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I@@F0F0@FFFF@ F0 F0@!F!F"F#F$$I$`%I%& &I@&&F0@'F'F8(F)F**I+I+,F@,F,@-F-F/F/F0I 0I@0`0I01+@2F02F0@3F3F4F5F6@8F0@9F;F;F;F<, <I@<`<I<`==I=> @>F>I@?F?F@FAFB BI@BB)`C CCC#ID @DFD D#i@EFE#FFFGFH-J@J`JIJJIJ@KFKFLFMF`NEN#P@P`P")PP)P@QFQIQ%)RFSFTTTITVF@V`VIVVF0@WFWFXFYFZ)Z@[ `\&)\\F] ]i@]F]F]F^&F_F`@@bF0bF0@cFcFdFeFg hF@hF0hF0@iFiFjFkFl.lIlm mI@m`mIm@nF0nF0@oFoFpFqFr<`s)ss)ssIPt&@ttI@uFuFwFwFx@y/@zF0zF0@{F{F|F}F~F &0@FF@FF$F$F:I I@`I F0@FFFF))) )@ F@FFFF@!@F0F0@FFFF@F0F0@FFFF0@II`IF0@FFFF $l0@I$)@FF@FF$F$FF@#I`II@FFCFB"#))I@#FI@FF#FF0I CF0@FFFFF #)@FF@FF$F$FI`I I@`I@…F0…F0@FFFF`) &)@)@FF$F$F:I`I I@΁F0@FFFF)@ )`)&@FFFFF@F!@ځF0ځF0@FFFF@F0F0@FFFFI`I I@F0@FF8FFI@ I`)&@FFFF@+@F0F0@FFFF@F0F0@FFFF4@F@FI I@F0F0@ffFFG@&)))@F0F0@FFFF`I @ I@ F0 F0@ F F F F@`))@FI)@FFFFDI`I I@@FFFF'@F0F0@FFFF!!I!@"F0"@#F#F$F%F@(F0(F0@)F)F*F+F,2@-. F. . I. @/ F8/ F80 F1 F2) 2 @2 `2)22)3$)3@4F04F0@5F5F7F7F9 C9 : C:F0@; F8; F8< F= F>>?H?I? @@F0@I0@AFAFCFCFD3 DI@D`EIEEIF @FF0FF0@GFGFHFIF@J#K)K)K@LFLF@MFMFNFOFP4Q @@RF0RF0@SFSFTFUFV @XF0XF0@YFYFZF[F\;] ]I] ^I@^`^I^@_F_F`FaFbBc)c)c@d#dF@eFeFgFgFh6`hIhiI`iIiiIi jI@jjF0@kF8kF8mFmFnI`n)no$&@oo&@pF0@qFqFs$FsFtIt7`tIt uI@u`uIu@vF0vF0@wF8wF8yFyF`z)z{&@{{I{{ @||F@}F}FFFI8`I I@`I@F0F0@FFFFI`IJ #I@@FF@#FFFF;I I@`IF0@FFFFB))@#F@FFFF0`II`II I@F0@F8F8FFI`)&@)I@F0I@FFFF:@@F@@&F%F$FFCFCF@CCFC(CCC#&CC@$F(*Set "Fingers" in Preferences to "Timac"A(6)f'fD7333D7&`&A7$ i$D7 IA (6)D7I(A sus 4/5+6 G / B## B7f# f B70#fE7##E7f##E (maj 7)fA'f'fD9333D7% D7$$D7 I  B73633Am I C3633 Cm3J3 3NA (6)A (7)CV .  E r " nE7!A & Dn F  D7:Z D7     G7   ~C   G+)D7i(i(G ( (  C0F00A7-9F0F0F & Fm (9)  D  & G7 n F E7AA7GG7G7GA7)FG  Fm   C7  ~ VA7FMMDm b  G7  & Gm n F A%*%.%*  B7 (9)0FC Dz CR CCGI0I GG FEE7 FI FB7 0 0G  ACA FA D7 Ic 0IA7"Dmght sound (TabEGA7 )U()Fm $FUG6U&A7^&One of the classic pop tunes of the 1930's, this arrangement was included on the album "The Atkins-Travis Traveling Show" which was recorded in three sessions, two in Hollywood (January 15 & 16, 1974) and one in Nashville (January 23, 1974). Although these two giants had played together before, this was the first time they ever recorded together. The session also included Jerry Reed playing rhythm backup on several tracks, including this one. I'll try to keep the notes for both guitar parts parallel. The first part of the tune has Reed playing rhythm backup to Chet's lead. I've marked the off-beat chords as 1/4 notes in order to provide the right sound (TablEdit halves the duration of muted notes) while leaving the "ghost" notes as 1/8ths for the same reason. Technically, the 1/4 notes should be written as "vamped" 1/8th notes. This is to say that the fretting fingers are lifted very slightly after the chord is struck. We've only written out the first part of Reed's accompaniment in order to flesh out the first chorus as Merle doesn't come in until the beginning of his bass solo in measure 34. Reed simply continues in the same style, quietly in the background until the end of the piece and is, in effect, just along for the ride. Chet and Merle's parts provide all the rhythm that's really needed all on their own. What we have written out of Reed's section should serve quite well as a basis for anyone wanting to try this as a trio. As it stands, the transcription works fine as a duet. Measures 2>3 Chet - The G chord here is a typical Chet mechanism. He uses the middle finger of his left hand to create a mini-barr on the 4th and 5th strings, thus freeing his ring finger for melody work when necessary. Jerry Reed - Note the difference in the bass pattern between these two measures. Jerry seems to have started out with the intention of using a 5-4-6-4 bass pattern but reverts to a 6-4-6-4 pattern in the second measure. Probably just a simple miss. Isn't it nice to know that your idols may make mistakes, too? Measure 3 Chet - A word about the chord marked "G / B" first appearing in this measure. The *position* being used here is, technically, an Em7. However, it *functions* as a G major chord. It may be that Chet actually used the little finger of his left hand to fret the note at the 10th fret of the 5th string but, since the note isn't actually struck, it's impossible to tell. Both Merle and Chet often fret unused notes in order, among other things, to guard themselves against missed thumbstrokes. We've elected to use the simpler form for ease of playing. Measures 10 >12 Jerry - It's hard to tell whether or not Reed is using his left-hand thumb to fret the 5th fret of the 6th string in the D7 chord, or not. My (Tom) feeling is that he's using his ring finger to "bounce" back and forth between the 5th and 6th strings or, possibly, using the ring finger to straddle both strings in a mini-barr. Jerry (as well as both Chet and Merle) uses all three techniques interchangeably. Measure 26 Chet - It's not really clear whether Chet ever actually lays down a small barr on the 8th fret of the 1st and 2nd strings nor if the A note (6th) on the 2nd string is actually positioned from the outset. Given the context, I (Tom) think he would have played it as diagrammed. Measure 38 Chet - Note that the A chord is formed with a small barr on the 3rd and 4th strings using the middle finger with the ring finger fretting the 2nd fret of the 2nd string above it. Measure 48 Chet - Note that the use of the index finger to fret the A note at the 2nd fret of the 3rd string *requires* that the basic G shape be fingered using the middle, ring and little fingers rather than the index, middle and ring combination usually taught to beginners. Most fingerpicking arrangements will use this fingering as it makes switching between G major, G7 and C both smoother and easier. The basic "farmer" G position should, nevertheless, not be ignored as it does, in some cases, provide easier access to the 1st string A note for melody use. Measures 53>54 Chet - The A7-9 chord in 54 could also be described as a C dim. The fingering is, of course, somewhat a matter of taste and habit. Larry prefers to play it using the barr indicated. I, on the other hand, would probably choose to play it using four fingers. This is mostly due to the fact that the little finger is used to fret first the 8th and then the 7th fret of the 1st string in the previous measure and my playing habits would simply leave the finger in place when moving into the diminished chord. Different strokes... Measure 66 This is where Chet and Merle start "harmonizing" in true fingerpicking (or, if you prefer, "thumbpicking") style. Note the fact that Merle's melody line is a consistent 1/4 interval after Chet's although they're both playing the same notes. This provides a slight echo effect. They drift in and out of this technique for the rest of the piece. One might wonder if this was done deliberately through previous arrangement or if it "just came natcherly". Merle really "slams" the opening C chord brush. We've given it the maximum dynamic value of fff, it should really be about ffff. Measures 70 (and 88) - Merle - The opening chord here is interesting from a musical point of view. Many of you may react to the name assigned to it in 70 and say "hey, that's an F, not an A". Well, you would be right in one way and wrong in another. It can be called either and, in addition, is also a Dm form. I've used the A designation in order to avoid any confusion that might arise from the fact that Chet is playing an A chord in module 1. The same type of situation exists in 88 where Chet plays a Dm chord. It's actually unclear what form Merle is playing except that the upper bass note is definitely an F and the 3rd beat bass is a D note. The latter would, of course, not normally be played in an F chord. It may be that Merle is actually adding his little finger to the 3rd fret of the 2nd string which would, once again, establish a complete Dm chord (Dm and F6 are interchangeable to a certain degree). Measures 71>72 Chet - although the notes Chet uses here would normally indicate the use of a 1st fret Am position, he simply maintains the 2nd fret barr in order to lessen hand movement in anticipation of the partial D chord in 72. Merle - The final instance of the 4th fret, 4th string F# is simply a result of the right hand pattern used rather than a conscious attempt at achieving a specific melodic effect. It allows an immediate re-establishment of Merle's customary 5-4-6-4 bass pattern. Note, once again, the typical anticipation of the chord change at the end of 71. This is a common practice in both blues and thumbpicking. Measures 78 Merle - Travis moves his thumb up to the 3rd fret in order to allow the slide and pull-off ornamentation in the beginning of the measure. You'll see this quite often in his playing, especially in connection with changes between D7 and G (as in the end of measure 79) and vice-versa. Measure 100 A nice ending lick with the guitars approaching the final C chord from different directions. Merle's descending line is played using a ring finger barr. c %).38 %).38Chet Atkinsc %).38Merle Travisar 001111111000=0J1:@899<>700000043U00/000000000001<>1.110110/::=I><00000000000000000000000000000Page &p / &n&c&2&t &c&6&s &r&3&m&r&3&t - &3&s