Why do not we kick ourselves in the solo which is quite fun to play. Let us get in to solo. Now, the solo is different from the solo on the studio version and I kind of like them both but usually, at times, I like to play the live version because they are easier to extract to me because you can simply balance all the way to the right and you only have Angus playing. And also when playing back over it, I can mute that channel and play entirely on Malcolm part.
So, we are on the fifth fret G string, it is a C note and Angus will be pretty much aggressive on this one. All right, so we have this movement here. Something like that. At times, it comes to me. Right of the times, it will not especially if I am not playing over the song when I am not completely into it. On the second times he does it, there is a slight bend. From the C note that becomes a C sharp note that brings it into a major scale. There is a very strong vibrato on this A note here on the seventh fret of the D string.
So, can you see these notes here? I hope you can. We were on the C and then we went on the D, always on the G string at seventh fret and we will start a bend there at vibrato. There is a lot of vibrato there. And then, we have to scale a number of times probably three times. So, it is rather easy if you do it slow. Progressively it becomes harder to play when you start to go fast and you still want to be right there with the timing. And then, there will be a slight vibrato there. It did not come out as much on my last take but there is a slight vibrato just at the end.
And then, it will go into this thing. And let us try and do it properly. It is peculiar scale exactly of the Angus of those times where I was experimenting with this kind of scales that I love. And it bring you in the sort of probably Oriento kind of scales impact. There is this note here that redefines the scale.
I think he is doing the slide here on the A string like that. So, this part here to me sounds live a violin here. So, I think he is playing it, it is pretty much harsh in terms of tone. It is a very thin aggressive harsh tone that is cutting though anything. Even the time, can you hear the time? It is so syncopated.
And then, we will go to, I think you should not have difficulties in finding out. I think he slides here a bit or there is something that probably should be started in more def and detail. At times, it comes to me spontaneously and I get it right, other times it is slightly different. Now, it tends to do it like this. It might be not exactly 100% correct with the way the notes are put here together but I think spontaneously thinking about this or trying to play like this spontaneously should get you close to what it really does there. I think it was rather spontaneously here. Probably it was really improvising, who knows? Then, we have this part here, which is like that. It is used to kick emotions and to prepare you for this part.
So, what do we have to pay attention to here or the movement itself, it is not secret and it is not mystery. The interesting thing as with all simple notes and simple movement is the feeling, the timing, the touch that you want to add to your notes you are playing so that you make a difference to the listener and even to yourself as you play it of course. Something interesting here that is worth noting for might be vibrato on the A and then slide down. You have to slide down at the proper time. You need to pass through the G note here. It is probably that is what will remain in your mind from the entire slide down here.
And you are going to notice the G here and there through your movement downwards. All right, you will do this a number of times and then he will start, he will go with the muting a bit like that.
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