Final Fantasy VII (1997) – The Nightmare‘s Beginning Nobuo Uematsu ++Fógra++: Since I completed the tablature below, I've noticed that there is a way of getting the tab 100% note-perfect. However, it is very difficult to play - only just playable at a stretch. It's up to you whether you want to use this method or not, but what you do is you tune the 2nd string 2 semitones instead of one, so B goes to A, not Bb. Then, just add one to every number I have on the 2nd string, and the piece will have the exact same notes as the original version. This piece is also known as Vincent’s Theme and can be heard in the basement of the ShinRa Mansion in Nibelheim. Nobuo Uematsu, the famous Japanese composer, created it and adapted it for a harpsichord – not surprisingly, it is difficult to play on guitar. Using standard tuning, it is nearly impossible to play without subtracting from the quality (eg. You would have to strike the same string twice in quick succession, which in classical guitar, will disrupt the harmony of the notes). However, if you tune the second string from B to Bb and the 3rd string from G to Gb, the piece can be played much more easily, and without compromising the harmonies of the notes. This piece is about Vincent Valentine’s recurring nightmares – negativity, repetitiveness and dissonance abound. For notes on playing, see the paragraphs after the piece. Part 1: Key Signature: C Major Tempo: 125 Beats Per Minute Time Signature: 9/8 Part 2: Key Signature: D Major Tempo: 125 Beats Per Minute Time Signature: 9/8 Part 3 Key Signature: Ambiguous. We'll just say C Major for lack of a clear-cut key signature, Tempo: 125 Beats Per Minute Time Signature: 9/8 ====== Part 1 ====== E-|-----------1--------1--------|--3--------1--------1--------| Bb|-----3-----------3--------3--|--------3--------3--------3--| Gb|--------3-----3--------3-----|-----3--------3--------3-----| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|-----------1--------1--------|--3--------1--------1--------| Bb|-----2-----------2--------2--|--------2--------2--------2--| Gb|--------3-----3--------3-----|-----3--------3--------3-----| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|-----------1--------1--------|--3--------1--------1--------| Bb|-----1-----------1--------1--|--------1--------1--------1--| Gb|--------3-----3--------3-----|-----3--------3--------3-----| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|-----------3--------1--------|--0--------1--------3--------| Bb|-----0-----------0--------0--|--------0--------0--------0--| Gb|--------3-----3--------3-----|-----3--------3--------3-----| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|-----------1--------1--------|--3--------1--------1--------| Bb|-----3-----------3--------3--|--------3--------3--------3--| Gb|--------3-----3--------3-----|-----3--------3--------3-----| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|-----------1--------1--------|--3--------1--------1--------| Bb|-----2-----------2--------2--|--------2--------2--------2--| Gb|--------3-----3--------3-----|-----3--------3--------3-----| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|-----------1--------1--------|--3--------1--------1--------| Bb|-----1-----------1--------1--|--------1--------1--------1--| Gb|--------3-----3--------3-----|-----3--------3--------3-----| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|--0--------------------------| Bb|--0--------------------------| Gb|--0--------------------------| D-|--2--------------------------| A-|--3--------------------------| E-|-----------------------------| +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ====== Part 2 ====== E-|-----------------------------|-----------------------------| Bb|-----------3--------3--------|-----------3--------3--------| Gb|--------6-----6--------6-----|--------5-----5--------5-----| D-|-----4-----------4--------4--|-----4-----------4--------4--| A-|--5--------------------------|--5--------------------------| E-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| Bb|-----------3--------3--------|-----------3--------3--------| Gb|--------4-----4--------4-----|--------5-----5--------5-----| D-|-----4-----------4--------4--|-----4-----------4--------4--| A-|--5--------------------------|--5--------------------------| E-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| Bb|-----------3--------3--------|-----------3--------3--------| Gb|--------6-----6--------6-----|--------5-----5--------5-----| D-|-----4-----------4--------4--|-----4-----------4--------4--| A-|--5--------------------------|--5--------------------------| E-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| Bb|-----------3--------3--------|-----------3--------3--------| Gb|--------4-----4--------4-----|--------5-----5--------5-----| D-|-----4-----------4--------4--|-----4-----------4--------4--| A-|--5--------------------------|--5--------------------------| E-|-----------------------------|-----------------------------| +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ====== Part 3 ====== E-|--5--------5--------5--------|--8--------6--------5--------| Bb|-----0--------0--------0-----|-----0--------0--------0-----| Gb|--------0--------0--------0--|--------0--------0--------0--| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| Technically, it should be A-A-Gb above, not A-Bb-Gb, but unfortunately, getting it completely correct isn't possible without making the piece significantly more awkward in its playability and delivery. If you are using the alternative method (2nd string as A), you do not have to increase the number on the 2nd string by one. E-|--3--------3--------3--------|--3--------3--------3--------| Bb|-----4--------4--------4-----|-----4--------4--------4-----| Gb|--------4--------4--------4--|--------4--------4--------4--| D-|--5--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|--3--------------------------| E-|--3--------3--------3--------|--6--------5--------3--------| Bb|-----3--------3--------3-----|-----6--------6--------6-----| Gb|--------4--------4--------4--|--------7--------7--------7--| D-|-----------------------------|-----------------------------| A-|--4--------------------------|--7--------------------------| E-|-----------------------------|-----------------------------| E-|--1--------1--------1--------|--1--------1--------1--------| Bb|-----4--------4--------4-----|-----4--------4--------4-----| Gb|--------3--------3--------3--|--------3--------3--------3--| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|--5--------5--------5--------|--8--------6--------5--------| Bb|-----0--------0--------0-----|-----0--------0--------0-----| Gb|--------0--------0--------0--|--------0--------0--------0--| D-|--0--------------------------|-----------------------------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| E-|--3--------3--------3--------|--6--------5--------3--------| Bb|-----4--------4--------4-----|-----7--------7--------7-----| Gb|--------4--------4--------4--|--------7--------7--------7--| D-|--0--------------------------|-----------------------------| A-|-----------------------------|--0--------------------------| E-|-----------------------------|-----------------------------| E-|--1--------1--------1--------|--1--------3--------4--------| Bb|--------0--------0--------3--|-----2p1------3--------4-----| Gb|-----3--------3--------0-----|-----------------4--------5--| D-|--0--------------------------|--0--------0--------2--------| A-|-----------------------------|-----------------------------| E-|-----------------------------|-----------------------------| The pull-off is there because the alternative (stretching your little finger to the 5th fret of the 3rd string) is unspeakably awkward. The pull-off is the best way to get the appropriate notes without cutting them short. If you are using the alternative method (2nd string as A), you can just use E-1, A-3, Gb-5. E-|--5--------5--------5--------|--5--------------------------| Bb|-----6--------6--------6-----|-----------------------------| Gb|--------7--------7--------7--|-----------------------------| D-|-----------------------------|-----------------------------| A-|--0--------------------------|-----------------------------| E-|-----------------------------|-----------------------------| There is no slowdown intended at the end – it is a repetitive piece that conveys a nightmare that never ends but merely goes around in circles; the end would need to be consistent with the circular motion of the piece. However, there is an alternative at the end, and that’s to raise the last note by an octave, so it’s played at the 17th fret instead of the 5th. Indeed, this is very problematic, so the easiest way to get the high note is to use a harmonic (I got the idea from CalebElijah, a fine guitarist). To do this, instead of plucking for the last note, keep your finger on the 5th fret of the first string and then move your first finger and place it on the 1st string right above the edge between the 17th and 18th frets. Then, hit the string with your thumb and lift the first finger to get a ringing sound. Harmonics are better demonstrated than described, so if what I said made no sense, then a video of someone playing a harmonic would probably be your best bet. The use of a harmonic would change the tone of the piece a bit, because it would conclude the nightmare and bring it to an end. To do this, slow down gradually when you get to the last 10 notes, and play the harmonic as if to say “Rest in Peace”. Finally, a Spanish guitar would be best to get a mysterious nightmare effect like that. It is merely a variation – use whichever you prefer (or use both, it’s up to you). If you want to add a little more peace and relief to the last 10 notes, work your way from striking the string from where you would normally strike it to striking it above the fret 12 frets from where you’re left hand is fretting. Strike the string where you would normally strike it for the first 3 notes, then move your hand halfway towards the 17th fret and strike the strings there, and then move your hand to the 17th fret and strike the next 3 notes, slowing down as you go. Finally, play the harmonic. When slowing down, I suggest that you gradually lengthen the pause between each note to maximize the effect. On the subject of where to strike each string: If you want to play it in the context of a recurring nightmare, keep the pace constant and strike the strings about 10cm from the end (if you strike a string in the middle, it will have a ringing quality to it; that’s why I advised striking to the 17th fret above. However, if you strike the string at one of its ends, the sound will be coarser and will have a “snap” to it). Playing the piece with too much of a “snap” can make the notes harder to discern, so I would recommend that you strike 10cm up to keep the coarseness and avoid too much snapping. If you have any questions, send me a PM and I'll get back to you as soon as possible. Jamie (Faoiseamh)