Here's a really fun topic,
that I wanna sort of expand upon, and
that's the topic of hammer-ons and
It's something that you really use a lot
in Dobro playing, and as you go along, so
I want to sort of demonstrate some other
techniques that I use for hammer-ons and
pull-offs and just sort of broaden your
spectrum of ideas and
how you might use these.
So, a lot of times you think of hammer-ons
and pull-offs down in this low position
That's a great place to use them.
You can start to expand this a little bit,
and use your hammer-ons and
pull-offs up on higher strings.
So you, you don't have to just
do it down here on the low strings,
you can actually do it up here.
So, one technique that I use is
I'll just use the top two strings for
hammer-ons and pull-offs and
do something like this.
So what that technique is,
is it's just using the top two strings
to sort of bounce off of, and
what I'll do is I'll do,
open nine, open eight,
on the second string.
So that's that, that's the whole phrase
And then you can move that.
And use your knowledge of scales on the
fret board to keep it diatonic.
So that's just using a G major scale.
And what I'm doing is I'm
using my thumb and my middle finger.
you can adjust the scale a little bit.
Say I wanted to do that in a minor key.
All I have to do is just adjust the scale
to the minor,
so in G I'd be using the eighth fret.
So you can use your knowledge of scales
and the fret board to get hammer-ons and
pull-offs up the neck in a variety of
different ways and
I'll just give you one more demonstration
how I might use that.
So there I was using the first and third
Same idea as the first and second strings,
but now it's the first and third.
And this technique's a little different,
just cuz you're skipping a string.
So that can really create a lot of
excitement and really sort of get you out
first position hammer-on and pull-off
So I've got some exercises here that you
can try on your own.
It's great for getting these hammer-ons
and pull-offs going in another way.
One other thing I'll mention about
hammer-ons and pull-offs is,
the way I do them, I actually don't
usually hammer on.
In this exercise I do,
actually no I don't.
I fi, I, I pluck the string.
And that tends to be what I usually do.
When I'm, instead of hammering on,
I pluck all the notes and then I pull off.
So if I were to go from low to high,
you'll notice I pluck most of the strings.
So you can use your alternate picking for
that but then when I pull off I do, do, do
the reason I do this is because when you
pluck the hammer-on,
we actually, it's not a hammer-on when you
actually pluck the note.
It gives it a lot more staccato kind of
It can give you this machine gun-style
You can hear the difference.
Here's hammer-ons and pull-offs,
just straight up
It sounds good and you can do it really
It's a little sort of soft sounding and
If I, if I start plucking all the up notes
where there'd be hammer-on's you can
hear it gets a lot more staccato.
So that's a technique that I tend to use,
and I just do that mostly all the time.
Unless I'm doing a really fast triplet
hammer-on or something,
I'll be plucking all those up strokes and
then pulling off for the pull-offs.
So it's something you can try that's the
way I do it.
You know, find your own way with the
hammer-ons and pull-offs, but
there are some cool exercises you should
check out and just know that you
can really get expansive with the
hammer-ons and pull-offs.