This line could be the opening line for a slow blues, but sounds good at an up tempo shuffle feel as well.
HOTLINE #21
C7 F7; 3
Three Licks to Give Your Solos Some Sizzle
3
131 3
BLUES
3
3
33
;
C7
From Blues for Guitar (00071201)
This line could be the opening line for a slow blues, but sounds good at an up tempo shuffle feel as well.
HOTLINE #21
3
Blues Hotline
1131321
3
3 15
1
3
3 13212
3
1
131 3
C7
F7
3
3
3
8 11 8
33
8
3
8 11
3
BY ROBBEN FORD
8
;
3
33
HOTLINE #21
113 1
321
10 8
10
;
10
;
; 10 12 8 10
10
8
6
77
3
3
;
13
1
3
212
13
10
8 9
C7
11 11
3
3
This line could be the opening line for a slow blues, but sounds good at an up tempo shuffle feel as well.
HOTLINE #21
3 15
This line could be the opening line for a slow blues, but sounds good at an up tempo shuffle feel as well.
3
C7
3
8 11 8
8
3
8 11
;
8
33
;
; F7;
10 8
; 10 12 8 10
10
10
;
10
8 9
3
10
8
6
77
1
3
212
31
33
3
1
13
11 11
3
;
C7
131 311313213 1 1 3 13
3
1/4
; 10 12
3
This line sounds best when played as the last two bars of a slow blues progression.
HOTLINE #22
1/4
;
8 11
8
8
10 8
10
10
;
6
8
10
77
8 10
10
8
3
3
This line sounds best when played as the last two bars of a slow blues progression.
HOTLINE #22
33
This line sounds best when played as the last two bars of a slow blues progression.
HOTLINE #22
C7
321
321
F7
311
31 1
3
3
3
3
3
8
9
3
C7
321
321
F7
3
PO
11
31 1
C7
3
3
3
3
3
3
;
876
876
86
3
HOTLINE #22
This line sounds best when played as the last two bars of a slow blues progression.
11 8
9
8
3
13
11 11
3
G7
3
2
1
3
PO
PO
85
5
C7
3
7
5
3
G7
3 9 8 10
3
2
1
3
PO 3
PO
85
5
86
C7
3
7
5
3
3
C7
;
G7
8
10
3
3
3
3
321 21 1131 13 213
;
876
87
PO
6
85
5
86 7
5
3
98
10
33
This line could be played in either the 3rd and 4th, or 6th and 7th bars of a blues progression. The 16th note triplet in the 2nd half
of bar one sounds different than written, so check the phrasing with the audio clip.
HOTLINE #23
C7 (F7) C7
This line could be played in either the 3rd and 4th, or 6th and 7th bars of a blues progression. The 16th note triplet in the 2nd half
of bar one sounds different than written, so check the phrasing with the audio clip.
HOTLINE #23
1
C7
313
(F7)
3133
3
31
2
1
2
C7
434
1
4
1
(G7)
3
33 3
8
11 8 10
11
78
10 8 9
HOTLINE #23
This line could be played in either the third and fourth, or sixth and seventh bars of a blues progression. The 16th note triplet in the second half
of bar one sounds different than written, so check the phrasing with the audio clip.
(G7)
96 PREMIER GUITAR OCTOBER 2010 www.premierguitar.com
This line could be played in either the 3rd and 4th, or 6th and 7th bars of a blues progression. The 16th note triplet in the 2nd half
of bar one sounds different than written, so check the phrasing with the audio clip.
HOTLINE #23
C7 (F7) C7 (G7) 3
1 3 1 3 3133
3
31
2
1
2
434
1
4
1
3
33 3
;
8
11 8 10
11 10 8
10
78
10
10
8
8
9
10
10 7
10 10
;
10 8
10 10
8
10
10 7
10 10
Click here to head to premierguitar.com/oct2010 for sound clips for this lesson.
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