Erotic Cakes Guthrie Govan Transcriptions

7/16/2019 Erotic Cakes Guthrie Govan Transcriptions

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Erotic Cakes - The Backing Tracks



ContentsIntroduction

Waves

Erotic Cakes

Wonderful Slippery Thing

Ner Ner

Fives

Uncle Skunk

Sevens

Eric

Slidey Boy

Rhode Island Shred

Hangover



IntroductionGreetings, one and all!

Guthrie here...

Hearty felicitations and congratulations on your purchase of this Erotic Cakes Jamtracks package. I’m happy to report that

General MIDI and his Magic Band were in no way involved with the manufacture of these backing tracks: they’re remixes of the actual album sessions. Apart from the fact that the most prominent guitar parts have been removed, what you have here

is the exactly same as the album - Pete and Seth’s splendid drum ‘n’ bass contributions are very much in evidence, as is

Jan’s unparalleled mixing prowess - so hopefully you’ll enjoy the sound quality and “real band” vibe of the tracks...

May you have a Most Excellent time jamming along!

About the transcriptions...

It’s probable that you’ve grown accustomed to the “everything on a plate” fashion in which instrumental guitar music is

normally transcribed. Perhaps you’ve even become somewhat dependent on the comforting notion that a transcription can

tell you exactly what to do at any given moment in the track.

If so, you may at first feel a little perplexed (or even cheated!) by the accompanying pdfs and PowerTab files, which offer only

the main themes and general harmonic structure for each track - rather than documenting every last string squeak and pick

scrape in slavish detail... Well, I’ve had many a discussion with the good people at Jamtrack Central about the best way to

present this material, and we’ve always concluded that our approach should reflect the spirit in which the music was written

and recorded.

Interestingly, I’ve met a number of fellow musicians over the years who seemed to think that every note on the Cakes album

was composed. In reality, the intent behind this music was much closer to the “jazz” mentality - in each tune, the composed

passages are interspersed with sections where the guitar is meant to improvise around a predetermined chord progression.

(The main melody from something like Waves, for instance, is entirely “composed” - so it pretty much remains the same fro

one gig to the next. On the other hand, the ring modulated “robot solo” from the title track is something which could never,

ever happen again. To my way of thinking, however, that’s absolutely fine - it was never meant to be replicated...)

In general, the solos you hear on the album aren’t meant to be set in stone: they’re just recordings of whatever I happened t

feel like playing when the engineer hit the red button on one particular occasion, in a studio in North Hollywood, several year

ago...

The parts you’ll find notated in the accompanying transcriptions comprise every composed note from the album. Once

you’ve worked out how all the key parts fit into the overall structure, you’ll essentially know the songs as well as I do! At that

point, I would urge you to start having a ridiculous amount of fun with the solo sections, taking every liberty imaginable in the

name of injecting some of your own personality into the music.

Some general thoughts

In a moment, you’ll find some brief tips on the kind of note choices I would recommend for the solo sections in each track.

Before we get to any of that stuff, however, I’d like to share a few general observations with you.

Much of what follows is based on my experience of the kind of guitar players who most commonly attend my gigs and

clinics. These guys (and yes, they are almost exclusively guys!) often have bucketloads of theoretical knowledge, coupled w

a terrifyingly high level of metronome-honed technical proficiency... yet so many of them suffer from an overwhelming lack of

confidence when they tentatively approach what they perceive as the dauntingly nebulous concept of improvisation.

(If you don’t relate to the above - or you’re just the impatient type! - and you’d rather skip ahead to the more specific stuff

later on, I won’t be offended... but the following bit pretty much sums up my whole approach to note choice, etc - so at leas

some of it may prove enlightening...)



Given that the tips below mostly consist of various scales and modes, I feel duty-bound to say this: whilst scales are

undeniably good things, I suspect that guitarists as a breed spend way too much time focusing on them. This is

understandable: they’re easy to teach, easy to learn - provided you’re willing to put the requisite amount of hours in - and th

speed at which you can play various scales offers an appealing yardstick by which a player’s “progress” can be measured...

To be fair, it’s obviously useful to be able to classify a certain selection of notes as “right” whilst dismissing all the remaining

options as “wrong” - but if your goal is to make a melodic statement with any kind of musical value, you need to take things

one step further and become familiar with the distinctive mood and quality of each note, relative to the harmonic context of

the music as a whole. (Whizzing up and down a memorised scale pattern on autopilot is certainly fun for a while - unless you

pick the wrong scale, of course - but this tactic eventually leads to frustration when you realise that the fretboard pattern is

telling you what to play, rather than the other way around.)

The reality is that, at any point during an improvisation, you’re perfectly entitled to play any one of the twelve notes of the

chromatic scale. To do so with confidence, however, requires the ability to predict the overall effect of any given note before

you commit to actually playing it.

(I can think of at least three obvious ways to improve your abilities in this area: transcribing stuff by ear, trying to sing along

with your playing - which cab increase your melodic awareness immeasurably - and simply slowing down when you jam ove

a track, just to let each note breathe for long enough that you can hear the effect it has over the chord in the backing music.

Maintaining interest throughout the course of an improvisation is largely a matter of balancing tension and release. To

accomplish this in real time, the musician has to make aesthetic decisions on a note-by-note basis. Rather than trying to

remain fully conscious of all the theoretical stuff when you play, I think it’s best in the long term to aim for a more instinctive

understanding of how things sound, and this can be developed simply by listening to what you’re playing and evaluating its

tension/stability as you go along.

If this sounds daunting, remember that you learned to talk in exactly the same way, and that you can now string together

complex sentences in your native tongue quite effortlessly - without ever pausing to think about (for example) the correct wa

to decline an irregular verb! You just do it, because that’s the way you learned - and doesn’t it feel good?!

Thus, any one of the “play scale x over chord y” tips listed below actually takes all of the following as read:

Over any given chord, the root note will always be the most stable sounding note choice. That doesn’t necessarily mean it’s

always the best note choice: all good things in moderation!

The other notes contained within that chord will tend to yield a satisfying melodic quality. Each note does this in a subtlydifferent way: the fifth provides a nice all-purpose “thickness” - somewhat reminiscent of the root note, but with slightly less

stability - whereas the third imparts a “happy” or “sad” character... and so on.

If a note occurs in your chosen scale or mode but not in the chord itself, it will add an interesting new colour - some of these

notes sound more pleasant than others, depending on the “brightness” or “darkness” of the scale/mode in question. (The #

in a lydian mode sounds pretty enough that you can safely linger on it without alarming people, whereas the b2 in a phrygian

mode is a different beast altogether, and as such it needs to be handled with care...)

The remaining chromatic notes - those suspicious-looking pitches which don’t belong in the scale at all - also have their use

If you were to slip one in discreetly between two neighbouring scale tones, it would most likely create a pleasing sense of

movement - but your listener might scarcely notice that you’d just played a “wrong” note. If you were to draw more attention

to the same “wrong” note (by playing it in isolation, increasing its duration, making it louder, repeating it, placing it on a main

beat within the rhythmic pulse of the music... or any combination of those things) your listener would almost certainly feel a

little uncomfortable. Perverse though it may sound, this can be a good thing: if you feed your listeners with a constant diet o

obvious root notes and saccharine thirds, they’ll eventually start to take these “good” notes for granted and you’ll run the ris

of losing their interest... so from time to time it’s good to throw in a little tension, just to keep everyone on their toes...

The balance between these different note-flavours will help to determine whether your playing sounds stable or unpredictab

melodic or dissonant, soothing or challenging, earthily bluesy or bewilderingly jazzy, etc etc. You’re the boss, after all - it’s

your solo!



WavesSolo Tips

Just for fun, let’s start at the end of the tune, where you’ll be soloing over the progression from the A section. The bad news

is that, at various points throughout the progression, you’ll need to use F# aeolian, E mixolydian, B dorian, C# phrygian and

lydian. The good news is that all those modes contain exactly the same notes, so you can start by simply using a single sca

shape as your guide: just try to listen to the notes in each chord throughout the progression.

The B section can be tackled in exactly the same way - though our miracle scale shape now encompasses the additional

mode of A ionian over the A/C# (albeit fleetingly!)

For the C section, a little more awareness of the changes is required. Try the following:

Am11/Fmaj7#11 - use A dorian/F lydian (which contain the same notes)

C#m7/Amaj7#11 - use C#dorian/A lydian (be careful when the C#m7 appears for the first time - after the initial hurdle of

acknowledging that modulation, you’ll realise that you’re basically doing the same thing as before, but two whole tones

higher...)

E/D, D, Bm11 - use D lydian/B dorian

Amaj7 - use A lydian here. Admittedly, A ionian should really make more sense when you consider the harmony in the

previous few bars... but I think bar 29 of the transcription marks a very pronounced “scene change”, and I quite like the

added brightness offered by the #4 of the lydian mode at this point. (Why not try both and draw your own conclusions?)

you may a so e....

Guthrie’s phenomenal solo over our Larry Carlton style

backing track. Over one million hits (and counting) on our YouTubsite. Complete video, backing track, solo and tab transcription -

all to our usual high standard.

click here to find out more



Guthrie Govan 2006Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

WAVES - MAIN THEMESAs recorded by Guthrie Govan

(From the 2006 Album EROTIC CAKES)

A Main theme

I1

TAB

ggg 44

P = 78Fbm

V

H0

V

2

V

sl.

6

V

7

V

sl.

5

V7

V9

E/Fb

V

sl.

9

V

6

V

sl.

7

V

11

V

9

V12

V

sl.

14

V

12

V

sl.

12

Fbm

V

11

V

sl.

9

V

4

V

sl.

6

V

7

V

6

V

sl.

7

E/Fb

V9

V

sl.

9

V

6

V

sl.

7

V

12

V

11

V

sl.

9

V

7

V

sl.

9

I3

TAB

gggBm7

V

sl.

7

V

sl.

6

V

7

V

sl.

9

V

7

V

sl.

7

V9

Cbm7

V

sl.

11

V

9

V

sl.

7

V9

V

sl.

12

V

11

V

sl.

9

V

7

V

sl.

9

FbmV

11

V

sl.

9

V7

E/FbV

sl.

9

V

7

V

sl.

5

FbmV

H

9

V

H

12

V

P

14

V

sl.

9

V

7

V

sl.

10

V

9

V

sl.

9

V

P

7

V

6

I5

TAB

gggDsus2

V

sl.

4

V

7

V

9

V

sl.

9

V

7

V

sl.

6

V

7

Esus2V

sl.

9

V

7

V

sl.

7

V

6

V

sl.

5

V

H

9

V

H

10

V

12

V

sl.

12

FbmV

9

V

7

V

9

E/FbV

sl.

7

V

6

V

sl.

7

FbmV

12

V

sl.

11

V

9

V

11

V

H

9

V

sl.

10

V

P

7

V

5

V

sl.

7

V

6

I7

TAB

gggDsus2

V

5

V

sl.

4

V

6

V

sl.

7

V

P

10

V

9

V

11

Esus2

V

sl.

11

V

9

V

sl.

7

V

6

V

sl.

9

V

7

V

4

V

sl.

7

V

11

Bm11

V

9

V

H

7

V

11

V

sl.

9

V

11

V

sl.

10

V

9

V

sl.

11

V

12

V

sl.

9

V

5

V

sl.

7

V

6

V

sl.

7

V

P

5

V

4

B Solo 1 over these chords...

I9

TAB

gggE_ k Fbmc_ _ k A/Cbc_ k Dc_ _ ^ E_ k Fbmc_ ^ Bm11^

[0:49]



WAVES - MAIN THEMES - Guthrie Govan Page 2 o

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

I3

TA

B

gggE_ k Fbmc_ _ k A/Cbc_ k Dc_ _ _ k Ac_ k Bm11c_ _ ^ ^

C Solo 2 over these chords...

I7

TAB

gggAm11^ ^ Fmaj7b11^ ^ Cbm7^ ^ Amaj7b11^ ^

[1:50]

I5

TAB

gggE/D

_D

c_ ^ ^Bm11

^ Âmaj7

^ ^ ^ ^

D Middle section

I3

TAB

ggg1516 V

7

V9

V

7

V

9

V

6

V7

V7

V9

V6

V7

V9

V7

V6

V10

V9

V7

V9

V

6

V

7

V

6

V

9

V7

V

6

V9

V7

V5

V9

V7

V5

V9

V7

V5

V8

e V7

V5

fV

8

g V

6

V

7

fV9

V6

gV

10

fV9

V7

V

11

V

9

[2:52]

I6

TA

B

ggg 44 V

10

g V

10

f kV

14

V

17

V

15

V

14

V

16

V

14

6

V

13

V

14

V

16

V

14

V

16

V

14

6

V

13

V

16

V

14

f V

12

V

14

V

16

6

V

13

V

16

V

14

V

12

V

16

g V

14

6

V

12

V

14

V

16

V

12

V

16

V

14

6

V

12

V

16

V

14

V

12

V

14

V

16

6

I7

TAB

ggg V

12

V

14

V

16

V

12

V

16

V

14

6

V

12

V

14

V

16

V

12

V

14

V

16

6

V

13

V

16

V

14

V

12

V

14

V

16

6

V

13

V

14

V

16

V

14

V

16

V

14

6

V

13

8va

V

14

V

16

V

14

V

15

V

17

6

V

14

V

16

V

17

V

14

V

16

V

17

6

V

19

u k



Erotic CakesSolo Tips

For the fusion-avoured C section, try:

Am11 - A dorian

Amaj7#11 - A lydian

Dm11 - D dorianGmaj7#11 - G lydian

You might also enjoy experimenting with some minor pentatonic stuff, moving from Am-G#m-Am-Bm over those four chord

(Oh - and, much as you might expect, that Abmaj7#11 right at the end of the C section can be handled in much the same

way as the Gmaj7#11: just do the same stuff, but one fret higher...)

For the chaotic middle section, anything goes - as a starting point, try drifting in and out of your bluesy Em pentatonic/doria

comfort zone!




EROTIC CAKES - MAIN THEMESAs recorded by Guthrie Govan


Am11 3 fr.xAmaj7

b114 fr.x

Dm11 3 fr.xGmaj7

b112 fr.x

A`maj7

b113 fr.x

A Introduction

I1

TAB

44Gtr I

P = 142 jV

0

c V

(0)

V

7

V

6

e V

5

k V

8

V

7

V

6

ek V

8

V

4

gk k V

5

V

0

k kV

0

c j V

1

e V

1

j jV

1

c k j V

0

I6

TAB

V V

7

V

6

e V

5

k V

8

V

7

f V

6

e k V

6

e V

5

V

4

g k V

7

c V

6

k V

8

c V

5

j V

7

V

4

g V

5

V

sl.

7

V

6

e V

3

e V

6

e V

5

V

4

g V

0

I0

TAB

VV

7

V

6

e V

5

k V

8

V

7

V

6

ek V

8

V4

g

k k V

5

V0

k k

V0

c j V

1

eV1

j j

V1

c k j

V0

V(0)

V

7

V

6

e V

5

k V

8

V

7

f V

6

e

I5

TAB

kV

6

e V

5

V

4

gk V

7

V

7

V

6

e V

6

V

6

V

6

V

5

V

5

V

4

g V

4

V

6

e V

6

V

5

V

5

V

5

V

5

V

4

V

4

V

3

f V

3

V

5

V

5

V

4

g V

4

V

4

V

4

V

3

f V

3

V

2

V

2

V

sl.

1

e V

2

f V

5

V

0

Fingering: 3 2 3 2 1 3 2 3 2 1 3 2 3 2 1

B Main theme

I8

TAB

V V

7

V

6

e V

5

l V

8

V

7

V

6

el V

8

V

4

gl V

5

V

0

lV

0

d k V

1

e V

1

k kV

1

c k V

0

c V

(0)

V

7

V

6

e V

5

l V

8

V

7

f V

6

e lV

6

e V

5

V

4

gl V

7

f V

6

[0:27]



EROTIC CAKES - MAIN THEMES - Guthrie Govan Page 2 o


I1

TA

B

l V

8

V

5

k V

7

V

4

g V

5

V

sl.7

V

6

e V

3

e V

6

e V

5

V

4

g V

0

V

(0)

V

7

V

6

e V

5

l V

8

V

7

V

6

el V

8

V

4

gl V

5

V

0

lV

0

d k V

1

e V

1

k kV

1

c k V

0

c

I4

TAB

1.

V V

7

V

6

e V

5

l V

8

V

7

f V

6

e lV

6

e V

5

V

4

gl V

7

f V

6

e V

6

V

5

V

4

g V

6

e V

5

V

5

V

4

V

3

f V

5

V

4

g V

4

V

3

f V

2

V

sl.

1

e V

2

f V

5

V

0

Fingering: 3 2 3 2 1 3 2 3 2 1 3 2 3 2 1

I6

TAB

2.

V V

7

V

6

e V

5

l V

8

V

7

f V

6

e l V

6

e V

5

V

4

gl V

7

f V

6

e V

6

V

5

V

4

g V

6

e V

5

V

5

V

4

V

3

f V

5

V

4

g V

4

V

3

f V

2

V

sl.

1

e V

2

f V

5

lFingering: 3 2 3 2 1 3 2 3 2 1 3 2 3 2 1

C Solo over these chords...

I8

TAB

54Am11

kAmaj7b11

jDm11

j

1. , 2. , 3.

Gmaj7b11

j

4.

A`maj7b11

j[0:54]

D Ending

I3

TAB

44V

(0)

V

7

V

6

e V

5

l V

8

V

7

V

6

el V

8

V

4

el V

5

V

0

lV

0

d k V

1

e V

1

k kV

1

c k V

0

c V

(0)

V

7

V

6

e V

5

l V

8

V

7

f V

6

e lV

6

e V

5

V

4

el V

7

f V

6

[3:33]

I6

TAB

l V

8

V

5

k V

7

V

4

g V

5

V

sl.

7

V

6

e V

3

e V

6

e V

5

V

4

e V

0

V

(0)

V

7

V

6

e V

5

l V

8

V

7

V

6

el V

8

V

4

el V

5

V

0

lV

0

d k V

1

e V

1

k kV

1

c k V

0

c



EROTIC CAKES - MAIN THEMES - Guthrie Govan Page 3 o


I1

TAB

V V

7

V

6

e V

5

l V

8

V

7

f V

6

e lV

6

e V

5

V

4

el V

7

f V

6

e V

5

l V

8

V

7

V

6

e lV

6

e V

5

V

4

el V

8

V

7

f V

6

el V

7

f V

0



Wonderful Slippery ThingSolo Tips

You can actually jam over the solo sections in this track and achieve some pretty good results using nothing more complex

than the humble Bm pentatonic scale. This is splendid news: it means that a player who may not feel entirely comfortable

with the whole jazz/fusion thing can simply build on that trusty pentatonic framework. adding one new idea at a time.

A few chromatic notes can work very well here if they’re applied in the right way, but the most important thing is to stay

focused on what’s actually going on in the chord progression. Try these scale choices, if you feel so inclined...

For the B section:

Bm7 - B aeolian

D9 - D mixolydian

Gmaj7 - G lydian

F#7b9 - F# phrygian dominant (if you like Yngwie) or F# superlocrian (if you like Larry!)

Additional info for the E section:

Em11 - E dorian (the same notes as the B aeolian and G lydian we encountered earlier.) This will work for the whole of bars

25-26, so don’t panic about the density of the chords as notated in the tab - everything’s going to be just fine.

A11 - A mixolydian

A#dim7 - you could interpret this as an F#7b9 with no root, and use F# phrygian dominant. You might also like to try the

whole-half diminished scale, starting on A#. Or you could play it safe and stick to the notes of the A#dim7 arpeggio. (Frank

it’s only there for one beat at the end of bar 23... so you could be forgiven for not worrying too much about this chord!)

you may a so e....

Funk Fusion

With this mini-bundle, you get a much more intensive approach timproving your soloing skills. Using a funky jam track in E minor,

Guthrie has played four short solos, each with a different sound

and feel.





WONDERFUL SLIPPERY THING - MAIN THEMESAs recorded by Guthrie Govan


A Introduction

I1

TAB

gg 44

P = 96 (P P CP DP )(E7)

V

0

V

H

7

V

0

}

x

}

x

}

x

6

V0

}

x

}

x

}

x

}

x

}

x

6

V

0

V

H

7

V

0

}

x

}

x

}

x

6

V0

}

x

}

x

}

x

}

x

}

x

6

V

0

V

H

7

V

0

}

x

}

x

}

x

6

V

0

V

H

6

g V

0

}

x

}

x

}

x

6

V0

v k j

L R L L R L R L

B Solo 1 over these chords...

I3

TAB

gg Bm7 D9 Gmaj7 Fb7`9[0:05]

C Main melody

I5

TA

B

gg 44Bm7

j V

MFullO12

V V

11

D9W Gmaj7

j V

MFullO10

V V

9

Fb7`9V V

H

7

V

9

l V

9

E11

VMFullO

(9)

V VMFull

(9)

V

sl.

(9)

V

sl.

16

V

11

E9W[0:45]

I8

TAB

ggGmaj7

l V

sl.

7

V

9

V

7

V

MFull

9

Fb7`9V

MFullO9

V V

MFull

(9)

V

sl.

(9)

V

P

7

V

4

Bm7

V

(4)

V V

7

V

7

D9

V V

1 1/2

Gmaj7

l V

sl.

7

V

9

V

7

V

MFull

9

V

MFullO9

Fb7`9V V

MFull

9

V

sl.

(9)

V

7

I1

TAB

ggE11V

MFull O9

V V

MFull

(9)

V

(9)

V

7

VMFull

4

E9

V V

O(4)

V V

7

VMFull

5

Gmaj7

V

(5)

V

(5)

V

5

VMFull

7

Fb7`9V

O

(7)

V



WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan Page 2 o


D Riff section 1

I3

TAB

gg V

7

V

7

V

5

V

7

V

sl.

(7)

V

0

V

0

l}

x

V

4

g }

x

V

5

}

x

V

6

g V

7

l}

x

V

5

V

7

l }

x

V

H

6

g V

P

7

V

P

6

V

4

V

5

V

7

V

4

g

1.

V

7

V

7

V

5

V

7

V

sl.

(7)

V

0

V

0

l}

x

V

4

g }

x

V

5

}

x

[1:05]

I6

TAB

ggV

6

g V

7

l}

x

V

5

V

7

k V

10

f V

11

g V

10

3

f V

9

V

7

V

9

3

V

7

V

6

g V

7

3

V

5

V

7

V

4

3

g

2.

V

7

V

7

V

5

V

7

V

sl.

(7)

V

0

V

0

l}

x

V

4

g }

x

V

5

V

6

g

I8

TAB

ggV

7

V

H9

V

H10

V

14

3

V

17T

V

P14

V

P10

V

H9

V

H10

V

14

V

17

7

T

V

H

11

8va

V

H

12

V

16

V

19

T

V

H

9

V

H

10

V

14

V

17

T

V

P

14

V

P

10

V

H

9

11:8

P

sl.

14

zV

19

V

MFullO22

T

V

T

V

P

19

V

14

V

H

17

V

H

16

V

H sl.

14

6

V

12

V

22

T

V

P

17

V

12

V

H

15

V

H

14

V

H

12

5|__________3__________||________3_________|

E Solo 2 over these chords...

I9

TAB

gg Gmaj7 Bm7 Em11 Bm7 D9

[1:35]

I3

TAB

gg Gmaj7 Bm7 Em j D/Fb j G j Bm j A11 Abdim7 j

I7

TAB

gg Bm7 D9 Gmaj7 Fb7`9 E11 E7 Gmaj7 Fb7`9





F Altered melody section

I1

TAB

gg

Am7

j V

MFullO22

8va

V V

21

C/G

WFbm7`5 j V

MFullO20

8va

V V

19

F13

V V

H

17

f V

19

l V

MFull

19

B`7b11

V

O(19)

V V

MFull

(19)

V

(19)

V

H

18

f V

20

V

MFull

19

Am7

V V

sl.

(19)

uFbm7`5k V

sl.

19

V

17

ee V

MFull

19

fF13

V

M1/2O19

V V

[2:15]

G Riff section 2

I5

TAB

gg V

7

V

7

V

5

V

7

V

sl.

(7)

V0

V0

l

}x

V

4

g }

x

V

5

}

x

V

6

e V

7

fl

}

x

V

5

V

7

l }

x

V

H

6

g V

P

7

V

P

6

V

4

V

5

V

7

V

4

g V

7

V

7

V

5

V

7

V

sl.

(7)

V0

V0

l

}x

V

4

g }

x

V

5

}

x

[2:25]

I8

TAB

ggV

6

e V

7

fl

}

x

V

5

V

7

l }

x

V

6

g V

6

g V

5

3

f V

8

e V

8

f V

6

3

g V

7

V

7

V

5

3

V

sl.

7

kV

4

cg }

x

V

5

}

x

V

6

e V

7

fl

}

x

V

5

V

7

l }

x

V

H

6

g V

P

7

V

P

6

V

4

V

5

V

7

V

4

g

I1

TAB

gg V

7

V

7

3

V

5

V

7

V

4

3

gV

7

V

7

3

V

6

g V

7

V

5

3 V

7

V

7

3

V

4

V

7

V

6

3

V

9

V

9

3

V

7

V

9

V

6

3

V

16

V

15

e V

14

3

V

12

V

13

g V

14

3

V

12

V

14

V

14

3

V

12

V

14

V

13

3

e V

12

V

11

g V

14

3

V

11

V

12

V

11

3

g V

10

f

H Final melody & ending

I3

TAB

ggBm7

j V

MFullO12

V V

11

D9W Gmaj7

j V

MFullO10

V V

9

Fb7`9V V

H

7

V

9

l V

9

E11

VMFullO

(9)

V VMFull

(9)

V

sl.

(9)

V

sl.

16

V

11

E7W

[2:55]





I6

T

AB

ggGmaj7

l V

sl.

7

V

9

V

7

V

MFull

9

Fb7`9

V

MFullO9

V V

MFull

(9)

V

sl.

(9)

V

7

Bm7

V

4

V V

7

V

7

D9

V V

1 1/2

Gmaj7

j V

sl.

7

c3 V

9

V

7

V

11

3

Fb7`9

V

MFullO9

u V3

V V

7

u3

I9

TAB

ggG/F

V

10

8va

f V

12

V

MFull

13

3

f V V

(13)

V

15

V

13

V

MFull

17

3

W

(17)

V

MFullO17

V V

M1/2O17

3

VV

H

14

V

H

17

V

19

V

21

T

V

H

14

V

H

16

6

V

19

V

21

T

V

H

14

V

H

17

V

19

V

22

6

T

V

P

19

V

P

17

V

14

V

21

T

V

P

19

V

P

16

6

V

14

V

21

T

V

P

19

V

P

17

V

14

V

16



Ner NerSolo Tips

Let’s start with the intro section. Live, I generally find myself just playing the riff at this point, but if you fancy soloing over the

chords it might be helpful to simplify the chord names... (The voicings in the riff are very specific, hence the profusion of

terrifying-looking slash chords in the tab!) You could view the basic four bar progression as D5 C5 - D5 C5- Bb Am - G F: as

ever, it’s important to latch on to the changing chord tones as much as possible here, but a nice shortcut would be to use Ddorian for the first two bars, switch to D aeolian for bar 3 and then back to D dorian for bar 4. (Listening out for any B or B

notes in the chord progression should explain why this works better than sticking with one scale throughout!)

The B section can also be simplified. Think of the main body of it as alternating between Eb and F every two bars; thus, you

would use Eb lydian and F mixolydian - which are essentially the same thing. These same notes could also be used for the

final two bars of this section (acting as D phrygian and F mixolydian) - though I personally prefer a touch of the natural 2 ove

the Dm7, rather than the b2 offered by the D phrygian mode: it’s just a little brighter...

For the F section, it helps to think slightly more like a jazz player and treat each chord on its own merits, rather than looking

for a “one scale fits all” shortcut. At any rate, these would be good starting points:

Gm11, Ebmaj9, Eb/F - use G dorian, Eb lydian, F mixolydian (all the same notes!)Db/Gb - use Gb lydian

Bb/C (there’s one of these right at the end of the solo!) - use C mixolydian.

you may a so e....

Contemporary Series 1

This one is special! We made 10 jam tracks with a modern rock/ pop sound, which would still work for bluesy lead playing. And

then we persuaded Guthrie to come and play a sample solo for

each one. Prepare to be amazed!





NER NER - MAIN THEMESAs recorded by Guthrie Govan


A Intro

I1

TAB

e 68

Dsus2

V

sl.

7

V

7

V

5

V

0

k }x

}

x

}x

}

x

}x

}

x

Csus2/F

V3

V3

V5

V

5

V

3

V

3

l V3

V3

V5

V

5

V

3

V

3

k V

sl.

7

V

7

V

5

V

0

k }x

}

x

}x

}

x

}x

}

x

V3

V3

V5

V

5

V

3

V

3

l V3

V3

V5

V

5

V

3

V

3

k

B`sus2/E`

V1

V1

V3

V

3

V

1

V

1

e V1

V1

V3

V

3

V

1

V

1

VVVVVV

Csus2/A

V3

V3

V5

V

5

V

0

V3

V3

V5

V

5

V

0

VVVVV

Dsus2/G

V5

V5

V7

V

7

V

5

V

5

V5

V5

V7

V

7

V

5

V

5

VVVVVV

Csus2/F

V3

V3

V5

V

5

V

3

V

3

V3

V3

V5

V

5

V

3

V

3

V3

V3

V5

V

5

V

3

V

3

B Main theme

I5

TAB

eDsus2V

sl.

10

V V

12

l V

sl.

13

Csus2V

10

V V

7

VDsus2

V

(7)

Csus2

VB`sus2V

sl. sl.

10

V

6

V

6

VCsus2/AV

8

V V

8

V

[0:30]

I8

T

AB

eDsus2/GV

sl. sl.

10

V

6

V

6

V Csus2/FV

sl.

8

V

3

l V

3

V

sl.

(3)

E`maj9V

10

l V

(11)10

V

6

tr [[[[

V

8

E`/FV

(8)

l V

MFull

10

l V

MFullO10

V V

7

V

sl.

5

I1

TAB

e1.

Gm11V

sl.

7

l V

sl.

10

V

7

V V

sl.

5

V

7

l V

sl.

10

V

7

V P

sl.

7

z V

sl.

10

E`sus2/A

`V

8

e V

8

l V

8

l P

sl.

8

z V

sl.

10

V

8

V

8

l V

8

k

I3

TAB

e2.

Gm11

V

sl.

7

l V1 1/2

O7

V V V1 1/2

O7

P

sl.

(7)

z V

5

l VFull

O5

V V VFull

O5

P

sl.

(5)

z V

3

l VFull

O3

V l V2

O3

V l V1 1/2

O2

V l V

3



NER NER - MAIN THEMES - Guthrie Govan Page 2 o



I5

TA

B

eB`sus2/E`_ l_ kE`sus2l_ l_ k B`sus2/E`_ l_ kE`sus2l_ l_ k Csus2/F_ l_ kFsus2l_ l_ k Csus2/F_ l_ kFsus2l_ l_ k

[1:01]

I9

TAB

eB`sus2/E`_ l _ k E`sus2l _ l _ k B`sus2/E`_ l _ k E`sus2l _ l _ k Csus2/F_ k Fsus2_ kCsus2/Fc_ k Fsus2_ kCsus2/F_ k Fsus2c_ k

I3

TAB

e

B`sus2/E`_ l _ k E`sus2l _ l _ k B`sus2/E`_ l _ k E`sus2l _ l _ k Dm7^ E`/Fc_ _ _

Repeat main theme [1:31] and then play solo 2 over the same chords as solo 1 [2:01]

D Middle section 1

I7

TAB

eGm

V

5

V

5

V

8

V

5

V

8

V

5

F

V3

V

3

V

7

V

3

V

7

V

3

Cm

V

10

V

10

V

12

V

8

e V

12

V

10

V

11

V

8

V

12

V

8

V

12

V

10

Gm/D

V

12

V

13

V

12

V

12

V

12

V

13

F/A

V

7

V

8

V

10

V

10

V

10

V

8

[2:32]

I0

TA

B

eGm/B

`

V

8

V

10

V

12

V

8

e V

12

V

10

D7/A

V

7

V

9

g V

10

V

7

V

10

V

9

E`maj7/B

`

V

8

V

10

V

12

V

8

e V

12

V

10

E`/G

V

5

V

6

e V

8

V

5

V

8

V

6

E`

V

1

e V

1

V

5

V

3

V

5

V

1

D7

V

0

V

0

V

4

g V

5

V

4

V

0

I3

TAB

eGm

V

5

V

5

V

7

V

3

V

7

V

5

D7/Fb

V

4

g V

5

V

7

V

5

V

7

V

5

Gm/F

V

3

V

5

V

5

V

7

V

5

V

5

C/E

V

2

V

3

V

5

V

5

V

3

V

3

E`V

6

V

4

e V

3

V

8

V

7

V

5

V

8

V

5

V

8

V

5

V

8

V

5





I6

T

AB

eD7`9V

8

V

7

g V

5

V

10

V

8

e V

7

V

10

f V

7

g V

10

V

8

V

10

V

7

Gm/B`V

8

V

11

e V

10

D7/A

V

7

V

10

V

8

Gm

V

5

V

8

V

6

V

8

V

7

V

8

E`/G`

V

5

V

6

e V

8

V

8

e V

8

V

6

D/A

V

4

g V

5

V

4

g V

5

V

4

V

5

E Middle section 2

I9

T

AB

eV

5

V

0

V

3

V

5

V

4

g V

6

e V

5

V

5

V

0

V

3

V

5

V

4

V

6

e V

5

V

5

V

0

V

3

V

5

V

4

g V

6

V

5

V

5

V

4

g V

3

f

1.

V

2

V

1

ek V

10

V

8

V

10

V

8

k V

10

V

8

V

10

V

8

uk V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

k k }

sl.

x

}

x

}

x

[3:02]

I3

T

AB

e

2.

V

2

V

1

ek V

10

V

8

V

10

V

8

k V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

k V

10

V

8

V

10

V

8

uk V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

k

3.

V

2

V

1

ek V

10

V

8

V

10

V

8

k V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

uV

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

k k }

sl.

x

}

x

}

x

I7

TA

B

e V

3

V

3

VVV

5

VV

6

V

4

V

3

eV

3

V

3

VVV

5

VV

6

V

4

V

3

eV

2

l et ring

V

1

ek V

10

V

8

V

10

V

8

k V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

k V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

V

10

V

8

k k }

sl.

x

}

x

}

x

F Solo 3 over these chords...

I1

TAB

e Gm114

E`maj94

E`/F2

Gm112

D`/G`2

E`/F2

[3:32]





I1

TAB

e E`maj92

Gm112

D`/G`2

1. , 2.

E`/F2

3.

B`/C2



FivesSolo Tips

Once you’re comfortable with the 5/4 groove and the somewhat frantic tempo, this is actually a pretty simple tune, and the

same three chords run throughout the whole thing...

Scale-wise, I think A dorian is a good bet for the Am11, and Db lydian is definitely the way forward when tackling the Db-maj7#11.

What to play over the Fm11 is slightly more of a grey area: if your main concern is acknowledging what just happened over

the previous Am11, you’ll probably want to use F dorian... but if you’re more interested in flowing smoothly into the following

Dbmaj7#11 you’ll be more inclined to favour F aeolian.

If in doubt, I can suggest two opposing (but equally valid) policies:

avoid the b6 and 6 altogether when playing over the Fm11, or

concoct a new all-purpose scale featuring both kinds of 6th!

(I should add that the solo I did on the album version of this tune descends into the realms of über-chromatic gibberish in

places, so... I suppose the moral of this story is: play whatever feels right at the time!)

Funky Blues

As you may know, Guthrie recorded new solos over some of ourbacking tracks, exclusively for our Youtube channel - Funky Blues

is one of the most requested. The package includes video,

backing track, solo and transcription.





FIVES - MAIN THEMESAs recorded by Guthrie Govan


Am11 3 fr.xFm11 3 fr.x

D`maj7

b113 fr.x

AIntroduction

I1

TAB

54

P = 152Am11

V

3

V

3

V

5

V

5

V

0

j V

3

V

3

V

5

V

5

V

0

ck V

3

V

3

V

5

V

5

V

0

j V

3

V

3

V

5

V

5

V

0

j V

3

V

3

V

5

V

5

V

0

ck V

3

V

3

V

5

V

5

V

0

j V

3

V

3

V

5

V

5

V

0

j V

3

V

3

V

5

V

5

V

0

ck V

3

V

3

V

5

V

5

V

0

j V

3

V

3

V

5

V

5

V

0

j V

3

V

3

V

5

V

5

V

0

ck V

3

V

3

V

5

V

5

V

0

j

I5

TAB

Am11

V

0

V

10

V12

u k V7

V

5

V

sl.

7

V

8

V9

V

7

V

0

V

10

V12

u k V7

V

5

V

sl.

7

V

8

V9

V

7

V

0

V

10

V12

u k V7

V

5

V

sl.

7

V

8

V9

V

7

V

0

V

10

V12

u k V7

V

5

V

sl.

7

V

8

V9

V

7

I9

TAB

Fm11

V

8

g V

6

e V

8

c k V

10

V

8

e V

sl.

10

V

11

V

12

V

10

V

8

g V

6

e V

8

c k V

10

V

8

e V

sl.

10

V

11

V

12

V

10

D`maj7b11

V

13

e V

11

e V

9

ce k V

15

e V

13

V

11

V

12

V

10

V

8

V

13

e V

11

e V

9

ce k V

15

e V

13

V

11

V

12

V

10

V

8

I3

TAB

Am11

V

0

V

10

V

12

u k V

7

V

5

V

sl.

7

V

8

V

9

V

7

V

0

V

10

V

12

u k V

7

V

5

V

sl.

7

V

8

V

9

V

7

V

0

V

10

V

12

u k V

7

V

5

V

sl.

7

V

8

V

9

V

7

V

0

V

10

V

12

u k V

7

V

5

V

sl.

7

V

8

V

9

V

7

B Theme A

I7

TAB

Am11V

sl.

15

V

15

V

13

V V

15

V

H sl.

12

V

P

13

V

12

V

14

V

12

V

sl.

16

V

15

P

sl.

16

z V

12

V V

12

V

sl.

12

P

sl.

19

z V

10

V

12

V

sl.

14

V

12

V

sl.

14

V

sl.

(14)

V

sl.

15

V

14

V

12

V

12

V[0:47]



FIVES - MAIN THEMES - Guthrie Govan Page 2 o


I0

T

AB

k V

12

V

10

V

9

3

V

P

12

V

sl.

9

V

14

V

15

k V

sl.

14

uV

15

u kFm11

V

sl.

12

V V

13

g V

sl.

(13)

V

15

V

15

ue k V

sl.

12

V V

13

g V

sl.

(13)

V

15

V

15

ue k

I3

T

AB

D`maj7b11

VMFull

15

8va

e V

(15)

V

13

V V

MFull

18

e V V

(18)

V

20

V

16

e V

20

V

16

e V

13

V

14

e V

13

V

16

V

15

V

16

V

13

V

16

V

15

f V

14

e V

13

V

15

e

I5

TAB

Am11

P

sl.

13

z8va

V

15

V

15

P

sl.

15

z V

13

V V V

15

uV

MFull

14

V

(14)

V

12

V V

13

V

MFull

14

V

(14)

V

12

V

(12)

V

13

V

MFull

14

V

(14)

V

12

V V

13

V

MFull

14

V

15

8va

V

12

V

12

3

V

sl.

14

j j j

I9

TAB

Am11V

sl.

15

V

15

V

13

V V

15

V

H sl.

12

V

P

13

V

12

V

14

V

12

V

sl.

16

V

15

P

sl.

16

z V

12

V V

12

V

sl.

12

P

sl.

19

z V

10

V

12

V

sl.

14

V

12

V

sl.

14

V

sl.

(14)

V

sl.

15

V

14

V

12

V

12

V V

H

12

V

H

15

V

19

3[1:11]

I2

TAB

V

22

8va

T

V

P

19

V

P

15

V

H

12

V

H

15

V

19

V

22

7

T

V

H

12

V

H

15

V

19

g V

22

T

V

H

14

V

H

17

V

21

7

V

22

T

V

H

12

V

H

15

V

19

V

22

T

V

P

19

V

P

15

7

V

12

V

22

T

V

P

19

V

P

15

V

sl.

12

V

10

V

21

7

T

V

P

16

V

P

12

V

9

V

21

T

V

P

16

g V

P

12

V

9

7





I3

TAB

Fm11

V

sl.

12

V V

13

g V

sl.

(13)

V

15

V

15

ue k V

sl.

12

V P

sl.

12

z V

8

g V

sl.

(8)

V

10

V

11

e V

10

D`maj7b11

VMFull

11

8va

e V

(11)

V

13

V V

MFull

18

e V

(18)

I6

TA

B

j V

20

8va V

16

e V

20

V

16

e V

13

V

14

e V

13

V

16

V

15

V

16

V

13

V

16

V

15

f V

14

e V

13

V

15

eAm11

P

sl.

13

z V

15

V

15

P

sl.

15

z V

13

V V V

15

u

I8

TAB

V

MFull

14

V

(14)

V

12

V V

13

V

MFull

14

V

(14)

V

12

V

(12)

V

13

V

MFull

14

V

(14)

V

12

V V

13

V

MFull

14

V

15

8va

V

13

V

12

3

V

sl.

14

j j j

C Theme B

I1

TAB

Am11

V

H

12

8va V

17

T

V

12

V

H

12

V

17

v

T

k V

H

12

8va V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

3x V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

v

T

k[1:35]

I3

TAB

Fm11

V

H

15

8va V

20

T

V

15

V

H

15

e V

20

v

T

g k V

H

15

8va V

20

T

V

15

V

H

15

V

20

T

V

15

V

H

15

f V

20

T

V

15

V

H

15

V

20

T

g V

15

V

H

15

V

20

T

V

15

V

H

15

e V

20

v

T

g k V

H

15

8va V

20

T

V

15

V

H

15

V

20

T

V

15

V

H

15

f V

20

T

V

15

V

H

15

V

20

T

g V

15





I5

TA

B

D`maj7b11

V

H

13

8va V

18

T

e V

13

V

H

13

e V

18

v

T

e k V

H

13

8va V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

e V

13

V

H

13

e V

18

T

e V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

v

T

k

I7

TAB

Am11

V

H

12

8va V

17

T

V

12

V

H

12

V

17

v

T

k V

H

12

8va V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

3x V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

v

T

k

I9

TAB

N.C.

V

H

12

8va

V

H

15

V

19

V

22

T

V

H

12

V

H

15

V

19

3g V

P

22

T

V

P

19

V

P

15

V

12

3

V

P

22

T

V

P

21

V

P

17

V

H

14

3

V

H

17

V

21

V

22

3

T

V

H

12

V

H

15

V

19

3

V

P

22

T

V

P

19

V

P

15

V

12

3

Am11

W

15

[2:00]etc...

D Solos over these chords...

I1

TAB

Am114

Fm112

D`maj7b112

Am114

[2:00]

E Theme B repeat

I3

T

AB

Am11

V

H

12

8va V

17

T

V

12

V

H

12

V

17

v

T

k V

H

12

8va V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

3x V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

v

T

k[3:59]

I5

TAB

Fm11

V

H

15

8va V

20

T

V

15

V

H

15

e V

20

v

T

g k V

H

15

8va V

20

T

V

15

V

H

15

V

20

T

V

15

V

H

15

f V

20

T

V

15

V

H

15

V

20

T

g V

15

V

H

15

V

20

T

V

15

V

H

15

e V

20

v

T

g k V

H

15

8va V

20

T

V

15

V

H

15

V

20

T

V

15

V

H

15

f V

20

T

V

15

V

H

15

V

20

T

g V

15





I7

TAB

D`maj7

b11

V

H

13

8va V

18

T

e V

13

V

H

13

e V

18

v

T

e k V

H

13

8va V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

e V

13

V

H

13

e V

18

T

e V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

T

V

13

V

H

13

V

18

v

T

k

I9

TAB

Am11

V

H

12

8va V

17

T

V

12

V

H

12

V

17

v

T

k V

H

12

8va V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

3x V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

V

12

V

H

12

V

17

T

I1

TAB

V12

8va

V

H

12

V17

T

V12

V

H

12

V17

T

V12

V

H

12

V

sl.

17

T

j j



Uncle SkunkSolo Tips

This one’s nice and easy - you can use an E major scale throughout the solo section (these notes can act as either E ionian

A lydian, depending on the chord.) You might enjoy using an E major pentatonic shape as a basic framework for this one...




UNCLE SKUNK As recorded by Guthrie Govan


A Verse 1 - unison guitars

I1

TAB

gggg 44

P = 68E

V

P

19

8va

V14

V17

V

16

3

V

14

V

sl.

16

V11

V12

V

sl.

9

V14

l V

sl.

16

V12

V V

H

11

V

H

12

f V

13

V9

V

13

V

12

f V

11

k V

9

V

11

V

8

V

9

V

11

l V

11

V

10

f V

9

V

11

V

12

V

9

V

10

f V

9

Whammy pedal notation (set pedal to raise pitch 1 octave)/ = up (depress pedal) \ = down (release pedal) /--------\ = depress, hold, release

I3

TAB

gggg V

sl.

11

V

9

P

sl.

9

R V

7

V V

6

P

sl.

7

R V

4

V VMFullO

(4)

V

P

(4)

V

2

V

2

V

V

sl.

4

V

sl.

7

V

(4)

V

12

V

9

V

sl.

12

V

9

V

9

V

6

V

9

V

6

VV V

sl.

(9)

V

(6)

u

kA

V

4

V

2

V

6

V

4

VVP

sl.

7

P

4

R V

9

V

6

WW

I6

TAB

gggg V

sl.

8

V

6

V

9

V

7

VVP

sl.

10

P

7

zV

12

V

9

Fbm7VVB11VV V

12

V

9

EP

sl.

12

P

9

zV

14

V

11

V

9

V

6

V

sl.

9

V

6

3

V

12

V

9

WW V

7

V

4

V

4

V

sl.

7

V

(4)

V

12

V

9

V

9

V

6

N.C.

VVu2

k j

B Verse 2 - harmony guitars

I9

T

AB

gggg

ITAB

gggg

E

V

19

8va

V

14

V

14

V

9

V

17

V

12

V

16

3

V

11

3

V

14

V

9

V

sl.

16

V

sl.

11

V

11

V

7

V

12

V

9

V

sl.

9

V

sl.

5

V

14

V

7

l

l

V

sl.

16

V

sl.

12

V

12

V

9

V

V

V

H

11

V

6

V

H

12

f

V

7

f

V

13

V

8

V

9

V

4

V

13

V

8

V

12

f

V

7

f

V

11

V

6

k

k

V

9

V

11

V

11

V

10

f

V

8

V

9

V

9

V

11

k

l V

11

V

11

V

10

f

V

10

f

V

9

V

9

V

11

V

12

V

14

V

13

f

V

9

V

12

V

10

f V

9

V

11

g

[0:28]



UNCLE SKUNK - Guthrie Govan Page 2 o


I1

TA

B

gggg

I

TAB

gggg

V

sl.

11

V

13

V

9

V

H sl.

13

P

sl.

9

R V

7

V

16

V

V

V

6

V

H sl.

12

P

sl.

7

R V

4

V

14

V

V

sl.

14

V

sl.

2

V

16

V

4

V

7

V

H sl.

16

P

sl.

4

R V

6

V

21

V

9

V

6

V

16

V

9

V

H

16

V

P

21

P

sl.

16

z

V

sl.

11

V

14

V

13

V

12

V

14

V

14

V

H

14

V

P

16

V

sl.

14

3

V

sl.

14

V

H

12

V

14

V

14

V

sl.

17

V

sl.

13

V

sl.

21

V

sl.

11

V

19

V

sl.

13

V

17

V

sl.

9

V

18

V

11

P

sl.

20

z V

16

V

sl.

11

V

16

V

sl.

9

P

sl.

16

z V

sl.

18

V

sl.

14

V

16

V

13

V

11

V

14

V

9

I3

TAB

gggg

I

TAB

gggg

A

V

sl.

9

V

7

V

11

V

P

sl.

9

z

VMFull

11

V

11

u

W

(11)

W

V

8

V

8

V

9

V

9

V

V

VMFull

10

V

MFull

10

Fbm7

V

V

B11

V

(10)

V

(10)

V

12

VMFull

12

3

V

MFull

12

u3

E

V

(12)

V

(12)

V

sl.

12

V

sl.

12

V

9

3

V

9

3

VM1 1/2

(9)

V

M1 1/2

(9)

W

(9)

W

(9)

V

7

V

7

V

sl.

7

V

sl.

7

V

sl.

12

V

sl.

12

V

9

V

9

Vu2

Vu2

k

k

j

j

C Chorus 1 (whammy pedal)

I7

TAB

gggg

ITAB

gggg

Gmaj7

W

19

8va

W

7

Fbm9

V

V

B11

V

16

V

4

V

17

V

5

Emaj9

V

18

V

6

l

l

V

16

8va

V

4

V

V

4

V

V

V

sl.

(16)

V

sl.

(4)

Gmaj7

W

sl.

19

W

sl.

7

Fbm7

V

V

B11

V

V

[0:56]

whammy: /--------------------------------\ /\ /\ /\ /---------------------------------------\ /----------------------------------------------\(both gtrs)





I0

TAB

gggg

ITAB

gggg

Emaj9

k

k

V

P sl.

16

8va

V

P sl.

9

V

14

V

7

l

l

k

k

V

P sl.

16

8va

V

P sl.

9

V

14

V

7

l

l

k

k

V

P sl.

16

8va

V

P sl.

9

V

14

V

7

V

P sl.

19

V

P sl.

12

V

16

V

P

9

V

19

V

0

Gmaj7

W

22

f

V

M1 1/2

12

V

Fbm9

V

P

21

V

MFull

12

B11

V

sl.

19

V

12

Emaj9

VMFull

19

V

MFull

sl.

11

V V

21

V

9

VMFull

22

f

V

12

V

V V

sl.

0

V

12

V

9

V

12

V

7

V

5

V

7

V

5

V

9

/-----\ /-----\ /------\ /-------\ /-----------------\ /--------\ /------\ /-----------\ /------------\ /-------\

I3

TAB

gggg

ITAB

gggg

Am9

V

12

8va

V

9

V

10

V7

V

10

V7

V

12

V

9

V

19

V

16

V

17

V

14

V

10

V7

V

12

V

9

V

12

V

9

V

10

V7

V

10

V7

V

12

V

9

V

19

V

16

V

17

V

14

V

17

V7

V

19

V

9

Fbm7

V

12

V

9

V

10

V7

V7

V4

Fbm9

V

9

V

6

V

16

V

13

V

14

V

11

Fbm11

V

10

V7

V

12

V

9

V

15

f

V

12

f

Am7/C

V

13

f

V

10

f

V

8

f

V5

f

V

10

f

V

7

f

B13sus4

V

16

g

V

13

g

V

14

g

V

11

g

V

12

V9

V

14

V

11

/-------\ /---------\ /-------\ /--------\ /-------\ /-------\ /--------\ /-------\





D Verse 3

I5

TAB

gggg

ITAB

gggg

E

V

P

19

8va

V

P

19

8va

V

14

V

14

V

17

V

17

V

16

3

V16

3

V

14

V14

V

sl.

16

V

sl.

16

V

11

V

11

V

12

V12

V

sl.

9

V

sl.

9

V

14

V14

l

l

V

sl.

16

V

sl.

16

V

12

V

12

V

V

V

H

11

V

H

11

V

H

12

f

V

H

12

f

V

13

V

13

V

9

V

9

V

13

V

13

V

12

f

V

12

f

V

11

V

11

k

k

V

9

V

9

V

11

V11

V

8

V

8

V

9

V9

V

11

V11

l

l

V

11

V11

V

10

f

V10

f

V

9

V9

V

11

V11

V

12

V

12

V

9

V9

V

10

f

V10

f

V

9

V

9

[1:24]

I7

TAB

gggg

ITAB

gggg

V

sl.

11

V

sl.

11

V

9

V9

P

sl.

9

R

P

sl.

11

R

V

7

V14

V

V

V

6

V11

P

sl.

7

R V

4

V13

V

V

sl.

(13)

VMFullO

(4)

V

sl.

18

V

P

(4)

V

2

V13

V

2

V

V

V

sl.

4

V

sl.

9

V

6

V11

P

sl.

4

R V

9

V9

P

sl.

11

R

P

sl.

11

R

V

9

V14

V

7

V11

V

9

V14

P

sl.

7

z V

11

V11

P

sl.

13

z

P

sl.

14

z

V

11

V16

V

9

V

13

V

MFull

12

V

H

11

V

P

13

V

sl.

11

3 V9

V

9

V11

V

12

V

MFull

11

V

sl.

9

V

9

V

12

V11

V

M1/2

11

V

11

V

sl.

11

V

9

V

11

V

sl.

6

V

9

V

11

V9





I9

TAB

gggg

ITAB

gggg

A

V

sl.

9

V

MFull

10

V

11

V

9

V

V

VMFull

11

V

MFull

14

W

(11)

W

(14)

V

8

V

H

16

8va

V

9

V

17

1/2

V

V

VMFull

10

V

MFull

17

Fbm7

V

V V

17

V1

V

17

V

10

3

V

17

B11

V1

V

1

V

H

10

V

17

V

sl.

11

3 g

V

17

3

E

VMFull

12

V

MFull

19

V

sl.

12

V

sl.

19

V

9

3

V

16

3

VM1 1/2

(9)

V

M1 1/2

16

W

(9)

W

(16)

V

7

V

14

V

sl.

7

V

H

14

V

sl.

12

V

M1 1/2O16

V

9

V

Vu2

V

sl.

(16)

k j

j

E Bridge

I3

TAB

gggg

ITAB

gggg

A

V

12

V

17

V

V

V

12

V

17

V

V

V

12

V

17

V

V

V

12

V

17

V

V

V

12

V

17

V

V

V

12

V

17

V

V

Fbm7

V

12

V

17

V

V

B11

V

12

V

17

V

V

E

U14

8va

U19

8va

V

sl.

14

V

sl.

19

k

k

[2:07]

/---\ /---\ /---\ /---\ /---\ /---\ /---\ /---\ /---------------------------------------------\Repeat chorus [2:21]Solo (verse chords) [2:49]Bass solo (chorus chords) [3:4





F Verse 4

I7

TAB

gggg

ITAB

gggg

E

V

19

8va

V

14

V

14

V

9

V

17

V

12

V

16

3

V

11

3

V

14

V

9

V

sl.

16

V

sl.

11

V

11

V

7

V

12

V

9

V

sl.

9

V

sl.

5

V

14

V

7

l

l

V

sl.

16

V

sl.

12

V

12

V

9

V

V

V

H

11

V

H

11

V

H

12

f

V

H

12

f

V

13

V

13

V

9

V

9

V

13

V

13

V

12

f

V

12

f

V

11

V

11

k

k

V

9

V

9

V

11

V

11

V

8

V

8

V

9

V

9

V

11

V11

l

l

V

11

V

11

V

10

f

V

10

f

V

9

V

9

V

11

V11

V

12

V12

V

9

V

9

V

10

f

V10

f

V

9

V9

[4:14]

I9

TAB

gggg

I

TAB

gggg

V

sl.

11

V

sl.

11

V

9

V

9

P

sl.

9

R

P

sl.

9

R

V

7

V7

V

V

V

6

V

6

P

sl.

7

R

P

sl.

7

R

V

4

V4

V

V

VFull

O4

VFull

O4

V

V

V

2

V2

V

sl.

(2)

V

sl.

(2)

V

4

V7

V

6

V

sl.

9

V(7)

V

4

V

H

4

V

6

V

4

V

6

V

sl.

4

V

6

V

V

13

V

11

VMFull

7

V

17

T

P

sl.

14

P

11

z

V

16

V

13

V

(17)

V

sl.

(16)

V

(13)

V

12

V

sl.

16

V

17

V

14

V

14

VV

V

12

V

13

V

14

V

12

V

sl.

13

V

11

V

9





I1

TAB

gggg

I

T

AB

gggg

A

V

sl.

9

V

16

8va

V

11

V

17

V

V

V

MFull

11

W

(11)

V

16

V

14

V

V

8

V

14

P

sl.

14

z

V

9

V

16

V

V

V

MFull

10

P

sl.

16

z

Fbm7V

V

14

V

10

V

O10

3

V

12

P

MFull

(10)

zB11V

V

V

10

V

12

V

10

3

V

MFull

12

3

EV

M1 1/2

12

V

(12)

V

sl.

12

V

sl.

12

V

9

3

V

9

3

V

M1 1/2

9

V

M1 1/2

9

W

(9)

W

(9)

V

7

V

7

V

sl.

7

V

sl.

7

V

sl.

12

V

sl.

12

V

9

V

9

N.C.Vu2

Vu2

k

k

j

j

G Ending

I5

TAB

gggg

ITAB

gggg

ITAB

gggg

F6add9

V

20

8vaf

V

15

8va

f

V

10

V

15

f

V10

f

V

sl.

12

V

18

f

V13

f

V

17

3

f

V12

3

f

V

15

f

V10

f

V

8

f

V

sl.

17

V

sl.

12

V

sl.

6

f

V

12

V7

V

10

V

13

V8

V

sl.

12

V

sl.

10

V

sl.

5

V

8

V

15

f

V10

V

sl.

6

l

l

V

10

V

sl.

17

V

sl.

12

V

sl.

12

V

13

V

8

V

8

V

sl.

6

V

V

V

10

V

sl.

12

V

8

P

sl.

12

z

P

sl.

7

z

V

14

g

V

9

g

V

sl.

6

Emaj9

V

(14)

V

(9)

V

9

V

sl.

16

V

9

V

sl.

11

P

sl.

9

z

V

12

V

7

V

7

V

sl.

5

V

V

V

9

V

sl.

11

V

7

V

sl.

5

W

W

V

9

V

sl.

11

V

7

V

sl.

5

V

9

V

sl.

11

V

7

V5

[4:42]

whammy /------\ /------\ /------\ /--------------\ /-----\ /------\ /-------\ /--------\(gtr3 only)



SevensSolo Tips

For the solo over the D section riff, your best choice is denitely G dorian.

The outro progression (following the C section chords) is slightly more involved, in the sense that an A note sounds good ov

the rst half, whereas an Ab at works much better in the second half. Hence youre strongly advised to use these modes:

Ebmaj9, Gm9 - use Eb lydian = G aeolian

Abmaj7#11, Cm9, Bbadd9 - use Ab lydian = C aeolian = Bb mixolydian.

Of course, the easy approach for this section is just to use a G minor pentatonic shape as your template and then add

some additional chord tones throughout the progression as you see t...




SEVENS - MAIN THEMESAs recorded by Guthrie Govan


A Intro riff

I1

TAB

ee 74 V

sl.

3

V

1

V5

V

3

V5

V

3

c k}x

}x

V

6

V

6

V5

V5

k V

6

V

6

V5

V5

uk

V

sl.

5

V3

c V

sl.

7

V5

V3

V1

V

sl.

3

V1

V5

V3

V

sl.

3

V1

V5

V3

V5

V3

c k}x

}x

V

6

V

6

V5

V5

k V

6

V

6

V5

V5

uk

V5

V3

c k V

7

V5

c kV3

V1

c

B Verse

I3

TAB

ee Gm7W

M1/2

5

W V

(5)

V

M1/2

5

u V

O(5)

V

P

(5)

V

H

3

Gm6W

M1/2

4

W V

(4)

V

MFull

7

u V

O(7)

V

P

(7)

V

P

6

g[0:19]

I5

TAB

ee GmV

5

V

7

VMFull

5

W W W

(5)

W W V

sl.

(5)

I7

TAB

eeA`maj7b11

W

4

W V V

sl.

6

ce V

H

4

V

8

W

3

1/2

V VM1/2

3

V

sl.

(3)

V

1

V VMFull

5

u VO

(5)

V

P

(5)

V

3

V

5

3

I9

TAB

ee GmV

3

V

5

VMFull

3

W W

(3)



SEVENS - MAIN THEMES - Guthrie Govan Page 2 o


I1

TAB

eeGm7WM1 1/2

15

W V

(15)

VM1 1/2

15

u V

O(15)

V Gm6VMFull

O(15)

V VMFull

(15)

W

(15)

V

13

V

15

VMFull

15

V

(15)

VMFull

15

u V

O(15)

V

P

(15)

V

13

[0:44]

I3

T

AB

eeGmV

13

V

15

VMFull

13

W W U

(13)

W

(13)

I5

TA

B

eeA`maj7b11W

16

W V V

13

ue

1

V

16

V

15

W

15

1

V V

1/2O15

V V

17

V VMFull

17

u V

O(17)

V

P

(17)

V

15

V

17

3

I7

TAB

eeGmV

15

V

17

V

15

W W

C Chorus

I9

TAB

eeE`maj9

V

22

8va

T

V

20

T

V

H

18

V

H

16

V

20

T

V

19

T

V

H

16

V

H

15

V

22

T

V

20

T

V

H

18

V

H

16

V

20

T

V

19

T

V

H

16

V

H

15

V

19

T

V

17

T

V

H

15

V

H

13

V

20

T

V

19

T

V

H

16

V

H

15

V

19

T

V

17

T

V

H

15

V

H

13

[1:09]





I0

TAB

eeGm9

V

22

8va

T

V

20

T

V

H

18

V

H

15

V

22

T

V

20

T

V

H

17

V

H

15

V

22

T

V

20

T

V

H

18

V

H

15

V

22

T

V

20

T

V

H

17

V

H

15

V

22

T

V

20T

V

H

17

V

H15

V

22

T

V

20

T

V

H

17

V

H

15

V

22

T

V

20T

V

H

17

V

H15

I1

T

AB

eeA`maj7b11

V

22

8va

T

V

21

T

e V

H

18

V

H

16

V

21

T

V

20

T

V

H

16

V

H

15

V

22

T

V

21

T

V

H

18

V

H

16

V

21

T

V

20

T

V

H

16

V

H

15

V

20

T

V

18

T

e V

H

15

V

H

13

V

21

T

V

20

T

V

H

16

V

H

15

V

20

T

V

18

T

V

H

15

V

H

13

* Guthrie prefers to play these notes at the 23rd fret (Eb) but he only had 22-fret guitars with him at the studio in LA!

**

I2

TAB

eeCm9

V

22

8va

T

V

20

T

V

H

18

V

H

16

V

20

T

V

19

T

V

H

16

V

H

15

V

22

T

V

20

T

V

H

18

V

H

16

V

20

T

V

19

T

V

H

16

V

H

15

V

20

T

V

20

T

V

H

17

V

H

15

V

20

T

V

19

T

V

H

16

V

H

15

V

20

T

V

20

T

V

H

17

V

H

15

I3

TAB

eeBàdd9

V

22

8va

T

V

20

T

V

H

18

V

H

15

V

22

T

V

20

T

V

H

17

V

H

15

V

22

T

V

20

T

V

H

18

V

H

15

V

22

T

V

20

T

V

H

17

V

H

15

V

22

T

V

20T

V

H

17

V

H15

V

22

T

V

20

T

V

H

17

V

H

15

V

22

T

V

20T

V

H

17

V

H15

* see note for bar 21

* *

I4

TAB

eeA`sus2

V

22

8va

T

V

21

T

e V

H

18

V

H

16

V

21

T

V

20

T

V

H

16

V

H

15

V

22

T

V

21

T

V

H

18

V

H

16

V

21

T

V

20

T

V

H

16

V

H

15

V

20

T

V

18

T

e V

H

15

V

H

13

V

21

T

V

20

T

V

H

16

V

H

15

V

20

T

V

18

T

V

H

15

V

H

13





D Middle section riff 1

I5

TAB

ee

ITAB

ee

V

P3

V3

V3

V

H0

V

H1

V

3

}

x

}

x

V

3

V3

V3

V

3

V

5

V

5

l

l

}

x

V

5

V

5

l

k

V

3

V

2

V3

V3

V

3

V

5

V

5

l

l

V

3

V

5

V

5

d k

}

x

V

H1

V3

V3

V

3

V

1

V3

V3

V

sl.

3

k

V

5

V

3

V3

V2

c

V

7

VV

V

6

V3

V2

k

[3:02]

I6

TAB

ee

ITAB

ee

V

P3

V

3

V

3

V

H0

V

H1

V

3

}

x

}

x

V3

V

3

V

3

V

3

V

5

V

5

l

l

V

3

V

5

V

5

l

k

}

x

V2

V

3

V

3

V

3

V

5

V

5

l

l

V

3

V

5

V

5

d k

}

x

V

H

3

V

7

V

5

V

H

5

V

P

7

V3

V

6

V

5

g

V5

VV

V

7

V

H

2

V

5

V

5

f

V

H

3

V

P

5

VV

V2

V

5

V

5

V3

V

5

E Middle section riff 2

I7

TAB

ee V

12

V

12

V

10

V

12

V

13

V

12

l V

12

l }

x

V

12

V

12

l V

12

V

12

V

10

V

12

V

10

V

11

V

10

V

12

V

13

V

10

V

11

V

13

V

10

V

10

[3:39]

I8

TAB

ee1.

V

12

V

12

V

10

V

12

V

13

V

12

l V

12

l }

x

V

12

V

12

l V

12

V

12

V

13

P

sl.

9

zb V

10

V

13

3

P

sl.

9

z V

10

V

13

P

sl.

9

z V

10

3

V

13

P

sl.

9

z V

10

V

13

3





I1

T

AB

ee2.

V

12

V

12

V

10

V

12

V

13

V

12

l V

12

l }

x

V

12

V

12

l V

12

V

12

V

13

V

13

V

13

3

V

8

V

8

V

8

3

V

10

V

10

V

10

3

V

11

V

11

V

11

3

V

6

V

6

V

6

3

V

11

V

11

V

11

3

W

sl.

8

kG7sus4

V

11

V

10

V

10

V

10

uk V

11

V

10

V

10

V

10

uWWWW



EricSolo Tips

The main opportunity for improvisation in this tune comes in the E section. Try the following scale suggestions:

Cmaj9 - C ionian

Ebmaj9 - Eb lydian Abmaj7 - Ab lydian (the chords indicated for bars 63-64 look complicated, but Ab lydian works just ne over all of them)

Db9 - Db lydian dominant

Cm7, F7 - C dorian = F mixolydian

Ab, Bb11 - Ab lydian = Bb mixolydian

For the outro section, Bb mixolydian should work very nicely.




ER IC - MAIN THEMESAs recorded by Guthrie Govan


A Introduction

I1

TAB

68

PR = 132 (P P CP DP )Cmaj9

V

3

V2

V4

V3

W(3)

E`maj7

V

6

e V5

V3

e V3

W(3)

let ring

B Main theme 1

I5

TAB

Cmaj9

V

sl.

5

V

sl.

(5)

V

8

V E`maj7V

(8)

V

sl. sl.

13

V

11

e l V

sl.

10

V

sl.

8

V

sl.

10

V

8

V k[0:25]

I9

TAB

Cmaj9P

sl.

12

z V

sl.

15

V

12

V

12

V

14

P

sl.

15

z V

sl.

17

V

sl.

13

V

12

V

sl.

10

V

sl.

12

V

10

V

12

E`maj7V

sl. sl.

13

V

11

e V

sl. sl.

8

V4

e

I3

TAB

A`maj7

V

5

V4

e l P

sl.

6

z V8

A`maj7/G

VFm7

V

8

g V8

l P

sl.

9

z` V

sl.

11

eFm7/E`P

sl.

9

z V

sl.

11

V

sl.

9

V8

D`9V

sl.

8

V

sl.

(8)

V

sl.

9

e V6

V

sl.

8

V

8

e V7

V

7

g V6

V

6

fe V

sl.

(6)

V

(6)

I7

TAB

Cm7

j V

sl.

8

e V

10

P

sl.

10

z V

sl.

12

F7

V

sl.

10

V

8

g V

10

k V

sl.

13

B`13sus4V

sl.

16

e V

13

V

sl.

13

V

8

4:3

V

sl.

8

V

4

e V

4

V

5

4:3

B`11

V

sl.

3

e V

sl.

5

V

3

V

sl.

3

I1

TAB

Cmaj9V

sl.

4

V V

(4)

V E`maj72

Cmaj92

E`maj72



ERIC - MAIN THEMES - Guthrie Govan Page 2 o


C Main theme 2

I9

TAB

ITAB

Cmaj9

V

l.

5

V

sl.

5

V

V

P

sl.

3

z

P

sl.

3

z

V

sl.

5

V

sl.

5

V

3

V

3

V

5

V

5

P

sl.

6

z

P

sl.

6

z

V

8

V

8

V

V

E`maj7V

(8)

V

(8)

V

sl. sl.

13

V

sl. sl.

13

V

11

e

V

11

e

l

l

V

sl.

10

V

sl.

10

V

sl.

8

V

sl.

8

V

sl.

10

V

sl.

10

V

8

V

8

V

V

k

k

[1:31]

I3

TAB

ITAB

Cmaj9P

sl.

12

z

P

sl.

8

z

V

sl.

15

V

sl.

12

V

12

V

8

V

12

V

9

V

14

V

10

P

sl.

15

z V

sl.

17

V

sl.

8

V

sl.

13

V

sl.

10

V

12

V

5

V

sl.

10

V

sl.

3

V

sl.

12

V

sl.

5

V

10

V

3

V

12

V

5

E`maj7V

sl. sl.

13

V

sl. sl.

6

P

sl.

11

z`

P

sl.

4

z`

V

13

V

6

V

sl.

(13)

V

sl.

(6)

V

11

V

4

V

sl. sl.

8

V

sl. sl.

8

e

P

sl.

6

z

P

sl.

6

Rb

V

8

V

8

V

sl.

(8)

V

sl.

(8)

P

sl.

6

z

P

sl.

6

R

V

sl.

8

V

sl.

8

V

6

V

6

V

8

e

V

5

f

V

8

e

V6

e

I7

TAB

ITAB

A`maj7

V

5

V

6

e

V

4

e

V

5

l

l

P

sl.

6

z

P

sl.

7

z

V

8

V

8

e

A`maj7/GV

V

Fm7

V

8

g

V

10

V

8

V

8

g

l

l

P

sl.

9

z`

P

sl.

10

z

V

sl.

11

e

V

sl.

12

Fm7/E`P

sl.

9

z

P

sl.

10

z

V

sl.

11

V

sl.

12

V

sl.

9

V

sl.

10

V

8

V

8

e

D`9V

sl.

8

V

6

e

V

sl.

(8)

V

sl.

(6)

V

sl.

9

e

V

sl.

8

e

V

6

V

4

V

k

V

6

e V

sl.

8

j

V

8

e V

6

V

6

4:3

e V

4

j

V

5

V

sl.

3

V

sl.

5

4:3





I1

TAB

ITAB

Cm7

V

10

j

V

l.

8

e

j

V

10

P

sl.

10

z V

sl.

12

F7

V

sl.

10

j

V

8

g V

10

k V

sl.

13

j

B`11V

sl.

13

j

V

8

V

8

V

8

4:3

e V

sl.

8

j

V

5

V

5

V

sl.

5

4:3

V

6

g

j

V

10

j

V

8

e V

8

I5

T

AB

ITAB

P

sl.

8

z V

11

e

j

V

j

P

sl.

11

z` V

15

j

V

j

V

16

e

j

V

j

V

sl.

18

V18

8vae

j

V

sl.

(18)

V(18)

uV

sl.

23

V

23

e

j

D Bridge

I9

TAB

Bdim

V7

8va

V16

T

g V

H

7

V

P

10

V

sl.

7

3 V10

V16

T

V

H

10

V

P

13

V

sl.

10

3 V7

V16

T

V

H

7

V

P

10

V

sl.

7

3

Cm

V8

V15

T

f V

H

8

V

P

11

e V

sl.

8

3 V11

k[2:25]

I0

TA

B

Ddim

V13

8va V

19

T

V

H

13

V

P

16

e V

sl.

13

3

V16

V

19

T

V

H

16

V

P

19

V

sl.

16

3

V13

V

19

T

V

H

13

V

P

16

V

sl.

13

3

E`V11

e V

18

T

e V

H

11

V

P

15

V

sl.

11

3

V15

k

I1

TAB

1.

Fdim

V16

8va

e V

22

T

V

H

16

V

P

19

V

sl.

16

3

V19

V

22

T

V

H

19

V

P

22

V

sl.

19

3

V16

V

22

T

V

H

16

V

P

19

V

sl.

16

3

V13

V19

T

V

H

13

V

P

16

V

sl.

13

3

V16

V19

T

V

H

16

V

P

19

V

sl.

16

3

V15

V

20

T

V

H

15

V

P

19

V

sl.

15

3





I2

TAB

A`V

l.

16

8vae V

20

T

V

16

V

20

V

sl.

16

3

V11

e k V11

8va V

16

T

V

11

V

16

V

sl.

11

3

V8

k

I3

TAB

2.

B`11

V16

8va

g V

20

T

V

H

16

V

P

20

V

sl.

16

3

V18

e V

20

T

V

H

18

V

P

22

V

sl.

18

3

V15

f V

20

T

V

H

15

V

P

18

V

sl.

15

3

V16

g V18

T

V

H

16

V

P

20

V

sl.

16

3

V13

V18

T

V

H

13

V

P

16

V

sl.

13

3

V15

f V18

T

V

H

15

V

P

18

V

sl.

15

3

I4

TAB

V

11

8va

e V

18

T

e V

H

11

V

P

15

V

sl.

11

3

V8

V

18

T

V

H

8

V

P

11

V

sl.

8

3

V4

gV

18

T

V

H

4

V

P

8

V

sl.

4

3

V6

e V

18

T

V

H

6

V

P

10

V

sl.

6

3

V

10

V

18

T

V

H

10

V

P

13

V

sl.

10

3

V

13

V

18

T

V

H

13

V

P

18

V

sl.

13

3

E Solo over chords...

I5

TAB

Cmaj9

V

sl.

15

8va j j jE

`maj7

2

Cmaj9

2

E

`maj7

2[2:47]

I3

TAB

A`maj7 j A`maj7/G j Fm7 j Fm7/E` j D`92

Cm7 j j F7 j j

I9

TAB

A` j j B`11 j j Cm7 j j F7 j j A` j j B`112





F Bridge repeat

I6

TAB

Bdim

V7

8va V

16

T

g V

H

7

V

P

10

V

l.

7

3

V

10

V

16

T

V

H

10

V

P

13

V

sl.

10

3

V7

V

16

T

V

H

7

V

P

10

V

sl.

7

3

Cm

V

8

V

15

T

f V

H

8

V

P

11

e V

sl.

8

3

V

11

k[3:44]

I7

TA

B

Ddim

V13

8va V

19

T

V

H

13

V

P

16

e V

sl.

13

3

V16

V

19

T

V

H

16

V

P

19

V

sl.

16

3

V13

V

19

T

V

H

13

V

P

16

V

sl.

13

3

E`V11

e V

18

T

e V

H

11

V

P

15

V

sl.

11

3

V15

k

I8

TAB

1. , 2.

Fdim

V16

8va

e V

22

T

V

H

16

V

P

19

V

sl.

16

3

V19

V

22

T

V

H

19

V

P

22

V

sl.

19

3

V16

V

22

T

V

H

16

V

P

19

V

sl.

16

3

V13

V19

T

V

H

13

V

P

16

V

sl.

13

3

V16

V19

T

V

H

16

V

P

19

V

sl.

16

3

V15

V

20

T

V

H

15

V

P

19

V

sl.

15

3

I9

TAB

A`V

sl.

16

8vae V

20

T

V

H

16

V

P

20

V

sl.

16

3

V11

e k V11

8va V

16

T

V

H

11

V

P

16

V

sl.

11

3

V8

k

I0

TAB

3.

B`11

V

20

8va

T

V

H

13

V

P

18

e V13

V18

T

V

H

13

V

P

18

V13

V

20

T

V

H

13

V

P

18

V13

V18

T

V

H

13

V

P

18

V13

V

20

T

V

H

13

V

P

18

V13

V18

T

V

H

13

V

P

18

V13

V

20

T

V

H

13

V

P

18

V13

V18

T

V

H

13

V

P

18

V13

V

20

T

V

H

13

V

P

18

V13

V18

T

V

H

13

V

P

18

V13

V

20

T

V

H

13

V

P

18

V13

V18

T

V

H

13

V

P

18

V13



Slidey BoySolo Tips

For the bulk of the solo section here, your best best is to use these modes as your starting point:

F/Eb - F lydian

D/C - D lydianBm11 - B aeolian (the G i.e. the b6 in this scale isn’t particularly nice, so it’s best not to dwell on it too much!)

(Incidentally... it’s probably worth spending some time exploring the classic lydian “major triads” trick... Over F/Eb, for in-

stance, it sounds cool if you play some ideas based on an F major arpeggio and then resolve using a nearby note from an E

major triad.)

For the more energetic bit towards the end of the solo, I would suggest:

C/F - F ionian

Eb6add9 - Eb lydian

D6 - D lydian

C13#11 - C lydian dominant (the Simpsons scale!)

A quick word about the outro solo... The harmony here is intentionally a little ambiguous: the chord starts out as a Cmaj7

but ends up being an Am9, and it’s hard to tell exactly where the transition occurs. (I quite like that!) At any rate, the “correct

notes are the same in either case - interpret them as C lydian or A dorian, as you see fit...

you may a so e....

Guthrie solos over our Robben Ford style backing track. A

thoroughly musical work out in Dm. Complete video, backingtrack, solo and tab transcription - all to our usual high standard.





SLIDEY BOY - MAIN THEMESAs recorded by Guthrie Govan


A Introduction

I1

TAB

gg 44P = 130

Bm114

I5

T

AB

gg k P

sl.

9

zb V

10

u V V

8

f V

7

Cmaj7V

5

V

7

V3

V V P

sl.

3

z V

5

u W

(5)

V V

sl.

5

V

sl.

6

f V

P

5

3

V3

V

5

B Theme A

I9

TA

B

ggBm11

j V

sl.7

V

9

V

7

V

sl.

11

V

9

V

9

V

sl.7

V

5

V

7

V

9

V

6

V

(6)

V

7

V

9

V

6

V

9

k V

9

V

6

g V

7

V

5

f V

6

g V

5

k k V

9

V

6

g V

7

V

5

f V

6

g V

5

V V

7

V

sl.8

f V

9

g V

7

V

7

V

7

[0:15]

I2

TAB

gg V

sl.

10

V

11

g V

11

V

11

V V

sl.

7

V

9

V

7

V

9

V

9

g V

7

V

7

j V

sl.

7

V

9

V

7

V

sl.

11

V

9

V

9

V

sl.

7

V

5

V

7

V

9

V

6

V

(6)

V

7

V

9

V

6

V

7

V

9

V

9

k P

sl.

8

z V

10

u V V

8

V

7

I5

TAB

ggCmaj7

V

9

V

7

V3

V V P

sl.

5

P3

zV

7

V

5

u

1.

U

(7)

U

(5)



SLIDEY BOY - MAIN THEMES - Guthrie Govan Page 2 o


I7

T

AB

gg2.

W

(7)

W

(5)

VV V

5

uY

V

5

V

7

V

3

V V

5

V

7

V

3

V V

(3)

V

2

V

3

g V

4

V

5

V

4

V

3

V

2

f V

3

V

2

V

3

f V

4

g V

4

V

4

V

3

f

C Theme B

I0

TAB

ggV

2

V

2

k V

H

3

g V

4

V

4

V

4

V

4

V

4

V

2

V

(2)

V

0

V

1

e V

2

f V

0

V

2

V

1

g V

0

f V

0

V

1

g V

2

V

0

kV

2

V

2

k V

4

V

3

g V

2

f V

5

V

1

e V

2

V

0

[0:48]

I3

TAB

ggV V

5

V

6

e V

7

f V

7

}

x

}

x

V

5

V

7

V V

5

V

3

V

5

V

4

V

5

V

2

V

3

g V

5

V

2

V

5

V

3

f V

(3)

V

5

f V

5

l V

3

g l }

x

V

4

V

2

f V

sl.

4

V

5

V

3

k

I6

TAB

gg V

4

V

4

k V

6

V

5

f V

4

V

2

V

3

f V

4

V

2

W

(2)

D Interlude (improv)

I8

TAB

ggBm11

V

2

V

2

V

sl.

9

V

7

V

7

3x

Cmaj7

[1:03]

E Theme A repeat

I2

TAB

ggBm11V

7

V

7

V

7

V

sl.

7

V

9

V

7

V

sl.

11

V

9

V

9

V

sl.

7

V

5

V

7

V

9

V

6

V

(6)

V

7

V

9

V

6

V

9

k V

9

V

6

g V

7

V

5

f V

6

g V

5

k k V

9

V

6

g V

7

V

5

f V

6

g V

5

V V

7

V

sl.

8

f V

9

g V

7

V

7

V

7

[1:17]



SLIDEY BOY - MAIN THEMES - Guthrie Govan Page 3 o


I5

TAB

gg V

sl.

10

V

11

g V

11

V

11

V V

sl.

7

V

9

V

7

V

9

V

9

g V

7

V

7

j V

sl.

7

V

9

V

7

V

sl.

11

V

9

V

9

V

sl.

7

V

5

V

7

V

9

V

6

V

(6)

V

7

V

9

V

6

V

7

V

9

V

9

k P

sl.

8

z V

10

u V V

H

8

V

P

10

V

P

8

V

7

I8

TAB

gg Cmaj7V

5

V

7

V3

V V P

sl.

3

z V

5

u U

(5)

V

5

V

7

V3

V V

5

V

7

V3

V

I1

TAB

gg V P

sl.

3z

V

5u

V V

H

5

V

P

6

f V

sl.

5

3

V

3

V

7

Dmaj7V

5

V

7

V

3

V V

5

V

7

V

3

P

sl.

8

z V

10

Em7V

(10)

V

9

g V

8

f V

7

V

9

V

7

V

7

V

9

V

9

V

7

V

7

V

sl.

9

V

10

f V

9

I4

TA

B

ggFmaj7

V

10

f V

9

u V V

10

V

(10)

uV

10

f V

8

V

8

f V

11

3

g

F Solo over chords...

I6

TAB

gg 74F/E` D/C F/E` D/C Bm11

[1:43]

I0

TAB

gg F/E` D/C F/E` Em7 Dmaj7

I4

TAB

ggC/F E`6add9 D6 C13b11



Rhode Island ShredSolo Tips

Apart from the little diminished twist right at the end, every chord in this track is a dominant seventh... so a good starting

point would be to use the appropriate dominant seventh arpeggio for each. You might then add in a 9th (i.e. a tone above th

root) for slightly more of a “Western swing” vibe. Also, it’s cool to try preceding some of the major thirds with the minor third

one fret below, just to add some bluesier colour. (If you do attempt this, try to make sure that the major third always landssomewhere rhythmically significant and comes across as more important than the minor third leading up to it!)

Of course, you could also try using the appropriate major pentatonic for each chord. The only problem with this scale is that

it features the natural 6, rather than the b7 which is actually contained in any dominant seventh chord, so you might want to

add a judicious sprinkling of b7s just for good measure...)

To increase the sense of movement, feel free to use chromatic notes to approach some of the chord tones - or indeed to lin

two chord tones in an ascending or descending line - but do try to remain aware of the basic arpeggio shapes for each cho

as you add these embellishments!

you may also like....Guthrie solos over our Jeff Beck style backing track. Complete

video, backing track, solo and tab transcription - all to our usual

high standard.





RHODE ISLAND SHRED - MAIN THEMESAs recorded by Guthrie Govan


A Theme 1

I1

TAB

g 44

P = 160G7

V15

8va

V12

V15

V17

V15

V12

V15

V15

V12

V12

V

15

e V

15

V

12

f V

12

V

15

f V

12

C7

V

14

V

12

V

15

e V

13

V12

V13

f V14

g V15

V12

V

13

V

15

V

12

V

14

V

15

V

12

V

13

e

I3

TAB

gG7

V14

8va

V12

V14

V12

V14

V15

e V16

fV

15

V

17

V

15

V

19

V

15

V

17

V

15

V

17

V

15

V

22

V

18

e V

19

f V

20

V

18

f V

20

V

15

V

18

V16

V

15

V17

V16

V15

f V17

V12

V13

e

I5

TAB

gC7

V

14

8va

V

12

V

15

e V

13

V

14

V

12

V

13

e V

14

f V

12

V

14

V

15

V

13

e V

14

V

12

V

13

e V

14

f V

17

V

15

e V

16

V

17

V

17

V

15

V

16

f V

17

V

17

V

15

V

16

e V

17

f V

20

V

18

e V

19

V

20

I7

TAB

gG7

V

19

8va

V

17

V

18

f V

17

V

21

V

17

V

19

V

17

V

19

V

17

V

19

V

20

e V

21

f V

19

V

21

V

20

E7

V

21

g V

19

V

22

V

19

V

16

V

17

V

19

V

16

V

13

g V

14

V

17

V

14

V

15

V

16

g V

14

V

15

I9

TAB

gA7

V

16

8va

g V

14

V

17

V

14

V

16

V

17

V

18

g V

17

V

20

V

17

V

21

g V

17

V

20

V

17

V

18

f V

19

gD7

V

20

V

17

V

19

V

18

f V

17

V

19

V

17

V

19

V

16

V

19

V

17

V

18

g V

19

V

17

V

19

g V

17



RHODE ISLAND SHRED - MAIN THEMES - Guthrie Govan Page 2 o


I1

TAB

gG7

V

19

8va V

17

V

18

f V

17

V

16

V

17

V

15

f V

17

E7

V

19

V

18

g V

16

V

19

V

17

V

16

g V

19

V

18

eA7

V

17

V

15

V

17

V

15

V

12

V

14

g V

14

V

12

D7

V

11

V

14

V

13

f V

12

V

15

V

12

V

13

f V

14

g

B Theme 2 (delay at 281ms)

I3

TAB

gG7

V

15

8va

V

15

V

12

V

12

V

15

V

14

V

12

V

12

C7

V

15

e V

14

V

12

V

12

V

14

V

13

e V

12

V

12

G7

V

14

V

12

V

14

V

12

V

14

V

12

V

15

V

12

V

15

V

15

V

17

V

17

V

19

V

15

V

22

V

17[0:18]

I7

TAB

gC7

V

18

8vae V

20

V

17

V

18

f V

15

V

17

V

13

V

15

V

12

V

13

f V

15

V

12

V

13

V

15

e V

12

V

14

G7

V

12

V

12

V

14

V

14

V

12

V

12

V

14

V

15

E7

V

16

V

16

g V

19

V

19

V

21

V

22

V

18

gV

19

I1

TAB

g

A7

V

17

8va

V21

g V

19

V

16

g V

17

V

19

V

16

V

17

D7

V

15

V

16

V

17

V

17

V

16

V

17

V

17

V17

8va

G7

V

16

V15

V

19

V19

E7

V

21

V22

V19

V

21

g

A7

V17

V

20

V

17

V

18

g

D7

V

19

V

18

V

19

V

16

I5

TAB

gG7

V

19

V

20

8va V

20

V

21

V

17

V

18

f V

18

V

19

V

20

V

21

V

21

V

22

V

17

V

18

V

18

V

19

C7

V

20

V

21

V

21

V

22

V

18

V

19

f V

19

V

20

e V

17

V

18

V

18

V

19

V

20

V

21

V

21

V

22

G7

V

19

V

20

V

20

V

21

V

17

V

18

f V

18

V

19

V

20

V

21

V

21

V

22

V

17

V

18

V

18

V

19

V

20

V

21

V

21

V

22

V

18

V

19

f V

19

V

21

G`7V

18

V

20

ee V

17

V

18

F7

V

16

V

17

g V

17

V

19

[0:36]

I9

TAB

g E7

Delay off



RHODE ISLAND SHRED - MAIN THEMES - Guthrie Govan Page 3 o



I1

TA

B

g E7 A7 E7 A7

[0:45]

I9

TAB

gC7 D7 C7 D7 N.C.

D Solo 2 over chords...

I9

TAB

gG7 C7 G7 C7 G7 E7

[1:12]

I7

TA

B

g A7 D7 N.C. G7 E7 A7 D7

E Ending

I4

TAB

gG7

V15

8va

V12

V15

V

17

V15

V12

V15

V15

V12

V12

V

15

e V

15

V12

f V

12

V

15

f V

12

C7

V

14

V

12

V

15

e V

13

V12

V

13

f V

14

g V

15

Cbdim7

V

18

g V

15

V

17

V

18

g V

15

g V

12

V

14

V11

g[1:52]

I6

TAB

gD7_V

12

v k j j

k G`7c_ G7_ ^



HangoverSolo Tips

This one is something of an oddity. The safest way to approach playing over these changes is to focus on chord tones and

then ll in the gaps with judiciously placed chromatic notes. If youre keen to try a more scalar approach, however, then I thin

my personal choices would be something like this:

Bm9 - use B aeolian, but avoid the b6 (I dont particularly like the b6 or the natural 6 here... its just personal taste thing...)

Bbadd9 - use Bb lydian dominant

Eb6add9 - use Eb lydian (the regular lydian with a natural 7, not the dominant variety!)

Ab13 - use Ab lydian dominant

G7 - use G lydian dominant

C7sus4 - use C mixolydian, emphasising the 4 rather than the 3.

Having said all of the above, this tune is all about Not Feeling Very Well - so its as good an opportunity as any for you to

playing the most horrible, offensive stuff you can muster!




HANGOVER - MAIN THEMESAs recorded by Guthrie Govan


A Introduction

I1

TAB

gg 68

PR = 108 (P P CP DP )Bm9

j j

Bàdd9

j j

Bm9

j j

Bàdd9

j j

B Theme 1

I5

TAB

ggBm9

V

4

V

MFull

4

V V V V

5

f V

O(5)

3

Bàdd9

V

(5)

V

M1/2

O5

V V

MFull

3

f V

MFull

O(3)

VBm9

V

4

V

MFull

4

V V

(4)

V

3

V

5

3

V

MFull

4

V V

5

f V

O(5)

3

Bàdd9

V

M2

(5)

Vu V

O5

V

M2

5

k[0:15]

release bendin steps

release bendin steps

*play 5th fret while holding 4th fret bend*play 5th fret while holding 4th fret bend

I9

TAB

ggBm9

V

4

VMFull

4

V V

O(4)

V V

4

E`6add9

V

5

VMFull

5

f V V

(5)

A`13

VMFull

5

f V

4

ue V

5

G7

V

2

V

4

V

3

f V

6

uf

1

C7sus4

V

1

f Vu1

I3

TAB

gg Bm9 j j Bàdd9 j j Bm9 j j Bàdd9 j j

C Theme 1 repeat

I7

TAB

ggBm9

V

11

V

MFull

12

V V

(12)

l V

MFull

13

f V

O(13)

3

B

àdd9

V

(13)

V

M1/2O12

V V

MFull

10

f V

O(10)

1/2

VBm9

V

11

V

MFull

12

V V

(12)

V

10

V

12

3

V

MFull

12

V

MFull

12

l V

MFull

13

f V

O(13)

3

B

àdd9

V

M2(13)

V

13

u V

13

V

17

f V

sl.

(13)

V

(17)

k k[0:55] release bend

in stepsrelease bendin steps





HANGOVER - MAIN THEMES - Guthrie Govan Page 3 o

F Theme 2 repeat

I9

TAB

ggC/F

VMFull

18

8vaf VMFull

15

VMFullO

(15)

V V

13

fD/E

VMFull

17

V

(17)

V

15

u

Cmaj7

V

17

V

MFull

17

V

O(17)

VBm7

V

17

VMFull

17

VMFullO

(17)

V V

15

[3:35]

I3

TAB

ggC/F

V

MFull

18

8va

f V

(18)

D/E

V

MFull

17

V

MFull

17

V

MFull

17

V

15

V

MFullO17

V V

15

V

14

Cmaj7

V

MFull

17

V

(17)

Cm11

}

x

}

x

}}

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Erotic Cakes Guthrie Govan Transcriptions