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I think he's talking about sliding double-stops, such as heard on tunes like "Rainy Night In Georgia", as cited above. Cornell Dupree is a real master of that kind of style.I'm not quite sure I am following what the OP is talking about. Are you talking about slurring the note into the fourth, as in coming up from underneath? I may already be familiar (and doing this), but I don't understand the OP's question.
The guys who slide double-stops around use both 6ths (inverted 3rds) and 4ths (inverted 5ths). The sixths (think of Cropper's intro to "Soul Man") usually involve skipping a string and are often finger picked. I've heard 6ths like that referred to as "Memphis 6ths" - because of the Steve Cropper connection and the Stax/Volt records he played on.When I think of a fifth interval that's the basic power chord, and the fourth interval is the inversion of the same, as in Deep Purple, Smoke on the water. Are you actually talking about 6th intervals here? Eg, a third degree of the scale, played under the octave of the root? Then you harmonize that interval right up or down. If so, yes I dig that sound a lot.
Go back and listen to early jazz, be-bop, and big band like Glenn Miller and you will hear players and singers using this type of thing day and night. Frankly I too don't have much of a clue as to precisely what the thread is actually about but from the conversation thus far can assume it means blues notes and a generally bluesy style but "sliding fourths and fifths?" Sliding which way? Bending? Slurring? No mention of double stops. Can you link to a clip? You will get an even better answer like that.Technically speaking this gospel/soul/R&B rhythm style makes use of sliding and hammered on 3rd's, 4th's, 5th's and sixths. Blues, funk and country players also use sliding tritones quite effectively. Country guys also tend to use bends more than hammer ons - like bending a minor 3rd up to a 4th or even a ma7 to a unison.