Just because you want to slide, doesn’t mean you need to retune.
Chops: Intermediate Theory: Intermediate Lesson Overview: • Understand how to phrase with a slide. • Develop a better sense of intonation. • Learn how to emulate the playing of Warren Haynes, George Harrison, and more. Click here to download a printable PDF of this lesson's notation. |
The history of slide guitar is filled with open tunings. When each note at a given fret is part of the same chord it makes things really simple, but for many of us, retuning every time we want to whip out the slide just isn't practical. The logistics of gigging without a tech handing you pre-tuned guitars each song makes playing a brief slide solo in an open tuning highly impractical.
Then there's the obvious: We already know the fretboard well in standard tuning! No figuring out where a note is in some foreign tuning—the locations are all the same.
Of course, it doesn't take too long to find great exponents of standard-tuned slide, even among players who embraced open tunings at various times. Muddy Waters, Jimmy Page, and George Harrison all have made important contributions to standard-tuned slide. The modern master, Warren Haynes, is positively virtuosic with the slide in standard tuning, presenting impeccable blues playing in the tradition of Duane Allman, but without the constraints of open-E tuning.
Some Preliminaries
If you're new to slide, you should try to find a short slide to use. Longer slides cover more strings and increase the likelihood of noise and sounding of undesired notes. We never need to cover all six strings in standard tuning—single-string playing abounds and we rarely need more than three strings.
The slide glides on the strings, so don't press hard. You might find it's easiest to play with medium or high action. If your action is low, follow Gary Rossington's lead and place a thin piece of tubing under the strings at the first fret, that will raise them enough for a clean sound. (Check the footage below of “Freebird" to see exactly how it's done.) Most of the time, you'll aim for the center of the slide directly above the fret (not behind the fret, where you'd be pressing in normal guitar playing.) Of course, the slide allows for more refined and varied intonation options, especially the nuances in blue notes, where the desired pitch might be “in the cracks."
When in open tunings, it's hard to go wrong with the slide: Pick the right fret and chances are you'll sound a good note. Not so in standard tuning. There are some funky (in a bad way) choices and lack of good right-handcontrol can wreak havoc. So, it's time to address our selection of what rings out and what doesn't. Playing with the thumb and the index (or middle) finger makes this easiest, but a pick can be used as well. Try Ex. 1to develop a single-note presentation. The goal is one note sounding at a time.
Click here for Ex. 1
Here's a classic rock-style example, a bit like some of George Harrison's work and also like the slide playing we hear in ELO as well. The 4th, 3rd, and 2nd strings are the notes of a major triad (and just like open-G tuning), so these are easy to employ when we need to find chord tones. Ex. 2 could work as a background part or even in solos.
Click here for Ex. 2
George Harrison was one of the most distinctive voices in slide guitar. Added benefit? He was typically a standard-tuning player! In Ex. 3, a carefully crafted line spells out each chord. We can even navigate Harrison's trademark usage of a diminished chord with a cleverly chosen slide location. The 11th fret has the dim7 and the b5 of the diminished chord. Elsewhere, the dyads on the 2nd and 3rd strings are used in a major way and a minor way. For major, look for root and 3rd; for minor, find the b3rd and 5th.
Click here for Ex. 3
Long, sweeping slides and meticulous note choices are crucial for getting inside George Harrison's approach to his highly melodic slide playing. In Ex. 4, outline a simple E major triad in the first measure before hitting the chord tones again over the Edim7. When going from the A to the Am, focus on the movement of the 3 to the b3 to really outline the sound of that change.
Click here for Ex. 4
Jimmy Page is no stranger to open-tuning slide, but on occasion he played in standard. This mellow lead (Ex. 5) works over a jazzy progression in E. The scale choice is E major pentatonic (E–F#–G#–B–C#), but there's a G natural used to match the 7 of the A13 chord.
Click here for Ex. 5
Muddy Waters used open tunings extensively, especially in his early years, but his playing in the '70s and '80s often favored standard tuning. He typically capoed at the 3rd fret and played as if in the key of E, though the actual sound was the key of G. We're blessed with a generous amount of live footage of him playing slide. Below is a clip from the 1981 Chicago Blues Fest.
Ex. 6 shows the wild abandon that Muddy Waters exemplified in his spirited slide playing. There's perhaps no place better for finding “in the cracks" notes—colorful blue notes in between the conventional 12-notes-per-octave.
Click here for Ex. 6
Warren Haynes is one of the most influential standard-tuning slide players. He was the guy who convincingly brought Duane Allman's masterful open-E playing to standard tuning. Ex. 7 is a “back and forth" slide lick, crucial to this style. Muting is paramount. Warren uses fingers rather than a pick when playing slide, which makes control much easier. If you get a washy sound from a picked approach, definitely consider switching to fingerstyle.
Click here for Ex. 7
The note locations in Ex. 8 aren't all that different to where you might find them in a fretted blues solo. That's a big advantage of standard tuning over open tunings: All the notes are where you think they are!
Click here for Ex. 8
Ex. 9 is right out of the Duane Allman school of slide. Of course, the top two strings of a standard tuned guitar are the same as they'd be in open E. Take advantage of the similarities when possible. The slide allows great freedom of inflection and the Allman style is filled with such nuance and finesse.
Click here for Ex. 9
So by now you can probably see, standard-tuned slide playing is not a limitation, but rather a new way to repurpose your fretboard knowledge and unlock unprecedented expressiveness. Start small, focus on your intonation and tone, and emulate the masters.
Ernie Ball, the world’s leading manufacturer of premium guitar strings and accessories, proudly announces the launch of the all-new Earthwood Bell Bronze acoustic guitar strings. Developed in close collaboration with Grammy Award-winning guitarist JohnMayer, Bell Bronze strings are engineered to meet Mayer’s exacting performance standards, offering players a bold new voice for their acoustic guitars.Crafted using a proprietary alloy inspired by the metals traditionally found in bells and cymbals, Earthwood Bell Bronze strings deliver a uniquely rich, full-bodied tone with enhanced clarity, harmonic content, and projection—making them the most sonically complex acoustic strings in the Ernie Ball lineup to date.
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
Milkman’s Jerry Garcia-style JG-40 combo.
Grateful Dead-inspired gear from Milkman and Scarlet Fire helps to keep the guitarist’s sound alive.
Guitar players wanting to catch the Grateful Dead’s particular lightning in a bottle exist along a spectrum. Some are content to take inspiration from Jerry Garcia’s playing but make their own way regarding guitar choice and signal path. Others strive to emulate Garcia’s sonic decisions down to the most minor details and create signal paths as close to Jerry’s as possible. In recent years, an ecosystem of gear has developed around fostering Jerry Garcia’s electric tone, including everything from guitars, amps, and stompboxes to on-board preamps and speakers.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-120. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.