Three Hours Two bottom strings tuned down to B...capo third fret...my descriptions reference standard pitch. The song starts with a loose intro where Nick exposes some of the themes that will follow. The first section is highly syncopated with an insistent bass line that is not far removed from the style of John Lee Hooker and other bluesmen. As stated above, this section is mostly a drone with the vocal melody based on D Dorian mode. D Dorian is technically C major but focusing on the D tone. Some beautiful hammer ons. At 2:36 Nick mixes modes by introducing the D Ionian (Major). He brilliantly uses modal interchange to transition to the next section at 3:04. This section returns to D Dorian and has a descending bass line that is folk based but used quite a bit in rock music as well. The guitar is mostly in arpeggio fashion and has a Spanish sound. At 4:04 he introduces a descending chromatic line first subtly and then stronger with upper voices at 4:23. A Al Stewart used a similar technique in the outro to his song Nostradamus. A nod to Nick. The first section returns with some variation at 4:40. The opening theme returns. I like the percussion here. Some final lines of verse and then at 5:57 Nick adds tension with the B flat note and then he plays a beautiful variation of the D Ionian line heard in the transition section bringing the song to a somewhat happy sounding ending. Brilliant song in every way. Fantastic use of modal interchange and subtle variation. One of my favorites by Nick.