Carl, I'm going to give you some tips for pull-offs and hammer-ons, but they're based on your slur video from the previous lesson, so some of that might not be relevant / useful anymore.
Pull-offs: For a good tone, the most important thing is that your left hand fingernail does not touch the string, but rather the string is played with the calloused tip of the finger. For a decent volume, the fingertip must be very close to orthogonal to fretboard, and pulled off practically sideways straight towards the next string, as opposed to away from the fretboard. For these two things to happen at the same time, your fingernail must be as short as you can practically file it (not as short as it will hurt though), and your callous must be hard enough to have enough friction to grip the string. Pull-offs feeling awkward, or sounding bad because the nail touches the string as you pull the finger aside is usually the first sign for me that I need to file down my left hand nails.
For the callouses to grow, you need to play a lot, and you specifically need to fret the wound strings. Unfortunately most of the notes played on wound bass strings during the first few years of lessons are open strings, so the callouses won't grow very quickly during the practice. That's one reason to play the scales and especially on bass strings.
Hammer-ons: Volume equals force. Force equals mass times acceleration (or rather deceleration when the finger meets the string, which meets the fret). To maximize deceleration, you need as high velocity as you can get. How do you get speed? By starting the hammer-on further away from the fretboard. It's harder to be accurate when starting the hammering motion farther away, though. Also it's important to realize that it's the impact speed that counts, not how hard do you keep pressing the string after the impact, so you need to time the use of force right, so that it translates to velocity.
Mass is constant, right? No, it's not. Pinkie is the most lightweight finger of the all, but fortunately it lies on the edge of the hand. This means that by rotating the hand from the elbow and very slightly arching your wrist at the same time as you hammer-on the pinkie, you'll get the mass of whole pinkie-side of the hand slammed against the string. In Ecossaise you'll get the whole benefit of this technique, because your other fingers aren't fretting anything at that time, so your hand is completely free to rotate. But even if the other fingers were fretted, you still get huge benefit from employing the muscles in your hand and forearm for the hammer-on. The movement would just be more restricted.
What about accuracy? For the hand rotation to work you'll need a pivot point. Anchor the underside of the guitar neck against the side of segment immediate to big knuckle of your index finger, so that the hand is free to rotate around that point. It'll take some experimentation to find the correct spot, but once you'll do, you'll hit the string every time. And you'll hit it hard. The score says piano, so you'll actually need to limit the force, or the hammered-on note will sound too loud relative to other notes. It's a knack, and you just need to practice it until you get it.
Hopefully this helps you and possibly others as well!
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