Slowhand Guitar Techniques: Learn Clapton’s Signature LicksEric Clapton — nicknamed Slowhand — is one of the most influential guitarists in rock and blues history. His tone, phrasing, and tasteful restraint have inspired generations of players. This article breaks down the core techniques that define Clapton’s style, offers practical exercises, and gives tips for applying those licks musicaly.
Who is Slowhand and why study his techniques?
Eric Clapton emerged in the 1960s with Yardbirds, John Mayall’s Bluesbreakers, Cream, Blind Faith, and then a long solo career. His playing is a masterclass in blending blues vocabulary with rock, pop, and soul sensibilities. Studying Clapton teaches expression, economy of notes, and how to make every phrase sing.
Core elements of Clapton’s style
- Phrasing over speed. Clapton emphasizes melodic lines and vocal-like phrasing rather than fast runs.
- Note choice and targeting. He frequently targets chord tones on strong beats, using passing notes and blues notes to decorate.
- Use of bends and vibrato. Wide, expressive bends and a controlled vibrato are signature touches.
- Hybrid picking & economy picking. Combines flatpick and fingers at times for tone and articulation.
- Dynamics and tone control. Soft attack vs. aggressive attack, rolling back the volume, and amp/amp-sim tweaks.
- Double-stop and chordal fills. Using dyads and partial chords to outline harmony.
- Blues box and minor pentatonic foundations. Heavy use of pentatonic and blues scales with modal (Dorian) touches.
Gear and tone basics
- Clapton’s classic tones were produced with a Gibson SG and later a Fender Stratocaster (notably his Blackie). Key elements:
- Guitar: Strat for bell-like single-coil tone; Gibson for thicker blues tone.
- Amp: Tube amplifiers (Marshall, Fender) at moderate gain.
- Effects: Overdrive/OD for warmth, occasionally chorus or delay; minimal pedals compared to many players.
- Setup: Medium gauge strings, lighter on the right hand for touch sensitivity.
Essential scales and positions
Work these shapes in the key of A (common blues key here) and transpose as needed.
- A minor pentatonic: A C D E G
- A blues scale (minor pent + b5): A C D D# E G
- A major pentatonic / Mixolydian touches: A B C# E F# (use to add major flavor)
Practice switching between minor pentatonic and major pentatonic to get Clapton’s “woman tone” phrasing.
Five signature lick types and how to play them
- Vocal-like starting bend
- Technique: Start on the 2nd string, bend up a whole step (or 1.5 steps for more tension), hold, then release slightly and add gentle vibrato.
- Practice: Bend to pitch, sustain, and add controlled vibrato. Aim for singing quality.
- Targeted chord-tone lines
- Technique: Outline the underlying chord by landing on 3rds and 7ths on beat one. Use passing notes between targets.
- Practice: On an A7 vamp, target C# (3rd) then G (7th) on strong beats.
- Double-stop thirds and sixths
- Technique: Play harmonized thirds or sixths, often on the high strings, with slight palm-muted chuck on the beat.
- Practice: Harmonize a simple pentatonic phrase in parallel thirds.
- Fast, economy-picked run finishing with a bend
- Technique: Use efficient picking motion or alternate with economy picking to execute a quick descending or ascending pentatonic run, then resolve with a long bend into vibrato.
- Practice: Metronome at slow tempo, increase speed only when clean.
- Call-and-response phrasing
- Technique: Play a short, melodic “call” phrase, then answer it with a complementary “response,” often quieter or with different articulation.
- Practice: Create 4-bar phrases where bar 1–2 is call, bar 3–4 is response; vary dynamics.
Exercises to internalize Clapton’s feel
- Slow bending with vibrato: pick a note, bend to target pitch, hold for 4 counts, add vibrato. Repeat across the neck.
- Chord-tone soloing: over a 12-bar blues in A, restrict yourself to only chord tones on beats 1 and 3; use passing notes elsewhere.
- Dynamics drill: play a lick pianissimo, then repeat fortissimo; practice rolling the volume knob to blend.
- Double-stop practice: harmonize simple licks in thirds and sixths through the pentatonic box.
- Call-and-response creation: record a 2-bar rhythm loop and improvise call/response phrases over it.
Transcribing and ear training
- Transcribe Clapton solos (start with “Layla” simplified sections, “Crossroads” live versions, “Wonderful Tonight” phrasing).
- Slow recordings to 50–75% speed and match pitch by ear. Focus on phrasing and timing more than exact notes.
Applying the licks musically
- Learn to leave space. Clapton’s solos often use rests and rhythmic placement for impact.
- Play for the song — match tone, dynamics, and note choices to the mood.
- Phrase like a singer: breathe between lines and use motifs.
Common mistakes and how to fix them
- Overplaying: count and plan phrases; fewer notes often have more impact.
- Mechanical vibrato: practice varying speed and width for musicality.
- Using wrong notes: emphasize chord tones and resolve dissonances quickly.
Quick practice plan (30-minute session)
- 5 min: Warmup & bends with vibrato.
- 10 min: Scale positions & chord-tone targeting.
- 10 min: Work on one signature lick + double-stops.
- 5 min: Improvise call/response over backing track.
Recommended listening (to study phrasing)
- “Layla” (Unplugged and studio excerpts)
- “Wonderful Tonight”
- “Crossroads” (Cream live versions)
- “Badge” (Cream)
- Bluesbreakers with John Mayall — essential early blues tone
Mastering Clapton’s licks means learning to say more with less: precise note choice, soulful bends, and phrasing that breathes. Practice slowly, focus on tone and timing, and always play for the song.
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