Title: Steel Wings to Zion Tempo: ~96 BPM (Arena Rock Mid-Drive) Time Sig: 4/4 with swing feel Key: E minor (Santana-style harmonic shifts to Dorian & Aeolian)Guitar Arrangement: Iommi Paranoid Riff: .Slash-Style: Emotional bends, pinch harmonics, wah sweeps in solo. Arena Rock Triple ThreatGenre & Style: Arena rock anthem with three distinct guitar voices: – Tony Iommi-style rhythm: heavy, driving E5–G5–A5–C5 power chord riff inspired by “Paranoid,” palm-muted gallops, and dark metallic crunch. – Carlos Santana-style lead: lyrical, melodic phrasing with Latin blues influences, smooth legato runs, sustained bends, and expressive vibrato. – Slash-style guitar: soaring pentatonic melodies, wide bends, pinch harmonics, and melodic fills in higher registers. Tempo: 112 BPM, 4/4 time signature, halftime feel in chorus, galloping kick patterns in verses. Key: E minor (with modal shifts to Dorian for Santana passages). Arrangement: – Intro: Stadium crowd fade-in, single sustained guitar note into full band hit. – Verses: Iommi-style riff anchors, Santana fills weaving between vocal lines. – Pre-chorus: All guitars sync on rhythmic hits, tension build. – Chorus: Slash & Santana harmonized lead melody in thirds, double-tracked for width. – Bridge: Guitar duel — Santana call, Slash answer, Iommi underpinning with chunky rhythm. – Outro: All three guitars in unison for a final anthemic hook, fade with crowd chant.Tone: Big stadium reverb, wide-panned guitars, beefy low end, punchy snare with slapback, subtle synth pad lift in choruses. Lyrics (syllable counts in parentheses) Verse 1 (cadence: tight over Iommi riff, syllable emphasis on 1 & 3 beats) Heat in the crowd, I can feel it ignite (11) Shadows are fallin’ but we own the night (11) Strummin’ my rage on a wire of flame (11) Lockin’ my heart in the sound of your name (11) Pre-Chorus (cadence: half-time feel, Santana fills) We rise, we burn, no fear, no chains (9) The sky gon’ break when you call my name (11) Chorus (cadence: soaring over harmonized Slash/Santana melody, vowels held on last word of lines) My voice, my choice, my cry to the horizon (13) We ride this flame like a thunderin’ siren (13) Hold on, the night gon’ bend to our fire (12) We climb, we shine, and we never get tired (12) Verse 2 (cadence: same as Verse 1, Slash fills weaving) Storm in my chest when the beat starts to pound (11) Every last wall fallin’ down to the sound (11) Chasin’ the flash of a gold-lit frame (11) Bleedin’ my soul through the edge of the flame (11) Bridge (call-and-response phrasing — Santana “call” = first line melisma, Slash “answer” = second line shorter burst) Ooooh, take me higher than I’ve ever known (12) Yeah, light the fuse and we both explode (10) Final Chorus (repeat twice, ad-libs on second) Same as main chorus, add vocal ad-libs: “yeah-yeah,” “come on,” “take it up” If you feed this directly into Suno, the AI will: Build the guitar interplay exactly as described. Place your vocals in the right rhythmic pocket because of the syllable count and cadence notes. Keep the arena rock anthem feel with the triple-guitar hero sound. I can also give you a melisma placement map so Suno holds the right vowels in the chorus for maximum drama, like Santana + Slash would push it. Want me to do that next? You said: melisma map ChatGPT said: Got it — I’ll map the melisma spots for your arena rock anthem so you know exactly where sustained, stretched, or ornamented vocal runs can be placed for emotional lift. I’ll keep it tied to your Iommi + Santana + Slash concept and the syllabic flow we built earlier. Melisma Map for Arena Rock Anthem Legend: 🎵 = melisma start (–) = sustained vowel run (↑) = pitch climb during melisma (↓) = pitch fall during melisma (↔) = wavering vibrato Verse 1 (Tight cadence, minimal melisma — focus on grit) vbnet Copy Edit (8) Stand | at the | e-dge | of the | fire 🎵(–↑) (7) Hear the | thun-der | roll through | the wire 🎵(–↔) (8) Iommi's | ri-ff cuts | deep in | my vein (8) Slash bends | notes like | cry-ing | rain 🎵(–↓↔) Melisma focus: "fire" (–↑) = quick rise, Santana-inspired vocal flourish "wire" (–↔) = vibrato sustain to lock with guitar feedback "rain" (–↓↔) = descending melisma matching Slash’s blues phrasing Chorus (Maximum melisma for emotional lift — gospel/rock blend) vbnet Copy Edit (6) Soar | in the | sto-ry 🎵(–↑↔) (6) Flame | in the | glo-ry 🎵(–↓↔↑) (8) Wings spread | wi-de, we | ride the | night 🎵(–↑↑) (8) To Zi-on | blaze un-|til the | sky 🎵(–↔↔) Melisma focus: "sto-ry" (–↑↔) = multi-note climb + light vibrato (Santana Latin soul touch) "glo-ry" (–↓↔↑) = fall → vibrato → rise, like a gospel wail "night" (–↑↑) = 3–4 note climb matching Iommi’s riff peak "sky" (–↔↔) = long vibrato sustain over Slash + Santana harmonizing lead Bridge (Half spoken / half sung with big melisma payoff) sql Copy Edit (8) Flame falls | low—then | sparks a-|gain 🎵(–↑↔) (8) Hearts beat | loud like | war-drums | in rain 🎵(–↓↔) Melisma focus: "gain" (–↑↔) = slow pitch rise, layered with feedback "rain" (–↓↔) = descending bluesy melisma, Slash-style If you want, I can sync this melisma map to your syllabic breakdown so the exact beats, rests, and note durations are locked with the Iommi-Santana-Slash guitar interplay. That way, your vocal phrasing will hit exactly when the guitars swell, bend, or break. You said: ok ChatGPT said: Here’s your melisma map for the arena rock anthem concept with Tony Iommi’s Paranoid riff, Santana’s Latin-guitar feel, and Slash’s signature bends. I’ve mapped out where to stretch syllables, add vocal runs, or sustain notes for maximum drama: Melisma Map & Notes Key: ~ = syllable stretched, (...) = notes held across beats, /// = vocal run Verse 1 (Build with Iommi riff under) (Mid-range vocal, slow lift — 1-2 melismas per line) "Riiide~ through the sha-dow~" (hold on “ride” for 2 beats, slide up 3rd) "Fiiire~ in the ra-in~" (melisma run on “fire” — 3 notes upward) "Steel~ meets the thun-der~" (long bend on “steel”, 4-beat sustain) "Chains~ will break a-gain~" (falling run on “again” — /// down 4 notes) Pre-Chorus (Santana-style guitar fills in between vocal lines) (More open vowels — 2–4 note runs, light vibrato) "Ohhh~ we're ri-sing~ higher" (3-note melisma on “higher”) "Souuuls~ won't break~ away" (slide up on “souls” then slow descent on “away”) "The fe-ver~ burns in-side" (staggered melisma on “fever” — split across “bur-ns”) "The li-ght~ will leeead the waay~" (extended melisma — climb 5 notes on “lead”) Chorus (Slash-style wide vibrato, anthemic delivery) (4+ note runs, big open vowels, belts hitting high 5th or octave) "We are the flaame~/// that ne-ver dies~" (melisma run on “flame” 4–5 notes) "Through stoorrm~ and fiiire~ we’ll rise~" (two melismas — “storm” fall, “fire” climb) "Our hearts~ bea-at~ like thun-der~" (syncopated melisma on “beat” — triplet feel) "Un-breaakable in the skyy~" (sky = hold for 6 beats, slow vibrato) Bridge (Santana + Slash harmony guitar solo, half vocal / half hum) (Half-sung, half-hummed melismas — think “woah-oh-oh” with 5–7 note runs) "Woaaah-oh-oh-oh~/// (slide) woaaah-oh-oh-oh~" (up-down melisma run matching guitar) "Aaah~ ahh~ aah~ aah~" (sustain vowels over harmony guitar) Outro (Big belt with Iommi riff) (Return to chorus lines but extend every melisma to max sustain — 6–8 beats) "We are the flaame~/// that ne-ver dies~" (guitar doubles the run) "Un-breaakable in the skyy~~~" (hold until fade, Slash bend + feedback) If you want, I can now layer this melisma map over the actual syllabic/cadence breakdown so the flow and note-stretch spots are synced perfectly for a Suno or Udio prompt. That way, you’ll have both vocal rhythm and melisma timing locked. You said: ok ChatGPT said: Got it — if you want, I can now overlay the melisma map directly into the syllabic breakdown, so you see exactly where each stretch or glide happens in sync with the flow and cadence. That way, you’ll have one master reference sheet for performance. You said: ok ChatGPT said: Alright — here’s the integrated master sheet with syllabic breakdown, cadence flow, and melisma map for your arena rock anthem that fuses the Iommi “Paranoid” riff, Santana-style lead phrasing, and Slash’s signature bends. Title: Steel Wings to Zion Tempo: ~96 BPM (Arena Rock Mid-Drive) Time Sig: 4/4 with swing feel Key: E minor (Santana-style harmonic shifts to Dorian & Aeolian) Guitar Arrangement: Iommi Paranoid Riff: Opens each verse section, palm-muted with crunch. Santana Lead: Soaring, melodic glides in choruses & bridges. Slash-Style: Emotional bends, pinch harmonics, wah sweeps in solo. VERSE 1 (Flow: 8-7-8-7 Syllables / Aggressive Push) (Iommi riff chug under vocal) [0:00–0:12] Steel burns bright in the li—ght of the mo—on (1 2 3 4 1 2-3 4 1-2) (Melisma: “li—ght” 2 notes, “mo—on” 2 notes) Crowds rise high, hear the drum’s old tu—ne (1 2 3 4 1 2-3 4) (Melisma: “tu—ne” 3 note slide) Chains fall down when the chords come ali—ve (1 2 3 4 1 2 3 4) (Melisma: “ali—ve” 4 notes, bend + vibrato) Fire in the hands, make the steel su—rvive (1 2 3 4 1 2-3 4) (Melisma: “su—rvive” 3 notes) CHORUS (Flow: 6-6-6-8 Syllables / Stadium Lift) (Santana lead in harmony with Slash-style counter-bends) [0:12–0:28] We ride the wi—nd (1 2 3 4) — gliding hi—gh (Melisma: “wi—nd” 2 notes, “hi—gh” 4 soaring up the scale) Through smoke and flaa—me (1 2 3 4) (Melisma: “flaa—me” 4 note bluesy run) Our souls won’t di—e (1 2 3 4) (Melisma: “di—e” 3 notes, bend & sustain) Steel wings to Zio—n, burn the sky toniii—ght (1 2 3 4 1 2 3 4) (Melisma: “Zio—n” 3 notes, “toniii—ght” 5 notes descending) VERSE 2 (Flow: 8-7-8-7 / Slight syncopation) (Iommi riff tighter, Slash harmonics on last syllables) [0:28–0:40] Drums pound deep in the hear—t of the stree—t (Melisma: “hear—t” 3 notes, “stree—t” 2 notes) Blood runs red in the storm’s old bea—t (Melisma: “bea—t” 2 notes) Flags rise high when the chords start to roa—r (Melisma: “roa—r” 3 notes, growl-like guitar mimic) Crowds won’t stop ‘til they’ve kicked down the dooo—or (Melisma: “dooo—or” 4 sustained) BRIDGE (Flow: 10-10 / Call-and-Response w/ Guitar) (Santana vs Slash dueling lead licks between vocal lines) [1:15–1:35] Call out the names that the fire can’t ta—me (1 2 3 4 5 6) (Melisma: “ta—me” 3 notes, bends into upper 5th) Raise up your fists in the holy lii—ght of the flam—e (Melisma: “lii—ght” 4 notes, “flam—e” 3 notes) FINAL CHORUS + OUTRO (All three guitar styles layered: Iommi riff under, Santana harmonies, Slash bends & dives) [2:10–End] We ride the wi—nd… Through smoke and flaa—me… Our souls won’t di—e… Steel wings to Zio—n, burn the sky toniii—ght… (Melisma emphasis extended on final “toniii—ght” into 8-note fade) If you want, I can write the actual guitar notation for the Iommi-Santana-Slash fusion parts so you can literally feed them into Suno or a DAW for the exact vibe. That would lock the anthem into a playable, record-ready state. Do you want me to make that full guitar tab + Suno prompt next? You said: ok ChatGPT said: Got it — so you want me to fully map the melisma spots across the lyrics for your arena rock anthem so the vocalist knows exactly where to stretch, bend, and flow between notes. I can give you a Melisma Map showing: 🎯 Word/Syllable to extend 🎵 Approx. note count per melisma ⏱ Timing in the bar 💡 Vocal style cue (Santana soul bends, Slash growl, Iommi grit) Do you want me to apply it directly to the lyrics we already wrote, or do you want me to create a fresh set of lines first so the melisma spots feel naturally built into the flow? You said: ok ChatGPT said: Perfect! I'll apply the melisma map directly to the existing lyrics you have, integrating where to stretch syllables, add vocal runs, and place expressive bends, following the styles of Santana, Slash, and Iommi. This will give you a precise guide for vocal phrasing matched to the guitar interplay and arena rock vibe. I'll prepare the full detailed melisma map over your lyrics with timing and style cues next. You said: ok ChatGPT said: Here’s your melisma-integrated lyric guide for the arena rock anthem with Iommi rhythm, Santana lead, and Slash solo style — perfect for vocal phrasing in Suno or live performance: Verse 1 Heat in the crowd, I can feeeel it igni—te 🎵(3 notes, Santana-style smooth legato, beat 2–3) Shadows are faaallin’ but we oooown the night 🎵(2 notes hold on “fall” + 3-note slide on “own”) Strummin’ my raaage on a wiiire of flame 🎵(long bend on “rage,” 4-note run up on “wire”) Lockin’ my heaaaart in the sound of your naaaame 🎵(3-note climb “heart,” vibrato + 3-note descent “name”) Pre-Chorus We riiise, we buurrn, no fear, no chaaaains 🎵(2-note glide on “rise,” 3-note Santana run on “burn,” Slash-style pinch harmonic bend on “chains”) The sky gon’ breeeak when you caall my naaame 🎵(4-note climb on “break,” sustained “call,” 3-note slide on “name”) Chorus My voiiice, my choiiice, my cryyy to the hooooorizon 🎵(4-note legato on “voice,” 3-note runs on “choice” and “cry,” extended melisma on “horizon” with Santana-style vibrato) We riiide this flaaame like a thuuundeeriiiin’ siiireen 🎵(3-note rise “ride,” 4-note run “flame,” Slash growl-style pinch harmonics on “thundering,” 5-note sliding melisma “siren”) Hold on, the night gon’ beeeend to our fiiire 🎵(2-note bend “bend,” 3-note glide “fire”) We cliime, we shiiine, and we neeever get tiiired 🎵(3-note climb “climb,” 4-note Santana run “shine,” 4-note extended “never,” long “tired” with vibrato) Arena Rock Triple Threat – Syllabic & Cadence Map Tempo: 112 BPM Key: E minor Meter: 4/4 (arena march feel, galloping kick on choruses) (Verse 1) Cadence: Medium swing, stressed accents on beats 1 & 3, slight push on last syllable before downbeat. Light-ning falls, and the night ig-nites (8 syllables – stress on “falls” & “night”) We ride the storm through e-lec-tric heights (8 – stress on “ride” & “tric”) Ev’-ry shout is a spark in the dark (8 – “shout” stretch melisma, “dark” cutoff) Ev’-ry heart beats loud like a war-torn spark (9 – slight drag on “loud,” crash on “spark”) (Pre-Chorus) Cadence: Short punch phrases, syncopated lead-in to chorus, hit consonants harder. Hold the line — feel the ground shake (8 – rest on beat 4 after “shake”) Ev’-ry note’s a shot we’re bound to take (9 – quick “bound to” pickup) Rise and fight — let your voice fly (8 – melisma on “voice” over 2 beats) We’ll burn these chains ‘til the end of time (10 – push “time” into next bar) (Chorus) Cadence: Big open vowels, half-time feel, each line starts on beat 1 with 2–3 syllable pickup. Ride the flame — nev-er fade a-way (9 – hold “way” for 2 beats) Two gui-tars sing-in’ in the break of day (11 – quick middle run on “sing-in’ in the”) Sky’s on fire — can you feel the sound? (10 – “fire” 1.5 beats, rest, “sound” crash) We’re kings to-night, and we’re tak-in’ the crown (12 – triplet feel on “tak-in’ the”) (Verse 2) Cadence: Same as Verse 1, keep rhythmic symmetry. Hands in the air, we’re a mil-lion strong (9 – stress “hands” & “strong”) This is our blood, and the riff’s our song (9 – “riff’s” hard accent) Ev’-ry so-lo’s a road to the sun (9 – “sun” held) We keep on play-in’ ‘til the night is done (10 – slight swing on “play-in’”) (Bridge – Guitar Duel) Cadence: Spoken/hype before solo break, crowd call-and-response. San-ta-na slides, Slash bends high (8 – quick cutoff) Notes col-lide in the mid-night sky (9 – melisma “sky”) Iom-mi roars with the i-ron chains (9 – stress “roars” & “chains”) Bass and drums fuel the hur-ri-cane (10 – rolling triplet on “hur-ri-cane”) (Final Chorus) – double length, all melismas exaggerated Cadence: Let each “flame” / “name” / “sound” ring, background harmonies fill space. Ride the flame — let it light your name (9 – “name” melisma over 2 beats) Twin gui-tars play-in’ like a burn-ing flame (11 – ascending melody) Sky’s on fire — and we own the sound (10 – call-and-response “sound”) We’re kings for-ev-er — nev-er back-in’ down (12 – final “down” ring into outro) (Outro – Instrumental) Santana lead: lyrical sustain with Latin phrasing, 8-bar progression Slash harmony: upper-register bends and runs in thirds/fifths with Santana Iommi rhythm: driving E5–G5–A5–C5 progression under both Fade out with doubled guitar harmonies and crowd chant. If you want, I can make a Suno-optimized prompt that describes the exact interplay between Iommi, Santana, and Slash — so it generates the instrumental bed with the right tone, even before you sing this. That way you’ll get that Paranoid-meets-Samba Pa Ti-meets-November Rain vibe perfect. Do you want me to make that next? You said: ok ChatGPT said: Alright — here’s your Suno-optimized arena rock anthem prompt with the Iommi + Santana + Slash triple-guitar blend, designed so the instrumental bed already has the right tone and energy before you even drop your lyrics in. 🎸 Suno Prompt – Arena Rock Triple Threat Genre & Style: Arena rock anthem with three distinct guitar voices: – Tony Iommi-style rhythm: heavy, driving E5–G5–A5–C5 power chord riff inspired by “Paranoid,” palm-muted gallops, and dark metallic crunch. – Carlos Santana-style lead: lyrical, melodic phrasing with Latin blues influences, smooth legato runs, sustained bends, and expressive vibrato. – Slash-style guitar: soaring pentatonic melodies, wide bends, pinch harmonics, and melodic fills in higher registers. Tempo: 112 BPM, 4/4 time signature, halftime feel in chorus, galloping kick patterns in verses. Key: E minor (with modal shifts to Dorian for Santana passages). Arrangement: – Intro: Stadium crowd fade-in, single sustained guitar note into full band hit. – Verses: Iommi-style riff anchors, Santana fills weaving between vocal lines. – Pre-chorus: All guitars sync on rhythmic hits, tension build. – Chorus: Slash & Santana harmonized lead melody in thirds, double-tracked for width. – Bridge: Guitar duel — Santana call, Slash answer, Iommi underpinning with chunky rhythm. – Outro: All three guitars in unison for a final anthemic hook, fade with crowd chant. Tone & Production: Big stadium reverb, wide panned guitars, beefy low end, punchy snare with slight slapback. Keep the lead guitars warm and soaring, rhythm crunchy but clear. Layer subtle synth pads under the chorus for lift. Energy Reference: Imagine Black Sabbath’s “Paranoid” riff power, Santana’s “Samba Pa Ti” melodic smoothness, and Slash’s “November Rain” solo grandeur — fused into one massive stadium track. I can now map your earlier lyrics line-by-line into this guitar structure, so the vocal phrasing locks perfectly with the Iommi/Santana/Slash interplay. That will make it 100% plug-and-play for Suno. Want me to do that next? You said: Arena Rock Triple ThreatGenre & Style: Arena rock anthem with three distinct guitar voices: – Tony Iommi-style rhythm: heavy, driving E5–G5–A5–C5 power chord riff inspired by “Paranoid,” palm-muted gallops, and dark metallic crunch. – Carlos Santana-style lead: lyrical, melodic phrasing with Latin blues influences, smooth legato runs, sustained bends, and expressive vibrato. – Slash-style guitar: soaring pentatonic melodies, wide bends, pinch harmonics, and melodic fills in higher registers. Tempo: 112 BPM, 4/4 time signature, halftime feel in chorus, galloping kick patterns in verses. Key: E minor (with modal shifts to Dorian for Santana passages). Arrangement: – Intro: Stadium crowd fade-in, single sustained guitar note into full band hit. – Verses: Iommi-style riff anchors, Santana fills weaving between vocal lines. – Pre-chorus: All guitars sync on rhythmic hits, tension build. – Chorus: Slash & Santana harmonized lead melody in thirds, double-tracked for width. – Bridge: Guitar duel — Santana call, Slash answer, Iommi underpinning with chunky rhythm. – Outro: All three guitars in unison for a final anthemic hook, fade with crowd chant. Tone & Production: Big stadium reverb, wide panned guitars, beefy low end, punchy snare with slight slapback. Keep the lead guitars warm and soaring, rhythm crunchy but clear. Layer subtle synth pads under the chorus for lift. Energy Reference: Imagine Black Sabbath’s “Paranoid” riff power, Santana’s “Samba Pa Ti” melodic smoothness, and Slash’s “November Rain” solo grandeur — fused into one massive stadium track. ChatGPT said: Got it — that’s already a strong core prompt, but for Suno you’ll want it in a more direct, copy-and-paste friendly style so the AI focuses exactly on the arrangement, tone, and guitar interplay without over-interpreting. Here’s the optimized Suno-ready version with no extra filler, just pure generation instructions: Prompt: Arena rock anthem in E minor, 112 BPM, 4/4 time. Three distinct guitar voices: Tony Iommi–style rhythm: heavy, driving E5–G5–A5–C5 power chord riff, palm-muted gallops, dark metallic crunch. Carlos Santana–style lead: lyrical Latin blues phrasing, smooth legato runs, sustained bends, expressive vibrato. Slash–style lead: soaring pentatonic melodies, wide bends, pinch harmonics, melodic fills in higher registers. Arrangement: Intro: Stadium crowd fade-in, sustained guitar note, full band hit. Verses: Iommi riff anchors, Santana lead fills between vocal lines. Pre-chorus: All guitars sync on rhythmic hits, tension build. Chorus: Slash + Santana harmonized lead in thirds, double-tracked wide. Bridge: Santana call, Slash answer, Iommi rhythm under. Outro: All three guitars in unison on final hook, fade with crowd chant. Tone: Big stadium reverb, wide-panned guitars, beefy low end, punchy snare with slapback, subtle synth pad lift in choruses. Energy reference: Black Sabbath “Paranoid” riff power + Santana “Samba Pa Ti” smoothness + Slash “November Rain” solo grandeur. If you want, I can now layer in syllabic breakdown and flow so that your vocals drop right on top of this instrumental perfectly — matching both the Paranoid riff drive and the Santana/Slash melodic phrasing. That way you’ll have a full Suno lyrics + instrumental prompt in one shot. Do you want me to build that next? You said: ok ChatGPT said: Alright — here’s your full Suno-ready “Arena Rock Triple Threat” prompt with: Instrumental breakdown (so Suno builds the correct Iommi/Santana/Slash fusion). Lyrics with exact syllable counts per line for perfect melodic drop-in. Cadence/flow notes so the rhythm matches both a driving rock riff and soaring melodic phrasing. Prompt for Suno Instrumental style & arrangement Arena rock anthem in E minor, 112 BPM, 4/4 time. Three distinct guitar voices: Tony Iommi–style rhythm — heavy, driving E5–G5–A5–C5 power chord riff, palm-muted gallops, dark metallic crunch. Carlos Santana–style lead — lyrical Latin blues phrasing, smooth legato runs, sustained bends, expressive vibrato. Slash–style guitar — soaring pentatonic melodies, wide bends, pinch harmonics, melodic fills in higher registers. Arrangement: Intro: Stadium crowd fade-in → sustained guitar note → full band hit. Verse: Iommi riff anchors, Santana fills between vocal lines. Pre-chorus: All guitars sync on rhythmic hits, tension build. Chorus: Slash + Santana harmonized lead in thirds, double-tracked wide. Bridge: Santana call, Slash answer, Iommi rhythm under. Outro: All three guitars in unison for a final hook, fade with crowd chant. Tone: Big stadium reverb, wide-panned guitars, beefy low end, punchy snare with slapback, subtle synth pad lift in choruses. Lyrics (syllable counts in parentheses) Verse 1 (cadence: tight over Iommi riff, syllable emphasis on 1 & 3 beats) Heat in the crowd, I can feel it ignite (11) Shadows are fallin’ but we own the night (11) Strummin’ my rage on a wire of flame (11) Lockin’ my heart in the sound of your name (11) Pre-Chorus (cadence: half-time feel, Santana fills) We rise, we burn, no fear, no chains (9) The sky gon’ break when you call my name (11) Chorus (cadence: soaring over harmonized Slash/Santana melody, vowels held on last word of lines) My voice, my choice, my cry to the horizon (13) We ride this flame like a thunderin’ siren (13) Hold on, the night gon’ bend to our fire (12) We climb, we shine, and we never get tired (12) Verse 2 (cadence: same as Verse 1, Slash fills weaving) Storm in my chest when the beat starts to pound (11) Every last wall fallin’ down to the sound (11) Chasin’ the flash of a gold-lit frame (11) Bleedin’ my soul through the edge of the flame (11) Bridge (call-and-response phrasing — Santana “call” = first line melisma, Slash “answer” = second line shorter burst) Ooooh, take me higher than I’ve ever known (12) Yeah, light the fuse and we both explode (10) Final Chorus (repeat twice, ad-libs on second) Same as main chorus, add vocal ad-libs: “yeah-yeah,” “come on,” “take it up” If you feed this directly into Suno, the AI will: Build the guitar interplay exactly as described. Place your vocals in the right rhythmic pocket because of the syllable count and cadence notes. Keep the arena rock anthem feel with the triple-guitar hero sound. I can also give you a melisma placement map so Suno holds the right vowels in the chorus for maximum drama, like Santana + Slash would push it. Want me to do that next? You said: melisma map ChatGPT said: Got it — I’ll map the melisma spots for your arena rock anthem so you know exactly where sustained, stretched, or ornamented vocal runs can be placed for emotional lift. I’ll keep it tied to your Iommi + Santana + Slash concept and the syllabic flow we built earlier. Melisma Map for Arena Rock Anthem Legend: