Basic Techniques, pt. 11: What is string-bending?

Whether you realize it or not, musicians who play different instruments employ a number of the same techniques. For example, violinists and trumpet players both use vibrato while pianist and flutist can both play a trill. However, there is one technique that seems to be unique to the guitar and that is string bending. 

Although no one is quite sure who invented or first started to bend strings as a technique, it does appear in the electric blues of the 1950's. B.B. King is said to have poplularized the technique in his attempt to imitate the sound of slide guitar. 

While there are a variety of ways or types of string bends players use, the technqiue will be defined as the act of pushing up or pulling down on string in order to change the pitch of a note.  

In next month's post I'll start to dig into how to teach students to bend!

Basic Techniques, pt.10: Trills

Way back in July of 2021 I began an extended series of posts regarding basic techniques guitarists can employ in their soloing and rhythm playing. The most recent posts (parts, 6, 7, 8 and 9) revolve around hammer-on's and pull-off's. This month I'll be combining the two and discuss trills.

The trill uses a rapid series of continuous alternating hammer-on's and pull-off's. However, the first note is picked and the sound of all notes thereafter are produced with strictly the fingers of the fret hand. See these sample exercises.

There are two things to keep in mind as you are playing a trill: 

1) Fingering: As with hammer-on's and pull-off's practice trills using all fingering combinations (starting with a H.O. - 1,2 - 1,3 - 1,4 - 2,3 - 2,4 - 3,4 and starting with a P.O. - 2,1 - 3,1 - 4,1 - 3,2 - 4,2 - 4,3). 

2) Rhythmic Accuracy: Try to play trills in time, so practice with a metronome.  

See you next month!

Basic Techniques, pt. 9: Pull-Off exercises

In  last month's I discussed pull-off's; another basic technique that all guitarists should have in their skill set and a technique which can be utilized effectively in both rhythm and lead playing. 

In the previous post I outlined how the how pull-off's are done and this month I'll offer exercises to help students develop their pull-off skills. 

The following exercises incorporate a variety of finger combinations in order to facilitate finger development using the technique. The student will find certain finger combinations easier than others. Whereas, the independence between fingers such as the 3rd, 4th (ring finger and pinky) have not been as developed as the 1st and 2nd (index and middle). 

Remember when working finger combinations, the goal is to have the note which is "pulled-off" come out as clear and similar in volume as the one which is picked. 

I hope you find these exercises helpful. 

Basic Techniques, pt. 8 - Pull-off's

For the past several months I’ve been posting about basic guitar techniques that beginning guitarists can start to incorporate into their lead and rhythm playing. In last two posts I have discussed hammer-on technique. This month I'll be talking about it's sister technique the pull-off. 

The pull-off is a technique in which the player picks a higher note and a finger below “pulls off” onto a note below it on the same string; hence only the higher note is picked. The sound of the second note is produced by the speed and "grip" or catching of the flesh on the pad of the finger “pulling-off” onto the lower note. Watch the video here.

There are several tricks to producing a good sounding pull- off: 1) The sound of the second note should match that the first. In order to do this the finger doing the pull-off should have a sufficient amount of its pad (fleshy part of the back of the finger tip) "catch" or be in contact with the string. Whereas, the finger pad acts as a "pick" contacting the string in order to produce sound. 2) Maintain an arch in the fingertip: If the fingertip stays arched when pulling off it will help the flesh of the finger catch the string more fully. There are times when you will pull-off with a collapsed finger, but learn to maintain an arched finger. 3) The finger doing the pull-off should should pull backward in order to catch the string rather than simply lift off the note. If the finger simply lifts of the note rather the pulling backward, the sound will not be as clear or loud. 4) Timing: To create a smooth flow between the picked and hammered notes the students should be practicing with a metronome in order to create even sounding notes.

Next month I’ll discuss some exercises to practice in order to create great sounding pull-off's!

Basic Techniques, pt. 7 - Hammer-On exercises

Last month I began discussing hammer-on's; a basic technique that all guitarists should have in their skill set. It is a technique that can be utilized effectively in both rhythm and lead playing. 

In the previous post I outlined how the how hammer-on's done. This month I will offer some exercises which will help students develop their skills with hammer-on's with all fingers. 

The following exercises incorporate a variety of finger combinations in order to facilitate finger development using the technique. The student will find certain finger combinations easier than others. Whereas, the independence between fingers such as the 3rd, 4th (ring finger and pinky) have not been as developed as the 1st and 2nd (index and middle). 

Remember when working finger combinations, the goal is to have the "hammered note" come out as clear and similar in volume as the one which is picked. 

I hope you find these exercises helpful.