As you go through the transcription, notice how few notes are played at any given time. Don't even bother your left hand with anything more than the notes indicated, until Bar 5 after the first repeat. Here fingering a first-position E is worthwhile. At Bar 6 you modify this into a C#min7 by exchanging the B on the 5th string, 2nd fret for the C# on the 4th. This allows the G# on the 3rd string to sustain through all of Beat 1. For the D#-F# interval that follows, use index and ring fingers respectively, then slide the index finger up one fret to the E before reaching for both the B and G# with ring and fourth fingers respectively. This leaves your second finger available for the G# at the bottom of the last three 1/8th-note stacks. Use a first-position A chord for Bar 7 until the G# pick-up that pushes you back into Bar 6 and the C#min7 again. From there, go straight to Bar 8 where an F#min7(sus) is called for. Once again, just finger the notes indicated. Try using your thumb to fret all of the low F#'s in this tune. (If this is physically impossible or against your religion, then go for a more traditional and socially acceptable fingering.) The end of the Bar has you playing the G# pickup back to Bar 6 once more before going on to Bar 9, which uses the same fingering as Bar 7 until the last 1/8th note. At this point, you push into Bar 10 via the E-B interval, which becomes an open-voiced E triad with the addition of the low G# at the down-beat of Bar 10. For the F#min'll, use the same fingering as for the more elaborately named F#min7(sus). The Gdim should pose no problem as long as the position you use allows you to conveniently move to the Aadd9/B (Bar 11). Use either your thumb or 2nd finger on the low B.

The Chorus begins with an E triad at the last 1/8th-note of Bar 11, and is best played with the flattened finger of your choice. I like the third, as it makes for an easy transition to the chords that follow in Bars 12 and 13. Bar 14 has you playing thirds on the 3rd and 4th strings until the open B on the 2nd string. A barre or thumb/first finger combination works well on the G#min, while the second and third fingers are the best candidates for the parallel thirds, finishing the measure. Bar 15 begins by sustaining the last C#-E interval, and then extends it down in pitch to become a full A triad before the octave B’s on the 6th and 2nd strings are added to the cluster. Fingers two, three, and four are recommended. At he end of this bar, another E triad pick-up sends you back through Bars 12 and 13, then on to Bar 16. Bar 16 begins exactly as 14 until the last half of Beat 2, where your second finger frets the 4th string E, and gets out of the way while your index finger slides in to take its place. The substitution is meant to be heard. Afterwards, hammer the F# with your ring finger, and sustain it while grabbing the B below with your index finger. The resultant F# over B interval is held through the first 3-and-a-half beats of Bar 17. The B pick-up now sends you back to Bar 1 to do it all over again, this time omitting Bars 16 and 17. Play Bar 18 instead, using the same moves as Bar 16, but resolving on the "I" rather than on the "V" chord.

The last three 1/8th-notes of Bar 19 kick off the Bridge, using either common positions or those as described earlier. Bars 18, 19, and the Bridge are not played again.

The end of Bar 27 takes you back through the Chorus where again Bars 16 and 17 are played before returning to Bar 1, playing through the Verse/Chorus combination for the last time. Take the coda, essentially a loop of Bars 16 and 17, after the final repeat of Bar 13.

The right-hand thumb mimics the kick-drum/bass combination of an ensemble, rather than playing the more familiar constant alternating bass. Bars 1 - 3, with the bass on “1 &" and "3 &", and Bars 4 and 5 where it shifts to a simpler "1" and "3", establish the basic pulse that runs throughout. Different bass rhythms occur as early as Bar 6, but the tune inevitably returns to its basic heartbeat.

The melody goes down as far as the 5th string. These spots might feel a little awkward to play at first. Those who perch an unused finger on the guitar top tend to have difficulty reaching back for the low B. If this happens, try perching on the 1st string or any other place that gives you better extension. Better yet, forget the perch altogether whenever necessary.

Minor variations can be heard on the recording (MP3 below). The first variation adds some harmony and doesn’t require any significant change. Variation 2 replaces the A6/B with a 5th position A/B, sliding into a 7th position B. Use your left thumb for the low B, if possible. Variation 3 inserts a new phrase in Bar 15. Enter the measure as usual, and use your index finger for the opening notes of the phrase before moving to the Aadd9/B.

Well, that’s a wrap. I hope that you find this lesson useful and like the tune enough to add it you your playlist.