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Absolute
Lokahi
275 Posts |
 Posted - 06/04/2007 : 06:58:24 AM
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In response to some questions I posted elsewhere, Fran Guidry was kind enough to provide the following response. Like "Uncle Dave's" YouTube videos, this information seemed important enough to quote here for beginners like myself, to make certain the lesson content isn't missed. Now, if I can just find a tab version of Maui Chimes on-line (Ukulele Guild of Hawaii site???):
FROM FRAN GUIDRY:
"The techniques you're talking about are called "slurs" in classical music. All the lucky, vocal sounding instruments have cool slurs available, and the guitar/uke have some juicy ones.
Hammer on - Play the C on the 3rd string, while that note sounds, tap and hold the D on the 2nd fret of that string. The note "jumps" from C to D without the sound of a pluck. It's also an easier way to play a triplet because it eliminates a pluck. You can hammer up four frets, 8 frets, 12 frets, and get cool falsetto/yodel effects.
Now fret the C on the first string, third fret. While holding that note, tap and hold the D on the 5th fret of that string, using your ring finger.
Practice your scales but play every other note by hammering on.
Pull off - Play the D on the 3rd string, second fret, with your index finger. Pull the fingertip downward until it releases the string, sounding the C. The opposite of a hammer on. Learn to snap the string with some force to make this an accent move.
Hold the C on the first string, 3rd fret. Play the D on the first string, 5th fret, fretting with the ring finger. Pull the fingertip downward until it releases the string, sounding the C.
Practice your scales but play every other note by pulling off.
Combine hammer on and pull off moves into fast triplet figures. Start on the A string and hammer and pull off up the C scale.
Slides - Pluck the C on the first string, while the note sounds slide up to the D. Slide down from the D to the C. Practice your scales sliding every other note up and down.
Slide into the important note from 1/2 step below.
Harmonics - also called "chimes," this effect isolates harmonics of string by lightly touching the string at a node, then plucking. The easiest nodes to use are at the 12th, 7th, and 5th frets on open strings.
Lightly rest the tip of your index finger on the A at the 12th fret of the first string. Pluck the string and in the next instant remove your index finger. With practice you will cause an ethereal, bell like, version of the A.
Practice playing the natural harmonics at the 12th, 7th, and 5th frets. Learn which notes they represent.
Learn a melody that uses a few harmonics instead of fretted notes.
Learn a melody that uses mostly harmonics instead of fretted notes.
Learn "Maui Chimes."
"Artificial" harmonics - it's convenient to play the "natural" harmonics at 12, 7, and 5, but it's quite liberating to play harmonics at any fret. The technique requires fretting with one hand while muting the node and plucking the string with the other. The development of a personal technique is left as an exercise.
Fran"
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Absolute
Lokahi
275 Posts |
Posted - 06/04/2007 : 07:07:46 AM
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| They're not kidding when they call it hammer on, are they? You really have to slam the tip of your finger into the string to get the desired level of volume with this technique. The others worked pretty well, but to get that "ethereal" sound associated with harmonics, I have to actually fret and pluck then quickly pull my finger off the string. (Or maybe I'm just very uncoordinated...) Great effects! Just the stuff I need for some New Age, Slack Key, Ukulele music... (Just what the world needs, eh?) |
Thank you. |
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RJS
Ha`aha`a
1635 Posts |
Posted - 06/04/2007 : 07:17:13 AM
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| It's not actuall how hard to slam down on the string - potentially that gives you too much bruising. First of all, don'y start too high above the string. I would try for an inch or less. Secondly, the velocity of your finger can give you good hammers, without as much pain. Like all physical skills, takes some practice |
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Absolute
Lokahi
275 Posts |
Posted - 06/04/2007 : 11:01:58 AM
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Don't worry. No bruising here. I was just noting that if you simply put you're finger down on the string, the effect isn't as audible as if you quickly tap your finger down onto the string.
Still need to figure out how to make those "harmonics" work. It seems that Fran is recommending that I excite the natural resonant frequency of the string at one of the zero nodes of vibration so as not to dampen the resonant effect. Theoretically this is sound, as the string should be a zero point where one is touching it if one truly is touching a zero node. I suppose the theory is that one is creating a temporary terminal point for the string. I question how this works, because if you're touching a zero vibrational point, you shouldn't have any impact on the string's vibration.
It simply isn't working for me, because touching the string kills the sound when I try to pluck it, and I can't remove my finger fast enough to produce the bell like ringing.
I'd appreciate any clarification that could be provided. |
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Absolute
Lokahi
275 Posts |
Posted - 06/04/2007 : 11:04:12 AM
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| Am I supposed to pluck the string at the 5th or 7th fret? That kind of makes sense, and I haven't tried it yet. |
Thank you. |
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Fran Guidry
Ha`aha`a
USA
1579 Posts |
Posted - 06/04/2007 : 11:53:21 AM
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Sorry, this kind of thing is a bit hard to explain in words.
Assume you're a rightie.
Left hand, rest the fingertip on the A string at the 12th fret, but do not fret the note.
Pluck the A string near the bridge. At the same instant, lift the left hand finger.
A chime should ensue.
Plucking near the bridge improves the clarity. Plucking with an upward motion from under the string also helps. This is one of those subtle moves that you learn almost by accident. Or is very easy if someone shows you in person.
Fran |
E ho`okani pila kakou ma Kaleponi
Slack Key Guitar in California - www.kaleponi.com
Slack Key on YouTube
Homebrewed Music Blog |
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Mika ele
Ha`aha`a
USA
1493 Posts |
Posted - 06/04/2007 : 12:06:33 PM
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Some things are just better explained by watching someone else do it. Ray Sowders was kind enough to make several videos of this for us. If you can't find the links to the files send me an email and I will send you the MPEG files.
Also, Ozzie Kotani is coming out with a new Slack Key DVD. He is mailing me one hot off the plastic wrapper machine. I will reveiw and give details on how to order once I have it in hand. |
E nana, e ho'olohe. E pa'a ka waha, e hana ka lima. |
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Absolute
Lokahi
275 Posts |
Posted - 06/04/2007 : 1:52:28 PM
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I tried it again. This time trusting in the force (humor). Fran's description was spot on. I just happen to have the fingers of a cave man.
I now grasp that the goal is to strip away the fundamental resonant frequency of the string by providing just enough contact with it by barely touching one's fingertip to the string to dampen out the fundamental frequency. (That's probably also why plucking near the bridge helps - less fundamental frequency component that way due to less lateral excitation.) You then can hear ONLY the harmonics (higher frequencies corresponding to whole number multiples of the fundamental resonant frequency) once you strip away the fundamental frequency. Those higher harmonics sound like the ringing of tuning fork, or, to me, a cold chisel that's been struck by a hammer while being driven into stone.
I can do this at the 7th and 12th frets on both my Baja and my homemade birdhouse ukulele. Per Mr. K.B.'s slack key guitar book, you should check your instrument to see where it has this capability before using it. You can identify the frets where this occurs by plucking energetically and lightly running your forefinger up the A string as you do so. Where it faintly sounds like you've hit a steel chisel with a hammer, you've found the location of the harmonics. Once again, PLUCK ENERGETICALLY and TOUCH LIGHTLY. You need good coordination between plucking and string touching fingers to get this to work if you plan to make the harmonics louder by pulling your finger away, so you don't damp them out as well. I get nothing at the 5th fret or anywhere else between the 1st and 12th fret on either instrument (except at the 7th fret). You may hear the harmonic a little louder above or below the fret. This is a very subtle skill, and not one I'd feel comfortable integrating into a piece of music without a bit of practice.
I appreciate the responses. |
Thank you. |
Edited by - Absolute on 06/04/2007 1:58:53 PM |
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Absolute
Lokahi
275 Posts |
Posted - 06/04/2007 : 2:05:50 PM
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| I get a faint harmonic at the 5th. The 7th (actually slightly more than 7th) fret and the 12th are the loudest and probably the only usable ones, as the harmonics produced at the 5th are less noticable than the plucking sound of the string. |
Thank you. |
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noeau
Ha`aha`a
USA
1105 Posts |
Posted - 06/04/2007 : 3:42:19 PM
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| If you are picking the natural harmonics as opposed to the artificial ones. Pluck the string closer to the bridge. It seems to help |
No'eau, eia au he mea pa'ani wale nō. |
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Tonya
Lokahi
USA
177 Posts |
Posted - 06/05/2007 : 07:09:39 AM
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| Isn't it true, too, that it's "easier" to get the harmonic sound off of steel strings than it is off the nylguts? I can "do" the harmonics at 12, 7 and 5 much more clearly on my little Baby Taylor guitar than I can on my soprano ukulele, strung with Aquila Nylguts. Or maybe it's just that there's *more* sound with the longer strings on the guitar? Regardless, it's a really neat sound (this is all coming from a not-very-sophisticated player--obviously!). |
http://www.uketreasures.com
http://www.ukuleletonya.com |
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Absolute
Lokahi
275 Posts |
Posted - 06/06/2007 : 12:47:24 PM
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| I actually have to place my fingers at 5.5, 7.5, and 12.5, in terms of fret location, to get the sound. (True on my hand made birdhouse ukulele. Valid on my Baja concert ukulele.) Where you put your fingers affects how loud it is. Plucking close to the bridge makes it louder. The volume at 5.5 renders chimes useless, from my perspective, at that location. The 12.5 location is the loudest, and most viable. They are particularly easy to induce on the C and E strings at the 12.5 location. |
Thank you. |
Edited by - Absolute on 06/06/2007 12:48:20 PM |
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Absolute
Lokahi
275 Posts |
Posted - 06/09/2007 : 11:02:16 AM
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| P.S. Practiced a bit. Chimes just above 5th got louder on "A" string. Plucking close to saddle seems to make chimes louder and reduce risk of adding a "twang" of left over fundamental when you pull finger inducing damping away from string. |
Thank you. |
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sandman
Lokahi
USA
181 Posts |
Posted - 06/10/2007 : 05:36:49 AM
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Good ideas here. I asked Raymond Stovich (RJS) about chimes on a classical guitar and he told me the sweet spot on a classical is much narrower than on a steel string. That certainly is true. I think it is even more so on a uke. I'm beginning to get chimes down on my La Patrie Collection but it is very problematical on my various ukes, a hit and miss situation (so to speak), although as has been mentioned above plucking nearer to the bridge does seem to help.
Sandy |
Leap into the boundless and make it your home.
Zhuang-zi |
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rendesvous1840
Ha`aha`a
USA
1055 Posts |
Posted - 06/10/2007 : 09:25:25 AM
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Take a look at 'Science of Harmonics' in Da Kine Music Gear. We attempted to figure out the harmonics, but I still don't know why different instruments respond differently. Got any clues; we're all ears.
Paul |
"A master banjo player isn't the person who can pick the most notes.It's the person who can touch the most hearts." Patrick Costello |
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Mika ele
Ha`aha`a
USA
1493 Posts |
Posted - 06/11/2007 : 10:49:06 AM
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| Scale length and string composition have a lot to do with the differences. And differences allow us to add variety to our music -- a good thing. |
E nana, e ho'olohe. E pa'a ka waha, e hana ka lima. |
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