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The Cynical Sphere

Official Tablature Series

7. Textures
CYNIC - Focus

Guitar/Bass/Chapman Stick Tablature & Notation


Transcribed by: Jeff Litvak www.cynicalsphere.com

GUITAR TABLATURE: Gtr. I - Paul Masvidal (distortion) Gtr. II - Jason Gobel (distortion) Gtr. III - Paul Masvidal (clean tone) Gtr. IV - Jason Gobel (clean tone) Gtr. V - Paul Masvidal (distortion harmony) Gtr. VI - Jason Gobel (clean harmony) BASS TABLATURE: Gtr. I - Sean Malone (Stick transcribed for bass) Gtr. II - Sean Malone (fretless bass) CHAPMAN STICK TABLATURE: Gtr. I - Right Hand (melody) Gtr. II - Left Hand (bass)

TEXTURES
As recorded by Cynic
(From the 1993 Album FOCUS) Transcribed by Jeff Litvak (www.cynicalsphere.com)
Fmaj13 x A7/11 5 5 fr.

Music by Cynic Arranged by Cynic

G m 5 4 fr. E6/11 7 fr. G A C m7 9 fr. xx x x x x 10 fr. x x x 12 fr. x

bb

Amaj7 5 fr. x

C xxxx 7 fr.

Cmaj7 7 fr. B 13sus2 11 fr. B13sus2 11 fr. xxx x xx x xx

B5 7 fr. A11sus4 5 fr. xxx xx

F5 xxx

A5 5 fr. xxx

D5 10 fr. xxx

A Intro
N.C. TUNING: (E, A, D, G, B, E) P = 92 V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
* FADE IN * JASON PLAYS THIS PART IN LIVE VERSION

8 I9
Gtr IV

3x

mf
8

T A B

10 8

10

10 8

10

8 12 10

13

10 8

10

10 8

10

8 12 10

13

* CLEAN TONE PLAYED THROUGH A ROLAND GS-50 GUITAR-TO-MIDI CONVERTER WITH AN E-MU PROTEUS SOUND MODULE

I9 8
Gtr VI

V
p
0 13

V V V V V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0

V
0 13

V V V V V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10

3x

T A B

8 12 10

* HARMONY PLAYED AS A ROUND, TWO 16th NOTES BEHIND THE ORIGINAL - ALBUM VERSION ONLY

1993 The All Blacks BV Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

TEXTURES - Cynic B Rhythm A: (Pt. 1)


N.C.
3

Page 2 of 21

gg I
Gtr III

V
fff

V V V V V
3 5

V V V V V
3 5

V V V V V
2

V V V V V
3 5

V V V V V
3 5

V V V V V
3

Paul Masvidal - (Left Channel) 4 4 4 0 4 4 4 4 2 4 4 2 4 4 4

T A B

5 2

V V fV V V gg V f V V V V V V V V V V V V I
Gtr IV

* PLAY SECTIONS B, C, & D IN AN ARPEGGIATED FASHION - DO NOT HOLD DOWN CHORD SHAPES

fV V V V fV V V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10 0 13

mf
8

Jason Gobel - (Right Channel) 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10 0 13

T A B

g Ig V
Gtr VI

fV

V V V fV V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10

fV V
0 13

V V V fV V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10

p
0 13

T A B

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TEXTURES - Cynic

Page 3 of 21

g Ig
T A B

V
3

V V V V V
4 3 5 4 5

V
3

V V V V V
4 3 5 4 5

V
3

V V V V V
5 4 3 4 5

V
0

V V V V V
4 3 5 4 5

V
0

V V V V V
4 3 5 4 5

V
0

V V V V V
5 4 3 4 5

V V fV V V gg V f V V V V V V V V V V V V I
T A B
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10 0 13

fV V V V fV V V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10 0 13

g Ig V
T A B
0

fV
13

V V V fV V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10

fV V
0 13

V V V fV V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10

g Ig
T A B

V
2

V V V V V
4 2 5 4 5

V
2

V V V V V
4 2 5 4 5

V
2

V V V V V
5 4 2 4 5
sl.

V V V V V V V V V V V V V V V V V V
9 11 10 12 11 12 12 11 9 10 12 11 11 9 9 12 11 9

V fV V V V V V V V V V fV gg V V V V V V I
T A B
8 10 8 10 10 8 10 0 8 0 7 0 8 12 10 0 13

V
f

V V V V V
3 5

V V V V V
3 5

V V V V V
2

4 2
sl.

5 0

5 2

g Ig V
T A B
0

fV
13

V V V fV V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10

sl.
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TEXTURES - Cynic C Rhythm A: (Pt. 2)

Page 4 of 21

gg V V V V V V V V V V V V V V V V V V I
T A B
9 11 10 12 11 12 9 11 10 12 12 12 9 12 11 10 11 12

N.C.

V V V V V V V V V V V V V V V V V V
11 10 10 12 11 12 11 10 10 12 12 12 10 12 11 10 11 12

g Ig
T A B

V
2

V V V V V
4 3 5 4 5

V
2

V V V V V
4 3 5 4 5

V
2

V V V V V
5 4 3 4 5

V
3

V V V V V
4 3 5 4 5

V
3

V V V V V
4 3 5 4 5

V
3

V V V V V
5 4 3 4 5

11

gg V V V V V V V V V V V V V V V V V I V
T A B
11 12 10 12 11 12 11 12 10 12 12 12 12 12 11 10 11 12

V
9

V V V V V
11 10 12 11

V
9

V V V V V V
11 10 12 12 12 11

V
9

12

12
sl.

sl.

g Ig
T A B

V
0

V V V V V
4 3 5 4 5

V
0

V V V V V
4 3 5 4 5

V
0

V V V V V
5 4 3 4 5

V
2

V V V V V
4 2 5 3 4

V
2

V V V V V
4 2 5 3 4

V
2

V V V V V
5 4 2 3 4

D Rhythm A: (Pt. 3)

13

gg V V V V V V V V V V V V V V V V I V V
T A B
9 11 10 12 11 12 12 11 9 10 12 11 11 9 9 12 11 9

N.C.

V V V V V V V V V V V V V V V V V V
9 11 10 12 11 12 9 11 10 12 12 12 9 12 11 10 11 12

g Ig
T A B

V
2

V V V V V
4 3 5 4

V
0

V V V V V
4 3 5 4

V
2

V V V V V
4 2 3 4

V
2

V V V V V
let ring

V
2

V V V V V
let ring

V
2

V V V V V
let ring

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TEXTURES - Cynic

Page 5 of 21

gg V V V V V V V V V V V V V V V 15 I V V V
T A B
11 9 10 12 11 12 11 9 10 12 12 12 9 12 11 10 11 12

V V V V V V V V V V V V V V V V V V
11 10 10 12 11 12 11 10 10 12 12 12 10 12 11 10 11 12

gg I
T A B

V
2

V V V V V
let ring

V
2

V V V V V
let ring

V
2

V V V V V
let ring

V
3

V V V V V
let ring

V
3

V V V V V
let ring

V
3

V V V V V
let ring

17

gg V V V V V V V V V V V V V V V I V V V
T A B
11 10 10 12 11 12 11 10 10 12 12 12 10 12 11 10 11 12

V
12

V V V V V V V V V V V V V V V V V
11 12 9 11 12 11 12 12 9 11 12 12 12 11 12 11 12

g Ig
T A B

V
0

V V V V V
let ring

V
0

V V V V V
let ring

V
0

V V V V V
let ring

V V V V V V V V V V V V V V V V V V
let ring let ring let ring

4 0

4 5 0

4 5 0

19

g Ig
T A B

V
0

V V N V N [[[[[[
11 12 9

V
0

V V N V N [[[[[[
11 12 9

V
0

V V N V N [[[[[[
11 12 9

V
0

V V N V N [[[[[[
11 12 9

V
0

V V N V N [[[[[[
11 12 9

V
0

V V N V N [[[[[[[[[[
11 12 9

g Ig
T A B

V
0

V V N V N V V
let ring

V
0

V V N V N V V
let ring

V
0

V V N V N V V
let ring

V
0

V V N V N V V
let ring

V
0

V V N V N V V
let ring

V
0

V V N V N V V
let ring

2
H

2
H

2
H

2
H

2
H

2
H

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TEXTURES - Cynic

Page 6 of 21

P = 106 gg V V V V V V V V V V V V V V V V 4 V m 21 I V 4 V w
T A B
9 11 10 12 11 12 12 11 9 10 12 11 11 9 9 12 11 9 (9)

BREAK

g Ig
T A B

V
2

V V V V V
4 3 5 4 5

V
3

V V V V V
4 3 5 4 5

V
0

V V V 4 h V V N N N 4 Vm
BREAK

c V
3
sl.

3 5

(5)

E Lead 1: (Paul Masvidal)


N.C.

P = 132 k Vf V f VV

Fmaj13

23

ff 7 I 4
Gtr III

P = 127 A7/11b5 V V VVV V V f VV V V V V V V PP V V V z


10 10 10 10 101210
H

V V V V G17 K17 K12 K12 K

V V V V u

T A B

1213 1213

12 12

9 9
sl.

7 7

9 14 9 14 sl.

12 12

f If 7 4
Gtr IV

X V V V fV V V V V V V V PP V V V V eV z V V
fff
P.M. P.M. P.M. let ring

V V V fV V V V fV V V V V RV fV P
let ring

T A B
sl.

5 5 5 7

8 6 7

7 9 7 7 7 9 sl.

7 7

1 0 0 1 0

0 2 2
1 5 sl.

5 8 5 7

* DO NOT HOLD CHORDS FOR MEASURES 23, 25, 27 & 29 OF THIS SECTION

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TEXTURES - Cynic

Page 7 of 21

V V W 25 I V V W
let ring

N.C.

Fmaj13

eW

V V V V G7
7
sl.

V V
10 10
sl.

X X V V } u k }
13 x x 15

Gm5

bb

V W k } V W } u u
x x

V V u

T A B

10 7
sl.

13 10

12 11

12 12

G13 K K10 K
sl.

12 9

X V V V V V V V V V V V PP V V V I R V eV z PV V
P.M. P.M. P.M. let ring

V V V V V V V V V RgV } V gV gV V P
let ring

T A B

5 5
3 5 sl.

8 6 7

7 9 7 7 7 9 sl.

7 7

1 0 0 1 0

0 2 2
1 4 sl.

5 4

VVVVV V V V gV V V V V V V V V V V V V V V V 27 I
T A B
13 15

N.C.

Fmaj13

A7/11 5

V V
(17) 17
sl. sl.

V V V V V V V V V V
13 15 14

b V V V VgV VVVVV V W W
19 (19) 19
sl.

G15 K 14 K 14 K12

15 17 14 16 (12) 14
sl.

19 19 19 19 17 19 19 19 19 17

17 16

G15 K14 K 12 K 12
sl.

18 17 15

let ring 20 20 20 20 19 20 20 20 20 19

X V V V V V V V V V V V PP V V V I R V eV z PV V
P.M. P.M. P.M. let ring

V V V V V V V V V V RV V V V P
let ring

T A B

5 5
3 5 sl.

8 6 7

7 9 7 7 7 9 sl.

7 7

1 0 0 1 0

0 2 2
1 5 sl.

5 8 5 7

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TEXTURES - Cynic

Page 8 of 21

N.C.

29

I
T A B

VVVVV
131210

Fmaj13

VVVVVVV VV VVVVVV
12 9 1210 9 12 9 1012

bb V P V V V fV V V V V V} V z VVVVVVVVVVV
Gm5 9 10 9 1210 9 12 1012 9 1012 101213 1012131315 13 12 10

131210 1210 9 10 9

sl.

sl.

sl.

X V V V V V V V V V V V PP V V V I R V eV z PV V
P.M. P.M. P.M. let ring

V V V V V V V V V R V } V gV gV V Pg
let ring

T A B

5 5
3 5 sl.

8 6 7

7 9 7 7 7 9 sl.

7 7

1 0 0 1 0

0 2 2
1 4 sl.

5 4

F Rhythm B: (Pt. 1)

P = 127 gW W 4gW 31 I4 W W
E6/11
Gtr III

C m7

V V V V V V G12 K K12 K10 K


14

W W W
let ring

gV V u
11

c V

gV V V V V V V gV V gV
let ring

V gV

V V gV

T A B

G9 K9 K9 K7 K7 K

14 12 sl.

G12 K K12 K10 K

12

(12) sl.

9 11 7
sl.

12 9

9 9 11

(9)

11

(11)
sl.

4 I4
Gtr IV

V
f

V gV V V V V V gV
* SEE PERFORMANCE NOTES

gV

V V V V V V
4

V gV V V V V V gV
4

gV

V V V V V V
4

T A B

7 5

6 4

7 5

6 4

V V V V I 4 gV V V V V V V gV V V V V V V gV V V V V V V gV V V V V V V 4
Gtr VI

mf
6 7 6 7 5 7 6 7 6 7 6 7 5 7 6 7 6 7 6 7 5 7 6 7 6 7 6 7 5 7 6 7

T A B

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TEXTURES - Cynic

Page 9 of 21
G

ggW W W 35 I W W
T A B

E6/11

V V V V V V

W W W

Amaj7

gV V u
11

c V

V gV V V V gV V V V V
let ring

V V gV gV V
(5) 5 6 0 6

G9 K9 K9 K7 K7 K

G12 K K12 K10 K

let ring

14

14 12 sl.

G12 K K12 K10 K gV


6

12

(12) sl.

9 7
sl.

7 5

5 7

5 6 6

I
T A B

V
5

V gV V V V V V
7 6 7 4 7 6 7

gV
4

V V V V V V
7 6 4 7 6 7

V
5

V gV V V V V V
7 6 7 4 7 6 7

gV
6

gV
4

V V V V V V
7 6 4 7 6 7

V I gV V V V V V V
T A B
6 7 6 7 5 7 6 7

gV V V V V V V V
6 7 6 7 5 7 6 7

gV V V V V V V V
6 7 6 7 5 7 6 7

gV V V V V V V V
6 7 6 7 5 7 6 7

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TEXTURES - Cynic G Chorus

Page 10 of 21

Pb = 131 Cmaj7 V V gV f V V 39 I u [[[[ Gtr I


C

Cmaj7

V u
12

V V W [[[[[[[[[
(12) 9 10

V V

b Cmaj7 V V gV V V f V V V
9 10 9

V j u
12

b VVV

Cmaj7

V [[[[[

T A B

14 12 10

10

10

12

10 12

10

10 9
P

12

10

* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION

V V eV V V u I [[[[ Gtr V
T A B
15 13 11 10 10
* DISTORTION

V u
12

V V W [[[[[[[[[
(12) 9 10

V V

V V eV V V V V V
10 11 10

V j u
12

gVf V V
10 9
P

V [[[[[

10

12

10 12

10

12

10

c k V k I V V V V V V V V V V V
P.M.

c V V V
9 7 8

c k V V V V V V V V V
P.M.

c k V k V V V V V V V V V V V
P.M.

c V V V
9 7 8

c k V V V V V V V V V
P.M.

T A B

7 8

7 8

7 8

9 7 8

9 7 8

7 8

7 8

7 8

9 7 8

7 8

7 8

7 8

9 7 8

9 7 8

7 8

7 8

7 8

9 7 8

* DISTORTION

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TEXTURES - Cynic H Rhythm B: (Pt. 2)

Page 11 of 21

P = 129 ggW W W 43 I W W
E6/11
Gtr III

C m7

V V V V V V G12 K K12 K10 K


14

W W W
let ring

gV V u
11

c V

gV V V V V V V gV V gV
let ring

V gV

V V gV

T A B

G9 K9 K9 K7 K7 K

* CLEAN TONE

14 12 sl.

G12 K K12 K10 K gV

12

(12) sl.

9 7

11 9
sl.

12 9

9 9 11

(9)

11

(11)
sl.

I
T A B

V
Gtr IV

V gV V V V V V
* SEE PERFORMANCE NOTES

gV

V V V V V V
4

V gV V V V V V
4

gV

gV

V V V V V V
4

7 5

6 4

7 5

6 4

V I gV V V V V V V
Gtr VI

* CLEAN TONE

gV V V V V V V V
6 7 6 7 5 7 6 7

gV V V V V V V V
6 7 6 7 5 7 6 7

gV V V V V V V V
6 7 6 7 5 7 6 7

T A B

* CLEAN TONE

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TEXTURES - Cynic

Page 12 of 21

I Chorus

Pb = 131 Cmaj7 V V eV V V 47 u I [[[[ Gtr I


C

Cmaj7

V u
12

V V W [[[[[[[[[
(12) 9 10

V V

b Cmaj7 V V eV V V V V V
10 11 10 12 10 9 10

V j u
12

b gVf V V
C 10 9
P

Cmaj7

V [[[[[

T A B

15 13 11 10

10

10

12

12

10

* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION

gV V V gV V u I [[[[ Gtr V
T A B
14 12 10 9 10
* DISTORTION

V u
12

V gV W [[[[[[[[[
(12) 9 10

V V
9 10

V gV V V V V gV V
12 9 10 10 12 9 9 10

V u j
12

VgVgV
10 9 11

V [[[[[
9

c k V k V I V V V V V V V V V V
Gtr II P.M.

c V V V
9 7 8

c k V V V V V V V V V
P.M.

c k V k V V V V V V V V V V V
P.M.

c V V V
9 7 8

c k V V V V V V V V V
P.M.

T A B

7 8

7 8

7 8

9 7 8

9 7 8

7 8

7 8

7 8

9 7 8

7 8

7 8

7 8

9 7 8

9 7 8

7 8

7 8

7 8

9 7 8

* DISTORTION

J Lead 2: (Bass Solo)

` P = 130 g g fW 51 I g WW
B 13sus2
Gtr III

V gV VV VV

B13sus2

UU U
(13) (11) (14)

B 13sus2

fW WW

V gV VV VV

B13sus2

UU U
(13) (11) (14)

G12 K11 K14 K g g fW I g WW


T A B T A B
12 11 14

* CLEAN TONE

G13 K11 K14 K V gV VV VV


13 11 14 (^)

UU U
(13) (11) (14)

G12 K11 K14 K fW WW


12 11 14 (^)

G13 K11 K14 K V gV VV VV


13 11 14 (^)

UU U
(13) (11) (14)

Gtr IV

* SEE PERFORMANCE NOTES

(^) * CLEAN TONE

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TEXTURES - Cynic

Page 13 of 21

` gf V g 55 I g VV
T A B

B 13sus2

V
P.M.

V gV V VV VV

B13sus2

V
P.M.

B 13sus2

fV VV

V
P.M.

V gV V VV VV
12 13 11 14

B13sus2

V
P.M.

G12 G 12 12 K 13 (13) 13 13 K11 K14 K11 (11) K K14 (14) ggg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V I


P.M.

* APPLY A VERY LIGHT PALM MUTE ON THE MUTED NOTES FOR THE NEXT 4 MEASURES SO AS NOT TO MUTE THE CHORD TOO MUCH

G12 K11 K14 K

12

G K K K

(13) (11) (14)

13

13

VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV
11 1111 11 1111 11 11 1111 11 1111 11 141414 1414 14 1414 14 141414 1414 14 1414 14

T A B

11 1111 11 1111 11 11 1111 11 1111 11 141414 1414 14 1414 14 141414 1414 14 1414 14

` gf V g 59 I g VV
T A B

B 13sus2

V gV V VV VV

B13sus2

B 13sus2

fV VV

V gV V VV VV
12 13 11 14

B13sus2

Gtr III

G12 G 12 12 K 13 (13) 13 13 K11 K14 K11 (11) K K14 (14) ggg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V I


Gtr IV P.M.

G12 K11 K14 K

12

G K K K

(13) (11) (14)

13

13

VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV

T A B

11 1111 11 1111 11 11 1111 11 1111 11 141414 1414 14 1414 14 141414 1414 14 1414 14

11 1111 11 1111 11 11 1111 11 1111 11 141414 1414 14 1414 14 141414 1414 14 1414 14

ggg I
Gtr II

fV fV V V Vf VgV V Vf V V V V VgVgV V V VgV V V V V V V V V V V


* CRESCENDO TO FULL VOLUME OVER NEXT 6 MEASURES

T A B

7 10

9 8 9

7 10

9 8

7 10

7 10

9 8

7 10

9 8

7 10

7 10

9 8 9

7 10

* DISTORTION WITH +1 OCTAVE PITCH SHIFT

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TEXTURES - Cynic

Page 14 of 21

` gf V g 63 I g VV
T A B

B 13sus2

V gV V VV VV

B13sus2

B 13sus2

fV VV

V
12

V gV V VV VV
12 13 11 14

B13sus2

V
13

V
13

G12 G 12 12 K 13 (13) 13 13 K11 K14 K11 (11) K K14 (14) ggg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V I


P.M.

G12 K11 K14 K

G K K K

(13) (11) (14)

VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV
11 1111 11 1111 11 11 1111 11 1111 11 141414 1414 14 1414 14 141414 1414 14 1414 14

T A B

11 1111 11 1111 11 11 1111 11 1111 11 141414 1414 14 1414 14 141414 1414 14 1414 14

ggg I f V V VgVf VgV Vf V Vf V V V VgV V Vf V V V V V V V V Vf V Vf V V VgVf VgV V V V gV V V V V V Vf V V V V V V V V V V V V V V V


T A B
8 7 10 7 10 9 8 9 7 10 9 8 7 10 7 10 9 8 9 7 10 9 8 7 10 7 10 9 8 9 7 10 9 8 7 10 7 10 9 8 9 7 10 9 8 7 10 7 10 9 8 9 7 10 9 8 7 10

K Rhythm C: (Pt. 1)
B5
67

P = 131

A11sus4

A11sus4

fff 6 I 8
T A B

V V V V V V V V V V V V
Gtr I P.M.

W W W W
7 7 5 5

W W W W
(7) (7) (5) (5)

V V V } V V } V V V
P.M.

9 7

x x

7 7 5 5

* DISTORTION

ff 8 If 6
T A B

fV V V gV V V V V V V V
Gtr II

fV V V gV V V V V V V V
9 8 9 7 10 9 8

fV V V gV V V V V V V V
9 8 9 7 10 9 8

7 10

7 10

7 10

7 10

7 10

7 10

7 10

* DISTORTION WITH PITCH SHIFT AT + 1 OCTAVE

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TEXTURES - Cynic

Page 15 of 21

F5
70

F5

A5

I W W W
T A B
3 3 1

W W W
(3) (3) (1)

V } V V } V V V
P.M.

W W W
7 7 5

x x

3 3 1

I
T A B

V V gV f V gV V V f V V V V
7 10 9 8 9 7 10 9 8 7 10

V V gV f V gV V V f V V V V
7 10 9 8 9 7 10 9 8 7 10

V V gV f V gV V V f V V V V
7 10 9 8 9 7 10 9 8 7 10

A5
73

B5

I W W W
T A B

V } V V } V V V
P.M.

gW W W
9 9 7

5 8 W W W
(9) (9) (7)

V } V } V
x x

x x

7 7 5

I
T A B

V V gV f V gV V V f V V V V
7 10 9 8 9 7 10 9 8 7 10

V V gV f V gV V V f V V V V
7 10 9 8 9 7 10 9 8 7 10

5 8

V V gV f V gV V V f V V V
7 10 9 8 9 7 10 9 8 7

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TEXTURES - Cynic

Page 16 of 21

L Transition

c 76 V I V V
Gtr I

D5

D5

c V V V

D5

V [[[[[[[
10

c V

c V V V

D5

c V V V

V [[[[[[[
10

c V

T A B

12 12 10

12 12 10

(10)
sl.

12 12 10

12 12 10

(10)
sl.

c I V V
Gtr II

d V gV V V V V V

c V V

d V V gV V V gV V

c V V

d V gV V V V V V

c V V

d V V gV V V gV V

T A B

12 10

12 11 12

13

12 11 12

12 10

12 11 12

12

12

11

12

12 10

12 11 12

13

12 11 12

12 10

12 11 12

12

12

11

12

* PITCH SHIFT AT + 1 OCTAVE

M Rhythm C: (Pt. 2)
A11sus4
80

P = 132

A11sus4

F5

F5

A5

A5

B5

I6 W 8 W W W
T A B
7 7 5 5

V V V}V V}V V V
P.M.

W W W
3 3 1

V}V V}V V V
P.M.

W W W
7 7 5

V}V V}V V V
P.M.

5 8 gW W W
9 9 7

V} V} V
x x

7 7 x 5 x 5

3 x 3 x 1

7 x 7 x 5

I6 8
T A B

V VgV f VgV V V f V V V V
7 10 9 8 9 7 10 9 8 7 10
* PITCH SHIFT AT + 1 OCTAVE

V VgV f VgV V V f V V V V
7 10 9 8 9 7 10 9 8 7 10

V VgV f VgV V V f V V V V
7 10 9 8 9 7 10 9 8 7 10

5 8

V VgV f VgV V V f V V V
7 10 9 8 9 7 10 9 8 7

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TEXTURES - Cynic

Page 17 of 21

N Transition

c 84 V I V V
T A B
12 12 10

D5

D5

c V V V

D5

V [[[[[[[
10

c V

c V V V

D5

c V V V

V [[[[[[[
10

c V

12 12 10

(10)
sl.

12 12 10

12 12 10

(10)
sl.

c I V V
T A B
12 10

d V gV V V V V V
12 11 12 13 12 11 12

c V V
12 10

d V V gV V V gV V
12 11 12 12 12 11 12

c V V
12 10

d V gV V V V V V
12 11 12 13 12 11 12

c V V
12 10

d V V gV V V gV V
12 11 12 12 12 11 12

* PITCH SHIFT AT + 1 OCTAVE

O Rhythm B: (Pt. 3)

P = 129 gW W 4gW 88 I4 W W
E6/11
Gtr III

C m7

V V V V V V
12 14 12 14 10 12 sl.

U U U G12 K K12 K10 K V V V V V V


4

gV V V V V V V gV V gV
let ring

V gV

T A B

G9 K9 K9 K7 K7 K

9 11 7
sl.

12 9

9 9 11

(9)

* CLEAN TONE

I4 4
T A B

V
Gtr IV

V gV V V V V V gV
* SEE PERFORMANCE NOTES

gV

V gV V V V V V gV
4

gV

V V V V V V
4

7 5

6 4

7 5

6 4

V V V V I 4 gV V V V V V V gV V V V V V V gV V V V V V V gV V V V V V V 4
Gtr VI

* CLEAN TONE

T A B

* CLEAN TONE

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TEXTURES - Cynic

Page 18 of 21
G

ggW W W 92 I W W
T A B

E6/11

V V V V V V

U U U G12 K K12 K10 K gV


6 4

V gV V V V gV V V V V
let ring

Amaj7

V V gW
(7) 5

G9 K9 K9 K7 K7 K

12 14 12 14 10 12 sl.

9 7
sl.

7 5

5 7

7 6 6

I
T A B

V
5

V gV V V V V V
7 6 7 4 7 6 7

gV

V V V V V V
7 6 4 7 6 7

V
5

V gV V V V V V
7 6 7 4 7 6 7

gV
6

gV
4

V V V V V V
7 6 4 7 6 7

V I gV V V V V V V
T A B
6 7 6 7 5 7 6 7

gV V V V V V V V
6 7 6 7 5 7 6 7

gV V V V V V V V
6 7 6 7 5 7 6 7

gV V V V V V V V
6 7 6 7 5 7 6 7

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TEXTURES - Cynic P Chorus

Page 19 of 21

Pb = 132 Cmaj7 V V gV f V V 96 I u [[[[ Gtr I


C

Cmaj7

V u
12

V V W [[[[[[[[[
(12) 9 10

V V

b Cmaj7 V V gV V V f V V V
9 10 9

V j u
12

b VVV

Cmaj7

V [[[[[

T A B

14 12 10

10

10

12

10 12

10

10 9
P

12

10

* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION

V V eV V V u I [[[[ Gtr V
T A B
15 13 11 10 10
* DISTORTION

V u
12

V V W [[[[[[[[[
(12) 9 10

V V

V V eV V V V V V
10 11 10

V j u
12

gVf V V
10 9
P

V [[[[[

10

12

10 12

10

12

10

c k V k I V V V V V V V V V V V
Gtr II P.M.

c V V V
9 7 8

c k V V V V V V V V V
P.M.

c k V k V V V V V V V V V V V
P.M.

c V V V
9 7 8

c k V V V V V V V V V
P.M.

T A B

7 8

7 8

7 8

9 7 8

9 7 8

7 8

7 8

7 8

9 7 8

7 8

7 8

7 8

9 7 8

9 7 8

7 8

7 8

7 8

9 7 8

* DISTORTION

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TEXTURES - Cynic Q Outro

Page 20 of 21

P = 68 b Cmaj7 C Cmaj7 Gtr II _ l_ _ _ _ l_ l_ k V 9 PPR V 100 V I8 V


Gtr I

C C l _ b _ _ Cmaj7l _ l _ b _ _ Cmaj7l _ l _ k _ _

C l _ b _ _ Cmaj7l _

V V

V V u
(14) (14)

T A B

10 14 10 14 sl.
* DISTORTION

I9 8
Gtr IV

V
0 13

V V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0

V V V

V V
0 13

* GUITAR 1 OUT

V V V V V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10

* JASON PLAYS THIS PART IN LIVE VERSION

T A B

8 12 10

I9 8
Gtr VI

V V gV V V V V V V V V V V V V V V V
12 10 0 13 8 10 8 10 9 10 8 10 0 8 0 7 0 8

* CLEAN TONE PLAYED THROUGH A ROLAND GS-50 GUITAR-TO-MIDI CONVERTER WITH AN E-MU PROTEUS SOUND MODULE

V V gV V V V V V V V V V V V V V V V
0 13 8 10 8 10 9 10 8 10 0 8 0 7 0 8

T A B
Cmaj7 Gtr II

12 10

C C C C l _ b _ _ Cmaj7l _ l _ k l _ b _ _ Cmaj7l _ l _ b _ _ Cmaj7l _ l _ k l _ b _ _ Cmaj7l _ _ _ _ _ V V V V V V V V V V V V V V V V V V V V V V V V V V V V 102 V V V V V V V I V


* RHYTHM GRADUALLY FADES OUT ON ALBUM VERSION

* HARMONY PLAYED AS A ROUND, TWO 16th NOTES BEHIND THE ORIGINAL - ALBUM VERSION ONLY

3x

Gtr IV

T A B

13

10 8

10

10 8

10

8 12 10

13

10 8

10

10 8

10

8 12 10

V V gV V V V V V V V V V V V V V V V I
Gtr VI

V V gV V V V V V V V V V V V V V V V
12 10 0 13 8 10 8 10 9 10 8 10 0 8 0 7 0 8

3x

T A B

12 10

13

10 8

10

10 8

10

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TEXTURES - Cynic R Ending/Live Ending

Page 21 of 21

b Cmaj7 _ l_ _ _ _ l_ l_ V V V V V V V V V V V V V V 104 V V V I V
Cmaj7 C

P = 60 V V
0 13

P = 55

V V V V V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8 12 10

T A B

13

10 8

10

10 8

10

8 12 10

V V gV V V V V V V V V V V V V V V V I
T A B
12 10 0 13 8 10 8 10 9 10 8 10 0 8 0 7 0 8

* CONTINUE REPEATING & FADE OUT WITH HARMONY ON ALBUM VERSION

* ENDING FOR LIVE VERSION - CONTINUE FROM MEASURE 104

V V
12 10

V
0 13

V V V V V V V V V V V V V V
8 10 8 10 9 10 8 10 0 8 0 7 0 8

V
106

I
T A B

V v
0 13

V v

I
T A B

V v
12

V
10

V v

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TEXTURES (Bassline)
As recorded by Cynic
(From the 1993 Album FOCUS) Transcribed by Jeff Litvak (www.cynicalsphere.com)
TUNING: (E, A, D, G)

Music by Cynic Arranged by Cynic

A Intro
1H 9 8

P = 92
Gtr I

* FINGERSTYLE

3x

Sean Malone - (Fretless or Standard Bass)

T A B

* CHAPMAN 12 STRING GRAND STICK - ARRANGED FOR STANDARD BASS (SECTIONS B-D) * SEE PERFORMANCE NOTES

H gg
T A B

B Rhythm A: (Pt. 1)

V
7

* SEE PERFORMANCE NOTES

V
0

V
2

W
2

gg 5H
T A B

* CLICK FOR FULL CHAPMAN STICK TRANSCRIPTION

W
3

W
5

H gg
T A B

c j V
2

V
2

V
0

V
2

C Rhythm A: (Pt. 2)
9

H gg V V l V l V l d V V
T A B

V
2

V V
0 2

V V
3 3

V
3

V V V V
3 3 2 3

V
3

V V V
2 2 3

* SEE PERFORMANCE NOTES

11

H gg
T A B

V V
5 5

V
5

l d V V V
5 5 5

V
5

V V
5 5

V V
2 2

V
2

l d V V V
2 0 2

V
2

V V V
0 0 2

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TEXTURES (Bassline) - Cynic D Rhythm A: (Pt. 3)


13

Page 2 of 7

H gg V
T A B

V
0

V V V V V V
2 2 2 2 2 2

V V l V l V V V V
2 2 2 2 2 0 2

V
2

V V V
0 0 2

* SEE PERFORMANCE NOTES

15

H gg
T A B

V V
2 2

V
2

V V V V
2 2 0 2

V V
2 2

V V V
0 0 2

V V
3 3

V
3

V V V V
3 3 2 3

V V
3 3

V V V
2 2 3

17

H gg
T A B

V V
0 0

V
0

m V V V V V V
0 0 0 0 0 0

V V V
0 0 0

V
let ring

V V

V
5

V V

V
5

V
5

7 5

19

H gg V
let ring
T A B

V V
5 7

V V
5 7

V
5

V
5

V V
7

V
5

V V
7

V
5

V
5

gg 21 H
T A B

V
2

V
3

V
5

P = 106 4 h V V V V 4 V
5 5 5 5 (5)

E Lead 1: (Paul Masvidal)

23

He 7 4
T A B

P = 132
Gtr II
* FRETLESS BASS

k c V
0

P = 127 V
1

V
1

c V V
0 1

V
1

c V V V
1 1 1

25

H gg
T A B

V
0

c V
0

fV
1

V
1

c V gV
3 4

fV
3

V V V V
1 1 1 1

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TEXTURES (Bassline) - Cynic


27

Page 3 of 7

H gg
T A B

k Vc f V V k V eV V V V V V V V u
5 (5) sl. 2
H

fV
1

V
1

c c V eV V
0 1 1

c V V V V V
1 1 1 1 1

(5) sl.

5
H

29

H gg
T A B

k Vc f V V k V eV V V V V V V V u
5 (5) sl. 2
H

fV
1

V
1

c V gV
3 4

fV
3

V V V V
1 1 1 1
sl.

(5) sl.

5
H

F Rhythm B: (Pt. 1)

P = 127 H ff 4 c V V 31 4 V
T A B

V V
7 5

V V V gV u V [[[[[[
4 6
sl.

gV V W V V W [[[[[[[[[
6 7
sl. sl.

V V
7 9
sl.

V gV
4 6

V V V [[[[
7
sl. sl.

V
6
sl.

7 9

cV 35 H V
T A B

V
7

V V
7 5

V V gV gV u V [[[[[[[
4 6
sl.

* SEE PERFORMANCE NOTES

gV gV V V V
6 7 4 5
sl.

V
7

V V
7 5

V gV gV V V V [[[[
4 6 7
sl. sl.

6
sl.

6
sl.

G Chorus

P = 131 k Vc k Vc 39 H V V V V
T A B

c V V V V k
3 3 3 3

k Vc k Vc V V V V
3 3 3 3 3 3

c V V V V k
3 3 3 3

H Rhythm B: (Pt. 2)
43 H

P = 129 cV V V
5 7 7

V V
7 5

V V gV gV u V [[[[[[[
4 6
sl.

gV gV W V V W [[[[[[[[[
6 7
sl. sl.

V V
7 9
sl.

gV gV
4 6

V V V [[[[
7
sl. sl.

V
6
sl.

T A B

7 9

I Chorus

* SEE PERFORMANCE NOTES

P = 131 k Vc k Vc 47 H V V V V
T A B

c V V V V k
3 3 3 3

k Vc k Vc V V V V
3 3 3 3 3 3

c V V V V k
3 3 3 3

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TEXTURES (Bassline) - Cynic J Lead 2: (Bass Solo)

Page 4 of 7

P =3 130 3 gggg k V 51 I V V V V
T A B

* FREE TIME FEEL

V
(16)

V
16

V V V V V V VV
16 18
H

d VV

18

14

16

18 16

19

16 18 19
H

16

53

gg I g g UU
T A B

* CLICK TO PLAY A HALF-SPEED VERSION OF THE SOLO FOR PRACTICE

k
sl.

dm 3 V V V V V V
19 19 19 19 16 16

(16) (19)

3 3 gggg 3 3 3 55 V V I V VVVVVVVVVVVVV V V VVV


T A B

V
21

l VV
1816
P

c V
19

16

16

16161618

16 1618 161819 1616161819 19 19 HH HH

16

18

V VV [[[[[[[[[[
1918
P
* SEE PERFORMANCE NOTES

VV
1618

57

gggg I V V V V V l V V V V l V V V
T A B

fV V V V V VV
17 19
P

c V
19

d k V

(18) 19
H

16

18

19

18 18

16

16

16 18
H

16

18

19

16

19

59

gggg l l l I V V V V V V V } V V V V V
T A B

V
18
sl.

V
20

W [[[[[[[[[[[[[[[[[[[
3 3 3

16

17

19

18

21

18

19

16

16

19 21 sl.

21

gggg k 61 I
T A B

V u
20

V
21

V
18

V
19

V
21

V
18

V VV VVVVV VVV VVVVVVVVVV


19 18 19 H 21 19 19 21 18 18 21 18 19 21 18 21 18 19 21 18 19

63

3 gg V I g g V V V V V fV V V V V V V V V V V V 3
T A B

dk V V V V V V V V V V V V V V V V V V
3 3 3 3
14 11 12 14 11 14 11 12 14 11 13 14
H H

19 21
H

18 21 20 18

22 21 21 19 19 19 18 16
sl. sl.

11

8 11 11 9

19 18

17 16 P sl.

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TEXTURES (Bassline) - Cynic

Page 5 of 7

g V H gg g V V f V V V V V V V VgV V V V V V V V 65
3
T A B

V
11

V
(11)

VV
11 13
sl.

VVVV
16 13 16 14

VVVVV
6 9 7 9 H

3
9

10

11 11 9 7 7 9 11 7 7 9 11 P H

7 9 11 11
H

9 P sl.

K Rhythm C: (Pt. 1)

P = 131 ffff 6 67 H 8 V V V V V V V V V V V
T A B

fV
5
sl.

V u
5

fV
7

V
5

V
7

fV
5

V u
5

fV
7

V
5

V
7

70

H
T A B

V
1

c V V
1 3

V
1

V
3

V
1

c V V
1 3

V
1

V
3

V
0

c V V
0 7

V
0

V
7

73

H
T A B

V
0

c V V
0 7

V
0

V
7

V
2

c V V
4 2

V
2

V
4

5 8

V
2

c V V
4 2

L Transition
76

H
T A B

V u
0

V u
0

V [[[[[[[[
17

V u
(17)
sl.

V u
0

V u
0

V [[[[[[[[
17

V u
(17)
sl.

M Rhythm C: (Pt. 2)

P = 132 V V H 6 V 80 V V 8 u
T A B

V
1

c V V V V
1 3 1 3

V
0

c V V V V
0 7 0 7

5 8

V
2

c V V
4 2

7 5 5 5

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TEXTURES (Bassline) - Cynic N Transition


84

Page 6 of 7

H V u
T A B

V u
0

V V V u u u [[[
10 12 (12)
sl.

V u
0

V u
0

V [[[[[[[
17

V u
(17)
sl.

O Rhythm B: (Pt. 3)

P = 129 c 88 H 4 4 V V V
T A B

V V V gV gV V V u [[[[[[
7 5 4 6
sl.

gV gV W V V W [[[[[[[[[
6 7
sl. sl.

V V
7 9
sl.

gV gV
4 6

V V V [[[[
7
sl. sl.

V
6
sl.

7 9

cV 92 H V
T A B

V
7

V V
7 5

V V gV gV u V [[[[[[[
4 6
sl.

* SEE PERFORMANCE NOTES

gV gV V V V
6 7 4 5
sl.

V
5

V
5

V gV gV V V V [[[[
4 6 7
sl. sl.

6
sl.

6
sl.

P Chorus

P = 132 c c 96 H V V V V k V k V
T A B

c V V V V k
3 3 3 3

c c V V V V k V k V
3 3 3 3 3 3

c V V V V k
3 3 3 3

Q Outro

P = 67 100 H 9 8 V l V V V V l V l V k
T A B

l V V V V l
3 3 3 3

V l V V V V l V l V k
3 3 3 3 3 3 3

l V V V V l
3 3 3 3
3x

* GRADUAL FADE OUT ON RECORDED VERSION - JUST STOP AS INDICATED AT MEASURE 104 FOR LIVE VERSION ENDING

102

H V l V V V V l V l V k l V V V V l
T A B

V l V V V V l V l V k l V V V V l
3 3 3 3 3 3 3 3 3 3 3

R Ending/Live Ending

104

H V l V V V V l V l V
T A B

P = 60 l j

P = 55 k

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

TEXTURES (Bassline) - Cynic


1

Page 7 of 7

H
T A B

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

TEXTURES: (STICK PART)


As recorded by Cynic
(From the 1993 Album FOCUS) Music by Sean Malone Arranged by Sean Malone
TUNING: 12 STRING CLASSIC - (7+5) (E, A, D, G, C - G#, C#, F#, B, E, A, D)

B Rhythm A: (Pt. 1)
1

g Ig9 8
T A B

P = 92
Gtr I

> CLICK TO HEAR THE CHAPMAN STICK PART <

Right Hand - (Melody)

H gg 9 8
T A B

* SEE STANDARD BASS TABLATURE ARRANGEMENT

V
Gtr II

V
Left Hand - (Bass) 4

V
6

W
4

* MEASURES 2-5 PLAYED WITH FIRST FINGER OF LEFT HAND

g Ig
T A B

H gg
T A B

W
7

W
2

g Ig
T A B

H gg
T A B

c V
6

V
4

V
4

V
6

1993, The All Blacks BV Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

TEXTURES: (STICK PART) - Cynic

Page 2 of 4

g Ig k
T A B

C Rhythm A: (Pt. 2)

V V V V k
8 12 10 12

V V V V k
8 12 10 12

V V V V
8 12 10 12

V V V V k
8 12 10 12

V V V V k
8 12 10 12

V V V V
8 12 10 12

H gg V V l V l V l d V V
T A B

V
4

V V
2 4

V V
7 7

V
7

V V V V
7 7 6 7

V
7

V V V
6 6 7

gg k I
T A B

V V V V k
8 12 10 12

V V V V k
8 12 10 12

V V V V
8 12 10 12

V V V V k
8 12 10 12

V V V V k
8 12 10 12

V V V V
8 12 10 12

H gg
T A B

V V
2 2

V
2

V
2

l d V V
2 2

V
2

V V
2 2

V V
6 6

V
6

l d V V V
6 4 6

V
6

V V V
4 4 6

11

g Ig
T A B

D Rhythm A: (Pt. 3)

V V V V k
8 12 10 12

V V V V k
8 12 10 12

V V V V
8 12 10 12

H gg V
T A B

V
4

V V V V V V
6 6 6 6 6 6

V V l V l V V V V
4 4 4 4 4 2 4

V
4

V V V
2 2 4

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

TEXTURES: (STICK PART) - Cynic

Page 3 of 4

13

gg k I
T A B

V V V V k
8 12 10 12

V V V V k
8 12 10 12

V V V V
8 12 10 12

V V V V k
8 12 10 12

V V V V k
8 12 10 12

V V V V
8 12 10 12

H gg
T A B

V V
6 6

V
6

V V V V
6 6 4 6

V V
6 6

V V V
4 4 6

V V
7 7

V
7

V V V V
7 7 6 7

V V
7 7

V V V
6 6 7

15

g Ig k
T A B

V V V V k
8 12 10 12

V V V V k
8 12 10 12

V V V V
8 12 10 12

k V
13

k V
13

H gg
T A B

V V
4 4

V
4

m V V V V
4 4 4 4

V V
4 4

V V V
4 4 4

c V V
9 7

c V V
9 7

V
9

V
7

V
9

17

g Ig
T A B

k V
13

k V
13

j V
13

V
13

V
13

H gg k
T A B

V V
9 9

V V
9 9

V
9

V
7

V
9

V V
9

V
9

V V
9

V
9

V
7

V
9

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

TEXTURES: (STICK PART) - Cynic


1

Page 4 of 4

g Ig
T A B

H gg V
T A B

V
7

V
2

V V V V
2 2 2 2

h V
(2)

* PLAY ALL NOTES OF THIS MEASURE WITH FIRST FINGER OF LEFT HAND

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Performance & Other Notes


Textures

"Musical freedom and Fripp inspired inspiration kick started this song and eventually it developed a life of its own and we just tried to do it service. We knew with this piece we would could leave everything behind and just explore! It was the last song we wrote before recording Focus."
- Paul Masvidal

SONG: Textures ARTIST: Cynic MUSIC BY: Cynic LYRICS BY: --TRANSCRIBED BY: Jeff Litvak (www.cynicalsphere.com) ALBUM: Focus REALEASE DATE: September 14, 1993 LABEL: Road Runner Records NOTICE: 1993 The All Blacks B.V. PRODUCED BY: Cynic & Scott Burns ENGINEERED & MIXED BY: Scott Burns RECORDED & MIXED AT: Morrisound Recording, Tampa, FL

GUITAR NOTES
SECTIONS F, H & O JASONS CLEAN PARTS:
The Guitar IV part of these sections are the parts that Jason plays in the live versions of the song. The th fingering for the part is more like a chord than anything in that he barres the 4 fret with his first finger and keeps his ring th finger planted on the 6 fret of the D string at all times. The middle finger is used to apply the fifth fret/E string and the pinky finger is used almost in a metronomic fashion on the seventh fret/D string. This section can be a little awkward to play upon first learning but It gets easier with a little practice. Remember, the key to being successful at this part is all about feeling the flow of the rhythm.

SECTION J - JASON'S CLEAN PART:


This jazz section features only two repeating chords and is quite easy to play. Both Paul and Jason mirror each other at the beginning of the section here with the exception of the style in which they each play the chords. While Paul is backpicking them in a classic jazz fashion, Jason plucks each individual chord with the tips of his fingers thus adding a slightly different nuance to them. Underneath the chords in the tablature that this technique applies to you will see a (^) notation. This indicates that these particular chords are to be plucked with the fingers rather than with the guitar pick. In order to keep your playing fluid, however, it is important to keep the guitar pick between your finger and thumb as you normally would at all times and use the free fingers on your right hand to do the finger picking as required.

BASS NOTES
KUBICKI FRETLESS BASS:
Seans instrument of choice for the recordings on Focus is the fretless bass. One of the greatest strengths of the fretless bass is that it handles both slides and legato slides smoothly and without the encumbrance of the frets getting in the way and breaking the sound of the slide up into semitones. Because of this, you get the full range of microtones between the beginning and ending points of the slides and Sean uses this to its full effect throughout the Focus album. During the recording and touring for Focus, Sean Malone played a Philip Kubicki Ex-Factor fretless bass. This particular bass has a unique feature on the headstock called a D-Extension Clip. This handy clip allows you to "D" tune your "E" string almost instantaneously, without changing string tension and not having to transpose, effectively allowing the "E" string on a 32 inch scale bass to be released to a longer "D" scale of 36 inches which was highly effective for Sean both in the studio and on stage. He used this feature for 3 of the 8 songs on the album: Sentiment, Im But A Wave To, and How Could I, all of which the bass is tuned down to a Drop-D tuning simply by releasing the D-Extension Clip at the headstock of the bass. The patented string clip is available only on the Ex Factor. While holding the bass in playing position, you push the spring loaded string clip up with the thumb of the left hand. Pull the string out from under the clip head with your finger and release the lever. You are now in concert tension "D" and all the notes on the scale remain the same - no transposing. Pushing the lever up causes it to re-grab the string, and you're back in "E" again. It's very quick and easy to become adept at pushing the lever to the desired position. When the string is in "D" tuning, you also have a "D#" note available.

For more information on the Kubicki Ex-Factor bass, visit: www.kubicki.com

SECTIONS B-D: RHYTHM A PARTS


These sections are arranged here for standard (or fretless) bass. The dynamic range of the Stick will far exceed that of a bass guitar at both the low and high end of the tonal spectrum, however, the Stick part for this song was written in such a way so as not to exceed the low end range of a bass guitar. Consequently, just by leaving out the higher melody parts normally played on the Stick, Sean was able to perform the song on his Kubicki instead of the Stick at about half of the live tour dates and the song still sounded like Textures. It is in this fashion that the intro parts are arranged for a standard bass in this transcription.

SECTIONS C & D: RHYTHM A PARTS


A technique that Sean uses to great effect in these sections is staccato. What this means is to cut a note off short of its full time valuein other words, to prematurely stop a given note from sounding once it has been played. Playing in this style will often lend a slightly choppy feel to a part, however, when done tastefully, that can also add a good bit of purposeful tension to a riff that cant be achieved by any other means. Often done in classical music, Sean makes good use of staccato here, although this is more of a byproduct of certain notes being cut slightly short due to the nature of the style of playing the Chapman Stick in which the song was originally recorded. You can recognize which notes are to be staccatoed by looking at the standard notation staff above each tablature staff. Each notehead that has a small dot directly underneath it (or directly above the notehead in the case of a down-stemmed note) is to be played staccato. This is not to be confused with a dot to the left or right of a notehead which means something entirely different. With most stringed instruments in classical music, the common way to play a staccatoed note is to pluck the string between your thumb and first finger and then unfret the note early by simply letting the string up off the fretboard with your fretting hand while still keeping your finger on the string so that it just goes mute. Obviously, the tempo of these parts makes playing the staccato in the classical fashion impossible so it must be done differentlyentirely with the picking hand. To fingerpick these sections without staccato you would pick alternately using your 1st and 2nd fingers (some st rd may use their 1 and 3 ). Either way is no problem. As you do this, you are trying to maintain an even, fluent, coordinated movement so that each picking stroke across the string is exactly the same with the same amount of time between each hit. You are also trying to make sure that you are not touching any of the strings too early because that ruins your fluidity and makes you sound choppy, but that is exactly what you want to do here. The trick to fingerpicking the staccato on the bass for these parts is to intentionally hit each string with your picking finger a split second before you actually stroke the string for the next note. This will cut the previous note short just before you stroke the next note, thus, you have played that previous note in staccato. The skill is in being able to cut the notes short by the same amount of time and to be able to exert control over this factor so that your staccato sounds intentional and purposeful rather than like just plain old sloppy playing. This technique does take some practice and its not likely that it will come overnight to you if you are entirely unfamiliar with the application. Its more of a feel for how to play it than a conscious thought of doing so but once you get the feel for it, it will click right in for you and prove to be quite a valuable, rewarding tool in your arsenal.

CLASSICAL VIBRATO:
Seans use of vibrato on the bass throughout the Focus album is very elegant and tastefully done. To achieve this he uses a technique commonly used on instruments such as the violin, cello and classical guitar. On a regular electric guitar vibrato is usually done by quickly bending the string from side to side across the neck with your finger. The

way Sean does all of his vibrato is by the more classically oriented method of pressing the fingertip straight down on the fretboard and then, with the fingertip planted, rocking the hand (rather than the string) forward and backward along the length of the neck. This creates a more subtle but highly distinguished vibrato effect.