- Intro Video - Beginning With Open G Tuning and Bottleneck
- Reflections On Bottleneck Playing
- List Of Famous Blues Songs In Open G With Audio
- Open G Guitar Tuner
- Learn Crossroads intro With Tab and Audio
- Catfish Keith Article
- The Origins Of Open G
- Embedded Video Playlist Of Songs In Open Tuning
- Common Chords Used In Open G
Open G Tuning Songs - Open G Blues And Bottleneck
The video below opens with an old clip of me playing Crossroads by Robert Johnson on an old Johnny Joyce model Aria, and at 1:22 I start to explore the open G guitar tuning from a beginner’s point of view. It’s a simpler tuning than open D, and it’s perfect for playing with a bottleneck or slide. I use a thick glass bottleneck, which gives a different sound and feel to a steel or brass one – it’s a matter of choice.
The bottleneck way of playing guitar consists of letting the surface of the slide rest on the strings while we strum or fingerpick. Generally, the guitar action needs to be higher than when playing normal guitar, so it’s a good idea to keep one guitar set up just for bottleneck. It’s a great idea to set up a ‘beater’ for this.
Damping the strings with one of your fingers behind the bottleneck is very important, and takes a bit of practice – stick with it, because it’s the backbone of the technique. The actual open G tuning guitar G (2m:58s) is quite easy, and involves taking just three strings down. The bass E comes down to D, the A string down to G and the high E also comes down to D.
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TIPS FOR PLAYING SONGS IN OPEN G TUNING
Although some delicacy is needed to make a good sound, the technique is quite forgiving when moving along the fret board to a particular note. A ‘vibrato’ action is used so that the bottleneck is hardly ever still – it wavers around a note, producing those ethereal blue sounds. One of the advantages of this is that you can slide up to a note, but don’t need to hit it spot on – you can vibrate the bottleneck and ‘fine tune’your position.
Bottleneck isn’t the only style we can play when we use this blues guitar tuning. Here I demonstrate a picking pattern I developed to play Mobile Texas Line.
I've always had a love-hate relationship with open G tuning. Yes, it sounds great and it gives you the old authentic feel of the Delta blues, but for a long time I just could not stop those strings buzzing. For many years I played folk music and during that time I was introduced to open D by a friend of mine. Of course this was finger-picking folk music and didn't involve a slide or a bottleneck.
I like the idea of open tunings but for a long time they were really a minor part of my repertoire, preferring to play Ragtime blues and Delta blues or fast Piedmont styles. In particular I'd like to play Blind Blake tunes in open D, because some of them are slow, and some are fast and exciting. The slow pieces allow you to get into the music and to get into the chord structure of an open tuning, well the fast pieces are exciting when done well.
In those days, I did try to play bottleneck style with open D but it never really worked out. it wasn't until much later that I heard open G for the first time played properly in the slide or bottleneck style. When I was a younger player, like many people, I was quite arrogant. I loved to play complex guitar styles and I tended to ridicule styles that were either too simple or in another musical genre.
One night in the South of England, I happened to be in the folk Club in a small village, listening to the amateur floor singers and waiting my turn to play. Folk clubs are a fantastic way to learn the trade of playing in front of people. While sitting there, a man walk to the stage and prepared to play. As he walked past me I noticed that one of his guitar strings had a knot in it between the nut and the Capo.
On top of that, the strings were so old that they were green and rusty. I laughed behind my hand and made fun of this man, expecting to hear him play very badly. He had only played two notes before I realized that this was something special. He fitted a glass bottle neck to his ring finger and moved it lightly over the strings to the 12th fret, before bringing it down to the 7th fret, and then the 5th fret, creating the most wonderful, plaintiff blues is sound. It was as though I was transported back to the Mississippi Delta.
This was perhaps the biggest lesson I'd ever had in playing guitar. First of all, you don't need to be a technical genius or be a fantastically complex finger picker to produce some wonderful blues music. Secondly, a good guitar player will adapt to his instrument and the strings that he has. This is the genius of playing the Blues. It's a feeling more than technique.
In the case of this young man, the state of the strings actually helped produce that authentic old sound. New guitar strings tend to have a bright and lively sound, which doesn't translate well into the old blues. In addition, the windings of the lower guage phosphor bronze strings tend to be raised and make quite a scraping sound as the bottleneck is pushed along.
If you are intending to play in the bottleneck style a lot, or almost exclusively, it's probably a good idea to use flat-wound strings. It really doesn't matter if they are nickel steel bronze or phosphor bronze, but I find that the bronze style strings produce a warmer sound. As with all strings, it’s a personal thing and it's always best to try a few sets before you decide.
Ready? Set? Guitar in tune?
Use the embedded tuner below to make sure we're close. That way can follow along with the tablature for Crossroads.
Kassie Jones Part 1 FURRY LEWIS (1928) Blues Guitar Legend.mp3
Muddy Waters (acoustic) at Newport 1968 Walkin Blues.mp3
Son House Death Letter Blues.mp3
Robert Johnson- Crossroad.mp3
Guitar Tuning - Open G - DGDGBD.mp3
Open G - Crossroads Intro Tab 1.mp3
Open G - Crossroads Intro Tab 2.mp3
Open G - Crossroads Intro Tab 3.mp3
This article below is a great example about using open G tuning for slide guitar - Catfish Keith is a master of the style and plays in nothing else! (Almost!)
The Voice of the Blues
~ by Catfish Keith ~
Article in Fingerstyle Guitar, Issue 19, Jan-Feb 1997
Nothing knocked me out more than the first time I heard solo country blues. I was coming up as a teenager, in Davenport, Iowa, and one day I heard my first Son House number, "Death Letter". That was it! Wow! From that moment on, I was hooked on that crying, singing sound that still makes my hair stand up. I couldn't believe how much music was coming from just one person. The combination of stomping feet, deeply felt vocals, and propulsive, from-the-gut, string-popping slide guitar left my jaw dangling to the ground. I was floored by this music. My life was changed forever.
While my high school buddies in the 1970s were into disco and heavy metal, I went deeper and deeper with my mission of discovering the very roots of American music, and found a treasure trove of exciting, obscure musical gems from Mississippi delta blues masters like Charley Patton, Booker White, Mississippi Fred MacDowell, Johnny Shines, Willie Brown, Tommy Johnson, Mississippi John Hurt, Robert Johnson, and Son House to ragtime blues guitarists like Blind Blake, Blind Boy Fuller, Big Bill Broonzy, to sanctified pickers Blind Willie Johnson, Rev. Gary Davis, and Rev. Robert Wilkins. Often, one guitarist made the sound of two or three guitars, playing bass, rhythm, melody, harmony, and counterpoint at the same time! There were also many other influences and styles working their way into my repertoire, including early jazz of Louis Armstrong, Jack Teagarden, and Bix Beiderbecke, island music of the Caribbean and Hawaii, with Joseph Spence and Sol Hoopii as major heroes. Old-time fiddle tunes, zydeco, and New Orleans R&B were in there too. Needless to say, nobody at school had any idea what I was talking about! But I didn't care. I was just tickled to be soaking up this great music.
Times have changed since those days of years ago. Early recordings of the 1920's and '30s, once almost secretly passed from the hands of one zealot 78 record collector to another, are now available on Compact Disc compilations in chain stores for everyone to enjoy. Hundreds of new and old blues recordings are released every year on major and independent labels. Blues festivals and blues societies have sprung up all over the U.S. and abroad, and a handful of blues-based artists have become certified rock stars. Blues is the soundtrack for beer and soap commercials. You can learn the notes easily from mountains of books, videos, and at guitar workshops. Blues legends are working and touring more than ever. Times have never been better for the blues.
Bottleneck Slide Guitar
SLIDE GUITAR SET-UP
To play slide, you must first have your guitar set up properly for the best tone and playability. On my albums and live, until about 1998, I've played on my 1930 National steel-bodied Style O resonator guitar. These are great sounding old guitars, especially for slide and delta blues. Many blues, jazz, hillbilly, and Hawaiian guitarists played Nationals, and before the electric guitar caught on, were the loudest, shiniest, funkiest guitars available.
In recent years I've been favoring my 1999 National Baritone Polychrome Tricone guitar (pictured below) from National Reso-Phonic Guitars in San Luis Obispo, California. This has been my main thing ,touring and recording steel-bodied National since the day I got it. This special instrument has a longer scale length (a couple inches longer than a standard National neck) and is tuned lower (see below). The strings are also quite a bit heavier (.068-.017 on mine). The neck meets the body at the 13th fret , and adds two more frets to the length of the neck, and enables you to go 3-5 half steps lower than normal.
I'd been seeking this huge, deep tone for quite some time and the cats at National Reso-Phonic really came through with a revolutionary, very special guitar for me. Because of the Baritone Tricone's popularity, this is an in-demand catalog item for them now, and is available usually by special order.
If you are interested in buying a new National (of any kind), please email or call, I'd be happy to help. I've assisted lots of folks get their dream guitar, and, by special arrangement with National, I can get you prices as good or better than most dealers (always 20% off list price and no sales tax unless you live in Iowa). Also, I'm always available for any and all advice I can lend about these great instruments.
You can set up any steel-string acoustic guitar for slide. The nut of the guitar must be slightly higher (around the thickness of a matchbook cover), so the strings are higher over the fretboard than for regular guitar playing. You should still be able to fret the strings as well as slide comfortably without clonking the frets with the slide. A qualified guitar repair person should be able to set you up right.
Note: BE CAREFUL choosing a repair person. Try to get a couple of (or lots of) recommendations from respected players before taking your dear guitar into the shop.
For the best slide tone for your guitar, heavier gauged strings, especially on the top two treble strings, are generally better. I use these gauges on my 1930 Style O and 1998 Delphi Nationals, in Phosphor Bronze:
Low to High: .056 .045 .035 .026 .019(plain) .017(plain)
On my Baritone National, I use these gauges, also in Phosphor Bronze:
Low to High: .068 .056 .042 .030 .019(plain) .017(plain)
CAUTION: Many acoustic guitars are not made for heavy string tension. Be careful not to put strings on your guitar that are heavier than the recommended gauges.
IMPORTANT: Don't tune your guitar too high! It could pull some (especially wooden acoustic guitars) apart! Tune no higher than a D or G-tuning, and if you notice the bridge area raising on your acoustic guitar raising, use lighter gauge strings. The new Nationals are pretty tough, with double truss rods, but they say if you tune to an E or A Tuning, take the tension off the strings before putting the guitar away.
OPEN TUNINGS FOR SLIDE PLAYING
Although there are dozens of variations, I use these two traditional open chord tunings for slide, often flatted a half step:
· Open-D, Vasserpoo or Vestibule Tuning. Low to High: DADF#AD
· Open G, Spanish or Hawaiian Tuning. Low to High: DGDGBD
On the Baritone National, I use the same tunings, only pitched lower, starting at B or B-flat.
FINGERPICKS OR NAKED FINGERS?
I use a large plastic thumbpick on the right hand thumb, and two metal fingerpicks for the index and middle fingers, but for me, especially on the steel guitar, picks help make a sharper, louder tone and help save your fingers.
GET A GOOD SLIDE
There are many kinds of slides to choose from; everybody has a different preference. Some use a metal tube or pipe (Son House used a piece of copper tubing), or a spark-plug socket. These have a brasher, more metallic tone, but have the advantage of being shatterproof (and multi-purpose).
Some of the old-time slide guitarists used a knife. Cedell Davis used a butter knife. Legend has it that Blind Willie Johnson used a straight razor for a slide. Makes for a sharper tone, but sounds mighty dangerous!
My preference is a glass slide, made from a wine bottle. Glass has a weepier, richer sound than metal. You can make your own or buy commercially made slides in the music stores, and remember the thicker the glass, the thicker your tone will be. The glass in many wine bottles (the kind with corks, not screw-on tops) is nice, thick, and smooth, and makes for the best sound.
You can also buy slides online, just like mine (pictured below), through this website, individually handmade from wine bottles by Roger Gohl of Sly Devil Slides in Los Angeles. Email me if you want more info on custom lengths, double cut slides, etc.
PUT IT ON YOUR PINKIE!
Putting your slide on your left hand pinkie finger leaves your other left hand fingers free to fret notes and make chords without the slide, and also to damp the strings behind the slide. Some guitarists like Son House and Bonnie Raitt use the slide on the ring or middle finger, but generally, having the slide on your pinkie is the best bet.
Unlike fretting the strings, playing with the bottleneck involves setting the slide directly above a fret, with light pressure on the string with the slide when plucked. Try it on the high D (first) string in Open-D tuning, with the slide angled slightly away from the neck, so you are only resting the slide on the high string. Then, pluck the string with your right hand index finger, and slide up the neck slowly from the third fret to the fourth fret. Ahhh!! Vibrate the slide slightly (left & right) along the string at the end of the phrase to give it that vibrato like a gospel singer. That's it!
The difference between playing slide and regular guitar is like the difference between a violin and a ukulele. Think of the slide as a woman's voice. Some of the notes will be bent or "blue" notes that are 1/4 to 2/3rds above the fret. The ability to bend and vibrate these vocal-sounding notes is what makes slide guitar so haunting.
Article Source: http://www.catfishkeith.com/fingerstyleguitararticle.htm