got another exercise here that's isolates
a certain another way to do hammer ons.
That's you know, a pretty prominent part
of flat picking
we got a new little rhythmic thing to look
The triplet, which the triplet where, a
triplet happens where there's basically
the feel of three eighth notes into one
So instead of Ta-Ta-Taka-Taka-Taka-Taka.
So this one, two, three, one, one, two,
three, two all this kinda stuff.
So what happens here the first bar of this
little exercise and
see I'll just show it to you as slowly
Start with a down stroke.
And, and the next,
the end of the triplet we have three notes
there that make up the triplet.
The open G.
And we hammer-on to the A and then up,
then up-stroke on the B.
And our down-beat of the next bar will be-
The down-stroke on the C.
And so what happens we've talked about how
in an eighth note picking pattern you have
a lot of just down, up, down, up, down,
up, is the basic form of what's going on
When you employ the triplet now we have
you know, still keeping
with that basic idea and the basic, you
know, we talked about in the other rhythm.
And the other exercise, you know, what's
going on rhythmically with the right
with the right arm is essentially sort of
You know, we just, we don't wanna, we
don't wanna try to tax it too much.
And I'll, I'll show you the difference
here in a second.
So, in a basic eighth basic eighth note
idea of up, down, up,
down, the triplet just the triplet with
the hammer on it you know,
turns into a, it can be a very efficient,
very kinda, an additive to the playing.
And this is, this is at it's basic sort of
entry, entry level point.
See that's something that with this kind
of exercise, just before you even get into
that's really the point that I'm trying to
You can, you can just practice that.
once again you want that hammered A note
to be to, to feel like the,
the whole thing, the whole passage should
feel like four song four strong notes.
So moving on with the exercise,
it happens what, three or four times in
this thing, so.
some double-stops there with hammer-ons.
I'll show you this for practicing we'll
again start at 60 beats a minute with the
metronome here, we'll get that going.
And again to play some rhythm.
What you'll find is that you,
you and the metronome feel like you're
creating a sound together.
That's how you know when you're locked in.
jump into the exercise when you feel like
And so one of the things that I'm
thinking about the triplet and the hammer
on, and, and the way the pick's working
through that little passage there is
really thinking about that next downbeat.
We talked about the rest stroke,
sort of the upstrokes are kind of a
they set up the downstrokes to make, to
make stronger kind of tone in music.
So in a sense,
in an essence the hammer on-
And so I'll show you sort of in
rhythmically how that can work.
We'll move up to 80 beats a minute with
the metronome and I'll show you how this,
this thing can kinda sound and it'll, it
can enhance your playing.
So here's here's 80 beats a minute.
So, rhythm again.
So that's, that's something to work
towards, you know, and you may not,
60 may feel okay, you may have to start at
That's one of the using a metronome and,
and we're gonna get into that shortly here
with the intermediate level of of ways to
kinda, the, the reason the metronome is
there is to not, you know, force you into
this sort of militant kinda look at time.
But again we're, we're, we're laying
Solid foundations for, for, you know, more
better music making in the future.
And we're gonna look at different ways to
kinda realize the importance and, and
ways to kinda work with,
with a metronome to where you can actually
see some real kinda rhythmic improvement.
And you know, keeping that good, loose
feel strong and rhythmic, and
making these notes clear and, and, and
distinct is ultimately the goal.
So we got one more to get into and we'll
get to there now.