Guthrie Govan

Along Te Tracks

MERCH AVAILABLE BY:
GUTHRIE GOVAN
JACK THAMMARAT
DANIELE GOTTARDO
ALEX HUTCHINGS
HEDRAS RAMOS
At last you can get merchandise from your
favourite Jam Track Central artists, including loads
of tasty t-shirts and Guthrie Govans Erotic Cakes CD
JAM TRACK CENTRAL
ARTIST MERCH
General Notes
This is basically a double-length version of a 12-bar blues in E, so there are actually 24 bars to each chorus, which makes it a bit easier to follow
the chord changes at this fast tempo. The chord progression isnt quite the standard I-IV-V pattern... instead of the usual B7-A7-E7 turnaround
at the end, we have C7-B7-E7.
This is one of the most aggressive and intensive solos that Guthrie has recorded for jamtrackcentral, so youll probably want to pick your
favourite sections for practising, rather than trying to memorise the whole thing. Quite a few of the passages have extensive chromatic lines
and work because of the high speed, so dont be disappointed if you lose the thread of the melody line when practising at slow tempos.
Bars 1-24
Guthrie works from two main scales here... the E minor pentatonic (E G A B D) and the E major pentatonic (E F# G# B C#). The minor
pentatonic forms the framework of bars 1-5, and then you can see the major pentatonic in bar 13.
With a lot of licks, hes adding chromatic notes in between the main scale notes. The rst example of this is in bar 7, where he adds the D# on
the 16th fret, the note lying in between the D and E of the minor pentatonic.
When playing some of the longer chromatic lines (as in bars 14-15) Guthrie plays ve notes along the same string by quickly shifting position in
mid-ow. Watch the video carefully to see how he does this, or just nd an efcient route through the notes that works for you and practise until
you can make the position shift without thinking about it.
Bars 25-48
Theres a cool A7 arpeggio shape over the rst three beats of bar 33... learn it, because youre going to need it again later!
The chromatic passage in bars 34-35 looks random and meaningless on the Tab, but when you listen to the solo, youll hear that theres a
well-dened melodic contour. This is partly down to Guthries crisp, accurate picking so try to play this line as cleanly as possible.
Bars 49-72
The minor pentatonic lick in bar 53 is reminiscent of Paul Gilbert, using a mixture of stretched 3-note-per-string ngering and string-skipping.
Guthrie then moves the pattern up, fret by fret... its a purely chromatic pattern outside of the scale, but that sort of thing is great for adding
drama.
In bars 61-64 he plays a descending melody line on the B string, holding a static D note on the E string. The stretch from the 10th fret to the
17th fret is a large one, so take it carefully!
Even though uses the E pentatonic scales as the framework for a lot of this solo, he also plays lines that follow the chords. Notice how he
highlights C7 chord notes (C E G Bb) in bars 65-66 and then uses the B minor pentatonic (B D E F# A) and B major pentatonic (B C# D# F#
G#) in bars 67-68.
Bars 73-96
The dissonant Bb-A interval in bars 89-90 imply a C13 chord.
Bars 97-128
At the beginning of this chorus, Guthrie uses hybrid picking (pick and ngers) and the major pentatonic to create a more country-ish sound.
In bar 107, we see the A7 arpeggio shape that we rst encountered in bar 33. Use your middle nger to pluck the open E string in bars
110-112.
Another cool arpeggio shape can be found at the beginning of bar 113... the rst four notes imply C9 (C E G Bb D) and the F# is the #11.
GUTHRI E GOVAN - ALONG THE TRACKS
BluesJamTracks Ltd 2010
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GUTHRIE GOVAN - ALONG THE TRACKS
Guthrie plays over the jam track from Jambusters 1
Level: Advanced Written by jamtrackcentral.com
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