Here’s an example of two Beatles songs and their cover versions that may make it clearer what “melody” refers to. In the covers, the guitar follows the original vocal melodies the most closely.
And a slightly different cover of Eleanor Rigby that still retains the vocal melody (with Larry Carlton on guitar):
Thanks David, starting to get a picture now. Listening to so much grunge/metal/hard rock & electronic music has not helped me develop a good ear for this melody stuff!
That helped illustrate it, thank you @Jozsef. I wonder how a 2 minute song gets turned into a 12 minute cover 
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The song I would recommend to play around with as it was something I was practicing at the start of my journey of transcribing the melody (as in vocals line and main riff) is The Man Who Sold the World by Nirvana from their unplugged concert. Try it out you should have lots of fun doing it and main riff is literally very close to where melodic notes are hiding on the fretboard 
Great tip Adrian! I know that song well. Thanks
Have you ever listened to Lulu’s version? It’s a keyboard riff but it could be played on guitar. The rhythm guitar is good too
I hadn’t, Gordon. I gave it a spin and enjoyed it.
That said, I can’t be sure I’ve listened to Bowie’s either, my Bowie being largely the Ziggy Stardust album and some of the other hits. I’m rectifying that now.
And while confessing, never listened to the Nirvana unplugged cover either, not being into Nirvana (I’ve tried Nevermind so many times and it doesn’t do anything special for me). As for their ‘unplugged’ version, the riff sounded quite ‘electric’ to my ears. But I am probably on shaky ground already without opening the pandora’s box as to what constitutes ‘unplugged’ 
I am aware David, however Bowie’s version does not do anything special for me 
Coolio, though the comment was as much in jest as wanting to be pedantic
Nor me, having just listened to it now, prompted by Gordon’s post of Lulu’s cover.
Of the three I’d pick Lulu’s, based on her vocal and I liked the keyboard interpretation of some of the lines.
I am glad David stepped in to clarify matters in respect Mr B. Think I listened to the Seattle version once. Lulu on the other hand was a very feisty take but heck you get what it says on the tin. Now I have listened to her version many times but I was smitten after her first TotP appearance mid 60s. I’m an old softie at heart!
From transcribing a couple of power chords to this…
I don’t understand, why are we transcribing anything other than power chords?
I’ll take let it be and transcribe from there direct to powerchords. Then up the BPM and now its Let It Fkn Be. 
Add loads of palm muting and you’re done
Hi Jk,
I don’t have this lesson above in my head anymore and maybe this was given as an option but didn’t see it quickly… but as an exercise to start with you have to start with something that is absolutely in your brain /ears is burned in at all times… so just start with happy birthday, and then another melody that you can keep “playing” in your head even after playing a wrong note… …I hope this helps you, but start nice and simple,…
Greetings
Who needs to transcribe power chords? 
Enough gain and it all sounds much the same right? Get the vide and the attitude right and you’re sweet. 
I agree. This is the hardest lesson I have encountered to date. Incredibly frustrating. I feel completely stuck.
Really interesting video this one, obviously Justin makes it look easy but now I’m confused where the lines are drawn between chords, melody lines and solos and what to play where
eg if I’m playing for my friends at a party I guess a mixture of chords and melody line is going to work best
I’m glad I’m not the only one to be struggling. Justin’s lessons have been great and scaffolded nicely but this one seems a little out of place and more advanced. Maybe I need more ear training.
Hey Ringo, nice to meet you. Here’s a good place to start:
Justin has really pumped up transcribing. I jumped into the dedicated course to dive in a little deeper and I’m finding this course extremely helpful.
The notes are important, the means of playing them is not. Use a pick. 
In the Learn more section Justin writes to start using the open position scale. By this he means the scales you have learned in Grades 1-2 namely C major scale and E minor pentatonic scale. If you then learn pattern 1 of the G major scale (a closed pattern, not open) and more patterns beyond, you can use some or all of those.