Scalar Exercises: Legato (Guitar Lesson)

Chapter 1: (00:41) Introduction Welcome back, JamPlayers! In this lesson, Kris will demonstrate some legato exercises that will improve your left hand skills. Chapter 2: (04:38) Legato Explained and 1st Exercise Legato is defined as a smooth melodic style in which all notes ring directly into the next. Legato is the opposite of staccato. To achieve a legato style on the guitar, multiple slurs are applied to a single string. Techniques such as hammer-ons, pull-offs, slides, and bends, are all examples of guitar slurs. In this lesson, Kris will focus primarily on using hammer-ons and pull-offs to achieve a legato sound.

Review of Hammer-ons and Pull-offs

In order to play the exercises presented in this lesson, you must have a firm grasp on proper hammer-on and pull-off technique.

A. Hammer-ons

Note: The following hammer-on and pull-off guidelines are taken from Steve Eulberg's 4th Bluegrass Lesson.

1. In order to play a hammer-on, the hammering finger must begin at a distance that is higher than how you normally want to play. Roughly half an inch is necessary to create the snapping movement of the hammer-on.

2. Performing a hammer-on requires a forceful movement with a left-hand finger. The tone of a hammer-on is much clearer and louder when the hammering finger comes down fast and forcefully. If you bring your finger down to slow, the hammer-on will be weak or inaudible.

3. All rules regarding proper left-hand finger placement in relation to the frets become even more crucial when playing hammer-ons. Hammer the finger down right behind the fret. Hammering on top of a fret or too far from it will result in a poor tone.

4. Use the hard calluses on the tips of the fingers when making contact with the strings. This will help generate a louder tone.

B. Pull-offs

1. The plucked note and the subsequent pull-off must be equal in volume.

2. Pull the finger straight down towards the floor when playing a pull-off. This will create the best tone.

3. Be careful that you do not pull your finger down too far. This may cause one of the adjacent strings to vibrate. Stop the finger performing the pull-off on the string below. This may not be practical when performing rapid pull-offs. However, the pull-off technique should be exaggerated to help you in the early learning stages.

Note: For additional information about hammer-ons and pull-offs, check out the following lessons available on JamPlay.

Steve Eulberg - Phase 2 Bluegrass Guitar: Lesson 4
David Anthony - Phase 1 Basic Guitar: Lesson 3
David MacKenzie - Phase 1 | Basic Electric Guitar: Lesson 16
David MacKenzie - Phase 1 Basic Electric Guitar: Lesson 19
Brad Henecke - Phase 2 Speed and Technique: Lesson 11
Brad Henecke - Phase 2 Speed and Technique: Lesson 12
Dennis Hodges - Phase 2 Metal with Dennis: Lesson 4
Brad Henecke - Phase 2 Rock Guitar with Brad Henecke: Lesson 6
Danny Voris - Phase 2 Classical Guitar: Lesson 5

Exercise 1 Guidelines

This exercise utilizes the same G major scale pattern that Kris demonstrated in the previous lesson. Remember that Kris tunes his guitar down a full step. Consequently, this scale sounds like an F major scale played in standard tuning.

1. Set the metronome to a moderately slow tempo such as 100 beats per minute. Perform the ascending pattern of the scale in quarter notes. Pick the first note on each string. The next two notes on the string are performed with hammer-ons.

2. When descending the scale pattern, use pull-offs. Pick the highest note on the string. Then, use two successive pull-offs to sound the next two notes.

3. Make sure that the rhythm remains even throughout the entire exercise. Each note must receive the exact same value! Do not cut the first note in each slur figure short. This is a common oversight made by beginner and intermediate students.

4. Once you can play the exercise comfortably in quarter notes, work through it in eighth notes, triplets, sixteenth notes, and sextuplets. Then, increase the speed of the metronome and repeat the process.

5. Make sure all notes are equal in volume.

6. For additional practice, work through the chromatic exercise from the previous lesson. This time around, perform the exercise using hammer-ons and pull-offs. Kris provides a demonstration of this exercise at 02:38 Chapter 3: (05:41) Exercise Variations The variations included in this scene are the same variations that were used in the previous lesson. Now however, hammer-ons and pull-offs are applied to the variations whenever possible.

Variation 1

This exercise follows a specific sequential pattern throughout the scale. It can be found in measure 12 of "Legato Exercises."

Essentially, a melodic leap occurs between the fourth and fifth notes. Then, the pattern returns to the note that was leapt over.

Variation 2

This variation follows a repeating pattern that groups pairs of adjacent strings together. Begin by ascending on the sixth string using hammer-ons. On the next string, pick the lowest note. Then perform a pull-off from the highest note to the middle note on the string. This two string pattern continues to repeat throughout the variation.

Variation 3

The notes on each string are played in reverse order as the overall scale pattern is ascended. When descending back through the pattern, begin with the lowest note on each string. Then, ascend to the highest note. Repeat this pattern on each string. Refer to the tablature for a clear visual representation of this variation.

Variation 4

This variation involves some string skipping. The exercise begins with the notes on the sixth string played in a stepwise, ascending fashion. The fifth string is skipped over. Then, the notes on the fourth string are played in an ascending pattern. Next, the pattern moves back to the fifth string. This "every other string" type sequence continues throughout the variation.

Variation 5 - Two Pick Strokes

The overall sequential pattern remains the same. Now however, two separate slurs are performed on each string. The first note of each slur is picked. Pay careful to the picking instructions Kris has included below the tablature.

Additional Tips

A. Creating a Practice Schedule

By now, Kris has shown you several important technical exercises. For most people, it will be impossible to fit all of these exercises into each daily warm-up session. For this reason, it is necessary to lay out a weekly practice schedule. Allot a specific amount of time for each exercise. Practice a few exercises each day. Make sure that all important exercises are practiced at least once within the span of the week. For additional information on creating a practice schedule, refer to Matt Brown's 1st Rock lesson as well as the 7th and 8th lessons from his Phase 2 Jazz Series.

B. Keeping a Notebook

To keep all of your practice materials organized, buy a large, sturdy three ring binder. Group exercises into specific categories within the binder. Here's some sample ideas of the sections you may want to include: sweep picking, tremolo picking, rhythm techniques, hammer-ons / pull-offs, synchronization, scale sequences, improvisation, scale patterns, fingerstyle repertoire, pickstyle repertoire etc. Begin with rather broad categories. As you amass more materials, more specific sub-categories can be added. After printing out new lesson materials from JamPlay, add them to the appropriate section of your three ring binder.

---

Video Subtitles / Captions

Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

---

---