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How often do you use Hammer-on's on the bass?

#21
Hammer-ons are a pretty big part of my repertoire. So are slides/grace notes. All very subtle, but defnitely there.

As others have said, when to do it or not just becomes second nature after awhile. Making your fingers do whatever it takes to get the sound you're hearing in your head. Sometimes the bass line just feels a little too stiff or rigid when plucking/picking every note and in those cases a few strategic hammer-ons or slides can really help smooth things out.
 
#23
I've attached a simple string-crossing exercise using simple (1-fret) Hammer-Ons, Pull--Offs, and Slides.
It helps me to develop the left hand/finger muscles. At first, my left hand tried to “resist” the exercise – did not feel comfortable playing it.
Now, I move this exercise up and down the fretboard.
(Sorry for my notation using a computer mouse. It looks ugly and messy.)

Usually, I start it with the 1st left-hand finger (LHF) on the 7th fret (B) of the E string and hammer-on/strike the 8th fret (C) with my 2nd LHF.

Without lifting my 2nd LHF from the fretboard (no need for excess left-hand finger movement), I play F on the 8th fret of the A string and hammer-on the 9th fret (F#) on the same string with my 3rd finger.

Without lifting my 3rd LHF from the fretboard, I play B on the 9th fret of the D string and hammer-on the 10th fret (C) on the same string with my 4th finger.

Without lifting my 4th finger from the bass fretboard, I play F on the 10th fret of the G string and using the same 4th finger I slide to F# on the 11th fret on the same string.

Now, I need to go back by using Pull-Offs.
I start with the 4th finger on the 12th fret on the G string and go back using Pull-Offs.

It’s harder (more inconvenient) for my left hand.

It would be interesting to hear some new ideas about the left hand fingering patterns for this particular exercise.
 
#25
About ten years ago someone asked me what was my biggest goal as a bassist, regarding technique. My answer was to never let my ability dictate my phrasing.

In classical/orchestral music the phrasing is written on the page. No improvisation. If a note is slurred, or a series of notes is played staccato or legato it's because it was intended to be, not because the player has limited abilities.
 
#27
lowfreq33 said:
About ten years ago someone asked me what was my biggest goal as a bassist, regarding technique. My answer was to never let my ability dictate my phrasing.

In classical/orchestral music the phrasing is written on the page. No improvisation. If a note is slurred, or a series of notes is played staccato or legato it's because it was intended to be, not because the player has limited abilities.
Click to expand...

This should be stickied, some real wisdom there.
 
#28
if you take a well known song like "play that funky music" it has a perfect place to try it both ways. what ever feels natural and sounds best.

I hammer when doubling with the guitar to match his attack and pluck each note during the solos to keep the groove going.

if you watch a bunch of the MarlowDK videos you see him mock himself cause he always plays funky fills with hammer ons
 
#29
Am I misreading the posts here or are people posting in a way to infer that hammer-ons are technically harder? I find it the opposite. Hammer-ons are too easy and this is why I purposefully try not to do it, at least while practicely. I would rather pluck every note just as fast as you would hammer-on/pull-off.

:confused:
 
#31
Hammer-on/pull-off should be called a legato since it is done in one breath(for wind instruments ) or in one arco movement ( for violin ).

So yes I do because of this articulation difference between hitting each notes and do them all in one breath.
 
#32
lowfreq33 said:
In classical/orchestral music the phrasing is written on the page. No improvisation. If a note is slurred, or a series of notes is played staccato or legato it's because it was intended to be, not because the player has limited abilities.
Click to expand...

Please, don't forget the Maestro Conductor and his/her interpretation (not improvisation) of a music piece.

"The conductor makes sure that the music piece is interpreted properly by acting as the guide to the musicians or singers. He chooses and studies the music score, may make certain adjustments to it and relay his ideas to the performers so that when the music is played, there is unity and harmony."
 
#33
I use them all the time. Hammer ons and pulloffs are a lifesaver on your hands in a long set. The more you spread the workload of playing between the two hands, the easier playing will be on your hands. Not to mention, you can play faster once you have the hammer ons and pull offs down. This is especially helpful when slapping.
 

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