L E DIORIOHOTLINE #1 The following three Hotlines can be played over C major, Cmaj7, Cmaj9, or Am7, Am9, Am11. The 'C' major scale is used as a point of reference and because of their natural relationship, C major and A minor ideas can be interchangeable. Cmaj7, Am7 HOTLINE #2 In this example take notice of the triplet in the Ist bar and line it up as you would a chord and play it using all down picking for smoother execution. When possible, play all triplets in this manner. . Cmaj7, Am7 HOTLINE #3 The accidentals are passing tones for this Am idea. Cmaj7, Am7HOTLINE #4 A 'Plurality' is the same chord with different names. For example; Am6=D9, Am#7=D9#11. D9#11, Am#7 HOTLINE #5 Play this line over Al3, Gmaj7b5, Ci#m7b5 or Emé. Notice that this line has 'unisons' in bar 2 (A & C#) and F# in bar 3. The unison strings are in circled numbers below the staff. . A13, Gmaj7b5 HOTLINE #6 \ This Hotline works best over Al3, Gmaj7b5, C#tm7b5 or Emé6. A13, Gmaj7b5HOTLINE #7 This line plays through any ‘altered C7 chord. It also works well for flat five (b5) substitution of C7 (Gb7 and any alteration). C7 a P= a ee ++ +4 Yo te a | {fe HOTLINE #15 In this example notice that for the 16th note triplets we are using a pick, Hammer-on Pull-off technique to execute the triplet. a | [| le LU ne He |__| | {fe We Pf or Pf |—____—__}} t-te ot He CSHOTLINE #16 The following 2 Hotlines are for the flat five (b5) substitute turnaround. Cmaj7 Eb7 (A7) MZ Abmaj7(Dm7) Db7 (G7) HOTLINE #17 In the Ist bar of this line we utilize 5ths and 4ths which produces an open or wider sounding melody. Abmaj7 Cmaj7 Eb7 AEN Db7 Cmaj7 Y HOTLINE #18 The chords derived from harmonizing the G Harmonic minor scale are: Gm#7, Am7b5. Bbmaj7b5, Cm7, D7, Ebmaj7 and Fi#°7. Although this G Harmonic minor line can be played over any of these chords, it works best over, Am7b5, D7, Gm7. Am7b5 D7b9 Gm7 —— | i a 3-1 ~~ | aaa tte ene [re — + —o-+—e—_—5 -— 4 Aer E RSE Eo =a eeHOTLINE #19 This line plays through F7(b5,b9) or its flat five (b5) substitution B7(b5,b9) as well as the shown progression IIm7b5 (Fi#tm7b5) V7b9 (B7b9) Im#7 (Em#7). F#m7b5 B7b9 fy —— E SS HOTLINE #20 Here is another minor II V I idea for Gm.HOTLINE #21 These next 3 lines are from the D Harmonic minor scale and work best over Em7b5, A7, Dm7. Em7b5 A7 Dm7 HOTLINE #23 Em7b5 A7 Dm7On this page we are dealing with the G Harmonic minor scale over Am7b5, D7, Gm7. I have broken up the scale intervallicly (octave dispersion) to give some interesting, wider sounds. HOTLINE #24 HOTLINE #25 Am7b5 D7 Gm7 Am7b5 D7 Gm7 HOTLINE #26 HOTLINE #27 Am7b5 D7 Gm7 Am7b5 D7 Gm7 QO i) ee ee ee ee J | TA | EE ee eee tI Oe tee a r\y' | bane pf f= ep La <5 Q “| Pet of eS AT I HayHOTLINE #29 Because Am/7b5 has as pluralities F9, Cm6 and Eb6b5, the first bar of this line will also play through the above mentioned chords. Am7b5 HOTLINE #30 This line works over an altered Imaj7, VI7, Ilm7, V7 progression (Cmaj7, A7, Dm7, G7). Em9 is a substitute for Cmaj7b5. A7 altered = its flat five (b5) substitute Eb7 altered. Dm7 becomes D7 altered, and G7 = its flat five (b5) substitute Db7 altered. The line comes to rest on Cmaj7b5. Also, note the unisons (F#) in the 3rd bar. The strings are in circled numbers below the staff. Em9 Eb9#11 D9#11 Db9#11HOTLINE #31 By raising the 3rd of a major triad (C chord = C E G) we produce a suspended triad (Csus = C F G). Stringing these suspended triads together makes for a light open sound. Play it over Am7b5. Cm6, F9, Ebmaj6b5. Cm11 Q oT ‘4 A ee Ee ee or A____| | fe a he Oe SA a | SS a a 5 S| A > = - = Q 5 * _ | PP ee Fe Lo 3g eH ea 8s 6 = =, <1] : HOTLINE #32 Many progressions have several Dominant 7th chords strung together. This line is for Dominant 7th chords moving in a cycle of 4ths. I suggest learning 2 and 3 bar segments of this line. (Continue cycle to G7) Db7 Gb7 ETC. Lp 9 a TT OT— oooHOTLINE #33 Here is another Dominant cycle of 4ths but to create some tension every other chord is a Dominant 7th with a flat fifth (Dom.7b5). G7 C7b5 F7 Bb7b5 Fae TY eee) ee | Cr rr Vo v PO oro IO eel fe B7 E7b5 AZ D7b5 9 pe pT PSS J—— + 44 Ca 14HOTLINE #34 The basic chords in a 12 bar Blues progression in 'F' are: F7 Bb7 F7 F7 Bb7 Bb7 F7 D7 G7 C7 F7 C7 1 2 3 4 5 6 7 8 9 10 IL 12 By comparing the basic chord progression with the chords over the solo, we can see where substitutions are used to enhance the harmony and melody. Also, note that 9th and or 13th chords can replace any of the Dominant 7th chords. BLUES SOLO F7 Bb7 Bdim7HOTLINE #34 (cont.) Fmaj7 (F7) , Am7 D7b9 G7(b5) C7(#5) x se any yer oe Fmaj7 D7b9 Gm7 F#13 (C7alt.) F7