Play Slide Guitar Like Elmore James Elmore James only knew one lick, but you had the feeling he meant it. – Frank Zappa
Part of Mr. Zappa’s remark, maybe that’s because I marvel at Mr. James’ slide playing. Besides, how could Elmore become the King of the Slide Guitar without knowing a few licks?
The key to playing in the style of Elmore James, as Zappa pointed out, is feeling. You have to get a little mean and a touch gritty when channeling the spirit of Elmore James into your own playing.
Slide Guitar For Beginners
In this video lesson, I will show you an open G version of an Elmore James classic lick much like the Dust My Broom lick. Arguably, this is one of the most famous slide guitar licks ever played.
Remember to keep in mind those few slide guitar pointers from lesson 13 if you’re new to this style of playing. Here’s a quick mental checklist for you.
, the lick consists of two distinct systems a slide part and a typical blues rhythm part. I love this 12 bar slide piece because to master it, you have to learn how to play with the slide and switch to parts played without the slide.
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The opening bar is played on the middle three strings with the slide over the twelfth fret. Then in bar 2, join up with the band and chug out the rhythm part. The next few bars alternate this slide – rhythm part with a couple of short slide licks thrown in to keep the feel going.
The four chord and the five chord rhythm parts need a little special attention to play properly since you have the slide attached to one of your fingers. My finger of choice is my ring finger. So normally, when I play the typical blues shuffle I use my ring finger. That doesn’t work out too well with the slide attached! So I will use my little finger instead. Go with what works for you but be sure you nail the chord properly.
The lick finishes up with a classic open G turnaround to get you back to bar 1. Again, take care to keep the slide out of the way when fretting the notes in the turnaround.
Bottleneck/slide Guitar Book/3 Cd Set
I think for beginners, just keeping the slide out of the way when you’re not using it will be a challenge. It was for me. Watch how I point the slide away from the fretboard as one example of how to overcome this.Once you’ve gotten to grips with some of the basics of playing slide guitar such as the technique, the tunings and the scales, you can start to think about jamming over some of your favourite tracks and laying down some slide guitar licks and solos.
In this lesson you’re going to explore 5 simple slide guitar licks that can be used as templates for building further licks and taking your slide guitar knowledge that little bit further.
All the examples in this lesson are in Open G tuning, but these principles can be applied to any open tuning. This will change the sound slightly and the intervals between strings depending on what tuning you transfer them into, but the principles are the same.
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This first lick uses a triplet feel with slide major chords. The chords are played three per beat for the first three beats before a single note line rounds the lick off.
This lick uses the Open G take on the pentatonic scale for a descending line. This is the sort of idea that can easily be transposed to other pentatonic shapes or into other keys as needed.
When playing slide in open tunings, you have a lot of room for repeating ideas to work well. This triplet phrase slides between the 5th of the D and 3rd of the G. Don’t worry about the notes being super clean here, a little residual slide noise adds to the feel of this lick.
Tuning A Guitar To Open D For Slide
This lick is a useful concept lick because it can be used to frame chords in a 12 bar blues. The chords used here are G, D and C, each is played in an arpeggiated style with an additional semi tone slide thrown in at the top of each.
If you take this concept, you can fit each one of these chords over their main, parent chords in a 12 bar blues.
The descending run is based around the G major chord played across the 12th fret with a few quick semi tone slides up and down thrown in to break up the chord.
Your First Slide Guitar Lesson–before You Even Touch A Slide!!
Leigh Fuge is a professional guitar player from Swansea in South Wales that has written and created content for many high-profile guitar brands and publications such as PMT, RSL Rockschool, Trinity College London, Guitar.com and more.
He works with mgrmusic.com to provide high quality guitar content for guitar players of all abilities from around the country. To date, mgrmusic.com has successfully generated over 32, 000 student enquiries for their network of music teachers around the country. Find a local teacher in your area today.
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Open G Tuning Slide Guitar Course
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Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.Some think of Robert Johnson as the man at the crossroads with hell hounds on his trail, but many know him as the pre-war blues artist who had a profound impact on generations of musicians. His licks, phrasing, and general guitar panache have provided Eric Clapton, John Hammond, and many others the tools for creating inspired blues solos and rhythms. In this lesson, I’ll take a look at some of the songs Johnson played in open tunings. The goal is not to play a particular song note-for-note, but to grab some of his melodic and rhythmic ideas and run with them in the context of a 12-bar blues.
How To Play Slide Guitar Solos In Open E Tuning
Johnson actually played closer in pitch to open-A tuning, but since that might add too much tension to your guitar neck I’ll go a whole step lower with open G (D G D G B D). Ex. 1 demonstrates a common I–IV–V shuffle progression in the tuning. The standard treatment for the shuffle is to play two strings simultaneously, progressing from dyads containing the root and fifth (G and D) to the root and sixth (G and E) and root and seventh (G and F), with the consecutive eighth notes played not straight but long-short.
Johnson employed this style of bass-driven playing from time to time, but more often he would break up the sound. For instance, in Ex. 2, which is similar to a motif in his “Terraplane Blues, ” the I chord sounds quite different. It still starts out with the low-bass sound courtesy of the fifth and fourth strings, but then jumps to the higher strings, hitting G-type chords.
In Ex. 3, play the IV chord by barring strings 1–4 at the fifth fret and grabbing the eighth-fret B-flat with your fourth finger, or if you’re wearing a slide, your third finger. Then, perform a rhythmic flourish by bouncing on and off the first three strings at the fifth fret and landing back down on the original chord. To get a clean sound, pick the notes with your thumb and fingers, rather than strumming with a pick. Ex. 4 is a cool riff, similar to “Terraplane.” It’s based on a compact G7 chord played on the top three strings. Beat 2 of this measure has more of a triplet feel. At the end of the bar, try a rake: drag your thumb or thumb pick down through the strings while palm-muting—keep your pick hand covering the strings near the bridge of the guitar to get a muffled sound—then pick string 2 with your index finger before bringing your thumb down heavily on the G-D dyad at beat 1 of the next measure.
Easy Slide Licks In Open G Tuning
For the most part, Johnson used a slide sparsely, to punctuate phrases or reinforce vocal lines. A case in
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