Notice
**NOTE** - Tuned to standard E 6 string, plus a low E 7th string. The 7th string is for depth and accuracy relative to the original piece and is not intended to be played. -- Due to the limited instrumentation of the MIDI process, parts were conjoined to one staff in multiple areas, and fingerings may suffer (mostly for strings - bass score.) Take note of instruments tabbed in High and Low melody - usually indicating separate parts.
Much of the fingerings were interpreted by paying attention to the details of his style (slides, etc), as well as watching the Legendary Guitar of Jason Becker video. Hopefully it's close to the real thing :)
M.16 - At the end of the measure, the run continues to ascend beyond 24 frets, so for playability's sake, I returned down the neck instead.
M.87 - High/low melody denote right and left panning (heard in the original piece). I still believe only one instrument plays the part however.
M.94 - Arranged for 2 Guitars (instrument limitiation).
M.142 - Frets 17 and 24 also work for the harmonic - PTE just doesn't play them correctly.
M.166 - The piano is covering the Oboe's role (instrument limitation).
M.182-194 I added the pizzicato stringed part to the acoustic guitar here, as I ran out of staff room in the bass score. (instrument limitation).
M.194 - For the Low Melody guitar, the note is sustained through out, and you apply a pinch harmonic at frets 24, and 19. A fixed interval over the pick-ups will also yield the same tone as at the 19th fret, if you're comfortable with finding that.
M.211 - The Acoustic Guitar is filling in for the Sitar, heard in the original piece (instrument limitation).
M.215 - This lead is arranged for 2 guitars (instrument limitation).
Bass Score for playback purposes only. Finger arrangements are as best as could be fit into one instrument.
Measure 142-145 has best fingering arrangement for the low melody the first four staffs of G. The same fingerings should be used again at measure 166 and beyond, if played as a split part, as it should be.
Throughout the bassline in the bass score, there are many accents. This was to raise the dynamic of the bass without affecting the volume of the already overwhelming chord support - given I only had 1 string instrument with which to work.