This fourth track is noticeably different in sound from it's predecessors. The rhythm guitar opens with a D-A-Bm-A progression, played by pedalling between the root chord tones and a slow melody. As such, this progression is in the key of D major (or B minor – the relative minor key) and D Ionian would be ideal for lead playing. Andy starts with a slow melody with lots of subtle slides and vibrato to really make the guitar “sing”. Play close attention to the ghost-slides in this section, as it really adds to the overall feel.

During the following Verse section the rhythm takes a darker turn, with the progression now implying B minor. The dissonance between the C# and D further adds to this darker vibe. To accentuate this, Andy plays exclusively in B minor pentatonic, which has less tonal character than natural minor due to it's exclusion of the 2nd and 6th intervals. It's important to still pay close attention to his use of articulation and slides, as it makes each passage flow seamlessly without seeming disjointed. Also note that his use of vibrato is more reserved than in “bigger” song. Each element of his playing reflects the mood of the piece, and this stylistic accuracy should be a conscious aspect of your playing.

To transition back into the intro/chorus D major progression, Andy plays a long legato lick starting in Bar 23. This entire lick is meant to flow smoothly from start to finish, so be careful with your pick dynamics, avoiding any obnoxiously loud pick attack compared to the hammered-on or pulled-off notes. In this final section, Andy uses passing phrases and licks when moving between each underlying chord, while continually landing on chord tones on each chord change. This way, he highlights the chord change without clashing, and accentuates each change tastefully. The entire section remains