Watch the Rocking Chair: 9 online guitar lesson by Chris Buono from Guitar Cubed
If you’ve been panicking over the seemingly more aggressive subdivisions here in Guitar 3, remember the tempo is at a moderate 65bpm. This makes daunting rhythms like 32nd notes seem more playable and trust me, in this solo they are. You can do it.
Remember that “restrained” vibrato that was talked about in Guitar 2 where the note is struck but you wait a sec before wiggling that string? Well, right out of the gates you’re going to use that very same approach on the initial 7th fret, 4th string A that’s played on beat 2 in the 1st bar. Don’t apply any pitch modulation until at least the 3rd beat. If you're thinking that's only one beat later; remember the tempo.
Another inconsequential yet monumental item to dig on is the very purposeful cutting off of notes. In bar 3 after linking up with Guitar 1 for the ascending chromatic walk-up, the 5th fret A played on the low E at beat 1 is totally cut off on the down of beat 2. Seeing that there was heavy vibrato applied, it makes for a bold statement. Another instance is in bar 10 where a whooping 1-1/2 step bend from a 14th fret A on the 3rd string comes down to resolve itself with a grace note hammer-on from G-A that gets some more heavy vibrato. But, at the downbeat of bar 11 it’s out leaving breathing room for the flurry to come.
It’s already been noted that Guitar 3 meets up with Guitars 1 & 2 at various points throughout the solo. One thing to add to that idea is that when this does occur after Guitar 3 doesn’t always play exactly whatever motif it’s linking up to does. Just look at the downbeat of bar 6 where Guitar 3 matches the main chromatically ascending motive, but an octave higher. Or, back up to bar 4 where again at the downbeat Guitar 3 links up with Guitar 2’s hammer-on form b7 to root but with a slide and an octave for added smoothness and power. The point is to color the parts while complementing them.