Continuing this discussion from March of 2009 on the Hangout …………
My question specifically concerns the technique of ASHO, i.e. “alternate string hammer-on,” that being: Is it a fairly recent technique that evolved from the melodic clawhammer phenomena of the mid to late 1970’s? Kicking Mule’s release of “Melodic Clawhmmer Banjo” in the mid-70’s is the most distinct example I can think of as the “starting point,” of this playing style followed later by Perlman’s book on the subject.
Not that it would be that much of a stretch to conceptualize ASHO, but if my memory serves me well, I don’t ever recall this particular technique explained in Seeger’s instruction manual, nor Rosenbaum’s and, if I’m reading the tablature correctly, there is only one such example in Krassen’s book, his version of “Billy in the Lowground,” where it only used in a measure of two at most. What’s more, there’s no discussion in Krassen’s book of the technique.
From listening, I’ve heard many examples of alternate string pull-offs used more often than not as a rhythmic device; such as in the playing of Clarence Ashley, Doc Watson and others. But from listening I don’t recognize alternate string hammers-on being used by the generations of commercial country musicians or in field recordings of players prior to the 1960’s.
Does anybody out there know from where or how this particular technique came into being?