2112

Part 1

Part2

Background and Commentary

“2112,” released in 1976, is the band’s breakthrough piece. Although it’s based in part on Ayn Rand’s anti-collectivist novella Anthem, and contains echoes of George Orwell’s 1984 and Arthur C. Clarke’s 2001, Neil credits the genesis of his interest in science fiction to a less widely known author, Samuel R. Delany.

Fallen Syrinx. Graham Whieldon

Delany is the author of The Fall of the Towers, a science fiction epic, which Neil stumbled upon while in London and which influenced the writing of “2112” and “Cygnus X-1.” “In retrospect, how amazing I should come across that particular book, so poetic, richly imagined, and original, by that particular writer, who still ranks among the best in the genre, I think. . . . Similar to the way a few novels and plays were drilled into my head at the time without much seeming effect, or affect, later they would resonate in ways I could never have suspected.”—Neil in Traveling Music

“2112,” the 20-minute, side-long, 7-suite piece, follows an anonymous member of Megadon, who awakens to what’s missing in his world after discovering a guitar and teaching himself to make music. In his world, autonomous people whose creativity propel a society forward have been gone for a generation, replaced by a cadre of priests who maintain order and stability with the help of computers. The protagonist feels hopeless after he’s rebuffed in his effort to get the priests’ approval to make music a part of their world. He falls into a trancelike sleep, dreams of the society that used to be, only to awaken to stark hopelessness. He’s not the one to lead a revolution, and indeed he commits suicide. But the dream of restoring the world to one in which people thrive and grow isn’t extinguished. The elder generation is returning. The story has the character of a parable, and it is: of a music industry that sacrifices creativity to profit.—Rob Freedman, Rush Vault

“You know, that came from a different place, more from a place of defiance and anger that things were sort of going the way they were around us. So we were fighting back. There was a lot of pressure on us, from the record company and, to some degree, from management, to go back to our rock roots, make another Rush album. And we basically said, ‘You know what? That’s not what we’re about. . . . If we go down, we’re going to go down in flames.”‘—Alex in Contents Under Pressure

“‘2112’ is probably the most important thing we’ve ever written, because without that song, we probably would not have continued as a band.”—Geddy in Contents Under Pressure

“We started writing the song while on the road. We wrote on the road quite often in those days. ‘The Fountain of Lamneth,’ on Caress of Steel, was really our first full concept song, and ‘2112’ was an extension of it. That was a tough period for Rush, because Caress of Steel didn’t do that well commercially, but we were really happy with it and wanted to develop that style. Because there was so much negative feeling from the record company and our management was worried, we came back full force with ‘2112.’ There was a lot of passion and anger on that record. It was about one person standing up against everybody else. . . . I used the [Gibson] ES-335 and a Strat, which I borrowed for the session; I couldn’t afford one at the time. I used a Marshall 50-watt and the Fender Twin as well. I may have had a Hiwatt in the studio at that time, too, but I think it came a little later. My effects were a Maestro phase shifter and a good old Echoplex. There were a limited number of effects available back then. The Echoplex and wah-wah were staples in those days.”—Alex in a 1996 Guitar World interview

“By naming the [overseers] ‘priests,’ Peart captures the cult-like aspect of mass culture, since rock bands, movies, and television shows spawn cult followings, and by producing celebrities the industry tries to create ‘false gods.’ The priests’ culture factory is thus a temple, and the mass audience congregates (at their computer terminals and televisions) to worship their creations; they surrender their will to religosity and cede their creativity by proxy to the producers of mass culture. In 1976, Peart himsef made this connection to the culture industry: ‘I just re-read Ayn Rand’s [novels] for the first time in years, and I’m relating it to the music business. It deals with corruption of the spirit. . . . I like to feel that we’re doing out part to change that through our music.'”—Christopher McDonald, Rush, Rock Music, and the Middle Class

The iconography of the Red Star of the Solar Federation suggests the priests oversaw a totalitarian regime. When Geddy expresses the point of view of the priests, he sings “at a high pitch and at a fast-paced, heavy metal-style. The collectivist philosophy of the morally untouchable priests leaves no room for resistance. . . . The listener’s sympathy remains strongly with the young protagonist, who has no way to challenge the priests, and the song suite critiques their demotic rule through the amplified distortion of the lyric in the seventh track, ‘Grand Finale,’ in which the priestly order is reestablished. . . . Read through the filter of Rand’s philosophy, this story is a critique of a totalitarian, left-wing government in which noble Republican ideals are favourably contrasted, but where the music incorporates a paradox as its centerpiece: a tightly knit song played collectively by a three-piece band on electric guitar, bass and drums has as its symbol of freedom and creativity an acoustic guitar plucked gently by Alex Lifeson. . . . The ‘tentative and gentle’ strumming is distinct from the ‘forceful and determined’ individualism that Ayn Rand would promote as an embodiment of her philosophy of libertarian rationalism.”—Paul Hegarty and Martin Halliwell, Beyond and Before

“The number 12 is classically indicative of a cosmic order or salvation, the reason that it is the standard for the clock or the calendar.”—Robert Telleria, Merely Players

“21/12, or December 21, is the date of the winter solstice, the beginning of the lunar calendar.”—Songfacts

The day is also now informally known as International Rush Day.

Before it closed in 2009, the Audio-Visual Preservation Trust of Canada in 2006 chose 2112 as one of three audio recordings to be preserved as part of Canada’s artistic cultural heritage.

TechRepublic in October 2012 voted it the top science fiction album of all time.

The website PopMatters selected the piece as the 6th most important prog rock piece of all time (“In the Court of the Crimson King” by King Crimson is the first):

“Just over halfway into the decade, when many of the old guard progressive rock bands were out of ideas or on hiatus, Rush delivered one of the genre’s definitive anthems. ‘2112’ is a harder edged music combining the proficiency of their influences with an aggression that captured the actual urgency attending the sessions. This album sounded—and still sounds—at once familiar and forward-looking, putting Rush somewhere on the sonic spectrum in between Led Zeppelin’s adventurous, riff-laden workouts and Pink Floyd’s deliberate, almost chilly precision.

“The rock media, which had not paid Rush much attention, now took notice and generally found the Ayn Rand-inspired story line (the multi-track suite, filling up all of side one, updates Rand’s early novel Anthem and places the narrative in a dystopian future where music has been outlawed and long forgotten) unfashionably right-wing—an indictment the band found perplexing, and continues to be amused about. In these interviews, each member (particularly Peart, who wrote the lyrics and undoubtedly regrets his youthful shout-out, in the liner notes, to Rand’s ‘genius’) makes a convincing case that the inspiration had everything to do with artistic freedom and avoiding compromise, and less than a little to do with politics or social statements. Of course, plenty of pundits (then, now) find Rush—in general and prog rock in particular—pretentious, but the sentiment informing this particular album has more in common with the much celebrated punk rock ethos, with the added bonus that the band are actually quite capable musicians. 2112 remains the album that made possible what Rush would become, and it inspired both peers and pretenders to emulate their purpose and passion, if not their scarves and kimonos.”—Sean Murphy, PopMatters, May 2011

A 1976 issue of “The Defenders” comic book is based loosely on “2112,” with the Red Rajah seeking to turn New York City into a collectivist society ruled by him. The Red Rajah turns out to be Dr. Strange, who had been missing. The issue is dedicated to Neil, Geddy, and Alex.

Lyrics

“I lie awake, staring out at the bleakness of Megadon. City and sky become one, merging into a single plane, a vast sea of unbroken grey. The Twin Moons, just two pale orbs as they trace their way across the steely sky. I used to think I had a pretty good life here, just plugging into my machine for the day, then watching Templevision or reading a Temple Paper in the evening.

“My friend Jon always said it was nicer here than under the atmospheric domes of the Outer Planets. We have had peace since 2062, when the surviving planets were banded together under the Red Star of the Solar Federation. The less fortunate gave us a few new moons. I believed what I was told. I thought it was a good life, I thought I was happy. Then I found something that changed it all.”

Three “Overture” and “Temples of Syrinx” tribute versions.

[I. Overture]

And the meek shall inherit the earth

[II. Temples of Syrinx]

“The massive grey walls of the Temples rise from the heart of every Federation city. I have always been awed by them, to think that every single facet of every life is regulated and directed from within! Our books, our music, our work and play are all looked after by the benevolent wisdom of the priests.”

We’ve taken care of everything
The words you hear, the songs you sing
The pictures that give pleasure to your eyes
It’s one for all and all for one
We work together, common sons
Never need to wonder how or why

We are the Priests of the Temples of Syrinx
Our great computers fill the hallowed halls
We are the Priests, of the Temples of Syrinx
All the gifts of life are held within our walls

Look around at this world we’ve made
Equality our stock in trade
Come and join the Brotherhood of Man
Oh, what a nice, contented world
Let the banners be unfurled
Hold the Red Star proudly high in hand

We are the Priests of the Temples of Syrinx
Our great computers fill the hallowed halls
We are the Priests, of the Temples of Syrinx
All the gifts of life are held within our walls

[III. Discovery]

“Behind my beloved waterfall, in the little room that was hidden beneath the cave, I found it. I brushed away the dust of the years, and picked it up, holding it reverently in my hands. I had no idea what it might be, but it was beautiful.

“I learned to lay my fingers across the wires, and to turn the keys to make them sound differently. As I struck the wires with my other hand, I produced my first harmonious sounds and soon my own music! How different it could be from the music of the Temples! I can’t wait to tell the priests about it!”

What can this strange device be?
When I touch it, it gives forth a sound
It’s got wires that vibrate and give music
What can this thing be that I found?

See how it sings like a sad heart
And joyously screams out its pain
Sounds that build high like a mountain
Or notes that fall gently like rain

I can’t wait to share this new wonder
The people will all see its light
Let them all make their own music
The Priests praise my name on this night

[IV. Presentation]

“In the sudden silence as I finished playing, I looked up to a circle of grim,
expressionless faces. Father Brown rose to his feet, and his somnolent voice echoed throughout the silent Temple Hall.

“Instead of the grateful joy that I expected, they were words of quiet rejection!
Instead of praise, sullen dismissal. I watched in shock and horror as Father Brown ground my precious instrument to splinters beneath his feet.”

I know it’s most unusual
To come before you so
But I’ve found an ancient miracle
I thought that you should know
Listen to my music
And hear what it can do
There’s something here as strong as life
I know that it will reach you

Yes, we know, it’s nothing new
It’s just a waste of time
We have no need for ancient ways
The world is doing fine
Another toy will help destroy
The elder race of man
Forget about your silly whim
It doesn’t fit the plan

I can’t believe you’re saying
These things just can’t be true
Our world could use this beauty
Just think what we might do
Listen to my music
And hear what it can do
There’s something here as strong as life
I know that it will reach you

Don’t annoy us further!
We have our work to do
Just think about the average
What use have they for you?
Another toy will help destroy
The elder race of man
Forget about your silly whim
It doesn’t fit the Plan!

[V. Oracle: The Dream]

“I guess it was a dream, but even now it all seems so vivid to me. Clearly yet I see the beckoning hand of the oracle as he stood at the summit of the staircase.

“I see still the incredible beauty of the sculptured cities and the pure spirit of man revealed in the lives and works of this world. I was overwhelmed by both wonder and understanding as I saw a completely different way to life, a way that had been crushed by the Federation long ago. I saw now how meaningless life had become with the loss of all these things.”

I wandered home though the silent streets
And fell into a fitful sleep
Escape to realms beyond the night
Dream can’t you show me the light?

I stand atop a spiral stair
An oracle confronts me there
He leads me on light years away
Through astral nights, galactic days
I see the works of gifted hands
That grace this strange and wondrous land
I see the hand of man arise
With hungry mind and open eyes

They left the planet long ago
The elder race still learn and grow
Their power grows with purpose strong
To claim the home where they belong
Home to tear the Temples down
Home to change!

[VI. Soliloquy]

“I have not left this cave for days now, it has become my last refuge in my total
despair. I have only the music of the waterfall to comfort me now. I can no longer live under the control of the Federation, but there is no other place to go. My last hope is that with my death I may pass into the world of my dream, and know peace at last.”

The sleep is still in my eyes
The dream is still in my head
I heave a sigh and sadly smile
And lie a while in bed
I wish that it might come to pass
Not fade like all my dreams

Just think of what my life might be
In a world like I have seen!
I don’t think I can carry on
Carry on this cold and empty life

My spirits are low in the depths of despair
My lifeblood
Spills over

VII. The Grand Finale

Attention all Planets of the Solar Federation
Attention all Planets of the Solar Federation
Attention all Planets of the Solar Federation
We have assumed control
We have assumed control
We have assumed control

Tablature

Part 1: Overture

Excerpted from Fretplay.

[Intro]

E Am C9 G D
e:———3–3–2~—3.———|——————–3—–2–3—–2-|
B:—-1.—3–3–3~—3.—1-1-1.|—-1.–3-3.—-1—3–3–3–3–3–3-|
G:-1–2.—x–0–2~—0.—2-2-2.|-1–2.–x-0.-1–2.–x–0–2–x–0–2-|
D:-2–2.—2–0–0~—2.—2-2-2.|-2–2.–2-0.-2–2.–2–0–0–2–0–0-|
A:-2–0.—3–2——-3.—0-0-0.|-2–0.–3-2.-2–0.–3–2—–3–2—-|
E:-0———-3——————|-0——–3.-0———3——–3—-|

e:———-3—————3–3–2~-|
B:—–1.—3–3.——1.—3–3–3~-|
G:–1–2.—x–0.—1–2.—x–0–2~-|
D:–2–2.—2–0.—2–2.—2–0–0~-|
A:–2–0.—3–2.—2–0.—3–2—–|
E:–0———-3.—0———-3—–|
| | |
here, ….
(with delayed repeats ~400 ms)

e:———3————–3–2.—3—–2–3—–2—–|
B:—-1.—3–3.——1.–3–3.—3–3–3–3–3–3—–|
G:-1–2.—x–0.—1–2.–0–2.—x–0–2–x–0–2—–|
D:-2–2.—2–0.—2–2.–0–0.—2–0–0–2–0–0—0-|
A:-2–0.—3–2.—2–0.–2——-3–2—–3–2——–|
E:-0———-3—-0——3———-3——–3——–|
| | |
here, here, ….

These chords are played by an acoustic and another electric:

G D C G D Dsus4 D C F C D A D A
e:-15–14–12–15————|———————–|
B:—————–15~——-|-13—-13-15———–|
G:——————–14—–|—-12——-14~——-|
D:———————–12~-|—————-14—–|
A:—————————|——————-12~-|
E:—————————|———————–|

[Riff 1]
A5 B5 A5 G5 D5 D/C# A5
e:—–|————————————————————-|
B:—–|————————————————————-|
G:—–|——————————————2——————|
D:—–|-4–4-4-4-4-4-4-4-4-4—5-5-5-5-5-5-5-5-5-0—-2–2-2-2-2-2–|
A:–7\-|-2–2-2-2-2-2-2-2-2-2-0-5-5-5-5-5-5-5-5-5—4–0–0-0-0-0-0–|
E:–5\-|————————3-3-3-3-3-3-3-3-3——————–|

E5 D5 D/C# B5 D5
e:—————-|——————————————–|
B:—————-|——————————————–|
G:-4–4-4-2——-|————–7\—————————-|
D:-2–2-2-0—-4–|-4-4-4-4-4-4–7\—————————-|
A:———-4–2–|-2-2-2-2-2-2–5\—————————-|
E:—————-|——————————————–|

[Riff 2]
A Bm/A D Amaj7
e:——————————————————–|
B:———————2–3–3—7~–5–5\–2–3–3–7–7-|
G:———————2–4–4—7~–6–6\–2–4–4–7–7-|
D:———————2–4–4—7~–6–6\–2–4–4–7–7-|
A:————0——–0–0–0——-0–0—0–0–0——-|
E:—0–2–3—-3–0————————————–|
(with phaser)

Part 2: The Temples of Syrinx

Excerpted from Fretplay.

[Riff 1]
E Am C5 G5 D5
e:——————————————|—————————|
B:—-1-1-1—–1-1-1———————–|—-1-1-1—–1-1-1——–|
G:-1–2-2-2–1–2-2-2—5———5—–7\–|-1–2-2-2–1–2-2-2—5—-|
D:-2–2-2-2–2–2-2-2—5–5-5-5–5–5–7\–|-2–2-2-2–2–2-2-2—5–5~|
A:-2–0-0-0–2–0-0-0—3–5-5-5–3–5–5\–|-2–0-0-0–2–0-0-0—3–5~|
E:-0———0————-3-3-3—–3——|-0———0————-3~|

[Riff 2]
Bm G A B
e:———————-2-2—–3-3—–5-5—–|
B:———————-3-3—–3-3—–5-5—–|
G:——————-4–4-4—–4-4—–6-6—–|
D:——————-4——-5——-7———-|
A:———-0——–2——-5——-7———-|
E:-0–2–3—–3–0-(2)——3——-5——-7\-|

[Riff 3]
D5
e:———————-|
B:——————-3–|
G:——————-2–|
D:——————-0–|
A:———–0———-|
E:–0–2–3—–3——-|

Progression:

[Riff 1] x2

[Riff 1] x2 w/ lyrics:

We’ve taken care of everything, the ….

[Riff 2] x4 w/ lyrics:

We are the priests of the ….

[Riff 3] x1

B D B G5
e:———————————————–|—————–|
B:———————————————–|—————–|
G:o–4-4-4-4–4–4-4—7—4-4-4-4–4–4-4—4–o|-4-4-4-4-4-4-4-4-|
D:o–4-4-4-4–4–4-4—7—4-4-4-4–4–4-4—5–o|-5-5-5-5-5-5-5-5-|
A:—2-2-2-2–2–2-2—5—2-2-2-2–2–2-2—5—|-5-5-5-5-5-5-5-5-|
E:——————————————-3—|-3-3-3-3-3-3-3-3-|

[Riff 1] x2 w/ lyrics:

Look around this world we’ve made . . .

[Riff 2] x4 w/ lyrics:

We are the priests of the . . .

[Riff 3] x1

Part 3: Discovery

Excerpted from Fretplay.

[Riff 1] – Freely C(addD)
G/D D G6/B \/ A7
e:-7—-7—7\-2—-2—2-|—-0—0–0–0——0~————-|
B:-8—–8–8\-3——3-3-|-3–3—5\-3–2——–2–2–2——|
G:-7–7—–7\-2–2—–2-|-0–0—0–0–0—0——-0–0——|
D:-0——–0–0——–0-|-0——0–0–2———–2–2——|
A:————————|-2——3\-2–0———–0–0——|
E:————————|————————————|

[Riff 2] – Gradual increase in volume and speed
G/D C/D A/D D C/D
e:-7–8-8–9—9—10–12\————————————|
B:-8–8-8–10–10–10–13\————————————|
G:-7–9-9–9—9—11–12\————————————|
D:-0–0-0–0—0—0—0————————————–|
A:————————————————————|
E:————————————————————|

[Riff 3a] Gsus2 [Riff 3b]
|
D C Csus2 Dsus2| G
e:–2–0—–2–0.–5-7–5-|-2–7–0–2—–7–5————–|
B:–3–1–3–3–3.–8-8–8-|-3–8–3–3–3.-8–8————–|
G:–2–0–5–2–2.–7-7–7-|-2–7–2–2–5.-7–7————–|
D:——–5—————-|————-5.——————-|
A:————————-|———————————-|
E:————————-|———————————-|

Part 4: Presentation

Excerpted from Fretplay.

[Riff 1] – Freely
A D
e:————5–5~—5-5———————————–|
B:————5–5~—5-5—7-7~-8–7–7–7.-8—–7~–7—-|
G:——6-6~–6–6~—6-6—7-7~-7–7–7–7.-7—–7~–7—-|
D:–7~–7-7~–7–7~—7-7—7-7~-7–7–7–7.-7–7–7~–7—-|
A:–7~–7-7~–7–7~—7-7—5-5~-5–5–5–5.-5–5–5~–5—-|
E:–5~–5-5~–5–5~—5-5———————–5———–|

[Riff 2a] – Doubled by an acoustic guitar (electric is flanged)

A Bm/A D Amaj7 Bm/A E Bm A
e:—————–|—————————————–|
B:-2–3-3–7–5-5\-|–2–3-3—9–3–2———————–|
G:-2–4-4–7–6-6\-|–2–4-4—9–4–2———————–|
D:-2–4-4–7–6-6\-|–2–4-4—9–4–2———————–|
A:-0–0-0—–0-0–|–0–0-0———0———————–|
E:—————–|—————————————–|

[Riff 2b] – Doubled by an acoustic guitar (electric is flanged)

A Bm/A D Amaj7 Bm/A E A
e:—————–|—————————————–|
B:-2–3-3–7–5-5\-|–2–3-3—9–14–14\——————–|
G:-2–4-4–7–6-6\-|–2–4-4—9–14–14\——————–|
D:-2–4-4–7–6-6\-|–2–4-4—9–14–14\——————–|
A:-0–0-0—–0-0–|–0–0-0———————————|
E:—————–|—————————————–|

[Riff 3] – Doubled by an acoustic guitar
A D E
e:————————————————————–|
B:-2–2—2-2-3p2——-7–7h8–7—-9–9–9h10–9————–|
G:-2————–2—–7–7—-7—-9–9–9—–9————–|
D:-2—-2—————7–7h9–7—-9–9–9h11–9————–|
A:-0————————————————————|
E:————————————————————–|

[Riff 4]
Bm G A B
e:———————-2-2—–3-3—–5-5—–|
B:———————-3-3—–3-3—–5-5—–|
G:——————-4–4-4—–4-4—–6-6—–|
D:——————-4——-5——-7———-|
A:———-0——–2——-5——-7———-|
E:-0–2–3—–3–0———-3——-5——-7\-|

[Riff 5]
D5
e:———————-|
B:——————3~–|
G:——————2~–|
D:——————0~–|
A:———–0———-|
E:–0–2–3—–3-0—–|

Part 5: Oracle: the Dream

Excerpted from Fretplay.

[Riff 1]
D C D F A
e:——-5~—5——3-3–2-2——3-3–5-5——3-3–0-0————|
B:—–7——–7—-5—-3—3—-5—-6—6—-5—-2—2———-|
G:—7————7–5—-2—–2–5—-5—–5–5—-2—–2——–|
D:-7————————————————–2————–|
A:—————————————————-0————–|
E:——————————————————————-|

Thereafter Riff 1 goes like this:

e:–7-7–5-5—-3-3–2-2—-3-3–5-5—3-3–0–0———|
B:–8—-7–7—5—-3–3—5—-6–6–5—-2—2——–|
G:–7—-7—7–5—-2—2–5—-5—5-5—-2—-2——-|
D:——————————————2————|
A:——————————————0————|
E:——————————————————-|

[Riff 2] – Doubled by an acoustic guitar
G D C G D Dsus4 D C F C D A D A
e:-3–2–0–3–2~-3–2~—-0–1–0–2——————–|
B:-3–3–1–3–3~-3–3~—-1–1–1–3—2~-3–2~———|
G:-0–2–0–0–2~-2–2~—-0–2–0–2—2~-2–2~———|
D:-0–0–2–0–0~-0–0~—-2–3–2–0—2~-4–2~———|
A:-2—–3–2————–3–3–3——0~-0–0~———|
E:-3——–3—————–1————————–|

** These are both doubled by an acoustic guitar
[Riff 3] D/C# [Riff 3a]
Bm G A D5 | A5 Bm C D A
e:–2~–3~—————–|–0–2———————–|
B:–3~–3~–2~–3–3——-|–1–3–2——————–|
G:–4~–0~–2~–2–2–2–4-|–0–2–2——————–|
D:–4~–0~–2~–0–x–2–4-|–2–0–2——————–|
A:–2~–2~–0~—–4–0–2-|–3—–0——————–|
E:——3~—————–|—————————–|

Part 6: Solioquy

Excerpted from Fretplay.

** There appears to be phaser throughout this part (except for the guitar
doing the soloing)

[Riff 1]
D C G/B Dm/F Em7 D
e:—–2———————————————-2—–|
B:——-3~—————————-3————–3—–|
G:—2——2~-0——0—–0——–2——0———2—–|
D:-0—————-2—–0—0—-3—–2~—-0h3p0–0—–|
A:—————-3—–2~———————————-|
E:———————————————————-|

After the first time it goes like this:

D C G/B Dm/F Em7 D
e:-2—————————————————2—-|
B:—3——–3———————–3—————-3—-|
G:—–2—-2—0—–0—–0——-2——-0———-2—-|
D:——-0~———2—–0—0—3——2~—–0h3p0–0—-|
A:—————-3—–2~———————————-|
E:———————————————————-|

[Riff 2]
Am7 C/G F C5 G5
e:——–0———–0————-1————————|
B:———-1———–1————-1—1——————|
G:—–0——0—–0————2——2——–5———–|
D:-2-2————2————3————3~—5—5——-|
A:-0————————3——————–3—5——-|
E:————–3———–1————————3——-|

[Riff 3]
Am7 C/G E5
e:——-0———–0—————————————–|
B:———1———–1—————————————|
G:—–0—–0—–0——2–2-2-2-2-2-2-2-2-2-2-2-2-2-2——-|
D:-2-2———–2——–3–3-3-3-3-3-3-3-3-3-3-3-3-3-3–2~—|
A:-0———————-3–3-3-3-3-3-3-3-3-3-3-3-3-3-3–2~—|
E:————-3———-1–1-1-1-1-1-1-1-1-1-1-1-1-1-1–0~—|

Part 7: Grand Finale

Excerpted from Fretplay.

[Riff 1] – Freely (is there phaser here too?)
E5 D A5
e:————————————————————|
B:———————-8–7———————————-|
G:–9—9-9-9-9-9-9—–7–7——-7————————–|
D:–9—9-9-9-9-9-9—–7–7—7—7————————–|
A:–7—7-7-7-7-7-7—–5–5—7—5————————–|
E:–0—0-0-0-0-0-0————5——————————|

[Riff 2]
E5 Esus2 Dsus2 Csus2
e:-0–0–0–0–0–0–0–0—————————-7~–5~–3~-|
B:-0–0–0–0–0–0–0–0—7–7–7–7–7–7–7–7—7~–5~–3~-|
G:-9–9–9–9–9–9–9–9—7–7–7–7–7–7–7–7—9~–7~–5~-|
D:-9–9–9–9–9–9–9–9—7–7–7–7–7–7–7–7—9~–7~–5~-|
A:-7–7–7–7–7–7–7–7—5–5–5–5–5–5–5–5—7~–5~–3~-|
E:-0–0–0–0–0–0–0–0—————————————|

[Riff 3] – Freely
B E D C
e:———————|-7–7-7-7–5–5-5-5–3-3-3-3-3-3—|
B:———————|-7–7-7-7–5–5-5-5–3-3-3-3-3-3—|
G:o——————-o|-9–9-9-9–7–7-7-7–5-5-5-5-5-5—|
D:o–4—4—4—-4—o|-9–9-9-9–7–7-7-7–5-5-5-5-5-5—|
A:—2-0-2-0-2–0-2—-|-7–7-7-7–5–5-5-5–3-3-3-3-3-3—|
E:———————|———————————–|

Tutorials

“2112” guitar cover (“Overture” and “The Temples of Syrinx”)

“2112” bass cover

“2112” drum cover

Back to Rush Vault

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~ by rvkeeper on February 1, 2011.

 
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