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Hammer-ons, Pull-offs, and Tab Guitar Lesson

Home > Guitar Lessons > Beginners > Basic Guitar with David Anthony > Hammer-ons, Pull-offs, and Tab
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David Anthony

Hammer-ons, Pull-offs, and Tab

David delves deeper into tablature. He also explains how performing hammer-ons and pull-offs can improve your guitar playing.

Taught by David Anthony in Basic Guitar with David Anthony seriesLength: 34:12Difficulty: 1.5 of 5
Chapter 1: (0:51) Intro Tune Enjoy a quick tune from David Anthony. Keep up with your lessons and you will be playing like him in no time!
Chapter 2: (1:03) About This Lesson Take what you learned in lesson two and build on it with a few more advanced techniques: hammers-ons & pull-offs.
Chapter 3: (9:49) Intro to Hammer-Ons A hammer-on is a very simple concept. You pick the starting note and "hammer on" to the second note with your finger (not picking the second note). Essentially you are picking with your second finger. You have to hit the fretboard / string with a certain amount of force to get a clean sound. It is essentail that you A hammer-on is a very simple concept. You pick the starting note and "hammer on" to the second note with your finger (not picking the second note). Essentially you are picking with your second finger. You have to hit the fret board / string with a certain amount of force to get a clean sound. It is also essential that you “hammer” the new note directly behind the fret to get the best possible song. In this exercise you are picking six notes and hammering on an additional six for a total of twelve notes.
  • String 1: Pick the 2nd fret on the “E” (low) (1st) string and hammer on to the 5th fret on the same string.
  • String 2: Pick the 2nd fret on the “A” (2nd) string and hammer on to the 4th fret.
  • String 3: Pick the 2nd fret on the “D” (3rd) string and hammer on to the 4th fret.
  • String 4: Pick the 2nd fret on the “G” (4th) string and hammer on to the 4th fret.
  • String 5: Pick the 2nd fret on the “B” (5th) string and hammer on to the 5th fret.
  • String 6: Pick the 2nd fret on the “E” (high) (6th) string and hammer on to the 5th fret.
.
Chapter 4: (8:39) Pull-Offs If you mastered the hammer on it shouldn't take too much for you to understand the pull off. Instead of picking the first note and hammering on to the second note (higher), you will be picking the first note and pulling off to the second note (lower). Most tablature will have something to indicate the notes are to be played as a pull-off or hammer-on (P.O. or H). If these are not present, it should still be obvious what type of technique to use. If the note goes from a higher note to a lower, it is a pull off. If it goes from a lower note to a higher note, it is a hammer on.

With pull-offs it is mandatory that you have your 2nd note already fretted. With a hammer on, you held only the first note and then pulled off to the second note. With a pull off, you need to have the 2nd note fretted so you can pull off to it.

Follow the exercise to practice your pull off technique. Again you will only be picking six times but producing twelve total notes.
  • Pick 1: Pick fret 5, string 6 and pull off to fret 2.
  • Pick 2: Pick fret 5, string 5 and pull off to fret 2.
  • Pick 3: Pick fret 4, string 4 and pull off to fret 2.
  • Pick 4: Pick fret 4, string 3 and pull off to fret 2.
  • Pick 5: Pick fret 4, string 2 and pull off to fret 2.
  • Pick 6: Pick fret 5, string 1 and pull off to fret 2.
Once you get the hang of these you should dabble a bit with the pentatonic scale you've already learned. You can hammer on, pull off, and jump around the scale (don't play all the notes in order) to create a unique solo of your own!
Chapter 5: (10:42) Combining Hammer-Ons & Pull-Offs Tablature typically has an arch above the two notes they want you to hammer on or pull off. Sometimes an "H" will be present for a hammer on or a "P.O." for a pull off. If these are not there, you can easily figure out what to do because a hammer on goes from a lower note to a higher while a pull off goes from a higher to a lower note.

When you combine these two techniques together you can play a series of notes much faster with a smooth sound as the result. If you were to pick each note separately it would be more difficult to play and also sound much more harsh.

For most tablature, it is easier to learn if you break it down into pieces, practice that piece over & over until you have it, and then move on to the next bit. For this, we are breaking down the exercise into four sections. Each section has four notes to be played with the exception of the last set. In this set we will play a 5th not to provide closure to the scale. We highly recommend practicing each section & get it down before moving on to the next.

Section 1
  • Step 1: Pick the 2nd fret on the “G” string.
  • Step 2: Hammer on to the 4th fret (on the same string).
  • Step 3: Pull back off to the 2nd fret.
  • Step 4: Pick the 4th fret on the “D” (3rd) string.
Section 2
  • Step 1: Pick the 2nd fret on the “G” (4th) string.
  • Step 2: Pick the 4th fret on the “D” (3rd) string.
  • Step 3: Pull off to the 2nd fret.
  • Step 4: Pick the 4th fret on the “A” (2nd) string.
Section 3:
  • Step 1: Pick the 2nd fret on the “D” (3rd) string.
  • Step 2: Hammer on to the 4th fret.
  • Step 3: Pull off to the 2nd fret.
  • Step 4: Pick the 4th fret on the “A” (2nd) string.
Section 4:
  • Step 1: Pick the 2nd fret on the “D” (3rd) string.
  • Step 2: Pick the 4th fret on the “A” (2nd) string.
  • Step 3: Pull off to the 2nd fret.
  • Step 4: Pick the 5th fret on the “E” (low) string.
  • Step 5: Pick the 2nd fret on the “E” (low) string.
This is not an easy scale to master! If you can get it down then you’ve taken a major step forward. As you learn it, feel free to speed up the pace & try to play as fast as David does in the video. If you can keep up with him then you are learning amazingly fast! If you want to throw a little extra on to it, try throwing in some slides and/or extra hammer ons or pull offs. For instance, in section three, steps one through three you could go from 2 to 4 to 2 to 4 to 2 instead of just 2 to 4 to 2. Try mixing that in as well as some slides (in place of a hammer on or pull off) & see what you can come up with!
Chapter 6: (2:30) Final Thoughts You're all finished with lesson three! However, just because you've watched it does not mean you're done with it. You should be watching this episode over & over until you have mastered the techniques & exercises perfectly. If you haven't, then future lessons will be that much more difficult for you. Even after you've mastered the basic exercises he has provided, you can add your own customizations to them. Take a basic scale and throw on additional hammer-ons, pull-offs, slides, trills and bends. You can also then mess with the timing & rhythm. You can take a basic sound & turn it into something very unique. No matter what you do, keep practicing & enjoy learning! Every minute you spend playing your guitar will make you that much better!
  • Hammer-on Example
  • Pull-off Example
  • Hammer-on / Pull-off Exercise
  •  



Supplemental Learning Material

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Member Comments about this Lesson

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wood771wood771 replied on January 27th, 2012

Enter your comment here.

wood771wood771 replied on January 27th, 2012

When I try to do the hammer notes my note goes dead as soon as I hammer to the next fret???? Any suggestions.

wood771wood771 replied on January 27th, 2012

When I try to do the hammer notes my note goes dead as soon as I hammer to the next fret???? Any suggestions.

rivalrival replied on November 17th, 2011

Is it just me or does when David does the example on the 'hammer on, pull-off together' exercise he is playing more notes than in the tab example?

millaTKmillaTK replied on August 21st, 2007

Hi David! Very nice lesson, and explained very well! I'm practicing a lot, but I have a question about pull-offs: I can't make them sound loud! With hammer-ons it's easier, I drop my finger quickly and the string will get vibration and volume from that. With pull-off, it seems like I can get a clear sound only if: a - I pluck the first note quite loud or b - I try to "pluck" the string with my left hand while pulling off the finger. Is this what I'm supposed to do? In this case, it seems I can't help bending the string a little... or should I just lift my finger without bending and let the string vibrate with only the residual vibration from the first note pluck? thank you! (now I go back to practicing my first lick... makes me feel proud!!!) Anna Chiara

kbrilhartkbrilhart replied on December 4th, 2010

I do the same as Anna. I can make a good loud hammer, but the pull off is quiet. I tried a little sideways pluck with my left finger, but sometimes I skip over the adjacent string and make it sound, too. Is this just a matter of building strength and control?

jodyzupancicjodyzupancic replied on December 1st, 2010

should i be getting up to 120 speed before moving on?

petermcgpetermcg replied on June 27th, 2010

In your exercises in this session do you use alternate picking when you move up each string or do you do a down stroke on each string?

merischinomerischino replied on April 18th, 2010

I keep going back to the supplemental information hoping to find the tablature used for the lessons, but only get musical notation. Really wishing it were there, for me to use/practice with later.

jboothjbooth replied on April 19th, 2010

I'm confused, the tablature is right below the notation. Unless there is a specific exercise that is missing that doesn't have any sort of tab at all?

martinac22martinac22 replied on January 1st, 2010

Hi david! great lessons bt i have one question i suffer from Clinodactyly (aka bent pinky syndrome) and i find it had to use hammer ons and pull offs when going from the 2nd finger to the 5th should i just use another finger instead of my pinky all the time...?

stewstew replied on October 3rd, 2009

Thank you David. I ahve been playing for quite a long time, then stopped and now I am back ahain and enjoying your lessons. As for hammers-on, Don't the strings need to be a bit loose or soft and if so how do I get such a loose mood in my strings? Maybe by changing to a thinner gauge?

leftyplayerleftyplayer replied on May 26th, 2009

Thanks. I understood hammer-ons and pull-offs, but never knew how to read the tabs that showed them combined. I was always stumped when I saw that arc over three notes. Now I get it!

sabrinaraesabrinarae replied on February 21st, 2009

Hey awesome lesson. How much should I practice each day at the very least? Thanks

abilbayabilbay replied on November 26th, 2008

great song at the end of the lesson. i love songs with percussive slap mixed in within the song. Any chance you could teach that song in the phase three section?

parkcath11parkcath11 replied on August 30th, 2008

David- this lesson has been great fun for me - time just slips away...I learned many chords years ago, but never tabs, and never the progressions for licks. Thanks for helping me jump forward. I'm practising with myeyes closed... cathy

fatfingerriggsfatfingerriggs replied on March 29th, 2008

Nice David, I get the hammer ons and pull offs, but when I pull off I do not get a sound like going from 2-4-2 on a string. Could this be because my acoustic is not plugged into an amp. THANKS RIGGS

shaunroachshaunroach replied on March 19th, 2008

When I do the hammer-ons, the note seems really muted. Any tips on how to make them louder and clearer?

jboothjbooth replied on March 20th, 2008

It could just be the way they sound on your guitar, but more likely you just need to get your hands used to them. Hitting in the sweet spot and making sure your hands are strong enough to hammer on well will improve your sound. Keep at it!

robbyblair90robbyblair90 replied on February 16th, 2008

hello, I have been playing for quiet some time, 20 yrs. to be exact. Learned all I know, when I was 18. Still Playing same ol stuff. Your hammers and pull offs, have opened my mind a bit, but it is really hard to teach an old dog new tricks. any insight to help me along would be greatly appreciated.

jackie134jackie134 replied on February 2nd, 2008

Hi! A really clear lesson, but is it possible to do this well with nylon strings.? Help! Thanks in advance

crizzywcrizzyw replied on January 28th, 2008

I found this lesson very helpful. You explained hammer ons and pulls offs very well. Thank you.

tsaevatsaeva replied on August 21st, 2007

In my experience it works just letting go of the string really fast; pretty much the exact opposite of a hammer on - I actually had more problems making hammer ons sound right. Maybe there's some better advice someone can give you though.

Basic Guitar with David Anthony

Found in our Beginner Lesson Sets

David Anthony is an acoustic guitar aficionado. In this series you will learn basic concepts that are essential to playing any style of guitar music.



About David Anthony View Full Biography David Anthony was born David Anthony Volckmann, on November 9th, 1982, in the small town of Mount Hope, NY. As a child he absorbed the church flavored musical environment that his parents provided. With this influence he realized at a young age that music would not simply be a passive experience for him. It was not until the age of 15 that he decided to string up his first guitar. Relying solely on his father for his foundational chord knowledge, he quickly became enamored with the possibility of endless melodic structures, and the goal of becoming a fantastic player himself.

His early shredder influences came from Kirk Hammet of Metallica. During his first few years of guitar playing, he developed a very workable knowledge of pentatonic, major and minor scales. Over the years his musical interests swayed from rock to standards, from jazz to classical, and a strong love of the art of flamenco guitar; Spanish finger style. It was not until the age of 18 that he decided to surround himself entirely with the music of Steve Vai and Joe Satriani. This influential exclusivity enabled him to learn more about thinking outside of the musical box. In one year he had learned than in the prior 3 years. Picking up multiple ways to structure melodies, create chords and use different modes, his writing and improvisational abilities grew exponentially. In his senior year of high school, he was responsible for the development of the first Musical Appreciation class in the schools history, and had aided the instructor in the teaching of those classes.

After high school, his focus started to rest mainly in writing. With this he realized that he would need additional, abstract influences to develop a unique style of writing. After a couple more years of playing in a small band, and writing some decent material, he greeted 2004 with a move to Nashville, TN. There he found the exact influence that would change his opinion of the guitar forever. Attempting to weed out a strong foundation in shredding and solo techniques, he began learning finger style guitar, and quickly realized the options that his door would open for him.

As he picked up more complex chord structures and jazz scales, his style became a passion for him that continues to drive him and push him to learn more. He feels strongly about the connection between musical input and the music you write. He notes that his subconscious pool of influence, developed from the music he listens to, is almost directly responsible for the type of music that he writes. He adamantly believes that in order to create a unique, soulful style, the pool must remain unpolluted by substandard music. What's that mean? As David puts it, "If you don't want to play crap, don't listen to crap."

David currently teaches Jazz guitar in Fort Collins, Colorado, with plans to move back to Nashville in the spring to pursue a career in writing.

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