For the next element that we're
gonna introduce here that's specific to
flat picking is, it's called the pull-off.
We've covered the hammer-on, and now we're
working at the pull-off,
which is basically the reverse action.
And the, the basic move here with the
pull-off, I'll show you from the,
from the from, we hammered on right from
the open D to E.
So the hammer-on, it's the same sort of
concept where you play the E.
And you don't wanna play the open D.
you'll the hammer-on hammers into the
The pull-off pulls off the E into
the open D.
So the basic move.
I'm, I'm exaggerating it a little bit.
I'm playing the E.
And I'm not playing the D.
And overhead it looks.
What you'll notice is, I'm,
I'm allowing, when you play the string it
sort of creates,
that you can feel the vibration under your
And sort of.
Keeping your, and
the trick is to keep your finger on the
And we talked about rest stroke with the
And it's sort of, it's rest stroke with
the finger here because I'm
actually pulling into the string below and
I'm pulling into the third string from the
Over head again it looks like this.
You may see a better shot close
up from straight ahead.
And as I go different, different ways.
even from the D here fretted to on the
third fret down to the C.
When you, I'm on the second string now.
And it's just,
if I were to pull into the E string I
would actually fall off the finger board.
But again the concept is that the idea,
like we talked about with hammer-ons is to
try to make the note that you're pulling
to as loud as the pick note.
And from the high E.
You're actually, you know, to,
to over exaggerate it the, the string is
kind of actually popping out.
If you were just to start and not play a
just pull the G from the G to the open-E.
You would be able to play the open-E.
And that's kind of, you know,
breaking it down to it's sorta, its core
That's, you know, sort of the unmusical
way to do it.
But, you know, that applies.
There's, there's certain things where.
when you're playing a song at rhythm.
You know, again, it's a place to start,
And that, that's what you wanna go for
with a pull off.
the A to G is a good place to practice the
rest stroke with your,
with your middle finger, and second fret
You know, play the A, pull off.
And, you know, it's not again, it's not
You can hear the difference in tone,
so what you want.
As my finger stays on the finger board.
And the, the fact that these notes can
stay consistent is crucial
to a clean flat picking.
When you hear the, the you know,
the great cascades of notes from from
guitar player playing a fiddle tune.
And the reason that dynamic is able to
stay consistent is, is solid left hand
technique of, it's one of the things a lot
of people sort of forget till later is,
you know, flat picking is all about solid
right hand, smooth right hand picking.
But the, but the left hand is going to
work equally as hard, and so
I've got another exercise here to work on
some pull offs.