Inophis is always ready to share his latest tabs with the Guitar Pro team. Discover his new tab of the song “Cry of Gaia”, taken from the first album by Equinox.
Presentation of the solo on “Cry of Gaia”
The tempo of Cry of Gaia is 160 bpm. You’ll find the keys of D minor, A, E dim and C. The solo consists mainly of arpeggios and a few chromatic phrases. The main techniques used are sweeping, tapping, alternate picking, slides and pull-offs played in triplets, sixteenth notes and sextolets.
Bar 1: the introduction to the solo is executed by sweeping in A7 leading to D minor. Pay attention to the slide on the G string and to the seventh of the chord played at the twelfth fret.
Bars 2 to 11: we continue with the first part of the solo in D minor. It is a series of arpeggios in D Minor, E dim, F, F# dim, G and G# dim.
It’s not easy to connect the arpeggios smoothly due to the jumps between strings, the speed of the piece and the use of different hybrid techniques (sweeping and alternate picking). Make sure to respect the timing (triplets and sixteenth notes).
Bars 12 to 17: the second part of the solo breaks down into three sub parts:
1 – In bars 12 to 13 we are in A major with a phrase on the open high E string. It looks easy at first sight, but it can throw you off. Once you have mastered it and are capable of singing it you should be able to interpret it naturally.
2 – Bars 14 to 15. We are still in the key of A major but this time under the influence of the chord of G on a base of A. Here I play an ascending and descending chromatic phrase that creates a “floating” effect that I find very interesting.
Be careful, we are using 5 fingers per string up to the first half of bar 15. All the fingers of the left hand are in motion while the fifth note played on each string is performed by tapping.
Still in bar 15, in the descending phase of the scale I use four fingers per string. The first note is played by tapping and then the other notes played by the left hand follow on.
3 – I finish this second part by a B dim arpeggio which closes the previous chromatic descent. Pay attention to the change in rhythm because we are in triplets now.
Bars 17 to 21: the third part of the solo follows on with a progression of diminished chords in G, F#, F, E, D#, Db, C, Db. Here I tap a phrase of four sextolets on two strings. I play the same phrase again over three successive octaves.
Bars 22 to 25: the fourth and last part of this solo. Still in the same key, I play a phase using a triplet of quarter notes doubled on bass. I finish in the key of C major with two tapped harmonics. This key change allows me to segue into the chorus that follows in F minor.