-
5/25/2018 Vm Brush Tab
1/10
A BRUSH WITH BASIL
GUTHRIE GOVAN
http://www.jamtrackcentral.com/
-
5/25/2018 Vm Brush Tab
2/10
http://twitter.com/#!/LaneyAmpshttp://www.myspace.com/117357022http://www.youtube.com/user/laneytvhttp://www.facebook.com/laneyamplificationhttp://www.laney.co.uk/http://www.laney.co.uk/http://youtu.be/F48N3HV3iGo
-
5/25/2018 Vm Brush Tab
3/10
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
http://www.jtcmerch.com/http://www.jtcmerch.com/http://www.jtcmerch.com/http://www.jtcmerch.com/http://www.jtcmerch.com/http://www.jtcmerch.com/jtc-recordshttp://www.jtcmerch.com/http://www.jtcmerch.com/http://www.jtcmerch.com/
-
5/25/2018 Vm Brush Tab
4/10
BluesJamTracks Ltd 2011Generated using the Power Tab Editor by
Brad Larsen. http://powertab.guitarnetwork.org
A BRUSH WITH BASILAs recorded by jamtrackcentral.com(From the
2011 Album GUTHRIE GOVAN'S VINTAGE MODERN)
E7b9 6 fr.x x
A5x xx
C7 2 fr.x xxD7 4 fr.x xx
Db7 5 fr.x xx
E7 6 fr.x xxA7 11 fr.x xx
I1TAB
ggg44P = 240 (P PCP DP
R)(E7b9)U
3
U
3
} U
sl.
(3
)
U
(3
)
(A)U
5
V
(5)
V
3
f P
sl.
5
z V
3
V
5
f
I5
TAB
ggg W
7
W
5
f P
sl.
6
Rb W
5
f W
3
f U
sl.
5
U
(5)
I9
TAB
ggg
Usl.
5
}
sl.
x
}
x
}
x
I11
TAB
gggA5
j V
M1/2
14
8va
W V
(14)
P
1/2
O15
z V V
MFull
(15)
V V
M1/4
15
u j V
15
u j V
M1/4
13
f V
1/2
O12
f V V
sl.
14
V
sl.
12
V
14
uV
M1/4
10
f
I15
TAB
ggg W
sl.
12
V
M1/4
15
f V
7
V
7
j j V
MFull
O9
V
sl.
(9
)
V
7
V
P
7
V
5
f V
7
3
V
M1/45
f V
P
7
V
5
f V
7
3
V
7
P
sl.
7
R V
P
5
V
3
f V
5
3
http://www.jtcmerch.com/jtc-records
-
5/25/2018 Vm Brush Tab
5/10
A BRUSH WITH BASIL - jamtrackcentral.com Page 2 of 5
Generated using the Power Tab Editor by Brad Larsen.
http://powertab.guitarnetwork.org
I19
TAB
gggC7
V
3
f V
sl.
5
c V
7
V
5
f V
7
P
sl.
5
RV
8
e V
(8)
V
10
V
8
V
M1/210
V
10
V
8
f V
7
V
sl.
9
V
P
7
V
5
f V
P
7
V
5
V
(5)
V
sl.
5
c8va
f V
9
V
8
f V
8
P
sl.
10
RV
MFull17
I23
TAB
ggg D7
W8va V P
sl.
17
zV
13
u
f V
sl.
(13
)
V
15
P
sl.
15
zV
17
P
sl.
17
zV
20
f E7b9
V
17
uj V
MFull19
u8va
j P
1/2
O19
z8va
V V
(19)
V
17
f V
MFull19
VV
17
V
17
V
19
V
17
}
I27
TAB
ggg A5V
(19)
V
MFull
3
f VV
0
V
0
V
0
V
M1/2
3
f VV
0
V
sl.
4
g V
5
V
0
V
0
V
0
V
3
f V
4
g V
5
V
6
g V
7
V
5
f V
8
f V
9
g V
7
V
9
V
10
f V
6
g V
7
V
8
g V
9
V
10
f
I31
TAB
ggg V
11
V
9
V
11
V
10
f V
9
V7
V9
V7
V7
V10
f V9
V7
V0
V2
V3
f V4
g V2
V4
V5
V6
g V7
V
5
f V
6
g V
7
V
5
f V
4
V7
V4
V7
V
5
V
7
V
6
g
I35
TAB
gggC7
V
5
f V
8
e V
7
V
5
f V
8
f V
7
V
5
V
7
V
8
3 V
5
f V
7
V
sl.
8
3
e V
9
f V
7
V
9
3
V
7
V
8
f V
10
3
V
11
e V
8
f V
10
V
11
g V
12
V
11
g V
10
f V
9
V
8
3
f V
11
e V
10
V
9
V
8
3
f V
9
V
8
g V
7
f V
6
3
V
5
f V
8
e V
7
V
6
3
-
5/25/2018 Vm Brush Tab
6/10
A BRUSH WITH BASIL - jamtrackcentral.com Page 3 of 5
Generated using the Power Tab Editor by Brad Larsen.
http://powertab.guitarnetwork.org
I39
TAB
ggg V
5
f VV
5
V
6
g V
7
V
5
V
7
V
5
V
5
f V
P
8
e V
P
7
V
P
6
V
5
f V
7
V
5
V
5
V
6
g V
7
V
8
fD7
V
9
V
7
V
9
Db7V
7
V
9
V
7
E7
V
9
V
10
f V
11
V
9
V
11
V
9
V
9
V
11
V
10
f V
11
g
I43
TAB
gggA5W
P
17
W
(12)
1
W
M1/213
f
1
V
(13)
V
14
V
14
1
VV
14
V
14
V
12
Vu
f WW V
(12)
V
(14)
V
sl.
13
ug V
12
f V
10
f V
12
V
10
f
I47
TAB
ggg W
12
8va
f1
V
10
V W
(10)
W
(12)
VV V
sl.
12
V
18
V
15
V
16
g V
M1 1/217
W V
P
17
V
P
15
V
14
3
V
P
17
f V
P
16
V
14
3
V
P
17
V
H
16
V
P
17
V
sl.
16
V
P
14
V
12
f V
15
3
f
I51
TAB
ggg C7W
11
e
1 1/2
W P
sl.
8
zb V
7
f V
5
uf V V
7
V
sl.
5
f V
8
e V
10
V
8
V
8
f V
10
V
MFull
sl.
3
V
(3)
V
3
f V
MFull
O3
V
P
(3)
V
1
f V
P
2
V
0
f
I55
TAB
ggg D7
VM1/2
4
Vk }
x
ukV
2
V
4
P
sl.
3
Ra V
2
V
(2)
V
0
V
2
V
0
V
0
}
x
V
1
g V
2
E7b9kV
M1/2
5
} VV
7
V
6
g V
7
kV
M1/2
7
c V
O(7)
V V
0
3
V
6
g V
7
kV
M1/2
5
c} V
O(5)
VV
7
3
-
5/25/2018 Vm Brush Tab
7/10
A BRUSH WITH BASIL - jamtrackcentral.com Page 4 of 5
Generated using the Power Tab Editor by Brad Larsen.
http://powertab.guitarnetwork.org
I59
TAB
gggA5
V
6
g V
7
kV
M1/2
7
c V
O(7)
V V
0
3
V
6
V
7
kV
M1/4
5
uf V V
7
V
7
V
5
V
7
V
8
g V
9
V
8
f V
9
V
10
f V
11
g V
10
V
13
f V
14
g V
15
V
16
g V
17
V
16
V
15
f V
P
14
V
13
f V
14
g
I63
TAB
ggg V
14
V
12
f V
14
V
P
13
g V
12
f V
14
V
12
V
P
11
V
H
10
f V
11
g V
11
V
11
W
M1/2O11
V
sl.
(11
)
V
sl.
12
f V
H
11
V
P
12
V
P
11
3
V
sl.
9
V
sl.
8
g V
P
9
3
V
sl.
8
V
sl.
7
f V
P
8
g V
P
7
f
I66
TAB
ggg V
5
f V
P
7
V
H
5
f V
H
6
g V
7
V
5
V
8
3
e V
H
7
V
P
8
V
P
7
V
5
f V
8
f V
5
V
H
7
V
8
C7
V
7
P
sl.
5
R V
3
f VV
5
P
sl.
3
R V
H
1
e P
sl.
3
RV
P
5
cV
H
3
f P
sl.
5
RV
sl.
7
cV
sl.
5
V
sl.
10
cf
I69
TAB
ggg W
sl. sl.
8
f VM1/2
7
V
O
(7)
V
P
(7)
V
sl.
5
V
7
V
sl.
10
f V
8
e V
7
V
M1/2
7
V
O(7)
V
P
(7)
V
5
f V
7
3
D7
V
7
V
sl.
7
V
9
V
7
V
9
3 V
7
V
P
10
f V
P
9
V
7
V
9
3
I72
TAB
gggV
7
V
P
10
f V
P
9
V
7
V
9
3 V
7
V
Psl.
10
V
P
9
V
P
8
f V
7
V
9
E7b9V
H
7
8va
V
H
8
} V
P
9
V
P
8
V
7
f V
M1/2
sl.
14
V
12
3 V
P
15
V
12
V
15
3
e V
H
12
f V
H
14
V
15
3
V
12
V
P
15
V
14
3
V
sl.
12
V
H
14
V
H
15
V
17
V
15
} V
P
17
V
P
16
3
g V
15
f V
17
V
15
3
-
5/25/2018 Vm Brush Tab
8/10
A BRUSH WITH BASIL - jamtrackcentral.com Page 5 of 5
Generated using the Power Tab Editor by Brad Larsen.
http://powertab.guitarnetwork.org
I75
TAB
gggA5
V
(17)
8va P
3
P
H
4
zab VV
5
WW V
(5)
V
3
f V
H
4
g V
P
5
V
P
4
V
3
f V
M1/45
f W
2
WM1/2
4
V
0
f V
P
4
V
P
2
V
0
V
4
3 V
0
cV
M1/4
3
f V
2
c
I79
TAB
gggV
0
V
2
V
sl.
3
f V
4
g V
0
f V
3
e V
4
V
4
V
0
f V
5
f V
0
V
6
g V
0
V
7
V
sl.
8
g V
9
V
8
f V
9
V
8
g V
7
f V
sl.
10
f V
11
g V
9
V
12
f V
10
V
9
V
10
V
11
3
g V
12
V
11
V
10
3
f V
9
V
8
f V
11
3
e
I83
TAB
ggg C7V
8
f V
10
f V
8
f V
sl.
11
g V
P
10
f V
8
g V
9
V
10
f V
7
V
10
f V
10
f V
7
V
10
V
9
V
8
f V
sl.
6
g V
7
V
10
f V
7
V
6
g V
5
f V
sl.
8
e V
P
7
V
0
V
5
f V
6
g V
7
V
5
V
7
V
5
f V
7
V
5
I87
TAB
ggg V
8
f V
8
V
MFull
O7
V
P
(7)
V
5
f V
7
V
5
f V
7
3
V
5
f V
7
V
6
V
5
f V
sl.
7
V
5
3
V
3
f V
5
V
3
D7
V
5
Db7
V
4
c V
5
V
0
E7
V
5
V
6
g V
7
V
H
5
f V
6
g V
7
V
8
V
9
f V
8
V
9
V
sl.
7
V
9
I91
TAB
ggg
D7V
P
10
V
9
V
10
Db7V
P
9
V
8
f V
10
E7V
7
V
P
9
V
8
f V
7
V
7
V
H
8
V
9
g V
7
V
M1/48
f V
14
V
P
13
g
D7
V
12
V
14
V
12
Db7V
sl.
15
f V
16
g V
14
E7
V
16
V
sl.
17
f
I94
TAB
ggg V
sl.
18
V
16
V
19
8va
V
17
V16
3
V
19
V
18
e V
17
3
V16
V
17
V
19
3
f A7
V
17
j
-
5/25/2018 Vm Brush Tab
9/10
GUTHRIE GOVANWelcome to this new collection o jamtrack
goodies!
I youre amiliar with any o my previous Jamtrack Centralpackages,
this one may well strike you as somewhat un-usual. Stylistically,
it eatures some stuff which is pretty arremoved rom the
ast-chromatic-madness-over-a-blues-backing theme which
characterised many o my previouscollaborations with the JTC guys...
Fear not: this was en-tirely intentional. Heres hoping youll have
some un with
the diversity o these three new tracks!
My guitar part on A Brush With Basil drew on two basic
inspirations. For the more overdriven parts, I wastrying to channel
the sound o a blues harmonica player, by mixing up a touch o slide
playing and copiouswhammy bar manipulation: this kind o playing
seems to sound the most convincing when you pile on plentyo
overdrive and roll the tone knob down on the guitar, aiming or the
thickest tone you can muster. Youllalso hear some lightly
overdriven country-esque noodlings thrown into the mix: I think
these sections have atiny hint o a Steve Morse vibe about them,
which is surely a good thing!
Les Is More, as you may well have deduced rom the cheeky title
bestowed upon it by Jan, was originally
intended to be a tip o the hat to that veritable Da Vinci o the
electric guitar world, Lester Polus - a.k.a. LesPaul. For some
reason, the finished 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 o harmony
guitarpiece without reminding the listener o those two guys!
Given the prousion o guitar overdubs on Les Is More, the track
offers a great opportunity or you to unleashyour creative side. I
think it can be interesting to deconstruct a multi-tracked piece
like this to see how itworks - hence the inclusion o all the stems
- and in play-along terms you could learn Solo 1 and/or solo
2.Alternatively - and Im always in avour o this tactic! - you could
ignore what I played entirely and come upwith a new approach o your
own, using the transcriptions merely as a source o ideas regarding
suitable notechoice.
Tipsy Gypsy is, o course, my humble attempt to evoke a little o
the gypsy jazz tradition. I dont pretend tobe a qualified
practitioner o this style - check out some o the real exponents o
manouche jazz, with theirmoustaches and Maccaerris, and youll see
what I mean! - but Im quite pleased with the way the trackturned
out, anyhow: it seems to have a pleasingly cheeky, upbeat vibe
about it!
I youre trying to coax a pseudo-Django tone rom a conventional
steel-string acoustic (as I did) your bestbet is to pick hard,
staying relatively close to the bridge. An ultra-heavy pick
certainly helps, too! I think themost important thing with this
kind o playing is to try to capture a sense o un and energy - as is
so ofenthe case, trying to convey the appropriate attitude in your
playing is just as important as getting the notes
right.
Enjoy!GG
http://www.jamtrackcentral.com/
-
5/25/2018 Vm Brush Tab
10/10
Bonus Theory and Technique
Te backing is pretty simple here... extended periods over a
chunky A5 riff and then the ascending lineo C7, D7 and E7
chords.
Introduction (measures 1-10)
Your most obvious choice or all A5 sections is the A minor
pentatonic (A C D E G) and this is whatGuthrie uses or 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 o bends to
imitatethe slide guitar in the previous section (both styles
imitating the sound o a blues harmonica, asGuthrie 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 timeshe uses theMixolydian 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.
Part 2 (measures 27-42)For the alternate-picked country
sections, the main difference 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. ry and pickout the scale notes rom
Guthries licks, and youll see how he adds the chromatic notes (in
between thescale 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 eature o Guthries playing is his
ability to shif position very quickly, and this is evident in
thesechromatic licks. Hell ofen play a line along a single string,
using the same finger at each ret, smoothlyshifing his hand to each
position in time with the beat. For the sliding C Mixolydian
pattern in measures67-69, try using yourpicking hand to mute the
other strings... you only want the A string to ring here!
Part 5 (measures 75-95)
Teres a cool dominant lick in this section, and to help you
learn it, Guthrie plays it twice! He plays thefirst version
(outlining A7) in measure 82, and then plays a variation (outlining
E7) in measure 94. Itsessentially a 7th chord arpeggio with a lot o
chromatic notes.
A Brush With Basil
http://www.jamtrackcentral.com/
![CICADA - USENIX · 1 vm 2 vm 3 vm 4 vm 5vm 6 vm 7 vm 8 vm 9 vm 2 vm 3 vm 4 vm 5 vm 6 vm 7 vm 8 vm 9 vm 1 rigid application (similar to VOC [1]) vm 1 vm 2 vm 3 vm 4 vm 5vm 6 vm 7 vm](https://img.pdfslide.net/doc/110x75/5f3ade2be7477529602b0cb3/cicada-usenix-1-vm-2-vm-3-vm-4-vm-5vm-6-vm-7-vm-8-vm-9-vm-2-vm-3-vm-4-vm-5-vm.jpg)
