Contents:
Re: YTSEJAM digest 339 (svanhooser@aol.com)
unsubscribe (104JACOBSEN@wmich.edu)
Re: YTSEJAM digest 340 (Younis Youssef Hilal <yhilal@uclink.berkeley.edu>)
Re: AOL's opinions on DT (63826688@uwwvax.uww.edu)
anyone heard Barfbag??? (Michael Burstin <mikeb@cs.brandeis.edu>)
RE: DT Demo (I LOVE PICKLES <SCRIVANO_GAR@CSUSYS.CTSTATEU.EDU>)
wdadu/live (Red Five <V116NHK9@ubvms.cc.buffalo.edu>)
P vs P (the man <stackhou@ucsu.Colorado.EDU>)
re: various comments (Stephen Bajzek <MadMax+@CMU.EDU>)
Re: various comments (Stephen Bajzek <MadMax+@CMU.EDU>)
Re: Various Comments ("Paul W. Cashman" <vanyel@crl.com>)
Rush vs. DT... ENOUGH!!!! (John Cheng-Yung Yuan <barchetta+@CMU.EDU>)
Re: P vs. P (drkhoe@netcom.com (Dr. Mosh))
Re: YTSEJAM digest 341 (khiggins@nyx.cs.du.edu (Ken Higginson))
(khiggins@nyx.cs.du.edu (Ken Higginson))
Re: DT: Live in Osaka (Alex Reinelt <freak@cube.net>)
Re: bootlegs (Alex Reinelt <freak@cube.net>)
Re: wondering stuff... (smm@uunet.uu.net (Steve Mansfield))
RE: wondering stuff... (Corporate Community Relations <buckley@powdml.enet.dec.com>)
Re: various comments (Niclas Forsen INF <nforsen@ra.abo.fi>)
Re: Rush vs. DT... ENOUGH!!!! (Lars"ORION"Karlsson <tie9101@abacus.hgs.se>)
seats (pdaugher@mcl.bdm.com (Pat Daugherty))
Re: anyone heard Barfbag??? (Lars"ORION"Karlsson <tie9101@abacus.hgs.se>)
Under a Glass Moon Solo Tab ("oliver (o.r.) sampson" <olsam@bnr.ca>)
----------------------------------------------------------------------
Date: Wed, 09 Mar 94 20:44:10 EST
From: svanhooser@aol.com
Subject: Re: YTSEJAM digest 339
<<<
First, this whole Rush/DT thing is bogus. They are totally different.
>>>
I agree with the first statement, but for a different reason. I think DT and
Rush are very similar. Rush started out as a heavy metal band with a
message, and over time became a band with interesting but not-as-heavy tunes
and excellent lyrics. DT has started out as a heavy-metal band with a
message. I think we might see the same development over time, except that DT
has more members more influences than just Rush so we'll see what happens.
------------------------------
Date: Wed, 09 Mar 1994 21:21:36 -0500 (EST)
From: 104JACOBSEN@wmich.edu
Subject: unsubscribe
Unsubscribe ytsejam@bnf.com
------------------------------
Date: Wed, 9 Mar 1994 18:51:03 -0800 (PST)
From: Younis Youssef Hilal <yhilal@uclink.berkeley.edu>
Subject: Re: YTSEJAM digest 340
> Date: Mon, 7 Mar 1994 22:30:40 -0500 (EST)
> From: Michael Burstin <mikeb@cs.brandeis.edu>
> Subject: Is Learning To Live a "perfect song"
>
> Hi all... you know... the more that I listen to Learning To Live, the
> more that I think that it is an absolutly perfect song. I can just
> sit there, and listen to it for hours, and never even get tired of it.
> Is there any other song out there (DT or others) that you can do this
> for? Sure, I can listen to DoE for hours at a time, but I just can
> listen to LtL for hours straight... anyone else out there with the
> same feeling? LtL just flows perfectly... the keys, the guitar, the
> bass, the lyrics, the drums, everything is just perfect about it...
>
> --
I know what you mean. Some time last week, I finally picked up an
obssession with that song. Basically what happens is that I can't get it
out of my head. In the shower, in lecture, at meals, at study sessions,
or wherever, one of the themes from LtL will just pop into my head
and then I just replay the whole damn song in my head (maybe I'll keep up
with the drums using my fingers or my feet or something). It's pretty
amusing. I'll be sure to let everybody know when I'm finally able to
shake it off. (Damn!!!! One of those themes just popped in again!!) My
feeling is that LtL and Metropolis kind of exemplify what DT is all
about. I don't know what the perfect song sounds like, but I suspect
that both tracks must come awfully close.
Hooked and loving it
Younis Hilal
------------------------------
Date: Wed, 09 Mar 1994 21:40:20 CST
From: 63826688@uwwvax.uww.edu
Subject: Re: AOL's opinions on DT
After reading this letter, obviously he hasn't listened to Neil Peart enough
to see that he is better than anyone else at this time. How come everyone
who's considered a "great" drummer, considers/cites Neil as their main
influence? Just a friendly opinion fron the state that brinds you Miller
products.
Take It Eazy
Nikolai
------------------------------
Date: Wed, 9 Mar 1994 22:54:18 -0500 (EST)
From: Michael Burstin <mikeb@cs.brandeis.edu>
Subject: anyone heard Barfbag???
I remember hearing in the interview after their accoustical show, that
they mentioned a song called "Barfbag" Anyone heard this, or know of
a certain show where they played it... the only instrumental sections
that I have peard of are Moonbubbles, Another Hand, and Pup (Puppies
on Acid). Anyone have any info? Thanks alot...
-- +----------------------------------------------------------------------+ | The way your heart sounds makes all the difference | | It's what decides if you'll endure the pain that we all feel | | The way your heart beats makes all the difference | | In learning to live | | Dream Theater Learning To Live Images and Words | | Michael Burstin Brandeis University | +----------------------------------------------------------------------+ | Let's Go Pens Let's Go Pens Lets Go Pens Let's Go Pens | +----------------------------------------------------------------------+ For info about Dream Theater, finger mikeb@cs.brandeis.edu------------------------------
Date: Wed, 9 Mar 1994 23:09:47 -0500 (EST) From: I LOVE PICKLES <SCRIVANO_GAR@CSUSYS.CTSTATEU.EDU> Subject: RE: DT Demo
Does anyone know where I can get a copy of "The Gates of Babylon" by DT If so please email me and maybe we can work out a trade or something. later, Gary
------------------------------
Date: Wed, 09 Mar 1994 23:14:42 -0500 (EST) From: Red Five <V116NHK9@ubvms.cc.buffalo.edu> Subject: wdadu/live
hello all,
i'm new to the group (and actually a new fan of dt) so please forgive me if this has been covered a million times what are some opinions of when dream and day unite and live at the marquee? i'm considering getting them but they're kind of expensive so i'd rather have some input first
thanks, red five
-------------------------------------------------------------------------------- You can't always get what you want. Matt Orenstein, Ltd. --------------------------------------------------------------------------------
------------------------------
Date: Wed, 9 Mar 1994 23:18:41 -0700 (MST) From: the man <stackhou@ucsu.Colorado.EDU> Subject: P vs P
So Peart is better simply because he has "midi out the wazoo" if he's better at all, right? Moreover, Rush doesn't use as complex of time signatures? What sort of musical Pygmy are you? Rush uses/used more than ample complex time signatures (especially in early recordings) not to mention what I would consider to be equally if not more intricate beats than portnoy (without a doubt more subtle- Come on, Portnoy uses a sampler on his snare for god's sake!) So Rush is more talented because of technology. You tell me, what sounds more produced, Hemispheres or IAW? Early Rush is much harder to appreciate simply because it wasn't glossed over like DT. Additionally, Portnoy resorts all too often to the same fill. An extremely elementary (yet flashy) rhthmical endeavor which most people can play after just a few years behind the drums. Why can't he get creative and design his own kit? His set (as pointed out in the FAQ) is a duplicate of Peart's old one. Also, try playing the melodic (xylophone) section of Peart's solo. The precision required there is unbelieveable. Where does Portnoy exercise anywhere near that level of intricate sticking? Overall, I would venture to say that Portnoy is lacking in the finesse dept. when compared with the Professor. In conclusion, I think that Peart is on an entirely different plane than Portnoy, and if his current endeavors seem simplistic, it's because he's already done everything else. Portnoy, why don't you get some African percussion or dabble on bells? You'd probably be baffled! Don't get me wrong, though, I still think DT is one of the greatest BANDS ever, just take the drummer of the petistle until he's earned it.
------------------------------
Date: Thu, 10 Mar 1994 01:24:30 -0500 (EST) From: Stephen Bajzek <MadMax+@CMU.EDU> Subject: re: various comments
> HAHAHAHA! Doesn't come close to Myung? Have you read the DT FAQ? > Who inspired whom? Obviously you haven't heard much Rush. Go > listen to YYZ (I do admit Ytse jam is right up there with it, though) > or Animate and then try to tell me the same thing. If you still > don't believe it, read any numerous articles in various guitar mags > over the years, etc...etc... Sorry, I side with Mike.
Um, I think Lee inspiring Myung might have something to do with the fact that Lee was around quite a while before Myung...it's not a question of who inspired who. There are two ways to judge how good someone is...one is on technical merits, the other is purely subjective. Technically speaking, as I said, there is no one better than Myung. Lee might be as good (although on none of the Rush I've heard, and admittedly that's only 3 or 4 albums, has he impressed as much as Myung), but not better. And the purely subjective side, I'd go with John Paul Jones.
-max ----------------- You've gotta understand that this is home, and there's no tomorrow-land, and that I ain't Captain Walker.
------------------------------
Date: Thu, 10 Mar 1994 01:27:55 -0500 (EST) From: Stephen Bajzek <MadMax+@CMU.EDU> Subject: Re: various comments
> Seat? Do you like to sit during a concert? I'd much rather see them in a > large concert hall with a huge crowd, so that the whole place could go wild > instead of "sitting" anywhere.
"Seat" being a short word for "location." We weren't actually sitting. And I'd much rather have that front row "location" than end up with something farther away because I'm in some huge concert hall.
-max ----------------- You've gotta understand that this is home, and there's no tomorrow-land, and that I ain't Captain Walker.
------------------------------
Date: Wed, 9 Mar 1994 22:30:00 -0800 (PST) From: "Paul W. Cashman" <vanyel@crl.com> Subject: Re: Various Comments
> I'd rather see them in a small place too. Screw the lasers. I'm there to see and > hear the band up close. It's more intimate that way. I know it's kind of > selfish of me though. If there ever was a band who deserved to hit the big time > and play the big places, it's DT, but here I am wishing they'd play clubs > forever.
Yea, I know the feeling.... I'd like to see them under both circumstances, an intimate setting and a nice, big arena show with lots of hoopla and money for the band. :)
-- Paul W. Cashman vanyel@crl.com -- Dream Theater "Learning To Live" Listening to the city Whispering its violence I set out watching from above The 90s bring new questions New solutions to be found I fell in love to be let down
------------------------------
Date: Thu, 10 Mar 1994 02:12:25 -0500 (EST) From: John Cheng-Yung Yuan <barchetta+@CMU.EDU> Subject: Rush vs. DT... ENOUGH!!!!
*sigh*...
I _knew_ that this thread would start sooner or later - specifically, the Myung vs. Lee and Portney vs. Peart comparisons...
First of all, I suggest anyone who has something to say about this topic to READ THE DT FAQ before commenting. Every DT member (with the exception of Moore and LaBrie) was influenced by Rush... in the cases of Myung, Portney, and Petrucci, the three of them were influnced by Lee, Peart, and Lifeson (respectively).
Now, many claim that Rush is overrated in terms of individual talent (other than Peart). Well, for years the members of Rush have believed that in order to make the band successful, they must function as a whole, and not as a collection of three. It ultimately meant sacrificing individual talent, but considering Rush's track record past and present, it's hard to argue (try to imagine DT staying successful that long).
For those who claim that Rush doesn't come close to those tricky time-sig changes and styles that DT does with ease, I say again: READ THE FAQ. The only cover DT has ever done is Freewill. Listen to it - better yet, try to follow it. Then break out a pencil and try to write down the time changes. I sure as heck can't... and I've been playing piano for almost 15 years! Do the same thing for either Cygnus Book II or La Villa Strangiato (While you're at it, play Under a Glass Moon after listening to Hemispheres or Permanent Waves. The similarities are frightening, aren't they?!?!). Rush virtually *invented* playing and shifting in 9/8, 5/3 and 7/2 time. Granted, Rush doesn't do that stuff anymore... but can YOU see DT doing the same stuff, oh, say ten years down the road (let alone when the guys all turn 40 like Neil (the youngest of the three) did a few months ago)?
As for the claim that Portney doesn't have the $$ to do what Peart does... please! Folks, just about everything taught today about proper drumming in rock was pioneered by Peart (Portney should know - he went to Berklee.). A classic example was the one-handed snare roll. But, don't take my word for it - pop in YYZ from Exit... Stage Left, and listen to Peart's solo when he had neither the $$ nor the technology to do what he does now. If *that* doesn't convince you, consider the fact that Portney's entire set is the EXACT SAME set that Peart used in the Grace Under Pressure tour (not counting MIDIs and triggers, which have obviously improved with age).
Now, don't get me wrong... I *LOVE* DT. I'd kill to have just a teeny little smidgen of their talent. But to me, the reason why DT is so good is that unlike other bands, DT understands their roots (after all, there's no way in hell you'll ever catch either Myung or Portney claiming they were better than Lee or Peart.). It would be nice if their fans did, too!
-*-- -*-- --** -*-- -*-- --** -*-- -*-- --** -*-- -*-- --**
-John Yuan email: barchetta+@CMU.EDU
"What a fool I was for you..." -Rush, "Presto"
1995 Ferrari F130 Barchetta: 500hp, 217mph, 0-60 in 3.5 sec. ("Throwing Bones in Maranello", Road and Track, March 1994)
-*-- -*-- --** -*-- -*-- --** -*-- -*-- --** -*-- -*-- --**
------------------------------
Date: Wed, 9 Mar 1994 23:16:25 PST From: drkhoe@netcom.com (Dr. Mosh) Subject: Re: P vs. P
it don't matter who's better, Peart or Portnoy... cause Zonders is far more technically better than either of them...
-The Doc
------------------------------
Date: Thu, 10 Mar 94 02:40:00 MST From: khiggins@nyx.cs.du.edu (Ken Higginson) Subject: Re: YTSEJAM digest 341
Like I said, comparing DT to Rush is just silly. Anyone who buys a Rush CD thinking they are gonna hear something like DT is going to be sorry.
Now, the Lee/Myung argument: Myung is obviously better. If only for the reason that Geddy Lee was one of his influences. Why would he take what Lee has done, and not expand on it? Clapton & Page were good in their time, but compared to Petrucci, Skolnick, Friedman, Satriani, Vai?
If you totally ignore the fact that even with 3 other guys filling up space with their instrument, Myung still shines and songs like Ytse Jam, Status Seeker, Fortune in Lies, Metropolis, Take the Time, Learning to Live, Glass Moon... When was the last time Geddy Lee even ventured past the 12th fret on his bass? Has he ever experimented with tapping, slap/pop, harmonics? Stick it Out is the only Rush song that's not it standard tuning, over 20 albums!
I love Rush, but DT... well, "I'm more into that band..." - James
I don't want this to sound like I don't like Geddy Lee either, he's why I started playing bass. But Myung's speed, right-hand technique, odd-time signatures, and fluid lines take what Geddy started and expands upon it.
------------------------------
Date: Thu, 10 Mar 94 02:41:05 MST From: khiggins@nyx.cs.du.edu (Ken Higginson) Subject:
"Ytse Jam" by Dream Theater >From the album: "When Dream & Day Unite"
Transcribed by Ken Higginson (khiggins@nyx.cs.du.edu)
Intro:
G------------------+ D---2-----1----3/5-+ A-----1-0----------+ E------------------+
Main Line: (7 times)
G------------------------------------------------------------------------ D-12-11-12---14-12-14---15-14-15--17-15-17--15-14-15--14-12-14--12-11-12- A----------0----------0-------------------------------------------------- E------------------------------------------------------------------------
G------------------------------------+ D------------------------------------+ A-13-12-13--12-10-12--10-8-10--8-7-8-+ E------------------------------------+
Riff B (3 times)
G---------------------------------------- D---------------------------------------- A----------------------------------5-7-8- E-5-5-6-3--5-5-6-8--5-5-6-3--5-6-8-------
G-------------------------------------------+ D------------------------------------7-9-10-+ A-7-7-8-5--7-7-8-10--7-7-8-5--7-8-10--------+ E-------------------------------------------+
Riff C (twice)
G-------------------------------------------------------- D-7-6-7--8-7-8--11-9-11--12-11-12--11-9-11--8-7-8--7-6-7- A-------------------------------------------------------- E--------------------------------------------------------
G-10-9-10--9-7-9--7-6-7-+ D-----------------------+ A-----------------------+ E-----------------------+
G-------------------------------------------------------- D-------------------------------------------------------- A-7-6-7--8-7-8--11-9-11--12-11-12--11-9-11--8-7-8--7-6-7- E--------------------------------------------------------
G-----------------------+ D-10-9-10--9-7-9--7-6-7-+ A-----------------------+ E-----------------------+
Main Line (twice)
G------------------------------------------------------------------------ D-12-11-12---14-12-14---15-14-15--17-15-17--15-14-15--14-12-14--12-11-12- A----------0----------0-------------------------------------------------- E------------------------------------------------------------------------
G------------------------------------+ D------------------------------------+ A-13-12-13--12-10-12--10-8-10--8-7-8-+ E------------------------------------+
Solo 1
G----------------------------------- D-12-14-15--------10-12------------- A-----------10-12--------13-12-10-8- E-----------------------------------
G---------------------19-17-15-14-12-14-15-14- D-12-14-15--------10-------------------------- A-----------10-12----------------------------- E---------------------------------------------
That's as far as I've gone...
------------------------------
Date: Thu, 10 Mar 94 10:19:08 MET From: Alex Reinelt <freak@cube.net> Subject: Re: DT: Live in Osaka
> > I recently got the live show from Osaka, Japan. Are you talking of the video "live in Tokyo"? If no, what did you get and where can I? The video (live in tokyo) is great, I only miss "learning to live". And have to mention that DT performed even better in the small hall in munich a couple of weeks after the tokyo shows.... By the way: where can I get a copy of A change in season??
bye, Freak
------------------------------
Date: Thu, 10 Mar 94 11:18:00 MET From: Alex Reinelt <freak@cube.net> Subject: Re: bootlegs
Talking of DT-bootlegs...(I dont have a FAQ about DT bootlegs) Can someone please tell me if there is (oder are) a good bootleg of the newer era (with james labrie), containg for example learning to live or raw tracks and intros? Is there anything to be musicall and from the sound quality to be recommended and how can I get it? bye, Freak
>>>>> Freak has always been Alexander Reinelt from Munich/Germany <<<<< # contact via uucp:freak@cubenet.sub.org fidonet: Alex_Reinelt@2:2480/66 # # voice: ++49-89-68 33 40 tape: ++49-511-900-6220340 GSM-D1: -622 03 40 # >>>>>>>>>>>>>>> Der Mond machts! (Alex) <<<<<
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Date: Thu, 10 Mar 1994 06:53:28 -0500 (EST) From: smm@uunet.uu.net (Steve Mansfield) Subject: Re: wondering stuff...
> > I was just curious and wanted to know if when DT does Take the Time live, > > to they always play the big solo part at the end? If not, how do they end? > > > > I know that they don't always play the long version of To Live Forever. > > Does anyone know if the end has a special name or anything? > > The long instrumental section at the end of To Live Forever on > the video, is called Moon Bubbles at other shows. It changes very little > in structure from show to show, but Petrucci improvises the phrasing.
Bzzzt. Thank you for playing. Moonbubbles has not been played since their final show of 1992, in Rochester, NY. Dec. 19th. After the show Petrucci said they were retiring it. Having heard it, oh, 7 times live, and having it on tape, I can say with a certain amount of authority that the solo at the end of "Forever" is NOT Moonbubbles. I believe that is "Barf Bag" or somesuch.
Steve Mansfield | Once you're touched you stand alone to face the bitter fight smm@uunet.uu.net | Once I reached for love but now I reach for life. Dream Theater - Learning to Live
------------------------------
Date: Thu, 10 Mar 94 07:54:08 EST From: Corporate Community Relations <buckley@powdml.enet.dec.com> Subject: RE: wondering stuff...
[someone wrote]: >> Has DT ever done Metropolis live but not as the 1st song in the set? >> Also, have the ever PLAYED the intro to Metro? Rather than using a tape >> that is. I have an older Bootleg like from '89 w/ Charlie and they played >> the inrto. I wanted to know if they have done it recently.
>[Mike/garion@indirect.com replied]: > On the tour '93 when I saw them twice, they appeared to be >playing it. Moore started with Portnoy on the "jingles"... then a bit >later Petrucci steps in and plays that chunky quick riff... etc.
Just as an FYI -- Out of the 10 live shows I saw from the 1992-1993 I&W tour...
8 times they opened with Metropolis, and used a taped intro. These shows, for the curious, were:
Month Day City, State Venue ----------------------------------------------------------------------------- *** 1992: Oct 07 Boston, MA Axis Dec 16 Boston, MA Axis *** 1993: Jan 09 Salisbury, MA Chapter II Jan 10 Hadley, MA Vertex Jan 13 Providence, RI Club Babyhead Mar 10 Boston, MA Avalon Ballroom Jul 09 Agawam, MA Riverside Amusement Park Jul 18 Hampton, NH Hampton Beach Casino
2 times, on the 2nd leg of the tour, they opened with "Learning to Live", played "Metropolis" about 8th in the set, and PLAYED the introduction themselves (no tapes!)! These two shows, for those enquiring minds, were:
Month Day City, State (Country) Venue ----------------------------------------------------------------------------- May 15 Warwick, RI Rocky Point Park May 16 Albany, NY Palace Theater
Cheerios, William J. Buckley |"Hey You -- Welcome to my shop, lemme cut you mop, buckley@powdml.enet.dec.com| lemme shave your crop. Daintily. Daintily. Hey you! ---------------------------+ Don't look so perplexed, why must you be vexed? Can't you see yer next?! Yes, yer next. You're so next!" - Bugs Bunny
PS -- James LaBrie is a screamer! Long Live Charlie Dominici's vocal style!!!
------------------------------
Date: Thu, 10 Mar 1994 15:10:31 +0200 (EET) From: Niclas Forsen INF <nforsen@ra.abo.fi> Subject: Re: various comments
I agree with the guy from Norway (already forgot his name tho:) about who is best and who is not. If ya like someone better than someone else, okay by me, but don't fight about it here please. Who is best IMO?? Well, to be honest...there are lots of guitar players that are better than those in DT, RUSH, Qryche etc, but STILL, this is IMPORTANT...it's the whole bands that make the music great, not a single musician!!!!
Well, that's what I think:) Niclas
------------------------------
Date: Thu, 10 Mar 1994 15:00:17 +0100 (MET) From: Lars"ORION"Karlsson <tie9101@abacus.hgs.se> Subject: Re: Rush vs. DT... ENOUGH!!!!
> THE FAQ. The > only cover DT has ever done is Freewill. Listen to it - better yet, try
When I asked Portnoy before the gig in Stockholm in April last year, he told me that DT used to play some covers in the beginning.for example Iron Maiden, Queensryche and some stuff I don't remember.
And why compare muscians ? Why don't we all just enjoy their excellent music! :)*
Ciao
--
***************************************************************************** * Lars Karlsson ** Sandviken ** SWEDEN ** email: tie9101@abacus.HGS.se * *---------------------------------------------------------------------------* ** Dream Theater ** Saigon Kick ** Led Zeppelin ** Metallica * Deep Purple ** ** MAGELLAN ** SHADOW GALLERY ** DAN REED NETWORK ** AC DC * BLACK SABBATH ** ** Queensryche ** Galactic Cowboys ** Rush ** Psychotic Waltz ** Rainbow *** *****************************************************************************
------------------------------
Date: Thu, 10 Mar 94 09:02 EST From: pdaugher@mcl.bdm.com (Pat Daugherty) Subject: seats
Dream Theater is not a band for moshing or stage diving. I guess a lot of idiots will mosh to anything. Sure standing is the way to see the show, but moshing, etc takes away from the show, in my opinion.
--Pat Daugherty pdaugher@bdmserver.mcl.bdm.com
------------------------------
Date: Thu, 10 Mar 1994 15:12:50 +0100 (MET) From: Lars"ORION"Karlsson <tie9101@abacus.hgs.se> Subject: Re: anyone heard Barfbag???
> > I remember hearing in the interview after their accoustical show, that > they mentioned a song called "Barfbag" Anyone heard this, or know of > a certain show where they played it... the only instrumental sections > that I have peard of are Moonbubbles, Another Hand, and Pup (Puppies > on Acid). Anyone have any info? Thanks alot...
DT played barfbag in the Stockholm show in October (the one that I recorded from the radio some weeks ago) but unfortunally they cut some parts of the show when airing it. But the swedish radio have it in their archives with the same super soundquality as the one I've recorded. I'm going to contact them and see if it's possible to copy some parts of the show that didn't air.
Lars
------------------------------
Date: Thu, 10 Mar 1994 09:28:00 +0000 From: "oliver (o.r.) sampson" <olsam@bnr.ca> Subject: Under a Glass Moon Solo Tab
[I'm posting this for my buddy Rob. -- Oliver]
My internet friend has been sending DT tab to me, but it's usually incomplete. This one is too, but now we can get a better look into Petrucci's head by means of analyzing this killer, yet Vai-ish, guitar solo.
Well, here's my contribution. This is the Under a Glass Moon solo as transcribed by me. (And yes, I can play it ... I've been doing this for a while.) Most of it is very accurate. Some of it, albeit very little, is minor creative embellishment, most noticeably the ending lick, which is where you're on your own. For the most part, this was a very easy solo to transcribe when you know your theory, (or some theory), and when you have a half speed tape deck to drop it down an octave. (or more importantly, halve the tempo.)
You'll have to listen to the tape as you read and learn this since the standard notation doesn't accompany my tablature.
Rob's Key: (it's the key) h&p = hammer on and pull off where necessary po = pull off, not pissed off n.h.= natural harmonic b = bend up and back one step b(1/2) = bend up and back one half step bu = bend up one step ----------------------------------------------- 17---16-16-17\12-12-12\7-7-7/9-9-9\5-5-5------- 16b--------------------------------------8b(1/2) ----------------------------------------------- ----------------------------------------------- -----------------------------------------------
[h&p-----] ------------------------- ------------------------- -\-6-----8986------------ -----9-6-----976--------- ----------------976\4-6-- ------------------------- ----16----------------------------- --17--17-16------------------------ 18---------16---------------------- -------------18-------------------- ---------------19-18-16------------ -----------------------19-16-14-16-
[n.h.--] po po ------------------------------------- ------12--5b-3-0-7b-5-0-12b---------- ----7-------------------------------- --7---------------------------------- ------------------------------------- 0------------------------------------
[h&p-----] ----------------------9-11-12-11-9- 10b-10-9-7---------12-------------- -----------9-8-6------------------- -----------------9----------------- ----------------------------------- -----------------------------------
------------------------------------- 12-10-9----------------------------- --------11-9-8----------------------- ---------------11-9-7---------------- ----------------------11-9-7--------- -----------------------------11-9-7--
(cool funky part) [ho] [ho] -----------12--12--12--12-------------- -----------11--11--11--11-------------- ------------9---9---9---9-------9b----- ------11---11--11--11--11-------9b-11-9 ---11----x-----------------9-11-------- /9-------------------------------------
--------------------------------- --------------------------------- --------------------------------- ---------------11---------------- -11-9b------11------------------- -------12-9----------------------
[po] [h&p-------------] ----9---------------------------------- 12bu--12-9----------------------------- -----------12-13-12-11-9-11-9-11bu-9--- --------------------------------------- --------------------------------------- ---------------------------------------
----------14--12-11-------------- ----12--------------14-12-------- /11----11------------------------ --------------------------------- --------------------------------- ---------------------------------
[po----------] [po] ----12-14-16-14-12-14-12----12------- /16----------------------16----16-14- ------------------------------------- ------------------------------------- ------------------------------------- -------------------------------------
[sweep] -/19-14---------------------------- -------15-------------------------- ---------16--------16-------------- -----------16---------------------- -------------17-14----------------- -----------------------------------
------------------------------------ ---------------------------16-17-19- ------------------15-16-18---------- ---------14-16-18------------------- 14-16-18---------------------------- ------------------------------------
[h&p-----] 16-18-19-18-19-18-16----19bu-------- ---------------------19------------- ------------------------------------ ------------------------------------ ------------------------------------ ------------------------------------
-----19-----16-----19-----16-----19- 14/16--16\14--14/16--16\14--14/16-- ----------------------------------- ----------------------------------- ----------------------------------- -----------------------------------
[po] [po] ----------14-----------14------------ 16\14-17bu---17-14-17bu---17-14------ ------------------------------------- ------------------------------------- ------------------------------------- -------------------------------------
----14----14----14-------------------- 17bu--17bu--17bu--17-16-14------------ ---------------------------17-16-15-14 -------------------------------------- -------------------------------------- --------------------------------------
---------------------------------- ---------------------------------- ---------------------------------- -16-15-14---------16-------------- ----------16-15-14--13------------ ----------------------------------
[h&p--] -------------7b---12b--7-9-7-0--- ----------5b----5---------------- --------4------------------------ ----4/6-------------------------- --2------------------------------ 0--------------------------------
[major sweepage here..h&p--------] -----------------------16-17-18-17-16-- ---------17----------17---------------- -------18--18------18------------------ -----18------18--18-------------------- 16-19----------19---------------------- ---------------------------------------
[sweeps, etc, h&p where necessary...] ----------18-19-21-19-18------18-19-21- 17------19--------------19--19--------- --18--21------------------21----------- ----18--------------------------------- --------------------------------------- ---------------------------------------
19-18------18-19-21-19-18-------- -----19--19---------------------- -------21------------------------ --------------------------------- --------------------------------- ---------------------------------
[whammy this out] po po po ------------------------------------------ 14bu-11-14-11----12-11----14-11------17-16 -----------------------13-------13/18----- ------------------------------------------ ------------------------------------------ ------------------------------------------
po po po -----------------------21----- --19-16--21-16--23-16----16--- 18-----18-----18-----18----20- ------------------------------ ------------------------------ ------------------------------
[creative whammy, listen to tape] 21bu--------------------------------------- ---------21b-16-----------------------12-14 ---------------18b-18b-16-18-16------------ ------------------------------------------- ------------------------------------------- -------------------------------------------
------12-14-15-16-16-17-18-19 -15-16----------------------- ----------------------------- ----------------------------- ----------------------------- -----------------------------
[be creative here, 19-18-17-16----------------------------- ------------19-18-17-16----------------- -------------------------xxxxxxx-------- --------------------------------xxxxxxx- ---------------------------------------x ----------------------------------------
fast run till you get to C#] -------------------------------- -------------------------------- -------------------------------- -------------------------------- xxxxxx-------------------------- ------xxxxx--9------------------
Rob Kainz is currently beginning a new musical project called Slam Epic in Raleigh, NC. 74127.25@CompuServe.com Received: from arl-img-2.compuserve.com by bnr.ca id <19940310015219-0@bnr.ca>; Wed, 9 Mar 1994 20:52:19 -0500 Received: from localhost by arl-img-2.compuserve.com (8.6.4/5.930129sam) id UAA06522; Wed, 9 Mar 1994 20:52:05 -0500 Date: 09 Mar 94 20:44:03 EST From: Robert Kainz <74127.25@CompuServe.COM> To: Oliver Sampson <olsam@bnr.ca> Subject: Under a Glass Moon Solo Tab Message-ID: <940310014402_74127.25_BHR124-1@CompuServe.COM>
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