With the same technique we can add other harmonic variations to the chords. We can look at a series of examples to use in C, F and G major.
In the first example we add a D note to the second string in the fingering of C major. Using a hammer-on and a pull-off, we can recreate a more open sound, that stands out in a particular way thanks to the second interval present between the D note (second string) and the E note (first string).

Again on the chord of C major, we will use the A note, obtained in hammer-on from the G of the third open string. This rhythmic, very common even in other musical types (i.e. Irish folk music), develops a constant trend in a fun way.

With the same style as the previous example, but this time developed on the chord of F major (barrč, in the classical fingering in the first position), we see the use of a typical blues passage, between the G# and A notes of the third string. The D note is also added in the third movement of the measure. Pay attention to the presence of the low final on the sixth string.

Here is a series of hammer-on's on the chord of G major in the first position. As you can see, the hammer-on's are performed in beat in the second, third and fourth movements, between the open string and note at the second fret. In this specific case, we insert the E and A notes. Remember that we are always dealing alternate bass, this time played in beat on the sixth, fourth, third and again the fourth string.