This melodic solo consists of everything everything you would expect in a slower tempo tune. tune. It incorporates lots of short phrases, a heavy use of chord tones as well as vocalist style bends. But as usual per Guthrie’s Guthrie’s standards, he stretches beyond what might be customarily expected by throwing in some nice arpeggios and chromatic lines to offset and contrast with the smooth melodic passages. The first chromatic idea is played over over a Db major 7th chord. He starts by playing three descending chromatic notes on the G string then he skips stings and plays the same descending three note note chromatic pattern on the E string. He then plays the same three note pattern on the B string but this time proceeds the pattern with a single note on the 9th fret. Then Guthrie goes down an arpeggio pattern that could be somewhat difficult to discern exactly what he is doing because it ends up being a shape that most of us don’t typically play. But this is yet yet another way Guthrie brilliantly disguises simple arpeggios or licks. In this case he is running down a simple Db Major 7th arpeggio but he eliminates the Major 3rd from the pattern. He plays the Major 7th to the 5th to to the Root to the Major 7th to to the 5th. If you were to to throw in the Major 3rd in between the 5th 5th and the Root the arpeggio shape would suddenly become easily recognizable to most.
TAB
how he phrases by doubling up each note over the Bb11 chord while over the G7 chord he approaches the Major 3rd interval in both octaves of the G7 arpeggio with the Minor 3rd a half step below. Again proving ... Guthrie hardly ever opts for the typical way of playing things. Some might refer to this as creative genius!
LICK 16 As recorded by jamtrackcentral.com (From the 2014 Album GUTHRIE GOVAN'S 20 ESSENTIAL LICKS)
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