The word most often applied to Knopfler's playing is "tasteful" and this is what people mean by it. This comes from the blues of course, but every lick in the song is singable IMO, and while it's not exactly tame, it's not shredding for the sake of shredding. He doesn't sing over the guitar much, and when he does the guitar is roughly following the vocal line. Something to take to your writing is that the melodies created by the guitar lines are another voice.The absolute hardest detail to get right in this song is how lightly Knopfler plays most of the time, and how that informs the overall tonality of the piece and why there's so much room dynamically for the final solo to go up. Dynamics and how they relate to the tonality of the guitar.The G chord isn't in the key, but not how it partially plays the roll of a Dm or an A7 (it's played over the A7), and how these two chords form a chromatic walking line to flow so well back into the Dm. You get a G7th chord, followed by a Gb diminished chord, followed by the Dm. Pay close attention to the start of verse 2 on the "he knows all the chords" line.Watch him live and he plays more than what's on the record, but he still plays very minimal chords, usually just the triad. Knopfler could easily fill a lot of space with his guitar, but he doesn't. How to stay out if the way of the other band members.Someone else already walked you through what you should learn from that. The verse uses the Andelusian cadence (Dm C Bb A), which is the most common chord progression in the world I believe.They're extremely useful in multiple genres for fills. the end of the second line of the first verse or the first line of the second verse. Sixths country/soul riffs are all over the place.One of the bars took me a very very long time to get (it's a few bars before the famous part in the final solo, easily the hardest bar in the whole song) because I didn't pay close enough attention to the fingering. Pay attention to what's most efficient while you're learning the licks, it gets really important when you start getting up to full speed. There are multiple patterns used throughout the song, including alternating TITM, TIM (banjo rolls, essentially), frailing and strumming with an invisible pick (just index braced by the thumb), plucked chords (all three fingers at the same time), and a few TMI licks.
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