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It's all in D minor, so that informs the notes you're using as it descends. They aren't full chords, as they only have 3 notes and one is always D, but it implies chords as it goes:
DAF - D minor
DGE - I hear this as C over D, even though it has no C in it...
DFD - D minor again
DEC - A minor over D (poss Am7)
DCA - F major over D
DBG - G major
DAF - D minor to finish
You can add in notes on the B string to flesh out these chords to help see/hear what's happening
x x 0 14 15 13 - DADF
x x 0 12 13 12 - D G C E
x x 0 10 10 10 - D F A D
x x 0 9 8 8 - D E G C
x x 0 5 6 5 - D C F A
x x 0 4 3 3 - D B D G
x x 0 2 3 1 - D A D F
A couple of these are questionable because there's nothing else going on to imply specifically what the underlying chord is (e.g. in the 4th one, you could play either a G or A on that B string and both sound ok)
It works really nicely in open tunings as well; I use similar patterns of using 2 fingers on non-adjacent strings very often.
That's how I see it and I'd bet you that's how Sambora came up with the part.
He certainly wasn't thinking of the underlying harmony when he wrote it. He just thought hey that sounds cool...
You only have to watch bits of the Beatles' Get Back doc to see that even they were all about finding something that sounded good and not worry about the theory unless they were explaining it to someone else.