JAZZ, PHILOSOPHY The philosophy of the REH HOTLINE SERIES isto give you a larger and varied vocabulary of licks and melodie ideas. Many guitarists want to have their own original style and fee! they shouldn't copy licks from other players. In reality, itis a proven fact by most top ‘original’ players that itis very beneficial, ifnot necessary. t0 study other players, lear their ideas, phrasing, etc. Some of the benefits of learning such lines are: Developing the ear — by playing and singing these lines you wil soon ‘hear’ and understand melodies and how they relate to chords; Building technique and confidence — the Hotlines are great for building chops and will also give you an arsenal of ideas to fall ack on; Music theory — an understanding of mmprovising theory can be gained by learning and analyzing the lines which are built from scales, arpeggios and intervals. Here are some suggestions to help you get the most out of the Hotlines: nt octaves, ny of the li written t Téth notes for quick learning, experiment by “breaking them up ehythnically (cyncopatina) of DAFWing them in ci ofthe bar etc. o Fealitee to add effects like: Hammer-ons, Pull-offs, slurs and bends. at ‘@ Experiment with the lines over chords different from the ones suggested. ® Although the author's fingerings and positions are shown for each of the Hotlines, you may ‘want to make some adjustments to make them more comfortable. ‘© The last and most important thing is to work the lines, in whole or in part, into your playing right away. CREDITS Cover Design... awe sees K. Adolphsen Consultant... 2.2.7. ae 2s Don Mock Music Copy ce fora cee) +++ e+, Monte Mann Graphic Art ne : . - REH Productions WARNING: This book (and/or the companion tape) may not be reproduced or transmitted in whole or in part, by any means whatsoever ‘without written permission irom the Publisher. ISBN 0-943686-16-4 REH PUBLICATIONS® Copyright © 1984 Roger E. Hutchinson P.O. Box 31729 Seattle, Washington 98103 International Copyright Secured, Printed in U.S.A. All Rights ReservedHOTLINE #1 The following three HotJines.can be played over C major, Cmaj7, Cmaj9, or Am?, Am9, Am11. The 'C' major scale is used as a point of reference and béCause of their natural relationship, C major and A minor ideas can be interchangeable. Cmaj7, Am7 2 2 : xz HOTLINE #2 In this example take notice of the triplet in the Ist bar and Jine it up as you would a chord and play it using all down picking for . When possible, play all triplets in this manner. - Cmaj7, Am7 Zz 9k xz HOTLINE #3 The accidentals are passing tones for this Am idea. Cmaj7, Am7 trHOTLINE #4 A 'Plurality' is the same chord with different names. For example; Am6=D9, Am#7=D9#LL D9#11, Am#7 HOTLINE #5 Play this line over AL3, Gmaj?b5, C#m7b5 or Emé6. Notice that this line has ‘unisons* in bar 2 (A & C#) and Fif in bar 3. The unison strings are in circled numbers below the-staff. i rea — A13, Gmaj7b5 eo z = sHOTLINE #6 This Hotline works best over Al3, Gmaj7b5, C#m7b5 or Emé. A13, Gmaj7b5 =\ HOTLINE #7 4 This line plays through any altered C7 chord. It also works well for flat five (b5) 5 (2) substitution of C7 (Gb7_and any alt we &) C7(alt.), Gb7(alt.) x Zz oan eb, HOTLINE #8 Play this line through D7 altered (ie. D7b5, D9#11, D13#11) and also plays well through Am#7. Remember, any altered dominant chord is any_dominant_7th chord with a_b5, b9,-or.#9_added, alone or in any-combination. ee ae D7(alt.), Am#7 z = HOTLINE #9_ The 1 VI IE V progression is one of the most used progressions in Jazz and is usually used for intros, endings and especially turnarounds. A 'tutpa js the last 2 bars of the Ist ending returning to the top dor the 2nd eight jars and also the last 2 bars of the tune returning you smoothly to the top. AT Dm7 eon Cmaj7 Cmaj7 26HOTLINE #10 This line plays through the progression Dm7, G7, Cmaj7b5 (lim7, V7, Imaj7b5). The first 2 bars can also be played over G7, G9, G13 and pluralities Fmaj7b5, Bm7b5 HOTLINE #11 Here is ano’ LYLILY line. Notice that if you play only the 2nd bar of these lines you have a major Ilm? V7 Imaj7 progression (ie. Dm7, G7, Cmaj7). Also, remember the down picking for the triplets in the 2nd ber. Cmaj7 AT Dm7 67009) Cmaj7 Woy any ee| HOTLINE #12\ "This Is another straight ahead Imaj7, VI7, Ilm7, V7, Imaj? (Cmaj7, A7, Dm7, G7, Cmaj7) progression. HOTLINE #13 Here we have a Imaj7, bIII7, bVImaj?, blI7 (Cmaj7, Eb7, Abmaj7, Db7) progression which is also commonly used es @ turnaround. This progression was made popular by Charlie Parker and John Coltrane. Cmaj7 Eb7 Abmaj7 Db7 Cmaj7 a a3 -HOTLINE #14 Here is a turnaround line using flat five (b5) substitutes for the VI I and V chords. Cmaj7 Eb7 Abmaj7 .-- Db7 7 Cmaj7 I HOTLINE #15 79% In this example notice that for the 16th note triplets we are using a pick, Hammer-on Pull-off technique to execute the triplet. Cmaj7 Eb7 = r Db7 Abmaj7 xr Cmaj7//HOTLINE #16 The following 2 Hotlines are for the flat five (b5) substitute turnaround. Cmaj7 ee, > Abmaj7 (Dm7) » on GD Cmaj7 \S 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 7 Db7 Cmaj7 == | HOTLINE #18 The chords derived from harmonizing the G Harmonic minor scale are: Gm#7, Am7b5, Bbmaj7b5, Cm7, D7, Ebmaj7 and F#°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 2 |HOTLINE #19 a This line plays through F7(b5,b9) or its flat five (b5) substitution B7(b5,b9) as well as the shown progression [Im7b5 (F#m7b5) V7b9 (B7b9) Im#7 (Em#7). F¥#m7b5, B7b9 Em(#7) HOTLINE #20 Here is another minor II V I idea for Gm. Am7b5 D7b9 Gm7HOTLINE #21 nonic minor scale and work best over Em7b5, Dm7 e, = t (0s oe = ee Die Sapte 2 a HOTLINE #22 Em7b5, ie Er HOTLINE #23 Em7b5 Xr Zz Dm7On this page we are dealing with the/G Harmonic minor scale over Am7b5, D7, = Thave broken up the scale intervallicly toctave dispersion) to give-sotte interes: a wider sounds. ce HOTLINE #24 HOTLINE #25, 2 Am7b5 D7 ~~ Gm7 Am7b5, D7 Gm7 x : I ba /° HOTLINE #26 HOTLINE #27 Am7b5 Di Gm7 Am7b5 D7 Gm7 =z ett wa HOTLINE #28 Am7b5 D7 Gm7, Cmé and Ebéb5, the first bar of this line will also play through the above mentioned chords. Am7b5, a D7 Gm7 HOTLINE #30 eee | This lime work over an altered Imaj7, VI7, lim?, V7 progression (Cmaj7, A7, Dm7, G7) | | Em9 is a substitute for Cmaj7b>. A7 altered = lis flat five (b3) substitute EBT altered: | | Dm? becomes D7 altered, and G7 = its flat five (b5) substitute Db7 altered. The line | F comes to rest on Cmaj7b5. Also, note the unisons (Fif) in the 3rd bar. The strings are in circled numbers below the staff. Em9 Ebo¥11 Do#11 Db9#11 = Zz q Bae = (#fE) ae +E, eo Cmaj7b5, a_ 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. Cmil \ . HOTLINE #82. 7 ! 2 be Many progressions have several Dominant 7th chords strung together. This line is-for Dominant 7th chords moving in 2 ¢ycle of Sths. I suggest learning 2 and 3 bar segments of this line. et = G7 Ce F7 Bb7 z (Continue cycle to G7) Db7 Gb7ETC. i ad =z Eb7 Ab7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.7b3). G7 C75 7 Bb7b5 Eb7 Ab7b5 Db7 Gb7b5, B7 E7b5 AT D7b5 14HOTLINE #34 The basic chords in a 12 bar Blues progression in 'F' are: F7 Bb7 F7 F7 Bb7 Bb? F7 D7 G? C7! F7 C7 ape 2 tt fee @ 5 7's 9 16) 11 f2 J. where substitutions are used to enhance the harmony and melody. Also, note that 9th cand or 13th chords can replace any of the Dominant 7th chords. eh Celt BLUES SOLO J By comparing the basic chord progression with the chords over the solo, we can see E7 Bb7 Bdim7 Bb7 Bb7 LeHOTLINE #34 (cont) Fmaj7 (F7) Am7 D7b9 Witte 2 ms G7(b5) C7#5) x (144) Fmaj7 D7b9 Gm7 F#13 (C7alt.) F7 wa