[Bars 13-16] The two-string double-stops that open our second chorus are not dissimilar in their approach to typical slide guitar vocabulary. The idea is to consider each two-note group as a potential chord fragment, starting with a combination of 5th (E) and b7th (G). Yet more blues curling in bar 14 and we break things off with a slippery blues line that features our minorto-major-3rd move (C to C# in bar 16) , along with some further semitone embellishments, although this time in a descending direction. [Bars 17-20] It’s only at this stage in the solo that we encounter any real bending, which for Clapton generally is a major ingredient in his soloing style. From a notes perspective, we’re looking at A Minor Pentatonic (A C D E G) against our D7, while A7 and E7 are negotiated with their associated arpeggios (A7: A C# E G, E7: E G# B D). [Bars 21-24] Clapton makes neat work of this final turnaround, choosing a combination of Minor Pentatonic for E7, D7 chord fragments for, you guessed it, D7, leading to a tasty blues line against A7 using both chordtones and its associated Minor Pentatonic, before rounding things up with a pair of perfectly placed 9th chord voicings (R 3 5 b7 9), albeit leaving the root note to the bass player.