Aplicación del Análisis Discriminante y Regresión Logística en el estudio de la morosidad en las
2. EL RIESGO EN LAS ENTIDADES FINANCIERAS 1. Concepto y tipos de riesgo
Moderately q = 110
Music by John Petrucci and Jordan Rudess Lyrics by John Petrucci
A New Beginning
from Dream Theater - The Astonishing
© 2016 WB MUSIC CORP., YTSE JAMS, INC., WARNER-TAMERLANE PUBLISHING CORP. and KEY WIZ MUSIC All Rights for YTSE JAMS, INC. Administered by WB MUSIC CORP.
All Rights for KEY WIZ MUSIC Administered by WARNER-TAMERLANE PUBLISHING CORP.
All Rights Reserved Used by Permission
Gtrs. 1 & 2 (dist.) Intro
* Riff A
f µ(G5)
P.M.
*Chord symbols reflect overall harmony.
P.M.
End Riff A
Gtrs. 1 & 2: w/ Riff A
Gm
F/G Gm
Am/G Gm
F/G Gm
Am/G
Gtrs. 1 & 2
**
Gm F/G Gm Am/G
P.M.
**Grad. lift P.M.
Gm µ Gm F/A Bb Bb/D Cm/Eb D/F# Eb/G Ab/Eb
3 3 3 3 3 3 3 3 3 X 3 3 3 3 3 3 3 3 3 0 1 2
3 3 3 3 3 3 3 3 3 X 3 3 3 3 3 3 3 3
3 4 5
3 3 3 3 3 3 3 3 3 0 3 3 3 3 3 3 3 3 3 0 1 2
3 3 3 3 3 3 4
0 1 4 3 3 3 5 5 5 6 6 6 5 5 5 6 6 6 4 4 4 5 5 5 8 8 8
1
µ
Fa Verse
1.
Gm
ther,
- I im plore
Am/G
- you,
don’t Gm7
be -lieve a word.
C/G F/G C/G
Riff B
slight P.M.
He Gm
is not the en
Am/G
e
- - my, that
Gm7
is just ab - surd.
C F/C Bb/C F/C C
End Riff B
slight P.M. let ring
You
Gtrs. 1 & 2: w/ Riff B
Gm
may see his tal Am/G
ent
- as
Gm7
some kind of threat,
C/G F/G C/G
but I
Gm
knew we were meant Am/G
to be
from Gm7
the day we met.
C F/C Bb/C F/C
Give Chorus Eb
us both a chance
Bb
Gtrs. 1 & 2
slight P.M. let ring
Rhy. Fig. 1
P.M.
7 5
6 5
5 3
4 3 6 2 3 4 5 3 5 3
4 6 0 1 2 4
3 3 3 3 3 3 3 3 3 0 3 3 3 3 3 3 3 3 3 0 1 2
3 3 3 3 3 3 3 3 3 0 3 3 3 3 3 3 0 35
37 7 3 38
37 35
3 3 3 3 3 3 0 35
37 7 3 38
37
68
6 6 10 8 6
68 8
68 8
68 8
00
2
for F
a new be gin
F/C
- ning.
C
- Noth
Eb
ing
- would mean more
Bb
to me.
P.M. P.M.
Gm
F/A Bb Bb/D
He Eb
is just a man.
Bb
P.M. P.M. P.M. P.M.
Can’t F
you show him mer
F/C
cy?
C
- Sym
Eb
pa
- - thy and strength
Bb
go hand
P.M.
P.M.
in Gsus2
hand.
D D/F#
Bridge Em
This man’s a fraud and a
P.M. semi-P.H.
End Rhy. Fig. 1
P.M. P.M.
6 6
1 33
1 1 1 1 1 33
32
3 68
6 6 10 8 6
6 88
6 88
6 88
3 5 5
5 3 3
6 5 3
5 3 3
6 8
6 6 10 8 6
68 8
65 8
68 8
108
8 8 12 10 8 1010
1012
10 68
6 6 10 8 6
68 8
68 8
68 8
00 0
55 0 0 47
4
2 022
0 0 0 0 0 0 022
0 0 0 0 0 0
3
hoax.
Eº5 Em
He’ll on - ly shat - ter your
3
steady gliss.
P.M. P.M.
6 6
hopes.
Gm Bb
Sad Bbm
dest
- of all is to
P.M. P.M.
watch F
how you fall
Aº/Eb
for this per Em
son
- who you
A#º7
hard - ly
semi-P.H.
Bsus4
know.
F#/A#
D#º/A Ab7
Ig 2.
Verse Gm
no
- - rant and stub
Am/G
born,
-
P.M. P.M. P.M. P.M. semi-P.H.
78
78
7 16 022
0 0 0 0 0 0 022
0 0 0 0 0 0
35 5
35 5
68 8
00 0 118
6 6 6 6 6 6 118
6 6 6 6 6 6
13 3
4 6 79
7 6
7 9 9
6 9 8
5 6 7
4 6 6 0 7 0 0 3 0 0 5 0 5 0 9 0 0
4
you Gm7
have no re spect,
Am/G
-F/G Am/G
not Gm
just for your flesh Am/G
and blood, but
all Gm7
who you pro - tect.
C F/C Bb/C F/C C
Gtr. 1 8va
Gtr. 2 8va
Lis Gm
ten
- with out- judg
Am/G
ment,
- keep
Gm7
an o - pen mind.
C/G F/G C/G
loco
loco
0 10 0 0 7 0 0 9 0 12 0 10 0 9 0 12 0 0 7 0 0 9 0 9 0 14 0 0
0 15 0 0 10 0 0 0
20 15
17 20 17
18 22 18
18 20 17
18 20 15
17 17
0 15 0 0 10 0 0 0
15 12
13 17 13
13 18 13
15 17 13
13 15 12 13
12
0 10 0 0 7 0 0 9 0 9 0 12 0 0 0 14 0 0 10 0 0 12 0 15 0 14 0 12
0 7 0 0 3 0 0 5 0 5 0 9 0 0 0 10 0 0 7 0 0 9 0 12 0 10 0 9
5
If Gm
you can not see Am/G
the truth, you’re
Gm7
the one who’s blind.
C F/C Bb/C F/C
8va
8va
We Chorus
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1st 7 meas.)
Eb
don’t stand a chance;
Bb
that F
is his o pin
F/C
- ion.
C
-
Moth Eb
er,
- can you talk
Bb
to him?
Gm
F/A Bb Bb/D
Try Eb
to un - der stand Bb
-
how F
they must be feel
F/C
ing.
C
- Mis
Eb
er
- - y’s to know
Bb
what might have
Gsus2
been.
D D/F#
Bridge Em
Why would I ev
F#/E
er
- con-cede to
Gtrs. 1 & 2
P.M. semi-P.H.
P.M. P.M.
0 15 0 0 10 0 0 12 0 12 0 17 0 0 0 19 0 0 15 0 0 0
20 15
17 20 17
18 22 18
18 20 17 18
0 12 0 0 7 0 0 9 0 9 0 14 0 0 0 15 0 0 10 0 0 0
15 12
13 17 13
13 18 13
15 17 13 13
55
0 0 47
4
2 022
0 0 0 0 022
0 44
0 0 0 0 44
0
6
lis Am
ten
- to this fool? How can you
B7b9sus4
be so na - ive?
Em
You must be liv ing- in a
P.M.
P.M.
world F#
of make be-lieve. Do you real
Am
ly
- think this char-la-tan is who D#º7
he claims to be?
B
P.M. P.M. P.M.
Interlude Gtrs. 1 & 2 tacet
Am
C/G D G
Bm/F# Em A
Am Am7b5/Eb
D
Gtrs. 1 & 2
C Eb7
G/D G#º7 Am D/F# D/A Dm7b5/Ab G
P.M.
Gtr. 3 (dist.)
*w/ phaser & delay f
Bº7 Cm
Am7b5 Eb/Bb
3
*Stereo delay set for 450 ms & 900 ms regeneration, w/ multiple decaying repeats.
1
Gtrs. 1 & 2
7 7
0 0 0 0 77
7 7
0 6 7 9
7 8 3 5 2 022
0 0 0 0 022
0
24 4
2 2 2 2 244
24
57
5 5 5 5 1057
0 0 67
8 79
35
6 557
4 02
2 3 5 45
0 0 35
7 9 7 10 8
8 11 11 10 10 11 11 10 11
8 10
8
11 8 10 11 11 13 15
2 3
5 6 6
7
rit.
Slower q = 66
rit.
Gb+/Bb Bb Bb7
Eb
rit.
Verse Gtr. 3 tacet
Eb
Not
3. long a - go, there was a time
Gtrs. 1 & 2 tacet
and place
Gtrs. 1 & 2
you too pos - sessed the same de - sires as Faythe.
You Cm
knew how
Gm
it felt to feel
Ab
in - vis - i ble.
Eb
-
Mu Cm Cm
sic
- calmed
Gm
your soul just like
Am7b5
a drug. Re mem
Abmaj7
- -ber, Bug?
14 10 10 11 11
11 11
13 13 10 10
11 11 10 13
10 11
6
8 6 6
6
8
Fa Tempo I
Eb/Bb
ther,
- is it true
G+
Bug Cm/Eb
was al - ways you?
Ab/C
Gtrs. 1 & 2
P.M.
Fi D/F#
nal
- -ly I can
Fm/Ab
re-veal how mu
Eb/Bb
sic
- makes me feel.
Bb Bb/D
P.M. P.M. P.M. P.M. P.M. P.M. P.M.
Now Chorus
Gtrs. 1 & 2: w/ Rhy. Fig. 1
Eb
you un - der stand
Bb
- why
F
I was hid
F/C
ing.
C
-
This Eb
chang - es ev Bb
’ry
- - thing.
Gm F/A Bb Bb/D
I Eb
will grant the chance Bb
for F
a new be gin
F/C
- ning.
C
- In
Eb
the end the fi
Bb
nal
- word rests
Gsus2
with D D/F#
me.
Interlude µ(Gm)
Gtrs. 1 & 2
6 6 6 6 6 6 3 3 3 3 6 6 6 6 6 6 3 3 3 0
5 2 2 2 5
2 2 2 8
4 4 4 8
4 4 4 10
6 6 6 10
6 6 6 8
6 6 6
8 5 5 5
3 5 5 3 5 3
5 6 8 7 8
3 5 6 3
5 3 5 5 3 5 3
5 6 8 7 8 10
8 8 5 5
3 6 3
5
9
Gsus4 Ebsus2 Csus2
Gsus4 Ebsus2 Csus2 Bbsus2 Csus4 Gsus4 Ebsus2 Csus2
Gm7add11 Gsus4 Ebsus2 C6sus2 Bbsus4 Bbsus2 Csus2 Db D Fsus4
Gtr. 4 (dist.)
Guitar Solo
*w/ wah-wah & delay f
Esus2
w/ bar
Em7add11
G5
steady gliss.
Bb5
3 7
3 3
*Stereo delay set for 300 ms & 600 ms regeneration, w/ multiple decaying repeats.
1
T
1
Gtrs. 1 & 2
Riff C
P.M. P.M.
3 5 5 3 5 3
5 6 8 7 8
3 5 6 3
5 3 5 5 3 5 3
5 6 8 7 8 10
8 10 8 10 12 10 8 8
6 5 3
3 6 3 5
5 3 5 5 3 5 3
5 6 8 7 8
3 5
6 3
5
3 5 5 3 5 3
5 6 8 7 8 10
8 8 5 5
3 6 3
5 3 5 5 3 5 3
5 6 8 7 8
3 5 6 3
5
3 5 5 3 5 3
5 6 8 7 8 10
8 10 8 10 12 10
8 8
6 5 3
3 6 3 5
5 3 5 1
2 2 2 15
00 00
12 12 15 12
15 12
15 12 15
12
15 15 10 0 14 17 20
0 0 7
0 0 0 0 0 5 2
5 1 0 0 5
0 0 35
35 35
68 68
68
10
A/E
19 15
T T T T T T T T
P.M.
Am6/E
Bb5 A5 F5
7
9
T T T T T T T T T T T
P.M.
End Riff C
Gtr. 4
Gtrs. 1 & 2: w/ Riff C
Esus2
C/E
G5 Bb5
5
Em6
10
10 16
T T T T T T T T T T
17 20 17 14 0 14 17 20 17 20 17 14 0 14 17 20 17 20 17 14 0 14 17 20 17 20 17 14 0 14 17 20 17 14
0 0 4
0 0 0 0 0 5 2
5 1
17 14 15 12
16 14 12 17 14 12
16 14 12
16 14 12 16 14 12
16 14 12
16 14 12 16 14 11
13 12 10 13
0 0 2
0 0 68
68 68
57 57
57 13
12 12 7 5 9
9
8 9 7 12 11 10
12 9 11 12 9
11 8 10 7
9 6
3 5 7 12 7 12 7 5 3 5 12 5 7 12 7 5 4 5 7 14 10 14 10 7 5 7 14 7 14 10 7 6 7 9 14 12 14
11
E9 Bbsus2 Fmaj9/A Dbadd11/F
9 5 3 5
T T T T T T T T
Gtr. 4
Synth Solo Gsus2
steady gliss.
Gtr. 4 tacet
Gm7add11
Bb5 Db5
Gtrs. 1 & 2 Riff D
P.M. P.M.
Gtrs. 1 & 2
C/G
P.M.
Cm6/G
P.M.
Db C5
End Riff D
Ab5
Gtrs. 1 & 2: w/ Riff D
Gsus2
Eb/G
Bb5 Db5 C7/G
Fm6/G
Dbsus2 Cm7add11 Fm9/Ab
Gtr. 5 (dist.) Interlude
f µ(Gm)
12 9 7 9 14 12 14 12 9 8 9 9 12 14 15 14 15 14 12 9 12 15 14 15 14 12 12 151720 17 20 17 15 12 14
12 12 5
3 3
5
3 3 3 3 3 8 5
8 4 3 3
3
3 0 13
13 13
46 46
46
3 3 7
3 3 3 3 3 8 5
8 4 3 3 5
3 0 46
46 46
35 35
35 46
10 12 12 10 12 10
12 10 10
13 12 10
13 10 12 12 10 12 10
12 10 15 11 13 15
10 12 12 10 12 10
12 10 10
13 12 10 8
12
(Ebmaj9) (Fadd9/A) (Abmaj9) (Bbadd9/D) (Gm)
(Dbsus2) (Fsus2)
Gtr. 5
µ
Outro-Guitar Solo
Gtr. 4 Gtr. 5 tacet
wah-wah off w/ phaser
Gm
w/ bar
6
6
-2
Gtr. 6 (dist.)
w/ reverb & ambient delay mf
Gtr. 4
Gtr. 6 tacet
P.S.
Eº7
* 8valoco
Harm. P.S.
loco
Harm.
8va
P.S.
loco
Harm.
8va
P.S.
8va loco
Harm.
P.S.
8va loco
Harm.
P.S.
Gm
8va
Harm.
loco
P.S.
8va
Harm.
loco
** Harm.
loco 15ma
** Harm.
loco 15ma
6 3 3
3
*Next 2 measures, fret-hand muting allows harmonic when pick is lifted from string.
**Tap string w/ edge of pick.
13 10 11 10
13 13 13 13 13
15 12 13 12
15 15 15 15 15
10 12 12 10 12 10
12 10 10
13 12 10 13
10 12 12 10 12 10
12 10 15
11 13 15
10 12 12 10 12 10
12 10 10
13 12 10
13 11 13 13 11 13 13 13 13 13
15 11 13 15 11
14 12 10 12 10 8 11 9 7
10 8 6
9 7 5 1012121110
1012 1211 10
1012 1211 10
10 1212 11
X 12 X 12 X 12 X 12 X 12
X X X 12 X X 12 X 12 X 12
13
string noise (R.H.)
15ma 8va
*
*Tap string w/ edge of pick.
grad. release
_1/2
Ab7
_1/2
_1
w/ bar
D/G
w/ bar
let ring
Harm.
_1
_1
w/ bar
Fm/G
_1/2
_1/2
_1
-2 1/2
_1 _1
-6
Fm
P.M.
Gm
grad. release grad.
bend grad.
bend
3
1 1/2 1 1/2 1/2 1/2
A/G
string noise
w/ bar
let ring
A
grad. release
Cm/G loco
8va
1 1/2 1
w/ bar
D/G
w/ bar 8va
let ring
loco
D
_1
_1
_1
_1
w/ bar Harm.
let ring
_1 _1 _1 _1
Pitch: G
Gm
13 13 13 13
7 7
7
7 7
7 7 7 7 4 9 8
10 10 5 6 5 3
5 3
8 10 10 8 9 10 11 13 13 13 11 13 13
13 11
12 10 11
12 10 12 12
10 XX 14 14
14 17 20
14 20 20 20 15
16 15 17 17
18 15 15 18 17 18
15 18
17
9
17 16 16 17
17 17
5 17
7 7 5 7 7 7 7 7
5
3 0 5 0 3 0 0 5 0 7 0 0 7 0 10 0 10 0 12 0 10 0 0 12 0 15 0 0 15 0 17 0
15
Ab/G Ab7
D/G
grad. release 3
1/2 1
Fm/G
grad. release
Fm
8va loco
6 6
1 1 1/2
Gm
P.H.
string noise
A/G
Harm.
w/ bar
Pitch: D
1/4
1/4 1/4
A
w/ bar
Cm/G
w/ bar
8va loco
grad. release
1 1/2 1/4
16 15
17 15 16 15 17 15
18 17 15
18 17 15 17 18
16
17 19 20
18 17 19 20
16 17 19 15
19 17 16 17 19
15 17 19 17 15 19
15
19 17 16 17 19 15 17
19 17 16
17 15
16 13 13 13
15 15
18
15 14 13 13 13 16 18
18 15
18
17 15
15 18 15
15 17 17
1515 XX X
XX X
X XX 171717
1515 1515
16 17 15
15 13 13
15 15
9 XX 12 14 14
14
14 14
14
17 13 17 21 17
18
20 15
16 17
10
10
10 XXX 10 8
10 10 3
16
D/G D
8va
loco
steady gliss.
6 6 6 6
6 6
1
Gm
grad. release
Ab/G
grad. release
Ab
8va
1 1/2 1/2 1
D/G
rake
8va loco
let ring
let ring
Fm/G
grad. release
1
Fm
P.M.
Gm
grad. release
3
1 1/2
Begin fade
A/G A
8va 6
6
6
6 6 6
1
12 13 16 12
16 13 12 13 16 12 14 15 14 15 17 15
17 15 14 15 17 15 16 19 19 20 22 18 22 20
20 19 20 22 18 19 20
17
18 18 15 17 17 17 17 15 16 18
16 18 16 16
16 16
X X
X 17 14
15
14 16 7 7
7 10 10 7
7 10
7
9 8 11
10 10
11
9 8 9 8
10
10 8 8
13
5 0000
13 1011
12 12 10
10 8
11 10 8 10 8
10
0 0 0 4 4 4 7 7 7 7 7 7 11 11 11 9 9 9 14 14 14 14 14 14 17 17 17 17 17 17
20 21 17
20 17
19 17 20 20
17
Cm/G
3 3
8va
6 6 6 6 5 6 6 6 6 5
T T T T T T T T
D/G
3 3
8va
6 6 6 6 6 5
T T T T T T
D
3 3 7
8va
T T T T T T
Gm
8va
/ 0
loco
steady gliss. let ring
Ab/G
w/ bar
w/ bar
let ring
-1 1/2
1
Ab7
w/ bar
let ring
D/G
w/ bar
w/ bar
Fade out
20 18 15 16 15
17 15 1715 1615 18 20 18 15 16 15
17 15 1715 1615 18 18 15 13 11 20 18 15 13 11 20 18 15 13 11 20 18 15 13 11 20 18 15 13 11 20 18 15 13 11
20 17 15 14 15 17 20 17 15 14 15 17 20 17 15 11 15 17 20 17 15 14 15 17 20 17 15 14 15 17 20 17 15 14 15
22 20 17 15 14 15 17 20 22 20 17 15 14 15 17 20 22 20 17 15 14 15 17 20 22 20 17 15 14 15 17 20 22 20 17 15 14 15 17 20 22 20 17 15 14 15 17
20 20
00 18
7 XX 0 12
11
12 12 0 0
1313 13
1313 13
13
13 13
13 13 0
1211 10
1211 10
12 10
18
Moderately q = 90