[Bars 1-2] This opening section is based around an eight-note musical motif that features a three-note pedal point. For example, over the Am chord, the three-note pedal is E- D- E. Here, the D is acting as a lower neighbour tone to the E note (the 5th of Am). The other two notes in the eight-note motif are both chord tones: C (the b3 of Am) and A (the root). Note how this same eight-note motif is then moved down and adapted systematically for the G and F chords. Finally, we shift to an inversion of the same motif for the last G chord, but this is modified with the addition of a small three-note scale passage leading up to the following section in bar 5. [Bars 3- 4] This section is the first of our extended triad passages (although the previous section can also be seen as comprising add4 and add2 arpeggios). This one features add2 arpeggios. You may want to relocate the 5th of each arpeggio from the second to the third string, and the second of each arpeggio from the third string to the fourth string (players like Paul Gilbert tend to prefer string-skipped versions like this). [Bars 5- 6] Note how chromatic notes such as C#, B and Bb (in bar 5) are always leading to chord tones, and also the use of a double- chromatic ascending approach to the A and B natural notes in bar 6. [Bars 7- 8] Here, we have a section composed of a mixture of triads and extended triads (Am, G add2, F, G add2). Note the use of a chromatic passing note (G#) at the very end of bar 8 used as a means of targeting the A note at the start of the following bar.
cd track 65