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The Cynical SphereOfficial Tablature Series
CYNIC - Focus
Guitar/Bass/Chapman StickTablature & Notation
Transcribed by:Jeff Litvak
www.cynicalsphere.com
GUITAR TABLATURE:
Gtr. I - Paul Masvidal (distortion)
Gtr. II - Jason Gobel (distortion)
Gtr. III - Paul Masvidal (clean tone)
Gtr. IV - Jason Gobel (clean tone)
Gtr. V - Paul Masvidal (distortion harmony)Gtr. VI - Jason Gobel (clean harmony)
BASS TABLATURE:
Gtr. I - Sean Malone (Stick transcribed for bass)
Gtr. II - Sean Malone (fretless bass)
CHAPMAN STICK TABLATURE:
Gtr. I - Right Hand (melody)
Gtr. II - Left Hand (bass)
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©1993 The All Blacks BVGenerated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
TEXTURESAs recorded by Cynic
(From the 1993 Album FOCUS)
Transcribed by Jeff Litvak (www.cynicalsphere.com)
Music by CynicArranged by Cynic
Fmaj13x
A7/11b5 5 fr. G
bmb5 4 fr.xx
E6/11 7 fr.xG 10 fr.x x x
A 12 fr.x x xCbm7 9 fr.x
Amaj7 5 fr.xCb
7 fr.xxxx
Cmaj7 7 fr.xx xB`13sus211 fr.x xx
B13sus2 11 fr.x xxB5 7 fr.xx x
A11sus4 5 fr.xxF5
xx xA5 5 fr.xx x
D5 10 fr.xx x
A Intro
I1
TAB
3x98
IT
AB
3x98
mf Gtr IV
P = 92N.C.
V
8
V
0
pGtr VI
V
10
V
13
V
8
V
8
V
10
V
10
V
9
V
8
V
10
V
10
V
8
V
9
V
10
V
10
V
0
V
8
V
8
V
10
V
0
V
0
V
7
V
8
V
0
V
0
V
8
V
7
V
12
V
0
V
10
V
8
V
0
V
12
V
13
V
10
V
8
V
0
V
10
V
13
V
8
V
8
V
10
V
10
V
9
V
8
V
10
V
10
V
8
V
9
V
10
V
10
V
0
V
8
V
8
V
10
V
0
V
0
V
7
V
8
V
0
V
0
V
8
V
7
V
12
V
0
V
10
V
8
V
0
V
12
V
13
V
10
TUNING: (E, A, D, G, B, E)* FADE IN
* JASON PLAYS THIS PART IN LIVE VERSION
* CLEAN TONE PLAYED THROUGH A ROLAND GS-50 GUITAR-TO-MIDI CONVERTER WITH AN E-MU PROTEUS SOUND MODULE
* HARMONY PLAYED AS A ROUND, TWO 16th NOTES BEHIND THE ORIGINAL - ALBUM VERSION ONLY
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B Rhythm A: (Pt. 1)
I3
TAB
gg
ITAB
gg
ITAB
gg
fff Gtr III
N.C.
V
2
V
8
V
0
mf Gtr IV
pGtr VI
V
4
V
10
V
13
f
V
5
V
8
f
V
8
V
3
V
10
V
10
V
4
V
9
V
8
f
V
5
V
10
V
10
V
0
V
8
V
9
V
4
V
10
V
10
V
5
V
0
V
8
V
3
V
8
V
10
V
4
V
0
V
0
V
5
V
7
V
8
V
2
V
0
V
0
V
5
V
8
V
7
V
4
V
12
V
0
V
2
V
10
V
8
V
4
V
0
V
12
V
5
V
13
f
V
10
V
2
V
8
V
0
V
4
V
10
V
13
f
V
5
V
8
f
V
8
V
3
V
10
V
10
V
4
V
9
V
8
f
V
5
V
10
V
10
V
2
V
8
V
9
V
4
V
10
V
10
V
5
V
0
V
8
V
3
V
8
V
10
V
4
V
0
V
0
V
5
V
7
V
8
V
2
V
0
V
0
V
5
V
8
V
7
V
4
V
12
V
0
V
3
V
10
V
8
V
4
V
0
V
12
V
5
V
13
f
V
10
Paul Masvidal - (Left Channel)
* PLAY SECTIONS B, C, & D IN AN ARPEGGIATED FASHION - DO NOT HOLD DOWN CHORD SHAPES
Jason Gobel - (Right Channel)
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I5
TA
B
gg
ITAB
gg
ITAB
gg
V
3
V
8
V0
V
4
V
10
V13
f
V
5
V
8
f
V8
V3
V
10
V10
V
4
V
9
V8
f
V
5
V
10
V10
V
3
V
8
V9
V
4
V
10
V10
V
5
V0
V8
V3
V
8
V10
V
4
V0
V0
V
5
V7
V8
V
3
V0
V0
V
5
V
8
V7
V
4
V
12
V0
V3
V
10
V8
V
4
V0
V12
V
5
V
13
f
V10
V
0
V
8
V0
V
4
V
10
V13
f
V
5
V
8
f
V8
V3
V
10
V10
V
4
V
9
V8
f
V
5
V
10
V10
V
0
V
8
V9
V
4
V
10
V10
V
5
V0
V8
V3
V
8
V10
V
4
V0
V0
V
5
V7
V8
V
0
V0
V0
V
5
V
8
V7
V
4
V
12
V0
V3
V
10
V8
V
4
V0
V12
V
5
V
13
f
V10
I7
TAB
gg
I
TA
B
gg
ITAB
gg
V2
V
8
V0
V
4
V
10
V
13
f
V
5
V
8
f
V
8
V2
V
10
V
10
V
4
V
9
V
8
f
V
5
V
10
V
10
V2
V
8
V
9
V
4
V
10
V
10
V
5
V
0
V
8
V2
V
8
V
10
V
4
V
0
V0
V
5
V
7
V
8
V2
V
0
V0
V
5
V
8
V7
V
4
V
12
V0
V2
V
10
V
8
V
4
V
0
V
12
V
sl.
5
V
sl.
13
f
V
sl.
10
f
V
9
V
2
V
11
V
4
V
12
V
5
V
10
V
3
V
11
V
4
V
12
V
5
V
10
V
0
V
12
V
4
V
11
V
5
V
9
V
3
V
12
V
4
V
11
V
5
V
9
V
2
j
V
11
V
5
V
9
V
4
V
12
V
2
V
11
V
4
V
9
V
5
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C Rhythm A: (Pt. 2)
I9
T
AB
gg
ITAB
gg
N.C.
V
9
V2
V
11
V
4
V
12
V
5
V
10
V3
V
11
V
4
V
12
V
5
V
9
V2
V
11
V
4
V
12
V
5
V
10
V3
V
12
V
4
V
12
V
5
V
9
V2
V
12
V
5
V
11
V
4
V
10
V3
V
11
V
4
V
12
V
5
V
10
V
3
V
11
V
4
V
12
V
5
V
10
V3
V
11
V
4
V
12
V
5
V
10
V
3
V
11
V
4
V
12
V
5
V
10
V3
V
12
V
4
V
12
V
5
V
10
V
3
V
12
V
5
V
11
V
4
V
10
V3
V
11
V
4
V
12
V
5
I11
TAB
gg
ITAB
gg
V
12
V0
V11
V
4
V12
V
5
V10
V
3
V11
V
4
V12
V
5
V
12
V0
V11
V
4
V12
V
5
V10
V
3
V12
V
4
V12
V
5
V
12
V0
V12
V
5
V11
V
4
V10
V
3
V11
V
4
V12
V
5
V
9
V2
V11
V
4
V12
V
5
V10
V2
V11
V
3
V12
V
4
V
9
V2
V11
V
4
V12
V
5
V10
V2
V12
V
3
V12
V
4
V
sl.
11
V2
V
5
V9
V
4
V2
V
sl.
12
V
3
V
4
D Rhythm A: (Pt. 3)
I13
TA
B
gg
I
TAB
gg
N.C.
V
9
V
2
V
11
V
4
V
12
V
5
V
10
V
3
V
11
V
4
V
12
V
5
V
10
V
0
V
12
V
4
V
11
V
5
V
9
V
3
V
12
V
4
V
11
V
5
V
9
V
2
V
11
V
5
V
9
V
4
V
12
V
2
V
11
V
3
V
9
V
4
V
9
V
2
V
11
V
4
V
12
V
5
V
10
V
2
V
11
V
3
V
12
V
4
V
9
V
2
let ring
V
11
V
4
V
12
V
5
V
10
V
2
V
12
V
3
V
12
V
4
V
9
V
2
let ring
V
12
V
4
V
11
V
5
V
10
V
2
V
11
V
3
V
12
V
4
let ring
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I15
TA
B
gg
I
TAB
gg
V
9
V
2
V
11
V
4
V
12
V
5
V
10
V
2
V
11
V
3
V
12
V
4
V
9
V
2
let ring
V
11
V
4
V
12
V
5
V
10
V
2
V
12
V
3
V
12
V
4
V
9
V
2
let ring
V
12
V
4
V
11
V
5
V
10
V
2
V
11
V
3
V
12
V
4
V
10
V
3
let ring
V
11
V
4
V
12
V
5
V
10
V
2
V
11
V
3
V
12
V
4
V
10
V
3
let ring
V
11
V
4
V
12
V
5
V
10
V
2
V
12
V
3
V
12
V
4
V
10
V
3
let ring
V
12
V
4
V
11
V
5
V
10
V
2
V
11
V
3
V
12
V
4
let ring
I17
TAB
gg
I
TAB
gg
V
10
V0
V11
V
4
V12
V
5
V10
V
2
V11
V
3
V12
V
4
V
10
V0
let ring
V11
V
4
V12
V
5
V10
V
2
V12
V
3
V12
V
4
V
10
V0
let ring
V12
V
4
V11
V
5
V10
V
2
V11
V
3
V12
V
4
V
12
V
0
let ring
V11
V
4
V12
V
5
V9
V
2
V11
V
4
V12
V
5
V
12
V
0
let ring
V11
V
4
V12
V
5
V9
V
2
V11
V
4
V12
V
5
V
12
V
0
let ring
V12
V
4
V11
V
5
V12
V
2
V11
V
4
V12
V
5
let ring
I19
TAB
gg
ITAB
gg
V
0
V
0
V
11
N
V
4
N
V
12
V
5
V
9
N
V
H
2
N V
4
V
5
V
0
[[[[[[
V
0
let ring
V
11
N
V
4
N
V
12
V
5
V
9
N
V
H
2
N V
4
V
5
V
0
[[[[[[
V
0
let ring
V
11
N
V
4
N
V
12
V
5
V
9
N
V
H
2
N V
4
V
5
V
0
[[[[[[
V
0
let ring
V
11
N
V
4
N
V
12
V
5
V
9
N
V
H
2
N V
4
V
5
V
0
[[[[[[
V
0
let ring
V
11
N
V
4
N
V
12
V
5
V
9
N
V
H
2
N V
4
V
5
V
0
[[[[[[
V
0
let ring
V
11
N
V
4
N
V
12
V
5
V
9
N[[[[[[[[[[
V
H
2
N V
4
V
5
let ring
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I21
TAB
gg
IT
AB
gg
V9
V2
V11
V
4
V12
V
5
V
10
V3
V11
V
4
V12
V
5
V10
V
3
V
12
V
4
V11
V
5
V9
V3
V12
V
4
V11
V
5
V9
V0
V11
V
4
V9
V
5
V12
V3
N
V11
V
4
N
V9
V
5
N
44
44
P = 106
V(9)
w
V
(5)
h
m
m j
k
V
sl.
3
c
BREAK
BREAK
E Lead 1: (Paul Masvidal)
I23
TAB
f f 74
I
TAB
f f 74
Gtr III
P = 132N.C.
V
sl.
5
fff Gtr IV V7
V
5
V
5
X
P.M.
V
0
V
5
f V
8
V6
eV
7
V
5
P.M.
V
7
V
7
P
sl.
7
P
7
zP.M.
V
9
V
9
V
7
V
7
k
V0
V
H
12
V12
V0
V13
V13
ff
P = 127Fmaj13
V12
V12
V1
f
V10
V10
V0
V10
V
H
10
f
V
1
f
VV12
V10
V10
V
2
V
sl.
9
V
9
V
0
V7
V
7
V
2
P
sl.
9
P
9
z
P
sl.
1
Rlet ring
A7/11b5
V14
V
14
V5
V
8
f
V12
V
12
V
5
V
7
V
17
V17
V12
V
12
GKKKKV
5
V
5
V
7
VVVVu
V
0
let ring
* DO NOT HOLD CHORDS FOR MEASURES 23, 25, 27 & 29 OF THIS SECTION
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I25
TAB
I
TAB
N.C.
Psl.
3
R
V
sl.
10
V7
V
5
V
13
V10
V
7
W12
W
V
5
V
5
X
P.M.
V
0
V
5
V
8
W
11
e
V
6
e V
7
V
5
P.M.
V
7
V
7
P
sl.
7
P
7
zP.M.
V
9
V
9
V
7
V
7
V
sl.
7
V7
let ring G
V
0
V
sl.
12
V12
V0
Fmaj13
V10
V10
V1
let ring
V
0
V
13
uX
V
1
k
V
2
}x
}x
V
0
V
15
X
V
2Psl.
1
R
Gbmb5
k
V4
g
}x
}x
u
V
7
}
V
sl.
13
V10
uGKKK
V
6
g
W12
W9
V
4
g V
5
V
0
V
5
VVu
V
0
let ring
I27
TAB
ITAB
N.C.
P
sl.
3
R
V13
V5
V
15
V7
V
14
V
5
V
5
X
P.M.
V15
V
14
V
12
GKKK
V0
V
sl.
15
V
14
V
(12)
V
5
V17
V
16
V
14
V
8
V19
V19
g
V6
e
V19
V19
V19
V19
V7
V19
V19
V17
V17
V
5
P.M.
V17
V
sl.
16
V7
V7
P
sl.
7
P7
zP.M.
V
sl.
(17)
V
17
V
9
V9
V
7
V7
V0
k
V0
Fmaj13
V13
V1
V
15
V0
V
14
V
1
V
12
V2
V
sl.
15
V
14
V
12
GKKK
V
0
V18
V
17
V
15
V2
P
sl.
1
Rlet ring
A7/11b5V20
V20
V5
V20
V20
V20
V20
V8
V20
V20
V19
V19
g
V5
V
19
V
7
W
sl.
(19)
W
19
let ring
V
5
V
5
V
7
V0
let ring
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I29
TAB
I
TA
B
N.C.
P
sl.
3
R V
5
V
7
V
5
V
5
X
P.M.
V
0
V
13
V
5
V
12
V
10
V
8
V
13
V
12
V
6
e
V
10
V
12
V
7
V
10
V
9
V
5
P.M.
V
10
V
9
V
7
V
12
V
7
P
sl.
7
P
7
zP.M.
V
9
V
9
V
9
V
12
V
10
V
7
V
7
V
9
V
12
V
0
V
9
V
10
V
0
V
12
Fmaj13
V
9
V
1
let ring
V
10
V
9
V
0
V
12
V
10
V
1
V
9
V
12
V
2
V
10
V
12
V
0
V
9
V
10
V
2
V
12
P
sl.
1
R
Gbmb5V
10
V
4
g
V
12
V
13
V
7
}
V
10
V
12
}
V
6
g
V
13
P
sl.
13
z V
15
V
4
g
V
sl.
13
V
5
V
12
V
6
V
sl.
10
f
V
5
V
0
let ring
F Rhythm B: (Pt. 1)
I31
TAB
44
I
TA
B
44
ITAB
44
Gtr III
P = 127E6/11W
9
W
9
W
9
W
7
W
7GKKKKK
gg
V
5
V
6
g
f Gtr IV
mf Gtr VI
V
7
V
7
V
6
g
V
6
V
7
V
7
V
4
V
5
V
7
V
7
GV
sl.
12
V
12
V
10GKKKK
V
6
V
6
AV
14
V
14
V
12
V
7
V
7
GW
12
W
12
W
10GKKKK
V
6
g
V
6
g
V
4
g
V
7
V
7
V
6
V
6
V
7
V
11
ug
V
4
V
5
V
12
V
7
V
7
V
6
V
6
V
sl.
(12)
c
V
7
V
7
V
sl.
9
V
7
let ring
V
5
V
6
g
Cbm7
V
11
V
9
gg
V
7
V
7
V
9
V
6
g
V
6
V
9
V
7
V
7
V
12
V
4
V
5
V
9
V
7
V
7
V
11
V
6
V
6
V
9
g
V
7
V
7
V
(9)
V
6
g
V
6
g
V
9
g
V
4
g
V
7
V
9
V
7
V
6
V
9
V
6
V
7
V
11
g
V
4
V
5
V
7
V
7
V
sl.
(11)
let ring
V
6
V
6
V
7
V
7
* SEE PERFORMANCE NOTES
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I35
T
AB
ITAB
ITAB
E6/11W
9
W
9
W
9
W
7
W
7
GKKKKK
gg
V
5
V6
g
V
7
V7
V
6
g
V6
V
7
V7
V
4
V5
V
7
V7
GV
sl.
12
V
12
V
10GKKKKV
6
V6
AV
14
V
14
V
12
V
7
V7
GW
12
W
12
W
10GKKKKV
6
g
V6
g
V
4
g
V7
V
7
V6
V
6
V7
V
11
ug
V
4
V5
V
12
V
7
V7
V
6
V6
V
sl.
(12)
c
V
7
V7
V
sl.
9
V
7
let ring
V
5
V6
g
Amaj7
V
7
V
5
V
7
V7
V
6
g
V
6
g
V6
V
7
V
7
V7
V
5
V
4
V5
V
6
V
7
V7
V
6
g
V
6
V6
V
5
V
7
V7
V
(5)
V
6
g
V6
g
V
5
V
4
g
V7
V
6
g
V
7
V6
V
6
g
V
6
V7
V
0
V
4
V5
V
7
V7
Vlet ring
V
6
V6
V
7
V7
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G Chorus
I39
TAB
ITAB
ITAB
Gtr I
P = 131CbV
14
V
15
V
7
V
8
Gtr V
V
12
V
13
V
7
V
8
V
10
ug
V
11
ue
V
7
V
8
Cmaj7V
9
f
V
10
V
9
V
7
V
8
P.M.
k
V
10[[[[V
10
[[[[
V
9
V
7
V
8
c k
V
12
u
V
12
u
V
9
V
7
V
8
c
V
(12)
V
(12)
j
V
9
V
9
W
10
W
10
Cb
V
7
V
8
c V
7
V
8
V
7
V
8
Cmaj7
V
9[[[[[[[[[
V
9
[[[[[[[[[
V
9
V
7
V
8
P.M.
V
10
V
10
k
CbV
12
V
12
V
7
V
8
V
9
V
10
V
7
V
8
V
10
g
V
11
e
V
7
V
8
Cmaj7
V
10
V
10
V
9
V
7
V
8
P.M.
V
12
V
12
k
V
9
f
V
10
V
9
V
7
V
8
c
V
9
V
9
k
V
10
V
10
V
9
V
7
V
8
c
V
12
u
V
12
u
j
j
j
CbV
P
10
V
P
10
g
V
7
V
8
c
V
9
V
9
f
V
12
V
12
V
7
V
8
V
7
V
8
Cmaj7
V
10
[[[[[
V
10
[[[[[
V
9
V
7
V
8
P.M.
k
* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION
* DISTORTION
* DISTORTION
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H Rhythm B: (Pt. 2)
I43
TAB
I
TAB
ITAB
Gtr III
P = 129E6/11W
9
W
9
W
9
W
7
W
7
GKKKKK
gg
V
5
V
6
g
Gtr IV
Gtr VI
V
7
V
7
V
6
g
V
6
V
7
V
7
V
4
V
5
V
7
V
7
GV
sl.
12
V
12
V
10
GKKKK
V
6
V
6
AV
14
V
14
V
12
V
7
V
7
GW
12
W
12
W
10
GKKKK
V
6
g
V
6
g
V
4
g
V
7
V
7
V
6
V
6
V
7
V
11
ug
V
4
V
5
V
12
V
7
V
7
V
6
V
6
V
sl.
(12)
c
V
7
V
7
V
sl.
9
V7
let ring
V
5
V
6
g
Cbm7
V
11
V
9
gg
V
7
V
7
V
9
V
6
g
V
6
V
9
V
7
V
7
V
12
V
4
V
5
V
9
V
7
V
7
V
11
V
6
V
6
V
9
g
V
7
V
7
V
(9)
V
6
g
V
6
g
V
9
g
V
4
g
V
7
V
9
V
7
V
6
V
9
V
6
V
7
V
11
g
V
4
V
5
V
7
V
7
V
sl.
(11)
let ring
V
6
V
6
V
7
V
7
* CLEAN TONE
* SEE PERFORMANCE NOTES
* CLEAN TONE
* CLEAN TONE
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I Chorus
I47
TAB
IT
AB
I
TAB
Gtr I
P = 131CbV
15
V
14
g
V
7
V
8
Gtr V
Gtr II
V
13
V
12
V
7
V
8
V
11
u
e
V
10
u
V
7
V
8
Cmaj7V
10
V
9
g
V
9
V
7
V
8
P.M.
k
V
10
[[[[
V
10
[[[[
V
9
V
7
V
8
c k
V
12
u
V
12
u
V
9
V
7
V
8
c
V
(12)
V
(12)
j
V
9
V
9
g
W
10
W
10
Cb
V
7
V
8
c V
7
V
8
V
7
V
8
Cmaj7
V
9
[[[[[[[[[
V
9
[[[[[[[[[
V
9
V
7
V
8
P.M.
V
10
V
10
k
CbV
12
V
12
V
7
V
8
V
10
V
9
g
V
7
V
8
V
11
e
V
10
V
7
V
8
Cmaj7
V
10
V
10
V
9
V
7
V
8
P.M.
V
12
V
12
k
V
10
V
9
V
9
V
7
V
8
c
V
9
V
9
g
k
V
10
V
10
V
9
V
7
V
8
c
V
12
u
V
12
u
j
j
j
CbV
P
10
g
V
P
10
V
7
V
8
c
V
9
f
V
9
g
V
12
V
11
g
V
7
V
8
V
7
V
8
Cmaj7
V
10
[[[[[
V
9
[[[[[
V
9
V
7
V
8
P.M.
k
* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION
* DISTORTION
* DISTORTION
J Lead 2: (Bass Solo)
I51
TAB
ggg
ITAB
ggg
Gtr III
P = 130B`13sus2W
12
W
11
W
14
GKKK
f
W
12
W
11
W
14
fGtr IV
VVV
VVV
B13sus2V
13
V
11
V
14
GKKK
g
V
13
V
11
V
14
g
U
(13)
U
(11)
U
(14)
U
(13)
U
(11)
U
(14)
B`13sus2W
12
W
11
W
14
GKKK
f
W
12
W
11
W
14
f
VVV
VVV
B13sus2V
13
V
11
V
14
GKKK
g
V
13
V
11
V
14
g
U
(13)
U
(11)
U
(14)
U
(13)
U
(11)
U
(14)
* CLEAN TONE
* SEE PERFORMANCE NOTES
(^) (^) (^)(^) * CLEAN TONE
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I55
TAB
ggg
ITAB
ggg
B`13sus2V
12
V
11
V
14
GKKK
f
V
14
V
14
V
14
V
11
V
14
V
14
V
12
V
11
V
11
V
14
V
11
V
14
V
14
V
12
V
11
V
11
B13sus2V
13
V
11
V
14
P.M. GKKK
g
V
14
V
11
V
(13)
V
(11)
V
(14)
V
14
V
14
V
14
V
11
V
14
V
14
V
13
V
11
V
11
V
14
V
11
V
14
V
14
V
13
V
11
V
11
V
14
V
11
B`13sus2V
12
V
11
V
14
P.M. GKKK
f
V
14
V
14
V
14
V
11
V
14
V
14
V
12
V
11
V
11
V
14
V
11
V
14
V
14
V
12
V
11
V
11
B13sus2V
13
V
11
V
14
P.M. GKKK
g
V
14
V
11
V
(13)
V
(11)
V
(14)
V
14
V
14
V
14
V
11
V
14
V
14
V
13
V
11
V
11
V
14
V
11
V
14
V
14
V
13
P.M.
V
11
V
11
V
14
V
11
P.M.
* APPLY A VERY LIGHT PALM MUTE ON THE MUTED NOTES FOR THE NEXT 4 MEASURES SO AS NOT TO MUTE THE CHORD TOO MUCH
I59
TA
B
ggg
I
TAB
ggg
ITAB
ggg
Gtr III
B`13sus2V
12
V
11
V
14
GKKK
f
V
14
Gtr IV
Gtr II
V
14
V
14
V
11
V
14
V
14
V
12
V
11
V
11
V
14
V
11
V
14
V
14
V
12
V
11
V
11
B13sus2V
13
V
11
V
14
GKKK
g
V
14
V
11
V
(13)
V
(11)
V
(14)
V
14
V
14
V
14
V
11
V
14
V
14
V
13
V
11
V
11
V
14
V
11
V
14
V
14
V
13
V
11
V
11
V
14
V
11
B`13sus2V
12
V
11
V
14
GKKK
f
V
14
V
7
V
14
V
10
V
14
V
9
V
11
V
8
f
V
14
V
9
g
V
14
V7
V
12
V
11
V10
f
V
11
V
9
V
14
V
8
f
V
11
V
7
V
14
V
10
V
14
V
12
V
11
V
7
V
11
V
10
B13sus2V
13
V
11
V
14
GKKK
g
V
14
V
9
g
V
11
V
8
g
V
(13)
V
(11)
V
(14)
V
14
V
9
V
14
V7
V
14
V10
f
V
11
V
9
V
14
V
8
g
V
14
V
7
V
13
V
11
V
10
V
11
V
14
V
7
V
11
V
10
V
14
V
9
V
14
V
8
V
13
V
11
V
9
V
11
V7
V
14
V10
V
11
P.M.
V
9
* CRESCENDO TO FULL VOLUME OVER NEXT 6 MEASURES
* DISTORTION WITH +1 OCTAVE PITCH SHIFT
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I63
TAB
ggg
ITAB
ggg
ITAB
ggg
B`13sus2V
12
V
11
V
14GKKK
f
V
14
V
8
f
V
14
V
7
V
14
V
10
V
11
V
14
V
7
V
14
V
10
V
12
V
11
V
9
g
V
11
V
8
f
V
14
V
9
g
V
11
V7
V
14
V10
f
V
14
V
9
V
12
V
11
V
8
f
V
11
V
7
B13sus2V
13
V
11
V
14GKKK
g
V
14
V
10
V
11
V
(13)
V
(11)
V
(14)
V
14
V
7
V
14
V
10
V
14
V
9
V
11
V
8
g
V
14
V
9
V
14
V7
V
13
V
11
V10
f
V
11
V
9
V
14
V
8
V
11
V
7
V
14
V
10
V
14
V
13
V
11
V
7
V
11
V
10
V
14
V
9
V
11
V
8
B`13sus2V
12
V
11
V
14GKKK
f
V
14
V
9
V
14
V7
V
14
V10
f
V
11
V
9
V
14
V
8
f
V
14
V
7
V
12
V
11
V
10
V
11
V
14
V
7
V
11
V
10
V
14
V
9
g
V
14
V
8
f
V
12
V
11
V
9
g
V
11
V7
B13sus2V
13
V
11
V
14GKKK
g
V
14
V10
V
11
V
9
V
(13)
V
(11)
V
(14)
V
14
V
8
g
V
14
V
7
V
14
V
10
V
11
V
14
V
7
V
14
V
10
V
13
V
11
V
9
V
11
V
8
V
14
V
9
V
11
V7
V
14
V10
f
V
14
V
9
V
13
V
11
V
8
V
11
V
7
V
14
V
10
V
11
P.M.
K Rhythm C: (Pt. 1)
I67
TAB
f f f 68
ITAB
f f f 68
Gtr I
P= 131
B5
V
7
V
7
Gtr II
V
7
V
10
V
7
V
9
V
7
V
8
g
V
7
V
9
V
7
V
7
V
7
V
10
f
V
7
V
9
V
7
V
8
V
7
V
7
V
9
V
7
P.M.
V
10
A11sus4
W
7
W
7
W
5
W
5
V
7
V
10
V
9
V
8
g V
9
V
7
V
10
f V
9
V
8
V
7
V
10
W
(7)
W
(7)
W
(5)
W
(5)
V
7
V
10
V
9
V
8
g V
9
V
7
V
10
f V
9
VVVV
V
8
}
x
}
x
V
7
A11sus4
V
7
V
7
V
5
V
5
P.M.
V
10
* DISTORTION
* DISTORTION WITH PITCH SHIFT AT + 1 OCTAVE
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I70
TAB
ITAB
F5
W
3
W
3
W
1
V7
V10
V9
g V8
f V9
g V7
V
10
V9
V8
f V7
V10
W
(3)
W
(3)
W
(1)
V7
V10
V9
g V8
f V9
g V7
V
10
V9
VVV
V8
f
}
x
}
x
V7
F5
V
3
V
3
V
1
P.M.
V10
A5
W
7
W
7
W
5
V7
V10
V9
g V8
f V9
g V7
V
10
V9
V8
f V7
V10
I73
TAB
ITAB
WWW
V7
V10
V9
g V8
f V9
g V7
V
10
V9
VVV
V8
f
}
x
}
x
V7
A5
V
7
V
7
V
5
P.M.
V10
B5
W
9
W
9
W
7
g
V7
V10
V9
g V8
f V9
g V7
V
10
V9
V8
f V7
V10
58
58
W
(9)
W
(9)
W
(7)
V7
V10
V9
g V8
f V9
g V7
V
10
V9
VVV
V8
f
}
x
}
x
V7
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L Transition
I76
TAB
I
TAB
Gtr I
D5
V
12
V
12
V
10
c
V
12
V10
c
Gtr II
k
V
12
d V
11
g V
12
j
V
13
V
12
V
11
V
12
D5
V
12
V
12
V
10
c
V
12
V10
c
V
10
V
12
d V
11
g V
12
V
12
V
sl.
(10)
c[[[[[[[
V
12
V
11
g V
12
D5
V
12
V
12
V
10
c
V
12
V10
c
k
V
12
d V
11
g V
12
j
V
13
V
12
V
11
V
12
D5
V
12
V
12
V
10
c
V
12
V10
c
V
10
V
12
d V
11
g V
12
V
12
V
sl.
(10)
c[[[[[[[
V
12
V
11
g V
12
* PITCH SHIFT AT + 1 OCTAVE
M Rhythm C: (Pt. 2)
I80
TAB
68
ITAB
68
P= 132
A11sus4
W
7
W
7
W
5
W
5
V7
V10
V9
g V8
f V9
g V7
V10
V9
VVVV
V8
f
}
x
}
x
V7
A11sus4
V
7
V
7
V
5
V
5
P.M.
V10
F5
W
3
W
3
W
1
V7
V10
V9
g V8
f V9
g V7
V10
V9
VVV
V8
f
}
x
}
x
V7
F5
V
3
V
3
V
1
P.M.
V10
A5
W
7
W
7
W
5
V7
V10
V9
g V8
f V9
g V7
V10
V9
VVV
V8
f
}
x
}
x
V7
A5
V
7
V
7
V
5
P.M.
V10
58
58
B5
W
9
W
9
W
7
g
V7
V10
V9
g V8
f V9
g V7
V10
V9
VVV
V8
f
}
x
}
x
V7
* PITCH SHIFT AT + 1 OCTAVE
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N Transition
I84
TAB
ITAB
D5
V
12
V
12
V
10
c
V
12
V
10
c
k
V
12
d V
11
g V
12
j
V
13
V
12
V
11
V
12
D5
V
12
V
12
V
10
c
V
12
V
10
c
V
10
V
12
d V
11
g V
12
V
12
V
sl.
(10)
c
[[[[[[[
V
12
V
11
g V
12
D5
V
12
V
12
V
10
c
V
12
V
10
c
k
V
12
d V
11
g V
12
j
V
13
V
12
V
11
V
12
D5
V
12
V
12
V
10
c
V
12
V
10
c
V
10
V
12
d V
11
g V
12
V
12
V
sl.
(10)
c
[[[[[[[
V
12
V
11
g V
12
* PITCH SHIFT AT + 1 OCTAVE
O Rhythm B: (Pt. 3)
I88
TAB
44
I
TAB
44
ITAB
44
Gtr III
P = 129E6/11W
9
W
9
W
9
W
7
W
7GKKKKK
gg
V
5
V
6
g
Gtr IV
Gtr VI
V
7
V
7
V
6
g
V
6
V
7
V
7
V
4
V
5
V
7
V
7
GV
sl.
12
V
12
V
10
V
6
V
6
AV
14
V
14
V
12
V
7
V
7
GU
12
U
12
U
10GKKKK
V
6
g
V
6
g
V
4
g
V
7
V
7
V
6
V
6
V
7
V
4
V
5
V
7
V
7
V
6
V
6
V
7
V
7
V
sl.
9
V
7
V
5
V
6
g
Cbm7
V
11
V
9
gg
V
7
V
7
V
9
V
6
g
V
6
V
9
V
7
V
7
V
12
V
4
V
5
V
9
V
7
V
7
V
11
V
6
V
6
V
9
g
V
7
V
7
V
(9)
V
6
g
V
6
g
V
9
g
V
4
g
V
7
W
9
let ring
V
7
V
6
V
6
V
7
V
4
V
5
V
7
V
7
V
6
V
6
V
7
V
7
* CLEAN TONE
* SEE PERFORMANCE NOTES
* CLEAN TONE
* CLEAN TONE
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I92
T
AB
ITAB
ITAB
E6/11W
9
W
9
W
9
W
7
W
7
GKKKKK
gg
V
5
V6
g
V
7
V7
V
6
g
V6
V
7
V7
V
4
V5
V
7
V7
GV
sl.
12
V
12
V
10
V
6
V6
AV
14
V
14
V
12
V
7
V7
GU
12
U
12
U
10GKKKKV
6
g
V6
g
V
4
g
V7
V
7
V6
V
6
V7
V
4
V5
V
7
V7
V
6
V6
V
7
V7
V
sl.
9
V
7
V
5
V6
g
Amaj7
V
7
V
5
V
7
V7
V
6
g
V
6
g
V6
V
7
V
7
V7
V
5
V
4
V5
V
6
V
7
V7
V
6
g
V
6
V6
V
7
V
7
V7
V
(7)
V
6
g
V6
g
V
5
V
4
g
V7
W
6
let ring
g
V
7
V6
V
6
V7
V
4
V5
V
7
V7
V
6
V6
V
7
V7
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P Chorus
I96
TAB
ITAB
I
TAB
Gtr I
P = 132CbV
14
V
15
V
7
V
8
Gtr V
Gtr II
V
12
V
13
V
7
V
8
V
10
ug
V
11
ue
V
7
V
8
Cmaj7V
9
f
V
10
V
9
V
7
V
8
P.M.
k
V
10[[[[V
10
[[[[
V
9
V
7
V
8
c k
V
12
u
V
12
u
V
9
V
7
V
8
c
V
(12)
V
(12)
j
V
9
V
9
W
10
W
10
Cb
V
7
V
8
c V
7
V
8
V
7
V
8
Cmaj7
V
9[[[[[[[[[
V
9
[[[[[[[[[
V
9
V
7
V
8
P.M.
V
10
V
10
k
CbV
12
V
12
V
7
V
8
V
9
V
10
V
7
V
8
V
10
g
V
11
e
V
7
V
8
Cmaj7
V
10
V
10
V
9
V
7
V
8
P.M.
V
12
V
12
k
V
9
f
V
10
V
9
V
7
V
8
c
V
9
V
9
k
V
10
V
10
V
9
V
7
V
8
c
V
12
u
V
12
u
j
j
j
CbV
P
10
V
P
10
g
V
7
V
8
c
V
9
V
9
f
V
12
V
12
V
7
V
8
V
7
V
8
Cmaj7
V
10
[[[[[
V
10
[[[[[
V
9
V
7
V
8
P.M.
k
* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION
* DISTORTION
* DISTORTION
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Q Outro
I100
TAB
98
ITAB
98
ITAB
98
Gtr I
P = 68
P
sl.
10
P10
R
Gtr IV
Gtr VI
Gtr IICmaj7_
V14
V14
V
0
V
12
l
V
13
V
10
Cb_
V
8
V
0
_
V
10
V
13
g
_
V
8
V
8
Cmaj7_
V
10
V
10
l
VV
V
9
V
8
_
V
10
V
10
l
V
8
V
9
_
V
10
V
10
k
V
0
V
8
V
8
V
10
l
VV
V
0
V
0
Cb_
V
7
V
8
_
V
0
V
0
_
V
8
V
7
Cmaj7_
V
12
V
0
l
V
10
V
8
_
V(14)
V(14)
u
V
0
V
12
l
V
13
V
10
Cb_
V
8
V
0
_
V
10
V
13
g
_
V
8
V
8
Cmaj7_
V
10
V
10
l
V
9
V
8
_
V
10
V
10
l
V
8
V
9
_
V
10
V
10
k
V
0
V
8
V
8
V
10
l
V
0
V
0
Cb_
V
7
V
8
_
V
0
V
0
_
V
8
V
7
Cmaj7_
V
12
V
0
l
V
10
V
8
* GUITAR 1 OUT* DISTORTION
* JASON PLAYS THIS PART IN LIVE VERSION
* CLEAN TONE PLAYED THROUGH A ROLAND GS-50 GUITAR-TO-MIDI CONVERTER WITH AN E-MU PROTEUS SOUND MODULE
* HARMONY PLAYED AS A ROUND, TWO 16th NOTES BEHIND THE ORIGINAL - ALBUM VERSION ONLY
I102
TAB
3x
ITAB
3x
Gtr IV
Gtr IICmaj7_V
0
V
12
Gtr VI
lV
13
V
10
Cb_V
8
V
0
_V
10
V
13
g
_V
8
V
8
Cmaj7_V
10
V
10
lV
9
V
8
_V
10
V
10
lV
8
V
9
_V
10
V
10
kV
0
V
8
V
8
V
10
lV
0
V
0
Cb_V
7
V
8
_V
0
V
0
_V
8
V
7
Cmaj7_V
12
V
0
lV
10
V
8
_V
0
V
12
lV
13
V
10
Cb_V
8
V
0
_V
10
V
13
g
_V
8
V
8
Cmaj7_V
10
V
10
lV
9
V
8
_V
10
V
10
lV
8
V
9
_V
10
V
10
kV
0
V
8
V
8
V
10
lV
0
V
0
Cb_V
7
V
8
_V
0
V
0
_V
8
V
7
Cmaj7_V
12
V
0
lV
10
V
8
* RHYTHM GRADUALLY FADES OUT ON ALBUM VERSION
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R Ending/Live Ending
I104
TAB
ITA
B
Cmaj7_
V0
V
12
lV
13
V
10
Cb_V
8
V0
_V
10
V
13
g
_V
8
V
8
Cmaj7_V
10
V
10
lV
9
V
8
_V
10
V
10
lV
8
V
9
_V
10
V
10
V0
V
8
V
8
V
10
V0
V0
V7
V
8
V0
V0
V
8
V7
V
12
V0
V
10
V
8
V0
V
12
V
13
V
10
V
8
V0
V
10
V
13
V
8
V
8
V
10
V
10
V
9
V
8
V
10
V
10
V
8
V
9
P = 60
V
10
V
10
V0
V
8
V
8
V
10
j
V0
V0
V7
V
8
V0
V0
P = 55
V
8
V7
V
12
V0
V
10
V
8
* CONTINUE REPEATING & FADE OUTWITH HARMONY ON ALBUM VERSION
* ENDING FOR LIVE VERSION - CONTINUE FROM MEASURE 104
I106
TAB
ITAB
V0
v
V12v
V
13
V10
Vv
Vv
W
W
j
j
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©1993 The All Blacks BVGenerated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
TEXTURES (Bassline)As recorded by Cynic
(From the 1993 Album FOCUS)
Transcribed by Jeff Litvak (www.cynicalsphere.com)
Music by CynicArranged by Cynic
A Intro
H1
TAB
3x98Gtr I
P = 92 j jTUNING: (E, A, D, G)
* FINGERSTYLE
Sean Malone - (Fretless or Standard Bass)
* CHAPMAN 12 STRING GRAND STICK - ARRANGED FOR STANDARD BASS (SECTIONS B-D)* SEE PERFORMANCE NOTES
B Rhythm A: (Pt. 1) H3
TAB
ggV7
V0
V2
W2 V* SEE PERFORMANCE NOTES
* CLICK FOR FULL CHAPMAN STICK TRANSCRIPTION
H5
TAB
gg W3
V W5
V
H7
TAB
gg V
2
c j V2
V0
V2
C Rhythm A: (Pt. 2)
H9
TAB
gg V2
V2
l V2
l V2
l V0
d V2
V2
l V0
V2
V3
V3
l V3
l V3
V3
V2
V3
V3
mV2
V2
V3
* SEE PERFORMANCE NOTES
H11
TAB
gg V5
V5
l V5
l V5
l V5
d V5
V5
l V5
V5
V2
V2
l V2
l V2
l V0
d V2
V2
mV0
V0
V2
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TEXTURES (Bassline) - Cynic Page 3 of 7
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H27
TAB
gg V5
V
sl.
(5)
k V
H
2
c V3
f V2
V5
V
sl.
(5)
k V
H
5
u V
6
e V5
V
8
V0
V1
f V1
V0
c V1
ce V1
V1
c V1
V1
V1
V1
H29
TAB
gg V5
V
sl.
(5)
k V
H
2
c V3
f V2
V5
V
sl.
(5)
k V
H
5
u V6
e V5
V8
V0
V1
f V1
V3
c V4
g V3
f V1
V1
V1
V
sl.
1
F Rhythm B: (Pt. 1)
H31
TAB
f f 44P = 127
V
5
c V
7
V
7
V
7
V
5
V
4
V
sl.
6
g V
7
u V
6
V
sl.
6[[[[[[
V
sl.
6
V
7
g V
7
V
9
WW V
sl.
7
V
9[[[[[[[[[
V
4
V
sl.
6
g V
sl.
7
V
6
V
6
V
sl.
6[[[[* SEE PERFORMANCE NOTES H35
TAB
V
5
c V
7
V
7
V
7
V
5
V
4
g V
sl.
6
g V
7
u V
6
V
sl.
6
[[[[[[[V
sl.
6
V
7
g V
4
V
5
g V
7
V
7
V
7
V
5
V
4
g V
sl.
6
g V
sl.
7
V
6
V
6
V
sl.
6
[[[[
G Chorus
H39
TAB
P= 131
V3
V3
V3
V3
k V3
c k V3
c j V3
c V3
V3
V3
k V3
V3
V3
V3
k V3
c k V3
c j V3
c V3
V3
V3
k
H Rhythm B: (Pt. 2)
H43
TAB
P = 129
V
5
c V
7
V
7
V
7
V
5
V
4
g V
sl.
6
g V
7
u V
6
V
sl.
6[[[[[[[
V
sl.
6
V
7
g V
7
V
9
g WW V
sl.
7
V
9[[[[[[[[[
V
4
g V
sl.
6
g V
sl.
7
V
6
V
6
V
sl.
6[[[[* SEE PERFORMANCE NOTES
I Chorus
H47
TAB
P = 131
V3
V3
V3
V3
k V3
c k V3
c j V3
c V3
V3
V3
k V3
V3
V3
V3
k V3
c k V3
c j V3
c V3
V3
V3
k
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TEXTURES (Bassline) - Cynic Page 4 of 7
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J Lead 2: (Bass Solo)
I51
T
AB
ggggP = 130
k V18
V14
3
V16
V18
V16
3
W V(16)
k V16
V
H
16
V18
V19
V16
V
H
18
V19
V16
V VVd* FREE TIME FEEL
* CLICK TO PLAY A HALF-SPEED VERSION OF THE SOLO FOR PRACTICE
I53
TAB
gggg U
sl.
(16)
U(19)
k V19
d m V19
V19
V19
3
V16
V16
I55
TAB
gggg
V16
V16
V16V16V16
3
V18
V16V16
3
VH
16VH
18V19
3
V16 V19V16
3 V18 V
19VH
16
3 V
H
18
V19
V16
3 V18
V21
l V
P
18
V16
V19
c V V
P
19[[[[[[[[[[V18 V16
V18
* SEE PERFORMANCE NOTES
I57
TAB
gggg V
H
(18)
V19
V16
V18
V19
l V18
V18
V16
V16
l V
H
16
V18
V16
V17
f V
P
19
V18
V19
V16
V19
V V19
c Vdk
I59
TAB
gggg V16
V17
V19
l V18
V21
l V18
V19
l V16
V16
}x
V
sl.
19
V21
V21
V
sl.
18
V20
W V[[[[[[[[[[[[[[[[[[[
I61
TA
B
gggg k V20
u V21
V18
V19
V21
V18
V19
VH
18
V19
V21
3
V V19
V19
3
V21
V18
3 V18
V21
3 V18
V19
V21
3 V18
V21
V18
3 V19
V21
V18
3
V19
I63
TAB
gggg V
H
19
V
21
V18
3
V
21
V
20
V18
V
22
f V
21
V
sl.
21
V
19
V
19
V
sl.
19
V18
V16
V
19
V18
V
P
17
V
sl.
16
3
V14
V11
V12
V14
3 V11
V14
V11
3 V12
V14
V
H
11
3
V
H
13
V14
V11
3 Vd k V8
V11
V11
V9
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TEXTURES (Bassline) - Cynic Page 5 of 7
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H65
TAB
gggg V
8
V
9
V
9
3
V
10
f V
11
V
11
3
V
P
9
V
7
V
7
3
V
7
V
H9
V
11
3
g V
7
V
9
V
11
3
V
7
V
H
9
V
11
3
V
11
V
11
V
(11)
V
sl.
11
V
13
V
16
V
13
V
P
16
V
sl.
14
V
9
V
6
V
9
V
H
7
V
9
K Rhythm C: (Pt. 1)
H67
TAB
f f f f 68P = 131
V
7
V
7
V
7
V
7
V
7
V
7
V
7
V
7
V
7
V
7
V
sl.
7
V5
f V5
uV7
f V5
V7
V5
f V5
uV7
f V5
V7
H70
TAB
V
1
V
1
c V
3
V
1
V
3
V
1
V
1
c V
3
V
1
V
3
V0
V0
c V
7
V0
V
7
H73
TAB
V0
V0
c V
7
V0
V
7
V2
V2
c V
4
V2
V
4
58 V2
V2
c V
4
L Transition
H76
TAB
V0
uk j V
0
uV
17
V
sl.
(17)
u[[[[[[[[
V0
uk j V
0
uV
17
V
sl.
(17)
u[[[[[[[[
M Rhythm C: (Pt. 2)
H80
TAB
68P = 132
V
5
V
5
uV
7
V
5
V
7
V1
V1
c V
3
V1
V
3
V0
V0
c V
7
V0
V
7
58 V
2
V
2
c V
4
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TEXTURES (Bassline) - Cynic Page 6 of 7
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N Transition
H84
TAB
V0
uk j V
0
u V
10
uV
12
u V
sl.
(12)
u[[[
V0
uk j V
0
uV
17
V
sl.
(17)
u[[[[[[[
O Rhythm B: (Pt. 3)
H88
TAB
44P = 129
V
5
c V
7
V
7
V
7
V
5
V
4
g V
sl.
6
g V
7
u V
6
V
sl.
6
[[[[[[V
sl.
6
V
7
g V
7
V
9
g WW V
sl.
7
V
9
[[[[[[[[[V
4
g V
sl.
6
g V
sl.
7
V
6
V
6
V
sl.
6
[[[[* SEE PERFORMANCE NOTES
H92
TAB
V5
cV7
V7
V7
V5
V4
g Vsl.
6
gV
7
u V6
Vsl.
6
[[[[[[[ Vsl.
6
V7
g V4
V5
g V5
V5
V5
V4
g Vsl.
6
gV
sl.
7
V6
V6
Vsl.
6
[[[[
P Chorus
H96
TAB
P = 132
V3
V3
V3
V3
k V3
c k V3
c j V3
c V3
V3
V3
k V3
V3
V3
V3
k V3
c k V3
c j V3
c V3
V3
V3
k
Q Outro
H100
TAB
98P = 67
V3
l V3
V3
V3
V3
l V3
l V3
k l V3
V3
V3
V3
l V3
l V3
V3
V3
V3
l V3
l V3
k l V3
V3
V3
V3
l
* GRADUAL FADE OUT ON RECORDED VERSION - JUST STOP AS INDICATED AT MEASURE 104 FOR LIVE VERSION ENDING H102
TAB
3xV3
l V3
V3
V3
V3
l V3
l V3
k l V3
V3
V3
V3
l V3
l V3
V3
V3
V3
l V3
l V3
k l V3
V3
V3
V3
l
R Ending/Live Ending
H104
TAB
V3
l V3
V3
V3
V3
l V3
l V3
l P = 60 j P = 55k
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TEXTURES (Bassline) - Cynic Page 7 of 7
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H1
TAB
k k
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©1993, The All Blacks BVGenerated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
TEXTURES: (STICK PART)As recorded by Cynic
(From the 1993 Album FOCUS)
Music by Sean MaloneArranged by Sean Malone
B Rhythm A: (Pt. 1)
I1
TAB
gg 98
H
TAB
gg 98
Gtr I
P = 92
V4
Gtr II V4
V6
k
W4
V
kTUNING: 12 STRING CLASSIC - (7+5)
(E, A, D, G, C - G#, C#, F#, B, E, A, D)
Right Hand - (Melody)
* SEE STANDARD BASS TABLATURE ARRANGEMENT
Left Hand - (Bass)
* MEASURES 2-5 PLAYED WITH FIRST FINGER OF LEFT HAND
I3
TAB
gg
HTAB
gg W7
V
k
W2
V
k
I5
T
AB
gg
HTAB
gg V6
c j
k
V4
V4
V6
k
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TEXTURES: (STICK PART) - Cynic Page 2 of 4
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C Rhythm A: (Pt. 2)
I7
TAB
gg
HTAB
gg
k
V4
V4
V
8
l
V
12
V4
V
10
l
V
12
V4
k
l V2
d
V
8
V4
V
12
V
10
V
12
k
V4
V
8
l
V
12
V2
V
10
V4
V
12
k
V7
V7
V
8
l
V
12
V7
V
10
l
V
12
V7
k
V7
V6
V
8
V7
V
12
V
10
V
12
k
V7
m
V
8
V6
V
12
V6
V
10
V7
V
12
I9
TAB
gg
HTAB
gg
k
V2
V2
V
8
l
V
12
V2
V10
l
V
12
V2
k
l V2
d
V
8
V2
V
12
V10
V
12
k
V2
V
8
l
V
12
V2
V10
V2
V
12
k
V6 V6
V
8
l
V
12
V6
V10
l
V
12
V6
k
l
V4d
V
8
V6
V
12
V10
V
12
k
V6m
V
8
V4
V
12
V4
V10
V6
V
12
D Rhythm A: (Pt. 3)
I11
TA
B
gg
HTAB
gg V4
V4
V6
V6
V6
V6
k
V6
V6
k
V4
V4
V
8
l
V
12
V4
V
10
l
V
12
V4
k
V4
V2
V
8
V4
V
12
V
10
V
12
k
V4
m
V
8
V2
V
12
V2
V
10
V4
V
12
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TEXTURES: (STICK PART) - Cynic Page 3 of 4
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I13
T
AB
gg
HTAB
gg
k
V6
V6
V
8
l
V
12
V6
V
10
l
V
12
V6
k
V6
V4
V
8
V6
V
12
V
10
V
12
V6
k
V6
m
V
8
V4
V
12
V4
V
10
V6
V
12
k
V7
V7
V
8
l
V
12
V7
V
10
l
V
12
V7
k
V7
V6
V
8
V7
V
12
V
10
V
12
V7
k
V7
m
V
8
V6
V
12
V6
V
10
V7
V
12
I15
TAB
gg
HTAB
gg
k
V4
V4
V8
l
V12
V4
V10
l
V12
V4
k
V4
V4
V8
V4
V12
V10
V12
V4
k
V4
m
V8
V4
V12
V4
V10
V4
V12
k
V9
c V
7
V
13
V9
c V
7
V
13
V9
V
7
k
V9
I17
TAB
gg
HTAB
gg
V
13
k V9
V
9
V
13
k V9
V
9
V
13
k V9
k
V
7
k
V9
V
13
V V
9
V9
V
13
V V
9
V9
j
V
7
V9
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TEXTURES: (STICK PART) - Cynic Page 4 of 4
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I1
TAB
gg
HTAB
gg V4
V7
V2
V2
V2
k
V2
V2
V(2)
h j
k
l
* PLAY ALL NOTES OF THIS MEASURE WITH FIRST FINGER OF LEFT HAND
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Performance & Other Notes
Textures
"Musical freedom and Fripp inspired inspiration kick started this song and eventuallyit developed a life of it’s own and we just tried to do it service. We knew with this piece
we would could leave everything behind and just explore! It was the last song we wrote
before recording Focus."
- Paul Masvidal
SONG: Textures
ARTIST: Cynic
MUSIC BY: Cynic
LYRICS BY: ---
TRANSCRIBED BY: Jeff Litvak (www.cynicalsphere.com)
ALBUM: Focus
REALEASE DATE: September 14, 1993
LABEL: Road Runner Records
NOTICE: ©1993 The All Blacks B.V.
PRODUCED BY: Cynic & Scott Burns
ENGINEERED & MIXED BY: Scott Burns
RECORDED & MIXED AT: Morrisound Recording, Tampa, FL
GUITAR NOTES
SECTIONS F, H & O – JASON’S CLEAN PARTS:The Guitar IV part of these sections are the parts that Jason plays in the live versions of the song. The
fingering for the part is more like a chord than anything in that he barres the 4th
fret with his first finger and keeps his ringfinger planted on the 6
thfret of the D string at all times. The middle finger is used to apply the fifth fret/E string and the
pinky finger is used almost in a metronomic fashion on the seventh fret/D string. This section can be a little awkward toplay upon first learning but It gets easier with a little practice. Remember, the key to being successful at this part is allabout feeling the flow of the rhythm.
SECTION J - JASON'S CLEAN PART:
This jazz section features only two repeating chords and is quite easy to play. Both Paul and Jason mirror eachother at the beginning of the section here with the exception of the style in which they each play the chords. While Paul isbackpicking them in a classic jazz fashion, Jason plucks each individual chord with the tips of his fingers thus adding aslightly different nuance to them. Underneath the chords in the tablature that this technique applies to you will see a “(^)”notation. This indicates that these particular chords are to be plucked with the fingers rather than with the guitar pick. Inorder to keep your playing fluid, however, it is important to keep the guitar pick between your finger and thumb as younormally would at all times and use the free fingers on your right hand to do the finger picking as required.
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BASS NOTES
KUBICKI FRETLESS BASS:Sean’s instrument of choice for the recordings on Focus is the fretless bass. One of the greatest strengths of
the fretless bass is that it handles both slides and legato slides smoothly and without the encumbrance of the frets gettingin the way and breaking the sound of the slide up into semitones. Because of this, you get the full range of microtonesbetween the beginning and ending points of the slides and Sean uses this to it’s full effect throughout the Focus album.
During the recording and touring for Focus , Sean Malone played a Philip Kubicki Ex-Factor fretless bass. This
particular bass has a unique feature on the headstock called a “D-Extension Clip”. This handy clip allows you to "D" tuneyour "E" string almost instantaneously, without changing string tension and not having to transpose, effectively allowingthe "E" string on a 32 inch scale bass to be released to a longer "D" scale of 36 inches which was highly effective for Seanboth in the studio and on stage. He used this feature for 3 of the 8 songs on the album: Sentiment , I’m But A Wave To…,and How Could I, all of which the bass is tuned down to a Drop-D tuning simply by releasing the “D-Extension Clip” at theheadstock of the bass.
The patented string clip is available only on the Ex Factor . While holding the bass in playing position, you pushthe spring loaded string clip up with the thumb of the left hand. Pull the string out from under the clip head with your finger and release the lever. You are now in concert tension "D" and all the notes on the scale remain the same - notransposing. Pushing the lever up causes it to re-grab the string, and you're back in "E" again. It's very quick and easy tobecome adept at pushing the lever to the desired position. When the string is in "D" tuning, you also have a "D#" noteavailable.
For more information on the Kubicki Ex-Factor bass, visit:
www.kubicki.com
SECTIONS B-D: RHYTHM A PARTSThese sections are arranged here for standard (or fretless) bass. The dynamic range of the Stick will far exceed
that of a bass guitar at both the low and high end of the tonal spectrum, however, the Stick part for this song was writtenin such a way so as not to exceed the low end range of a bass guitar. Consequently, just by leaving out the higher melody parts normally played on the Stick, Sean was able to perform the song on his Kubicki instead of the Stick at abouthalf of the live tour dates and the song still sounded like Textures . It is in this fashion that the intro parts are arranged for a standard bass in this transcription.
SECTIONS C & D: RHYTHM A PARTS A technique that Sean uses to great effect in these sections is staccato . What this means is to cut a note off
short of its’ full time value…in other words, to prematurely stop a given note from sounding once it has been played.
Playing in this style will often lend a slightly choppy feel to a part, however, when done tastefully, that can also add a goodbit of purposeful tension to a riff that can’t be achieved by any other means. Often done in classical music, Sean makesgood use of staccato here, although this is more of a byproduct of certain notes being cut slightly short due to the natureof the style of playing the Chapman Stick in which the song was originally recorded.
You can recognize which notes are to be staccatoed by looking at the standard notation staff above eachtablature staff. Each notehead that has a small dot directly underneath it (or directly above the notehead in the case of adown-stemmed note) is to be played staccato. This is not to be confused with a dot to the left or right of a notehead whichmeans something entirely different.
With most stringed instruments in classical music, the common way to play a staccatoed note is to pluck thestring between your thumb and first finger and then unfret the note early by simply letting the string up off the fretboardwith your fretting hand while still keeping your finger on the string so that it just goes mute. Obviously, the tempo of theseparts makes playing the staccato in the classical fashion impossible so it must be done differently…entirely with thepicking hand.
To fingerpick these sections without staccato you would pick alternately using your 1st
and 2nd
fingers (some
may use their 1st
and 3rd
). Either way is no problem. As you do this, you are trying to maintain an even, fluent,coordinated movement so that each picking stroke across the string is exactly the same with the same amount of timebetween each hit. You are also trying to make sure that you are not touching any of the strings too early because thatruins your fluidity and makes you sound choppy, but that is exactly what you want to do here. The trick to fingerpickingthe staccato on the bass for these parts is to intentionally hit each string with your picking finger a split second before youactually stroke the string for the next note. This will cut the previous note short just before you stroke the next note, thus,you have played that previous note in staccato. The skill is in being able to cut the notes short by the same amount of time and to be able to exert control over this factor so that your staccato sounds intentional and purposeful rather than like
just plain old sloppy playing. This technique does take some practice and it’s not likely that it will come overnight to you if you are entirely unfamiliar with the application. It’s more of a feel for how to play it than a conscious thought of doing sobut once you get the feel for it, it will click right in for you and prove to be quite a valuable, rewarding tool in your arsenal.
CLASSICAL VIBRATO:Sean’s use of vibrato on the bass throughout the Focus album is very elegant and tastefully done. To achieve
this he uses a technique commonly used on instruments such as the violin, cello and classical guitar. On a regular electric guitar vibrato is usually done by quickly bending the string from side to side across the neck with your finger. The
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way Sean does all of his vibrato is by the more classically oriented method of pressing the fingertip straight down on thefretboard and then, with the fingertip planted, rocking the hand (rather than the string) forward and backward along thelength of the neck. This creates a more subtle but highly distinguished vibrato effect.
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