The Tabs-thread
- Thread starter AndreasBlomqvist
- Start date
Alright, here we go:
http://rapidshare.com/files/145159796/02_Like_Him.gp5.html
http://rapidshare.com/files/145159797/08_In_The_Blink_Of_An_Eye.gp5
Working on "In the Blink of an Eye" takes a lot longer than I had imagined, so I haven't gotten around to working much on "Like Him", so I can't really help much with that one.
The beginning of "In the Blink of an Eye" is pretty simple, I personally use 3 fingers to play the fast parts, and I'd imagine that's what Andreas does as well.
At bar 20 the more difficult things come in. It's pure 16th-note pumping, and it's a pattern that repeats itself after 3 bars. I personally can't play it full speed, it sounds like just a wall of mud when I do it.
The thing at bar 27-30 sounds really awesome in my opinion, too bad I can't really play it full speed.
Then it's just a bit of pumping until bar 35 where the solo starts.
It's very thorougly tabbed out, so pretty much everything you need to know is in the tab. I've personally done a few things slightly different though:
The slides at the end of bar 39 - I use hammerons and pulloffs for these, I think it sounds nicer, I get too much string noise when sliding them.
The two real killers for me in this solo are the arpeggios at bar 41 and 45, so if you're anything like me, those are the two things that will need practicing the most.
I'm not sure how Andreas does the bends in bar 34, it's a whole-tone bend, and that's damn well a lot of bending (it's like bending the string across half the neck), so what I personally do is bend-tapping (or that's what I call it). Basically you start bending the F and then while bending, you tap the G two frets further up with your right hand, changing the pitch to the whole-tone up you're looking for (I think that's what Andreas does as well, it sounds like a bit of a sudden shift in pitch on the recording). And then when it goes bending up and down, you basically bend the F a little up and down while tapping and pulling-off the G when suitable. It's a bit hard to explain, but if you try it and listen to the record, I think you'll find out how to do it.
The tapping/hammer-on part at the end really isn't that hard to play (to me), BUT I find it really hard to get it loud enough. On the record you can hear that part being a bit softer than the others as well, but when I play it, it's significantly softer in volume than the rest. So that's really the hardest part about it, getting it to be loud enough. The sliding taps (from fret 20 to 21) I basically do by tapping the 20th fret with my right index finger and then sliding the same index finger to the 21st fret and then sliding it back again. I presume that's what Andreas does as well.
And that's as far as I've gotten with that song thus far
http://rapidshare.com/files/145159796/02_Like_Him.gp5.html
http://rapidshare.com/files/145159797/08_In_The_Blink_Of_An_Eye.gp5
Working on "In the Blink of an Eye" takes a lot longer than I had imagined, so I haven't gotten around to working much on "Like Him", so I can't really help much with that one.
The beginning of "In the Blink of an Eye" is pretty simple, I personally use 3 fingers to play the fast parts, and I'd imagine that's what Andreas does as well.
At bar 20 the more difficult things come in. It's pure 16th-note pumping, and it's a pattern that repeats itself after 3 bars. I personally can't play it full speed, it sounds like just a wall of mud when I do it.
The thing at bar 27-30 sounds really awesome in my opinion, too bad I can't really play it full speed.
Then it's just a bit of pumping until bar 35 where the solo starts.
It's very thorougly tabbed out, so pretty much everything you need to know is in the tab. I've personally done a few things slightly different though:
The slides at the end of bar 39 - I use hammerons and pulloffs for these, I think it sounds nicer, I get too much string noise when sliding them.
The two real killers for me in this solo are the arpeggios at bar 41 and 45, so if you're anything like me, those are the two things that will need practicing the most.
I'm not sure how Andreas does the bends in bar 34, it's a whole-tone bend, and that's damn well a lot of bending (it's like bending the string across half the neck), so what I personally do is bend-tapping (or that's what I call it). Basically you start bending the F and then while bending, you tap the G two frets further up with your right hand, changing the pitch to the whole-tone up you're looking for (I think that's what Andreas does as well, it sounds like a bit of a sudden shift in pitch on the recording). And then when it goes bending up and down, you basically bend the F a little up and down while tapping and pulling-off the G when suitable. It's a bit hard to explain, but if you try it and listen to the record, I think you'll find out how to do it.
The tapping/hammer-on part at the end really isn't that hard to play (to me), BUT I find it really hard to get it loud enough. On the record you can hear that part being a bit softer than the others as well, but when I play it, it's significantly softer in volume than the rest. So that's really the hardest part about it, getting it to be loud enough. The sliding taps (from fret 20 to 21) I basically do by tapping the 20th fret with my right index finger and then sliding the same index finger to the 21st fret and then sliding it back again. I presume that's what Andreas does as well.
And that's as far as I've gotten with that song thus far
Hey!
Nice analysis.
A few pointers:
*Regarding the pattern that runs as 9/16th from bar 20. Just start by finding the feel of the 16th notes, then apply the figure. That should make it easier.
*Bar 39: I really like the slides... ;-)
* I definitely do the whole-note bends. (I think I have a live video of me playing this solo from the release party for Become, somewhere -let me see if I can find it for ya)
In the song Waiting In The Wings I actually bend 1½ notes in the middle section...
* The last tapping thing -I know, those are very difficult to get through live. In the studio it's easier since you have compressors and shit but live it's tougher. That's just the way it is with tapping on bass though.
Good work! You could always make a post with your interpretation of the solo later on if you want to -that would be cool to hear. That would be a way for me to hear it with an "outsider's" ears, so to speak.
Cool,
Cheers!
Nice analysis.
A few pointers:
*Regarding the pattern that runs as 9/16th from bar 20. Just start by finding the feel of the 16th notes, then apply the figure. That should make it easier.
*Bar 39: I really like the slides... ;-)
* I definitely do the whole-note bends. (I think I have a live video of me playing this solo from the release party for Become, somewhere -let me see if I can find it for ya)
In the song Waiting In The Wings I actually bend 1½ notes in the middle section...
* The last tapping thing -I know, those are very difficult to get through live. In the studio it's easier since you have compressors and shit but live it's tougher. That's just the way it is with tapping on bass though.
Good work! You could always make a post with your interpretation of the solo later on if you want to -that would be cool to hear. That would be a way for me to hear it with an "outsider's" ears, so to speak.
Cool,
Cheers!
Really? That's pretty insane, I bet you have your bass setup in a pretty specific way to do that. I can't even bend my strings halfway across the fretboard if I use both hands. That's why I had to use a different technique.
Anyway, here's my feeble attempt at this solo at full speed. It's far from perfect, I'm not that good a bassplayer. At least not yet:
http://www.supload.com/music/Mathias-Pedersen/In-The-Blink-Of-An-Eye-Bass-Solo-Cover/DMEBA3N98CM9-download.html
As said, particularly the arpeggios sound rushed, and there are also a few mistakes here and there, but it's the best I can do right now.
EDIT: I just realised the song's in 114 BPM, and I thought it was 107, so it's a little slower than on the album.
EDIT 2: I listened to it again with fresh ears now, it's actually pretty horrible
Oh well, we can't all be virtuosos.
Real_Illusions
New Metal Member
- Aug 28, 2008
- 7
- 0
- 1
Even though my "Waiting In The Wings" tab is far from finished, I started a tab for the song "A Day Away" last night, because I love the playfulness of the melodies on that one and definately want to learn it. Because the song isn't too long I've already tabbed about half of it, including the piano arpeggios at the beginning, I'll try and make it as complete as I can - its a lot easier to tab than Waiting In The Wings because its not 9 minutes long and doesn't have the crazy instrumental section.
Hopefully I can get this one finished relatively quickly, and if I can I'll "tab" the keyboard stuff as well because I can't be the only one who would want to learn those.
Hopefully I can get this one finished relatively quickly, and if I can I'll "tab" the keyboard stuff as well because I can't be the only one who would want to learn those.
Found the vid of the solo I mentioned.
Unfortunately there's a guy's head in the way but both the sound quality and performance sound ok to my ears.
Unfortunately there's a guy's head in the way but both the sound quality and performance sound ok to my ears.
Last edited by a moderator:
I diasgree.
I think you have done a very good job of highligghting the "key-passages" in the solo. What I mean is, the basic "feel" of the solo is there, man.
Then how you choose to "phrase" specific parts is something very personal.
This solo I wrote with Marcel Jacob's style very close to my heart. If you want to find my source of inspiration for that solo you can check out the song Fabricated War by Talisman off of the album Humanimal, and the bass solo in there which is immediately after the first chorus if my memory serves me right. One of my favourite albums all categories. Outstandingly, excellent, amazing unblievable bass playing guaranteed!!
Detective Clarence Beauregard
Dehumanized
I'd love to see a bass tab for Taint the Sky or Edge of my Blade... both are killer songs and are underrated if you ask me.
Oh, Andreas... have you guys played any Mercy Falls tunes live yet? If so, which ones?
Oh, Andreas... have you guys played any Mercy Falls tunes live yet? If so, which ones?
Hi there!
So far we have played the following song off of MF:
* Welcome to...
* Unbreakable'
* Hide and seek
* The black parade
Which ones would you guys want to see/hear?
So far we have played the following song off of MF:
* Welcome to...
* Unbreakable'
* Hide and seek
* The black parade
Which ones would you guys want to see/hear?
Real_Illusions
New Metal Member
- Aug 28, 2008
- 7
- 0
- 1
Just finished the bass for the tab of "A Day Away" so I thought I'd post it anyway because even though I will be adding to the keyboard parts over time I assumed that there are more bassists on here who'd want the tab.
Most of it is very accurate and can be played along in time with the actual song no problem. The main part that isn't done properly is the latter half of the chorus because I couldn't pick up exactly what was being played so I've just put the root chord notes there. Another part is during the keyboard solo, what I've put are root notes but I think there might be some other turns or decorations inbetween those, but since I couldn't pick them out I've left it as root notes. Also, the third verse part at the end - What I've tabbed isn't exactly how it goes but its pretty close.
With the playful bridge melody I recommend trying it in different positions around the neck until its comfortable, I've tabbed the one I was comfortable with. The accents on the tab were put there for me, really, I found it a lot easier to learn when you think about it (rhythmically) as 123 123 12 1234 1234. So I left it there if it helps.
As I'm adding to the tab over time, if I correct any imperfections I will update the download link.
Here it is:
http://www.gigasize.com/get.php?d=vf88mmj7hcf
You have to type in the letters on the left, press download and then wait for about 30 seconds before you can download it, I don't have an account with Rapidshare so this will have to do.
Most of it is very accurate and can be played along in time with the actual song no problem. The main part that isn't done properly is the latter half of the chorus because I couldn't pick up exactly what was being played so I've just put the root chord notes there. Another part is during the keyboard solo, what I've put are root notes but I think there might be some other turns or decorations inbetween those, but since I couldn't pick them out I've left it as root notes. Also, the third verse part at the end - What I've tabbed isn't exactly how it goes but its pretty close.
With the playful bridge melody I recommend trying it in different positions around the neck until its comfortable, I've tabbed the one I was comfortable with. The accents on the tab were put there for me, really, I found it a lot easier to learn when you think about it (rhythmically) as 123 123 12 1234 1234. So I left it there if it helps.
As I'm adding to the tab over time, if I correct any imperfections I will update the download link.
Here it is:
http://www.gigasize.com/get.php?d=vf88mmj7hcf
You have to type in the letters on the left, press download and then wait for about 30 seconds before you can download it, I don't have an account with Rapidshare so this will have to do.
Detective Clarence Beauregard
Dehumanized
Glad to see Hide & Seek in there! Good choices on the rest, too. Break the Silence is a must... maybe Paradise, too.
zto
Keyboardist/guitarist
Hey Andreas:
You probably know all about getting $$ for your tabs, what about Wolf Marshall over in the U.S.A, or Mike Varney. Get some bucks for your music. Just an idea.
You probably know all about getting $$ for your tabs, what about Wolf Marshall over in the U.S.A, or Mike Varney. Get some bucks for your music. Just an idea.
Hey man!
Of course it is an appealing idea but I believe that those kind of books generally only get released or even printed for multi-million selling artists and unfortunately we're not there (yet!).
I've been thinking of compiling a version myself though and selling it through the webpage but the mere thought of actually writing down every single song note by not makes me shiver..
Cheers!
Of course it is an appealing idea but I believe that those kind of books generally only get released or even printed for multi-million selling artists and unfortunately we're not there (yet!).
I've been thinking of compiling a version myself though and selling it through the webpage but the mere thought of actually writing down every single song note by not makes me shiver..
Cheers!
zto
Keyboardist/guitarist
Hey Andreas:
I read somewhere that you contributed ideas to Mercy Falls because you were having a tough time in life, or something along those lines.
You are extremely talented as a musician.
Dont doubt for a minute that people would buy your tabs, have Wolf Marshall do the tabbing if you would rather focus on playing the tunes, tabbing for your albums would require lots of time.
The real problem is getting people aware of your band. I dont see your albums here in Canada, but I saw Sonata Arctica in Market Mall(NW Calgary). I didnt buy their album. Does your management know how to get the Canadian market more aware? I put the screen saver of your band on the computer and got mixed reactions from the hospital crew(they're all about 20 years older than me, except for a few in their forties) but who knows, one of the chicks might buy your album after seeing you dudes, again Tamara, one of the reps commented about Tommy. I personally buy your albums because of the amazing virtuosity of the band as well as how the albums make me feel. The note variety makes me quite happy, and that is a comfort in an unstable world, even in Canada.
Get that management happening for your band!!! Ever heard of submitting your work also to Mike Varney of Shrapnel records, in the USA, in addition to Lion's music, or how about Capitol; Elektra; Polydor? You probably have thought about this or tried this, but I dont know.
I read somewhere that you contributed ideas to Mercy Falls because you were having a tough time in life, or something along those lines.
You are extremely talented as a musician.
Dont doubt for a minute that people would buy your tabs, have Wolf Marshall do the tabbing if you would rather focus on playing the tunes, tabbing for your albums would require lots of time.
The real problem is getting people aware of your band. I dont see your albums here in Canada, but I saw Sonata Arctica in Market Mall(NW Calgary). I didnt buy their album. Does your management know how to get the Canadian market more aware? I put the screen saver of your band on the computer and got mixed reactions from the hospital crew(they're all about 20 years older than me, except for a few in their forties) but who knows, one of the chicks might buy your album after seeing you dudes, again Tamara, one of the reps commented about Tommy. I personally buy your albums because of the amazing virtuosity of the band as well as how the albums make me feel. The note variety makes me quite happy, and that is a comfort in an unstable world, even in Canada.
Get that management happening for your band!!! Ever heard of submitting your work also to Mike Varney of Shrapnel records, in the USA, in addition to Lion's music, or how about Capitol; Elektra; Polydor? You probably have thought about this or tried this, but I dont know.
Detective Clarence Beauregard
Dehumanized
Hey! This is a really good initiative, im a big seventh wonder fan my self so this is really fun to see
i was wondering if anyone here could help me with the bass solo on Taint the sky, the one at the end?
its one of the favorites besides the walking tall-solo but that has already been covered her, so. (woho!)
Chippie
i was wondering if anyone here could help me with the bass solo on Taint the sky, the one at the end?
its one of the favorites besides the walking tall-solo but that has already been covered her, so. (woho!)
Chippie
Detective Clarence Beauregard
Dehumanized
Hi!
Pretty good job!
I haven't really looked into it all that much but the only thinf I noticed you missed is that the intro is in a harmonic minor scale, and not a regular minor (aeolian) scale. This means that you should raise the 7th a half step.
In your tab (looking on the guitar, as the bass was not down tuned to Eb whereas the guitar was, which confused me, this means that you should raise the fourth note you have transcribed in bar 4 by a half step.
That is the fretted 2 on the A-string should be a fretted 3. I also find it easier to play if you move the fretted 1 on the D-string to a fretted 6 on the A-string which makes the sequence into three notes per string.
The same thing applies after you drop down one whole step in bar 16, which means that instead of fretting 4-2-0 on the A-string in bar 19 you fret 4-2-1.
As for the continuing, you're off to a good start! Then where you stop we simply remove the last eighth-note of the pattern and start over and then do it again up to the tapping lick. Then the verse goes like B, G/B, A/C#, Eb.
Carry on!
(if you wonder why Ikeep saying "fretting" and the fret number instead of just saying C or B or something it is because of the tuning issue. To me (and us in the band) when we say "D" that would refer to the note sounding when pressing down on the fifth fret on the A-string, or the open D-string. This is what any normal guitarrist would say, however, since our instruments are dropped one half tone a tuning machine would call my note a Db. This isthe easiest way to do it in my mind and we always have done it that way -just so you know for future reference)
Pretty good job!
I haven't really looked into it all that much but the only thinf I noticed you missed is that the intro is in a harmonic minor scale, and not a regular minor (aeolian) scale. This means that you should raise the 7th a half step.
In your tab (looking on the guitar, as the bass was not down tuned to Eb whereas the guitar was, which confused me
, this means that you should raise the fourth note you have transcribed in bar 4 by a half step.That is the fretted 2 on the A-string should be a fretted 3. I also find it easier to play if you move the fretted 1 on the D-string to a fretted 6 on the A-string which makes the sequence into three notes per string.
The same thing applies after you drop down one whole step in bar 16, which means that instead of fretting 4-2-0 on the A-string in bar 19 you fret 4-2-1.
As for the continuing, you're off to a good start! Then where you stop we simply remove the last eighth-note of the pattern and start over and then do it again up to the tapping lick. Then the verse goes like B, G/B, A/C#, Eb.
Carry on!
(if you wonder why Ikeep saying "fretting" and the fret number instead of just saying C or B or something it is because of the tuning issue. To me (and us in the band) when we say "D" that would refer to the note sounding when pressing down on the fifth fret on the A-string, or the open D-string. This is what any normal guitarrist would say, however, since our instruments are dropped one half tone a tuning machine would call my note a Db. This isthe easiest way to do it in my mind and we always have done it that way -just so you know for future reference)
Similar threads
