Date: Tue, 13 Jul 2004 17:20:53 -0700 (PDT)
Subject: pull-offs and hammer-ons

Hi,
I am self teaching the banjo, and am progressing quite quickly, but throughout my practice, I do not uderstand what a pull-off or a hammer-on is. could you please explain how to properly do this?
thank you

Greetings,

To properly explain how this is performed would require a video (see "Introduction to the 5-String Banjo") or an in-person demonstration by a qualified instructor...nonetheless, I'll give a short synopsis:

Hammer-On: To perform a hammer-on, you'll first pick the string, then hammer down with one of your fingers directly after picking the string. This gives a ghostly sound to the second note...or hammered-on note. Bringing us to the point of the whys and wheres of performing a hammer-on...

The best way to learn to hammer-on well is to build your own exercises...be sure to try hammer-ons with all four digits of your fretting hand...building dexterity to ensure that you're never at a loss when hammer-ons are called for...

For instance, try hammering on the second fret of your open string. Strike the open string, it doesn't matter which open string, then follow this by bringing down the tip of the first finger solidly and hard without picking this note. You should hear a whisper of the note at first; with some practice, you will begin to hear more definition and clarity in the hammered-on note.

Now try other exercises, similar to this one, using a different finger for hammering-on, and using a fretted note...try fretting the second fret on the third string (G) with your second finger and hammering down with your third finger on the third fret of the G string. Upon completing this exercise, and feeling comfortable with the process, try changing strings and applying the same hammer-on on other strings using the same second fret and the same fingering.

A hammer-on adds a distinction to a flow of notes that separates itself from the picked notes. This is strictly a consideration of the artist...whether the added hammer-ons will contribute to the overall piece or take away is a matter of artistic preference and taste. When to apply the hammer-on is purely based on a subjective sense of what the artist wants to communicate within the arrangement. It's never a right or wrong judgment...

Pull-Off: This is sort of the opposite of the Hammer-On...instead of hammering down on the note above the open string or a fretted note, you will be pulling off down to either the open string or a note being already fretted by another finger. This pulling off process can be achieved by any of the four fretting fingers.

Again, as is true with the hammer-on, the best way to learn a pull-off well is to build your own exercises...be sure to try pull-offs with all four digits of your fretting hand...building dexterity to ensure that you're never at a loss when pull-offs are called for...

Let's learn our first pull-off by playing the second fret of the D string with the second finger. First pick this note then try pulling the finger down as you release the note...do this without picking the second note (you will only be picking the note once while ending up with two consecutive audible notes from E to the open D string). As you pull off your second finger, you'll notice a ghostly sounding D note...now, with practice, this note should become more defined and clear. Keep practicing this first exercise until you feel comfortable with the pull-off process. If you're aren't getting a second note, you might not be snapping the string well enough. On a pull-off, you're not simply lifting the finger, you're snapping the string with a downward motion. Keep in mind, a pull-off can also be achieved by an upward motion...it's best to first learn the downward pull-off...and eventually try the upward pull-off. You'll find certain strings work better with the upward motion while others with the downward...I like using the downward motion on the high D string and an upward motion on the low D string...

As is true with the hammer-on, a pull-off adds a distinction to a flow of notes that separates itself from the picked notes. This is strictly a consideration of the artist...whether the added pull-offs will contribute to the overall piece or take away is a matter of artistic preference and taste. When to apply the pull-off is purely based on a subjective sense of what the artist wants to communicate within the arrangement. It's never a right or wrong judgment...

Keep on Pickin', Mickey