Vinai | Trinateepakdee Move The Sky Tab

Eb|-----------------------12-15-12----------------| Bb|-----------------13-15----------13-15-13-------| Gb|----------12-14----------------------------14-12| Db|---12-14---------------------------------------| Ab|-----------------------------------------------| Eb|-----------------------------------------------| Isolate the jump. Play the low Db (12th fret) then immediately skip to the high Eb (12th fret). Use a metronome set to 60 BPM. Increase by only 5 BPM once clean. Section 4: The Lead Melody (Chorus) The chorus is surprisingly vocal. Vinai bends into notes like a singer scooping into a phrase.

Eb|--------7-------10-------12----| Bb|-----8-------11-------13-------| Gb|--9-------12-------14----------| Db|-------------------------------| Ab|-------------------------------| Eb|-------------------------------| Use hybrid picking (pick + middle/ring fingers) to keep each note ringing. Let the notes overlap slightly for a piano-like effect. Section 2: The Main Riff (Distortion) When the distortion kicks in, Vinai introduces the central rhythmic motif. This riff is based on a descending Phrygian dominant pattern (E minor with a raised 7th). vinai trinateepakdee move the sky tab

If you have been surfing the waves of Thai rock and instrumental guitar music, you have likely encountered the name Vinai Trinateepakdee . Known for his blistering technique, emotional phrasing, and fusion of neoclassical rock with Thai melodic sensibilities, Vinai has cemented himself as a Southeast Asian guitar hero. Among his most requested and technically demanding pieces is the instrumental powerhouse, “Move the Sky.” Increase by only 5 BPM once clean

Eb|------------------------------15b17r15----13----| Bb|-------------------13----15----------------15---| Gb|------------12h14----14-------------------------| Db|-----12h14--------------------------------------| Ab|--15--------------------------------------------| Eb|------------------------------------------------| The bend on the 15th fret (Eb string) is a full step (two frets). Release it slowly back to 15 before descending. This creates the “crying” quality. Section 5: The Climax Tapping Section Vinai uses two-handed tapping not as a gimmick, but as a melodic extension. This lick ascends two octaves. Vinai introduces the central rhythmic motif.