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Bluegrass Guitar Lessons: Pull-Offs: Exercise 1

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gonna show you pull off, beginning pull
off exercise here and again,
it's a tab you can download, and you can
read along with me.
I'll, I'll show you basically what the
exercise is doing,
and, you know, keeping our concepts of
trying to make our pull offs and
the note that's after that same volume.
That's the goal here.
So the exercise starts on, if you're
looking from the first measure there,
picking the G on the first string, third
fret, pulling into the open E.
And then the third fret, second string.
You know, as I isolate the steps, you will
hear the E string ring under that,
that's okay.
and Then now to the G string,
it's the A, A picked to the open G, and
then two G's in a row.
And then movin that same sort of pattern
down the string starting on the B string.
Starting that again.
And then the last bar.
And then the last bar.
That last bar starts on the E.
Of second fret on the D string.
here's the exercise at 50 beats a minute.
Start the metronome and again,
I think the best way to start this kind of
stuff, play a few bars of rhythm.
And you should feel yourself.
Should feel yourself lock into some
sort of s, smooth sense of where that
rhythm is.
So that launch in, into, launch into the,
into the exercise.
One more time.
All right, so that's 50 beats a minute.
All right, so here's this exercise at 60
beats a minute.
And the, you're gonna do, wanna do the
same thing.
Just play a little bit of rhythm.
Especially if you're practicing these back
and forth.
Just kinda get used to that feel and jump
And notice you try to keep the,
not only are my notes, the goal for my
notes is to maintain a consistent volume.
But here's your with pull-offs and
hammer-ons both you're creating a rhythmic
element for your left hand.
We talked about having a rhythmic right
And complete flat thinking, complete sense
of how to play acoustic bluegrass music
is sort of again, can't stress enough
about rhythm, and
sense of making solid rhythm, and.
Practicing this stuff with a metronome,
and that's, that's why we sort of try
to suggest you play a few bars of rhythm
before you jump into these exercises,
because I really, I really want you guys
to work on playing these things with,
within this, this sense of the groove that
the metronome is, is, is dictating.
And so that should be, that's rhythmically
smooth, and tonally, sonically smooth, so.
The other thing that I'll quickly mention
here about hammer-ons and pull-offs.
We've got a eighth note pattern, basically
working in each bar.
If I were to break that back,
to remove the left hand, pull-off or
hammer-on any of those concepts and
just play, like with this exercise here,
it sounds like this.
You know.
If you're just looking straight ahead it's
you'll see.
I'm just playing each note.
With an alternate up and down.
one thing that may help in learning, in
working on these hammer-ons and
pull-offs and this concept of a rhythmic
picking hand.
You'll notice when I do this exercise.
I'm actually movin' my hand up in rhythm.
I'm not.
If, if I wait for the note to try to,
try to force that, I'm gonna, I'm gonna
get outta sync with the metronome,
more than likely.
And so what happens is when I pull off
that note.
I'm moving my right hand back up in
I'm over exaggerating a little bit,
but that's basically what's going on, and
that, that's really what I'm talking about
when I say, you know, rhythmic picking
hand for right handed players.
Rhythmic rhythm hand, rhythm, rhythmic
right hand.
that's what that looks like with that
exercise, and that, that's somethin'
that may help you when you think about
playin' these things and as you.
Now we're gonna jump into some tunes real
soon here and as you put, you know,
longer strings of notes together.
You'll you'll notice that, that's, you
know we're laying foundation for
what we'll call you know a rhythmic
picking hand.
And and
a lotta times because when I'm playing
every note, all the upstrokes go away.
Because the hammer-ons, or the hammer-ons
or the pull-offs take care of,
of that other stroke.
So what normally would be an upstroke.
Now is a pull-off.
the basic rhythm of my right hand stays
the same.
You know, I can do the basicly back and
And so, again, the, the, my goal is to,
to make thing as, make things as smooth as
when you're transition back and forth.
And we'll start using these embellishments
later on in tunes and
in improvise improvisational sort of
And so that's a bit, a bit of a, just the,
you know, the, the rhythm concept and
why hammer-ons and pull-offs are
And we got one more thing to go through
and, and
then we're gonna jump into some tunes.