Once you’ve picked out a slide (or two), get to work putting it to practical use. Fig. 1 shows an easy way to play triads, which can be used for both single-note lines and chords, by laying the slide straight across the strings, aligned with the fretwire — that is, directly above the fretwire. Other than playing over the fretwire, this is the same shape you would use to play fifth-string-root barre chords, as notated in the chord diagrams.

When first starting out, play this shape without any sliding or vibrato — merely work toward a clean, properly intonated tone (more on intonation below). You’ll also want to experiment with the amount of pressure you use to apply the slide to the strings — too little and it will buzz; too much and you’ll rattle against the frets; just right and you’ll sound like Elmore James. Once you’re comfortable with this shape, you’ll find that you can now play all 12 major chords simply by moving to different frets. Personally, I find the lower frets, such as the A notated here, the most difficult to play comfortably.

With Fig. 1 under your control, it’s time to move on to Fig. 2, which truly brings the slide to life.

These subsequent three measures are the same triads as the previous three measures, except now you slide into the triads from a variety of different approach tones. For example, measure four approaches the F# from the E, which is a whole step below. Measure five approaches the B from C, a half step above. And measure six approaches the C# from a C natural, a half step below. But it’s important to know that one could intuitively approach from any other note — even from a pitch not normally notated in Western music, a “quarter tone,” which is a pitch halfway between the usual notes of a chromatic scale. Exploiting quarter tones is one of the major stylistic elements of slide playing, as the slide facilitates them better than any other guitar technique, and it’s utterly astonishing what a difference a quarter-tone approach can produce.

In addition to these approach tones, you’ll also want to start adding vibrato to these phrases. That said, I have not notated any vibrato in this lesson. That’s because, from this point forward, you can judiciously choose which notes you care to add vibrato to. To begin, I recommend emphasizing the last note of each measure. Still, the key word here is “judicious.” Just because you can easily add vibrato with the slide — simply move the slide back and forth (in the direction of the strings) relatively quickly — doesn’t mean you should do it ad nauseam.

As I alluded to earlier, it is crucial to pay attention to your intonation, i.e., the accuracy of your pitch. Using the fretwire as your guide is helpful, though you should double-check your accuracy by frequently alternating the same phrase with the slide and then without. Fig. 3 is a valuable exercise to do this with, as it is created from half steps (notoriously the hardest phrases to play without getting “pitchy”), provides you with several variations, and is a practical turnaround lick that you can use when playing a 12-bar blues.

The first measure of this phrase is probably the most common way it is performed, using all three notes from the triad at once. But it is just as effective played one note at a time or using a combination of two. Practice these slowly, at different frets, and with a (wink) judicious amount of vibrato. The last measure of Fig. 3 will require you to fingerpick or hybrid pick, and is the most challenging of the phrases.

Using a 12-bar blues to kick your slide playing into high gear is one of the most sensible places to start. This is demonstrated by Fig. 4, which is a 12-bar in the key of D that, for 12 relatively repetitive measures, possesses a wealth of information, technique and opportunity for variation.

Fig. 4 allows you to alternate (pretty much every other measure) between non-slide, fretted notes, and slide licks based out of our fifth-string barre-chord shapes. (To play this effectively requires you to wear your slide on the pinky or ring finger.) Once again, I have specifically notated the notes you can slide to and from in this example, as putting an arbitrary slide articulation leaves many students perplexed. Nevertheless, you should once again experiment with different degrees of slide articulation. And play close attention to the last two measures, as they provide you with the most complex phrase in this lesson, with a quick combination of fretted notes, single-notes with the slide, and a triad turnaround with the slide.