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GUTHRIE GOVAN ‘LES IS MORE’
GUTHRIE GOVAN ‘LES IS MORE’
GUTHRIE GOVAN ‘LES IS MORE’
GUTHRIE GOVAN ‘LES IS MORE’
GUTHRIE GOVAN ‘LES IS MORE’

GUTHRIE GOVAN

‘LES IS MORE’

Les is More - Harmony Parts

(in standard notation) jamtrackcentral.com Guthrie Govan's Vintage Modern

h = 254 d

Introduction

1 : D D D D4 4 1 : D D D D4 4 1
1
: D D D D4 4
1
: D D D D4 4
1
: D D D D4 4
1
: D D D D4 4
Harm 4
Harm 3
Harm 2
Harm 1

Verse 1

E A#dim7 E C#7 3 3 3 3 F#13 B9 E C#7b9/E# F#m9 B9#5 11
E
A#dim7
E
C#7
3
3
3
3
F#13
B9
E
C#7b9/E#
F#m9
B9#5
11
11
11
11
Harm 4
Harm 3
Harm 2
Harm 1
Harm 4
Harm 3
Harm 2
Harm 1

Verse 2

E6add9 A#dim7 u B 19 B B B B B B B B B B
E6add9
A#dim7
u
B
19
B
B
B
B
B
B
B B
B
B
B
B
B
B B B
B
B B
B
B
B
B
B
B
B
B
B
B
B
B
B B B
B
D
3
3
3
3
3
3
3
3
3
3
3
3
u
19
B
B
B
B
B
B
B
B
B
B
B B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
D
B
B
B
B
B
F
3
3
3
3
3
3
3
3
3
3
3
3
B
B
B
B
B
B
B
B
B
B B B
B
B B B
B
B B
B
B
B
B
B
B
B
B
B
F
B
D
B
B B
B
B B B
19
3
3
3
3
3
3
3
3
3
3
3
3
B
B
B
B
B
B
B B
B
B
B
B
B B
B
B
B
B
B
B
B
B
B
B
B
19
B
B
B B B
B
B
B
B B B
D
3
3
3
3
3
3
3
3
3
3
3
3
Harm 4
Harm 3
Harm 2
Harm 1

E

u B B B B B B B B B B B B B B
u
B
B
B
B
B
B
B
B
B
B
B B
B
B
B
B
B
B
B
B
B
B
B
22
B
B B B
B B B
B
B
B
B
B
B
D
3
3
3
3
3
3
3
3
3
3
3
3
u
22
B
B
B
B
B
B
B B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
D
F
B
B
B
B
B B
B
B B B
3
3
3
3
3
3
3
3
3
3
3
3
F
B
B
D
B
B
B
B
B
B
B
B
B
B
B
B B B
B
B
B
B B B
B
B B
B
B
B
B
B
B B
B
B B B
22
3
3
3
3
3
3
3
3
3
3
3
3
B
B
B
B
B
B
B
B
B
B
B B
B
22
B
B B B
B B B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
D
3
3
3
3
3
3
3
3
3
3
3
3
Harm 4
Harm 3
Harm 2
Harm 1
C#7 F#13 u B B B B FB B FB B B DA B FB
C#7
F#13
u
B
B
B
B
FB
B
FB
B
B
DA
B
FB
B
D
D
25
B
F
B
B
B
B
B B
B
B B
P
B
3
3
3
3
3
3
u
B
FB
B
B
B
B
B
F
B B
B A
D
B
25
B
B
B
B
B
B
B B
B
P
B
B B
3
3
3
3
3
3
B
B
FB
B
DB
B B
B
B
B
B B
B
B
B B
B
B
B
B
B
B
DB
B
F
F
25
P
P
3
3
3
3
3
3
B
FB
B
B
B
B
B
FB
D
B
B
DB
F
B
FB
B
DB
25
B
F
B
B
B B
B
B
B
D
B
P
P
3
3
3
3
3
3
Harm 4
Harm 3
Harm 2
Harm 1

B9

H B FB B B H Q D P B FB B 28 Q D
H
B FB
B
B
H
Q
D
P
B
FB
B
28
Q
D
B
B
A
B
B
A
u
B DB
B
A
B FB
D
B
H
B
28
Q
P
B
FB
Q
L
B
B
A
B
B FB
D
B
B
B
DB
B
B
A
B
B
A
Q
F
28
P
Q
L
L
B
B FB
D
B
D
B
B
B
28
B
Q
B
A
P
B
Q
B
A
L
L
E
C#7b9/E#
F#m7
A
u
B
B
F
B
B
FB
D
B
A
W
31
P
P
F=
W
A
B
B
B
B
B
A
D
B
W
F=
31
P
P
W
A
31
P
B
B
B
DB
B
B
A
P
W
=
W
A
31
P
P
F=
B
B FB
B
FB DB A
W
W
Harm 4
Harm 3
Harm 2
Harm 1
Harm 4
Harm 3
Harm 2
Harm 1

Middle section

C#7 D7 C#7 u B A B B F B D B 35 P B
C#7
D7
C#7
u
B
A
B
B
F
B
D
B
35
P
B
B
u
FA
B
B
D
B
B
FB
35
P
u
DA
B
B
B
F
D
B
F
B
C
35
P
u
FA
B
B
B
F
B
B
B
35
P
F#9
F9
F#9
Harm 4
Harm 3
Harm 2
Harm 1
3 DB 3 B 3 39 P P B B DB B DB B B
3
DB
3
B
3
39
P
P
B
B
DB
B DB B
B B B
B B B
B
3
B
B
B
B
B
B
D
39
P
P
B
B
B
B DB B B
3
3
B
B
u
B
B
B
B
DB
B B
B
D
39
P
P
B
B
B
B
D
3
3
3
D
B
B DB
B
B
B
B
u
B
B
B
B
D
B
B
39
P
P
B
3
3
3
Harm 4
Harm 3
Harm 2
Harm 1
B13 Bb13 B13 ZZZZZZZZZZZZZZZZZZZZZZZZZ A A 43 A ZZZZZZZZZZZZZZZZZZZZZZZZZ A A 43 A ZZZZZZZZZZZZZZZZZZZZZZZZZ
B13
Bb13
B13
ZZZZZZZZZZZZZZZZZZZZZZZZZ
A
A
43
A
ZZZZZZZZZZZZZZZZZZZZZZZZZ
A
A
43
A
ZZZZZZZZZZZZZZZZZZZZZZZZZ
A
A
A
43
ZZZZZZZZZZZZZZZZZZZZZZZZZ
A
A
A
43
E6add9
C#7b9/E#
F#m7
B13
Harm 4
Harm 3
Harm 2
Harm 1
47 = F= = = = = = = 47 = = = F= 47
47
=
F=
=
=
=
=
=
=
47
=
=
=
F=
47
=
F=
=
47
=
Harm 4
Harm 3
Harm 2
Harm 1

Verse 3

E6add9 A#dim7 51 = = = = = = = = 51 = = F=
E6add9
A#dim7
51
=
=
=
=
=
=
=
=
51
=
=
F=
=
51
=
=
=
=
51
Harm 4
Harm 3
Harm 2
Harm 1

Harm 1

Harm 2

Harm 3

Harm 4

Harm 1

Harm 2

Harm 3

Harm 4

Harm 1

Harm 2

Harm 3

Harm 4

 

E

C#7

 

55

55  
 
   

H

   

G

B

     
 

P

     

B

  P       B L P G B P L B =

L

P

P

GB P

L

B

  P       B L P G B P L B =

=

 

=

 

Q FB DB B

             
 
 
 

55

55    
   
 

=

 

H

   

F

F

G B

  =   H     F G B G B P G B =

G B P

G B P

G B

  =   H     F G B G B P G B =

=

                   
                   
 

P

       

L

P

L

   
 

Q FB DB B B

Q F B D B B B
     

55

=

P

Q

B B
B
B
 

B

B

55 = P Q B B   B B G B P L G B P

G B P

L

G B P L

G B P

L

B

55 = P Q B B   B B G B P L G B P

=

                   
 

L

  L   B G B P L  
 

B

  L   B G B P L  

GB P

L

 

55

55

=

Q FB

Q F B D B

D

B

 

B

B

L

B

=
=
 

P

L

  P L     P    
   

P

   
F#13 B9 H 59 Q DB B B B 59 Q L Q FB DB
F#13
B9
H
59
Q DB
B
B
B
59
Q
L
Q FB DB
59
L
B
B
59
Q
L
E
C#7b9/E#
F#m9
B9#5
ZZZZZZ
B
H
G
B A
63
P
Q DB
B
B P
B
B
B
D
B
B
L
L
ZZZZZZ
G B
Q B
B
B A
G B P
B
P
B
B
F
B
D
B
63
L
L
L
ZZZZZZ
G B
B A
Q FB
D
B
B
B
B
B
B
P
G B P
L
F
D
63
L
L
u
ZZZZZZ
B
B B
B
B
GB
GB P
B
D
63
P
Q B
B
A
L
L
L

Ending

E6add9 C#7b9/E# F#m9 B9#5 B B 67 Q B FB D B H B B
E6add9
C#7b9/E#
F#m9
B9#5
B
B
67
Q
B
FB
D
B
H
B
B Q
B
A
L
B
B
F
B
B
B
H
67
Q
B FB Q
B
A
L
B
FB
B
B
D
B
B
Q
B
B
A
67
Q
L
L
B
B
B
B
D
B
67
Q
B
F
B
Q
B
A
L
L
Harm 4
Harm 3
Harm 2
Harm 1
E6add9 C#7b9/E# F#m9 B9#5 B B A B B B Q GB B B B
E6add9
C#7b9/E#
F#m9
B9#5
B
B
A
B
B
B
Q GB
B
B
B
B
71
Q
L
L
B
A
B
B
B
Q GB
Q B
B
B
B
71
B
L
L
B
B
B
B
QGB L
A
71
Q B
FB H
B
B
B
B
B
B
Q GB
A
B
71
Q B
B
B
B
DB H
L
E6add9
Harm 4
Harm 3
Harm 2
Harm 1

u

ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ

= = = 75 ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ = = = 75
=
=
=
75
ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ
=
=
=
75
ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ
=
=
=
75
ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ
=
=
=
75
Harm 4
Harm 3
Harm 2
Harm 1
GUTHRIE GOVAN Welcome to this new collection of jamtrack goodies! If you’re familiar with any
GUTHRIE GOVAN Welcome to this new collection of jamtrack goodies! If you’re familiar with any
GUTHRIE GOVAN Welcome to this new collection of jamtrack goodies! If you’re familiar with any

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 un- usual. Stylistically, it features some stuff 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

tirely intentional. Here’s hoping you’ll have some fun with the diversity of these three new tracks!

Fear not: this was en-

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 par- ticularly 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 Les is More Although the lead and harmony parts interact to
Bonus Theory and Technique Les is More Although the lead and harmony parts interact to

Bonus Theory and Technique Les is More

Although the lead and harmony parts interact to create the overall sound, it’s easier if we deal with them separately

Lead Guitar Introduction (measures 1-2) Guthrie uses a mixture of 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 perfectly on the G#, fitting the E chord that follows

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

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

Harmony Instead of analysing every scale and chord tone, we thought we’d look at a few selected features

Measures 19-25 Some of these parts use big stretches, so be careful. With four guitars playing together, you can easily build up a dense harmonic effect, Guthrie combines the four 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 of this section, the four guitars create block chords, often moving chromatically up and down in parallel. For instance, over the F#13 in measure 27, the four notes are G# C# E G#.

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

C# F# A# C#. The

Measures 45-50 Although these block chords follow the underlying chord changes, Guthrie doesn’t just move all four parts in parallel. Notice how the parts often cross over each other, moving in both parallel and contrary motion.

Measures 68-70 Throughout this tune, the most common way Guthrie uses to arrange the four parts is to have the lowest and highest playing the same note (an octave apart) with the other two in the middle. Over the B9 chord, we have high and low D# notes (the major 3rd) with F# (5th) and B (root) in between.