Guthrie Govan
Along The Tracks
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MERCH AVAILABLE BY: GUTHRIE GOVAN JACK THAMMARAT DANIELE GOTTARDO ALEX HUTCHINGS HEDRAS RAMOS
G U T H R I E G O VA N - A L O N G T H E T R A C K S 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 isn’t 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 you’ll 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 don’t 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, he’s adding chromatic notes in between the main scale notes. The first 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 five notes along the same string by quickly shifting position in mid-flow. Watch the video carefully to see how he does this, or just find an efficient route through the notes that works for you and practise until you can make the position shift without thinking about it. Bars 25-48
There’s a cool A7 arpeggio shape over the first three beats of bar 33... learn it, because you’re 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, you’ll hear that there’s a well-defined melodic contour. This is partly down to Guthrie’s 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 fingering and string-skipping. Guthrie then moves the pattern up, fret by fret... it’s 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 fingers) and the major pentatonic to create a more country-ish sound. In bar 107, we see the A7 arpeggio shape that we first encountered in bar 33. Use your middle finger to pluck the open E string in bars 110-112. Another cool arpeggio shape can be found at the beginning of bar 113... the first four notes imply C9 (C E G Bb D) and the F# is the #11.
GUTHRIE GOVAN - ALONG THE TRACKS Guthrie plays over the jam track from Jambusters 1 Level: Advanced
Written by jamtrackcentral.com
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Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
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