Part 1

60-Day Fingerstyle Blues Camp

How to Work with FINGERSTYLE BLUES CAMPGeneral Approach

This study program is very effective if you follow and stick to the following recommendations:

1- Work through each course and each chapter within the courses sequentially: Fingerstyle Blues Guitar

I, Fingerstyle Blues Guitar II and then Acoustic Slide Guitar.

2- Take on one chapter at a time and work through it for at least an hour a day. Don't worry about

nailing everything in the chapter perfectly, but make sure you acquire an understanding for the

material being covered in that chapter.

3- Give your regular play list a break and keep the five audio CDs cranked and playing in your car,

walkman, PC and home stereo until you hear the tunes in your sleep. This is a key element for

bringing these techniques to life on your own fingertips.

4- The course is formatted in WMV/Quicktime (video), MP3 (audio), PDF (tab) and Power Tab - which

allows you to "see" and "hear" tab played out at any tempo in perfect pitch.

If you've got intermediate skills and are willing to devote 60 days learning and listening to this course --

you'll be well on your way to becoming a monster fingerstyle blues player. Along the way, you'll add a set's

worth of solo fingerstyle tunes to perk up your repertoire.

Software Installations

If you have a Video Player, Power Tab, Acrobat Reader and an MP3 Player already installed on your computer,

skip to the next section.

You'll need four programs installed on your computer to take maximum advantage of this interactive

course. They're all free and readily available as downloads from the Internet.

1- Install Power Tab Editor (Windows only) so that you can readily access the Power Tab examples.

Look in the Power Tab folder on this CD, review the "Read Me" file and then click on the install file.

The Power Tab Editor program is very powerful but all you really need to learn is how to use the

playback and tempo controls to slow down the tab while keeping the pitch intact (very simple). Mac

users can use the midi files in the Mac Tabs folder on the CD with a Mac interactive Tab program

like TableEdit (www.tabledit.com) but will need to access them individually from the folder.

2- Install an MP3 Player so that you can listen to the audio files associated with this course. We like

Real Player because the current version allows you to view the player in "Tool Bar" mode so that the

player is always visible as you shuttle between course elements.

3- Install Acrobat Reader so that you can view and work with the interactive PDF manual. Familiarize

yourself with the navigation and view controls to flip through pages and adjust the size of the view

(also very simple).

4- Install a video player like Windows Media Player or Real Player to view the video elements. The

Windows manual links to Windows Media files (.wmv) and the Mac manual links to Quicktime movies

(.mov).

60-Day Fingerstyle Blues Camp

Working with the Manual

You'll be working directly from this PDF manual by flipping through the pages in Acrobat Reader and click-

ing various icons to call up and play the interactive lesson elements. The table of contents is also linkable

so that you can navigate to different chapters.

You'll notice the following five icons placed throughout the manual. Clicking on these icons will call up an

audio or Power Tab file and the program that plays it.

Useful Tips

1- Keep the manual always open in Acrobat Reader and maximized on your screen.

2- Once you've called up an MP3 file, keep the MP3 player open. Naturally, you'll use the play, rewind,

pause, loop and other controls as needed.

3- Once you've opened a Power Tab file, keep that program open and maximized as well.

4- Go through the course page-by-page, example-by-example, and click on all of the icons as you come

across them.

5- Use your Task Bar to shuttle between the various elements; Manual pages, Power Tab pages and MP3

player.

Plays Musical Example Plays Voiceover Calls Up PowerTab Plays Video

Tuning Plays MP3 File Returns to Table of Contents

Acoustic Slide Blues - MENU

CHAPTER ONE HISTORYA fascinating insight and background to the origins of slide playing.

CHAPTER TWO GENERAL TECHNIQUES AND TIPSA valuable insight into the methods for your development and practice. Plus great advice

on what kind of guitars to use, how they should be set up, plus pointers on what type of

slides to use to achieve certain effects.

CHAPTER THREE EXERCISESA series of four groups designed to improve all aspects of playing. Exercises are

accompanied with audio files. These start at square one so even if you're new to the

guitar you can still do this course. If you've dabbled with slide you'll surely want these

lessons to get you playing this fantastically haunting style like a real pro.

CHAPTER FOUR CHORDS IN SLIDE PLAYINGChord position charts for both open G and D tunings are listed.

CHAPTER FIVE RIFFS AND PATTERNSA total of commonly used riffs in G tuning, all relative to blues styles. These riffs crop up

in countless blues songs and instrumentals.

Produced by TrueFire and The Acoustic Guitar Workshop

CHAPTER 1 - HISTORY & ORIGINS OF THE SLIDE GUITAR IN THE BLUES

There have been many claims to the origin of the slide guitar. Its haunting sound can be heard across the

whole spectrum of musical styles, through blues, rock, country, Hawaiian and even jazz. A sound so

haunting, that as fans of Robert Johnson might believe, was born from the devil himself. However, there are

a few more 'earthly signposts' that musicologists have followed, to try and pin down the birth of the slide

sound.

Throughout the world musicians have created sounds by dragging objects across stringed instruments, for

either effect or as an integral part of its sound. An example of this was discovered in W.Africa in the form

of a musical bow. Still used today, this one stringed instrument was attached to a gourd resonator and held

to the abdomen, while the player plucked the string and used a bone or metal to vary the pitch.

Investigators into the popular form of slide playing associated with the blues, determined that this was

probably why a more contemporary version of the bow called the Jitterbug came to be used by the Negro

musicians around the southern states of America at the turn of the century. With the influx of slaves, years

before, came a rich culture of music, and although the slaves were bereft of possessions, a musical bow

would be a simple instrument to make. The Jitterbug, like the bow, had one string, but this time simply

attached to the floor or side of a shack. When plucked, an object would be dragged along the string to

accompany simple songs. The sound, which could wail and moan like the human voice, became an ideal

backing to the early blues and perhaps forerunner to the guitar's role in the slide style.

BUT WHY THE GUITAR?

In the early part of the 20th century, the guitar was becoming increasingly popular, as a cheaper

alternative to the piano. Along with the banjo, it was more portable and could be ordered by

catalogue in the many rural backwaters. It is a safe bet to say, that knives, bones and glass, would

have been used on the guitar as an extension to the Jitterbug. The guitar became more widely used

with the slide, after a young Hawaiian guitarist called Joseph Kekeku made a recording using this

style. It was a flashy, eerie kind of tune, that became popular in the U.S., and gave the already

established Black style more impetus.

The Hawaiian influence on slide playing cannot be overlooked. The speed at which the music

spread into the American culture at the turn of the century was evident in the increased production

of guitars and lap steels. All the main makers were turning them out: National, Rickenbacker and

Gibson. In fact, the Hawaiian style lap steel, far out sold Spanish style guitars. Since the early

Kekeku recordings, the use of the slide began to seep into all styles of music, from the early blues,

right into the mountain Hillbilly music of early folk and country.

The Hawaiians have always laid claim to the invention of the slide guitar, but it is fairer to say, that

it was a development rather than an invention. Anyway, the young J.K could easily have got the idea by

listening to an American sailor, whose ship had docked in Honolulu!

Whatever the worldly origins of the slide guitar, this form of playing is best known for it's partnership with

the blues. The slide playing of Robert Johnson, Son House, Blind Willie Johnson, to name a few, has reached

almost classical status. It is a style that has captivated, amazed and baffled guitarists of all kinds, and to

my mind has become the most enchanting.

Whether it be for the blues or not, learning even some of the basic techniques, can turn the guitar into a

new instrument, offering a whole range of sounds and effects. So, let's get sliding.

Before you start playing, read through all the tips in the general technique section in the next chapter.

CHAPTER 2 - GENERAL TECHNIQUES AND TIPS

WHAT DO I USE FOR A SLIDE?

There have been many objects used to achieve the slide sound. Knives, bottle necks, tubes of all kinds of

metals and glass, spark plug sockets, lighters, stone, marble, plastic ----- anything!

At sometime or other I've used them all but to keep things simple and effective, I use a real bottle neck or

metal tube, cut long enough to be slightly longer than the pinkie.

GLASS OR METAL?

Glass is great for smooth, long sustain - Paris Texas type stuff. The heavier glass the better. Avoid

manufactured glass slides as they tend to lack sustain and brightness - use real bottle glass. Ry Cooder is

said to use a Fighting Cock Kentucky Bourbon bottle!

Metal - good for more attack, especially electric. Experiment with heavy or light metal - both produce

different sounds. Think Muddy Waters, light. Lowell George( Little Feat ) heavy.

For both glass and metal, think:

Heavy - better for sustain, more accuracy, good for long slow notes

Light - Thin sound, but faster, harder to keep accurate, less volume and

sustain

WHICH FINGER?

This is a personal choice, as with most aspects of slide playing. Many well

known players have used different combinations. I've always found the slide

best suited to the pinkie. This allows me more opportunity to finger chords,

and play regular fretted notes as well as play the slide. Anyway, if it is good

enough for Robert Johnson or Ry Cooder it's good enough for me.

HOW DO I STOP ALL THAT SCRATCHING AND BUZZING?

Sometimes the extraneous noises can be used to great effect - listen to Blind Willie Johnson. For the

purpose of improving technique, try and play cleanly and smoothly. Lose all those noises by dampening the

strings behind the slide. Practice all the exercises in the following sections, by dragging the third finger

along the strings as use the slide. Or, alternatively use the first finger of the slide hand to damp down the

unwanted buzzes. The more you dampen, the tighter and smoother the sound. When you release the fingers

behind the slide - notice the difference.

ACTION?

Use a guitar set up with slightly higher

action, so there is less chance of the

slide banging against the frets. It helps

to minimise those extraneous noises we

talked about earlier. However, if the

action is too high, it will be harder to

finger the chords when needed.

STRINGS?

A personal choice again, but I believe

the best sound is achieved by using the

thickest you can manage - at least a

0013 on the top. Bob Brozman once told me that he used a 0017 on his National - now, there's a real slide

man for you!

Most players favour the pinkie

for the slide

CHAPTER 2 - GENERAL TECHNIQUES AND TIPS

WHAT ABOUT GUITARS?

Acoustic or electric, who cares. I like the rootsy flavour of an acoustic for instant feel. My favourites are

small bodied acoustics and resonators. I love all those junk shop guitars with bowed necks and impossible

action. Check them out. Slide players can pick up some real winners. In fact all the exercises were recorded

with an old, small body Hofner, that I found in Denmark for 20 pounds.

For electric players, the fenders have great natural sustain. Check out that early Ry Cooder sound. With

added compression, like the old purple pecker, or rack effects, the slide sounds great. On his later albums,

Ry used the pick up from an old lap steel, for that real slide sound and sustain. The trick is don't be afraid

to experiment.

THIS IS CRUCIAL - VIBRATO

This is a crucial aspect of slide playing.There are two main

reasons for this:

1. Think of the slide ( bottleneck, or whatever you decide to use ) as

a moving fret which by careful handling will maintain the pitch of the

note you are trying to play. If you are new to slide playing you will

fast realise how difficult this is. Vibrato with the slide means you

play a compromise between an in and out of tune note - somewhere

in the middle is the correct pitch. To keep good pitch, keep the slide

at right angles to the fret at all times.

and on the tab:

A violinist uses the same effect on the

fretboard ( fretless of course ) to maintain

steady pitch. Witness the intense movement

of the fingers as they ensure the right notes

are achieved.This is especially so for the

slide, when reaching the end of a phrase or riff, as the final note sounds dull or sharp or flat unless vibrato

is used. There are many different styles of vibrato. Listen to the intense movement of the slide on Blind

Willie Johnsons - Dark Was The Night, or the almost non existent vibrato on Tampa Red's Denver Blues. This

leads me to my next main point.

2. Vibrato gives your slide playing a personal touch which can reflect the intensity of your mood or your

feeling for the blues. Once you feel comfortable with the slide, experiment with different amounts of

vibrato - light or heavy. Listen to as many players as you can and gauge the amount used which distinguishes

their playing.

The slide can be held tight against a finger to produce a very controlled movement or loose for a more

carefree result.Careful though, as they tend to fly off your finger! I've noticed that some players use lack of

vibrato to produce quarter tones, which are carefully placed, and give an eerie effect against the proper

pitched note. Once again, listen to Blind Willie Johnson or Ry Cooder ( Vigilante Man ) to hear these notes.

More about these mysterious quarter tones later!

CHAPTER 3 - SLIDE EXERCISES

EXERCISES - GROUP 1

All the following are in G tuning - LOW TO HIGH: DGDGBD

There are many different exercises that can help you with the slide. Some say it's just hands on and loads of

luck. However to avoid weeks of agonising howling try these for a few days and begin to connect slide to

string with positive accuracy. Play all the exercises ascending and descending

Play each note with the slide on the first string, up to the 12th fret. No sliding or vibrato yet, just go for

the right pitch as if you were fretting as normal. Keep the slide at right angles, directly over the fret.

Remember, to stop the unwanted noises, use string dampening behind the slide. ( See the tips and

technique pages.)

Do the same exercise on each string, from top to bottom:

This time slide into each note as you strike the string and see if you can hit the pitch - still no vibrato. Start

from the third fret to give you at least one fret below sliding space.

Now, add vibrato to find your pitch more easily ( read techniques and tips page ).

Repeat the previous style of exercises with double strings

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CHAPTER 3 - SLIDE EXERCISES

EXERCISES - GROUP 1 CONTINUED

And with triple stops:

The above exercise uses a diatonic or major chord triad system, which can easily be achieved in open tuning.

The exercise below uses triads, but this time on the second, third and fourth strings.Use vibrato as before and

string dampening to avoid the extraneous noises. This is especially important here, as the top string is left

open.

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CHAPTER 3 - SLIDE EXERCISES

EXERCISES - GROUP 2

Here are some open string and slide exercises. This time lift the slide and your damping finger to include

the open first string in between each note. Pay attention to the pitch and strive to stay in tune.

Now add vibrato and don't forget to play the exercise ascending and descending.

Now with the slide movement

As in the previous group exercises, these open string workouts should be tried on double and triple strings.

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CHAPTER 3 - SLIDE EXERCISES

EXERCISES - SLIDING SCALES

This is an important exercise in slide playing, helping to develop accuracy over wide ranges on the fret

board.

Hold the slide over the second fret. Strike the note, then slide smoothly to the fifth fret. When you reach

the top, use vibrato to hold the pitch and sustain the note. At this point you can experiment with different

kinds of vibrato for feel and expression.

Now try using more intervals. Do the same exercise in reverse, starting at the twelfth fret. As with all the

group exercises, the above should be practised using double and triple strings.

The long sweep. Start at the third fret. Strike the string and sweep up to the twelfth fret, ending with

vibrato.

Use an open string start, sweeping from various positions.

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CHAPTER 3 - SLIDE EXERCISES

EXERCISES - GROUP 4

A common effect with the slide is the pull off

Slide and the pull off

And with vibrato

Three string pull off

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CHAPTER 3 - SLIDE EXERCISES

EXERCISES - GROUP 4 Continued

Now try it with a hammer on

Three string Hammer on

Hammer on and pull off together

Hammer on and pull off with vibrato

Hammer on and sweep

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CHAPTER 4 - CHORDS AND THE SLIDE IN G

CHORDS AND THE SLIDE IN G

There are many chord possibilities with the slide. Lap steel players evolved ingenious ways of slanting the

slide in open tuning to create all the necessary harmony for playing chords. This is easy to do when you

have the guitar on the lap but a little tricky in the normal way. For the sake of the blues we will consider

the three main chords of the blues in the key of G and keep the chord shapes fairly simple but effective.

The three chord trick in G = G C D ( 7 )

Check out these slide positions.

Slide into the chords and remember vibrato!!!

Sometimes it is simply enough to play these block patterns to produce great accompaniment for songs.

Listen to George Thorogood - Bad To The Bone.

Try mixing your riffs and chords for an overall great effect.

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CHAPTER 4 - CHORDS AND THE SLIDE IN G

CHORDS AND THE SLIDE IN G

Check out these 7th positions.

Don’t forget to play over the frets!

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CHAPTER 4 - CHORDS AND THE SLIDE IN G

Get to grips with these shapes in open G. They will give the in-between slide bits, real flavour

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CHAPTER 5 - RIFFS AND PATTERNS IN G

Time now to put the exercises into some bluesy style riffs. Some of them are very Delta Blues like, so

keep listening to artists like Robert Johnson and Son House - you're bound to hear a few of these licks

come up. Just stay loose and experiment. You’re bound to come up with a stack of licks of your own, or be

able to modify famous patterns to your own ends.

Dampening behind the slide is important for a tight clean sound, but experiment with a more open sound,

for a rough and ready authentic Delta flavour.

Play each one at least twice and listen to the played examples, to help guide you through.

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CHAPTER 5 - RIFFS AND PATTERNS IN G

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CHAPTER 5 - RIFFS AND PATTERNS IN G

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CHAPTER 5 - RIFFS AND PATTERNS IN G

WIDER INTERVAL RIFFS:

For a classy effect it is a good idea to form riffs using the lower and higher notes of the triads.

The first note uses a dobro styletechnique of tilting the slide tokeep the top string clear.DIAGRAM LEFT

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CHAPTER 5 - RIFFS AND PATTERNS IN G

BASS ACCOMPANIMENT WITH THE SLIDE IN G

All the previous riffs should be tried using some kind of bass pick with the thumb. This gives the solo slide

more dimension and great when you are playing alone. Here are some typical examples.

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CHAPTER 5 - RIFFS AND PATTERNS IN G

QUARTER TONES

Emphasis is always placed on accuracy with slide playing. The general rule is to keep the slide at right

angles and directly over the fret.

An eerie effect can be achieved however by using the slide in-between the frets to produce ¼ tones. This is

great for slow blues playing.

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