This is a study in intervals of tenths (a third plus an octave) which gave Paul a distinctive, almost baroque sound. The fingerpicking technique allows you to pluck the bass and treble strings together, and Paul would often also employ a down/upstroke strum with the picking-hand first finger.
The same techniques are being employed here, but watch out for some big jumps up and down the fretboard at these points. Try keeping the fretting-hand fingers on the strings so you can move up and down smoothly.
A slower movement here, but work to make sure all the chords are clean and the movement smooth.
The dissonance here acts as a great piece of tension and release, and this type of sound is the hallmark of a songwriter at the top of his game.