[Complete Solo – Bars 0- 4] We establish a couple of themes in these opening bars that we’ll revisit throughout the solo. We’re essentially looking at A Minor Pentatonic (A C D E G) against A7 (A C# E G), with an additional 6th (F#) in bar 4. The C against C# rub is dealt with by bending this note slightly sharp, using what’s known in the trade as a ‘blues curl’. [Bars 5- 8] These phrases are less scalar-based and are more derived from a decoration of the underlying arpeggio or chord-tones. We see all three chords here, so it’s important that you acknowledge both their position (IV, I, V, I) and their content (IV/D7: D F# A C, I/A7: A C# E G, V/E7: E G# B D). Take note of the chromatic 9th (E) to root (D) move in bars 4 and 5, along with the abundance of minor-to-major-3rd moves in the following bars. [Bars 9-12] There’s a cool switch to E Minor Pentatonic in bar 9 here (E G A B D), followed by more embellished chord tones against D7. We bring this chorus to a close with a chordal-based turnaround that no doubt originated on acoustic guitar, but works equally effectively with a moderately overdriven electric tone.