Old Style Slack (Guitar Lesson)

Chapter 1: (2:07) Introduction Music Mark starts off this lesson with a great slack key tune. In the scenes that follow, you will learn how to play a new slack key song: “Old Style Slack.” Chapter 2: (5:54) Learning to Play Chimes A. Review of Taropatch Tuning

Like “Bradda John,” “Old Style Slack” is performed in Taropatch tuning. Mark begins this scene with a review of this tuning. Typically, slack key players tune to an open G major chord. Taropatch tuning is an example of an open G tuning. Here is a string-by-string breakdown of this tuning:

6th: D
5th: G
4th: D
3rd: G
2nd: B
1st: D

B. Playing Chimes

Due to their tonal quality, natural harmonics are frequently referred to as “chimes.”

Note: David Anthony has some lessons solely dedicated to playing natural harmonics. We strongly recommend that you watch these lessons in conjunction with this lesson. The following information regarding natural harmonics are taken from David Anthony’s Phase 2 Tips and Tricks series.

1. What is a Harmonic?

“Harmonic” is a term that is often used in the scientific field of acoustics. Harmonics are component frequencies that comprise a larger, fundamental frequency. The individual pitches or notes that occur in music are referred to as “fundamentals.” For example, the pitch we hear when the fifth string is struck is a fundamental. This fundamental is called “A”. The pitch that our ears perceive as “A” is actually a sum of several overtone frequencies called harmonics. When we hear a fundamental, our ears cannot distinguish the individual overtones. We only hear their resulting sum or fundamental.

A frequency is assigned to every pitch or note that we hear. Frequency is measured in a unit called hertz (abbreviated Hz). For example, the frequency of the open A string is 220Hz. Harmonics are integer multiples of this fundamental frequency. For example, if the length of the A string is divided in half, the resulting pitch is an octave higher. The 12th fret marks the exact center of a string. If a harmonic is plucked at the 12th fret, the frequency of the pitch doubles. The frequency of this harmonic is 440Hz. The pitch that results is still A, just one octave higher. If the length of string is divided into an even smaller section, a higher harmonic occurs.

2. Natural Harmonics

Listen to the introduction music once again. The high chime-y sounds Mark creates are examples of “natural harmonics.” The harmonics he plays occur at either the 7th or 12th fret. Harmonics are a frequently used compositional technique. Compare the sound of a fretted note at the 12th fret to a harmonic played at the 12th fret. The pitch is the same, but the overall tone is quite different. Harmonics are added to a piece of music to add a contrasting tonal color.

Performing a natural harmonic is relatively easy. Begin by practicing harmonics at the 12th fret. Harmonics at this location are much easier to produce. Lightly rest the fleshy tip of the finger on the string directly over the 12th fret. If your finger is not directly over the fret, the harmonic will not sound. Do not press the string down at all. Once you pluck the string with the right hand, release your left hand finger from the string. Many instructors teach that you must immediately remove the left hand finger from the string to produce the harmonic. However, this is not true. You actually have a comfortable amount of time to remove your finger from the string. As Mark notes, the tone of the harmonic blossoms and becomes richer once the finger is released from the string. Watch Mark carefully as he demonstrates some harmonics at the 12th fret.

Also, practice playing two harmonics simultaneously. Simply barre a left hand finger across the desired strings. Pluck them simultaneously. Then, quickly lift the barre from both strings. Since Taropatch, tuning is an open tuning, the harmonics at the 12th fret form a chime-y G Major arpeggio.

3. Where do Natural Harmonics Occur?

The easiest harmonics to produce occur at the 5th, 7th, and 12th frets of each string. Harmonics actually occur down the length of the entire string. However, many of these harmonics are very difficult to produce. As a result, these harmonics are used rather infrequently.

Note: It is much easier to produce natural harmonics on an electric guitar. Harmonics really jump out when played with a distorted tone. Also, scooping the midrange frequency of a distorted guitar tone increases the projection of harmonics.

4. Tuning with Harmonics

Harmonics provide a very effective way of tuning the guitar. Check out Lesson 2 from David Anthony’s Phase 2 series for more information.

5. Harmonics In Chord Shapes

In the previous lesson, Mark demonstrated how to play two very basic chords in Taropatch tuning. The first chord is the open G chord. This simple chord consists of all the open strings. The second chord, D Major, is played with a barre across the treble strings at the seventh fret. These same shapes can be played as harmonics. To play the D chord using harmonics, simply rest the middle finger over the treble strings at the 7th fret instead of barring them with the first finger. To play G, play each string at the 12th fret as a natural harmonic. Finally, the D shape transposes to the fifth fret to form an alternate voicing of the G chord. Notice how Mark combines these chord shapes with a standard open bass string.

Chapter 3: (9:12) “Old Style Slack” Mark begins this scene by playing through the arrangement of “Old Style Slack.” If you listen closely and compare Mark’s performance to the written score, you will notice a mistake that he made. It’s OK to make mistakes. Everyone makes them, even professionals that have been playing the guitar religiously for decades. If you make a mistake, simply keep going. As long as you keep the rhythmic feel of the music constant, no one other than yourself is going to notice your mistake.

Note: Open the “Supplemental Content” tab for tablature to this song.

Some of the features of the music will immediately jump out at you. The song features three repeated sections that are each five measures long. This repeating arrangement style is very common among Hawaiian slack key players. Also, like “Bradda John,” “Old Style Slack” features a melody on the treble strings while the thumb performs an alternating bass line on the low strings.

Mark breaks this song up into individual repeated lines then isolates each measure within the line. The first three measures of the first line feature a repeating bass and harmonic figure. Isolate the first measure, and practice it slowly until you have mastered it. Then, take on the rest of the measures in the line. Pay careful attention to the left hand fingering Mark uses to play the song. The middle finger is always used when playing chimes. In measure 4, the pinky must perform a position shift to fret the notes on the 4th and 5th frets of the high E string.

Regardless of what style of music you play, it is very important to keep your left hand fingers as close to the fretboard as possible at all times. If your fingers stray to far from the fretboard, they will not be prepared to play when you need them. Keeping your fingers close to the fretboard will ensure maximum left hand speed and control. Chapter 4: (2:30) Second Part of “Old Style Slack” “Old Style Slack” is played in the key of G major. In this key, the fourth scale degree C, is a natural note. However, this note is frequently sharpened in Hawaaian music to add a contrasting tonal color. Mark refers to this note as the “Hawaiian blues note.” A raised 4th scale degree briefly implies a Lydian tonality. The major scale and its parallel Lydian mode are frequently woven together in traditional Hawaiian song.

The first few measures of the second line feature some rapid position shifts. Play these measures as slow as possible with a metronome to ensure that you are performing these shifts in time. Do not proceed to the next scene until you have mastered this entire line at a reasonable tempo. Chapter 5: (1:50) Play Along In this scene, you have an opportunity to play through the second line of the song along with Mark. This is an excellent opportunity to check your rhythmic accuracy. Play with other musicians as much as possible. This will greatly improve your rhythmic feel. Chapter 6: (8:21) Putting Things Together The third and final line is a simple variation on the second line. The harmonics are removed from the second line and replaced with regular fretted notes.

Practice the final line slowly until you feel comfortable playing it at a moderate tempo. Mark then gives you an opportunity to play the entire song along with him.

Traditional songs are often interpreted in a variety of different ways. For example, one guitarist might choose to play “Old Style Slack” at a very slow and deliberate tempo. Another guitarist may choose to play it at a rapid tempo. Both options are acceptable. Slack key guitar performance is all about playing what you feel at the moment. The overall sound of the performance should emulate how you are feeling at that given moment in time.

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