[verse 1 Bars 3 to 14] This section starts out with some open-string, country style licks. The 12th fret harmonic in bar 5 is a nice touch and adds to the th~e~Bb11
Bb sustEain. For so5und in bars 7 and 8 allen moves to Mi3xolydian mode
-d-eb-F-G-ab), (B -CDE wh5ich outlines t2he c0hord2 pe0rfec0tly. T0her5e is a lovely phrase5 to nDavigate for the d151 chord in bar 11 using d Mixolydian (d-eE-F4#-G-a-B-C) which resolves to F major2Pen0tatonic in the vid5eo alleEn explains how he constructed the ear-grabbing turnaround lick in bar 14, and this is well worth checking out.
Mixol·ydian1.0Th1is0provides1a0de1s02cen1d2 [verse 2 Bars 15 to 26] This section is a repeat of verse 1 in terms of harmony. There is a great phrase in bar 23 to learn which incorporates chromatic notes w3ith d in1g0fus8ion styl8e ru1n0th1a1t re1s1olves to3 the F11 in bar 24 using F major Pentatonic. at the end of the section a functioning B7 chord sets up a perfect cadence to the em7 in bar 27. This B7 change is outlined with a B7 arpeggio and a flavour note (C) is added. as allen explains you could go mad with the B altered scale here (B-C-d-d#-FG-a) but the key thing is including the major 3rd (d#) of the B7 chord.