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Go-To Tunings for Blues Slide Guitar

The vocal timbre and mournful wail of the slide guitar has become inseparable from the concept of Blues Guitar.  However, in order to master the classic Blues guitar styles associated with the finger slide, you must first familiarize yourself with the different tunings that are key to those styles.  Below is a list of my favorite, and most used, tunings for Blues Slide Guitar.  With each tuning I’ve included a video, demonstrating how that tuning can be used to create a stylistic mood, which differs with each tuning.  Remember, the more tunings you become familiar with, the more versatile you will be as a musician.

OPEN D & OPEN E TUNING
Open E: (E-B-E-G#-B-E) – tuned to E major chord
Open D: (D-A-D-F#-A-D) – tuned to D major chord
These two tunings are basically the same tuning… the only difference is that Open D is tuned one whole step lower than Open E.  The tighter string tension of Open E makes it easier to play with low action, but the lower pitch of Open D produces more low-end body, and can give you a swampier vibe.  That swampy vibe is all over this following video clip, which is is Open D tuning…

 

OPEN G & OPEN A TUNING
Open G: (D-G-D-G-B-D) – tuned to  G major chord
Open A: (E-A-E-A-C#-E) – tuned to A major chord
These two tunings are also, in essence, the same tuning.  The difference is that Open G is tuned a whole step lower than Open A.  Delta blues guitarists like Robert Johnson made this tuning style famous.  The sound of this tuning is great for solo guitar Blues playing, and allows the player to construct elaborate bass lines, since the root note is on the 5th string, as opposed to the 6th (bass) string, thereby allowing the player two bass strings for the thumb to play bass lines and 4 strings for the fingers to pluck melody notes.
Listen to how the bass lines play an important role in this following video, which is in Open G tuning…

 

STANDARD TUNING
Standard Tuning: (E-A-D-G-B-E) – not tuned to a chord
Standard Tuning is the most widely-used and standardized tuning for conventional 6-string guitar playing.  It’s great for fretted (non-slide) playing because it makes many chord shapes and scale patterns comfortable for the fingers to reach.  While it presents certain challenges for slide guitarists, Standard Tuning is actually a very versatile tuning for slide playing, offering many convenient chord fragments, both major and minor, up and down the fretboard.  The key to understanding how to play slide guitar in Standard Tuning comes with learning how to mute the unnecessary  strings, to prevent them from sounding.  I have created an entire instructional DVD for playing in Standard Tuning, which you can check out.. just CLICK HERE for more info.  The following video is an example of slide guitar in Standard Tuning…

 

OPEN Dm & Em TUNING
Open Dm (D-A-D-F-A-D) – tuned to D minor chord
Open Em (E-B-E-G-B-E) – tuned to E minor chord
While these tunings are not very well-known historically, they are some of my personal favorite, and most-used, slide guitar tunings.  They are particularly great for playing in minor keys, but also work very well for Blues styles, even if the underlying harmonies are major.  Again, these two tunings are essentially the same tuning, but Open Em is tuned one whole step higher than Open Dm.  The following video shows how this tuning can be used in both fretted and slide styles.  The acoustic rhythm guitar is tuned to Open Dm, and the 6-string lap steel is also tuned to Open Dm…


Thanks for keeping the Roots alive!  Click “FOLLOW” on the right-hand side of this page to stay up-to-date with new lessons and articles.

~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
SUBSCRIBE TO MY YOUTUBE CHANNEL: www.YouTube.com/justinjohnsonlive

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Over Two Continuous Hours of Cigar Box Guitar and Roots Music!

Of all possible ways to learn a musical instrument, I’ve found that the best method, by far, is to listen to (and watch) as much music as possible.  You can learn so much by watching how a player holds the instrument; the posture, the picking and anchoring techniques, etc…  So much can be gleaned by observing a musician as they are performing.

The best way to do this is in person, where you have a 3-dimensional view of the performance.  But we live in an age where the internet allows you to access a 2-dimensional live concert experience just about anytime and place you choose!  So sit back, relax, and learn from the music as it’s rolling by your screen… or just enjoy the show!

Thanks for keeping the Roots alive!  Click “FOLLOW” on the right-hand side of this page to stay up-to-date with new lessons and articles.
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
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Below is a playlist that will continue to play through  over 40 Roots Music perfomances by Justin Johnson.  If you would like to browse through the videos, click on the menu icon in the top left corner of the video screen.  

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The 12-String Guitar ~ The Heavy-Hitter of Acoustic Blues Instruments

Today, the 12-string guitar is often associated more with folk music and simple open-chord strumming than with intricate lead guitar, ragtime, or traditional blues.  But some of the most influential blues musicians of all time forged timeless classics wielding their 12-strings.  In the following video, I’ll demonstrate many of the classic Blues styles and techniques that have proven the 12-string to be the heavy-hitter of acoustic stringed instruments.

LIVE STREAM LESSON: Blues Pickin’ & Sliding on the 12-String Guitar 

Early Blues greats like Leadbelly and Blind Willie McTell played the 12-string guitar almost exclusively.  These artists took advantage of the full-bodied tone and assertive dynamic presence of the 12-String, to accompany their powerful and expressive singing voices.  Back in the early days of audio recording, it was difficult for microphones to pick up the intricate details of a 6-string acoustic, especially when it was competing with a full-volume Blues singer belting out a vocal melody.  The 12-string’s acoustic volume is almost double that of a 6-string, providing a much fatter bed for the vocals to lay over, in the mix. 

Blind Willie McTell “Travelin’ Blues”

 

Even Blues artists that are known for their 6-string electric guitar playing have been know to cut some of their most distinct tracks on solo acoustic 12-string.  Two great examples of this are Jimi Hendrix’s “Hear My Train A Coming” and Stevie Ray Vaughan’s “Life By The Drop.”  The intricate and sensitive single-note lead lines in these two tracks are fattened up by the doubled strings of the 12-string guitar.

Jimi Hendrix “Hear My Train A Coming”

Stevie Ray Vaughan MTV Unplugged

Stevie Ray Vaughan “Life By The Drop”

 

Thanks for keeping the Roots alive!  Click “FOLLOW” on the right-hand side of this page to stay up-to-date with new lessons and articles.
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
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“Hoochie Coochie Man” 3-String & 4-String Lesson ~ Slide and Fretted Arrangements

The rhythm guitar riffs in “Hoochie Coochie Man” introduce some of the most important and fundamental Blues Guitar techniques, such as call-and-response, muting, rhythmic syncopation, 12-bar-Blues, and more.  Hope you enjoy it!

 

Thanks for your support, and please click “FOLLOW” on this blog,
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
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3-String Guitar Lesson – Pink Floyd’s “Wish You Were Here”

Pink Floyd’s song “Wish You Were Here” is a true Rock & Roll masterpiece!  It’s one of those songs that has been so firmly planted into the world’s musical consciousness that it’s hard to think of a world before it.  The intro guitar riff is one of the first riffs I ever learned on guitar, and David Gilmore’s acoustic guitar solo at the beginning of this song might as well have written the rule-book for classic rock acoustic guitar solos.

Aside from being an amazing song to listen to, this song is the perfect etude for learning the fundamentals of guitar technique, whether it be on a conventional 6-string or, in this case, the 3-string guitar.  The intro teaches you chord/melody playing, the solo teaches you the fundamental techniques behind string bending, string sliding, hammer-ons, and pull-offs, and the chord changes include some of the most commonly used open chord voicings.

Enjoy the lesson, and click “FOLLOW” to get new articles sent directly to your inbox!
~Justin Johnson

VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
SUBSCRIBE TO MY YOUTUBE CHANNEL: www.YouTube.com/justinjohnsonlive

 

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How To Read Scale Diagrams …and Why?

BLOG IMAGE SCALE DIAGRAM EXPLAINAION

HOW TO READ SCALE DIAGRAMS …AND WHY?
by Justin Johnson
www.JustinJohnsonLive.com

Recently, I have been asked by several people, “How do you read a scale diagram?”  The easiest way to learn how to read a scale diagram is to first understand a few simple concepts about what scales are, how they are used, and why fretboard diagrams help.

1) What is a scale? 

A scale is a series of notes that, together, create a distinct harmonic feel and mood.  A scale differs from a chord in that a scale is a series of notes played one-at-a-time, while a chord is a combination of notes played all at once.

2) Why make a diagram, why not just write out the notes? 

Short Answer:  It’s easier!

Long Answer:  The guitar, by nature, is a very visual instrument.  The visual pattern that a scale’s notes make on the fretboard can be memorized, and then shifted up and down the fretboard.  This makes it extremely easy to transpose a song or melody into a different key, simply by moving the visual scale pattern up or down the neck.  For example, if you know a scale pattern for the G Major Scale and you want to play the A Major Scale… all you have to do is take that same pattern and move it up 2 frets.  This way, you are not having to think about the intervals of the scale, the sharps and flats, or the other seemingly endless hurdles involved with transposing to a different key.

3) Why are some dots on the diagram filled in, and others aren’t?

Those dots are filled in to indicate the “root note” of the scale.  The root note is the note that the scale is based off of, for example in the G Major Scale, the note “G” would be the root note.  Similarly, “D” would be the root note of the D Minor Pentatonic Scale.  If you have a scale pattern that has a root note on the lowest string, you could shift that pattern up and down the fretboard, and whatever note the shaded-in dot (root note) lands on, will be the root note of that particular scale.

——-

Now that we have some basic questions answered, let’s look at a couple of different types of fretboard diagrams.  In Figure 1, you will see three scale diagrams.  They are all diagrams for the same scale, the G Major Scale (Notice how both Scale Position Diagrams could be overlain onto the complete scale diagram on the left).  The diagram on the left shows a visual outlay of every note in the G Major Scale from the nut to the 12th fret.  This type of diagram is very helpful when you are wanting to see every available note on the fretboard for a given scale.

But what if you want to play the scale from start to finish in a specific region of the fretboard?  The first diagram isn’t very helpful for that purpose, so we will have to use a “scale position” diagram.  These diagrams have less dots, but they don’t repeat any notes, giving you a useful pattern for playing the notes in the scale sequentially and comfortably on the fretboard from the lowest note to the highest in that position.  Start at the lowest note one the lowest string, and work your way up.  Play each note sequentially on the low string, then move the lowest note on the next string, and so on, until you reach the highest note in the diagram.  Then go back down the scale, playing each note one-at-a-time in descending order.

The second scale digram in Figure 1 is the G Major Scale Pattern in Open Position, meaning that you can play this scale pattern from lowest note to highest note taking advantage of open strings without moving your fretting hand uncomfortably from that open position.

The third scale diagram is the G Major Scale in 5th Fret Position with the root note on the second string.  This diagram gives you a pattern for playing the G Major scale one note at a time, without having to uncomfortably move from that position around the 5th fret.

To sum thing up, scales are very useful in that they give you a harmonic “backbone” with which to flesh out your melodies.  If you know what you want your melody to “feel like” you can pick a scale that has a similar vibe and, BAM!  You have a starting point… a pattern of notes that will help you turn your “feel” into a song!  These are not rules, just helpful patterns.  If you practice scales regularly, you will learn valuable muscle memory and begin to build up a harmonic memory that you can rely on to guide your note selection when improvising or writing melodies and riffs.

Thanks for keeping the roots alive!  …and don’t forget to click the “FOLLOW” link on the right side of this page to get new lessons send straight to your email!
~Justin Johnson
VISIT STORE for CDs, DVDs, Books, & More!: www.JustinJohnsonLive.com/store.html
SUBSCRIBE TO MY YOUTUBE CHANNEL: www.YouTube.com/justinjohnsonlive

If you like this lesson, but would like more in-depth explanations and tutorials on Roots Music, Guitar, Slide Guitar, and more…  Check out my Instructional Video Series on Roots Music, available on DVD or via Digital Download at: www.JustinJohnsonLive.com

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