On another page I will attempt to demonstrate an interpretation of this solo, but here I mention only a few small observations not covered by Will. Even without copping Will's technique, this solo is melodically interesting, with lots of accidentals, and a mastery of tension and release. Even in this weird solo, I hear Will's Charlie Christian influence.
Pickup:
Notice how he comes in on the beat 4 rather than waiting for the downbeat. Keeping the train rolling.
Measure 1:
He's playing on the upbeats, throwing us a little off balance.
I hear Hendrix.
Measure 3:
Tricky bend on beat 1.
One of the few spots I've found in this DW score which I think might be an error is in the bend up to the A-chord inversion. The score tells me that this bend is from A up to B, held, then relaxed back to A. My ear tells me B to C# to B. If you're following this in the tablature only, then it's the two 14th-fret-on-the-3rd-string indications, which I would change to the 16th fret. That this appears in both the DW and JG transcriptions is uncanny, but I find them eerily similar throughout. As far as I know, they each had help from all of The Hellecasters with their work. I would be interested to know what others hear. In any case, tension has now been created...
Measure 4:
...and released.
Note that the first harmonic gets twice the duration of the next two, and starts on the and of 4 in the previous measure, not the downbeat. Will can't resist the urge to swing. On the slide down he needs tweak the slide a little to catch the G on the b-string. If he didn't do this, and instead kept the slide orientation from the G and B played on the 12th fret, then he would land on F# (and D, on the g-string), which would give it a more bluesy and less country feel. Will does this often. If you don't play this song with a slide, then you will need to try to fake this detail with your fingers.
Measure 5:
Pay attention to the grace notes. Starting to build up melodic tension again...
Measures 6-7:
Try and keep the triplets smooth, and give every note its full value. Winding up some more tension...
Measure 8:
I can't comment on Will's technique here. I can't play this line the same way. I try capture the vibe with a similar ascending chromatic figure. The very interesting thing to me is the way he continues playing triplets of the preceding measure all the way through beat 3, then beat 4 is in 1/16ths. Trippy.
This tension is all gonna snap soon...
Measures 9, 10, 11:
My ears can't even detect some of these notes that are so well documented in the transcription. Here are a few examples:
Beat 4 in measure 9: I only hear the first C in that triplet.
Beat 3-and-a in measure 10: I don't hear the E on the '-a', or the G on the beat 4. I only hear the slide to C (natural) on beat 1 in measure 11, but I can't hear the specific pitch where the slide begins.
Beat 1 in measure 11: I try to micro-bend this little pitch warble, since I hear something there that is similar to the fret 13 to fret 13.5 slide in the text.
Measure 12:
Beats and-4-and: I don't even hear this. Maybe I need to get my ears cleaned. Maybe the very mediocre consumer grade devices that I listen to music on are not capable of reproducing this level of detail.
That tension feels like we've almost overwound the spring in this toy...
Measures 13-16:
Keep it melodic and smooth. This will start to bleed off a little bit of the tension...
Beat 4 in 14: my neck only goes the 21st fret. When I hit this note I try to jab it up a semi-tone to reach that D.
Hang on! We're gonna let it all go now...
Note the detail in the sliding grace notes in the last measure. The last dotted-half-note, marked as a trill, I just try to tremolo pick my way back down the neck and bail just when it's time to catch that E-chord in the next section and fall back into the pocket, as that wind-up toy rockets across the kitchen floor and out onto the terrace, frightening the cat, and nearly causing your wife to drop the pie she's taking out of the oven.
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