[Bars 68-87, previous page] After the solo we return to the same chromatically coloured riff, played more or less in unison with the bass. This time on the first three repetitions, we are playing both the minor 3rd (F natural) and the major 3rd (F#) at the end of the cycle, providing a nice blues colouration. Then we are back into another verse, this time played with super effective stops on each chord, firing off a quick succession of triplets on the E chord, this time a plain E major, rather than the bluesier E7. [Bars 88-103] Here we have another chorus, playing a further developed version of that cheerful double-stop lick from before in bars 90-91, with added notes (from the D major triad) for extra effect. Bars 94-95 see the near exact repetition of the fast ascending triplet fill as well, progressing unto the D to D9 sequence, with a quick stop on the G major chord again. This is followed by a round of quick triplets on the E7 (bar 99) and the same I-V-I progression – essentially D to A to D, with added embellishments.