$_ Slide into note from previous note or grace note. Pull-off. These indicators will only appear when a left hand note pulls off te ancther left hand note ‘ ae oS HOTLINE #1 also only appear for a left hand note ‘0 another left hand note, hammered Bend from Ist note up to 2nd note, Whole step bend (irom 13th fret to sound of nete on 17th fret). KEY Harmonic notes. [JBIB) Right hand index, middle and ring fingers. 12.3 4 Left hand index, middie, ring and little fingers. Reverse Bend. Release bend f note to 2nd note Ds Reverse whole step bend (from sound of note on 18th fret to note on 16th T trev). In bars | and 2, the right hand copies the shape that the left hand plays, while ascending Pentstonic seales (A minor in the left hand and F minor in the right) in intervals of a 5th. The next 2 bars use the technique of hammered grace notes. These notes should be tapped quickly and lightly. AmHOTLINE #2 This line involves changing, positions with both hands. In the Ist bar, the left hand is in the 9th position and the tight hand is nthe Léth. Fer the 2nd bar, the left hand moves to the 7th position. Keep your index tinger (ledt hand) on the E note as a guide intil your 4th finger has landed on the A. Your right hand, following the shape of the left, will also change positions, from the 16th 10 the 14th, Em Bva — a eS HOTLINE #3 Here l've used the popular triplet hammer-on technique where the right hand frets a note, pulls it off to.a left hand note, then the left hand hammers on a 3rd not This line consists of 2 major triads (G & Db) which alternate on each string Ue. G trad on the 6th, 41h and 2nd strings, and the Db triad on the 5th, 3rd and Ist strings) This Tine builds tension ina solo by adding bS and b9 scale degrees to the suggested harmony, until it's final resolution. DQ <= YT RorHOTLINE #4 This line involves 2 C major scale ascent by way of short tremolos between the right and left 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 B string up a whole step with the leit hand. When bend- ing a note using the Two-Handed technique, the left hand does most of the work, while the right hand finger just frets a note and moves in the direction of the bend by the force of the left hand. Am 6 +a O+ges f | | | HOTLINE #5 In the Ist bar, the Ist and 3rd notes in each hand are repeated an octave higher. This is & good method to get from the bottam strings to the top ones quickly or vice versa. The 2nd bar is completed en | string. Ua Os.HOTLINE #6 This line is executed all on the B string and involves bending the string up whole steps with the leit 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 stcing back toa whole step. Whenever you hammer ona string which has been bent, you must account for the interval you have bent (ic. it you've bent the note G on the B string up @ whole step, and then hammered on the (2th fret, the resulting note would be C#). If you hadn't dent the string, the 12th fret would be a B. Ii you had bent the stringup only a half step, the resulting note would be a C. So make sure you anticipate the pitch change. pm oS Ba Utti<‘“C‘z \ oS oS ae HOTLINE #7 To execute this one, after you've made the initial bend from D up to E, keep the string bent while hammering the right hand notes. Every time the Eb grace note comes up, drop the whole step bend a half 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 ham- mering with the right hand. Am Sa -3— » > BO 3 @M > 2M > eo > 88 3HOTLINE #8 Here, each hand climbes an interval of a 5th from the Ist note, then 2 consecutive 4ths on the ascent. The 2nd bar includes a sliding double note in the right hand. To Achieve the final 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 G string. Am £ es s a HOTLINE #9 Begin this line by picking the open G string with the right index finger. The notes which fallow (in groups of 5) are sounded by sliding the right index finger up and back from scale step to scale step (F major scale) on the same string. When played fast, it creates somewhat of a blurred sound. The Just bar involves bending the Bb note on 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 1 fret the note G, then return to the bent C note first releasing the bent note a half step and re-bending quickly. Cys ZEN KIN. GS Go ne Ss fo ec fo COq- 200.) 2097, 9ORs, = aN PN + pate ee BZ % GQogs:40q3,0HOTLINE #10 This melodic phrase displays an cxample of 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 eny ethers which are played with just the right index finger of the right hand, can also be easily played with a pick in your hand by fretting with the right middle finger. fo os HOTLINE #14 To execute harmonic taps, tap firmly but quickly with the right hand, the exact same notes at the exact same time that the left hand plays, 12 frets higher« The result should be a combination of the left hand "real note" {rom the leit hand and its! har- monic (an octave higher). Experiment with both clean and dirty settings with this technique. b. HOTLINE #12 This Blues sounding lick is the same technique principle as the previous Hotline, but involves 2 notes at the saine ume. You must follow the same shapes the left hand plays, and angle your right hand accordingly 12 frets higher. SBE ATHOTLINE #13 A new technique is displayed here where the Ist 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 Two-Handed style by enabling you to cross strings Without having to pull-off to the left hand first. D7 HOTLINE #14 The 4 major triads here are: G, 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 suit able to be played over G7, Db7, Bb7 or E7 chords. @HOTLINE #15 The left hand pulls off the notes on consecutive strings of the G minor or 8b major Pentatonic scale, while the right hand slides up and down each hal! step (E to F and A to Bb) in descending octaves, of the F major scale. Gn <7 5N ZN A £58 SEY LD ODN '* 0004! gaat oon?’ oy cone, X £38 Ss 0 HOTLINE #16 This line involves playing a parallel pattern between the right and left hands which is 2 fifth (Sth) interval apart. It can be used in a solo or it can give the effect of a pro- grammed Keyboard sequencer when the first 2 bars are repeated several times Gm ro oeicry- oo, B-nia:o%asn +o | OhqHOTLINE #17 A clean amplifier setting will sound best on this line. For the double note bends, let your lelt hand do most of the beading work while the right hand index and middle fingers hold thei 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. A HOTLINE #18 This line also has a Country flair and should be played with a clean amp setting, Bar 42 involves sliding down 2 frets (from E to D) then sliding in the opposite direction (from A t B) in the right hand. This line ends im a double note slide with the eight index and middle fingers. You may wish to work on this final slide separately lor a Minute to get comfortable with aiming for the last 2 notes before trying the entire line. D QB _#9 ‘ean hear the desired "fluid" sound of the Two-Handed technique in this line. hand slide used here can be The added to any notes you choose in any other rifis also. HOTLINE #20 This line consists of Here you must 'splitt shapes in the left and right hands. First mem: Slowly add the right hand notes. Notice that string; a left side and a right side. left hand left side, then right hand Once you've learned this Hotline, then per s right hand left side, for every string. Pentatonic positions. all Pentatenic positions have 2 notes When learning these lines think right side, left hand right side, Fepeat the process in the other & c Q@za+ Bo +HOTLINE #21 Here I've used the right to left hand tremolo in 2 different positions of the D minor Pentatonic scale. You can extend the length ef many other Lines by using this type of tremolo effect. OS eS HOTLINE #22 Here I've bent 4 consecutive strings up 2 whole step (from their grace notes). Upon release of the bends, the remaining 2 notes of the triplet figures will be pulled off to 8va and sounded. gx Vas eS SoHOTLINE #23. Uocern players seem to be focusing more and more on the add natural sounds that Ga cesgencocted irom the electric guitar. This one, sounding a lot like on elephant The cierinitely add some interest to any high energy solos To get it started, hammer sf BNE index and middle fingers onto the G and B strings av the awn nen” Imme- Gately slide those fingers up to the 2ist fret while at the same aime bending the G Freie ole step from any fret below the 1zth. When you reach the are tret, Enmediately slide back t0 your starting point while at the same tne releasing the G String bend. The more distortion the better. ANY KEY HOTLINE #24 The main emphasis in this tine is the use of slides in the Tight hand moving in opposite directions. ¢ HON: _g AN > ery ALN D (* G04 ogy aaa aa 'Go >) Oo >: OFS oe woHOTLINE #25 For this Van Halen style riff, hold the 5th position D chord in your left hand (A string bth fret, D string 7th fret, G string 7th fret) down for the entire riif so the notes will ring out like a chime. Tap the frets lightly with the right hand right on top of the fret. The brighter and more distorted the sound you have, the clearer the harmonic can be heard. D F A D000 20a a aT ma" HOTLINE #26 Here I've used all double note hammers within the C minor Pentatonic scale. ape. — 8 ) L) Bb Bb b Ls.) De) ot oD ve 58 are hte Rita "s gs ars BR ae zs 7 56 ww os CF 7 oF 7 f pe B zh A 7 Ee Ge SSANE #27 lere is a "hornlike" gliss employed by the right hand as it slides down several frets ‘on 4 adjacent strings, ending on the root of the chord. mo oN Gi 5 s Ss hs & & a (O00 O887'0 0003 5 2 8 Ga+ 3s i 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. aT TN EN GN LEE GE Nik yee O13 is @sQs@oM 2830303013 O30 3giamis@20 we wo yoHOTLINE #29 This line moves chromatically down 8 steps then returns 16 the starting point in each hand. It has a similar effect to dropping and returning a tremolo bar slowly, while tremoloing 2 notes in your left hand. The distance between the notes is a dissonant flat five (b5) interval. Ab7 o4 D+O3 O20! @smsnem ao Oa Dém! O2M> HOTLINE #30 This one involves 2 pedal tones (D, then A in the right hand) while the left hand slides a whole step (2 frets) into each note. Dm