I really enjoyed this read from Dec 2005 Guitar Player. I tried to find the link to the tab that goes with this article, but i haven't found it yet.
"Diminished arpeggios? Variable meter? Multiple key changes? If you associate these tactics with such fusion fiends and prog pioneers as Chick Corea and King Crimson—and not with the psychedelic riffage of Jerry Garcia—then you haven’t heard the Grateful Dead’s “Help on the Way/Slipknot!” (from 1975’s Blues for Allah). The song’s intricate instrumental section, transcribed below, is not only a lesson in the compositional technique of modulation via diminished passing harmony, it’s also a melodic thrill ride—a set of roller-coaster riffs that will get your adrenaline pumping, whether you’re a Deadhead or a shred head.
Like most great adventures, what’s enthralling about this passage is not where it goes, but how it gets there. Just as a trip from Florida to California is more exciting on the Space Shuttle than on a Greyhound bus, Garcia leads his band from F minor to A minor not by simply dragging everything up four frets, but by launching a harmonic detour to outer space and back. The funky Fm strums that open the interlude (at 3:28) set up the general groove, and are answered by an identifiable single-note theme (bar 2, beats one through three) you may recognize from the intro and other sections of the song.
Here, Garcia’s guitar suddenly initiates liftoff into new tonalities. On the thrust of fifth-position F# diminished arpeggios (bar 3), Garcia makes a smooth modulation to G minor, where a new incarnation of bar 2’s single-note hook helps our ears adjust to the fresh key (bar 4). Next, in bar 5—this time gaining lift from seventh-position G# diminished maneuvers—Garcia throttles further into the heavens, and it’s on the gentle wings of cascading minor-7th arpeggios (bars 6 and 7) that he finally glides back to Earth, landing gracefully on the terra firma of A minor. Once again, the song’s main hook helps establish the new key (bar 9).
Played at tempo, this wild journey across three tonalities and most of the fretboard takes a mere 30 seconds. Wow—what a short, strange trip that was."
I found this, which if you take it from the second bar, is the "SlipKnot", and the 3rd bar is the decending part. I simplifyied it by calling it Em>D>C>Bm>Am. They call it by the relative minors, Em>Bm>Am>Bm>Am. fwiw, This tab is an example of why I try to simplify things.
I've worked with tab books that take one song, and show it in beginner>intermediate>advanced versions.
In my vids, in general, I am trying to show easy ways to play things that seemed hard to me.
Yes, leaving out a note here and there on the ascending arppegios, for example, creates a stepping stone version meant to get us from unplayable, to very playable.
Regarding the 3rd bar... I prefer to play right out of the chord shapes. Same notes though.