[Bars 104-117] The second solo takes off with a chromatically descending lick based on 6th intervals. Start picking the notes individually and let them ring, but then in bar 105 it’s a case of just strumming both notes, while optionally maintaining a rhythmic emphasis on the same pattern as in the previous bar. Pay attention to muting unwanted strings (with your fretting hand fingers), not least the third string, which is in between the two strings you are fretting, but also the first and sixth strings as well. For the fast hammered-on blues based triplet lick in bars 106-107, use your first finger to fret the D note on the second string and your second and third fingers to fret the F natural/F# notes on the fourth string. This is followed by a move to the basic D minor pentatonic position, which results in a bluesy dose of effective, repeated licks, culminating in that slightly bent double stop in bars 109-111. Bar 110 is played with straight rather than swung quavers (8ths notes), and to emphasise the change in feel the latter part of the phrase is played using upstrokes only.