Eric kicks off with some melodic B major Pentatonic phrasing (B-C#D#-F#-G#). The ‘elastic’ approach to rhythm is immediately apparent, given the syncopated phrasing in bar 1, then the swung semiquavers in bar 2. It’s unlikely that two consecutive takes would be identical, so while you want to be in control of the bigger picture, allow some room for expression. Some wide bends and semiquaver/triplet flurries then see Eric shift his attention to the shape 1 B Blues scale (B-D-E-F-F#-A) for the underlying B major chord.
Eric stays in this territory for the next four bars – until the end of the chord progression. The phrasing is a little more constant, with minimal pauses and lots of quarter tone ‘blues’ bends, slides and selective vibrato. These are absolutely key if you want to nail the Clapton feel – much more important than fancy licks, though if that’s your thing, I refer you to bar 9.