A full section map and exact drills per section. The drills below are original practice exercises built to target each part's technique — work them up, then apply to the song bar-by-bar. The tune lives in B minor, with the big middle solo modulating to D minor / Dorian.
The defining riff: a tight palm-muted low Bm figure peppered with quarter-tone bends and the chromatic chord moves over the top. The whole feel rides on right-hand mute consistency and the lazy, slightly-behind quarter bends.
A|-2-2-2-2--2-2-2-2--2-2-2-2--2-2-2-2-
> . . . > . . . > . . . > . . .
B root, palm-muted 16ths, accent each downbeat
Goal: dead-even mutes, clear accents. Add 4 bpm only when a full minute is flawless.
G|-7(¼)----7(¼)----7--9-----------
D push D push D E ( the bluesy Landau inflection )
Goal: the ¼ bend is a shade sharp, not a half-step. Sing the note first, then match it.
Long stretches of dead-string raking (the XXXX figures) punctuated by fretted accents. It's a percussion part as much as a pitch part — the groove is in the muted scratches.
e|-x-x-7--x-x-x-9--x-x-7--x-x-x-9-----
left hand mutes the x's, hit 7 / 9 as accents
Goal: the x's are felt, the numbers are heard. Keep the strumming hand moving in constant 16ths; the left hand decides what rings.
A repeating three-note + mute ostinato over a B(no5) drone — relentless, hypnotic, and an endurance test. The muted note in the middle is what gives it the pulse.
B|-9----9----x----7----9----9----x----7-- G|-9----9----x----9----9----9----x----9-- ring ring mute hit ( loop, metronome, no drift )
Goal: set a 3-minute timer and loop without a single dropped mute or rushed beat. This is a focus drill as much as a hands drill.
Melodic Bm lead with full and half bends, held notes, and wide vibrato in the 7th–13th-fret region. This is Landau's vocal phrasing — space, dynamics, the volume swell.
B|-10b(full)~~~~--12------------------
bend A up a WHOLE step, then play the 12 to check it hit B
Goal: the bent note and the reference note are the same pitch. Then add slow, even vibrato at the top of the bend.
B|-10~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
vibrato in time: two oscillations per click, perfectly even
Goal: control the speed and width of vibrato to the click. Random vibrato is the giveaway of an amateur; metered vibrato sings.
The tune modulates to Dm7 and Landau opens up: fast triplet legato runs, big position shifts up to the 17th–19th fret, hammer/pull cascades — all in D Dorian. This is the section your fusion-runs work feeds directly into.
e|-10h12h13---13p12p10---10h12h13-----
3 3 3 3 3 3 ( D E F, even triplets )
Goal: one pick attack per group, the hammers/pulls equal in volume to the picked note. Triplets dead even.
B|-10-12-13--/--15-17-----------------
A B C slide D E ( D Dorian, two boxes joined )
Goal: the slide lands exactly on 15 every time. Lean on the B (the 6th) — it's the Dorian colour Landau hangs on here.
A change of texture: touch harmonics (TH) and bracketed natural harmonics over a low fretted figure. Chiming, bell-like, sparse — the calm before the final solo.
e|-7<19>------9<21>-------------------
fret 7, tap the string over fret 19 (octave up) & release
fret 9, tap over 21 — chime, in tune, every time
Goal: the harmonic speaks instantly and clearly. Tap-and-lift fast; if it's dull, your tap finger is staying on too long.
The payoff: fast descending triplet sequences, repeated-note trill figures, and runs climbing to the 13th fret, building intensity before the outro resolves Bm → D5/A.
e|-14p12--12p10--10p9----------------- B|--------------------10p8-7---------- 3 3 3 3 F# E E D D C# A G F# ( B Aeolian, descending )
Goal: pull-offs as loud as picked notes; no slowing on the string changes. Start at 80, and only move up when it's clean — descending legato exposes weak fingers.