hee Vin a, ©The Blood & Tears By Steve Vai Fisus2 Fitsus} Aadd9 Amaj9 = B/A ED eco | Terao PF 98 tte ste tat or Ee Ee ag 13411 4st 321 324 13444 ria Bsus2 A Asus2 FH7/E =E/D$ = C#m11 ae tah ‘fe Co q 13411 3 an 231 341 23411 Moderately J = 122 Fésus2 Rhy. Fig. 1 Gtr. 1 (acous.) <> Piano Piano Fig. 1 Spoken: Let the might of your compassion arise to bring a quick end to the flowing stream of the blood and tears. Fisusy F#sus2 Aadd9 Amaj9 End Rhy. Fig. 1 ° ° da. 9 End Piano Fig. 1 OPA 8000800 Ss Ss s s Gtr. 2(elec.) ee * w/ DigiTech Whammy Pedal, dist. & delay +312 4212 4212 vs s * Set for perfect 4th above when not depressed (toe up) and perfect Sth above when depressed (toe down), ‘with equal amounts of original (dry) signal and processed (wet) signal. Gtr. 1: w/ Rhy. Fig. | Gtr, 2 tacet Piano: w/ Piano Fig. 1 (3 1/4 times), Gir. 1: w/ Rhy. Fig. 1 (2 times) Fsus2 Fisus. 4 Fesus2 Aadd9 Amaj9 —** Fifsus2 > Spoken: Please hear my anguished words of truth, Gir. 3 (elec.) Rhy. Fig. 14 mf wi dist. PM.--4 ** Chord symbols reflect combined harmony. Copyright © 1999 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved 95 Gtr, 2tacet Fitsus, 4 Fsus2 Aadd9 Amaj9 Spoken: An ocean of measureless qualities in an ocean of joy. ‘Gtr. 3: w/ Rhy. Fig. 1A Fisus2 Ftsusd Fesus2 Vocal Fig. 1 Gitrs. 1 & 3: w/ Rhy, Figs. | & 1A (1 1/2 times) Aadd9 Amaj9 Fésus2 Ftsusy ere ee End Vocal Fig. 1 Spoken: We love compassion. Gtr. 2 DigiTech Whammy Pedal off Ffsus2 ‘Aadd9 Amaj9 Fifsus2 ee ao pe 10Fisusy Fifsus2 Amaj9 Aadd9 EIA ED Bsus2 Piano Piano Fig. 2 11Asus2 FR7(add4y/E j—}}- Qo > Q Spoken: We love compassion. SSS E/Dt C#mi1 F#7(add4y/E ¢-——~]] ~s | ——- Gur. 4 (dist.) 12E/Dt C#mi1 ~S ds )—.-—£_— Spoken: Our most cherished and long - omy s if = co w/ DigiTech Whammy Pedal % D) urs. 1 & 3: w/ Rhy. Figs. 1 & 1A Gtr. 4 tacet Piano: w/ Piano Fig. 1 (1 1/2 times) Ffsus2 Ftsus} —_~ End Rhy. Fig. 2 ° Vocal Fig, 2 felt desire. End Piano Fig. 2 13Fétsus2 Aadd9 Amaj9 End Vocal Fig. 2 Vocal: w/ Vocal Fig. 2 2 Piano: w/ Piano Fill 1 2 F#sus2 Fesus, 4 Fsus2 Ffsus, 4 = Gus, | & 3: w/ Rhy. Figs. 1 & 1A (3 1/2 times) Fisus2 DigiTech Whammy Pedal off full * Key signature denotes F# Mixolydian. Piano Fill 1 Piano 14Fesus2 Aadd9 Amaj9 pitch: C# Féfsus2 Fifsus 3 Aadd9 Amaj9 Piano: w/ Piano Fig. 1 (1 3/4 times) 2 F#sus2 Fesus4 F#sus2 w/ DigiTech Whammy Pedal +21 6 * Key signature denotes F# Dorian. Aadd9 Amaj9 Féfsus2 Fiisusy +312 - 4 4210 4312 15Gurs. 1 & 3: w/ Rhy. Figs. 2 & 2A Piano: w/ Piano Fill 2 Fisus2 Amaj9 Aadd9 va loco pf fee- ors Piano: w/ Piano Fig. 2 BA P H —————S 4 => yee? 2 DigiTech Whammy Pedal off HH PoP et 1k s H Ay aot oP PPS aww s 32) 4212} —— Bsus2 5 A Asus2 E F#7(add4)/E * Key signature denotes E Lydian. E/D# C#mil loco Piano Fill 2 Piano fd 16E FH7(add4 VE 8va -+ Ss DS. al Coda w/ DigiTech Whammy Pedal #312 42:12 #212 fs S ) Coda Gurs. 1 & 3 tacet Spoken: They are drunk with 8v6 w/DigiTech Whammy Pedal “Key signature denotes F# Dorian. demonic delusions. Our most cherished and long-felt desire. {B) 17Vocal: w/ Vocal Fig. 1 (2 times) Girs. 1 & 3: w/ Rhy. Figs. 1 & 1A (6 3/4 times) Piano: w/ Piano Fig. 1 (7 1/4 times) Fisus2 What is right and what is wrong. Fifsus2 Fftsusd Fisus2 Aadd9 Amaj9 Fésus2 Vocal Fig. 3 OT 18Ffsusy Fiisus2 — Aadd9 Amaia SS Se ee End Vocal Fig. 3 Vocal: w/ Vocal Fig. 1 2 Ffsus2 Ffsus} FHsus2 8va--- (B) 42:1/2 t 44 Vocal: w/ Vocal Fig. 3 2 Aadd9 Amaj9 Ffsus2 Fi'sus4 Spoken: An ocean of measureless qualities. bya Vocal: w/ Vocal Fig. 1 Fisus2 Aadd9 Amaj9 Fisus2Ftsusy Fiisus2 Aadd9 Amaj9 Spoken: In an ocean of joy. Fésus2 Ftsusy Fé'sus2 Spoken: Please hear my anguished fl Vocal: w/ Vocal Fig. Gus, 1 & 3 tacet Aadd9 Amaj9 F¥sus2 NC. ont g A ) 3 - words of truth. 20EB FR/CH NC. oe { = Spoken: Let the might of your compassion arise to bring a quick end to the flowing stream of blood and tears. vol. swell ———=——————_ mp sub.p mp DigiTech Whammy Pedal off picked w/ fingers s s 4 a H s : Vocal: w/ Vocal Fig. 1 8va --~ 4212 perc cssssee e 21The Ultra Zone By Steve Vai E5 FHS G5 ES" (b5) Emaj7 E6sus2 FH Tf Vr ‘ofr fr 12 124 312 1342 [A] Moderately Fast d = 137 * (Drums & synth) 9 NC. oor C/G DIA Gur, 1 (clean) wi phaser Key signature denotes A Mixolydian. ™*“Am7 DIA Am Bm9 Aadd$9 ¥* crese. Ger 2¢die) ed (86) & 2° ***Vol, swell **Chord symbols reflect overall harmony. Copyright © 1999 Sy Vy Music (ASCAP) 22 International Copyright Secured All Rights ReservedGus, 4 (dist.) fa Gwe. 5 (dist.) divisi 0), se] —=—=—=—$—$—$_—$—_———————— _ ff Gir. 6 (dist.) YO, | $v of Gtrs. 2, 3, 4, 5 6 6 tacet Am7 Am D Am DIA Am CIG DIA Gr. H *T=Thumb on 6th string Am7 c D Am cIG c D 23Bbmajl3/A. C1(add4) C9(add4) divisi Gtr. 7 Gist.) divisi Gus. 2,3, 4, 5, 6 & 7 tacet Gur, 1 tacet NC. cD DA CG NC. Gtr.1 H Ss igs Gtr. 8 (dist.) 24Gur. 8 G5/D G¥S/DE End Riff A rs + w/harmonizer ee s s S 44 w/ harmonizer 'S *Set to produce pitches a major third and an octave higher. *Set to produce pitches a fifth and an octave higher. 25Girs. 2, 3,4, 5 & 8 tacet NC. A Gtr, 9 (dist.) $ as s 3 = Se +E 7 x et nf wi bar. w/ delay 1 4 s “wees Vs s Vv ae HP P| AAA E 9 —i —T 26ES os) Om ® ~ } Gt.9 , loco Se J s gs: #212 4312 4212 *#Set for perfect 4th above when not depressed (toe up), and perfect Sth above when depressed (toe down). Gur. 10 (clean) ——— mf. wi envelope follower | *Key signature denotes E Lydian. FES GS A Gtr. 8: w/ Riff A Gtr, 10 tacet NC. loco Ce io 2 eo sc s= DigiTech Whammy Pedal Off full full full full full ‘**#Key signature denotes A Mixolydian. 27GS GH5N.C. 28Aadd4 Bbadd4/A loco oe ne s Pos HP Bes ono gfe. b — —— th. PS 29Gtr. 5 tacet Gtr.5 Sma ara full fall we PP Gus. 2, 3 & 4 tacet E5¥ll SF wenvelope follower *Key signature denotes E Lydian.Gtr. 10 tacet E(b5) ) 2 H H P H 3 P P a os = SS H P H H P P Emaj7 E6sus2 FR 31Fisus4 GS e_8@0 eo \o 3 (cont. in notation) 32*Key signature denotes A Dorian. x Sf ¥ vol. swell << —_= —_= vol. swell vol. swell vol. swell ss Ss Ss s Ss Ss Ss Ss 46-47 —46- 47-46 =<48- 334 letring - - picked w/ fingers 112 semi-pinch harmonic pitch: E*Key signature denotes A Mixolydian, ** 0 =toe up += toe down w/ Riff A (Ist 2 meas.) (4 times) 35(cont. in notation) Gtr. 8 ee aS w/ DigiTech Whammy Pedal 4212 ere fi 36FHS 4312 43:12 poceeqees 1 Digitech Whammy Pedal off full fallGir. 8: w/ Riff A (last 7 meas., simile) AS Gur. 8 tacet 38Oooo By Steve Vai ES D#5 Ds ces F5 EbS GbS_— ADS aes: tee Ae Bee an a” SE, i ba te ie ie ae Ge AbS™? AbS#H11 GS ‘ofr BbS Db5 EbS5 — Absus2 ite ha" ge 134) 124 ‘of Rit 1334 1334 Be [A] Moderately Slow d = 96 ES D#5 DS C#5 “Gu. — (7stz.elec,) 7 : 1Ah7. Fy 19 fy. Gee 2 (dist) eos) w/ dist RMA B anf’! delay full *Key signature denotes C# Dorian, **7th string tuned to low B. veerSynth, bass arr. for bass gtr. FS Pye eee Pere Copyright © 1999 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved 39D#5 DS End Rhy. Fig. 1 ~t Toy fi- Poy fae Tht hhF w/ Rhy. Fig. | 2: wi Riff A Bass: w/ Bass Fig. 1 Synth. Voe. cs * ES Gur. 3 (dist.) Rift AL mf wi delay full FS ES D#s DS 40Gr. 2: w/ Riff A (Ist meas.) Ces ES D#5 C#5 = DS of DIP. 711 h4* TT) « End Bass Fig. 1A Bass Fig. 2 atEnd Bass Fig. 2 ApS Pe AbS#II AbS AbS#I1 Fat or phr py 1 FUP a Gtr, 4 (synth.) Gur. 6 (dist) t34 *w/ harmonizer & wah-wah v2 let ring ‘*Harmonizer set to produce pitches a perfect 4th, a perfect Sth, and a major 7th higher. Gtr. 5 (dist.) Ss Gite. 7 (dist.) 3 nf let ring 42Gir. 3 tacet Gir. 6, 7 & 8 tacet Gur. 9 tacet AbS#11 AbS ES D#5 DS Monon - torppr TT) Bva---=> Gur. 8 (acous.) Gtr. 10 (acous.) my ++ w/ delay s** w/ harmonizer **Set for quarter note triplet regeneration w/4 repeats. **Set to produce pitches a m3rd, M3rd, and an octave down, Gir, 9 (elec.) Gtr. 11 Gist.) * wf whammy pedal let ring 4 ” Sma loco cur fe) YE * w/ whammy pedal +w/ whammy pedal let ring= 4 1Set for one octave up when depressed, *Set for 2 octaves up when depressed. Dp) Gtr. 3: w/ Riff Al Gus, 5, 10 & 11 tacet Bass: w/ Bass Fig. | (2 times) cts ES ct / Qi fhm Tatham Fife Tid tT *D#5 DS Tee Tee Fete ee 7 ct FS ct g Tate TRS )Tt je Pp f)I- Ty) ha fork dsBass: w/ Bass Fig. 1A. ES D#5 D5 CHS ES D#5 C#5 Ni | THE TT) FP TP TT) PM. EE] Gt. 3: w/ Riff B DS D#s bod Jd oJ do op ES FS Gbs 45UD ode eb ea Ae ~ bet bee bee. oe AbS ede Dy) Do Se Pe) on PM. -----4 46TIS FUDAN ese eS Db5 Eb5 Absus2 Absus2 Ab5 Absus2 AbS ETD )s + FT FT be te DT 47Free Time Absus2 AbS Absus2 AbS5 Absus2 AbS Absus2 AbS Absus2 PUTT) DAM De - nf » Gtr. 12 (dist.) a) y a 4 * Gtr, 13 Gist.) mf divisi let ring- - - 4 * Gu. 14 Gist.) * Gur, 15 (dist.) divisi “Keyboards & backwards gtrs. arranged for gtrs. 48Gtrs. 1, 2 & 3 tacet Gtr. 14 tacet 8va Gu 12 4 yadda 2 g id .3 4 d d,. **Gir. 12 to right of slash in tab, Ss LY 6 — * w/harmonizer — — — - - ------------ | ! : ; ! ; : *Set to produce pitch an octave above. A Tempo Gtrs. 12, 13, & 15 tacet Bass: w/ Bass Fig. | (2 times) +s Ab/Db ***Chord symbols reflect overall harmony. +Key signature denotes Db Lydian. +tKey signature denotes E Lydian. Fsus4 B at 2 B NS let ring- 4 full in fall Js +##Key signature denotes F Mixolydian.Ab/Db FRE slight P.M. -1 50Bass: w/ Bass Fig. | (Ist 2 meas.) re, Ab/Db | fee G6 £8 ESS te gO : a ee 2 Ie « Bas¥ Bass Fig. 2 c#7/D fe a Gtrs, 2 & #16 Bp ww *Gtr. 16 w/ clean tone & phaser Gir. 17 (clean) & Glock **Chord symbols reflect implied and overall harmony. Eb9(add4) Emajl3 s s let ring let ring 51Ebmaj9 Af(add4y/E let ring F13b9 Bbadd9/Gb s H let ring ~~ CIAb Gb+7#11(no3rd) P3 Gtr. 17 & Glock let ring - ~~~ = --------------------- let ring - = - = =~ - =~ - ----~---------- 52ce Gm Abmaj9#11 Gm » P ~~ let ring. let ring Gm9 AbS let ring ~~ 4 let ringtet ring BbS AbS “Right-hand middle finger on Ist string, Ist fret. 54let ring Gtr. 17 & Glock tacet loco ) 5557Gtr, 16 tacet AbS ° wi delay 4312 4312 43:12 4312 3 43:12 Lor 77 ean fult *Played ahead of the beat. DES CHS DS 58Frank By Steve Vai Cc G Bb F Am? G5 8 fr »6 fr ju * ea ee Ee Ben Peon rant raat Tr Ps [A] Moderately J = 124 NC. Gtr, 1 (clean) (Drums) mf’ picked wi fingers * Key signature denotes C Mixolydian N.C.(Bb5) (Fsus2) ™* G7sus4 H PLP 3 letring -- ------------------- °* Chord symbols reflect overall harmony. ee Gn2 CS C6 NC. C5 Csus2_€ Csus4 C Csus2 GS F5 mf wi delay PM. let ring ~~ -- 4 H ****Chord symbols reflect implied harmony. Bbsus2 Bb Bbsus2 FS Bbsus2 Bb N.C. Bb Bbsus2 F5 H __ let ring ----4PM.-~--------- 4 H cs C6 NC. cs Csus2_C Csus4 C NC. GS NC. — PM. PM. M.-H letring- ~~ 4 letring- ----4 letring ---4 H H pitch: G# FE Copyright © 1999 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved 59Bbsus2 Bb NC. F Bbsus2 Bb N.C. 4 FS NC. a. H H — let ring - - - «PM ~ let ring- - --4 H H pitch: A Bb A Bb#4 BbS BbH#4 BbS Bb6 ~—BbS. Csus2 C Csuss Csus2 H H let ring ~~ 4 let ring - ~ 4 H H Bb#4 BbS Bb#4 = BbS N.C. Csus2 C NC. C NC. cs H s s 3 — SF PM. PM. PM. let ring = - 4 letring-=4 00 ering = = = = = = = H BbS Bbt4 BbS cS BbS Csus2 C C7sus4 Csus2 C6 Csus2 Ss s sos ae SS PM. let ring ~ - - 4 H Bb#4 BbS Bb#4 = BbS. Bb6 NC. FS FA NC. Gsus2 G6 Gsus2 G5 H s SP let ring - = = -~ ~~ 1 letring = -- ~~~ 60FS FA NC. G6 Gsus2 G6 F5 FA N.C. Gsus2 G6 Gsus2 G5 Ss SS 58 S. Ss P tet ring ~ letring ~~ ~~ ~~ + let ring - ~~ ~~~ let ring- - -- ~~ 4 letring- - - - -- P Fsus2 Am7 G5 N.C let ring piteh:A BOA * Tap harmonic with pick. let ring let ring cS C6 cs Csus2 C Csust¢ C Csus2 G5 NC. 8va H Ss s — letring ~~ 4 let ring ~---------- 4 letring =~ - 4 su H F Bb NC. F FS Bb Bbsus4 Bb FS F NC. H s — let ring = =~ 4 let ring- = - 4 H full 61cS C6 cs Csus4 cs C5 Csus2 C Csus4 C Csus2 GS NC. s — let ring - =~ 4 H va loco H. oa — let ring = = 4 letring= = == 4 H anes H ss s ss pitch: E Bb#4 BbS Bb#4 = BbS cS Bb5S Csus2 C Csus4 CC Hq s H — let ring- ~~~ 4 H Bb#4 BbS Bb#4 = Bb5S cs BbS Csus2_ C NC. cs H S — let ring ~ ~~ 4 H BbS Bbt4 BbS DS BbS Csus2. C Csus4 C5 Csust C Csus4 C s s H — —_ H let ring ~~ 4 H 62CS BbS Bb#4 FS NC. FS RIA NC. G6 Gsus2 Gsus4 t = \\« s FS HA NC. G6 Gsus2 G6 FS FA NC. G6 Gsus2 Gsus4 s s s eae tee ie 3 let ring - = ~~~ ~~ 4 letring = ----- 4 letring =~ Ss Ss F HA GS Gsus2 NC. letring ~~ ~~ ~~ == 4 lerring s Gsus2 let ring =~ let ring ~ — let ring— - ~ 4 let ring s FS Fsus2 N.C. DS Dsus2 D7sus2 Dsus2 D7sus2 5 s 80 hoo let ring = -- 4 == --4 letring----------------------- pitch: A E 63oO G Bb§ (no3rd) F Harm. throughout w/bar + 1/2 w/ bar Gitrs. 1 & 3 (acous.) * String noise G Fmaj7sus2 Fsus2 CE let ring - - - - = -------------------------- 4 letring --------------------- 4 letring ---------------- Bar @ & © with 4th finger. 64D7sus4 cs GS Bm7 B Csus2 Am7 B let ring let ring F7sus2 B GS Abmaj7sus2 Gadd9 Ebmaj7sus2 let ring letring---------4 — letring--------- Cm9(no3rd) 8va--> B let ring 65let ring 8va- Girs, 1 & 3 tacet B loco -9 2G ~I——D } pp) Pe) — letring- -------------- 4 let ring~--4 H let ring- - - 4 H full DP) Dds ) POTD DP Pp boop pe S Ss let ring ~ - 4 H let ring YP) PP) PD TDID KBD DDD TD H EES + loco £ let ring -- 4 let ring -------------- H F (BB DP) ode DTP) Pde dds —~ slight PM.- - - - - - let ring - ~ - 4 H let ring = - ----------- 4 letring--- 4 H 67)) Nroemnnk SS Set thdAm7 GS F Am7 Gs F let ring: ~ = 4 letring let ring ~------------- 4 letring piteh:G = G Gtr. 3 tacet NC. Harm. throughout w/ bar let ring= = = 4 let ring -------- 4 letring- ~------ 4 letring ~----~--- 4 s s pitch:G A GD FR/CH GD let ring 41Moderately Fast d = 158 Spoken: Just go for it! Gur. 1 (dist.) * Chord symbols reflect basic harmony. Copyright © 1999 Sy Vy Music (ASCAP) 70 International Copyright Secured All Rights Reserved* Lightly touch string to produce random harmonics. (B) BS “A Ss — Ss P 4 J Ss PHO P POH P POH P P yoo hold bend 71“_— pou Pp PH P PH PP pitch: F# G pitch: D 72P PH PPHPP pitch: D AS ayes te. tae £3 SP peurp lh? 2 - £ a fhe feaex E PRHP PHP? io Pirie toed SSS ee et - v ~ 6 = 6 w/ bar PH- 4 Pp PPupPHPP V2 PPueppuepe fea 4-29 S__ig 48 Jesu te 42 ae a P PHP PH PP loco ae PPHP PHP P 8va-~ la- (B) B B, loco B ames P PHP PHP P PPuppuepe P PHP PHP P 3 pPuppuepe 73“-— ““~—- flutter bar 1U2 PPHP PHP P awe OS ¥ s PPHPPHPP full full full full slack full full full full 15ma + 74AS B @B) B B pitch: Dt 75* With bar pointed toward bottom strap button, depress until string “frets out”, with the higher pitch being fully depressed. HP H PH PH PH ee4&—3-—_-_2_5_4-_3_6_#-_5-—_9-_4-_3_#_4—4 ‘§— #18 - 698748889 425 * w/ wah-wah w/bar hold bend hold bend. wah-wah off full * + = closed (toe up) © = open (toe down)8va-1 loco Bva-3 va ~~ pitch: Gf NC. E7#9 Spoken: Just go for it! loco pitch: E B D E +**T = Thumb on @) Just behind the 3rd fret. 2.5 = Halfway between 2nd & 3rd frets. 7879A E7#9 s gies $iie: shi LEGS wpe 8 BS 738 . : = Sa Se +2 * Push string into pickup. pitch: B ‘** Lightly touch string to produce random harmonics. HOUHUP Po on oP weiss Ke Ota oon H B ®) ®) «B) SS eae :: Tene ae ae ——— 6 3 = awe 5 Ss H Po oH P HP PH A “4 HP P 2 6-0 Ee 80* + = closed (toe down) “ap ‘© = open (toe up) “112 AS B loco B B B B B BB B —_ Me tee eo te =) ra + eS —— E fe4 — at £ é w/ bar wi bar w/ bar full full full -- noes : + iN 2 wT 28—_ 47 {44} tH4}t¢ 4 28 2046 2 312 312 81H PPHH Pp PHH PPE PPuH Pe Pe Pe Pea HP HP P HP P pitch: E pitch: C# ES NC. P P PHP PHP PH PP “— P PHP PHP PH PP 82Voodoo Acid Words and Music by Steve Vai Intro Fast Rock = 206 *Gtr.2 N.C. (Sound effects) B (By * Sitar arr, for gtr. Gwe. 1 dist.) -10 B Gtr. 2 tacet “8172 21R slack slack Copyright © 1999 Sy Vy Music (ASCAP) Intemational Copyright Secured All Rights Reserved 83Melody Half-Time Feel Gur. | tacet Gtr. 1: w/ Fill 1 *AbS AS AbS AS G B B HP Aeros tr, 3 dist.) 4° aa Hop Ss Sf w/wah-wah as filter *Chord symbols reflect overall harmony. Bass: w/ Bass Fig. 1 (3 times) AbS AS AbS AS BOB BOB HP Gtr. 4 dist.) A = Tia slack slack slackGtr. 4 tacet AbS AS NC. Bya <== 202 eee ee ee ee eee eee + B P *®) @) B ‘va loco Q ; ( dt i — ~~ ad) _ *Bend both strings with ring finger. Verse Gir. 3 tacet Ab7 AT Ab7 AT did-n’t e- ven know what I was do-ing, 85Ab7 AT Gir. 4: w/ Rhy. Fig, 1 Ab7 AT Ab7 A7 But I could hear the blood _ End Rhy. Fig. 1 AbT7 AT rush - ing through my brain and I could see ti - ny lights___— shootin’ from my —_veins _ NT LL Ab7 AT Ab7 AT and lit - tle voic - es 8Guitar Solo Gur. 2 tacet Bass: w/ Bass Fig. (4 times) AbS AS AbS AS —a Oh, you go, — boy!__ ‘w/ slight dist. fprmerernnereareneentens Dance!!! _ ww/ad lib humming & moaning, next 10 meas. AbS B AS AbS B AS 87AbS AS AbS va ---3 Gtr. 3 Ss * ss 2s — ~ 3 — St w/wah-wah > * w/ delay delay off Styrene S S| Sa pone = — t— 3 38— 16 (1018) #018} 1684 = Set for dotted quarter note regeneration w/ 3 repeats. Gtr.2 — be— 4-4 > = = = eS SS —— 4 - —t +} E = c Verse Gurs. 2 & 3 tacet NC. ~ 2. Throat is like a fi - re - place,_ tongue is like a ra - zor _ blade, il - lu- mi - Gu. 4 S 8 w/ **DigiTech Whammy Pedal & wah-wah **Set to harmonize an octave higher. x et oes bare re 2S Seeeie $e} 7 See = nat-ed be-fore me, looks to be like lit-tle — hon-ey bees. — Well, they were neat and sweet, with nec ~ AAA OOOO one = f E | P eres etEEO E G - | | a — |wd Gtr, 4 tacet tar drip - ping from their cheeks. It sound-ed like this... Gunk gunk, gunk, gunk. No, real-ly, just like that. AAR *Sung behind the beat. Interlude Bass: w/ Bass Fig. | (4 times) wae ttmeas, [23 114. ADS AS AbS AS But when they danced,_ it sound-ed like this... Gtr. 2 tacet AbS AS AbS AS AbS AS SS Go, bee, go. Dog-gy dog. — Go, —_. bee, go!!! Guitar Solo Bass: w/ Bass Fig. | (4 times) AbS AS AbDS 4 Ha Py AS VVV VY boa He ae a G3 s anes © meat what wba bar = w/ wah-wah a s ae AAAIE IU ETENIEENINe Vi VaVveReV Vv **4 = closed (toe down); 0 = open (toe up) AbS AS yah (B) (B) aes de df AbS -l wv a AS 89Gur, 2: w/ Fill 2 AbS AS AbS AS pitch; Bb Ab Gb Ab A BOA BOA BOA BOA grad. bend w/ bar grad. release 112®AAMAA full 1/2 Gwe. 3 tacet Verse NC. AbS AS AbS AS (Sound effects) 2 =! Sh Es hy 5 | SS oey MUCH gs res Ss 3. It was dark __ and I was freak - in’, — some-bod - y se - Gtr, 4: w/ Fill 3 AbS AS AbS AS duced me — in - to sex. My body moved like drop frame vid - 4 My w/ voc. effects, next 8 meas. AbS AS AbS AS hips looked like is It AbS AS AbS AS feels pret - ty good though. Feel good though. Feel good! ie ‘*w/ DigiTech Whammy Pedal and wah-wah full ‘*Set Whammy Pedal to harmonize a 4th higher. 90AbS AS AbS AS f fy SS. SS. SSS] ae And then that feel - ing you al - ways get, well, it AbS AS AbS AS o ——— Ge jp = be he eg b a be oS ee made me make a mess, and in a pud - dle— Free Time A Tempo AbS NC. (Sound effect, drums) ma 4& ro = = | Ge SS = 3 | al + — _¥ - — of, mm, mm... (gurgling) hon ~ ey. Guitar Solo Bass: w/ Bass Fig. 1 (12 times) Gtr, 2: w/ Fill 4 AbS AS AbS AbS AS va. wi bar steady gliss. pe (oe up: sto harmonize th higher: (toe down): set to harmonize a Sth higher “112 212 3 B Abs H P AS (B) che = P H AbS AS AbS AS let ring 91Gur, 2: w/ Fill 4 AbS AS AbS AS H PS awe 5 P AbS AS AbS B AS AbS 4S, AbS P ASPp Pp P pe Hoo PPP H PoP P —6: ee ee a wo = ee - = -— a = eta =e i | a eet a 7 = UL 64 —t 3 3 P POP P PoP H HH PoP P oP P#H H POP PoP POH TBs + Gs 6 — 499-459-9649 9-6 + Sa AbS AS AbS AS | 93AbS AS AbS AS B Verse Bass: w/ Bass Fig. 1 (4 times) AbS AS AbS AS Gir. 2: w/ Fill 4 4. In the dis-tance I_____ could hear_ _ words of wis-dom_ whiz - zing____ by AbS AS AbS AS the filth _ run down __ the drain, B Gur. 2: w/ Fill 4 AbS AS AbS AS My in-ner eye re - vealed_ Ss the queen bee. with a tur-ban wrapped. a - —round_ her _ AAAAAAAAAA (w/ delay repeats) 94shak-ing her fist___ at and it sound-ed like thi pitch: Bb *Queen bee ” chant Interlude Gtr. 3 tacet Bass: w/ Bass Fig. | (9 times) AbS i U AS ADS AS od oi didi bd. fas w/ additional “bees,” next 11 meas. AbS AS AbS AS —3— 3 vd iod J od dd dod > rid dod 1 ld ITT I'm o - kay AbS AS AbS. AS AbS AS Wii fig. y Joss bd —_—_<_—— SS Lod Re - lax, __ w/ “munchkin bees”, next 24 meas. AbS AS AbS AS AbS AS —I— 2 dio dvidi J 4 AbS AS AbS AS AbS AS Re-lax__ ba -_— by. Re-lax, ba - by. __ Re - AbS AS AbS AS — be = bs boa b, ax pe = ——= er a ee ae eee oS lax, bee, bee. — Re - lax, bee-bee. Re - lax, bee, bee! ____ Uh. 95Gtr, 2 tacet Bass: w/ Bass Fill | AbS AS AbS AS NC. (Sound effect) Verse Gite. 2: w/ Fill 5 NC. — 5.When I a - woke, — I thought I died. Tac - tu-al-ly did, __ but not in - ——3— ; 5 En 5 5 SSeS SSS ry side. () lay there swim-ming in a pool of scum and smut that my threw up. Now qT walk on wa - ter. Now I see the light. _ if you see my friend, the then you'll dist.) * w/DigiTech Whammy Pedal flutter bar *Set to shift pitch an octave higher when depressed. Tin Bass Fill 1 Bass SSOutro-Guitar Solo Bass: w/ Bass Fig. | (13 times) AbS AS AbS AS 8va ~~ **Set to harmonize an octave higher. w/ DigiTech Whammy Pedal Gtr. 5 tacet Gur. 2: w/ Fill 6 AbS AS locoP_H__P_ AAA ~~. ? as AS B) B (BB c>tecy 3 3 ® B (8) B (B)_B BB @B) B — — — —~H ee 97w/ “bees”, next 6 meas. AbS AS (B) B (B)B B HPS jewdar r A teie bb Gur. 2: w/ Fil 7 AbS AS ADS AS w/ bar steady gliss. Gur, 2: w/ Fill 8 AbS AS AbS AS anes B (he) eS Whammy Pedal off 6 slack Gu. 2: w/ Fill AbS AS AbS AS - Ae Ss anne SS ee x — re a ee 76 Se $ a f e ae | w/ DigiTech Whammy Pedal Pp aeons oS AAA 8 SS ——— {6-9 Fill7 Fs Gur. 2 Gtr. 2 98AbS AS AbS AS Gur, 2: w/ Fill 6 Gur. 2: w/ Fill 6 hold bend — steady gliss slack AbS AS AbS AS Fade Out 212 212 “212 212 312 312 312 312Windows to the Soul By Steve Vai Bass Tuning: (low to high) D-A-D-G [A] Moderately = 128 *** spoken: In your eves “Am Dm Gir. 1 (dist.) w/ Fernandez Sustainer pluck w/ thumb — — — * Chord symbols reflect basic harmony. #4 w/ delay Glock: w/ Rhy. Fig. 1 Lfind lock: w/ Rhy. Fig. comfort Se sustainer off Ss Copyright © 1999 Sy Vy Music (ASCAP) 100 International Copyright Secured All Rights ReservedEnd Rhy. Fig. 2 End Bass Fig. 1 Piano: w/ Rhy. Fig. 2 (3 times) Bass: w/ Bass Fig. | (3 times) Am B Dm RAs pitch: F# G Fe pitch: F# GFF 10115Sma~> 102‘w/ wah-wah as filter End Rhy. Fig. 3 Piano: w/ Rhy. Fig. 2 (6 times) Bass: w/ Bass Fig. | (6 times) wah ert £rad- bend 2 1031n JD awe pitch: B y P u full P We pot » full, full t t t +n yw 48 40- 48—18 442}— 4843. 18-48 eee 43—10-48- 43-48 / 43: —t3—418—48- PH.--5 full 2172 H PHPHPHPH PHPHPHP 104BBs P P P Pu Pu fet tie oy — «© oe = <= f ia ey ~~ e~ —e o 2 e f= = 6 6 6 3 6 3 PH. aA Pu A Pu A Pu S$ p iA s pa HPs A 42—4#"—#2 42—4#—42 46 —18—45- +56—13—45- 46 —18—# 46-4342- i +4—12-44- {Hj 42 98244 2 pitch: E GE * Bend string w/ L.H., till.end of next meas. Dm Bop eOn chk cee pop Pop Pp Pop PoP oH B eee ees “Pp op fo LO de Pe oP 12 6 3 6 3 JP YepPiano: w/ Rhy. Fig. 3 (Ist 4 meas.)(2 times) Bass: w/ Bass Fig. 2 (1st 4 meas.)(2 times) F * Left hand sounds string as bend is released w loco PS dae on AL wees 70 Piano: w/ Rhy. Fig. 3 Bass: w/ Bass Fig. 2 va--- 7 Ne pitch: Ff C Fe G Fe ++ D's Sf.) sounded by slapping string w/ inside of RH. middle finger past fretboard, till end of meas. 106fingering: 3 12.1 3 1 sim flutter bar- - - - == === 4 +1 als Dew Awe * Point vibrato bar at lower strap button, quickly depress, and let spring back. Glock: w/ Rhy. Fig. 1 (2 times) D Am full full full full wv $ S sews Pw TS. t +6 a4 he 0 1 a 946 107tee 20s Sore te Se VE ie a full full os eto. pw $ SP 45 £15} 45— {46} {16} 13- 4 +48- —B- [B] Piano: w/ Rhy. Fig. 2 (2 times) Bass: w/ Bass Fig. | (2 times) Am Dm 8va~ B w/bar~ —-— 4 hold bend full Ra sa Dm arenes oe oS 3 3 w/ bar . non n HS P > HS q nH PP op aes _2 42-<48- —10— 4216-13 12 _10- — ae re 4 —{44}-—— +4 108Piano: w/ Rhy. Fig. 3 (1st 4 meas.)(2 times) Bass: w/ Bass Fig, 2 (1st 4 meas.)(2 times) slack “12 u2 41 +1 +1 41 41 +1 B ®) @) BB (B) ®) B B a 8va4 5 . di; di, OY di, d, full full we DS full Wenner full fy full Tope *** Continue pushing down on bar until string “frets out” at approx. 20th fret. Em F B09 eo 109Piano: w/ Rhy. Fig. 3 Bass: w/ Bass Fig. 2 WA s aw nw P _ H PUH PH P H »p p Hp p_H_p p_H_ p p_H_ p ne $ 42454215 40-4642. 454216 4247 42484247 42.48 42.479 _42._45 42-479 42.45 {5)-— (B)B (BB (BB ®)B (B)B @®)B 3 B Pp 110[H]) Piano: w/ Rhy. Fig. 2 (4 times) Bass: w/ Bass Fig. | (4 times) Am loco B awe 8) BB H —~ the thee 1-—— P BP x £ £ sf £ #8, —— a 5 PM. s full Saas P oo >/— 2 494-29 === 7- +6- 4- +45} -48 Pri +4 22 Dm “BoB “eGaN. HH p B Puna nn anaaanananaaaannnny PH S P oH P Sar — ty See = — $ — —= 2 — —S 27 “— full 12 H f PoP HPHPPH S PH P Aen, @ a * z "B+ Oa + 46 * 3 §—3 * Bend string w/ LH. . Glock: w/ Rhy. Fig. 1 (5 times) ** The treasure we ss Am ** wi delay l w/ Sustainer ++ Pluck w/ thumb SP. *** Till end ocean of love + Feedback is generated by Sustainer, till end. 312 on 3 pith:D A EB ¢ 112in your loco H ~ H nN H ~ = = = w/bar 4 whbar= =~ = = = 4 vol. swell mp H H soul, behind Al the windows that are we your Segue to “The Silent Within” “112 210 * Continue vib. while depressing bar. 113The Silent Within Words and Music by Steve Vai Intro Slowly J. = 57 *Gu.1 (Bell toll) ** Bsus? mp let ring throughout * Synth, arr. for gtr. °** Chord symbols reflect implied harmony. Absus2. ™ 3 Vere ‘+94 Blec. sitar arr. for gtr. Gurs. 1 & 2 tacet FS BbS FS AbS FS BbS AbS Dbs Gir. 3 (slight dist.) nf RANA nf ‘ttw/ harmonizer + Synth, arr. for gtr. ++ Harmonizer set for 9 1/2 steps (an octave plus a fifth) above. Copyright © 1999 Sy Vy Music (ASCAP) 114 International Copyright Secured All Rights ReservedVerse Gir. 4: w/ Riff A (3 times) FS BbS FS AbS FS BbS 1, End - less time is ar - riv - ing __ in this lost and Gtr. 3 tacet AbS Db5 FS BbS FS AbS ways, but mev-er seem to__ be. In thebreath of a heart - beat, the walls tum - ble down. — FS BbS AbS Db5 FS BbS —_ An e-lu - sive — light and sound en - rap - tured me. But I re-main in my bod-y.— FS AbS FS BbS AbS DbS — Words _ fail to de - scribe what we feel__ when we die in - side. God on - ly 115when the lights - with - in? Verse Gur. 4: w/ Riff A (2 times) FS BbS FS AbS FS BbS 2.Torn a-part by a twist - er, of greed, lust, and When I bleed it’s nf let ring let ring let ring Synth, strings arr. for gtr. AbS Dbs F5 BbS FS AbS Why is an - ger so hun and love so blind? ___ 116Gite. 4: w/ Riff B FS BbS AbS Dbs Cc Db ~ ~ 7 Why do we hurt when we ? what we're - ly knows.) Cc Db BbS Do we real - ly____ hide i i - with - let ring rt Si - lent with - 117AndI’mdream-ing to - day. On-ly for a moment would you * Key signature denotes C Lydian. ro " EEE th—Tt—? Oo, slow me down. God on - ly hear? Run a - way.) (Run a, run a - way.) — r — Gir. 6 (clean) 118let ring Verse Gtr. 4: w/ Riff A (2 times) Gtrs. 5 & 6 tacet FS BbS FS AbS w/ dist. FS BbS AbS Db5 End Riff C Ss Gir. 3: w/ Riff C FS BbS FS AbS FS Bb5 AbS Db5 And this heart is a pri-son bound by chains of gold. Where-in lies the keys? God on - ly 119Gu. 4: w/ Riff B Cc Db Cc Db BbS while reach-in’ for Him. — this vac - uum_ of BbS AbS BbS God on - ly 120Guitar Solo Gtr. 5 tacet FS BbS FS AbS FS BbS AbS Dbs FS BbS FS AbS 2 2 full ~— full’ full FS BbS Dbs BB) (B) de de je Jj full full, full, ~—full, = full, = full, ~— full — full full full 121Gir. 3: w/ Riff D (2 times) FS BbS FS AbS Pp we P BOB Gt.7 wee Be ON FS BbS AbS DbS FS BbS AbS DbS Cc Db 122GS BbS Db 123124Interlude Gtr. 8 tacet Gtr. 8 (dist.) Ce eo Gtr. 5 tacet Gwr.3 G3 Gur. 3 tacet ss OS n~ Gu. 5 divisi Verse Gtr. 4: w/ Riff A (1 1/2 times) FS BbS FS AbS FS BbS 4.It's a drop from the o - cean, a star from the sky, a grain of sand AbS DbS FS Bb5S FS AbS from the earth, a tear___ from an eye. When the light is be- fore us and shines in our FS BbS AbS Db5 (Wind sound effect) a 125Pll Be Around Words and Music by Steve Vai G5 Esus4 Fmaj7 Am7 Csus2 fan ‘4 - pea4 dae Taal ca Intro Slowly J = 80 Half-Time Feel synths N-C- [Sma === 220220222 anne nnn ne ee ne eee eee GS 7 at Verse - lent when Copyright © 1999 Sy Vy Music (ASCAP) 126 International Copyright Secured All Rights ReservedEsus4 Gs Fmaj7 one will hear. — E - mo-tions are dead - ly when there’s too much fear. Gtr. 2 (elec.) ww/ clean tone *T = Thumb on 6th string feel - ing 127Pre-Chorus GS BbS#11 cr know the pleas - ure we must Synths let ring- - - - - --------------------------- End Half-Time Feel Am7 Csus2 O - pen your eyes. 128‘horus 3rd time, Gur, 3: w/ Fill 2 GS D7sus4/A, GS D7sus4/A, Who's gon-na hear__ you when you're call - in’? And who’s gon-na catch. you when you're fall - in’? And Synths Rhy. Fig. 1 *Gtrs. 1 &2 *Composite arrangement Am7 Fmaj7 trust __ you? Who's gon-na { laugh. with you? } Well, Pll be a - round trust___ you? End Rhy. Fig. 1 Girs. | & 2: w/ Rhy. Fig. 1 GS D7sus4/A Gs D7sus4/A heal _ bleed - in’ give to you when you're need - in’? And who’s gon-na } warm} you when you're { freez - in’? (Andwho's gon-na {hold you when you're scream-in"? And mend. bro - ken?! find__ you. when you're. sto. - len? And Rift B End Riff B 129To Coda 1). To Coda 24) Am7 Fmaj7 who's gon-na love you? ______ Well, I'l who's gon-na prom-ise you ___ to be a - round for a while. who will al - ways. love you? 'll Fill End Fill 1 Verse Half-Time Feel GS Gmaj7 G6 GS GS 2. When love lies bleed - ing on - ly Arent G3 (elec) (cont. on lower staff) w/ dist. let ring: Gt. 1 Rhy, FULL End Rhy. Fill 1 *Gtrs. | & 2 ———— — *Composite arrangement Esus4 GS Fmaj7 fools are bold. — for pen-nies in BE i T let ring let ring ***sul ponticello (pick near bridge) 130GS Faith is dy-ing when no Pre-Chorus Gus. 1 & 3 tacet Synths: w/ Riff A N.C. It's com - ing Coda 1 ‘Synths: w/ Fill 1 Fmaj7 Esus4 Gs Bb g#11 one’s to trust. _ But your soul is crying and it’s glo - ri - ous. slight vib. w/ bar AE etteeterereteeneteee sul ponticello (pick near bridge) DS, al Coda 1 End Half-Time Feel CIF Am7 Csus2 O - pen__ your heart. __ Gtes. | & 2: w/ Rhy. Fill 1 G5 131Bridge stand, drown - in’ in there you ann H *Chord symbols reflect overall harmony. **T = Thumb on 6th string G7 all this time the thing you are G7 way you take _ that H. ane G7 down your — de - fens - es wee 132 the rain, kid-din’ your - self the wind — don’t H let ring Fsus2 CF FS let ring Fsus2 CIF storm — while spitting in the face of right_ and ler ring pitch: D Fsus2 CE FS when you're pict:D DC D Cc Fsus2, Fsus2, wrong. Well, you could s ‘You couldFsus2 CIF Fmaj13 CIF Fsus2 CE c/D cs arms. You could dream on and on arms. You would tet ring nev-er be a- lone it arms. _ You could cry like a RAWANDA UEDUENUEUDUDUONUNNON AMT URNUOS s (cont. in slashes) Guitar Solo os Esus4 Rhy. Fig. 2 End Rhy. Fig. 2 Gu. yo mp ‘wi wah-wah as filter s S wee 133Gtr. 1: w/ Rhy. Fig. 2 (3 times) arr oP GS aeeremrereeee 5 H s wi bar. - 4 +112 +112 *Point vibrato bar at lower strap button, and depress in specified rhythm. 134Am7 Csus2 DS. al Coda 2 6:4 full full 4} Coda 2 Synths: w/ Riff B (4 times) ‘Synths: w/ Fill 1 Gurs. 1 & 2: w/ Rhy. Fig. 1 (2 times) Fmaj7 Gs round for. a whi - le. And who’sgon-na_ shield_ you when it’s rain - in’? And who's gon-na kneel_ with you when you're pray - in’? Who's gon-na feel for you?___ Well, Iwill; Pl be a - Fmaj7 Gs round fora whi - le. Who's gon-na help you when you're try - in’? And Am7 Fmaj7 who's gon-na hold you _— when you're dy - in"? Who's gon-na beg_ you___— to: be___ a - round for a while? _ Gu. | tacet Gs G Grr. 1 oe let ring 135Lucky Charms By Steve Vai Gsus4 C5/G F Fsus2 C/F FS Gm13 Gm7 fiz ters tear Se cee 34h 1134 342i 13411 3211 4 Tsay Tr Be Fs’? EbS Absus2. ss B/A.— Fmaj7_—s Em7-—s Bm7/E_— GS ae Bf i: ‘oe 11 fr 1 fe ae" we ‘See 13241 312th TH 134) Fast J = 208 ** Gsus4 End Rhy. Fig. 1 mel TDP) | )Ar) dG] w/ clean tone _——— H s Ss *Gtr.3 (Pian) 74 * Synth. arr. for gtr. Gir. 2 (elec.) mp w/ clean tone & *** pitch shifter let ring throughout *** Chord symbols reflect overall harmony. #6 Set for one octave higher. Gtr, 1: w/ Rhy. Fig. 1 (3 times) Gur. 2: w/ Riff A G times) Ss: _—_. G3 7 Copyright © 1999 Sy Vy Music (ASCAP) International Copyright Secured All Rights Reserved 136Gtr. 3 tacet Gites, 4 & 5 tacet Gus. 1, 6 & 7 tacet Csus2 CSIG Csus2, Rhy. Fig. 3 End Rhy. Fig. 3 Gir. I? > oo" Gtr. 6 al Gtrs. 4 & § *Gus.4&5 8 = o d d s rs. _~ wa ci fae = ww i + Gu.7 divisi mf inf s ~~ *+* Gtr, 4: elec. w/ slight dist.; Gtr. 5: sitar arr. for gtr. Trumpet arr for gtr. mf” Rhy. Fig. 2 + Trombone arr. for gtr. Gtr. 2 —————~s —— —___—_ 4 ~_ * Instrumentation varies on D.S. Gtr. 1: w/ Rhy. Fig. 3 ( Gur. 1: w/ Rhy. Fig. 3 Gurs. 4 & 5 tacet Gtrs. 6 & 7 tacet Gtrs. 5 & 8 tacet C5/G Csus2 Gic C/G Gr.6 tt Gus. 5&8 w#e2Jd]i p>) id : we testis 1d: 4 mf s +f Gtr. 8: munchkin voices arr. for gtr. Rhy. Fig. 4 iia aa —_—=> = End Rhy. Fig. 2 137Gir. 2: w/ Rhy. Fig. 4 (3 times) Gtr. 1: w/ Rhy. Fig. 3 Girs. 6 & 7 tacet Gus. 6 & 7 tacet Gtrs, 5 & 8 tacet 2nd time, Gtr, 4: w/ Fill 1 Csus2 GIC C/G Csus2 Gic Gtrs. 5 & 8 Ow TT a Gurs, 5 & 8 s, we SF £ s Z as ne wees : Wn * Munchkin voices arr. for gtr; tacet on repeat. Girs. 6 & 7 tacet Gur, 1: w/ Rhy. Fig. 3 2nd time, Gur. 4: w/ Fill 1 Girs. 5, 8 & 9 tacet CSG Csus2 GiC C/G wit) J Se) dy MHEG Ih lle ** Tacet on repeat Csus2 c Csus2 Cc Gus. 4, Hea hk le— Ih =" w/ pitch shifter let ring throughout #4 As before 138Gus. 2, 4 & 5 tacet NC. wea ld ni il i uw Gir. 8 tacet Csus2 Cc Csus4 sei J i * w/ pitch shifter let ring throughout * As before Girs. 2,4 & 5 tacet NC. [E] ite 8 tacet wp Rhy, Fig. 5A End Rhy. Fig. 5A Gu.6 Gu.7 Givisi '#0Ct ON repeat ** acous., mp 1392nd time, Gurs. 1 & 10 tacet (next 4 meas.) Gurs. 4 & 7 tacet End Rhy. Fig. 5 ist time, Gurs. 6 & 7: w/ Rhy. Fig. 5A Gtr. 8 tacet F yh) bk PR) ) 8 d Gtr. 4 tacet Gtrs. 1 & 10 tacet NC. To Coda) Gite. 2: w/ Riff A (2 times) Gsus4 8va---- 140DS, al Coda Gq ---2-nnneeeennneceneeee cece net eceeee ce ec eee eee eee soeeeenneeeee nese neeeneeeencesesnssacaesseeesnenerscssesy (take repeat) Coda “) oD) DP) dD DL DD DL DDD Gus, 4&5 Gur. 5 tacet 141Gir. 6 tacet B B ; See Gu.4 (By B B Cts 486 yg? . f —~ End Riff B * Key signature denotes G Dorian, Gm13 Gir. 1: w/ Riff B (15 times) Rhy. Fig. 6 Gtr. 11 (elec.) a a nf ‘W/ slight dist. loco Ss ~ ** T= Thumb on 6th string Gtr. 11 tacet Gm7 End Rhy. Fig. 6 Gtr. 11: w/ Rhy. Fig. 6 Gm13 loco BB P tens a 142Gir. 11: w/ Rhy. Fig. 6 grad. bend * Simultaneously release bend and hammer on, Gur, 11: w/ Rhy. Fig. 6 Gml13 we) _B Gtr. 4 End Riff C 143Gites. 6 & 7: w/ Riff C (3 times) Gu.g m7 BBP Gtr. 11: w/ Rhy. Fig. 6 Gml13 Gm7 B (B) (B) «B) (B) {B) (B) (By (B) (B) (B) —_ Gur. 11: w/ Rhy. Fig. 6 Gml3 144Girs. 6 & 7: w/ Riff D (3 times) Gm7 HP HP HOP org ee p_How He P pHHp, g PH »p Se Gtr. 11: w/ Rhy. Fig. 6 Gm13 awn Lan SS % Gur, 11: w/ * Rhy. Fig. 6 (Ist 2 meas.) “TDP ) ) ) eet§—p.d.—d PJ. Gu. 4 B B B BOB s End Riff E bao Gtrs. 7 & 11 divisi — * Omit ties at end of 2nd meas. H 145Gir. 6: w/ Riff E (2 times) Gus. 7 & 11 tacet F592 EbS jd} J. —~ J—P J. pd — . — Gurs. 1 & 10 tacet ~d—~)—d. “) | +g. ))rd ] * Synth. flutes arr. for gtr., amp Gurs. 4 & 13 tacet Bb 8 aes, A Gu d 4 é == é 4 é 4 d 4. d 4 d —— 2 4 8 awn s ~eee Sk 5 tacet 2 d J + Gus. 4 & 12 b b b s__S ae Gtr. 4 tacet Gurs. 5 & 12 tacet Bb Cc “Gu 14 oy ey") He He in ‘i oe a 4 mp + Gtr, 15 PA ivisi ** Belly pizzicato strings arr. for gtr. *+* Pizzicato strings ar. for gtr 146Gtrs. 14 & 15 tacet Gu. Fmaj7 Em7b5 Ebmaj7 Dm7b5 r | : w/ fingers: let ring throughout Freely, Slower Gtr. 5: w/ Fill 2 Dbmaj7 cm G+B B/A * Gu. 16 EL w/ fingers grad. rit * Synth. arr for gtr., mf 147Gir. 1 tacet Gtrs, 12 & 16 tacet ma B7 (no3rd) Cmaj7#11 7° ° a Gu. 12 cy A o) td. i a wee Gus fl ouze ji : ee pe grad. accel. ++ 4 40 — 42 4 ———S= Ger, 10 = { = iE =| =— r tr grad. accel 3 7 2 rf 7 + [K] A Tempo CHtsus2 cD DmvEb oo" Gtrs. 4, 10 & 16 1d Gus. 4, Dm G Dm G F 148Gus, 10 & 16 tacet Fmaj7 Gir. 4 tacet TOD I) 2 API) ) Redd] Gw.12 HP. ——— Gu.4 ~ s ——<— . a (elec.) pAepi) 7 Det AT aes) 1 ——— _erreererrees Gu. 12 AANA * w/ clean tone HP P ) fod 2) J) FY ) FAX) Pp — > < ? > S. H_P Ss sos End Rhy. Fig. 7 Gtr. 1: w/ Rhy. Fig. 7 (3 times) Fmaj7 Gtr. 12, Gtr. 17 ROY anne Gur. 18 (elec.) _—_ a a Gtr. § divisi AAA w/clean tone 149Gir. 18 tacet Gtr, 17 tacet Em7 + Fil3 End Fill = 2 * * Refers to Gtr. 17 only B Gtr, 17: w/ Fill 3 Ss ; , > 3 B 150Gur. 5, 17 & 18 tacet P P P P P Gu 12 NT — P Gu.12 P . =~ o~ -~ 2? ———— 4§ —— Gtr. 175| divisi SARA S AAIIIIONENINIINEe Pp Fmaj7 * Gur. 12 * Gtr. 5 tacet free fee Gur. freee a» dle de J Ger. 12 divisi = 151* Refers to both gtrs. ++ Bagpipes ar. for gtr. Gu.7 Gtr. 12 tacet ban Gu. 5 loco . s s 152ix) Gtr, 2: w/ Rhy. Fig. 2 Gis. 7 & 19 tacet Gtr. 1: w/ Rhy. Fig. 3 Csus2 CG 80a. - Gus. 4&5 Gur, 1: w/ Rhy. Fig. 3 Csus2 C/G 8va Gus. 4&5 | Guss. | & 10: w/ Rhy. Fig. 5 (2 times) Gis. 5 9 ace End Rhy. Fig. 8 153Gtr, 8 tacet Gtr. 6 tacet Gtr. 8: w/ Rhy. Fig. 8 Gtrs. 1 & 10: w/ Rhy. Fig. 9 (3 times) PF Gir. 6 tacet Gtr. 5: w/ Riff F GS Gurs, 4 & 18 tacet *RiNF End RiffF ** 8va Girs. 8 & 14 S 8 * Refers to Gurs. 4 & 5 only ** Refers to all gus. Girs. 5 & 6: w/ Riff F (2 times) Gtrs. 8, 9 & 14 tacet 154r PSs Ss B BLS —— ~~, Ss arent + f- tee ote = * . ——_ = SS SS ss — 2 $ Ps s_S ww s % Seren 5 48 18 i Y : T it 4#p-5—_6- T {6 i letring - - ~~ - - ----------------------------------------------------------- 4 8 Sj 155Fever Dream By Steve Vai F#Tno3d) E°Tno3rd) Fmaj7 Ab Ab+ Fe DIG a Oy mH 23r 4 3421 Gwr. 2: tuning: (low to high) E~A-D-G#-B-E Gu. 3: Open A tuning, capo VII: (low to high) E-A-E-A-C#-E [A] Moderately J = 116 E Rhy, Fig. 1 End Rhy. Fig. 1 * Gtr. 2(12-str. elec.) om 2 ¥ }xd ———~ . AS # Gur, 1 dist) ww/ clean tone & chorus s SA s aos aww awe we Rhy. Fig. 1A End Rhy. Fig. 14 2 —__. ~ i OI ‘w/ envelope follower * Song is actually played on a triple-neck gtr. (all three necks played simultaneously), but is arranged here for three separate gtr. ‘** Music sounds as written, Capoed fret is “O” in TAB, Double-Time Feel Gis. 2 & 3: w/ Rhy. Figs. 1 & 1A (4 times) ont E Sanne s SOOVry aes a a a a 3 7 3 * 3 * 3 7 Ss wwe s aw awe ay, —=+— 2 a 2 2 ——— Copyright © 1999 Sy Vy Music (ASCAP) 156 International Copyright Secured All Rights ReservedGur.2 ag oO ¢.— J?) eee let ring— s ayers “geo Rhy. Fig. 2 157To Coda‘ End Double-Time Feel IHNTIVITT) fF) FTF )—-2—e Syn SN tN See seen ae a tee p _ _ =/m se End Rhy. Fig. 2 () Gus. 2 & 3 tacet CHOT/E Ae NC. Bbmaj7 NC. ji let ring ~~ 158a] B (B) Bp (B) B * Kybds. arr. for gtr. F#°7(no3rd) Oo ~ ° ° “~~. WAN ‘** Point vibrato bar at lower strap button and depress in specified rhythm. E°7(no3rd) eo Finaj7 Double-Time Feel F#°7(no3rd) E°7(no3rd) 6a QS ° a mp (B) —B — let diem 159Ab+ fp—e—e o = b = whoar------------- 4 w/ bar wi bar 4 wi bar — 4 12 12 VIL _ Pp H VP s +212 41/2 H +112 160w/bar = - — 4 +6 - * Set for octave higher when depressed. Fmaj7#1/E TT ° > Poa B B 161Gtr. 2 tacet Eb? Aadd2 162End Double-Time Feel Gtr, 3 tacet Gu. 4 tacet NC. AID Aadd2 ° whammy pedal ‘whammy pedal off ou * Strike strings w/ inside of R.H. middle finger, next 4 meas. ir. | tacet Rhy. Fig. 3 End Rhy. Fig. 3 > > > z > > Gu. 3 Gwe. 3: w/ Rhy. Fig. 3 (15 times, simile) E 163164Gir, 4 tacet Piano arr. for gtr. Eadd9/G# BFE P 4 LAA” oan 6:4 5: i 3 s 165Double-Time Feel E S. Ss —_—— w/ fingers Gir. 3: w/ Rhy. Fig. 4 (9 times) A a, 166HPP HPHPH PH HPHPH PHPH PH 167tet © ring throughout Rhy. Fig. 5A [> a, — oe OO ss — OO SS es hee End Rhy. Fig. 54 ===. ==>. SSS ——]T = 168Gis, 2&3: w/ Rhy. Figs. 5 & 5A Gu. E b FanvE Gtr. 5 tacet Gtrs, 2 & 3: w/ Rhy. Figs. 6 & 6A (8 times) E E Rhy. Fig. 6 End Rhy. Fig. 6 — fF. — s os End Rhy. Fig, 64 let ring --- 4 aneeene S 169let ring - ~~~ 4 let ring simile Ss End Double-Time Feel ws ans wes 4 s Sh 2 he ee Free Time Gtr. 3 tacet B B) B) B woo PP H_ Pp ——_ Sop op, HP SP geet Je ‘de - ee <_* p> the 2 tess > PoP OS 5 = : . + i See bad Pov oats ——j ee full fo } f 7 oS P P SH PPS PoP oS HP SP a 47 T+ +47} 16-47"+46- +18 -44- 4 7 1 4 46-4443—4448- , 1 T 16-4444 4244 7 4 4 FS 170Double-Time Feel E Gu? am 2 ¥ p~» 4 — J] ~> Gir. 3: w/ Rhy. Fig. 2 (Ist 11 meas., simile) A E oF oe ° 7S s 171-d.—— J) —) dF )-)) bd s =~ Ss ~ ° d. Gur, 2 tacet HP H_P HP H_P P H_P HEH p ce. 172HP —— ee wo ft P > 6:4 6:4 a NY 5:4 6:4 grad, rit PWN 173Here | Am Words and Music by Steve Vai C#m7 Cm7 ~— B7add4 eet | iuemlst | Corey ste ce ay Intro 2 333 2 333 2 341 Free Time o NC. Spoken: Can you hear me? Can you feel me in the darkness? itr. 1 4 V ~ Gist.) ‘a loco sus s Ss s s s s s #8 fabk f wislide- = = - ----------------- 5-5 5 5 2 2 2 eee +4 w/ DigiTech Whammy Pedal & wah-wah as filter s ss Z **Microphonic fdbk., not caused by string vibration. **¥ Set for one octave above. Gite. 2 (dist.) Gir. 3 (slight dist.) Vol. swell +Key signature denotes E Dorian. Moderate Rock # = 120 Ican hear you and I can feel you in the darkness. And it’s good. E7#9 Gsus2 A DS Em7 Gsus2 NC. RANA yer det ring ~~ ~~ - let ring 4 awn Copyright © 1999 Sy Vy Music (ASCAP) 174 International Copyright Secured All Rights ReservedGu. 3: w/ Rhy. Fig. | Em7 Gsus2 A DS Em7 Gsus2 N.C. pres B Mees i yd t é rr a Qe : . pitch: B 2 Em7 Gsus2 A DS Em7 Gsus2 NC. rs full AAA full COORIOIIOS PS. Rhy. Fill End Rhy. Fill 1 s let ring awe S 175Verse Gtr. 2 tacet Gir. 1 tacet Em7 Gsus2 A DS Gtr.3- Rhy. Fig. 2 a P. aneeneeees, M. PM.- 4 let ring - - - 4 Em7 Gsus2 NC. Em7 Gsus2 use it, ay? End Rhy. Fig. 2 let you in or let ring— — 4 ae A DS Em7 Gsus2 NC. will you try not to yr PM. PM- 4 let ring = = 4 let ring aes Gites. 1 & 3: w/ Rhy. Fig. 1, (2 times, simile) Em7 Gsus2 A DS Em7 Gsus2 NC. _— How-ev - er deep you__ go be a-ware we are bind - ing at the skin. ___ 176Em7 Gsus2, A DS Em7 Gsus2 NC. ———. And when we're soul to soul, you'll nev-er know where I end and you be - gin. Pre-Chorus Cim7 Cm7 BTadd4 wp yt Tq ppd PTE) Save the sen- ti - ment for that Rhy. Fig. 44 Gir. 4 (slight dist.) P let ring let ring Rhy. Fig. 4B C#m7 B7add4 End Rhy. Fig. 4 Tm) me OE as the dreck be - hind you and in your sight. End Rhy. Fig. 44 tet ring let ring End Rhy. Fig. 4B s 177% Chorus Gurs, 1 & 3: w/ Rhy. Fig. 1 (1 1/2 times) Gur. 4 tacet Em7 Gsus2 A DS Em7 Gsus2 _————— giv - ing you my — ev = “ry_- thing. I give to you my ev - “ry _~ thing. ima simile on repeat 2nd time, Gtr. 1: w/ Rhy. Fill 2 NC. Em7 Gsus2 A DS And here we — stand _—____ at the start of a 1Sma-~ “W222 AD “2 -W2 2-12-12 -12 1D VY NN FA A TN Ng, oe TEE fdbk. - - - - wibar = = ------ W212 12 AR AQ AR AR ViVV VV Vv 12 42 12 AR AR AR VVV VV Verse To Coda Grr. 2 tacet Gtr. 3: w/ Rhy. Fig. 2 Em7 Gsus4 N.C. Em? Gsus2 bet-ter way. Fill End Fill 1 2.If I could search your heart, _ va ~ = (Pp wi fingers *Sitar ar. for gtr slack End Rhy. Fill 3 HPP PP Rhy. Fill 3 Gu. 1 178Gtr. 3: w/ Rhy. Fill 4 A DS Em7 Gsus2 N.C. Ss I wouldtreas-ure ev - ‘ry u - ni- verse that I found. __ mom aoa Anais Gur, 3: w/ Rhy. Fig. 3 Em7 Gsus2 A DS Em7 Gsus2 “= Like a work of it’s beau - ty bound - less and pro - — found. ~ inn i¢72 iyyeeeryererlrrrs *Gu.4 to left of slash in tab. Rhy. Fill 4 Gite. 3 letring- ~~ 4 179Gurs, 4 & 5 tacet NC. Em7 Gsus2_ A DS —— let - ting go he PM. pM- 400 pM 4 PMA let ring= = 4 let ring- 4 as Em7 Gsus2 NC. (Em7) Gsus2, in my keep. And ev-‘ry-thing I know_ AQ -U2 -12 «12 WAR AR 12 VVV NV VV Nv I-12 W212 V2 AR AR AR «AR 12 VV VV VV OV VV V fet ring — ~ 4 letring-- 4 fall aes Gtr. 2: w/ Fill 2 (simile) A DS Em7 Gsus2 NC. —— will lie de - fense-less and na - ked at your feet, ___ Gurs. 1&3. B nes ae PM. PM.4 PM.4 PM. let ring - = - 4 let ring - ~~ ~~ 4 let ring - 4 ae s we 180Pre-Chorus Gtrs. 1, 3 & 4: w/ Rhy. Figs. 4, 4A & 4B (simile) C#m7 Cm7 B7add4 Breathe deep (Breathe __________ tore - lieve all your wea - ry flesh and blood, D.S. al Coda C#m7 Cm7 Bladd4 mem-ber these vi - sions when be - comes un - done. __ Re - mem-ber when your oth - er world, un - done.) _ Coda Guitar Solo Gtr. 2: w/ Fill | (simile) Gur. 3: w/ Rhy. Fill 5 Gu. 3: w/ Rhy. Fig. 1 (1 3/4 times, simul) NC. Em7 Gsus2 A DS va =~ ~ tet ring= = 4 grad, bend ww/ bar full _ hold bend fu PH _ see “Pull bar up until string “frets out.” Rhy. Fill S Gir.3 wa let ring weer 181Gsus2 Em7 Gir. 3: w/ Rhy. Fill 3 (simile) NC. Gir. 3: w/ Rhy. Fig. 1 (1 3/4 times, simile) Em7 Bva--- HP p H “Tap w/ edge of pick on Ist str. only. P Pp PoP P P PP P PoP_P P Pp PoP P PP P NN ae eS“ DN aN <-. 4248-4544 —14 42 489-4944 12 18-49-44 4-44-4248 44—-G5)—4442—40-48)-44 4219-48) —44- 49-44 42 Em7 182A DS Em7 Gsus2 * Gtr. 3: w/ Rhy. Fig. 4 (Ist 6 meas., simile) NC. Cfm7 *w/ wab-wah, next 10 meas, Cm7 B7add4 CHm7 Rhy. Fill 6 Gtr. 3 pitch:D G B 183*Pull bar up until string “frets out.” loco P va B) se . 4 Interlude A Tempo Girs. 1 & 3: w/ Rhy. Fig. | (simile) Em7 Gsus2 A DS Em7 Gsus2 N.C. **Pull bar up until Outro-Chorus a \ Gir. 2 tacet string “frets out, Em7 Gsus2 A DS Em7 Gsus2 my—— _—ev- "Ty ~ thing. 8va ~~ B (B) B (B) B (B)B —3—_—_ hf full full full fall full full 2 /2. 2 oF - Wo 12 12 i PM. PM.4 let ring - 4 aes 184_ let ring PM. PM. let ring = - = 4 N.C. DS anes Em7 loco (B) @) B) S Gsus2 NC. Gsus2 185Em7 Gsus2 A Ds Em7 Gs s letring a PM. let ring 4 ane Free Time uh, Spoken: Approach me gently, for your love is so pure that I fear my essence will evaporate in your embrace. 186Asian Sky Words and Music by Steve Vai, Tak Matsumoto and Kohshi Inaba Intro Moderately fast Rock ¢ = 146 “N.C. rs Ger. | (dist.) ff wab-wah as filter s ‘***w/ an Eventide 4000 voice filter setting producing a “Ya-ee” syllabic effect at quarter-note regeneration. 4Gtrs. 2&3 *Key signature denotes C# Mixolydian. “Chord symbols reflect implied harmony. +7-str. gurs.;@ tuned to low B CHS BS ces BS CHS BS CHS BS Riff A —~ Ss Ss S s Ss +1Gtr. 1 doubled throughout Riff Al Copyright © 1999 Sy Vy Music (ASCAP) and Rooms Music, Inc. (JASRAC) International Gopyright Secured All Rights Reserved 1871. A drop-let falls —_ Rhy. Fig. 1 Gr. 4 (clean) 2 mf wi delay End Riff A End Fill End Fin 1A Gtrs, 1, 2 & 3 tacet “BCH BS/ICH ct Pre-cious, sweet. and ten - der as a ba-by’s heart. aE a 2 LL xO - mo-ment from _ for - ev-er, a. ‘eo he *Bass plays C# C#sus2 FHICH 2 ho —— hy —_ E ¥—h— t oe == = Se £ 3 Ses And fall from grace ____ in - to the rag - ing dark- fall.) oT 2 2 = ee | = 188BS — — ct back to it’s lov-er’s arms. — (O-ver and 0 - ver.) _— Gu. 5 (dist) End Rhy. Fig. 1 Pre-Chorus Gtrs. 4 & 5 tacet B ct — And through this they nev-er un-der - stand * Composite arrangement ** Played Jf when recalled 189just how It's hard to FES ES DS silent piece _ of i es A- End Rhy. Fig. 2 s ‘Chorus Gtr. 1: w/ Riff A (2 times) Gus, 2 & 3: w/ Riff Al Gtr. 6: w/ Fill 2 CHS BS CHS BS CHS BS CHS ——— —# live Fill, Gtr. 6 (clean) 190Gtr. 6; w/ Fill NC. Se c#S BS CHS BS CHS BS N.C. —— ») = Verse Gurs. 1, 2 & 3: w/ Fills 1 & 1A Gir. 4: w/ Rhy. Fig. 1 ct BCH CHsus2 FR/CH a — — 4 2 £ gin ee ee z et Gu. 7 (dist) a = ¥ —— f mp whar- = -- == = 2 ee nner rrr ne 4 = AR : = Gtr. 8 (dist.) 191Pre-Chorus Gis, 2 & 3: w/ Rhy. Fig. 2 Gus. 7 & 8 tacet BS CHS And this, God, —__ they don’t un - der - stand: BS —_ eh f= pF t —! 4 oa dene — z 2 —! = ro <—* 3 E Se == — why what is should —_— in the il - lu = sion that____— they fight ___ and 192Chorus Gir. 1: w/ Riff A (4 times) Girs. 2 & 3: w/ Riff Al G times) ES CHS = BS CHS BS CHS ao t = i 2 - fe ; — — —=| die A - live ——____ Gir. 6: w/ Fill 2 BS CHS BS a € § — => —. get i 3 —_g— 5 ik — ty Vv : = # — _ in an oA - sian sky, A - Gite. 6: w/ Fill 2 CHS ~=BS C#5 BS C#5 BS CHS BS —— —~ =>—-,. Si} — Si tS i : 6 ¥ § S| ed | ¥ live in an A - sian sky, A- Gu. 6: w/ Fill 2 CHS BS CHSBSC#5 BS C#5 BS _—a —-_ s § £ —™ Zea live in an A’ - _— sian sky, So Girs. 2 & 3: w/ Riff B (1st 2 meas.) Gurs. 2 & 3: w/ Riff Al (last 2 meas.) Gtr. 6: w/ Fill 2 CHS BS C#5 BS C#5 BSNC. BS — = —————--—~~~ Z high to for - ev - er fly. Interlude NC. s os s_oSs Ce Gites, 9 & 10 (dist.) _ f° *¥/DigiTech Whammy Pedal +6 H H H * Set for octave higher when depressed. Gurs.2&3 RITC 193Gtrs. 2, 3, 9 & 10 tacet BS NC. va > + 8va 3 B B B (®) Pp Gtr. 11 8 Gu. 9 H oo Ss § (dist) J . f 194Guitar Solo Girs. 2 & 3: w/ Riff Al (3 times) CHS BS C#5 BS CHS BS cts BS Gtr. 5 P CHS BS C#5 BS CHS 4 PH PHPHPH PH wos y BS cis BS BP Pus PH PH PH PH H P ee va PHPH PS Hyp Ps 6:4 ‘4 pH PH PS HHP Ps full _holdbends 195he oN PHP gw cis BS CHS BS. CHS BS CHS BS full hold bend full 7 Gurs. 2 & 3: w/ Riff B (1st 2 meas.) cas BS CHS BS C#5 196Gur. 2 & 3: w/ Riff Al (last 2 meas.) BS CaS BS foco ye ans H“sK Gwe. 3: w/ Riff C NC. B ARERR IIIINIIeS aes 5S pitch: G# 197"Gir, 5 w/ sound effects, ie. pick scrapes, pushing strings into pickup pole pieces, etc., next 43/4 meas, 198Interlude B B cas 8 BS cis B ) Pp a *w/ DigiTech Whammy Pedal 4211/2 Mie Hk "Set for perfect 4th higher when depressed. t,o Gtr. 5 divisit mp Gir. 12 (clean) Ja 2 Ger. U1 loco = divisi SB ++ w/ DigiTech Whammy Pedal +6 worn 14 . S Girs. 2. & 3 **Set for octave higher when depressed, Interlude Giurs. 2 & 3: w/ Riff AI (2 times) Gis. 1, 4, 5 & 12 tacet Gwe. 6: w/ Fill 2 C#5 BS C#5 BS CHS BS CHS BS Spoken: And I'd never know knew the what is and what should never be. i if 1 even difference between AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAARASASAAAA DAY oe 4 ‘2 199Gir. 6: w/ Fill 2 CHS CHS BSCHS BS C#5 BS But my hands are reaching up unto the heavens, ‘cause I wanna know what I could be. (B) Gwe. 6: w/ Fill 2 oe Qe sian sky, —_______ Gur. 11 tacet Gir, 6: w/ Fill 2 ——————_ ~ ~~ : a 200Outro-Chorus Gir. 1: w/ Riff A (5 times) Gtrs. 2 & 3: w/ Riff AL Gtr, 5 tacet Gtr. 6: w/ Fill 2 CHS BS CHSBS C#5 BS CHS BS 0 => 2 Girs, 2. & 3: w/ Rif B Gur. 6: w/ Fill 2 CHS BS CHS =BS C#5 BS N.C. BS NC. ————————>-. ~.-—~ ye to for - ev - er fly. Gur. 6: w/ Fill 2 Gurs, 2 & 3: w/ Riff A —_—_— = ¢ Gtrs. 2 & 3: w/ Riff B (Ist 2 meas.) Gtrs. 2 & 3: w/ Riff Al (last 2 meas.) Gtr, 6: w/ Fill 2 CHS BS CHS BS C#5 BS N.C. BS — => sky. 201Gtrs, 2 & 3: w/ Riff Al Gee. 6: w/ Fill 2 CHS BS C#5 BS C#5 BS C#5 BS oe = 2 = “GuwRIEA a ee * Gus. 2 & 3: w/ Riff B (Ist 2 meas.) +1 Gtr. 11 tacet Gtr. 12 tacet Gitrs. 2.& 3: w/ Riff Al (last 2 meas.) Gtr. 6: w/ Fill ces BS C#S BS C#5 BS NC. BS =e. a to for - ev - er fly. "Grad. fade, next 4 meas. CHS BS > —_~ ——_—_—— 2 — "Gu. 13 (clean) “*Doubled throughout 202* Gwe, 13: w/ Riff D (2 times) Gee. 6: w/ Fill 2 cHs *Grad. fade Gtr. 11 tacet Gtr. 6: w/ Fill 2 BS CHS 4 f a= ee 3 Ra a = z SS Jp f ¥ + sian sky, A - five nw HPP H yH P PH p ss = >. s Ss oP a ff Etets £ ee es = : | y—— 64 H HOP PH HH P_PH ee ooo SS BP ass Gtr. 5 tacet Gir. 6: w/ Fill 2 high to for - ev - er fly. 203