Rush - La Villa Strangiato guitar tab
#
Andrew Westmeyer
qwerty@CMU.EDU
Free time, slowly
Intro, guitar I (nylon string acoustic)
(4/4)
NC(B7) E5 NC(B7) E NC(B7sus4) (B7) E5
e|-----2--|-5------|-2------|-5~------|-2------|-5------|-2--0---|
B|--------|-----4--|----5---|------4--|----5---|-5---4--|-4--5---|
G|--------|--------|----4---|---------|----4---|-----4--|----4---|
D|--------|--------|----2---|---------|----2---|--------|----2---|
A|--------|--------|----2---|---------|----2---|--------|----2---|
E|--------|--------|--------|---------|--------|--------|----0---|
^ arpeggiate slowly ^ arppegiate slowly
NC
|-0---0-1p0---0-3p1p0-0---------------------------------------
|---3-------3---------0-3-1p0-[0]h1-3p1p0---------------------
|-----------------------------------------2-[0]h2-2-2-1-2-4p2-
|-------------------------------------------------------------
|-------------------------------------------------------------
|-------------------------------------------------------------
-----------------------------------------------|
-----------------------------------------------|
-----------------------------------------------|
-3-3-0-0-3-3-5-5-------------------0-----------|
-----------------0-0-3-3-2-0-2-3-3---3p2-2-----|
-------------------------------------------3-3-|
For this next segment of tab, guitar I (the acoustic) plays the top
tab, and guitar II (electric) enters, playing the bottom tab. Guitar I
exits at the end of this tab; guitar II has a clean tone and an ambient
delay. The tempo also changes to q=152.
F
|-1--------------------|-(1)----|
|-1--------------------|-(1)----|
|-2--------------------|-(2)----|
|-3--------------------|-(3)----|
|-3--------------------|-(3)----|
|-1--------------------|-(1)----|
| | |
| | |
| NC(Csus2) | |
|----------8-----------|--------|
|-------------8--------|--------|
|-------------------0--|---%----|
|-------0--------0-----|--------|
|----7-----------------|--------|
|-8--------------------|--------|
let ring throughout
Guitar I is now out, and guitar II repeats that same measure 57 more
times. During this time three synthesizers and a glockenspiel enter.
They are arranged for guitar below. Synth I and the glockenspiel are on
the same tab, as well as synthesizers II and III. The glockenspiel tab
is the part with the much higher notes; synth III is also much higher
than synth II (synth II sounds like a 8va bassa). The following tab
starts on the eighth measure after the above tab.
|---------|-----22--|-20----------|-(20)-------|----------|----------|
|---------|---------|-------------|--------15--|-13-------|-(13)-----|
|---------|---------|-------------|------------|----------|----------|
|------7--|-5-------|-(5)---------|-(5)--------|-(5)------|----------|
|---------|---------|-------------|------------|-------5--|-3--------|
|---------|---------|-------------|------------|----------|----------|
| | | | | | |
| | | | | | |
|---------|---------|-------------|------------|----------|----------|
|---------|---------|-------------|------------|----------|----------|
|---------|---------|-----5-------|------------|----------|----------|
|---------|---------|--------3-5--|------------|----------|----------|
|---------|---------|-3-----------|-3----------|-(3)------|-(3)------|
|---------|---------|-------------|------------|----------|----------|
It should be obvious which is synth I and which is the glockenspiel.
Synth III hasn't entered yet; it enters at the end of the first measure
below.
|--------------------|-------------------|------20--15-17-----|
|--------------------|-------------------|--------------------|
|--------------------|-------------------|-17-----------------|
|--------------------|-------------------|-----------------7--|
|-(3)----------------|-(3)---------------|-(3)----------------|
|--------------------|-------------------|--------------------|
| | | |
| | | |
|--------------------|----12-------------|--------------------|
|-------------13p12h-|-13----15-13-------|--------------------|
|-----5--------------|--------------12---|-(12)---------------|
|--------3-5---------|-------------------|--------------------|
|-3------------------|-3-----------------|-(3)----------------|
|--------------------|-------------------|--------------------|
The glockenspiel exits during this next sequence of measures; the
other three instruments remain.
|---------|---------|---------|----------|--------------|
|---------|---------|---------|----------|--------------|
|-17------|-(17)----|---------|----------|--------------|
|-5-------|-(5)-----|-(5)-----|-(5)------|--------------|
|---------|---------|---------|-------5--|-3------------|
|---------|---------|---------|----------|--------------|
| | | | | |
| | | | | |
|---------|---------|---------|----------|--------------|
|---------|---------|---------|----------|-------13p12h-|
|-(12)----|-(12)----|---------|----------|--------------|
|---------|---------|---------|----------|--------------|
|-(3)-----|-(3)-----|-(3)-----|-(3)------|-(3)----------|
|---------|---------|---------|----------|--------------|
|------------------|---------|---------------|--------------|
|------------------|---------|---------------|--------------|
|------------------|---------|---------------|--------------|
|------------------|---------|---------------|--------------|
|-(3)--------------|-(3)-----|-(3)-----------|-(3)----------|
|------------------|---------|---------------|--------------|
| | | | |
| | | | |
|----12------------|---------|---------------|--------------|
|-13----15-13------|---------|---------------|-------13p12h-|
|-------------12---|-(12)----|-(12)--5-------|-(12)---------|
|------------------|---------|----------3-5--|--------------|
|-(3)--------------|-(3)-----|-(3)-----------|-3------------|
|------------------|---------|---------------|--------------|
Synth III exits in the next sequence of tab.
|---------------|--------|--------|--------|--------|---------|-------|
|---------------|--------|--------|--------|--------|---------|-------|
|---------------|--------|--------|--------|--------|---------|-------|
|---------------|--------|--------|--------|--------|------7--|-5-----|
|-(3)-----------|-(3)----|-(3)----|-(3)----|-(3)----|-(3)-----|-------|
|---------------|--------|--------|--------|--------|---------|-------|
| | | | | | | |
| | | | | | | |
|----12---------|--------|--------|--------|--------|---------|-------|
|-13----15-13---|-(13)---|-(13)---|-(13)---|--------|---------|-------|
|---------------|--------|--------|--------|--------|---------|-------|
|---------------|--------|--------|--------|--------|---------|-------|
|-(3)-----------|-(3)----|-(3)----|-(3)----|-(3)----|-(3)-----|-5-----|
|---------------|--------|--------|--------|--------|---------|-------|
|---------|-------|-------|-------|-------|-------|-------|
|---------|-------|-------|-------|-------|-------|-------|
|---------|-------|-------|-------|-------|-------|-------|
|-(5)-----|-(5)---|-(5)---|-(5)---|-(5)---|-(5)---|-(5)---|
|---------|-------|-------|-------|-------|-------|-------|
|---------|-------|-------|-------|-------|-------|-------|
| | | | | | | |
| | | | | | | |
|---------|-------|-------|-------|-------|-------|-------|
|---------|-------|-------|-------|-------|-------|-------|
|---------|-------|-------|-------|-------|-------|-------|
|-(5)--2--|-------|-------|-5-----|-(5)---|-------|-------|
|---------|-3-----|-(3)---|-------|-------|-3-----|-(3)---|
|---------|-------|-------|-------|-------|-------|-------|
Synthesizers I and II sustain those last notes for another 16
measures, at which time they exit. Guitar II (remember?) has been
playing during this whole synthesizer routine. It now changes to a
distorted tone, and is doubled by another guitar.
C A
|---------|---|---|---------------|---------------------|---|---|---|
|-5--5--5-|---|---|-5--5--5--(5)\-|-2--2--2-2p0---------|---|---|---|
|-5--5--5-|-%-|-%-|-5--5--5--(5)\-|-2--2--2-----2p0-----|-%-|-%-|-%-|
|-5--5--5-|---|---|-5--5--5--(5)\-|-2--2--2---------2p0-|---|---|---|
|-3--3--3-|---|---|-3--3--3--(3)\-|-0--0--0-------------|---|---|---|
|---------|---|---|---------------|---------------------|---|---|---|
I'd like to point out two things which appear at the beginning of
the next sequence of tab. First of all, it is labeled as the D. S.
Secondly, it is marked as the beginning of a sequence of music which is
to be repeated (the symbol is ":"). The closing brace doesn't appear
for some time.
S/S A D E D A
|-------------|------------|----------------------|---|
|---2---2-2-2-|-7---9---7\-|-2--2--2--2p0---------|---|
|:--2---2-2-2-|-7---9---7\-|-2--2--2------2p0-----|-%-|
|---2---2-2-2-|-7---9---7\-|-2--2--2----------2p0-|---|
|---0---0-0-0-|-5---7---5\-|-0--0--0--------------|---|
|-------------|------------|----------------------|---|
The above sequence is repeated once more before continuing.
NC(C) (F#)
|---------------------|---------------|--------------|--------------|
|---------------------|---------------|--------------|--------------|
|---------------------|------7--------|--------11----|-----------11-|
|-[3]/5-3-[5]/7-5-9-7-|-10-9---10-9-7-|-----11----11-|--------11----|
|---------------------|---------------|-9~-----------|-9~---9-------|
|---------------------|---------------|--------------|----9---------|
3rd time to Coda
(C) O+ (F#)
|---------------------|---------------|----------------|-------------|
|---------------------|---------------|----------------|-------------|
|---------------------|------7--------|----------------|-------------|
|-[3]/5-3-[5]/7-5-9-7-|-10-9---10-9-7-|----------------|-------------|
|---------------------|---------------|-9~-------------|--------9----|
|---------------------|---------------|-----9~--(9)\2~-|-(2)/9~---9\-|
Here's a brief explanation of what's to happen. This part was
labeled to be repeated once upon its completion (the end of the part to
be repeated hasn't appeared yet). So, this part is played once, then
repeated once, and then other music is played. Later in the song, it
goes back to the D.S.; at this time, not everything is repeated, but
rather, at the point labeled with the asterisk, it switches to some
other music, which continues to the end of the song. Got that?
A
|----------------------|---|---|-----|
|-2--2--2--2p0---------|---|---|-----|
|-2--2--2------2p0-----|-%-|-%-|-%--:|
|-2--2--2----------2p0-|---|---|-----|
|-0--0--0--------------|---|---|-----|
|----------------------|---|---|-----|
Two more things. First of all, that long repeat is now over.
Secondly, notice the rhythem and time change from 4/4 and q=152 to 7/8
and q=72.
Half-time
7/8
1._________ 2._________________...
F A
|--1-----|---|-5-----|----|-5-----|-(5)-----|
|--1-----|---|-2-----|----|-2-----|-(2)-----|
|:-2-----|-%-|-2-----|-%-:|-2-----|-(2)-----|
|--3-----|---|-2-----|----|-2-----|-(2)-----|
|--3-----|---|-0-----|----|-0-----|-(0)-----|
|--1-----|---|-------|----|-------|---------|
^ diminish
Guitar solo I
NC(F) (Am)
|--------|----------|---------|----------|
|--------|----------|-10^-----|-(10)-----|
|-7^-----|-(7)^-----|---------|----------|
|--------|----------|---------|----------|
|--------|----------|---------|----------|
|--------|----------|---------|----------|
Swell the volume on each note for the next four measures.
(F) (Am)
|------------------|-----------|--------------10-8-7-|----8-7----------|
|-6-8-5-----5------|-----------|---------10-8--------|-10-----10-8-10~-|
|-------7-5---7-4~-|-(4)---7-5-|---------------------|-----------------|
|------------------|-----------|-7-(7)~--------------|-----------------|
|------------------|-----------|---------------------|-----------------|
|------------------|-----------|---------------------|-----------------|
(F)
|-----------------------------------|----------|
|-----------------------------------|----------|
|---5-7-7^-(7)p5-7p5---5-7-7^-7-5/9-|-(9)~-----|
|-7------------------7--------------|----------|
|-----------------------------------|----------|
|-----------------------------------|----------|
(Am)
|-7^-7-5---5---------------|---------------------|
|--------8---8-5-----8-5---|---8-5---------------|
|----------------7-5-----7-|-5-----7-5-4-5-4-----|
|--------------------------|-----------------7~--|
|--------------------------|---------------------|
|--------------------------|---------------------|
(F)
|---------7-7-7-7-7-------------|-------13-13-12-15-13-12----12-|
|---10-10-----------8-8-10------|-------------------------15----|
|-9------------------------9-9~-|-(9)~--------------------------|
|-------------------------------|-------------------------------|
|-------------------------------|-------------------------------|
|-------------------------------|-------------------------------|
(Am)
|------------------12-12-12-12----|--------------------|
|-15-13-12-15-13~--------------15-|-12-13--------------|
|---------------------------------|-------12-(12)h14~--|
|---------------------------------|--------------------|
|---------------------------------|--------------------|
|---------------------------------|--------------------|
(F)
|------------------------------------|--------17^-|
|-15^-(15)~-15^-15-13-12-13p12----12-|------------|
|------------------------------14----|-14~--------|
|------------------------------------|------------|
|------------------------------------|------------|
|------------------------------------|------------|
(Am)
|-(17)-17^~--12-13-15-12h13p12----|-12---------------------------------|
|------------------------------15-|----15^-(15)~-15^-15-12-13-12----12-|
|---------------------------------|------------------------------14----|
|---------------------------------|------------------------------------|
|---------------------------------|------------------------------------|
|---------------------------------|------------------------------------|
^ AH pitch A
(F)
|-----------------------|-----------------|
|-----------------------|-----------------|
|-14-12-14^-14^-14~-14^-|-(14)~----5-7-7^-|
|-----------------------|--------7--------|
|-----------------------|-----------------|
|-----------------------|-----------------|
(Am)
|-------------------------|-----------------------------------|
|-------------------------|------------------------10-12------|
|-7-5-4-5-4~--0-4-5-4-2-4-|-2h4p2p0-2---0-0-0----0-10-12-12^--|
|-------------------------|-----------------------------------|
|-------------------------|-----------X\------X\--------------|
|-------------------------|-----------X\------X\--------------|
(F)
|------------------------------|
|------------------------------|
|-12^--12^-12^-12^-12^-12^-12^-|
|------------------------------|
|------------------------------|
|------------------------------|
|-------------------------------------------------------------|
|---------------------------------------8-8-8-8-8-8-10-10p8---|
|-12-10-9h10p9----9-----------[7]/9-9-9---------------------9-|
|--------------12---12~--(12)---------------------------------|
|-------------------------------------------------------------|
|-------------------------------------------------------------|
(Am)
|-------------------------------------------------------------
|----------------------------------------------10-11p10-12p10-
|-12p9-10p9----9----------------9h10p9-10-9-11----------------
|-----------12---12p10----10-12-------------------------------
|----------------------12-------------------------------------
|-------------------------------------------------------------
----------------------------------------------|
-13-13-12-10----13-------------10-12-12-13-12-|
-------------12----12-9-[9]/11----------------|
----------------------------------------------|
----------------------------------------------|
----------------------------------------------|
|----------------------12-12-12----12-13-13-13-12-13-15-15-15-
|-12-13-13-15-15-13-15----------15----------------------------
|-------------------------------------------------------------
|-------------------------------------------------------------
|-------------------------------------------------------------
|-------------------------------------------------------------
(F)
-13-15-17-17-17^-17^~-|-17^-17^~-17-12h13p12----12--------------------|
----------------------|----------------------15----15-13p12----12-----|
----------------------|-------------------------------------14----14~-|
----------------------|-----------------------------------------------|
----------------------|-----------------------------------------------|
----------------------|-----------------------------------------------|
|--------------------------------------|
|-------5-5-5-5-6-8-6p5---5------------|
|-(14)\-----------------7---7-5-4-5~-4-|
|--------------------------------------|
|--------------------------------------|
|--------------------------------------|
(Am)
|---------------------5-7p5-7-8-8p7p5---5---------------------------------|
|-----5-6p5---5-7-7-8-----------------8---8-8-5-6p5---5-5-5-6-8p5---------|
|-6-7-------7--------------------------------------[7]------------7p0-7-5-|
|-------------------------------------------------------------------------|
|-------------------------------------------------------------------------|
|-------------------------------------------------------------------------|
|------------------------------------------------------------------------|
|------------------------------------------------------------------------|
|-[4]h5p4---7-------------------------------0----------------------------|
|---------7---7-7-5-3-3-3-3p2----------------[0]h3p2---3-[3]p2-3-2-------|
|-----------------------------3-3-2-2-0-2-3----------3-------------3-----|
|--------------------------------------------------------------------0/8-|
That was the end of guitar solo I. Starting below is a long series
of palm-musted measures. I'm just going to label where the muting
begins and ends.
NC(F)
|-----------------------------|-----------------------------|
|-----------------------------|-----------------------------|
|-----------------------------|-----------------------------|
|-----------5-------5-----5---|-----5-----5-------5-----5---|
|---7-----7---5---7-----7---5-|---7-----7---5---7-----7---5-|
|-8---8-8-------8-----8-------|-8-----8-------8-----8-------|
^ palm mute begin
|-----------------------------|---|-----------------------------|---|
|-----------------------------|---|-----------------------------|---|
|-----------------------------|-%-|-----------------------------|-%-|
|-----------------------------|---|-----5-----5-------5-----5---|---|
|-----7-----7-5-----7-----7-5-|---|---7-----7---5---7-----7---5-|---|
|-5-8---5-8-----5-8---5-8-----|---|-8-----8-------8-----8-------|---|
(Am) (F)
|-----------------------------|---|-----------------------------|---|
|-----------------------------|---|-----------------------------|---|
|-----------------------------|-%-|-----------------------------|-%-|
|-----------------------------|---|-----5-----5-------5-----5---|---|
|-----7-----7-5-----7-----7-5-|---|---7-----7---5---7-----7---5-|---|
|-5-8---5-8-----5-8---5-8-----|---|-8-----8-------8-----8-------|---|
(Am)
|-----------------------------|---|
|-----------------------------|---|
|-----------------------------|-%-|
|-----------------------------|---|
|-----7-----7-5-----7-----7-5-|---|
|-5-8---5-8-----5-8---5-8-----|---|
^ palm mute end
Here the time changes from q=72 to q=152 (e=q).
Double time
NC(Am)
|-------------------|---------------|---|---|-------------------|---|---|
|-------------------|---------------|---|---|-------------------|---|---|
|-------------------|---------------|-%-|-%-|-------------------|-%-|-%-|
|-------------------|---------------|---|---|-------------------|---|---|
|---7-6-----5p3---3-|---7-6-5p3---3-|---|---|---7-6---5p3---3-2-|---|---|
|-5-----(0)-----5---|-5---------5---|---|---|-5----(0)----5-----|---|---|
|----------------------|-------------------|------------------|
|----------------------|-------------------|------------------|
|----------------------|---9-8-7p5---5-7^~-|---9-8-7p5---5-4~-|
|----------------------|-7---------7-------|-7---------7------|
|-6h7p6p5\3---3--------|-------------------|------------------|
|-----------5---5-(5)\-|-------------------|------------------|
|-------------------|------------------------|--|--|
|-------------------|------------------------|--|--|
|---9-8-7p5---5-7^~-|-8^-[8]\7p5---5^--------|--|--|
|-7---------7-------|------------7----7-(7)\-|--|--|
|-------------------|------------------------|--|--|
|-------------------|------------------------|--|--|
bass and drums
A Ab G Gb F E Eb D C# C B Bb A G C
|---------------------|----------------|----3--|-(3)--|-------|------|
|-14--13--12--11-10-9-|-8--7--6--5-4-3-|-2--3--|-(3)--|-5--5--|-(5)--|
|-14--13--12--11-10-9-|-8--7--6--5-4-3-|-2--4--|-(4)--|-5--5--|-(5)--|
|-14--13--12--11-10-9-|-8--7--6--5-4-3-|-2--5--|-(5)--|-5--5--|-(5)--|
|-12--11--10--9--8--7-|-6--5--4--3-2-1-|-0--5--|-(5)--|-3--3--|-(3)--|
|---------------------|----------------|----3--|-(3)--|-3--3--|-(3)--|
^ w/chorus effect
A Ab G Gb F E D G A G
|-------------------|----------|---|
|-14-13-12--11-10-9-|-7--[4]/6-|---|
|-14-13-12--11-10-9-|-7--[5]/7-|-4-|
|-14-13-12--11-10-9-|-7--[5]/7-|-5-|
|-12-11-10--9--8--7-|-5--[5]/7-|-5-|
|-------------------|----[3]/5-|-3-|
NC D5 2/4 4/4 C A
|-------------|---------------|--------|--------|--------|--------|
|-------------|---------------|--------|--------|-5------|-2------|
|-------------|-----------5~--|--------|--------|-5------|-2------|
|-------------|-----5--7------|-7------|--------|-5------|-2------|
|-------3--5--|-7~------------|-5------|--------|-3------|-0------|
|-3--5--------|---------------|--------|--------|-3------|--------|
3/4 G 4/4 C E A
|-3-3---3-3---|------------------|----------|----------|
|-3-3---3-3---|-5--5--5/-9-9-9\--|-2--------|----------|
|-4-4---4-4---|-5--5--5/-9-9-9\--|-2--------|----------|
|-5-5---5-5---|-5--5--5/-9-9-9\--|-2--------|----------|
|-5-5---5-5---|-3--3--3/-7-7-7\--|-0--------|----------|
|-3-3---3-3---|------------------|----------|----------|
I hope the rhythem changes were obvious. Also, the measures without
anything in them are rests. The next sequence of tab is called guitar
solo I in GFTPM, but if my addition is correct (1 + 1 = 2), this is
actually guitar solo II.
Guitar solo II
NC(C) (F#)
|-----------------|---------------------|-----------------|
|-7^--(7)^--(7)^--|---------------------|-------7-7-7-----|
|-----------------|--8-8-8~-8~-8~--(8)/-|-------------8~--|
|-----------------|---------------------|--4--4-----------|
|-----------------|---------------------|-----------------|
|-----------------|---------------------|-----------------|
w/slap-back echo
(C)
|------------------|--------------------------|-------------------|
|-------7-7--------|-X-13-13-13^-13^-13^-13^--|-(13)--13^--\10----|
|-----------6~--X--|-X------------------------|-------------------|
|-4-4-4------------|--------------------------|-------------------|
|------------------|--------------------------|----------------9~-|
|------------------|--------------------------|-------------------|
(F#)
|-----------------------X-|-------------------|
|-----------------------X-|-----------3-------|
|-----------------------X-|-X-3-3-3-3---3-3~--|
|-------------------------|-------------------|
|-(9)~-(9)~\---------X/---|-------------------|
|------------2~--2~--X/---|-------------------|
(C)
|-----------------------------------------|------------------|
|---------------------8h11p8----8-11-11^--|-(11)--11-------5-|
|-7-7-8h10p8---8h10p8--------10-----------|----------X\------|
|------------0----------------------------|----------X\-X/---|
|-----------------------------------------|-------------X/---|
|-----------------------------------------|------------------|
^ harmonic ^ harmonic
(F#) (C)
|------------------------|-------------|-----------------|
|-5-5^----------7--------|------11-----|-----------------|
|------------------------|---------11^-|-(11)^--11-X-11--|
|-------4-4~-4~---4-4-4~-|(4)~---------|-----------------|
|------------------------|-------------|-----------------|
|------------------------|-------------|-----------------|
(F#)
|---------------------------------|----------------------|
|-------------11-10-8----8--------|----------------------|
|-8--(8)^~--X---------10---10-8-8-|-8-----11-11-11----11-|
|---------------------------------|----------------11----|
|---------------------------------|---9~-----------------|
|---------------------------------|----------------------|
(C)
|--------------------------|------------------|----------------------|
|----------11~-(11)/18-----|------------------|----------------------|
|-11----11-----------------|--------------7---|--------7-7-----------|
|----11--------------------|-[4]/5-3-7-5----9-|-10-9-X-----10-9-7----|
|----------------------X\--|------------------|-------------------9--|
|----------------------X\--|------------------|----------------------|
(F#) (C)
|-------------------|----------------|---------------------|
|-------------------|----------11----|---------------------|
|-------------10----|-9~-----9-------|---------------------|
|----------11----11-|-----11-------5-|-5-3-7-6-7-5-7-9-9-7-|
|-(9)~--------------|----------------|---------------------|
|--------0----------|----------------|---------------------|
(F#)
|--------------------------|---------------|----------------|
|--------------------------|---------------|-------2~--(2)\-|
|---------7----------------|---------------|-----3----------|
|-10-9-10---10-9-7---7-9-7-|---------------|-4--------------|
|------------------9-------|-9~------------|---4------------|
|--------------------------|------X-9~-2-2-|----------------|
NC(A5) (G) (A) 3/8
|------------|------------|----------|-----|
|------------|------------|----------|-----|
|------------|------------|--6-------|-----|
|-7----------|--5---------|------7---|-----|
|-----7------|------5-----|----------|-7---|
|---------5--|----------3-|----------|-----|
A couple of things happen here. First of all, that last tab ended
with a single measure in 3/8. Secondly, the meter changes to 9/8 for a
while. The tempo also changes to q.=92. q. is my way of writing a
quater note followed by a dot; in other words, a 3/8 note.
NC(A) (G) (A) D E B (A) (G) (A) D E G
|---------------------|-2---0-------|--------------------|-2---0--------|
|---------------------|-3---0---4---|--------------------|-3---0---0----|
|:-------------6------|-2---1---4---|-------------6------|-2---1---0---:|
|--7-----5-------7----|-0---2---4---|-7-----5-------7----|-0---2---0----|
|----7-----5-0-----7\-|-----2---2---|---7-----5-0-----7\-|-----2---2----|
|------5--------------|-----0-------|-----5--------------|-----0---3----|
12/8 A NC
|-------------|-0--0-0--0-0--0-0--0-|----------------------|---|---|
|-0---0---0---|-2--2-2--2-2--2-2--2-|----------------------|---|---|
|-0---0---0---|-2--2-2--2-2--2-2--2-|----------------------|-%-|-%-|
|-0---0---0---|-2--2-2--2-2--2-2--2-|----------------------|---|---|
|-2---2---2---|-0--0-0--0-0--0-0--0-|----7-6----5~--3-0--2-|---|---|
|-3---3---3---|---------------------|-5-------5------------|---|---|
Two more things happen at this next sequence of tab. The temp
changes to q=152 and the rhythem changes to 4/4.
4/4
|-----------------------|------------------|---|---|
|-----------------------|------------------|---|---|
|-----------------------|------------------|-%-|-%-|
|-----------------------|------------------|---|---|
|-6h7p6p5\3---3---------|---7-6--5p3---3-2-|---|---|
|-----------5----5-(5)\-|-5----------5-----|---|---|
|-----------------------|---------------------|--------------------|
|-----------------------|---------------------|--------------------|
|-----------------------|---9-8--7p5---5-7^~--|---9-8--7p5---5-4~--|
|-----------------------|-7----------7--------|-7----------7-------|
|-6h7p6p5\3---3---------|---------------------|--------------------|
|-----------5----5-(5)\-|---------------------|--------------------|
|---------------------|----------------------------|
|---------------------|----------------------------|
|---9-8--7p5---5-7^~--|-8^-[(8)]\7p5---5^----------|
|-7----------7--------|--------------7-----7-(7)\--|
|---------------------|----------------------------|
|---------------------|----------------------------|
C A D.S. (w/repeat) al Coda S/S
|----------------------|---|----------------------|
|-5--5--5--5p3---------|---|-2--2--2--2p0---------|
|-5--5--5------5p3-----|-%-|-2--2--2------2p0-----|
|-5--5--5----------5p3-|---|-2--2--2----------2p0-|
|-3--3--3--------------|---|-0--0--0--------------|
|----------------------|---|----------------------|
Coda O+
F# 7/8 A5 NC
|----------------------|---|----------------|
|-2--2--2--------------|---|----------------|
|-3--3--3--4p2---------|-%-|----------------|
|-4--4--4------4p2-----|---|-7--------------|
|-4--4--4----------4p0-|---|-7-7-6--5p3---3-|
|-2--2--2--------------|---|-5----------5---|
|----------------|---|---------------------|
|----------------|---|---------------------|
|----------------|-%-|---------------------|
|----------------|---|---------------------|
|---7-6--5p3---3-|---|---7-6--5p3---3-(3)/-|
|-5----------5---|---|-5----------5--------|
A Ab G Gb F E Eb D C# C B Bb A C
|---------------------|----------------|----------|----------|
|-14--13--12--11-10-9-|-8--7--6--5-4-3-|-2--------|-5--------|
|-14--13--12--11-10-9-|-8--7--6--5-4-3-|-2--------|-5--------|
|-14--13--12--11-10-9-|-8--7--6--5-4-3-|-2--------|-5--------|
|-12--11--10--9--8--7-|-6--5--4--3-2-1-|-0--------|-3--------|
|---------------------|----------------|----------|-3--------|
Well, there it is! Next is a brief defining of the notation, and
then the notes on "La Villa Strangiato" by Andy Aledort, as they
appeared in GFTPM.
^ bend; this does not indicate the extent of the bend
~ vibrato; this does not indicate the degree of the vibrating
/ slide up; this does not indicate if the second note is struck
\ slide down; this also does not indicate if the second note is struck
X pick slide or muffled strings
h hammer-on
p pull-off
O+ Coda
This 9 1/2 minute opus begins with Alex Lifeson on solo acoustic
nylon string guitar, playing a simple melody which alludes to a V-I
resolution in the key of E. He follows this with a fast lick in first
position based on E Phrygian (E, F, G, A, B, C, D), and at the big F
chord is joined by an overdubbed electric which arpeggiates a Csus2
chord; this arpeggiated figure is repeated all the way to the 2:00
point. The arrangement is filled out with many synths, three of which
are arranged here for guitar, as is the glockenspiel melody. At 2:00,
the song boils down to guitar, bass and drums, with ambient use of
synthesizers. At 2:25, Lifeson plays a C major (C, D, E, F, G, A, B)
melody for two bars, into an F#5 arpeggio. This C-F# (tritone)
relationship appears throughout the tune. At 3:16, the song shifts to a
slow 7/8 feel (with an inner syncopation of a fast 7/8 figure played
twice) and an F to Am chord reference for Lifeson's first solo, which he
begins with a series of volume swells. This entire solo is based on the
A Aeolian mode. The fast lick which begins at 4:56 is articulated
mostly with tremelo picking; the phrasing is very undefined because of
the effect of craming as many notes in as possible, similar to the lick
at 5:08 through the end of the solo. At 5:49, Lifeson introduces a lick
based on the A Blues scale (A, C, D, Eb, E, G), which is played four
times, and then converted to fit into 4/4 time. The second guitar solo
begins at 6:45 and moves between C and F#; over C, Lifeson plays lines
based on C Pentatonic minor (C, Eb, F, G, Bb), and over F# heplays the
notes of an F# major triad (F#, A#, C#). At 7:12, he reintroduces the C
major melody used earlier. At 7:32 the song shifts to a 9/8 feel, over
which the A Blues scale lick from 5:49 is translated; at 8:01, the song
returns to the original feel, setting up the recap.
Andrew N. Westmeyer
qwerty+@CMU.EDU
Carnegie Mellon University
Materials Science and Engineering
