Erotic Cakes Guthrie Govan Transcriptions Printable PDF

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?)
you may also like....

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.
WAVES - MAIN THEMES
As recorded by Guthrie Govan
(From the 2006 Album EROTIC CAKES)
A Main theme
bP = 78 b b b
V V
Fm E/F Fm E/F
ggg 4 V V
I 4 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
1
V
V V
9 14 12
T 5 7 12 7 9 9
A 9 6
6 7 9 6 12 11 6 7 9 6 11
B 7 11 9 4 9 7
0 2 7 12
sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. sl.
H sl.
b b b b
V V V V V
Bm7 C m7 Fm E/F Fm
ggg V V V V V V
V V
3
I V V V V V V V V V V V V V V
V V V V
V
5 9 12 14 9 7
T 7 9 7 10 9
A 9 7 9 7
6 7 11 9 9 11 9 7 6
B 7 9 12 11 9 7
7 9
sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. H H P sl. sl. sl. P
sl.
b E/Fb b
V
Dsus2 Esus2 Fm Fm
ggg V V V V V V V V V V V
V V
V V V V V V V
I V V V V V V V V
V V V
5
9 7 12 9
T 9 7 5 9 10 12 7 9 10 7 5
A 9 6 7 9
4 7 7 6 7 6 11 7 6
B 11 9
7 12
sl. sl. sl. sl. sl. sl. H H sl. sl. sl. H sl. P sl.
sl.
Dsus2 Esus2 Bm11
ggg V V V V V V V V V V V V V V V
I V V V V V V V V V V
V V V V V
7
V V
T 7 10 9 10 9
A 4 6 11 9 9 11
11 7 6 7 11 11 12 7 6
B 5 4 7 11 9 9 5
9 7 7 5 4
sl. sl. P sl. sl. sl. H sl. sl. sl. sl. sl.
sl. sl. P
k _Fbmc _ k _A/Cc b k _Dc _ k _Fbmc ^

B Solo 1 over these chords...
_ ^ _ ^
E E Bm11
ggg
9
I
[0:49]
T
A
B
Guthrie Govan 2006

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
WAVES - MAIN THEMES - Guthrie Govan Page 2 of 2
_
E
k _Fbmc _ k _A/Cc b k _Dc _ _ k _Ac __
c
k Bm11 ^ ^
ggg
13
I
T
A
B
C Solo 2 over these chords...

b b b
^ ^ ^ ^ ^ ^ ^ ^
Am11 Fmaj7 11 C m7 Amaj7 11
ggg
17
I
[1:50]
T
A
B
E/D Dc
_ _^ ^ ^ ^ ^ ^ ^ ^
Bm11 Amaj7
gg
25
Ig
T
A
B
D Middle section
ggg 15 VVVV VV VVVVVVVV V e V gV V f V f V V V V

I 16 V V f V
VV V V V VV V V V VVV VV V VgV V
33
[2:52]
T
A 7 9 6 6 7 6 9 6 8 6 7 11 9
7 9 6 7 6 7 7 8 5 10 7
B 9 7 7 9 9 9 5 9 7 5 5 7 9 6
7 10 9 7 9 7 9
V V V V V
ggg 4 gV f V k V V V V V V V V V fV V V V V V V V 6 6
I 4 gV V V V V V V V V V V V V
V
36
6 6
6 6
14
T 17 15 14 14
A 10 16 14 13 14 16 16 14 13 13
10 16 14 12 14 16 16 14 12 12
B 16 14 12 14 16 16 14 12
16 14 12 14 16
V V V V V V V V V V V V V V V V V V k
8va
ggg V V V V V V V V V V V
37
I V V V V V V V V u
6 6
6 6 6 6
14 16 17 14 16 17 19
T 14 14 15 17
A 13 13 14 16 16 14 13 14 16
12 12 14 16 16 14 12 14 16
B 12 14 16 16 14 12 14 16

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 x
b x x x
b
Am11 3 fr. Amaj7 114 fr. Dm11 3 fr. Gmaj7 112 fr. A maj7 113 fr. ` b
A Introduction
P = 142
1
I 44 j
c V eV V
k
V V eV
k
V
kk
V
k k
c
j
eV
j j
c
kj
V V gV V V V V V
Gtr I
T
A 1
B 7 6 5 8 5
0 (0) 8 7 6 4 0 0 1 1 0
k k k c k c j V V
I V eV V V fV eV e V V gV V V V V eV eV eV V
6
V gV gV V
V
T
A 7 5 3
B 7 6 5 8 7 6 7 8 4 7 6
6 5 4 6 5 6 5 4 0
sl.
I k k k k k k j j j k j k
10
V eV V V V eV V V c eV c V eV V V fV eV
V gV V V V V V V
T
A 1
B 7 6 5 8 5 7 6 5 8 7 6
8 7 6 4 0 0 1 1 0 (0)
15
I k k
V V eV V V V 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
e V V gV V
Fingering: 3 2 3 2 1 3 2 3 2 1 3 2 3 2 1
T
A 5
B 7 7 6 6 6 6 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 2
6 5 4 0
sl.
B Main theme
I l l l l k k k k l l l
18
V eV V V V eV V V d eV c c V eV V V fV eV eV V fV V
V gV V V V V V V gV
[0:27]
T
A 1
B 7 6 5 8 5 7 6 5 8 7 6 7
8 7 6 4 0 0 1 1 0 (0) 6 5 4 6
Guthrie Govan 2006

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

EROTIC CAKES - MAIN THEMES - Guthrie Govan Page 3 of 3
I l l l l l l l
1
V eV V V fV eV eV V eV fV eV V V V eV eV V eV V fV eV fV
V V
T
A
B 7 6 5 8 7 6 7 6 5 8 7 6 7
6 5 4 6 5 4 8 7 6 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 they’re applied in the right way, but the most important thing is to stay
focused on what’s actually going on in the chord progression. Try these scale choices, if you feel so inclined...
For the B section:
Bm7 - B aeolian
D9 - D mixolydian
Gmaj7 - G lydian
F#7b9 - F# phrygian dominant (if you like Yngwie) or F# superlocrian (if you like Larry!)
Additional info for the E section:
Em11 - E dorian (the same notes as the B aeolian and G lydian we encountered earlier.) This will work for the whole of bars
25-26, so don’t panic about the density of the chords as notated in the tab - everything’s going to be just fine.
A11 - A mixolydian
A#dim7 - you could interpret this as an F#7b9 with no root, and use F# phrygian dominant. You might also like to try the
whole-half diminished scale, starting on A#. Or you could play it safe and stick to the notes of the A#dim7 arpeggio. (Frankly,
it’s only there for one beat at the end of bar 23... so you could be forgiven for not worrying too much about this chord!)

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)
6 6
g V V V k j
I g 44 V V
6 6 6 6
1
V V V V V gV v
V } } } } } } } } V } } } } } } } } V } } } V } } }
0 0 0
T
A 0
0 0 0 6
B 7 7 7
0 x x x x x x x x 0 x x x x x x x x 0 x x x 0 x x x
H H H H
L R L L R L R L
B Solo 1 over these chords...
b`
g Bm7 D9 Gmaj7 F79
Ig
8x
3
[0:05]
T
A
B
C Main melody
b`
V V V W V V V V V V V V V V W
Bm7 D9 Gmaj7 F79 E11 E9
g V V l V
5
I g 44 j j
[0:45] MO
Full MO
Full MO
Full FullM
T 12 10
A 11 9 7 9 9 (9) (9) (9) 16 11
B
Fb7`9 b`
H sl. sl.
Gmaj7 Bm7 D9 Gmaj7 F79
gg l V V V V V V V V V V V V V V V l V V V V V V V V V
8
I V
M
Full FullMO M
Full
1 1/2
M MO
Full Full M
Full
T
A 7 9 9 (9) (9) 7 4 (4) 7 7 9 9 9 (9) 7
7 9 7 7 9
B
Fb7`9
sl. sl. P sl. sl.
g
E11 E9 Gmaj7
V V V V
11
Ig V V V V V V V V V V V V V
M O
Full Full M M
Full
O M
Full M
Full
O
T
A 9 (9) (9)
7 4 (4) 5 (5) (5) 5
B 7 7 (7)
Guthrie Govan 2006

WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan Page 2 of 4
D Riff section 1
1.
g l l l gV V V V l
Ig VVVVV VV
}VV } VVVVV
13
VV } gV } V } gV V gV VV } gV } V }
[1:05]
T
A 7
6 7 6 4
B 7 5 7 (7) 5 7 x 5 7 5 7 (7)
7 0 0 x 4 x 5 x 6 7 x 4 7 0 0 x 4 x 5 x
sl. H P P sl.
2.
g l k f V gV f V V V V V gV l
Ig
3 3
} V V V V V V V V V V
16
gV V 3 3 gV V V } gV } V gV
T
A 10 11 10 9 7
9 7 6
B 5 7 7 5 7 5 7 (7)
6 7 x 7 4 7 0 0 x 4 x 5 6
sl.
V V V V V V V V
8va
g V V V P V V V
Ig V V V V z
3 7
V V V V V V V V V
V V V V V V V V V V
18
6
MO
11:8 |__________3__________| 5
|________3_________|
Full
9 10 14 17 14 10 9 14 19 22 19 14 22 17 12
T 17 15
A 16 14
11 12 16 19 14 12 12
B
7 9 10 14 17 14 10 9 10 14 17
H H T H H T P P H sl. T T P H H Hsl. T P H H H
H H T P P H H T
E Solo 2 over these chords...

gg Gmaj7 Bm7 Em11 Bm7 D9
19
I
[1:35]
T
A
B
b b
gg Gmaj7 Bm7
j
Em D/F
j j
G
j
Bm A11 A dim7
j
23
I
T
A
B
b` b`
g Bm7 D9 Gmaj7 F79 E11 E7 Gmaj7 F79
27
Ig
T
A
B

F Altered melody section

Am7 C/G b `
F m7 5 F13 `b B 7 11 Am7 b `
F m7 5 F13
V V V V V fV V V V
8va 8va
g V V V W V V V V fV V l V Vee V f V V V V
31
Ig j j u k
[2:15] FullMO MO
Full FullM O M
Full M
Full M MO
Full1/2
T 22 20 18 20
A 21 19 17 19 19 (19) (19)(19) 19 (19) 17 19 19
19
B
H H sl. sl.
G Riff section 2
g l l l gV V V V l
35
Ig V V V V V V } V V gV V V V V V
V V V } gV } V } e V f V } V V } gV } V }
[2:25]
T
A 7
6 7 6 4
B 7 5 7 (7) 5 7 x 5 7 5 7 (7)
7 0 0 x 4 x 5 x 6 7 x 4 7 0 0 x 4 x 5 x
sl. H P P sl.
g l l gV 3 e V
3
k c l l gV V V V
Ig
3
} V V } gV f V f V gV V V V V
gV } V } e V f V } V
V } V V gV
38
eV fV
T
A 7
6 8 6 7 6 4
B 5 7 x 6 5 8 6 7 5 7 5 7 x 5
6 7 x 7 4 x 5 x 6 7 x 4
sl. H P P
gg 3 V e V V V gV V 3 3
V V gV V V V V V V V V V V V V V V V V V e V V gV V V
3 3
I V V V
3
V gV f V
41
V gV 3 3
3 3
3 3 3 3
T
A 7 7 4 9 9 7 16 15 14 12 13
7 7 6 7 6 9 6 14 12 14 12 14
B 7 7 5 7 5 14 14 13 12 11 11
7 4 12 11 10
H Final melody & ending

b`
V V V W V V V V V V V V V V W
Bm7 D9 Gmaj7 F79 E11 E7
g V V l V
43
Ig j j
[2:55] MO
Full MO
Full MO
Full FullM
T 12 10
A 11 9 7 9 9 (9) (9) (9) 16 11
B
H sl. sl.

Fb7`9 Fb7`9
3 c
Gmaj7 Bm7 D9 Gmaj7
g V V V V V V j V V V V V V V V
46
Ig l V V V V V V V V V
u3 u
3
M MO M MO
3
Full Full Full Full
1 1/2
T
A 7 9 9 (9) (9) 7 4 7 7 11 9 7
7 9 7 7 9
B
sl. sl. sl.
G/F
VVVVVVVV
8va
gg V f V V V V V V W VVVV
6
V V V
49
I fV V V V VV VVVV
V
V
3 3 V 6 6
V
M M MO 1/2MO
3
Full Full Full
13 (13) 13 17 (17) 17 14 17 19 22 19 17 14
T 12 15 17
A 10 14 16 19 21 21 19 16 14 16
B 14 17 19 21 21 19 17 14
H H T H H T H H T P P T P P T P P

Ner Ner
Solo Tips
Let’s start with the intro section. Live, I generally find myself just playing the riff at this point, but if you fancy soloing over the
chords it might be helpful to simplify the chord names... (The voicings in the riff are very specific, hence the profusion of
terrifying-looking slash chords in the tab!) You could view the basic four bar progression as D5 C5 - D5 C5- Bb Am - G F: as
ever, it’s important to latch on to the changing chord tones as much as possible here, but a nice shortcut would be to use 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: it’s just a little brighter...
For the F section, it helps to think slightly more like a jazz player and treat each chord on its own merits, rather than looking
for a “one scale fits all” shortcut. At any rate, these would be good starting points:
Gm11, Ebmaj9, Eb/F - use G dorian, Eb lydian, F mixolydian (all the same notes!)
Db/Gb - use Gb lydian
Bb/C (there’s one of these right at the end of the solo!) - use C mixolydian.

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 `
B sus2/E ` Csus2/A Dsus2/G Csus2/F
VV k }} }} }} VVVV l VVV VVV VVV

Ie 68 VVVV k VV k }} }} }} VVVV l VVVV k VVV
VV VVVV VVV
VV
VVV
V
VVV
V
VVV
V VV VV VV
VVV
VV
VVV
VV
VVV
VV
V V
1
VV VV VV VV VV V V V V V V V V V
V V eV V
3 3 3 3 1 1 3 3 5 5 3 3 3
T 3 3 3 3 1 1 3 3 5 5 3 3 3
A 7 x x x 5 5 7 x x x 5 5 3 3 5 5 7 7 5 5 5
7 x x x 5 5 7 x x x 5 5 3 3 5 5 7 7 5 5 5
B 5 3 3 5 3 3 1 1 0 0 5 5 3 3 3
0 3 3 0 3 3 1 1 5 5 3 3 3
sl. sl.
B Main theme
`
V V V l V V V V V V V V V V V V V
Dsus2 Csus2 Dsus2 Csus2 B sus2 Csus2/A
5
Ie V V
[0:30]
8
T 10 13 10 10 6 6 8
A 12 7 (7)
B
E`maj9 E`/F
sl. sl. sl. sl.
V V V V V V l V V V l V V V V l V l V V V V
Dsus2/G Csus2/F
8
Ie
M MO
tr[[[[
Full Full
T 10 6 6 8 3 3 (3) 10 10 (11) 6 8 (8)

A 10 10 7 5
B
sl. sl. sl. sl. sl.
1.
` `
V l V V V V V l V V V P V eV V l V l P V V V l V k
Gm11 E sus2/A
11
Ie z z
T
7 10 7 5 7 10 7 7 10 8 8 8 8 10 8 8 8
A
B
sl. sl. sl. sl. sl. sl. sl. sl.
2.
Gm11
Ie V l V V V V P V l V V V V P V l V V l V V l V V l V
13
z z
1 1/2 1 1/2 Full Full Full 2 1 1/2
T
7 7
O 7
O
(7) 5 5
O 5
O
(5) 3 3
O 3
O 2
O
A 3
B
sl. sl. sl.
Guthrie Govan 2006

NER NER - MAIN THEMES - Guthrie Govan Page 2 of 4
` l` kE`sus2
l l k B`sus2/E` E`sus2
_ _ _ _ _ _ l_ l_ k _ l_ k l_ l_ k _ l_ k l_ l_ k
l k
B sus2/E Csus2/F Fsus2 Csus2/F Fsus2
15
Ie
[1:01]
T
A
B
` `
l k E`sus2
l_ l_ k ` `
l k E`sus2
l_ l_ k c c
_ _ _ _ _ k_ k_ k _ k_ k_ k
B sus2/E B sus2/E Csus2/F
Fsus2 Csus2/F Fsus2
Csus2/F Fsus2
19
Ie
T
A
B
` ` E`sus2 ` ` E`sus2 E`c
_ l_ k l_ l_ k _ l_ k l_ l_ k ^ _ _ _
B sus2/E B sus2/E Dm7 /F
23
Ie
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 F Cm Gm/D F/A
V V V V V V
Ie V V V V V V V V eV V V V V V V V V V V
V V
V V V V
27
[2:32]
V V V V V
T 11
A 5 3 8 8 8 12 10
8 8 7 7 12 12 12 12 12 12 10 10
B 5 5 3 3 10 10 10 13 13 8 8
5 3 10 12 7
Gm/B ` D7/A `
E maj7/B ` `
E /G E ` D7
eV eV
30
Ie V V V V gV V V V V V V V V V
eV V V V V V V gV V V
V V V eV V V
V V V V
T
A 8 7 8 5 3 5
12 12 10 10 12 12 8 8 5 5 4 4
B 10 10 9 9 10 10 6 6 1 1 0 0
8 7 8 5 1 0
Gm D7/F b Gm/F C/E E`

V eV
Ie 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
33
V gV V V V V
V
3 6
T 3 4 8
A 3 5 7 5 3 7 8
7 7 7 7 5 5 5 5 5 8 5
B 5 5 5 5 5 5 3
5 4 3 2 5 8

` ` D7/A Gm ` `
V V eV V V V V V
D7 9 Gm/B E /G D/A
V gV
V V e V V f V gV V V V V eV V V V
36
Ie V V V V eV V V V gV V
V gV
8 10 8 11 10 10 8 8 6
T 7 5 10 7 8
A 8 10 7 8 5
7 10 7 8 7 5 8 8 8 4 4
B 6 6 5 5
5 4
E Middle section 2
1.
VV VV VV VV VV
Ie k V k V k V VV VV k k }}
V V V
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 }
39
V eV u
[3:02]
10 10 10 10 10
T 8 8 8 8 8
A 10 10 10 10 10
8 8 8 8 8 x
B 4 6 5 4 6 5 4 6 5 x
5 0 3 5 5 0 3 5 5 0 3 5 5 4 3 2 1 x
sl.
2. 3.
VV VV V VV V V VV VV V V V V V
k VV k VV VVV V V
k V k VV VVV k k VV k VV VVV VVV VVV VVV VVV k k }
43
Ie }}
V eV u V eV u
10 10 10 10 10 10 10 10 10 10 10 10 10
T 8 8 8 8 8 8 8 8 8 8 8 8 8
A 10 10 10 10 10 10 10 10 10 10 10 10 10
8 8 8 8 8 8 8 8 8 8 8 8 8 x
B x
2 1 2 1 x
sl.
VV VV V V V V
e VVV e VVV k VV k VV VVV k VVV VVV VVV k k }
47
Ie V V V V VV VV V V
}}
V V V eV
let ring
6 6 10 10 10 10 10 10
T 4 4 8 8 8 8 8 8
A 3 3 10 10 10 10 10 10
5 5 8 8 8 8 8 8 x
B 3 3 x
3 3 2 1 x
sl.
F Solo 3 over these chords...

Gm11 `
E maj9 `
E /F Gm11 ` `
D /G `
E /F
Ie
4 4 2 2 2 2
51
[3:32]
T
A
B

`
E maj9 Gm11 ` `
D /G ` 1. , 2.
E /F ` 3.
B /C
Ie
2 2 2 2 2
1
T
A
B

Fives
Solo Tips
Once you’re comfortable with the 5/4 groove and the somewhat frantic tempo, this is actually a pretty simple tune, and the
same three chords run throughout the whole thing...
Scale-wise, I think A dorian is a good bet for the Am11, and Db lydian is definitely the way forward when tackling the Db-
maj7#11.
What to play over the Fm11 is slightly more of a grey area: if your main concern is acknowledging what just happened over
the previous Am11, you’ll probably want to use F dorian... but if you’re more interested in flowing smoothly into the following
Dbmaj7#11 you’ll be more inclined to favour F aeolian.
If in doubt, I can suggest two opposing (but equally valid) policies:

avoid the b6 and 6 altogether when playing over the Fm11, or
concoct a new all-purpose scale featuring both kinds of 6th!
(I should add that the solo I did on the album version of this tune descends into the realms of über-chromatic gibberish in
places, so... I suppose the moral of this story is: play whatever feels right at the time!)

Funky Blues
As you may know, Guthrie recorded new solos over some of 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 x x
` b
Am11 3 fr. Fm11 3 fr. D maj7 113 fr.
A Introduction
P = 152
c c c c
Am11
V VVVV k VVV j VVV j VVVV k VVV j VVV j VVVV k VVVV j VVV j VVV k VVVV j
1
I 45 VVV j V V V V V V
V V V V V V V V V V V V
3 3 3 3 3 3 3 3 3 3 3 3
T 3 3 3 3 3 3 3 3 3 3 3 3
A 5 5 5 5 5 5 5 5 5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5
B 0 0 0 0 0 0 0 0 0 0 0 0
Am11
V V k V V V Vu k V V V V V V Vu k V V V V V V Vu k V V V V V
5
I u V V V V V V V
V V V V
T
A 12 7 9 12 7 9 12 7 9 12 7 9
10 5 7 10 5 7 10 5 7 10 5 7
B 0 7 8 0 7 8 0 7 8 0 7 8
` b
sl. sl. sl. sl.
V V eV c k eV V V V eV V V
Fm11 D maj7 11
gV c k V eV V V gV c k V e V c k
9
I eV V V V eV V eV V V eV eV V V eV eV V V V
T
A 8 10 12 8 10 12 15 12 15 12
6 8 10 6 8 10 13 13 10 13 13 10
B 8 10 11 8 10 11 11 11 8 11 11 8
9 9
sl. sl.
Am11
V V k V V V Vu k V V V V V V Vu k V V V V V V Vu k V V V V V
13
I u V V V V V V V
V V V V
T
A 12 7 9 12 7 9 12 7 9 12 7 9
10 5 7 10 5 7 10 5 7 10 5 7
B 0 7 8 0 7 8 0 7 8 0 7 8
sl. sl. sl. sl.
B Theme A
V V V V V
Am11
V V V V V V P V V P V
I V z V V z V V V V V V V V V
V
17
[0:47]
15 15
T 15 13 12 13 12 15
14 16 16 12 12
A 12 12 19 10
B 12 14 14 (14) 15 14 12 12
12
sl. sl. H P sl. sl. sl. sl. sl. sl. sl. sl.
Guthrie Govan 2006

FIVES - MAIN THEMES - Guthrie Govan Page 2 of 5
V V
Fm11
V V V V eV eV
20
I k V V V k u u k V V gV V V u k
V V gV V V u k
3
15 15
T
A 9 12 9 14 14 12 15 12 15
10 13 (13) 15 13 (13) 15
B 12
P sl. sl. sl. sl. sl. sl.
` b
D maj7 11
eV V V V eV V
8va
V V V eV V eV V V V V V V fV eV V eV
23
I eV
M
Full FullM
13 18 (18) 20 16 13 16 15 13
T 20 16 13 14 16 16 15 14 13
A 15 (15) 15
B
Am11
VVVVV VV VVV VVVVV

8va 8va
V P VV V V V
25
I Pz V z V u VVV j j j
M M M M
3
Full Full Full Full
15 15 15
T 13 15 15 13 12 13 12 (12)13 12 13 12
A 14 (14) 14 (14) 14 (14) 14 12 14
B
sl. sl. sl.
V V V V V
Am11
V V V V V V P V V P V
29
I V z V V z V
V V V V V V V V V V V V
[1:11]
3
15 15
T 15 13 12 13 12 15
14 16 16 12 12
A 12 12 19 10
B 12 14 14 (14) 15 14 12 12 12 15 19
12
sl. sl. H P sl. sl. sl. sl. sl. sl. sl. sl. H H
V V V V V V V
8va
V gV V V V V V
7
I V V V V V V V V V V
7
V V V V V V V gV
V V
32
V 7 7
7
12 15 19 22 19 15 12
T 12 15 19 22 22 19 15 12 10
A 21 16 12 9
14 17 21 22 21 16 12 9
B 22 19 15 12 15 19 22
T P P H H T H H T H H T H H T P P T P P sl. T P P T P P

Fm11 ` b
D maj7 11
eV eV V eV V
8va
V V gV V V V V P gV V V
33
I u k z eV V V V
M
Full M
Full
13 18 (18)
T 11 11 (11)
12 15 12 12 8 (8) 10 10
A 13 (13) 15
B
sl. sl. sl. sl. sl.
Am11
V eV V
8va
eV V eV V V V V V V fV eV V eV V P V V V
36
I j P V
z z V u
20 16 13 16 15 13 15 15
T 20 16 13 14 16 16 15 14 13 13 15 15 13
A 15
B
sl. sl.
V V V V V V V V V V V V V V V
8va
V V V j j j
38
I V V
M M M M
3
Full Full Full Full
15
T 12 13 12 (12) 13 12 13 13
A 14 (14) 14 (14) 14 (14) 14 12 14
B
sl.
C Theme B
Am11
8va 8va
V V V V k V V V V V V V V V V V V V V V V V V V V k
I V v V V V V V V V V V v
3x
41
[1:35]
12 17 12 12 17 12 12 17 12 12 17 12
T 12 17 12 12 17 12
A 12 17 12 17 12 12 17 12 12 17 12 12 17 12 12 17
B
H T H T H T H T H T H T H T H T H T H T H T H T
Fm11
V V V V V V V f V V V gV V V V V V V V f V V V gV
8va 8va 8va
I eV gV k V V V V eV gV k V V V V
v v
43
15 20 15 15 20 15 15 20 15 15 20 15
T 15 20 15 15 20 15
A 15 20 15 20 15 15 20 15 15 20 15 20 15 15 20 15
B

` b
D maj7 11
V eV V V V V V V V V V V eV V V V V V V V V k
8va 8va
45
I e
eV v V k V V V V e
eV VV V V V V v
13 18 13 13 18 13 13 18 13 13 18 13
T 13 18 13 13 18 13
A 13 18 13 18 13 13 18 13 13 18 13 13 18 13 13 18
B
Am11
8va 8va
3x
47
12 17 12 12 17 12 12 17 12 12 17 12
T 12 17 12 12 17 12
A 12 17 12 17 12 12 17 12 12 17 12 12 17 12 12 17
B
N.C. Am11
8va
V V V V V W
3
gV V V
3
V V
49
I V V V V V V V V V V V V V
V
V 3
3 [2:00]
3 3 etc...
12 15 19 22 19 15 12
T 12 15 19 22 19 15 12 15
A 22 21 17 14 17 21 22
B 12 15 19 22
H H T H H TP P P TP P P H H T H H TP P P
D Solos over these chords...

Am11 Fm11 ` b
D maj7 11 Am11
I
4 2 2 4
51
[2:00]
T
A
B
E Theme B repeat
Am11
8va 8va
3x
63
[3:59]
12 17 12 12 17 12 12 17 12 12 17 12
T 12 17 12 12 17 12
A 12 17 12 17 12 12 17 12 12 17 12 12 17 12 12 17
B
Fm11
V V V V V V V f V V V gV V V V V V V V f V V V gV
8va 8va 8va
I eV gV k V V V V eV gV k V V V V
v v
65
15 20 15 15 20 15 15 20 15 15 20 15
T 15 20 15 15 20 15
A 15 20 15 20 15 15 20 15 15 20 15 20 15 15 20 15
B
D`maj7b11
V V eV k V V V V V V V V
e V V eV V V V V V V V V k
8va 8va
67
I eV v V V V V e
eV VV V V V V v
13 18 13 13 18 13 13 18 13 13 18 13
T 13 18 13 13 18 13
A 13 18 13 18 13 13 18 13 13 18 13 13 18 13 13 18
B
Am11
8va 8va
V V V V k V V V V V V V V V V V V V V V V V V V V V V
I V v V V V V V V V V V V
3x
69
12 17 12 12 17 12 12 17 12 12 17 12
T 12 17 12 12 17 12 12 17
A 12 17 12 17 12 12 17 12 12 17 12 12 17 12 12 17 12
B
H T H T H T H T H T H T H T H T H T H T H T H T H T
8va
V V
71
I V V V V V V V j j
12 17 12
T 12
A 12 17 12 12 17
B
H T H T H T sl.

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

E
8va
g g V V V V V
9
Ig g V V V V V V l V V l V fV V V V V fV
V
[0:28]
3
19 14 16 11 9
T 17 12 9 14 16 12
A 16 11 12 13 13 12 11 9 8
14 11 9 11 10 9 9
B 11 11 10
12 9
sl. sl. sl. H H
V V V V V f V V gV
gggg V V V V V V l V V V V fV V V V fV V k V fV V k V fV V
I
3
14 9 11 7 4
T 12 9 5 7 12 9 14 13 12
A 11 6 7 8 8 7 6 11 10 9 11
9 11 10 9
B
sl. sl. sl. H
Guthrie Govan 2006
UNCLE SKUNK - Guthrie Govan Page 2 of 7
gggg V R V V V V V V V V V V V Pz V V P V V V
V V
11
I V P V V V PR V V V V PR V V V z
V
14
T 12 14 14 17 21 19 17
A 6 9 11 13 18 20 16 16 16 18 16 13
9 6 4 6 9 14
B 11 9 7 7 4 2 4 7
V V V V V V V V P V V V V V V V V V V V
gggg V V V V V z V V
I 3
V V V V
T 12 14 14 16 16 21 16 16 21 16 14 14 14 16 14 12 14
A 13 13 16 13 11 13 9 11
11 9 14 11
B 9
Fbm7 B11
sl. H sl. H sl. sl. H H P sl. H P sl. H sl. sl. sl. sl. sl. sl. sl.
V V V V V V V V V V k j
V V V V V
V
A E
gg V W W V
13
Igg V V V 3 3
u
Full M FullM M
Full M
1 1/2
2
T 10 (10) 12 12 (12) 12 9 (9) (9) 7 7 12 9

A 11 (11) 8 9
9 11
B
sl. sl. sl. sl.
V V V V V V V V V k j
I
gggg P V W V V V V V V
u
W V
u
V z u 3 3
FullM M
Full M
1 1/2
2
T 10 (10) 12 (12) 12 9 (9) (9) 7 7 12 9

A 8 9
9 11
B 7
sl. sl. sl. sl.
C Chorus 1 (whammy pedal)

Gmaj7 F m9 b B11 Emaj9 Gmaj7 F m7b B11
gg W V W V V
8va 8va
gg V V V l V V
17
I V V
[0:56]
19 16 19
T 17
A 18 16 (16)
B
sl. sl.
gggg W V V V W V V
whammy: /--------------------------------\ /\ /\ /\ /---------------------------------------\ /----------------------------------------------\
V l V V
(both gtrs)
I V V
7 4 7
T 5
A 6 4 4 (4)
B
sl. sl.

Emaj9 Gmaj7 b
F m9 B11 Emaj9
fW fV V
8va 8va 8va
gggg k V V l k V V l k V V V V V V V V V V V V V
20
I V
FullM FullM
16 14 16 14 16 14 19 16 19 22 21 19 21 22 12 5
T 19 12 5
A
B
sl. P sl. P sl. P sl. P P sl.
gggg k V V l k V V l k V V V V V
/-----\ /-----\ /------\ /-------\
V V V
/-----------------\ /--------\ /------\
V V V V
/-----------\ /------------\ /-------\
V V V V V V
I
M
1 1/2 FullM FullM
9 12 0
T 9 7 9 7 9 7 12 9 0 12 12 12
A 11 9 9
7 7
B
sl. P sl. P sl. P sl. P P sl. sl.
Am9 b
F m7 F m9b b
F m11 Am7/C B13sus4
V V V V V V V V
8va
gggg V V V V V V V V V V f V f V f V gV gV V V
23
I V V V V V V fV
12 12 19 12 12 12 19 19 12 9 16 12 15 10 16 14
T 10 10 17 10 10 10 17 17 10 7 14 10 13 8 14 12
A
B
g
/-------\
gg g V V
/---------\ /-------\
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
/--------\
f V
/-------\
I V V V fV
T
A 9 9 16 9 9 9 16 9 9 6 13 9 12 7 13 11
7 7 14 7 7 7 14 7 7 4 11 7 10 5 11 9
B

D Verse 3
E
8va
g g V V V V V
25
Ig g V V V V V V l V V l V fV V V V V fV
V
[1:24]
3
19 14 16 11 9
T 17 12 9 14 16 12
A 16 11 12 13 13 12 11 9 8
14 11 9 11 10 9 9
B 11 11 10
12 9
P sl. sl. sl. H H
V V V V fV V k V V V
8va
gggg V V V V V V V V l V V V f V V V l V fV V V V V fV
I V V V
3
19 14 16 11 9
T 17 12 9 14 16 12
A 16 11 12 13 13 12 11 9 8
14 11 9 11 10 9 9
B 11 11 10
12 9
P sl. sl. sl. H H
R P V V VVVVVVV
gg P V V VVV
27
I g g V V PR V V V PR V V V V V RV
V P V z V V
VVVV P z
MO
Full M
Full FullM M
1/2
9
T 12 12 9 12
6 11 9 9 13 11 11 11 11 9
A 9 6 11 9
B 11 9 7 7 4 (4) (4) 2 2 4 4 9 7 7 11 9 11
sl. sl. sl. P sl. sl. sl. sl. sl.
gggg V R V V V VVV V V V PR V V V V P VVVVVVV V V V V

I V P V V z V
3
T
A 11 13 11 13 11 9 11
9 11 13(13)18 13 9 11 14 14 16 9 11 11 6 9
B 11 11 14 9 11 11 14
sl. sl. sl. sl. sl. sl. sl. H P sl. sl. sl. sl.

Fbm7
V V V V V V V V k j
V V V V V
V V V V gV
A B11 E
gg V W W V
29
Igg V V V 3 3 3
u
M
Full FullM 1 1
M
Full M
1 1/2
2
T 10 10 10 11 12 12 9 (9) (9) 7 7 12 9
A 11(11) 8 9
9 11
B
sl. H sl. sl. sl. sl.
V W
8va
V V V V V V V
g
Igg
g V V V V V V V V V V V W V V V V V j
3 3
M
Full M
Full
1/2
FullM 1
M
Full M
1 1/2 MO
1 1/2
9 14(14) 17 17 17 17 17 17 19 19 16 16 (16) 14 14 16 (16)

T 10 16 17
A
B
H sl. H sl.
E Bridge
A b B11 F m7 E
gg V V V V V V V V V V V V V V V V
8va
gg U V k
33
I
[2:07]
14 14
T 12 12 12 12 12 12 12 12
A
B
sl.
/---\ /---\ /---\ /---\ /---\ /---\ /---\ /---\ /---------------------------------------------\
V V V V V V V V V V V V V V V V
8va Repeat chorus [2:21]
gggg U V Solo (verse chords) [2:49]
k
Bass solo (chorus chords) [3:46]
I
19 19
T 17 17 17 17 17 17 17 17
A
B
sl.

F Verse 4
E
8va
g g V V V V V
37
Igg V V V V V V l V V l V fV V V V V fV
V
[4:14]
3
19 14 16 11 9
T 17 12 9 14 16 12
A 16 11 12 13 13 12 11 9 8
14 11 9 11 10 9 9
B 11 11 10
12 9
sl. sl. sl. H H
V V V V
gggg V V V V V V l V V V V fV V V V fV V k V V V
I V V l V fV V V V V fV
V
3
14 9 11 7 9
T 12 9 5 7 12 9
A 11 11 12 13 13 12 11 9 8
9 11 9 11 10 9 9
B 11 11 10
12 9
sl. sl. sl. H H
V V VV V V V V V V V
gg V V
39
I g g V V PR V V V PR V V V V V V V V
V V V V
V V V V
Full
FullM
12
T
O
7 17 (17) 16 14 12 14 12
A 6 4 6 4 13 13 11 9
9 6 4 6
B 11 9 7 7 4 4 2 (2) 4 4 6
sl. sl. sl. sl. H sl. T sl. sl.
P V V V V
gg V V V V
I g g V V PR V V V PR V V V V V P V V
V V V V z
Full
T 14 16 (16)
O
17
A 9 13
9 6 11 13 (13) 14
B 11 9 7 7 4 4 2 (2) 7 (7) 11
sl. sl. sl. sl. sl. sl. sl.

b
VVV VVV P VVV VVVV VVVVkj
A F m7 B11 E N.C.
gg VW W V
41
Igg V V V V
3
z
3 3
u
M
Full M
Full
O M
Full 1 1/2 M M
1 1/2
2
T 10 10 10 (10) 10 10 12 12 9 9 (9) 7 7 12 9
A 11(11) 8 9
9 11
B
sl. sl. sl. sl.
gggg V V V V VVV VVVV VVVVkj

8va
VVV V P VV P V W V
I z z 3 u
3
M
Full M
1 1/2
2
16 17 16 14 14 16 16 14
T 14 12 12 12 (12)12 9 9 (9) 7 7 12 9
A
B
sl. sl. sl. sl. sl.
G Ending
F6add9 Emaj9
V V V V
8va
gggg fV fV fV V V V P gV V V W
45
I fV fV V V fV l z
[4:42]
3
20 15 17 12
T 18 13 10 15 17 13 12 14 (14) 16 12
A 17
15
B
sl. sl. sl. sl. sl.
8va
V V P V
3
gggg fV fV fV V V V V V P gV V W
I fV fV V V V l z z
15 10 12 7 9
T 13 8 5 10 12 8 7 9 (9) 9 7
A 12
10
B
sl. sl. sl. sl. sl.
V V fV fV 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
whammy (gtr3 only) /------\ /------\ /------\ /--------------\ /-----\ /------\ /-------\ /--------\
gggg V
I
12 8 12 8 12 8 12 8 11 7 11 7 11 7 11 7
T 10 6 10 6 10 6 10 6 9 5 9 5 9 5 9 5
A
B
sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. sl. 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 you’re 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
c
A Intro riff
c k } VV V c c k } VV V c c
e
Ie 74 V V V } VV k VVV k V V V V V V V V }
V
VV k VV k V k V k V
V V V V V V
1
V V V u V V V u V V
6 6 6 6
T 6 6 6 6
A x 5 5 5 7 3 3 5 x 5 5 5 7 3
3 5 5 x 5 5 3 5 5 x 5 5
B 3 5 1 1 3 3 5 1
1 3 3 1 3 3
sl. sl. sl.
sl. sl.
B Verse
e W W V V V V V W W V V V V gV
Gm7 Gm6
3
Ie u u
[0:19] M
1/2 M O
1/2 M
1/2 M O
Full
T 5 (5) 5 (5) (5) 3 4 (4)

A 7 (7) (7) 6
B
P H P P
e
Ie V V V
Gm
5 W W W W W V
M
Full
T
A 5 7 5 (5) (5)
B
sl.
` bA maj7 11
e W W V cV V W V V V V V
3
7
Ie eV V V V V V
u
1/2
M
1/2 M O
Full
T 4 4 8 3 3 (3) 1
A 5 (5) (5) 3
6 5
B
sl. H sl. P
e
Gm
9
Ie V V V W W
M
Full
T
A 3 5 3 (3)
B
Guthrie Govan 2006

SEVENS - MAIN THEMES - Guthrie Govan Page 2 of 5
V V V V
Gm7 Gm6
W W V V V V V V V W V V V V
e u u
11
Ie
[0:44] 1 1/2M M
1 1/2
O
FullMO M
Full FullM M
Full
O
13 15
T 15 (15) 15 (15) (15) (15) (15) 15 (15) 15 (15) (15) 13
A
B
P
V V V W W U W
Gm
e
13
Ie
FullM
T 13 15 13 (13) (13)
A
B
` b
V
A maj7 11
W W V eV V W V V V V V V V V V V
e u
15
Ie u
M O
3
Full
1 1 1/2
T 16 16
15
15 15
O
A 13 17 17 (17) (17) 15
17
B
P
V V V W W
Gm
e
17
Ie
T
A 15 17 15
B
C Chorus
`
E maj9
V V V V V V
8va
e V V V V V V V V V V V V V V
V V V V V
19
Ie V V V
[1:09]
22 18 22 18
T 20 16 20 16 20 16 20 16 20 16
A 19 15 19 15 19 15 19 15 19 15
17 13 17 13
B
T T H H T T H H T T H H T T H H T T H H T T H H T T H H

Gm9
V V V V V V
8va
V V V V V V V
20
Ie V
22 18 22 18
T 20 15 20 15
A 22 17 22 17 22 17
20 15 20 15 20 15
B 22 17 22 17
20 15 20 15
T T H H T T H H T T H H T T H H T H T T H H T H
T H T 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!
A maj7 11
V eV V V V V
8va
e V V V V V V V V V V eV V V V V V V V
21
Ie V V V V
* *
22 18 22 18
T 21 16 21 16 21 16 21 16 21 16
A 20 15 20 15 20 15 20 15 20 15
18 13 18 13
B
Cm9
V V V V V V
8va
22
Ie V V V
V V V V
V
22 18 22 18
T 20 16 20 16 20 16 20 16 20 16
A 19 15 19 15 19 15
20 17 20 17
B 20 15 20 15
`
B add9 * see note for bar 21
V V V V V V
8va
V V V V V V V
e V V V V V V V V V V V V V
23
Ie V V
* *
22 18 22 18
T 20 15 20 15
A 22 17 22 17 22 17
20 15 20 15 20 15
B 22 17 22 17
20 15 20 15
T T H H T T H H T T H H T T H H T H T T H H T H
T H T H
`
A sus2
V eV V V V V
8va
e V V V V V V V V V V V eV V V V V V V V
24
Ie V V V
22 18 22 18
T 21 16 21 16 21 16 21 16 21 16
A 20 15 20 15 20 15 20 15 20 15
18 13 18 13
B

D Middle section riff 1

e l l l
25
Ie V V V V V V V
[3:02] V V V V V } V V V } V V V
T
A 3 2 3
B 1 3 5 7
3 0 1 3 3 x 3 3 3 x 1 3 6
sl.
P H H H
e d c
Ie VV }} VV VV l VV k VV V l V k
V V
VV VV k VV VV VV k
T
A 3 3 3 3 3 3
3 x 3 5 5 3 5 5 3 3 2 2
B x 3 5 5 5 5
e l l l V V V V V V V V V V V
26
Ie V V V
V V V V V V } V V }
T
A 3 5 7 3 2 3 5 2
3 2 5 3
B 7 5
3 0 1 3 3 3 x 3 3 x
H H P H H P
P H H
e d
Ie VV }} VV VV l VV k VV V l V k
V V
VV gVV VV f VV VV V
V
T
A 3 3 7 6 5
3 x 3 5 5 3 5 5 5 5 5 5
B x 3 5 5 5 5 5
V
E Middle section riff 2
V V V V V V V
e V V V V V l V l } V l V V V V V V V V
27
Ie
[3:39]
13 12 10 12 10
T 10 11 13 11 13 10
A 12 10 12 12 12 x 12 12 10 12 10
12 12
B
V V bP V V P V V P V V P V V
1.
V
e V V V V V l V l } V l V V z z z z
28
Ie 3 3 3
13 12 13 9 10 13 9 10 13 9 10 13 9 10 13
T
A 12 10 12 12 12 x 12 12 12
12
B
sl. sl. sl. sl.

2.
V VVVVVVVVVVVV V
G7sus4
V
ee V V V V l V l } V l V V VVVVVV W V VW
k VVV k VVV WWW
1
I 3 3
u u
3 3
3 3
13 12 13 13 13 8 8 8 10 10 10
T 11 11 11 6 6 6 11 11 11 8 11 11
A 12 10 12 12 12 x 12 12 12 10 10
12 10 10
B 10 10
sl.

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

B`11
V gV V k V V V V
Cm7 F7
e V V Pz V eV V V V V eV V
41
I V V gV
4:3
4:3
T 13 13 8 8 8
8 10 10 12 10 8 8 8 5 5 8
A 10 10 5 6 10
B
I j j j j j j j j
T
A
B
`P V V eV V 8va
VV e VV
P eV V
z
e VV
45
I z u
18 (18) 23
T 8 11 11 15 16 18 (18) 23
A
B
sl. sl. sl. sl. sl.
I j j j j j j j j
T
A
B
D Bridge
Bdim Cm
gV V V V V fV
8va
49
I V V V V V V V V V V V V eV V V k
[2:25] 3 3 3 3
7 16 7 10 7 10 16 10 13 10 7 16 7 10 7 8 15 8 11 8 11
T
A
B
Ddim
T H P sl. T H P sl. T H P
`
sl.
E
T H P sl.
V V eV V V V V V V V V eV eV
8va
V V V V V V V V k
50
I
3 3 3 3
13 19 13 16 13 16 19 16 19 16 13 19 13 16 13 11 18 11 15 11 15
T
A
B
T H P sl. T H P sl. T H P sl. T H P sl.
1.
Fdim
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
8va
51
I 3 3 3 3 3 3
16 22 16 19 16 19 22 19 22 19 16 22 16 19 16 13 19 13 16 13 16 19 16 19 16 15 20 15 19 15
T
A
B
T H P sl. T H P sl. T H P sl. T H P sl. T H P sl. T H P sl.
A `
V V
8va 8va
eV V V eV k V V V V V k
52
I V
3 3
16 20 16 20 16 11 11 16 11 16 11 8
T
A
B
sl. T H P sl. T H P sl.
B 11 ` 2.
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
8va
53
I 3 3 3 3 3 3
16 20 16 20 16 18 20 18 22 18 15 20 15 18 15 16 18 16 20 16 13 18 13 16 13 15 18 15 18 15
T
A
B
eV eV V V V V V V V V V V V V V V V
8va
V V V V V V V
54
I gV V V eV V V
3 3 3 3 3 3
11 18 11 15 11 8 18 8 11 8 4 18 4 8 4 6 18 6 10 6 10 18 10 13 10 13 18 13 18 13
T
A
B
E Solo over chords...

Cmaj9 `
E maj7 Cmaj9 `
E maj7
[2:47] 8va
V j j j
I
2 2 2
55
15
T
A
B
sl.
` ` ` `
I j j j j j j j j
A maj7 A maj7/G Fm7 Fm7/E D9 Cm7 F7
2
63
T
A
B
` ` ` `
I j j j j j j j j j j
A B 11 Cm7 F7 A B 11
2
69
T
A
B

F Bridge repeat
Bdim Cm
gV V V V V fV
8va
76
I V V V V V V V V V V V V eV V V k
[3:44] 3 3 3 3
7 16 7 10 7 10 16 10 13 10 7 16 7 10 7 8 15 8 11 8 11
T
A
B
Ddim E `
V V eV V V V V V V V V eV eV
8va
V V V V V V V V k
77
I
3 3 3 3
13 19 13 16 13 16 19 16 19 16 13 19 13 16 13 11 18 11 15 11 15
T
A
B
1. , 2.
Fdim
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
8va
78
I 3 3 3 3 3 3
16 22 16 19 16 19 22 19 22 19 16 22 16 19 16 13 19 13 16 13 16 19 16 19 16 15 20 15 19 15
T
A
B
A `
V V
8va 8va
eV V V eV k V V V V V k
79
I V
3 3
16 20 16 20 16 11 11 16 11 16 11 8
T
A
B
sl. T H P sl. T H P sl.
B 11` 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
8va
80
I
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
A
B
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

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 isn’t particularly nice, so it’s best not to dwell on it too much!)
(Incidentally... it’s probably worth spending some time exploring the classic lydian “major triads” trick... Over F/Eb, for in-
stance, it sounds cool if you play some ideas based on an F major arpeggio and then resolve using a nearby note from an 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 it’s hard to tell exactly where the transition occurs. (I quite like that!) At any rate, the “correct”
notes are the same in either case - interpret them as C lydian or A dorian, as you see fit...

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
P = 130
g
I g 44
Bm11
4
1
T
A
B
k bPz Vu V f V V
Cmaj7
gg V V V V V P V W V V fV V V V
5
I z u
3
T 9 10 8 7 5 7 3 3 5 (5) 5 6 5 3 5
A
B
sl. sl. sl. sl. P
B Theme A
Bm11
g j V V V V V V V V V V V k V gV V f V gV k k V gV V f V gV V
9
Ig V V V V V V V V V f V gV V V
[0:15]
T
A 11 9 7 9 6 (6) 7 6 7
7 9 9 9 6 7 5 6 9 6 7 5 6 7 7
B 7 9 7 5 9 5 5 7 8 9
sl. sl. sl. sl.
g V gV V V j V V V V V V V V
V V V V V V V k Pz u V V
12
I g V gV V V V V V V V V V V V
7
T 9 7 8 10 8 7
A 7 11 9 7 9 6 (6) 7 6
11 7 9 9 7 9 9 7 9
B 10 11 11 7 9 7 5 9
sl. sl. sl. sl. sl. sl.
1.
PP VV UU
Cmaj7
g V V V V V
15
Ig z u
5 7 (7)
T 7 3 3 5 (5)
A 9
B
sl.
Guthrie Govan 2006

SLIDEY BOY - MAIN THEMES - Guthrie Govan Page 2 of 3
2.
gg WW VV V V V V V V V V V V V gV V V V V f V V V
17
I u f V gV V V f V
Y
(7)
T (5) 5 5 7 3 5 7 3 (3) 5 3
A 2 3 4 4 3 2 2 4
3 4 4
B 3
C Theme B
g k gV V V V V V k k V gV f V V
20
Ig V V V e V f V V V gV f V V gV V eV V
[0:48]
V V V V V V
T
A 3 4 4 4 4 4 4 3 2
2 (2) 0 1 2 0 5 1
B 2 2 2 1 0 0 1 2 2 2 2
0 0
H
g V V f V V l gV l } V f V V V k
23
Ig V eV fV V } } V V V V V V gV V V V f V V V
V V
T
A 7 2 3 5 5 3 2
5 4 5 5 2 x 4 4 5
B 5 6 7 7 x x 5 5 5 3 (3) 3
3
sl.
g k
26
Ig V V
V fV V V fV
V V W
T
A 6 5 4 2
3
B 4 4 4
2 (2)
D Interlude (improv)
Bm11 Cmaj7
g VV
Ig
3x
28
V V V
[1:03]
T
A 7
7
B 2 2 9
sl.
E Theme A repeat
Bm11
gg V V V V V V V V V V V V V V k V gV V f V gV k k V gV V f V gV V V
32
I V V V V V V V V V f V gV V
[1:17]
7 7 7
T
A 11 9 7 9 6 (6) 7 6 7
7 9 9 9 6 7 5 6 9 6 7 5 6 7 7
B 7 9 7 5 9 5 5 7 8 9
sl. sl. sl. sl.

SLIDEY BOY - MAIN THEMES - Guthrie Govan Page 3 of 3
g V gV V V j V V V V V V V V V
V V V V V V V k Pz u V V V
35
I g V gV V V V V V V V V V V V
7
T 9 7 8 10 8 10 8 7
A 7 11 9 7 9 6 (6) 7 6
11 7 9 9 7 9 9 7 9
B 10 11 11 7 9 7 5 9
sl. sl. sl. sl. sl. sl. H P P
g V V V V P V U V V V V V V V V
Cmaj7
Ig V
38
z u
T 5 7 3 3 5 (5) 5 7 3 5 7 3
A
B
sl.
V V V V V V V Pz V V gV f V V V V V V
Dmaj7 Em7
g P V V V fV V V V
41
Ig V z u V V V V fV V
3
T 3 5 5 6 5 3 5 7 3 5 7 3 8 10 (10) 9 8 7 7
A 9 7 9 7
7 9 7 9 10 9
B
sl. H P sl. sl. sl.
fV
Fmaj7
g fV V gV
44
Ig fV V V V V
u
u 3
8
T 8 11
A 10
10 9 10 (10)
B
F Solo over chords...

` `
g
I g 74
F/E D/C F/E D/C Bm11
46
[1:43]
T
A
B
` `
gg F/E D/C F/E Em7 Dmaj7
50
I
T
A
B
` b
gg C/F E 6add9 D6 C13 11
54
I
T
A
B

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, it’s cool to try preceding some of the major thirds with the minor third
one fret below, just to add some bluesier colour. (If you do attempt this, try to make sure that the major third always 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 C7
8va
g 4 V V V V V V V V V V eV V fV e V V V f V gV V V V V V
1
I 4 V fV V V V V V V eV
15 12 17 15 12 15 12 12 13 14 15 12
T 15 15 12 15 12 13 13
A 15 12 12 12 15 15 12
15 14 14
B 15 12 13
G7
V eV fV V
8va
g V V V V V V V V V fV V V V V V
3
I V V V V eV fV V V fV V V eV
V
15 19 15 17 15 22 18 19
T 15 17 17 15 20 18 20 15 18 15
A 12 14 15 16 16 16
12 14 17 15 17 12 13
B 14
C7
V V eV fV V eV V V
8va
g V eV V V V V fV V
5
I V V eV V V V eV fV V V V V V eV fV
eV
17 15 20 18
T 13 17 15 16 17 19 20
A 12 15 14 12 12 14 12 17 15 16 17
14 13 14 14 13 14 16 17
B 15 13
G7 E7
gV V V V V V V
8va
g V V fV V V V V
7
I V V V V V V eV f V V V gV V
V V V gV V V
19 17 19 22 19 16
T 18 20 21 17
A 17 19 21 19 16 13
21 17 17 19 20 21 14
B 19 17 19 17 14 14 15
15 16
A7 D7
V gV V V V f V gV V V V fV
8va
g V V V V V V V V gV V
9
I gV V V V V V gV V V V gV
17 21 17 20 17 17
T 17 20 20 17 18 19 19 18 17 17 19
A 14 16 17 18 19 17 17 18 19
14 17 19 16 19
B 16
Guthrie Govan 2006

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

G7 C7 G7
V V V V V V V V
8va
g V V V V V V eV V V V V V V
I V V V V
V eV V V V V V
13
[0:18]
15 12 12 15 17 19 15 22 17
T 15 12 15 12 12 15 15 17
A 14 12 15 12 12 14
14 12 14 12 12 14
B 13 12 14
C7 G7 E7
gV V V V V V
8va
g eV V V fV V V V V V fV V V V eV V V V
17
I V V V
V V V V V gV
18 17 15 13 12 13 15 12 16 19 22 19
T 20 18 17 15 13 12 15
A 15 12 12 14 12 14 16 19 21
14 12 14 18
B
A7 D7 G7 E7 A7 D7
gV V V V V V V V V gV
8va 8va
g V V V V V
I V V gV V V V V V gV V V V
V V V V
21
V
21 17 15 19 22 19 17
T 17 21 20 17
A 17 17 16 19 21 18 19 18
17 17 16 16 19 16
B 19 16 19 16 15 17
17
G7 C7 G7 `
G7 F7
g VV VV f VV VV VV VV VV VV VV VV f VV V VV VV VV VV VV VV f VV V VV V VV V
8va
V V V VV VV f VV V e V VVgVV V
25
I eV Ve V V
[0:36]
19 17 17 17 19 17 17
T 20 20 18 18 20 18 18 20 18 18 18 20 20 20 18 18 20 18 18 20 18 17 16
A 21 19 21 21 19 21 21 19 19 19 21 21 21 19 21 21 19 21 21 19 19 18 18 17 17
22 22 20 22 22 22 21 20 19
B
g E7
29
I
Delay off
T
A
B

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

g E7 A7 E7 A7
31
I
[0:45]
T
A
B
g C7 D7 C7 D7 N.C.
39
I
T
A
B
D Solo 2 over chords...

g G7 C7 G7 C7 G7 E7
49
I
[1:12]
T
A
B
g A7 D7 N.C. G7 E7 A7 D7
57
I
T
A
B
E Ending
G7 C7 b C dim7
8va
g V V V V V V V V V V f V gV V gV V V gV gV
I V eV V fV V fV V V V e V V V V gV
3x
64
[1:52]
15 12 17 15 12 15 12 12 13 14 15 18 15
T 15 15 12 15 12 13 17
A 15 12 12 12 15 18 15 12
15 14 14 11
B
_
D7
j k _G`c7 _G7 ^
g
66
I Vv k j
T
A 12
B

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 you’re 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 don’t particularly like the b6 or the natural 6 here... it’s 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 it’s 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 )
A Introduction
` `
gg 6 Bm9
I 8 j j j j j j j j
B add9 Bm9 B add9
1
T
A
B
B Theme 1
Bm9 B add9 ` Bm9 `
B add9
gg V V V V fV V V V V fV V V V V V V fV V V V V V k
5
I V V V V V u
[0:15] 3 3
M MO M MO M M M2 O M2
3
O O
Full release bend 1/2 Full Full Full Full release bend
in steps in steps
T 3 5
A 4 5 (5) (5) 4 (4) 4 5 (5) (5) 5 5
4 5 3 (3) 4
B
` `
*play 5th fret while holding 4th fret bend *play 5th fret while holding 4th fret bend
Bm9 E 6add9 A 13 G7 C7sus4
g eV V fV fV
9
Ig V V V V V V V fV V V fV
u f VVV u V
u
M
Full
O
FullM FullM 1 1
T 4 2 6 1
A 4 (4) 5 (5) 5 5 4
4 4 5 3
B
` `
gg Bm9
I j j j j j j j j
B add9 Bm9 B add9
13
T
A
B
C Theme 1 repeat
` `
V V V V fV V V f VV VV
Bm9 B add9 Bm9 B add9
gg V V V V fV V V V V fV V V V V V V V
17
I l l u k k
3
3
[0:55] release bend 3 release bend
M
Full M
Full in steps 1/2
O MO 1/2
M
Full
FullM M M
Full Full M
Full in steps
O M2
T
11
12 (12) 13 (13) (13)
12 10 (10)
O 11
12 (12)
10 12
12 12 13 (13) (13)
13 (13)
13 17 (17)
A
B
sl.
Guthrie Govan 2006

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

` ` ` `
g Bm9
j j j
B add9
j
Bm9
j j
B add9
j j j
Bm9
j j
E 6add9
j j
A 13
j j
G7
j
Cm11
Ig
3x
41
[2:02]
T
A
B

HANGOVER - MAIN THEMES - Guthrie Govan Page 3 of 3
F Theme 2 repeat
C/F D/E Cmaj7 Bm7
V V V V
8va
g fV V V V fV V V V V V V V V
49
Ig u
M M MO M M M MO
[3:35]
O
Full Full Full Full Full Full Full
17 (17) 17
T 18 15 (15) 13 17 (17) 15 17 17 (17) 15
A
B
C/F D/E Cmaj7 Cm11
}} }}
8va
g fV V V V V V V V V V V V
53
Ig
FullM M M M
Full Full Full MO
Full FullM
15 17 (17) x
T 18 (18) 17 17 17 17 15 x
A 14
B

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Erotic Cakes Guthrie Govan Transcriptions Printable PDF

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Erotic Cakes - The Backing Tracks

May you have a Most Excellent time jamming along!

About the transcriptions...

Some general thoughts

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

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

you may also like....

Dsus2 Esus2 Bm11

k _Fbmc _ k _A/Cc b k _Dc _ k _Fbmc ^

Guthrie Govan 2006

C Solo 2 over these chords...

ggg 15 VVVV VV VVVVVVVV V e V gV V f V f V V V V

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

For the fusion-flavoured C section, try:

Guthrie Govan 2006

C Solo over these chords...

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

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

For the B section:

Additional info for the E section:

you may also like....

Gmaj7 Bm7 D9 Gmaj7 F79

Guthrie Govan 2006

E Solo 2 over these chords...

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

F Altered melody section

H Final melody & ending

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

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

you may also like....

VV k }} }} }} VVVV l VVV VVV VVV

T 10 6 6 8 3 3 (3) 10 10 (11) 6 8 (8)

Guthrie Govan 2006

Gm D7/F b Gm/F C/E E`

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

F Solo 3 over these chords...

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

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

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

you may also like....

Guthrie Govan 2006

VVVVV VV VVV VVVVV

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

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

D Solos over these chords...

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

B Verse 2 - harmony guitars

T 10 (10) 12 12 (12) 12 9 (9) (9) 7 7 12 9

T 10 (10) 12 (12) 12 9 (9) (9) 7 7 12 9

C Chorus 1 (whammy pedal)

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

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

gggg V R V V V VVV V V V PR V V V V P VVVVVVV V V V V

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

9 14(14) 17 17 17 17 17 17 19 19 16 16 (16) 14 14 16 (16)

gggg U V Solo (verse chords) [2:49]

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

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

gggg V V V V VVV VVVV VVVVkj

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

Ebmaj9, Gm9 - use Eb lydian = G aeolian

T 5 (5) 5 (5) (5) 3 4 (4)

Guthrie Govan 2006