ptabEyes Of A Stranger QueensrycheOperation: MindcrimeChris De Garmo and Geoff TateChris De Garmo and Geoff Tate Rumbledog RumbledogB(c) 1988 Screen Gems - EMI Music Inc. & Queensryche Publishing Co. This is one of the strongest pieces from Operation: Mindcrime. It begins with ominous keyboards (arranged for guitar) and a single guitar playing a simple melodic pattern, moving into a heavy section [B] featuring the signature guitar riff, elaborated on later in the piece. This riff is essentially based on B pentatonic minor (B, D, E, F#, A), played over an E pedal tone, creating a slightly polytonal effect. This figure is built upon with two guitars playing harmony lines a third apart, diatonic to E Aeolian (E, F#, G, A, B, C, D) with brief use of the major sixth (C#). The first verse [C] features a key change to E major, with clean guitars playing small, sustaining chord voicings. The guitar signal here is treated with ambient delay and chorusing. The end of the verse returns to the original key (E minor) and re-introduces the heavy signature riff, moving into the chorus.The chorus section [D] is reminiscent of Iron Maiden and features similar techniques, such as adding moving lines to sustaining chords, used to great effect in developing the backing figure. The second verse [E] features two guitars playing the same figure behind the vocals, before the D.S. back to the chorus. The guitar solo [F] begins with slow phrases based on E Aeolian, the first section ending with a quick riff based on the E blues scale (E, G, A, Bb, B, D). The next section [G] features the return of harmony guitars, elaborating on the phrases used in the intro. Harmonizing guitars this way can be heard in the work of the Scorpions, as well, as both bands utilize tension and release in combining slow and fast phrases. The rideout [J] features the signature riff played repeatedly, with an overdubbed guitar entering and adding counter rhythms featuring octaves and fifths. This figure is repeated along with the signature riff and both slowly fade out as the vocal and tape effects fade in. The guitar solo in "Eyes of a Stranger" showed a larger range of sounds than Queensryche had ever used before. Instead of crunch metal, the solo had a slightly softer distortion sound. Chris De Garmo and Michael Wilton endorsed E.S.P. guitars and G.H.S. strings. The following setup is the starting point for duplicating the sound on the album. You'll find the setup good for both the rhythm and the solo sound. Begin with a metal pedal with the distortion or drive at full blast. The presence, set at about 40%, mutes the tone for the slightly softer sound. Be sure to balance the distorted output of the pedal to the input, with the level set at 50%, so that there is no discernible difference in level when you switch the effect in or out. Split the output of the distortion, and send one side to a delay pedal and the other straight to one of your amps. This arrangement of the delay pedal on one side of the split line creates a nice stereo separation. The delay time is set at about 20%, with the repeats or feedback also set at about 20%. Set the mix at about 75%. The mix of the pedal is so that little of the original signal gets through.CGuitarUntitledA ?Standard@;72-(UntitledA`?Standard@;72-(UntitledN@?Standard@;72-(UntitledN Standard@;72-(UntitledN`Standard@;72-(Untitled4@Standard@;72-(  CChordDiagram  ! CFloatingTextSynth. arr. for gtr.bpTimes New RomanFdbk. pitches: B, E;}Times New RomanFdbk.9RTimes New RomanKybd. arr. for gtr.|#Times New Roman Begin fade5-&e;&Times New RomanFade out''Times New Roman CGuitarIn   CTempoMarkeri Moderate RockCDynamicA00N0'0'0 N0 N0 A0A0 N0A0A[0N0N0N0AN0404CSectionSymbolC"CSection2  $QAIntro CChordText CRhythmSlash`@