Erotic Cakes Guthrie Govan Transcriptions Printable 1

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. Im happy to report that
General MIDI and his Magic Band were in no way involved with the manufacture of these backing tracks: theyre 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 Seths splendid drum n bass contributions are very much in evidence, as is
Jans unparalleled mixing prowess - so hopefully youll enjoy the sound quality and real band vibe of the tracks...
May you have a Most Excellent time jamming along!
About the transcriptions...
Its probable that youve grown accustomed to the everything on a plate fashion in which instrumental guitar music is
normally transcribed. Perhaps youve 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, Ive had many a discussion with the good people at Jamtrack Central about the best way to
present this material, and weve always concluded that our approach should reflect the spirit in which the music was written
and recorded.
Interestingly, Ive 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, thats absolutely fine - it was never meant to be replicated...)
In general, the solos you hear on the album arent meant to be set in stone: theyre 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 youll find notated in the accompanying transcriptions comprise every composed note from the album. Once
youve worked out how all the key parts fit into the overall structure, youll 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, youll 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, Id 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 dont relate to the above - or youre just the impatient type! - and youd rather skip ahead to the more specific stuff
later on, I wont 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: theyre easy to teach, easy to learn - provided youre 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 players progress can be measured...
To be fair, its 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, youre 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 its 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 youre 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 thats the way you learned - and doesnt 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 doesnt necessarily mean its
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 dont 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 youd 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, theyll eventually start to take these good notes for granted and youll run the risk
of losing their interest... so from time to time its 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. Youre the boss, after all - its
your solo!
Waves
Solo Tips
Just for fun, lets start at the end of the tune, where youll be soloing over the progression from the A section. The bad news
is that, at various points throughout the progression, youll 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, youll realise that youre 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 also like....

Guthries 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.
WAVES - MAIN THEMES

As recorded by Guthrie Govan
(From the 2006 Album EROTIC CAKES)
A Main theme
bP = 78
Fm
ggg 4
I 4
V V
T
A
B
5
6
0
sl.
sl.
Bm7
6
sl.
7
7
sl.
sl.
11
sl.
9
7
9
sl.
Esus2
V V V V V V
g
g
V
g
5
V V
I V V
T
A
B
sl.
sl.
12 11
sl.
sl.
sl.
10
9
11
5
sl.
sl.
k _Fbmc _
B Solo 1 over these chords...
ggg
9
I
11
sl.
k _A/Cc b
11
sl.
10 12
sl.
6
sl.
k _Dc _
7
sl.
E/F
11
sl.
9
9
sl.
sl.
11
7 12
sl.
sl.
7
sl.
Fm
12 14
10
9
9
sl.
sl.
b
E/Fb
V V
V V
V
9
sl.
sl.
sl.
sl.
6
P
V V V V
V
V V
V
V V V
6
sl.
Fm
9
7
sl.
Fm
12
b
V V V V V
V
V
V
V
V
V V
V V V
V
Esus2
4
sl.
6
sl.
ggg
V V V V V V
V
V
V V
I V
V V V V V
T
A
B
sl.
V
V V V V
5
sl.
Dsus2
sl.
11
Fm
sl.
Dsus2
E/F
V V V V V V V V V
V V V
V
V
V V
12
C m7
Fm
14 12
7 11
sl.
sl.
12
ggg V
V
V
I
V V V V V V V V V V V V
V
T
A
B
V V
V
V
V V V
V
V
V V
V V V
E/F
12
sl.
11 9
sl.
10
11
7
H
sl.
6
sl.
Bm11
V V V V V
V
V
V V
V V V V V
V V
9
11
H
11
sl.
10
9
11 12
sl.
k _Fbmc ^
[0:49]
T
A
B
Guthrie Govan 2006
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
sl.
5
sl.
Bm11
6
sl.
5
sl.
4
P
sl.
WAVES - MAIN THEMES - Guthrie Govan
k _Fbmc _
ggg
13
I
k _A/Cc b
Page 2 of 2
k _Dc _
k _Ac
c
k Bm11
__
T
A
B
C Solo 2 over these chords...
Am11
ggg
17
I
b
^
Fmaj7 11
C m7
Amaj7 11
[1:50]
T
A
B
E/D Dc
_ _^
gg
25
Ig
Bm11
Amaj7
T
A
B
D Middle section
33
ggg 15
I 16
[2:52]
T
A
B
VV
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
ggg 4 gV f V k
36
I 4
T
A
B
10
9 6
7 9
6 7 6 9
7 6
10 9
6
9
5 9 7 5
8 6 7
9 6
10
11 9
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
14
10
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
T
A
B
12 14 16
12
16 14 12 14 16
12 14 16
13
16 14 12 14 16
13 14 16
14
16 14 13 14 16
6
14 15 17
14 16 17 14 16 17 19
Erotic Cakes
Solo Tips
For the fusion-flavoured C section, try:
Am11 - A dorian
Amaj7#11 - A lydian
Dm11 - D dorian
Gmaj7#11 - G lydian
You might also enjoy experimenting with some minor pentatonic stuff, moving from Am-G#m-Am-Bm over those four chords.
(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/dorian
comfort zone!
EROTIC CAKES - MAIN THEMES

x
` b
Am11 3 fr. Amaj7 114 fr. Dm11 3 fr. Gmaj7 112 fr. A maj7 113 fr.
x
x
x
x
A Introduction
P = 142
I 44
Gtr I
T
A
B
V eV V
T
A
B
10
I k
V eV V
7 6 5
e V V gV
B Main theme
18
I
[0:27]
T
A
B
7 6 5
V fV eV
V V eV
gV
8 7 6
kk
c
V
eV
V V eV
V eV V
7 6 5
V
8
gV
V
5
V V eV V V V
3
k k
c
V
eV
c
V
gV
5
4
3
7
sl.
V eV eV eV V
gV V
c
V
k j
(0)
1
0
kj
1
0
k c
V
k c
e V V gV V V
8 7 6
Fingering:
T
A
B
(0)
7
7
T
A
B
15
c V eV V
V V
V eV V
V fV eV
7 6 5
8 7 6
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
sl.
V V eV
8 7 6
V
8
gV
4
V
5
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)
7 6 5
Guthrie Govan 2006

8 7 6
6 5 4
EROTIC CAKES - MAIN THEMES - Guthrie Govan
21
I l V
T
A
B
k V
7
2.
V eV V
(0)
e V V gV
6
V fV eV
C Solo over these chords...
I 45
e V V gV
6
V V eV
fV eV V
3
gV
k
k k k
c c
d eV
V V
V
V
1
l
V
e
V
V gV
V V V f V V gV V f V V e V f V
1
2
sl.
` 4.b
1. , 2. , 3.
Amaj7 11
V gV e V V V V f V V gV V f V V e V f V V
V
5
fV eV V
7
Am11
sl.
Fingering:
T
A
B
28
V fV eV
V eV V
3
7
Fingering:
T
A
B
26
5
sl.
V eV V
V eV eV eV V
gV V
1.
24
gV
Page 2 of 3
Dm11
Gmaj7 11
A maj7 11
[0:54]
T
A
B
D Ending
33
I 44
[3:33]
T
A
B
36
V
(0)
I l V
T
A
B
V eV V
7 6 5
k V
V V eV
gV
V
5
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
V eV eV eV V eV
V
5
4
eV
8 7 6
7
8
V eV V
V V eV
(0)
eV
7 6 5
8 7 6
6
sl.
(0)
k
k k k
c c
d eV
V V
V
V
3
7
6 5 4
1
0
EROTIC CAKES - MAIN THEMES - Guthrie Govan

1
I
T
A
B
V eV V
7
V fV eV
8
Page 3 of 3
eV V eV
6
fV eV V
7
V V eV
8
eV V eV
6
V fV eV
8
fV
7
V
0
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. 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 theyre applied in the right way, but the most important thing is to stay
focused on whats 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 dont panic about the density of the chords as notated in the tab - everythings 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. (Frankly,
its only there for one beat at the end of bar 23... so you could be forgiven for not worrying too much about this chord!)

Funk Fusion
With this mini-bundle, you get a much more intensive approach to
improving 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 THEMES

D
P = 96 (P P CP P )
A Introduction
(E7)
g
1
I g 44 V V
T
A
B
V } } }
7
0
H
} } } } }
V V
0
L R L
V } } }
7
0
H
V
0
V V
} } } } }
0
x
V } } }
0
7
0
H
D9
L R L R L
Bm7
V } } }
V k j
v
0
b`
B Solo 1 over these chords...
g
3
Ig
V gV
Gmaj7
F79
8x
[0:05]
T
A
B
C Main melody
g
I g 44
V V V W
Bm7
D9
MO
T
A
B
MO
Fb7`9
Full
T
A
B
10
11
gg l V V V
V
I
V V V V V V
MO
M O
Full
T
A
B
(9)
b`
l V V V V V V V V V
Gmaj7
F79
M MO
Full Full
(4)
Gmaj7
O
(4)
Full
9
Fb7`9
sl.
sl.
1 1/2
Full
(9) (9) 16 11
sl.
V V V V
E9
(9)
D9
Full
Full
(9) (9)
Full
(9)
Full
sl.
MO
Bm7
E9
Full
sl.
E11
V V l V
V V V V V V W
E11
Full
12
Gmaj7
g
11
Ig
F79
Full
[0:45]
b`
V V V V
Gmaj7
(5)
Guthrie Govan 2006

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

Am7
C/G
F m7 5
8va
V V V W
g
31
Ig j
22
MO
Full
Full
O M
Full
20
21
b `
B 7 11
V V V V fV V l
MO
T
A
B
`b
Am7
V V V V V fV V V V
F13
8va
Full
[2:15]
Page 3 of 4
19
17 19
19
(19)
F m7 5
V
u
F13
ee V f V V V V
V
k
M MO
Full
(19)(19)
18 20
Full1/2
19
(19)
19
sl.
17 19 19
sl.
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
g
38
Ig
T
A
B
5 7 (7)
7
0 0
sl.
eV fV
6
x 4
x 5
6 7
l gV 3 e V
} V V } gV f V f V gV
5 7
V V V V
7
sl.
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
T
A
B
7
7
7
7
H Final melody & ending

Bm7
43
g
Ig j
[2:55]
T
A
B
V V V W
D9
MO
b`
V V V V
F79
10
x 4
7
H
x 5
6
P
7
5
16 15 14 12 13
V V l V
14 12
14
14 12
14
V V V V V V W
MO
14 13 12 11
E11
Full
5 7 (7)
0 0
sl.
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
Full
11
MO
Full
12
Gmaj7
k c
l gV V V
V
l
V
}
V
V gV
gV } V } e V f V } V
} gV } V }
6 7 6 4
H P
V V V V V
V V
(9)
E7
Full
(9) (9) 16 11
sl.
sl.
11
12 11 10
Gmaj7
Fb7`9
g
V V V V V V
46
Ig l V V V
M MO
Full
12
13
sl.
gg V f V V V V V V W
49
I fV
10
V
1 1/2
(9) (9)
sl.
T
A
B
V V V V
Full
G/F
8va
D9
Full Full
T
A
B
Bm7
Page 4 of 4
Gmaj7
Fb7`9
3 c
j V V V V V V V V
u3
u
3
3
Full
MO
Full
(13)
15
13 17
11
sl.
VVVV
3
MO 1/2MO
VVVVVVVV
V
V
V
VVVV
V
VV
V
V
V
V
V
V
6
6
6
Full
(17)
17
14 17 19 22 19 17 14
17
14 16
14 17 19 21
H H T
19 21
H
21 19 16 14
H H
P P
P P
16
21 19 17 14
T P P
Ner Ner
Solo Tips
Lets 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, its important to latch on to the changing chord tones as much as possible here, but a nice shortcut would be to use D
dorian 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 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; 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 over
the Dm7, rather than the b2 offered by the D phrygian mode: its 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 (theres one of these right at the end of the solo!) - use C mixolydian.

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 THEMES

A Intro
Dsus2
Csus2/F
VVVV k
VV
VV k }} }} }} VVVV l
V
VV
V
Ie 68
T
A
B
7
7
5
0
x
x
x
x
3
3
5
5
3
3
x
x
B sus2/E
VVVV k
VV
VV k }} }} }} VVVV l
V
VV
V
3
3
5
5
3
3
7
7
5
0
sl.
x
x
x
x
x
x
3
3
5
5
3
3
VVV
VV
eV
VVVV
VV
1
1
3
3
1
1
1
1
3
3
1
1
3
3
5
5
3
3
V V V l V V V V V
Dsus2
Ie
VVV
VV
V
Dsus2/G
VVV
V
V
VVV
V
V
3
3
5
5
0
3
3
5
5
0
VVV
V
V
Csus2/F
VVV
VV
V
VVV
VV
V
5
5
7
7
5
5
5
5
7
7
5
5
VVV
VV
V
VVV
VV
V
VVV
VV
V
VVV
VV
V
3
3
5
5
3
3
3
3
5
5
3
3
3
3
5
5
3
3
sl.
B Main theme
Csus2/A
Csus2
Dsus2
Csus2
V V V V V V V V
B sus2
Csus2/A
[0:30]
T
A
B
10
13
12
sl.
E`maj9
V l V
V V V V V V l V V
Ie
10
(7)
sl.
Dsus2/G
8
10
Csus2/F
10
sl.
sl.
(3)
sl.
V V
sl.
10 (11)
10
sl.
10
sl.
(8)
10
10
5
sl.
V l V V V V V l V V V P V
z
7
MO
Full
sl.
Gm11
T
A
B
Full
1.
Ie
E`/F
V l V l V V V V
tr[[[[
T
A
B
11
sl.
10
sl.
7
sl.
`
eV V l V l P V V V l V k
z
E sus2/A
10
sl.
sl.
10
sl.
sl.
2.
Gm11
13
Ie
V l V V V V P V l V V V V
z
1 1/2
T
A
B
7
sl.
1 1/2
Full
(7)
5
sl.
P V l V V l V V l V V l V
z
Full
Full
(5)
sl.
Guthrie Govan 2006

1 1/2
NER NER - MAIN THEMES - Guthrie Govan
Page 2 of 4
` 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

B sus2/E
15
Ie
[1:01]
T
A
B
`
E`sus2
l
k
l_ l_ k
_ _
B sus2/E
`
E`sus2
_ l_ k l_ l_ k
B sus2/E
B sus2/E
19
Ie
T
A
B
B sus2/E
23
Ie
`
E`sus2
l
k
l_ l_ k
_ _
Csus2/F
`
E`sus2
_ l_ k l_ l_ k
Dm7
Fsus2 Csus2/F
c
_ k_ k_ k
Csus2/F Fsus2
c
_ k_ k_ k
Fsus2
E`c
/F
_ _
T
A
B
Repeat main theme [1:31] and then play solo 2 over the same chords as solo 1 [2:01]
D Middle section 1
Gm
27
Ie
V V
[2:32]
T
A
B
Gm/B
30
Ie
T
A
B
V V V
8
Ie
T
A
B
V V
V V V
7
D7/A
10
12
12
10
10
10
D7/F
10
10
12
11
12
eV
V V V V
V
8
10
V
3
10
12
12
E /G
12
12
10
Gm/F
V V V V V V V V V
V
V
gV
3
V
5
V
2
10
V
eV V V V
6
12
13
12
12
12
13
V
7
V V
V
V
V
8
10
10
10
D7
eV V
1
F/A
V
V V V V
C/E
V V
V
V
V
Gm/D
V V V
V V V
V eV V V
V
V
E maj7/B
eV
V V V V gV V V V V
V
V
Gm
33
Cm
`
V eV
V V V
5
V V
gV V V
4
V
0
V V V
V
V
3
V
3
V V V
V V V
8
V V
V
5
`
V gV
Ie
T
A
B
` D7/A Gm
eV V V V V V
V V
V
V
V
V
V V
V V e V V f V gV
V V
D7 9
36
Page 3 of 4
5 10
10
` `
Gm/B
10 8
11 10
10 7
10 8
E /G
8
5
D/A
eV V
V
eV
V
8
V gV
gV
V V
V
5
E Middle section 2
1.
39
Ie
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
[3:02]
T
A
B
5 0 3 5
4 6 5
5 0 3 5
6 5
5 0 3 5
4 6 5
5 4 3
VV VV
VV VV VV
V
V
V
k V k V k V VV VV k k }}
}
u
V eV
10
8
10
8
10
8
10
8
10
8
10
8
10
8
10
8
10
8
10
8
x
x
x
2 1
sl.
2.
43
Ie
3.
V eV
T
A
B
VV VV
k VV k VV
10
8
10
8
V
VVV
V
VVV k
VV
V
V
V
V
k V k V
u
10 10
8
8
10 10
8
8
10
8
10
8
10 10
8
8
10 10
8
8
V eV
2
VV VV
k VV k VV
10
8
10
8
V
VVV
V
VVV
u
V
VVV
10 10 10
8
8
8
10 10 10
8
8
8
V
VVV
V
VVV k k }
}}
10 10 10
8
8
8
10 10 10
8
8
8
x
x
x
sl.
47
Ie V V V V
V V
e VVV
VV VV V V
e VVV
V eV
let ring
T
A
B
3
3
6
4
3
3
3
VV VV
k VV k VV
6
4
3
10
8
10
8
2
V
VVV k
V
VVV
10 10
8 8
10 10
8 8
V
VVV
V
VVV k k }
}}
10 10 10
8 8 8
10 10 10
8 8 8
x
x
x
sl.
F Solo 3 over these chords...

51
Ie
Gm11
E maj9
E /F
Gm11
` `
D /G
[3:32]
T
A
B
E /F
Ie
E maj9
Gm11
Page 4 of 4
` `
D /G
` 1. , 2.
E /F
T
A
B
` 3.
B /C
Fives
Solo Tips
Once youre 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 Dbmaj7#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, youll probably want to use F dorian... but if youre more interested in flowing smoothly into the following
Dbmaj7#11 youll 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 ber-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 our
backing 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 THEMES

x
` b
Am11 3 fr. Fm11 3 fr. D maj7 113 fr.

x
x
A Introduction
P = 152
c
VVVV k
V
Am11
V
I 45 VVV j
V
3
3
5
5
0
T
A
B
VVV j
V
V
3
3
5
5
0
V k V
V
V
I
u
V V V V
V
T
A
B
10
12
VVV j
V
V
3
3
5
5
0
Am11
9
7 8
sl.
c
VVVV k
V
3
3
5
5
0
3
3
5
5
0
VVV j
V
V
10
12
VVV j
V
V
3
3
5
5
0
V Vu k V V V V V
V
V
9
7 8
sl.
c
VVVV k
V
3
3
5
5
0
3
3
5
5
0
VVVV j
V
VVV j
V
V
3
3
5
5
0
3
3
5
5
0
V Vu k V V V V V
V
V
10
12
7 8
sl.
c
VVV k
V
V
VVVV j
V
3
3
5
5
0
3
3
5
5
0
V Vu k V V V V V
V
V
10
12
9
7 8
sl.
` 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
T
A
B
D maj7 11
10
12
10 11
sl.
10
Am11
13
V k V
V
V
I
u
V V V V
V
T
A
B
10
12
B Theme A
Am11
17
9
7 8
sl.
10
8
12
10 11
sl.
10
V Vu k V V V V V
V
V
0
10
12
V V V V V
V V V
V
9
7 8
sl.
13
15
11
13
15
sl.
15
13
15
12 13 12
sl.
14
12
16
10
12
V P V V
z
V V
15
16 12
12
sl.
sl.
10
13
V Vu k V V V V V
V
V
7
P
z V
[0:47]
T
A
B
12
11
7 8
sl.
sl.
sl.
12
11
10
12
12
14
sl.
Guthrie Govan 2006

10
9
7 8
sl.
V V V V V V V
12
19 10
12
13
V Vu k V V V V V
V
V
15
11
14 (14) 15 14 12 12
sl.
sl. sl.
FIVES - MAIN THEMES - Guthrie Govan
20
V V V
V
k
V
V
I
Page 2 of 5
V
V
k u u k
Fm11
V gV V
eV
u k
15
12
V gV V
eV
u k
3
15
T
A
B
10
12
12
9
P
` b
D maj7 11
8va
23
I eV
15
14
14
sl.
sl.
25
sl.
13 15
18
(18)
29
I
T
A
B
V P VV
z
V
u
VVVVV
V
M
16
15
15
15 13
16
VVV
VV
M
12
(14)
14
20
13
14
13
13
14
sl.
16
(12)13
14
16
13
16
15
sl.
14
13
15
Full
12
(14)
13
15
14
12
12 14
sl.
V V V V V
V V V
V
13
VVV
sl.
15
15
8va
Full
12
(14)
15
VVVVV
M
Full
V P V V
z
V V
[1:11]
15
20
(15)
sl.
Am11
sl.
15
15
V eV V
eV V eV V V V V V V fV eV V eV
Full
T
A
B
13 (13)
13
I Pz V
15
Full
15
Am11
8va
13 (13)
sl.
eV
V V V
Full
T
A
B
12
12 13 12
sl.
14
15
16
12
16 12
12
sl.
P
z V
sl.
sl.
sl.
V V V V V V V V V V
3
12
19 10
12
12
14
sl.
14 (14) 15 14 12 12
sl.
sl. sl.
12 15 19
H H
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
T
A
B
12 15 19 22 19 15 12
12 15 19 22
22 19 15 12 15 19 22
T
P P H H
T
22 19 15 12 10
14 17 21 22
H
sl.
21 16 12
T
9
P
21 16 12
T
9
P
Fm11
33
V gV V
Page 3 of 5
eV
u k
V P gV V
z
eV V
` b
D maj7 11
8va
eV
V V V
eV
M
Full
T
A
B
12
13 (13)
sl.
15
15
12
12
sl.
sl.
(8)
sl.
11
10
20 16
T
A
B
13 16 15
20 16 13 14
16
13
38
V V V V V
16 15 14 13
14
V V V
Full
T
A
B
V V
13
15
15
15
(14)
12
13
14
V V V V V
M
Full
(14)
(12) 13
14
(18)
15
V
u
15
13
sl.
8va
V V
V V
Full
12
18
V P V V
z
P V
z
sl.
13
Am11
V eV V
eV V eV V V V V V V fV eV V eV
I j
(11)
sl.
8va
36
Full
11
10
Full
(14)
12
13
15
14
13
12 14
sl.
C Theme B
Am11
8va
41
V V V
I
[1:35]
Fm11
8va
T
A
B
12 17 12
12 17
V V V V V V V V
k
V
V v
V V
V V
12 17 12
T
A
B
43
8va
V V V
12 17 12
15 20 15
15 20 15
H
15 20 15
V V V V V V V k
V
V
V V
V V
V v
12 17 12
V V V V f V V V gV
V
g
k
eV
V V
V V
v
15 20
V V V
12 17 12
8va
15 20 15
12 17 12
3x
12 17 12
H
V V V
12 17
H
V V V V f V V V gV
V
g
k
eV
V V
V V
v
15 20 15
15 20
12 17 12
12 17 12
8va
15 20 15
15 20 15
12 17 12
15 20 15
H
15 20 15
15 20 15
H
` b
V eV V
D maj7 11
8va
45
V V V V V V V V
V
e
k
eV v
V V
V V
13 18 13
13 18
Am11
8va
47
V V V
13 18 13
12 17 12
12 17 12
13 18 13
13 18 13
3x
V V V
12 17 12
12 17 12
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
12 17 12
12 17 12
H
12 17
H
W
[2:00]
etc...
12 15 19 22 19 15 12
12 15 19 22 19 15 12
15
22 21 17 14 17 21 22
12 15 19 22
H H
T
TP
TP
Am11
Fm11
TP
` b
D Solos over these chords...
13 18
Am11
51
N.C.
8va
T
A
B
13 18 13
13 18 13
V V V V V V V k
V
V
V V
V V
V v
12 17 12
13 18 13
12 17 12
12 17 12
V V V V V V V k
V
e
V
eV V
V V
V v
13 18 13
V V V V V V V V
k
V
V v
V V
V V
12 17
13 18 13
8va
12 17 12
T
A
B
V eV V
8va
13 18 13
T
A
B
Page 4 of 5
D maj7 11
Am11
[2:00]
T
A
B
E Theme B repeat
Am11
8va
63
V V V
I
[3:59]
Fm11
8va
T
A
B
12 17 12
12 17
V V V V V V V V
k
V
V v
V V
V V
12 17 12
T
A
B
65
8va
V V V
12 17 12
15 20 15
15 20 15
H
15 20 15
V V V V V V V k
V
V
V V
V V
V v
12 17 12
V V V V f V V V gV
g
k
V
eV
V V
V V
v
15 20
V V V
12 17 12
8va
15 20 15
12 17 12
3x
12 17 12
H
V V V
12 17
H
V V V V f V V V gV
g
k
V
eV
V V
V V
v
15 20 15
15 20
12 17 12
12 17 12
8va
15 20 15
15 20 15
12 17 12
15 20 15
H
15 20 15
15 20 15
H
Page 5 of 5
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
T
A
B
13 18 13
H T
Am11
8va
69
I
T
A
B
V V V
I
T
A
B
13 18 13
13 18 13
12 17 12
H T
12 17 12
H T
H T
12 17 12
H T
12
12
17
17
12
H
13 18 13
3x
V V V
12 17 12
H T
13 18 13
H T
12 17 12
17
13 18
H
H T
12 17 12
12 17 12
H T
12
12
13 18 13
13 18 13
V V V V V V V V V
V
V
V V
V V
V V
12 17 12
12 17 12
H T
V V
V V V V V
V V
12
V V V V V V V V
k
V
V v
V V
V V
12 17
V V V V V V V k
V
e
V
eV V
V V
V v
13 18 13
13 18 13
8va
12 17 12
H T
8va
71
13 18 13
13 18
V eV V
sl.
12 17 12
H T
H T
12 17
H T
Uncle Skunk
Solo Tips
This ones 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, depending on the chord.) You might enjoy using an E major pentatonic shape as a basic framework for this one...
UNCLE SKUNK
A Verse 1 - unison guitars
Whammy pedal notation (set pedal to raise pitch 1 octave)

/ = up (depress pedal) \ = down (release pedal) /--------\ = depress, hold, release
P = 68
E
8va
V V V fV
V V V
g
V
g
V
1
V V V V V V l
I g g 44
V V V fV V k V V V
V V l V fV V V V V fV
V
3
19 14
T
A
B
17
16 11
16
12 9 14
16 12
11 12
14
sl.
sl.
sl.
13
11
sl.
b sl.
gggg V V V P VV VV
6
I
V V V Pz
(4) (4) 2
P
sl.
F m7
(4) 9
sl.
B11
sl.
11 10 9
11
11
P V V V V
P V V V V
z
9
12
10
R V W
P
V V V P V W
V V V
V k
V
u
(9)
(6)
sl.
V V
V V
11
V VV VV V V V
V V V
V
7 12 12 9
gg
3
I g g V V PR V V V PR V V V V
V V V V
Full
MO
T
A
B
13 12 11
sl.
6
sl.
N.C.
W
W
V
V VV V V k j
V V
V V V
u
T
A
B
6
sl.
10
12
12
12
14
12
11
sl.
sl.
sl.
12
(4)
sl.
B Verse 2 - harmony guitars

E
8va
V V V fV
V V V
V
g
g
V
g
V
l
9
V V
V V V
Ig
V V V fV V k V V V
V V l V fV V V V
[0:28]
V fV
T
A
B
19 14
17
16 11
16
12 9 14
14
sl.
gggg
I
T
A
B
16 12
sl.
9
11 12
sl.
V V V
V
V V V V V V l V V V V fV
13
13 12 11
11
11
11 10 9
V V V fV V k V fV V
V fV V
11
9
12
10
V f V V gV
3
14 9
12
11 7
11
12 9
9
sl.
sl.
4
6
11 10 9
sl.
Guthrie Govan 2006

11 10 9
14 13 12
11
H
UNCLE SKUNK - Guthrie Govan
Page 2 of 7
T
A
B
11
sl.
4
sl.
12
16
H
sl.
gg
13
Igg V V V
2 4 7
sl.
V V V
V V V
13 13
sl.
sl.
gggg V V
I
T
A
B
sl.
14 14 16
16
9 11
sl.
V W
T
A
B
11 (11)
10
V V V V V
V
3
V
u
gg W
g
g
17
I
10
12
13 11 13 9 11
sl. sl. sl. sl.
b
V
B11
(12) 12 9 (9)
(9)
sl.
V V V V
11 9
sl.
V V
14
sl.
11
sl.
V V V V k j
u
7 12 9
V V V V k j
u
1 1/2
2
(12) 12 9 (9)
(9)
7 12 9
sl. sl.
Gmaj7
8va
V l V V
V V
sl. sl.
Emaj9
V V
sl. sl.
sl.
F m9
14
1 1/2
(10)
sl.
Full
sl.
Gmaj7
8va
V V V V
M
Full
9 11
C Chorus 1 (whammy pedal)
H P sl. H
Full
(10) 12 12
18 20 16 16 16 18 16 13
sl. sl.
14 14 16 14 12 14
sl.
Full
17 21 19 17
P V W
z u
14
V V V V V V V V V V
V
16 14
14
sl.
P V
z
16 16 21
12 14
sl.
Fbm7 B11
V V
V
V V V V V
sl.
sl.
gggg
I
V
11 13
V V V
21
Full
T
A
B
6 9
6 9
V V V V V V V Pz V V P V V V
V
z
V V V V
gggg V R
V
11
V P V V V PR V V V V PR V V V
I
V
b
V
F m7
B11
[0:56]
T
A
B
19
gggg W
I
16
whammy: /--------------------------------\
(both gtrs)
T
A
B
/\
V V
/\
19
17
18
/\
16
(16)
sl.
sl.
/----------------------------------------------\
/---------------------------------------\
V l V V
7
6
(4)
sl.
sl.
Emaj9
8va
Page 3 of 7
b
V
Gmaj7
8va
F m9
fW
8va
gggg k V V l k V V l k V V V V V
20
I
B11
Emaj9
fV V
V V V
Full
16 14
T
A
B
sl.
16 14
sl.
16 14 19 16 19
sl.
sl.
/-----\
/------\
21
/-----------------\ /--------\ /------\
sl. P
sl. P
sl. P
12
sl.
12
10 10
12 19
17 10
12 12
10 10
12 19
17 17
19
12
12
11
sl.
F m9
F m11
Am7/C
B13sus4
V V V V V V V f V f V f V gV gV V V
fV
V
12
10
16
14 10
12 15
13
10 16
14 12
14
/-------\
/---------\
/-------\
/--------\
/-------\
/-------\
/--------\
/-------\
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
16
14
16
14
V V V V V
sl.
F m7
12
Full
V V V V
V V V V
gggg V
V
V
V V
V
V V
I
T
A
B
V V V
12
12
/-----------\ /------------\ /-------\
Full
12
Am9
8va
23
Full
21 22
19
P sl.
/-------\
1 1/2
T
A
B
19
gggg k V V l k V V l k V V V V V
I
/-----\
22
V V V
V
13
11
12
10
13
11
11
Page 4 of 7
D Verse 3
E
8va
V V V fV
V V V
g
V
g
V
g
V
l
25
V V
V V V
Ig
V V V fV V k V V V
V
[1:24]
T
A
B
19 14
17
16 11
16
12 9 14
16 12
11 12
14
sl.
sl.
sl.
13
V
gggg V V V V V V V V l V V V f V
I
V
V
17
16 11
16
12 9 14
sl.
sl.
T
A
B
11
sl.
9 7
sl.
gggg V R V V V
I
V P
T
A
B
11
sl.
11 14
sl.
11 12
sl.
gg
27
VVVV
Full
MO
11
V RV
P
(4) (4) 2 2
P
VVV
13(13)18
sl.
13
sl.
13
11
sl.
11 10 9
11
11
13 12 11
11
R
P V
P V V
P V z V
z
9
12
10
11
7
sl.
11 14
sl.
11 14
7 11
sl.
10
Full
12
11
1/2
9 12
11 11 9
11 9
11
sl.
V P VVVVVVV
z
14 16
sl.
13 11 13 11 9 11
11
11
H P sl.
sl.
11
9
12
VVVVVVV
VVV
V
12
13 11
V PR V V V
9
11 10 9
11
11 9
4 9
sl.
4
sl.
Full
6
7 4
sl.
16 12
14
11
V V V fV V k V V V
V
T
A
B
8va
19 14
13 12 11
6
sl.
9
sl.
Page 5 of 7
Fbm7
V
V V V V V
gg
V W
29
Igg V V V
M
9 11
11(11)
10
8 9
10
10 11
sl.
14(14)
17
16 17
17
17
17
E Bridge
A
gg V V V V V V V V
g
g
33
I
12
12
12
12
/---\
/---\
/---\
V V V V
MO
1 1/2
19 19 16 16
b B11
V V V V V V V V
F m7
12
12
12
12
1 1/2
(16)
14
14 16
sl.
[2:07]
T
A
B
7 12 9
sl. sl.
17 17
sl.
Full
1
(9)
V V V V
V V V V
Full
1/2
1 1/2
12 12 9 (9)
8va
V V V V V V
V V V V k j
u
Full
1
Full
V W
V
V
V
g
g
Igg
Full
Full
M
M
10
sl.
T
A
B
V V V V
V V gV
B11
Full
T
A
B
E
8va
14
14
(16)
sl.
sl.
/---\
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
17
/---------------------------------------------\
8va
19
19
Repeat chorus [2:21]

Solo (verse chords) [2:49]
Bass solo (chorus chords) [3:46]
sl.
Page 6 of 7
F Verse 4
E
8va
V V V fV
V V V
g
V
g
V
37
V V V V V V l
Igg
[4:14]
T
A
B
3
19 14
17
16 11
16
12 9 14
T
A
B
16 12
14
sl.
gggg
I
V V V fV V k V V V
V
sl.
9
11 12
sl.
V V V
V
V V V V V V l V V V V fV
13
12
11 7
11
12 9
9
sl.
sl.
11
11 10 9
11
11
9
12
10
V V V fV V k V V V
V
9
11 12
sl.
gg
39
V V V
3
14 9
13 12 11
13
13 12 11
11
11 10 9
11
V V V
V V V V
V VV
11
9
12
10
V V V V V V V
V
Full
Full
T
A
B
11
sl.
sl.
sl.
6
2 (2) 4
sl.
gg
V V V
6
H
14 12
6
sl.
V
V
V
V
12
(17) 16
7 17
sl.
V V
V V
P V V
P V V
z
Full
T
A
B
11
sl.
7
sl.
4
sl.
2 (2) 7
sl.
13
(7)
11
sl.
14 16 (16)
17
11 13 (13)
14
sl.
sl.
13
14 12
13 11 9
sl.
Page 7 of 7
41
gg
VW
Igg V V V
B11
10 10
(10)
N.C.
1 1/2
10 10
1 1/2
12 12 9 9
sl.
(9)
7 12 9
sl.
gggg V V V
I
8va
VVV
V P VV
z
P V
z
VVV
sl. sl.
VVVV
16 17
16
14 14 16
14
16 14
sl.
12
12 12
1 1/2
(12)12 9 9
sl.
VVVVkj
u
Full
T
A
B
VVVVkj
u
Full
O M
10
Full
11(11)
9 11
VVVV
P VVV
z
F m7
Full
T
A
B
b
VVV
VVV
(9)
7 12 9
sl.
sl. sl.
G Ending
F6add9
8va
gggg
45
I
T
A
B
V V
V V
fV fV
V V fV l
fV fV fV
[4:42]
Emaj9
P gV
z
V V
17 13
12 14
(14) 16
12
sl.
sl.
18
17 12
17
13 10 15
fV fV fV
sl.
15 10
13
V V
V V
l
fV fV
V V V
12 7
12
T
A
B
sl.
5 10
/------\
12
sl.
V V P V
z
P gV
z
7
12 8
sl.
/------\
sl.
/------\
sl.
/--------------\
fV fV V V V V V V V V V V V
V V
10
(9)
10
sl.
whammy (gtr3 only)
gggg
I
15
sl.
T
A
B
3
20 15
8va
gggg
I
6 10
sl.
12 8
sl.
6 10
sl.
12 8
sl.
6 10
sl.
12 8
sl.
sl.
/-----\
V V
sl.
11
/------\
/-------\
/--------\
V V V V V V V V V V V V V V
7
sl.
11 7
sl.
sl.
sl.
11 7
sl.
sl.
11 7
sl.
Sevens
Solo Tips
For the solo over the D section riff, your best choice is definitely G dorian.
The outro progression (following the C section chords) is slightly more involved, in the sense that an A note sounds good over
the first half, whereas an Ab flat 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 fit...
SEVENS - MAIN THEMES

A Intro riff
e
1
Ie 74
T
A
B
c k }
}
V V V
V
V
V
3
x
x
c
VV
V
VV k VVV k V V V V V
V V V V V
u
6
6
5
5
6
6
5
5
sl.
sl.
B Verse
e W
3
Ie
Gm7
[0:19]
T
A
B
sl.
(5)
(5) (5)
e
Ie V V V
Gm
Gm6
6
6
5
5
V V V gV
u
Full
M O
1/2
6
6
5
5
x
x
sl.
V V V V
u
1/2
M O
1/2
sl.
c
c
VV
V
c
V
VV k VV k V k V k V
V
V
V
u
c k }
}
V V V
V
V
V
(4)
(7) (7)
6
P
Full
T
A
B
(5)
(5)
sl.
` b
e W
7
Ie
A maj7 11
cV V
eV
V V V V
M
1/2
1/2
T
A
B
(3)
6
sl.
e
9
Ie V V V
Gm
sl.
Full
T
A
B
(3)
Guthrie Govan 2006

V V V V V
u
Full
M O
5
(5) (5)
3
P
SEVENS - MAIN THEMES - Guthrie Govan
Gm7
e
11
Ie
Page 2 of 5
V V V
u
1 1/2
[0:44]
T
A
B
1 1/2
15
(15)
15 (15)
V V V V
Gm6
V V V W
MO
Full
(15)
V V V V
u
Full
Full
13 15
(15) (15)
Full
15 (15)
15 (15) (15) 13
V V V
Gm
e
13
Ie
(13)
(13)
Full
T
A
B
13
15
13
` b
W
A maj7 11
e
15
Ie
V
eV V
u
T
A
B
16
13
V V V V
1/2
16
15
15
15
V V V V V
u
3
Full
M O
17
17 (17) (17) 15
17
V V V
e
17
Ie
Gm
T
A
B
15
C Chorus
17
15
E maj9
8va
e
19
Ie
[1:09]
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
22
20
18
16
20
19
T
16
22
15
H
20
18
16
20
19
T
16
15
19
17
T
15
H
20
13
H
19
T
16
15
19
17
T
15
H
13
H
Page 3 of 5
Gm9
8va
20
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
e
Ie
T
A
B
22
20
18
15
22
22
T
20
T
17
H
20
18
15
15
H
22
T
20
T
17
H
15
H
22
22
T
20
T
17
H
15
H
20
T
17
H
15
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
21
18
16
21
20
T
16
15
20
18
T
15
H
21
13
H
20
T
16
15
20
18
T
15
H
13
H
Cm9
8va
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
e
22
Ie
T
A
B
22
20
18
B add9
8va
23
e
Ie
T
A
B
20
19
T
16
22
15
H
20
18
16
20
19
T
16
15
H
20
20
T
20
T
17
H
15
H
19
T
16
15
H
20
T
20
T
17
H
15
H
* see note for bar 21
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
*
22
16
20
18
15
*
22
22
T
20
T
17
H
20
18
15
15
H
22
T
20
T
17
H
15
H
22
22
T
20
T
17
H
15
H
20
T
17
H
15
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
22
21
18
16
21
20
T
16
22
15
H
21
18
16
21
20
T
16
15
20
18
T
15
H
21
13
H
20
T
16
15
20
18
T
15
H
13
H
D Middle section riff 1
25
e
Ie
V V V V
[3:02]
T
A
B
3
3
0
P
e
Ie
1
H
T
A
B
3
3
5
5
e
Ie
T
A
B
1
H
} V V V
d
VV V l V k
V
V
3
3
5
5
x
x
V V V V V
3
3
3
3
E Middle section riff 2
V V V V
5
5
5
5
VV
3
3
7
5
V l V l }
sl.
VV
VV k
c
VV VV VV k
3
3
3
3
3
2
5
5
5
H
d
VV V l V k
V
V
5
5
3
2
V V V V V V V V V V V
V
}
}} VV VV l VV k
3
3
5
5
VV
e
27
Ie
5
5
3
0
x
x
V V V V
3
2
3
}} VV VV l VV k
3
3
e
Ie
VV
T
A
B
26
Page 4 of 5
7
H
gVV VV
f VV
6
5
VV V
V
5
5
5
5
V V V V V V
V l V V V V V V V
V
[3:39]
13
T
A
B
12
12
10
1.
28
e
Ie
T
A
B
V V V V
12
12
12
12
V l V l }
13
12
12
10
12
12
12
V l V V
12
12
12
12
12
12
10
11
10
12
10
13
11
13
10
10
V bP V V P V V P V V P V V
z
z
z
z
3
13
12
10
10
13
10
13
10
13
10
12
sl.
sl.
sl.
sl.
13
Page 5 of 5
2.
VVVVVVVVVVVV
V
}
V
V
V
V
V
V
VVVVVV W
ee V V
l
l
l
1
I
3
3
3
3
V
T
A
B
13
12
12
10 12
12
12
12
13 13 13 8 8 8 10 10 10
12
12 12
G7sus4
V VW
k VVV k VVV WWW
u u
11 11 11 6 6 6 11 11 11
11
10
10
10
sl.
11
10
10
10
Eric
Solo 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 fine 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.
ERIC - MAIN THEMES

A Introduction
D
PR = 132 (P P CP P )
Cmaj9
I 68
V V
V
V
E maj7
V
eV V eV
let ring
T
A
B
(3)
6
B Main theme 1
Cmaj9
5
V eV
E maj7
(3)
V V V
l V
[0:25]
T
A
B
(5)
sl.
(8)
P V V V V Pz V V
9
I z
12
15
sl.
15
12
12
17
14
sl.
A maj7
13
sl.
13
sl.
V V V V
12
10
sl.
sl.
Fm7
17
I j
sl.
Cmaj9
21
I V
T
A
B
11
sl.
10
10
12
sl.
sl.
sl.
sl.
eV
13
11
sl.
`
V
10
sl.
sl.
eV
sl.
V eV V
sl.
D9
sl.
(8)
sl.
sl.
e VV gVV e f VV VV
sl.
8
8
sl.
eV V V
V V eV V V
B 13sus4
4:3
7
7
6
6
(6)
(6)
sl.
sl.
B 11
eV V V
4:3
10
sl.
sl.
11
V gV V k V
12
sl.
10
sl.
F7
e V V Pz V
T
A
B
10
Fm7/E
sl.
Cm7
12
sl.
11
E maj7
eV P V V V
gV V l `Pz
z
A maj7/G
e V l Pz V V
V
I
T
A
B
sl.
Cmaj9
T
A
B
13
8
sl.
13
sl.
16 13 13
10
E maj7
sl.
sl.
Cmaj9
sl.
(4)
sl.
Guthrie Govan 2006
5
sl.
E maj7
sl.
sl.
ERIC - MAIN THEMES - Guthrie Govan
Page 2 of 5
C Main theme 2
Cmaj9
29
[1:31]
T
A
B
sl.
T
A
B
sl.
P V
z
V P V V V
z
3
sl.
sl.
sl.
sl.
sl.
12 14
P V V V V
I z
T
A
B
12
sl.
10
sl.
A maj7/G
e V l Pz V V
V
37
I
5
sl.
V V
8
8
sl.
(8)
V V V V
12
10 12 10
sl.
sl.
10
13 11
sl.
sl.
V `P V V V
z
sl.
(6)
sl.
sl.
sl. sl.
Fm7/E`
e
V
V
gV V l `Pz Pz V V
Fm7
sl.
`
V
D9
sl.
10
sl.
sl.
V P V V P V V eV
eV
z
z
8
8 (8)
sl.
sl.
sl.
sl.
e V bPR V V PR V V f V e V
4
8
sl.
sl.
sl. sl.
V V V V
10
V V V
10
sl.
sl.
l V
V `P V V V
z
sl.
sl.
13 11 13 (13) 11
12
sl.
E maj7
sl.
10
V eV
sl.
sl.
sl. sl.
V eV V
V eV
8 (8)
sl.
sl.
8
sl.
sl.
4:3
V eV V eV
V V V V
4:3
11
11 9
sl. sl. sl. sl. sl.
eV V
I e V V l Pz
T
A
B
sl.
sl.
A maj7
T
A
B
sl.
sl.
15 17 13
sl.
V V V
l V
13 11
sl.
P V V V V Pz V V
33
I z
12 15 12
(8)
P V
z
Cmaj9
T
A
B
sl.
V P V V V
z
V eV
E maj7
V gV l Pz V Pz V V e V
10
10 12 10 12 10 8
sl. sl. sl. sl. sl.
sl.
eV
6
(8) 9
sl. sl.
sl.
V eV V
(6) 8
sl. sl.
5
sl.
sl.

Cm7
41
V gV V k V
F7
e V V Pz V
I V
Page 3 of 5
B`11
V V V
eV V V V
V
V eV V
gV
4:3
4:3
T
A
B
10
I j
10
10
sl.
12
10
sl.
sl.
13
13
10
sl.
sl.
sl.
sl.
10
sl.
T
A
B
P eV
45
I z
T
A
B
11
11
sl.
15
sl.
eV
`P V
z
18
18
16
VV e VV
u
8va
e VV
sl.
(18) 23
(18) 23
sl.
sl.
T
A
B
D Bridge
Bdim
8va
49
gV
[2:25]
16
T
A
B
10
V eV
19
13
10
sl.
16
13
16
19
10
19
16
16
sl.
13
sl.
V fV
10
V eV
15
V eV eV
16
13
11
sl.
E
13
19
sl.
16
3
16
V
3
10
3
13
V
3
Ddim
8va
3
7
T
A
B
50
Cm
11
11
sl.
13
11
18
sl.
15
11
15
sl.
1.
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
16
22
16
19
16
19
sl.
22
19
22
19
16
sl.
22
16
19
16
13
sl.
19
13
16
13
16
sl.
19
16
19
16
15
sl.
20
15
19
15
sl.
`
eV
A
8va
52
Page 4 of 5
8va
eV
3
16
T
A
B
20
sl.
16
20
16
11
11
16
sl.
11
16
11
sl.
` 2.
B 11
8va
53
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
T
A
B
20
16
20
16
18
sl.
20
18
22
18
15
sl.
20
15
18
15
16
sl.
18
16
20
16
13
18
sl.
13
16
13
15
18
sl.
15
18
15
sl.
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
54
3
11
T
A
B
18
11
15
11
sl.
18
11
sl.
55
18
sl.
E maj7
18
E Solo over chords...

Cmaj9
[2:47] 8va
Fm7
Fm7/E
10
10
18
sl.
10
13
13
18
sl.
13
18
Cmaj9
10
E maj7
15
T
A
B
sl.
63
I j
A maj7
A maj7/G
D9
Cm7
F7
T
A
B
69
I j
`
j
B 11
Cm7
F7
T
A
B
B 11
13
sl.
Page 5 of 5
F Bridge repeat
Bdim
8va
76
gV
T
A
B
16
Ddim
8va
10
V eV
19
13
10
16
sl.
13
16
19
10
19
16
16
sl.
13
sl.
V fV
10
V eV
15
sl.
13
sl.
11
V eV eV
16
13
11
19
16
3
16
V
3
10
3
13
V
3
T
A
B
[3:44]
77
Cm
11
sl.
13
11
18
sl.
15
11
15
sl.
1. , 2.
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
16
22
16
19
`
eV
A
8va
79
16
19
sl.
22
19
22
19
16
22
sl.
16
19
16
13
19
sl.
13
16
8va
eV
13
T
A
B
20
sl.
16
19
16
15
20
sl.
15
19
15
16
sl.
19
3
16
16
20
16
11
11
16
sl.
11
16
11
sl.
` 3.
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
B 11
8va
80
I
T
A
B
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
H P
H P
H P
H P
H P
H P
H P
H P
H P
H P
H P
H P
sl.
Slidey Boy
Solo 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 lydian
Bm11 - B aeolian (the G i.e. the b6 in this scale isnt particularly nice, so its best not to dwell on it too much!)
(Incidentally... its probably worth spending some time exploring the classic lydian major triads trick... Over F/Eb, for instance, 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.)
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 its 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...

Guthrie solos over our Robben Ford style backing track. A
thoroughly musical work out in Dm. Complete video, backing
track, solo and tab transcription - all to our usual high standard.
SLIDEY BOY - MAIN THEMES

A Introduction
g
I g 44
P = 130
Bm11
T
A
B
k bPz Vu V f V V
gg
5
I
T
A
B
9 10
Cmaj7
V V V V
P V
z u
sl.
V V fV V V V
(5)
sl.
sl. sl. P
B Theme A
Bm11
g
Ig
V V V
[0:15]
T
A
B
12
7 9
sl.
V V V
V V V
V V
11 9
sl.
10 11
sl.
11
7 9 6
11
(6) 7
7 5
sl.
gV V V
V
V V V
g
I g V gV V V V
T
A
B
V V V V V k V gV V f V gV k
V
V V V
7
7
sl.
9 6 7 5 6
k V gV V f V gV
V
V V V f V gV V V
9 6 7 5 6
V V V
V V V
V V
11 9
sl.
sl.
7
7
15
g
Ig
T
A
B
V
9
V
7
V
3
7 8 9
sl.
(6) 7
5
sl.
8 10
9
sl.
PP
z
VV
u
UU
5
3
7
5
(7)
(5)
V V
V V V V V V V k Pz u V V
1.
Cmaj7
sl.
Guthrie Govan 2006

SLIDEY BOY - MAIN THEMES - Guthrie Govan
17
gg WW
I
2.
VV
T
A
B
V
u
V V V V V V V V
(7)
(5)
Page 2 of 3
V V gV V V V V f V V V
f V gV V V f V
(3)
C Theme B
20
g
Ig
[0:48]
T
A
B
k gV V V V V V
V
V V
3
2
(2) 0
g
Ig
V eV fV V } } V
T
A
B
26
V V
7
5
g
Ig
T
A
B
f V V l gV l } V f V V V k
V
V
5
(3)
sl.
V fV
V fV
V V V V gV V V V f V
5
k V gV f V V
eV V
V V
V
4
23
V V e V f V V V gV f V V gV V
V
(2)
D Interlude (improv)
28
Bm11
g
Ig
Cmaj7
VV
V
V V
[1:03]
T
A
B
9
sl.
3x
7
7
E Theme A repeat
Bm11
32
gg V V V
V V V
V V V
V
I
V V
V V
[1:17]
T
A
B
V V V V V k V gV V f V gV k
V
k V gV V f V gV
V V
V
f
V
g
V
V
V V
7 7 7
7 9
sl.
11 9
sl.
7 9 6
7 5
sl.
(6) 7
6
9
9 6 7 5 6
9 6 7 5 6
7 8 9
sl.
SLIDEY BOY - MAIN THEMES - Guthrie Govan
35
gV V V
V
V V V
g
I g V gV V V V
T
A
B
10 11
sl.
11
11
7 9
V V V
7 9
sl.
sl.
g V V V V
38
Ig
Cmaj7
T
A
B
Page 3 of 3
V V V
V V V
V V
11 9
sl.
7 9 6
V V V
V V V V V V V k Pz u V V V
(6) 7
7 5
sl.
8 10
7 9
8 10 8 7
9
sl.
H P
P V
z u
V V V V V V V V
(5)
sl.
g
41
Ig V
T
A
B
8 10
V gV f V V V V V V
V V V V fV V
Em7
(10) 9
7
sl.
44
V V V V V V V Pz V
Dmaj7
P V V V fV V V V
z u
3
g
Ig
T
A
B
sl.
V
u
10
F/E
V
u
10
(10)
D/C
F/E
fV
gg
50
I
T
A
B
gg C/F
54
I
F/E
D/C
9 10 9
E 6add9
F/E
D6
fV
gV
3
8
10
D/C
Bm11
[1:43]
T
A
B
sl.
F Solo over chords...
g
46
I g 74
sl.
Fmaj7
fV
Em7
C13 11
T
A
B
Dmaj7
11
Rhode Island Shred

Solo 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 the
root) for slightly more of a Western swing vibe. Also, its 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 lands
somewhere 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 link
two chord tones in an ascending or descending line - but do try to remain aware of the basic arpeggio shapes for each chord
as you add these embellishments!

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 THEMES

A Theme 1
P = 160
G7
8va
C7
g 4 V V V V V V V V V V eV V fV
I 4
V fV V
15 12
T
A
B
15
17 15 12
15
15 12
12
15
15 12
12
15
12
G7
8va
g
3
I
T
A
B
V V V V V V V
V
V
V V eV fV
V
V
V
14
12 14
12 14 15 16
15 17
15 19 15 17 15
17 15
C7
8va
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
G7
8va
19 17
18
17
21 17
19 17 19
17 19 20 21
19 21
20
A7
8va
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
12 15
13
12 13 14 15 12
13
15 12
14
15 12 13
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
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
E7
g V V fV V V
V V
7
I
V V V V V V eV f V V
T
A
B
V V f V gV V V V V V
e
V
V
V
V V V eV
14 17
14 16 17 18
17 20
17 21 17
20 17 18 19
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
D7
V V V fV
gV V
V
V V V V
V
V
g
V
V V
20 17
19 18 17
19 17
Guthrie Govan 2006

19 16 19
17 18 19
17 19
17
RHODE ISLAND SHRED - MAIN THEMES - Guthrie Govan

G7
8va
11
Page 2 of 3
E7
A7
gV V e V
g V V fV V V
V
V
I
V f V V V gV V
19 17
T
A
B
18
17 16
17 15
17 19
18
16 19
17
16 19 18
D7
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
12 13 14
15
B Theme 2 (delay at 281ms)

G7
8va
g V V V V V V
13
V V
I
[0:18]
T
A
B
15
15
12
12 15
14
12
12
C7
8va
18
20
17
18
15
17
13
15
A7
8va
gV
g
21
I V V gV V V V
V
eV V V V
V eV V V
V V
V
V
V
V V V
15
14
12
12 14
13
12
12
V fV V V V eV
V V
12 13 15 12
13
17
19 16
17
19 16
17
15 12
D7
14
V V
8va
V
V V V V
21
T
A
B
25
G7
14
12 14
12 14
12 15
12
G7
g eV V V fV V V V V
17
I
T
A
B
C7
15
16
17
17
V
17
16
G7
8va
C7
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
g VV VV f VV VV VV VV VV VV
I
VV VV f VV V VV VV VV VV
eV
12
14
14 12
G7
12
14
15
E7
V V V V V V gV
V
17
17
15
16
15
15
17
17
19 15 22 17
E7
V
V
V
V
V
V
V V
12
V V V V V V V V
19
19
22 19
21
21
G7
VV VV f VV V VV V VV V
V V V
gV V V V V V
V
gV
16
16
19
19
A7
22
21
19
18
D7
V V V V
gV V V V
17
20 17
18 19 18
G7
19 16
F7
VV VV f VV V e V VVgVV V
Ve V
V
[0:36]
T
A
B
29
g
I
19
17
17
20 20 18 18 20
18 18
21
19 21 21
19
22
E7
Delay off
T
A
B
20
18
17 16
21 21 19 19 18 18 17 17
22
21 20
19
RHODE ISLAND SHRED - MAIN THEMES - Guthrie Govan
Page 3 of 3
E7
g
31
I
A7
E7
A7
[0:45]
T
A
B
C7
g
39
I
D7
C7
D7
N.C.
T
A
B
D Solo 2 over chords...
49
g G7
I
C7
G7
C7
G7
E7
[1:12]
T
A
B
57
g A7
I
D7
N.C.
G7
E7
A7
D7
T
A
B
E Ending
64
g
I
G7
8va
V V V V V V V V V
V eV V fV V fV V
[1:52]
15 12
T
A
B
15
D7
j
_
g
66
I Vv k j
T
A
B
b
V f V gV V gV V V gV gV
V
e
V
V V gV
V V
C7
17 15 12
15
15 12
12
15
15 12
12
15
12
14
C dim7
12 15
k _G`c7 _G7
13
12 13 14 15 18 15
12
17
18 15 12
14 11
3x
Hangover
Solo 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 fill in the gaps with judiciously placed chromatic notes. If youre keen to try a more scalar approach, however, then I think
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 THEMES

D
PR = 108 (P P CP P )
gg 6 Bm9
j
1
I 8 j
A Introduction
B add9
Bm9
B add9
T
A
B
B Theme 1
Bm9
gg V V
I V
[0:15]
B add9
V fV V
T
A
B
MO
5 (5)
(5)
Full Full
3 (3)
g
Ig V V V
Full
M
T
A
B
V V V
`
fV
(5)
5 (5)
(5)
G7
C7sus4
fV fV
u
f VVV
V
u
B add9
Full
eV V
u
Full
(4)
gg Bm9
13
I j
V fV V
release bend
in steps
*play 5th fret while holding 4th fret bend
A 13
V V V k
u
M2 O M2
Full
(4)
E 6add9
V fV V
M
Full
*play 5th fret while holding 4th fret bend

Bm9
B add9
V V V
V V V V
M MO
1/2
release bend
in steps
V V V fV V V
O
Full
Bm9
2
4
3
Bm9
B add9
T
A
B
C Theme 1 repeat
Bm9
gg V V V
17
I
[0:55]
11
12
V V V fV V V
(12)
V V V V fV V
V V V V
l
Bm9
B add9
release bend
Full in steps
1/2
Full
T
A
B
fV V
B add9
MO
13 (13)
(13)
12
1/2
Full
10 (10)
M M
Full
11
12
release bend
Full in steps
Full Full
(12)
10 12
12 12
13 (13)
(13)
V f VV VV
k k
u
M2
13 (13)
13 17 (17)
sl.
Guthrie Govan 2006

HANGOVER - MAIN THEMES - Guthrie Govan
Bm9
gg V V V
21
I
Full
M
T
A
B
E 6add9
V V V
V fV V
`
fV
11
12
13
G7
V V
u
1M
1/2
Full
M
O
13
(13) 13
Full
(12)
VV f V V f V
A 13
12
11
Page 2 of 3
(13)
14
16
18
13
sl.
gg Bm9
25
I j
B add9
Bm9
B add9
T
A
B
D Theme 2
C/F
29
g
I g fV
c
V
D/E
C/F
33
g
I g fV
T
A
B
Bm9
g
g
37
I j
c
fV
c
V V
4
fV
V V
c
V
fV
B add9
c
V V
4
Cmaj7
Bm7
D/E
c
V V
c
V
[1:35] Twangy part (quite low in the mix)
T
A
B
Cmaj7
c
V
Cm11
e f ef VVVV
fV
VVVV
V
1
1
3
1
3
Bm9
B add9
T
A
B
E Solos over these chords...
g
41
Ig
Bm9
B add9
Bm9
B add9
Bm9
E 6add9
[2:02]
T
A
B
`
j
A 13
G7
Cm11
3x
HANGOVER - MAIN THEMES - Guthrie Govan
Page 3 of 3
F Theme 2 repeat
C/F
8va
49
g fV
Ig
[3:35]
Full
T
A
B
18
D/E
M MO
g fV
Ig
18
Full
13
17
(17)
V
u
15
17
V
M
V V V V V V V V
M M M
17
V V
17
(17)
Cmaj7
Full Full Full
(18)
V
Full
D/E
Full
T
A
B
V
M
Full Full
C/F
8va
53
V V V fV
15 (15)
Cmaj7
17
17
15
MO
17
Cm11
}}
Full
15
17
(17)
14
V V V V
M MO
Full Full
Full
17
Bm7
x
x
17 (17)
}}
15

Erotic Cakes Guthrie Govan Transcriptions Printable 1

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Erotic Cakes Guthrie Govan Transcriptions Printable 1

Uploaded by

Copyright:

Available Formats

Erotic Cakes - The Backing Tracks

you may also like....

WAVES - MAIN THEMES

B Solo 1 over these chords...

WAVES - MAIN THEMES - Guthrie Govan

C Solo 2 over these chords...

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

EROTIC CAKES - MAIN THEMES

Guthrie Govan 2006

EROTIC CAKES - MAIN THEMES - Guthrie Govan

C Solo over these chords...

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

EROTIC CAKES - MAIN THEMES - Guthrie Govan

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

Wonderful Slippery Thing

you may also like....

WONDERFUL SLIPPERY THING - MAIN THEMES

B Solo 1 over these chords...

Guthrie Govan 2006

WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan

E Solo 2 over these chords...

WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan

F Altered melody section

H Final melody & ending

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

WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan

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

you may also like....

NER NER - MAIN THEMES

Guthrie Govan 2006

NER NER - MAIN THEMES - Guthrie Govan

C Solo 1 over these chords...

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

NER NER - MAIN THEMES - Guthrie Govan

F Solo 3 over these chords...

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

NER NER - MAIN THEMES - Guthrie Govan

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

you may also like....

FIVES - MAIN THEMES

Am11 3 fr. Fm11 3 fr. D maj7 113 fr.

Guthrie Govan 2006

FIVES - MAIN THEMES - Guthrie Govan

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

FIVES - MAIN THEMES - Guthrie Govan

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

FIVES - MAIN THEMES - Guthrie Govan

D Solos over these chords...

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

FIVES - MAIN THEMES - Guthrie Govan

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

A Verse 1 - unison guitars

Whammy pedal notation (set pedal to raise pitch 1 octave)

B Verse 2 - harmony guitars

Guthrie Govan 2006

UNCLE SKUNK - Guthrie Govan

C Chorus 1 (whammy pedal)

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

UNCLE SKUNK - Guthrie Govan

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

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

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

UNCLE SKUNK - Guthrie Govan

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