36:
130:
some of the vibrational energy in the sounded string, with the effect that the second note is generally much quieter than the original. On a low-pitched string that is being bowed on a stopped note, say, at the halfway point of the vibrating string length, the player may left-hand flick the string immediately prior to sounding the deep-pitched open string to help the string "speak". Without the left-hand "flick", there could be a half-second delay in the sounding of the deep fundamental.
453:
20:
218:
thus, left-hand pizzicato provides a means to intersperse pizzicato notes into rapid passages of bowed notes. The string on which the note is played may be either open or stopped (fingered); the only requirement for using the technique on a stopped string is that the finger stopping the string be lower than the finger plucking the string.
217:
When a player switches from arco (bowing) to regular pizzicato, the player normally requires a short pause to switch his or her bowing hand into pizzicato position and pluck the string. With left-hand pizzicato, though, a string player can play a pizzicato note immediately following a bowed note;
129:
manner for several cycles if it is plucked with the fretting finger, because the string is being plucked in a part of the string not usually used for plucking. The result, a slight "quack" sound, may be particularly audible when the interval of the pull-off is large. This transition also consumes
89:
A pull-off is performed on a string which is already vibrating; when the fretting finger is pulled off (exposing the string either as open or as stopped by another fretting finger "lower" on the same string, with "lower" meaning in a position that is lower in pitch) the note playing on the string
181:
In a variation of the technique, often called a "flick-off", the pulling-off finger is dragged slightly across the face of the string while performing the pull-off. This results in the string being gently sounded, either by the player's finger callus or by their fretting-finger fingernail. This
79:
61:
of either a fretted or unfretted instrument. This intermediate- to advanced playing technique is done using the tip of a finger or fingernail on the fretting hand. Pull-offs are done to facilitate the playing of embellishments and
81:
182:
increases the volume and sustain of the pulled-off note, although the sound of the fretting finger dragging over the string may be audible on both an amplified instrument and on a brightly strung acoustic instrument.
142:. As a result, in acoustic music, pull-offs are primarily used as an embellishment. Performers of plucked instruments tend to use "pull-offs" when playing grace notes, usually in conjunction with multiple
37:
80:
118:
358:
57:
playing and articulation technique performed by plucking or "pulling" the finger that is grasping the sounding part of a string off the
484:
654:
70:. Pull-offs may be notated in sheet music or improvised by the performer, depending on the musical style and context.
324:
300:
351:
191:
477:
170:
pedals are used, which add substantial sustain to the sound. With this type of electronic gear and a powerful
106:
with the transition from one note to the other sounding gentler and less percussive because the string is not
344:
470:
234:
211:
194:
period features numerous applications of the technique to bowed string instruments such as the
382:
90:
changes to the new, longer vibrating length of the string. Pull-offs are performed on both
171:
8:
628:
397:
613:
608:
552:
507:
320:
296:
226:
151:
54:
125:
In the transition between the initial and final notes, the string may vibrate in an
633:
578:
557:
452:
367:
167:
163:
63:
114:
again by the typical picking/bowing hand to produce the sound of the second note.
583:
537:
512:
402:
314:
155:
95:
30:
522:
417:
336:
230:
159:
648:
588:
542:
126:
562:
493:
623:
598:
250:
207:
111:
58:
27:
437:
422:
392:
147:
103:
67:
603:
517:
432:
412:
407:
272:
259:
143:
138:
On most acoustic instruments, this means the second note has little
85:
A guitarist performs a mixture of pull-offs, hammer-ons, and slides.
593:
462:
387:
175:
107:
121:
A succession of photos shows a pull-off being performed on guitar.
547:
442:
146:
and strumming or picking to produce a rapid, rippling effect. In
139:
527:
222:
195:
99:
371:
203:
199:
23:
19:
618:
117:
91:
210:. In the classical context, the term is referred to as
133:
178:, pull-offs can even be used to play sustained notes.
158:
are often performed with overdriven amplifiers and/or
646:
366:
221:Left-hand pizzicato appears most prominently in
478:
352:
485:
471:
359:
345:
73:
116:
77:
45:contains both hammer-ons and a pull-off.
18:
647:
312:
185:
466:
340:
16:Stringed instrument playing technique
492:
319:. Mel Bay Publications. p. 24.
285:
134:Acoustic versus electric instruments
98:) and unfretted instruments (e.g.,
13:
14:
666:
451:
257:. Seeger also invented the term
249:was invented and popularized by
306:
255:How to Play the 5-String Banjo
1:
655:Guitar performance techniques
313:Erbsen, Wayne (2010-10-07).
240:
7:
266:
10:
671:
278:
225:"virtuoso pieces" such as
102:). They are used to sound
571:
500:
449:
378:
174:nearing the threshold of
316:Southern Mountain Banjo
190:Classical music of the
122:
86:
74:Performance and effect
46:
383:Carter Family picking
291:Traum, Happy (1974).
212:left-handed pizzicato
120:
84:
22:
172:instrument amplifier
186:Left-hand pizzicato
94:instruments (e.g.,
55:stringed instrument
629:Neoclassical metal
123:
87:
47:
642:
641:
614:Instrumental rock
508:Alternate picking
460:
459:
368:Guitar techniques
227:Pablo de Sarasate
164:distortion pedals
152:heavy metal music
82:
662:
634:Progressive rock
494:Guitar shredding
487:
480:
473:
464:
463:
455:
403:Guitar harmonics
361:
354:
347:
338:
337:
331:
330:
310:
304:
293:Bluegrass Guitar
289:
156:electric guitars
83:
44:
43:
42:
40:
670:
669:
665:
664:
663:
661:
660:
659:
645:
644:
643:
638:
567:
553:Tremolo picking
538:String skipping
513:Economy picking
496:
491:
461:
456:
447:
374:
365:
335:
334:
327:
311:
307:
290:
286:
281:
269:
243:
233:and Paganini's
188:
136:
96:electric guitar
78:
76:
38:
35:
34:
17:
12:
11:
5:
668:
658:
657:
640:
639:
637:
636:
631:
626:
621:
616:
611:
606:
601:
596:
591:
586:
581:
575:
573:
569:
568:
566:
565:
560:
558:Wide intervals
555:
550:
545:
540:
535:
530:
525:
523:Hybrid picking
520:
515:
510:
504:
502:
498:
497:
490:
489:
482:
475:
467:
458:
457:
450:
448:
446:
445:
440:
435:
430:
425:
420:
415:
410:
405:
400:
395:
390:
385:
379:
376:
375:
364:
363:
356:
349:
341:
333:
332:
325:
305:
283:
282:
280:
277:
276:
275:
268:
265:
242:
239:
231:Zigeunerweisen
187:
184:
160:guitar effects
135:
132:
75:
72:
15:
9:
6:
4:
3:
2:
667:
656:
653:
652:
650:
635:
632:
630:
627:
625:
622:
620:
617:
615:
612:
610:
607:
605:
602:
600:
597:
595:
592:
590:
587:
585:
582:
580:
577:
576:
574:
570:
564:
561:
559:
556:
554:
551:
549:
546:
544:
543:Sweep picking
541:
539:
536:
534:
531:
529:
526:
524:
521:
519:
516:
514:
511:
509:
506:
505:
503:
499:
495:
488:
483:
481:
476:
474:
469:
468:
465:
454:
444:
441:
439:
436:
434:
431:
429:
426:
424:
421:
419:
416:
414:
411:
409:
406:
404:
401:
399:
396:
394:
391:
389:
386:
384:
381:
380:
377:
373:
369:
362:
357:
355:
350:
348:
343:
342:
339:
328:
326:9781609740474
322:
318:
317:
309:
302:
301:0-8256-0153-3
298:
294:
288:
284:
274:
271:
270:
264:
262:
261:
256:
252:
248:
238:
236:
232:
228:
224:
219:
215:
213:
209:
205:
201:
197:
193:
192:late romantic
183:
179:
177:
173:
169:
165:
161:
157:
153:
149:
145:
141:
131:
128:
119:
115:
113:
109:
105:
101:
97:
93:
71:
69:
65:
60:
56:
52:
41:
32:
29:
25:
21:
563:Pick tapping
532:
427:
315:
308:
292:
287:
258:
254:
253:in his book
246:
244:
235:24th Caprice
220:
216:
189:
180:
137:
124:
88:
50:
48:
624:Jazz fusion
609:Heavy metal
599:Power metal
398:Fingerstyle
251:Pete Seeger
208:double bass
168:compression
104:grace notes
68:grace notes
59:fingerboard
518:Hammer-ons
501:Techniques
438:Ska stroke
423:Pick slide
144:hammer-ons
127:inharmonic
33:variation
604:Hard rock
584:Bluegrass
579:Classical
533:Pull-offs
433:Rasgueado
413:Palm mute
408:Hammer-on
273:Hammer-on
260:hammer-on
245:The term
241:Etymology
64:ornaments
649:Category
594:Flamenco
428:Pull-off
388:Chanking
295:, p.25.
267:See also
247:pull-off
176:feedback
162:such as
66:such as
51:pull-off
589:Country
548:Tapping
443:Tapping
418:Picking
279:Sources
140:sustain
92:fretted
572:Genres
528:Legato
372:strums
323:
299:
223:violin
206:, and
196:violin
108:picked
100:violin
204:cello
200:viola
112:bowed
53:is a
31:major
24:G run
619:Jazz
393:Chop
370:and
321:ISBN
297:ISBN
166:and
150:and
148:rock
39:Play
229:'s
110:or
26:in
651::
263:.
237:.
214:.
202:,
198:,
154:,
49:A
486:e
479:t
472:v
360:e
353:t
346:v
329:.
303:.
28:G
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
