Harmony Dots GGovan

7/26/2019 Harmony Dots GGovan

1/12

LES IS MORE

GUTHRIE GOVAN
http://www.jamtrackcentral.com/


2/12
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3/12

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
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4/12

Les is More - Harmony Parts(in standard notation)

jamtrackcentral.com

Guthrie Govan's Vintage Modern

h = 254d

:DDDD44Introduction

Harm

1 1

:DDDD44Harm

2 1

:DDDD44Harm

3 1

:DDDD44Ha

rm

4 1

Verse 1

Harm

1 3E A#dim7 E C#7

Harm

2 3

Harm

3 3

Harm

4 3

Harm

1 11F#13 B9 E C#7b9/E# F#m9 B9#5

Ha

rm

2 11

Harm

3 11

Page 1/7

Harm

4 11


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7/12

Middle section

Harm

1 35

.C#7uB PD7 C#7

A B B .BF .BD .B

Harm

2 35

u

B P AF B B BD B BF

Harm

3 35

uBF P AD B C BF BD B

Harm

4 35

uB P AF B B B

BF B

Harm

1 39

F#9

B PF9 F#9

P BBB .BD BBB3

3 .B BBD BB .BD3

Harm

2 39 B P P BBD BB BBB3

3

B BBBBD B3

Harm

3 39B P P BD BBB BBB3

3

BD BBBBu BD3

Page 4/7

Harm

4 39BD P P BBBBD BBB

3 3

B BBD BBu B3


8/12

Harm

1 43

B13 Bb13 B13

A AZZZZZZZZZZZZZZZZZZZZZZZZZA

Harm

2 43


Harm

3 43


Harm

4 43A

A

ZZZZZZZZZZZZZZZZZZZZZZZZZA

Harm

1 47E6add9

= C#7b9/E#

=FF#m7

=B13

=Harm

2 47 = = = =

Harm

3 47

= = = =FHarm

4 47 = =F = =Verse 3

Harm

1 51E6add9

= =A#dim7

= =Harm

2 51

= = = =Harm

3 51= = =F =

Page 5/7

Harm

4 51 = = = =


9/12

Harm

1 55

E

= P QBF BD B .BH G

C#7B P GB P BL L =

Harm

2 55 = P QBF

BD BBH GBF P GB P GB

L L

=

Harm

3 55= P QBBBBL GB P GB P BL L =

Harm

4 55 = P QBF BD BBLB P GB P BL L =

Harm

1 59

F#13 B9

Q BD BH

Harm

2 59 Q B BL

Harm

3 59 Q BF BDL

Harm

4 59

Q B BL

Harm

1 63.E

B P QBD BH GC#7b9/E#

BP B AL LF#m9ZZZZZZ B9#5B BBBD B

H

arm

2 63GB

P QBBLGBP

B AL L

ZZZZZZ B BB B

F

BD

Harm

3 63

GB P QBF BDLGB P B AL L

ZZZZZZ B BB BF BD

Page 6/7

Harm

4 63GB P QBBL

GBP Bu

AL L

ZZZZZZ B BBBD B


10/12

Ending

Harm

1 67

E6add9 C#7b9/E# QBBF BDL

.F#m9B .B BBQ BH B9#5

AHarm

2 67 QBBBFL

B B B B

F Q

B

H

AHarm

3 67 QBBF BDL B B BBQBL A

Harm

4 67 QBB BDLB B B BF QBL A

Harm

1 71

E6add9 C#7b9/E#

Q .B BL .F#m9

B .B BBQGBLB9#5

A BBB

Harm

2 71 QB BL B B BBQGBL A BB

B

Harm

3 71 QB BF H

B B BBQGB

L

A BBB

Harm

4 71 QB BD H B B BBQGBL A BBB

Harm

1 75

E6add9

= =ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZu =

Harm

2 75

= =ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ=

Harm

3 75= =ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ=

Page 7/7

Harm

4 75 = =ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ=


11/12

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


12/12

Bonus Theory and Technique

Although the lead and harmony parts interact to create the overall sound, its easier i we deal with themseparately...

Lead GuitarIntroduction (measures 1-2)Guthrie uses a mixture o B Mixolydian (B C# D# E F# G# A) and some chromatic notes to outline a B7

chord. Notice how the line allows him to land perectly on the G#, fitting the E chord that ollows...

Verse 1 (measures 3-18)In keeping with the Swing sound, Guthrie bases a lot o his licks around the chords, instead o playinglong scale lines. Tis means you really have to learn which notes are ound in which chord!

Middle (measures 35-50)In measures 35-37 theres a great example o how you can blend chord tones with chromatic passing notes.Notice how all the long notes are taken rom the C#7 chord. Another example o the same approach isound over the B13 chord in measures 43-45 (the high G# note is the 13th which gives the chord its

name).

HarmonyInstead o analysing every scale and chord tone, we thought wed look at a ew selected eatures...

Measures 19-25Some o these parts use big stretches, so be careul. With our guitars playing together, you can easilybuild up a dense harmonic effect, Guthrie combines the our parts so that all chord notes are covered...E6add9 (E G# B C# F#), A#dim7 (A# C# E G) and C#7 (C# E# G# B). For the rest o this section, the ourguitars create block chords, ofen moving chromatically up and down in parallel. For instance, over theF#13 in measure 27, the our notes are G# C# E G#.

Measures 41-42Each part plays a sequenced F#7 arpeggio, but each one starting on adifferent note... C# F# A# C#. Teresulting sound is huge!

Measures 45-50Although these block chords ollow the underlying chord changes, Guthrie doesnt just move all ourparts in parallel. Notice how the parts ofen cross over each other, moving in both parallel and contrary

motion.

Measures 68-70Troughout this tune, the most common way Guthrie uses to arrange the our parts is to have the lowestand highest playing the same note (an octave apart) with the other two in the middle. Over the B9 chord,

Les is More

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