VCO LCA ane ‘* a) fy zB Y on Bk é re a ee irom ed “|oe ge KEY Slide into note from: previous note or grace note. Pull-off. These indicators will only appear when a left hand note pulls off to another left hand nore. 1234 & Bas = Hammer-on. These indicators will also only appear for a left hand note hammered to another left hand note. Bend from Ist note up to 2nd note, Whole step bend (from 15th fret to sound of note on 17th fret). Harmonic notes. Right hand index, middie and ring fingers. Left hand index, middie, ring and little Fingers. Reverse Bend. Release bend {rom Ist note to 2nd note. Reverse whole step bend (from sound of nate on 18th fret to on 16th fret). HOTLINE #4 In bars | and 2, the right hand copies the shape that the left hand plays, while ascending Pentatonic scales (A minor in the left and and E mince in the right) in intervals of a 5th. The next 2 bars use the lechnique of hammered grace note: These notes should be tapped quickly and lightly. AmHOTLINE #2 This line involves changing positions with both hands. In the 1st bar, the left hand is in the 9th position and the right hand is in the 16th. For the 2nd bar, the left hand moves to the /th position. Keep your index finger (Iedt hand) on the E note as a guide until your 4th finger has landed on the A. Your right hand, following the shape of she left, will also change positions, from the 160) to the | HOTLINE #3 Here T've used the popular triplet hammer-on technique where the right hand frets a note, pullls it olf to a left hand note, then the left hand hammers on & 3rd note This ling consists of 2 major triads (Gé& Db) which alternate on each string (ice G teiad on the 6th, 4th and 2nd strings, and the Db triad on the 5th, 3rd and Ist strings). This line builds tension ina solo by adding b9 and b9 scale degrees to the suggested harmony, until it's final resolution. DBA Ce. 82. we NS y oer Cc!HOTLINE #4 This line involves a G major scale ascent by way ol short tremolos between the right and left hands. The ending double note bend, is executed by placing your right hand paralte! to the guitar neck, fretting the E and C notes on the E and B strings, and immediately bending the 1S String up a whole step with the left hand. When bend- 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 leit hand. Am eae one ae SMPTE s HOTLINE #5 In the Ist bar, the Ist 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. E Pe oe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 iy to hammer ¢ note, release the bend a half step. When the right hand contacts the string re-bend the string back toa whole step. Whenever you hammer on a siring 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 a whole step, and then hammered on the [2th 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 step, the resulting note would be a C. So make sure you anticipate the pitch change. Da == Sa Se w 2. % Ba = 4, 7 oo O+nqn * eno 1K ix mK ® HOTLINE #7. To execute this one, after you've made the initial bend from D up to Ey keep the string bent while hammering the right hand notes. Every time the Eb grace note comes upy drop the whole step bend a half step £0 attain the Eb note, then return the bend 10 E natural, The last 3 triplets are sounded by slowly dropping the left hand bend while ham- mering with the right hand. Am —So-3— , 2? BO > GW > BO2eG0 > BRRABR B 3, x f ' ~HOTLINE #8 Here, each hand climbes an interval of @ Sth from the Ist notes then 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 sotes on the G steing ring out, angle the left hand index finger so that it lightly touches and deadens the G string. Am HOTLINE #9 Begin this line by picking the open G string with the right index finger. The notes which follow (in groups of 5) are sounded by sliding the right index finger up and back from scale step to scale step (F major scale) en the same string. When played st, it creates somewhat of a blurred sound. The last bar involves hending 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 to fret the note G, then return to the bent € note first releasing the bent note a half step and re-bending guickly. ony C£EXYEZY EAD ED OOe O03; 2003: O0 os ws" ED a & a SN by) £e5 ’ 2 fo ® baw COgnfOgs, fog "opsHOTLINE #10 This melodic phrase displays an cxamp 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 hand by fretting with che right middle Linger. © of how the technique can be used on just fo a HOTLINE #11 To execute harmonic taps, tap firmly but quickly with the right hand, the cxact same notes at the exact same time that the left hand plays, 12 frets higher. The resi Should be a combination of the left hand “real note" [rom the left hand and its! har tronic (an octave higher). Experiment with both clean and dirty settings with this technique. be e+ BB +272 'D 3B “0 '@ HOTLINE #12 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 |2 frets higher. 3029 hg 40HOTLINE #13 A new technique is displayed here where the Ist and 2nd fingers of the right hand will hamimer consecutively on adjacent strings. Mastery of this method will add a great deal of freedom to your Two-Handed style by cabling you to cross strings without Raving to pull-off to the left hand first. D7 a3 RG @ so @ =e a cE A & 4 ie aectamet us BS —— bb HOTLINE #14 The & major triads here ar E. The resulting notes Cb (8), Db, D, E and Fy whic 1) Ab Diminished scale. Thi: able to be played over G7, Db7, Bb7 or E7 chords. G7 snore ta? Q'e+ B2e2"010' @i BeHOTLINE #15 The left hand pulls off the notes on consecutive strings of the G miner or Bb major Pentatonic scale, while the right hand slides up and down each half step (E to F and A to Bb) in descending octaves, of the F major scale. Gn 275 ° 5 ZN & 58 062) Don '* 000*'Q00t gap! Gant: orev: ~~ 2 ton, fas s pd ao Ne 33,2 eR HOTLINE #16 This line involves playing @ parallel pattern between the right and left hands which is a 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 Bea t B22'2 'OFe83:0¢8 Gq eT a a $ : ra meHOTLINE #17 A clean amplifier set! your left hi fingers hold g will sound best on this line. For the double note bends, let nd do most of the bending work while the right hand index and middte thew notes Tirmly. During the bends, let the right index finger spread apart and away from the middie 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 cle #2 involves sliding down 2 frets (trom E to D) then sliding {irom A to B) in the right hand. This line cnds in a double note slide with the right index and middle fingers. You may wish to work on this final slide separately for a minute (© get comfortable with aiming for the last 2 notes before trying the entire line. an amp setting, Bar in the opposite direction D 19IE #19 Gan hear the desired "fluid" sound of the Two-H, hand slide used here can be landed technique in this line. The added to any notes you choose in any other riffs also. HOTLINE #20 this line consists of 2 different positions of the C major (or A in Here you must ‘split your brain as a pianist docs by playing 2 c Shapes in the left and right hands. First memorize wh Slowly add the right hand notes. Notice that all Dentetenn, Positions have 2 notes per er Bi a lett side and a right side. When learning these line. thinks right hand left side left hand left side, then right hand right side, lett hard right side, for every string. Once you've learned this Hotline, repeat the process in the other Pentatonic positions, inor) Pentatonic scale. ‘ompletely different nat the left hand is to play, then @zp+ 2284HOTLINE #21 Hote I've used the right to Icft hand tremolo in 2 different positions of the D minor Pentetonic scale. You can extend the length of many other lines by using this type of tremolo effect. Day aay ee a SY mae MN ae aS eS OSS — a a ore o oe Ea @e ee Op: pb 270383 HOTLINE #22 Hore I've bent 4 consecutive strings up a whole step (froin thei “e notes). Upon release of the bends, the remaining 2 notes of the triplet figures will be pulled off to and sounded, ao SS = si Dm eweHOTLINE #23 Modern players seem to be focusing more and more on the odd natural sounds that Wi conc cted from the electric guitar. This one, sounding a lot like oy elephant Thu definitely add some interest to any high energy solo. To get it started, hammer Bi, FiBNY index and middle fingers onto the G and B strings ae the | day fret. Imme- titely slide those fingers up to the 2tst feet while at the same vine tens ng the G ire ieacy Mele step from any iret below the 12th. When youresch the Zio fret, unmediately slide back to your starting point while at the same tine releasing the G String bend. The more distortion the better. (8x ; ANY KEY HOTLINE #24 The main em Phasis in this tine is the use of slides in the right hand movin directions, in opposite c Br 3 ¥, v) Om Ae A 2D Q ‘* G04 ons Goons ce”, ag) on oe Te feHOTLINE #25 For this Van Halen style riff, hold the 5th position D chord in your left hand (A string Sth fret, D string 7th feet, G string 7th fret) down for the entire rill so the notes wil ring out like a chime. Tap the frets lightly with the right hand right on top of the fr The brighter and more distorted the sound you have, the Clearer the harmonic can be heard. D 20320) 30 2) 32 3 aa HOTLINE #26 Here I've used all double note hammers within the C minor Pentatonic scale.INE #27 fe is a “hornlike" gliss cmployed by the cight hand as it slides down several frets ® adjacent strings, ending on the root of the chord. cy ae A tee & cot 0) 'a @ees w 5 fe ey Oa@s Om, 3.5 SS) SS” “SS 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. IN TS a oe ade Be 02 iw Bat iN o™ EN ON “ee~N 1 3Q:s@is@i2Ms8' Qs SM eOVOsOsO!s B30 neHOTLINE #29 This line moves chromatically down 8 steps then returns to 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 (65) interval. Ab7 bo O+O°2 OR gems Bea org! OO? DO! O20? a 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 cach note. Dm 16