After a short acoustic intro, the A-section (verse) follows a gorgeous chord progression in the key of E major. I play in the split coil position of the Suhr Modern. The bluesy guitar licks follow the groove of the emotional ballad backing track and leave room for the other instruments.
The B-section opens with a distant slide guitar, warm piano sounds, and acoustic guitar harmonics. The lead guitar switches to the bridge humbucker, and starts building up the melody into a higher register.
After an alternate picking riff, the C-section (chorus) presents itself with long, high notes. Here I’m thinking about the D major pentatonic. The D-chord in the chorus (bVII) implies a modulation to A major, thus bringing some Lydian flavor into the game. Mixing this part turned out the be a challenge because of the high pitch of the lead guitar. With extra delay (Soundtoys Echoboy) reverb (Exponential Audio Nimbus) and a hint of extra compression (Waves CLA Guitars), the guitar notes sustain longer to carry the melody over the chords.