“WITH THE LIGHTS OUT”
A different point of view of the standards of my generation
(90’s Pop/Rock into contemporary Jazz arrangements)

By Luis Regidor Paín,
Master Student of Contemporary Performance (Voice) at Berklee Valencia.
Supervisor, Víctor Mendoza.
Valencia, July, 2014.

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1!

“With the lights out, it's less dangerous
Here we are now; entertain us
I feel stupid and contagious
Here we are now; entertain us
A mulatto, an albino, a mosquito, my libido
Yeah, hey”

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2!

Acknowledgements
I would like to thank Víctor Mendoza, my CE supervisor, Celia Mur, my privat
instruction teacher. Enric Alberich, for the arranging class, Steven Webber, Ian
Kagey, Liz Teusch and Gael Hedding, for their Production Class, Daniel Martínez for
the Buisness class. Thanks to Ryan Rentería who engineered and mixed most of my
reccordings. Thanks to Will Clark who engineered the first recording, and Alayna
Hughes who Mastered it. Thanks to the amazing musicians Max Ridley, Michael
Olivera, Mikael Chauvet and of coruse my friend José Carra for collaborating,
playing, recording, and creating an incredible vibe.

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Table of Contents
INTRODUCTION)................................................................................................................................)5!
GENESIS)OF)THE)IDEA)OF)THE)PROJECT.).................................................................................)7!
JUSTIFICATION)OF)THE)PROJECT:)“THE)STANDARDS)OF)MY)GENERATION”)..............)8!
MY)POINT)OF)VIEW,)MY)CONTRIBUTION).................................................................................)9!
SONGS)ARRANGED)(BY)BAND)).................................................................................................)12!
NIRVANA!........................................................................................................................................................!12!
RADIOHEAD!..................................................................................................................................................!15!
THE!SMASHING!PUMPKINS!............................................................................................................................!19!
SOUNDGARDEN!................................................................................................................................................!21!
CONCLUSIONS)................................................................................................................................)25!

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Introduction

Since I was a child, we’ve listen to all kind of music at home, from Rock & Roll, till
Jazz, going through songwriters, Chanson française or classical music. My father had
a big collection of vinyl’s that he used to play all day. I cannot imagine my life
without music. My mother is a music lover and my dad was also a songwriter, so I
was used to see them listening or playing music with their friends.

I started at the age of 7 at the conservatory of music of my hometown studying
classical guitar and I have never stopped doing it since then. I studied my bachelor in
Códoba, Music Education in the University of Extremadura (my region), and a
Master’s degree in classical guitar performance in Düsseldorf (Germany). At the same
time, and since I was 15 that I had my first Rock Band, I have also always sang and
play electric guitar in bands of many different styles, from Heavy Metal to Funk,
Rock, Fussion, Klezmer, Jazz, in all the cities I have lived in.

But it was in 2011 when I was selected to participate at the “Shure Montreux Jazz
Voice Competition” at the “Montreux Jazz Festival” 2011 when I won the 2nd prize,
with Quincy Jones as the president of the Jury, when I realized that apart from the
classical music I could do modern music as a singer (composer, arranger, etc.) in a
professional way, and it opened my mind to start composing my own music also.

In 2013, and with the help of the great Quincy Jones, I got accepted to Berklee
Valencia to study a Master in Contemporary Performance as a vocalist and my life
changed.

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As I needed a project for my Culminating Experience, and thinking deeply in what
could be my subject, I realized that I had to do something based in what I am, what
my passions are and something that I could use for what I really love: do music,
perform live.

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Genesis of the Idea of the project.

While I was studying in Córdoba, between 2004 -2009, I met a pianist (composer,
arranger) in a local jazz club called José Carra, and since the very first moment that
we played together we had a really strong connection.

We started to play together and have fun with the music. Even when he left Córdoba
and when I moved to Germany we kept in touch and met several times to make music
together, concerts and even record (I recorded with him the songs that I needed to
submit for the Shure Montreux Jazz Voice Competition).

When I was deciding what would be my culminating experience theme, I received a
call from him telling me that we should do a project together based on arrangements
of the songs of our generation, 90’s Grunge, rock, pop, into a contemporary jazz
concept. And I was thinking in the same idea, cause we already had done some of
those songs before in concert.

With the help of another great musician friend of mine, the composer, arranger,
guitarist and double bass player Inma Galiot, I had already arranged Dreamers Ball
(Queen) for my participation at the competitions in Montreux in 2011.

It seems that the planets were aligned so I talked to my program director, Víctor
Mendoza, and asked him what would he think about it and if I could collaborate with
José to make this project, and he accepted and liked the idea.

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Justification of the Project: “The Standards of my generation”

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My idea was based on creating a project that would be artistically relevant. Also that
would represent my values and my way of understanding music. And that could be
used after my studies in Berklee in the professional life.

The great jazz musicians of the past have always used songs that were popular, and
arranged them or gave them another perspective that turned them into a jazz tune,
usually changing the instrumentation of the original (using the typical instruments
used in a jazz band), adapting the melody to the swing, and reharmonizing it. These
songs were really well known because of different reasons: they appeared in famous
Broadway Musicals, TV shows, radio, Films, or they were sung by pop famous
artists. These songs became what we call now “Jazz Standards”. But for most of the
people of my generation, we know them only because musicians like Miles Davis,
Coltrane, Bill Evans, etc. transformed them into jazz tunes. We don’t know anymore
were did they come from so we just consider them as jazz songs.

In my opinion, that’s why there are a lot of jazz musicians in the last 10 years that
have been arranging popular songs of the last 20 years, and every day I find more and
more. That’s the case of really famous jazz musicians such as Brad Mehldau, The Bad
Plus, Jamie Cullum, Jazz Against the Machine, Robert Glasper, KC Roberts and the
Live Revolution, etc. that have arranged songs composed by significant bands like
Radiohead, Nirvana or Jeff Buckley.

I truly believe that these songs are the standards of my generation.

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My point of view, my contribution

My approach of the arrangements is not the traditional swing but the approach that the
contemporary jazz musicians that I like are doing. Swing and bebop are used but just
as a common language, but rhythms from all styles and music of the world are
involved too and the general aesthetic is based on contemporary art.

Improvisation is other of the important points of this project with emphasis on the
voice. And here is where I think I can contribute, cause I haven’t found many vocal
examples. For example Jamie Cullum has done it but from a Pop/Jazz perspective,
and the cover of The Bad Plus with Wendy Lewis is instrumentally really modern but
the vocal approach is also pop/ jazz. I really wanted to keep the strength and power of
rock using a specific color in my voice mixed with the traditional jazz style and the
creativity of the improvisation.

Also I happen to believe that the majority of the people nowadays think that jazz is an
intellectual form of art really away of the taste of the people or popular music and in
some cases it is true, but I think that with this kind of repertoire people is going to be
much more interested in jazz cause they know and love these songs. From a
commercial point of view this is really interesting because it can open the doors for
me to a larger audience and the possibility of playing in many different
festivals/clubs, not only in the jazz ones.

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Process of creation in Berklee Valencia

To use the project after Berklee I had to give it a form. I decided to base it on the
selection of the songs, arrangements, recordings, live performance and research of
ideas for business possibilities: use of social media, network, marketing, publishing,
edition of an album, touring, etc.

First of all, I had to decide which songs I was going to arrange. I needed 3-4 songs for
my CE, but I ended up doing 5.

I began to investigate and select a list of songs that I could use for my project and the
number slowly grew larger, so I started to select the ones that were more significant
and the ones that I really loved. I had a list of bands that would include: Nirvana,
Alice in Chains, Radiohead, Smashing Pumpkins, Jeff Buckley, Pearl Jam,
Soundgarden, Faith No More, etc.

I ended up with a list of 5 songs by 4 bands:

Radiohead: “Exit Music (for a film)” and “High and Dry”.
Smashing Pumkins: “Tonight, Tonight”
Nirvana: “Smell like teen Spirit”
Soundgarden: “Black Hole Sun”

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I think they were significant bands and songs that I liked and that people of my
generation know very well.

I analyzed the style, instrumentation, rhythm and harmony of these songs to have a
better idea of what could I do with them and I started to work with my friend José
Carra. In Novemeber 2013 we met in Valencia and recorded 5 demos with voice and
piano, and based on that we did the full band arrangements.

Thanks to the class that I had on the first semester in Berklee Valencia “Arranging”
with Enric Alberich, I could learn how to arrange for a jazz band much better. Also in
Production Class with Steven Webber, Ian Kagey, Liz Teusch and Gael Hedding I
learned really important notions of pre-production, production, and post production of
a professional project, the technics of recording, mixing and editing and it helped me
incredibly a lot for the whole project, but specially for the recording part, of course.

Being supervised by Victor Mendoza (Program’s Director) and Celia Mur (Singing
teacher) during the whole year helped me to focus on important things and have a
better perspective of what I wanted to do.

And thanks to Daniel Martínez, in his “Musicians in global economy” I have a better
notion of the musical industry and the strategies that I can follow to prepare to an
organize business plan.

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Songs Arranged (by Band)

NIRVANA
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Nirvana was an American rock band created in Aberdeen, Washington in 1987 but it
established itself as part of the Seattle grunge scene, releasing its first album Bleach
for the independent label Sub Pop in 1989. They were very influenced by all the
bands of that time in Seattle, and by previous Punk, hard-rock, heavy metal, etc.
Their sound relied on dynamic contrasts, often between quite verses and loud, heavy
choruses.

Its members were Kurt Cobain (guitarist/singer), Krist novoselic (bass), and Dave
Grohl (drums).
They are probably the most important band of the 90’s, specially of Grunge style.
After signing to major label DGC Records, Nirvana found unexpected success with
“Smells like teen Spirit”, the first single from the band’s second album Nevermind
(1991). Nirvana had a sudden incredible success that widely popularized alternative
rock as a whole, and the band’s frontman Cobain found himself referred to in the
media as the “spokesman” of a generation”, with Nirvana, being considered the
“flagship band of Generation X”.

Nirvana’s brief run ended following the death of Kurt Cobain in 1994, that became a
symbol for that generation, like John Lennon was for 60’s one. One of the reasons of
his suicide, was that all of these success that all the Grunge band had after Nirvana,
overtook them and the industry commercialized everything they wore, did, or said.

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“Smells like teen Spirit”
“I was trying to write the ultimate pop song. I was basically trying to rip off the Pixies. I have to
admit it. When I heard the Pixies for the first time, I connected with that band so heavily that I
should have been in that band—or at least a Pixies cover band. We used their sense of dynamics,
being soft and quiet and then loud and hard.”

Kurt Cobain,
1994 Rolling Stone interview.

Analysis:
The song starts with a characteristic riff F-Bb-Ab-Db chord progression, played by
the guitar with power chords played in a syncopated sixteenth note strum by Cobain.

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The drums are like the following picture.

The form is Intro, A (verse), B(Chorus), A, B, Solo, A, B. outro.

Arrangement:

Our arrangement is based on a reharmonization of the original chords with a rhythm
of 7/8. The form is the same but we used A and B for solos.

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RADIOHEAD
Radiohead is a band from Oxford (England) that started in the 80’s. The
original name was “On a Friday” (They used to rehearse that day at school). Their
members are: Thom Yorke (lead vocals, guitar, piano), Jonny Greenwood (lead
guitar, keyboards, other instruments), Colin Greenwood (bass), Phil Selway (drums,
percussion), and Ed O'Brien (guitar, backing vocals).
Tom Yorke, Their first single was “Creep”. They’ve been successful for the
last 25 years. With their second album “The Bends” they had a strong influence on
many other rock bands because of their innovative use of rock sounds. Also after KID
A, they have had a really strong influence in the use of electronic music in rock/pop
bands. They are maybe the most influential pop/rock band of the last 20 years, been
covered by many different artists.

"High And Dry" is a song by the English alternative rock band Radiohead, and was
the first single released from their second album, The Bends (1995). It was as a double
A-side with album opener "Planet Telex".
"High And Dry" was recorded during the Pablo Honey sessions but was dismissed by
the band, who thought that it sounded like a Rod Stewart song. However, during the
sessions for The Bends it was rediscovered and remastered, as it was felt that it
worked well with the rest of the album's content. The version that appears on the
album is the original demo; it was never re-recorded.
The song is widely regarded as Radiohead's most accessible pop hit, and was a live
favorite, though it has not been performed in a decade. In a 2007 interview

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with Pitchfork Media, Thom Yorke stated that he did not like the song, saying "It's
not bad... it's very bad". He also stated that he was pressured into including the song
on The Bends.
In 2008, the song was featured on the Radiohead: The Best Of collection.

The song is based on 3 chords: F#7 11, A5 9, E.
with a beautiful melody, very recognizable in it chorus and with a great use of
dynamics and a soul-influenced drum accompaniment. Its form is: A Verese, B
Choruses, and C Instrumental Interlude

A B C A B C A1 B.

Arrangement:

My arrangement was based on reharmonizing the end of the song, the last choruses,
and singing the melody in 4/4 while the band was playing in 5/8. We opened the C
section that is instrumental for solos.

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“Exit Music (for a film)”

“When we saw the scene in which Claire Danes holds the colt 45 against her head,
we started working on the song immediately. I had something with “Romeo & Juliet”
a long time already. I had a crush on Olivia Hussey, who played Juliet in the ‘60s, for
a long time. I first saw the movie when I was 13. I just couldn’t believe why Rome and
Juliet, after they had made love, didn’t run away together. Romeo should have packed
his bags, jump out of the window and eloped with her!”

Thom Yorke (from Humo, magazine July 22, 1997)

This song was written for the 1996 movie Romeo and Juliet starring Lenardo Di
Caprio. While Radiohead was aon tour with Alanis Morissette, Baz Luhrmann, who
directed the movie, sent them a tape of the last part of the film an asked them to write
some music for the closing credits (hence the name “exit music) the Band liked what
they saw and came up with this.

Analysis:

The song has 3 different parts, 3 verses with the same melody and harmony (A) in
Bmin, a second section with a modulation to Amin and different melody (B) and a 3rd
section where the music grows in dynamic and expression (C), ended with a repeated
versed CODA really tragic.

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The use of electronics and strings at the end of the songs is helps to take the song to it
climax.

Arrangement:
With the arrangement I wanted to keep the feeling of the original song, of melancholy
and explosion at the end. So the A sections are played with the same kind of energy,
as a ballad. At the B section, we change the harmony and added a bass line really
lyrical, that could work as a answer to the melody, complementing it. The tension
grows in the next A, and the C section is Rubato, following the line of the melody and
giving freedom to the piano and the drums to fill, and the upright bass using the bow
to give add more drama. The CODA relaxes the tension as the harmony resolves into
the major chords.

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The Smashing Pumpkins
They are an American band of alternative rock from Chicago, created in 1988. Its
members are Billy Corgan (lead vocals, lead guitar), James Iha (rhythm guitar), the
band has included Jimmy Chamberlin (drums), D’arcy Wretzky (bass guitar), Melissa
auf der Maur (bass guitar), and currently includes Nicole Fiorentino (bass guitar,
backing vocals), and Jeff Schroeder (rhythm guitar) among its membership.
Its influences are not so based on punk music like his contemporaries but has
elements of gothic rock, heavy metal, dream pop, psychedelic rock, progressive rock,
electronica, etc.

The Smashing Pumkins became famous with their second album, 1993’s Siamese
Dream. But it was Mellon Collie and the Infinite Sadness. That sold 20 million
albums in the USA. They separated in 2000 and reunited in 2006.

Tonight Tonight

The song was written by the band’s frontman, Billy Corgan. It was the third single
and the second track on the first disc from their third album, “Mellon Collie and the
Infinite Sadness”, and was released in April 1996 in Europe and later in June 1996 in
the United States. “Tonight, Tonight was critically acclaimed and commercially well
received upon its release. The music video accompanying the song was also
successful and won several awards.

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Analysis:
The song is written in the Key of G, performed on instruments tuned down a half-step
so the actual pitch is Gb. The strings of the song were recorded with the Chicago
Symphony Orchestra. Billy Cogan said that recording with a 30 piece string section
for the song “was probably one of the most exiting recording experiences I have ever
had”.

The instrumentation is based on drums, guitars, bass, voice and strings.

It has also a very particular drums accompaniment with a significant drum roll during
the chorus.
The form is: INTRO, Interlude, A (Verse) B (chorus), A, B, and a C (Coda section).

Arrangement:

The arrangement has exactly the same form. The rhythm in the verse is kind of a
“Drum and bass” feel. The harmony is being changed sometimes but is mostly the
same. The vibe of the song is different mostly because of the instrumentation. The
melody is adapted to the new rhythm. The section before the CODA is used to
perform solos.

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Soundgarden
Soundgarden is one of the most important American rock bands, formed in Seattle,
Washington, in 1984. Its members are Chris Cornell (lead singer and rhythm
guitarist), Kim thayil (lead guitarist), Hiro Yamamoto and later Ben Shepherd (bass)
and Matt Cameron (drummer).

Soundgarden was one of the first band in the creation of Grunge, a style of alternative
rock that developed in Seattle, and was on eo f a number of grunge bands signed to
the reord label Sub Pop. They were also the first grunge band to sign to a major label
(A%M Records, in 1988).

Their most successful album was Superunknown, released in 1994. They broke up in
1997 and reunited in 2010 with their sixth studio album, King Animal, released in
2012. They have sold more than 10.5 million records in USA, and an estimated 22.5
million worldwide.

“Black Hole Sun”
It was written by Chris Cornell, released in 1994 as the third single of Superunknown
album. It is their most popular song, and it won a Grammy.
Cornell said that he wrote the song in about 15 minutes. He used a Gretch guitar to
write the song and commented, “I wrote the song thinking the band wouldn’t like it –
then it baceme the biggest hit of the summer”.

About the lyrics, Cornell said:

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“It's really difficult for a person to create their own life and their own freedom. It's
going to become more and more difficult, and it's going to create more and more
disillusioned people who become dishonest and angry and are willing to fuck the next
guy to get what they want. There's so much stepping on the backs of other people in
our profession. We've been so lucky that we've never had to do that. Part of it was
because of our own tenacity, and part of it was because we were lucky”.
Rolling Stone, January 12, 1995.
Analysis:

The original song is an amazing success of production, where the traditional rock
instruments (bass, e-guitar, drums and voice) are mixed with synthesizers. The
guitar’s distorsion is used always with a purpose, to emphasize the different parts.

The harmony is modal, based in a scale of Major Chords G,A, Bb, C, D, Eb,E, F. The
Chorus goes to a repetition of 3 chords: C9/F, Bb, D.
The Interlude is based on a 5/4 + 4/4 rhythm, where the solos take part.
The Form is A (verse), A, B (Chorus), A, A, B, C, A1/2, B and CODA.
Drums goes like this:

Arrangement:
The arrangement is meant to be a jazz ballad, with an augmentation of energy in the
chorus and at the solo parts, to keep the original mood and meaning of the song.

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22!

All the synths and guitars are adapted to the piano. The harmony is almost the same
but sometimes reharmonized to add color.

The Interlude section is also opened for solos, where the drums feel free to act.

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23!

Reccordings credits:

Recorded at the An Kreis Scoring Stage in Berklee Valencia the dates:
Songs:
Radiohead: “Exit Music (for a film)” and “High and Dry”.
Smashing Pumkins: “Tonight, Tonight”
Nirvana: “Smell like teen Spirit”
Soundgarden: “Black Hole Sun”
Musicians:
Vocals: Luis Regidor Paín
Piano: José Carra
Upright Bass: Max Ridley
Drums: Michael Olivera and Mikael Chauvet Jorgensen.

Engineering: Will Clarck, Ryan Rentería.
Mixing: Ryan Rentería and Luis Regidor Paín.
Mastering: Alayna Hughes and Ryan Rentería.

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Conclusions
It is been a hard work, but really interesting and inspiring and I’ve learned a lot during
the process.
Through the analysis of the songs and the style, I really learned how the composers
made them and gave me a lot of ideas for my own composition and arrangements.

The arranging process has been developed outside and inside the studio and modified
as many times as it was necessary to get a good final project.

The recording sessions have been an incredible experience, technically and creatively
speaking, working with amazing musicians and engineers. It has helped me and gave
an experience that is going to make much easier the production and development of
new projects.

I believe that being in Berklee Valencia, with all the possibilities that I had here,
teachers and over all my partners, working together and learning from each other
everyday during one year has been one of the most important parts of my project.

After all the work I have done I really believe that I can make this project come true
and try to get concerts, that is what I really love, to play live the music I love.

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25!

Bibliography:

David Brackett. The Pop, Rock and Soul reader, Histories and Debates: Oxford
University Press, 2009.
http://sexyartspeople.wordpress.com/2008/04/28/smells-like-teen-spirit/
Wikipedia http://en.wikipedia.org/wiki/Main_Page
http://guitar.about.com/od/songwriting/ss/writing_melody_5.htm
http://www.rollingstone.com/music/news/the-inside-story-of-nirvanas-one-nightonly-reunion-20140416

Nirvana, “Smell like teen Spirit”, Nevermind, DGC 1991.
Smashing Pumpkins, “Tonight, Tonight”, Mellon Collie and the Infinite Sadness,
Virgin, 1996
Radiohead, “Exit Music (for a Film)” , OK Computer, 1997
Radiohead, “High and Dry”, The Bends, 1995
Soundgarden, “Black Hole Sun”, Superunknown, A&M, 1994.

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26!

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∑

∑

∑

∑

27

28

29

30

∑

∑

#

4.

T

A maj

F min7

∑

A maj

..

∑

E maj

3

A/E E maj

œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œŒ œ œ
œ œ
V Ó. ‰
œ œ œÓ Ó Œ‰
∑

∑

∑

∑

∑

31

32

33

34

35

7. it's the bestthingthatyou e - verhad the best thingthatyou e-ver e - ver had

&
?

∑

∑

∑

it's the

∑

∑

#

A maj
E maj
A/EE maj
#œ
œ #œ œ œ œ œ
œ
œ
œ
œ
.
œ
œ
œ
Œ
Ó
Œ
œ
œ
œœ œ
œ œ œœ œ œ
V
#œ œ
F min7

T

Pno.

&
?

∑

bestthingthat you e - ver had the best

∑

36

∑

∑

37

38

thing that you e- ver e - ver had

∑

∑

∑

Don'tleave me

∑

39

High

High and Dry

B2

4
T

Pno.

V

w

A maj/C

∑

&
?

Pno.

T

Pno.

V

w

?

&
?

Œ #œ

w

∑
∑

48

œ œ œ
∑

Don't leave me

∑

dry

Œ #œ

Œ #œ

#œ
dry

b

E min7

œ œ #œ œ ˙
∑

œ œ œ
∑

Don't leave me

D maj

Œ #œ

œ œ œ
∑

Don't leave me

∑

46

∑

49

∑
∑

50

High

47

∑

dry

#œ

∑

œ œ œ

∑

High

43

# œ E maj
œ œ # œ œ ˙ A/E E maj
Œ #œ
œ œ œ

Don't leave me

#œ

∑

42

45

A maj

#

F min

∑

∑

44

#

#œ œ œ #œ œ ˙

41

∑

F min7

∑

#

C min/E

∑

A maj/E

∑

œ œ œ

Don't leave me

40

&

V

Œ #œ

∑

F min

T

# D/F #

∑

Don't leave me

51

#œ
High

High and Dry

T

Pno.

V

&
?

w

#

A maj

F min7

∑
∑

52

Œ

#œ

Don't

œ

∑

leave

∑

53

œ

me

œ

#œ
dry

˙.

E maj

A/E

∑
∑

54

Œ

5

Score

Exit Music

Radiohead
Luis Regidor, José Carra

INTRO (PIANO SOLO)

V 44

Tenor

Piano

A

B m/D

!
!

!

? 44

!

!

PIANO + VOICE

V #œ Œ Œ œ œ œ

Pno.

?

!

Vœ

day

Œ

Œ
!

?

!

E 7/G #

D 7/A

the

!

dry

-

!

œ œ #œ

E m/G

r
‰ œj œ œ . œ œ œ .
œ Œ Œ ‰. #œ #œ œ.
œ
œ œ

F # 7sus/C #

&

7

Pno.

B m/F #

E m/G

from your sleep

!

7

T

Wake

&

3

!

4
&4

B m/D

T

B m/D

we es - cape

œ

Œ

ing of

your

!

tears

!

!

!

E m6/B

Œ

œ #œ #œ

we es

!
!

ca

B

œ. œ ˙
-

!
!

©

to

pe.

!
!
!

Exit Music
2

A1 TUTTI
B m/D

V #œ Œ Œ œ œ œ

11

T

11

Pno.

fore

&

˙
Œ

Œ
!

&
? Œ

be - fore

!

œ œ #œ

Œ

œ

all hell

your da - ddy

Œ
!

œ #œ #œ

breaks loo

!

-

keep breathing

Œ

!

œ. œ ˙
!

se.

!
#œ
J w

Bm

œ #œ œ. œ œ

œ. œ œ œ
.
œ
œ
" œJ . œ

n˙
Bm

˙ ..

!

be -

!

E m6/B

#w
œ

us

#˙

œ

E m/G

˙

hears

!

˙.

˙

F # 7sus/C #

œ

V b˙

E m/G

r
j
œ Œ Œ ‰. #œ #œ œ. œ œ ‰ #œ #œ œ. œ œ œ. œ

Am

Breath

E 7/G #

D 7/A

Ó

? #˙.

19

Pno.

B m/F #

V œ

B
T

!

? Ó

15

Pno.

and get dressed

&

15

T

Pack

E m/G

˙

˙

!

Don't

E m/G

#œ

˙.

loose

!

#œ. œ #œ. œ œ
œ #œ ˙.
J
#
œ
‰
Œ ‰ J

your

23

T

B m/F #

Pno.

!

Vw

23

nerve.

!

&
?Œ

Exit Music
F # 7/A #

œ

b˙

Breath

!
˙

T

V ˙

Pno.

I

can't

!

27

&
? Ó

#œ

˙.

˙

˙

!

keep

œ bœ œ
Œ ‰ J
œ bœ œ Œ

F # 7sus

!

V #œ Œ Œ œ œ œ

32

T

Pno.

Sing

&

!

?

!

32

us a song

thing.

F #7

!
!

#˙.

Œ œ ˙

E m/G

brea

Ó

E 7/G #

D 7/A

!
!

#œ

A
B m/D

!

˙

w

a - lone.

3

œ #œ œ. œ œ

œ

E m/G B m/F #

Bm
27

˙

E m/G

!

˙

#w

F maj/A

#w

E m/G

r
j
œ Œ Œ ‰. #œ #œ œ. œ œ ‰ #œ #œ œ. œ œ œ. œ
!
!

a

song

to keep

!
!

us

warm

!
!

to

Exit Music
4

36

T

Vœ

Œ

F # 7sus/C #

Œ

day

&

!

?

!

36

Pno.

B m/F #

C
Bm

V˙

40

T

can

&

!

?

!

40

Pno.

You

#˙

G

V˙

G 7/F

Pno.

hope

˙

your

&

!

?

!

44

Œ

œ

we es - cape

Œ

œ #œ #œ

we es - ca

!
!

C #/B

œ #œ

˙.

laugh

a

!

F #/A #

#˙

spine

C/E

˙

rules

B

œ. œ ˙

-

pe

-

˙

less

!

!

!

!

œœœ ˙
laugh

!

Am

˙

and

!
!

F # 7/A #

#˙

wis

œ œ
we

!
!

#˙
-

!

!

G maj/B

!

44

T

œ œ #œ

E m6/B

dom

!
!

F # 7/E

˙

#œ.

œ
J

choke

you

and

!
!

48

T

V

Pno.

œ œ œ

now

we are one

?

!

B m/F #

Vœ Œ

!

?

!

B m/D

Vœ

56

T

hope

Œ

.
‰ . # œR # œ œ œ œ .
in

!

E m/G

˙

that you cho - ke,

e

-

!

?

!

peace

!

!

cho

cho - ke,

-

!

Œ ‰ " œR

Ó

ke.

!

!

Œ

Œ
!
!

we

!

G maj

Œ œ #œ #œ œ. œ ˙
that you

5

!

F #7

œ œ #œ œ
that you

E m/G

!

C#

Œ

œ #œ œ. œ œ œ. œ
J

ver - las - ting

!

&

56

Pno.

œ œ #œ

Œ

hope

˙.

E/G #

D 7/A

!

&

52

Pno.

#˙.

!

52

T

B m/D

&

48

Exit Music

F #/C #

œ #œ
that you

!

F #7

#œ

cho

œ. œ ˙
-

!
!

ke.

We

Exit Music
6

G maj

V Ó

59

T

!

?

!

cho

Œ

Em

œ œ #œ œ

Œ

We hope

!

that you

Œ

cho - ke,

œ.

œ œ.

-

ke.

!

?

!

‰

Œ
!

!

&

62

Pno.

F #7

V #œ

62

T

‰ " œR œ

Œ

&

59

Pno.

B m/D

!

B

!
!
!

œ #œ
that you

Tonight, Tonight

INTRO (SOLO PIAMO)

A
Voice

Piano

4

&4

4

&4

4

& ..

∑

∑

∑

∑

∑

∑

∑

∑

∑

?4
B

Pno.

#
F

∑

1

B

2

# # #7

F /A C

∑

& ..

(x3)

10

(PIANO+BASS+DRUMS)

B

& .. # œ Ó
Pno.

& ..

Time

? ..

∑

∑

∑

∑

∑

∑

∑

∑

∑

5

∑

∑

..

∑

∑

..

∑

12

∑

it is

ne - ver time

∑

at all

∑

15

∑

19

C

∑

#

∑

13

∑

∑

20

21
©

..
..
..

∑

14

#

#œ #œ #œ œ #œ œ

#œ œ

you can

ne - ver e

∑

-

ver live

∑

18

#

1.

D min

∑

(x2)

∑

17

#

#

∑

C

& œ Ó # œ œ œ . # œj œ œ œ # œ œ # œ œ # œ ˙
with - out
li - ving a piece
of
youth .
∑
∑
∑
&
?

8

∑

16

C

B

B

œ œ #œ œ #œ œ #œ œ œ Œ Œ

∑

7

..

∑

11

∑

6

C

#

∑

B

Pno.

C

∑

#

..

∑

9

..

F

Arr. Luis Regidor, Jose Carra

∑

4

..

∑

∑

∑

3

∑

∑

? ..

∑

#
D min

Smashing Pumpkins

F

#

2.

F

∑

.. Ó . # œ œ

∑

..

∑
22

..

∑
∑

Be- lieve

23

2

Pno.

#
C

B

& w

B

∑

∑

Be - lieve

? ∑

in

∑

24

C

˙ # œ .# œ # ˙ . œ # œ
J

˙ .# œ # œ

& ∑

26

& œ #œ œ #œ œ #œ #œ
?

∑

change

that

you're

& œ #œ œ #œ œ

D

Pno.

&
?

∑

stuck

∑

same

#œ

#œ

we're di

∑
∑

39

∑

∑
∑

40

#œ #œ

To - night

B

˙

∑

That life

∑

31

‰ #œ œ #œ
∑

∑

34

-

35

F

#

Ó.

∑

rent

#œ. #œ
J
∑

41

To - night

38

# #

∑

∑

#œ œ

∑

F /A

to

We're not

∑

37

# # #

˙.

Ó

∑

F /A C

Ó ‰# œ œ # œ

30

œ #œ œ #œ ˙
ffe

∑

# C #/F D #min

in vain

#

∑

B

-

˙ Ó

29

œ #œ œ œ œ #œ œ w
not

# #

F C /F D min

∑

28

36

& w

∑

∑

∑

B

∑

be- lieve

33

#

?

˙.#œ œ

∑

G min7

Pno.

#

F

32

&

C

B

∑

the

w

27

#

Pno.

be - lieve

B

∑

G min7

&

∑

me

∑

25

can

#

Tonight, Tonight

-

night

C

#

#˙.

∑
∑

42

œ #œ

to - night

E

# # #
B F /A C

& w

Pno.

&
?

#

&
?

?

#œ #œ

∑

To - night

48

night

B

˙

night

#

G min

∑

∑

45

46

∑

# #

F /A

#œ. #œ
J
∑

to - night

C

#˙.

∑

∑

∑

49

50

∑

To- night

F /A
3

w

∑

∑

#

∑

# #

B

‰ #œ œ

‰ #œ œ #œ ˙

#

&˙
Pno.

to

44

∑

F

∑

#œ œ ˙

∑

43

& ˙.

&

∑
∑

C

Pno.

˙.

Tonight, Tonight
#
D min

Ó

53

œ #œ

to - night

∑

47

# # #

B F /A C

w

∑
∑

51

˙.

∑
∑

#œ œ

52

to

Black Hole Sun

Soundgarden-Superunknown (1994)

Intro piano




Chris Cornell
Arr. Luis
Regidor Paín

Ballad feel q









  



In my

G(“4)

B¨6('9)



F5

E5

E¨(“4)

D7

                    
   



                     
















TUTTI

A5
G(“4)
  
 





eyes
heat,
ring,
shoes

in sum cold
wal -


dis mer
and
king

posed
stench,
damp,
sleep

 
 
    

G(“4)

   






  

F5

  
in
´neath
steal
and

dis - guise
the black
the warm
my youth

B¨6('9)

F5

   



as
no one
knows,
the sky looks dead.
wind tired friend.
I
pray to
keep,

 



E5

   



  
hides
Call
Times
hea -

the face,
my name
are gone
ven send

E5



     


(simile pedal)
1. and 3.

 

7

B¨6('9)



E¨(“4)



for

D7(“4)

   

lies
the snake
through the cream
ho - nest men and
hell
a - way,


and
and
some no



the
I´ll
times,
one

G6





sun in
far too

G/F


my

A¨



dis - grace.

long for

   
Boi - ling

snakes.

1. and 3.

E¨(“4)



D7(“4)

            

  



G6

G/F

A¨









            





2

2. and 4.

9



G6

G/F

  
you

hear



sings like

A¨

µ




 

  

scream

a -

gain.

Black hole

ny -

more.

Black hole

you

a

-

2. and 4.

G/F
A¨
 G6
 


  
  
   

 

E¨7(“4)


B1   
11

sun,

 

won´t you

E¨7(“4)

sun,

won´t

E¨7(“4)



 

sun,


  



come,







won´t

you

wash

C

come



D7

 
come,

B¨

a - way

the

wash

won´t


you



come.

G5/F

Blackhole sun, Black hole

sun won´t you come



Stut - te

B¨

  

  

a - way

the

G7

Black hole

G5/F





 

rain,

come

(x4)

 




 
Black

B¨('4)

C('4)
   D7
 B¨('4)
  
  



 

C('4)

Black hole

µ

1.



 

rain,

   

 

and



  

G7

come




  

won´t you

to B2



D7

  

won´t you

  

G5/F

 

and

D7

you

G7

come

   

 
 

B2

2.

you

D7



sun,

  

won´t

13 E¨7(“4)



D7










 

hole

D7

   


Blackhole sun, Black hole



sun!!!




e=q

(xX)

  VOICE SOLO, free lenght


C   
BASS+PIANO
    





 











   

      

VOICE+
PIANO

G(“4)

 
 

head,





 






ON CUE, LAST TIME

A5










BUILDING UP THE SOLO, from pp to forte



p subito

ON CUE, LAST TIME




   
C9(“4)


 


  

B¨6('9)



C9(“4)
 F(“4) G(“4)



till you all

just

 
Hang my

   




E5

  

drown my fear,






 


F5

  

q=e

 
 











3


µ


   
p

dis - a - pear

Black hole






 


       















 
                         

B2

E¨7(“4)

G7

G5/F

B¨

E¨7(“4)

D7

p

TUTTI 2nd TIME



D7

sun, won´t you come

1.

G7

 

G5/F



and wash a - way

2.

 

  

C('4)

Black hole

e=q

   



ff

   

 

the rain,

 

sun, won´t you come, won´t you come



 

sun,

Black hole

B¨('4)

Black hole




  

Black hole

C9(“4)









C9(“4)






D7

sun

 


(x4)



won´t you come

F(“4) G(“4)


   