Bars 1-5: 

Kick off with the first half of our verse riff. A pretty straight ahead Rock riff here based around a few of Brian’s favourite power chord and slash chord voicings. Pay attention to the G notes on the 3^rd fret 6^th string, that are raised a quarter tone bend by simply pulling them down slightly.

Bars 6-9: 

Introduce the second half of our verse riff, with the first two bars based around the first two bars of the opening of our riff. The second two bars feature a different set of power chords, included for some harmonic variation.

Bars 10-17: 

Repeat the above sections, concluding our verse progression, which now leads to a bridge progression.

Bars 18-21: 

Feature a short bridge section, as well as introducing a new key signature, that uses an eighth/sixteenth note “galloping” rhythm. I recorded this track using a sixpence piece, and you really appreciate the tone achieved by the coin brushing the strings. Pay attention also to the palm muting, as this is vital to the dynamics of this section.

Bars 22-25: 

Introduce our chorus progression, as well as a new key signature. This section has a lot going on including power chords, slash chords, and Hybrid pentatonic scale riff ideas. Pay attention to the rests between the chords, to keep the riff sounding tight.

Bars 26-29: 

Repeat our previous section, although you should pay attention to the “pushed” chord that ties over to the first beat of bar 26.

Bars 30-33: 

Feature the start of our pre solo section, and introduces a trip feel to the rhythm. This section features multiple layered harmony guitar parts, producing a lush harmonic wall of sound! For this section I experimented with the various pickup selections, and phase switching on my Guild BHM1 replica, as well as using the wah pedal as a tone control.

Bars 34-35: 

Conclude this section with a cross rhythm descending figure that is performed in harmony. We conclude with a harmony trill performed on the 3^rd string.

Bars 36-39:

Feature the open line to our main solo, and make use of  various string bending figures, and staccato cross rhythm licks. This section is based predominantly around the G major scale and its diatonic modes, with the exception of bar 39, where the F natural note is used over the G7 chord, implying G Mixolydian; a very typical harmonic vehicle in a Queen ballad progression.

Bars 40-43: 

Include some very musical lines used by Brian to outline chord and harmonic movement. Using a mixture of string bends and slides, you can really hear how he constructs melodic variation to outline the various chord changes. Once again this section includes some very “majestic” sounding phrasing, with more staccato cross rhythms and trills.

Bars 44-47: 

Introduce a new familiar sounding finger as we enter the second half of our solo section. Once again I’ve made use of BM style phrasing, including string bending and cross-rhythmic lines.

Bars 48-51: 

Include some of Brian’s signature scale runs, kicking off with an ascending figure that includes some tricky bending ideas to conclude. This section concludes with a triplet descending sequences, that shifts through various positions.

Bars 52-53: 

Include an example of how Brian forms runs using the major pentatonic with a lick based around D major pentatonic.

Bars 54-56: 

Conclude our study piece with a D minor pentatonic phrase, creating a bluesy feel that ascends, concluding to the major 3^rd of our resolving G major chord.

The Gear

For the Video and backing track session I used an RS Custom Guitars Model 84, BM Guild replica fitted with original 1984 BHM Signature DiMarzio pickups. This was plugged into a KAT strap treble booster, and then into a TAE Tube Amp Emulator pedal, direct to the recorder. On the backing track I used an MXR EVH phaser and a Dunlop EVH wah, for some tonal variation on the backing guitar parts. I also recorded this track with an old sixpence piece from the late 1950’s/early 1960’s. For the rhythm parts the guitar volume was set about half way, producing a mild crunch with plenty of bite. For the lead sections, I turned the guitar volume up full, and also experimented with various pickup selections, and phase settings, giving each harmony voice its own space. I also used the wah as a tone control on one of the harmony lines. For the clean rhythm part, I back the guitar volume right down, and gently brushed the sixpence across the strings, creating a bright chiming rasp.