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Bluegrass Guitar Lessons: Hammer and Pull (Key of D) - Exercise 1

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We got one more exercise here,
it's working out a key of D.
And sort of close out this little section
on exercises with hammer-ons and
And the way I am able to employ these or
try to employ these kind of techniques,
really, smooths out playing.
One thing I'll show you here,
I'll play this exercise in D, and a lot of
the basic things apply.
You're looking for consistent sort of
stream of notes and
I'll show you this exercise without any
hammer-ons and pull-offs.
As they're, as they're kind of notated on
the tab there.
They'll sound like this.
You know, it's fairly you know, for all
intents and purposes it's,
it's decent flatpicking but it's a little
stiff compared to this.
All right.
just using the technique made the whole
piece of music smoother.
It had a, it had a, had a stronger
rhythmic sense.
And once again all the right hand is
Most of the time it's that.
In this particular exercise.
We move to this.
And that's why when you, when you get the
hammer-ons and
the pull-offs you know as solid as they
can be with the left hand.
the role of the right hand is to define a
clear rhythm.
And this is, again, a rhythmic right hand,
this is what this really means.
Is to make these ideas obvious to
a listener and it communicates music you
know in a much deeper kind of way.
It can be actually felt.
[SOUND] So that's the right, that's the
role of the right hand that's right there.
And I, I can make the rhythm happen.
You know, emphasizing those downbeats.
But again, it just takes it one more level
into what sounds stiff.
And it's unmusical.
But this.
You know, is, is so
much more easier to listen to.
It's, it's you know, it's just, it's just
musical, and that's what
we're moving towards now, is, is learning
how to make stronger, better music.
And so I'll just show within this exercise
I'll show you just a couple things to
kinda look for.
Most of it you can see on the tab is.
Again, our right hand is just doing that.
At this bar the fourth bar,
that's that's full here.
I put in a little bit of a left
hand challenge right there.
Of hammering from that second fret E to
the fourth fret F-sharp so, you know.
Oh by the way, you gotta have a good left
hand solid technique here working and, and
this, again our four fret access thing is,
is is back into play.
And really, the only,
the only way to make that.
That consistent at tempo because you,
as soon as you hammer onto that F-sharp.
You have an upstroke on,
on the A on the G string, second fret.
So that, that,
that may be one, one little aspect in here
that's a little tough to get through.
And it's right in the middle of the thing,
so it's you can work up to it and
then once you're past it you can, you can
finish it out.
So, I mean,
I'll just show you all this and a way to
practice it at, 60 beats a minute.
Here's the metronome.
[SOUND] And, again,
we're gonna always start these things just
a little bit of rhythm to loosen up.
One more time.
Actually I missed one of the hammer-ons.
All right.
That's you know.
Take your time.
Work through these things.
I'll show you again here at 80 beats a
We'll get the metronome going.
[NOISE] There it is.
Play a little bit of rhythm.
Now we're sorta more up to rhy-,
of you know,
like what we would call standard tempo
for, for these.
A real fiddle tune, you know?
Okay, nice little Irishy kinda sounding
thing there.
So that's us three, three exercises to
kind of work on, and look forward
to hearing how those are coming with you,
and we'll move on to some other stuff now.
So, as, as you practice these, these
I look forward to sorta hearing your
So it's a call for videos.
I'd like how you're playing these
exercise, exercises.
Send me, send me a version of you playing
one of these things.
And, you know, 60, 75 beats a minute.
Don't feel like you gotta play 80 beats a
minute to, to try to,
you know, impress me or anything.
I really, really wanna see how those
transitions are working.
I wanna see how, how the technique of
hammer-ons and
pull-offs that should enhance the overall
picture of your playing.
You shouldn't as a listener.
It should sort of disappear into the style
and it should just sorta sorta, at the end
you should just realize you know just a
good, good solid rhythmic kind of sound.
So that's I'm gonna, I'll be looking for
as, as you submit a video based on these,
on these three exercises here and look
forward to seeing those and
giving some feedback.