LEARN SLIDE GUITAR WITH 6 GREAT MASTERS! DVD TABLATURE CHITARRA BOTTLENECK
LEARN SLIDE GUITAR WITH 6 GREAT MASTERS! DVD TABLATURE
SOTTOTITOLI IN ITALIANO
Artist: Arlen Roth
Artist: Greg Martin
Artist: Jay Geils
Artist: Lee Roy Parnell
Artist: Mick Taylor
Artist: Warren Haynes
Get a private lesson on slide guitar techniques from six of the best! Arlen Roth on slide fundamentals; Lee Roy Parnell demonstrates open E box patterns; Mick Taylor shows you standard tuning slide; Jay Geils teaches vibrato and Muddy Waters style; Greg Martin covers fingerpicking and Duane Allman style; and Warren Haynes teaches lead slide licks. 51 minutes.
Learn Slide Guitar with 6 Great Masters! by Arlen Roth, Greg Martin, Jay Geils, Lee Roy Parnell, Mick Taylor, and Warren Haynes. For Guitar. Music Sales America. Blues. DVD. Hal Leonard
This DVD offers six great lessons from the masters of slide guitar:
Lesson 1: Arlen Roth on open E tuning, slide fundamentals, right and left hand damping
Lesson 2: Lee Roy Parnell demonstrates open E box patterns, acoustic slide technique and playing the blues
Lesson 3: Ex-Rolling Stone Mick Taylor shows you standard turning slide, string damping, playing slide with a pick and more
Lesson 4: Jay Geils teaches standard tuning slide, vibrato and Muddy Waters style
Lesson 5: Greg Martin covers fingerpicking, standard tuning slide and Duane Allman style
Lesson 6: Allman Brothers guitarist Warren Haynes teaches lead slide licks, tone and open G tuning
Languages: English, French, German, Italian, Spanish.
RIGHT-HAND DAMPING
And now for more discussion of right-hand technique. Right-hand damping (not to be
confused with the already-discussed right-hand muting) accomplishes two things: it
gives you a more solid attack by anchoring your right hand on the face of the guitar,
and it creates a thumpier and faster-decaying sound on the low strings.
To damp the bass strings with your hand, let the fleshy part of your palm-the
part that moves with your thumb-rest on the bottom few strings right where those
strings meet the bridge of the guitar. Experiment by sliding your hand more onto the
bridge or more toward the soundhole and then picking the bass strings with your
thumb to hear the different degrees of muting you can get. Compare this with the way
the strings sound when you hold your hand completely off the face of the guitar. The
ideal sound, if we can say one exists, is one in which the strings are neither completely
cut off nor completely ringing out but are somewhere in between. You want to
hear the notes, and have them ring long enough to hear their actual pitch, but to
decay quickly.


