Guitar Techniques - - PLAY: ROCK -

[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.

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