de an a x wv al » ee 1 bi ~ Wy A oe ool Best Se , ee Ineluding: ® rN “4 utside Lookfng In. , ! nd gh Different Eye “Point Of View. Y Monument P 7 re yeaa eCoiitents 9 Guardian 20 _~—=—Silent Cries 29 = Through Different Eyes 38 At Fates Hands 54 Nothing Left To Say 69 Eleventh Hour 78 Point Of View 85 Outside Looking In 92. Face The Fear 100 Monument 6 TABLATURE EXPLANATIONST LAL eed that graphically represents the guitar fingerboard. By placing @ 36, the string and fret of any note-can be Indicated. For exam 1st sting High € > —— Tee aoe tnaeirng: 8 —— —e— se 4 Srasting 9 —— + — oe fm stnng Low € payed tegoter Definitions for Special Guitar Notation BEND: Strike the note and UNISON BEND: Strike the ‘SLIDE: Sle up to the note in bend up stp (one fet two notes simultaneously ang {Saied om a few tots below Bend the lower note To Me Bitch of the ghee “ HAMMER-ON: Stoke the fst —— (lower) note, then sound the BEND: Strko the note and bend higher note vith another tnger Upavahole st (we frat) By teting i wihout pickin e eoemere VIBRATO: Vibrate the note by cea tees Fapisy benaing and releasing ii ‘ting wa Tek hand tiger PULL-OFF: Place both fingers on [BEND AND RELEASE: Sto bo the nots to be scuncoa. Ste oto and bend up i (or whole) the fst (ghey note, on scund tp, thn rloase the Sond Bac WIDE OR ExaGcenaTeD {helower note by puling he ger tothe orginal re, Al tree notes VIBRATO: vibrate tha pth to cf te higher note while keenng sro ed ony Po cnt suck a greater degree witha let ‘felowernots feted, hand finger or the tremolo Bat ‘TRILL: Very rapiaty atermate tenwoon the note scat are PRE BEND: Sendo ot wp SLIDE: Sito th fst noe ee ee gt So Saneryorauaay ar ee tpt te het a een eee i TAPPING: Harme:(ap) he fret nated wits oe PRE-BEND AND RELEASE: ‘Bend the nate up ¥ (or whole) 0 fret oc mots fro a ao Stop, sike and folease the {oho nototretedoy the lt hae Bend Back tothe original ote. ‘SLIDE: Sarse as above, excopt {he cond note le stuck eoNATURALHARMONIC: Win « loan finger, Ighity ouch tho ‘ting aver he fret inctcated, then sike tA chime bes soured 'spreducod ARTIFICIAL HARMONIC: Fret {he note normaly and sound the harmonic by adding the tight hand mumb edge or dex ogee pto te normal pick tack PALM MUTE: With the right hand, partly mute the rete by MUFFLED STRINGS: Lay fot hand across the stings whut ‘TREMOLO PICKING: Pik tho rote a8 rapidly and contewously light touching the sting just asposstie. bere once 2 RHYTHM SLASHES: Strum chores in rythm indcated. Use hore votongs found in th fi fge1ng agra atthe top of ho frst page ofthe vanserpon pe SINGLE-NOTE RHYTHM TREMOLO BAR: Drop the note by Be eumber of stops date, en rein oye pteh PICK SLIDE: Rub the pick ooo own the length of tha sing fo produce a serach sound. SLASHES: Tho crciod number ‘stove tha note name inceates ‘which stg to play. When suc. cessive notes are played on the ‘same sing, oni the fot num bers ae ghen, Ow yma 1) 8 Pay an octave higher than writen 1s ‘Play two octaves higher than writen loco Playas written Pp ivionisino) Nery sate P (rian) it pin ‘Moderately soft af Moderately loud Stone) Low LF orion) Very Loud fp tacon ‘Accentuate not (ply it louder) B tacen) Accentuate mote with pret inersty P tawccoy tay note short Definitions of Musical Symbols . Repeat previous beat (sed for quarter o eighth notes) . Repeat previous beat (ase fr siatenth nots) zx *Repeat previous masire kl + Repeat measures between repet sans repeated section has different endings play the ding only the ist tne and the second ending ‘nly the second thm D.S.al Coda *Go'ack tothe sign (8) an play tothe measure marked ‘Sha Coa” then skip tothe section labeled Coda.” Deal Fine Go back othe beginning ofthe song and play until ‘he measue marked “Fine” (endog Pe n the course of their 10-plus-year career, Fates Warning have become one of the rock world’s most creative and innovative bands. As the 10 songs in this book amply demonstrate, the band has laid out its singular, progressive sound-a sound with a similar perspective and mettle to that of Pink Floyd, Rush, Dream Theater and Queensryche-in unique, disciplined chunks and with acute musicianship. Formed in the early 1980s in Connecticut by songwriter/guitarist Jim Matheos and bassist Joe DiBiase, Fates Warning have endured the struggles and complexi- ties of a fickle music industry with their original musical objectives intact, yet have succeeded in garnering the critical accolades and multi-continental following they have so clearly earned. With vocalist Ray Alder’s sparkling range, guitarist Frank Aresti’s fretboard wiz- ardry and drummer Mark Zonder's thunderous approach on the skins, Fates’ mastery of layering intricate melodies over tight musical arrangements—coupled with poignant, piercing lyrics-has been challenging listeners through the course of the band’s career. “Fates Warning is the type of band that the more you listen to it, the more you will get out of it,” drummer Mark Zonder says. “We're not a one-listen band.” For example, the songs from Awaken The Guardian, Parallels and Perfect Symmetry-among them “Guardian,”“Eleventh Hour,” “At Fates Hands” and “Nothing Left To tion to Say" bring an evolving and accessible sophisti the hard rock/metal genre. “I want to hear growth,” axe- man Frank Aresti says of the band’s measured evolution, “And that's what we've done.” Primary songwriter Jim Matheos agrees. On Fates’ more recent albums, particularly Parallels and Inside Out, he says, “It's been much more challenging for us to come up with shorter songs and keep thern interest- ing, both lyrically and musically.” But, he admits, song- writing can still be a soul-wringing affair. “[It’s] a very frightening and emotional experience. I really get caught up in it,” Matheos says. “I'm always on the edge about what people are gonna think about every detail It's very important to me to know what people think of it.” The pay-off for the listener is chops-savvy, yet focused songsmanship-check out the fretboard wizardry of “Monument,” the well-oiled rocker “Face The Fear’-that has earned Fates Warning a rightful place in the progres- sive metal firmament. “All I can do is write from a real personal sense about things that I feel, and hope that there are people out there that can relate to it, “ Matheos says of the band’s singular sound. “All I know is that no matter what I hear, nothing sounds like what we're doing, and I'm very proud of that.” FATES WARMINGGuardian Words and Music by slim Mathoos and John Arch als bs psY ls rem ese ag psor'® Drop During: @=d Slow Rock J =72 Dada? Fina? Em mah © cates mate shut caaaz Ger 1 (12st. acous) Jaden ering madd © casas Deati2 Pai? Em Gwe 11 (stg scous) pe mf Rhy Fig | COU. 1) mf ~"SDoubied by Id Teme scour (all double Faron) rae? c casas Dass inate cada (end Ray. Fig. 1) (Covyght © 1987 Mataos Maine Vatu Me B.ood Sk Muss Maske ‘Arnone ons © 8 ito Meg My SA MR Mate 5Daal roa? & Dats © cau ft * =—— = z Z we a oe — 7 } Faster J = 88 yal cauua ps pisos cs NO ge Gm ianow “8% the tee Tee ree tee Tee TPP TRP TEP Tee Ter TRF SS ee ee ee ee ee(ond Rhy Fig. 2)¢s Ke, Bs abs Bs Pc cs bis cs bs Ger Mk Ive. ee a ar z 5 “Ege oes nen bas aftr wih Eheuts F om mass ls Rhy Fig. 3(Gte (end Rhy. Fig. 3) wR. Fig. 3 (Ist bars only) suds Gut a we a 12why, FY ity. Fig 3 times) Ble ‘cma Bi 4 | 3" 2.Seeaddaional rcs (Gre Los) ‘prved with pain You will find them un der shad ow, — emt ing shame. eo e BRD Fe 4(2times) a Pend Rhy. Fe 4) Nee : theyll ev - er know. An- gels of the (ive ne. shame.) Els Fs os cs ls (ou may not) En = i= ties pase inthe night Guardians and the reap - ers ahh he wil Ry. Figs. 3 & 4 (both It bars only) fs os cs is pst y i] — wo ive shall vi Mares of hope ride through their ovat shal live) by. FL (Gt. 1D 132ad time Gur It substitute Rhy il? is cs os 2 em aS : . pep ep es op fe & = ———— 5 SS reams Did ing Heht n= wak - amt aemep + ing dem ieee ener teeters es em J J © eee te (ia =$ =e ee jo i aeemannee oa (Gut, (Gre Wout) “Pay only lowen role of chord when PML indented (Brough). wR. Fie? ne wo ais Fs cs a wa Tbe = lew in you 14And es wR. Fig. 2 (lt S bars only) sc cs bs cs bs ig 3 ne play entre ry mem = ber youn nd time 19 Coda cs Nc @ Ds [epee Gus. fei 2 help le child with-ovt— a mame, with broken wings — Catch me mal ling 4 a a J 4 2 2S 7 J J 7 Tm # quer = Hom wih oan we Who are you that takes my Mee 4 a 4 Ogee ee) ee) ° way from me? Un - veil the bound ‘ies of the ‘lack — Halftime feet cs Bs ond bs fs es es ay A, Rhy: Fig. 5 (Gtrs, IT & TV) : : A (end Rhy. Fig. 5) 7 = 1 4 iN ——_— z 7 Te ime me Ed ——— S = 4 + 151 would re - main your name, ae And when 1 called = out fs ts cs bs coud —~ tom bsp feat black, to wit mons the pin. — bs 5 es ars - ppp ie * SS = é = ——S = een epee = ym jaa Guise SRR se ime os bs cuz 16bs E SS = 7 rs e oto —t0- a = — i 7 oe cs Faster J = 192 OY Maw 9. — a ‘Rhy. Fils (Gus WIV) (cont. in sashes) Wwgen is mites oY css RST J 2 So SD ST TI oo a An > gel in white, you bave we fied Oi _ Frayne errr AAARARAAAAARLAL (Gt. Vout) ee os" a ee ee ee eee hrs of. 2 so ae wit es and bury then You Oy sts : (ond Ry Fi 6 eee Z7 72 TIS 5 2 FSS — wak bend in band wih eer wR ~ ci, you oven psy 5 SD To) Se TT ce the weak and the lame — wih. Fig. 6 PS Bs sys sv —, — S Fs Bs pss ps¥ ‘te seal, theae DS al Coda - : ao eg Pala ey ee mi ee ero me pr ee ET Tees (rum ay (was 3 ars of Rhy. Fig. 2) bs Biss ei sve my wil me Have you for got ten me?— (an Rhy. Fig 2 (last 3 bats only) bs Bhs Fs Fs cs als cs J) td) = An > ewer Have you for + gotten me?— ais cs b eee) d & 7 pecs = my a Have you for got = en 7 ans ewer "mej ‘red n wiRy. Fd Notin strc time ras Bas wis est cs im bse = om 3 We — ed “Deititioa Rhy. Fa (GV “ : (cont. in slashes) Additonal Lyries 2. Pace the hallway, blindman, Fora million miles of sar his mind has seen. ‘Think you ma, he lives in darkness, We're the dark: he asen the ight of dream, Karen, sho been asleep forever now she hears me; she has 3 much 10 say ‘The machine, it sparks her eggshell mind, ‘Avent streanis (rom her face into my hand to my heart. (To Chorus) 19Silent Cries Words and Music by Jim Matheos, Frank Aresti Joe DiBiase, Ray Balderrama and Steve Zimmerman @=£b Q-ch Oras O-05 O-0O-8 Fast Rock J = 200 (Hi hat) Cooma ©1988 Bip Music (SM/Boady Sku MscPyntmi Mies ‘Rdritre by Su Mae ‘Th Arangument Copy © 1806 Bug Mus./Sio00y Ska MusPaehytic Mint 20 Intratonal Copan Secured Arig PasoBorn to an air of ape — fn if- rence shapes a fag Riff A (Git. 11) mf Rhy Fig 1(Gt. 0) =f “cog verse bas play pedal > Fo Ne pss oss gs Fis Gs Questions form aaNe. bs Pls os Es FIs os (end Rist A) (end Rhy. Fig) Chorus NCIS) Si = ent ries, be = na ue ow og (end Rutt) Ru (Gus. 141 oC wiRite —~ eas re = sides child who ean = mot speak Si = tent 22.Double time feet ine end double tine fel) Neurts) (ns “ : a (Sabana (eotnito) caer Gus.1@ 01 Gus. 1&1 Refer wbomh gus Gtr indented Wel ofsaberin TAB 2nd Verse why Pig 1 REA, “Fin EB Fim Years find eed eee eee whose ques tons flow 100 deep eet artae | Covered in = shroud. of si = fonce, SiR cues) bic asset eis os__Fis es Fis os Revels) watching the world = go. by Si tem ris hind out eam eget der child who can not speak Double time feet wine tims) a (nd doe ine fs) 23Swi. Fi? (8 times) BISASNG USNC. AS BIS ASNC. as on 3 ree ——————— = i ‘aS BK AS NG, GS BS Be AS NG GSNG ASB AS NG GS BS pe ve loco ’ wit. Fig? cin is BS Ne os "ne TAT she > C ia to00 24Hs why. Flt = BisegeAg ee ne! os Ne. P fe 25as ps As NG. os newts, oN ‘Goat on upper sty ai 1 Riff D (Gtrs.1 10) (Gis. 11 1V out) eee tt st loco (end Rift D) 26Bridge Rhy. Fig 3 An Bm > (cod Rhy. Fig.3) WR. Fig. 33 mes) towards the a tune yeas. sea sone tye heed o pas i hie we au wiRittD (vs times) an Bm > NCES) _—_—.-€£-[-MWVY-—X tee ———————— —= row. fa tear. 27with Fi Gs Tempo (J =92) ord Ver SORRhy Fig. 1& Rill A (both 54 baes only) Fim — = Ques-tions— un = an swered- re = main, a= lone theymourn a frag os Chora SRE (¥5 mes) > News) —— ite mind Si-lent ries, — bbe = hind ie - Ness eyes — —~ —_——————,— lies a child who can - not speak. Sis ent eres, — wit en ~—— 3 sistent rie, Rhy. Fl2 (Ges. 8 11) RATE ( Gus Lae) 28Through Different Eyes Words and Music by ‘Jim Matheos Freely (J = 112) Bast tm Gtransuboy Ensiaate) tm Imo Geet oe Sone enna mf dist tone Ry. Fig. (Gis. 1 11) fom 1 sc ring throughout) ‘etn one wichorat wisRhy Fig times) Boss ct tetashs) “Py wig variations a 7 Eastin tm Bre chm . Emre 2 chm ao r eel hea) aa Copia © 199 EM wg Songs Ful Vote Re and Manos Mase Ts a capt © Yo05 Eka Wg songs el Vane aca Mos "*ematna’ Coovem Sacre A fight Pecaves Uees by Person 29wehy Fig 1 (Ist bars only) Baus ctm Gtmaaibo) Emajtino3ed) Bs . at ——, tt Faster J = 144 cts opsict Ne (Drum st Rf A (Gee 11) = Pi Pa if din. tone Gus1en Rhy Fig.2(Gt IV) (Gres. 1 tou “ARE FRAGT) cA dist. tone — ———— “Tough hong, whenever RF 2 ppd. he ame yn fue ‘Notes sgh of ashes played by bss (vouphout) cis sich ASE ts Ne chs Ase Gls Ne (end Rutt A) Pi (end Rhy. Fig-2) 30Hilt time feet Tetang Versee wor? ESE Sidiatnat ies" Roby. Fig. 3A (te 1) Mf. ex ring (throughout) Rhy. Fig. 3 (Gtr) Mf sing (hroughous) “SH fingering Ths ose played wiimgerip LH index linger (ot Barred) chr amit ee re = sound. (cod Rhy. Fig 3) (end Rhy. Fit 3) (Gres. 1 &1V 08) inetd To aaah in TAB, 31why Figs 3.83 pain _ rs ¢e === b Look for ‘mem ries toe re a ee =a fenttarine te SE wna 7 aac Bs Ghar — = = = Ray. Fig. 4A (Gus. 1811) leering hroughous Late G } (let ring) (Gus. v & Viow) 32Taek (cod Rhy Fig 4A) (end Rhy: Fig 4) wR, Figs. 484A cts Bs as rs Bs ct Aso - (Chang = ing minds — oo and you fr “S/sRhy Fig. 2. RAPA (botb2 umes) cist Ne. cs Bsc NG cts sict — cami go ack ‘Gar it abate Fl ase cts Neos pct NC. cts sect ase Is NC ots Ne. cs es s Es Bs ch? — cam ge back — 1 stn ase Ty or age > To Coda Asmar tse Neots es aso ae = Chang ing beans. from sor to 33(Gur 1& How) Ne a sh ae ES Chm — will hide the past Guy ‘wiRthy. Bg. 2 (Gees. 11 1V) (4 times) cis psci NC ots Ne. asict ase cts Tap WRC mde ger Ghroughowy wR (Gite Veont in 3) CS ase Gls NC GM Pa, BCH (Gr, Vou)Ne cts sich ASE ots Ne. Fpihwaananan sla cts Bach NG. cts sict Aste ts Ne. Half ime feel Badge Ghowasibo) Asust Fhevsust Gtsaaibo Gur ra *lerring (roughou) “Let open sg Fng trough bas Ge, Vids tof sabes in TAB, 36DS. (take 2nd ending) al Coda (end hall time feel vu eed (tnd bar of Rhy. Fig. 4A) with. FUL es = as cls ASE, ist » ‘Rhy. Fl (Gus. 1&1)Begin fae ‘ni Fig. 4&4 (both? times) cts Es “Through ais trent oa we keep — Bs chat cist Ne cts es as Bs atte tie Chang ing minds — takes way Fadeout © back — and you. “Additional Lyries ‘And staring into ageless eves ‘hat shared secrets too dark for ight. ‘We're searching for old bonds in acs ‘That ie forever out of sight: (70 Chorus) 37At Fates Hands Words and Music by Jim Matheos, Frank Aresti and Joe DiBiasé Stowiy J =88 Ne. oRby. Fig. 1 (Gt) mp wingers Vis & eco gi for ne aout git (al dole ba oy) Gt, ‘Piano & acous, gir ot for one aco pr (tll double barony)(end Rhy. Fi. 1) “Gis indsted oe of sates in TAB TspBandiny Dm as cmb Dm © cn Rhy. Fig. 20°61 1) Rhy. Fig 2A Gtr 1) (cod Rhy. Fig.2) (ond Rhy Fig. 24) help = eas, Cond Ry. Fig 3) a ear pee | erring one sim ne AK (end Rhy. Fig 3) a Ss Rhy. Fg. 34,thy Figs. 3 & 3A (both 2 times) Dn tls ia the time = es uth of the wit = tem wd ‘Trapped by the temp ot of ovr st ef call amt bo hoa. Rhy ig 4 (G11) (end Rhy. Fig) erring sim (nd Rhy Fig 4A) gS hy: Fig 4A (Gt tt) a. Hetp = toss ss we sand = midst the posh of — thought - less Rhy Fi. 5 (ond Rhy. i. 5) Rhy. Fig. 5A, awhy Figs. 2.4 20 Dan As cmb Dm © cA om As Bh Dm © oa hands why, Figs 34 3A (both 3 ies) We me a with = out ee tion in aoe ing — storm on — calm sek Cling ~ ing wiRthy. Figs ¢ 44, © Dm © po a tion to stem the tide of des oy. why Figs $ 5A, Cai? 8m art mada hue? — of mt = er Help ~ ess — we fall be = neath the crush ‘wiRhy. Fig. 2A, Gee 1 as cm bm © on Dm Gis 11 (Gu. 1& How) Faster J= 100 News, ‘Gte IIT (lean elec) 42Half ime feet Pad) NCGS) Grit TEP alend News) letring (end Rist A) 43‘WRB ( times) News, (end RittB) leering ova Gavwit (2 times) News) . i oo AQAA pu ues Ro iit A 2 ies) Nets) (Gt. Vout) Barc (Gin 48,Fs) Ne, a Gulv : Pr (nd Rit) RitED (Ot. 19) Wit D (Gu MN) (times) Ne Giev 46.(Qo tine Git IL cont. slashes) Ne Grout atv cts cs FAs (contin notation) Grin ZZ 4 2 2 2 4 “Pay only lowest note chord when PM. sindiented (nex 4b). and time Bs His “Play stimes NC. on JOO Seater ey Pa Pa Gus. & Iv Gu. wR D (Ge) (tes) Gtev Ne. a7Ne (Gre, V out) sGiv 4 Gus. tv Kb at forte (lend) ne (Gis. Ley) 4849ta neem ee yy anna 50‘Gir gr Aan AnnnAnnnr = = semi-harm, fv Both gts. (Both grout) Prony “Both pes pay rae TAB numbers. ne. Gites, tiv 81shibs) Eat Bhs) Guy a “a Ry. Fig. 6 (Gee HD) (nd Rhy. Fig 6) Gus. aN Ne. (cod Rit) ina his) Esuss wiRh, Fig. 6 one a 82renee (Gt. 1V cont wins € (Or wemeiy — hdles Gte IV 7 ” R (cont. in notation) ov > 7 bb cece (cont. in notation) (or 1V cont. cn Gtr na iv iralahesy 5 Bs (com, notation) (Gie1Veomt Gre [o Gre may Sin WJ aT ? 53Nothing Left To Say Words and Music by “tim Mateos ots Fig, Ema i “Moderately slow Rock J =112 Ne Iniro SSuen Play times Ne. wy, HH Copy © 1969 EN gin Songs nc, Ful Vaan ae and Manone Mase "A gs Conse as Aaa bye gn Sg ne "his ArangementCopmeht 6 1a06 Ee Yrgn Senge he, Fal Vou esa Maho RAnic 54 ‘rratonal Cope Sars Ags Flesaved Uses by Pemisaonrad, bend “Play ate onl Dd ime TactPMU PMH PM. PM (G1 tH ou) ‘uring repeat 56Slower J =100 ‘wiRhy, Fig. 1 (8 times) Gts FHntoas) ats Gee Flats) emp wingers at ots FAK) ots PAK) *Gradealy ve ofall vo ‘wire aces techoras (tring "Play wagertp of LH. index finger (aot bated). 87“% ts FUAK(ass4) ots FUAKas4) eee ee Bh “we Fg Ge) Tar tbh ine ee dc anh Ca Tocoda ots Flats) ots Fats) * : oF pete | A a st Verse will Dimsusz Binajsust Diisuss(adale) ches 1 remem fer the end - lest tong - log, that called in = side of me from Rhy. Fig. 2 (Gus. 1) ering (broughous) w Fit (Gur 1) : (Gre. ous)Dimnsus2 Bingisust Dfmsustadals) chno tree (end Rhy. Fig 2) Chorus ‘wiRy. Fig 3 (8 times) Gis FHIAK(agas) ats FUAKasas) Noth = Rift A (Gtr) ots FAtada) ots FUAKGas4) (end Riff A) Rhy Fig. 3 (Gus. 11D) letringAreas? ots os Pritt os ‘Rift (Gu. Im) (cod Rift) et ring ot let ringot —= iy FL (Gurs. 1 11) (end Rhy il 1) & tetring set rng ot aaa vene Sin Be 2 Fong Dmwued Briss can faint = 4 leering Dimsustiadae) cto Dire Bmasesee oT 7m ‘Mute @ whop of LH. index finger 60Chorus ‘WARY Fig 3 (4 times) & RITA, Diesusstadalsy ctms ats Flratiaasey ots ing tet Sastre FUAKadas) ats FUAKaaas) ats FUAKaas) ~~, S 4Qayee= when the shila finds say. why LL & Ru B w/Rhy Fl & Rift B Gouviast2 bars only) DS. al Coda ‘Ama? Gt os Fjrrttt 66 Frail x wz _ Slightly faster J = 104 on Gus. Rhy. ots Fists Gt ~ Fas Coda Se Ga) aos 4 em A (Ot 1 out) Rhy. Fig. 4 (Ge At) Cnasine “Dic we sem? HS wt Res 2nd ime Gt out) Goarny ols Bs ots ens Ow ts AF FEA) om : puis (cotton es.) 1 Base piaye — a — WP = 6The pride and the drive hat sare ed the Rutt aaa (ond RCC) Gus 10 ee Gr 1 oat ta eft flash in TAB, wiRiEEC. times) oo turned in time to an endless ob- ses = sion - Caught ia a vi-clous cr- le A of com = pul sion,— possessed by the goal and the posses = sion. why, it2 swikhy Figs 4 & 4A (both 2 times) uw pate eg Fis ats ct emai? Fis Ou wiRietC(4 times) ots Fists Gt emg? Fs Ne. Desires bind the truth 40 all. se-cre-cy. But be = hind the. aps pi - Tt Tee a Wife de-vot-ed to swiRby. Fil ns blind am ~ b4- ton and a mor-tal man search ing. for @- te nitE Dim Be Rift D (Ger) the de Die 8 tm the wall that gave Riff D1 (Gte.11) eB Dim Ft gotten Dim 8 by the day (end Ritt D) (end Ritt D1) 63Guitar sto wy pS ats 5 FIs Gts Eris ES ots Ets nH 4 i ae ge mn we, feneeneeteee FE eet eile Sorte ee LJss rue Rhy. Fig 5 (Gus. 181) 64ts E Fis : Bs ats Bs Full a ie Ra Gis EAS = Gis ES peel ee career 6s‘WIR D & D4 (both 1st 4 bare only) (both 2 times) elas # z Din ® ten hind of a child who found it way, — (Gee owe) Gir. 1 substitute Rhy. Fil E Dim Ft E btm 8 hm oy theres a cold reli an tion that our deeds die with the day. wRiffs D & DI E Dim Ht E Dim 8 tm eS ‘And be hind the dis - guise of a man with scams, 68Dim Ht e Dim B theres a child scream - ing — with - fet to say (cont. in slashes) Gun —3—— Fis ats “Gt maj? ts ee Gu. it Ip) 28 . let ring-nnt Let ring:nnmnnnt grad re ‘Slower J wiRhhy. Fig, 1 (4 times) ots rata aoe. sony oe Soe oe oS e7UAH as) ats Patan Outro with, Fig. 1 (34 times) ots At) ts Par actyeed by — (Gir Vou) PHUAttaae) ts FAtadas) ots im hi = Bi > tions and ins dee ck som ‘What was wiRby ils PUAN 804) ts FUAtadas) NCGtm once 8 release eee 2 pris - on red. rit Rhy. Fill 4 (Gus. 1)Eleventh Hour Words and Music by ‘Jim Matheos. Ebs Free time ‘Gm F Gm F “Sten zt.) Moderately slow J = 84 wikthy Fig. 1 (4 times a (Gur 104) Sm ETE) cee eee RICA (Gtr D) (cad Riff A) ‘Backwards git i forge (pet 3 bas onl). Swell long notes wth vol Knob oma Backwards ade hy. Fig 1 (Gte Ht) Cov © 191 EM vega Songs no, Fu Vouume Musi ana Mans Musi Ppt ora an are by eM Vg Sarg Ts rangement Copytpt © 1996 EM vig Gangs he Fl Vue ase areas Mase Intsratena Conyent Secirod Al igs Reserved. Used by Pomason 69Ry Fi 1 (ime know as get ing we bu feet need, — ‘Some where ‘2 long the way. we ex - changed our dreams a wdelay leering a. Set delay dime equal to one bent (7d mils ot 1= Bt) wih S repeats 70Fs Ne. Fs Gn 7 tle ring (@od time Gre II out) 3 wiRhy Fig. (times) Sm Fs Ne. or hide — the pain that Wesson has hed ee (Gre Lous) 3 (nd time delay off) ‘erring Uering weet a 7 WR. Fg. 1 (2s) poe “Woot e ——————.. SF wii. ”Faster J = 125 os Det Rhy. Fig. 2(Gte IV) SS erring fevving “Gir pate Fal? Itharaf DS. (Dow' pay Fil Zon opens) ia 2nd tie WiFi 72 (Gna Rhy Fe 3) fering Als played fad tine on DS, (Gre 100) Fi2 Gur.)wiRhy. Fig, 2% times) os Dnt Gm S 7 x = so hard we m= der = sand. a= 8 to Ite cS an > der > Stand the facts that you~ ig - sore? the wnt > img thats On the walls? Gs Dat, Gn Els Fs ~~ oS Ce 50 red of try = ing, ad ee ‘watch time slip— through our— hands, Gs Dat Gm —— Se — der were deat to. =“ de mands Halftime fest Bis rs Abad? ENG Fon Rhy Fie 3 fang ring ing (ead Rhy Fig. 3) letting nent eb ring ‘oe 73wiRhy. Fig. 3 Abed? EWG Fm bb ‘Ang oth = ings eas y— When a (nd alt time feet) awe Bhnsus2 Ne Db Bb Noth ings eas yan Thee - fev oath ho i more, ar ‘alls. (Wocaiacet on repeat Geet 74ain it epcay Cort th ime to Coda DS. (with repeats) al Coda e 8 Half time feet Coda a (Gt. 104) FA (Gu. ows) Rhy. Fig. 4 75mn eh Bho cms Ne. (end Rhy. Fig. 4) lecring ‘wiRthy. Fig 4 (Ist S bars only) Binds? FIA Gm Bb And noth = ings eas a why. 1 wiRhy. Fig 4 Bip Crue Bhat FA C—O oh, Gm Eb Bh cous Ne on ‘WIRhy Fig. 4 (1st 5 bars only) Bhadd HA Gm eb eee the © + lev nth Rhy. Fill (Gte.1V) 76Bhp Conus? Ne. cy F — (odhalftime feet) ho - ur cally thee = lev = enth ho = ur (Gtr 1V out) 1 Wwikhy Fig. 1 (4 times) Ratt A, swiRhy Fig. (3 times) Gm Gm : call 1 know ies get ting. te, but 1 fet 1 need “as Bis F NCW) ou D WS A Ger. lecring 7 7 ‘Swall whal Knob 7Point Of View Words and Music by ‘dim Mateos pe Met cual eo te co Ftgos foe ft ‘Moderate Rock hy. Fig, 1(Gtrs.1& 1) Blu Dsus Ds = ‘Dmsi2 Ds (nd Ray. Fig. 1) 2 See additional pres iy. Fig. 24 (Gee 1) Rhy. Fig. 2 (Gtr) ‘Cony © 190% EM Vin Sarge, Ful Volare Musi and Matos Muse ‘a Fighs Gonates and sarnces by Et Ug Song e ‘he Aranganent Copyght © 1988 EM Veg Songs ne Ful Vokrrs Maso ad Mathoos Mic racnstora Copygtt Secured Au Fag Rasen’ Used by Pemsbn(ca Ry. Fig.24) (end Ry. Fig. 2) peo is ‘bina : ing me.Pre-chocus and. — they: Rhy Fig. 3(Gtrs. 1&1) (end Rhy. Fig.) 1st times wifthy. Fig 1 Stine wlth. Fi 0503 ers only) (2 tes) Fill SB pmw2 Ds BD Dmsuz NC Dest Ds Bhuo oe rn = ing fae ae ce 80Dsus? bs YD mwa NC Dm bs cnet — wih you © the point where oor ho = fl ons — Daas bs ako Drews? Ne. Ds? bs Bh de oe My espn kn * Sed met Coda a bs ry Dew xe 8 af ee £ nar - > Es = —s—2 just 3 point ot vem wed yor ph on Dmsus2 ‘Ds, couse |! a _ ithe oh — side on en side, Halftime feel Bridge als bs Gums . ° a Where als 81(end halftime fee) Guitar solo ce cued nthD DS " : 7 fis. | td a pot of view Griv (oat. ia slashes) pes fs Feud fs Bho bs (Grr V ou) Ry. Fa Bio bs Cw? Bho bs ‘hy. Fil (Gus. 1.811)Bho Ds Fs Post Fs Bos ad 4. 2 J 2. a> Grtv Dy G-Veea 4. ae is a es Sia Fa 12 (Gite. Vout) Fy 0 1V indcted 0 ef of asesin TAB eats. Dm a ty pte ete ete Le 2131s EH GvDS. el Code Gv (contin Ful) veda (nbars 7&8 of Rhy. Fig 1) why. Fig (158 bars ony) (2 times) Drs bs cout meus? bs c M0 Dmsd we ae whe as = =~ o—t & = j= = & SEE 3 LI Par al tet fives run = ning par oo Id Proust ps Bho wt Ne mma ws cout with you © the point where our ho Dmsied bs ao Des? Ne hoe ane, a vide My ee ee Dmw2 DS Bhd Dsus? bs a inn 2 poi of view, and ‘Repeat and fade Bo Dinsue2 Ne D2 bs oust mney your pes st tion is the oth a ‘Additional Lyrics 2. Caught up in our convictions, we forget. How ourBenses distor things we se Wocant aceept our differences, But we can alvays disagree (70 Prechoris) 84Outside Looking In Words and Music by ‘Jim Matheos. Moderate Rock J = 132 Chnsus2 ses Chr Intro Gtr. Rhy. Fig 1 Get Noes to ight of lashes played by bas (hroughou. wiRhy, Fig. 1 Chmsuse Bsus Bsict asict com oem fie zm (end Rhy Fie 1) *Gi india 0 ight of ash In TAB, Cony © 1904 Mateos Ms te “Admrctoreby og Me ‘ns rangement Congr © 106 Meteo Music ‘esol Copan Sacco AS Fags Resved 85cts (cont. in notation) Co f » choauer Em AS (Ge mt ows) vn (Gtr How) — trem bar Revere dey 1st, 2nd, 3rd Verses gw Need, Avast cts Newcts) Fy vent, pa ked and cold, — out > side Look - 1 star ine 2h Si eddidonal Brie Geet E = For neat 8 bars only sath bas plays CF pada « Nets, Asasts cts SN this togPre-chorus Nevcts) 6 Gruss His IVA Fis FIsich FAs to face the fear dag ere coe ces ne casera FIA Fis FECL FIs ES ps ess FIA. Fis Fisicl Fis A 4 A, 2 - 1. And_ the man— in the mir ror looks —— 25 Steadditonal ies Fs isi Ftse Fc Fie s Bs Chorus ‘Stith. Chea? 1-1 (times) Chen Out side— look = ing in Get-ting 0 ver my— fears and un der omy akin. Tear - ing my - se part— 7Baus hmsue es as =a — to feel whole a= gain. Out side ook = ing i delay of) wihy Fig. 1 (times) Bouse Clinsuse ss ae in ting 0 Chins? Esa AS Chee ing my sel ver my fea and un = der mny akin. Ese? Chess To Coda ESB as — to feel whole a= gain Outside took = ing in Guitar solo is Flins? Dews2 Gtr Ue ea eres ee a — let ringFis Bs 10. FIs Fis? Dus? Fis Es cts ro aa STAM pice “Tap harmonic w/RtM. finger ui fret indicated in pareathescs 89Ha ime feet Bridge: wine Ne. ‘Too man = y wn two (Gre Hox) cts Tate to tum— back 1 ean change course be = fore the: end. Geet (end Rutt A) winist A ‘But when all ‘ssid and done,— NT eal iy want cts DS. (ake 2nd ending) al Coda oe 8 Gu, (end alt vime feed) a+ xin, a+ gain) star Sng! star = “ing ‘chance —— wan again, “(a> gain, Delay repent Burs (Gwe I) A P Play 13 times 90Coda (wast bar of Rhy Fig. 1) oe a) as sets owt Out- side look ‘For next Oa bas, ymih bas peda Cl soAsbefor, sorta Ger (ont instshes) 6. vwfymth bass ce Additionat Lyries 3. Staring silent, naked and cold, 2. Running tired, tortured and torn, Guise oki uid ook a ea ‘Tolncal the wounds within, Fora place vo begin, 2nd Pre-chorus: Sr Pre-chorus: ‘And the man in the mirror looks out ‘And the man in the miror reaches out ‘othe man within. (To Chorus) ‘AShe reaches in. (To Chorus) 1Face The Fear Words and Music by “Jn Mateos ce as Moderate Rock J = 144 Brriaede) sFhmvcl Ino Rhy. Fig. 1 (Gt. Serving dc tone ‘as pipe Ch a nm (cod Rhy. Fig 1) fst, 2nd Verses Rhy Fig? erring clean tone wchonus ‘Throuphou verses chord names dered om bo Coy © 1994 Mane Musi EM ic snms Aamimed Bae, 92 Iertona Cop Sones AB hs sareAnt Fes Flava Fh Fle (end Rhy. Fig. 2) evring why. Fi, 26 times) Bm Ast FinvG Fv Fivch Flav oN My es we ten a winds lonsd— tight sr your hearts closed — tight. — (end RUA) wiki A Bm Ast FhvG = FAnvA Fix T be Weve I know — rood tot — You be | Hewe= you know Rives fo tet a Bm Asst Flv Ftv Flew think Ym right. — Know you mighi= And 1 know Fm— wrong ‘And you think you "wont———— bat you 938 Ry. Fig. 3 (Gtr) (end Rhy Fe 3) os ts As cane) ia 2 fia to face my ate fe sl fre te face your fer {ond Rhy. Fig. 3)New aS NCaom Face the fear | tye. (Ger 1 () (Gre our) itt B (Gt) “Dis. one as NCUm 95,Deseret | aa as News) FE on. (2nd time Geet out * (ond Roy. Fie) erring Gre (Ge tirow) Geet (ond Rit B) wy. Fg. Brose Flt > fmaud gyiarww ‘s : | ss % . ee —— iy. Fes Om bs ase as as as c es 96WwiRhy Fig 3, a pe mel él i Pre-chorus ‘Geer sent bars, after why Figs. 3.8 3, ‘shit Steir oue & te 6 ta gape Bae Youre aot here Aad Se hide a fone Bo. eon at ia (ott eee car — Chorus why Fig 4 Rit B NCbm) AS__NC(Bm AS NCWBm) a 97a x ‘Subsite Rhy. Fal AS NCaom) os) the fear. sorts Gut Hill time feet Saree ca Rhy Fig (ond Rhy. Fig. 6) WR. Big. 6 times) sGent — “SForneat Sars onl Ow Tso gia Toro hy By Gen Boa) 98Gey ut a Faden wiv kn, opto by. Fig 7 Gie 1) (cad Ry. Fig. 7) why. Fig. 7 times) SS to- gether anda = tone, (To getn=e) fae —— a wore a fad Staats of tet = ting go. "Rhy Fala (Ger) ~ 99Monument Words and Music by ‘dim Matheos. ‘Moderate Rock J =152 os el (Drums & bas) g Gel Sf To sound cord slap sigs wR. inde nger approx over 6h et (nxt 2 baton, ‘taspays Cl Chase Bow The 2 blind de = chmaaa Baw (6nd Rhy Fig.) Cony © 1994 Mathoos Muse estar by Big tase ‘as Arangaront Copyrgn © 1996 Mateos Mie 100 ‘erate Cnyngr Sacred MI eps Pesarowiry. Fi Chadd Bow chads feat, Some thing to hold, some-thing to keep, mon =e ment pel *0tr Allow notes fom ast bar of Ry. Fig. ring tough next 2 bar Chmeue2 Rhy. Fig 2(Gtr 1) (end Rhy. Fig. 2) tf ‘eiRiby Figs 1 (2 times) & 2 (4 times) Chats nwa a Thee wit ten pate, theres 8 (Theres a wrt ten _ theres 8 3.4. See addtional yi a ctmadse Bousd Theresa search for. worms = thing to sy, Choaat2 os aus Some thing to share, some ing chmaaa Best speak, 2 mon ment to con = vey 101102 a” amp Ray. Fig. 3 (GteD) lf A (Gtr.Await 86 Ne end Rit A) WiRthy Fig, 34 RIF A (both Ist 7 ars only) cts Anal? ‘mai? 85 Sed time 10 Coda | p—_* ——— = — is it ° i Tne Chat ‘AmaICE i just_an ob sion?) “Stops before (nen ba on) 108just an ob = ses - sion?) a Guitar sto SREB ies) SSS SS SS SSE Sey irom pick a ——— eee RTE (Gre 104Name te me a o Gut panierscusce fyi ig i oa Rhy. Fig. 4G) e ee : a) : eo) 3 d 3 on : (end Rhy. Fg. 4) WR. Figs. 4 40, oa ms 4 7, om 106(cod hat time feet) > eu (cont in Fill) ye Re oo w/RAEEC (times) & FL Reicts) Gtr. V(acous) Rincon) 511 (Gee) 107108Hatt ime feet IwiRhy Page 4 & 4A (both 2 times) D Chet > el wo , Eom (end ha in fet ctor mach Sa S33 Slap ig abla pon? bas on) Chrnus2 2nd time DS. al Coda 1090 (Gre thom) ‘tapas os etre Additional Lyrics 3. Theres a photograph, there a frame. ‘Theres Aine & momento conine Xtmonuntent to eishrine (18 Chor) 2nd Chorus: ‘Sit performance sit expression? [st passion or just aprolession? ion i confesion? Is ita passion or just an obsession, 4. There¥ an empty room, there’ a blank page. ‘Theres a picture let ncomplate. PE ‘Something lost, something remains, ‘Xmonument to defeat (ToChorus)4 ® | ( ation oking In _ a tate hs ee i 4 - sexe oY > be cae ae P . -