Vm Brush Tab

GUTHRIE GOVAN ‘A BRUSH WITH BASIL’

JAM TRACK CENTRAL ARTIST MERCH At last you can get merchandise from your favourite Jam Track Central artists, including loads of tasty t-shirts and Guthrie Govan’s Erotic Cakes CD

MERCH AVAILABLE BY: GUTHRIE GOVAN JACK THAMMARAT DANIELE GOTTARDO ALEX HUTCHINGS HEDRAS RAMOS

A BRUSH WITH BASIL As recorded by jamtrackcentral.com x

b

(From the 2011 Album GUTHRIE GOVAN'S VINTAGE MODERN)

E7 9

x 6 fr. x

A5

D Pb = 240 (P P CP PR ) (E7 9) g g }U 1 I g 44 U 3 3

T A B

xx

x

C7

x x 2 fr. x

D7

x x 4 fr. x

b

D 7 5 fr. E7 6 fr. A7 11 fr. xx xx xx x x

UU

(A)

U

V

fV

(3) (3)

5

(5)

3

P V z 5

sl.

5

gg Ig W T A B

R bP f W

fW

7

5

6

3

sl.

9

gg Ig

U

U

5 sl.

(5)

x x x

5 sl.

sl.

A5

ggg j 11 I

V u j

8va

V

W

V

M

P V z

V

V M

1/2

(14)

15

O

V u j

fV

M

Full 1/2

14

T A B

5

}} }

U

T A B

3

sl.

fW

5

fV

M

1/4

(15)

fV V V V V fV u

1/4

15

15

M

1/4 1/2

13

12

O

14 12 14 10 sl. sl.

ggg 15 I W

V V j

fV M

12

15 sl.

V V V MO

1/4

T A B

j

V fV V fV M

3

Full

7 7

3

V fV V V

1/4

9 (9) 7 sl.

7 5

7

5

P

BluesJamTracks Ltd 2011 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

7 5 P

7

7

R 3 P V fV V

7

5 3 sl. P

5

A BRUSH WITH BASIL - jamtrackcentral.com

Page 2 of 5

C7

19

gg I g fV T A B

c f V V PR e V V V

V

V

V

V

8va

V

fV

V V V fV V V

c f V V PR V fV V

V

M

1/2

10 3

5

7

5

5

7

sl.

D7 8va

gg W 23 Ig

8

(8)

10

10

8

7

8

sl.

V

P fV z u

7

5

7

5

sl. P

P

V j u

8va

E7 9

P fV z

P V z

V

V

b V j u

9

8va

(5)

5

17 13

(13)

sl.

15

15 17

sl.

17 20

sl.

17

ggg V I T A B

fV

V V V V Full M

(19)

0

3

0

0

M

19

19

O

0

4

5

17

(19) 17 19

17

19 17

sl.

f V V V gV V V V V 1/2 M 3

sl.

Full 1/2

A5

27

10 17

V fV V V V V V }V

Full

T A B

8

sl.

P V z

M

9

8

0

0

0

f V gV V gV V f V f V gV

3

4

5

6

7

5

8

9

fV V V f V gV V gV V

7

9

6

10

7

8

9 10

sl.

31

g g V V V fV V V V V Ig T A B

11 9

11 10 9

7

9

7

V fV V V V V f V gV

V V V gV V

7

2

10 9

7

0

2

3

4

f V gV 5

4

5

6

7

V

6

f V V V V V V gV V 5

4

7

7

4

5

7

6

7

3 f V V gV V gV f V V f V e V V V f V 3 e V V 3 f V g g V V V V g V f V V fV eV V V 35 I g fV eV V fV fV V V V V fV V eV fV 3 3 3 C7

3

3

T A B

5

8 7 5

8 7 5 7 8

5 7 8 9

7 9

7 8 10 11

8 10 11

12 11 10 9 8

11

10 9 8

sl.

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

9

8 7 6 5

8 7 6

M

Full

A BRUSH WITH BASIL - jamtrackcentral.com

39

ggg I fV T A B

Page 3 of 5

V V gV V V V V f V e V V V f V V VV gV V f V

5

5

6

7

5

7

5

5

8

7 P

W g g 43 Ig W

A5

fW

V

1

1/2

17

6 P

5

13

7

5 5

6

7

8

9

D7

7

9

V V f V gV V V V V

7 9

7

9 10

11

9 11

9 11 9

10 11

P

V V V

V

M

1

T A B

b E7 V V V V V V V fV

D7

f VV WW u

V

VV

gV f V f V V f V u

1

(13)

14

14

(12)

14

12

14

(12) (14)

13 12 10

P

12 10

sl.

ggg 47 I fW

8va

VV

WW

V V gV V W

VV V

V V V fV V V V V V V V 3 fV fV 3

M

3

1 1/2 1

T A B

10

12

(10) (12)

12

18

15 16 17

17 15 14

sl.

ggg e W 51 I

W

C7

bP f V z

fV V u

P

eV

V fV

V

17 16 14 17 16 17 16 14 12

P

P P

fV V V V

P H P sl. P

fV V V fV V fV

V M

Full 1 1/2

T A B

11

8

7

10

5

7

sl.

ggg V V k } k V R I u V aP V 1/2 M T A B

4

x

2

4

3

2

8

b k

MO

Full

3

(3)

3 (3) 1

8

sl.

D7

55

5

8 10 3

15

sl.

P

2

0 P

3 k Vc V V k c 3 } V V V gV V }V V V V V gV V 1/2 1/2 1/2 M M O M O

E7 9

V V V V V } gV V (2) 0

2

0

0

x

1

2

5

7

6

7

7

sl.

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

(7)

0

6

7

5 (5)

7

A BRUSH WITH BASIL - jamtrackcentral.com

Page 4 of 5

A5

c 3 ggg k 59 I gV V V V V V V V 1/2 M O T A B

6

7 7

5

7 (7)

7

k fV V u 1/4 M

0

6

5

7

V gV V V f V V f V gV

f V gV V f V V f V gV V

VV V V gV

8

8

9

10 13 14

9 10 11

15 16 17 16 15 14 13 14

7 P

63

ggg V f V V gV f V V V V I

V f V V V V V gV V V f V gV f V

f V gV V V W

3

M

T A B

14 12

14 13 12

14

12 11

P

66

11

10 11 P

11

11

sl.

7

5 P

6

7

8

7

H H

8 H

7 P

5 P

7

P

P

sl.

9 sl.

8

7

5

3

5

3

sl.

3

1 sl.

H

5

P

5

3

sl.

8

7 sl.

8 sl.

7 P

P

H

P

c fV

R Vc P V

R Vc P fV

V PR f V V V PR e V

H

V V V V 1/2 M O

8

7

sl.

(7) (7)

sl.

7

P

7 10 9 8 7 10 9 7 9 P

P

sl. P P

P

V

5

7 sl.

3 g g V V V V fV V V g f V 72 V V V I

T A B

5

8

H

8

7 5 sl. sl.

10 sl.

sl.

D7

ggg 69 I fW T A B

5

sl.

9

C7

3

5

(11) 12 11 12 11

H

gg I g f V V f V gV V V e V V V V f V f V V V V T A B

3

O

1/2

9

3

fV eV V V V V fV V 1/2 M O

V V V V V V fV V V V

10

5

7

8

7

7

(7) (7)

sl.

7

7

P

b

V V V }V V V fV V V V eV fV V 3 3 1/2 M 3

7 8 9 8 7

14

P sl.

12 15 12

P

15

9

7

3

9

7

10

sl.

E7 9 8va

H H P

3

12 14 15

H H

9 P

7

9

P

V V V V V V V } V V gV f V V V 3

3

12

15 14 12 14 15 17

P

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

sl. H H

15

3

17 16 15 17

P

P

15

A BRUSH WITH BASIL - jamtrackcentral.com A5 8va

75

ggg V I

baPP VV z

WW

Page 5 of 5

V f V gV V V f V f V

W

M

W

1/4

T A B

3 4

(17)

5

3

(5)

4 5 4 3

H

ggg 79 I T A B

2

0

0

3

3

4

4

4

2

P

0

5

0

6

0

7

0

4

8

2 3

P

8

9

8

9

8

7

10 11

9

12

3

9 10 11 12 11 10 9

10

11 10 8

VV

9

V f V f V V V V f V gV

10

7

10

10 7

10 9

8

fV

V

6

10

7

P

7

6

8

5

sl.

D7

3 V fV V fV fV V V fV V V V fV

V V

M O

7

b c V V sl.

3

8 7

(7) 5

7

5

5

7

7

6

b E7 V V V V f V V V V g g 91 Ig

5

7

P

D7

5

3

5

V

3

0

4

5

5

5

6

5

7

7

5

7

E7

f VV VV V V V V f V gV

V V gV

0

5

6

7

5

6

7

8 9

8 9

H

V gV

7

9

b E7 V V V f V gV V V f V

D7

f V V VV gV f VV

5

P

D7

sl.

D7

11

V f V gV V V V f V V

V gV f V e V V V

Full

8

8

sl.

8 10

ggg f V I T A B

4

3

sl.

sl.

87

M

1/4

V V gV V V f V V f V e V V f V V gV f V f V gV V f V V 3

C7

T A B

c V

0

4 2 0 P

sl.

f V gV f V g f V g f V gV V f V 83 Ig

M

1/2

5

V f V f V V gV V V gV

eV f V gV f V V

V

V

H P

c fV V V V V V fV 3

sl.

D7

M

1/4

10

T A B

9

10

9

P

ggg 94 I

V

8

7

10

9

P

V

8va

V

8

7 8

7

V

V eV

7 8 14

P

V

9

13

H

V

V

3

12 P

V fV 3

j

3

T A B

18

16

19

17

16

19

18

17

16

17

19

12

15

16 sl.

A7

V

14

17

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

14

16

17 sl.

GUTHRIE GOVAN Welcome to this new collection of jamtrack goodies! If you’re familiar with any of my previous Jamtrack Central packages, this one may well strike you as somewhat unusual. Stylistically, it features some stuff which is pretty far removed from the fast-chromatic-madness-over-a-bluesbacking theme which characterised many of my previous collaborations with the JTC guys... Fear not: this was entirely intentional. Here’s hoping you’ll have some fun with the diversity of these three new tracks! My guitar part on A Brush With Basil drew on two basic inspirations. For the more overdriven parts, I was trying to channel the sound of a blues harmonica player, by mixing up a touch of slide playing and copious whammy bar manipulation: this kind of playing seems to sound the most convincing when you pile on plenty of overdrive and roll the tone knob down on the guitar, aiming for the thickest tone you can muster. You’ll also hear some lightly overdriven country-esque noodlings thrown into the mix: I think these sections have a tiny hint of a Steve Morse vibe about them, which is surely a good thing! Les Is More, as you may well have deduced from the cheeky title bestowed upon it by Jan, was originally intended to be a tip of the hat to that veritable Da Vinci of the electric guitar world, Lester Polfus - a.k.a. Les Paul. For some reason, the finished product ended up evoking Brian May and Les Paul in equal measure particularly towards the end: seems like it’s practically impossible to come up with any kind of harmony guitar piece without reminding the listener of those two guys! Given the profusion of guitar overdubs on Les Is More, the track offers a great opportunity for you to unleash your creative side. I think it can be interesting to deconstruct a multi-tracked piece like this to see how it works - hence the inclusion of all the “stems” - and in play-along terms you could learn Solo 1 and/or solo 2. Alternatively - and I’m always in favour of this tactic! - you could ignore what I played entirely and come up with a new approach of your own, using the transcriptions merely as a source of ideas regarding suitable note choice. Tipsy Gypsy is, of course, my humble attempt to evoke a little of the gypsy jazz tradition. I don’t pretend to be a qualified practitioner of this style - check out some of the real exponents of manouche jazz, with their moustaches and Maccaferris, and you’ll see what I mean! - but I’m quite pleased with the way the track turned out, anyhow: it seems to have a pleasingly cheeky, upbeat vibe about it! If you’re trying to coax a pseudo-Django tone from a conventional steel-string acoustic (as I did) your best bet is to pick hard, staying relatively close to the bridge. An ultra-heavy pick certainly helps, too! I think the most important thing with this kind of playing is to try to capture a sense of fun and energy - as is so often the case, trying to convey the appropriate attitude in your playing is just as important as getting the notes right. Enjoy! GG

Bonus Theory and Technique A Brush With Basil The backing is pretty simple here... extended periods over a chunky A5 riff and then the ascending line of C7, D7 and E7 chords. Introduction (measures 1-10) Your most obvious choice for all A5 sections is the A minor pentatonic (A C D E G) and this is what Guthrie uses for the whole introduction (played with a slide). Part 1 (measures 11-26) He continues to use the A minor pentatonic during measures 11-18, using a variety of bends to imitate the slide guitar in the previous section (both styles imitating the sound of a blues harmonica, as Guthrie explained in his notes). When the ascending 7th chords come around, Guthrie uses two approaches. Sometimes he works around the chord tones (C7 = C E G Bb, D7 = D F# A C) and other times he uses the Mixolydian mode. C Mixolydian is C D E F G A Bb, while D Mixolydian is D E F# G A B C. For the E7 chords, he often switches back to the A minor pentatonic... this is what you’d often do in a 12-bar blues. Part 2 (measures 27-42) For the alternate-picked country sections, the main difference is that Guthrie starts using the A Mixolydian (A B C# D E F# G) over the A5 chord, but he’s also using more chromatic notes overall. Try and pick out the scale notes from Guthrie’s licks, and you’ll see how he adds the chromatic notes (in between the scale notes) to create smooth flowing lines. Part 3 (measures 43-58) Back to the “harmonica” sound... Guthrie uses his whammy bar to glide into notes and create slide effects. Part 4 (measures 59-74) A feature of Guthrie’s playing is his ability to shift position very quickly, and this is evident in these chromatic licks. He’ll often play a line along a single string, using the same finger at each fret, smoothly shifting his hand to each position in time with the beat. For the sliding C Mixolydian pattern in measures 67-69, try using your picking hand to mute the other strings... you only want the A string to ring here! Part 5 (measures 75-95) There’s a cool dominant lick in this section, and to help you learn it, Guthrie plays it twice! He plays the first version (outlining A7) in measure 82, and then plays a variation (outlining E7) in measure 94. It’s essentially a 7th chord arpeggio with a lot of chromatic notes.