[Bars 63-78] As with the previous verse, there are some extra rhythms to watch out for. Since these are basic power chords and major barre chords, it’s worth putting your energy into striking the chord cleanly and hard, without squeezing the strings sharp. This unfortunate by-product is easy to do if you have an aggressive picking hand, since the fretting hand often follows suit (Townshend’s tuning was always impeccable, even when using notoriously ‘flappy-necked’ SGs). Watch the C and Bb chords in particular. [Bars 79-86] The only logical scale choice for soloing over three diatonic major chords in the key of F, is F Major and F major Pentatonic. Just be aware of the major 3rd at the 14th fret of the third string. It is tempting to revert to the trusty F minor shape, since it falls under the fingers rather easily, but it just won’t sound very good. [Bars 87-90] Pete alters the rhythmic feel of the three chords slightly towards the outro section. Although 8th notes would suggest alternate strumming, he probably played them using downstrokes for a more effective string mute. Notice the V chord at the end of each two-bar cycle.