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Use alternate picking to facilitate playing the intro. Divide each beat into four sixteenths. Play each part of the beat down-up down-up consecutively.
The tendency when playing a slow song like this is to rush or push the beat. Try to lay back just slightly. Let those power chords ring for their full duration before making the change. This lets the music breathe and sound more soulful.
George Lynch bases the first six bars of his solo on a motif or musical idea. Every two bars the motif is loosely repeated an octave higher. The climax of the solo is the high D on the 22nd fret bent up a full step to E. If you don't have a 22nd fret, bend a bit more on your last fret. On a Stratocaster this would be the 21st fret.
The tonality of the solo is E natural minor. Notice that the important notes of the motif are also the roots of the accompanying chords. The line in the last measure of the solo uses an interesting symmetrical pattern. Two sixteenth notes and a thirty-second note triplet are repeated, each time falling on a different part of the beat. This, together with the descending melodic pattern, gives the line a lot of movement and makes for an exciting end to the solo.
The melody that accompanies the repeated vocal line at the end of the song is quite similar to the motif used in the solo. This is one indication of a well constructed arrangement.