Learn how to cop cool slide licks in the style of Sonny Landreth and Derek Trucks—without having to retune your axe.
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Learn to phrase like a vocalist.
• Understand the basics of bottleneck slide guitar.
• Develop flowing, singing blues licks.
Click here to download a printable PDF of this lesson's notation.
One of the most ominous words in the guitar lexicon is “feel.” It’s a word that’s thrown around liberally, yet it’s really impossible to prove or disprove someone’s “feel” because the term is so subjective.
Over the years, it seems to have split the guitar-playing nation into two camps, the shredders and the slow-feel players. Now, we could talk for hours and hours on what this mystical word means and we’d be no closer to an answer, but I do find it insulting to say that a player like Yngwie Malmsteen has no feel when the man plays with fiery passion and excitement—just listen to that vibrato! I’m certain Yngwie deeply feels every note he plays.
When it comes down to what music touches us as humans, we have to ponder a few questions: Does it make you want to sit and cry? Does it make you want to jump up and run around the room like a lunatic? When you pick up your guitar do you want your phrasing to sound robotic, almost sci-fi? Or greasy and gritty? Majestic? Nasty? Peaceful? Manic?
No matter what the intention is, the only real limitation is your ability to put that feeling across with those strings. And the notes aren’t enough—it’s about the attack, the dynamics, the vibrato, and the phrasing.
In my opinion, the guitar’s limitation is its frets. I know they help tremendously with chords, but when you compare the guitar to an instrument like the voice, you realize that we’re severely restricted when it comes to melodic expression. The human voice is capable of the sweetest vibrato. It can bend notes sharp, slide in and out of them, and, of course, create sounds between them. For the longest time I’ve wanted to imitate the human voice on the guitar, and the way to do this, I ultimately discovered, was slide guitar.
Okay, I didn’t grow up in the Mississippi Delta. I’m from a very small town in England and I was born in the late ’80s, so I wasn’t exposed to the music of Robert Johnson or Elmore James. I wasn’t raised on the Allman Brothers or even George Harrison. I do remember one of my first experiences with slide guitar was listening to the incredible Brett Garsed’s Big Sky, and when the track “Drowning” came on, I knew that somehow it just felt good. When I found out he was using a slide I became obsessed and had to look back at all the greats, from Muddy Waters and Duane Allman, to newer players like Derek Trucks and Allen Hinds. Before long, I had guitars dedicated to slide. I even thought I’d try my hand at fretless to see if I could do something similar there.
Below are links to videos of several incredible slide players for you to check out. Have a listen and try to describe what you hear. Focus on the idea that these players try to play something they might sing. This list could go on for pages, so I encourage you to go and do your own research.
Brett Garsed – "Drowning"
Derek Trucks – "Midnight in Harlem" (solo)
Sonny Landreth – "Next to Kindred Spirit"
Anyway, onto actually playing slide.
Here’s the basic idea: A slide is a hard object that, when placed against a string, acts like a fret, only it’s one we can move. Slides can be made of anything from old medicine bottles, wine bottlenecks (this is why some people refer to slide as bottleneck guitar), glazed ceramic, brass, spoons, and microphone stands. Danny Gatton sometimes even used his half-filled beer bottle! Each slide will give you a slightly different tone. For example, a ceramic slide tents to sound a lot warmer than a brass slide. Personally, I opt for a thick Pyrex slide that’s quite loose on my finger. Head on down to your guitar store and try a few out before settling.
The next issue is to decide which finger wears the slide. Many traditional players put the slide on the little finger, while some prefer the ring finger. Some even wear it on their middle finger. I learned to play slide with it on my ring finger, as that felt natural to me, but then taught myself to play with it on my middle finger, like Garsed. This allowed me to fret notes after the slide with two other fingers and angle the slide when playing in standard tuning. Each finger has its own benefits and special techniques, but everything presented in this lesson will be standard stuff, so any finger will do.
But I will say this: Whatever fingers are behind the slide (between the slide and the nut) should lightly rest on the strings to stop any sympathetic vibrations and overtones.
I’m also playing fingerstyle here, which allows me to mute unwanted strings more effectively and get a warmer tone. As a rule, my picking-hand thumb will mute strings below the one I’m playing, and my middle, ring, and little fingers will mute the higher strings while I pluck with my index finger. Many traditional slide players play in an open tuning, so ringing strings usually don’t sound wrong. I’ve opted to do all of these licks in standard tuning like Garsed or Hinds, because I want to be able to play slide when I’m inspired, not when I’m in the right tuning. Muting is key to this approach!
It’s also worth mentioning the Derek Trucks raking technique that I do to give notes a little more bite. The idea is to rake the lower strings with the thumb before plucking the intended note. This gives you a percussive attack and adds to the overall experience.
I’m playing all the audio examples on Macy, my Brent Mason-inspired Suhr. To make slide a little easier, I’ve brought the action up a little more than you’d expect to find on a stock guitar, but it’s not so high that I can’t play standard guitar with minimal effort.
Our first example (Fig. 1) sits nicely around the fourth minor pentatonic box pattern in the key of E major. I’m raking up and sliding into the b3 but using the slide to gradually push that note sharp—it has a great bluesy effect.
Fig. 2 highlights the more horizontal way of playing slide, as I’m jumping up to the 4th fret on the 2nd string, going up to D, down to B, and then shifting down to hit our bluesy b3 again. On the repeat I jump up to the root, again on the 2nd string. A simple phrase like this has covered a whopping 10 frets!
Fig. 3 is another bluesy number based on the E blues scale (E–G–A–Bb–B–D). Listen for the slide into the first note, which is actually below its intended pitch. It’s then slowly brought to pitch and pushed sharp before moving down the blues scale.
We have a slightly more fiddly idea in Fig. 4. Here, we move across the neck, instead of following a more horizontal path. In the third measure we’re highlighting the problem of standard tuning, as you need to slide from E to D on the 3rd string and then pick the B on the 4th string. In order to do this you need to mute the 3rd string before sliding up to the 9th fret and not allow these notes to bleed into each other. Something like this will work better in an open tuning, but as I said earlier, standard tuning doesn’t require you to relearn the entire neck.
Our last lick (Fig. 5) is a little more demanding as it involves sliding down on one string and then following that with a slide up into a note on an adjacent string. This is where you can really see if your string muting is up to par. It can be a bit difficult at first, but I’m sure you’ll agree, the end result is worth the effort.
And finally, here’s the backing track for the lesson—a simple blues in E.
I hope you’ve got something out of these licks, but if you’re not interested in learning slide, remember, you don’t have to. Look at a player like Jeff Beck who is famous for imitating slide guitar with his whammy bar. You could replicate these ideas with careful bending, whammy-bar tricks, or even on a fretless guitar. The entire concept here is to use the guitar to generate vocal-like sounds. If you can come up with your own way of imitating these ideas, that’s probably even better for you in the long run. Anyone who’s seen Michael Lee Firkins’ instructional video will know exactly what I mean!
The incendiary giant of psychedelic guitar concludes his 21-date world tour this weekend in New York City. In this photo essay, PG’s editorial director reports on the opening date of the sonic architect of Pink Floyd’s historic five-concert run at MSG.
NEW YORK CITY–There’s a low, sustained tone that David Gilmour extracts from his Stratocaster at the beginning of Pink Floyd’s “Sorrow.” It’s the intimidating growl of a robotic tiger–or, more realistically, a blend of low-string sustain, snarling overdrive from a Big Muff, and delay that saturates the air and seems to expand into every bit of open space. It’s almost overpowering in its intensity, but it is also deeply beautiful.
That tone, and so many of the other sounds that Gilmour has conjured in his 46 years of recording with Pink Floyd and as a solo artist, inspired me to leave Nashville to attend the first concert of Gilmour’s five-night stand at Madison Square Garden, on November 4. I’d been lucky enough to catch Gilmour’s tour supporting 1984’s About Face and two later Pink Floyd concerts, but the guitarist is 78 this year, so I felt that the 21 dates he’s playing in a mere four cities might be my last chance to be in the same room with all of his extraordinary tones. Plus, Pink Floyd, and especially Gilmour’s solo recordings and his brilliant Live at Pompeii concert film, was my wife, Laurie’s, and my refuge during the Covid lockdown. This was our opportunity to experience the sorcerer at work in one of his temples, where he and Pink Floyd first played in 1977.
Gilmour wields his Black Cat Strat, which he also played on Luck and Strange’s opener, “Black Cat,” in the studio.
Photo by Emma Wannie/MSGE
Was it worth the price of two concert tickets, flights, two nights in a Midtown hotel, and a subway ride? If you need to ask, it’s likely you’re not as familiar with Gilmour’s playing as I suggest that you should be. For guitarists, outside-the-box musical thinkers, and lovers of exceptional songwriting–and even concert lighting effects and live sound–this show was a perfect 10. Gilmour and his ensemble, including his daughter Romany, performed a well-chosen set of tunes by Pink Floyd and from Gilmour’s solo work, including his recent album Luck and Strange, which is more about composition than guitar exposition. Live, this was not the case. “Luck and Strange,” “A Single Spark,” and others from the album were expanded to include 6-string excursions that–in his signature style–took the lyrics as their inspiration and expanded their emotional architecture.
A close-up of Gilmour’s famed Workmate guitar, a 1955 Fender Esquire that once belonged to Seymour Duncan.
Photo by Emma Wannie/MSGE
Repeatedly, Gilmour displayed his ability to play the perfect parts, and especially solos, for each song. Some, of course, like “Time,” require sticking to text, but his expansions of “Breathe” and other numbers incorporated subtle improvisations dappled by pitch-changing, his emotive string bending, and numerous shifts in tone and phrasing that nonetheless always respected his unmistakable core sound. In Nashville, a frequent compliment is that a musician “always plays the perfect part.” For me, that’s a warning that I’m probably going to hear very professional and predictable playing all night long, and that’s usually boring. But Gilmour’s ear-opening sounds and phrases are constantly peppered with surprises–a hallmark of his characterful virtuosity. In the first of his Garden shows, he stepped outside the box while always respecting its contents, and it was a pleasure to hear him repeatedly practice that high art.
Guy Pratt remarked, while speaking to the audience before the show, that his first gig at MSG with Gilmour had been 37 years and one day earlier. Live, it was clear that Pratt is Gilmour’s right-hand man, as he set up cues for the other players.
Photo by Emma Wannie/MSGE
A pre-tour rumor was that Gilmour would not be playing any Pink Floyd numbers. That seemed unlikely, given his role as the composer and vocalist of so many of the band’s showcase songs. And, indeed, “Speak to Me,” “Breathe,” “Time,” “Marooned” (with its pitch-defying solo), “Wish You Were Here,” “High Hopes,” “Sorrow,” “A Great Day for Freedom,” “The Great Gig in the Sky,” “Coming Back to Life,” and “Comfortably Numb” were all present during the roughly two-and-a-half hours of music. What seemed remarkable throughout was not only the perfection of Gilmour’s playing but his ability to still hit every vocal high note with the same energy and accuracy of the original recordings, including his superb recreation of the scatting in “Wish You Were Here.”
Gilmour’s acoustic guitar, especially on “Wish You Were Here,” sparkled with clarity and articulation, and his scatting on that song proved that at 78 he can still summon the power and precision to hit the high vocal notes.
Photo by Emma Wannie/MSGE
“Wish You Were Here” was his first acoustic guitar excursion of the concert, and he and supporting guitarist Ben Worsley made the song a trip in the Wayback Machine, effortlessly conjuring the introduction’s vibrant appeal and deep emotionalism. Their acoustic instruments sounded crisp and resonant through the arena-sized PA, which should not have been surprising given Gilmour and Pink Floyd’s high standards for live sound. And all night, Gilmour’s vocals enjoyed the same clarity, making every lyric understandable, which is quite a feat for any large-hall show. The only quibble is that the drums echoed off the Garden’s back wall, which, given its 19,500 capacity, was on par.
Guy Pratt, David Gilmour, and Ben Worsley keeping the rock in arena rock. In addition to his Fender Jazz Bass, Pratt also played an Ernie Ball Music Man Stingray, and an upright. For electric guitar, Worsley slung a PRS S2 SSH.
Photo by Emma Wannie/MSGE
Romany Gilmour played a vital role in the show, with her voice navigating the Celtic-influenced melody of “Between Two Points,” from Luck and Strange, before joining the already formidable voices of Louise Marshall, and Charlie and Hattie Webb, in the band’s chorus. All four took turns singing lead on Dark Side of the Moon’s wordless masterpiece “The Great Gig in the Sky,” as Marshall played piano and Gilmour took one of his turns on the table-steel guitar.
A crowd’s-eye view, with lighting-enhanced stage fog. At right, just out of frame, is famed keyboardist Greg Phillinganes, who first joined Gilmour’s ensemble as part of the Rattle That Lock tour of Europe and appears in the Live in Pompeii concert film.
Photo by Emma Wannie/MSGE
“In Any Tongue,” from Gilmour’s 2014 album Rattle That Lock, was, of course, a musical highlight, ignited by that grizzly tone, but furthered by expressive, powerhouse solos from both Gilmour and Worsley. The song’s anti-war theme was enhanced by the same back-projected, heart-breaking video shown in 2016’s Live in Pompeii film, which conveys the idea that military violence spares neither the often-reluctant invaders nor the invaded. And last, of course, came “Comfortably Numb,” with Gilmour’s holy grail guitar solos, perfectly executed as he and the band played from behind an allusive wall of light. With their deep, idiosyncratic bends, rich, howling midrange, and his perfect, vibrato-laden bends, squealing harmonics, touch, and phrasing, these solos were the ultimate 6-string microphone drop.
Gilmour and his Black Cat Strat–partners for the concert’s closing number, “Comfortably Numb,” from Pink Floyd’s The Wall.
Photo by Emma Wannie/MSGE
If that was my last opportunity to hear Gilmour live, it’s understandable. He’s a legend who has earned his status through nearly a half-century of remarkable playing and composing. He has no need to create or perform on any terms beyond his own. I’m simply happy to have been able to bear witness, and to share the experience with you.
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Nashville session and stage MVPs craft an aural wonderland with their genre-defying instrumental album, In Stereo.
Working from a shared language of elegance and grit, Nashville guitar domos Tom Bukovac and Guthrie Trapp have crafted In Stereo, an album that celebrates the transcendent power of instrumental music—its ability to transport listeners and to convey complex emotions without words.
In Stereo also honors Trapp and Bukovac’s friendship, which ignited when Trapp and Bukovac met over a decade ago at Nashville’s 12 South Taproom eatery and club—an after-hours musician’s hangout at the time. They also sometimes played casually at Bukovac’s now-gone used instrument shop, but when they’re onstage today—say at Trapp’s Monday night residency at Nashville’s Underdog, or at a special event like Billy Gibbons’ BMI Troubadour Award ceremony last year—their chemistry is obvious and combustible.
“Guthrie is very unpredictable, but for some reason our two styles seem to mix well.”—Tom Bukovac
“It’s like dancing with somebody,” Bukovac says about their creative partnership. “It is very easy and complementary. Guthrie is very unpredictable, but for some reason our two styles seem to mix well, although we play very differently.”
As Pepé Le Pew probably said, “Vive la différence.” While they’re both important figures in Nashville’s guitar culture as badass, in-demand session and live players, Trapp also points out that the foundation of their respective careers is on opposite swings of that pendulum. Bukovac’s reputation was built on his studio work. Besides his touring history, he’s played on over 1,200 albums including recordings by the Black Keys, Glen Campbell, Keith Urban, Stevie Nicks, Bob Seger, and Hermanos Gutiérrez. And Trapp considers himself mostly a stage guitarist. He emerged as a member of the Don Kelly Band, which has been a Lower Broadway proving ground for a host of Nashville 6-string hotshots, including Brent Mason, Johnny Hiland, and Redd Volkaert. In recent years, you may have seen him on the road with John Oates. It’s also possible you’ve heard Trapp on recordings by Rodney Crowell, Emmylou Harris, and Roseanne Cash, among others.But back to In Stereo. “This record is truly for the love of music and not giving a shit what anybody else is going to think about it,” relates Trapp, as he, Bukovac, and I sit and talk, and they noodle unplugged on a Danocaster and an ES-355, respectively, in the warm, instrument-filled surroundings of the Cabin Studio in East Nashville. The album was recorded there and at another studio, simply called the Studio, with Brandon Bell engineering.
“When we started working on the album, it was very loose,” explains Bukovac. “I never wanted to bring in anything that was complete because the key is collaboration. So, I knew better than to come in with a complete song. And Guthrie didn’t do that either. We would just come in with a riff for an idea and then let the other guy finish it—and that’s the best way to do it.”
“It’s got enough humanity—real playing—mixed with the cinematic side of it.”—Tom BukovacAll of which helped make In Stereo’s 11 compositions seamless and diverse. The album opens with a minute-long ambient piece called “Where’s the Bluegrass Band,” which blends acoustic and electric guitars, feedback, and keyboards with generous delay and reverb—telegraphing that listeners should expect the unexpected. Of course, if you’ve been following their careers, including their estimable YouTube presence, you’re already expecting that, too. So, a soulful composition like “The Black Cloud,” which builds from a Beatles-esque melody to a muscular and emotive power ballad of sorts, comes as no surprise. “Desert Man” is more of a mindblower, with its dark-shaded tones and haunting melodies. “Cascade Park” is an unpredictable journey that begins with delay-drenched piano and leads to Trapp’s acoustic guitar, which evolves from contemplative melody to feral soloing. And “Bad Cat Serenade” and “Transition Logo Blues” balance the worlds of country and jazz fusion. Overall, the music is timeless, emotional, and exploratory, creating its own world, much as Ennio Morricone did with his classic film soundtracks.
Tom Bukovac's Gear for In Stereo
Tom Bukovac and his ’58 Les Paul sunburst—one of just a handful of guitars he used to record In Stereo.
Guitars
- 1958 Gibson Les Paul ’Burst
- 1962 Stratocaster
- Harmony acoustic rebuilt by James Burkette
- Jeff Senn Strat
Synth
- Roland XP-30
Amp
- Black-panel Fender Princeton
Effects
- Nobels ODR-1
- Strymon Brigadier dBucket Delay
Strings & Picks
- D’Addario NYXL’s (.010–.046)
- Fender Mediums
“It’s a lot to ask somebody to sit and listen to an instrumental record,” Bukovac offers, “so I was just trying to make sure—and I know Guthrie did the same—it doesn’t get boring. When I finally sat and listened to this thing in its entirety, which was many months after we actually recorded, I had forgotten what we’d even done. I was overwhelmed. I love that I never got bored. It moves along and has moments where it gets into sort of a trance, in a good way, but it never stays there too long. It’s got enough humanity—real playing—mixed with the cinematic side of it.”
Trapp picks up the thread: “If you’re in Nashville for a long time and you’re paying attention at all, you understand this is a song town. No matter how you slice it, it’s all about the vocal and the lyric and the song. So, it doesn’t matter if you’re making an avant-garde instrumental guitar record. That influence is pounded in your brain—how important it is to trim the fat and get down to the song. A song is a song. It doesn't matter if it’s instrumental or not. It’s a ‘Don’t get bogged down and get to the chorus’ kind of thing.”
“A song is a song. It doesn’t matter if it’s instrumental or not. It’s a ‘Don’t get bogged down and get to the chorus’ kind of thing.”—Guthrie Trapp
Which alludes to the sense of movement in all these compositions. “It’s very important that every section of a song delivers every transition,” Bukovac adds. “When you go into a new room, when you open that door, it’s got to be right. That’s what I think about records. And there’s a lot of shifting on this record. We go from one field to another, and were very concerned about making sure that each transition delivers.”
Guthrie Trapp's Gear for In Stereo
Guthrie Trapp recording with his Danocaster Single Cut, made by Nashville’s Dan Strain.
Guitar
- Dan Strain Danocaster Single Cut
Amps
- Kendrick The Rig 1x12 combo
- Black-panel Fender Princeton
Effects
- Strymon Brigadier dBucket Delay
- Strymon Lex
- Nobels ODR-1
- Xotic RC Booster
- T-Rex Tremster
- Boss TU Tuner
Strings & Picks
- D’Addario NYXL’s (.010–.046)
- Medium celluloid
That kind of thoughtful development—the set up and delivery of various compositional sections in songs—isn’t exactly a lost art, but it’s certainly rarer than in earlier decades. Listen to Elton John’s Goodbye Yellow Brick Road to hear how Davey Johnstone sets up verses, choruses, and bridges—or anything by David Gilmour—for reference. It’s also a goal best accomplished with a team of exceptional players, and, of course, Trapp and Bukovac enlisted some of Music City’s finest. The cast includes steel-guitar legend Paul Franklin, keyboardist Tim Lauer, bassists Steve Mackey and Jacob Lowery, and drummers Jordan Perlson and Lester Estelle.
“Don’t tell my mom, because of course we all want to make a living, but playing music that has integrity is at the top for me.”—Guthrie Trapp
“We recorded the basics—really, most of the tracks—live on the floor,” says Trapp.
“We kept a lot of the original throw-down/go-down solos,” Bukovac adds. “There were very few fixes and overdubs. One of the best moves we made was letting an outside person objectively sequence it, because you can get a little bit too inside your own thing. It’s like … if you’ve ever done a photo shoot, if you let somebody else choose the photo, it’s never going to be the one you’d choose, and it’s probably a better choice.” That task fell to Nick Govrik, another friend and engineer.
The terrain Bukovac and Trapp cover on their first album together is expansive and transporting—and packed with impressive melodies and guitar sounds.
The shipment of In Stereo’s vinyl arrived shortly before Trapp, Bukovac, and I talked, and while Bukovac released his first solo album, Plexi Soul, in 2021, and Trapp put out his releases Pick Peace and Life After Dark in 2012 and 2018, respectively, they seemed as excited to listen to it as teenagers in a garage band unveiling their debut single. That’s because, despite their standing and successes, playing guitar and making music is truly in their blood. What they play is a genuine expression of who they are, ripped from their DNA and presented to the world.
“Don’t tell my mom this, because of course we all want to make a living, but playing music that has integrity is at the top for me,” says Trapp. “These days, with AI and people worried or insecure about where the music business is going, and all these Instagram players who just are fixing everything with Pro Tools so they sound like they’re in a studio, I don’t worry because we’re not selling bullshit. We have 35 years of real experience between us, and when we do social media, we’re just reaching for a cell phone and posting it. It’s organic. That, to me, is a big difference. At the end of the day, I can sleep well knowing that I have earned the respect of the people that I respect the most. It’s just authentic music made for the very reason we got into this in the first place. We love it.”
YouTube It
Guthrie Trapp and Tom Bukovac practice their live chemistry together at Trapp’s standing Monday night gig at Nashville’s guitar-centric Underdog.
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