Victor Wooten lessons

OPEN HUMMER PLUCK

For the next few lessons we will explore this Open Hammer Pluck
concept. It is a key factor in my thumb playing. It is what I am using
most of the time when I'm playing fast with my thumb or using it to go
through chord changes. You will see that this will allow you to use less
effort to play faster. This is because we will be using both hands to
produce individual notes not two hands to produce only one note. I use
this technique a lot in the song "Sinister Minister" and I will write out
some of those parts a little bit later. I know that I have only scratched
the surface with this technique so I am relying on you to take it deeper
and further. I hope that you enjoy this.

"Open Hammer Pluck":

A concept of hitting an open string with your thumb, Hammering a note
with your left hand and then plucking a note with your index finger. "Open Hammer Pluck" (OHP) is just
a name and like all names they can be changed. It could also be called "thumb hammer pluck" or
"right, left, pluck" or any other name but the concept stays the same. Throughout all of the different
ways that we will explore this technique over the next few lessons, it is good if we can keep the
concept the same. "Simple". This will allow us to keep our "thinking" simple as the technique gets more
complex. To get us started, here is an example of the basic OHP. Ex.1) It consist of three notes or
three "attacks" (since some of the notes can be played as muted notes). Start with this and get
comfortable with it. Practice it at different speeds and with different levels of dynamics but make sure
that each note stays clean and distinct. Make sure that you can hear each individual attack. That will
allow us to move it around much easier later.
Always keep in mind that each of the three notes can be changed at any time. For example, the first
note doesn't have to be "open". The second note can be "hammered" anywhere on the neck causing
the pitch to change. It doesn't even have to be a "hammer". You can also "pluck" any note you want to.
You can "pluck" two notes if you want to, as we will explore later. Again, get comfortable with this basic
pattern first.

 
Now, let's move to Ex. 2 & 2a. This shows us how to move the "hammered" note around. Everything
else stays the same. This is the start of being able to use the technique to play melodies or to outline
chords. Just move the left-hand hammer anywhere you want. The thought process should be kept
simple, the same as if you were doing the "basic" pattern (because you are). Here are a couple of
examples to get you started. Once you are comfortable with this, practice moving the hammered note
anywhere at random. Play melodies with the hammered note. Play whatever you want.
Now, check this out. We will change the first (open) and the pluck note. (EX. 3 & 3a.) Actually all three
notes of the pattern will change but it's still thought of as the "basic" pattern. Although the notes are
changing, the pattern is not. "Right, Left, Pluck." Are you starting to get it? Take the time you need.

I want to leave it here for now. We will explore more later. If you become "free" with this concept you
will need me to tell you nothing else about it. You can tell me about it. (and please do) Break away from
my patterns here and come up with your own. Then, break away from patterns all together. That is the
true freedom. You control the technique, NOT the other way around.
For those of you that feel bored with this because it's old news to you, I'll give you something else to
play with. EX. 4& 4a are ways of playing with the rhythm while still thinking of the "basic" pattern. EX. 4
is basically (pun intended) a triplet but we are fitting four notes into the same space. The last two notes
are played as a "flam". (almost at the same time). EX.4a is the same thing spread out into even 1/8
notes. Get comfortable with both ways. If you're still bored, change all four of the notes. That should
keep you busy until next time.
 
 Remember to practice at all tempos and attack levels. Fast to slow, hard to soft, and loud to quiet. It's
always good to record yourself and listen back to it often. This way you can really tune in to what you
need to work on most. I have done a lot of the work for you so approach this as being "easy" from the
start. It should come to you much easier than it came to me. Have fun and remember that I Love You
ALL.
Peace, V

Let's explore this Open Hammer Pluck concept a little further. If u haven't explored Lesson 1 yet, I encourage
u to do so now before continuing on with this one. Practice all of these examples slowly first before speeding
up.

Example 1 is one of my favorite O.H.P. patterns.

This pattern is based around the notes: E, E, D, B, It
is simply these repeated notes with the O.H.P.
technique applied to it. Learn to repeat this pattern
and move it around effortlessly. I move it up and
down the fretboard in whole steps or half steps.
Moving it up three frets at a time (minor 3rds) will
give u a diminished sound. Notice that the finger
used to hammer on with the left hand is the same
finger used to fret the plucked note on the "G" string.
Use that finger to bar the whole fret.

 
Here is another way to use the same pattern by altering the rhythm. This is usually how I use it to play really
fast.

Outlining chords can be fun using this technique. This one works over E minor. You can modify it to work
over different chord changes. Notice that the last "B" chord can be changed from Major to Minor just by
moving your index finger.

Double plucking the G string can add a different flavor.

O.H.P. used in a A Diminished pattern.....

  

Remember that Open Hammer Pluck is just a technique, a tool. It alone

is not the music. How u use it is where the magic lies. Learn these
techniques and then adopt them to fit your own style. The possibilities
are endless.

Hopefully I will see u soon and U can show me what U have done with it.

peace, vic

MUSIC AS A LANGUAGE

I think that we can all agree on the fact that music is a language. A language being a form of communication.
A way to express ourselves. A way to get our message out there. Music does exactly that. It is definitely
used to express ourselves, our feelings, and our messages. It is when we approach music as a language
that most of the difficulty, the confusion, the "how do I do it?" disappears.

When I get confused while trying to answer a musical question, I immediately think back to the fact that
music is a language. Then I ask myself, "what language am I the best at?" For me, the answer is, without
question, the English language. The next step is to then turn the music question into an English language
question. If I can do that, the answer is usually obvious to see.

Oh, who is that with their hand up in the back? You want examples? Sure. OK. Here's one.

Let's say that the question is, "do I need to be able to read and write music in order to be able to play it?"

We'll let's see here. Let's turn this into a language question. "Do I need to be able to read and write English
in order to speak it?" The answer is obviously, NO! Some of the greatest minds in our history came from
people who were illiterate.

Just think about it. We speak English comfortably for 5 or 6 years before we learn how to read and write it.
We can actually live a very productive life being illiterate. BUT, think of the advantages that you have just
because of the simple fact that you can read and write. You are probably holding this in your hands because
of this fact.

The same goes with music. It is possible to have a highly successful musical career without ever learning to
read or write it. Believe it or not, many of our favorite musicians do not read or write one bit of music. One of
my favorite drummers, Dennis Chambers, does not read a note of music. But he makes up for it in other
ways. Dennis can hear a song once and play it back better than many of us could if we were reading the
chart.

As with any language, think of the advantages you have if you can read and write music. Your opportunities
in both aspects will probably more than double. I don't think that I need to outline all of the advantages here
so let's move on to the next question.

"Do I have to know music theory to be a good musician?"

"Victor-san, Victor-san, I know the answer to this one. The answer is NO!"
"Very good grasshopper. You are catching on."

One can speak fluently without ever having heard of a noun, pronoun, verb, adjective etc. Actually, even if
you have heard of these things, you rarely ever think of them while you are speaking.

Many of the top musicians in the industry do not know any music theory and still play it very well. But once
again, you can see the advantages of knowing your theory. It can aid you in your growth and get you out of
jams that your ears can't get you out of.
But remember, theory is a tool. As with any set of tools, you don't carry them with you all of the time. You
take them out when you need them. The better the tools and your knowledge of how to use them, the easier
the situation will be to fix or amend.

Thinking of the tool/rules/theory all of the time may make it harder for you when trying to honestly and purely
express yourself. Just think of trying to talk to someone while thinking (verb) of (preposition) the (article) big
(adjective) rulebook (compound word, noun). Get the point?

"Are you tired of this yet? NO? OK! One more."

"You in the back there, You have a question?"
"Victor, oh talkative one. What about me? I'm a beginner. What is the best way for me to learn to play?"
What would be the best way for a person to learn to speak French? Buy a book? Get a teacher? Eat some
fries? (Steve Bailey says to get a French girlfriend).

Although all of these may be good ways to learn, I think that Steve would agree that they may not be the best
(or safest) way to learn French. The best way would probably be to go to France and surround yourself with
French speaking people everyday. Eat, sleep and drink French (no comment Steve).

French children don't have a problem learning French because they are in it all of the time.

Music can be learned the same way but cheaper. Going to a Jazz club and surrounding yourself with that
music may be a little less expensive than going to France to learn French. To learn Jazz or any other style of
music quickly and thoroughly, you must surround yourself with it. Find a good teacher if you can but also go
to the music clubs, sit in with the other musicians if you can even if you think that you are not good enough.
Listen to the music even while you sleep. If you learn a style of music only from a teacher or a book, like with
French, you will probably end up playing it with an accent. Comprenday ameego?

Listening and practicing is the key to getting better as a musician but how you think about what you listen to
and practice is just important.

Think about this. The English language has 26 letters in its alphabet. Our Music language only has 12. I'll let
you do the math.

peace, vic
 LEARNING FROM YOURSELF

Learning is valuable. We all know that. But, just like any skill or talent, it can be practiced and refined to an
art. Most of us have never spent much time thinking about the art of learning because when it's time to learn
something new most of us look to be taught by someone else. Most of our teaching comes from an outer
source. Rarely do we approach something new by going inside of ourselves. This may be a strange concept
to some but actually may be the best and most thorough way to learn.

Please, don't misunderstand me. Having a teacher can be wonderful and necessary and it can definitely
speed up the process of learning. I am not saying that learning from others is the wrong way, but even when
an idea is brought to you from another person, it still has to be brought into the inner recesses of yourself to
be refined, learned and personalized. It has to become your truth before it is actually learned completely.

People often ask me to show them how I do a particular pattern or lick. I don't mind showing them, but I
enjoy, more, showing the people who have tried to figure it out for themselves. Just think, if you figure
something out on your own, you will probably do it the way that suits you best. Then when you finally learn
the way someone else does it, you'll have two ways of doing it, your way being just as valuable as theirs. I
sometimes have people showing me easier ways of doing my own licks. These are the people who have
taken "my way" and brought it deep within until it came out "their way."

Think of all the inventors throughout time. They came up with ideas that didn't exist before them. They would
not have been able to accomplish this had they only listened to outside sources. There are "inside" sources
just waiting for you to ask for their help.

The more you do this "inner" learning the better you will get at it. Your brain will get in the habit of producing
instead of just waiting to receive. You can hear a passage of music and immediately know how to reproduce
it and it will be personalized with your touch without even trying. This is the key to being original.

All of your favorite musicians, Marcus Miller, Geddy Lee, Jaco Pastorius, and all the rest have had to spend
a tremendous amount of time sitting down with themselves in order to sound the way they do. That is the key
to their sound and probably to their success also.

Many animals still possess this knowledge but among humans it has become almost a lost art. I remember
many years ago being fascinated by my dog. She would get sick, go outside in the yard, eat some grass
(that would usually make her throw up), and then she would be all better. Who taught her this? NO, not me:
the same person that teaches each caterpillar to become a butterfly: that person that lies deep within us all. I
am proposing that we all have this same ability and it can be practiced.

So, for those of us that are looking for a teacher, don't just sit there idling. Practice, practice, practice until we
find one and then keep practicing. For those of us that have a teacher, listen close to what they have to say
because they may point us in directions that we wouldn't have gone. But remember to always take what they
teach deep inside of ourselves to see if it matches our individual truth, then, practice some more.

To all of you teachers out there, don't just think that I am trying to make your students stay home, but I offer
you this challenge. Ponder what I have said here and if it makes any sense to you at all, teach it to your
pupils. I think that it will actually bring you more students.

Music will take on a whole new meaning when you listen through your own ears. Go inside and see what
there is to learn. Go inside, my friend. Go inside.

peace, vic
 THE ART OF SILENCE

Silence, the unsung hero of music. We spend lots of time practicing what to play but rarely do we practice
"not playing." Just think, if there were no such thing as a rest in music, all the music ever played would still
be playing. It is the silence that allows each note to play again.

In this lesson I would like to spend time talking about "silence" and how it pertains to music. Knowing me, I'll
probably throw in a few ways of how it pertains to life as well. It is a necessary ingredient to both.

Silence and listening go hand in hand. As teachers, we know that we must listen to the student in order to
know best what to teach. As musicians, we must listen to what is happening around us to best know what to
play. This takes silencing ourselves long enough to listen.

A famous trumpet player once told me that I have two ears. "One is for you, " he said "the other is for the rest
of the band." I had been so focused on what I was doing, concentrating on what to play and thinking so much
that I hadn't stopped long enough to listen to what was going on around me. Once I quieted myself long
enough to do just that, the right bass part for me to play became obvious.

How is it that as the great musicians get older, they seem to play more music with fewer notes? Is it because
they can't play fast any more? I don't think so. They have learned the art of silence or space. They realize
that rests are notes, that they can be used to bring the listener in and that a strategically placed rest can
make a group of wrong notes sound right. Miles Davis was a master at this. He would make you sit on the
edge of your seat waiting for his next note. He knew what he was doing.

Before each concert, Andrea Segovia, a great classical guitarist, used to finger the air, as if he were actually
playing , to quiet the audience and make them listen closer. Then he would start playing.

A rest can also be used to jolt the listener just like an accent does. Here's one example of how to do it. In the
middle of a solo try playing a familiar line such as "pop goes the weasel" but leave off the familiar "POP" at
the end. It can make the listener feel as if his heart has skipped a beat.

The next time that you listen to a great musician, take notice of when he or she doesn't play. Notice how they
use the space. Many great soloists will let a few beats or even a few measures go by before they start their
solo. This pause will make the listener take notice even if he is deep in conversation, as most people are
during bass solos.

It has been said that you teach what you most need to learn. In this case it is definitely true. I am in need of
reading my own lesson. "Space" in my playing is one of the things that I need to work on the most. Since
music and life are one in the same to me, it is like saying that space in my life also needs working on. So, I
will do just that.

"If you reread the lesson that I wrote for BP ("Learning from Yourself " Feb. 97) and combine it with this one,
you will have my most valuable methods of learning.

'Till next time, take care and remember to stop and listen to the roses. Oh yeah, the most important thing
is…..

peace, vic
 CLASSICAL THUMP

Many of you have been asking about transcriptions and tablature for some of my peices. "Classical Thump"
is usually the first song asked about... so here's an exerpt. We're planning to release a book of transcriptions
in 2002 which includes the entire peice, plus "Me and My Bass Guitar", "Norwegian Wood", "Sinister
Minister", "Cherokee", and many more.

In the meantime, you can start on this! You can learn more about some of the 'Open-Hammer-Pluck'
technique, and it's variations, in Lesson #1 and Lesson #2.

© Copyright, Victor L. Wooten. All Rights Reserved.