If you can be bothered getting in and out of this tuning, this song is amazing. I've always loved Mark Tremonti's ability to combine emotion and technicality. Let's work through the trouble sections as best we can. There's also a link to my video lesson at the bottom of this article.
The 2nd section is when we start dealing with some fast semi quavers/sixteenth notes. (See excerpt below)
As you can see, both of these bars are 16 perfect semiquavers each. However, it's important to mention the feel and emphasis. I find the highest note in each little chunk needs to be accented a little bit harder than the rest of the notes. When I play these 2 bars I think in mini groups of 6 then 6, 6, 6, 4 and 4 notes. Whilst playing these 2 bars slowly, try counting that pattern out aloud and see if you can lock in with the feel and accentuation needed to make this sound shreddy and awesome.
The start of this section we are dealing with another stretchy shred shape.
It's really important to get the right thumb placement on the back of the neck as the pinky stretch is a bit awkward… But not quite hilarious stretch Dimebag pinky awkward! Once again we're pretty much dealing with a predictable and straight semiquaver feel. We follow that phrase up with a really cool shred pattern!
This is probably the funnest part of the solo. You'll notice that this shred pattern works across 4 strings and they're all using the 19th, 17th and 16th fret. The unconventional or "open" tuning that Tremonti uses makes this pinky, middle and pointer finger shape work on all strings, and still be in key (unlike Slayer!). Once again, in this section of the solo we're working in straight, shredded semiquavers.
Similarly, I've noticed that Devin Townsend writes most of his songs in "Open C" tuning (CGCGCE). He does much the same thing with his scale patterns by dragging the same 3 finger shape across all 6 strings on the same frets, and it all works in cohesion with the key signature. You may find these weird "open" style tunings to be interesting and worth fiddling with!
The final section works with a cool arpeggio shape with a quavered triplet feel. Keep in mind the tuning and the shapes we dealt with in section 3!
We've just come out of section 3 where we were using straight sixteenths and moved into these quavered triplets. In this section make sure there is a considerable drop in speed, and that you add a bit of a bounce to this phrase to capitalise on the triplet feel.