Now let’s take a look at the track, which is made up of four sections: the A section, a unison guitar and bass figure, B section, the verse, the C section the chorus, and the D section, which features the middle eight. The solos are performed over a repeated B and C sections.
Intro & Verse:
The track kicks off with a unison guitar and bass line that makes use of the E minor pentatonic scale. With this figure make sure you pay attention to the swung 16th note groove, as the 16th notes are not to be played straight. The first verse kicks off and is based around a bluesy swung 16th note riff, which includes various different fills as well as some descending triad ideas.
We conclude our verse section with a syncopated figure that is performed in unison with the bass guitar.
The C section is our chorus, and is bass around another bluesy idea in the Key of A, and features a riff that pedals off of the open A string and is embellished with power chords, and an arpeggiated figure. The verse concludes with a pretty tricky unison figure that includes two open voiced arpeggio ideas that is performed with an 1/8 note triplet rhythm, followed by a 2/4 bar that features a unison scale run performed as 1/16 note triplets. The D section features a middle 8 which includes some ethereal soundscape style guitar ideas that make use of a very long modulated delay sound with the effect level turned up very high, producing an almost keyboard style pad sound. The guitar part should be performed by fading in the chords and interval ideas with the volume pedal, so that the pick attack is not heard.
I have used very modern sounding “sus” chords, as well as sparse interval ideas to create this very “spacey” section.
Now it’s solo time, and our first solo kicks off over the E riff, and really makes use of space with licks and picking runs being performed between the riffs. Take care with the opening solo as there are some fast, muted picking runs, as well as some fast alternate picked chromatic ideas. The second solo is performed over the A riff, and this solo showcases some of Steve’s signature Country style licks, Celtic inspired melodies, arpeggio figures, and also a favourite lick of Steve’s that as a repeating figure that string skips, changing the top note of the lines.
As you can see from this break down there is a lot of material to get through, so I strongly advise that you spend plenty of time studying both the video and the transcription. Also make sure that you work on the tones required through out this piece. A thick crunchy rhythm tone, Boosted mids for the solo and a delay saturated clean tone for the middle eight … Have fun!