Erotic Cakes - The Backing Tracks

Contents
Introduction Waves Erotic Cakes Wonderful Slippery Thing Ner Ner Fives Uncle Skunk Sevens Eric Slidey Boy Rhode Island Shred Hangover

Introduction
Greetings, 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 from 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 to feel like playing when the engineer hit the red button on one particular occasion, in a studio in North Hollywood, several years 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 with 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 least 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 the 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 over 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 way 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 subtly different 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 #4 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 uses. 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 of obvious root notes and saccharine thirds, they’ll eventually start to take these “good” notes for granted and you’ll run the risk 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 unpredictable, melodic or dissonant, soothing or challenging, earthily bluesy or bewilderingly jazzy, etc etc. You’re the boss, after all - it’s your solo!

Waves
Solo 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 D lydian. The good news is that all those modes contain exactly the same notes, so you can start by simply using a single scale 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?)

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Guthrie’s phenomenal solo over our Larry Carlton style backing track. Over one million hits (and counting) on our YouTube site. Complete video, backing track, solo and tab transcription all to our usual high standard.

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b sl. P 6 V V V V V V g g V g 5 V V I V V T A B 4 sl. 9 9 12 11 sl. 7 9 9 7 9 6 sl. 11 9 sl. b E/F b 7 9 9 6 sl. 7 6 sl. Fm b H H P sl. 11 9 sl. V V V V V V V V V V V 9 10 7 5 7 H sl. 12 14 12 12 sl. 9 11 sl. P sl. b Fm V V V V V V V V V V V V V V V V 11 9 sl. 6 7 12 sl.guitarnetwork. sl. Bm7 C m7 3 ggg V V V I V V V V V V V V V V V V V T A B sl. 6 7 9 9 sl. 9 6 7 12 sl. 7 4 7 11 sl. b 7 6 sl.org . 6 9 sl. 5 P 4 B Solo 1 over these chords. 7 7 sl. sl. 2 4 6 7 sl. 7 7 sl. H H sl. 9 7 sl. 7 sl. sl. 7 9 sl. 9 7 11 sl. 10 9 11 12 9 sl.WAVES . 7 7 sl. sl.MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) A Main theme Fm 1 ggg 4 I 4 T A B bP = 78 V V 0 H V V V V V V V V V V V V V V E/F 5 6 7 sl. sl. sl. 5 7 sl. sl. Dsus2 Esus2 V V V V V 5 9 10 12 12 Fm b E/Fb V V V V V 9 7 9 7 sl. sl. 9 11 sl. 11 9 sl. sl. ggg 9 I T A B _ E Fbm c k_ _ A/C cb k_ k _Dc _ ^ _ E Fbm c k_ ^ Bm11 ^ [0:49] Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen. http://powertab. 6 7 sl. P Dsus2 Esus2 Bm11 V V V V V V V V V V V V V V V V 9 7 11 H 6 7 10 9 11 11 sl. 11 6 7 ggg V V V V V V V V V V I V V V V V V T A B 4 5 sl. sl. 9 7 sl... b Fm b V V V V V V V V V V V V V V V V E/F Fm 9 7 5 9 12 14 9 7 10 9 9 sl. 7 9 sl.

MAIN THEMES .guitarnetwork.org .Guthrie Govan Page 2 of 2 ggg 13 I T A B _ E Fbm c k_ _ A/C cb k_ k _Dc _ _ k _Ac c k Bm11 __ ^ ^ C Solo 2 over these chords. Am11 ggg 17 I T A B ^ ^ Fmaj7 11 ^ b ^ C m7 b ^ ^ Amaj7 11 ^ b ^ [1:50] E/D D c _ _^ gg 25 Ig ^ Bm11 ^ ^ Amaj7 ^ ^ ^ ^ T A B D Middle section 33 ggg 15 I 16 [2:52] VV 7 9 VVVV VV gV V f V f V V V V VVVVVVVV V e V V V f V V V VgV V V V VV V V VVV VV V 7 9 6 7 7 9 6 7 9 7 6 10 9 7 6 7 6 9 9 7 6 9 7 5 9 7 5 9 7 5 8 7 5 8 6 7 9 6 10 9 7 11 9 T A B ggg 4 gV f V k 36 I 4 T A B 10 10 V V V V V 6 6 V V V V V V V V V fV V V V V V V V gV V V V V V V V V V V V V V 6 6 6 6 14 17 15 14 16 14 13 14 16 14 16 14 13 16 14 12 14 16 13 16 14 12 16 14 12 14 16 12 16 14 12 16 14 12 14 16 g V V V V V V V V V V V V V V V V V V k g V V V V V V V V V V V g 37 V V V u I V V V V V 8va 6 6 6 6 13 13 14 16 14 6 16 14 13 14 16 14 15 17 6 14 16 17 14 16 17 19 T A B 12 14 16 12 16 14 12 14 16 12 14 16 16 14 12 14 16 Generated using the Power Tab Editor by Brad Larsen.WAVES ... http://powertab.

as a starting point. but one fret higher. (Oh .) For the chaotic middle section.. 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. try: Am11 .. try drifting in and out of your bluesy Em pentatonic/dorian comfort zone! .A dorian Amaj7#11 . anything goes . much as you might expect.D dorian Gmaj7#11 .A lydian Dm11 .and.Erotic Cakes Solo Tips For the fusion-flavoured C section.G lydian You might also enjoy experimenting with some minor pentatonic stuff. moving from Am-G#m-Am-Bm over those four chords.

guitarnetwork. Amaj7 114 fr. Dm11 3 fr. Gmaj7 112 fr. http://powertab.EROTIC CAKES . 2 5 0 B Main theme 18 I [0:27] V V eV V 7 6 5 l V V eV 8 7 6 l V 8 gV 4 l V 5 V 0 l k k k k l l l c c d eV V eV V V fV eV eV V fV V g V V V V V V 1 0 1 1 0 (0) 7 6 5 8 7 6 6 5 4 7 6 T A B Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen.MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) x Am11 3 fr. 6 6 5 4 0 10 I T A B V V eV V 7 6 5 k V V eV 8 7 6 k V 8 gV 4 k k V 5 V 0 k k c V 0 j eV 1 V 1 j j c V 1 k j V 0 V (0) V eV V 7 6 5 k V fV eV 8 7 6 15 I k T A B e V V gV 6 5 4 k V V eV V V V 3 2 3 7 7 6 6 6 6 Fingering: V V gV V e V V V V V V V V f V V V V gV V V V f V V V V e V f V V V 2 1 3 2 3 2 1 3 2 3 2 1 5 5 4 4 6 6 5 5 5 5 4 4 3 3 5 5 4 4 4 4 3 3 2 2 1 sl. x x x x b b ` b A Introduction 1 4 I4 T A B P = 142 j Gtr I c V eV V V V 0 (0) 7 6 5 k V V eV k V gV kk V V 0 k k c V 0 j eV 1 V 1 j j c V 1 kj V 0 8 7 6 8 4 5 6 I T A B V V eV V 7 6 5 k V fV eV 8 7 6 k k c e V V gV V V 6 5 4 7 6 k c V 8 V 5 j V 7 gV 4 V 5 V eV eV eV V gV V 3 7 sl. A maj7 11 3 fr.org .

MAIN THEMES . 2 5 0 2. V (0) V eV V 7 6 5 l V V eV 8 7 6 l V 8 eV 4 l V 5 V 0 l k k k k c c d eV V V V V 1 0 1 1 0 6 6 5 4 0 Generated using the Power Tab Editor by Brad Larsen. http://powertab. 28 5 I4 T A B Am11 k Amaj7 11 b 1.guitarnetwork.. j Dm11 j Gmaj7 11 b j A maj7 11 ` 4. .. 3. 24 I T A B V V eV V 7 6 5 l V fV eV 8 7 6 l e V V gV 6 5 4 l fV eV V 3 2 3 2 7 6 6 Fingering: V gV e V V V V f V V gV V f V V e V f V V V 1 3 2 3 2 1 3 2 3 2 1 5 4 6 5 5 4 3 5 4 4 3 2 1 sl. 2 5 C Solo over these chords. . 26 I T A B V V eV V 7 6 5 l V fV eV 8 7 6 l e V V gV 6 5 4 l fV eV V 3 2 3 2 7 6 6 Fingering: l V e V V gV V V V f V V gV V f V V e V f V 1 3 2 3 2 1 3 2 3 2 1 5 4 6 5 5 4 3 5 4 4 3 2 1 sl.EROTIC CAKES .b j [0:54] 33 4 I4 T A B D Ending [3:33] V (0) V eV V 7 6 5 l V V eV 8 7 6 l V 8 eV 4 l V 5 V 0 l k k k k l l l c c d eV V eV V V fV eV eV V eV fV V V V V V V 1 0 1 1 0 (0) 7 6 5 8 7 6 6 5 4 7 6 36 I l V T A B 8 V 5 k V 7 gV 4 V 5 V eV eV eV V eV V 3 7 sl.Guthrie Govan Page 2 of 3 21 I l V T A B 8 V 5 k V 7 gV 4 V 5 V eV eV eV V gV V 3 7 sl. V (0) V eV V 7 6 5 l V V eV 8 7 6 l V 8 gV 4 l V 5 V 0 l k k k k c c d eV V V V V 1 0 1 1 0 6 6 5 4 0 1.org . 2.

MAIN THEMES .org . http://powertab.Guthrie Govan 1 Page 3 of 3 I T A B V V eV V 7 6 5 l V fV eV 8 7 6 l eV V eV 6 5 4 l fV eV V 7 6 5 l V V eV 8 7 6 l eV V eV 6 5 4 l V fV eV 8 7 6 l fV 7 V 0 Generated using the Power Tab Editor by Brad Larsen.guitarnetwork.EROTIC CAKES .

if you feel so inclined.) This will work for the whole of bars 25-26.Wonderful Slippery Thing Solo 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. Using a funky jam track in E minor. and use F# phrygian dominant.everything’s going to be just fine.A mixolydian A#dim7 .D mixolydian Gmaj7 . A11 .. (Frankly. starting on A#. A few chromatic notes can work very well here if they’re applied in the right way..G lydian F#7b9 . each with a different sound and feel. Funk Fusion With this mini-bundle.. you get a much more intensive approach to improving your soloing skills. 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. Try these scale choices. adding one new idea at a time.you could interpret this as an F#7b9 with no root.. Guthrie has played four short solos. You might also like to try the whole-half diminished scale.. it’s only there for one beat at the end of bar 23.B aeolian D9 . Or you could play it safe and stick to the notes of the A#dim7 arpeggio.E dorian (the same notes as the B aeolian and G lydian we encountered earlier. click here to find out more ... but the most important thing is to stay focused on what’s actually going on in the chord progression. so don’t panic about the density of the chords as notated in the tab . For the B section: Bm7 .F# phrygian dominant (if you like Yngwie) or F# superlocrian (if you like Larry!) Additional info for the E section: Em11 . so you could be forgiven for not worrying too much about this chord!) you may also like.

WONDERFUL SLIPPERY THING .guitarnetwork. 7 P 4 (4) 7 7 7 sl. Bm7 D9 Gmaj7 F79 b` 8x [0:05] C Main melody 5 g Ig4 4 [0:45] Bm7 j V V V W Full D9 Gmaj7 j b` V V V V Full F79 V V l V E11 V V V V V V W Full E9 MO 11 Fb7`9 MO 9 7 H MO Full M T A B Gmaj7 12 10 9 9 (9) (9) (9) 16 11 sl. 7 g 11 Ig T A B E11 V V M O V Full V M E9 Gmaj7 V V Full V M V V O V V Full V M V V V Full Full M V V O 9 (9) (9) 7 4 (4) 7 5 (5) (5) 5 7 (7) Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen.org ..MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) A Introduction (E7) g 1 Ig4 4 V V T A B 0 D P = 96 (P P CP P ) 6 V } } } x x x L R L V 0 6 } } } } } x x x x x L R L R L V V 0 6 V } } } x x x V 0 6 } } } } } x x x x x V V 0 6 V } } } x x x V gV 0 6 H 6 V } } } 0 x x x V k j v 0 7 0 H 7 0 H 7 0 H g 3 Ig T A B B Solo 1 over these chords. 9 7 9 9 (9) (9) sl. sl. 8 gg l V V V V I T A B V V V V V V Full Bm7 V V V V V D9 V 1 1/2 Gmaj7 b` l V V V V V V V V V F79 Full Full Full M MO Full M M MO 9 9 Full M 7 sl. http://powertab. 9 7 9 Fb7`9 (9) sl..

16 g Ig T A B gV V 6 7 l k f V gV f V V V V V gV V V V } V V gV 3 3 3 3 10 11 10 x 5 7 9 7 9 7 6 7 5 7 4 V V V V V V V 7 7 5 7 (7) sl.guitarnetwork. http://powertab. l } gV } V } x 4 x 5 x T A B 7 5 4 2. Bm7 Em11 Bm7 D9 T A B gg Gmaj7 23 I T A B Bm7 Em j D/F j b G j Bm j A11 A dim7 b j g 27 Ig T A B Bm7 D9 Gmaj7 F79 b` E11 E7 Gmaj7 F79 b` Generated using the Power Tab Editor by Brad Larsen. l } gV } V gV x 4 x 5 6 0 0 g 18 Ig T A B V V V V V V V V V V V P V V V V V z V V V V V V V V V V V V V V V V V V V V V 8va 3 7 11:8 9 10 14 17 14 10 9 11 12 16 19 7 9 10 14 17 14 10 9 10 14 17 H H T P P H H T H H T H H T P P MO 14 19 22 T 6 |__________3__________| Full 19 14 17 16 H |________3_________| 22 17 12 14 12 Hsl. l } gV } V } gV V x 4 x 5 x 6 7 l }VV x 5 7 l gV V V V VV } gV x 6 7 6 4 H P P VVVVV VV 7 7 5 7 (7) 0 0 sl.MAIN THEMES . 13 g Ig [1:05] VVVVV VV 7 5 7 (7) 7 0 0 sl. T P H 19 gg Gmaj7 I [1:35] E Solo 2 over these chords. T P H 5 15 14 H 12 H H sl..org ..Guthrie Govan Page 2 of 4 D Riff section 1 1.WONDERFUL SLIPPERY THING .

MAIN THEMES . l } gV } V } x 4 x 5 x 7 5 4 g 38 Ig T A B eV fV 6 7 l l gV 3 e V } V V } gV f V f V gV 3 x 5 7 x 6 6 5 8 8 6 V V V V 7 7 5 7 sl.Guthrie Govan Page 3 of 4 F Altered melody section Am7 8va C/G F m7 5 8va b ` j F13 g 31 Ig j [2:15] V V V W Full V V V V fV V l Full `b Am7 V V V V V fV V V V B 7 11 Full F m7 5 V u b ` F13 ee V f V V V V V k Full1/2 MO 21 MO 19 17 19 H M Full O M Full M M MO T A B 22 20 19 (19) (19) (19) 18 20 19 (19) sl.org . http://powertab. Generated using the Power Tab Editor by Brad Larsen.WONDERFUL SLIPPERY THING . 3 k c l gV V V V l V } V V gV gV } V } e V f V } V 4 x 5 x 6 7 x 5 7 x 6 H 7 P 6 P 4 7 5 4 3 3 gg 3 3 41 V V gV V V V V V V V V V V V V I V V V V gV 3 3 3 3 3 3 V e V V V gV V V V V V V e V V gV V V V gV f V 3 3 3 3 16 15 14 12 13 T A B 7 7 5 7 7 4 7 6 7 7 5 7 4 7 6 9 9 7 9 6 14 12 14 14 12 14 13 12 11 14 11 12 11 10 H Final melody & ending 43 g Ig j [2:55] Bm7 V V V W Full D9 Gmaj7 j b` V V V V Full F79 V V l V E11 V V V V V V W Full E7 MO 11 MO 9 7 H MO Full M T A B 12 10 9 9 (9) (9) (9) 16 11 sl. 17 19 19 H G Riff section 2 35 g l l gV V V V l Ig V V V V V } V V V gV V V V } gV } V } e V f V } [2:25] T A B 7 5 7 (7) 7 0 0 sl. 19 sl. sl.guitarnetwork. x 4 x 5 x 6 7 x 5 7 x 6 7 6 4 H P P V V V V V V V 7 7 5 7 (7) 0 0 sl.

guitarnetwork.org . http://powertab. 9 7 9 (9) (9) sl. Page 4 of 4 T A B G/F 8va 7 sl.Guthrie Govan Bm7 V V V V V D9 V 1 1/2 M MO 9 Full M Gmaj7 Fb7`9 3 c j V V V V V V V V u3 u 3 3 Full MO 7 sl.Gmaj7 Fb7`9 g V V V V V V 46 Ig l V V V Full Full WONDERFUL SLIPPERY THING .MAIN THEMES . 7 4 7 7 9 7 11 9 7 gg V f V V V V V V W 49 I fV 3 Full VVVV 3 Full M 3 Full M T A B 10 12 13 (13) 15 13 17 (17) 17 MO 1/2 MO 17 VVVVVVVV V V V VVVV V VV V V V V V V 6 6 6 14 17 19 22 19 17 14 14 16 14 17 19 21 H H T H H 19 21 T H H T P P 21 19 16 14 T P P 16 21 19 17 14 T P P Generated using the Power Tab Editor by Brad Larsen.

G F: as ever.use G dorian. Eb/F .. Ebmaj9. you would use Eb lydian and F mixolydian .use C mixolydian.Ner Ner Solo Tips Let’s start with the intro section. you may also like. And then we persuaded Guthrie to come and play a sample solo for each one. Prepare to be amazed! click here to find out more . rather than the b2 offered by the D phrygian mode: it’s just a little brighter. F mixolydian (all the same notes!) Db/Gb .. thus. (Listening out for any B or Bb 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. At any rate. rather than looking for a “one scale fits all” shortcut. it helps to think slightly more like a jazz player and treat each chord on its own merits.Bb Am . For the F section. (The voicings in the riff are very specific. Live. I generally find myself just playing the riff at this point. but a nice shortcut would be to use D dorian for the first two bars. but if you fancy soloing over the chords it might be helpful to simplify the chord names.which are essentially the same thing. hence the profusion of terrifying-looking slash chords in the tab!) You could view the basic four bar progression as D5 C5 . Eb lydian. These same notes could also be used for the final two bars of this section (acting as D phrygian and F mixolydian) . these would be good starting points: Gm11. which would still work for bluesy lead playing. it’s important to latch on to the changing chord tones as much as possible here.though I personally prefer a touch of the natural 2 over the Dm7.. Contemporary Series 1 This one is special! We made 10 jam tracks with a modern rock/ pop sound. switch to D aeolian for bar 3 and then back to D dorian for bar 4...use Gb lydian Bb/C (there’s one of these right at the end of the solo!) ..D5 C5..

MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) A Intro Dsus2 Csus2/F B sus2/E 1 8 Ie 6 T A B V V k } } } Vl V V } } } V V V V V 7 7 5 0 sl. 10 sl.org . O 3 3 O 3 O 2 O 3 Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen. Gm11 13 Ie T A B V l V V V V P V l V V V V z 1 1/2 1 1/2 Full Full P V l V V l V V l V V l V z Full 2 1 1/2 7 sl. 2. O 5 5 O 5 (5) sl.NER NER . http://powertab. 1. 7 O 7 (7) sl. VV k V V V V 3 3 5 5 3 3 ` V V V V eV V 1 1 3 3 1 1 VV V V V V 1 1 3 3 1 1 ` Csus2/A Dsus2/G Csus2/F V V V V V V V V VV V 3 3 5 5 0 V V VV V 3 3 5 5 0 V V VV V V V V V V V 5 5 7 7 5 5 V V V V V V 5 5 7 7 5 5 V V V V V V V V V V V V 3 3 5 5 3 3 V V V V V V 3 3 5 5 3 3 V V V V V V 3 3 5 5 3 3 x x x x x x 3 3 5 5 3 3 B Main theme Dsus2 5 Ie T A B V V V l V V V V V Csus2 12 13 10 7 Dsus2 Csus2 B sus2 V (7) V ` V V V V V V V V Csus2/A 6 6 8 8 [0:30] 10 10 sl. 10 10 sl. 7 10 sl. sl. 10 sl.guitarnetwork. 7 5 sl. 8 8 8 sl. Dsus2/G 8 Ie T A B V V V V V V l V V Csus2/F E`maj9 V l V V V E`/F V l V l V V V V sl. E sus2/A ` ` eV V l V l P V V V l V k z 8 8 8 8 sl. sl. 7 7 sl. Full 10 6 6 8 3 3 (3) 10 10 (11) tr[[[[ 6 8 (8) M Full MO 7 5 sl. sl. 11 Ie T A B Gm11 V l V V V V V l V V V P V z 7 10 sl. sl. VV k V V V V 3 3 5 5 3 3 x x x x x x 3 3 5 5 3 3 V V k } } } Vl V V } } } V V V V V 7 7 5 0 sl. sl.

. http://powertab. B sus2/E Page 2 of 4 15 Ie T A B ` l` kE`sus2 B`sus2/E` E`sus2 Csus2/F Fsus2 Csus2/F Fsus2 l k l k l _ _ _ _ _ _ l_ l_ k _ l_ k l_ l_ k _ l_ k l_ l_ k [1:01] B sus2/E ` 19 Ie T A B ` E`sus2 l k l_ l_ k _ _ B sus2/E ` ` E`sus2 l k l_ l_ k _ _ Csus2/F Fsus2 Csus2/F c _ k_ k_ k Fsus2 Csus2/F Fsus2 c _ k_ k_ k B sus2/E ` 23 Ie T A B ` E`sus2 _ l_ k l_ l_ k B sus2/E ` ` E`sus2 _ l_ k l_ l_ k Dm7 ^ E`c /F _ _ _ Repeat main theme [1:31] and then play solo 2 over the same chords as solo 1 [2:01] D Middle section 1 Gm F Cm 27 Ie [2:32] V V V V V 8 5 8 V 5 D7/A V V 3 3 V V V 7 3 7 V 3 V eV V V V V V V V V V V 11 8 12 8 12 Gm/D F/A V V V V V V 12 12 12 V 7 V V V V V 8 10 10 10 8 T A B Gm/B 30 Ie T A B eV V V V V gV V V V V V V 8 Gm 10 12 8 12 10 7 ` 5 5 E maj7/B ` 10 V 8 eV V V V V 12 8 12 ` 10 12 8 12 10 E /G ` 10 E V 5 C/E V eV V V V 6 8 5 8 6 ` 12 13 13 D7 eV V V V V 5 3 5 V 1 V V 0 0 gV V V 4 5 4 V 0 D7/F b 9 10 7 10 9 10 10 Gm/F E 33 Ie T A B V V V V V V V V V V V gV 5 5 7 3 7 5 4 5 7 5 7 5 V 3 V V V V V 5 5 7 5 5 V 2 V V V V V 3 5 5 3 3 ` V eV 6 4 1 1 V 3 V V V V V V 8 7 5 8 5 8 V V 5 8 V 5 Generated using the Power Tab Editor by Brad Larsen.NER NER ..MAIN THEMES .org .Guthrie Govan C Solo 1 over these chords.guitarnetwork.

. 43 Ie T A B V eV 2 1 VV V V k V V k VV 10 8 10 8 V VV V V V V V V V k V k V u 10 8 10 8 V VV V k 10 10 8 8 10 10 8 8 10 10 8 8 10 10 8 8 V eV 2 1 VV V V k V V k VV 10 8 10 8 V VV V V VV V u V VV V V VV V V VV V k k } } } x x x sl. http://powertab. T A B 3 3 5 10 10 8 8 10 10 8 8 10 10 10 8 8 8 10 10 10 8 8 8 F Solo 3 over these chords. 39 Ie [3:02] eV eV V V V V V V gV V V V V V V V V V V gV V V gV f V 5 0 3 5 4 6 5 5 0 3 5 4 6 5 5 0 3 5 4 6 5 5 4 3 VV V V V V V V V V V V V V k V k V k V V V V k k } } } u V eV 10 8 10 8 2 1 10 8 10 8 10 8 10 8 10 8 10 8 10 8 10 8 x x x sl. 3.org .MAIN THEMES .NER NER . T A B 2. 51 Ie T A B Gm11 4 E maj9 ` 4 E /F ` 2 Gm11 2 D /G ` ` 2 E /F ` 2 [3:32] Generated using the Power Tab Editor by Brad Larsen.Guthrie Govan Page 3 of 4 D7 9 36 Ie T A B ` V gV 8 7 V V V V e V V f V gV V V 5 10 8 7 10 7 10 8 10 7 Gm/B ` D7/A Gm eV V V V V V V V V V V V 11 10 8 7 10 8 5 8 6 8 7 8 E /G ` ` V 5 D/A eV V V eV V 6 8 8 8 6 gV 4 V gV 5 4 V V V 5 4 5 E Middle section 2 1. 10 10 10 8 8 8 10 10 10 8 8 8 10 10 10 8 8 8 10 10 10 8 8 8 47 Ie V V V V V V let ring eV V V 6 4 3 V V V V V V 3 3 5 eV V V 6 4 3 V eV 2 1 VV V V k V V k VV 10 8 10 8 V VV V k V VV V V VV V V VV V k k } } } x x x sl..guitarnetwork.

. 2. http://powertab.NER NER . 2 B /C ` 3.org . 2 Generated using the Power Tab Editor by Brad Larsen.Guthrie Govan Page 4 of 4 1 Ie T A B E maj9 ` 2 Gm11 2 D /G ` ` 2 E /F ` 1.MAIN THEMES .guitarnetwork.

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.. and the same three chords run throughout the whole thing.Fives Solo Tips Once you’re comfortable with the 5/4 groove and the somewhat frantic tempo. solo and transcription. Guthrie recorded new solos over some of our backing tracks.. I can suggest two opposing (but equally valid) policies: avoid the b6 and 6 altogether when playing over the Fm11. you’ll probably want to use F dorian.. click here to find out more . but if you’re more interested in flowing smoothly into the following Dbmaj7#11 you’ll be more inclined to favour F aeolian. The package includes video. 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. and Db lydian is definitely the way forward when tackling the Dbmaj7#11. I think A dorian is a good bet for the Am11.. backing track. exclusively for our Youtube channel .. If in doubt.Funky Blues is one of the most requested. so. Scale-wise.. I suppose the moral of this story is: play whatever feels right at the time!) Funky Blues As you may know. this is actually a pretty simple tune.

sl. 10 8 6 10 8 8 12 10 11 sl. sl.org . 7 V V V uk V V V V V V 0 10 12 7 5 9 7 8 sl. [0:47] 15 V 12 V 14 sl. sl.FIVES . V 12 V V V V V V V 14 (14) 15 14 12 12 sl. V P V V z V V 15 16 12 P z V 19 10 sl. 7 B Theme A Am11 17 I T A B V V V V V V V V V V 15 13 15 12 13 12 14 12 V 16 sl. 7 ` b eV V V V V gV c k V V V eV c k eV V V V c k V eV e V g V c k 9 eV V V eV V eV eV V eV eV V V V V V I eV V V Fm11 D maj7 11 T A B 8 6 10 8 8 12 10 11 sl. 7 V V V uk V V V V V V 0 10 12 7 5 9 7 8 sl. H P Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen. D maj7 11 3 fr.guitarnetwork.MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) x Am11 3 fr. http://powertab. 10 13 15 11 9 13 12 11 10 8 13 15 11 9 13 12 11 10 8 13 V k V V V I u V V V V V T A B 0 10 12 7 5 9 7 8 sl. 7 V V V uk V V V V V V 0 10 12 7 5 9 7 8 sl. 12 sl. 7 Am11 V V V uk V V V V V V 0 10 12 7 5 9 7 8 sl. 7 V V V uk V V V V V V 0 10 12 7 5 9 7 8 sl. x x ` b A Introduction Am11 P = 152 1 5 V V I4 VV j V T A B Am11 3 3 5 5 0 c V V VV k V 3 3 5 5 0 V V VV j V 3 3 5 5 0 V V VV j V 3 3 5 5 0 c V V VV k V 3 3 5 5 0 V V VV j V 3 3 5 5 0 V V VV j V 3 3 5 5 0 c V V VV k V 3 3 5 5 0 V V VV j V 3 3 5 5 0 V V VV j V 3 3 5 5 0 c V V VV k V 3 3 5 5 0 V V VV j V 3 3 5 5 0 5 V k V V V I u V V V V V T A B 0 10 12 7 5 9 7 8 sl. 7 V V V uk V V V V V V 0 10 12 7 5 9 7 8 sl. 12 sl. sl. Fm11 3 fr.

[1:11] 15 V P V V z V V 15 16 12 P z V 19 10 sl. V 15 eV u k 15 T A B 12 10 9 12 P 9 14 sl. sl.MAIN THEMES . 12 sl. sl. H P 7 V V V V V V V V V g V V V V V 32 V V V V V V gV I V V V V V V V V V V V V V V 7 7 8va 7 7 T A B 12 15 19 22 22 19 15 12 15 19 22 T P P H H T 14 17 21 22 H H T H H T 12 15 19 22 19 15 12 22 19 15 12 10 21 16 12 T P P 9 21 16 12 T P P 9 H H T P P T P P sl. V gV V 13 (13) sl. V 12 V 14 sl. 12 15 19 H H 12 sl.org . sl. sl. V 15 eV u k 15 V 12 sl. Generated using the Power Tab Editor by Brad Larsen. sl. V 12 V V V V V V V V V V 3 14 (14) 15 14 12 12 sl. D maj7 11 8va ` b M 23 I eV T A B V V V 13 eV Full V M V V eV V eV V eV V V V V V V fV eV V eV 20 16 20 16 13 14 13 16 15 16 13 16 15 14 13 Full 18 (18) 15 (15) 15 Am11 8va 25 I Pz V T A B 13 15 V P VV z 15 15 13 V V u 15 V Full VVVVV M Full VV M VVV Full VVVVV M Full 8va V VVV 3 12 j j j M 14 12 (14) 13 14 12 (14) (12)13 14 12 (14) 13 15 14 12 14 sl. http://powertab. Fm11 V 12 sl. sl.guitarnetwork.Guthrie Govan Page 2 of 5 20 V V V V k V V I 3 V 15 V V k u u k 15 14 sl. V gV V 13 (13) sl. Am11 29 I T A B V V V V V V V V V V 15 13 15 12 13 12 14 12 V 16 sl.FIVES .

Guthrie Govan Page 3 of 5 Fm11 33 I T A B V V gV V V eV u k V V P gV V z V eV V D maj7 11 8va ` b eV M V V V (11) 13 eV Full V M Full 12 sl. 12 sl. 13 (13) sl. 10 11 10 11 18 (18) 8va 36 I j T A B V eV V eV V eV V V V V V V fV eV V eV 20 16 13 14 13 16 15 16 13 16 15 14 13 15 Am11 P V z 13 V P V V z 15 15 V V u 15 20 16 15 13 sl. 8 (8) sl.guitarnetwork. 38 I T A B V Full V V V V V M Full V V M V V V Full V V V V V M Full 8va V V V V 3 13 j j j M 14 (14) 12 13 14 (14) 12 (12) 13 14 (14) 12 13 15 14 12 14 sl.org .MAIN THEMES . C Theme B Am11 8va 41 I [1:35] V V V V V V V V V V V k V V v V V V V 12 17 12 12 17 12 17 12 H T H T 8va 3x V V V 12 17 12 V V V V V V V k V V V V V V V v 12 17 12 12 17 12 12 17 12 12 17 12 H T H T T A B 12 17 12 12 17 12 12 17 12 H T H T 12 17 H T H T H T H T H T H T Fm11 8va 43 I T A B V V V V V V V f V V V gV V g k eV V V V V v 8va V V V 15 20 15 V V V V f V V V gV V g k eV V V V V v 8va 15 20 15 15 20 H T H T 15 20 15 15 20 15 H T H T 15 20 15 15 20 15 15 20 15 20 15 H T H T 15 20 15 H T H T 15 20 15 15 20 15 H T H T H T H T Generated using the Power Tab Editor by Brad Larsen. 15 15 12 sl.FIVES . sl. http://powertab.

.MAIN THEMES ... 51 I T A B Am11 4 Fm11 2 D maj7 11 ` b 2 Am11 4 [2:00] E Theme B repeat Am11 8va 63 I [3:59] V V V V V V V V V V V k V V v V V V V 12 17 12 12 17 12 17 12 H 8va T H T 8va 3x V V V 12 17 12 V V V V V V V k V V V V V V V v 12 17 12 12 17 12 12 17 12 12 17 12 H T H T T A B 12 17 12 12 17 12 12 17 12 H T H T 12 17 H T H T H T H T H T H T Fm11 8va 65 I T A B V V V V V V V f V V V gV g k V eV V V V V v 15 20 15 15 20 15 20 15 H T H T V V V 15 20 15 V V V V f V V V gV g k V eV V V V V v 8va 15 20 15 15 20 15 15 20 15 15 20 15 20 15 H T H T 15 20 15 H T H T 15 20 15 15 20 15 H T H T H T H T H T H T Generated using the Power Tab Editor by Brad Larsen. 8va Am11 W [2:00] etc. 15 T A B 12 15 19 22 19 15 12 12 15 19 22 H H T 22 21 17 14 17 21 22 H H TP P P TP P P H H T 12 15 19 22 19 15 12 H H TP P P D Solos over these chords.C.Guthrie Govan D maj7 11 8va 45 I T A B ` b V eV V Page 4 of 5 V V V V V V V V V e k eV v V V V V 8va V eV V 13 18 13 V V V V V V V k V e V eV V V V V v 13 18 13 13 18 13 13 18 13 13 18 13 H T H T 13 18 13 13 18 H T H T 13 18 13 13 18 13 H T H T 13 18 13 13 18 13 H T H T 13 18 H T H T H T H T Am11 8va 47 I T A B V V V V V V V V V V V k V V v V V V V 12 17 12 12 17 12 17 12 H T H T 8va 3x V V V 12 17 12 V V V V V V V k V V V V V V V v 12 17 12 12 17 12 12 17 12 12 17 12 H T H T 12 17 12 12 17 12 12 17 12 H T H T 12 17 H T H T H T H T H T H T 3 V V V V V V V g V V V V V V V V V V V 49 I V V V V V V 3 V 3 3 3 3 N.guitarnetwork. http://powertab..FIVES .org .

org . 17 T 12 H T H Generated using the Power Tab Editor by Brad Larsen.guitarnetwork.D`maj7b11 8va 8va e V V V eV k V V V V V V V V 67 eV v V V V V I FIVES .Guthrie Govan Page 5 of 5 V eV V 13 18 13 V V V V V V V k V e V eV V V V V v 13 18 13 13 18 13 13 18 13 13 18 13 H T H T T A B 13 18 13 13 18 H T Am11 8va H T 13 18 13 13 18 13 H 8va T H T 13 18 13 13 18 13 H T H T 13 18 H T H T H T H T 69 I T A B V V V V V V V V V V V k V V v V V V V 12 17 12 12 17 12 17 12 H T H T 3x V V V 12 17 12 V V V V V V V V V V V V V V V V V 12 17 12 12 17 12 12 17 12 12 17 12 H T H T 12 17 12 12 17 12 12 17 12 H T H T 12 17 12 H T 12 17 H T 8va H T H T H T H T H T 71 I T A B V V V V V V V V V 12 12 H j j 12 17 12 12 17 T sl. http://powertab.MAIN THEMES .

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

9 gg 3 I g g V V PR V V V PR V V V V V V V V Full MO V V V V V V V V V V V V 7 12 12 9 9 6 V k V u (9) (6) sl. sl.UNCLE SKUNK As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) A Verse 1 . hold. W W V V k j V V V V V V V V V u 2 N.C. sl. 4 F m7 V V V V 12 9 P V V V V P V V V V z 3 14 11 sl. release V V V fV V k V V V V V l V fV V V V V fV V 9 13 H T A B 19 14 17 16 11 16 14 sl. http://powertab. B Verse 2 . T A B 11 sl. 9 7 12 9 sl.guitarnetwork. 7 4 4 7 (4) 12 9 9 6 7 sl.unison guitars V V V fV V V V g V g V 4 1 V V V V V V l Igg 4 3 E 8va P = 68 Whammy pedal notation (set pedal to raise pitch 1 octave) / = up (depress pedal) \ = down (release pedal) /--------\ = depress. 12 9 14 16 12 11 12 H 13 12 11 9 11 8 9 11 A 11 10 9 11 9 12 10 P sl. T A B 10 8 6 sl. sl. 12 V V V fV V k V fV V 4 8 8 7 6 11 10 9 k V fV V 11 10 9 V f V V gV 14 13 12 11 H 9 5 7 12 9 6 7 Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen. 9 sl. sl. 9 9 7 6 7 4 (4) (4) 2 P B11 2 E 4 sl. V gggg V V V P V 6 V V I V V V Pz sl. (4) 9 sl. 6 4 2 6 4 9 6 sl.harmony guitars V V V fV V V V V g g V g V l 9 V V V V V Ig [0:28] E 8va V V V fV V k V V V V V l V fV V V V 9 13 H V fV 9 10 3 V 9 T A B 19 14 17 16 11 16 14 sl.org . R V W P V V V P V W V V V 7 b sl. 12 9 9 6 9 6 12 9 sl. 12 9 14 16 12 11 12 H 13 12 11 9 11 8 9 11 11 10 9 11 gggg I T A B V V V V V V V V V V l V V V V fV 3 14 9 12 11 7 11 9 sl. sl.

sl. sl. C Chorus 1 (whammy pedal) gg W g g 17 I [0:56] Gmaj7 8va F m9 b V B11 Emaj9 8va Gmaj7 V V 16 17 V l V V 18 16 V V (16) W F m7 b V B11 V T A B 19 19 gggg W I T A B 7 whammy: /--------------------------------\ (both gtrs) V /\ V V /\ 4 5 /\ V l V V 6 4 4 /---------------------------------------\ sl. V V V V 11 13 sl. 7 6 7 sl. V V V V V V V Pz V V P V V V V z 14 14 17 21 19 17 18 20 16 16 16 18 16 13 sl. sl.UNCLE SKUNK . http://powertab. sl.guitarnetwork. W M V M M V V V V k j u 2 sl. sl. 6 9 12 14 14 gggg V V I T A B 13 13 sl. 1 1/2 8 9 10 (10) (12) 12 9 (9) (9) 7 7 12 9 7 sl. 16 16 21 16 16 21 14 9 sl. P V z 16 14 V V V V V V V V V V V 3 14 14 16 14 12 14 13 11 13 9 11 sl.org . 6 9 sl. Generated using the Power Tab Editor by Brad Larsen. V V 11 9 sl. H V V V V E W M 3 V 3 Full M Full M M V V V V k j u 2 1 1/2 9 11 sl. sl. gg 13 Igg V V V T A B A V W Full Fbm7 B11 V V V V V V V V H H P sl. V V V V V Full V 3 V u 12 V V V V 3 Full sl. W 7 V V sl. sl. sl. 4 4 2 4 7 sl. /----------------------------------------------\ V V (4) sl. V V V 11 sl.Guthrie Govan Page 2 of 7 gggg V R V 11 V P V V V PR V V V V PR V V V I V T A B 11 sl. H sl. 11 (11) 8 9 10 (10) 12 12 (12) 12 9 (9) (9) 7 7 12 9 gggg I V T A B P V W z u 9 11 sl. H P sl. sl. H V V V 12 V V V 14 14 16 V V V V V sl. sl. sl. sl. 9 9 sl. sl.

UNCLE SKUNK . 1 1/2 Full M Full M T A B 9 7 9 7 9 7 12 9 0 12 12 12 9 11 sl. P P 23 V V V V V V V V gggg V V V V V V V V I T A B 12 10 10 12 19 17 10 12 12 10 10 12 19 17 17 19 Am9 8va F m7 b F m9 V V V V V V V f V f V f V gV gV V V fV V 10 7 9 16 14 10 12 15 13 8 10 16 14 12 14 b F m11 b Am7/C B13sus4 12 /-------\ /---------\ /-------\ /--------\ /-------\ /-------\ /--------\ /-------\ V V g V f V gg g V V V V V V V V V V V V V V V V V V f V f V gV gV V V V V I fV V T A B 9 7 7 9 16 14 7 9 9 7 7 9 16 14 7 9 9 7 4 6 13 11 7 9 12 10 5 7 13 11 9 11 Generated using the Power Tab Editor by Brad Larsen. P sl.org . P P sl. 12 7 7 9 sl. gggg k V V l k V V l k V V V V V I /-----\ /-----\ /------\ /-------\ /-----------------\ /--------\ /------\ V V M V V /-----------\ /------------\ /-------\ V V V V V V V V V 0 9 sl. P sl.guitarnetwork.Guthrie Govan Page 3 of 7 gggg k V V l k V V l k V V V V V 20 I T A B 16 14 16 14 16 14 19 16 19 Emaj9 8va Gmaj7 8va 8va fW F m9 b V B11 Emaj9 V fV V V V V Full M Full M V V V V 12 12 5 5 22 21 19 19 21 22 sl. P sl. P sl. http://powertab. P sl. P sl.

Guthrie Govan Page 4 of 7 D Verse 3 V V V fV V V V g V g V g V l 25 V V V V V Ig [1:24] E 8va 3 V V V fV V k V V V V V l V fV V V V V fV V 9 13 H T A B 19 14 17 16 11 16 14 sl. V 9 11 11 14 13 11 13 11 9 11 H P sl. V 13 V V 9 sl. sl. sl. 11 9 4 9 sl. sl. V 11 V PR V V V 9 11 14 sl. 9 gg 27 I g g V V PR V V V PR V V V V VVVV Full MO T A B 11 sl. Generated using the Power Tab Editor by Brad Larsen.guitarnetwork. VVVVVVV VVV V M Full Full M 1/2 6 6 7 4 sl. http://powertab. 11 9 11 sl. sl. V RV P R P V V V P V V P V z V z 13 11 7 11 sl. 12 9 14 16 12 11 12 H 13 12 11 9 11 8 9 11 11 10 9 11 9 12 10 P 8va sl.org . 9 9 7 sl. V 11 V 11 sl. 9 7 12 9 9 M 12 11 9 12 11 11 9 (4) (4) 2 2 P 4 sl. V 9 sl. VVV 13(13)18 sl.UNCLE SKUNK . 9 V gggg V V V V V V V V l V V V f V I V V 3 V V V fV V k V V V V V l V fV V V V V fV V 9 13 H T A B 19 14 17 16 11 16 14 sl. 12 9 14 16 12 11 12 H 13 12 11 9 11 8 9 11 11 10 9 11 9 12 10 P sl. V 6 sl. gggg V R V V V I V P T A B 11 sl. 9 11 14 sl. V P VVVVVVV z 3 11 14 16 sl.

Guthrie Govan Page 5 of 7 gg V W 29 Igg V V V Full A Fbm7 V V V V V V V B11 V V gV 3 1 V V V V E W M 3 V 3 Full M Full 1 M M V V V V k j u 2 1 1/2 T A B 9 11 sl. E Bridge gg V V V V V V V V g g 33 I [2:07] A b B11 V V V V V V V V F m7 12 12 12 12 E 8va U V 14 k T A B 12 12 12 12 14 sl. Generated using the Power Tab Editor by Brad Larsen. sl.UNCLE SKUNK . sl. V W V V V g g Igg Full Full M M T A B 10 9 14(14) V V V V V V Full 1/2 V V V V V 3 1 V V V V Full W M (16) V 14 V V V V 1 1/2 M M 3 j 1 1/2 16 17 17 17 17 17 17 17 19 19 16 16 14 16 MO (16) H sl.guitarnetwork. 11(11) 8 9 10 10 10 11 12 12 9 (9) (9) 7 7 12 9 H 8va sl. http://powertab. H sl.org . gggg I T A B V V V V V V V V 17 17 17 17 /---\ /---\ /---\ /---\ /---\ V V V V V V V V 17 17 17 /---\ /---\ /---\ /---------------------------------------------\ 8va U V 19 Repeat chorus [2:21] Solo (verse chords) [2:49] Bass solo (chorus chords) [3:46] k 17 19 sl. sl.

sl. V V V fV V k V V V V V l V fV V V V V fV V 9 13 H 9 5 7 12 9 11 12 H 13 12 11 9 11 8 9 11 11 10 9 11 9 12 10 9 gg 39 I g g V V PR V V V PR V V V V V V V Full V V V V V V V V V V M V V VV V V V V V V V V Full T A B 11 sl. V V V fV V k V V V V V l V fV V V V V fV V 9 13 H T A B 12 9 14 16 12 11 12 H 13 12 11 9 11 8 9 11 11 10 9 11 9 12 10 9 gggg I T A B V V V V V V V V V V l V V V V fV 3 14 9 12 11 7 11 9 sl. 4 4 O 17 14 2 (2) 7 sl.guitarnetwork. 7 6 7 sl. sl. 4 4 O 6 2 (2) 4 sl. http://powertab. (7) Generated using the Power Tab Editor by Brad Larsen.UNCLE SKUNK . 9 9 sl.Guthrie Govan Page 6 of 7 F Verse 4 V V V fV V V V g V g V 37 V V V V V V l Igg [4:14] E 8va 3 19 14 17 16 11 16 14 sl. sl. 7 6 7 sl. sl. sl. V V V V T A B 11 sl. P V V P V V z 14 16 (16) 11 13 (13) sl. 4 4 H 6 4 6 7 17 4 sl. sl. 9 9 sl. gg I g g V V PR V V V PR V V V V V V V Full V V 9 V V 13 11 sl. 12 (17) 16 14 12 6 T 13 14 12 13 11 9 sl.org .

http://powertab.UNCLE SKUNK .guitarnetwork. sl.Guthrie Govan Page 7 of 7 41 gg VW Igg V V V Full A V VVV Full F m7 b VVV 3 P VVV z B11 VVVV E W M 3 V 3 1 1/2 M M Full O M M VVVVkj u N. sl. sl. sl. 2 1 1/2 T A B 9 11 sl. sl. sl. sl. sl. /------\ V P gV z 7 V V P V z (9) 9 9 V W 13 9 7 gggg I T A B whammy (gtr3 only) V V /------\ fV fV V V V V V V V V V V V 8 6 10 12 8 6 10 12 8 6 10 12 8 sl. sl. /-----\ /------\ /-------\ /--------\ V V V V V V V V V V V V V V 7 11 7 11 7 11 7 10 12 11 5 9 5 9 5 9 5 sl. sl. /------\ sl. sl. Emaj9 V P gV z 12 14 V V V 12 V W T A B 13 10 15 17 13 (14) 16 sl. sl. sl. sl. sl. sl. sl.C. sl. Generated using the Power Tab Editor by Brad Larsen. sl. sl.org . G Ending F6add9 8va gggg 45 I [4:42] fV fV fV 3 20 15 18 V V V V fV fV V V fV l 17 12 17 15 sl. gggg V V V I 8va VVV 16 14 V P VV z 14 14 16 P V z 16 14 V VVV 3 VVVV Full W M V M 3 VVVVkj u 2 1 1/2 T A B 16 17 12 12 12 (12)12 9 9 (9) 7 7 12 9 sl. sl. 8va gggg I T A B fV fV fV 15 10 3 V V V V l fV fV V V V 12 7 12 8 5 10 12 8 10 sl. 11(11) 8 9 10 10 10 (10) 10 10 12 12 9 9 (9) 7 7 12 9 sl. sl. sl. sl. /--------------\ V 6 V V 9 sl.

. The outro progression (following the C section chords) is slightly more involved. Hence you’re strongly advised to use these modes: Ebmaj9. 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 fit.. Of course. Gm9 . Cm9.Sevens Solo Tips For the solo over the D section riff. . in the sense that an A note sounds good over the first half. Bbadd9 .use Eb lydian = G aeolian Abmaj7#11. whereas an Ab flat works much better in the second half.use Ab lydian = C aeolian = Bb mixolydian. your best choice is definitely G dorian.

5 3 5 3 5 3 x x e W 3 Ie [0:19] B Verse Gm7 W V 1/2 M T A B 5 (5) V V V V u 1/2 M O 5 (5) (5) 3 P H Gm6 W W V 1/2 M 4 (4) V V V gV u Full M O 7 (7) (7) P 6 P 5 e Ie V V V Gm Full M W W W W W V T A B 5 7 5 (5) (5) sl. H W 1/2 V V V V V 1/2 M 8 3 3 (3) 1 V V V V V u Full M O 5 (5) (5) P 3 3 5 sl.SEVENS . http://powertab. c k } } V V V V V V 3 1 sl. e 9 Ie V V V Gm Full M W W T A B 3 5 3 (3) Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen.MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) A Intro riff e 1 4 Ie 7 T A B c k } } V V V V V V 3 1 sl. c V V V V k k V V V V V V V V V V V V V V u 6 6 5 5 6 6 5 5 5 3 sl.guitarnetwork. ` b e W 7 Ie T A B 4 A maj7 11 W V cV V eV 4 6 sl. c c V V c V V k k k V k V V V V V V V V V u 6 6 5 5 6 6 5 5 5 3 7 5 3 1 5 3 5 3 x x 7 5 sl.org . 3 1 3 1 sl.

http://powertab.SEVENS .MAIN THEMES .guitarnetwork.Guthrie Govan Page 2 of 5 Gm7 e 11 Ie [0:44] W W V 1 1/2 M V V V u 1 1/2 Gm6 V V V W Full V V V V Full M T A B 15 (15) 15 (15) O (15) MO Full M M V V V V u Full M (15) (15) 13 15 15 (15) 15 (15) (15) 13 O P Gm e 13 Ie T A B V V V Full W M W U W 13 15 13 (13) (13) A maj7 11 e 15 Ie T A B ` b W W V V eV V u 1 W 1 V V V V V 1/2 16 13 16 15 15 15 O V V V V V u 3 Full M O 17 (17) (17) 15 P 17 17 V V V e 17 Ie Gm W W T A B 15 17 15 C Chorus E maj9 8va e 19 Ie T A B ` [1:09] V V V V V V V V V V V V V V V V V V V V V V V V V V V V 20 18 16 20 19 T 22 16 22 15 H T 20 18 16 20 19 T 16 15 H 19 T 17 T 15 H 20 13 H T 19 T 16 15 H 19 T 17 T 15 H 13 H T T H H T H T H H T H H Generated using the Power Tab Editor by Brad Larsen.org .

MAIN THEMES .SEVENS .org .guitarnetwork. http://powertab.Guthrie Govan Page 3 of 5 Gm9 8va 20 e Ie T A B V V V V V V V V V V V V V V V V V V V V V V V V V V V V 20 18 15 22 22 T 22 20 T 17 H 20 18 15 15 H T T H H 22 T 20 T 17 H 15 H 22 22 T 20 T 17 H 15 H T 20 T 17 H 15 H T T H H 22 T 20 T 17 H 15 H ` b * 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! V eV V V V V V V V V V V e V V V V V V V eV V V V V 21 e V V I V V A maj7 11 8va T A B * 22 21 18 16 21 20 T 16 * 22 15 H T 21 18 16 21 20 T 16 15 H 20 T 18 T 15 H 21 13 H T 20 T 16 15 H 20 T 18 T 15 H 13 H T T H H T H T H H T H H Cm9 8va e 22 Ie T A B 22 V V V V V V V V V V V V V V V V V V V V V V V V V V V V 20 18 16 20 19 T 16 22 15 H T 20 18 16 20 19 T 16 15 H 20 20 T T T H H T H T H H T H 20 T 17 H 19 T 16 15 H 15 H 20 T T H 20 T 17 H 15 H B add9 8va ` 23 e Ie T A B V V V V V V V V V V V V V V V V V V V V V V V V V V V V 20 18 15 * 22 22 T * see note for bar 21 * 22 20 T 17 H 20 18 15 15 H T T H H 22 T 20 T 17 H 15 H 22 22 T 20 T 17 H 15 H T 20 T 17 H 15 H T T H H 22 T 20 T 17 H 15 H A sus2 8va ` e 24 Ie T A B V eV V V V V V V V V V V V V V V V V V V eV V V V V V V V 21 18 16 21 20 T 22 16 22 15 H T 21 18 16 21 20 T 16 15 H 20 T 18 T 15 H 21 13 H T 20 T 16 15 H 20 T 18 T 15 H 13 H T T H H T H T H H T H H Generated using the Power Tab Editor by Brad Larsen.

sl.MAIN THEMES .SEVENS .Guthrie Govan Page 4 of 5 25 e Ie T A B D Middle section riff 1 [3:02] V V V V 3 P V 3 V 3 l } x l V 3 V 2 V 3 l V 3 } V V V x 1 H V V V V V 3 sl. 28 e Ie T A B V V V V 12 12 10 12 V 13 V l V l } 12 12 x V 12 V l V V 12 12 12 V bP V V P V V P V V P V V z z z z 3 3 3 13 9 10 13 9 10 13 9 10 13 9 10 13 sl. Generated using the Power Tab Editor by Brad Larsen. 0 H 1 H 3 3 1 5 3 7 6 e Ie T A B V V 3 3 l V k } V } V V V V x x 3 3 5 5 5 5 d k l V V V V V V 3 3 5 5 5 5 V V 3 3 k V V 3 3 c k V V V V V V 3 2 3 2 26 e Ie T A B V V V V 3 P V 3 V 3 l V 3 l } x V 2 V 3 l V 3 V V V V V V V V V V V V } 3 x H 5 H 7 P 3 5 2 7 H 3 H 5 P 2 3 0 H 1 H 3 5 e Ie T A B V V 3 3 l V k } V V } V V V x x 3 3 5 5 5 5 l Vd k V V V V V 3 3 5 5 5 5 V V 7 5 gV V V V 6 5 fV V 5 5 V V V V 5 5 E Middle section riff 2 e 27 Ie T A B V V V V 12 12 10 12 V 13 V l V l } 12 12 x V 12 V V V V V V V l V V V V V V V V 12 12 12 10 12 10 11 10 12 13 10 11 13 10 10 [3:39] 1.org . http://powertab.guitarnetwork. sl. sl.

guitarnetwork. Page 5 of 5 VVVVVVVVVVVV VVV W V } V V V V V V V V V V e V l l l 1 Ie 3 3 3 3 V 3 3 V T A B 13 12 12 10 12 12 12 x 12 12 12 12 13 13 13 8 8 8 10 10 10 V V W V W kV k V V V VW W u u 11 10 10 10 sl. http://powertab.org .MAIN THEMES . G7sus4 11 11 11 6 6 6 11 11 11 8 11 10 10 10 Generated using the Power Tab Editor by Brad Larsen.SEVENS .Guthrie Govan 2.

Ab lydian = Bb mixolydian For the outro section.Ab lydian (the chords indicated for bars 63-64 look complicated.Db lydian dominant Cm7. Bb mixolydian should work very nicely.C dorian = F mixolydian Ab. but Ab lydian works just fine over all of them) Db9 . . Bb11 . F7 .Eb lydian Abmaj7 . Try the following scale suggestions: Cmaj9 .C ionian Ebmaj9 .Eric Solo Tips The main opportunity for improvisation in this tune comes in the E section.

http://powertab. sl. 2 Cmaj9 2 E maj7 ` 2 4 Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen. ` sl. sl.ERIC . 8 11 9 11 9 8 sl. sl. A maj7/G ` sl. V eV V (8) 9 6 V V eV V gV V e fV V 8 8 7 7 6 6 (6) (6) sl. sl. 10 13 10 sl. 10 F7 V gV V k V 8 sl. sl. sl. D9 ` V 8 sl.MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) A Introduction 1 8 I6 T A B Cmaj9 let ring V V V V 3 2 4 3 D PR = 132 (P P CP P ) W (3) E maj7 ` V eV V eV 6 5 3 3 W (3) B Main theme 1 Cmaj9 5 I T A B V 5 V (5) V 8 V E maj7 ` V V eV 13 11 l V 10 V V V 8 10 8 V k [0:25] (8) sl. B 13sus4 ` sl.guitarnetwork. sl. sl. sl. sl. V 3 sl. sl.org . eV V V V V eV V V 4:3 4:3 16 13 13 8 8 4 4 5 B 11 eV V V 3 5 sl. Cmaj9 V V (4) V E maj7 ` sl. sl. 3 21 I V T A B sl. eV P V V V gV V l `Pz z Fm7 Fm7/E 8 8 9 ` sl. P V V V V Pz V V 9 I z Cmaj9 V 12 V V V V 10 12 10 12 E maj7 ` sl. sl. sl. sl. sl. sl. sl. V eV 11 V 8 eV 4 T A B 12 15 12 15 12 14 17 13 13 13 e V l Pz V V V I T A B 5 4 6 A maj7 ` sl. Cm7 17 I j T A B e V V Pz V 8 10 sl. sl. sl. sl. sl. sl. 12 sl.

sl. sl. sl. sl. V gV l Pz V Pz V V e V 10 8 10 12 10 12 10 8 sl. sl. eV 6 V eV V (6) 8 sl. sl. sl. sl. sl. V V 8 10 sl. 6 5 6 sl. 6 sl. 8 (8) sl. sl. sl. sl. sl. 8 13 11 sl. sl. 8 sl. sl. sl. l V 10 V V V 8 10 8 V k 5 3 5 sl. sl. sl. sl.guitarnetwork. P V V V V Pz V V 33 I z Cmaj9 V 12 V V V V 10 12 10 12 E maj7 ` V `P V V V z V P V V P V V eV eV z z 8 6 T A B 12 15 12 12 14 15 17 13 13 11 13 (13) 11 8 (8) 6 8 6 8 8 P V V V V I z T A B 8 sl. sl. sl. sl. sl. sl. sl. sl. sl. http://powertab. sl. sl. e V l Pz V V V 37 I T A B 5 4 6 A maj7 ` A maj7/G ` Fm7/E` e V V gV V l `Pz Pz V V Fm7 D9 ` V 8 V eV V (8) 9 6 V eV 6 4:3 V eV V eV V V V V 4:3 8 8 6 6 4 8 8 8 9 11 9 11 9 8 5 3 sl. sl. k j j 8 4 Generated using the Power Tab Editor by Brad Larsen. I T A B V 5 V P V V V z 3 P V z 6 V V (8) V eV sl. sl. sl. sl. sl. sl.org . sl. sl. sl. sl.Guthrie Govan Page 2 of 5 C Main theme 2 Cmaj9 29 I T A B V 5 [1:31] V P V V V z 3 P V z 6 V E maj7 ` V V eV 13 11 l V 10 V V V 8 10 8 V k 5 3 5 sl. sl. sl. sl. sl.MAIN THEMES . sl. sl. sl.ERIC . 5 sl. 12 8 9 10 6 (6) 4 8 (8) sl. sl. sl. V 5 V V V V 3 5 3 5 V `P V V V z 6 4 e V bPR V V PR V V f V e V 8 6 sl. eV V I e V V l Pz T A B 6 5 7 sl. sl. sl. sl. sl. sl. sl.

http://powertab. I T A B D Bridge j j sl. T H P Ddim 8va 50 I T A B V V 19 V eV 3 13 16 V 13 V 16 V 19 V 3 16 V 19 V 16 V 13 V 19 V 3 13 V 16 V eV eV 13 11 18 sl. 10 13 10 sl.Guthrie Govan Cm7 41 I V T A B 10 e V V Pz V 8 10 sl.ERIC . sl. H P sl. V 3 11 V 15 V 11 V 15 k 13 T 1. T H P sl. 10 F7 V gV V k V 8 sl. B`11 V V V eV V V V V Page 3 of 5 4:3 gV 6 sl.guitarnetwork.MAIN THEMES . T H P sl. T H P sl. T H P sl. j j sl. T H P sl. V eV V 10 8 8 4:3 12 sl. 13 8 8 8 8 sl. j j j j sl. Fdim 8va 51 I T A B eV V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 3 3 3 3 19 16 13 19 13 16 13 16 19 3 16 19 16 15 20 3 15 19 15 16 22 16 19 16 19 22 19 22 19 16 22 16 T H P sl. T H P sl. T H P sl. j j j P eV 45 I z T A B 8 V `P V z 11 V eV 16 V eV V 8va 11 15 18 18 (18) 23 (18) 23 eV V V V u sl. 5 5 5 I j T A B j j j j sl. T H P sl. T H P sl. Generated using the Power Tab Editor by Brad Larsen. Bdim 8va 49 I T A B V 7 gV 16 V 3 7 V 10 V 7 V 10 V 16 V 3 10 V 13 V 10 V 7 V 16 Cm V 3 7 V 10 V 7 V fV 8 15 V eV 3 8 11 V 8 V 11 k [2:25] T H P sl.org . E ` T H P sl. sl.

53 I T A B gV V V V V e V V V V V f V V V V V gV V V V V V V V V V f V V V V V 3 16 20 16 20 16 18 20 B 11 8va ` 2. T H P sl. E Solo over chords.ERIC .. T H P sl.org . V E maj7 j j j ` Cmaj9 E maj7 ` 2 2 2 15 63 I j A maj7 ` A maj7/G ` j Fm7 j Fm7/E j ` D9 ` 2 Cm7 j j F7 j j T A B 69 I j A ` j B 11 ` j j Cm7 j j F7 j j A j ` j B 11 ` 2 T A B Generated using the Power Tab Editor by Brad Larsen. T H P sl.guitarnetwork.Guthrie Govan Page 4 of 5 52 I T A B sl. T H P sl. T H P sl. T H P sl.. 54 V V V V V V V V V eV eV V V V V V V V V V V V V V V V I gV V V eV 8va 3 3 15 11 8 18 8 11 8 4 18 3 4 8 4 6 18 3 3 3 T A B 11 18 11 6 10 6 10 18 10 13 10 13 18 13 18 13 T H P sl. T H P sl. ` eV A 8va V 20 V 3 16 V 20 V 16 8va eV 11 k V 11 V 16 V 3 11 V 16 V 11 V 8 k 16 T H P sl. 3 18 22 18 15 20 3 15 18 15 16 18 3 16 20 16 13 18 3 13 16 13 15 18 3 15 18 15 T H P sl. T H P sl. T H P sl. T H P sl.MAIN THEMES . Cmaj9 [2:47] 8va 55 I T A B sl. T H P sl. http://powertab.

T H P sl. T H P sl. T H P sl.org . 1. T H P sl. T H P sl. ` eV A 8va V 20 V 3 16 V 20 V 16 8va eV 11 k V 11 V 16 V 3 11 V 16 V 11 V 8 k 16 T H P sl. T H P sl. V V eV V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 20 13 18 13 18 13 18 13 20 13 18 13 18 13 18 13 20 13 18 13 18 13 18 13 20 13 18 13 18 13 18 13 20 13 18 13 18 13 18 13 20 13 18 13 18 13 18 13 T H P T H P T H P T H P T H P T H P T H P T H P T H P T H P T H P T H P Generated using the Power Tab Editor by Brad Larsen. T H P sl.guitarnetwork. T H P sl. . T H P sl. 2. B 11 8va 80 I T A B ` 3. Ddim 8va 77 I T A B V V 19 V eV 3 13 16 V 13 V 16 V 19 V 3 16 V 19 V 16 V 13 V 19 V 3 13 V 16 V eV eV 13 11 18 E ` V 3 11 V 15 V 11 V 15 k 13 T H P sl. T H P sl.ERIC .MAIN THEMES . 79 I T A B sl. T H P sl. http://powertab. T H P sl. Fdim 8va 78 I T A B eV V V V V V V V V V V V V V V V V V V V V V V V V V V V V V 3 3 3 3 19 16 13 19 13 16 13 16 19 3 16 19 16 15 20 3 15 19 15 16 22 16 19 16 19 22 19 22 19 16 22 16 T H P sl.Guthrie Govan Page 5 of 5 F Bridge repeat Bdim 8va 76 I [3:44] V 7 gV 16 V 3 7 V 10 V 7 V 10 V 16 V 3 10 V 13 V 10 V 7 V 16 Cm V 3 7 V 10 V 7 V fV 8 15 V eV 3 8 11 V 8 V 11 k T A B T H P sl.

it sounds cool if you play some ideas based on an F major arpeggio and then resolve using a nearby note from an Eb major triad. Over F/Eb. click here to find out more . backing track..all to our usual high standard.Eb lydian D6 .C lydian dominant (the Simpsons scale!) A quick word about the outro solo.Slidey Boy Solo Tips For the bulk of the solo section here. as you see fit.. it’s probably worth spending some time exploring the classic lydian “major triads” trick.. Complete video.D lydian C13#11 .F lydian D/C .D lydian Bm11 ..interpret them as C lydian or A dorian.. for instance... (I quite like that!) At any rate. I would suggest: C/F . A thoroughly musical work out in Dm. solo and tab transcription .F ionian Eb6add9 . 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.. Guthrie solos over our Robben Ford style backing track.e.. the “correct” notes are the same in either case .) For the more energetic bit towards the end of the solo. your best best is to use these modes as your starting point: F/Eb . so it’s best not to dwell on it too much!) (Incidentally. you may also like..B aeolian (the G i. the b6 in this scale isn’t particularly nice..

SLIDEY BOY . 12 g I g V gV V V V T A B 10 11 sl. 9 6 8 7 5 7 9 9 sl. P B Theme A Bm11 9 g Ig [0:15] j V V V 7 9 sl.org . 7 7 7 T A B 9 7 9 6 7 5 sl.guitarnetwork. V V V V V V V V 11 9 sl. j V V V 7 sl. V V u 7 5 U U (7) (5) Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen. sl. V V V V V V V V V k Pz u V V (6) 7 9 6 8 10 9 7 9 9 7 7 9 7 9 7 7 sl. V V V V V k V gV V f V gV k V (6) 7 9 6 9 9 6 7 5 6 5 k V gV V f V gV V V V V f V gV V V 9 6 7 5 6 5 7 8 9 sl. 7 V V V V V V V V 11 9 sl. http://powertab. 11 11 gV V V V V V V 7 sl. sl. 1.MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) A Introduction 1 g Ig4 4 T A B Bm11 P = 130 4 gg 5 I T A B V fV V k bPz V u 9 10 Cmaj7 V V V V 5 7 3 V P V z u 3 W (5) V V fV V V V 3 5 6 5 3 5 8 7 5 sl. 15 g Ig T A B Cmaj7 V 9 V 7 V 3 V V PP z 5 3 sl. sl.

7 7 E Theme A repeat 32 gg V V V V V V V V V V I V V V V [1:17] Bm11 V V V V V k V gV V f V gV k V (6) 7 9 6 9 9 6 7 5 6 5 k V gV V f V gV V V V f V g V V V V 9 6 7 5 6 5 7 8 9 sl.guitarnetwork. http://powertab.org . V V (7) (5) Y 5 V u V V V V V V V V 5 7 3 5 7 3 V V gV V V V V f V V V f V gV V V f V (3) 2 3 4 5 4 3 2 3 2 3 4 4 4 3 20 g Ig T A B C Theme B [0:48] k gV V V V V V V V V 3 2 2 H V V e V f V V V gV f V V gV V V (2) 0 1 2 0 2 1 0 0 1 2 0 k k V gV f V V eV V V V V 4 2 2 3 2 5 1 2 0 4 4 4 4 4 2 23 g Ig T A B V V eV fV V } } V 5 6 7 7 x x 5 V V 7 V 5 V 3 V V V V gV V V V f V 5 4 5 2 3 5 2 5 3 f V V l gV l } V f V V V k V V 5 (3) 5 3 x 4 2 4 sl. 7 11 9 sl. 9 7 9 6 7 5 sl. 7 7 7 T A B 7 7 7 7 9 sl. Generated using the Power Tab Editor by Brad Larsen.SLIDEY BOY . 5 3 26 g Ig T A B V 4 V 4 k V fV 6 5 V 4 V fV 2 3 V 4 V 2 W (2) D Interlude (improv) 28 g Ig T A B Bm11 Cmaj7 3x [1:03] V V V V V 2 2 9 sl.MAIN THEMES .Guthrie Govan Page 2 of 3 17 gg W W I T A B 2.

http://powertab. H P P g V V V V 38 Ig T A B 5 7 3 V P V z u 3 U (5) V V V V V V V V 5 7 3 5 7 3 5 sl. 5 5 6 5 3 7 (10) 9 sl. 7 V V V V V V V V 11 9 sl. sl.org .SLIDEY BOY . Cmaj7 11 11 gV V V V V V V 7 9 sl. H P sl. 8 10 8 7 7 9 9 sl. j V V V 7 9 sl.Guthrie Govan Page 3 of 3 35 g I g V gV V V V T A B 10 11 sl. 44 g Ig T A B Fmaj7 fV 10 V u 9 V V 10 V u (10) fV 10 V 8 fV 3 8 gV 11 g 46 Ig7 4 [1:43] F Solo over chords.. V V V V V V V V V V k Pz u V V V (6) 7 9 6 8 10 7 9 9 7 7 9 7 9 6 7 5 sl.MAIN THEMES .. F/E D/C F/E ` ` D/C Bm11 T A B gg 50 I T A B F/E ` D/C F/E ` Em7 Dmaj7 gg C/F 54 I T A B E 6add9 ` D6 C13 11 b Generated using the Power Tab Editor by Brad Larsen. g 41 Ig V T A B P V V V fV V V V z u 3 3 Dmaj7 V V V V V V V Pz V 5 7 3 5 7 3 8 10 Em7 V gV f V V V V V V V V V V fV V 8 7 9 7 7 9 9 7 7 9 10 9 sl.guitarnetwork.

backing track.) To increase the sense of movement. rather than the b7 which is actually contained in any dominant seventh chord.or indeed to link two chord tones in an ascending or descending line . just to add some bluesier colour.but do try to remain aware of the basic arpeggio shapes for each chord as you add these embellishments! you may also like. feel free to use chromatic notes to approach some of the chord tones .. a tone above the root) for slightly more of a “Western swing” vibe.e.. so you might want to add a judicious sprinkling of b7s just for good measure. it’s cool to try preceding some of the major thirds with the minor third one fret below. solo and tab transcription . You might then add in a 9th (i. every chord in this track is a dominant seventh... (If you do attempt this. Guthrie solos over our Jeff Beck style backing track. The only problem with this scale is that it features the natural 6.. so a good starting point would be to use the appropriate dominant seventh arpeggio for each. try to make sure that the major third always lands somewhere rhythmically significant and comes across as more important than the minor third leading up to it!) Of course. click here to find out more ...all to our usual high standard. Also. you could also try using the appropriate major pentatonic for each chord. Complete video.Rhode Island Shred Solo Tips Apart from the little diminished twist right at the end.

org .RHODE ISLAND SHRED .MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) A Theme 1 1 g 4 V V V V V V V V V V eV V fV I 4 V fV V T A B G7 8va 15 12 15 17 15 12 15 15 12 12 15 15 12 12 15 12 G7 8va P = 160 C7 V V f V gV V V V V V e V V V V V V eV 14 12 15 13 12 13 14 15 12 13 15 12 14 15 12 13 g 3 I T A B V V V V V V V V V V V eV fV V V V 12 14 12 14 15 16 15 17 15 19 15 17 15 17 15 V eV fV V fV V V V V V V V fV V V eV 22 18 19 20 18 20 15 18 16 15 17 16 15 17 12 13 14 g 5 V V eV fV I V V eV V V V eV fV V V V eV T A B 14 12 15 13 14 12 13 14 12 14 14 12 15 13 13 14 C7 8va V V eV fV V eV V V V eV V V V V fV V 17 15 17 15 16 17 17 15 16 17 16 17 20 18 19 20 g V V fV V V V V 7 I V V V V V V eV f V V T A B 19 17 18 17 21 17 19 17 19 17 19 20 21 19 21 20 G7 8va gV V V V V V V V gV V V V V gV V V 21 19 22 19 16 17 19 16 13 14 17 14 15 16 14 15 E7 V gV V V V f V gV V g V 9 I gV V V V V V gV T A B 16 14 17 14 16 17 18 17 20 17 21 17 20 17 18 19 A7 8va D7 V V V fV gV V V V V V V V V g V V V 19 18 17 19 17 19 16 19 17 18 19 17 19 17 20 17 Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.

MAIN THEMES .org .Guthrie Govan Page 2 of 3 A7 D7 11 gV V e V g V V fV V V V V I V f V V V gV V T A B 19 17 18 17 16 17 15 17 19 18 16 19 17 16 19 18 G7 8va E7 V V V V V gV V V V V f V V V V f V gV 17 15 17 15 12 14 14 12 11 14 13 12 15 12 13 14 B Theme 2 (delay at 281ms) g V V V V V V 13 V V I [0:18] G7 8va C7 G7 eV V V V V eV V V 15 14 12 12 14 13 12 12 V V V V V V V V 14 G7 12 14 12 14 12 15 12 V V V V V V V V 15 15 17 17 19 15 22 17 T A B 15 15 12 12 15 14 12 12 g eV V V fV V V V V 17 I T A B 18 20 17 18 15 17 13 15 C7 8va E7 V fV V V V eV V V 12 13 15 12 13 15 12 14 V V V V V V V V 12 12 14 14 12 12 14 15 gV V V V V V V gV 16 19 19 21 22 18 19 16 gV g 21 I V V gV V V V V T A B 21 17 19 16 19 16 17 17 A7 8va D7 V V V V V 15 C7 16 17 17 16 V 17 V V G7 8va V V V V V V gV V 15 19 19 21 22 19 21 E7 A7 D7 V V V V gV V V V 17 20 17 18 19 18 19 16 17 17 16 25 V V V g V V V V V V V V fV V V V V I [0:36] G7 8va V V V V V V V V V V eV V V V fV V G7 V V V V V V V V V V fV V V V V V G7 V V V V e eV V V V fV V V VVgVV V 20 18 17 16 21 21 19 19 18 18 17 17 22 21 20 19 ` F7 T A B 19 17 17 20 20 18 18 20 18 18 21 19 21 21 19 22 17 20 18 18 18 20 21 21 19 19 19 21 21 22 20 22 19 17 17 20 20 18 18 20 18 18 21 19 21 21 19 22 29 g I T A B E7 Delay off Generated using the Power Tab Editor by Brad Larsen.RHODE ISLAND SHRED .guitarnetwork. http://powertab.

MAIN THEMES .C. T A B 49 g G7 I [1:12] D Solo 2 over chords. A7 E7 A7 [0:45] T A B C7 g 39 I D7 C7 D7 N.guitarnetwork.org .. G7 E7 A7 D7 E Ending 64 g I T A B G7 8va C7 [1:52] V V V V V V V V V V eV V fV V fV V 15 17 15 12 15 15 12 12 15 15 12 12 15 12 b V f V gV V gV V V gV gV V e V V V gV V V C dim7 12 15 13 12 13 14 15 18 15 17 18 15 12 14 11 3x 15 12 14 D7 j _ g k j 66 I V v G` c7 G7 k _ _ ^ T A B 12 Generated using the Power Tab Editor by Brad Larsen. C7 G7 C7 G7 E7 T A B 57 g A7 I T A B D7 N...Guthrie Govan Page 3 of 3 E7 g 31 I C Solo 1 over these chords.RHODE ISLAND SHRED .C. http://powertab..

it’s just personal taste thing.use B aeolian.Hangover Solo Tips This one is something of an oddity. If you’re keen to try a more scalar approach.use Eb lydian (the “regular” lydian with a natural 7.so it’s as good an opportunity as any for you to playing the most horrible. however. emphasising the 4 rather than the 3.use Ab lydian dominant G7 .. The safest way to approach playing over these changes is to focus on chord tones and then fill in the gaps with judiciously placed chromatic notes.use C mixolydian. not the dominant variety!) Ab13 . this tune is all about Not Feeling Very Well .use Bb lydian dominant Eb6add9 . then I think my personal choices would be something like this: Bm9 .. Having said all of the above... but avoid the b6 (I don’t particularly like the b6 or the natural 6 here. offensive stuff you can muster! .use G lydian dominant C7sus4 .) Bbadd9 .

HANGOVER . http://powertab.guitarnetwork.org .MAIN THEMES As recorded by Guthrie Govan (From the 2006 Album EROTIC CAKES) D PR = 108 (P P CP P ) 9 gg 6 Bm j j 1 I 8 A Introduction B add9 ` j j Bm9 j j B add9 ` j j T A B B Theme 1 5 gg V V I V [0:15] Full Bm9 B add9 V V fV V 3 ` Bm9 V V V fV V V O 1/2 V V V V V V V Full B add9 V fV V M 3 ` V O M release bend in steps MO Full Full M MO 4 4 M 3 Full release bend in steps V V V k u 2 2 M OM 5 5 T A B 4 4 5 (5) (5) 5 3 (3) (4) 3 5 4 5 (5) (5) *play 5th fret while holding 4th fret bend 9 g Ig V V V Full M T A B 4 4 Bm9 E 6add9 V V V O (4) 4 ` A 13 V fV V Full V ` fV *play 5th fret while holding 4th fret bend M Full 1 M eV V u 4 5 G7 fV VV 2 4 3 fV fV u 6 1 C7sus4 V u 1 5 5 (5) 5 gg Bm9 13 I j T A B C Theme 1 repeat j B add9 ` j j Bm9 j j B add9 ` j j gg V V V 17 I [0:55] Full Bm9 V l fV V 3 B add9 ` V V V fV V V O MO 1/2 Full Bm9 V V V V fV V V V V V l 3 Full B add9 ` V O V f VV VV k k u 2 M M release bend Full in steps 1/2 M M T A B 11 12 (12) 13 (13) (13) 12 10 (10) O M Full Full M M 3 release bend Full in steps M 11 12 (12) 10 12 12 12 13 (13) (13) 13 (13) 13 17 (17) sl. Guthrie Govan 2006 Generated using the Power Tab Editor by Brad Larsen.

.Guthrie Govan Page 2 of 3 gg V V V 21 I Full M T A B 11 12 Bm9 V V V O (12) 11 sl. Bm9 j j B add9 ` j j Bm9 j j B add9 ` j j Bm9 j j E 6add9 ` j j A 13 ` j j G7 j Cm11 j 3x [2:02] Generated using the Power Tab Editor by Brad Larsen.HANGOVER .guitarnetwork. E 6add9 ` V fV V Full V A 13 ` fV M 12 13 (13) V V u 1M 1/2 Full M O 13 (13) 13 j VV f V V f V G7 1 14 16 18 13 gg Bm9 25 I j T A B j B add9 ` j j Bm9 j B add9 ` j j D Theme 2 29 g I g fV T A B 8 C/F V 7 [1:35] Twangy part (quite low in the mix) c V 8 D/E Cmaj7 Bm7 V 7 V 5 c V 7 fV 5 V 7 V V 5 7 V 4 c V V 4 5 c V 2 C/F D/E Cmaj7 Cm11 33 g I g fV T A B 3 c V V 2 0 c fV 3 V 2 c V V 4 0 c V 2 fV 3 V V e f ef V V V fV 1 1 3 1 3 VV V V V Bm9 g g 37 I j j B add9 ` j j Bm9 j j B add9 ` j j T A B g 41 Ig T A B E Solos over these chords..MAIN THEMES . http://powertab.org .

HANGOVER .MAIN THEMES .guitarnetwork.Guthrie Govan F Theme 2 repeat Page 3 of 3 49 g fV Ig [3:35] C/F 8va D/E Cmaj7 V V V fV Full Full V Full V M Full M M MO 13 D/E V u 15 V V Full V V M O Bm7 V V V V V Full Full T A B 18 15 (15) 17 (17) 17 17 (17) 17 M MO 15 17 (17) C/F 8va Cmaj7 Cm11 53 g fV Ig T A B 18 V M V V V V V V V V Full Full Full V Full V M } } } } Full M M M 17 17 Full (18) 17 15 MO 15 14 17 17 (17) x x Generated using the Power Tab Editor by Brad Larsen. http://powertab.org .

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