Chet Atkins was first and foremost a great musician, his artistry transcends the guitar. One of Chet’s signature techniques was his great slur technique. Early in Chet’s development, he idolized Django Reinhardt. His piece, “Mainstreet Breakdown,” from the late 1940’s session that included his brother-in-law, Jethro Burns and partner, Homer Haynes is the ultimate tribute to his hero, Django. It swings hard and showcases the power and clarity of Chet’s slur technique. The following example can be seen in my new DVD, Chet Atkins in Three Dimensions - Chet Licks.
As you can see in measures 11-12, Chet is playing a simple slur pattern over the tonic chord of B flat. Typically, Chet would use the 2nd and 3rd fingers of his left hand to play these triplet slurs. Most of us would favor using our stronger, more dominant first and second fingers. Whatever fingering you choose to use, strive for clarity of articulation and perfect rhythm. Please see measures 11-12 on page 103 of the book, Chet Atkins In Three Dimensions - Fifty Years of Legendary Guitar, Volume One.
The standard for perfect slurs is to come through the string from an angle above the string (the hammer) and then continue the slur (the pull-off) by falling off the string in the same motion. A common flaw in slur technique is to change direction when playing the pull-off by pulling away. Chet never did this. He always moved in one direction into the string and through it. Chet often grew his left hand fingernails a little longer to help provide additional articulation to his slurs.
The “keys” are your motion through the string and to play on your finger tips but not flatten your fingers as the abundance of flesh will cause you to lose clarity in the slurs and in turn, waste energy by over compensating.
Remember to practice slowly with a metronome…in this way you will develop a defined since of sound and awareness of the little things that reinforce confidence in your playing.
