Dan Mumm - "The Transience of Permanence" (2023 Official Music Video) Progressive Neoclassical Metal
HTML-код
- Опубликовано: 7 сен 2024
- Original composition, "The Transience of Permanence," written by Dan Mumm. Guitars, bass, drums, piano performed and recorded by Dan Mumm. Mixed and mastered by Dan Mumm. Original video, written, directed, edited and produced by Dan Mumm. Sets, miniatures, video effects, etc. by Dan Mumm.
Guitars in order of appearance:
1. Solipsist Guitars: Dan Mumm's custom 7-string, 27 fret, multi-scale with crackle finish and pinwheel
2. Solipsist Guitars: "Cheetah" 7-string, multi-scale, semi-hollow body
3. Experimental composite, ultra-light, 7-string, 27-fret, two-tone teal and black guitar, designed and hand crafted by Dan Mumm
4. Gary Kramer Original: Turbulence 7-string, 36-fret, ergonomic guitar
Guitar tab and backing track, coming soon.
#progressivemetal #neoclassicalmetal #shredguitar
The guitar tab and backing track will be made available in the near future. There's still a good deal of work left to finish up the tab as I changed a number of ways I played certain parts during the course of recording, but I'll get it out as soon as I can.
Hi Dan! What is the guitar tuning? Standard 7 strings?
@@MarcosRobertoDosSantosJF Hi Marcos! That is correct. It's standard tuning with the low B on the 7th string.
This reminds me of WarCraft III ending credits when Arthas plays guitar. Epic work as always. Pure talent and skill. Bars none. Continue awesome work. Just wow!
Please don't forget the tabs, not that I would be able to play it lol, but would love to try the piano part at least.
Is it available now? 🤓
Interesting prog. That's a first for me. Good song.
As always, excellent Dan. I can't imagine how many hours went into composing and performing the piece. Bravo!
Thanks Doug! I really appreciate that! And yeah haha, I haven't had much time for anything else for awhile now haha.
this is incredibles
👍👍👍👍👍👍👍👍👍👍
Shredgirroz
🎲🔥🔥🔥🎱
very nice chord..🫢🫢
Incredible
Good
Haunting. This is exactly why i should finish your ultimate sequencing method. Rock on.
Sounds good.
Great!
Amazing
Good JOB!!!
I keep listening to this masterpiece. Probably my favorite song from you in a long time. Love the neoclassic feel and how fluid it is. The whole composition flows and is great ear candy. :)
That is amazing to hear. Thank you so much!! :)
Had so many goosebumps listening to this. The intro and outro are so well worked, those gave me feelings.
I've never eard about you or your music, i'm pleasantly surprised :)
Thank you so much Luk'as! That is wonderful for me to hear :) It's very cool to know that it impacted you so positively, especially with it being an introduction to my music. This one stands a part from my previous music in a lot of ways, but I'll be doing a lot more in a similar vein in the future. Anyway, thank you again!
Wow, when the bass and drum kick in! Awesome!
Wow
👏👏👏
👍🤘
Well done. That song is a beast
I'm driving through the Canadian Rockies from Banff to Jasper. The mountain scape and this music gave me such a rush of dopamine. The feeling of freezing time and driving in it forever.
Thanks maestro!!
That is awesome and very cool for me to hear! Thank you so much!
O brabo tem nome 🔥
I don't find many doing this form of music these days. But I have loved it way back when a lot of early shredders like Vinnie Moore and others were doing Neoclassical music. I enjoy your music and videos. You make it look easy. But I indeed know it tales many years to get to the level you play on.
Cara... Sou fascinado nesse tipo de sonoridade ce ta doido!! É massa demais!
Phenomenal. Love it.
Thank you Michael!
@@DanMummSolo Ironically, the email about it came in as I was working on part 2 of Infinite Shred Method, which is awsome, btw.
I can't find the words to describe such a masterpiece!
Dan, you are ASTONISHING...
Thank you for the music.
Thank you so much Levi! That is wonderful for me to hear
I would say: A ALIEN
عبقري
Je aime cela. Tu es génial .
Keep it up , I got a few clases from you!! Good content!!! Hopefully someday I will be able to create my own neoclassical style
Really,Really,Really Wonderful,Dan Mumm
I still listen to this every day
Sometimes I still cry at the end
I still don't know why and at the same time, I do.
Thank you so much Hector! That is amazing to hear. That same part you're talking about gets me emotional as well, even when I was writing it haha. And I agree with you that it's intuitively clear why, but not easy describe. I think that really illustrates one aspect of music that is simultaneously so fascinating and bewildering. That being, the fact that so much can be expressed through what is effectively an abstract relating, comparing and contrasting at multiple levels of complexity. If you try to engineer it, you might end up with something really cool but that doesn't convey too much real emotion (of course there are paint by numbers methods of making emotionally manipulative music, but that gets into a whole other area of discussion). But, anyway, if you can learn to write music intuitively, you can really surprise yourself with what comes out.
Great song, this should be on Spotify
So much creativity in all the backrounds (especially the emblem that matches the guitar), i love your filming transitions and the hand reaching out to you the end. excellent work man
Thank you so much! That's awesome for me to hear :)
Still hearing this many time a day, every day, sometimes still getting tear at the end
ABSOLUTELY FANTASTIC!!
This is REAL Neoclassical stuff!!
I'm learning a lot just from watching!
Great video! I am an old school death metal guitarist that will be playing again after a 15+ year layoff but looks forward to widening my perspective that I left.
I will be looking forward to ordering some of your videos to help reach this level.
Great stuff here indeed
Masterpiece!!!
😎👍💓🎸 🔊🎼 BRAVO DAN!!!
beautiful
Such a cool track, i love how moody your videos are too.
Bravo. This made my day.
Playing has grown on me a lot lately, ending is awesome on this (as is the whole song!)
Sounds great Dan! Greetings from Chile))
I could watch for hours except that I need to get back to practising Caprice 2 and the Dan Mumm Tapping Method. I really like all of your work!
I really love classical vibes! You're always great dan mumm if following you since 2014 or 2015 learning sweep arpeggios from you you we're short hair that time! 🙂
Thank you Kerber! I really appreciate it! :)
My greatest hero.
Wow! Bravo! This is amazing! I cant wait to get the tab and try to learn it.
Thank you so much! The tab is sitting in a very nearly completed state. The intro part and the rest of the song need to be integrated into one file and I need to make several changes to it (as I found better ways to play it as I was getting parts down and recording) and it will be ready. I'm taking a quick breather and then I'll finish it and release it. Thanks again!
Absolute Masterpiece keep them coming!
Thank you Max! That means a lot!
Dude this is awesome
I love it. Especially the new thick tone at the beginning. I'm working through your micro caprices and lesson books. I hope there is more coming
Thank you Jonathan! I really appreciate it. I'm using a Q-Tron envelope filter pedal there to get that tone with the settings dialed to get only a subtle, tone shaping, effect with minimal dynamic effect. I hope you're enjoying working through the material! And I definitely hope to get more like this out soon. Thanks again!
@@DanMummSolo I am. I like the way you structure the material. You teach how I learn. My long term goal is to write music for the psalms and other church music. I can workout the chords I want to tap out or sweep. Thanks for the time you put into making your technique books. I think they are the best out there.
You boost the mids as well Dan?
@@jonathansledge5790 That's awesome to hear! A big part of why I choose the subjects for courses that I do and how I format them are directly related to what I always looked for but couldn't find. So, in a sense, I design the courses with my own "learning style" in mind, but also modified based on what I learned from students when teaching private lessons and from feedback. So, it's really great to hear that. While approaching the design of a course or lesson from the perspective of "general" or standardized teaching practices presumably makes sense for a large percentage of the population, it also inevitably leaves some of us out (I had a very difficult time in school, for example, even though I am deeply fascinated by so many subjects, and have had to do most of my learning on my own). So it's really important to me to try to keep these differences in mind, while I naturally lean towards my own ways of learning as a guide, I do my best not to leave anyone out.
Also, that sounds amazing man! I hope you'll be posting your results online after you've completed some. Obviously, the mixture of different styles, purposes and approaches is one of my favorite aspects of music. That is the first time I've heard anyone talk about doing that and I think that will be incredible!
@@Jimmmco For the tone in the intro, the Q-Tron effect is causing boosted mids on its own but my normal lead tone (especially in the context of a mixed down track) is mid-boosted to some degree and focuses EQ towards vocal frequencies since the melody guitar basically takes the place of a vocal melody line. Actually, from a mixing perspective, I tend to approach the melody/lead guitar as being the "vocal line" in general. My own tone is largely influenced by Brian May's tone so there's that as well haha.
Quelle maîtrise de la guitare ! Le jeu et le son sont super propres. La composition nous fait voyager et est très narrative. Le riff principal est sympa. Bravo, c'est super beau !
Merci beaucoup David! C'est merveilleux pour moi d'entendre!
What a great masterpiece.From the all in one Dan the man band to the Umbrella Corporation type logo! You have motivated me to learn more musical instruments..Always very enjoyable listening to you making music.. Dan you are awesome! 🤟🤘👌🎸🎹🥁💪
Thank you so much James! That's awesome to hear! To clarify, the symbol is actually a rendering of a pinwheel and the characteristics of a pinwheel are important to its intended meaning.
@@DanMummSolo You are awesome!!!
Moonlight Santa
UuuHu Yeah... the sequences are so fluid and matching it's a really comfortable listen... I ran into the kitchen made a cup of amazing coffee and listened again.. Bravo Dan, very very, very cool.
For me, similar experience as to when I first heard "babe Im gonna leave you" by Zeppelin. I remember that feeling so well, it just puts you in your comfort zone, but this one is so fast, haha amazing stuff.
Wow man that is so cool for me to hear! Thank you so much!! That really makes my day :)
Since I'm still curious about this. I asked Chatgpt about the song.
This is what it wrote, pretty interesting for an AI, I wonder how much of it is correct.
As an instrumental track, "Transience of Permanence" does not have a specific message or meaning in terms of lyrics or words. However, like most instrumental music, it can still convey emotions and ideas through its melodies, harmonies, and rhythms.
In terms of the title, "Transience of Permanence," it suggests the idea that even things that seem permanent or enduring are actually subject to change and impermanence. This idea is reflected in the track's structure and composition, which features a repeating theme that is developed and transformed throughout the song.
The track's melody and harmonies convey a sense of drama and tension, which could be interpreted as a representation of the struggles and uncertainties of life. The heavy metal and neoclassical elements, with their intricate and complex arrangements, suggest a sense of strength and determination in the face of these struggles.
Overall, the meaning of "Transience of Permanence" is open to interpretation, but it could be seen as a reflection on the impermanence and uncertainties of life, and the need for strength and determination in the face of these challenges.
Dan this is your flagship. You are not just an amazing player you are now a true artist.
This is your best work by a wide margin, not to say other pieces were not good, on the contrary, is that this one is too good.
Its very original, have very good rhythms and its surprising in its harmony. But beyond that, it can create strong emotions. I got goosebumps by the end and even got tears once, there is true art here.
The video is great too, you did all this by youself and even if you feel depleted, I hope you realize how much it did worth it.
The ending is perfect.
Thank you so much Dan, and for your courses too.
Thank you so much Aiontron! That's truly wonderful to hear. I'm sorry it took me so long to see this. You're right that this was pretty depleting, but I will begin working on another pretty soon. I had the bad luck of going straight from completing this into an unprecedented snowstorm and dealing with 8 feet of snow in an area where 8 inches of snow is considered extreme and then getting stuck for a couple weeks. Thankfully, I'm starting to get back into action and hope to start on the next song pretty soon. Your comment is very meaningful to me.
One thing that may be of interest to anyone who has similar interests or ambitions to myself, in terms of music and composition, is what you pointed out about how this song differs from all my previous work. While there are numerous factors that I can point to, perhaps the most important was a shift in how much time I allowed myself to work on it.
Normally, when being struck by inspiration, I work as fast as possible to complete the composition to try to beat the loss of inspiration or the distraction of getting hit with a different inspiration (or some event that might cause me to lose focus or inspiration) that then prevents me from completing the work. Owing to the fact that, in the past, I would allow myself a very short window of time to complete a work if it was ever to be completed, part of my process was to not stop working on a creative work until it was completed. Also, irrational concerns about something happening to me that might prevent the completion of it gave me intense pressure to get it finished and release it as fast as possible. This song and video actually still suffer from that a bit, but only after allowing an unprecedented amount of time to pass from the initial inspiration to the completed end product. Previously, I would allow myself anywhere from 1 to 7 days to actually complete a composition (not including final recording, mixdown, video, etc.).
For this song, the initial seed of the composition actually began in July of last year when I composed the solo guitar introduction to the song that I'd originally intended to be a standalone short composition. Owing to being somewhat out of practice, the difficulty of memorizing and mastering it and the necessity of splitting my time with producing a very large guitar course, that composition was forced to take a back seat. So, without meaning to, I allowed it to start germinating in the back of my mind.
This started a process of ideas that I never acted on that continued for nearly 6 months, when I picked up writing the rest of the composition in December. I spent about a week creating the outline for the rest of the composition and then got sick for 3 weeks. This then caused me to continue working with the ideas purely in my mind and on a pad of paper (including coming up with the video) as I was stuck in bed.
Once I became aware of that process, I finally started intentionally taking advantage of it and directing it, allowing the composition and video concept to evolve somewhat unconsciously while working on them.
Another element of it was not sticking to a single inspiration or some arbitrary rule of "saving ideas" for the next composition. Instead, I chose to use every idea and inspiration that came my way and had to figure out how to merge them all into one cohesive work.
While this obviously isn't a complete (or entirely precise) analysis of that process, I think it gives enough information for anyone interested to experiment with.
I will certainly be utilizing the same process now moving forward. I don't know if it's something I would have been capable of doing a couple years ago, but now it seems like the obvious approach to have a result that is the most effective way of translating unconscious ideas as it increases the interplay of my conscious process, the actual work and unconscious inspirations being tested against each other by many, many times.
@@DanMummSolo Thank you so much for such a detailed answer!, it's rare that we have such insight on the composition process at this level, It's so impressive how fast you did some songs in the past and I thought it would be much much longer but it's very exciting if you keep this process in the future because yes, this is different, I read once that some writers did that method of reading everything after some time passes.
It's in moments like these where I wish I could be better with words in order to express how important this piece has become to me, it's been so many years since I found a song piece that made me feel this way and think of it everyday. It made me think so much of life itself with all that comes with it.
As every piece of real art, it creates own feelings and thoughts on whoever experiences it, some kind of Rorschach and this resonated with me a lot and from what I see, with many others as well. Just so you know in many ways this makes me feel from expectation to loneliness to happiness and finally acceptance, even fear sometimes, its like understanding some truth in life, and there always beauty in truth.
So if isn't too personal to ask, what's the meaning of the Pinwheel? it has more prominence at the end and it looks a bit, menacing? and at the end I feel like something is disappearing too, or collapsing, again, I'm not too good with words :p but maybe is the keyboard sounds in it and the the abrupt way it ends, also the final theme motif announced at 4:16. Heck, I even got goosebumps writing this.
The dynamics and what appears on the video is so intriguing, I usually don't care about videos too much, but this time it looks like you were very personal in it.
@@Aiontron Thanks again! It really is an amazing feeling for me to hear about how this song has positively impacted you. Some of my earliest motivations for pursuing music came from a deep need to feel that I could communicate certain things to other people, especially emotionally. Part of that, I think, is cultural and comes from growing up in a culture that, at least, strongly discouraged the expression of feelings from men or boys. But also, having a brain that didn't function the same way as others in very significant ways, I never felt I was able to adequately express myself or be heard. Yet, I would often hear people interpreting music in such a way that seemed to indicate that these things were possible to (and allowed to be) expressed and validated through that medium. It took me many years to realize that only a very, very select few were granted the position of having permission to express themselves openly and many more years to realize that that process was largely accidental and more so as time went by. Or, in other words, my interpretation of what was happening in that regard turned out to be largely incorrect. In truth, people listen to those that they have accepted as being in a position of authority, regardless of how that position was achieved or how authentic their communication is. It's a humorous idea to imagine people seeking "power" to simply be allowed to express themselves while competing with people who seek power for the sake of power haha. But I think that sums up the current state of the arts in mainstream society. So, for me, any time I feel that I have connected with someone with my music, I feel deeply gratified and intensely motivated to push forward.
It's also important to me to be as transparent as possible in anything related to my own composition methods because of just how difficult it is to find information about that kind of thing. Like, it's weirdly difficult haha. Little tidbits exist here and there, but it's strange how little it's talked about. I've searched for years to try to learn about the actual processes of composers and musicians that have influenced or inspired me and it seems to be something that is rarely discussed in detail. In many cases, a musician will be interviewed and begin to start talking about it only to get cut off by the interviewer and have the conversation change direction. It drives me nuts that there appears to be no record of the actual processes of composition used and/or developed by Classical composers. It seems the mythos surrounding them has completely obscured the actual information that is so important if we want to better understand the relationships between inspiration, expression, creativity and composition. That appears to continue to this day. So I've spent years and years of trial and error at trying to understand or develop my own processes of minimizing the barrier between the unconscious inspiration and conscious creative work.
Owing to some neurological problems I have, I've had some rather unusual (but not at all unique) opportunities to get a glimpse of certain unconscious processes that are truly mind-blowing and, I believe, have given me some insight into the nature of inspiration (or at least have led to me developing my own theories about it). Learning more about what neuroscience currently understands about those experiences has given me a reasonable footing to try to work on methods to tap into the unconscious more effectively and I think I've had some decent results from that. I don't really have a relevant platform to get into that subject in too much depth but hopefully I'll have an opportunity to talk about it more in the future. It would be an absurdly long read if I were to try to write it out here in a comment haha.
I agree with you entirely about individual interpretation of a work of art. My thought on that is that a work of art taps into the unconscious and includes far more information and meaning than the artist could possibly be aware of. It's obviously a contested subject when talking about the definition of art but, in my opinion, art is the result of a sufficiently developed artist who has learned to tap into unconscious inspiration through feeling/intuition and has the skills required in whatever area to translate it well enough that others can connect to it. From that perspective, the artist themselves is merely "channeling" something beyond their understanding and their interpretation of "their own work" is just as relevant as anyone else's. Or, perhaps, an artist learns the required skills to try to get out of the way of their unconscious. There are many elements of a work of art that would appear to be purely conscious decisions and are easy for an artist to believe were the result of their own conscious decision but, what is often hard to recognize, is the fact that every authentic creative decision is underpinned by a feeling or intuition that, if examined deeply enough, can not be adequately explained by the artist. At some level, it just "feels right." Intuition itself is obviously a form of "channeling" the unconscious, which appears to be unknowably more intelligent and aware than the conscious mind. At least, those are the conclusions I've come to.
That being said, I can relate to your interpretation of this song and video pretty well and I wouldn't disagree with anything that you said. I may not have thought of the words you used to describe it though and it's very interesting and gratifying for me to hear that.
It's rather difficult to outright explain the pinwheel symbol and might be better not to try. But I can offer a couple clues about what it represents that might be useful. If you were to see the dark and light areas of the pinwheel as representing "nothing" and "something" and combine that with the spinning of the pinwheel and the idea of emergence, you'll have a clearer view of what I mean by it. But again, it's not something that would be very easy to put into words. It's also not a terribly precise symbol for what I mean, but as precise as it can be for trying to reduce something so vast into something as simplistic as possible. In terms of that last motif, I have to fall back on what I was saying before haha. It's just what intuitively felt like should go there.
Oh, I should add to that so as not to downplay it too much. When hitting upon various parts of the composition, such as the motif you mentioned, it didn't simply "feel right." I would be hit with intense emotion when it connected together.
@@DanMummSolo Hi again Dan, this became very interesting and I was thinking about what you said before answering, especially about the feeling thing. I was asking myself if I refrained from expressing them, but I think I reached the conclusion that is not that I refrain but I just couldn't do it, words are too limited for me to express what I feel when playing an instrument or what I feel when listening to some music so I give up.
Just a couple days ago I was listening precisely to Transience of Permanence, with good headphones, concentrated, paying attention and well, I ended up again, crying a little after it was over and my wife just entered the room in that very moment, I don't know what she thought of seeing me in that state jut staring at the screen, and for a moment I consider trying to explain, but its pointless, she will never understand.
I remember when I was four years old, I was brought to the arcades by my parents, very old arcades, I heard the music of one of them which later I found it was Romance Anonimo and I got mesmerized back then, I stood there paralyzed, I couldn't move or walk, I thought about it for months, I was almost in tears of listening to something so impacting but again I never thought of explaining what was happening but never forgot it. Decades later I researched which musical piece was it.
Actually to even talk about these topics is very new to me as in my close circle of acquaintances, friends and family will probably don't need to analyze anything of this or listen to music in the same way, in that sense I always felt lonely so I'm very happy to being able to read to your thoughts on all of these topics you brought. I never would have realized of needing authority to being able to express yourself to others and now I'm thinkin a lot about that trying to remember my own experience.
What you said of "My thought on that is that a work of art taps into the unconscious and includes far more information and meaning than the artist could possibly be aware of" is exactly how I feel everytime I listen to it, it had happened before in my life with very selected pieces or songs, its like I understand but cant express what I did understand, I understand it but not on a conscious level. I can just say it a similar feeling to do math, like being revealed of some truth and there's happiness on it because truth is beauty.
I just realized I wrote this days ago but did it while logged on my email instead of Aiontron but regarding to this is exactly what I mean.
"I still listen to this every day
Sometimes I still cry at the end
I still don't know why and at the same time, I do."
So I really dont know why I feel the things I do when listening it, or the meaning, but on the other hand, deep inside but not on a conscious level, I do really know. Maybe thats why I think of it so much, I try to explain it to myself.
That's why I loved it so much and became so relevant, its not just a piece of music I like or something I crave to listen, its beyond that and it happened since the first time I listened to it, its something much more powerful and impacting. From comments from other people, I see for some its the same. If I understood, is the result of intuition, time and also all the knowledge and skill and previous hard work of years, maybe that's why true pieces of art are so rare
I don’t know if you have heard of the electronic band ratatat but towards the end it I was getting a similar feeling
If you're interested in composing music like this and are therefore interested in how I learned to compose music like this, I'm very happy to tell you. I simply got inspired and motivated whenever I would hear a piece of music that moved or impressed me. I wasn't concerned with who the person was who wrote the music or how well recognized they were and I didn't need permission from any individual or group to appreciate the music. If the music resonates with me, that's all that matters. Any time I am moved or impressed by a composition, a musician, an artist, a guitarist, etc. I get motivated to work on my own abilities to express myself artistically. I would dissect their work and try to figure out the smallest part of what they were doing that made me feel a certain way and then look at how it functioned in the larger context of the work. I would then practice doing similar things to achieve a similar emotional impact. From this, I built an ever growing vocabulary of little musical devices and larger abstract structural and contextual methods. Simultaneously, I was learning about how harmony, rhythm, melody, narrative, etc. worked. It's very simple and anyone who is sufficiently interested and has a sufficient need to express themselves artistically can do it. But not everyone has that desire or need. Many people have other purposes in their lives and those people get to simply enjoy music and have it enrich their lives without having to feel the need to compare themselves to the people who create that music for them. Often times, when someone feels the need to diminish an artist, they are simply missing an opportunity to be inspired and move closer to their purpose in life. On the one hand, the person is able to temporarily quiet a passion deep inside them. On the other hand, they are robbing themselves of the ability to grow and become who they were meant to be.
The one who just flew directly in space while listening to this Masterpiece?
Well of course I know him, is me.
Bro. Do u have CD's all your Work? I want to buy some and where I can find it.
Would be great to have a detailed video on how you composed each section of this. Especially since it seems you have written the tab last whereas I figured the tab would have been written simultaneously while writing the music.
That would be something I'd love to get into. It is true that the tab was made after the material was written, but not always before a scratch take was recorded or before I learned it on the guitar if that's any help. I actually combined numerous methods I've experimented with over the years together for composing several of the sections.
The solo guitar intro, which was written first, was very roughly composed on the guitar, then roughly tabbed, and then endlessly refined by ear while notating the changes digitally on Guitar Pro (in the closest approximation I've been able to work out to how certain Classical compositions may have been made).
This process is particularly fascinating for me because it seems to be the most effective and transparent way to tap into the unconscious source of the inspiration. In this case it's a method that was partially developed as a result of trying to understand how Bach wrote his solo sonatas and partitas for violin where they are harmonically complex and complete compositions with only a single note playing at any given time and the harmony is entirely implied by the structure of the melody.
So, as I listened back to the rough composition, I would hear a change to make, change a single note and then, on relistening, find that the changing of that one note required the changing of many other notes that it was somehow interacting with (sometimes, seemingly at random intervals) throughout the course of the entire composition.
Then I repeated that process until I couldn't hear anything else to be changed. How one note was "interacting" with those other notes that spanned across the course of it, was too complex for me to try to understand consciously but, unconsciously, it could be intuitively shaped by this process without much effort.
A simplified version of it might be something like implied harmony that connects different linear "layers" of the composition, segmented by the beats per measure and by relative positioning within the overall composition (a simplistic example would be to imagine all of the 1 and 3 beats as one "layer", all of the 2 and 4 beats as another and the "ands" making up another couple of layers - perhaps melody, harmony 1, harmony 2, and a layer of embellishment to cement the movement of the piece). Melodically, it seems to be more of a narrative structure where there is foreshadowing and self-referencing.
Unconsciously, or emotionally, it's easy to understand but consciously, or logically, it's ridiculous to try to wrap your head around. Granted, this explanation is partially guesswork and is more of an afterthought than a method. But I think the process itself is easy to replicate without getting distracted by trying to understand what's happening mechanically.
For the two distinctly guitar solo sections, they were written through improvisation on the guitar as was the main riff and a large part of the rhythm guitar parts. The other lead guitar (or melody parts) were written in combination of those methods with a variety of other approaches kind of peppered in organically.
Before I learned/memorized the finished guitar parts, the tab was effectively completed. However, after first memorizing the initial arrangement of it and beginning to work with the parts to master them, I found a number of more efficient ways of playing parts and I didn't want to interrupt my work flow by stopping to change the tabs (which I usually would do) owing to how long the song is and how much there was to get down. So I now need to go back through the tabs and locate and change those numerous small parts which I will definitely take the time to do soon.