atgnatire fredy | €> Lin Rp 1 ee oe te oe ST Ce ey i aap Tat oan Pete ty ee TL tele eos redThere’s a Fire in the House Drop D Tuning, Down 1 Whole Step: @-p @-c Written by Steve Vai O-, Os (G5) (AS) (C5) @. @-c asi: Be ation (A) Freely J = 132-140® *(sirens & sound effects) “e ES 12 17sec. Gir. | (heavy dist.) (FHS) et SS gliss~ &. 2 2. 2s nf’ oe = = ory i 12 Synth, — 6 ———— ae throughout [A] section oa ** Symbols in parentheses represent chord names respective to f° de-tuned guitars. Symbols above reflect actual sounding chord. GS AS © . Ii 5 4D Ls Ny ¢ 3-3 3 8 SS : 5 528 8 3S a 5 A — *+w/ bal simile on repeat 12 a '- full full * Bump bar while tip of bar is pointed toward bottom strap button. Gir. 5: wi Fill 1, 2nd time Gtr, 6: w/ Fill 2 GbS AbS AS Gb(b5) N.C. (Cm) Gb5 FS N.C, (Cm) syglA?) (Bb5) (BS) (Ab(b5)) N.C. ((Dm)) (Ab5) (GS) N.C. ((Dm)) 4 ww aes loco (B)_B pitch: DC Fl Sta. a Fiz Gir. 6 (dist.) . {Ul VAAAAAMAAAS fin” “12-2124 12E irs. 5 & 6: w/ Pill 3, 2nd time EbSFS BbS CS FS EbS CS F5 AbS F5 AbS — EbS FS EbSCSEbS BbS AbS Bb5C5 BbSAbS Bb (F5)(G5) (F5)(DS) (G5) (F5) (D5XG5XBb5XG5XBb5) (F5)(GS) (F5\(DSXF5) — (C5) (Bb5) (C5)(D5\C5\XBb5XC5) I B B (By (B) (BY (B) s Gus “ee bE b wey B Rhy. Fig. 4 Girs. 2 & 4 s FS GS FS CS) GS F5 C5 G5 BbS FS GS FS C5 G5 CS BbS CS DS C5 Bb5 C5 (GS5)(A5) (GS\DS5) (AS) (GS)(DS5,AS) (C5) (GS)(A5) (GSXDS5XA5) (DSXC5) (DSXES)(DSXC5\(DS5) 15ma B B . 5 sg t — > ” Pip a B ; z B hoes wi bar 1 be | full wi bar - HPP “V2 ol End Rhy. Fig. 4 Gtr. 5 we 5 5 diviss “NZ full V2 s slack slack slack Vv w/ bar — 13Girs, 2 & 4: wi Rhy. Fig. 4, simile Gur. 5 & 6: w/ Fills 4.& 4A, 2nd time Eds FS EbS CS FS EbS CS. FS AbS FS AbS —-EbS. FS EbS C5SEbS BbS AbS BbS C5 BbS AbS BbS a FG gu (F5) (DS) (G5) (F5)__—_ (D5)(G5XBb5)(G5Bb5) __(F5) (GS) (F5)(D5)(F5)(C5\(Bb5)___ (C5) (D5) (C5\(Bb5XCS) eC cliss full HP oP full full full full full full 2 full full full full full FS GS Fs CS GS F5 C5 GS BbS (G5)(A5) (G5)(A5) (G5) (AS) (C5) (GS) (AS) (GSXDS5) (AS) (GS) (D5) (AS)(C5) Gis. 2& i ts, 2 4 ] } e full full Foy Be ppp Fila Sra... Gur. 5 Hop full Fin 4s five... HP full full 14Gurs. 2 & 4: w/ Rhy. Fig. 2 Gtr. 6 tacet NC. @ toco Gur. 5 Ja Cmaj7(no3rd) N.C. [G] EbS FS Gb5 FS EbS C5 (Dmaj7(no3rd)) (F5)(G5) (Ab5)(G5\(F5)(D5) ®@ 8va__ Gus a B *(sound effects) Ja ‘wi wah-wah full Gus. 2&4 *next 3 meas. Eb FS Gb5S FS EbS 5) (G5) (AbS5) (G5) (F5) va 15EbS FS EbS CS FS EbS CS F5Gb5 FSEbS C5 EbS FS EbS C FS (F5) (GS) (F5) (DS) (G5) (F5)(D5) (G5(Ab5) (GS)(FS)(D5) (F5) (G5) (F5) (D) (G5) Nea 3 * 3 3 3 3 3 3 1/2 12 full 12 12 full HH. wn pitch: AC ac EbS C5 FS GbS F5 EbS Fe G#s AS G#5 FHS CS FESG#5 (F5)(D5XGSXAb 5\GSXFS) (G#5) (A#S) (BSXAHSYG#SXDSXGHSXAMS) Wa. PH. 3 212 pitch: BY At AS GES FHS GES FHS C5 G#S FES CS G#S AS GAS FES C5 (GS\AHS)(G#5) (A#S) (G45) (D5) (A#S) (G#S) (D5) (A#5)(B5)(A#5XG#5) (D5) 5 p Y B P 4s x B SS -l full full Pp full a Jo 16FES G#S FES C5 G#5 FES CS G#5 AS GS F#S AS BS (GES)(AHS) (G#5)(D5) (ABS) (G#5) (D5)(A¥5)(BSXAHS)(G#S) (BS) (C#5) cs BS AS GS AS BS (DS) (C#5) (BS) (AS) (BS) (C#5) C5 BS AS BS AS G5 BS AS GS BS C5 BS AS GS (D5)(C#5)(B5) (c#5) (B5)(AS) (C#5) (B5) (AS) (C#5)(D5)(C#5)(BS) (AS) full full full full full full full wee 17] BS AS GS BS AS G5 BS CS BS AS Cc (BS) (AS)(C#5) (BS) (AS) (CHSXDSXCHSYXBS) — (D) ee Le ‘wah-wah off ‘w/ synth. effect 12 full full full ww anes wees Ss w/ synth. effect full full full full full aes aww Gus, 2&4 Gtr. 4 fr tr oo Chercrr efefrcr Riff A End Riff A PM. 2 ee 4 Gtr. 4: w/ Riff A, 7 times, simile DIC Cc ca ‘D) ® OT 2 do Gir. 2 18GIC CaT (AD) aye BbaviC (Ca7/D) se as. & 6 tacet Gtr, 5 tacet @— whs) eS Gur. 5 “ee eo 2let ring Gir. 4 tacet ot Gu. 2 S steady gliss. let ring s divisi s pitch: F Ab F D.S. al Coda BbS cs (C5) (D5) Gurs. 2&4 Coda cS EbS (DS) (F5) Gus. 5&6 Girs, 2 & 4: w/ Rhy. Fig. 1 20Girs, 2 & 4: w/ Rhy. Fig, 2 NC. (Dm9) Bb 13#11(no3rd) (F113#11(n03rd)) OOCLAAAA EH 2 Gus. 2&4 *Gtr. 6 tabbed to right of slash. Whispered: Hey, there are some things I soundett about me I think you should know. Now A sound effects close your eyes and listen carefully. Gres. 5&6 | Ag. 4 Gus. 2&4 slack 21The Crying Machine ‘Written by Steve Vai Em7 Am Am7 Bm Bm7 Em cs F Dm ___Bsus4 B Caper = eee tr bane 14tr ot 1Str et Sir en loft et $13 ir CEE torr fone eri eee epi fr 13121 {Al Moderate Rock # = 108 Horns & Organ Tacet Em7 **Am7 Bm7 A Horns f or. 3(eee) Jd } to ‘mp w/‘clean tone (cont. in notation) BUG eae eae ecceeeesceeeeceeeeseene ceceeeeeeeee wey loco Gites, 1&2 Gwitcke) BoB BoB BoB BB ps x5 4B ° s oP we tet dese es i f wi dist. rake 4 full full full, ~— full, «= full =~ full, = full full full. full full s full full s s ~ 8va.-.. eceeeeceey tee Rhy. Fig. 1 H 5 Gree) » 5 3 B B Bp BB sie f Gus Sf w/ dist. & wah-wah wah off ‘mp et ring throughout full full full, = full = full, full full’ full s full full *composite arrangement **Chord symbols reflect implied tonality B. Bass Fig. 1 “ S TT PTTPTP T TPT TPT PS S TT PTTPTP T TPT TPT PS i. 7 7-7 3—3—-] ¢ a a a apalls5 5 55 a a Copyright © 1996 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved® Em7 Cao F5 Dm7 nse Gis. B B Bsus4 B7 Am7 Bm7 © -k nS OB B 8 s B : | rake_ 4 s full — full full sf full 23Em7 N.C(C) Cad FS full P sos s full full oT a StNES Dy Bsus4 B7 12 s full > ame H Ss s_oS as End Rhy. Fig. 1 End Bass Fig. 1 s Ja 24Gtr, 3 tacet Strings E **FETadd4/E. Ea7 a oo ————~ — fre Gus. 1&2 S it > — *Grs, 4& 5 (acous.) of let ring throughout letring, —- let ring *composite arrangement **bass plays E @ F#7add4 Aadd9 Badd4/A 7a ag letring ee letring, 2-2 tetinge 2 25Strings tacet rake 4 rake 4 full full P full full full — full t r Wh eee s tz r t Gus. 4&5 (Gtr. 5 cont. in slash) Organ 26Gir. 4 tacet ‘Am Am? Bm Bm7 Bm Em “+ ) FAR Mmm mam va . co Gmie? ye px, ———_8 5 sS Ss x 2 full full fal zo 2 Organ Fig. 1 Organ TT PTHTPT P TH 5 TT P THTPT P TH 27‘nm: FER Tana pee 2 loco 8va Ss B V2 W2 s F—— aaaeenennee 5 full full > Ae www Ss End Organ Fig. 1 + 0-4-4 —0-++ $—+$ $——#—3—_}_#-_#_#_#-#4 ta 28ae Girs. 3. & 5 tacet m7 Strings ~ . A *Gur. 2. w/ wah-wah Strings ~ . ~— 29Gr Fice: Strings tacet ~* .~—~. C#m7 steady gliss. M. PM.------ full full full Sos PM — - Gu. 2 — __ “3 - s s 2 cea b, a s 2 - z ~< full full full s s full full ayanannennane full full full PoP v2 V2 p H P Ss 30‘grad. bend 12 142 (2) Gtm7 Strings 31full SHOP full va Bva.----- loco PH. PH. BBP. loco pitch: Ef FRE# Ef G#S FRS semi-harm. ~ 32E FR7add4/E loco p HPH PHP Gtr! ee Ss _——————___ S$ HPS Ss s Ss § a. z S P H PH PHP Gtr. 2 Sy me-4 Gir. 4 & sitar rr LT | Bass Synth. 33Eadd9 F#7add4A BIA A } PH PH PH Py, loco H P oH PH PHPH P ™ OT ott (i) 9 Abe-4e 94+ 9449 8Sitar tacet full full “ full full full > A » Gu.2 H full full full mp crese. af | Synth. Seana 37CHD syn. tae Gtr. 4 tacet NC. @ wssrsesseneenennennnne wi bar ST TPTPTPS PTTTPTP H P 1&2 rs % % % KABA K* *% % % * % full full full ve 4X kg *X 19 19 XK 16 KX x 4 44 49. 8 4 1 x UJ Gtr. 3: we Rhy. Fig. 1 Bass: w/ Bass Fig. 1, simile Organ: w/ Organ Fig. 1, 2 times 2 Am7 Bm7 ors i &2 Ss B full full ans ~~ B B™ full fullfull full Am7 Bm7 Em7 Sva..., loco bv. Grr. te fabk. Ps full fullyan, cao FS Dm7 m--- full full HOP full Pou H HP 39lf) Gir. 3: w/ Rhy. Fig. 1, simile Organ: w/ Organ Fig. 1, 2 times Bsus4 B7 Am7 Bm7 12 VV RAAAAAAAAAAAAA® 3 5 w/ bar ~~ “1/2 full full P full , “4 a Gur. 2 BB BOB (B)> 8B Bop BB > grad. release 3 full full Po oH 12 Pp HP oy FA oP full Pop fullDm7 Bsus4 loco Pp oPH Pes HP p er son 3 pP pH pps Hepp H HEP fa HH PP HH S HPP Ss HPP HPP HPP HPPSS S Ss RADAR ENE NE RENEE IIIT 12 full 41Em7 Cad B) > BP «9 Bo) BBB) (BB (8) @) . ¥ v > v PHL — 4 semi-harm. — full full full ful full pitch: E FRE A GA G 8va-... eee ee ee ees ee ee eeeeeee, (Be Dm7 Bsus4 va... 42K Gir. 3: w/ Rhy. Fi Organ: w/ Organ Fi Am7 loco imile, till fade 1, till fade AWA Bm7 Em7 PP &cag H FS Dm7 = ms full Pp P ~ a a H full full full full full ~ A TT J TY I full) rae cecececeseece eects ceeeeeeseneeeeeceeeesnena loco, y PH PH PH P ava H H =P. p HP. pH p Hq Pp f i 6 6 PH PH HP loco H3 PHP P PHP P PHP PH H P HP HP. PP o~ HP H P HP P HP HP __H P__H_P__S_arunnananenenencncecuanseneneneneseneneceseneseseseneseee, Begin Fade Cag PP6PH SPH PH »Bsus4 B7 fet ring _ s 1s Fade Out Am Bm7 212 46om 1420p cd Ta Dyin’ Day @- @-c Written by Steve Vai @-ct ©=ct by @-=ct ©=ct A Moderately « = 88 BSadd9 BSadd9 BSadd9 C#Sadd9 cHS ES cH C#5add9 C45 ES F#S ES C# CH#Sadd9 CS ES Gir. 3 (elec.) Ay < Z \ Ff santas. s Gus. 1 & 2 Gtr. 1 (acous.) (acous.) § 5 STP z my let ring throughout Ss * Bass (S-str.) * Sth string is a low B. B Gu, 3 tacet cH Gt CH CHa7/FR FRAT Cha7Ft ee Gus aww s sy 8 Sis Gu. see oo divi 8 3 w/ slight dist s * Gus. 1&2 letring —- = * composite arrangement Copyright © 1996 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved 47FRa7 ESadd9 E EIDE BCH Ss fabk Gur.3 divisi ww ss H AAAAAAAAAAAAennne fbi. Bass Fig, 1 Gir. 3 tacet BSadd9 BSadd9 DSadd9 Badd ce C#Sadd9 CHS ES ct CHSadd9 CRS ES C5 L Gra Ss s s s Bopp s s Pe full s s End Bass Fig. 1a} BSadd9 ES DES C# C#Saaa9 cis Es ce ct ct Cha7iFt B H Pp © Gua Bp 5 5 s her H_P full $ full n — P 5 HHT HS Rhy. Fig. 2 Gis. 1&2 Gwe. 3 tacet @ FRa7 CHa7iFe FRA7 Pu p Baw () B ~ Gud Sr _~ ?P P le cy \e hold bend IGtrs. 1 & 2 49Gir. 3 tacet Eadd9 E E/D# Ect DSadd9 Eadd9 ct Gur. 4 gic BV . » oP TT full full full full full End Rhy. Fig. 2 Gis. 1&2 BSadd9 ES ch CHsadd9 CHS CHS Dadd9 Eadd9 o} 3 ae P BSadd9 C#S5add9_ CHS ES Dstt Boop Yow aN > rake w/ bar full fully ; waenetan J Fn we po op ae, Vee sw HI2 Hi2 Rhy. Fig. 3 a 5 Ss —_ a, ¢ 50G#7add4 Bra. ares H 18 12, ~~ End Rhy. Fig. 3 = Dadd9 Eadd9 Atm GHorBt ct 51Gis | & 2: w/ Rhy. Fig. 1, simile BSadd9 BSadd9 Dém DSadd9 Eadd9 ct C#S5add9 C#5 ES cH C#Sadd9 CHSES C#5 BoB BB B B B Bes => loco m full full full i full full full full full full full , PIS Ss uPP full full full full full ~~ End Bass Fig. 2 Bass Fig. 3 s s End Bass Fig. 3 E BSadd9 Giurs. 1 & 2: w/ Rhy. Fig. 2, simile ES D#5 CH CaSadd9CHSES CH GECH CHA7/FH FHa7 loco s HP HP 4, HPp Hy HPP ~ letring = = - 4 *T=ThumbCHaT/FH . Fia7 loco Badd9 ” Ps fe te s } A A full full full s | Gtr. 5 elec.) S B BOB BOB \ A > 5 ef i dist. full full full full full Bass: w/ Bass Fig. I, simile Gir. 5S tacet Giurs. 1 & 2: w/ Rhy. Fig. 1, Ist 3 meas. E BEDE EICH DSadd9 Eadd9 ct HP P Ss Bua. Gury. | & 2: w/ Rhy. Fig. 3 Bass: w/ Bass Fig. 2, simile BSadd9 BSadd9 Gir, Stacet aC bSaddo CHSadd9 CHSESC#S DSadd9 8a Joco Gr. 3 4 Loe yo iw.Gtr. 3 tacet DSadd9 bur! full full Girs. | & 2: wi Rhy. Fig. 1, Ist 3 meas., simile Bass: w/ Bass Fig 3 BSadd9 Bsadd9 CHS Dsadd9 Eadd9 Cons C#Sadd9 CASES ca CHSadd9 CHS ES 5 Baw BB By - wo ————— pee lee dee Nae fee e8 © Gir.3 Bo s> > 73 BB Ss fw divisi PHL PH. full full, full = full full full 2 2 ~ ~—, ww SPH. PL. Sw Gir, 3 tacet Atm GHoBs ct Dim7 DSadd9 Eadd9 HP full full HP full full full full End Rhy. Fig. 4 Rhy. Fig. 4 ye Bass Fill 1 End Bass Fill 1CHadd4 C#7sus4/B A+(#I1) CHGE yoy CHT/FE CHI/E# CHT BOII) Cc AAI ®. wT wad. : 7 Gir. 3 divisi 5 Rhy. Fig. § End Rhy. Fig. 5 Gtrs. 1 & 2: w/ Rhy. Fig. 5, simile Chadd C47susv/B ASGID 5 CHGH C#IFE CHES CHT BOCHII) Gir. 4 I = evn ") Gu.3 —= s * volume swell <> _ How Gir. 3 tacet D#9sus4 CHS D#9sus4C#5 DEIsus4 C#5D#9sus4 = CHS CHE ces ‘XQ C4#5add9 8va > loco “ww Sans End Rhy. Fig. 6 Rhy. Fig. 6 S. A a | | Gus, 1 & 2 Bass Fig. 4 s End Bass Fig. 4Gus, 1 & 2: w/ Rhy. Fig. 6, simile Bass: w/ Bass Fig. 4, simile D#9sus4 CHS D#9sus4. CHS D#9sus4 CHS D#9sus4 = Bowe s P 3D ous de P m~P aes oP P Ss saws S SAY s A fllews P P Pow Pp wr Ss s s Pos a ES5add9 Fhadd9 ESadd9 Fhadd9 Eadd9 Dfadd9 pt ue va sss s ——— piteh: At Ad Bass Déaddo ‘Adm GHorBE cH Dém 1B, full 6 full full Rhy. Fig. 7 End Rhy. Fig. 7urs. 1 & 2: w/ Rhy. Fig. 1, Ist 3 meas, Bass: w/ Bass Fig. 3, s BSadd9 BSadd9 DSadd9 Eadd9 ce C#5add9C#5 CES C# C#Sadd9 CRS ESC#S B B B B B we Grd End Riff A Gir. 4 eo jiee*** diae fi jee ee. . 7 full full full M2 1 we ww Gus. 1 & 2: w/ Rhy. Fig. 7, simile Gtr. 4: w/ Riff A Bags: w/ Bass Fig. 2, last 2 meas G: full _ held bend ful full Guts. 1 & 2: w/ Rhy. Fig. 1, Ist 3 meas. Bass: w/ Bass Fig. 3, simile BS5add9 BSadd9 ES va. .PSadd9 Eadd9 ce CHSadd9 CAS ESCH CHsadd9 CHS CES loco > pitch: B Ag Gus, 1 & 2: w/ Rhy. Fig. 4, simile Bass: w/ Bass Fig. 2, last 2 meas. Bass: w/ Bass Fill | Adm GHO/BE cH Di#m7 DS5add9. Eadd9 8va. B full full full full Gtrs. 1 & 2: w/ Rhy. Fig. 5, Ist 3 meas. Ctadd4 C#7sus4/B A+(#11) CH/G# CHI/FE CHIE ca? BoCHII) BA ont Gua ~ - 1 te fal i—e = 57Whookam Written by Steve Vai Moderately 2 = 88 * N.C(Ab7) Oo, well, Je - sus Christ, liv-ing on a lit-tle black hole in our souls _ and *Backward song is transcribed forward. Sing song from end to beginning to follow recording. on our _feel- ings, God, but then you know in our hearts. Slower ¢ = 50 Slower J = 40 © N.C.(E) a a N.C. Ss = Love. Spoken: Ho-ly Mar-y, Mother of God, and bless-ed is the fruit of thy womb. Faster 4 = 84 @ NC. Oh, ak-ooh, oh, ak. Oh, — ak-ooh, oh, ak. Copyright © 1996 Sy Vy Music (ASCAP) 58 International Copyright Secured All Rights ReservedBlowfish Written by Steve Vai Asus2 GS F#m7 Em7add4 a 23 203 Br r4l2 Moderately Fast Rock J = 136 N.C. N.C. Ba. * Gu. @ Gis PS, F wi octave ** Gir. 2&3 (dist) PS. mp wi chorus * Two girs, arr, for one. + set for one octave below * compoxite arrangement Copyright © 1998 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved 59full 12 full 12 Bass Fig. 2 full full ae oyGtr. 4 tacet * Gtr, 3 tabbed 10 left of slash 61full full W2 w/ flanger full ite BOM full full 12, + $ } 35 3 33 3s (5) 3 5 0-5 5 3 (3) 5 Gtr. 2 tacet aS DS GS AS & Fill B End Fill 1 full full 15ma Sma in in Harm ip PMO Bass Fig. 3 62Gtr. 4: w/ Fill | ® DS GS Gtr. 5 (dist.) (B) * wi octave effect full s © set for one octave Gir. 4: w/ Fill 1, 2 times AS NC. DS. G5 N.C. AS Rhy. Fig. 1AGuts. 3 & 4 tacet NC. DS G5 *Fem7 Gsus2 Ww octave effect off P Fn ws s HP End Rhy. Fig. 1 Rhy. Fig. 2 PM. 4 End Rhy. Fig. 14 s Bass Fill] End Bass Fill 1 Bass Fig, 4 Bass $ 0-3-2 2-2-2224 34 3-333 * Chord symbols reflect implied tonality GS/A — Dadd4/A Asus2 FRm7 Gsus2 ae s SS se ES Gur. 5 Gir. 4 s divisi eee 5 PHP S sos Gw. 1 End Rhy. Fig. 2 a letring letring “TTT 64- Gu. 4 tacet Gtr, 3: wi Fill Bass: w/ Bass Fig. |, simile @® Nc bua G NC. Gur. 5 loco Gu. 4 Bass Fig. 5 End Bass Fig. 5 Gu. 5 B s > FIU2 Ps. Gir. 3 PS.Gur. 1: w/ Rhy. Fig. 1, simile Bass: w/ Bass Fill 2 w/ Bass Fig. 3, simile AS N.C. DS ®) pe 8 Bp Gir. 5 a Of @ @ 1-33 w/ octave effect, | 1/2 full hold bend full vw 12 Ww P Gir. 6 dist.) Gut B Bass: w/ Bass Fill 1 GS NC. AS N.C. DS ES DS GS Fém7 full wi bar v2 ~ Bass Fill 2 Bass 66H Gwe. 1: w/ Rhy. Fig. 2 Gis. 3 & 6 tacet Bass: w/ Bass Fig. 4, simile @ NC. Gsus2 HP GS/ADadd4/A Asus2 3 HP F#m7 Gsus2 $ Baw asia et te Gir. 7 (dist.) 8va... * w/harmonizer PM, throughout * Set to produce additional pitches a fifth higher and an octave lower. ** next 12 meas, 671] Gtrs. 3,4 & Stacet Gut Bass GS NC, G5 FRSGS NC. FHS grad, bend full 12 +l “142NC. FES * w/ harmonizer * Set to produce additional pitches a fourth lower and an octave higher. 69J Gs ‘Asus2 Gir. 7 tacet 68.8 yy Ss Ss Ss Ss Gur. 5 mf? w! chorus & sustain Gtr * Gu. | & Coral sitar ww! clean tone LY let ring throughout nf + * composite arrangement **'T=Thumb on @ 70Gur. 1 & Sitar Gir. | w/ dist. steady gliss. s 71Sitar tacet p—— + JAMAL Al ns. B ,Gtr.3 J . — a a full tame sooo pitch: G divisi PM. mm --4 M. 2 90099 90 $—9—9—_9—_0-_9-_4-_ 190 _4-_4-_4_4—# Gary. 3, 4 & 5 tacet NC. s s . my —— 34-53 945 as 72B B Gir. 2 B s full full 2 Bass: wi Bass Fig. 2, simile ES NC. s ee, » voters $ ote he. —— 3 = a ¢ ftw ¥ 73B full full full full full full full Gir. 4 tacet full full 74Gir, 4 tacet f Gir.2 divisi — grad, bend —- + $ ‘3 $ = w echo repeats echo epeats” 7gThe Mysterious Murder of Christian Tiera’s Lover Written by Steve Vai Moderately J = 112 N.C(Bm) PH, €) * Gir. 1 (7 str. elec.) “_w @O s # letring. ~~ ~~ ~~ 4 slow phase & wah as filter Ss + ® wned wow B pitch (Bm) (E) (A) (BS) pitch: C pitch: ch G FRC Bm} bra. 4 Bm ost ° BIW 060 Ss wi! wab-wah, S Y if wah-wah PH. 112 w/ wah-wah as filter w wala we Ss piteh: C * Played ahead of the beat. H. AAAAAAAAAA s PH. + wf whammy pedal w/ wah as filter PHL Ss 8 s aes, + set for octave higher when depressed Ble c Dbm Bb Eb6 D letring 4 letring 2 oy letring 22 oy detring © 57 betving “4 let ring * Played ahead of the beat Copyright © 1996 Sy Vy Music (ASCAP) 76 International Copyright Secured All Rights Reservedlet ring * Slide L.H. finger up and down 7th string, touching lightly to produce random harmonics (next 6 meas.) w/ wah-wah ** wi whammy pedalw/ delay POH PoP H a, POPUP OW wy POPUP OW ee P P H P PoP 7—8-AH5| 415} 128} 4d [46 —145} 128 7 8-445} 116} 12. 045} 6--7-840- [15] 410-8 eg 10:8 10:8 9:8 a8 P oH H oh PoP P PH OH oy PoP P PH H ty POH P P P POH 6 5) 6} —(15)-5 0-15}. fa} 46] 67-9 8 (67-67 ap 9 7-67 9-8 (Bm) ES/B @ en 2 seen loo 78Hand on Heart Written by Steve Vai Fi OBF E C#m? FRE = -E/D#_ Ss Gtm7 q 4 fr far: 3a] 4 fr 1 fit AF hy ‘| at Batt Pt 23 rat Sant 12 iste Esus4 /Ab Gb D Ebm7 Gb ao * Sere ctor Nerpae f ae fe a OY 734 raz) yaar aE TT 1333 Taz Tn Al Moderate Ballad 4 = 72 N.C. Be (B) 2 de 1 Nixe—~ele ne Jom Gtr. 1 (elec.) d Sf widist full full B © Fe E/F# E Fe Fi7add11 Bsus2 B, Bs HH aaneneeseees, BB ane Gtr. 2g ah o4 > pz S. BB ww ws oS full full ~~ * Gus.2&3 (acous.) of let ring throughout * composite arrangement Copyright © 1996 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved 79A C#m7 FR Fe EF full full 12 ss ww PH. pitch: C8 80C#m7 E E/Dt Fe C#m7 Gitm7 (B) PH. s ® sme loco B B mone ee SSM te dte ed FH A BIA Fe Esus2 81ES Eal2 Gm! Gtm7 E bk 8va steady gliss. Fit End Fill Gtr (cont, in slash) (cont. in slash) let ring. _ D Fe ore, PDT B BOB + Gu. 1 pitch: Df? E D§ STAID LD TLD Z > s_s x v = semi-harm. ~ s 82C#m7 Gitm7 } PVD GA ITT TTT (cont. in notation) 8 wp SHS PHP sy i, + >a~ “3 id s ss A s HPSHS PHPSH S ae 312-212 12 A BA Fe E Gurs.2&3 nf fet ringGur, 2: w/ Fill t G#mll G#m7 E = r fam Gur. 4 (lec) , ali SF wi cis. letring ee 4 ketringe ee 4 s s Gus. 2. & 3: w/ Rhy. Fig. 1,2 1/2 times Bays: w/ Bass Fig. 1,3 times, simile Fe E Esus4 E Fe E Rhy. Fig. 1 End Rhy. Fig. 1 oneal yy 7 ,? po ? / full full full 2 12 12 v2 PA full 8 pitch: B At PM. 4 9 PM.4 PM. 4 PM. 4 let ring _ Bass Fig. 1 End Bass Fig. 1Esus4 E FR E Esus4 E Fe E Esus4 E ms i177 (cont. in notation) wy Saar >s s SsGir. 4 tacet A Badd4/A Aa7 Bares fru. —... BIA ava. HHH PHPHPPHHPPHPHP PH PP PM. HHH PHPHPPHHPPHPHP PH P Gu. 4 divisi 86Gir. 4 tacet HPHHPPHHPHPPHPPHPHPPH PPS HP HP PHP PH PHP PH P PH P PHP HH © pacbesselestepBaPe Pe actetecteetete Pt etaoroet Gur, 4 12:8 128 118 228 HPHHPPHHPHPPHPPHPHPPHPPSHPHP PHP PHPHP PHP PHP PHP HR TTT Gus. 2 & 3 Aa7 HP PP PHP PPHH PP PH P PH P PHA PP PHP PH HP PP HP OH PS 6 'ene eee — 68 — HP PPP oP PPP POP GQ pp P PH HPPPHP PH HP PP 87BIA 8va__ ~- wPHPH PH PHP yp = oe ® 8) = ce he dedes HPS s HeHPHPHP Hp y full full full full 2 ff tf ts s s ~ 6 16 6 6 16 4 F Gir. 2 tacet C#7sus4 Ft foce. B (B) B ie de> full full * Pick directly over fretboard in close proxi ity t0 fretted notes.E/F¢ E FHS F#7add1 1 Eadd2 Gurs, 2&3 A Chm7 B D Cc Gurs. 2&3 (cont. in slash) 89full full v2 2 v2 full P Gu. 4 wf sustain $ - - + + 4 + + 4$—+ 4 4—4—+4 4 + 4 4 2 2 2 Ab Dbsus2 cb wes s Y s — ——_. —> wi bar <2| full full full V2 U2 P 91+ $466 44 $—64—_¢ 92Dbsus2 sim. Ss s 8 ann B 5 2 ane ih de Be BoB B semi-harm. | 2 2 ~~ Freely HPH HPHPS wy BOB a s H Se re N = PePetetetetePectl tere as et ae oe rt 12:8 18 full full full 4 5 HPHPHPHPHPHPS Hipp * + + — 49-14: /16-16-16 1446 14-16-14- 16-14-16 14-1614-9944-16-14 1849 W 7. ] 4044-46 16 16-44-13- 8 618 4340-10-19 1845 q KD ¥ 9 rit. + 14g, , ¥ THe 1 9 “tt 5 ——————— SS ——— ——- = + sw rit. 93HPHPHPHS y Pu Phe GP Eres Pret ees LE 11:8 SF LL ee 12:8, — 68—— H_P_H PH PHS H PHP H PS HP HP H PH PS HS H PPHH HP PH PH PH P 7 44434134413 HS & 46864646464, aya &) HHP PHPHHPP 6:8 HPHS PHPHPHPHPH PH PH PH PH PHP OH PH POY ewes StSa Se SS SSIS SE Se ses Tee Sey: rit HHPPHPHHPPHPHS PHPHPHPHPHPHPHPHPHPHP HPH P HY T n $844 8-4-4-8-4-4" 6-4 44-24-24 2-4-2 4 242424248Gtrs. 1-6 Gtrs. 7 - 12 Bass Gtr. synth, Choir Bass Dr. & Timp. Gongs Swrgs. Bass Bangkok from CHESS Words and Music by Benny Andersson, Tim Rice and Bjom Ulvaeus Moderately Fast J = 146 NC. eu) (Swarming bees B 'w/ dist. A ng a) bl a de ¢ Ml Oe Gis. 4-6 (lec) ff wi dist. divist Gts.7-9 PF dis {clec,) Gurs. 10-12 OF F . FP lee.) dst ff widist. #* Girs. 7-9 tabbed to right of slash. ff Bass Drum of FF * Key signature denotes A Phrygian dominant, Copyright © 1984 3 Knights Limited All Rights for the United States Administered by PolyGram international Publishing, Inc. All Rights outside the United States Administered by Union Songs AB International Copyright Secured All Rights Reserved 95Gtrs. 1-6 Gus. 7-12 Gtr. 13 mf clean tone P.M, throughout Bass Gur, Drms. HLH. w! foot f Synth, Choir Timp. Bass Dr. 96Trombones Brass crese. Pno. Coral Sitar Jet ring throughout a Gtrs. 7 - 12 Pe Gites, 10-12 Gt. 13 Bass Gur. Drms. Synth. Choir Timp. Bass Dr. lis. Strgs. 8 cresc. Bass ~ “ a “— —— ‘PPP crese, 97Trbns. Low Brass Sitar & curs. 10-12 Gus.13 & 14 cl Gu. 13 fff wd Bass Gur. Synth. Choir Timp. Bass Dr. Bass 98Trbns. Low Brass Sitar & Gtrs. 10 - 12 Girs, 13 & 14 Gtrs. 13-15 Gur. 1S (acous.) divisi Bass Gtr. Drms. Synth. Choir Timp. Bass if [C] J =4 throughout) AS *Gir. 15 tabbed to right of slash 99Piece. Fl. Pno. Harp Sitar Gu. 1S Drs. Synth, Choir Glock. B.D. and Gong 100N.C(A) @ bea Pice. F. Hm. Pno. Gtr. 16 (acous.) > Gtr. 16 nf Gtr. 15 Drms. Synth. Choir Timp. 101Bassoon Trpts. ‘Low Brass Gur, 17 (acous.) > Grr. 16 mf Gus. 13-15 Bass Gtr 102Bassoon Gtr. 17 Sitar & Gtr. 1S. Drms. Synth, Choir Wood Blocks Claves Gong Surgs. Marc. Cello misc. pere, 103Bassoon Gir, 17 & Sitar Sitar & Gus. 15 & 17 Gre. 15 divisi Drms. Synth Choir Wood Blocks, Claves, sirgs. Mare. Cello 104Picc, Fl. Gu. 13 wi dist Gur. 1S Bass Gu. Dims. Sirgs. Mare. 105Pice. Fi. F.Hm. Tipt. Pno. Gu. 13 Gir. 14 & Sitar Gr. 15 Bass Gtr. Drms. Marimba Xylo. 106Bassoon. Trp. Low Brass Pho. Harp Gtr. 13 Gtr. 14 & Sitar Bass Gtr. Dims. Marimba Xylo. Surgs. Grr. 18 (elec) wi dist. nf 107Pice. Fl. ch. Tipts. Trbns. Low Brass Pno. Harp Orr, 13 & 18 108Trpts. ‘Trbns. Low Brass Fr. Hr. Gtr. 13 Gtr. 16 Bass Gtr. Synth. Choir Marc. Cello 109Pice, Bassoon Tipts Trbns. Low Brass. Gtrs. 14 & 18 divisi Sass Gu. 110 Gus. 14 & 18,Pice. Bassoon Trp. Trbn. Low Brass. Fr. Hm. Gur. 13 Gus. 14. & 18 Gir. 18 divisi Bass Gtr. Drms. Gong Surgs. 111EbS FS GbS FS Picc. Al ch. Trpts. Low Brass Fr. Hm. Pro. Gtr, 18 Bass Gtr. crash bell Drms, Synth, Choir 112 EbS F5 Gbs. NC.Pice. Fl cl. Tepts. Fr. Hm, Pno. Gu. 13 Gu. 18 Bass Gtr. Drms. Synth. Choir Gong Strgs. Segue into “Bull Whip.” 113Fire Garden Suite Written by Steve Vai DS ES cs BS ewe ee x Sitar 1; Sympathetic Strings Tuning (High to Low): FREES EEE Tir AGFEED.CLBAGL IRE D.CE Het ciate i H BULL WHIP 134 134 1347 134 Moderately Fast J = 146 N.C(A) Gtr. | (dist.) ~~ “m ® (Bb) ) HPP H oP P s 575 3 2 0 oF $+ 75 5 8 8 75 6—+ 6—5 crash HA splash nye splash Copyright © 1996 Sy Vy Music (ASCAP) 114 International Copyright Secured All Rights Reserved@ « N.C(A) Gtr. 3 dist.) mf Gtr. 2 (dist.) divisi (Bb) (A) * AT fv. Gtr. 4 (dist.) “fre splash crash * Chord symbols reflect overall tonality. 1159—8—8 9412-12 988-8 9889-42 44 44 er > FA 44242424 Ht 2 ? HH. ‘crash + loco Gadd9 fA oo Te Poop PCr ww full full full . s * Gr. 3 tabbed to left. 0 3 splash crash splash HH. ° ° ° © crash 116PUSA ROAD A Faster d = 92 Drums tacet Girs. 2, 3 & 4 tacet Strings & Bass tacet ** Gadd9 N.C. Coral Sitar 1 Sympathetic Strings Strings * Key signature denotes G Lydian, + Sympathetic strings ** Chord symbols reflect overall tonality. N.C. Coral Sitar 2 ates H um 5B bp H full full * Doubled 8va throughout 11712 12 Sitar 2 awe? a let ring throughout Pp W2 12 A We Synth. Bass RiftAL B), B B (B) B i B ° ys a d a B End Riff A mp sim. V2 12 Luz V2 End Riff Al = Suar | & Synth, Bass: w! Riffy A & Al, 2 1/2 times. - H H H Ss s H B 12 w2 2 118N.C. N.C. ® BB Sitar | at let ring Sympathetic Strings Sitar 2 & Synth, Synth, Bass ) Sitar 1 tacet N.C.(A) (Bm) 119© (C#m) (D) (E) (F#m) Sitar 2 & Synth. aw > ~~ see Synth, Bass Sitar | tacet (A) Sitar 1 letring 5 5 2 55 --- 4 Sympathetic Strings aliss. Sitar 2& B Synth eo s Sitar 2, Synth. & Marimba Q string noise full Synth, Bass LLL 120F @® nc) (A) (Bm) (C#m) Sitar 2, Synth. (B) B HP (& Marimba Synth, Bass () (E) (Fam) (G) z “ 121(Bm) (A) (G) NC. Scar 2. Synth, Synth, Bass tacet ss Marimba foco PP Bra... BB BB [H] Marimba tacet Sitar | tacet N.C(G) Jet ring Ssmpathetic Siri lis, Sitar 2 & Synth, B v2 12 v2 2 2 2 Synth, Bass 122(A) Sitar 2 & Synth. Synth. Bass a @ let ring Sitar 2 Sitar 1 Sitar 2 & Synth. divisi Strings Se. * * Rake strings in sound chamber. Synth. Bass: Bes 123ANGEL FOOD A Fast J = 164 sou) BS N.C) e ——— =~" VY Y g nf & - Rhy. Fig. 1 \ © ——— —— ¢ ++ ese se ee a a oo # 7 nf D Strings tacet End Rhy. Fig. 1 s Piano L.H.: w/ Rhy. Fig. 1, 3 times, simile aur N.C.(E) DE NC. let ring f 7 . : + 124Dadd2/E Eadd2 NC. let ring let ring s Gut ES NC. ES DE letrings ee 4 letring ~~~ ------- 4 @ ES Dadd2/E Eadd2 N.C. ee let ring {et ring throughout 125® ES FE ES FRE p——= of a, > 2) ES FAVE Esus2 —3i— |. e— Gites s = | © oer ats a eo = les : = ee oe e - eo oe oe eer ¢ aa mf —_— tyr bees” a ES Esus2 BIE ANE va. 1960 126f ee f letring 4 127f * Since piano part was computer programmed, some of the L.H. spans are unusually large. Ea7 128® Em(add2) s Bball) E NC. SsGsus2 NC. 131Gsus2 Nc, Em7 NC. Ca7 Aadd2 Badd4 Aadd2 Badd4 E Badd4 s 132Aadd2 Badd4 Aadd2 Badd4 Aadd2 Badd4Aadd2 E > Wee ae SS ; <—. 5 Aadd2 Badd4 Aadd2 E Aadd2 Badd4 Aadd2 Badd4 133E AS E AS E Badd4 Aadd2 Badd4 Aadd2 E Aadd2 Badd4 Aadd2 EE ® Fémi1 E N.C.(E) 4 loco mp mp OY v 134~ Ne 4 cercorp ” amerir-tyrecercy cece * poe mp v > Dsus2/E Eadd2 135— o_o — = = SS oe ¢ tess sce ~- e eesdee e te sedesede TAURUS BULBA (A) Moderately J = 72 ES Gir. 2 (elee.) B ‘wi wah-wah & dist. w/ bar 312 > Gr. | (elec) | Rhy. Fig. t End Rhy. Fig. 1 2 4 PM. 2-8 4 PM.------ ee 4 PM, ----- 4 wi dist. doubled throughout Bass Bass Fig. 1 End Bass Fig. 1 136Gur. ls wi Rhy. Fig. | Bass: w/ Bass Fig. 1,2 times ES ® . Vee | 2m 4m a VA P “2-12 V2 s 5 —_— Annette SE Vv . Pp Gur,2 — VAN beam wibar-——--~-------— 7 w/ bar v2 -l Rhy. Fig. 2 * Gur. 3 wi dist 1372 Ww aes 5s s s s s HP Bass Fig. 2 HH crash HH. crash HH g 2 a 2 & End Rhy. Fig. 2A End Bass Fig. 2 HA HHL crash 3 crash 2 > > crashB] Gw. 1: w/ Rhy. Fig. 1, 2 times Bass: w/ Bass Fig. 1, 2 times Girs. 3. & 4 tacet ® wa. Gur.2 PHPHPHPHPHP HWP HP HP Hp yp H 3 6 6 6 6 6 6 puPpHPHPHPH PM PHPHPHPHPAHPHP HP HP HP Hp Hp y H H P_H PHP P 54 5: noe HP HP P He P P He L H P Hi pup EE) Guts. 1, 3 & 4: wi Rhy. Figs. 2& 28 Bass: w/ Bass Fig. | 139crash * Bass: w/ Bass Fig. 2 cs DS cS BS Bra. full full aes s Ses + 3 crash crash = HHL crash * crash Girs. 3 & 4tacet Synth, tacet dd) ES DS ES NC. loco ® 7 12, W212 bo heap: Se ene BB s W2 full Gt. s 12 full Hy HH, crash PS crasnl td splash HH 6 ° *Gw.4 tings - ~~ -~--- --------- 4 Gur. divisi let ring. ------------------- 4 Synth. Choir crash bell crash full PS full full fall full full full Wann * let ring H * Gir. 4 tabbed to left. crash crash 3 china 141Gtr. 4 & Synth. Choir tacet ES Gu. 5 elec.) mf wi wah-wah & dist Gtr. divisi Ly) Gu. s weet N.C. ES NC. ES NC. SF wi teavy dist. 4 4 w/ bar Ss <2 <2, <2 MZ Ss 2h2 A A VY AY ry A of Y + goubled throughout Seath > > > crash > > crash crash 142BD ant.2e suc Bass & Synth. tacet N.C.) Gur. 7 (elec.) —~ Ss 1 gwd. steady gliss. Ss {K] Gtr, 7 tacet *E D a7 Fadd2#11 E Am/D Gu, 2 & Synth, loco. Gtr. 1 divisi * Chord symbols reflect overall tonality. +** doubled by synth. 8va. 143@ Fadd2 pebsust AID ACH Cadd2 Fag#ll china crash HH crash HH Gir, 2 & Synth. tacet ES Esus4 NC. 43 Gar. 2 & Synth, divisi HP oH POH crash a crash Ht 144Gis, 8 (acous.) & 9 (elec.) + Rhy. Fig. 3 besGtr. 4 divisi * doubled 8va, ** doubled by synth. 8va, Fw dist, & filter 145® Gus, 4. 8 & 9: wi Rhy, Fig, 3 c ————— Gir. 10 (clee.) End Rhy. Fig. 3 we a d a Gur. 11 (elec. divisi wi dist. 4-444 tt 0-3. +4444 o + + +4 2Girs. 3, 4,8 - LI tacet (@) AS cs BbS AS Bia Gir. 2 Gus. | & 2 tacet ss tacet 147AS BbS cs BbS cs BbS Gtr. crash HH. eras * Gir. 2 tabbed to left of slash W Gtr, | tacet @ ® FS cn NE® ©, 5 cam Hp crash HH. > > > 148 * doubled 8va,Girs. 2 & 6 tacet @& (D) s «) (D) (C#m) (D) Gu.7 Ss | divisi @ ®, (D) (C#m) «)Gite. 8 tacet Girs. 3 & 4tacet facet china 150Gir. 7 tacet FS EbS Dbs Dbsus2 cm full vie lower J = 132 Gbs F Gb EbS FS 151Gtr. 6 tacet GbS FS GbS FS EbSFS CS N.C.(Bb) (Ab) ‘crash crash bell crash bell Freely w/ swarming bee (Bb) Cbs BbS Cbs sound effect (Cb) rit. poco a poco rit. poco a poco Synth. rit, poco a poco — rit. poco a poco 152Drums tacet 8a. Gir, 1 tacet Ss wees Ss s FS aweeereeens HHH HHH HHH s Pos A r T 1 46 Ae 1648-4244 46481044-1648 16-44-4242 42 48444442 46-4616 — #6} 116) $2 18h 1 1 1 t + ri 1 1 fob. eee ee Gir = e ¢ ‘fdbk. r T t 1 1. 1 ri 4 1 T 1 1 (3 fi 1 1 i pitch: Gb ee o o accel. & 15342-45- 44-44 42-45. 43-16 — T 4447 45-4 +4416-14- 1 43 4 2- 42 43 a -44- 44 15 —45- 46 46- 48418-44484 44 4243. 44-44 4245. 4346, 44-47 -45- 484 1 $ = a o 154A Tempo loco 8va loco 8va loco 8a loco 8va_— loco Bva @) (8) (B) by (B) ave BbS NC. ® . “eee weeereneeeevey og 2 —— a Gur, 2 rie s J J , j w/ swarming bee sound effects. (8 sec.) Gtr. 6 divisi Girs. 1&3 155Deepness Written by Steve Vai Free Time N.C(E) NS Ay,— ay,— ay. Do, do, do, do, do, da, day,_ hey, — Hey, - Ss Sm ay, hey. Gite. 1 (clean) Hop oP o4, s mf w/ reverb & phase Jet ring throughout 2D > — ° : rena fp ert cis ‘excite == — Do,do, do,da, ay. Oh,no,no,no, nay. Ohno, no, no, nay. s Saw Saw ~~ S aw Swe Swe pot oa r 1 : 9 4 19 9 — 1-4—4—4 4618 16—§ 686/49 19-88-94 1 + 1 zy $ L ° 1 1 rm 5 (Bmaj7) (FH) (B) FR7add 4 it, - & 2 2 te — " , f—» 3 =, z = SS — + vw q if do, do, do, ay, ay, ay, ay, ay. Ay, SS P ——— = = = nn rit, TTT ----------------- 4 3 ss P 1 T t — — n A 3 9 eto 7-6 4 * > Gtr, | tacet Y N.C. — Whispered: You are doing fine. We are at the beginning of the end. Copyright © 1996 Sy Vy Music (ASCAP) 156 International Copyright Secured All Rights ReservedLittle Alligator Written by Steve Vai {A] Intro Half-Time Feel J = 86 N.C.(Bm) B Gtr. 1 (dist.) . B AA steady gliss wah-wah off s S wi wah-wah fyi old bend 9 P.M. — 4 PM. 4 ua v2 12 End Bass Fig. 1 Bass Fig. 1 loco Copyright © 1996 Sy Vy Music (ASCAP) International Copyright Secured _ All Rights Reserved 157Bmll Oh. Gir. 2 (slight dist.) mp wi chorus) full divisi 3 AAA s + 2 + + 2 - + 2 5 ¢—2 0-2-2 o—2 Bo Verse Gir. 1 tacet Bass tacet D Bm {no root) 1. I could read — your mind ___ and all its freak - ish de - sires a- The 2. From the fangs,. the poi - son is so sweet - ly in - ject - ed. Gwe? Rhy. Fig 1 — ~ — End Bass Fill 1 Bass Fill 1 Ss 2) 4 full on feme_ fa - tale with an el - e- gant face of fire, wordsthat fall__ from your tongue are so filth-y, your mouth must. be in - fect. - ed. End Rhy. Fig. 1 ~ — — Gir, 2: w/ Rhy. Fig. 1, Ist 7 meas., simile Through the haze _ of your sen = ses and your de - fen - ses. Not a man, not quite a la-dy, hope-less - ly an simile on repeat H RAR 47-49 49— 19 1319 1919-49 49-49-49 _49_49- 49-49-4949 49 49— 1949-19-49 158To Coda ® God on - lyknows how — long — itis til you hit the bot - tom, —butthat’s all Heli on - lyknows how ——hot_—_it'_gets,_ oh, down south of the bor - der, —butthat’s. all ae s steady gliss: s s s 47-49 ———19 191919 1919} 19 19 1919-19 19 | 49 19-19 19-19-19 |-19--10-—19- 19-19 (19 ¢] Chorus @ ncem) right. Hey, I'll get you through par - a - Ss Gu. 2 letring 2 4s letring 4 s End Bass Fig. 2 159Fe Fsus4 Fe BFE Don't need your wings. (Oh, you don’t need_ —_ wings.) Gtrs. 1&2 letring- ~~ 2 ee 4 Bass Fig. 3 ES E6 Ea? For —_____ the queen, — Lit-tle Al - li - Girs. 1&2 g Gt 2 wg) = divisi letring __ 4 End Bass Fig. 3 0—¢—_0—_4—9_9 9 99 0—0—0—9—0 2—2—0— 2222 DJ Interlude Gir. 2 tacet Bass: w/ Bass Fig. 1, 1 3/4 times ® ncwm 160DS. al Coda @ Bass: w/ Bass Fill 2 Yeah, . yeah! 8va_loco B PH... pitch: Gf A Gi © Coda E} Chorus Bass: w/ Bass Fig, 2, simile Em? — —_——_—————— right, your se-cret is safe to - (You're such a nice la - dy. let ring - -M. let ring N.C.Bm) cS. Or night, ato - night. (Hey, _____________ yeah. P.M. - 4 P.M..--4 sos P.M. 4 full Bass Fill 2 s 161Bass: w/ Bass Fig. 3, Ist 3 meas. Bass: w/ Bass Fill 3 @) _Fi7ada4 ® _Far BFE shame. There is no rs —_) (All___ the same. 1&2 s Z let ring _ — 4 letring 2-2 4 H s Bass: w/ Bass Fig. 3, last 4 meas., simile E6 Ea7 C#m7 FRAT NES FN = — Glo - ry and fame, Lit-tle Al - li - letring 222 4 ketring 2 e 4 * * Gir. 2 to left of slash, ‘F] Interlude Gtr. 2 tacet 2D newm ga - tor. Uh,yeah, yeah! Uh, 10, Gtr. wee aw >P BBP 162to. Now get on with it, yeah. en BOB Gtr, 2am H YS vw AAA Gite. divisi full f H AAA” s 2 [a] Bridge Girs. | & 2 tacet ® Bass tacet Bm!1 N.C(Bm) te VY i the jun - gle it’s com-in’ down for those who live in the lost. and (Down yy Gis. 1 & 2 Gtr. 4 s Gtr. 4 (clean) Mf! wah-wah divisi Ss Bass: w/ Bass Fill 4 co 7 found. Can’t mis - take __ your at-ti - tude. __ Now get o - verhere. (You're so heav-y. i) a s steady gliss. Gtr. 4 divisi s steady gliss. Bass Fill 4 s 163(H] Guitar Solo Gtr. 4 tacet Bass: w/ Bass Fig. |, 4 times ® N.C.(Bm) Aw, that’s good. Anny A pitch: Cf c 12-12 Aw, — that’s it. 2 Vv v4 va v4 V2 aie va Vv B B ®_ os BOB grad. bend 112 2 V2 l full P 12 full P v2 P s w/ ad Lib. vocal «) if run 14? 2 wi bar Rhy, Fig. 4 pitch: A¢ AGAR 12041 Bass 164Bass: w/ Bass Fig. 4, simile B awn Shop s Po PS Pops Oz 2 ee PPS PPS i End Rhy. Fig. 4 Bass: w/ Bass Fig. 1, 2 times (Bm) 8va-. va > loco 2 112 full ul me HP P full__snwen 12. 12 V2 2 2 142 loco © 165Bass: w/ Bass Fig. 1, 2 times, (Chm) 7 (F#) (Bm) ava. > pitch: Af ce End Bass Fig. 5 pitch:C# Wee eee teeeeeeeesy loco 8va- cere loco > full awe law Wl ow Harm, w/ bar s fon, / bar w/ wah-wah E FEE FRE FE A Bb G lack ain Bass Fig. 6 Bass , loco va... “3 w/ bar fret S +112 w/ bar “woos out _ V2 166End Bass Fig. 6 t + $- - # $- 6 4 4 # F L ® eS HP HP PSH - PHP HP p upp p BAP weep Pe Pop ey ——~ <————— HH HPP HPP P HP PSH P P HPP P HEP HPP PHH Bass: w/ Bass Fig. 6 (B5) 167E FRC# DH E Fe Bass: w/ Bass Fig. 5, simile (F#) 12 “112 12 Vv B — w/ bar ww) bar w/ bar “142 “12 “142 fall wi bar 4 " () : 5 a : cee eeeeeeseeeeeeseerees ceceeeteeeseeeeee uo ——— u2 v2 p full Bass: w/ Bass Fig, 6, simile (Bm) full op 2 fall _ P P 12 12 pp A DS PNA FAD jp—~ Ann, s Bua 8va.., loco B B hold bend — NV N w/ bar full aes tull full tutu full fullaanaaeae full full full full full w/ bar wi bar wi bar “2/2 202 1688va-.-5 loco va... loco bea loco Bra.-., loco 8va.- cece B B B B B B B B «eB B — MW ——__ +1 w) bar full full full a full full ju aww 2 2172 212 212 212 _L Verse Gir. | tacet Gtr. 2: w/ Rhy. Fig. 1. simile Bass: w/ Bass Fill | Bm! !(no root) Bass tacet You could hang your im - age in___ a brand new di-men- sion 3 I don’t e- ven think your mir-ror can un - der~ stand — your re-flec - tion, —butthat’s alll Gu. | s Chorus Gir. 2 tacet Bass: w/ Rhy. Fig. 2, simile mt le] = 7 ___ — right, Hey, — as long as you're not up - (Oh, that’s all right. let ring - let ring - - ee Gir. 3 tacet BS tight to - night. 169Bass: w/ Bass Fig. 3, Ist 3 meas. Bass: w/ Bass Fill 3, simile 63) PeTadaa BFE — ———__ And in your brain (Are you sane? Bass: w/ Bass Fig. 3, last 4 meas., simile E6 Ea7 C#m7 FE+7 all the same J fp Lit - tle AL - li - 3 Gtr. 1 divisi letring ee 4 letring, 2s 4 * Gir. 2 to left of slash, K] Interlude —_ Gtr. 2 tacet Bass: w/ Bass Fig. 1. 4 times, simile 33) N.C.(Bm) Uh, yeah, — yeah. Uh, Lit-tle Al - li - B Grd we s as we — P ~~ ~ a P.M._ 4 full Oh, Lit-tle Al - li - +9 loco B PM. _ 4 fully wrbar 2M? eee 4 112 “312 3127 “2/2 170@) Bm? NC, Oh, Lit-tle Al - li - ga-tor. ¢ _~ D 12 End Half-Time Feel YY ~ BS > awn ane That can on-ly make _ sense. = = = tg £ = s 4 ‘©. = - test ia 2. i PM. 2 — we 49 paren AAA Outro in @ Gir. 2 N.C.(Bm) DS N.C.(Bm) N.C(Bm) 171Freely @) Grr. 2 tacet Gtr. 4 tacet E FE D E D_ BS Asus4 NC. Bm7 s B Gtr. 1 let ring _ ‘w/ wah-wah ' Guid s rit. rit, letring - - - - - ----------------------------------- 4s Bass tacet foes Ss Pos P s HOS P wi bar- ~~ - *Hold vibrato bar down follow- ing dive and rattle strings against pickups shaking bar slightly 2 Bmtl 202 slack You're mak-in’ a mess. Good. Sma loco grad. release *Pluck string behind nut 172 “412All About Eve Drop D Tuning, Down | Step: @-v @=c Written by Steve Vai @-a @©-G @-F @-c [A] Intro Half-Time Feel J = 131 ; 5 *cadd0G Dome Ss Ss Ss_S Gilg s (elec.) t a —— mf’ w/ slide wi dist., delay & chorus s 8 Gtr. 2 (acous.) mf let ring throughout *Chord symbols reflect implied tonality relative to de-tuned guitars and do not reflect actual sounding chords Fa7sus4 CHE Fsus4 Ebao/Bb s Verse Gtr. | tacet CSadd9 F5/C Eb §/Bb 1. And though the sun goes down, - Copyright © 1996 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved 173