HOTLINE # 2

& the notes.

This line involves
with both note
hands.orIn the 1st
bar,
left hand is in the 9th position and
Slide changing
into notepositions
from previous
Harmonic
the right hand
is
in
the
16th.
For
the
2nd
bar,
the
left
hand
moves
to
the
7th
position. Keep your index finger
grace note.
(leit hand) on the E note as a guide until your th finger has landed on the A. Your right hand, following the
shape olThese
the left,
will also will
change
from the
16th to the LilStl
]Cth. Right hand index, middle and ring fingers.
Pull-off.
indicators
onlypositions,
appear when
a leit
hand note pulls off to another left hand
1 2 3 4 Left hand index, middle, ring and little
note.
fingers.
Fm

/SvA
n
/f

Hammer-on. These indicators will also only appear tor a left

hand note hammered to another left 4hand
note.

fr
l

Rend from 1st note up to 2nd note.

(D 4

Reverse Rend. Release bend from 1st A

note .to 2nd note.
1
1
M
\
m____
H! 4 (D
5
Reverse whole step bend (from sound of note on 18th fret
to note on 1 (>th fret).

Whole step bend (front 15th fret to sound of note on 17th

fret).
T jrr*
TL.

*Y 7771 a

J------

LIJTJ *

rnn *r_____
HOTLINE # 1

L.

\W -S

a.__

4___

(n bars l and 2, the right hand copies the shape that the left hand plays, while ascending Pentatonic scales (A minor
in the left hand and E minor in the right) in intervals ol a 5th. The next 2 bars use the technique of
hammered grace notes. These notes should be tapped quickly and lightly.

Am

HOTLINE # 4
This line involves a C major scale ascent by way ol short tremolos between the right and leit hands. The
ending double note bend, is executed by placing your right hand parallel to the guitar neck, fretting the E
and C notes on the E and B strings, and immediately bending the 15 string up a whole step with the left
hand. When bending a note using the Two-Handed technique, the left hand does most of the work, while
the right hand linger just frets a note and moves in the direction of the bend by the force of the left hand.

Am

HOTLINE # 3
Here I've used the popular triplet hammer-on technique where the right hand Irets a note, pulls it oil to a left
hand note, then the left hand hammers on a 3rd note- This line consists of 2 major triads (G & Db) which
alternate on each string (le. G triad on the 6th, 9th and 2nd strings, and the Hb triad on the Mli, 3rd and 1st
strings). This line builds tension in a solo by adding b5 and b9 scale degrees to the suggested harmony,
until it's final resolution.

HOTLINE # 5
In the 1st bar, the 1st and 3rd notes in each hand are repeated an octave higher. This is a good method to
get from the bottom strings to the top ones quickly or vice versa. The 2nd bar is completed on 1 string.

HOTLINE #6
This line is executed all on the B string and involves bending the string up whole steps with the left hand while
the right hand hammers a series of notes within the bends in the key of C. Each time the right hand is to
hammer a note, release the bend a half step. When The right hand contacts the string re-bend the string back
to a whole step. Whenever you hammer on a string which has been bent, you must account for the interval
you have bent (ie. it you've bent the note G on the B string up a whole step, and then hammered on the 12th
fret, the resulting note would be C//). It you hadn't bent the string, the 12th fret would be a B. If you had bent
the string up only a half .tep, the resulting note would be a C. So make sure you anticipate the pitch change.

HOTLINE #7
To execute this one, after you've made the initial bend from D up to L, keep the siring bent while hammering
the right hand notes. Every time the Eb grace note Comes up, drop the whole step bend a hall step to attain
the Eb note, then return The bend to E natural. The last 3 triplets are sounded by slowly dropping the left hand
bend while hammering with the right hand.

HOTLINE ft 8
Here, each hand climber an interval of a 5th from the 1st note, I hen 2 consecutive ths on the ascent.
The 2nd bar includes a sliding double note in the right hand. To achieve the tinal 2 notes in the left hand
without having the notes on the G string ring out, angle the left hand index finger so that it lightly touches
and deadens the C string.

HOTLINE #9
Begin this line by picking the open G string with the right index finger. The notes which lollow (in groups of
5) are sounded by sliding the right index finger up and back from scale step to scale step (T major scale)
on tfie same string. When played fast, it creates somewhat of a blurred sound. The last bar involves
bending the Bb note ori the G string up a whole step to C. While maintaining the bend in the left hand,
jump over to the E string with the right middle finger to iret the note C., then return to the bent C note first
releasing the bent note a half step and re-bending

HOTLINE #10
This melodic: phrase displays <in example ol how the technique can be used on just one string. The fluid
sound is prominent here. Play the same notes with a pick and hear how the sound changes. This Hotline
and any others which are played with just the right index finger of the right hand, can also be easily
played with a pick in your hard by fretting with the right middle linger.

HOTLINE #11
To execute harmonic taps, tap firmly but quickly with the right hand, the exact same notes at the exact
same lirne that the left hand plays, 12 frets higher. The result should be a combination of the left hand "real
note" from the lefi hand and its 1 harmonic (an octave higher). Experiment with both clean and dirty settings
with this

This blues sounding lick is the same technique principle as the previous Hotline, but involves 2 notes at
the same time. You must follow the same shapes the left hand plays, and angle your right hand
accordingly 12 frets higher.

HOTLINE #13
A new technique is displayed here where the 1st and 2nd fingers of the right hand will hammer
consecutively on adjacent strings. Mastery of this method will add a great deal of freedom to your TwoHanded style by enabling you to cross strings without having to pull-off to the left hand first.

HOTLINE #14
The ^ major triads here are: C, Db, Bb and E. The resulting notes are: G, Ab, Bb, Cb (B), Db, D, E and
F, which spell an Ab Diminished scale. This is especially suitable to be played over G7, Db7, Bb7 or E7
chords.

HOTLINE #15
The left hand pulls off the notes on consecutive strings of the C minor or Bb major Pentatonic scale,
while the right hand slides up and down each hall step (E to P and A to Bb) in descending octaves, of
the F major scale.

HOTLINE #16
This line involves playing a parallel pattern between the right and left hands which is a fifth (5th) interval
apart. It can be used in a solo or it can give the effect of a programmed keyboard sequencer when the first
2 bars are repeated several times.

Gm

HOTLINE #17
A clean amplifier setting will sound best on this line. For the double note bends, let your left hand do
most of the bending work while the right hand index and middle ringers hold their notes firmly. During
the bends, let the right index finger spread apart and away from the middle finger. This Hotline would
sound great in a Country situation, but would also adapt to other styles as well.

HOTLINE #18
This line also has a Country flair and should be played with a clean amp setting. Bar //2 involves sliding
down 2 frets (from E to D) then sliding in the opposite direction (irom A to B) in the right hand. This line
ends in a double note slide with the right index and middle fingers. You may wish to work on this final
slide separately lor a minute to get comfortable with aiming lor the last 2 notes before trying the entire
line.

10

HOTLINE #19
You can hear the desired "fluid" sound of the Two-Handed technique in this line. The right hand slide
used here can be added to any notes you choose in any other riffs also.

HOTLINE #20
This line consists oi 2 different positions of the C major (or A minor) Pentatonic scale. Here you must 'split'
your brain as a pianist does by playing 2 completely different shapes in the left and right hands. First
memorize what the left hand is to play, then slowly add the right hand notes. Notice that all Pentatonic
positions have 2 notes per string; a left side and a right side. When learning these lines think; right hand left
side, left hand left side, then right hand right side, left hand right side, for every string.
Once you've learned this Hotline, repeat the process in the other u Pentatonic positions.

HOTLINE 21
Here Ive used the right to leit hand tremolo in 2 different positions of the D minor Pentatonic scale. You
can extend the length of many other lines by using this type of trernolo effect.

HOTLINE 22
Here I've bent 4 consecutive strings up a whole step (from their grace notes). Upon release of the
bends, the remaining 2 notes of the triplet figures will be pulled off to and sounded.

12

HOTLINE #23
Modern players seem to be focusing more and more on the odd natural sounds that can be concocted
from the electric: guitar. This one. sounding a lot like an elephant will definitely add some interest to any
high energy solo. To get it started, hammer the right index and middle fingers onto the G and ft strings
at the 13th fret. Immediately slide those fingers up to the 21st fret while at the same time bending the G
string up a whole step from any fret below the 12th. When you reach the. 21st fret, immediately slide
back to your starting point while at the same time releasing the G string bend. The more distortion the
better.

HOTLINE #24
The main emphasis in this line is the use of slides in the right hand moving in opposite directions.

HOTLINE #25
For this Van Halen style riii, hold the 5th position D chord in your left hand (A string 5th fret, D string 7th fret,
G string 7th fret) down lor the entire rill so the notes will ring out like a chime. Tap the frets lightly with the
right hand right on top ol the fret. The brighter and more distorted the sound you have, the clearer the
harmonic can be heard.

HOTLINE #26
Here I've used all double note hammers within the C minor Pentatonic scale.

14

HOTLINE #27
Here is a "hornlike" gliss employed by the right hand as it slides down several frets on 0 adjacent
strings, ending
HOTLINE
#29 on the root of the chord.
This line moves chromatically clown 8 steps then returns to the starting point in each hand. It has a similar
tremolomg 2 notes in your leit hand. The
1eilect to dropping and returning a tremolo bar slowly, while
li
I .1notes
M Tis1 aFdissonant
L
distance
between the
flat fiver(b5)
^T1interval.
1 I
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1 -> ' I 1
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Q+03
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1
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0*0 3 0*0 1

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Ab7

HOTLINE #28
This line is derived entirely from the G Whole Tone, scale. It has an odd tension building sound,
until its final resolution at high A.

HOTLINE #30
This one involves 2 pedal tones (D, then A in the right hand) w'htle the left hand slides a whole step (2
frets) into each note.

Dm

16