Erotic Cakes Guthrie Govan Transcriptions

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 rst feel a little perplexed (or even cheated!) by the accompanying pdfs and PowerTab les, 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 reect 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 ne - 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 nd notated in the accompanying transcriptions comprise every composed note from the album. Once youve worked out how all the key parts t 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 nd 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 prociency... yet so many of them suffer from an overwhelming lack of condence 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 specic 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 condence, 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 fth 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-avours 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 eetingly!) 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 rst 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.
click here to nd out more
WAVES - MAIN THEMES

As recorded by Guthrie Govan
(From the 2006 Album EROTIC CAKES)
A Main theme
Fm
ggg 4 I 4
T A B
bP = 78
V V
0
H
V V V V V V V V V V V V V V
E/F 5 6 7
sl. sl.
Fm
V V V V V V V V V V V V V V V V
11 9
sl.
E/F
9 9 6
sl.
9 7 11 sl.
12
14 12 12
sl.
7
sl.
9 9
sl. sl.
9 6 7 12 sl. 11 9
sl.
7
sl.
Bm7
C m7
ggg V V V I V V V V V V V V V V V V V
T A B
sl.
Fm
b V V V V V V V V V V V V V V V V
E/F Fm 9 7 5 9 12 14 9 7 10 9 9
sl. sl.
sl.
7 6
sl.
9
sl.
7 7
sl.
11
sl.
9 7
sl.
9 9 12 11 sl.
sl.
9
sl.
11
9
sl.
7
sl. P
V V V V V V g g V g 5 V V I V V
T A B
4
sl.
Dsus2
Esus2
V V V V V
5 9 10 12 12
Fm
b E/Fb V V V V V
9 7 9 7
sl.
V V V V V V V V V V V
9 10 7 5 7
H sl. P sl.
Fm
sl.
sl.
9 6
sl.
7 7
sl. sl.
6
sl. H H sl.
6 7 12 sl.
sl.
11 9 sl.
11
ggg V V V V V V V V V V I V V V V V V
T A B
4 5
sl. sl. P
Dsus2
Esus2
Bm11
V V V V V V V V V V V V V V V V
9 7 11
H
10
9 11
11
sl.
7
sl.
6 9
sl.
11
sl.
10
9 11 12 9
sl.
11 sl.
7
sl.
6 7
sl.
sl.
sl.
5
P
B Solo 1 over these chords...
ggg 9 I
T A B
Fbm c k_ _
A/C cb k_
k _Dc _
Fbm c k_ ^
Bm11
[0:49]
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
ggg 13 I
T A B
Fbm c k_ _
A/C cb k_
k _Dc _
k _Ac
c k Bm11 __
C Solo 2 over these chords...

Am11
ggg 17 I
T A B
Fmaj7 11
C m7
b ^
Amaj7 11
[1:50]
E/D D c _ _^ gg 25 Ig
Bm11
Amaj7
T A B
D Middle section
33
ggg 15 I 16
[2:52]
VV
7 9
VVVV VV gV V f V f V V V V VVVVVVVV V e V V V f V V V VgV V V V VV V V VVV VV V

7 9 6 7 7 9 6 7 9 7 6 10 9 7 6 7 6 9 9 7 6 9 7 5 9 7 5 9 7 5 8 7 5 8 6 7 9 6 10 9 7 11 9
T A B
ggg 4 gV f V k 36 I 4
T A B
10 10
V V V V V 6 6 V V V V V V V V V fV V V V V V V V gV V V V V V V V V V V V V V 6 6
6 6
14 17 15 14 16 14 13 14 16 14 16 14 13 16 14 12 14 16 13 16 14 12 16 14 12 14 16 12 16 14 12 16 14 12 14 16
g V V V V V V V V V V V V V V V V V V k g V V V V V V V V V V V g 37 V V V u I V V V V V
8va
6
13 13 14 16 14
6
16 14 13 14 16 14 15 17
6
14 16 17 14 16 17 19
T A B
12 14 16
12
16 14 12 14 16
12 14 16
16 14 12 14 16
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
Erotic Cakes
Solo Tips For the fusion-avoured 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 Am11 3 fr. Amaj7 114 fr. Dm11 3 fr. Gmaj7 112 fr. A maj7 11 3 fr. x x x x
` b
A Introduction
4 I4
T A B
P = 142
Gtr I
c V eV V V V
0 (0) 7 6 5
V V eV
gV
kk
V
0
c V
0
eV
1
V
1
c V
1
kj
V
0
8 7 6
I
T A B
V eV V
7 6 5
V fV eV
8 7 6
k c e V V gV V V
6 5 4 7 6
k c V
8
V
5
V
7
gV
4
V
5
V eV eV eV V gV V
3 7
sl.
10
I
T A B
V eV V
7 6 5
V V eV
8 7 6
V
8
gV
4
k k
V
5
V
0
c V
0
eV
1
V
1
c V
1
k j
V
0
V
(0)
V eV V
7 6 5
V fV eV
8 7 6
15
I k
T A B
e V V gV
6 5 4
V V eV V V V
3 2 3 7 7 6 6 6 6
Fingering:
V V gV V e V V V V V V V V f V V V V gV V V V f V V V V e V f V V V 2 1 3 2 3 2 1 3 2 3 2 1
5 5 4 4 6 6 5 5 5 5 4 4 3 3 5 5 4 4 4 4 3 3 2 2 1
sl.
5 0
B Main theme
18
I
[0:27]
V eV V
7 6 5
V V eV
8 7 6
V
8
gV
4
V
5
V
0
k k k k l l l c c d eV V eV V V fV eV eV V fV V g V V V V V V
1 0 1 1 0 (0) 7 6 5 8 7 6 6 5 4 7 6
T A B
EROTIC CAKES - MAIN THEMES - Guthrie Govan
Page 2 of 3
21
I l V
T A B
8
V
5
k V
7
gV
4
V
5
V eV eV eV V gV V
3 7
sl.
V
(0)
V eV V
7 6 5
V V eV
8 7 6
V
8
gV
4
V
5
V
0
k k k k c c d eV V V V V
1 0 1 1 0
1.
24
I
T A B
V eV V
7 6 5
V fV eV
8 7 6
e V V gV
6 5 4
fV eV V
3 2 3 2 7 6 6
Fingering:
V gV e V V V V f V V gV V f V V e V f V V V
1 3 2 3 2 1 3 2 3 2 1 5 4 6 5 5 4 3 5 4 4 3 2 1
sl.
5 0
2.
26
I
T A B
V eV V
7 6 5
V fV eV
8 7 6
e V V gV
6 5 4
fV eV V
3 2 3 2 7 6 6
Fingering:
l V e V V gV V V V f V V gV V f V V e V f V
1 3 2 3 2 1 3 2 3 2 1 5 4 6 5 5 4 3 5 4 4 3 2 1
sl.
C Solo over these chords...
28
5 I4
T A B
Am11
Amaj7 11
1. , 2. , 3.
Dm11
Gmaj7 11
A maj7 11
` 4.b
[0:54]
33
4 I4
T A B
D Ending
[3:33]
V
(0)
V eV V
7 6 5
V V eV
8 7 6
V
8
eV
4
V
5
V
0
k k k k l l l c c d eV V eV V V fV eV eV V eV fV V V V V V V
1 0 1 1 0 (0) 7 6 5 8 7 6 6 5 4 7 6
36
I l V
T A B
8
V
5
k V
7
gV
4
V
5
V eV eV eV V eV V
3 7
sl.
V
(0)
V eV V
7 6 5
V V eV
8 7 6
V
8
eV
4
V
5
V
0
k k k k c c d eV V V V V
1 0 1 1 0
EROTIC CAKES - MAIN THEMES - Guthrie Govan

1
Page 3 of 3
I
T A B
V eV V
7 6 5
V fV eV
8 7 6
eV V eV
6 5 4
fV eV V
7 6 5
V V eV
8 7 6
eV V eV
6 5 4
V fV eV
8 7 6
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 ne. 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

A Introduction
(E7)
g 1 Ig4 4 V V
T A B
0
D P = 96 (P P CP P )
6
V } } }
x x x L R L
V
0
} } } } }
x x x x x L R L R L
V V
0
V } } }
x x x
V
0
} } } } }
x x x x x
V V
0
V } } }
x x x
V gV
0 6
H
V } } }
0 x x x
V k j v
0
7 0 H
7 0 H
7 0 H
g 3 Ig
T A B
B Solo 1 over these chords...

Bm7 D9 Gmaj7
F79
b`
8x
[0:05]
C Main melody
g Ig4 4
[0:45]
Bm7
V V V W
Full
D9
Gmaj7
b` V V V V
Full
F79
V V l V
E11
V V V V V V W
Full
E9
MO
11 Fb7`9
MO
9 7
H
MO
Full
T A B
Gmaj7
12
10
(9)
(9) (9) 16 11
sl. sl.
gg l V V V V I
T A B
V V V V V V
Full
Bm7
V V V V
D9
V
1 1/2
Gmaj7
b` l V V V V V V V V V
F79
Full Full
Full
MO
Full
M MO
9 9
Full
7
sl.
(9) (9)
sl.
7
P
(4)
7
sl.
9 Fb7`9
(9)
sl.
g 11 Ig
T A B
E11
V M O
V
Full
V M
E9
Gmaj7
V
Full
V M
V O
V
Full
V M
Full
Full
V O
(9)
(9)
(4)
(5)
(5)
(7)
WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan
Page 2 of 4
D Riff section 1
1.
13
g Ig
[1:05]
VVVVV VV
7 5 7 (7) 7 0 0 sl.
} gV } V } gV V
x 4 x 5 x 6 7
}VV
x 5 7
l gV V V V VV } gV
x 6 7 6 4
H P P
VVVVV VV
7 7 5 7 (7) 0 0 sl.
} gV } V }
x 4 x 5 x
T A B
7 5 4
2.
16
g Ig
T A B
gV V
6 7
k f V gV f V V V V V gV V V V } V V gV 3 3
3 3
10 11 10 x 5 7 9 7 9 7 6 7 5 7 4
V V V V V V V
7 7 5 7 (7)
sl.
} gV } V gV
x 4 x 5 6
g 18 Ig
T A B
V V V V V V V V V V V P V V V V V z V V V V V V V V V V V V V V V V V V V V V
8va
11:8
9 10 14 17 14 10 9 11 12 16 19 7 9 10 14 17 14 10 9 10 14 17 H H T P P H H T
H H T H H T P P
MO 14 19 22
T
6 |__________3__________| Full
19 14 17 16
H
|________3_________| 22 17 12 14 12
Hsl. T P H
15
14
H
12
H
H sl.
19
gg Gmaj7 I
[1:35]
E Solo 2 over these chords...

Bm7 Em11 Bm7 D9
T A B
gg Gmaj7 23 I
T A B
Bm7
Em
D/F
Bm
A11
A dim7
g 27 Ig
T A B
Bm7
D9
Gmaj7
F79
b`
E11
E7
Gmaj7
F79
b`
Page 3 of 4
F Altered melody section

Am7
8va
C/G
F m7 5
8va
b `
j
F13
g 31 Ig j
[2:15]
V V V W
Full
V V V V fV V l
Full
`b Am7 V V V V V fV V V V
B 7 11
Full
F m7 5
V u
b `
F13
ee V f V V V V V k
Full1/2
MO
21
MO
19 17 19
H
Full O M
Full
M MO
T A B
22
20
19
(19)
(19) (19)
18 20
19
(19)
sl.
19
sl.
17 19 19
G Riff section 2
35
g l l gV V V V l Ig V V V V V } V V V gV V V V } gV } V } e V f V } [2:25]
T A B
7 5 7 (7) 7 0 0 sl. x 4 x 5 x 6 7 x 5 7 x 6 7 6 4
H P P
V V V V V V V
7 7 5 7 (7) 0 0 sl.
} gV } V }
x 4 x 5 x
7 5 4
g 38 Ig
T A B
eV fV
6 7
l gV 3 e V } V V } gV f V f V gV
3
x 5 7 x 6 6 5 8 8 6
V V V V
7 7 5 7
sl.
k c l gV V V V l V } V V gV gV } V } e V f V } V
4 x 5 x 6 7 x 5 7 x 6
H
7
P
6
P
7 5 4
3 3 gg 3 3 41 V V gV V V V V V V V V V V V V I V V V V gV 3 3 3 3
3 3 V e V V V gV V V V V V V e V V gV V V V gV f V 3 3 3 3
16 15 14 12 13
T A B
7 7 4
7 7 5
14 12
14
14 12
14 13 12 11
14
11
12 11 10
H Final melody & ending
43
g Ig j
[2:55]
Bm7
V V V W
Full
D9
Gmaj7
b` V V V V
Full
F79
V V l V
E11
V V V V V V W
Full
E7
MO
11
MO
9 7
H
MO
Full
T A B
12
10
(9)
(9) (9) 16 11
sl. sl.
Gmaj7 Fb7`9 g V V V V V V 46 Ig l V V V
Full Full

Bm7
V V V V
D9
V
1 1/2
M MO
9
Full
Gmaj7 Fb7`9 3 c j V V V V V V V V u3 u 3 3 Full MO 7

sl.
Page 4 of 4
T A B
G/F 8va
7
sl.
(9) (9)
sl.
11
gg V f V V V V V V W 49 I fV
3
Full
VVVV
3
Full
Full
T A B
10
12
13
(13)
15
13 17
(17)
17
MO 1/2 MO
17
VVVVVVVV V V V VVVV V VV V V V V V V 6 6
6
14 17 19 22 19 17 14 14 16 14 17 19 21 H H T
H H
19 21
T H H T P P
21 19 16 14
T P P
16 21 19 17 14 T P P
Ner Ner
Solo Tips Lets start with the intro section. Live, I generally nd 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 specic, 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 rst 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 simplied. 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 nal 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 ts 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
B sus2/E
8 Ie 6
T A B
V V k } } } Vl V V } } } V V V V V
7 7 5 0
sl.
VV k V V V V
3 3 5 5 3 3
x x
x x
x x
3 3 5 5 3 3
V V k } } } Vl V V } } } V V V V V
7 7 5 0
sl.
VV k V V V V
3 3 5 5 3 3
V V V V eV V
1 1 3 3 1 1
VV V V V V
1 1 3 3 1 1
Csus2/A
Dsus2/G
Csus2/F
V V V V V V
V V VV V
3 3 5 5 0
V V VV V
3 3 5 5 0
V V VV V
V V V V V V
5 5 7 7 5 5
V V V V V V
5 5 7 7 5 5
V V V V V V
V V V V V V
3 3 5 5 3 3
V V V V V V
3 3 5 5 3 3
V V V V V V
3 3 5 5 3 3
x x
x x
x x
3 3 5 5 3 3
B Main theme
Dsus2
5
Ie
T A B
V V V l V V V V V
Csus2 12 13 10 7
Dsus2
Csus2
B sus2
V
(7)
V V V V V V V V
Csus2/A 6 6 8 8
[0:30] 10 10
sl.
sl.
Dsus2/G
8
Ie
T A B
V V V V V V l V V
Csus2/F
E`maj9 V l V
V V
E`/F V l V l V V V V
sl. sl. Full
10
(3)
10
10 (11)
tr[[[[
6 8 (8)
Full
MO
7 5
sl.
10
10
sl.
sl. 1.
sl.
sl.
11
Ie
T A B
Gm11
V l V V V V V l V V V P V z
7 10
sl. 2.
E sus2/A
` eV V l V l P V V V l V k z
8 8 8
8 sl.
5
sl.
10
sl.
7 sl.
10
sl.
10
sl.
sl.
Gm11
13
Ie
T A B
V l V V V V P V l V V V V z
1 1/2 1 1/2 Full Full
P V l V V l V V l V V l V z
Full 2 1 1/2
7
sl.
(7)
sl.
(5)
sl.
NER NER - MAIN THEMES - Guthrie Govan C Solo 1 over these chords...
B sus2/E
Page 2 of 4
15
Ie
T A B
` l` kE`sus2 B`sus2/E` E`sus2 Csus2/F Fsus2 Csus2/F Fsus2 l k l k l _ _ _ _ _ _ l_ l_ k _ l_ k l_ l_ k _ l_ k l_ l_ k
[1:01]
B sus2/E
19
Ie
T A B
` E`sus2 l k l_ l_ k _ _
B sus2/E
` E`sus2 l k l_ l_ k _ _
Csus2/F
Fsus2 Csus2/F c _ k_ k_ k
Fsus2
Csus2/F Fsus2 c _ k_ k_ k
B sus2/E
23
Ie
T A B
` E`sus2 _ l_ k l_ l_ k
B sus2/E
` E`sus2 _ l_ k l_ l_ k
Dm7
E`c /F _ _
Repeat main theme [1:31] and then play solo 2 over the same chords as solo 1 [2:01]
D Middle section 1
Gm F Cm
27
Ie
[2:32]
V V
V V V
8 5 8
V
5 D7/A
V V
3 3
V V V
7 3 7
V
3
V eV V V V V
V V V V V V
11 8 12 8 12
Gm/D
F/A
V V V V V
12 12 12
V
7
V V V V V
8 10 10 10 8
T A B
Gm/B
30
Ie
T A B
eV V V V V gV V V V V V V
8 Gm 10 12 8 12 10 7
E maj7/B
10
V
8
eV V V V V
12 8 12
10
12
12
10 E /G
10 E
V
5 C/E
V eV V V V
6 8 5 8 6
12
13
13 D7
eV V
V V V
5 3 5
V
1
V V
0 0
gV V V
4 5 4
V
0
D7/F
10
10
10
10
Gm/F
33
Ie
T A B
V V V V V V V V V V V gV
5 5 7 3 7 5 4 5 7 5 7 5
V
3
V V V V V
5 5 7 5 5
V
2
V V V V V
3 5 5 3 3
` V eV
6 4
V
3
V V V V V V
8 7 5 8 5 8
V V
5 8
V
5
NER NER - MAIN THEMES - Guthrie Govan
Page 3 of 4
D7 9
36
Ie
T A B
` V gV
8 7
V V V V e V V f V gV V V
5 10 8 7 10 7 10 8 10 7
Gm/B
` D7/A Gm eV V V V V V V V V V V V
11 10 8 7 10 8 5 8 6 8 7 8
E /G
` `
V
5
D/A
eV V V eV V
6 8 8 8 6
gV
4
V gV
5 4
V V V
5 4 5
E Middle section 2
1.
39
Ie
[3:02]
eV eV V V V V V V gV V V V V V V V V V V gV V V gV f V
5 0 3 5 4 6 5 5 0 3 5 4 6 5 5 0 3 5 4 6 5 5 4 3
VV V V V V V V V V V V V V k V k V k V V V V k k } } } u V eV
10 8 10 8 2 1 10 8 10 8 10 8 10 8 10 8 10 8 10 8 10 8 x x x
sl.
T A B
2.
3.
43
Ie
T A B
V eV
2 1
VV V V k V V k VV
10 8 10 8
V VV V
V V V V V V k V k V u
10 8 10 8
V VV V k
10 10 8 8 10 10 8 8
10 10 8 8 10 10 8 8
V eV
2 1
VV V V k V V k VV
10 8 10 8
V VV V
V VV V u
V VV V
V VV V
V VV V k k } } }
x x x
sl.
10 10 10 8 8 8 10 10 10 8 8 8
10 10 10 8 8 8 10 10 10 8 8 8
47
Ie V V V V V V
let ring
eV V V
6 4 3
V V V V V V
3 3 5
eV V V
6 4 3
V eV
2 1
VV V V k V V k VV
10 8 10 8
V VV V k
V VV V
V VV V
V VV V k k } } }
x x x
sl.
T A B
3 3
10 10 8 8 10 10 8 8
10 10 10 8 8 8 10 10 10 8 8 8
F Solo 3 over these chords...

51
Ie
T A B
Gm11
E maj9
E /F
Gm11
D /G
` `
E /F
[3:32]
NER NER - MAIN THEMES - Guthrie Govan
Page 4 of 4
Ie
T A B
E maj9
Gm11
D /G
` `
E /F
` 1. , 2.
B /C
` 3.
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 denitely 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 owing 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 Am11 3 fr. Fm11 3 fr. D maj7 11 3 fr. x x
` b
A Introduction
Am11
P = 152
5 V V I4 VV j V
T A B
Am11 3 3 5 5 0
c V V VV k V
3 3 5 5 0
V V VV j V
3 3 5 5 0
V V VV j V
3 3 5 5 0
c V V VV k V
3 3 5 5 0
V V VV j V
3 3 5 5 0
V V VV j V
3 3 5 5 0
c V V VV k V
3 3 5 5 0
V V VV j V
3 3 5 5 0
V V VV j V
3 3 5 5 0
c V V VV k V
3 3 5 5 0
V V VV j V
3 3 5 5 0
V k V V V I u V V V V V
T A B
0 10 12 7 5 9 7 8 sl. 7
V V V uk V V V V V V
0 10 12 7 5 9 7 8 sl. 7
0 10 12 7 5 9 7 8 sl. 7
0 10 12 7 5 9 7 8 sl. 7
` b eV V V V V gV c k V V V eV c k eV V V V c k V eV e V g V c k 9 eV V V eV V eV eV V eV eV V V V V V I eV V V
Fm11 D maj7 11
T A B
10 8
12 10 11 sl.
10
10 8
12 10 11 sl.
10
13
15 11 9
13
12 11
10
13
15 11 9
13
12 11
10
13
V k V V V I u V V V V V
T A B
0 10 12 7 5 9 7 8 sl. 7
Am11
0 10 12 7 5 9 7 8 sl. 7
0 10 12 7 5 9 7 8 sl. 7
0 10 12 7 5 9 7 8 sl. 7
B Theme A
Am11
17
I
T A B
V V V V V V V V V
15 13 15 12 13 12 14 12
V
16
sl.
V P V V z V V
15
16 12
P z V
19 10 sl. sl.
[0:47] 15
V
12
V
14 sl.
V
12
V V V V V V V
14 (14) 15 14 12 12 sl. sl. sl.
12
sl.
12
sl.
sl.
FIVES - MAIN THEMES - Guthrie Govan
Page 2 of 5
20
V V V V k V V I
3
V
15
V V k u u k
15 14
sl.
Fm11
V
12
sl.
V gV V
13 (13)
sl.
V
15
eV u k
15
V
12
sl.
V gV V
13 (13)
sl.
V
15
eV u k
15
T A B
12
10
12
P
14
sl.
D maj7 11 8va
` b
M
23
I eV
T A B
V V V
13
eV
Full
V M
V eV V eV V eV V V V V V V fV eV V eV
20 16 20 16 13 14 13 16 15 16 13 16 15 14 13
Full
18
(18)
15
(15)
15
Am11 8va
25
I Pz V
T A B
13 15
V P VV z
15
15 13
V u
15
V
Full
VVVVV M
Full
VV M
VVV
Full
VVVVV M
Full
8va
VVV
3
12
14
12 (14)
13
14
12 (14)
(12)13
14
12 (14)
13
15 14
12 14
sl.
sl.
sl.
Am11
29
I
T A B
V V V V V V V V V
15 13 15 12 13 12 14 12
V
16
sl.
[1:11] 15
V P V V z V V
15
16 12
P z V
19 10 sl. sl.
V
12
V
14 sl.
V
12
V V V V V V V V V V
3
14 (14) 15 14 12 12 sl. sl. sl. 12 15 19 H H
12
sl.
12
sl.
sl.
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 22 19 15 12 15 19 22 T P P H H T 14 17 21 22
H H T H H T
12 15 19 22 19 15 12
22 19 15 12 10
21 16 12
T P P
21 16 12
T P P
sl.
Page 3 of 5
Fm11
33
I
T A B
V gV V
eV u k
V P gV V z
eV V
D maj7 11 8va
` b
eV M
V V V
(11) 13
eV
Full
V M
Full
12
sl.
13 (13)
sl.
15
15
12
sl.
12 sl.
(8)
sl.
10
11
10
11
18
(18)
8va
36
I j
T A B
V eV V eV V eV V V V V V V fV eV V eV
20 16 13 14 13 16 15 16 13 16 15 14 13 15
Am11
P V z
13
V P V V z
15
15
V u
15
20 16
15
13
sl.
sl.
38
I
T A B
V
Full
V V V V V M
Full
V V M
V V V
Full
V V V V V M
Full
8va
V V V V
3
13
14
(14)
12
13
14
(14)
12
(12) 13
14
(14)
12
13
15 14
12 14
sl.
C Theme B
Am11 8va
41
I
[1:35]
V V V
V V V V V V V V k V V v V V V V
12 17 12 12 17 12 17 12
H T H T
8va
3x
V V V
12 17 12
V V V V V V V k V V V V V V V v
12 17 12 12 17 12 12 17 12 12 17 12
H T H T
T A B
12 17 12
12 17 12
12 17 12
H T H T
12 17
H T
Fm11 8va
43
I
T A B
V V V
V V V V f V V V gV V g k eV V V V V v
8va
V V V
15 20 15
V V V V f V V V gV V g k eV V V V V v
8va
15 20 15 15 20
H T H T
15 20 15 15 20 15
H T H T
15 20 15
15 20 15 15 20 15 20 15
H T H T
15 20 15
H T H T
15 20 15
15 20 15
H T

D maj7 11 8va
45
I
T A B
` b V eV V
Page 4 of 5
V V V V V V V V V e k eV v V V V V
8va
V eV V
13 18 13
V V V V V V V k V e V eV V V V V v
13 18 13 13 18 13 13 18 13 13 18 13
H T H T
13 18 13 13 18
H T H T
13 18 13 13 18 13
H T H T
13 18 13
13 18 13
H T H T
13 18
H T
Am11 8va
47
I
T A B
V V V
12 17 12 12 17 12 17 12
H T H T
8va
3x
V V V
12 17 12
12 17 12 12 17 12 12 17 12 12 17 12
H T H T
12 17 12
12 17 12
12 17 12
H T H T
12 17
H T
3 V V V V V V V g V V V V V V V V V V V 49 I V V V V V V 3 V 3 3 3 3
N.C. 8va
Am11
W
[2:00] etc... 15
T A B
12 15 19 22 19 15 12 12 15 19 22 H H T 22 21 17 14 17 21 22
H H TP P P TP P P H H T
12 15 19 22 19 15 12
TP
D Solos over these chords...

51
I
T A B
Am11
Fm11
D maj7 11
` b
Am11
[2:00]
E Theme B repeat
Am11 8va
63
I
[3:59]
V V V
12 17 12 12 17 12 17 12
H 8va T H T
8va
3x
V V V
12 17 12
12 17 12 12 17 12 12 17 12 12 17 12
H T H T
T A B
12 17 12
12 17 12
12 17 12
H T H T
12 17
H T
Fm11 8va
65
I
T A B
V V V
V V V V f V V V gV g k V eV V V V V v
15 20 15 15 20 15 20 15
H T H T
V V V
15 20 15
V V V V f V V V gV g k V eV V V V V v
8va
15 20 15
15 20 15
15 20 15 15 20 15 20 15
H T H T
15 20 15
H T H T
15 20 15
15 20 15
H T
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
Page 5 of 5
V eV V
13 18 13
V V V V V V V k V e V eV V V V V v
13 18 13 13 18 13 13 18 13 13 18 13
H T H T
T A B
13 18 13 13 18
H T Am11 8va H T
13 18 13 13 18 13
H 8va T H T
13 18 13
13 18 13
H T H T
13 18
H T
69
I
T A B
V V V
12 17 12 12 17 12 17 12
H T H T
3x
V V V
12 17 12
V V V V V V V V V V V V V V V V V
12 17 12 12 17 12 12 17 12 12 17 12
H T H T
12 17 12
12 17 12
12 17 12
H T H T
12 17 12
H T
12 17
H T 8va
H T
H T
H T
H T
H T
71
I
T A B
V V V V V V V V V
12 12
H
12
17
12 12 17
T sl.
17
T
12
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
V V V fV V V V g V g V 4 1 V V V V V V l Igg 4
3
E 8va
P = 68
Whammy pedal notation (set pedal to raise pitch 1 octave) / = up (depress pedal) \ = down (release pedal) /--------\ = depress, hold, release
V V V fV V k V V V V V l V fV V V V V fV V
9 13
H
T A B
19 14
17
16 11 16 14
sl.
12 9 14
16 12
11 12
H
13 12 11
11
11 A
11 10 9
11
9 12
10
sl.
sl.
gg 3 I g g V V PR V V V PR V V V V V V V V Full MO
V V V V V V V V V V V V
7 12 12 9 9 6
V k V u
(9) (6)
sl.
R V W P V V V P V W V V V
7
b sl. V gggg V V V P V 6 V V I V V V Pz
sl.
T A B
11 sl.
(4) (4) 2 P B11
2 E
4
sl.
(4) 9
sl.
9
sl.
4 2
6 4
9 6
sl.
F m7
V V V V
12 9
P V V V V P V V V V z
3
14 11
sl.
W W
V V k j V V V V V V V V V u
2
N.C.
T A B
10
8 6 sl.
9 7
12 9
sl.
12 9
9 6
9 6
12 9
sl.
7 4 4
7 (4)
12 9
9 6
sl.
B Verse 2 - harmony guitars
V V V fV V V V V g g V g V l 9 V V V V V Ig
[0:28]
E 8va
V V V fV V k V V V V V l V fV V V V
9 13
H
V fV
9 10
V
9
T A B
19 14
17
16 11 16 14
sl.
12 9 14
16 12
11 12
H
13 12 11
11
11
11 10 9
11
gggg I
T A B
V V V V V V V V V V l V V V V fV
3
14 9 12 11 7 11 9
sl. sl. sl.
sl.
sl.
12
V V V fV V k V fV V
4 8 8 7 6 11 10 9
V fV V
11 10 9
V f V V gV
14 13 12 11
H
12 9
UNCLE SKUNK - Guthrie Govan
Page 2 of 7
gggg V R V 11 V P V V V PR V V V V PR V V V I V
T A B
11 sl. 9
9 sl.
V V V V
11 13
sl.
V V V V V V V Pz V V P V V V V z
14 14 17 21 19 17 18 20 16 16 16 18 16 13
sl. sl. sl.
7 sl.
2 4 7 sl.
6 9
sl.
6 9
12 14
14
gggg V V I
T A B
13 13
sl. H
V V V
12
V V V
14 14 16
V V V
sl.
sl. sl.
P V z
16 14
V V V V V V V V V V V
3
14 14 16 14 12 14 13 11 13 9 11
sl. sl. sl. sl.
V V
11 9
sl. sl.
V V
11
sl.
16
16
21
16 16 21
14
sl.
sl.
sl.
gg 13 Igg V V V
T A B
V W
Full
Fbm7 B11 V V V V V V V V
H H P
sl.
H P sl. H
V V V V
E
W M
3
Full
Full
V V V V k j u
2
1 1/2
9 11
sl.
11 (11)
10
(10) 12 12
(12) 12 9 (9)
(9)
7 12 9
gggg I V
T A B
P V W z u
9 11 sl.
V V V V V
Full
V
3
V u
12
V V V V
3
Full
sl.
W M
V V V V k j u
2
sl. sl.
1 1/2
10
(10)
(12) 12 9 (9)
(9)
7 12 9
sl.
sl. sl.
C Chorus 1 (whammy pedal)
gg W g g 17 I
[0:56]
Gmaj7 8va
F m9
b V
B11
Emaj9
8va
Gmaj7
V V
16 17
V l V V
18 16
V
(16)
F m7
b V
B11
T A B
19
19
gggg W I
T A B
7
whammy: /--------------------------------\ (both gtrs)
/\
V V
/\ 4 5
/\
V l V V
6 4 4
/---------------------------------------\
sl. sl. /----------------------------------------------\
V
(4)
sl.
W
7
sl.
Page 3 of 7
gggg k V V l k V V l k V V V V V 20 I
T A B
16 14 16 14 16 14 19 16 19
Emaj9 8va
Gmaj7
8va 8va
fW
F m9
b V
B11
Emaj9
fV V V V V
Full
Full
V V V V
12 12 5 5
22
21
19
19
21 22
sl.
sl.
sl.
sl.
P sl.
gggg k V V l k V V l k V V V V V I
/-----\ /-----\ /------\ /-------\
/-----------------\ /--------\ /------\
V M
/-----------\ /------------\ /-------\
V V V
V V V V V
0 9
sl.
1 1/2
Full
Full
T A B
12
12
12
12
9 11
sl.
12
sl. P
sl. P
sl. P
sl.
23
V V V V V V V V gggg V V V V V V V V I
T A B
12 10 10 12 19 17 10 12 12 10 10 12 19 17 17 19
Am9 8va
F m7
F m9
V V V V V V V f V f V f V gV gV V V fV V
10 7 9 16 14 10 12 15 13 8 10 16 14 12 14
F m11
Am7/C
B13sus4
12
/-------\ /---------\ /-------\ /--------\ /-------\ /-------\ /--------\ /-------\ V V g V f V gg g V V V V V V V V V V V V V V V V V V f V f V gV gV V V V V I fV V
T A B
16
14
16
14
13
11
12
10
13
11
11
Page 4 of 7
D Verse 3
V V V fV V V V g V g V g V l 25 V V V V V Ig
[1:24]
E 8va
9 13
H
T A B
19 14
17
16 11 16 14
sl.
12 9 14
16 12
11 12
H
13 12 11
11
11
11 10 9
11
9 12
10
P 8va
sl.
sl.
V gggg V V V V V V V V l V V V f V I V V
3
9 13
H
T A B
19 14
17
16 11 16 14
sl.
12 9 14
16 12
11 12
H
13 12 11
11
11
11 10 9
11
9 12
10
sl.
sl.
gg 27 I g g V V PR V V V PR V V V V VVVV Full MO
T A B
11 sl. 9
9 7 sl.
V RV P
R P V
P V V P V z V z
13 11 7 11 sl.
VVVVVVV VVV V M
Full
Full
1/2
6
7 4 sl.
11 9 4 9 sl.
9 7
12 9
12
11
9 12
11 11 9
(4) (4) 2 2 P
4 sl.
11 9
11
sl.
sl.
gggg V R V V V I V P
T A B
11 sl. 9
11 14 sl.
VVV
13(13)18
sl. sl.
V
13
V
9
sl.
V
11
V PR V V V
9
11 14 sl.
V P VVVVVVV z
3
11
14 16 sl.
V
9
sl.
V
11
V
11
sl.
V
6
sl.
V
9
11
11 14
13 11 13 11 9 11
H P sl.
Page 5 of 7
gg V W 29 Igg V V V
Full
Fbm7 V V V V V V
B11
V V gV
3
1
V V V V
E
W M
3
Full
Full 1
V V V V k j u
2
1 1/2
T A B
9 11
sl.
11(11)
8 9
10
10
10 11
12 12 9 (9)
(9)
7 12 9
H 8va
sl.
sl.
sl. sl.
V W V V V g g Igg Full Full M M

T A B
10 9 14(14)
V V V V V V
Full 1/2
V V V V
3
1
V V V V
Full
W M
(16)
V
14
V V V V
1 1/2
1 1/2
16 17
17
17
17
17
17 17
19 19 16 16
14 16
MO
(16)
sl.
sl.
E Bridge
gg V V V V V V V V g g 33 I
[2:07]
b B11 V V V V V V V V
F m7 12 12 12 12
E 8va
V
14
T A B
12
12
12
12
14
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
/---\
/---\
/---\
/---------------------------------------------\ 8va
V
19
Repeat chorus [2:21] Solo (verse chords) [2:49] Bass solo (chorus chords) [3:46]
17
19
sl.
Page 6 of 7
F Verse 4
V V V fV V V V g V g V 37 V V V V V V l Igg
[4:14]
E 8va
3
19 14 17 16 11 16 14
sl. sl. sl.
9 13
H
T A B
12 9 14
16 12
11 12
H
13 12 11
11
11
11 10 9
11
9 12
10
gggg I
T A B
V V V V V V V V V V l V V V V fV
3
14 9 12 11 7 11 9
sl. sl. sl.
9 13
H
12 9
11 12
H
13 12 11
11
11
11 10 9
11
9 12
10
gg 39 I g g V V PR V V V PR V V V V V V V
Full
V V V
V V V V
V M
V VV
V V V V V V V V
Full
T A B
11 sl.
9 sl.
7 sl.
6 2 (2) 4 sl. 4
4
H
4 6
7 17 4
sl.
12 (17) 16
14 12
6
T
13
14 12
13 11 9
sl.
gg I g g V V PR V V V PR V V V V V V V
Full
V V
9
V V
13 11
sl.
P V V P V V z
14 16 (16) 11 13 (13) sl. sl.
sl.
V V V V
T A B
11 sl.
9 sl.
7 sl.
17 14
2 (2) 7 sl.
(7)
Page 7 of 7
41
gg VW Igg V V V
Full
VVV
Full
F m7
b VVV
3
P VVV z
B11
VVVV
E
W M
3
1 1/2
Full O M
VVVVkj u
N.C.
2
1 1/2
T A B
9 11
sl.
11(11)
10
10 10
(10)
10 10
12 12 9 9
(9)
7 12 9
sl.
sl. sl.
gggg V V V I
8va
VVV
16 14
V P VV z
14 14 16
P V z
16 14
VVV
3
VVVV
Full
W M
VVVVkj u
2
1 1/2
T A B
16 17
12
12 12
(12)12 9 9
(9)
7 12 9
sl.
sl.
sl.
sl. sl.
G Ending
F6add9 8va
gggg 45 I
[4:42]
fV fV fV
3
20 15 18
V V V V fV fV V V fV l
17 12 17 15
sl. sl. sl.
Emaj9
P gV z
12 14
V V
V
12
T A B
13 10 15
17 13
(14) 16
sl.
sl.
8va
gggg I
T A B
fV fV fV
15 10
V V V V l fV fV V V V
12 7 12 8 5 10 12 8 10
sl. sl. /------\ sl. /------\
P gV z
7
V V P V z
(9) 9
9
13
gggg I
T A B
whammy (gtr3 only)
V V
/------\
fV fV V V V V V V V V V V V
8 6 10 12 8 6 10 12 8 6 10 12 8
sl. /--------------\
V
6
V V
9
sl. /-----\
/------\ /-------\ /--------\ V V V V V V V V V V V V V V 7 11 7 11 7 11 7
10
12
11
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 denitely 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 rst half, whereas an Ab at works much better in the second half. Hence youre strongly advised to use these modes: Ebmaj9, Gm9 - use Eb lydian = G aeolian Abmaj7#11, Cm9, Bbadd9 - use Ab lydian = C aeolian = Bb mixolydian. Of course, the easy approach for this section is just to use a G minor pentatonic shape as your template and then add some additional chord tones throughout the progression as you see t...
SEVENS - MAIN THEMES

A Intro riff
e 1 4 Ie 7
T A B
c k } } V V V V V V
3 1
sl.
c V V V V k k V V V V V V V V V V V V V V u
6 6 5 5 6 6 5 5 5 3
sl.
c k } } V V V V V V
3 1
sl.
c c V V c V V k k k V k V V V V V V V V V u
6 6 5 5 6 6 5 5 5 3 7 5 3 1
5 3
5 3
x x
7 5
sl.
3 1
3 1
sl.
5 3
5 3
5 3
x x
e W 3 Ie
[0:19]
B Verse
Gm7
1/2
T A B
(5)
V V V V u 1/2 M O
5 (5) (5) 3
P H
Gm6
1/2
(4)
V V V gV u Full M O
7 (7) (7)
P
6
P
e Ie V V V
Gm
Full
T A B
(5)
(5)
sl.
` b e W 7 Ie
T A B
4
A maj7 11
cV V eV
4 6
sl. H
W
1/2
V V V V
1/2
(3)
V V V V V u Full M O
5 (5) (5)
P
sl.
e 9 Ie V V V
Gm
Full
T A B
(3)
SEVENS - MAIN THEMES - Guthrie Govan
Page 2 of 5
Gm7
e 11 Ie
[0:44]
1 1/2
V V V u
1 1/2
Gm6
V V V W
Full
V V V V
Full
T A B
15
(15)
15 (15)
(15)
MO
Full
V V V V u
Full
(15) (15)
13 15
15 (15)
15 (15) (15) 13
Gm
e 13 Ie
T A B
V V V
Full
W M
13
15
13
(13)
(13)
A maj7 11
e 15 Ie
T A B
` b W
V eV V u
1
W
1
V V V V
1/2
16
13
16
15
15
15
V V V V V u 3 Full M O
17 (17) (17) 15
P
17
17
V V V e 17 Ie
Gm
T A B
15
17
15
C Chorus
E maj9 8va
e 19 Ie
T A B
[1:09]
V V V V V V V V V V V V V V V V V V V V V V V V V V V V
20 18 16 20 19
T
22
16
22 15
H T
20
18
16
20
19
T
16
15
H
19
T
17
T
15
H
20 13
H T
19
T
16
15
H
19
T
17
T
15
H
13
H
Page 3 of 5
Gm9 8va
20
e Ie
T A B
20 18 15 22 22
T
22
20
T
17
H
20
18
15
15
H T T H H
22
T
20
T
17
H
15
H
22 22 T 20 T 17 H 15 H
T
20
T
17
H
15
H
22 T
20 T
17 H
15 H
` b * Guthrie prefers to play these notes at the 23rd fret (Eb) but he only had 22-fret guitars with him at the studio in LA! V eV V V V V V V V V V V e V V V V V V V eV V V V V 21 e V V I V V
A maj7 11 8va
T A B
* 22
21
18
16
21
20
T
16
* 22
15
H T
21
18
16
21
20
T
16
15
H
20
T
18
T
15
H
21 13
H T
20
T
16
15
H
20
T
18
T
15
H
13
H
Cm9 8va
e 22 Ie
T A B
22
20 18 16 20 19
T
16
22
15
H T
20
18
16
20
19
T
16
15
H
20 20
T
20 T
17
H
19
T
16
15
H
15 H
20
T
20 T
17
H
15 H
B add9 8va
23
e Ie
T A B
20 18 15 * 22 22
T
* see note for bar 21
* 22
20
T
17
H
20
18
15
15
H T T H H
22
T
20
T
17
H
15
H
22 22 T 20 T 17 H 15 H
T
20
T
17
H
15
H
22 T
20 T
17 H
15 H
A sus2 8va
e 24 Ie
T A B
V eV V V V V V V V V V V V V V V V V V V eV V V V V V V V
21 18 16 21 20
T
22
16
22 15
H T
21
18
16
21
20
T
16
15
H
20
T
18
T
15
H
21 13
H T
20
T
16
15
H
20
T
18
T
15
H
13
H
Page 4 of 5
25
e Ie
T A B
D Middle section riff 1
[3:02]
V V V V
3
P
V
3
V
3
}
x
V
3
V
2
V
3
V
3
} V V V
x 1
H
V V V V V
3
sl.
0
H
1
H
e Ie
T A B
V V
3 3
l V k } V } V V V V
x x 3 3 5 5 5 5
d k l V V V V V V
3 3 5 5 5 5
V V
3 3
k V V
3 3
c k V V V V V V
3 2 3 2
26
e Ie
T A B
V V V V
3
P
V
3
V
3
V
3
}
x
V
2
V
3
V
3
V V V V V V V V V V V V }
3 x
H
5
H
7
P
2 7
H
3
H
5
P
0
H
1
H
e Ie
T A B
V V
3 3
l V k } V V } V V V
x x 3 3 5 5 5 5
l Vd k V V V V V
3 3 5 5 5 5
V V
7 5
gV V V V
6 5
fV V
5 5
V V V V
5 5
E Middle section riff 2
e 27 Ie
T A B
V V V V
12 12 10 12
V
13
V l V l }
12 12 x
V
12
V V V V V V V l V V V V V V V V
12 12 12 10 12 10 11 10 12 13 10 11 13 10 10
[3:39]
1.
28
e Ie
T A B
V V V V
12 12 10 12
V
13
V l V l }
12 12 x
V
12
V l V V
12 12 12
V bP V V P V V P V V P V V z z z z
3 3 3
13
9
10
13
10
13
10
13
10
13
sl.
sl.
sl.
sl.

2.
Page 5 of 5
VVVVVVVVVVVV VVV W V } V V V V V V V V V V e V l l l 1 Ie 3 3 3 3 V
3 3
T A B
13 12 12 10 12 12 12 x
12 12 12 12
13 13 13 8 8 8 10 10 10
V V W V W kV k V V V VW W u u
11 10 10 10
sl.
G7sus4
11 11 11 6 6 6 11 11 11
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 ne over all of them) Db9 - Db lydian dominant Cm7, F7 - C dorian = F mixolydian Ab, Bb11 - Ab lydian = Bb mixolydian For the outro section, Bb mixolydian should work very nicely.
ERIC - MAIN THEMES

A Introduction
8 I6
T A B
Cmaj9
let ring
V V V V
3 2 4 3
D PR = 132 (P P CP P )
W
(3)
E maj7
V eV V eV
6 5 3 3
W
(3)
B Main theme 1
Cmaj9
5
I
T A B
V
5
V
(5)
V
8
E maj7
V eV
13 11
l V
10
V V V
8 10 8
[0:25] (8)
sl.
sl.
P V V V V Pz V V 9 I z
Cmaj9
V
12
V V V V
10 12 10 12
E maj7
sl.
sl.
sl.
sl.
sl.
eV
11
V
8
eV
4
T A B
12
15
12
15
12
14
17
13
13
13
e V l Pz V V V I
T A B
5 4
6
A maj7
sl.
sl.
A maj7/G
sl.
sl.
sl.
sl.
sl.
eV P V V V gV V l `Pz z
Fm7 Fm7/E 8 8
9
sl.
D9
` V
8
sl.
sl.
sl.
V eV V
(8) 9 6
V V eV V gV V e fV V
8 8 7 7 6 6 (6) (6)
sl.
11
11
sl.
sl.
sl.
sl.
sl.
Cm7
17
I j
T A B
e V V Pz V
8 10
sl. 10
F7
V gV V k V
8
sl.
B 13sus4
sl.
sl.
sl.
sl.
eV V V V V eV V V
4:3 4:3
16 13 13 8 8 4 4 5
B 11
eV V V
3 5
sl. sl.
sl.
V
3
sl.
12
sl. sl.
10
13 10
sl.
21
I V
T A B
sl.
Cmaj9
V
(4)
E maj7
sl.
sl.
sl.
Cmaj9
E maj7
ERIC - MAIN THEMES - Guthrie Govan
Page 2 of 5
C Main theme 2
Cmaj9
29
I
T A B
V
5
[1:31]
V P V V V z
3
P V z
6
E maj7
V eV
13 11
l V
10
V V V
8 10 8
5
sl.
(8)
sl.
sl.
sl.
sl.
I
T A B
V
5
V P V V V z
3
P V z
6
V
(8)
V eV
sl.
sl.
sl.
sl.
l V
10
V V V
8 10 8
5
sl.
13 11
sl.
sl.
sl.
sl.
sl.
sl.
sl.
sl.
P V V V V Pz V V 33 I z
Cmaj9
V
12
V V V V
10 12 10 12
E maj7
V `P V V V z
V P V V P V V eV eV z z
8
6
T A B
12 15 12
12 14
15 17 13
13 11 13 (13) 11
8 (8)
P V V V V I z
T A B
8
sl.
sl.
sl.
V V
8 10
sl.
sl.
sl.
sl.
sl.
sl.
sl.
sl.
sl. sl.
sl.
sl.
sl.
sl.
V
5
V V V V
3 5 3 5
V `P V V V z
6
4
e V bPR V V PR V V f V e V
8
6 sl.
12
10
(6)
4 8 (8)
sl. 6 sl.
8
sl.
sl.
sl.
sl.
sl.
sl.
sl.
sl. sl.
sl.
sl.
sl. sl.
e V l Pz V V V 37 I
T A B
5 4
6
A maj7
A maj7/G
Fm7/E` e V V gV V l `Pz Pz V V Fm7
D9
` V
8
V eV V
(8) 9 6
V eV
6
4:3 V eV V eV V V V V 4:3
8 8 6 6 4
11
11 9
3
sl.
5
sl.
sl.
eV V I e V V l Pz
T A B
6 5
7 sl.
V gV l Pz V Pz V V e V
10 8
10 12 10 12 10 8 sl. sl. sl. sl. sl.
sl. sl. sl. sl. sl.
sl.
sl. sl.
sl.
eV
6
V eV V
(6) 8
sl. sl.

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

Cmaj9 [2:47] 8va
55
I
T A B
sl.
E maj7
Cmaj9
E maj7
15
63 I j
A maj7
A maj7/G
Fm7
Fm7/E
D9
Cm7
F7
T A B
69 I j
B 11
` j
Cm7
F7
B 11
T A B
Page 5 of 5
F Bridge repeat
Bdim 8va
76
I
[3:44]
V
7
gV
16
V
3
7
V
10
V
7
V
10
V
16
V
3
10
V
13
V
10
V
7
V
16
Cm
V
3
7
V
10
V
7
V fV
8 15
V eV
3
8 11
V
8
V
11
T A B
sl.
sl.
sl.
sl.
Ddim 8va
77
I
T A B
V
19
V eV
3
13 16
V
13
V
16
V
19
V
3
16
V
19
V
16
V
13
V
19
V
3
13
V
16
V eV eV
13 11 18
V
3
11
V
15
V
11
V
15
13
sl.
sl.
sl.
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 3 3 3
19 16 13 19 13 16 13 16 19
3
16 19 16 15 20
3
15 19 15
16
22
16
19
16
19
22
19
22
19
16
22
16
sl.
sl.
sl.
sl.
sl.
sl.
79
I
T A B
sl.
` eV
A 8va
V
20
V
3
16
V
20
V
16
8va
eV
11
V
11
V
16
V
3
11
V
16
V
11
V
8
16
sl.
sl.
B 11 8va
80
I
T A B
` 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
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
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 t...

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 Ig4 4
T A B
Bm11
P = 130
gg 5 I
T A B
V fV V k bPz V u
9 10
Cmaj7
V V V V
5 7 3
P V z u
3
W
(5)
V V fV V V V
3
5 6 5 3 5
sl.
sl.
sl. sl. P
B Theme A
Bm11
g Ig
[0:15]
V V V
7 9 sl. 7
V V V V V V V V
11 9
sl.
V V V V V k V gV V f V gV k V
(6) 7 9 6 9 9 6 7 5 6 5
k V gV V f V gV V V V V f V gV V V
9 6 7 5 6 5 7 8 9 sl. 7 7 7
T A B
7 9 6 7 5 sl.
12
g I g V gV V V V
T A B
10 11 sl. 11 11
gV V V V V V V
7
sl.
V V V
7
sl.
V V V V V V V V
11 9
sl.
V V V V V V V V V k Pz u V V
(6) 7 9 6
8 10
9 9
7 9 7
7 7
sl.
9
sl.
1.
15
g Ig
T A B
Cmaj7
V
9
V
7
V
3
PP z
5 3 sl.
V V u
7 5
U U
(7) (5)
SLIDEY BOY - MAIN THEMES - Guthrie Govan
Page 2 of 3
17
gg W W I
T A B
2.
V V
(7) (5)
Y
5
V u
V V V V V V V V
5 7 3 5 7 3
V V gV V V V V f V V V f V gV V V f V
(3) 2 3 4 5 4 3 2 3 2 3 4 4 4 3
20
g Ig
T A B
C Theme B
[0:48]
k gV V V V V V V V V
3 2 2
H
V V e V f V V V gV f V V gV V V
(2) 0 1 2 0 2 1 0 0 1 2 0
k V gV f V V eV V V V V
4 2 2 3 2 5 1 2 0
23
g Ig
T A B
V eV fV V } } V
5 6 7 7 x x 5
V V
7
V
5
V
3
V V V V gV V V V f V
5 4 5 2 3 5 2 5 3
f V V l gV l } V f V V V k V V
5 (3) 5 3 x 4 2 4
sl.
26
g Ig
T A B
V
4
V
4
V fV
6 5
V
4
V fV
2 3
V
4
V
2
W
(2)
D Interlude (improv)
28
g Ig
T A B
Bm11
Cmaj7
3x
[1:03]
V V V V V
2 2 9 sl. 7 7
E Theme A repeat
32
gg V V V V V V V V V V I V V V V
[1:17]
Bm11
V V V V V k V gV V f V gV k V
(6) 7 9 6 9 9 6 7 5 6 5
k V gV V f V gV V V V f V g V V V V
9 6 7 5 6 5 7 8 9 sl. 7 7 7
T A B
7 7 7 7 9 sl. 7 11 9
sl.
7 9 6 7 5 sl.
SLIDEY BOY - MAIN THEMES - Guthrie Govan
Page 3 of 3
35
g I g V gV V V V
T A B
10 11 sl. Cmaj7 11 11
gV V V V V V V
7 9
sl.
V V V
7 9 sl. 7
V V V V V V V V
11 9
sl.
V V V V V V V V V V k Pz u V V V
(6) 7 9 6
8 10
9 9
7 9 6 7 5 sl.
8 10 8 7
7 9
9
sl. H P P
g V V V V 38 Ig
T A B
5 7 3
P V z u
3
U
(5)
V V V V V V V V
5 7 3 5 7 3
sl.
g 41 Ig V
T A B
P V V V fV V V V z u 3
3
Dmaj7
V V V V V V V Pz V
5 7 3 5 7 3
8 10
Em7
V gV f V V V V V V V V V V fV V
8 7 9 7 7 9 9 7 7 9 10 9
sl.
3 7
(10) 9
sl.
sl.
sl.
44
g Ig
T A B
Fmaj7
fV
10
V u
9
V
10
V u
(10)
fV
10
V
8
fV
3
8
gV
11
g 46 Ig7 4
[1:43]
F Solo over chords...

F/E D/C F/E
D/C
Bm11
T A B
gg 50 I
T A B
F/E
D/C
F/E
Em7
Dmaj7
gg C/F 54 I
T A B
E 6add9
D6
C13 11
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 signicant 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
g 4 V V V V V V V V V V eV V fV I 4 V fV V
T A B
G7 8va 15 12 15 17 15 12 15 15 12 12 15 15 12 12 15 12
G7 8va
P = 160
C7
V V f V gV V V V V V e V V V V V V eV
14 12 15 13 12 13 14 15 12 13 15 12 14 15 12 13
g 3 I
T A B
V V V V V V V V V V V eV fV V V V
12 14 12 14 15 16 15 17 15 19 15 17 15 17 15
V eV fV V fV V V V V V V V fV V V eV
22 18 19 20 18 20 15 18 16 15 17 16 15 17 12 13
14
g 5 V V eV fV I V V eV V V V eV fV V V V eV
T A B
14 12 15 13 14 12 13 14 12 14 14 12 15 13 13 14
C7 8va
V V eV fV V eV V V V eV V V V V fV V
17 15 17 15 16 17 17 15 16 17 16 17 20 18 19 20
g V V fV V V V V 7 I V V V V V V eV f V V
T A B
19 17 18 17 21 17 19 17 19 17 19 20 21 19 21 20
G7 8va
gV V V V V V V V gV V V V V gV V V
21 19 22 19 16 17 19 16 13 14 17 14 15 16 14 15
E7
V gV V V V f V gV V g V 9 I gV V V V V V gV
T A B
16 14 17 14 16 17 18 17 20 17 21 17 20 17 18 19
A7 8va
D7
V V V fV gV V V V V V V V V g V V V
19 18 17 19 17 19 16 19 17 18 19 17 19 17
20 17
RHODE ISLAND SHRED - MAIN THEMES - Guthrie Govan
Page 2 of 3
A7 D7
11
gV V e V g V V fV V V V V I V f V V V gV V
T A B
19 17 18 17 16 17 15 17 19 18 16 19 17 16 19 18
G7 8va
E7
V V V V V gV V V V V f V V V V f V gV
17 15 17 15 12 14 14 12 11 14 13 12 15 12 13 14
B Theme 2 (delay at 281ms)
g V V V V V V 13 V V I
[0:18]
G7 8va
C7
G7
eV V V V V eV V V
15 14 12 12 14 13 12 12
V V V V V V V V
14 G7 12 14 12 14 12 15 12
V V V V V V V V
15 15 17 17 19 15 22 17
T A B
15
15
12
12 15
14
12
12
g eV V V fV V V V V 17 I
T A B
18 20 17 18 15 17 13 15
C7 8va
E7
V fV V V V eV V V
12 13 15 12 13 15 12 14
V V V V V V V V
12 12 14 14 12 12 14 15
gV V V V V V V gV
16 19 19 21 22 18 19
16
gV g 21 I V V gV V V V V
T A B
21 17 19 16 19 16 17 17
A7 8va
D7
V V V V V
15 C7 16 17 17 16
V
17
V V
G7
8va
V V V V V V gV V
15 19 19 21 22 19 21
E7
A7
D7
V V V V gV V V V
17 20 17 18 19 18 19 16
17 17 16
25
V V V g V V V V V V V V fV V V V V I
[0:36]
G7 8va
V V V V V V V V V V eV V V V fV V
G7
V V V V V V V V V V fV V V V V V
G7
V V V V e eV V V V fV V V VVgVV V
20 18 17 16 21 21 19 19 18 18 17 17 22 21 20 19
F7
T A B
19 17 17 20 20 18 18 20 18 18 21 19 21 21 19 22
17 20 18 18 18 20 21 21 19 19 19 21 21 22 20 22
19 17 17 20 20 18 18 20 18 18 21 19 21 21 19 22
29
g I
T A B
E7
Delay off
RHODE ISLAND SHRED - MAIN THEMES - Guthrie Govan
Page 3 of 3
E7 g 31 I
C Solo 1 over these chords...

A7 E7 A7
[0:45]
T A B
C7 g 39 I
D7
C7
D7
N.C.
T A B
49
g G7 I
[1:12]
D Solo 2 over chords...

C7 G7 C7 G7 E7
T A B
57
g A7 I
T A B
D7
N.C.
G7
E7
A7
D7
E Ending
64
g I
T A B
G7 8va
C7
[1:52]
V V V V V V V V V V eV V fV V fV V
15 17 15 12 15 15 12 12 15 15 12 12 15 12
b V f V gV V gV V V gV gV V e V V V gV V V
C dim7 12 15 13 12 13 14 15 18 15 17 18 15 12 14 11
3x
15 12
14
D7 j _ g k j 66 I V v
G` c7 G7 k _ _
T A B
12
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 ll 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 ) 9 gg 6 Bm j j 1 I 8
A Introduction
B add9
Bm9
B add9
T A B
B Theme 1
gg V V I V
[0:15]
Full
Bm9
B add9
V fV V
3
Bm9
V V V fV V V O
1/2
V V V V V V V
Full
B add9
V fV V M
3
V O
release bend in steps
MO
Full Full
M MO
4 4
Full
release bend in steps
V V V k u 2 2 M OM
5 5
T A B
5 (5)
(5)
3 (3)
(4)
5 (5)
(5)
*play 5th fret while holding 4th fret bend
g Ig V V V Full M
T A B
4 4
Bm9
E 6add9
V V V O
(4) 4
A 13
V fV V
Full
` fV
*play 5th fret while holding 4th fret bend
Full 1
eV V u
4 5
G7
fV VV
2 4 3
fV fV u
6 1
C7sus4
V u
1
(5)
gg Bm9 13 I j
T A B
C Theme 1 repeat
B add9
Bm9
B add9
gg V V V 17 I
[0:55]
Full
Bm9
fV V
3
B add9
V V V fV V V O MO
1/2 Full
Bm9
V V V V fV V V V V V l
3
Full
B add9
V O
V f VV VV k k u
2 M
release bend Full in steps 1/2
T A B
11
12
(12)
13 (13)
(13)
12
10 (10)
Full Full
M M
release bend Full in steps
11
12
(12)
10 12
12 12
13 (13)
(13)
13 (13) 13 17 (17)
sl.
HANGOVER - MAIN THEMES - Guthrie Govan
Page 2 of 3
gg V V V 21 I Full M
T A B
11 12
Bm9
V V V O
(12) 11
sl.
E 6add9
V fV V
Full
A 13
` fV
12
13
(13)
V V u 1M 1/2 Full M O 13 (13) 13 j
VV f V V f V
G7
1
14 16
18
13
gg Bm9 25 I j
T A B
B add9
Bm9
B add9
D Theme 2
29
g I g fV
T A B
8
C/F
V
7
[1:35] Twangy part (quite low in the mix)
c V
8
D/E
Cmaj7
Bm7
V
7
V
5
c V
7
fV
5
V
7
V V
5 7
V
4
c V V
4 5
c V
2
C/F
D/E
Cmaj7
Cm11
33
g I g fV
T A B
3
c V V
2 0
c fV
3
V
2
c V V
4 0
c V
2
fV
3
V e f ef V V V fV
1 1 3 1 3
VV V V V
Bm9 g g 37 I j
B add9
Bm9
B add9
T A B
g 41 Ig
T A B
E Solos over these chords...

Bm9
B add9
Bm9
B add9
Bm9
E 6add9
A 13
` j
G7
Cm11
3x
[2:02]
HANGOVER - MAIN THEMES - Guthrie Govan F Theme 2 repeat
Page 3 of 3
49
g fV Ig
[3:35]
C/F 8va
D/E
Cmaj7
V V V fV
Full Full
V
Full
V M
Full
M MO
13 D/E
V u
15
V
Full
V V M O
Bm7
V V V V
Full Full
T A B
18
15 (15)
17
(17)
17
17
(17)
17
M MO
15
17 (17)
C/F 8va
Cmaj7
Cm11
53
g fV Ig
T A B
18
V M
V V V V V V V V
Full Full Full
V
Full
V M
} }
} }
Full
M M M
17 17
Full
(18)
17
15
MO
15 14
17
17
(17)
x x

Erotic Cakes Guthrie Govan Transcriptions

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Erotic Cakes Guthrie Govan Transcriptions

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Erotic Cakes - The Backing Tracks

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WAVES - MAIN THEMES

B Solo 1 over these chords...

WAVES - MAIN THEMES - Guthrie Govan

C Solo 2 over these chords...

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

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EROTIC CAKES - MAIN THEMES

EROTIC CAKES - MAIN THEMES - Guthrie Govan

C Solo over these chords...

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EROTIC CAKES - MAIN THEMES - Guthrie Govan

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Wonderful Slippery Thing

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WONDERFUL SLIPPERY THING - MAIN THEMES

B Solo 1 over these chords...

WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan

E Solo 2 over these chords...

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WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan

F Altered melody section

H Final melody & ending

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WONDERFUL SLIPPERY THING - MAIN THEMES - Guthrie Govan

Gmaj7 Fb7`9 3 c j V V V V V V V V u3 u 3 3 Full MO 7

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NER NER - MAIN THEMES

` 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

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NER NER - MAIN THEMES - Guthrie Govan

F Solo 3 over these chords...

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NER NER - MAIN THEMES - Guthrie Govan

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FIVES - MAIN THEMES

FIVES - MAIN THEMES - Guthrie Govan

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FIVES - MAIN THEMES - Guthrie Govan

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FIVES - MAIN THEMES - Guthrie Govan

D Solos over these chords...

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D`maj7b11 8va 8va e V V V eV k V V V V V V V V 67 eV v V V V V I

FIVES - MAIN THEMES - Guthrie Govan

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A Verse 1 - unison guitars

(4) (4) 2 P B11

B Verse 2 - harmony guitars

UNCLE SKUNK - Guthrie Govan

C Chorus 1 (whammy pedal)

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

sl. sl. /----------------------------------------------\

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