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Pauline Leland
`Olu`olu
USA
783 Posts |
 Posted - 03/06/2002 : 10:06:46 AM
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Aside from "practice, practice, practice" does anyone have a suggestion on how to make a consistently audible hammer-on? I mean the kind of hammer-on that Ozzie Kotani describes, what I would have called a hammer-on & pull-off.
Mine sounds like ringing note, thud, twang. I'd like to improve the thud. Help for the twang would be nice, too. For what it's worth, I play a nylon string guitar. I have a steel string that goes ring, thud, twang as well.
Thanks 
Pauline
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Russell Letson
`Olu`olu
USA
504 Posts |
Posted - 03/06/2002 : 12:23:07 PM
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From your description of a thud as the second sound, I'd guess you're not hammering down hard enough. The hammer sound is produced when the already-plucked string hits the fret and sounds a higher note. This is a bit easier with steel strings because they have a longer/stronger sustain. Nylon is softer and requires a bit harder hammer-strike to sound. You also might check that you're striking down fairly straight and hitting with the center of the fingertip, to get a clean strike.
The pull-off part is actually harder, since it usually requires a slight plucking as the finger is raised again, either toward the palm or outward, a la Uncle Ray, as Ozzie points out. Too strong a pluck and you get an exaggerated sound (maybe that's your "twang"?). I think that once you've made the various conscious adjustments to hand position and such, getting all three notes to sound at the volume you want is largely a matter of bio-feedback--it's easier to let the automatic neuromuscular circuitry do the learning. Which takes us back to practice X 3.
Pedantically,
R.
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Admin
Pupule
USA
4551 Posts |
Posted - 03/06/2002 : 1:16:37 PM
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I think it was Keola Beamer who one time made the point that it is speed and accuracy - not strength that makes an effective hammer-on, pull-off. You can hammer-on and pull-off with a light touch as long as your finger has enough velocity. Maybe that thought will help?
Also, I do not know if you have any videos, but if you can "see" how it is done rather than "hear" it on CD or tape... this might be helpful too.
Good luck.
Andy |
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 03/06/2002 : 1:50:18 PM
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Aloha no Pauline,
While Russell and Andy are both correct in what they say, they don't have the advantage that I do, of being a very old newbie, struggling to do what you are :-). I can personally vouch for the fact that Andy, and my wife Sarah, do h/po triplets beautifully. I spend about 5 minutes during warm up just on these, within a musical phrase,(usually via playing Ozzie's Kani Ki Ho`alu and an etude that Sarah wrote for me). Bringing the hammering finger *straight* down, with speed, is a key. Watch your finger. It is important that your fretting finger nails are short. When I come down at an angle, the sound is dull. It is also true that, if I do these in the "standard" way (pulling away from the fretboard), there is often a nervous tendency to do the whole sequence too fast and I wind up "scraping" the hammer into the p/o and the p/o is too loud and the hammer is dull. It is notable that I have no problem with hammers alone (Oz's add-ons) or "hammers from nowhere". The ideal, of course, is what Andy and Sarah both do: each of the 3 notes are of the same duration and each are equally loud. So, I try to take it slow. I have a much easier time of h/po triplets on steel strings than on my classical guitar for two reasons. The first is what Russell said. The second is that nylon strings are very slippery compared to steel strings, even if you have calluses. I naturally came to do what Uncle Ray does: flick up. Keola was very stern with me when I did that in class :-) So, the steel string will embed itself a bit in your flesh and grip the fingertip, while the nylon string won't. This means that I must either do it the "standard" way on the classical and even this way there is the same problem of slipperiness and control. Again, if I slow down, it is easier, because even a nylon string will tend to "dimple" your finger tip and give you purchase in that short instant.
...Reid (Sarah's kane)
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Reid
Ha`aha`a
Andorra
1526 Posts |
Posted - 03/06/2002 : 1:55:10 PM
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Oh Yeah, I forgot. Where is your thumb? Mine is mostly in the center of the back of the neck. When I get good hammer/pull off triplets, I move my thumb a bit toward the treble edge of the fretboard, nearly under the hammered string. It is biomechanically much easier to target a finger toward your thumb. Close your eyes and hammer your thumb with each of your fingers. I bet you never miss. I don't.
...Reid
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Fran Guidry
Ha`aha`a
USA
1579 Posts |
Posted - 03/06/2002 : 9:39:33 PM
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Wow, Reid, that was very nicely analyzed and described.
Fran
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Pauline Leland
`Olu`olu
USA
783 Posts |
Posted - 03/07/2002 : 3:55:33 PM
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Thanks all for your suggestions.
Straight down, with speed, equal durations on the triplet, keep your thumb where it's supposed to be, and practice, practice, practice for the bio-feedback.
Well, no wonder, I was doing them all wrong. :D
Back to the 3 P's with all your good points in mind.
Pauline |
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Admin
Pupule
USA
4551 Posts |
Posted - 03/07/2002 : 3:59:12 PM
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| Sometimes "jus' press" sounds so good. |
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Sarah
`Olu`olu
571 Posts |
Posted - 03/15/2002 : 11:04:08 AM
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Aloha e Pauline,
I think everyone has said it all -- but I would just add my own thought about how important I find it is to "take it slow". (Reid mentioned this, of course.)
I find if I rush it, the notes get uneven, both in timing and in sound quality/volume. One approach I take is to slow down the whole piece to the speed at which I can do clean, clear hammer-on/pull-offs within the piece. Once I get familar and relaxed with that sequence of movements, then I play around with picking up the tempo.
And it is surprising how, frequently, hammer-on/pull-offs don't need to be played fast to sound good, just played *smooth*. :-)
...Oh, about the thud. I think that happens to me when, as Russell said, I don't hammer sharply enough (not forcefully, but firmly and swiftly).
'o ku'u wahi mana'o wale no,
aloha,
Sarah
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kihoalu
Aloha
USA
14 Posts |
Posted - 03/16/2002 : 01:30:57 AM
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As a untrained, backyard kind of slack key player, I have to agree with "Admin". Just press. What I mean to say is that you will notice that most of the things that you are trying to do will actually happen when you stop thinkng and just play from your heart. It's the 'Hawaiian Style' way of playing that I was fortunate to grow up around.
As an example, I did a song called Keleka's Slack Key blues in C Mauna Loa. As a G Taro Patch player, it was the first time I played in C Mauna Loa. Well after a few moments of playing around with this tuning, my friend said, "let's record it". After I laughed, I said, okay let's do it for fun so I kind of relaxed, went into my backyard trance and just started playing. I had no idea what I was going to do or play and the next thing I know a song came out of it. You can tell I was making it up because at the end I didn't know how to end it and there is a long pause :-))!
You can hear it at http://www.hawaiimusicians.com. Go to the member directory and click on my name Kepa Wong. I am not a pro or a performing musician, mind you, so be nice, okay. I don't aspire to be a pro, I just love to play my guitar.
Kepa
Come visit us at HawaiiMusicians.com |
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Fran Guidry
Ha`aha`a
USA
1579 Posts |
Posted - 03/16/2002 : 09:58:57 AM
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Hey, Kepa,
Just checked your "Keleka's Slack Key blues" and it KICKS!! Naturally I had to go through your tunes. Your "Mauna Loa" has some parts I'm gonna steal, too. Thanks for putting this sweet stuff out there.
Fran
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slackkey
Lokahi
USA
280 Posts |
Posted - 04/07/2002 : 06:59:57 AM
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Wassssssup Gang!
As far as the hammer-ons are concerned, try do what Kepa and Andy does. Like Kepa, I to am no Pro, but I certainly love to "Kiho'alu". Keola Beamer's instructional video gives a good example of the hammer-ons and hammer-off.
The key to pulling it off is to "JUS PRESS. Meaning, no think too hard about what you are trying to do, and play from the heart like Kepa said. Also, when playing slack key try lightly pressing the strings like Andy said. I play the same way. Just let your fingers glide on them. Think of a gently flowing river, and go with it. A Hui Hou! and 'JUS PRESS!!!
slackkey
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Pauline Leland
`Olu`olu
USA
783 Posts |
Posted - 05/09/2002 : 6:57:27 PM
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Hi all, I just discovered something else about hammer-ons - string gauge matters. 
I was playing extra light strings, 11's, but recently changed to 12's 'cause that's all I could buy. Suddenly the hammer-on was a little louder, and the pull-off didn't boom out. I think loud pull-offs bother me more than silent hammer-ons. Maybe this is why nylon strings are trickier, less tension.
Another tip I picked up elsewhere - aim for just behind the fret, just like in regular fretting.
Pauline |
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