Chords for Warren Haynes on Right Hand Slide Technique & Left Hand Position
Tempo:
112.9 bpm
Chords used:
B
E
A
G
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[G]
[B] [A]
[B] [N] Out of the traditional bag, even in an open tuning, you start getting these harmonics
that you don't want.
take slide playing seriously to learn
technique.
time that just stays there in
for playing slide is if I want [D]
[B] [A]
[B] [N] Out of the traditional bag, even in an open tuning, you start getting these harmonics
that you don't want.
take slide playing seriously to learn
technique.
time that just stays there in
for playing slide is if I want [D]
100% ➙ 113BPM
B
E
A
G
D
B
E
A
_ _ _ _ _ [G] _ _ _
[B] _ _ [A] _ _ _ _ _ _
_ _ _ _ [B] _ _ [N] Out of the traditional bag, even in an open tuning, you start getting these harmonics
that you don't want.
So I think it's important for anybody that wants to take slide playing seriously to learn
the right hand muting technique.
So if you watch what I'm doing, I've got a pick all the time that just stays there in
case I need it.
The only time I need a pick for playing slide is if I want _ _ _ [D] _
a really hard attack that's more
than my fingers.
Otherwise, [E] it's really the right hand muting technique that's most important because if
you take that away, the overtones are horrible and would discourage not only the listener
but the person playing as well.
_ [A] So_
[D] _ _ [G] _ _ [A] _
_ _ _ _ If I were to play that without muting, [E] it would just be _ all this noise, you know?
So if you see what I'm doing, I have my thumb draped across the bottom strings to [C] mute those. _
And whichever finger I'm using to [E] attack, I'm using the other fingers [B] to mute the strings
I'm not attacking.
So you're basically keeping any unwanted strings from ringing.
That's really the [E] step that gets you to the next level where you go, oh, well, I think
I'm starting to get a handle on it.
Another thing that I do that I think most slide players do is choose what part of the
neck I want to be on _ _ based on the sound that I'm looking for.
So I always tell people there's a lot of different ways to play the same note.
So if you play_
_ _ _ _ _ [Db] _ _ _
_ _ _ _ _ It's the same note, but it sounds different in each position. _
So what does that mean?
If I want a thinner sound, I'll _ _ go_
_ _ If I want it to be _ _ fatter_
It's like changing your voice, opening your mouth more, closing it more.
It's the same kind of thing.
When you're thinking on your feet in a live setting, you might go to hit a note and you
go, oh, that's a little too thin.
So you _ move it.
And it's nice to apply that contrast as well.
There are times when I'll play a thin version of the note a few times and then go up to
the fat one for just _ the kind of dramatic effect that a singer would use.
I think one of the cool things about slide guitar [Ab] is that there are all the notes in
between the notes that you don't have on piano.
[B] It makes it easier to emulate a human voice, which is kind of the whole point.
The human voice is the greatest instrument of all.
So there are a lot of instruments that are trying to sound like they're singing through
their instrument, and that's what I've always been attracted to.
[Ab] _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _
[B] _ _ [A] _ _ _ _ _ _
_ _ _ _ [B] _ _ [N] Out of the traditional bag, even in an open tuning, you start getting these harmonics
that you don't want.
So I think it's important for anybody that wants to take slide playing seriously to learn
the right hand muting technique.
So if you watch what I'm doing, I've got a pick all the time that just stays there in
case I need it.
The only time I need a pick for playing slide is if I want _ _ _ [D] _
a really hard attack that's more
than my fingers.
Otherwise, [E] it's really the right hand muting technique that's most important because if
you take that away, the overtones are horrible and would discourage not only the listener
but the person playing as well.
_ [A] So_
[D] _ _ [G] _ _ [A] _
_ _ _ _ If I were to play that without muting, [E] it would just be _ all this noise, you know?
So if you see what I'm doing, I have my thumb draped across the bottom strings to [C] mute those. _
And whichever finger I'm using to [E] attack, I'm using the other fingers [B] to mute the strings
I'm not attacking.
So you're basically keeping any unwanted strings from ringing.
That's really the [E] step that gets you to the next level where you go, oh, well, I think
I'm starting to get a handle on it.
Another thing that I do that I think most slide players do is choose what part of the
neck I want to be on _ _ based on the sound that I'm looking for.
So I always tell people there's a lot of different ways to play the same note.
So if you play_
_ _ _ _ _ [Db] _ _ _
_ _ _ _ _ It's the same note, but it sounds different in each position. _
So what does that mean?
If I want a thinner sound, I'll _ _ go_
_ _ If I want it to be _ _ fatter_
It's like changing your voice, opening your mouth more, closing it more.
It's the same kind of thing.
When you're thinking on your feet in a live setting, you might go to hit a note and you
go, oh, that's a little too thin.
So you _ move it.
And it's nice to apply that contrast as well.
There are times when I'll play a thin version of the note a few times and then go up to
the fat one for just _ the kind of dramatic effect that a singer would use.
I think one of the cool things about slide guitar [Ab] is that there are all the notes in
between the notes that you don't have on piano.
[B] It makes it easier to emulate a human voice, which is kind of the whole point.
The human voice is the greatest instrument of all.
So there are a lot of instruments that are trying to sound like they're singing through
their instrument, and that's what I've always been attracted to.
[Ab] _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _
