4(a) Left Hand Ornaments
Most guitarists are familiar with the
use of left-hand techniques such as hammers, pull
offs and slides. These basic ideas can be used in
certain ways to recreate the sounds of Celtic
instruments such as pipes and fiddles. In this
context the techniques are often called “ornaments”.
The timing of plucked notes in conjunction with the
hammers and pull offs is a key factor in producing
these effects.
The first set of exercises shows how a fast triplet can be played with very
rapid pull offs, ending on the open top D string. This could also be described
as a roll and is often notated as a double grace note. These are the smaller
notes embedded in the notation and the tab. Grace note notation is used to
indicate that the notes are played very rapidly, nearly coinciding with the note
following, often at 1/64th note values.
In exercise 4.1 each measure begins with two hammer ons. Then the roll
ornament is prepared by plucking the 4th note. After a pause, the roll then
begins with the two grace notes. In the first measure this consists of the
hammer-on at the 5th fret, followed rapidly by a pull off back to the 4th fret
as the second grace note, and then a pull off to the open D string. The same
riff is moved up and down the major scale on the top D string, with some
increasing stretches for the left hand.
 Exercise 4.1. Left hand ornamentation - Tuning DADGAD
The next example shows exactly the same principle on the open A string. The
key here is to make sure that adjacent strings are not disturbed during
the exercise. This helps keep the pull offs sounding clean. It is more difficult
to play this exercise on lower strings, which is a good exercise for building
strength in the left hand.
Exercise 4.2. Left hand ornamentation - A string - Tuning DADGAD
The pinky finger is very useful in these riffs, though a little stretching is
needed. It also helps to build up calluses on the left hand fingers, as this
reduces the amount of energy needed to cleanly fret a note or execute hammers
and pull offs. Spongy finger tips require more muscular effort to sound the
notes properly.
This example shows the same roll technique played in 2/4 producing a more
striking rhythm.
Exercise 4.3. Left hand ornamentation in 2/4 - Tuning DADGAD
The next example demonstrates a different ornament achieved with a single
grace note. The key here is the snapping action of each grace note. The note
previous to each grace note is the same as the grace note itself. For example in
the first measure, the first note is played at the 4th fret of the top string.
This note is plucked with the right hand. Next, the grace note is played, by
again plucking the note at the 4th fret of the top string. An instant later the
left hand snaps the pull off down to the 2nd fret. Timing and co ordination
between the two hands is the key here. As the exercise goes up the neck, again
the left hand pinky will be required to perform the pull off. The wide stretch
from the 7th fret to the 2nd fret pull off creates a broad interval which can be
effective in emulating bagpipe sounds.
Exercise 4.4. Left hand ornamentation - Tuning DADGAD
As an example of left hand ornaments in a melody, here is an extract from
“The Ullapool Decision” which makes extensive use of the hammer and pull off
techniques.
Exercise 4.5. Excerpt from “The Ullapool Decision” - Tuning DADGAD - Capo
3rd fret
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