Some Joker got lucky you did it in my kitchen going to be doors. woman gets in trouble. Everybody throws it down. It's gotta be slow. You're going to be come on in my kitchen by Robert Johnson is basically a version of sitting on top of the world, an old blue standard that's been played in in many keys and many tunings by many artists over the over the decades. Johnson played it in open G, with a bottleneck or slide, and that's the version I'm going to teach today.

Out of Johnson's bottleneck tombs, kitchen is by far the most delicate piece has a fine balance between a delicate play on the highest strings a higher fret And the driving attack on the lower bass notes. It provides a an emotional intensity that's very appealing. It's often been said that bottleneck guitar is very easy to learn. It's the easiest style to learn. But it's possibly the hardest to master. It's very easy to understand the word about the bottleneck, and how to use it.

But to achieve the delicateness and the finesse necessary to provide a really nice appealing sound is is it takes a little bit of practice. He probably originated in the deep south, because in those days, many guitars were either very cheap or poorly made, or they were homemade. You can imagine a homemade guitar or a cheap guitar, trying to keep it in tune in the hot humid conditions in the Delta. You can see why bottleneck guitar with its way of vibrating across the strings is To find way to make sure that you can achieve a note without actually having having it finely tuned. The basic technique involves sliding a glass bottle neck or a tube, or a metal tube on the finger up and down the strings to produce an appealing sound. One of the benefits of using vibrato or rolling the bottleneck up and down the strings is that it gives you a chance to fine tune.

For example, if you use a bottleneck to slide up a string, and you're not quite accurate enough to make the right note, you can use the vibrato to move the bottleneck while you're making that that lovely worldly sound. The strings between the bottom leg and the knot of the headstock are dumped by one thing to this place behind the bottleneck. In this way, you get rid of unwanted stuff. might appear and spoil the overall feel of the tune. If you are new to this technique, keep in mind that the bottleneck doesn't press so hard that you touch the frets. The strings shouldn't touch the frets, simply rest the bottleneck on top of the strings.

And it lightly moves up and down slides up and down the strings searching for the nodes. I use a bottleneck with a thick wall. It's a glass bottleneck, and it's quite heavy so that when I I use the Grotto, because it's heavy, it produces a distinctive sound slightly slower than if it were using a thin wall. And also quite different from from a metal tube, which produces obviously, a more metallic sound. I generally keep a separate guitar tuned down to either open D, open G so that if I'm in performance, I'm not trying to tune my guitar up and down. You do this, first of all, it puts a strain on the strings and after turning up and down two or three times, they're likely to snap.

The other thing is, if you're a little bit nervous and you're trying to tune a guitar, it can be quite difficult. You have the feeling that you're under pressure, you need to get it tuned and show you a professional. But of course you needed to properly because a badly getting guitar just sounds horrible. I'm going to tune this guitar down. It's a quite an inexpensive, expensive Fender guitar, and it's to normally chill it down to open G. It's very easy to tune to open G will simply change three strings. First of all, we're going to take the base e, the sixth string, down to D Next train, which is a two steps to G. The next three will leave them alone and the high he will take that down to D as well.

Although I'm using a tuner, to make sure that I was close as I can be. The great thing about open G is that it's intuitive. You can feel when it's in tune There we are, we're ready to go. Of course, if you're playing solo, then it doesn't really matter if it's a little bit out, as long as the two the strings are in tune with each other, then you can make a nice sound. And it doesn't really matter if it's in a pitch or not. I'm going to teach the basic riffs of the original tune by Robert Johnson.

But please be sure to listen to the riddle again and again, and try and pick up those nuances that make this song so special. I play the song section by section at normal speed. And then after this, you'll see my my left and right hands in close up with the tablature on the screen underneath. Of course the tablature is also available as a PDF download so you can print it out and use it in your practice periods. Know that all of the bass notes I have attempt a slide up to the 12th fret on the third string, and then immediately pinch the fifth and the first bill shield on the 12th fret. However, the palm damping is so heavy that it simply makes the third noise.

My bottleneck is long and spans the width of the neck. So I tend to lead across all of the strings at the same time. If you prefer a shorter version, or you can use the bottleneck at an angle, then this node can be played open, still heavily dumped. I remove the bottleneck completely Anyway, when I play the next three notes on the fifth string. You might need some practice to gain the accuracy needed, but it's well worth the trouble And then click to move right back up to the 12th fret again, keep in a really nice light, feel Dropping down to the other end of the fretboard in clip three gives a nice contrast to the previous work on the higher frets. Please extra emphasis on the final note in this section, give it plenty of vibrato include for the melody of the guitar is going to follow the exactly the same melody that we sing.

So it makes it very easy to sing I'm going to add a variation for this section. While we sing that lyric with the same melody, the guitar is going to play something else. It takes a bit of getting used to to sing along with a particular melody when the guitar is playing something very different. Once you get the hang of it, it's really worth the effort. It's very appealing. In the last clip, clip five, the attack on the third string up to the fifth fret is very strong and forceful.

It provides a great counterbalance to the delicate work that comes a little bit later. And that's proceeded it is this balance between the forceful attack and the nice delicately balanced word that provides this wonderful emotional tone of the song. You can play this with a slide that I prefer to play with with my finger on the fifth fret. Let's go There are other variations that you can add to this song and listen to Robert Johnson's version and try and pick up some more ideas. For example, at one point, Robert Johnson say something like, listen to that wind howling, and he plays this he winds down on the high E string, and it runs down from the 15th frets threat by fret down to the 12th. Now I often put this at the end of a verse.

I think in this last variation, it will sound like this Whatever you do remember to have fun. Any questions, please contact me. I'll be happy to help. Bye