La Villa guitar tab

[vinciedaltrey]

Would someone mind linking me to a good & accurate guitar tab of La Villa Strangiato?

And (if there is one), if anyone could give me a tab to Fancy Dancer that would also be much appreciated

Thank in advance . :ebert:

[OGr8imL84AD8inF8sBlackSedan]

http://www.cygnusproductions.com/rtp/

[vinciedaltrey]

http://www.cygnusproductions.com/rtp/

 

Thanks!

[jruiz2112]

wow that website is the bomb!! thx so much!!!!

[jruiz2112]

\m/

[tskidmore]

Sounds like Jammit is going to release LVS soon, not so interested in the tabs, but always love to get another isolated (or semi-isolated anyway) Rush track!

 

http://www.fractalaudio.com/richard-chycki.php

[CygnusX-1Bk2]

Would someone mind linking me to a good & accurate guitar tab of La Villa Strangiato?

And (if there is one), if anyone could give me a tab to Fancy Dancer that would also be much appreciated

Thank in advance . :ebert:

No such thing. The stuff at RTP is just ok and nothing I would consider concrete. Use it as a guide but I would advise watching videos of him playing this song. It is truly unique to Alex and I know 2 or 3 guys who can play it well and fairly accurately but they will tell you it is a special piece.

 

Tabs in general are bad by nature because for the most part they are not made by good players. The exceptions are in player mags but even those are not always created by the writer or performer. Sometimes they can be. Those you can trust but everything else... You get what you pay for. Ear training and grasping your instrument can get you further than any tab. :)

Edited October 29, 2013 by CygnusX-1Bk2

[apetersvt]

I remember fondly the day in college when the latest issue of 'Guitar For The Practicing Musician' showed up (December 1991). It contained the tab for LVS. It was one of the greatest pleasant surprises ever. Of course this was before the internet was available and the best way at the time to get tabs was to have the guitar mag subscriptions.

 

http://www.2112.net/powerwindows/coverpics/GuitarPracticingMusicianDec1991.jpg

[Maverick]

Your ear should be good enough to get the basic format of the song down. Solos are things that you should make your own. Why spend hours and hours and hours learning note for note the solo that Lifeson played in the studio, when we all know he never played that exact solo ever again?

[CygnusX-1Bk2]

That is mostly good advice. However having seen them night to night on several occasions I will say he plays very close to the same notes every night. But it's the inflection and nuance that change from show to show. I feel that a musician should play every song as if he owns it. That's what makes it believable. It's a fine line really. The only way to do so is to play it so many times that it becomes inherent. Then you can leave the constraints of trying to play something outside yourself to letting the song come out of you. If that makes sense. I learned mostly by learning things as closely as possible by repetition and that usually means note for note. ;) I mean I get the solo belongs to player mentality but Rush was so consistent that note for note changes from night to night in expression. It's like the writer of a great novel or story telling it every night. The words are the same but the emphasis and inflection come from the moment as it happens.

[tskidmore]

I cant vouch for the accuracy of the transcription/tablature, but Jammit just released La Villa Strangiato today. Even if the transcription is wrong having at least a somewhat isolated track is very helpful when figuring out a solo. I may play with tone matching it on the Axe FX.

 

Check it out: http://www.jammit.com/artist/rush?utm_source=Jammit+List&utm_campaign=83835aac9b-11-2013-new-win-app-classic-rush&utm_medium=email&utm_term=0_428f8ed97e-83835aac9b-309218653

[nebbish2112]

I remember fondly the day in college when the latest issue of 'Guitar For The Practicing Musician' showed up (December 1991). It contained the tab for LVS. It was one of the greatest pleasant surprises ever. Of course this was before the internet was available and the best way at the time to get tabs was to have the guitar mag subscriptions.

 

http://www.2112.net/powerwindows/coverpics/GuitarPracticingMusicianDec1991.jpg

 

I have this issue. I'll have to go home and dig it up tonite.

 

I agree that watching Alex play the song from live concert clips is the best way to learn. I purchased and checked out the Jammit LVS tab and even that has it's errors in how it's actually played.

 

However there are just some songs that you can't see exact neck position from live concert clips. One that is bothering me of late is a chord in the Hemispheres prelude. At the 1:02 mark a chord progression begins with what I always thought a Gmaj7 to F#7sus4, just like as tabbed on the RTP.

 

e------- e------

B-----0 B----0

G-----0 G----4

D-----4 D----2

A-----2 A----4

E-----3 E----2

 

However when watching a clip of the Auburn Hills Proshot video it almost looks like Alex plays the second chord in first position starting with F at the 1st fret on the low E string.

 

Edit: After further review it looks like he is playing the F# with his 2nd finger on the low E string. This would make the above F#7sus4 chord form not possible.

 

Any suggestions?

Edited December 3, 2013 by nebbish2112

[stoopid]

Little late to the game, but I went into my old tab archives (some of these are from 20 year old emails!) and found that I do indeed have La Villa... this file's creation date is Sept 1995. Holy crap I'm anal. lol

 

I know some of this is correct, as I've learned bits and piece sof this years ago from this tab. But I don't know if it's all accurate.

 

Andrew West*
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. West*
qwerty+@CMU.EDU

Carnegie Mellon University
Materials Science and Engineering

Edited December 9, 2013 by stoopid