|
Equipment
Technique The slide is pressed against the strings — lightly, so as not to touch the strings to the fretboard, and parallel to the frets. The pitch of the strings can then be continuously varied by moving the slide up and down the neck. The usual limitation in fretted guitar playing of twelve pitches per octave does not apply. Indeed, in pure slide guitar playing the frets serve no purpose, other than as a visual reference. The technique lends itself to glissandi (swoops up or down to a note); in addition it has the ability to evoke sounds of the human voice, crying, sighing or weeping, or natural noises. Another strength of the technique is its vibrato, which is easily achieved by oscillating the hand so that the slide goes quickly back and forth. The major limitation of slide playing is of course that only one chord shape is available: whatever the strings happen to be tuned to going straight across. Many slide guitarists will still use their free fingers to fret the strings if they want to employ that sound as well. Using the free fingers opens up the possibility of playing chord shapes other than the straight line given by the slide. One strategy is to use the free fingers for rhythm work, and intersperse this with lead phrases played with the slide. The guitar may be held in the normal guitar-playing position (that is, with the face of the guitar more-or-less vertical) or it may be held flat, with the face of the guitar horizontal. In the latter case the guitar may sit flat in one's lap or on a stool, face up, or held in this position by a strap, and played standing up. If holding the guitar in the normal vertical position, it is more common to use the tube type of slide. In the horizontal approach, solid bars or "bullets" are more commonly used, and the grip is overhand: the hand is not wrapped around the neck, the index finger is nearest the bridge, the little finger nearest the nut, fingers pointing away from the chest. Usually, a slide player will use open tuning, although standard tuning is sometimes used. In open tuning the strings are tuned to sound a chord when not fretted; sliding the bottleneck up and down the guitar neck gives that chord in various keys. The chord tuned to is most often major. Open tunings commonly used with slide include Open D or "Vestapol" tuning: D-A-d-f Occasionally a bottleneck is used on only the highest two strings of a guitar in standard tuning, usually in live performance to introduce just a short passage of bottleneck effect into a piece which otherwise consists mainly of guitar played in standard fashion. Slide guitar is most often fingerpicked, with or without plastic or metal picks on the thumb and fingers. However some players use a flatpick (plectrum). The bottleneck or tube type of slide is usually worn over the ring (3rd) or little (4th) finger. Wearing it on the 4th finger has the advantage of leaving one more finger free to fret notes if desired. However some players feel that they get better control using the ring finger. Most instructors recommend letting one or more of the fingers behind the slide rest lightly on the strings to help mute unwanted vibrations. Technical challenges The main technical challenges with slide guitar playing are: Slide guitar places greater demands on one's ability to mute strings than standard guitar does. Playing a melody with well articulated individual notes requires more skill than may at first be apparent; it is easy to get a howling mass of notes on slide guitar until muting is mastered. This is because the movement of the slide, which is usually pressing down more than one string, causes those strings to sound, but not all of those strings are necessarily intended to sound at a given time. In contrast to fretting, in which the note decays quickly after the fretting finger is lifted, unwanted notes while using a slide must be actively muted. One can touch the string with a fingertip of the picking hand, or lift the slide and damp with a fretting-hand finger. The first method is more selective, the second stops all sound. History The technique of using a slide on a string has been traced by noted blues scholar and musician Dr. David Evans to a one-string toy-instrument: the "diddley bow," which resembles one-stringed African instruments. The tuning and bend filled playing style resembles the blues-harp. The technique was made popular by African American blues artists. Some of the blues artists who most prominently used the slide include gospel singer Blind Willie Johnson, Son House, and Robert Johnson as well as Casey Bill Weldon of the Memphis Jug Band. The sound has since become commonplace in country and Hawaiian music. It is also used in classic rock, by bands such as Lynyrd Skynyrd, Led Zeppelin, Pink Floyd, and ZZ Top that have been heavily influenced by the blues. Arguably the first influential classic electric blues slide guitarist is Elmore James, whose riff in the song "Dust My Broom" is held in particularly high regard. Blues legend Muddy Waters was also very influential, particularly in developing the electric Chicago blues slide guitar from the acoustic Mississippi Delta slide guitar. Texas bluesmaster Johnny Winter developed his distinctive style through years of touring with Muddy. Slide virtuoso Roy Rogers honed his prodigious skills by touring with blues giant John Lee Hooker. John Lee's brother, the great Earl Hooker, may have been the first to use wah and slide together. The late Duane Allman played a key role in bringing slide guitar into rock music, through his work with the Allman Brothers Band and with Derek and the Dominos' Layla and Other Assorted Love Songs album. Beginning in the 1960s, Allman used an empty glass Coricidin medicine bottle, which he wore over his ring finger, as a slide; this was later picked up by other slide guitarists such as Bonnie Raitt, Rory Gallagher, and Gary Rossington of Lynyrd Skynyrd. Such bottles eventually went out of production in the early 1980s (although replicas have been produced since 1985).** Grammy award winner and Rock and Roll Hall of Fame member Bonnie Raitt also showcased the slide guitar, as well as studio and solo artist Ry Cooder and the late George Harrison (particularly in his later albums). Jack White of the White Stripes uses slide guitar for the solos on the album Elephant, and can be seen doing so in the video for "Seven Nation Army". John Frusciante of the Red Hot Chili Peppers also used slide on the track "Scar Tissue". Derek Trucks, nephew of Allman Brothers drummer Butch Trucks, is a dedicated artist and accomplished practitioner of the technique. Joe Walsh also uses slide guitar in his classic "Rocky Mountain Way". Jeff Beck established himself as a master of slide with such memorable tracks as "Goodbye Porkpie Hat" (a Charles Mingus tune) and "Cause We've Ended As Lovers". Brian May of Queen uses slide in the solo of Tie Your Mother Down - this can be seen in live performances, but not in the music video. Jimmy Page of Led Zeppelin uses a slide on "In My Time Of Dying," "What Is And What Should Never Be," "Hats off to (Roy) Harper," and in their cover of Robert Johnson's "Traveling Riverside Blues." The slide work in the Pink Floyd single "See Emily Play" was done by the late Syd Barrett supposedly with a Zippo lighter. Noted master slide specialists include Louisianan Sonny Landreth, Australian Dave Hole, and Eric Sardinas, who plays slide on an electric resonator guitar. Country masters include Jerry Douglas and Junior Brown. Though more rarely than with guitar, some musicians have used slides with bass guitar — slide bass. Mark Sandman of Morphine was probably the best known proponent (with Morphine, he performed primarily on a custom two-string slide bass guitar), though Bill Laswell, Kevin Rutmanis and Marc Sloan have also played slide bass. John Paul Jones of Led Zeppelin has performed on a custom-made bass lap steel. Samples The following samples give an impression of the various styles of slide guitar. First is Robert Johnson's "Traveling Riverside Blues", one of the best-known examples of Delta blues slide guitar. Second is Elmore James' famous riff from "Dust My Broom" (incidentally, a cover of one of Johnson's songs), a textbook example of slide guitar in electric blues. Finally, a part of Duane Allman's solo from Eric Clapton's "Layla" is included, to give an impression of highly acclaimed slide work in rock music. See also | ||||||||||||
|
| |||||||||||||
 |
|
| |