The same note, one octave up, appears in Fret 11 on the 1st string, but in order to get back to the previous D#/E♭, we have to skip one string and go back three frets this time (follow the top-right green arrow). This happens every time we cross the 2nd string, because of the tuning alteration. Obviously, we could have used another reference point, the note E an octave up, which appears in Fret 12 of the 1st string, but it helps to understand the relationship between the strings that cross the 2nd string.
If only I could explain away my Italophilia so simply as just to say it runs in my blood; but I’m Ukranian-Jewish and German. The truth is that I have absolutely no idea how or why I’m so damn interested in that specific place and that specific time. I’ve tried to come up with a lot of reasons over the years, which have included everything from the permissive, freewheeling sexual attitudes of Europe in the late 1960s and early ’70s to the bizarre musical genres that Italian film composers blended — like pop, bossa nova, free-improvisation, contemporary ensemble music, and even cheesy world music cliches — to create this one strangely magnificent strew. But really, it isn’t one thing — it’s everything!
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