The guitar solo of this song is so perfect that even if you play two copies 15 seconds apart they sync up and compliment each other creating something worth hearing.
You can download the resulting solo's Mp3 here
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19 Responsed To This Post
in 11-16-2007 at 12:05:59 from 76.68.229.124
Even Pink Floyd is worth hearing….Without the mix 
in 11-17-2007 at 20:26:46 from 24.35.40.35
Thisis a great song, but the reasons they sync up is because they are in the same tempo and key.
in 11-19-2007 at 05:07:06 from 77.105.40.92
when someone is good , he is good no matter what you do with his song. Pink floyd is legendary group so no further explanation is needed.
in 11-28-2007 at 12:10:40 from 91.19.222.100
sounds great !
but this happens commonly cause peter is right
in 12-1-2007 at 12:03:49 from 24.83.3.53
It goes beyond simply being the same key and the same tempo, there's quite literally millions of examples where this manner of duplication would NOT work. It works in this case because its a well thought out solo with a very specific melodic theme from start to finish, a trademark of Gilmour's. 
in 12-3-2007 at 15:34:04 from 152.131.10.194
Monkey, you are exactly correct. It is without a doubt one of the best laid out guitar solos. The melody of Gilmore's solo lends itself very well to contrapuntal explorations and rhythmic manipulations. The key of B minor/ D major is of little consequence.
in 12-4-2007 at 11:42:56 from 81.101.114.177
No-one here has heard of a fugue then?
in 12-4-2007 at 14:21:41 from 152.131.10.194
Matthew,
A fugue takes on much more intricacies of melodic embellishment i.e. stretto, inversion, compression, etc. This is more like a round so it is pretty arrogant to assume that no one knows what a fugue is. This just proved a point that you don't know fugal techniques so be careful on throwing out 18th century musical lingo.
in 12-4-2007 at 14:25:09 from 71.98.65.226
Yes Matthew, apparently everyone assumes guitarists can't use classical techniques in modern music. As kids you're taught songs that are called "rounds" that are based on this same principle, has everyone forgotten that?
in 12-7-2007 at 11:17:58 from 12.2.121.200
Brian May does this with almost every solo with a digital delay. AND he uses a quarter for a pick.
in 12-8-2007 at 14:43:12 from 216.87.207.1
it's not a well thought out solo, gilmour in the studio would record many many many solos for one song, then edit them so the best parts of each solo make for one good solo
in 12-9-2007 at 15:29:18 from 67.8.143.43
matt,
wouldn't that be something that is "well though out" then? whether he spliced it together on an editing station or inside his head, it is still the creative process at work
in 12-13-2007 at 20:07:43 from 128.255.202.107
Matt,
Did David Gilmour steal your girlfriend?
in 12-21-2007 at 21:39:03 from 67.72.98.116
im with Matt..that's what he did on most solos. record 10 or 20 takes and then break each part into meters and use the best of. and as a guitarist who's done the same the thing, it takes a HELLUVA lot more work (but sounds better to me) to actually work the whole thing out, note for note from start to finish
in 12-26-2007 at 02:42:22 from 76.19.87.6
It would have been arrogant if he said "I'm right because I know what a fugue is, and your wrong because you have no taste in music." The question he asked wasn't arrogant. You are being defensive for some odd reason is all.
in 1-1-2008 at 21:04:23 from 62.163.14.153
I do not want to add to this non-discussion, but even if gilmour created this studioversion solo in 500 takes, I still prefer the live version. And whatever he did to come up with the structure of this solo, listening to the live version still gives me chills. I'm tempted to say that's all that matters. This MP3 did not add to the experience, even though I'm not surprised it fits. For a short moment I was afraid you counted 666 notes or something
in 1-10-2008 at 09:06:35 from 121.45.204.183
I'm glad we're all caught up in technicalities, and epeen showing to determine who knows more about music, rather than sitting back and listening to that splendid piece of music and enjoying it.
And I'm with HP, go listen to the live version. Perfection in a studio is fine and well, perfection life is sublime.
Lol, my verification code is FYKU = D
in 1-10-2008 at 19:17:56 from 75.65.151.107
What he said…
I think David heard his studio version enough times, like the rest of us, to play it that way live, since we all know "that's the way it goes"…
in 2-12-2008 at 05:22:44 from 24.11.115.242
My take on this…
"The guitar solo of this song is so perfect that even if you play two copies 15 seconds apart they sync up and compliment each other creating something worth hearing."
Compliment? Yes. Sync up? No. Not at all. For them to sync up, I should hear distinguishable parallel or chordal harmonies, or perhaps counterpoint between the two phrases. Instead, it sounds like two guys haphazardly jamming at once.
One thing that seems to give the illusion of intentionality is the phenomenon where one line goes up high when the other line goes low, creating moments of pseudo-harmony and minimizing dissonant clashes. But this phenomenon is not due to some planning on the part of Gilmour, but rather due to the natural ebb and flow of a well constructed solo.
A good soloist is not going to stay in the same register for too long. Instead, they will play a section in one neck position, and then move up or down to intensify or de-intensify the feel and emotion of the passage.
Gilmour does this like a champ, which is why it is a truly great solo, but still purely intuitive and unplanned in nature.