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1015 ELECTRIC SLIDE GUITAR. HAMBURGER. CD

Euro 20,99

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ELECTRIC SLIDE GUITAR. Hamburger.

LIBRO DI MUSICA PER CHITARRA SLIDE CON CD E TABLATURE

This book/audio method explores the basic fundamentals of slide guitar: from selecting a slide and proper setup of the guitar, to open and standard tuning. Plenty of music examples are presented showing sample licks as well as backup/rhythm slide work. Each section also examines techniques and solos in the style of the best slide guitarists, including Duane Allman, Dave Hole, Ry Cooder, Bonnie Raitt, Muddy Waters, Johnny Winter and Elmore James. CD TABLATURE

Series: Guitar Educational
Softcover with CD - TAB
Author: David Hamburger

This book/audio method explores the basic fundamentals of slide guitar: from selecting a slide and proper setup of the guitar, to open and standard tuning. Plenty of music examples are presented showing sample licks as well as backup/rhythm slide work. Each section also examines techniques and solos in the style of the best slide guitarists, including Duane Allman, Dave Hole, Ry Cooder, Bonnie Raitt, Muddy Waters, Johnny Winter and Elmore James. 80 pages

INTRODUCTION
The aim of this book is to present you with the essential techniques required to play electric
slide guitar, while providing a hands-on understanding of the variety of slide styles that exist within
the blues idiom. The book begins with the open G tuning, proceeds to open E tuning, and concludes
with playing in standard tuning. While there is material at a variety of levels throughout the book,
important matters of technique are introduced chapter by chapter. E tuning is not "harder" than G tuning,
or vice versa, but as the chapters on open E tuning come later in the book, that is the point at
which more advanced techniques are discussed, whereas basics of right and left hand technique are
covered in the earlier chapters on G tuning.
A Note About the Tunings
There are four tunings that are considered standard for the electric slide guitar: open G, open
D, open A, and open E. Open G and open A offer essentially the same sound as one another, a whole
step apart (open G= D, G, D, G, B, D; open A= E, A, E, A, C#, E, low to high). Open D and open E
likewise offer essentially the same sound as one another, a whole step apart (open D= D, A, D, F#, A,
D, open E= E, B, E, G#, B, E, low to high). For this book, I have chosen to present all of the examples
(except for those in standard tuning) in either open G or open E tuning, rather than distinguish
between various artists' use of G or A tuning, and D or E tuning. I have done this for two reasons. The
first is to enable you to compare examples from different styles of playing within a given chapter
quickly and easily, without having to retune or capo by a whole step, or transpose in your head. The
second reason is that G and E tunings share some familiar fret positions and bar chord locations with
standard tuning. This makes orientation to each of these open tunings a little easier. More importantly,
it makes it much easier to translate what you have learned in open tunings back into standard tuning,
should you wish to play without t::hanging to an open tuning-for instance, if you use a slide for just
part of a song.
Electric slide guitar is at the heart of electric blues, from the pioneering postwar recordings of
Muddy Waters and Elmore James to the blues-rock of Duane Allman, Johnny Winter and Lowell
George, from timeless, genre-busting originals like Earl Hooker and Ry Cooder to contemporary
artists like Bonnie Raitt, Roy Rodgers and Dave Hole. The diversity among slide players is remarkable.
Far from being limited to the generic sound stereotyped in every bar band's version of "Dust My
Broom," the world of electric slide guitar is as broad, deep, and eclectic as the blues itself.

CONTENTS
Introduction

Chapter 1 Slide Essentials
Choosing a Slide .
Guitar Set-Up .
Left Hand Damping .
Left Hand Exercises .
Right Hand Muting .
Fingerstyle .
Right Hand Exercises .
More Right Hand Practice .
Playing with a Pick .
Vibrato .

Chapter 2 Open G TIming
Tuning Up .
The Fretboard in Open G Tuning .
Scales .
Damping/Muting Exercises on One String .
Major and Minor Pentatonic Licks .
Call and Response .
Combining Major and Minor Pentatonic Scales .
The Blues Form .

Chapter 3 Improvising in Closed Position
Closed Position Scales in G .
Precision Exercises .
Blues Vocabulary .
Transposing: Blues in G .
Combining Open and Closed Positions, ala Muddy Waters .
The Upper Extension: Adding Notes above the 12th Fret .
Transposing the Upper Extension: Blues in C .
The Dorian Mode

Chapter 4 Backup in Open G
The Style of Muddy Waters .
Changing Keys-Using a Capo .
The Style of Bonnie Raitt .
The Style of Ry Cooder .
The Style of Johnny Winter .
The Style of Dave Hole .

Chapter 5 Open E TIming
Tuning Up .
The Fretboard in Open E Tuning .
Scales .
Exercises .
The Style of Ry Cooder .
The Style of Johnny Winter .

Chapter 6 Broom Dusters, House Rockers, and the Closed Position
Scales .
The Style of Elmore James .
The Style of Hound Dog Taylor .
The Style of Duane Allman .
Pulldowns, Escape Notes, and Gradual Slides .
Duane's World .
High Energy Blues/Rock: the Styles of Johnny Winter and Dave Hole

Chapter 7 Backup in Open E
The Style of Elmore James-Elmore's Shuffle .
The Style of Hound Dog Taylor .
The Style of Ry Cooder .
Beyond the Key of E .
Stop Time Boogie .
Double Stops .

Chapter 8 Standard TIming
Translating Open G Tuning to Standard Tuning .
Translating Open E Tuning to Standard Tuning .
Standard Tuning .
Adapting Classic Open Tuning Licks to Standard Tuning .
Combining the Open and Closed Positions in Standard Tuning .
The Style of Robert Nighthawk .
The Style of Earl Hooker .
Standard Tuning Licks .

Chapter 9 What to Do Next .
A Selected Discography
About the Author .
Notation Legend .

Disponibilità:

3643 FAST FORWARD, SLIDE GUITAR. CD

Euro 20,50

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FAST FORWARD, SLIDE GUITAR. CD TAB.

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1016 LEARN TO PLAY BOTTLENECK GUITAR. F. Sokolow. WITH CD

Euro 20,00

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LEARN TO PLAY BOTTLENECK GUITAR. Fred Sokolow. CD TABLATURE

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE

A popular and easy to understand book which teaches and explores the many aspects of bottleneck/slide guitar techniques developed nearly a century ago and made famous through the recordings of legendary blues greats like Robert Johnson, Mississippi Fred McDowell and Muddy Waters. Much of the book is dedicated to teaching you how to use these assorted techniques to make original improvised solos. You will learn to play bottleneck guitar in open D tuning, open E tuning, open A tuning, and standard tuning. Written in notation and tablature.

In blues, rock, or country, the gutsy, gritty whine of a slide guitar brings any piece of
music down to earth; it has an unmistakably down-home, "back-to-the-roots" flavor. That's
because slide guitarists today use techniques developed nearly a century ago in the
Mississippi Delta and popularized by the recordings of legendary blues greats like Robert
Johnson, Mississippi Fred McDowell and Muddy Waters.
To play acoustic or electric bottleneck, whether the context is Southern rock, Chicago
blues, country, or heavy metal, you need to look to this source and study the techniques and
sound of the old Delta blues masters.
In this book, you'll learn many of those techniques and how to use them to make up your
own solos. The emphasis is on improvisation. You'll learn back-up and lead styles in several
open tunings and standard tuning, and how to express a melody in bottleneck style. Along
the way you'll pick up lots of wonderfullicks-of-the-masters that will give your playing that
"back-to-the-roots" sound.
P.S.: The recording that accompanies this book is an invaluable teaching aid. All the
written solo and slide techniques discussed in the book are played just as written. Listen
before, during, and after reading the music and/or tablature.

Guitars & Strings
You can play slide on any guitar (acoustic or electric, steel or nylon strings), but most
of the old blues players used steel-string acoustic guitars (6 or 12 strings). Many of them
favored the metal-body National with its loud volume and sustain.
Heavy-gauge strings and "high action" make bottleneck playing easier (though they
make normal fretting more difficult). "Action" is the height of the strings from the fretboard.
It's adjustable on many electric guitars. Consult your local music store to see if your guitar's
action can be raised (sometimes this is an easy bridge modification) or if your guitar can
stand heavy-gauge strings.
Bottlenecks & Slides
Many of the original slide players used a broken glass bottleneck, a jackknife, or a
sawed-off piece of metal tubing as a slide. Today you can buy a variety of shapes and sizes
of glass and metal slides, as well as carefully smoothed glass bottlenecks. Here are a
few guidelines:
• Slides versus bottlenecks: Most glass bottlenecks (cut from a real bottle) are slightly
curved. This is helpful if your fingerboard is also curved. If it's perfectly straight, a
straight slide will be easier to use.
• Glass versus metal: This is strictly a matter of personal choice, so try both types on your
guitar to see which you prefer for feel and sound.
• Long versus short: Some slides cover most of your finger and span all 6 (or 12) guitar
strings; others, intended for a more precise single-string playing style, cover only 1 or 2
strings. To begin withthe basics, get a long slide. You'll need itto play 5- or6-string chords.
• Fat versus skinny: Most players wear the slide on their pinkies or ring fingers; this frees
the rest of the left hand for playing chords. Find a slide that fits comfortably on your pinky.

LISTENING GUIDE
If you've learned the material in this book/CD set, you have a strong foundation in slide
playing. The next step is twofold:
1. Listen to the masters (recorded or live) and try to imitate what you hear.
2. Make up your own licks, accompaniment, and solos based on the ideas you've
learned.
Learning from Recorded Music
There's a lot to be gained by watching a live performer that records can't duplicate. Go
to live performances by slide players whenever possible, or watch them on TV; more and
more music videos are becoming available. In the meantime, listen to slide guitar
recordings. First, listen for the pleasure of listening and to get acquainted with the styles of
the great players. It's fun and amazing to discoverthe moods and sounds ofthe best players,
past and present. Be sure your listening includes:
Tampa Red
Son House
Robert Nighthawk
Duane Allman
Johnny Winter
George Harrison
Acoustic Players
Robert Johnson Blind Willie Johnson
Bukka White Kokomo Arnold
Electric Players
Earl Hooker Muddy Waters
Ron Wood Joe Walsh
Ry Cooder David Lindley
Fred McDowell
Charley Patton
Elmore James
Eric Clapton
Bonnie Raitt
Next comes listening analytically, with guitar in hand, learning licks and tunes from
recordings. Here are a few pointers:
• Find the tuning: Unless there's a lot of fancy chording, assume that the guitar is in an open
tuning (especially with the acoustic players). Start with your guitar in open G. Find the key
of the song you're analyzing. It's usually the chord that begins and ends every chorus; but,
if your song is the exception to that rule, it's the chord that "resolves" the tune, the chord
that makes the tune feel "finished." This will not be a problem with many of the old-time
players who stayed on one chord throughout a whole tune!
Once you feel sure you can hearthe "tonic" chord (the "key" chord), try to rnatch your open
G chord to it; if it doesn't match, barre across all 6 strings with your index finger and try
to match the G#, A, Bb, B, C, or C# (going up 1 fret at a time to the 6th fret) to that tonic
chord. If one of these matches, place a capo where your barring index finger was and you
are ready to play along with the record. (Consult the capo chart in this book to determine
what key you're in.)
If none of your barred chords matched the recording, retune your guitar to open 0 tuning
and repeat the same process. Eventually you will find the key and be set up to play with
the record.

Contents:

Introduction

How To Read Tablature
Equipment
Guitars & Strings
Bottlenecks & Slides
Picks
Open D Tuning
"String-to-String" Tuning
Tuning Down form Standard Tuning
Sliding on the Strings-Preliminaries
Barred Chords
Fretted Chords
Boogie-bass Accompaniment
The D Major Scale
Higher D Major Scale
Emphasizing Open-String Notes
Lower D Major Scale
Turnarounds
The 12th Fret D Major Scale

Open E Tuning
Tuning Up From Standard Tuning
It's the Same as D Tuning

Open G Tuning
"String-to-String" Tuning
Tuning Down form Standard Tuning
Barred Chords
I-IV-V Relationships
Similarities Between D and G Tunings
The G Major Scale
Emphasizing "Open-String" Notes
A Lower G Major Scale
The 12th Fret G Major Scale

Open A Tuning
Tuning Up from Standard Tuning
It's the Same as G Tuning
7th Chords

Slide In Standard Tuning
"String-to-String" Tuning
Playing in the Key of E
E Chord Positions
A Chord Positions
B Chord Positions
9th chord licks
Slide in the Key of A

Play in Any Key You Like - Using a Capo
Conclusion and Listening Guide
Learning From Recorded Music

If you've learned the material in this book/CD set, you have a strong foundation in slide
playing. The next step is twofold:
1. Listen to the masters (recorded or live) and try to imitate what you hear.
2. Make up your own licks, accompaniment, and solos based on the ideas you've
learned.

Learning from Recorded Music
There's a lot to be gained by watching a live performer that records can't duplicate. Go
to live performances by slide players whenever possible, or watch them on TV; more and
more music videos are becoming available. In the meantime, listen to slide guitar
recordings. First, listen for the pleasure of listening and to get acquainted with the styles of
the great players. It's fun and amazing to discoverthe moods and sounds ofthe best players,
past and present. Be sure your listening includes:
Tampa Red
Son House
Robert Nighthawk
Duane Allman
Johnny Winter
George Harrison
Acoustic Players
Robert Johnson Blind Willie Johnson
Bukka White Kokomo Arnold
Electric Players
Earl Hooker Muddy Waters
Ron Wood Joe Walsh
Ry Cooder David Lindley
Fred McDowell
Charley Patton
Elmore James
Eric Clapton
Bonnie Raitt
Next comes listening analytically, with guitar in hand, learning licks and tunes from
recordings. Here are a few pointers:

- Find the tuning: Unless there's a lot of fancy chording, assume that the guitar is in an open
tuning (especially with the acoustic players). Start with your guitar in open G. Find the key
of the song you're analyzing. It's usually the chord that begins and ends every chorus; but,
if your song is the exception to that rule, it's the chord that "resolves" the tune, the chord
that makes the tune feel "finished." This will not be a problem with many of the old-time
players who stayed on one chord throughout a whole tune!
Once you feel sure you can hearthe "tonic" chord (the "key" chord), try to match your open
G chord to it; if it doesn't match, barre across all 6 strings with your index finger and try
to match the G#, A, Bb, B, C, or C# (going up 1 fret at a time to the 6th fret) to that tonic
chord. If one of these matches, place a capo where your barring index finger was and you
are ready to play along with the record. (Consult the capo chart in this book to determine
what key you're in.)
If none of your barred chords matched the recording, retune your guitar to open 0 tuning
and repeat the same process. Eventually you will find the key and be set up to play with
the record.

Disponibilità:

3960 OPEN TUNINGS FOR BLUES GUITAR, INSIDE THE BLUES. CD

Euro 19,00

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OPEN TUNINGS FOR BLUES GUITAR, INSIDE THE BLUES. CD TAB.

Series: Guitar Educational
Softcover with CD - TAB
Author: Dave Rubin

Open tunings have played an important role in the genesis of blues guitar since the early 1900s. This book/CD pack is solely devoted to providing you with a complete overview of the techniques and styles popularized by the greatest bluesmen of all time. Includes note-for-note transcriptions, performance notes, and full-band CD demonstration for 9 classic songs; Also includes historical analysis and rare photos. 80 pages.

Table of contents:
Boogie Chillen No. 2
Cherry Ball Blues
Doing My Thing
Drunken Hearted Man
I Can't Be Satisfied
It Hurts Me Too
Life Saver Blues
Phonograph Blues
Statesboro Blues

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3050 SLIDE GUITAR TRADITIONAL, COUNTRY, AND ELECTRIC. ARLEN ROTH. LIBRO CD TABLATURE

Euro 30,99

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SLIDE GUITAR TRADITIONAL, COUNTRY, AND ELECTRIC. A. ROTH. Esercizi, riff, e 16 canzoni di: Ry Cooder, Allman, Robert Johnson. CD TABLATURE

Foreword
Over the past few years, the bottleneck guitar has become an increasingly popular
means of expression among guitarists everywhere. In the rock and pop music fields
some of the bottleneck's exponents have included Johnny Winter, Mick Taylor, Keith
Richard, Duane Allman, George Harrison, Ry Cooder and many others. These people
have all broadened the scope of the bottleneck guitar, but they owe a great deal to
the true pioneers of this style of playing-Robert Johnson, Son House, Bukka White,
Tampa Red, Fred McDowell, J. B. Hutto, and Elmore James, to name a few.
Son House, Robert Johnson, and Bukka White, were all of the traditional Southern
folk-blues school of the slide guitar. This era reached its height during the 1920's
and the depression years. Later on, in the 40's and 50's, country people from the
rural south began to move to the northern cities. Guitarists with their roots in the
country blues soon discovered the electric guitar, and began to play with musical
back-up musicians like bass and drums for a bigger, more "urbanized" sound.
In this book, we will cover all aspects of the bottleneck guitar, past and present,
from the low-down bottleneck styles of the Mississippi Delta, to the present day lead
guitar sounds.
To enable you to better understand these sounds, I have included an instructional
compact disc. All the material on the recording is transcribed in the book to make it
easier for you to follow along with what is being played.
Though the bulk of the material in this book will make use of open tunings, we'll
get into some licks for playing slide in standard guitar tuning as well. There are
plenty of blues licks, country licks and songs to work with, and feel free to improvise
upon any of the musical ideas. After all, that's what this book, and music in general,
is about.
By the time you've covered all the material, and feel really comfortable playing
bottleneck, you should be well on your way towards developing your own approach
towards the art of slide guitar. I certainly hope that you get a lot of mileage out of
this book, but most of all, I hope you enjoy it, because it certainly was a pleasure for
me to write. Arlen Roth

Contents
Photo Credits,
Foreword,
Reading Tablature and Symbols,
Fundamentals of Slide Guitar Playing,
Open Tunings,
Traditional Slide Guitar,
Playing in Open E Tuning,
Licks and Exercises in Open E Tuning,
Playing in Open G Tuning,
Licks and Exercises in Open G Tuning,
Traditional Bottleneck Tunes In Open E Tuning,
Good Morning Blues,
Ramblin . On My Mind,
If I Had Possession Over Judgement Day,
Preachin' Blues,
Come On In My Kitchen,
Denver Blues,
Bumblebee Blues,
Country Slide Guitar,
Playing In Open E Tuning,
Licks and Exercises in Open E Tuning,
Country Bottleneck Tunes in Open E Tuning,
John Henry,
Bury Me Beneath The Willow,
Farther Along,
Will The Circle Be Unbroken?,
Playing in Open A(G) Tuning,
Licks and Exercises in Open A(G) Tuning,
Country Bottleneck Tunes in Open A(G) Tuning,
Brown's Ferry Blues,
Danville Gal,
How Can You Keep On Movin',
Lead Electric Slide Guitar,
Dust My Broom,
Licks and Exercises in Open E Tuning,
Love In Vain,
Slide Guitar In Standard Tuning,
Licks and Exercises in Standard Tuning,
In Conclusion,
Discography,

Arlen Roth was born in New York City In 1952. He started
to play guitar seriously at the age of eleven, beginning
with classical guitar and moving on to blues and rock
styles. His love for country and blues guitar and his
innovative experimentation within these styles led to the
writing of Slide Guitar.
Arlen has performed and recorded with many well-known
artists such as Simon and Garfunkel, Paul Simon (solo),
Art Garfunkel (solo), Phoebe Snow, Bob Dylan, Louden
Wainwright III, Janis lan, and Dan Hill, to name a few.
He has recorded four highly acclaimed solo albums,
Guitarist, Hot Pickups, Paint Job, and Lonely Street, and
writes a monthly column for Guitar Player magazine. He
is the founder and producer of the well-known Hot Licks
Video and Audio Instruction Tapes, and his other books
include Nashville Guitar, How To Play Blues Guitar,
Arlen Roth's Complete Electric Guitar, and Arlen Roth's
Complete Acoustic Guitar, Arlen played all the guitar
and was special coach and consultant to actor Ralph
Macchio in the film Crossroads. Arlen lives in upstate
New York with his wife Deborah, and their little girl, Gillian.

Disponibilità:

2334 SLIDE, GUITAR TECHNIQUE BUILDER SERIES, CD

Euro 15,50

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SLIDE, GUITAR TECHNIQUE BUILDER SERIES. CD TAB.

Disponibilità:

1018 THE ROOTS OF SLIDE GUITAR. Fred Sokolow. CD

Euro 49,99

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THE ROOTS OF SLIDE GUITAR. Fred Sokolow. Metodo per suonare e cantare il blues con 3 titoli acustici e 2 elettrici.

THE SONGS AND LICKS THAT MADE IT HAPPEN
A SURVEY OF SLIDE GUITAR, ITS PIONEERS, AND HOW IT DEVELOPED

This book/CD pack is a complete survey of slide guitar, its pioneers, and how it developed. It includes: 6 note-for-note transcriptions of famous slide tunes :

-Come On in My Kitchen (Robert Johnson)

-Motherless Children (Mance Lipscomb)

-Roll and Tumble Blues ("Hambone" Willie Newbern)

-You Can't Lose What You Ain't Never Had (Muddy Waters)

-You Gotta Move ("Mississippi" Fred McDowell)

-You Shook Me (Earl Hooker with Muddy Waters);

instruction in the essential playing styles; the history and the development of slide guitar; biographies of its representative artists; and recordings on CD of the songs, exercises and licks.

You gotta move -come on in my kitchen -motherless children -roll and tumble blues -you can't lose what you ain't never had -you shook me. CD TABLATURE

HOW TO USE THIS BOOK AND RECORDING
It swoops, wails, whines, moans and growls: slide guitar sings. It's a crowd pleaser, and it reaches people because it conveys naked emotion-especially when playing the blues. And most slide guitar heard today, whether in a blues, rock or country song, is played in a style derived from early Mississippi Delta blues.
Modern blues and rock slide guitar evolved from traditional acoustic styles. This book is about the guitarists who made that evolution happen. It takes you to the roots of slide guitar. Each of the six classic blues tunes transcribed here demonstrates a particular style and tuning. Every song is preceded
by information, exercises, scales, licks and chords that are needed for that style.
Timing is such a major part of slide guitar that it's almost impossible to learn from the printed page alone. Listen to the recording that comes with this book before playing a note. Once you know how a tune sounds, then it's time to check out the tablature and/or music notation.
If you want to learn any style of music, it helps to imitate the masters. Whether you're a beginner or an experienced player who wants to get back to the roots, here is the essential guitar stuff. This is an introduction to and an appreciation of great vintage music, and it's a foundation on which you can build your own style.

." Fred Sokolow
All guitars and vocals on the recording that comes with this book are by Fred Sokolow. Bass, drums, piano and horns are by Dennis O'Hanlon, and it was recorded at O'Hanlon Recording.

MUSICAL INTRODUCTION

A LOOK AT THE ROOTS OF SLIDE GUITAR
Most musical historians trace slide guitar to Hawaii, but Johnny Shines, friend and accompanist of Robert Johnson, is one of many who claim that blues-style slide developed in Africa, along with open-chord tunings. The first literary mention of blues slide was W. C. Handy's famous 1903 sighting of a singer at a Mississippi train depot who used a knife to slide on his guitar strings. Like most Mississippi blues players, he made his guitar sing and mimic his voice.
Early players slid on the strings with pocket knives or beef bones, and some held the guitar on their lap, Hawaiian-style, but by the 1930s, most blues players held the guitar upright and used a brakenoff bottleneck or a sawed-off length of pipe for a slide. This was a major stylistic development, because if you hold a knife in your left hand, it's impossible to fret the strings with your fingers; fitting a slide on the ring finger or little finger frees up two or three fretting fingers. Most slide players tuned the guitar to a major chord, usually 0, E, G or A, and used the slide to play major chords, as well as individual notes.
There was a blues craze in the 1920s, and by the middle of that decade, major labels began recording blues guitarist/singers. The first crap of slide players who recorded included Sylvester Weaver, Barbecue Bob, Hambone Willie Newbern and Sam Butler. Following them were the Mississippi bluesmen Son House, Charlie Patton, Bukka White, Kokomo Arnold, Sam Collins and Robert Johnson. They played a raw, very rhythmic, emotional style of blues and sang and wailed with passionate intensity. Texans Blind Willie Johnson and B. K. Turner (the Black Ace) were influential early slide blues players, as were Tampa Red and Furry Lewis, who boasted a polished, gentler slide style.

THE COUNTRY CONNECTION
Hawaiian guitarists developed a lap style of playing: the guitar lies in your lap, strings facing up, and you hold a steel bar down on the fretboard. This technique migrated to the mainland and, in the 1920s, with the help of Cliff Carlisle, Jimmie Tarlton and slide players who accompanied Jimmie Rodgers, it became an essential part of country music. By the '30s, Hawaiian and country pickers began using electric, fretless "lap steels." These evolved over the years: they grew legs, more strings, twin and triple necks (in different tunings), and foot pedals and knee levers to bend notes while playing.
Thus was born the pedal steel guitar that is now a signature country sound. But country pedal steel and lap steel bear little stylistic resemblance to blues or rack slide playing.
In the early '50s, the acoustic lap style slide guitar (see Dobro picture, below) began appearing in bluegrass bands. The wooden, acoustic whine of the Dobra is also heard in contemporary country music. Usually played in a bluesy style in open tunings, country Dobra is more related to bottleneck guitar than is its cousin, the pedal steel.
All-metal Dobro
Wooden-bodied squaredneck Dobro

BLUES SLIDE PLAYERS PLUG IN
Before instruments were amplified, it was hard for a guitarist to be heard over a piano, horn or even a banjo. In the late '20s, the National Company answered this need by making all-metal guitars, fitted inside with convex aluminum resonators, like speaker cones. Sounds crazy, but it worked: the guitars were louder, with more sustain, and they rapidly became popular with jazz, country and blues players. Lap style players used the square-necked models with a nut that lifted the strings high off the fretboard (better for the metal slide), but bottleneckers favored the round-necked National that could be played like a normal guitar. To this day, the all-metal National and its cousin, the Dobro, are favored by many an acoustic slidester. The Dobro company also makes a wooden, square-neck guitar with a metal resonator fitted into its body (it looks like someone stuck a hub cap over a guitar's soundhole) that bluegrass players use.
However, even the National or Dobro could not cut through drums, saxophones and electric guitars. By the mid-'40s, many Mississippi players had relocated in Chicago, and a new kind of blues was brewing. Elmore James and Muddy Waters led full electric bands, playing screaming, amplified slide.
It was loud and distorted, and single-note solos became the norm-with a whole band for backup, a guitarist didn't need to fingerpick or play chords. You could wail with one note, like a sax or trumpet.
Waters' and James' styles were clearly rooted in the Delta, and so was the playing of electric slide pioneers J. B. Hutto and Hound Dog Taylor. But Robert Nighthawk and Earl Hooker began playing electric, single-note style in standard tuning, which was a new direction for bottleneckers.

THE '60S BLUES REVIVAL AND BEYOND
During the '60s, white blues fans, many of whom had learned to play by studying old blues records, sought out the first-generation blues artists. Legendary players whose careers had petered out were rediscovered and brought into the limelight, and many excellent artists who had never played outside their own county recorded and performed all over the world. Folk festivals, concerts and coffee houses featured acoustic and electric blues.
American and European audiences loved the aging but passionate blues legends, and by the mid· '60s a blues revival was in full swing on both continents. Besides giving players like Muddy Waters and Howlin' Wolf a bigger audience, the revival encouraged young players to form new blues bands, and to use blues techniques in rock and pop bands. After playing with John Mayall's blues band, enthusiastic blues disciple Eric Clapton brought blues guitar skills to his rock and pop bands (Cream, Derek and the Dominoes, Bonnie and Delaney). While still playing with the Butterfield Blues Band, guitarist Mike Bloomfield backed up Bob Dylan on one of his first electric albums. And slidemaster Duane Allman used his blues chops with the Allman Brothers Band and, as a studio player, infused all kinds of pop recordings with the blues.
In the '70s and '80s, pop audiences were introduced to slide sounds by Johnny Winter, George Thorogood, Eric Clapton, Duane Allman, George (post-Beatles) Harrison, Bonnie Raitt, Little Feat's Lowell George, Ry Cooder, David Lindley and the Rolling Stones. Many Southern rock bands had slide guitarists, and they influenced a new crop of country stars who, in the '90s, used slide on Nashville hits. Slide is heard more and more in movie and television soundtracks. Fortunately, as its audience grows, slide guitar has retained its down home character.

MUDDY WATERS
Often called the "father of electric blues," Muddy Waters was the leading force in the post-war
Chicago blues scene and an important figure in the development of rock and roll. The roster of players who learned their craft playing in his band reads like a "who's who" of blues legends: Little
Walter, Junior Wells, Otis Spann, James Cotton and Jimmy Rogers are just a few. While T-Bone
Walker and B.B. King, with their big-band sound, urbanized and streamlined the blues, Waters
brought it back to its funky Delta roots with a small but powerful band whose lineup (two guitars,
piano, harp, bass and drums) would evolve to become the typical rock band format.
Born McKinley Morganfield of sharecropper parents in Rolling Fork on the Mississippi Delta, April 4, 1915, Muddy Waters built his own guitar when he was seventeen. Robert Johnson and Son House
were his main influences; he watched Son House in action when House came to Clarksdale,
Mississippi. House taught him riffs, open tunings and songs, and showed him how to break off and
flame-smooth a bottleneck.
In '41, folklorists Alan Lomax and John Work came to Clarksdale and recorded Waters for the
Library of Congress. In '43, ready for bigger things, Waters moved to Chicago. Though his style of
choice was rough and old-fashioned compared to the reigning blues artists like Tampa Red and
Lonnie Johnson, (of whom he could do a simple imitation) Big Bill Broonzy helped Waters get his
start playing in clubs. In '44, his uncle gave him his first electric guitar, and by the following year he
had teamed up with guitarist Jimmy Rogers. In the next few years, he started to develop his electric
sound and began recording for the Chess brothers.
In 1950, with the release of "Rollin' Stone," (backed with a Robert Johnson-derived version of
'Walking Blues"*), Waters' career was in high gear. In the next several years he had a series of
regional and national R&B hits. He was Chicago's reigning king of the blues, working every night, his style imitated by other bands, and even some of his sidemen had hit records! He recorded blues
classics like "Hoochie Coochie Man," "Honey Bee" and "I Just Want To Make Love To You."
In the mid-'50s, when rock and roll came roaring onto the charts, Waters' record sales dwindled. Still, he held his Chicago fans and his legend grew. In '58 he played in England and then was a hit at
Carnegie Hall and the Newport Jazz Festival. The early '60s British invasion brought him wider
recognition, as the Rolling Stones (who took their name from the Waters tune), John Mayall, the
Beatles and others sang his praises ... and his songs! In the blues revival that ensued, Waters was
acknowledged as the founding father by the British and by American guitar heroes like Mike
Bloomfield, Steve Miller, Johnny Winter and Jimi Hendrix. He played festivals, college concerts and clubs, was filmed for television in England and the U.S., did world tours, starred at the Montreaux Festival, and played stadiums and arenas.
In the late '70s and early '80s, Waters won three Grammys, played for the White House Staff Party,
appeared in the movie The Last Waltz, and toured with Eric Clapton. On April 30, 1983, he died
peacefully in his sleep at his suburban Chicago home.
78 and 45 rpm singles had an "A side" (the featured tune) and, when you flipped them over, a "6 side," or backup song.

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6654 SLIDE GUITAR Know the Players, Play the Music. Pete Madsen. 168 Pagine. CD TAB.

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SLIDE GUITAR Know the Players, Play the Music. Pete Madsen. 168 Pagine. CD TAB.

Series: Book
Publisher: Backbeat Books
Medium: Hardcover with CD
Author: Pete Madsen

Another entry in the Fretmaster series, this book teaches you both the history and technique of slide guitar's masters, such as Brian Jones, Lowell George, Bonnie Raitt, and Robert Johnson. While exploring their musical lives and legacy, Slide Guitar provides lessons that give you the skills and encouragement you need to emulate these musical heroes. The accompanying CD offers specially recorded backing tracks in blues, folk, country, and rock, allowing you to play along in your favorite style and explore new sounds. Hardcover, spiral-bound. 168 pages

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