State Express." on andl.fU1d sjIlgle notes <lnd sustain Hl(lrefem~nJsC'ent SII1<l!!Imallufacturers the fragile side.nd U5hadow nf J)~ubt" ~[)H~I 0rWII D is the hWi!l1'l for llIi nd WliHc Mine".! can work r. g a.1.~tl"h-ig direct Iy {..~ the slide to {:. open G and open 011 00.wbi1e.set of tuning tracks.~t.11 Cer'llmir and porcela in slides are oot!] glass and metal: they're denser and nft~r' a touch il. the strLng:s we have YO\! make a . JOhll~. and I. more recent developrhent offerl n g the best of smcoth and b'"t'JlItlvely light hke glass.1I) swe a Lag. to _I}~ Robert Johnson's "W~J..JIJ~1 Chess polnts.~ following are explanations of how to g(~l into open-G and open-D tuning ll'Ulll stan- darn. CDft o cover bass notes with the slide white playin:g a rn~lody on top.r to II pres s:11) lt. st<l[lda[\d tbmillg' would bs wrjUen OUl IOWCl''icl:J!lthree Of four to high. size of the sllde..:.lru-I" Blues" .~MlLi_gly e!l101]gh 'lrl<lt it. rulythll'lg loDger 1. s.. ~ight.g to lise harmouics. Wnen wrHrten out.1.e. it's e~sie~'~ to CflDltlnlJ€ to lre'l chords ~f the slide eoeers is long enough j us ~ th e n'rst two join ts of your pi n kle. <111 Elmore James' (II[ who] . curved IJ. out they feel of metal..'111 affect yemlt sense of .U steps t]}!.i~d"Come On in My Kitchen. TIJNINGS We're gOhng to work in the twu most essential •0 gIve your ears a f (JW reference sU~je tunlngs.QV'!'!ra .ie.]ow). tun. You may also find yourself wanllng to go from one open tuuillg to nnoth." mLlHle Geneva.ec:ond Knuckle. M:eafl." early [\:hrtld}' W. and.bY-_~I't~r e'lplanOltitllls uf how tn get Imm open D to op'ell G and vir:e versa. chlpplrJg and cr.lld€:> made: from real bottlenecks. rht! notes 1. They're a httle nil good care of and IBaking heavy.nt.". yet to cover alJ..he slide. when capocd ur tunert lip three ha.

and you should hear a nice D chorrt TUN IN'G ro OPEN G f. C [Hod. S~COiHj.: Fifth fret. 2.ROM STANDARD TU N ING Open (. mtll st~jng = L2tb-rret harmonic.0\ to B.0 Ci.~ the strings star-tlng with the fifth "tYing.1:1: Ufth stdn. tourrh s.oweir your second str!rtg' a wbole step to A.g up whole step" f!:'CJoITI G tu A. ls D G J!) G B D.ole step to D. L 'lune your fifth strtn g down whol e step. ruth r:r~t.TUN liNG TO OPEN D FROM STANIDARD TUNI NG Open L't Is D A D F~A l). low to' high. fourth string Check: 12th-rret harmonle.. l. from A 1. 'rllne your second nA n 11.~re\hannunk. Or mtll-fret harmornc. Jourrh string = open second str111g 3.~rpIlg = open lourth str. open thini string .ower your lhird string a h . sixth. sixth string = open fourth string 12th-h'et harmonic. sixth string Or flftll-'Iret harmorue. <I 1. from B to A. [ourth stnna 2. L. C1r1~ck:l2lh-fret WJlliJU Eo I). ('heek. to Fl Check: Fourth lret. Hfth s.t strll.tring a wh. Lowe]' your tirst stliog a whole step Check: 12th-li"C1harrnonte.ng dowa 11 whole snep. Lower your first s. fourth string = open Hli. fl"om FI to u.U step to Ft Check. fOI!J.llg a who It'! step to D. Check: 12th-rl'et harmonic.g fourth strinp = l~th-ijl'eL harmonic. bottom It.. TUNI. Tune yuur tlnrd string down a hall step.armnuic.r:k: Third ~Iet.. rm.ltop.o. lllth string " open second first stl~ing string Or fifth-. third strlll. fourth string. Chec~ 12th-fret harmonic.rd string TUNING TO OPEN D FROM OPEN G To D A I) PI A D rrom J) G D G B n. Lower 'l'om FH'ltl titrin~ a whole step to G hannouic. Whole step.log TUI). you should be a. Lower yotll" slxth stri. 1.nr. sixth string = 12th-fret harmonjc.sck: 1'0111' sixth I I I I II I I I I I JiJ"" lu high. string :t TUlle your third string up a hall step. Iourth string: = open third strcnl1 StrulllllCmSS all sill strings. Fourth tret.= open ~hjrd strjng 3. Dr mU1-rre:t harmcru C. string a whole step [0 D. fifth .tring = open flrsl slrlllg Ilr. Tune 2.string = open first. ')'01. from . fifth ~~rlng = 12th.B: you are in tune. :~.NG TO OPEN G FROM OPEN D To D G D G B D fro-m DAD Check: Sevent tL fret.nh ~~tr~llg: = open first strtng to I I II I I I :1 I i2~h-. second strillg 4. string = open fourth string Or hfth-fret hnrmonie. Check: SevCfi til fret. Lower C IH.e:your second st'rl. r. Or JUth"Irett harmonic. Chp.frel h~mlm~k.n ~JrJng '" open founll strirlg sbing up . fourth string 2.fret harmonlc. L2th·fret h.lng .ble to g~t 11 goort-snW1tUug G chord hy stnunmin~ IIcm~.

YOII need to I~ fight -over Ihr: fret."'.iiJUJo'.It Is havil1g the slide.'. :.~r.re going to begin in open-D tuning:: from the.tvQ sHU got your t!'iut:ll'b riE!ln:El alOljjg the back of the nock when you play. ~'~Iifc21 RBCOADS .gs behind the slide (more on l'hallaier).iding along the Slr.kmg: or to play lead IIDles wl~hoHl thiD1~Jtg t-oo hard.lltl be without the sI1d!":. not ln het weenrwo YOLI wOl. you can move the slldf! wh'il e the n ote I:. that not (In Iy does your' gu tr.you 'IIiJ!I can do 01.tar. i. We'...'i. I.' ~ MY . This means that to £l~:d pItch wlth the sUd~ that matches lJ1.. c.c--.l~1oO. see. Lers ~tart over lilt! fret you waut.r~ pitch you"d a get with iJJ !!Ie:~l~dnote.in." 1I!i' ".UyU'" 'E!ojl JBc you need tQ be. WI:HW you play with a sllde. lefs see What it aClu<llly kef.. C'erruni~ encastng nr IJr. .age 12. Wi~Out finS!.. because LIDIUre 11fret.:~: il~ tuu.18 board.h. Play Example suing dhocUyo'lrer ~he tourth I on page 14 [)y str'ng is the easby plaetng the slide directly pliiC:t~~g the sHde on the high frel' {~(u::ll ime there's t a.. stlll vi Ilrfl!lng..iS.l a Let 's t<i ke a lOOR:at what's going better sense ui how to htmdle the sllcte and what '10 listen for as YOI] clIo it. but able to hear if you're <1\ the pit!' II you ~'<1nl.1n(l your index columbia 'Raw..1427S. of your four valuable af metal.Ol!can't tell i1t first how hard YOiire pre~:s!rg~ it or if . P!\OCB.fi~. sixth str~ll. yuur irUn- matter'Sllo'W.~ Way to ~e.1ghliy you bear down on the stri!lgs with the slide.g to tile jj. Wlhlle irs true lhat yon''''e got thls slide CfirJiJng between YUtL and strings. now you ve gl't a.Ii.s ~lke to play a lluJe slide.. f rum one pitch to the next.u:.I'J(~il'Ha"'C. yon.g in be11veen (the zeros in lhe taiblatllrce) . That's how you get the unit. .r on ~et~ing 'Into lhi!! tLlnJll!l. yuu don't want to press the siring dOWJl to the lretcre-ating a Itigh~ frets .IlV~llg said all that.tr.ill tun.td'" W y.'. U A D ~ A D_ ~]YOtl need 11.. er pitch.H:etile sllde on it. because it aUows you.OLl p'I.15 just floaUril. gl~.rst. And there's. You can use these to stay oriented so that you don't leellil!t: yuu!" . 11'IJt to play slide convtnc- ~eMlil1nfl yeur way Mound wit'I'I your ears a~ well_ Yuur fretting hand can heJp too.vuu're the ~~Itllgs at .D~ to-lil.! ue soun do of slid e gui. .l\ Just tune down an (f then compars your open strings lll!l<liIlst track 2' tomake sure you arc in time with the CU_ Open i~t string I) is " ll!!Jud beginn i ng point. .111 Hmm. Ll'1l"3 effect ~sthe same as pressing the 5trin~ illto contact wjl h a (ret: Che string length is shortened..hords.. l)oj" .edmm lite-string is the direct result of wlwt"e I1mir. OK_ H. ..tij }.~...[$. doesn't Oil when you p!ay glJit<lI' thl.1r need to b-ein tun e.~_~. to play a wide range or mel.. certain tn~ly requires need tobe of shde placement signt.for to play eleanjy slide . p.udHes wnhour ever leavin:f the high string.fr'ettlng hand .! in -~pa:c:e.. and YO!J don't have the fed I'lr 'II1e frets 10' gutde you.:tu.:Ii~t-r. When ~he slide mskes contact with the string. . 'Ti ratmenns amoun.:Ir&i .. M\o w~oJo ~Gu. ~b'w HloiElt~:. :.. more: since the pitch you I!.I I III G~rrING STMTED I I II I II G uess_ what? Allel' aJJ th~ time ~'Qu've spent leal'lliug to finger. M. quick r~keshe. nota Iret.€: corohlsing. Wh~n you plal.·'~. it's the Slllll'Hl of a string's pitch being moved fluidly.'" t1i~ \'II'IINti¥:ur ~~'Y. ~. With no sttep-by-stcp menrs. stop the sO-Lng fllat makes s tide guItar soun d like sJjd~ ~uitar.~Io:.c.~iIl!M. and the high on with the slale.ellUorl to your touch-buw incre- I I I I II I I I heavily or l. M<Iikesens(~~ So you've Hot to really pay :.i!kes pli:iY~flSa nUJ. L fin~er r. Othenl.ssing it ~ainst this object OIl tile strings.!.o.r~ _ ~e. rour in ~il(~ 1'<ltlalufC and play- ing rhe open high slrin. prece nne.Y"'''D<.

1PPC[lS? Are you getting Im~ (If open higtH. So let's get some pr.lingthe slide so that it's touch- illg on{ythe hlgh string (see phoso).__ ·f_~~ ~ NO'w. WhOB are we ~ogng I~ actually from sNde I'm lht~ strmgs?" All excellent polnl. ov-e. 3d r ~-' ~. have to cover all six strings.14 ". W'l'hh.ay. Tile idea is to :cover only the strings you're aetual!y applyi..~aga~n'? Try this: The Ifidel!: hnger on yotn slide hand has nothlng better to d 0 rl~ht so let it ride along the strings behind siring.<:c~!~: . (lS the jazz ·cats ~.ajor .s.l.f--AC1" 8 E:<..m..llg the slide to. ~ 4----1..J<.t-r-ing noise in ht'!L1. do.f it were a tongue twlster.. that ten Urnes tast. Dave. l1i'g..!"1 get a cleaner sound by arlJ. is swell. \1.! sliding ls pretty much a maHer of accurately d get- ting tv a ~peclr:ic place by moving aloF!iSthe string specific: pJar:e ...2 I hear you sa}".. With tileS'll YOIl or ~he siugle. A agUng flr~' ~-[ide to pJay DIlly lhPi IliRh I I I I I I I I I I I I I I I II I 'I Right. o TunJng: DAD . Exam pie 2 ls ~uad e up of pa r l oJ the D. just ibd~re your slide does 1IIId get th1l!slide...~ACt Ifi#. 'iJ' :~x.as i.. See U you urn get it to land 0'11 the n to leave the strings lust after the sllde .1(":llcc droppiIlg the -~l1de oruo the striIlg' In more than s/ring_ one place. to your palm I{ you're ca. nor do you have to USe the end just playing the high string.·el~. What h.1 3 _ ThG slLJe doesn't slide closest string exercises..11eel'l? Maybe some clank or rattle or buzz: as yOI~come back ~nto the second fret or as youcomtll uH uf the fourth lret to start 11m".1 sltde from the second to the fourth r'l'NS_ I' 0If+l-.. '!!' F~ A D 'i!' . Example :1-.

In U1<lt t:a~e. Thls ~s called Ide. there an: Iirst and secon (1flutes but ~h~ first note Is jus t part: sound ot !1. II" }iou'yealreOidy not keeping between the slide Of] doing this lntuttively. F1. Is what the c..i!t>~ it. MUTING. at that flavors 2.ide.I<l. make sure you're landlng at the fourtil fret and going back to the second. or ttl e Con ru~ed7 Chee k our f.liding 11110 it.cal folks eatl a grace' note.) slide and ll'e:eps thc'm fmm GRACE Somettmes NOlES.C(!. si Id-llito note. \Yale h your step pie in a: litHe . honkin' Try gt'1l."ffinger act <IS a dOimper on the open ~trlngs. on [xarnpJe the way !lack tlOYi'II DB partie '111~1l it's time (om1c:1 counlim1!liollJ. tiu. :!I. ghring' you that !lJ..j on paper and 0[1 rh~ CD.. In E::o. as In the seC!and fl't2:t.lL you land on three more tlrues while hQJdi[l~ the s lIde in place.C"f:-ftQtillrg your EX<lJ!l 6. It's the FI'. YOI! blow through I II II II II II I I Tn other words" lh-e.n we 'U cll}1.ssl. you don't want to be just s!iding hack and forth and i01Jrlh frets witnout ever IIfUng the s !. . The r.et:tlng10 the second. The inde» finger iands on tbe ril1/tmg ous: SfTj1ngs DeforP.:ample 7.l Il1ight slide inlO note [usr for the sound 01 s.0 you're I)iaying two dJsl'lnct notes. while =nt~r1l1ing to play grdl::e-note slides. the second III other WOl'{ilL~. Ing ~hem fmmri[lgtng when the slide Is ill transitton haad damping (SLoe photo} Nnt~. lis <L Example :i. Ir.d ea l5 to have your inde:.ke uample 3. Other times ym. and shdlng lrom one the next.teanwllile. repeat each note UI. as ill Example 4. and the. the I:lO~!:. the sIrIng in belween great. keepbetween notes.(.GFITING SiAl! eo J:5 does. LJnll.t(ilTlJph" . The E.et.ALS 1:.rig!ht-hOlnd way fnt!) all the notes Oil we covered ular. AN D OTHER III ESSENTI. the po 1m here' is just the fourth slide up from below. Try this over a few more uores. An the right. first note is sfnuething tu !let to the second note.

is called rigta. l-'t~y ~~ample:. to accurniely pullehe s!ide lXKh to the .'~ *" ___jt~. creating be ~.UQlJ[tioli takes. m ll~ifig a ~Q there <Irereasons to _snde [1-1 th~ ether direction as well..lrJ Exampfe._. dow:'!our sHding In one dlJ'ec~itlnOJil~YI and we've used lelt-haad damping Oir r. I --~-=--=_.. I mow you'U I I I I I I II shtn!:! ~fter each pair of eighth notes. ~ --A~' __ . it 1. especially aD tl~ J um p :frn.ul uf rest each. I~ft-hand ~ndex finger as a damper.16 I I o r~€rn~TnIwr ~[} IJS~ ~kt~.~~chyou started from. BuJ I II II .•. as well.nmnc(1to ieam that thus. use your p~cking f~Tilg~ro mute the t a bc._4 -_.!.n1i! alter )'GU plaj' it. So fOlr W{l'W.n:d muting. time.:-_-~_. --!. 9 afld [:IflHc~ the <i. .fw.=S~r ~==±=:::::::j gLYeus time to move til!8 s Iide b~(:l dowIl~he 5triug.~ght.seventh fret hack to the Iourth h-el '11-1 measure 2.-J-----=--=---=-~->-:-------71--+r I I I II J.8.m e the. ¥Oll can efcfe('rl'VIflly -iHH-1 YnUf rlghlll<md can take care of muting rhe'sh'tngs cum pletely stop a note fml:rl I"'i gin£" ou t hy t[~ngi.1h nd.ng your picking HIlger back to rest n on Uw: 5Jnlf! str.

1. Then bring the shdeback to the Jburtt fret J\.. haif-not'l>' trip'l0Is i eighth-note t.~ moving your thumb hTlm Its spot.._* e ~_~~_<'T_ II values in all kinds of conf.(n and I III III II n. Even if] lx.ce in threes. couple of frets up .igur atiens . Ex.rorl1l the dOV"11beat."l('_e ote . the fiUl'IlO the seventh fret and back. pay attention ~o your The neld.:r~er. rmmblC!: e'lghth.dml!ing ymu lliUJTI b.. alna:z[~ whal you can :tccompUl!. i 1 to ruake III II 5 9' ['50 I -I ~n Exarnple Ha.. t. as.f" the same idea jl.l'iIli'ng or t he hex! I 18 I F:-J.ack tothe ...rip~ets. 10m ~--:. th.llIre_&)1Olrnple H)b is fourth rret at ~h..ebegi. 'Wry this in conjunction with a grace-note slide.gr. tend~o sIIrfa..C.whj ch you 17"A1B use 11m~f il!'\f'_1tll1i~h<'lI'l{~hhmh 1. ~ 8.dland di<U'[!p i Mg OJ'! the jump rrom the nfth fret to But.:.. Example 10<1[:i.\lgune g:aBgS:~.'f-Ac".~1"~.'1g'ine bucket checked! stilts trying to~queez<:: tnto a <It it).y I (Jr~- at . and it's. r:xamplt>_~ HluMrate ·o ~Ht how yon .~~_4 0 Ex.lm... W~thou. and so on (see photos). le:ft. That's two-seaser are.'HI ~~tart puttJng some or I'he ~~e:dIJ[r:f- i..li1I. qt!.e Is made up or all kinds of rbythlIlk .--1 __ .Inmatr:hlng (Im. tbey a!jjethree notes t!yUn:g 10 S{ll_lf'.naws a qntck slide ent"ed _ Plant your thumb up to the fifth bet betore s~h:lil~gh.n:u. poun1i:an the hack of the neck and play at the JOliIth fret. l. "file ke~r is pnros.:» ~II_~_"~_5 -_. or <Ii mea.~e.n .t_1rUng em the . Hke- I III seA~5 while yuu're what triplets space: uf two.rm~a~. up to ~ PQll1J!whcn~ you ean do Lhe same kind @t stretch from.fN:L usicel phrases.en.f':~<: .~ure. slide up to lhe LiUJl frl3t.(1as together e . 4~-----'-'ir"7''-'''~------r II II I I~I "..~ .tove your hand.nute three big tonverUhle Triplets.ing--hmv the notes are placed across the beat..II I I II II GETlIN" ~TARTH 17 Example g i:s <l sinj~HDn [n. stm! ch ling your hand.. haH:!notes..h wttha h...1b .:" - F ~ . You can h~'Ve tr~rloets of any tripl~ts.8Jt:omtor~able.~ name tmpHe3.llPLET5 1Nhile mus i.:::-~~ ~i-J I .dluIQf iElIamlflle Hl you can rteOlf ~11i~ 1mpact of beglnnlngaplw~se I. Or II kind of note~ua:rte:r.111[':msehr~s~nlOthe .

ran eight-bar blues b-y Robert Johnsen.lighH .nu·ch only between twn the sliding <I ruIi-Yah. the one whose lytit:s lnvolve lost love" a suggestion.1 a grace note in lu sec rmd. ~ Angle t h e slide whcu playing t'J Lllh string' with the s ntle.regular I"JG!h'lh notes.1> the 5<L1ne ammJ![I~ of tlrne as two regular eighth notes. .BLUES l~lJ We Wfap with a short 50n. • ~)~e th e Ielt-n and index fl'nger for dam pi[]g the st r Jrlg5. in the ~e(. main note. and all throe :>0 what gOQd are they? Well. but they squeeze notes arc rhe same leJ"lgth.. I I rJ :3 . . check 0111' h~ lick wecen get in Exa.1 • ['1-. Blues. I ~."e._q:. Corlgra~5.h:liI. .!( freUinq. ~r .led notes aJ1Q ustng a first 0011...lR I I I Look ar nl-I~J t~ste['Jto &:xampJe 12.I t.. Any three !.-you're OIL your way...~ets n we've flot lWIJ take 11.. ~ a 'S i ""I ~ ')..ing to and Irom n note in 'the :llIr~ HI<I. so luat y'O'I. ote tfi.-hand thumb as (. 10 mute a st~iI!lg. Very sneaky. we'v~ g{lr twa pairs {If . 5 ~! f57_'f ." This tune may re..o[ld half 01 ~he measure.f UI(' in:'t. 1€':1's HIIIL up the dements wi/_'ve mtmduced in chapter: ~ Place tn(: slide dlredly Q'i.[pivot whf>!l slid. . C ::l 5 'l'-oi"L$ e CUCINA Before IIlls . sets of eiglHh-Hote triplets.blues rneledyentltled ~C!Jc. ~ D!~~t1rJglIish hetwaea I:I:S ollly on the h i ~h string. Now try your hand at an (\ight·b~!. h~ the first 11alIof the measure.1n(il the threat of inclement 'weatfler_ These: I I I I I I I I I I . • L's~ YOLIf picking same phrase. in an extra note. fiIlger • t:se YOI.L'fj~nJ you O'.lHple 13...by incorsljn~ moves. I jJQTating a triplet rhythm into a series of now-Iamjller r... Then.ny of tile 1l!ey elements of slide playing.
















• P'-<>i-~&-- -';1!r5:5""'1)'-'


-_ -_~_:

:5-:5~6--'O_" _G4_4..Li~-·_' =====7=~=-



=_ =_ _ =_






~ ~








F~4:4~~:I~~-:_-e_~~~=-eo=' P=4=........s__ ~_oe-, =:+-1




s.c 0








ne., t!& the mCllIl rl:1Ollior~~, pla.y ~i!de with yuur fi[l,ger.s is to .
(i)!"ICC YOU'\i\C gOl

SO ycnJ can provIde I:lack~p fop" yourself:

some funky melodies
going with

Jloing with the slide, you can ~et the bass
at ~he. $~rne ti Nll~_AJt(!'.r



you wori!:



you'll be ab'~eto thllmj)


re:t'-[lo:rc groove on U~¢ low s'!_rlngwhH~cor) ~1!l~I~ to syncoI~g ~<l1e '(;00.1 licks 011 top, The fLr5~ s:ttep is finding the bass notes
with the thumb:

next comes using the thurnh to hep



bass groove ~Clit~g,Once you can do that. it's a matte! Q! learning W pl,~yHeirs wI! hi the: sl~dcv.':Il110ut losin g traclr or t he bass part your thumb tres popular
lasr chapter,
.1 t

ls playing. It you take it In steps,

i. can be

done, and more importarrt, p,~ rties.

belIlg able to ,d 0 so will make you

Lefs start with the oper~~ng:lick of "Cuelna Blues" f.rum the
Tlhi~ tlme, we'll tolay 11. 'l.~;'l. mil <


t:P.4[Witse._ &!nw

does th.rt work?' In Exarnple

t, Jour



melody (that's

with the slide, [ust Hke. I:ldore (tl:laf.s tlre <.aU). <'inn thi~ rime yuu alll>we.r with two bass notes, played by your thumb
the i"€,~ponse}

To better hear where measure, repeal' El('H:ll,plc] until

those bass


are .faIHng in each

a numher ,of times, ,,'IS ~n EKdrnpie 2,

can keep it going with a !,!:oodsense of groove::

l!J!nitlg:: D A DFt..,. A D ..,. ... '" Ex..2

!iJ.._,;: ---b,-----.,._ ~--. ~

fn;;;_J .•n



- --+






e i""*









!Il these

Ralsl!)lfn~le stakes just a Hide more now"~ry dropping es while pfayirlig.~ sequcT.LcGo;f two differerr.I' melody 5!Jr0~ oi "Cucina Blues," as, .m. ~I'.lInple 3.


phraM~s, or the firsttwo

At n~is point. you may have guessed what's next. Yep, ~Ol.l could play the ~nt1~

l Ed

eight-bar blues at the end of the last chapter using this call-end-response appruaeh. Here It ls, iajd out for your r-eading :u'1(1 playiIlg pleasure, In Example 1:

Ex. 4


D -"r




r- r
0 0





:_'~ W



i _j_ ~--~



.. r
~ ~







~ ~ ~
5 2~



' i-<t---4-


... I



~ iF
"" ~~

s 'S!o





o==_o_=_1+__ 'fl-=--=-_5_~_'='~'"""'~-=-~'_5ir-_-:_O&'_'1l'f:~_4""'_--t'I~. ' _ ~_~-=-4_'





~Grea~.~lhear you ~<lY. "but what ill w.ant to bfJ.p the ~}<lSS goong a~lthe ~'ilile7 Can it be done?" At HIlS potnt, ~ mul€l rr:spOfld in one of two W.1YS. I could look around, lower my voice, hunch over the table, and hand you a dirty, chipped glass, slide made mit of the ~ast whiskey 'bottle .Chai!'ley Patton drank f:rom. Thsu 1 could press a torn 81"1(] f'l'tded map of the Mississippi Delta into your ht.md~ ami tetl you tbat yOLt may
never see me again, arid the camera would. cut to reveal hounds Or, l could just say, "Yep. R.e>acl on. ~

posse; of bad guys and hell01lt

waWng for me In 'L.hedtJ:ving rain !Ilt the crossroads on the way

of town,

I hate

dri'lma, SQ I'm going With the seeoud answer. The, best way to
Bonk, bonk, bon k. t)OHk. Just as, in Ex1Jmple 5. Then add

get a steady bass

going is to take h step by step, Start. by hltllng quarter IIO~e_~ wIth

YOillf t.lh.tmlO QO Ute 1O'W5trillg.

. . as In E)(. j.lmlilta- Il~oltsly witll:! your thumb and Ilnger.B Ex.. No LII::e thM you're now pinchlug with your thumb <'lnt! Unger on every beat.. note. 9 t!!J = :llr'= r .{If middle YUI. t... I ~ a - ~ .:h measure.-hand technique pleklllg s.~. In Exarnple 10.d l.irs. GUJfAR SIII:lF ~"'!'. 6.fIlch. r ~r . ~1~7_=~ . __ _E". _. .. 1= 100~ J. 6 :111: e 3 r j Once you've g01 :11 U~al coordinated .I :!II'B {inger. Example. e---H6_-_eo-=-~_-=-:i:H-..r.J .1Jld COIlIi (10 several !:fmovy. as ill Ilsing yoer ~ p.d the and your fiflger while malntalningthe t~~e drt:us if you can do all thls. We CIIII this rlght.. Really. 7 Ex.1---'61--:_'4_' '.~~~---==~": ------r""---+II-I--I~~_z:~>t ""-=~ 1 &-----o--"'--3-~-t{' 0--(. 61" i . illXI(>JJ. you a dHferent Ilol.should h eve consldered -\..rtI each other.amIJle 8. and then ke'1lppicWng with the slide at the fourth rret for the next-three notes. in-tilfiC repetitions ~[1 a row..tl.A.r" .. p+ I -.. as in..'~J tt 1(:.C-t time. you are still keeping the thumb goinglik:e clockwork plckiilgwitb notes on the hIgh _~tr~ng.' ' :'">. beat of e. Next pmceed to quarter notes."l.1{.~ jl . So you're friO-\!i1lll slide al"Ol:!l'J.... _ ~. you guessed ~t.but now tt's low end at the same time. Ex..S I : r ." l I Let's make: tl"llngs even more IO:Wresting.r.~ .IC5 I I 'I I I il I I I I I I I I I I I the high string 011 the (.e on the high strlflgeach . I 1/ 1 .iJ pmcn.~ ~ .22 ~Cou~ 11(. as in Example l Then do half notes: keep thtJ tlunnb tholllklng ilway and playa slide note Wl beats 1 and 3. fI Ex._ Ex. f Gl r . i'lnd the twv cligilts are rnovl ~g 'l~ow.. 10 '"' I'l II ... make that note on lhe high string a slide. --~ ttJ • 't>' I Ii. <IS ill Example 9: sllde Into the ~irst note. and playl oS quarter r i j3.

"but what if [ want 10 ~@ep the bass goJog all the time'! Can It ~ dOflu'r At tbis point.::::::::==---~ r 5 '.JBt 5ay. "1. you may have.. . honk. Ttlien add .-_=::-_=~-=--_-_-_-_~~_P4----'15. I ~-----~~~ .. T ~01Jlr1li..~wt>. l .d _.iu II I I I I I I I I I I III }. .1could re. I )l.1)1*.I~(1 lor your readtng out next.around. J 6.II II I I II GUT I r-. ~ ~ flo . · lower my voice.ded map of the Mts.-. . o W[!IYs. Read on. lJonlc Just as II) EX<Hr1ple' 5.1: E97-----'t-1- e ~_'~_. 11." wa.Of----~ -(-)------01 7 _5. 1 5_~_7_-=--=--=--=--:... 0 G r- f<". -.alma. YGli could play the entire approach.y out of town. J!I '~.mule! ~(I(lk. . Y~p.~1· 2.-. t.:. posse of bad guys and heH- 11.----i=:=-e what's e C.(¥ -'f--_· -. "Yep. ~ I hear YOIl s<iY.-_-___ 1 . so l'm going w~th I he second a!rl. 8. gu~sscl Here 1r ts. Then 1 could press a torn and fa. 'bonk.-bi:lf blues at the end o{ the last chapter uslng this cell-and-response Exampie 4:. '1 hi+. '-lI=O=.ourll:lswa~tiil~ tor me in the d'l'~vll!ll!l rain at the crossroads on the Or.able~and hlln rl you a dirty.)111(1 IJla}'~ng plea!mr~~..i:s!>ippiDelta into your hands never s<et!me agaiIl.. i _o ~74+-\"_. eigh1. I () =i ill r &---------e------e-- At Ulls polnt._i1_e-+I_*_~='5__ = =======~ 7~5>_9_' _(7-_7 ~ -s-el--- STEADY ON "Great.""TI·llrleg. and the camera and t~1l you that you: may would cut to reveal a.~pon(l in OITe Q.)y to « s!eady bass going is to take it step by step.~ • 1- J.. I bate. tast wh~skey boUle Char~ey Patton drank from. Start by hittiIlg quarter aotes wtth your thumb on the ~owsltiug'. hllnc:ll over tile.! h . The best w. chi pp@d glass slide made ~u~of '~he.C': 51 A'RT E o 21 ' l 5< 5 t rFJ j.1r. unnecessary get d r.

tyh:: "laying. play :It the same the notes. for ~t's.gers. And maybe not But it CIm be tricky to read the ~ab.ltl!5$ .'-'. l'iote that you only have to slide twice per measure....'>Iotme!" plai'lng the eighth notes on the low string v. so lt is always you exclaim ."'11[1 ~he high st:d. Most often iu nee going tact a real must C<li5 ituation you'll rind yourseif mlxing it up in the melody notes. .. we're E){<lillple 12 illVoh'es pLaying eighth notes lit the melody over <II steady quarternote bass. ~I: r ~LJ. Ri~ht-l~8(Hl damping H increases ening the dlfference helps keep the b.of rm top wlth your fintime.Hd damping to the bass notes.. '. Listen to Example 11. rcgatdl~s.): I I I II I I I I I I I I I II I I I I ~-M iT I -..~tl1 your thumb .. notes. between clg!Hh notes <lind'quarter one way to sharpen yrH. essentialto have control at all Urnes over whal you're pl<lylIlg In the bass and to be able to maintain that.!.. I • -+ 4 .----"" ] ~-_---... -:~ ji' now is if you':rc Hip.flopping: lnstead Tile Import1llflt rtJIIltigto l.g'J1t-h<l. "'" = .1'[1(1] O!~ IH timbre between <. and listen to yourself analytically oeeasionally anc1 listen back to w'hat you're domg. ill which yOIl hear tlrst undamped aud then damped bass..a r -"1 • --~ =-= r ~ r ----'. on the downbeats of i am.1SS aotes hom Hl at you're Ihe bass notes df{lWL~jngtJut the meJocJ:y. for our next trick..s of what you any kund of 'In. good idea to 'tape yourself play top.l!"IImple 13. alid once by sharp- the 1mpression piaying l\~'o different th. ~~ 9 r o . 011 a. . EI(3HTH·NOTE MELODIES going to g@" our fin~ers nwviill:l faster than our thumb. --e-o ---ir---- f r Go back to some of the €':<lrlierexamples.R sune BASICS.ngs. in thls chapter and listen to the differel1C~ when you ccnseloualy applyrl./ ..n' rollexes is to prac- and fonh between the two-s-as in F..Islfm Ioe right gefL~.24 ACOUSTIC GLHT".:.. ~. 2·"'" s ..

lng all oHbeat~ over steady bass notes Ihal ~tay more exeecrse.some slippery .1t elgjnh notes over a stteady bass try tllki:n:g [ust measure 4.~ 011 I. 4-6 falling on tile offbeats. ~O--- F !> r r o_·.""".' -- -e-- ----Of-.lge 26.1:_e~_-=-=-_-=-=-_~9_·_. F i_a_~""--"_''_1_"'_"_. J.iong these the beat.. ==__o_-_~"_.1C~ice playiu~El(](ffbe. ---801'--- PILAYING ON IH E OFFBEAT I I I I I I I I II I I II Melodies oftc. Co1upate penratontc melody..I _' -.1l carl for beginnlrlg a phrase on an offbeat-cn the and.---_~5:<::--.r blues 'with a D-millor inc:lu(h:~s.:.is anlol.SI' IHIVing control for more pr.H1pie 15 is one notes on the dowubeat line"~."'~"'. ln whlch we eomblraeeight!l "'"I111Hi~htb notes on th~ oHbeat "OfJbeat BIII~S. as tile jazz cats m:>eto say~ u t and 2 ami 3 t:md 4 and. measure 5-. ~:~:~.he._~ _-I-_:G12-_. a re placed. ------<Sq.('}"JL.'l. of 11 fllth:re!R'e it makes j U. I' .. & r .. this w~th ~Stlil-aJyNow"~o see how much where the e]~htll..F.:>:alIl~le 14 provides Oil you with some proctlce play. or measure {)andplay.25 ~) ~ r i __ 5 r "~". It action.efghlll-l!ote SlJIe::. = =:_=:_O~-=-=~~~II. with most of tile melody M1()r notes in mea.ing . 'Ex.}1.:.""j----if)'l-. notes it in a loop.__ ._.-~-_~O .

- - f6!--f2 -~ I 3 '"' e 0 I e I I I I .. s· =(..I I I -_ I I I o I I I I I I I I I I ~ .J~ J - J'~J---. _ i .. - _- ~ ~2 l rr 0 - r " -....._.. -~D 0 fl __ 0 e f) ~ Q----A--' ._ - .26 "'COU~11' GUllAI': SLIIlF OFFBEAT BLUES J~.J_-~-}.r 1 - i r --f) t- i -- r e ii ~ ~ I/ --=--11=0= e 6: -_.=J "" ri--1....' - (G) (A) ~ I~ - .._ J. - i i - - i . .I - J_t\ ._--+r_~_12-1&-12:-1-2-1~e-t2 -1 O'--fOl----EO'i-.h .. SICS B_=/ II .'9 0 7 r r' r r r r -tI __3__ 5_: - - - 1-0 - - - i (!...!...:. G J 0 J) I~ I . t..

orthi. ph}'.Thls is oniy poles.Ve'rt: going to hegtn In open G using the sllde ac-rog the WI' three.gOi~g to switch from op~Il-D tunin~ to Ilw most common tunlng for acoustic sl~d~.in this chapter. B ecause we'! I b~ us tng more than one string IrO play melodtes a!. out <IS n:ry us in.ing f!'IICf:lothing up at the 12th fl'l~1(whe.::alledptaying in c{ow:)J position. 'i.r (or the h~gh n <I. ..~illge.ar to open G.r~ the notes a~ CCmveniently tihe :s.10 Y INCO AI10U til D Ttl E tUCK '1] I I I I I I I I I and the next aile. namely opeu G_ Low to 11~gh.elpfll! to hi~her). chapter other &0 F Bluesmun Bu1l. strings.11. tar we'vehcsn using the sHdc UJI one string c'reating melodies up and down the rn ligh striug and always corn i r~11: back to the upen high s~ting.the nOte5 are D C D (. try thl~approach as you work urrough the exambut il" sornethtng else seems more cemtortable i(}f to you.ry note Is pl1ayed with the sllde.inger f~r the thtrd s.g your index f.!. good exerctse getting U~f~i'I to tlns picking system .ka Wfl fl~.~nd )tour 1:1 s . . oo page 12 'or tips on rewt"'ling yvur gult. but om octave because tbere are no open str.I!lfIons pick~[I~ hnge. B 1':1. try that ""ell Example 1 I!: a.l!) ((). "Ilis ls 'r. and S check y-our :pitches a:gaillst~rtlck 3.tring.~. startIng po1nt. Illivolved --eve.ch striillg: shi[i~t your middle' finger for 'the second stl"Jl!lg.r ~o ~". we're.ingg it ""HI be h.<irueas lhe open strings.

.. yOll'r~ mm'in:g every note lna phrase.'l. a lid':.=--------~lr&4~-1-2----··~_. 12 ji .~h string.u--7~~.. . r. 4 is a slight- ly more elabO!'atoiZl move.-----------·~----------------~ ~~~--------------------.IJ"J J.ns'p. 1:ISyou Call Well.~4~&------·~----'---· ----·---11e~~~ rP'I -------- ... -1~( 12 I I I I I' I :1 STRING 10 STRING Working on more thaIl one st. ill other words.t?'" coul.r. the B strin~ ag"...guitar at the second fre..x. :3 &Wi~ (.. hecausett's In~arIn Examples" ami sltde 3.~ r hear you ask. I I I II I I Ilh~~&~--~'~~.. -----~. wltl) an additional seme-strlng Ex. ~r_---1G1IQ. ~Why.-_1_& __ ________ -L ~... ~.epil"lgit rhythmkaUy and melodkally intact.~.-t}- I·{: -IIL~~~+-~~~_1_~_.in to 1an (I nil U~e thi rd strini'l. __ r r-~-r __ II ~~~--\2~~~~t2~=--~-~------------4ffl7~=====1~£~==~1£..) ._1_.t you're· tm. "would ~want to do tha..II C'.lnple at the end.~9.~ -1~ . in Example 6 you land first on the '[hird string.~+------~------------ In f:xampl e !i 11'011 slide up on the B Ii tri liS to Iane! on the high string.--------~--------~--------------------~ TRANSPOSING 'lirl'm.spo-si~ means cma'fl{li[lg the key {J·f something whUe: k:e. t hen s lioe tip Orl.ring makes it possi ble 'to sllde into one string and then ptck an adja~ent s~riIlg. then on the hi. becomes i ...~. or a whole plece up or down the same amount {\Vh~l you pIrt a capo 011 a .l'silig everything up a whoJe step: your G chord.t a..

and therefore. on the ropes course a~ I round m}.s'efi sway irlg ill the breeze 50 leel ahove the ground C8.. to the seventh..ry involved. It we want to imply or spell out II. tit-E • -Jr. but playing'sllde ill all operl tuning position. and so on... jo"'(lU'f'((l gOing to go below '1 hG seventh fret.f? t.'.'Ilnl' 1mh fret 5th fret ~ r ." OK.nopen G involve two or three or the top tluee sl::ti[lg~. you've got a point.) ~ '.--. G-majof. 1 r • ~ I Ex..t and Just play the notes. dO\IIIII to the flfth fret..MOVING AROUNl) l Hf NECK Il1] A chord. except maybe the iflfty m. Seven.. --I e =1 .Pfrp. all 001a. I. they spell out. IUUe transposing In acUOfl.usi~ theo.3 >j..key af G. and you can altways IgnCll't th._ J." This lip-tempo shuffle rocks back and: fonh between the I chord (G. problem.J"'I r r 1& t- I._. makes it. "Last time someone told me things were going to be easy. we can now rlay the whole 16.. Irf!t IH)SmOIl. and n play the same lIcks.[the tuning.. Th et H SQund because ().~ t . all we need to do is move the slide dm. D chard.ayi]ig the top three st~ings all the l. The three baste notes irl Example IUJl~s j rJ summer i'. 8~ ... 8a ~. chord. 'to ~Hde irUQ the notes you want. ThinR about it Hke this: II II I II ['IIOrd PkJ}'ed 12th 7th lret ai' G D rrel . Note.. U''J". most or ilJ great over G chord or a G note in the bass.:-~ . five fff-1:::. (If' theV chord in the kttv of G.j4 '1' ~T ':i 11 Which means. t« f-&#j Ex. 7Jb! I .S I I I f$4=f~! I I" '-~~:~ I I 'I ii 12 aw1l1.f: E 7 .) AU the I~(ksw~"'te playedso far I. So let's see <). what if we 'want ttl go to another chord? No.l.. easy to transpose those licks to another II I I III III ~A ~ike-Iystory.that when you're playing in D and based around the seventh fret. 2th rl'el spells out Ii G chcrd or the r chord in the . with IiIck:>at the 12th fret) and the V dlQn:I (D. PJ. w~lh licks <It the seventh fret). hanging 0011 dear lire.fL- Ex. ~ you saY'..J _. But there's nothhlfil for here to gr v e you vertigo. :::J! ~ 1~ te4e i? Sli:d.a we'll now playas the three 7b: -\"t-AC-t It ElIl•.:bargroove in ~Fro"'u Twelve to.

6. . . . how 'do they sound?" Is: "Pretty eool." '.C t..> . 1b12 1.'l.. ....30 "....allgledi with niplets sound Ii] closed pnsltton.::~J. now we're g..f1f tCi'ffi. -r --It· .7 'Ji.r .-12 1~ tz: J =&! v .2-- G 1~1'_""-'. Take Examnle g. ) '" P . ~ ~ o. I hear you s~y.Ac-t..they llls'l ta_ke a little fancy fingerwork ~fly...----==-i----. ~. '" &. "Well. s-.. It. . ~2 f@? r-: . !!.. .. . ·-. 1 2J ilK . -'U D I E: :J~'=--[O .. ill d --l .- -- - r~oI To l2 t&--1~ if t2 %---12- 1:2 '~.. in G tuning..I G J s -------T1i~2--___ffi:-____'l1:2_·__:=_ I~ '12 12·- ---. .."2 r-'---' 112- o II II {.. II II I I I II I I I I I I I I I I I I I I I ..olng to hear how they And to como Qff prop- !. Tuning: D G D G B . -r e. F 12- b 5 rl~ iI!'-_.. v ei'!i'! ~~ (J.'~ft 12 ~ I I G ~-c I . out fur a spin. I 12 D -~~~' Q . 5' 'f ~ t RIETURN OF We've already the answer TH E 1 RI PlETS in D tuning..

e bad! part of town near tile abandoned freight yard with the une-armt'l(i toHuudor who's SC(!u oilly on . YOIl won't hear . you can move the . . vecal-like vibrato thar caresses the note without .sound by practking. '[here are times Whlll!} you want II wide. but you cal) (I!. rr you mute the hi~h ~tril"lgv. controlled s slides. the Lrick-ypart is I slid.1le:l"iorHes..g1Ilg out on street comers.any eRtl'a sounds ~l'om the secfl:ncl or third _~1.e the upward slide again.olll heJilting any extra sounds from the hIgh string. T:ry Example 11. In tilts example.i!. in poorly liL poo~ halls.(l]. espeel::}lly <It the end of a phrase. an efffirUess undulal'joII of the alide..il1.h.H:l. it's key to constder the point dlre.-lhe ~:tyaer. lt's tempting to say that. almos t out--of-coli:tml bL1Z::: round the a note you're playing.f.sollnding out of 1i'lltloC.:tl!l<illy develop 'f.a senes of very specific.C.-. Exa:rrrpic }(l mixes trIplt.:inf~d aotes. are' sltdes mM'h~down from the note you're applying the.O=re-t7"-1:2~-- 5 ---5--'-"1 VIBRATO Vibrato is U1atsubtle (m not-so-subtle) quuvering of pltchtha! happens on su.Udea btt be·low the 12th fret. r the 12t11Fret on the high string f.note iato tho quarter slide to rl~' I II I I II II I I I --::--.Il yOIJ tilt the on the high s'lriug while rliWlping w~!h your left-hand index linger.k ttw tenth lrel to. wl1n.31 Tttirlgs move !)fe-tty quickly when ynu're playing triplets.tly over the fr-etOIlS the atrsolute top of your motion wlfh the slide_ All monon away (rom that poim goes only belo"' alld back up to thaI point. or down by the docks i]l th.stll. After you pick the noteat Ule 121h [ret dip the s..string each tlml'Jyou're about to IDi.ably everyoody has a diHe'tent way of descriiblllg it.'ith yout ring fInger after the last llo1t! in each trlplet.=--- .!illtie quickly I.il"up to the 12th fret at th.ts with C1I1Mter notes. "ibr~to in and hack up mit..}'olLlcan figure out vlbra~(j only by haI1l. The main issue in Example: 9 Is getting bad! ([own to the HUh fret Oil the B . Vibrato sounds like.ing. althoughprob.BUl there is aniJentifiable technique to it.l'laJ:loweel1 . Here's mine. bot to get tla<lL subtle. These.e end of f~"cbtriplet and then sliding from tile tenth to note.

4] ~ !-~~ -. .ampl£ 12._._:H_-_"t-'==~~2-' _ _t-1=.. ~ .de 14.-'I'2i ..11..1 [umps into your h:<lndls)..R HIDE ~A~IC~ Ne!l._1~_H.~ = '_<~'--:!:'~"-'" = "-::~5k ~ Note: For the sake or tlI. ts-: -• . 11£.~_12_~_1_1 """*11_1~_~_~_11_1£_-_~1_t--"_1f-<1_.l!p you.~ a 1f~tb-11Ult" s. as In Ex. When thatis h. _'-"_=- tll1 ..-: .14 ~. Ex.ly 11ts Iud i ~<lt.=:. dip the slide below the note.: rLomml.lire wit h ~ little vlbrat _ Ex.t. ~A.cf" .k~lw-r(lro it suddenly to slide into a note._11_.. v I ~ "- .::. tile rsext step is to go beyond countable notes 10 create a subtle hum of motion as you rnove the slide might work: on rbls lor 0. ..1V chord j'JJst as easy fret.. Then make those dips happen twloc as rapidly and pick the string halt as frequently. The idea i~ moment.-..f1ie nseh agaunst tile string should help to sustain the note at this point. andl In open-G tun!II~ we can find the notes we need to apell out a C' chord Qt th.lide (rum the 12th fret to r I~{\I Hh and back oZIgaiIl.~_. 1'~11t tranliposi"g makes gettll1g to the. 13 I I I I II I I I I I I I I I I I I I III ~ . k~y of G...32 ..ple 15. andthen brtng it to ._~_1l-. _'_1i_. 055 556 55~§6(lE!' e. I have notated the vibrate motion . to lHi E IV CHOIR [) So 'far we've dealt with lust the IIITIG the V chord.t11=1_2-·_--:------_f-1=_~I2-1....g:. -'f. -~*.edwith a sqlli!':flly line ahove the staff. back and rarti •.. it agatnbelore pkkill~ again..5555 111I'~J ~... pick at the 121h fret.-1f2-<:'--<~-ft-'I-. The dtstance and speed of the vibrate are n.. as getting to the V chord.S~exercises. V I -. '" -5 .l.try fu::amil.. -~.. OUSilC C GUI'TJ>.-f2~'-"ItI1-"'<_flt2~· ~-=1] While you should be able to count and t'ed lhl) 16'l1pnotes I!:oby.. hold It .'l....s~~-tl!: . The fnutiol1 of the sll.e fifth shO'~vn tn 'E.. I r-{).~ppenll"lg (ami he lJattent-you days or wep.fJ . orl n g 11back up and dip I. as in lExa:lllple l3.. In the.:. 12 Ex.__ .mIl~. the lV chord is C. 412-2'-' .~.-1~_~ :-_..

'e step to become a IV:. The-re are" how- 4.6wJtlfl' (n . n~mslJ. "Trausposm' and TLlJnblin·. <!.. So ~ lid hi G like Example IBa becomes r (Elra.IIwur sltdes wilisiart two (rels l.IN" D ¥' Tunml1\3.o~oo down a wI1oi. f)l) G .at tile Hlth fret.0 slides we've been wmki. the same way we did wh@ we started a lick In going to when the V chord. at (he begiDlnL[lg or me:45L1r~ 7 ami! measure 8. or the]V chord. fifth fret. There isn't a whole Iflt of tlme to work ill any vibrarn tlillil the 1:\'.pl~~J6b) I I I I I I I I I II II III - I For 'Ileks.crossing TRANSPOSIN' AND TUMBL.MOVING ArtO!JN~ THE N~CK 33 We're moving triad notes oround plaJ"ed . you':!l hegun at the third . ever..g.nl. D G DeB v ¥' .t5and several of Ehc strill.[It the sev- enth fret In lIIeasnre long G netes atthe 2 'is.~ tne V-fhord CD) figure . III C.nJ! on.. In our dosing ure in measure tune.:1. plenty of tl"l'phl.rrel' and sltde up ~Q 11)(".chorn (C) Hg~ end.l'elowthe lifth rl'et~ ) that is. - c II II II II .

. . To add in a b&~$--shi[!g mot nol(~we need to US~ the nt~h str.ndmelody notes..SPICING UP YOUR MELOIDIES I II I I II I I I I II Delta ma.let the red of 'Slj:d~n~ntceach Rtring over the G bass note .~l..s n the fifth striHI!: and melody O as lh~ ~hinjJ string SQ W e"". Ym~1'miss ion now ~s to learn how to handle that YOIl can get those melody notes slide interferhng with the bass notes..!":been playing meJmly notes. J'li:LY each measure of Exampta I several limes to :. bass I he the second or third string without ~l1u We'll start by just geUinglOimlliaf WUtJl pl..el'" nobert Johrrsrm.acing dosed-position notes Over a steady 011 the fifth string. nates ali low means thaj you win often have 011 ElS ltttteas only one unused string slide between bass .1r down as 'LhiC third st ring n ar ~he'open.il'lg_The comJl)inlltiml of bess D10h··. wjtf! UJe s ~ide as f.in open G. i I I I I I I I II II .).

Q_ :\J -.1aHer] otLt ~T1lh~'ll<.-s~-h!at only sIJdlllg Into every other note. '&~ -" r -~ jJ JJJ r tZl !d.3 II ~~j---. while sHrilng only onto the first ann fifth notes ol the measure. dearly and cousistently..l ~~_J 'it -. I . Then proceed to &xampl 3..-v. r 13= .yuu're changtng ~tl"ll]gs on top .. I I I III II II 1\ Gffl~ 5 rrrr e -e e - rr - -.._.o 1.MOviNG A. InE:lLample 2. r r ~ -===f !:!."~ e rr you have trouble hitting the tlfth stritlg.~ 12 G = ~ .~ ".....cOUNI} iHE NECK 35 TlH'Iing: ".- . 0 I~ l·i~D ~ .every rwo beats. . Example 4 j~ I abOllL p'fadng eighth notes in tile m!'!locly Over a quarter-note bass.~f J ~ r 12 5 r ~ ":1:2 19' ~ e .. ~J' h . ' . }...lb .1 .h III II II ~I 'tJ III I. Just vla~~ ing bassnotes with your thumb before startlng to adil in the snd~ notes tm top with your UDlger:\i.r::.'f--i'lC1' 'Ex..1 " Jl ]!I" ?l te ~ ~!!J ... rr a 1 -~- . 1:)(. Try Hab rhythmic pattern on the second 21l11d !l1lrd strings. ..~-. I III III ... ill which you're pl...t1)' Ull~ one smcothlv ~ew. ..~J .1 ~i~'~ "I ."..G11.:.. r ~ El . 2...j·~.<:. 4 9-wln(l (. work on...~ ~f £- l...-'''''.g2 €I e s !I e 0 I'~-' 5 r r ~ iii' -$ ~ '~ ~~ Ex.1c f.~Aff" gq DG 6 9 Ex. .1 -~ r () it' 5- r e --..!--1:2 ill --g _- it Ii .~ El<.. Work on gNtlng to ·wher·eyou can pl.. -'"I 11'1 (7 e f.. I If ~ 1tH . ~~I 1'fl>1:ii! ~ -. 'la .." Ex.r at times in a row.'lying twice as many notes-c-one q uarter note on Lov ior evel'y. too.

we tr@!flS.~1--..milicks: mto V-chordhcks or V'-<:horcl Uck..OIo\'1. As with Example 4... the kind of lhl ng ~ 12.th a .... . got whleh.II' '11 s -r=»: H-~----1t.". SL'IIitl'Si G1= J....~' moves from the last chapterand them wl. .sec:l 5..."~ <rl'~~S'i 1... To keep a licks.6b %infj t-t-:)-" 0 ---"(3J ----e----I-----f)- -@- e-o- (.')....bil F Vrol=i". -__.."J"J)) Ex. our G!i·el'is into .~ !~" ~ i' .l)'ioJ' ~hf! first rQl. ..J I ..s. &fample 7 glws you <'1.~ .. you fbal'ld tib synchronize wllh rtlls Idea.. Ex.a::_ ~ . .~. . ..IriExample 5...:::"..~ ..ampie 9' into. .r exam ple. ~ D~J ~ ~ 1.. This turned to rh€ I.. can ~Iso I'lra('Uc~ this IClatt~nl Of! the secend <w~~ thH"d snlngs.dyha5~..'>. ~ J .r-:~J .. .2Jl ~ $ .~ .~.5e'Vefltb rret.f!:--4f!-----'lI2--+. r-~h(.+~12-h1!-1:2-----11~ _~I£-1'fT"I£!---ffi--t.~ll strill:g.I JJ Ex. -[ r r .dy b<t:l:isgoing under those [HIcKs.:.~ E'l i .teil. .- i ~ -!) -1612 . is a D.. ..f".. r I ~...:ampll?s take a couple of chose strrl'lg-crossin.l"l~%i 1'1'11: might pl<.-. "'" II' t612 I _':. just ~mp [I hy mDV~ng them yom' U\l!lmb ('IOWI'I down f'I·..J L " .---:=---i2--!!f1:---------. .:-: r . . -. EXample Hi. mUe more practtcc while incmporaUllg t. _. 'jl!': e J 11 I I I I I I I I I I I! I I I I I I ~n the last chapter.~ ..= '~.lf ..r Ip!ets as we... H(')w cool is th"t? So we: can HUM.~ .----~~------------~ Ex.. . in o[._~.1 5 r r i ~ ./_-------------------.~ yOll ~ - IiJllifS oj Here's a longe'. ~ ~ . 161:2...po..r~\ / e. 7'.~)I + ~_~. . '~ 1-.- .~ .5t~.. ~.. and we've.~ .[) licks. you're placi[].0Un~ . I e (j ~=jj ~. .eriPCturung.. Swi>t"SI UJ=J Jl) r:-....R~ ....~. We'\--e got I II a D bass note.ll tripletsever the b03!sS notes.!... fiB: _..~.

: 11-' ~'. .g . the mU. melodies don't start or alter. e . a rlrylfjmic amicipatiofr ~5 stin means you may be beginn. iter'll come inat the E We fLr. If) ". you've . - i e- - r ..'hill'.lIng out D'a on the slxth strlng (for the \I chord) beginll1iL1g or beg.11'11 llrst melody notertght lh~ liP-lore end of measure 1.. ..it's back seventh fret while you're still playtng (" In th e bass...~ ' ~! I I I I I I II II . 10 5wltlt!! D (~~"J _~) -.. - . that (and your ~Ik~this Ai?.. S!::!'e xrunple. - -)..'I1I~YOllr Hng. and iIlt the end of measure to the 12th fret while you'n:: still finishmg tip the last D tmSlj._ !.~ ~ r '1'- .. ::1:: i i 0 ~ ~ .-Oo:r e RHYTHMIC ANT'lC~PATIONS squ<trut. - . if the melody starts means yflll' N: startjng W pl'1Y ". D I '. ~. o F' ~. 'II'-'~ .&O:[ ~o get down to the 2 .Ii .lng ..ers before the fI<'IS notes S thumb) thumb have come iu at al]. .~:"'-- _.011 the downbeat belore but sometime belore the ibl'Sl beat. '1 . note. often as not.37 Ex.\~rllpif! 'II aJ.1:U--J I I I III '~ i r Pr actlce switchlnq your thum b back and [orth between 11b). At the liJegiJllling of a tune. At the ". ~& 0 11 ::1 J.L and sixth strings (E._ J I~J J b b iI .. • 8 . your pkk.l-c!nl'}rd Ikk with the glide at the 12th Iret ".~tbass note of meesure 1.lnKl~ng a V- chnrd lick at the seventh fret while _<.. r--Q--!l=~: .-"'~ .lit) ' r "- IV I - e :1.e ~ -:-1 :_fl' "" .. : - -A1JLr[1 . In the middle or a tunc.WI picking G'g on the fifth string (for the I chord). ]2. !hen ~d(il ih~ slide UII top (Example D 1'1 .__V e- .. - "'II" I I t 9 r . .l..10:1'2 --JR2 -~ "~ ~ '1 --61 IAI I) 'i F ~ ~ - - r () I.

ky enough you're only thinking anour ~h(!-k~\YE::5I str. string..zyillS with the end of the.b . f3 ewil1~ (. r -r--.we topa)' close attentlon to keepl n is YOllr~Ude out of the way of the op.:J CD Ex.onl..ring out to-o here is there is no !'~al secret: the placement HUH [(~piJlg 'tlP. meet the bridge t 0 g~l I b.1ngk~the sIkh~as ).011 would to pi ay on j ust U1. toget This is also pretty much [rial and slJJc tlrat aHows IQoltiIlg fur a positi....l':n mt h and six~hstrings.in the next measure wIth a thre~elghUMlOte phrase in measures 2.~AC~ a loop" 1*1 .' only the pic!rup begins even sooner.ing. these thl1~g.""..$ as yut! ~UrH to the e:i~ht. I D i· dJ r . . G }__ t 2. 1...- r 7 - . In open G. """'ill . where gOI 10 balance the irs ar ichored in just ~he :rlght phlC!e w here the strin~s.. Usplaylng !enlng to what each bass ~trlflg sounds Me<1!11whHe. way to !'ret. Thjs is tri:t.gtrings.J -~ ~ rrr 0 -6 r ~ 7- tEf r' . . -~ JJ') _.." which starts out on thf': V chord. the Up o'f your Hilger.r:J. r "f S 1 ~.0 e Eo . and to g@l th n. ami 6 and III the pickup to measure 1. (Jut ol the way of the bass .tl Hmmpy ruutllert. f) I R'IG HT.ging pos ltlon with the slld e. 1i11e only secret placement 01 your hand . C It!<lfl sound on the top three strings by pl.·bar blues called "Thrse-Note Jump. mostly II rnal'lI~r 0'1 trial and errore ~xperlmcmwith hand.38 ACOUSllC GUll}.~~ e- 411 4J? l I 5 D I ~. three ci gh'l h notes before the bass changes..:l gr1p on this is to take one of these two-measure ..p~l1lgawi!nst .~f! r In:glfUe whtle not ~~cm. The melody anti 1pates the chord ._ I . ncks (lnd 1}lay it so you"r'e The: bes t <15 c h <ll'I. . you've not ~nUr-e'ly Itllllmng I1lUt:h. _-:1 .1 ny of the bass OIl notesto Think sldLI.50 that you're the sixth :strIng or letting of ynur the Ilith string .-~ =to t I" ." - ~ J. You can' t .0 that none of the sUde is ~tejjdinl!! past I I II I I I I I the third string (see photo). slide towar!1l tiHH:1 more iust the hl:gb. error: you're y(ilj :._ ..HA N D DAM PIN G AN D S U DE PLAC EM E NT Remember bass-note I I I I I I I II I I ~ighl-hal1d damping? sound 'that i~.11g olthe the notes you lL~ed and no mere..}.IiS below.! !i '2 IHe~ 6 It . 4. sTide.you 011 like as you. Try uSing palm muting tor all the bass notes. IWlj' nave Iwticed yO\! when you're h." 5LJDE ~A5ICS Example 1:1 IJS{·~~U'te ~. pick with YOlL1r thumb.@ h Igil st ring.aIYle idea.n't totally TIle idea was 10 get Ule palm ()f your pick~ng hand in open D. but you CIIIl still g(:l <l. I" e .

nWhal T" l me this no!):..== -~. ~Y01L 'len actually have to c. "II" ..-. -0.. nard work?1~Helax-it'5 tant to kn~w how to eh<l[l~e POSHiODS ~or the v. .JU. AH '~'HI5<fying ~tiil unpor..... . . h.-. •~ li . you don't hear you· say.~.MP G lEt' I ~.~.POIINrl lH" "'iEC..&7 -f). to play Ideas that will work well over the V chord.frtOl pos'Lioll.. I . r 1..• __."fro W.". " 1 S r T-- r . -12 J... -1" I ~o~ 12 !} "7- .hange ].~ r "WI I - .J.:H)SiU0i15 Ior the V chord..0 ·0 o ---6---6' filN ESSING TH E V CHORD If you're slick..~ I s Il"=- I .. D ~ "l ~ I{.." " ...___.~ THREIE-N'OTE .t . aiter all thllt..0 .II I I I III I I II III III II I I I II I MCYiNG t.' ~ 0 0- - . .. ~ g • S r. ~ ~....1YS is 'that there to lise Lh(: J2H~.-t ..

~~ ~ o---e-------=---o---el------'-----(:ret 0 0 ====- 1 ~.~s~---. l0h~w[fn~adding if! here. ly Quickly through the V cham like this. second Vo..to V and back <lgain illl measures Ex.:. ''1 E'I r t}- A C -:21 .nging to. ....~- ~e ~~~ 5' r t) . the seventh .or c hard In slm ulard tuning.IJctrord. postuon iret pns Itl ("111 wh ill' pl(!Jylllg over -[he V chord.":I.s ham ple l5_ This fi'layln:g at the tenth b-et makes possible ami fir_~1 _~'I ings will g~vl!.. too. II I I I I II I I II I I I I II I I I I I II II . =_-~=. "se\'en'£h-snlm(llng~ Hcks as in f:.).J 1» .!!'. $ . h er~:. rr 9 ' ' _-'~_-'~' r r 0 r r . is the 17 of a D chord. when you're passin. r of a . s~t tight far a moment) certain tangy.4. the tenth Why does that positlon ular open-position SOHl"ld so i!!oo-d?Well.~~.:e seventh ULe respectrvely. . 1 And lhdt sound.. that's enough ol a reaSOIl ...r:horcl sound..-+. \Vhy. nook- to have one rigl1 r. the sheer me. e .lcally playlnr:: notes from a C"-fm~jor scale.~=)_I __l_~~ t~._ ~1~---=~~~~~-------'I~~=-~.~~~·~~w.---------tffi2~1~&'---~1f~:~1~e~i~_'~~~"-'.. --+l Why does ~M~ work? Well. all right over tt!~ Ii chord V chord and thE' I chord are !lQU'! I~l the key or G.- . and then you switch to an open stronger V chord sound than [nst a regIIi chord.k move. That still sounds ~J8C<UJM:' the like rhts. US UIC 5 and .. !r~1 OTl the high string.lF!·'~=-. Thai one ncte you're cha.(lnpie ].:pcating a figure in the G-major scale over bQttl chords Besides. and tnet's the mcorpnratten of two f1otft~ (. Also.. 16 .! fairs win carry you through. It sounds good.----'11 I i_8_~_" __I~O_1'8 I. Sometimes SEVENHi-CHORD We ShOli~d llCKS al une ether 0[1 the take Ol.l"[l<ljoreale. El!.lid both are bum out oJ Holes Jrom ~he G-."'.. (If tills 0l1&C5 HU sense to you..-'itnes.The best :1happen way to understand this is iust to hear and play an example .htllnple ]G·... Is th.i_.7. .14 ~" Swif1l(f UJ =. when you stick to the notes at the 12th you're chords USJ. Think abouL wb""n you're Vl<lyillg a regD~maj.~ Ii .lmUc _~I rf!ilg~11nf n.:JJ ~ J~j r t.I[t. calling for some rapid thumb work: from I. the top note you're playing.. C... is <I Ex.[. Note the quick turnaround r 3 and 4.QI- . [ust listen to it. B 9 5. ._- rr ./ -__::'__-___::'--_:_---_J_--e-- o-------e----e-('J- ===:i=a_'_-'I=2============-_' __ ------. ICi.Jl..

....Hc.~. it will soulld more satisfying: when yOU! then return to the 12th fret end .r ~ 7~ ~r~ J"/ G J~ J. 1'__l_-r .>. Yol. like . ._ _. also starts em the 'Ii chord.. " Ail.~----.. --'7 r -·d f..~ ~._ r -_ ~.fI G in ~he bass. _ ~:~. Note also the \!>'ay that you slide [tom tile ninth 'fn~tInto the tenth fret to Use out new V-chord position... 'TWO-C'HORD DRAW ~I.. 11 . observe the three-note anticipation of the (fQv.ally. Or G.!~ ~ ~"'12'--i2---12~~=.-----~e... }<Iou In.-j."o-Cbon! Draw.MO v INlG AROUND HiE NEC~ 41 'll~ar rnajor V chord. This el'UUuple. \.Example 14.f1I---+-1 --------' ~~------------------------------~----------------------~·--e 0 0 ---:-11 Ie II I I . ~ J ... The 07 sormd wants 1:0Hike you somewber·e--spec4..s to return to the I chard. . ~ J_ Ni . So wheu you pia.J 0 eel e e --e ---t.1G-w--~e=:-r9>'~r~===1 --4122-· . J flo ''''''~-'' -. ". a lick like EX<IJiI:ip!e16.J _~.. it W<wt.~"""":-:::-.]cnn hear rJhe same tu11trom D7 toward G in our little tune caJled "T'i..}._..-.l1ooat Wore measure rand: dig' iII measure 4.J -__ ~ .>. 6 ---~ J.

.. cia dump. conslstem dght-h"md trw. of quarter damplng.42. da dow. umv.. Remember ~rng "0 OI~{l1l1 .ijJpillg around the neck in up en-G tuning.lthlng YOllr way thrul. of those ~h.l<l. e have been z.eclvocabutry not position licks and generaUy expand our open-posttion lary along the WillY_ Alright.. lei me expJ. and play some dosed-position Oil over that."" illlhL~ chllprer <1mall meant ttl. NeJ. To which I will reply that I have my own brilliant reasons ror o.) hke. whidt thts: Flr. Then we"!! work c'OmhlHhJg open.!Im 21 new tl'llr your UILHIlU.Son 'f uo one around to overhear you and you'll J.1'r om'." or maybe ~dump'.rganlzlng you proceed Iike if inscrutable YOI] gues licks this book Lhe way thaU I have. p l<. IlOWS· lnstead sure ot shllfUe bass sounds be played . OBC IJuL da aurnp. and I I I I I I II I II I I II II I I I I I I I WHA1'S The shume th"'~ goes A SH UFFlE._" _r_" z.s . after w~..and (']OJ.CI 1E'!.' happens wi1h th~ rlght-hand thumb. da dow. you're going to grumble <lg. st:dnf. rta. p._ Jif L... the shuffle rhythm.xplal'l<!.' iuud mdow.1 dlm~p.g about. ~rud now It is ttme 1go do the open-D tuning? Wbile you're retun- same if~ open O. (Note: the ell:e:l"d~..st were t. rhythm to the kitchen for snacks gnirlg will mlss th~ rest or this paragraph's 'e. da. ANYWAn [5 the essenttal da bhres rhythmic: pattern. llP Lhe rhythm Exarnple on the bass !I FestJ'~'(}. let's go.aill. You're doubnng notes. W chapter.jgh going eo happen 1"WI) ~n this about having to renme chapters ill opea G. You're back? Got your snacks? to get crumbs in your soundnole.ying e~ghtb. 1965.lyl ns I n C Iosed ]JQSiUOIl.(1dlc ". 0." Say when there's !low (lowe 1:.t.tlooLl.l."IIoW' The shuffle pattern ] Shows what all mea- what I'm talkin. . do that on the guitar? ad' rhl:' NeWpf}rl HWJ.t as instead of retunmg.anrl whar's D FIrst.}je Fol1.

Lr I I I I I I I III One ttl 1:llfl we clidra't.a Tuning ~nd Closed P{. J"J:) Ex. tourtn string.rferes with the boUom But the bJggesl diUerence oetwef!t. 2a _" Sw1ng(D .ayfn.It's a good! idea to get used to playing dHferent"']ellgth rndody notes with your fUn. just & maHer of s. r ~ r . playa and YOu. .~nd{)sef:l pos in D is that in D tun ~UlIl. lust Iike we did earlier with. it SQ f.~ tour notes we're going to begill working WiUl. they should sound tamllii:U" (if you didn't snf!ak past the ope11ing exercises fn iiOpen.JNI:l I HE NEC~' .) ~ . So you have to reach with your rll!i:h!:-hand index fiflger down to the tOllIth . sl:lbs.5itiQn) .. everything is down on~ s triug from where 11' would be ~nuPerl G. [) was pJaylng ."hichlIla?)' feel awkv..imer~..)lampl~ 4.!J1 chord.the top note in the.t1te. Or the iHth-you'a See that pl!lylng closed-posttton !ick~ liL IS in some ways.. explme III do SOl [lOVl'. Havtng a bigh root on topmeans you can ~·lay things llIceEx~!mple. rtay the two licks In E. the quarter-note bass..Uing: (. . without... 2" I~ .~(l\. gers across 'the steady bass shLlHlepattern your thumb ts ~ayln!'ldown..MO . . likt~we did in G ill.}'.~' . 11 . open [I the th!m.'(Jtof the fUlling they ropresent-ctile mot. ..chord is ol.1mple2 unttl you can play it several lillles in a row wHhout sturnIhUr.' .@q'IJ~I1t E~<lHI]Jre 3I'li"'P.'J'1l5 of what .!r'ing 5. We're golng to Sltl(ll!~ at the: l2th fret.5_ " "'.11yl'l1eliith. ".. . Over that It i.1lin dosed positir:m iUorL in G and pla. • I I our first ~o~k at OPen OP-Cll J 0..! pl.:. you play chol)d in open--G tun- I Ir~g. whf. Play each measure in Hx. . {' r.(lJl!ltam below).~e!':d i. la.J.. NG I .tring....strJng. the 3 U you thin!! dbQut these notes In te.g.'ve gut a mol on top.in~ .4.~~""C{-Ex.. tn open 0.hlfHngeverything you know 'In upen G dOWEl one s. Wile].LCWS:5 the chapters.[l!.: YOl] lay the slld0 across the top fOUT S:trlDi:g.'a:rd at rli"st You also have to get the slide to cover til e.

j -~~~--f)-a-. through the Uck placing your nll~t!n. of your I'igllt haml from the notes ot the lick. Whnt else have you got?" Well . I I I I I II I I I I II Il PRACTICE \\>..-e.C::.mple 8b_ I I I .ckporch..ACOI)SliC CUITAR ~ lin 9A~IC~ LOO!. rhyH1nlk:<llJy. plcture.yeeh. For lustance." I hear you say ~Ifound that lick while I was noodling around this afternoon on the l}. [lot wO-l'1:'"ying about the slide. Example 7 looks like Example J>.t ~ • r'~-9-)-::-0-e-:8 -. the U{'~~ played in the Iils! cll<t.!. -iSl'- a--e~e---::::tLIF--:-.lJter.. h1gn stririg makes a whole n~w family of sounds rO$sib·I.i'-O'l--. try isolating rlw movement.<I+-I--.a_ temBy porarlty I'"crnoviL~g the selectlou of strings and slide moves from Hll". __ tory (m' Examples 6 and 7_ NoiU1er is any more complicated than.1fj._:)--f.... as in [}!a. ~Tr---r..h~ll wOthlng TIP on a new Hd!. Then you can waill.~.j:ins l ths steady shu rfle '!J~:it'our thumb. We but tile additton of the toot on thr.__L___..·~-b -p -o_.. ~Ycal1.uri the right ..~trll1!!S but still just using open strings. !t'OU can (U~ us UTI how the syncopattons m J'o urIingers teel .

Use Examp. W!:l need a bass note.AC'.'!i:.:nt things . the sixth ~triJli with theslide. and pllmng go.P two [rels.El: a slitlc Iick like Example going to sound Ilke E. your picking thumb. rv and the V chords while Neeplng the To pull o€:fthat trick.~ 5 5 .:1SS note as well. into cool.... you can COver tile bass note you want on alld play licks What's more. a G.ixth) sWng for the bass whenever ycm'm tOIi the I ehord.Example9a (_".tta!~ I hear you say.. and use Ihe idea 1:0 play covering 'i.. I .. Sh'iiI!!J (n"J . Sa -- _" Ex. dlhe. "Get back. And w.. 5<IIIJe on TOpwith your lingers_ Check out.r. This. SLIDING INTO THE IV AND V Now we'r-e going W add In some ...g open Wlu~11 Y{]ilJeturn to a r chord. . ui back enough tol eave the low Sttlll. as in Ezarnple9b_ 'e $W1M'll' (.!' toremem oor is that ~H'IJ be mov~n'g the s.t..- L C 'j' I g r I &"¥s ~ II III II II fJJ~¥t!:~C::~-FII i + II I I is complp.11' Once..5 5 5 11 ~ T 7- "' T "...l~~ly acceptable 5 !5 .uing to playa 'low G wlth the sltde. OIl the. to play when we go ~o I:.$l~IOTl~nd moves.~: rrr '" 5 6 5 - r i rr -~ 5 ] e- I/ II I" ~ !5 I '" I "" ::- "" . .~~) ~ :rt:.1j!.. ~nopen D. you're a not s:truggliing: 10 comprehend thre~ f. G 5wlnl!j 9" e-.x<llrlple II when you tldd in the shuffle bass.Wfero. keep it going .1o \lP tu a lV or V chord. so Ute thin!.' .!ndeon the low string.erv chord. to _ ~.. 'i::A-' II :~-----=:.lide O'!ller"onto the slsth lIu'j:ng when yol.J )' • .shift the whQle thiIlJlIJ.MO'llNG :'RQUN[} r. i I . I[ you place the sltde across.f an A with yom :-.ctlce these switches'.e don't have one on any 01 the op€!n strings. r I. ')l) Ex. ynll'lI wind up ~1H~11n8 the bass note too.~. tin six strln!!!s. with the thumb. r . .H NECl( Nnw w]Jelli you add in the slide with ~I'llthe r~g-ht fret pD.r: "'. Lare. you over the V chord. 1Lh to see For yourself.... So playul:. and here's how. 'Tan H be dVf1£?' I:ndeed it can.lo l:l to pr . So here 's the sol utten: we"re g..al). 5 C T I :F r' C i -J A CJ:".. 1j Now I~le Ullng is. when you go for a s Iide lick ill closed position and lotatiy While using th e HI Is slide to cover the b.t Ex.Ac.licks bass galng. IU 5 5 l ¥t)u're sttll uslng th~ open D (s.

.J.e. i e 13 r G t1 ~ J AJ i '5 r - .."""-. _£]~---e---a-------.. this elghHJoar blues...'1Jm1 fi: THIE COV'ER-UP .. ..1& O J..t.rFrr ~~l-r r - Jr - I I I I I II I I I I I I I II I Now try "The Cover-up..AD ~~ " ~wi!1~ (n.....: - ..~--''f-"fi 9--~~7 ~." _b_..~ e: --~...'=!=--.'-iI~~.u Il"'~ ~ L.(11 ...-. . .L'fTC.-. 4.··_==.~.) J v D :<:-11'0 II -I.1 - J A.- . ~ ...-------...!I'# f·-=::.._. :.~- - ..".'.i __ i_" - r t rrrrFr A D r 5 ..==te-o ci n' I I I II .-T" "--t~. Nmice the slides Into the bass notes in measures 3.L t\ G.-_-_ L.2.:.J rL D- ( 6 l r -i2 --G I :- :._----i ..._-fr.!..ACOU Slie (.ixth string wuh 'tIle sU{le and when you don't In. . -J- G rCr. _Y' _~' __ .. r r~' ..r rrrrr 6 6' I-f++[!) lJ. I - 5 r 6 . r J .jl ".IDE BASH: S A D..." paying attention to when )'OU have to cover tns s... all Hue llcks are III closed position. - _. '1~ 0/ +--1_1D"'~_2_=..- -.J/L.!". .f CD "J Tuning: DAD F. '" i '" ~lb_'4.-.~ _ .~AC.' 0 e Ei'---£f-- G ~I! ~~c-:l II ". J.1 . tt¥12 .

:.1--1'7\-+--61- r rt' -~~~----'5 '1'011 may Hnrl that you're pi'c.enwe worked In open D in the firSI couple of chapters.~ J') _~. only. That was a form of open-position and third strings when they're down near playing.. <lnd you won't get as much of the high string -along for the ride.r.!l:any SOu nd.we rho. M. <ltrer &lrins: (Example 13).!5gin ~ts slide up.ed to the OfllZil D string.! mut(II' ing wtl] help too: you can rest your rigtH-hand middle Ip\.l.string the high stn l1g i:rmti I[LClkiIl. r .t!jnd discuss fifth fret on the second 1Jelow by playing It ~~"C'10'11 it all:erwaw. a pretty denn1Uon of OPf:'.ORE IN OPEN POSlnON Vllh.Jrlng up the sound ot tlre high s.md string. This is also con- plajo11~gbec\<Iuse everythJng is based around the sound of the playec] open. You call play ]ir.tring· Wh8l1 YQU~U(j(' up on the second siring. Left.F. in U'l<:!t e just.lide into that ssme note from CD Ex. second. w re'soly.Uan. 14 g>LVi"'~ c. . seeond sidered open-posltron third.. 1. adm It.UVI'NC "'~OUNC TliC NEe.~.13 r-~~~# • Ex. SCI:I.5t:rlng.r: . can s. but this is roots music.s with the sJide the '!Nary we is. Ex<lmple 14. and nrst strings slippery we basically played up and down the high sIring.w~"1Il~dd in three notes on the second tion tQpla)'lllg that open D on the high s. as ill slrillg 15the same D note as on the open 'high string. Now let's add in a nH:~nut. 1:0 hflg'j!1.lmpillg UUJ help: let your left-ham1lndex COIl1i1ljS finger hil lhe strings just before the sIkh! lands on the IJ1Jrru fret to b. and we're rarely spelling WOLllcl a~ the i2~h freL This out a chord across the .hand d..tring. played sillg_le notes that generally few more notes on [he. Note ibm the III addi- all.hjleyou pi1ck the second striIlg to prevent rlng' finger 011 the hi~W.. Right-han!.i'l POISi.

tl'h'lg and irldud:e a. and when YOIl repeat it with yom shuffle thumb. ~ :Z' r -l.l licks im:ur:purati[llj.g-bul Than Nevel". note and slide' at. {r. ~ampl .." in honor yet- c~'cle ba(:. it wlllnOl seem so f11YSteway...it to yoursell to at least take a swtng at it.. a series of f. r cc ~ I~~. .et In measure 2 before or rlous. seveuth-soundlngltck mO'irillg up Into dosed P. II YOIl.. the UUh strJng is fretted :Inthe ordinary out the s. • f-'ollo>"rlfigtbi5 kind of opelil. e I r 0 1 G WE lL( s .tJ.=rl ij =' +J Ex.)lSt~h"ee b~<lts of at the third.lI: you ere. . bass.c1- awa i~~ you: Ex. A rURNAIROUND l't see..pos:uHon lick with position fun six-suing !'i.r EI t. 0 23: CL ~ :iii . D - ~'~ # l ¥ . Other high [jglns~ we I:mgh~wi til up~LL"'jJu!.ACOI...) 0 D' r-- • '----4d2!! s -II' ~ 11~ /) -G '" '" ~ F C r_ ~ -.S .~ --~- i . (n" J }.~ ()-O-O - J _.:O~ ~ . The dese endtng bass 1~ne (1). Just anotner exaniple Ii little of the rapid decay 01 ethics and stYle iii these modern. To practice l:l this" uy laking it bass note. . '16.giIUlill. 'lbos~ rhythmlc 15.lowly. string. 5wlng (.'STlC GUITAP.) _. .ms sll(l(:king that we've gotten thls far wi'lhout dull..) e 51 e e (J--f}-tJ (.Jl. here is tune I will call ~fleUer Late look at measures tbe UU'Jlarolifl.: ~ . 1 works O!. C .1--0 O. you've plc:kups.. the tlil~rd III fret. s. times. ~ain...Ucle Into a (:lo:M::fI-e ]. \/11ththe V-cnord lick over the 1.l wIth the end Oif measure a row: bass note and open second took . just ma.Ude.ijil <Illy turnarounds these happening liUle paSS.at it this way.lLim...: }'aU lb'W use the slide-for measure 8.\~A. starts got to coordlnate arrtoc-ipations we worked with a few chapters It at the end of measure ago? Example ridiculously pinches jn witl:! a piek!lp.~ 0 () e e e : I: r r .lght. the second }.n. in slow motten.=£-fr .lgbS:tflng.e e L' 6 r .:!t like three baste.OSitiOIl for the IV and V chords.f) IV or V chord would probablY make you one Qr th'e Im:lI~echic p-eople on your bl ock. Well. if you 7 and g as.tching: up each note of Lhe plcklll.ges thiit bring you from the end 01 II chordal there to tile be. 5 ''1:1 I I II I I I I I I II -tl 5 5' ~ '" -~ AND NOW.?J.~~ ~ ~ -e t: t r r l -..g two measures. You Owe .. HID~ eASICS I I I I I PI CK U PSR EV~ 5 rrt D Remember 1. .::Ci1B B --eJ .h!lnd pinches.15 5wifl~.Il! • -P.d in tile C!osin. bass note and open l1.

rC~ rrr 0...-i r.~.. ~ D7 r •rfr ~ ----B-S--. - - - f - - fI ~...J 9-=' ltd -.....€I - ..'4_. ____ ·~5j---f5......_ "..... I I I II :11 . ___ _ --9-0 --e-e -e(]~ -. -..MO .' r r r - 13~' - - - - - - f - r j - - : -:_J:=---e-...5-~...CIJ ..o.. - ----. .. .. I _ - - •rrr I ~__ .._ !I G I I II il III III ...fT- - - - - J.&f} o-e D A ...... ING A~OuND rHi: NEC\( BIE'TTER.£1-0 -.....-. D -e-· -f:'l'-El'-. LATE THAN NEVER D 11~·gJ· - - r "ii I ..---_-_-_-_-_~'5--5 -!55----0-...r..~ !_____ 0 0 -{l (} =r=R-() D --_-~--... -__:_j . 13 19 ~~~~-.:L"':f.L. - fJ- D1 " r r .~ 6 ----_---T1--_T2_~_' _21_'....:::.

in between.IwJ Un..AY'IS PICKliNG I T. sixth string and llrst strtng. Su it's a pretty 0[1 out shuffle groove The most Important tiling about Travis pickililg is keeping As you alteruatc YUHI'"thumb I I I I I I II I I I I I II t'he alternation consistent.sman rr. and pattern..iIPPC'l'S~rtrlg UJ! beats 2 and 1. ' . 11111mbpickillg htm:. . r:J{(~mating.al"lst. fourth string an d first string_ Ex.r. you follow up with the upper bass note on the fourt h s·~ri1'lg.t str.Travis pickillg Invelves £ between rl alternating 'with ymu rhum b Oil two strings.- i ~ " - .t!m amJliBg: you'll have to nth get the ril!:ht balance of muffle and ring on both the sixth and fourth sul f1 gs. between &ample between rwe lWlSS s:tri[}g's.ing and rh·-~t stritl~.1mple 2'. Once you can play Example 1. tt's Ume to start coordtinaHn[l your fililgers w1th jo'f.t[i:[lgt fourth Exampk 3. every beat is !'l pmeh: sixth string <.:=. ilndl b ears 1. SOilg.In ~.g. t.~nE. Check out with yOinr Un. Llke the shullle. writer M~Jr'l~ Travis . Travis IJkking also sounds cxperimerlt with your picking hand 10 good .g.~mpa Red.thu:mb (or a1rem:{IN1~g-lmss) fityle.- ~ -.. lind thus two bass notes. whiJ~ you're big change from thumping a lone bass strlng_ any given chord.x... 'aViS pickiFJ.''1.0 11 '" I i ((7 : I 4'_ - o 19 r is! :e G 7] :111: · a 0 :1 .I~r thumb. ~ . sillg-er. and I the I.'II I TR... o "J '~rr-- .. shows how toalternare string DID the sixth anti the fourth chord. is aJso called picking or th r.UI' -. you're gOing to pmeh the high ~tr!n:![ each ~llile !iOU play the Low stdii. As U'I~I Iast name SLJ lg:eSl'~. you want to play the lower string OTi ..llJlb 1:1 D l whklh..lltL - F -/. named fOorthe gnit.

. r'01:"UHl. only the f±rs·ttof the two notes i5 pJayed with a by-now-ramiHar slide LlH.ile that i.k gr. -:"lo.Jllve'sPractlce .:~mmg ~he shu1He pilttJ~m: play each or these examples hypl'loUe ~roove with each one.. Yeti lilJ"ly ~gol!}d\\l'i~h.rlnging ynn a howl of kettle[)e"er. Exil!mpl:e 7 with the slide. IIIUl~ sl1.} is rhy'll'linh. .h r 0 J.lved} .!plc 5.l1th fret Ex. chips and U~e b'OS~li"age-appropr1ate in Example 4 crops up freql]erT!Uy in the Travis style. (') e Nerw. (When roommete. I haven't here today"~ l was. lnt. since .IC(}1]Ol~ slide l wo fulljus'! Ull:e valued nmes"?ln Example 6. aptfrch toUowM by a rlngcr note and t11eD~ a bass note Then you repeat the whole thung" played 1I1o~l~ (frQ nllgcrsiIWQ..'nga sllde on your fLngmd{)~I1't In~.q ]Of the time b. E-X<'llnpie .! en"J )} ~- • 11& ~-------=oJJ (OM B~N i NG F RETTE.y tlIlrem her.D NOTE 50 WITH SUD E NOT ES lia'V. !e'~me ju:>~S 8:1'.~<l. ear a littl.te:mlltlng--tl"lumtlpatterL~. One reason to fret these nates is that it's easierto .d.lililflples.'e '~(I p..mundat the em:! of the ~ast chapter-but particu- You em.g bass .age of yom choice.e salt-and-vinegar }10U in a loop unW you can maintajn hypnotize the nearest into it can succesfuily ranliJ.1fd play th € notes in. but we.eillg.t ~gil 10 the dotted 2 is fmm a hl~]eighth note at." quarter note at the ftH..g wi1l~ rhe sB~de_~I1 fad.e h getting to gI um bliHg tn th o back...the sec. think of it .~L)'J. It sound s really good to mix up fretted notes and !Oilrtefjote~s ov~r <lQ8Jlternatln.1:ample 2.l:~y every o{. Let's work.lIlo yQIJ l~al.. ls lOimilar to whal I ~aid about le. To <l!5..'re gotn!:l to play them as f'r~ued 1l0it.~ideotml a sHde between il ~l!ll:.l':(lW~l'this aJ.Adv. ~Iethe ~Ude:In measure 'J1 Gnu' f"w..a~ly the same as E.. R-ef!1emi"le-r h 1': d Irterence 'I tile onein betweena g[at:€>'Ilote 5. e .ice for these e. C<1"l1 oom bl fie Ule· two over <1 SOL1Hleas wellit sounds think tllicil: to the n]"l"l. move on.Sf~i JJl t open stru:l. gotten ~ha:t pl<l:ll'lngslJd€ i~ stlll the reason we've all gathered thai.I I I I I I I I I I I I I I I II Iii MORE T(:)aL~ AND HCHNIOu~S 51 ~.JVe.. tire sHde to measur« 1 is lExall. 6 S . Travispicki[lg. or easualacqueintance b.) The 'f:ligItiUhl~ote rhythm break: it down..1.

rhr~~~... r • -. r ~ .I "IS tn our nf'::Ilt ~fln!il.E'TTIN' ~J ~ I• ~ ~---_'~~·~--~7~--- . I i -r -t>=:r Ed Ho:w d:o~s 11wflrk'~ Check o. GllJ~ calls) in measures 1-2 and ..DIN' AND FR.=J_____.. A.*:-·-..:.. = r = 1t :-=-_~_ _ =~-:_r-7_' ~-e_.i..retti:n.~ • " . 11~r-++-t:"__j_... Fret the melody in measure b<lICk and rurth between playing I wtth JOur fretted .~ead oi the slide.. . (NQ. [nlnule. • t ~ e I r ~ ~ . ~----fJl------"~-e-------.(.·~.. are.. r . But will short~y-sta:y tuned.\. before answering A good v....~=.s.- ~ L~~I/--_-~C7----A-~----~~~r-------O----_L! G -~-- ..answered by the 3--4 "nd! 7-M_ Sill. we f..) I stir. )1ol[1rfingers im. r .~chord will v.g~t notes em the second SIring to SOUinctdean with. i ~~ s . ~Gl9--' ~-"~--=---_~-....~-=--+-r_.lso...~ ..... .·... "SHdln' amI slide flutes isto play thl'riLlgn a call-and-response freHed licks (fheresponses) inrneaaures Prettin'_" 'n~~ sl1d~ .rl!Y 10 get used to shppiIiji! 8. I'<1tn ""id~ .!ay Frett@d cil. ~~ ..' -~ .~r-_' -.utExample finger.mdi It 1[1 rneas LJr~ 2 wUh the slrde Ilckjd~. _.ol'ds for ~he Ntlnd I I I I I I :1 he-nee! chords yet. we ha"~I1!t (lone lady ¥>"eH when we p.·.: --I I I I I I I I I :.~. .=-=-gl--··~·.~ these notes over the .·-.11 e I I ..e- e :t 0 f i r II -15I:____j_- ----t':I-B-.-==-e~O ."O~k arrtcup V chords..·-'~-". as w~'11 see ill a.~-=--e-:E1--~ •• -=--:_-----2------A'.

.Iirsr.W!f rha'l. e_·· l-i~ - . instead of tr}'in.ici.hen fo.l. G.£] pauern it (J. fh.to-se!l:>o!:ldJ.y 11 mUe synf:opat€.'Iit's where the expression pattern picking comes from.l: we're ~really. onthe downbeat. all w.11\1.they make .5.But opee-positton finger~ngs L1I1ake a lot of sense.'l:~terlJi_ 'It seems like a lot to wr.xamrl~ m .'lyl.f'..r(j 5iulf across the or seventh we but USiI~1ilfretted notes if! the operJ. you can add il!l your fingen. G71. c. ~. res pectively.aslIr[.lJ. II I Ii II UI .. as in Example !l Once YOI1·ve :llot the bass golng.lide M.liiti()r~ we .l!'replay'in~q a G chord over 11B ~I~ the bass.mTnethiI'lg else-s-in this case.f . the third of the chord.~ to feel your way upto \'.ut e8JSUt:Ittl. You can just grab a few notes v.hut s. !lit the begJ.. .an speil om these (.f.. roHowed by a flngt'!r on finger 0.I I I I II II I I I I II I MORF- fOOl S . for get mZY~ Sf!C· 'ex<llnl... ~I YlQUcould play ~<lmpk 10 as a. foO!rSJ couple ot reasons. I ~.Hl Ai vo~clngg. whether s..N D rt C:HN IQU E ~ 53 OP.orJCim~o~lspattern (while you are 5ing~ng.c. If It down into p-1nches on th~ be. . B_ bass wHil a G/B f1n~wrjt'1g. Beat 3.Iike we dLd for l:::.lngem without the fuUh Of leavfret iJ'I!il Oip~n ptlsiti em.n.r[th your i.ap y.nQw up with the hi~!h ~ttiI~~. OJ finger on the hi!1'h s.jl1s.rr~rlgof mc.ln]yindi\"j{tl!lah~ like not the root.triIl~.t . we've always pLayed th. cornplt~~'t. .· Ah~l).6' -r ..1.1"1 the second Beat 2.!(i'!C{l"'. ~I. altematill[!.'1[1 really get are maj or chords.'ihi1e~istel!Ihn1llut the right pj tell. beeak down beat by beat to get a handte on Real 1: Pinch wlth thumb on the fifth strlnflllIld t.~~ .stan w~th J'Our~hultlb on the filth (l string <lw'j go Hp to the fomth. VOICINGS with the nml in D or G 'tualrig.ng thl'Ough.']~' .- _-£ r =_· r ~ r I" i ]II" I . pU. all whUe ycM'ro trying with your s il}~m~g.. play and s:~IlJ~ the .creatiug a l fl"l(l..u~ tM~. seventh fret. You could also use move on the the Oipen slec(Uldi .orur hea!1 around. j'ust .z IV and V chords andi seventh frets.!lll. a try breaking p:. Sa wh<l. a-s the y.'f(~going tohear 'ro play .10dlC ph.1It Sd((l€ Umtl. . string.dE:}.~lthe F(mrl:Jhstr~ng..fret variation measure mn or thb'i chord end string..l 2 zyl E}1~i1lpJ('. __ ~z~..rflse oyer the alterI!latir1f:l bass instead two- a. lewest note In tlse dlQi'd v()l(':~'ng.tring along wHh tbe ./8.. This tells you. rilQ .1. I.IEN~POSmON So Jar..~ means that ym.1. which n:lUF.witb the slide straight (. 0·--~~ ..k:lng GiB ~nabom? (.I·l~ Gtf!.o'U[seur US\l<lUy pt'oI1ounce "G over B. thing. U~at yO. the CHORD. For one.)! <Jnrlslng~e notes off the beat.rlrr~t on the second strinf! to shape...lwelfd-loo.ed a. Just ttnJlliO on ~he [lUh ~~rlng_ Bca~ 4~ Just thumb <onthe fourth string.f p1.7 . Check out the open. ruth em()iI'~<li~i. to pl". n E)lamp~e 10 seems it.. y'know.

I I I I I I I II Gm N<'l ..1\'e'S Ad. how you. _I -I '~~'II----&--&' l-r~ "it- ..ldl.for ~. and It wl n resonate tho reS! ("If lhe. you'll get ali additional ..jA .~SBrcpi.- .Again.'de .. .---. -:P It>.> 9Hde" ----- . . ..£: the V chord ' U\) iI'l open pu~jtit!n.::s ~ml Jus~ gr.--.1i4 5MrI~ (n ..ch is usually not pretty sound.1ce says: iret the who IC A7 - 'chord.--- . I :d:-L.' *.. ~ f?J r '" r -.i:r5t pkking wlttern om A.[..{. 2- ------ the blg p.-11 p!<Jyiu.... irs the ~".Ude over the l ehord Iore measure and then switch to a tretted~V chord in measure 2. If you that i~Il't sy:rnpat he.. s they a say.lJt~r your !:!1n~l. can stilY right In ()p~n pos~Hnn i.~/----~~-----------0 -f:!-------___:~--__#------~" .erirng..'c's Helpful Advice b Ul<lt }'oul.. as in F. Andoow.xt. No .ab onto Ihe rv ehord. .~~'p) -"T--'<. 7 r r #1.. --1- I· b r _o -f)-- r fret: on the second ('uri 'I 11 r -----] [la"..--.. AC1" \t Ex..me as v....u~re net pit:hl[I:_"l very note that you're ttnp.-. ~o r ~ -0- r 0- .O--------- ~.--'" . First.----.--.elking patternen the. even thu~gh you never pit:'k UH~ middle gerin~..-----.. n~g.---. even H yo..-- .. do nating bass on an open-nos ifi OIl A"(chord..---.--.----.e Inter note of the f:Lnnote \II/by7 V. t).& h~--O "..-- .+\ __JJ. f. .. ~W []Il when you ~et ther.!f1J!b the GJB fingeriniol (with the second fifth st!'trtg and the flr~r f1'«1on Ihe ttl1n:l 51~ing) at Ih...- .:'" .---.--. . tre~ou the then just I I I I and drop In your finger on the second in the measure. the alterin your~lTIlg{':r!.-.---. w~'rl'! going to lL5e the !. it 'sa critical p~rl of the chord.11'~yalong w!ll~ fr-et H.~amp Ie 13_N.let's lnok ..tic. - ----------t+I-~---fJ.. ~ ·1 .--. _!------------:~2--- --- ----' I I I I I I .HJ tcs you an:! plf: klng. e Ex.- ~. RhythruiC<llly. It Gm 11: _~.J'.) .icJ."CIyo'U: In example ]2.e did on G/B."..c lOP (If measure ~. m..----.- ~...~IJ1i~ in the CbOld-whl...a~d Kx~rnr]e: 14 1~ a m~e-mie. ~~tl!81 (n=~..

~ .(l with slide except when .- r .si~sippi whole suhiect nhH. J'> -. practice !ng ()("J making the switch ill IrOm 1t slide l"i ck ~:rl u ~(. t radltiona! fol k in John HlDrL.s meaOil. Mb. recerded j.:: .. - r ~ . where the melorty notes are fr-ettell_ The only exct"![)tlon to this I.-'gr&:. sure 14.\ ._h_ .._"'1 ~. is a Down. ~ -- 0- I: ::= e S[)Il~5 C! ~..II II I I I I I I II III 55 fi..ul(l the open high t._ I'" I .'l tune as ~SiIJ['"e ~"'I'~ L".J _ .~ fol k sung-two fragrant." Li'!l[I!If:llw:[1.a fretted 011 the voleway lh~' V ehord.'l chordt t (I .i{l My BlIrdtm and country mns·1r-i'ms know the ruelndy as "vVHI the Clrcle Be In rtI08 a:r.any. " II ~4.whose this rulliJ"l~ fingel'J)6cking styJ(f... In ract.rangen:r[~lll" lhe melody second .it goe~ down to the 111{~ll>lhstring M'ipart of an A7 chord. You can .n." flf U'S!OWH. ---:I"' ~ - . -! We'll to Jose ~hjs ch apl ('r wit h' a traditionai one.~ t" :2 i d v ~ ~ _. where tilA'! melody is fretted I I I II II II I I I I . r-I-) I I'" ~---L .trlIl~ 8S a m~lody note to the seeond Ire! 01 ~he hi!th string (wl1Jch is pan of the A7 chard).r!ay<.n.. h string.

I .n • ~ r T ... r r M I ~luJ~ .e0 r ..:::=j---=..... III -.._. I Q • I _ I ...~ ..'i ~ k -' _.... ...---- s J II A ~# .. "" ..' -----I ..== e e eo : f· -r iii i r _ • ~ . r : 2 .---.. I _ i e 0 ..----. FbPy i $ "'.._..==t=:=:. 5 .r=-~~-------I'= -_ U' .S --8----____.f) 17...2 II v • _ s fK 1'1/ e· D -----------1 lie .<:jO>-' -6~----'-.__... ""T:" s ~.-...: 0' """"~ .--- o I -. e : r " 61 -..J 7 -- 10 e o -...~d ..< 1 .'ttI ~Iidc _r --R-f) -. --:--=~~=-._ -f_q-..- rs ~ r It I t . .-.' ..-.. _______ • _________ 'r' 5 r _ - '. i:. I !J z~----~~~ -----'- --1-1·-f) ==:..1!-d :... r I ··f - i - r I II I I I I II ......I - r 5 -7 '9 .1 .' !~§ ~ ~ 5 l _ Ie e :a -..... I B ~ s - 1-PI e r --0 r ~- ii. _ ' . F~.D __ M _..IINCE: I'VE III .===:.1 I I I I I I I I ~~ . lki • I~ ~ r=wt.-~"'C-t A W TUl'iling: DAD no 611d6 A . J r 10 rn ~1! f "e 2 e G e " H ... .. =.====-I"i'-'~ -__-+11=-:-....--. J . -.56 I II I LAJD MY BURDEN IDOWN S.__ ~.~- i - ~'" e ---13 () I-----~==~-e-='-~_' .

anno~.ers so [m".:ing for Ute 'wire eutters.orD.) &x8tlIl]Jd~ I shows all the basic melody notes go~ngrlgb L U_[J the rhi rod! string A (tn open-D tun on iil.sbecause €or the f"Dleludy notes up the first stJ:IL~g open-D lImlng_ Try s[i(Hng into these In IluteS ill' whole steps. milch o f the open-pcsu bOn.tump around loo~.li' IT'euing finge..) In G.~ tUllt ac~ualJ1}' pick only one-you YO'l. <l.lly have to do is Lift the sUdc from tl te 5trill". If 'l.e~tednote and then pull a sounds luw.h C fret ~us they're tbe same M ~tiOIl!l seem familiar. horrl. Are you retwling1' Is U . ct i on is OIl the third string. LhO\t'. pull-olts aren't tha. root. you g~t to retune YO"nJ.rpD. a Thaf's because the upen third string tn G tuning 1$ G.I I II II II II I 57 P'ULL. the It.as. ANID BLU'E NOTE.r .guitar again.S nd now.er fretted note CM open 'W1ilisHde.. pick one 'fr.\ling 1hrn l!gll seven ~b.i~11 string.t hard to do.-OFFS. (.'onM0. ~f!'~'S do the sarne thjn.MER·ONS. as In Exi:'llIlple 2. is tuned to 111 e in open-G tunins:.'! (I'll Just keep ch~ulllg wi die you :. an extra treat fmplo\. I I I I I I II PU LL·OHS A IJ'ufklff.5 yuu may know. All you rea. fllllclwhen you play In open poslUon.rype:n(1 Siw::'e ~ already kflm'l h ow to . and you lise them to sound more. as in Example 3: .U5as you reaJcll YOLlr note and the open string will sound.~ in open G.comi1lne the open anf! c~osert [l'ositlon~ in [I.Illd l"\'.ng? Have you broken any strings yet. tb\:! rout or ~ (. is that extremely the st~ing in a way LJlul handy technique that allows you to or an sot.r off string. back to . IHAM.

. sltde from rhe thjrd iretmmpJetely [rHJrth €ret (El-:<1:mrJJe 4a). Ws an impnrtam sound.f~itlples on the CD. ambIgUOUS sound.~r.strtn.dmiqll(l is in lIen-ern. remember or a half tone.I 58 Yom pull-oIls will be maly as clean going rn hear all tho!\'~ ~'Irings <1. One. the B you're landing third of a G c-horll tnree-and-a-halr sound OQ 'will sound as ~h~ rnalcr all r\ow slide ~rom fnl'! third fret on. "Dave.e to jump down y ~I'Uh the slide to the third fret for Ole last move or ~he measure. and Of! the second the strIng to get the open G.. and I wouli1a't want you to come away from this book thinking.lIl!!'er. th It's a t~!lJIi:Y.s. itW{) too. bu~ th i s Uml: lift the ~Iide from the strings s umewnere your s·ttarl a'i the third lret and yrlllr eoncluslon fllg:hl.~o that lifting you'n !:ret a pull-off '10 tlie open ~~-- ~lh_~_':---f1 and lt does.Jor third.it won't qblite C~1n right.. 1"hat is.. make sure you've )'eally reached you . the note. and l many only lost your between I II I I I descrihe II <IS being the note on rhe to the 11lfJ.ph:! 6 also has J long ptclrup.':rl~:li1lli[lg for bdoi'e When you lif! U1Cslide..lidt:'-~into the sc\'>e. say.10[$ of other .1S.1gain and !lUcie tow.. Stlll. in the ml(kll~.e..(ltl!rt 11 fl'''.that slad. you I'rtfl. killtng the note nud(i. QUARliER-iONE This concept SLIDES [n prlill. You neerl lu be damping behind the sltde actually stops.strlllg~ ~OI:l[1das YOI.I slide up 011a par~ic'l!lf!lr . an the acuon Is inthe Exam. TIML's a hall-siep (oIIMret) sHde.There's J blue note WHY you're trying to Hmt.er.:e betv." I hear you say..ly f1ElIfwayup to the fourLhrn:l-lu and it won't quite sound mlnor.:rl. work 1.t..~tril'lg.actually lift Lite slide Irom the strings.!§'}. Ii you haven't ptltience with ~'i]b project ye. on the j:lullar IIIcalled a halJ-~lep OIL YQUf ]jtt1~ finger? hme ts [ust gnung to be half of that. licks whth this sound . Also. that noti':! \. Lnless you're going for a quarter-tone slide . ou't quite sound major.'ee]J a quarter-tone slide and a hn[(-luIU:O! slide.1lnl LIte r.. I'yoil just.g you Want to hear Ih. you're ringing open along with the one . etth.lw. hit '[he quick s. and even H you llsten to <It firsa 11:1 hear I I I I I I I ls a little mor·[_'1 t rkky to communicate the ~x. try this last step: St. On the third string. t\ lIIP to the to play Jlarra fret?" Wl"!ll.:l. he never even tried to -explain quarter-tone To h~glJl with.!. tlw slide with your index finger . ou tim. In Examp!e 5" atmost ts thne with a !Jull. dislanf1.\. I I II .f t.~cp paying arrcnuon to your dalOping !filld mutlng.. what's that slide? Try Uris.. ThIS np~~n note give:.iI~hfret.1ipu!'!-O!'I' to the open (i string.Y find it cllfficult the ~m!. So a quarter "now am I supposed that a one-fret "HamlJl. So i{. and if you r~ally h~ight and psrfect r~aytltat over a G bass. 11yon're . Over a G bas. stop righl'll-iere lmaglnary fr<?t (Examnle 4b). olherwise a1 the ruurth. Let's by a ft.ULJ.~Ull hear. pickup befr~re the downbeat.t~lg ." So hero i!!oes. slides.e fret you Wi.1t·~ilt the rlurd irei . oU~ make the slide ty01:1).

.S Ex.".~ Ch"l. Listen . -\r. (ifth (ret on the 01. The examples In I hi.~lrjng.r_' _.9a Ex. Fxarnple 7 L~a classic str.""~_ ~~~' • _ __ r J Ustenin~ melodies lie nr :l to the CD.. ". I '- - _' P c o==_.. ·&··12 1o·-i2.(ll'<' alternating- bass notes. Ex.:'j-f ~ ~ p --.A~~ e I. . b:.. ~~.. W~ com gu down to the fourth string. 9'" ~f~~:~~.=·. or shuffled eighth notes. \\·hcl her I'h~ bass notes were being played as quarter slmfI:':S . I"':' I.~e~.1i8ht-f~jgl)th~.5t: notes with."~~~4~. T htrd string gtves us the sal ne pile h as the open sirln g. ·"' ~" r=-~::~I fo ~ to B . not . which is a very ditlerent carefully to hear bow to phrase the H. .:.~.. "t.._+_-_-_..~colld 5iri[]i{ to get more melody notes in open-D tuning).'=:'~5.... th e slide.$ 1) nntes mar will work {this L~ snntlar to the way we went down 1n l lu.'If. Or from she second fret into the third fret.AC.fMh notes.th notes at the end of measure kind of grnuvf'. gui%' from the F down to the open 0 .--r.o-t~ ph. .. 0 . until now have been played with what are called .J s '0 1~Z': . i~ r ~ j-.t_ f.. .~~.. " o ' -12 -.0-~-----50-"'':' .. ND TECJINJQ~[S 59 E::<.6 I I II I I I I I I I II I I j ]- II 't :5 f..~~"'t~.ll er all ut'dnl!l played with . -I'I_o~~~~~~:_-_=_=_-_=_=_-_=_=_-++. This is generally when ynu arf~ to consider...".? ~I :!~ :::iF1' t::_~?~~~:::P~:'E!b~~i=E?l=-·~.-=----.~lirl~ ~If) In !hr p. ~ '1+1 . you mig:h t notice \Vl~'Vl~ that the ti ming of these irl !wo licks f 8(:' Is a little and it's true: all of nut il ~lirh~h:!r1Il orn whal h IH~f~11 dni%' previous chapters.~!:~L~~~ll~~~_~I~~~~~~' II ... As far playb I~ lht'. there are a iew nuances Sornetsmes you want ~(]... 1.rnplc 9b.~l1!jng eiRhrh~ over I'wn-beat fed.t- 0' Ex.xampl~ 1'1 show~ [\:ote t h at the. as in Example 9a.~ NOTES ON THE FOURTH 10 STRING Illf~ ]fet more melody notes.il MOH' TOOtS .~rfHjfo(M (~if.~. '!~1 =11t::.r':'lsCIn the style of Muddy Waters. as in E}.

" 1 hear YOL. e s .~]irlc OIl the way to the major thkdIn this case. A~ you do so.alf}. T know.. u BLU E N OlE' 5 PE CIAl .• J-ElI I I ~~5 I 5 - § . Ex. like the one we dud with thtl quarter-tone ...I say.1iJ~ ill Example lOb." a gJ'()o\-'Y lillie break in whle 11~~<ldi phrase is ki(":j({!rl rh~~lh <l. YOU're IJlaying the sound of ~ note headed foil' the fourth fret but n~ver' qutte mi:l. ---. G J b 5 s P :.. man. there. here's the blow_:by-blQW mechanscs of What to do: Begln sllding fmm the third to the fourth yD~l Other Umes YOH really want is il: slide that starts II I I I fret. V .:.. p 'S .. II I I .7:::r. It's another kind ol bnu~ flnl€!:. And since I am hlp 10 the will of the... alide up from the ~h lrd f.~AC'{- Tuning': I'J G D G 6 D ". I have prepared "Blue Note Special. !IS ~n E. 5~ I I I I II ]. Y(YUwaru In Il~~ar how this sounds in real Ittc. p~opk.:12-------0 0 ---------G 5'°""<4"'".:.TIC GUITAR S_LDE nA~rcs III I want to ~licle Up' hum the F toward ii G. 1Gb 5 _ I' lknow. it "Dave. orks best when your n(~t !lote is going to he a G.J{am !{Ia. -e =---o---1tlb~"'11l!£:-1tlMb.·et Of] the fourth s ~nfU!f.-~ ~~ 3~ e :oj! ----%-""""4---A ''.I h.~()yoo don't Iuadvertently pull off t 0 r he open D sEring.. . Got an that? Thts · .~I:r~ng.k:[np. but lIfl the slide [rom the string about halfway there. the flr~l"I G on the thinl .. What p~c at the third fret and gets cut olf 011 its way to me fourth Irer.. damp the st rillg with your left-hand index finger . "that's a Uttle cosmjc for a basics book." UK..COII~. spccihl.

as W.:o. wn@1"l ~ say ~dror.lY Eli<lJillplc then sltde up a fret to the held .t[ing up.._1'----r II I.ing the h<llIuner-on/slide muve YI<i._ .yuu'n ringiug eut dea....(I fOP oppos tte Qf p~~lltng fr·mn the third oH.g.rt by playillg an open st r~ng. and lh en r:lflte.._.Orlrl (Jlil AND NOTES ON THE FifTH STR~NG j. flt a.UI an open note 011 the lil-f'XI! s. Hc!ffi\..rnpl:e 12c- .uy. which is an octave :FI.ceilent llJ1g w~lh'f) wiiUkil1 the up~n ~~riIlg'5 vlbratlon dQ W<lllt ttl the strings. the one you're doing all tb':llE!}1.o'l ol:lrthing the .:rly.'!th S~lllgll1g 1 and ::I are p~ayec:l.t you ueedi to make contact lelt-hand 'N.ill.. with sounds we worked on in earlier chapters.I I II II . If you just slowly press into Ute stfings. ] -------If 1& s li2 --'---10>-"1"2- HAMMEiR·ONS i-lmnrne:ring ~ .m the rn~~bQ<l:rd" whkh Js 13!t. YaLl note be us1ng left-l'!<lirliu dJarnptng. • p .in. but ~iyou naake your hammer.~th damp- and dse lsive motlon.en. II I I I I I I III .ND IECHNIGUES 61 You can also cO..then drop the slide onto the hfth s~ring at the third fret (Exan Ipi. and See huw ~his worlcs. ~he slide OHtu the stdng tv get c!OWIJJ mth string.!lIQW. on 121). And.a!1y p~:es.r_~f.H. 1111.~uI1LIJLe 1201 <:Inc] I (NO'w the 1LiiU. \Vhat l dD mean is th<l.Let's go tothe strIng.~Hde~[1 a :s~ng~e qUick motion..~ the with tne sltde.df ili jus~ the gr<lce note on the way netc a:l 1 he rem rt.1:!i fl'eL) try rolioil.l.Fi!lJa..f.~~C. beraTe the sltde touches yuur Index Hilgea' (you l'. make tnesame hllll'llmer-ol:! l:niCliVC ~sln E. other srring$ <Yld ~UJIt~rl of CQufs..~ ~v ~~ !I' .itlhre.[lbine SO~t~ of the closed-position the closed"pll~jtion these open-strtng moves 0[[ lI'le Lhird and lourth strings w~th Note that back the solo. "I don't mean for J the slide into the strings. G. ph1r~l'Ig with the s. E t& r 12 61" . You st.D~~ TOOLS .s with the ge~ d<lilllphlf]: ul'ld ge~ your hammered-en 'V'E!hammered ..lJij Bul~ it5.:.iicie. as in Exa.tu. W~' carl do thiIlg~ to a note oncewe to jL 10 pl<.HWM-.. .strai:ghh~ig~ uth-m)L~ Issl ~ ~- [.(l l 2<1 Now.ing the strings yfJIJ to l~l~ly 810m that would create too much ad d itiOflal noise from .str..s irl aquick because you Ol.l~t pick the open fifth S:tT~Ilg.c. like therest II I III then we wer~ pla:yiUlg dosed-position heks in measures eighth notes: ilL Example II._-qubrguitar playing.

'every time y:ou with the slideat Land on the third ~triIlg 1:1. strll1£S 5. \Vlw.t you du l5 ttlis: as soon as J"OU pld the $Uhlg the 12thfre.. rt[lg ou~ sympM!teUcally.}oE.1 the slrde with IiUl .arnmer-(ln Ilcks on the fifth and . impIyin.rtie:lIlllIJ' t~chlllqli]. ~etting YOIlr Hngers leOl'l'.j and the turnaround (V .:.n you go to the IV chord (measures 5-t.e 0'1early MuddyV(o'aters.I I I I I I I I I I I ~~.lue!\.n the top three On strtrllg!\ :!Ill!d aflswering phrll!'e.es ~f. (f"''efythl!'lg is happeniJ ~g On the fifth and ~lJmth sl'r]'[~~5. IV chord! tn measure HI).l.i1L £XMl. USb _ -~ -=::=·l::::::::::I~===~~.~ I I I I I .iTlgle-.~Qm(fwh~."~""~ f. -:.(ll. II chord. t2b ~ ~~ IH -- Ex. 14 G 5* II______. Example As you hn the J.". y"al'lk the slide toward the nut.'nw. implying".fourth st. lifting it [rom the. Ex.s a Hnle harder at the same tane will make 'the upper strili~::.·~' _.-.t:il~" Vv1H.i'n onthe 5irin!1'.g a C chord...g.(JoI.- .. Ex.)- -n. The c]aas·]c move is a l.e S'l:r1ngs a little atter the sitde does. on the oJ t"he IV or V chom em the downbf!f.----------------~'_~----~----~ + .W.$) H e .t. 120 "[ ~~ H 5 ~~ ~ B .".ard sures. n~-bar tuae in the ~ty].s).l watch out fo!_ln IheUnsl [our mea12th het.~trl.~ are n~e'r-ely irn pU.conststs you'ru~[)H~aU}' J almost ill i-- CALL AN..lQt land..d=::::::_. a C.'!.e EKaIl1ph~ 1i"ia:.110rd.~ple ] 3 en ds on. n(Jl actuaHy S pelled (}tI~ with a fun chord voicing. a entirely dosed oil single-note lh~ who~e W<lYtl1mu:i!h. WlH:)il you're on the I chord. 0: $ IMPLYIING TIHIEIV AND V CHORDS In -certain kinds ofe~rBy b..~ <ib"Oll:t 1:I<t. with the open G s:triug (picked r!l.~ :t :i II ~ ---- " .$lMldrtg' 14 lands on a D.... TMs ya!lk o~ th'e . or the IV..!·L()~epickup rm that N.. ~ I)' D .tri[lgt.62 II Ex. when you rolla.r11." '.l E_)1am:p~(.D RESPONSE BETWEEN CLOSED AN D OPEN posmON Tht~ lasr oe~<l11l1p~e.. ' ___"~-.c:!1:OI'd measure In 9. and belll"lng ~h~ slide: with a very he-avy vibrato t]O\'.Fwil... pos ~tiO'.\ l5b.:":t. the 1V <H1fl V c...8 nd~_ the so unds lik.m:h .endpOint marked.n~:l'y)It sounds IUlif. r""P!!"- 1/. j)wJihijl those phrases wlth(l!penfos U(ln~.fJ. mUng out lhe chord ($ h. .ed. or the V. it.~. There <lIe a couple (lf pa.~h~~'s a diov. Damp the as )"TIU mt the ~~ide by llepa..'UIn pal'l1ifi~bese.Y down the neck. and ¥'e~ it's pretty dear what the chord changes <Ire.

~~. ~ t'o 5 P 1> ~ ij74f d rl I' 5. or ~ just brush up om the high string wl.d J • .]ayinIl two stl'lngs -at once. a II~~---- -----~..MO~E TOOL.i~dl s Lr.---5--- - r!' ." .-.---1&'1:2 12: 11'.J_.2~.Iluse {m~ tinger on r.. S . 111 tncusure 7 O'f ~ Mn(ii.inf..l. 4 ~'''.th one finge_r hard enough to make the second string sound as well.. haven't Teally done yet are double stDp.12-'o::12 _. '1Z! e ------'-- ~ --~e~~ ~ (. MUDDY'S BLUES r ~ 5 (.(:ly·s mlle~~.\.~ ----() H (.lll'Z'!'--- '~ -~t92---- -------- ---- -~~- --I -----------' I I I I I I I II I G ~~~~~~~:~·<~i~GL~'lf~~~J~~.. 58 J. ----+. you ~tl.:?-Of.~~:~ll~g~'~~~~g@ ~~ 5 P (..4 () -------0 t:y -'!:5~~5 1:: y' -S"".~-p.S tiN!:) TECt'''I'~I.ES The other thing we..ifa c ~- J Ig r"-". I '-0tb .) ~+ --1------ l2~-----------+_--- ---1O'l'fj". ------ o.

I IH. because are exactly the topics we will cover in Lhis chapter.Kample ~O::.note triplets on tor. .. ~md of :2 i [uUo\.~ II icind oi shllHle. your middle Hu- ger lor the. _. 1) l! l 1-' wep the 12/8 fed in mind as you play through the [ollow Lng exaurples..... :iunny you ~llOuid ask. and 12/R It's c. First. up with [ust the three f]l:Igers ..!1:f!. I ~..huHle fee:11\Vh"t about turnarounds? those tell us about Id as cending bass llnes T' Well.. plnch with your thumb ~_ilrlall three Hnge~s. as In iE.. Both uf these are to be played without the sllde: I I Ii I I I I I I II II 07 Using {me pkking IlflSil.COUSTIC CU'ITAR s u os 3A~IC5 I I II I I I 11'- 'TURNAROUNDS AN.'>'1' llL~e.1 . Y01!lan think or II 12/El feel ~.o1jllpl~ I ~o gel <l handle OTi th ~ fllfk~rl~n bel ween swing eighths..'! pl~yecl Ind Md!JaHy) over a steady Uslng the same rigJnt-htllldi hng)efing..& _•• rt"r . let's (1(1 eyerything here with a 12/8 leel.l~l'~ . chords "n. which is heard In roany blues styles. to show us any open-postticn til open C.51 art pl<l}'lng.SLIINES A 5 we turn to this laM chapter. & j1) L . bass.. . ...th'il C) over a steady (. 5 Ex. an(iyout rhJ. thlrd string. straigh~ eighths.ighth notes in the bass but from the rtequ~Jlt i:'~ghth. ~b 5Mt1!:J f~e. try c:oor-d1.llJ!l~ror lhe set:umI-play l the]V chord (.:.l!!: ~j.? Shm]h:in'r we And can mnrc If] G with a s.\V~.:irr~.nrlil:lngn . except t the pulse comes not fnllll steady :.1s1er W cc readnotatlon in 4/4. ~ay. as in Example 2.g-)o'Om index for the tourth strl. and on tho. try out these two n t:lW volclngs.. Ex.ltper ~trtn. On the second beat. Ch~k ~It r.1 U::.ar you.D MOVIING BAS.aren' t you gpjng ..-5 5 1e'IG l.ggii)'ced Ilgure (8J a bass../.:. lc [59'£i. 5'eri~~ o[ chord tone.00 YOLl. t t ii~~~r . And since we spent tile last chapter workIng with the strailo'lht-eighl!ls feel.

l~er'·(fbLfrrli·Slt~lrig)'·~ .. ami 3.I I II II II I YOItl can break E_:>Iartlple :l.'!!ld~·nr. nibuu]c (lrl:. 4 ami 11" i) II the 'way through. they wUI fall Ull the 1 and the a.er 2 lhl.~' i: .IiI~.~ . (tlIihl" strlng)' (?~~d'Stilils)--: .. 01 snorter moves like this: I I III Righfhand rutioll . count H as "2 and a" instead of just I I I I I I II ~2'and. . 50 ~"(lll could count out Example 31ilre this. rt sounds kind of d)orK'y. In that case..!~(tlii~~ :~f:ln~ l f\Q~ 11"~r thulnb thumb llClur~h sl:tlflg) ""'hen rot! g-et to tIL!:!riplet on the second t beat.r means )o'"Ou"rf: counting 12 eighth notes per measure.Oliger" plncll ." J know. but it really helps you hear where ULe b~l:d!!! are r:alling. ·~i.' . 3 :' ~humb: . into a: series..~band rung fj~l!li!r ~ncl1' ~ 1rn:iddle linge'. any time you hruve regular ~j£lhth notes. Since l2l8 Ume literan.ring Ifngel'_{. down. ~ '=". • ... not triplets.seCOfid 'stliJ Lj. i! . }/filli could roal'ly count "1 and a 2 <Iuda 3 and a.i) tbml"lb aiid r.t(.1J8.liltj!!.

Hllighe IV or 'Ii t ~oing from a pickup figure played with the chord on the ny. I\. lllu: ------~e------------... ~_j~ H G . then back to the thtrd i fret bd:o!"e pulllug on to the open fourth str~ng_ MUDDY'S BLUES #2 . in F~'I!A'lmp]eto the 4 rv chord. appropriately slril1g. yU!JI sl_klctlnto the fifth fret. The IV chord (measures 5--fi) itl'lG tilt' turnaround (V to [V. measures 9-10) are played as open-position rolls and include trlplets as \vell. In both c:li'l1"llple:s you're slide intQ a Iretted open chord.2'.{. a Let's try a slightly more elab- orate roll over the V chord.guresto practice fmm..in9 ~ ~.ay Examples 5 aud 6 each as repeated (i.Ill wIth Olr/.CHORD ROLLS You know tile way that we're wlliil.~ with our fingers to play an w/.]1I "Muddy's BllIe5lt'. s t ~rllnl!!011 the third fret of the fourth st rj ng. You could apply the roll. i II II I I I I I I I I I II I I I I II I I II J'l. Opt':T1 enough.llffleleel.f sasure 3 hag a kind of elaborate move on the tl1li!'n.~ the-triplet fi!lUH~S in measures 1 aMI:'l establish the l2i8 shl. i 0 0 i DH ._E! through the chord light now? That s called. (~-:"'~ :I .i~ I :~ D1 ~ 5. 6 5w. Ex.~e ChOtXi5.1j U ~ 0 2 ~ ~-~ Let's play 11blues using rhc. and then oocll' Into a _~Hdeflgur(!. heat.

'ttJe root.se.ramp 7 IA le with de. So we can pl._3~=. ThL~ can be played straight play it ._=---_" .---.l1Ij' bass Urws that. e Ex..'.'\:and middle ringer..(J·s.J. respectlvely.--5__ _ .IV h11-1L-+-/--'9-~---------- ~~ ~~~5r----".ass because surlle: oi these shuffle. il\. ~Il open G. slide. 11.k/" .stralglH in '~l1lsC~\SI~'as well as in Example HI.<&i.el()I~.------ -------- ..-- J~ .. we have the low D sixth strhlg 1.. 1'I. -f} 3· 4 ri r ..1 re all fretted.... p~<Jy!ngturnaround HSC and varii)l~s I I I I The tollc . with no oJ the.{ijg - --...e going' to its way' dewn the 5mh string.I.. [Je~celldillg bass lines are a hmky alternatlve aitematin!1"b.go dow!1 rwltl the root to a low mLh..ry offbeat white your thumb works .N [) ' H OLN IOI. preUy allele..-====--."J n rU 0 LS . an D ~m: also <. and Iht:!i1!. . 10 "" . Grab the fourth and thirtlstrings yOI!ll'" ~mle.! big part 01 octave lip on the fourth-string T-chOf(l ""LImps ln G. . ritlures we've drm0._.AC"~ . A:'f..o<rswung: w-e'r.. E. ._ hLp! ~ .-----:. G on the rHI'h string. 7 .='-3-·=======-+~ ========-53_-?!n..JE S C71G nO' ~J(d~ ---.J~ '-19 0 __ O b_O_· ~ ~~ I II I I I I I I I !3 DESCENDING BASS UN ES to the steady quarrer-note. (. Dli!!scending Hne~.. and now's -good time to learn about lick~ win work only In open G and not in opcu O... I ::---joe-· ..endiilg bass-tine vamp. on eve.rin~ three examples a Son House-style .

ll ~il~ I] r-C!:i 5 awl 6.-. n ~J =.--.---.j~ ~..i!:+-·:".- ~· i b i ~:j. with your index I~[]ger just one': s!rlng Over.-. Play thts example and the L'I.. M easures '1 and B use a .· -~-. You might think ..----- J . ~" Ex. • .a1 f~1 (iJ"J . lett.------ .:i ..e as a tumaround in the last exalu[)le of the.. :.!me i.J) ow D~ . r'la)l 'l he uotss on the IOlJrth string with your rlunnh.-.----ee-g----l33-.s broken up' into sjllgt~I~!1itesOT!beat 2... 1--4..---. iSw.~e bass notes without actu~lJ1y pi c:ldng them.arnp~e 8. arlation on th e on gln"l bass line..11 One eillhth noteand two Uiths HS S bown 'It !IS a trtplet in whh::h the last two notes are rushed. .l1 gt'!l.. Jl ~l r 1: f-::?-: r ~r ffD Ex. Contjnue ton rt h ~Ilftl th. :1 :s=:~=:e =g:=~-~--tQt--.irdlstrings on the aIld or :2 ln i l.' r= --- II I I I I I I II I I II I II I I I I ----..ur imic..·-.xample 7 lor measures .)$ LIp tremend nU5 ruoruentum using one of these descendm g: bass 10. for the slide figures on the IV chord. but picllin~ it this waywiH IH~I[l make the {1e1l. ~~j.:I.-----~5----..--. ""I"i'-- 71 :==- ~ . . -.-.rn'b :ililde'Xi thiuflb h1 E:.G -I If'" sfub. fourth :.. Jl) --.-..in.•• .• _.. play the figure from E.---. II I II .--. RigfrlJJwltl action thumb illliex thu.••••••••• ..texample easier as well.--tI ..--I=~--=~---l-!i:.~ -a.-2. II's kind of Ii close pinch.. fhl! des cendlng llne is an octc<Jve up..s I'IlC..' n nes .66 Beal' and a..--O-~"~-12!--£te11.J ri.-~~_e_. you're playing Hkc more 'than just quarter notes W~l'll tt!Jlo~ lluanb III I1Hl1:lJ5Ure 6. uslng ..:=z:~1311. and keep the thurn b goinJ1in steady 4ljllamrr no~~~ thrmlghcmt_ It loo. the thIrd.(!l':!t one with a shuffle feel (swing eighth notes). We're nisn guilll!:to use this n~ur.--. In tho end.. 5wiM!ll f~1 (i:l". In ~nlpj(l 9 thls double-stop fi[. 9 flO . but you'reactually slkhj ng ~nto maLlY or Ulo.-_:2_. 10 G slJd~ --.i2--g---+-g-D .--t ---- --- i .-6 -0 e o ~ -G---t~---et9-· --3--._•• .-.-:--g:: :E=-Gl:~=:1=:g=S::g:.r:..--..• ' .•• . ..slralghl-(~lghUH!ote a repeating figure. d I _..--_ .of that combination 2 ot .1 iJ _:- ---:e~14-· --.ks-al1dsounds ..•••...• "-.. "" b~ ~ .. your middle fillger.. use a rightyo.' Fr T ~rr r -_tt--. .! ~ II AI': .Iring.. and fIngers foll"rhp usinq your mdex and middle hand pln~h: your thumb takes the fifth string.. chapter.- q'r' _Ii ~ ~.~. You can build ...1--)+---o-. In Example feel.--------e'------+6..

u:m-pusitlOID V chord in measure 9 (don't m. D G D GaD ~ v .--e .s orT:V"to-V'-lCHtIl iIJ: rno HiUI notes) ehord move 12 with . .~. And we dose things oul 'Ii'!measurea H and qlfll'ltessel'l'llal G~WTlll'lgturnaround.~ played ami a gmt oO~J more ~arly Chlcago-style 12·bar blues.""'\ c E:t.-f...-~ __ ..DHl _ ~5=====-%=.Example 11.J]8J '"t!fd9 J l-p ij~8fT'" ~f@-iu .~tIC)' G ~Jd& --.-. There's an o..._O_5-_-_t7_...f..=:_-_~~.'d" • ~~ll ~I 5 • t.3_:__ 3_2_-_6~_-z. Eh G "f'lJllidlf--.j:.__ f.l.f.---- _:2_6I_--¥r5-----Pi5--+kA.CK 1'0 CLARKSDAL.is.m:/I .-. the ft{lure rmrnE:.Jfd8 --- ----- . In "(loin' Back to as !I shuif]'f!:.~:.~.5wdng feel (n... a variationon the IVmeasure Ei of.5_.Z i-k __ ~t:' r r "it_ 11!1 ~ P.) J .- .. _...:_"'__-!. G'OIIN'IA._-~~r:"!>_-~·1-:."r-~~5'-·~--e=·:--=:~ G 10 ..~~c{I ey TYl1tng.. ~.--.-_O-_-_5-_-~_--::i!i-2--:.:r:~§..C1_ . .--.-- ... ~ . ~ ..-- I I Iii I I I III .ii..--- I II I I III -r-" ~~ Ll:':-""-.-. 5..l-. In measure 10 that'.I I I I II I I II We'll dos~ wiUI rl8Jrksdale._.. S· iO H D .---- ----- -.-\J~~_~T-:_5~-h1LD_9~~3~~O~3_'-~_'--~O_'-~_3-_--_'3-':LI-~e_·--.E "-.._-_A--i ZvB:....".:l. ._~ _~_+-.----:-:.--- .~! I'Hi (C to I) til m).o.--- .<:!i"nple 10 is the main theme for tne I choul. . G flO ".ith !1r.-.

Repri ~oE! 2039. ln~_ periectly. ".a.. and there are numerous core about books available: you're most useful to finl1 I ranthe Thp.: Shde G'Llit{lr: ..]5. VARIOUS ARTJ.["lr good way to develop FinaUy. lkJlllenetii YMJOO Guifar. andl c.ly l til f.!1I.. \~1ille the James ilJld ~n . 2 SON HOUSE \. The process takes wt)re time t hal way. . For example. if you haven't already. MUDDY WATE:RS :nt~Bes. lll"liIlg Inkmnatl 1 from transc ripnon.f1. TI'~~ Cempl'Ete R~'fJr!§1f!g$. and then check what you've Ii!J1l_re(J out <tg.rm.. As you alrea..' of Mwd.as you IWllERT JOH~SON ~ryl e eourdinatjon. . As YOU tty to sort our whab. a particular Wasthe l'ij:g1U. use a capo to hun~ around tunlugs. tlleir re~Qn1Ihgs> !lr~' an.1Y. something learning sHdecan . ~ olle'~ardjlJg ILtS:rUUNG "~me Johnson.~1J~ I'rqi. Col!lmbl~..U.u'}(iIfit's not matchl ng and see If It's a higher versioa or one o.&1IlgtlJ'eS ln t]1£ ~ril:nsfOTm. and tuearchttecture C.Bo. R~pri:51.l!!fqe {iurA'll': The Fi:'~Jf.j tha:Lsounds WTe.pl.J. I . and th.'! 179.:rrUcu]ar.Ittl tuning' non. 5Mfc!~ C(]b:rmbii'~~ 18. .non of r.>lth ()[JE'rI-G tuning and r<u:. MCA MOO2".26B~ The Chess BoX.Boorrters S~W"}'.les.[ on the e:i!arnp.1:. . lItarting featlIl'~. which us jus~~D t1.5~. just try to Inake a litde mush. teoordlngs' can help you understand or slide guiL<.. Work I I I II I I I I I I I I . tn this hook. Robert Job nson. Muddy \V1lIters. and wtu:m you're just pick tip the glide and Set' 8!rl"ang~mp.li'as a backup and sllc1e guitar. . . your ears \.'. JOHNSm:J /)(lrR or example good to you.s.llde ~lIitari!:t. ~tCA 31. and yOllr ears a11worll:blllg U1tilI1il. Jmmy of the essenUal nuances the role hearing eo be understoort."1:u. ELMORE JAMES of Lh~ actual rer:nnllngs IiStl~llifig tu.. check out aome recordings o! the (!reat . tt.!"r~rnme is llstad fnr Ei'HJ. you're ilLstrument Ilrrn9re so USleuing to records is kc~y. Columbi» BLIND WILLIE.apolllg iufu[m. Tn. don't furget to jllsl P~i:lY.e some ov~. 1(j2~/.iug !'Iok-Ior-no1 5CTiptiCIIlS e transcriptions call a big help "". t'le. Ir you well on your way as a !..111develop from trying. you're already 46222.· y~oo chaltenge •.5ic TAMPA RED TlU?C Guitar Wzzard..1"i1 play or open tunlngs all at (Ince.!lnd ]{y Coo(ler.. you can get some bOlSIC.I I I I I out King of lil"F.el!ellt S(HJMe of OC:l"VC(:1] ocals v onreennts Try to f1~U!fe nut SOme of what with simple the same as m15 arid little bclClrup figures_ Even if you don't gel: it exactly it soi.o.rf:i Wateffl...ht. . .f those played in either nne. both artists were cr1t1c.dl&r::: am! t.g. startin::l 1')[ ~y COOI!)~R m. your hands.V Well. wtit'teu transcrlptjon. e . .rlall in ma!l~at. .<lY in E or f turrlng.1O.lli~remay Ij. Furyourself..from and CD.rrti~~.ura] acous nc ~It& ~ty]es' into FlO~tWllT electric 'hIl:lt~. B.70 FURTHIER LISTENING ANID LEARNING '"A Ihat'snext"! '!> RECOMMENDED tn'{~~. exc.Srs. her-e.8.r:/l. "'":' . . mds hem"ir~g.ff~es. Origirral &11(1 Blues.~ (!Q(i I'm So. A short list migctTt lnclude Son House. If you want to he really hard.~ relationship yOll'i""t-! workiug with this hook's notation tar really need to be heard artists like these accompaniment things llke what. Columbia 65. Keep a slkl(' what happen~. ~ It's I10 small f~dt to have gOHen your head. I}ut It's your ears.tisftM. making a few notses on the insteument. with finger- ~!15H.!" lilJa.rIJ")'I{llj(lr .' ~ too.aIt's obviously on li1i'eJ Ih!!! ~rpte Vqli~ ReJ:!dse .dy mow .MI W311. consid er whether closer to D or G hmjn. Ry Cooder either capoeel m tuned up two A Or B. •'iJso.H{ pl'zying tor yout}Oclf. J'r:n'll. COi'Lunbla . betueneck ldeas anil vC!~abulary\ going on. t~gethe.Sp.slide tee hntque. C~prj ccn 42006. Don't worry about rememherlng be three-dtrnenslonat your guitar.ill!ng three frets: RI)lx:rt Johnson he occasionally it by two or three rrets.~mud) as possible {rom the ~ecmdln!:I Its{'U.~iUl.slide gU.u1StS.d of shde guiand Tampa Red.e1een1c sllrle!:lUitar:. !'<'Iudd}" Water_5.siQ. '.53.2:35.alnst a r.

Carl Thlel: Andrew DuBroc. !Edwa-ro Hamhurger I I II III III This book .i.s dedicated to rh" memory (HtH4-2011O).e relative. Whit Smith. lnchlding at.Tlh""'~_liI<l"1dhamburger_eDm.1l0 lives .1ul Rishel]: Ben M. visit v. Texas.I.end Ilw rest oUbe A.lI:u1way schedule. Trpti Todd. Peter Keane: 5teve James: P.t.. for m~ldHg this. David IInmlmrger I I I II I . the National GUlt1lirSummer tile: PBS Illm American Instructor OI.G_ staff.e Dobre» H''fJmbcJ.<lll and writer '\O. Stacey Lynn.:pt. and iF!fonnation [lfn(hictlOll of Footloose..'Jall WeiJler. For a rJlscography.ell F. and the Incml1par.' Fatal perforrnm1. book possible: Stedman I-Unckley you.rim:! Berry. are). and t~ a regular W{}'rk_~t1~lp A session .lS tml(. ~oHowit. and III the B1'f.ab!e Cal i1e. nl!J~id<l[i on nnmer- of lhte~ other books. JiuJigo R(lse.lg people (wherever 'rOdel V_Wolfs!).loruf. his latest solo CD.(.d Haml:mrger author ts a IHHSi. He is the Th.:k.ok. AC KN OW LEDGM ENiS '1'h~nks 1'ft the. Hambur!il~r has also been heart! on l'FN's Emef'!l Live. on Dr I I II the soundtrack 011 £Xpe:deil(..rlden~ records. Jell Rodgers. fI.71 D aVi.~1~5~Y. or my IawltlJl.[11 AUSWl.

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