[Bars 87-147] Our now-familiar descending chord sequence allows for the colour ful inclusion of ‘non-Eb Minor’ notes like the b3rd of Dbm9 (E) and the major 7th (D) of the Eb Harmonic Minor scale, which is a standard way of playing on the Dominant V chord in a minor key (in this case, Bb7). For many of these phrases, you may want to experiment with various positions and not just blindly follow the tab and assume that this is the only way to play it, because obviously, the possibilities are endless. For the final phrase in bars 96 -97 for example, you may prefer a different combination of strings – say placing more of the octaves on the fif th and third strings, for example. So I highly recommend experimenting beyond the given tab. Bar 98 and onwards sees more 16th-notes appearing (some of them percussive, dead notes), which means more upstrokes to execute. Make sure you take your time with the extended staccato run from bar 109 onwards, perhaps cutting it into bars, half bars or even single beats at first.