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The Cynical Sphere

Official Tablature Series

7. Textures

CYNIC - Focus

Guitar/Bass/Chapman Stick
Tablature & Notation
Transcribed by:
Jeff Litvak
www.cynicalsphere.com

GUITAR TABLATURE:
Gtr. I - Paul Masvidal (distortion)
Gtr. II - Jason Gobel (distortion)
Gtr. III - Paul Masvidal (clean tone)
Gtr. IV - Jason Gobel (clean tone)
Gtr. V - Paul Masvidal (distortion harmony)
Gtr. VI - Jason Gobel (clean harmony)

BASS TABLATURE:
Gtr. I - Sean Malone (Stick transcribed for bass)
Gtr. II - Sean Malone (fretless bass)

CHAPMAN STICK TABLATURE:


Gtr. I - Right Hand (melody)
Gtr. II - Left Hand (bass)
TEXTURES
As recorded by Cynic
(From the 1993 Album FOCUS)
Transcribed by Jeff Litvak Music by Cynic
(www.cynicalsphere.com) Arranged by Cynic

Fmaj13
x
b
A7/11 5 5 fr. bb
G m 5 4 fr. E6/11 7 fr.
xx x
G A C m7 9 fr.
x x x 10 fr. x x x 12 fr. x
b Amaj7 5 fr.
x
C b
xxxx 7 fr.

xxx x xx
`
Cmaj7 7 fr. B 13sus2 11 fr. B13sus2 11 fr.
x xx
B5 7 fr. A11sus4 5 fr.
xxx xx
F5
xxx
A5 5 fr.
xxx
D5 10 fr.
xxx

A Intro
P = 92 TUNING: (E, A, D, G, B, E)
* FADE IN
N.C.
V V V V
V V V V V V V V V V V V V V V V V V V V V V V V
I 98
3x
1 V V V V V V V V
Gtr IV mf * JASON PLAYS THIS PART IN LIVE VERSION
10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10 13
T 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0 0
A 9 9
B
* CLEAN TONE PLAYED THROUGH A ROLAND GS-50 GUITAR-TO-MIDI CONVERTER WITH AN E-MU PROTEUS SOUND MODULE
V V V V
V V V V V V V V V V V V V V V V V V V V V V V V
I 98
3x
V V V V V V V V
Gtr VI p
13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B
* HARMONY PLAYED AS A ROUND, TWO 16th NOTES BEHIND THE ORIGINAL - ALBUM VERSION ONLY

©1993 The All Blacks BV


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TEXTURES - Cynic Page 2 of 21

B Rhythm A: (Pt. 1)
N.C.

gg V V V V V V V V V V V V V V V V V V V V
3
I V V V V V V V V V V
V V V V V V
Gtr III fff Paul Masvidal - (Left Channel)

T 3 3 2 3 3 3
A 4 4 4 4 4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5 5 5 5 5
B 2 2 2 2
0 2

* PLAY SECTIONS B, C, & D IN AN ARPEGGIATED FASHION - DO NOT HOLD DOWN CHORD SHAPES

V V V V fV V fV
gg V f V V V V V V V V V V V V V fV V V V V V V V V V
I V V V V V
Gtr IV mf Jason Gobel - (Right Channel)
10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10 13
T 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0 0
A 9 9
B

fV V fV V
g V V fV V V V V V V V V V V V fV V V V V V V V V V
Ig V V V V V V V V
Gtr VI p
13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B

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TEXTURES - Cynic Page 3 of 21

g V V V V V V V V V V
5
Ig V V V V V V V V V V V V V V V V V V V V
V V V V V V
T 3 3 3 3 3 3
A 4 4 4 4 4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5 5 5 5 5
B 0 0 0
3 3 3

V V V V fV V fV
gg V f V V V V V V V V V V V V V fV V V V V V V V V V
I V V V V V
10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10 13
T 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0 0
A 9 9
B

fV V fV V
g V V fV V V V V V V V V V V V fV V V V V V V V V V
Ig V V V V V V V V
13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B

g V V
7
Ig V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
V V V
T 2 2 2 10
A 4 4 4 4 4 4 11 11 12 11 9 11 9
5 5 5 5 5 5 9 12 12 12 11 12 11 9
B 10 9
2 2 2
sl.

V f V V V V V V V V V fV
gg V V V V V V V V V V V V V V V V
I V V V V V V
V V V
f
10 8 10 8 7 8 12 10 13
T 8 10 10 8 0 0 0 0 3 3 2
A 9 4 4 4 4 4 4
5 5 5 5 5 5
B 2
0 2
sl.

fV V
g V V fV V V V V V V V V V j
Ig V V V V
13 10 8 10 8 7 8 12 10
T 0 8 10 10 8 0 0 0
A 9
B
sl.

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TEXTURES - Cynic Page 4 of 21

C Rhythm A: (Pt. 2)
N.C.

9
gg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
I V V V

T 10 10 12 10 10 10 12 12 10
A 11 11 11 12 11 11 11 11 11 11 11
9 12 12 9 12 9 12 12 12 12 12 12 12
B 10 10 10

g V V V V V V V V V V
Ig V V V V V V V V V V V V V V V V V V V V
V V V V V V
T 3 3 3 3 3 3
A 4 4 4 4 4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5 5 5 5 5
B 2 2 2
3 3 3

gg V V V V V V V V V V V V V V V V V V V V V V V V V V V V
11
I V V V V V

T 10 10 12 10 10 10 12
A 11 11 11 12 11 11 11 11 11 12 11 9
12 12 12 12 12 12 12 12 12
B 12 12 12 9 9
sl. sl.

g V V V V V V V V V V
Ig V V V V V V V V V V V V V V V V V V V V
V V V V V V
T 3 3 3 2 3 2 3 2 3
A 4 4 4 4 4 4 4 4 4 4 4 4
5 5 5 5 5 5 5 5 5
B 0 0 0
2 2 2

D Rhythm A: (Pt. 3)
N.C.

gg V V V V V V V V V V V V V V V V V V V V V V V V V
13
I V V V V V V V V V V V

T 10 10 10 12 10
A 11 11 12 11 9 11 9 11 11 11 12 11 11
9 12 12 12 11 12 11 9 9 12 12 9 12 9 12 12
B 10 9

g V V V V V V V V V V
Ig V V V V V V V V V V V V V V V V V V V V
V V V V V V
let ring let ring let ring

T 3 3 2 3 3 3 3
A 4 4 4 4 4 4 4 2 4 4 2 4 4 2 4
5 5 5 5 5 5 5 5
B 2 2 2 2
0 2
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TEXTURES - Cynic Page 5 of 21

g V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
15 g
I V V V V V V

T 10 10 12 12 10 10 10 12 10
A 11 11 11 11 11 11 11 11 12 11 11
12 12 12 12 12 12 12 12 12 12
B 9 9 9 10 10 10

gg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
I
V V V V V V
let ring let ring let ring let ring let ring let ring

T 3 3 3 3 3 3
A 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4
5 5 5 5 5 5
B 2 2 2 3 3 3

gg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V
17
I V V V V V V

T 10 10 12 10
A 11 11 11 12 11 11 11 9 11 11 9 11 11 11
12 12 12 12 12 12 12 12 12 12 12 12
B 10 10 10 12 12 12

g V V V V V V V V V V V V V V V
Ig V V V V
V
V V V V
V
V V V V
V
V V V V V V
let ring let ring let ring let ring let ring let ring

T 3 3 3
A 4 2 4 4 2 4 4 2 4 4 2 4 2 4 2
5 5 5 5 4 5 4 5 4
B 0 5 0 5 0 5
0 0 0

g NV V NV NV V NV NV V NV NV V NV NV V NV NV V NV
19
Ig
V V V V V V
[[[[[[ [[[[[[ [[[[[[ [[[[[[ [[[[[[ [[[[[[[[[[
T
A 11 9 11 9 11 9 11 9 11 9 11 9
12 12 12 12 12 12
B 0 0 0 0 0 0

g
Ig NV V NV V V NV V NV V V NV V NV V V NV V NV V V NV V NV V V NV V NV V V
V V V V V V
let ring let ring let ring let ring let ring let ring

T
A 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4 4 2 4
5 5 5 5 5 5 5 5 5 5 5 5
B 0 0 0 0 0 0
H H H H H H
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TEXTURES - Cynic Page 6 of 21

P = 106
g V V V V V V V V V V V V V V V 4 Vm k
21
I g V V V 4
w BREAK

T 10
A 11 11 12 11 9 11 9
9 12 12 12 11 12 11 9 (9)
B 10 9

g h
Ig V V V V V V V V V V V V NV NV NV 44 V m j c
V V V V
BREAK

T 3 3 3
A 4 4 4 4 4 4
5 5 5 5 5 5 (5)
B 2 0
3 3
sl.

E Lead 1: (Paul Masvidal)


P = 132 P = 127
N.C. Fmaj13 A7/11b5

VVf f VV VV VV V V V VV VV
ff 7 k f VV V VV V PP VV VV VV VV
23
I 4 V z u
Gtr III
1213 12 10
GK17
T 1213 12 10 10 10
101210 9 7 9 14 12
KK1712
A 9 7 9 14 12 K12
B
H H sl. sl.

XV V V V
f V V fV V V V V PP VV VV fV V V V fV V V
I f 74 V V
V V eV z V
V fV
V
P
RV
Gtr IV fff P.M. P.M. P.M. let ring let ring
5 0 5
T 5 0 8 1 5
5 5 7 9 7 2 2 7 7 0
A 7 7 7 7 9 7 0 0 5
B 7 6 8
5 0 1 1 5
sl.
sl. sl.
* DO NOT HOLD CHORDS FOR MEASURES 23, 25, 27 & 29 OF THIS SECTION

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TEXTURES - Cynic Page 7 of 21

N.C. Fmaj13 bb
Gm5
XV XV
V V W VV VV VV } V W
k }} V W
V
25
I V V W u k } V
eW u u u
let ring

T 10 13 12 G7 13 15
GK13 12
A 7 10 7
12
12
10
10
x
x
x
x
KK10 9
B 11
sl. sl. sl. sl.

XV
V V V V V V V V PP VV VV V V V V V V V V
I R V eV z V V RgV } V gV gV
PV V V P
P.M. P.M. P.M. let ring let ring
5 0
T 5 0 8 1 0 0
5 5 7 9 7 2 2 5 5
A 7 7 7 7 9 7 0 0 6
B 7 6 7 4
3 5 0 1 1 4
sl.
sl. sl.

N.C. Fmaj13 A7/11 5b


gVV VV VV VV VV V VV VV VV VVgVV
V V V
V V V V V V V VV V V V VV VV V WW
27
I V V V k V V V
let ring

T 13
GK15 15 17
19 19 19 19 17
19 19 19 19 17 17 (17) 13
GK15 18
20 20 20 20 19
20 20 20 20 19
14 K 14 14 16 16 17 14 K14 17 19 (19)
A
B
15 K12 (12) 14 15 12 K 12 15 19

sl. sl. sl. sl. sl.

XV V V V
V V V V V V V V PP VV VV V V V V V
I R V eV z V V RV V V V
PV V V P
P.M. P.M. P.M. let ring let ring
5 0 5
T 5 0 8 1 5
5 5 7 9 7 2 2 7 7 0
A 7 7 7 7 9 7 0 0 5
B 7 6 8
3 5 0 1 1 5
sl.
sl. sl.

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TEXTURES - Cynic Page 8 of 21

N.C. Fmaj13 bb Gm5


VVVVV
VVVVVVV VV V V V V V} V V Pz V V V f V
29 VVVVVV VVVVVVVVVVV
I
131210 1012131315 13 12 10
T 131210 101213
A 1210 9 10 9 9 9 10 9 9 1012
12 1210 9 9 1012 1210 9 1012
B 12 12
sl. sl. sl.

XV
V V V V V V V V PP VV VV V V V V V V V V
I R V eV z V V RgV } V gV gV
PV V V P
P.M. P.M. P.M. let ring let ring
5 0
T 5 0 8 1 0
5 5 7 9 7 2 2 5 5
A 7 7 7 7 9 7 0 0 6 6
B 7 6 7 4
3 5 0 1 1 4
sl.
sl. sl.

F Rhythm B: (Pt. 1)
P = 127 b
E6/11 G A G C m7

4 ggWWW V VV
VV V
W
WW gV V
c V V V gV V gV
V V
31
I 4 WW V V gV V V gV V
u V gV
Gtr III
GK9 GK12
let ring
GK12
let ring
9 (9)
T KK99 KK12 14
KK12 9
12
9
9
9
A KK77 K10 14
12 K10 11
12 (12)
9 11 9 11 9
11 (11)
B 7 9
sl. sl. sl.
sl.

I 44 V gV V V V V V gV V V V V V V V gV V V V V V gV V V V V V V
V gV V gV
Gtr IV f * SEE PERFORMANCE NOTES

T
A 4 4 4 4
7 6 7 7 6 7 6 7 6 7 6 7 7 6 7 7 6 7 6 7 6 7 6 7
B 5 4 5 4

V V V V
I 44 gV V V V V V V gV V V V V V V gV V V V V V V gV V V V V V V
Gtr VI mf
T 5 5 5 5
A 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7
B

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TEXTURES - Cynic Page 9 of 21
E6/11 G A G Amaj7

ggWWW V VV
VV V
W
WW gV V
c
gV V V
V V V
gV gV V
35
I WW V V V V gV V
u V V
GK9 GK12
let ring
GK12
let ring
5 (5)
T KK99 KK12 14
KK12 6
5
6
5
6
0
A KK77 K10 14
12 K10 11
12 (12)
9 7 7 6 6
B 7 5
sl. sl.
sl.

I V gV V V V V V gV V V V V V V V gV V V V V V gV V V V V V V
V gV V gV
T
A 4 4 4 4
7 6 7 7 6 7 6 7 6 7 6 7 7 6 7 7 6 7 6 7 6 7 6 7
B 5 4 5 4

V gV V V V V V V V gV V V V V V V V gV V V V V V V V
I gV V V V V V V
T 5 5 5 5
A 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7
B

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TEXTURES - Cynic Page 10 of 21

G Chorus
Pb = 131 b b b
C Cmaj7 C Cmaj7 C Cmaj7 C Cmaj7
V V gV f V V V V W V V gV V V f V V V V j
39
I V V V VVV V
u u u
Gtr I [[[[ [[[[[[[[[ [[[[[
T
A 14 12 10 9 9 10 9
10 12 (12) 9 10 9 10 12 10 12 9 10 12 10 9
B 12 10
* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION P

V V eV V V V V W V V eV V V V V V V j
u V V V gVf V V V
I u u
Gtr V [[[[ [[[[[[[[[ [[[[[
T 15 13 11 10 10 11 10
A 10 12 (12) 9 10 9 10 12 10 12 9 10 12 10 9
12 10
B
* DISTORTION P

c c c c c c
I VV VV VV VVV VVV k
k VV
V
j
VV VV VV VVV
k k
VV VV VV VVV VVV
k VV
V
j
VV VV VV VVV
k
P.M. P.M. P.M. P.M.

T
A 9 9 9 9 9 9 9 9
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
* DISTORTION

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TEXTURES - Cynic Page 11 of 21

H Rhythm B: (Pt. 2)
P = 129 b
E6/11 G A G C m7

ggWWW V VV
VV V
W
WW gV V
c V V V gV V gV
V V
43
I WW V V gV V V gV V
u V gV
Gtr III
GK9 GK12
let ring
GK12
let ring
9 (9)
T KK99 KK12 14
KK12 9
12
9
9
9
A KK77 K10 14
12 K10 11
12 (12)
9 11 9 11 9
11 (11)
B 7 9
* CLEAN TONE sl. sl. sl.
sl.

I V gV V V V V V gV V V V V V V V gV V V V V V gV V V V V V V
V gV V gV
Gtr IV * SEE PERFORMANCE NOTES

T
A 4 4 4 4
7 6 7 7 6 7 6 7 6 7 6 7 7 6 7 7 6 7 6 7 6 7 6 7
B 5 4 5 4
* CLEAN TONE
V gV V V V V V V V gV V V V V V V V gV V V V V V V V
I gV V V V V V V
Gtr VI

T 5 5 5 5
A 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7
B
* CLEAN TONE

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TEXTURES - Cynic Page 12 of 21

I Chorus
Pb = 131 b b b
C Cmaj7 C Cmaj7 C Cmaj7 C Cmaj7
V V eV V V V V W V V eV V V V V V V j
47 u V V V gVf V V V
I u u
Gtr I [[[[ [[[[[[[[[ [[[[[
T 15 13 11 10 10 11 10
A 10 12 (12) 9 10 9 10 12 10 12 9 10 12 10 9
12 10
B
* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION P

gV V V gV V V gV W V gV V V V V gV V V
u V V V VgVgV V
I u u j
Gtr V [[[[ [[[[[[[[[ [[[[[
14 12 10 9 9 10 9
T 10 12 (12) 9 10 9 10 12 10 12 9 10 12 10 9
A 11 9
B
* DISTORTION P

c c c c c c
I VV VV VV VVV VVV k
k VV
V
j
VV VV VV VVV
k k
VV VV VV VVV VVV
k VV
V
j
VV VV VV VVV
k
Gtr II
P.M. P.M. P.M. P.M.

T
A 9 9 9 9 9 9 9 9
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
* DISTORTION

J Lead 2: (Bass Solo)

` P = 130
B 13sus2 B13sus2 `
B 13sus2 B13sus2
g g fW V gV UU fW V gV UU
51
I g WW VV VV U WW VV VV U
Gtr III

T GK12 GK13 (13)


GK12 GK13 (13)
A
B
KK1114 KK1114 (11)
(14)
KK1114 KK1114 (11)
(14)
* CLEAN TONE

g g fW V gV UU fW V gV UU
I g WW VV VV U WW VV VV U
Gtr IV * SEE PERFORMANCE NOTES

T
A 12 13 (13) 12 13 (13)
11 11 (11) 11 11 (11)
B 14 14 (14) 14 14 (14)
(^) * CLEAN TONE (^) (^) (^)

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TEXTURES - Cynic Page 13 of 21

`B 13sus2 B13sus2 `
B 13sus2 B13sus2

55
gg Vf VV
g V V gVV VV
V V
V V fV
VV
V V gVV VV
V V
V V
I
P.M. P.M. P.M. P.M.

T GK12 12
G
12 K 13 (13) 13 13
GK12 12
GK
12 13 (13) 13 13
A
B
KK1114 KK1114 (11)
(14)
KK1114 KK
11
14
(11)
(14)
* APPLY A VERY LIGHT PALM MUTE ON THE MUTED NOTES FOR THE NEXT 4 MEASURES SO AS NOT TO MUTE THE CHORD TOO MUCH
ggg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV
I
P.M.

T
A 11 1111 11 1111 11 11 1111 11 1111 11 11 1111 11 1111 11 11 1111 11 1111 11
B 141414 1414 14 1414 14 141414 1414 14 1414 14 141414 1414 14 1414 14 141414 1414 14 1414 14

`B 13sus2 B13sus2 `
B 13sus2 B13sus2

59
gg Vf VV
g V V gVV VV
V V
V V fV
VV
V V gVV VV
V V
V V
I
Gtr III

T GK12 12
G
12 K 13 (13) 13 13
GK12 12
GK
12 13 (13) 13 13
A
B
KK1114 KK1114 (11)
(14)
KK1114 KK
11
14
(11)
(14)

ggg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV


I
Gtr IV
P.M.

T
A 11 1111 11 1111 11 11 1111 11 1111 11 11 1111 11 1111 11 11 1111 11 1111 11
B 141414 1414 14 1414 14 141414 1414 14 1414 14 141414 1414 14 1414 14 141414 1414 14 1414 14

ggg
I V Vf V
g V Vf V Vf V V VgVgV V Vf V VgV V V V V V V V V
V V V V V
Gtr II
* CRESCENDO TO FULL VOLUME OVER NEXT 6 MEASURES
T
A 7 10 7 10 7 10
B 9 8 9 9 8 9 8 9 9 8 9 8 9 9
7 10 7 10 7 10 7 10 7 10
* DISTORTION WITH +1 OCTAVE PITCH SHIFT

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TEXTURES - Cynic Page 14 of 21

` B 13sus2 B13sus2 `
B 13sus2 B13sus2

63
gg Vf VV
g V V gVV VV
V V
V V fV
VV
V V gVV VV
V V
V V
I
T GK12 12
G
12 K 13 (13) 13 13
GK12 12 12 13
GK (13) 13 13
A
B
KK1114 KK1114 (11)
(14)
KK1114 11
14
KK (11)
(14)

ggg V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V VVVVVVVVVVVVVVVV VVVVVVVVVVVVVVVV


I
P.M.

T
A 11 1111 11 1111 11 11 1111 11 1111 11 11 1111 11 1111 11 11 1111 11 1111 11
B 141414 1414 14 1414 14 141414 1414 14 1414 14 141414 1414 14 1414 14 141414 1414 14 1414 14

ggg
I f V V VgVf VgV Vf V Vf V V V VgV V Vf V V V V V V V V Vf V Vf V V VgVf VgV V V V gV V V V V V Vf V V V V
V V V V V V V V V V V
T
A 7 10 7 10 7 10 7 10 7 10
B 8 9 8 9 9 8 9 8 9 9 8 9 8 9 9 8 9 8 9 9 8 9 8 9 9 8
7 10 7 10 7 10 7 10 7 10 7 10 7 10 7 10 7 10 7 10 7 10

K Rhythm C: (Pt. 1)
P = 131
B5 A11sus4 A11sus4

67
fff 6 WW WW VV VV
I 8
V V V V V V V V V V VV WW WW VV }} VV
Gtr I
P.M. P.M.

T
A 7 (7) 7
7 (7) 7
B 9 5 (5) x 5
7 7 7 7 7 7 7 7 7 7 7 5 (5) x 5
* DISTORTION

ff
I f 68 V V gV V V fV V V V V V gV V V fV V V V V V gV V V fV V V V
V V V V V V
Gtr II

T
A 7 10 7 10 7 10
B 9 8 9 9 8 9 8 9 9 8 9 8 9 9 8
7 10 7 10 7 10 7 10 7 10 7 10

* DISTORTION WITH PITCH SHIFT AT + 1 OCTAVE

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TEXTURES - Cynic Page 15 of 21

F5 F5 A5

70
I WW WW VV } VV WW
W W V } V W
P.M.

T
A 3 (3) 3 7
B 3 (3) x 3 7
1 (1) x 1 5

I V gV f V gV V V V fV V V gV f V gV V V V fV V V gV f V gV V V V fV V
V V V V V V
T
A 7 10 7 10 7 10
B 9 8 9 9 8 9 8 9 9 8 9 8 9 9 8
7 10 7 10 7 10 7 10 7 10 7 10

A5 B5

73
I WW VV } VV gWWW 85 WW VV }
W V } V W V }
P.M.

T
A 7 9 (9)
B x 7 9 (9) x
x 5 7 (7) x

I V gV f V gV V V V fV V V gV f V gV V V V fV V 85 V gV f V gV V V V fV
V V V V V V
T
A 7 10 7 10 7 10
B 9 8 9 9 8 9 8 9 9 8 9 8 9 9 8
7 10 7 10 7 10 7 10 7 10 7

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TEXTURES - Cynic Page 16 of 21

L Transition
D5 D5 D5 D5
c c c c
76
I VVV k j VV
V V V
c VV
V
k j VV
V V V
c
Gtr I [[[[[[[ [[[[[[[
T
A 12 12 12 12
B 12 12 12 12
10 10 10 (10) 10 10 10 (10)
sl. sl.

c d c d V c d c d V
I VV V gV V V V V V VV V gV V V gV V VV V gV V V V V V VV V gV V V gV V
Gtr II

T
A 12 11 12 11
B 12 12 11 12 12 11 12 12 12 11 12 12 12 12 12 11 12 12 11 12 12 12 11 12 12 12
10 13 10 10 13 10

* PITCH SHIFT AT + 1 OCTAVE

M Rhythm C: (Pt. 2)
P = 132
A11sus4 A11sus4 F5 F5 A5 A5 B5

80
I 68 WWW VV VV
VV }} VV WW VV } VV WW VV } VV 85 gWW VV }
W W V}V W V}V W V}
P.M. P.M. P.M.

T
A 7 7
7 7 3 3 7 7 9
B 5 x 5 3 x 3 7 x 7 9 x
5 x 5 1 x 1 5 x 5 7 x

I 68 VgV f VgV V V V fV V VgV f VgV V V V fV V VgV f VgV V V V fV V 85 VgV f VgV V V V fV


V V V V V V V V
T
A 7 10 7 10 7 10 7 10
B 9 8 9 9 8 9 8 9 9 8 9 8 9 9 8 9 8 9 9 8
7 10 7 10 7 10 7 10 7 10 7 10 7 10 7
* PITCH SHIFT AT + 1 OCTAVE

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TEXTURES - Cynic Page 17 of 21

N Transition
D5 D5 D5 D5
c c c c
84
I VVV k j VV
V V V
c VV
V
k j VV
V V V
c
[[[[[[[ [[[[[[[
T
A 12 12 12 12
B 12 12 12 12
10 10 10 (10) 10 10 10 (10)
sl. sl.

c d c d V c d c d V
I VV V gV V V V V V VV V gV V V gV V VV V gV V V V V V VV V gV V V gV V

T
A 12 11 12 11
B 12 12 11 12 12 11 12 12 12 11 12 12 12 12 12 11 12 12 11 12 12 12 11 12 12 12
10 13 10 10 13 10

* PITCH SHIFT AT + 1 OCTAVE

O Rhythm B: (Pt. 3)
P = 129 b
E6/11 G A G C m7

4 ggWWW V VV
VV V
U
UU V V V gV V gV
W
88
I 4 WW V gV V V
V gV
Gtr III
GK9 GK12
let ring
9 (9)
T KK99 12 14
KK12 9
12
9
9
9
A KK77 12 14
10 12 K10 9 11 9 11
B 7 9
* CLEAN TONE sl.
sl.

I 44 V gV V V V V V gV V V V V V V V gV V V V V V gV V V V V V V
V gV V gV
Gtr IV * SEE PERFORMANCE NOTES

T
A 4 4 4 4
7 6 7 7 6 7 6 7 6 7 6 7 7 6 7 7 6 7 6 7 6 7 6 7
B 5 4 5 4

* CLEAN TONE
V V V V
I 44 gV V V V V V V gV V V V V V V gV V V V V V V gV V V V V V V
Gtr VI

T 5 5 5 5
A 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7
B
* CLEAN TONE

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TEXTURES - Cynic Page 18 of 21
E6/11 G A G Amaj7

ggWWW V VV
VV V
U
UU gV V V
V V V
gW
92
I WW V V V gV
V V
GK9 GK12
let ring
7 (7)
T KK99 12 14
KK12 6
5
6
5
6
A KK77 12 14
10 12 K10 9 7 7 6
B 7 5
sl.
sl.

I V gV V V V V V gV V V V V V V V gV V V V V V gV V V V V V V
V gV V gV
T
A 4 4 4 4
7 6 7 7 6 7 6 7 6 7 6 7 7 6 7 7 6 7 6 7 6 7 6 7
B 5 4 5 4

V gV V V V V V V V gV V V V V V V V gV V V V V V V V
I gV V V V V V V
T 5 5 5 5
A 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7 6 7 6 7 7 6 7
B

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TEXTURES - Cynic Page 19 of 21

P Chorus
Pb = 132 b b b
C Cmaj7 C Cmaj7 C Cmaj7 C Cmaj7
V V gV f V V V V W V V gV V V f V V V V j
96
I V V V VVV V
u u u
Gtr I [[[[ [[[[[[[[[ [[[[[
T
A 14 12 10 9 9 10 9
10 12 (12) 9 10 9 10 12 10 12 9 10 12 10 9
B 12 10
* DISTORTION - PAUL PLAYS THIS PART IN LIVE VERSION P

V V eV V V V V W V V eV V V V V V V j
u V V V gVf V V V
I u u
Gtr V [[[[ [[[[[[[[[ [[[[[
T 15 13 11 10 10 11 10
A 10 12 (12) 9 10 9 10 12 10 12 9 10 12 10 9
12 10
B
* DISTORTION P

c c c c c c
I VV VV VV VVV VVV k
k VV
V
j
VV VV VV VVV
k k
VV VV VV VVV VVV
k VV
V
j
VV VV VV VVV
k
Gtr II
P.M. P.M. P.M. P.M.

T
A 9 9 9 9 9 9 9 9
B 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
* DISTORTION

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TEXTURES - Cynic Page 20 of 21

Q Outro
P = 68 b
Cmaj7 C Cmaj7
_ l_ _ _ _ l_ l_ k
Gtr II l _Cb _ _ Cmaj7 Cb Cmaj7
_ l _ l_ _ _ _ l_ l_ k l _Cb _ _ Cmaj7
_ l
RV
100 9 P
I8 P V VV VV VV
u
Gtr I

T
A 10 14 (14)
B 10 14 (14)
sl.
* GUITAR 1 OUT
* DISTORTION
V V V V V V
V V V V V V V V V V V V V V V V V V V V V V
I 98 V V V V V V V V
Gtr IV * JASON PLAYS THIS PART IN LIVE VERSION
13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B
* CLEAN TONE PLAYED THROUGH A ROLAND GS-50 GUITAR-TO-MIDI CONVERTER WITH AN E-MU PROTEUS SOUND MODULE
V V gV V V V V V V V V V V gV V V V V V V V V
V V V V V V V V V V V V
I 98 V V
Gtr VI
12 10 13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B
* HARMONY PLAYED AS A ROUND, TWO 16th NOTES BEHIND THE ORIGINAL - ALBUM VERSION ONLY
Cb
Cmaj7 Cmaj7 Cb Cmaj7 Cb Cmaj7 Cb Cmaj7
l
_ ____ _ _
Gtr II l l k l ____ l l
_ ____ _ _ l l k l ____ l
V V V V V V
V V V V V V V V V V V V V V V V V V V V
* RHYTHM GRADUALLY FADES OUT ON ALBUM VERSION

V V 3x
102
I V V V V V V V V
Gtr IV
13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B

V V gV V V V V V V V V V V gV V V V V V V V V
V V V V V V V V V V V V 3x
I V V
Gtr VI
12 10 13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B

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TEXTURES - Cynic Page 21 of 21

R Ending/Live Ending

b Cmaj7 P = 60 P = 55
Cmaj7 C
_ l_ _ _ _ l_ l_ j
V V V V
V V V V V V V V V V V V
V V V V V V V V V V V V
104
I V V V V V V V V
13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8 12 10
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B
* CONTINUE REPEATING & FADE OUT * ENDING FOR LIVE VERSION - CONTINUE FROM MEASURE 104
WITH HARMONY ON ALBUM VERSION
V V gV V V V V V V V V V V V
V V V V V V V V V V V V V V V V V
I V V V V V
12 10 13 10 8 10 8 7 8 12 10 13 10 8 10 8 7 8
T 0 8 10 10 8 0 0 0 0 8 10 10 8 0 0 0
A 9 9
B
V V W
106 V v j
I
v
13
T 0
A
B

V V V W
v v j
I
12 10
T
A
B

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TEXTURES (Bassline)
As recorded by Cynic
(From the 1993 Album FOCUS)
Transcribed by Jeff Litvak Music by Cynic
(www.cynicalsphere.com) Arranged by Cynic
TUNING: (E, A, D, G)
A Intro
P = 92 * FINGERSTYLE
1H 9 j j 3x
8
Gtr I Sean Malone - (Fretless or Standard Bass)
T
A
B
* CHAPMAN 12 STRING GRAND STICK - ARRANGED FOR STANDARD BASS (SECTIONS B-D)
* SEE PERFORMANCE NOTES
B Rhythm A: (Pt. 1)

3 H gg V W V
V V
* SEE PERFORMANCE NOTES
T
A
B 2
7 0 2
* CLICK FOR FULL CHAPMAN STICK TRANSCRIPTION
gg
5H
W V W V
T
A
B
3 5

7 H gg c j V
V V V
T
A
B 2
2 0 2

C Rhythm A: (Pt. 2)

9 H gg V V l V l V l d V V l l l m
V V V V V V V V V V V V V V
T
A
B 2 2 2 2 0 2 2 0 2
3 3 3 3 3 2 3 3 2 2 3
* SEE PERFORMANCE NOTES

11 H gg l l l d l l l l d m
V V V V V V V V V V V V V V V V V V V
T
A
B
5 5 5 5 5 5 5 5 5 2 2 2 2 0 2 2 0 0 2

©1993 The All Blacks BV


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TEXTURES (Bassline) - Cynic Page 2 of 7

D Rhythm A: (Pt. 3)

13 H gg V V V l V l V V V V V
m
V V V V V V V V V V
T
A
B 2 2 2 2 2 2 0 2 2 0 0 2
0 2 2 2 2 2 2
* SEE PERFORMANCE NOTES

15 H gg l l m l l m
V V V V V V V V V V V V V V V V V V V V V V V V
T
A
B
2 2 2 2 2 0 2 2 2 0 0 2 3 3 3 3 3 2 3 3 3 2 2 3

17 H gg l l m V V V V V
V V V V V V V V V V V V V V V V
let ring
T
A 7 7 7 7 7
B
0 0 0 0 0 0 0 0 0 0 0 0 5 5 5 5

H gg V V V V V V V V V
19
V V V V V V V V V
let ring
T
A 7 7 7 7 7 7 7
B 7 7 7 7
5 5 5 5 5 5 5

gg P = 106
21 H
V 44 h k l
V V V V V V V
T
A
B 2
3 5 5 5 5 5 (5)

E Lead 1: (Paul Masvidal)


P = 132 P = 127
H e 74 k c c c
23
V V V V V V V V V
Gtr II * FRETLESS BASS

T
A
B 0 1 1 1 1 1
0 1 1

25 H gg j c c
V V fV V V gV fV V V V V
T
A
B 0
0 1 1 3 4 3 1 1 1 1

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TEXTURES (Bassline) - Cynic Page 3 of 7

27 H gg k Vc f V V k V eV V V c c c
V V V V u V fV V V eV V V V V V V
T
A
B 2 3 2 5 6 5 0 1 1 1 1 1 1 1
5 (5) 5 (5) 8 0 1 1
H H
sl. sl.

29 H gg k Vc f V V k V eV V V c
V V V V u V fV V V gV fV V V V V
T
A
B 2 3 2 5 6 5
5 (5) 5 (5) 8 0 1 1 3 4 3 1 1 1 1
H H
sl. sl. sl.
F Rhythm B: (Pt. 1)

f f 4 Pc = 127 V gVV VV WW VV V V V
31 H 4 V V V V V V gV u V V V gV V
[[[[[[ [[[[[[[[[ [[[[
T
A 6 7 6 6 6 7 7 6 7 6 6 6
B 7 7 7 5 4 7 9 9 4
5
sl. sl. sl. sl. sl. sl. sl.
cV V * SEE PERFORMANCE NOTES
V
35 H
V V V V gV gV u V V gVV gVV V V V V gV gV V V V
[[[[[[[ [[[[
T
A 6 7 6 6 6 4 6 7 6 6 6
B 7 7 7 5 4 7 5 7 7 7 5 4
5
sl. sl. sl. sl. sl. sl.
G Chorus
P = 131
ck c c ck c c
39 H k
V V V V V V j V V V V k k
V V V V V V j V V V V k
T
A
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

H Rhythm B: (Pt. 2)
P = 129
cV V V gVV gVV WW VV V V V
43 H
V V V gV gV u V V gV gV V
[[[[[[[ [[[[[[[[[ [[[[
T
A 6 7 6 6 6 7 7 6 7 6 6 6
B 7 7 7 5 4 7 9 9 4
5
sl. sl. sl. sl. sl. sl. sl.
* SEE PERFORMANCE NOTES
I Chorus
P = 131
ck c c ck c c
47 H k
V V V V V V j V V V V k k
V V V V V V j V V V V k
T
A
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

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TEXTURES (Bassline) - Cynic Page 4 of 7

J Lead 2: (Bass Solo)


P = 3130 * FREE TIME FEEL

gggg k V 3 d
k
51
I V V V V W V V V V V V V V VV VV
T 18 16
A 14 18 16 (16) 16 16 18 16 18 19
B 16 19
* CLICK TO PLAY A HALF-SPEED VERSION OF THE SOLO FOR PRACTICE H H
gg dm 3
53
I g g UU k
V V V V V V
T (16)
A (19)
B 19 19 19 19 16 16
sl.
3
gggg 3 3 3 3
V l VV c
55
I 3
V V V V V V V V V V VV V V V VV VV
V V VVV VVV
[[[[[[[[[[
T 16 18 21 1816
A 16 1618 161819 19 1918 1618
B 16 16 16161618 1616161819 19 19
HH HH P P
* SEE PERFORMANCE NOTES

gggg
57
I V V V V V l V V V V l V V V fV V V V c d k
V VV V V
T 16 16
A (18) 19 18 16 16 18 17
B 19 18 18 16 19 18 16
19 19 19
H H P

gggg l V l V l V V W V
V V V } V V V
59
I V V V V
[[[[[[[[[[[[[[[[[[[
T 18 20
A 21 18 16 21
B 16 19 18 19 16 x 19 21
17
sl. sl.
3
gggg k V V V V 3 3 3 3
3 3
V V VV VVVVV VVV VVVVVVVVVV
61
I u V
T 20 21 18
A 19 21 18 18 18 19 21 18 19
B 19 18 19 18 18 18 19 21 21
21 19 19 21 21
H

gg V 3 dk 3 3
63
I g g V V V V V fV V V V V V V V V V 3
V V V V V V V V V 3
V V V
V V V V V V V V
3

T 18 21 20 18 11 8 11 11 9
A 19 21 22 21 21 19 19 19 18 16 11 13 14
B 19 18 11 11 12 14
17 16 14 11 12 14 14
H sl. sl. H H
P sl.

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TEXTURES (Bassline) - Cynic Page 5 of 7

gggg V V V V V V VV V V VV VVVV
65 H fV V V V VgV V V V V V VVVVV
3 3 3 3
3 3
T 8 11 13 13
A 9 7 9 11 11 11 (11) 16 16 14 6
B 9 11 11 9 7 7 9 11 9 9 7 9
10 7 7 9 11
P H sl. P sl. H
H

K Rhythm C: (Pt. 1)
P = 131
f ff f fV V fV V
67 H 68 V V V V V V V V V V V fV V V fV V V
u u
T 7 7 7 7
A
B 5 5 5 5 5 5
7 7 7 7 7 7 7 7 7 7 7
sl.

H c V c V c V V
70
V V V V V V V V V V V
T
A 7 7
B 3 3 3 3 0 0 0
1 1 1 1 1 1

H c V V c V V c V
73
V V V V V V 85 V V

T 4 4 4
A 7 7
B 0 0 0 2 2 2 2 2

L Transition
V V V V
76 H V k j V u V k j V u
u u u u
[[[[[[[[ [[[[[[[[
T
A 0 0 0 0
B 17 (17) 17 (17)
sl. sl.

M Rhythm C: (Pt. 2)
P = 132
V V c V V c V
H 6
8 V V V c V 85
V V
80
V V V V V V V
u
T 7 7 4
A 7 7
B 5 5 5 3 3 0 0 0 2 2
1 1 1

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TEXTURES (Bassline) - Cynic Page 6 of 7

N Transition
V V
84 H V k j V V Vu Vu V k j V u
u u u u u
[[[ [[[[[[[
T
A 0 0 0 0
B 12 (12) 17 (17)
10
sl. sl.

O Rhythm B: (Pt. 3)
P = 129
c V V gV gV Vu V V gVV gVV WW VV V V V
88 H 4
4 V V V gV gV V
[[[[[[ [[[[[[[[[ [[[[
T
A 6 7 6 6 6 7 7 6 7 6 6 6
B 7 7 7 5 4 7 9 9 4
5
sl. sl. sl. sl. sl. sl. sl.
* SEE PERFORMANCE NOTES
cV V V
92 H
V V V V gV gV u V V gVV gVV V V V gV gV V V V
[[[[[[[ [[[[
T
A 6 7 6 6 6 4 6 7 6 6 6
B 7 7 7 5 4 7 5 5 5 5 4
5
sl. sl. sl. sl. sl. sl.

P Chorus
P = 132
c c c c c c
96 H V V V V k V k V j V V V V k V V V V k V k V j V V V V k
T
A
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

Q Outro
P = 67
100 H 9
8 V l V V V V l V l V k l V V V V l V l V V V V l V l V k l V V V V l
T
A
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
* GRADUAL FADE OUT ON RECORDED VERSION - JUST STOP AS INDICATED AT MEASURE 104 FOR LIVE VERSION ENDING

102 H V l V V V V l V l V k l V V V V l V l V V V V l V l V k l V V V V l
3x

T
A
B 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

R Ending/Live Ending
P = 60 P = 55
104 H V l V V V V l V l V l j k
T
A
B 3 3 3 3 3 3 3

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TEXTURES (Bassline) - Cynic Page 7 of 7

1 H k k
T
A
B

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TEXTURES: (STICK PART)
As recorded by Cynic
(From the 1993 Album FOCUS)
Music by Sean Malone
Arranged by Sean Malone

TUNING: 12 STRING CLASSIC - (7+5)


B Rhythm A: (Pt. 1) (E, A, D, G, C - G#, C#, F#, B, E, A, D)

g P = 92 > CLICK TO HEAR THE CHAPMAN STICK PART <


1
I g 98 k k
Gtr I Right Hand - (Melody)

T
A
B
* SEE STANDARD BASS TABLATURE ARRANGEMENT

H gg 98 V W V
V V
Gtr II Left Hand - (Bass)
4 6
T 4 4
A
B
* MEASURES 2-5 PLAYED WITH FIRST FINGER OF LEFT HAND

g k k
3
Ig
T
A
B

H gg
W V W V
7
T 2
A
B

g k k
5
Ig
T
A
B

H gg c j V
V V V
6 4 6
T 4
A
B

©1993, The All Blacks BV


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TEXTURES: (STICK PART) - Cynic Page 2 of 4

C Rhythm A: (Pt. 2)
g
7
Ig k V V V V k V V V V k V V V V k V V V V k V V V V k V V V V

T 10 10 10 10 10 10
A 8 12 12 8 12 12 8 12 12 8 12 12 8 12 12 8 12 12
B

H gg V V l V l V l d V V l l l m
V V V V V V V V V V V V V V
7 7 7 7 7 6 7 7 6 6 7
T 4 4 4 4 2 4 4 2 4
A
B

gg k
9
I V V V V k V V V V k V V V V k V V V V k V V V V k V V V V

T 10 10 10 10 10 10
A 8 12 12 8 12 12 8 12 12 8 12 12 8 12 12 8 12 12
B

H gg l l l d l l l l d m
V V V V V V V V V V V V V V V V V V V
6 6 6 6 4 6 6 4 4 6
T 2 2 2 2 2 2 2 2 2
A
B

D Rhythm A: (Pt. 3)
g k k
11
Ig V V V V k V V V V k V V V V

T 10 10 10
A 8 12 12 8 12 12 8 12 12
B

H gg V V V l V l V V V V V
m
V V V V V V V V V V
4 6 6 6 6 6 6
T 4 4 4 4 4 4 2 4 4 2 2 4
A
B

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TEXTURES: (STICK PART) - Cynic Page 3 of 4

gg k
13
I V V V V k V V V V k V V V V k V V V V k V V V V k V V V V

T 10 10 10 10 10 10
A 8 12 12 8 12 12 8 12 12 8 12 12 8 12 12 8 12 12
B

H gg l l m l l m
V V V V V V V V V V V V V V V V V V V V V V V V
6 6 6 6 6 4 6 6 6 4 4 6 7 7 7 7 7 6 7 7 7 6 6 7
T
A
B

g
15
Ig k V V V V k V V V V k V V V V k k
V V
T 10 10 10
A 8 12 12 8 12 12 8 12 12
B 13 13

H gg l l m c V c V V
V V V V V V V V V V V V V V V V
4 4 4 4 4 4 4 4 4 4 4 4 9 9 9 9
T
A 7 7 7
B

g k k j
17
Ig
V V V V V
T
A
B 13 13 13 13 13

H gg k k k V V
V V V V V V V V V V V V V
9 9 9 9 9 9 9
T 9 9 9 9
A 7 7
B

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org


TEXTURES: (STICK PART) - Cynic Page 4 of 4
g k k
1
Ig
T
A
B

H gg V h j l
V V V V V V V
7
T 4 2 2 2 2 2 (2)
A
B
* PLAY ALL NOTES OF THIS MEASURE WITH FIRST FINGER OF LEFT HAND

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org


Performance & Other Notes
Textures

"Musical freedom and Fripp inspired inspiration kick started this song and eventually
it developed a life of it’s own and we just tried to do it service. We knew with this piece
we would could leave everything behind and just explore! It was the last song we wrote
before recording Focus."

- Paul Masvidal

SONG: Textures
ARTIST: Cynic
MUSIC BY: Cynic
LYRICS BY: ---
TRANSCRIBED BY: Jeff Litvak (www.cynicalsphere.com)
ALBUM: Focus
REALEASE DATE: September 14, 1993
LABEL: Road Runner Records
NOTICE: ©1993 The All Blacks B.V.
PRODUCED BY: Cynic & Scott Burns
ENGINEERED & MIXED BY: Scott Burns
RECORDED & MIXED AT: Morrisound Recording, Tampa, FL

GUITAR NOTES
SECTIONS F, H & O – JASON’S CLEAN PARTS:
The Guitar IV part of these sections are the parts that Jason plays in the live versions of the song. The
th
fingering for the part is more like a chord than anything in that he barres the 4 fret with his first finger and keeps his ring
th
finger planted on the 6 fret of the D string at all times. The middle finger is used to apply the fifth fret/E string and the
pinky finger is used almost in a metronomic fashion on the seventh fret/D string. This section can be a little awkward to
play upon first learning but It gets easier with a little practice. Remember, the key to being successful at this part is all
about feeling the flow of the rhythm.

SECTION J - JASON'S CLEAN PART:


This jazz section features only two repeating chords and is quite easy to play. Both Paul and Jason mirror each
other at the beginning of the section here with the exception of the style in which they each play the chords. While Paul is
backpicking them in a classic jazz fashion, Jason plucks each individual chord with the tips of his fingers thus adding a
slightly different nuance to them. Underneath the chords in the tablature that this technique applies to you will see a “(^)”
notation. This indicates that these particular chords are to be plucked with the fingers rather than with the guitar pick. In
order to keep your playing fluid, however, it is important to keep the guitar pick between your finger and thumb as you
normally would at all times and use the free fingers on your right hand to do the finger picking as required.
BASS NOTES
KUBICKI FRETLESS BASS:
Sean’s instrument of choice for the recordings on Focus is the fretless bass. One of the greatest strengths of
the fretless bass is that it handles both slides and legato slides smoothly and without the encumbrance of the frets getting
in the way and breaking the sound of the slide up into semitones. Because of this, you get the full range of microtones
between the beginning and ending points of the slides and Sean uses this to it’s full effect throughout the Focus album.

During the recording and touring for Focus, Sean Malone played a Philip Kubicki Ex-Factor fretless bass. This
particular bass has a unique feature on the headstock called a “D-Extension Clip”. This handy clip allows you to "D" tune
your "E" string almost instantaneously, without changing string tension and not having to transpose, effectively allowing
the "E" string on a 32 inch scale bass to be released to a longer "D" scale of 36 inches which was highly effective for Sean
both in the studio and on stage. He used this feature for 3 of the 8 songs on the album: Sentiment, I’m But A Wave To…,
and How Could I, all of which the bass is tuned down to a Drop-D tuning simply by releasing the “D-Extension Clip” at the
headstock of the bass.

The patented string clip is available only on the Ex Factor. While holding the bass in playing position, you push
the spring loaded string clip up with the thumb of the left hand. Pull the string out from under the clip head with your finger
and release the lever. You are now in concert tension "D" and all the notes on the scale remain the same - no
transposing. Pushing the lever up causes it to re-grab the string, and you're back in "E" again. It's very quick and easy to
become adept at pushing the lever to the desired position. When the string is in "D" tuning, you also have a "D#" note
available.

For more information on the Kubicki Ex-Factor bass, visit:


www.kubicki.com

SECTIONS B-D: RHYTHM A PARTS


These sections are arranged here for standard (or fretless) bass. The dynamic range of the Stick will far exceed
that of a bass guitar at both the low and high end of the tonal spectrum, however, the Stick part for this song was written
in such a way so as not to exceed the low end range of a bass guitar. Consequently, just by leaving out the higher
melody parts normally played on the Stick, Sean was able to perform the song on his Kubicki instead of the Stick at about
half of the live tour dates and the song still sounded like Textures. It is in this fashion that the intro parts are arranged for
a standard bass in this transcription.

SECTIONS C & D: RHYTHM A PARTS


A technique that Sean uses to great effect in these sections is staccato. What this means is to cut a note off
short of its’ full time value…in other words, to prematurely stop a given note from sounding once it has been played.
Playing in this style will often lend a slightly choppy feel to a part, however, when done tastefully, that can also add a good
bit of purposeful tension to a riff that can’t be achieved by any other means. Often done in classical music, Sean makes
good use of staccato here, although this is more of a byproduct of certain notes being cut slightly short due to the nature
of the style of playing the Chapman Stick in which the song was originally recorded.

You can recognize which notes are to be staccatoed by looking at the standard notation staff above each
tablature staff. Each notehead that has a small dot directly underneath it (or directly above the notehead in the case of a
down-stemmed note) is to be played staccato. This is not to be confused with a dot to the left or right of a notehead which
means something entirely different.

With most stringed instruments in classical music, the common way to play a staccatoed note is to pluck the
string between your thumb and first finger and then unfret the note early by simply letting the string up off the fretboard
with your fretting hand while still keeping your finger on the string so that it just goes mute. Obviously, the tempo of these
parts makes playing the staccato in the classical fashion impossible so it must be done differently…entirely with the
picking hand.

To fingerpick these sections without staccato you would pick alternately using your 1st and 2nd fingers (some
st rd
may use their 1 and 3 ). Either way is no problem. As you do this, you are trying to maintain an even, fluent,
coordinated movement so that each picking stroke across the string is exactly the same with the same amount of time
between each hit. You are also trying to make sure that you are not touching any of the strings too early because that
ruins your fluidity and makes you sound choppy, but that is exactly what you want to do here. The trick to fingerpicking
the staccato on the bass for these parts is to intentionally hit each string with your picking finger a split second before you
actually stroke the string for the next note. This will cut the previous note short just before you stroke the next note, thus,
you have played that previous note in staccato. The skill is in being able to cut the notes short by the same amount of
time and to be able to exert control over this factor so that your staccato sounds intentional and purposeful rather than like
just plain old sloppy playing. This technique does take some practice and it’s not likely that it will come overnight to you if
you are entirely unfamiliar with the application. It’s more of a feel for how to play it than a conscious thought of doing so
but once you get the feel for it, it will click right in for you and prove to be quite a valuable, rewarding tool in your arsenal.

CLASSICAL VIBRATO:
Sean’s use of vibrato on the bass throughout the Focus album is very elegant and tastefully done. To achieve
this he uses a technique commonly used on instruments such as the violin, cello and classical guitar. On a regular
electric guitar vibrato is usually done by quickly bending the string from side to side across the neck with your finger. The
way Sean does all of his vibrato is by the more classically oriented method of pressing the fingertip straight down on the
fretboard and then, with the fingertip planted, rocking the hand (rather than the string) forward and backward along the
length of the neck. This creates a more subtle but highly distinguished vibrato effect.