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A BRUSH WITH BASIL
GUTHRIE GOVAN
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
BluesJamTracks Ltd 2011
Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
A BRUSH WITH BASIL
As recorded by jamtrackcentral.com
(From the 2011 Album GUTHRIE GOVAN'S VINTAGE MODERN)
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j
GUTHRIE GOVAN
Welcome to this new collection of jamtrack goodies!
If youre familiar with any of my previous Jamtrack Central
packages, this one may well strike you as somewhat un-
usual. Stylistically, it features some stuf which is pretty far
removed from the fast-chromatic-madness-over-a-blues-
backing theme which characterised many of my previous
collaborations with the JTC guys... Fear not: this was en-
tirely intentional. Heres hoping youll 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. Youll
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 fnished product ended up evoking Brian May and Les Paul in equal measure par-
ticularly towards the end: seems like its 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 ofers 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 Im 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 dont pretend to
be a qualifed practitioner of this style - check out some of the real exponents of manouche jazz, with their
moustaches and Maccaferris, and youll see what I mean! - but Im quite pleased with the way the track
turned out, anyhow: it seems to have a pleasingly cheeky, upbeat vibe about it!
If youre 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 ofen
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
Te backing is pretty simple here... extended periods over a chunky A5 rif 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 ap-
proaches. 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 ofen switches back to the A minor pentatonic... this is what youd ofen do in a 12-bar blues.
For the alternate-picked country sections, the main diference is that Guthrie starts using the A Mixolyd-
ian (A B C# D E F# G) over the A5 chord, but hes also using more chromatic notes overall. Try and pick
out the scale notes from Guthries licks, and youll see how he adds the chromatic notes (in between the
scale notes) to create smooth fowing lines.
Back to the harmonica sound... Guthrie uses his whammy bar to glide into notes and create slide efects.
A feature of Guthries playing is his ability to shif position very quickly, and this is evident in these
chromatic licks. Hell ofen play a line along a single string, using the same fnger at each fret, smoothly
shifing 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!
Teres a cool dominant lick in this section, and to help you learn it, Guthrie plays it twice! He plays the
frst version (outlining A7) in measure 82, and then plays a variation (outlining E7) in measure 94. Its
essentially a 7th chord arpeggio with a lot of chromatic notes.
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