Music • Tablature • Analysis & Cassette

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 HOTLINE #)( J -:96/~AC
This phrase outlines a B dominant chord diatonic to the key of E. To get the muffled
sound just mute the strings with the heel of your right hand while picking. This tech-
nique is used in all of the following single note and double stop lines.

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This example introduces the use of 'ghostnotes' to add percussion to your sound. Simply
mute the string with your left hand by releasing it from the fretboard. This Hotline
goes hand in hand with Hotline 111.

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HOTLINE #
This line is a combination of chords, single notes and double stops. Note the use of
the Om (F) Blues scale in the 2nd bar.

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 HOTLINE ~ J" 361
This idea outlines an Em (Cmaj7) arpeggio. Note the 16th note syncopations.

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HOTLINE #
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Here is more of a chord-melody line. It fits together with the previous line .

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HOTLINE #
1
This line shows you how to groove with the Hi-Hat. Mute the chord with your left
hand and concentrate on a steady down and up right hand motion to scratch the strings.

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HOTLINE # 7
Here is a VI II III progression in the key of C that uses the same rhythmic figure
as in the previous line.

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HOTLINE # 8
This phrase outlines a standard II V progression in the key of G, using C and 0
triads. Mute the A string with the tip and the E string with the bottom of your
lst finger to keep them from ringing.

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 HOTLINE # 9
This line is based on the Am (C) Pentatonic scale for a I VI bVI V progression In
the key of A minor .

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HOTLINE #10
Here is a tricky one. You scratch across all strings in order to get a real punchy
sound, only getting 1 note at a time out of it. Mute the lower neighboring string
with the tip, and the upper neighboring strings with the bottom of your lst finger.
If necessary mute the A and E strings with your thumb.
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 HOTLINE #11
This phrase contains only 3 notes out of the B Pentatonic scale. The rhythmic
motif makes the music happen.

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HOTLINE #12
Here is a ballad I IV progression in the key of Bb. Notice the use of the Pentatonic
scale. Play it with a swing feel.

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HOTLINE #13
This line gives you a shuffle feel using IJ.th and 3rd intervals to outline the chord
progression. Though it might take some practice because of the different feel, make
sure to use a steady down and up motion to strike the strings .

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 HOTLINE #14
This phrase plays over a II V progression in F. Scratch the 1st and muffle the 2nd
bar to get a different sound. Also, notice the use of hammer-ons and pull-offs to .
attain a smoother sound.

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HOTLINE #15
This example introduces the use of the octave to 'fatten up' a single note. Scratching
again does the same thing. Itl2...1,1f..1b
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HOTLINE #16
Single notes in combination
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with sliding into double stops can make a single chord
sound real interesting.

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HOTLINE #17

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Make sure you learn this one. This very common rhythmic figure will get you through
many funk tunes.

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HOTLINE #18 100

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This line can also be played over an A7sus or A7 progression. It outlines the chords
very melodically.

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 HOTLINE #19
\ . This is a II V progression in the key 6f O. Note the use of suspended sounds which
~s very common for contempory music .

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HOTLINE #20
This phrase is played over a IV III VI progression in the key of Bb using the Bb
Pentatonic scale.

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fHOTLlNE #21
Here is another IV III VI progression. This time we're in the key of C. Grab the
full 'power-chord', but put your attention on hitting only the upper 3 strings to
stay away from the piano range.

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HOTLINE #22
Another great way of getting away from the piano range is the use of double stops
and single note lines.

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 rHOTLINE #23
This one is good practice for your right' and left hand synchronization using hammer-
ons, scratches and 16th note syncopations.
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rHOTLINE #~ _.i

This chord phrase plays over a IV III progression in C. Put your attention on the last
16th note in the 1st bar and the 1st 16th note in the 2nd bar for rhythmic precision

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is very important

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in order to groove.

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06 chord using 3rd intervals. Swing it!

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HOTLINE #26
You don't have to play many notes to sound great. This phrase IS a very common
rhythmic motif used in many tunes. Be sure to learn it well.

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1,12..
HOTLINE #27
This line comes from the em (Eb) Pentatonic scale. Bending strings gives you a
more natural, vocal sound. Use alternate picking.

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13
 r HOTLINE #28
This is a VI II III progression in Ab. A very common rhythmic pattern is used in the
1st and 2nd bars. Bars 3 and 4- resolve the entire phrase. Work on your hammer-ons
scratching and rhythmic precision.

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HOTLINE #29
This phrase is played over a I VI IV V progression in Ab. Put your attention on
the slide in bars 1 and 2.

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HOTLINE #30
This line works great over a IV III progression in the key of A. Mute with your right
hand and play with a swing feel. Note the slide from E down to the A to start it .

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r HOTLINE #31
Again, 16th note syncopation is what makes ·this II V idea in the key of 0 sound great.
Notice also the use of muting the entire chord with your left hand to add contrast to
your sound.

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HOTLINE #32 L "1 108

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This little single note line, using the 0 Pentatonic scale, fits over a II V progression
in the key of O.

HOTLINE #33
Sometimes just silence is what music is all about. Always listen to other instruments

- .. ',.
in the band in order not to interfere with them Put a lot of grease on the slides .

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