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F8 F8@    C @&?&?F8@F8I0  D0I II0 $ " C " I " F?@#&?#&?%F8%F8'0`(I (I (D `,) , - D - D . d . F?@/ &?/ &1 F8@11 F82I03I03I0`4I 4I08F 8I 9F @9F 9 @:F?:F?@;&?;&?=F8=F8=>I >I0>0@?I0?0`@I@i@i0D `D)#DI ED @FF?@G&?G&?IF8@IIf8IJ0JJ JI0PD QC Q QD @RF?RF?@S&?S&?TF8UF8VcWk2W2 W0@W2PW2`W2W0\F ]C ]F ] ^c _c`C00hb0pb0b00c0`c0c0Pd0d0@e0e0e0hC hI hFI Dhf ic if if jc jf jf kC00kF00kf>mC mn2n2 n20n2@n2Pn0n0`o0o0o sCs8s%tC uc uf7vc vf7v7wf @wf7w7xc yC>zP@zl0`zl0zl00{lP{l0p{l0{l0{l0 |l|l0|"|!|"|!|"|!|"| }l}l^ Rall.Paul Doty first worked on this version of Chet's Alice Blue Gown and I only discovered this after starting on a transcription myself. Alice Blue Gown is from a 1919 Broadway Musical called "Irene". It has two verses and a Chorus. The Chorus is what is best known and is what Chet and pianist/clarinetist Butch Thompson adapted in their version. Originally, the verses were in 6/8 time and the chorus in 3/4 time. Chet and Butch, following a tradition that became popular in the 1930's and continues until today, adapted it to 4/4 time. A search on the Internet will provide photocopies of the original sheet music as it is no longer under copyright. Here are the words and chords for the original key (C). Note that Chet and Butch are playing this in G. Verse 1 C C6 I ONCE HAD A GOWN IT WAS AL-MOST NEW, Dm G7 OH, THE DAIN-TI-EST THING, IT WAS SWEET A-LICE BLUE; C Am WITH LIT-TLE FOR-GET-ME-NOTS PLACED HERE AND THERE, B7 Dm G7 WHEN I HAD IT ON, I WALKED ON THE AIR, C E7 Am AND IT WORE, AND IT WORE, AND IT WORE, G D7 G7 TILL IT WENT AND IT WAS-N'T NO MORE. Verse 2 C C6 C THE LIT-TLE SILK-WORMS THAT MADE SILK FOR THAT GOWN, Dm G7 JUST MADE THAT MUCH SILK AND THEN CRAWLED IN THE GROUND, C Am FOR THERE NEV-ER WAS AN-Y-THING LIKE IT BE-FORE, B7 Dm7 G AND I DON"T DARE TO HOPE THERE WILL BE AN-Y-MORE, C E7 Am BUT IT'S GONE 'CAUSE IT JUST HAD TO BE, G D7 G7 STILL IT WEARS IN MY MEM-O-RY. Chorus C Cmaj7 A7 IN MY SWEET LIT-TLE A-LICE BLUE GOWN, D7 WHEN I FIRST WAN-DERED DOWN IN TO TOWN, G7 C A7 I WAS BOTH PROUD AND SHY, AS I FELT EV'-RY EYE, D7 G7 G+ G7 BUT IN EV'-RY SHOP WIN-DOW I'D PRIMP, PASS-ING BY; C A7 THEN IN MAN-NER OF FASH-ION I'D FROWN, Dm A7 F6 G7 E7 AND THE WORLD SEEM'D TO SMILE ALL A-ROUND, Dm D C Em A7 TILL IT WILT-ED I WORE IT, I'LL AL-WAYS A - DORE IT, Dm A7 F6 G7 Fm6 G7 C MY SWEET LIT-TLE A- LICE BLUE GOWN. Notes on playing this arrangement: Chet is playing his Gibson Country Gentleman. Butch Thompson, normally a two-fisted stride pianist, is playing a clarinet. From time to time, I think I hear a drummer playing brushes on a snare drum. Since it's so low, I didn't include it. I don't hear any other instruments, such as a bass. Measure 1: I was surprised to learn that Chet played these lead in notes with his thumb as it can be clearly seen on the video. This lead-in in found in other places, and at times very staccato. The staccato effect is, well, very effective, but for me is very difficult to do on an open string. It's a lot easier for me to play the G note on the 4th string, 5th fret and it comes closer to the sound Chet got. Measure 6: Chet's in A(7) harmony for this and the next couple of measures. Note that he's using the open E string with the G on the 2nd string to make a minor 3rd. Also, typically an A7 might be played with a 1/2 barre on the 5th fret and the G would be the bass note on the 2nd and 4th beats. Since the melody uses a G, rather than double it, Chet plays an A on those beats. A small and subtle, but very important detail. Measure 26: Chet's slide is difficult to duplicate in TE, but pretty intuitive to play. The E on the 3rd string also slides but when more than 2 strings are slid, the midi distorts somewhat. Measure 28: Chet's playing a G Maj7 chord but he's grabbing the 6th string with his thumb. An alternative way to play this is to keep the F# on the 2nd string (holding it from the previous measure), and then go into a barred G chord. Then play the G and let the F# ring against it. It's an effect that Chet uses in other arrangements and might have used from time to time here. Measure 31: By changing the notes on the 4th string to A's at the 7th fret, the rest of the measure can be played a lot easier if this D7 form is a bit too difficult. Measures 33 until the end: Chet plays backup to Butch's lead for the 2nd pass and some of the 3rd pass as well until the last 1/2 of the 3rd pass. Chet can be heard playing with his characteristic hard mute, a softer mute, and no mute at all. I've tried to show where Chet changed techniques, but it's not quite as obvious. My suggestion is if one has a partner to play Butch's part, just to let one's musical soul dictate how to phrase it. Afterall, I believe that's what Chet was doing. A note on Butch's part: I'm not a clarinetist, nor much of a transcriber of woodwind, so I don't seriously want anyone to think what I've done is the final word. This transcription was done in the spirit and an attempt to be as accurate as I could. However, Butch played with a full range of dynamics and some of his timing was extremely difficult to duplicate. I think anyone would recognize what I've done as Butch, but it's more in the spirit of his playing rather than a dead on accurate transcription. I invite anyone to suggest improvements. Measure 94: Chet starts the ending by changing his technique. Measure 95: Note that from here until the end Chet and Butch are playing at about 1/2 the performance speed. That's a nice little secret to keep the two synchronized. Measure 97: I think I heard Chet put a little vibrato on the last notes, but it's done with his left hand rather than the Bigsby. It's also drowned out by Butch's last note. c0| %).38 %).38Chet Atkinstar cG0r %).38 %).38Butch Thompson 001101010000=007:>899<>7F000P041S0//0000000000001EE1/1101010::::JJ100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s