Tunes I Wish Chet Had Played Anything Goes by C. Porter / Mack the Knife by K. WeillArranged and TablEdited by Michael Joyce michaeljoyce@hotmail.comj e  i@`I/ iI/@F?F?FF@  @ i@`I/ iI/@F?F?FF@!!@%%''(()* *i@*`*I/* *i**I/+@+F?+F?-F-F@55@99;;<<F=> >i@>`>I/>@?F??FAFAF@II@MMOOPFPF@QFRF@SF?SF?TFUF@]]@aacc@dIdIeF`eIefF@gF?gF?hFiF@qq@uuwwxIxFxI yI@yyI`zI@{F?{F|F}F@@@FF F I@F?F?FF@@I`I I@@F F FF@@IIF@FFFF@@IȽ I@`I/ II/@F?F?FF@@@@@ܽF I@`I/@F?F?FF@@@@@FF@FF@F?F?FF@@@@@@IIF`IF@F?F?F F@  @   @   @@IFI I@I`I@F?FFF@@  !@!!!""##@%%@))++,@,F,F, F- -I@/F?/F?0F1F@33@445@5556677@99@==??@@@CF?D FD FEF@GG@HHI@IIIJ J KK@MM@QQSSTTITITFU@WFWFXFYF@[[@\\]@]]]^^__@aa@eeggh@i@kF?kF?lFmF@oo@ppq@qqqrrss@uu@yy{{|}@} I`} I} } I} F@ F? F? F8 F8@@@@@ F@ I` I I F@ F F@ F F? F F@@@@@ F@ I` I I F@ F? F? F8 F8@@@@@ F@ I` I I F@ F F? F F@@@@@ F@ I` I I F@ F? F? F8 F8@@@@@ F@ I` I F I@ F F? F F@@@@@F@I`IIF@FFFF@@@@@   i@ ` I/  i  I/@ F? F F F@@@@@F i@`I/@FF!F!F@##@$$%@%%%&&''@))@--//0F0F@1F2F@3F?3F?4F5F@77@889@999::;;@==@AACC@DIDIEF`EIEFF@GFGF?HFIF@KK@LLM@MMMNNOO@QQ@UUWWXIXFXI YI@YYI`ZI@[F?[F\F]F@__@``a@aaabbcc@ee@iikkl@lFlFl Fm mI@oF?oF?pFqF@ss@ttu@uuuvvww@yy@}}@@F? F FF@@@  @@IIF@FFFF@@@@@I i@`I/ iI/@F0F0FF@@@@@ i@`I/ iI/@F0F0FF@@@@@н i@`I/ iI/ӽ@F0F0FF@@@@@CFc c FcC@@@D`Id`i@F?F?FF@@@@@    @ I  `I@F?F?FF@@@@@ D@ ` I !d`!i!" @#F#F$F%F@''@(()@)))* * ++@--@11334@44 55I5`6I 6 @7F7F8F9F@;;@<<=@===> > ??@AA@EEGGH ID@I`IIIJd`JiJ@KF?KF?LFMF@OO@PPQ@QQQRRSS@UU@YY[[@\]`]I ] ^^ ^I^@_F?_F?`FaF@cc@dde@eeeffgg@ii@mmooq@r`@sF?sF?tFuF@ww@xxy@yyyzz{{@}}@@`I I F0@F?F?FF@@@@@D@` I @F0F0@F?F? F F@@@  @@@ ` I I@F0F0@F?F? F F@@@  @@D@d`I  @FFFF@@@  @@@Խ`II @FFFF@@@  @@D@d`I  @FFFF@@@  @@@`II`i  i   `I  I  @FFFF@@@@  @  @@F0F0@FFFF@@@@@!!##$F%C%F& c&f 'c 'f( C(f)F,-./@11@55779@9 D99 I:I:@; F?; F?=F=F@??@@@A @A A A B B CC@EE@IIKKM MIMNI@O F?O F?QFQF@SS@TTU @U U U V V WW@YY@]]__`I``I` aI@a@cF?cF?dFeF@g g @h h i @i i i jjk k @mm@qqss@tuuIu`vIv@wF?wF?xFyF@{ { @| | } @} } } ~~  @@ I` I I@ @F?F? F F@  @  @  @@@`II@F?F?FF@  @  @  @@@DI@FFFF@@ @     @@D`I@ŽI  @FFFF@@ @     @@@ؽD`I  @FFFF@@@@@@`I  I  @FFFF@@@@@@`ID @FFFF@  @   @       @  @@`II@FFFF@  @   @     @!!@%%''@(`)I)*D @+F+F,F-F@/ / @0 0 1 @1 1 1 223 3 @55@99;;= > >I @>`>I> >I >>I@?F?F@AFAF@C C @D D E@EEEFFG G @II@MMOOR@SFSFTFUF@WW@XXY @Y Y Y Z Z [[@]]@aacceCeFfCfFgChCklmno@qq@uuwwxixi`y i zIzIzI@{ I{ I}@@@@@i i@II I` I F@@@@@ii` i IiI@II@@@@@i i@III`IF @@@@@ii` i I I I@ I I@@@@@i i@ I I I` I F@@@@@ii` i III@ I I@@@@@i  if@II I` I@  @   @   @@ @ D` I @ F? F?FF@@  !@!!!""##@%%@))++@,-`- I- -I-@/ F?/ F?0F1F@33@445@5556677@99@==??@D@@`BI B @CFCFDFEF@GG@HHI@IIIJJKK@MM@QQSS@TU`UI U UIU@WFWFXFYF@[[@\\]@]]]^^__@aa@eegghD@h`jI j @kFkFlFmF@oo@ppq@qqqrrss@uu@yy{{@|`|I||I|}@FFFF@@@@@D@`Id `i  d `i  @FFFF@@@@@D@`IFd `i d `i I@FFFF@@@@@@D`Id`i@F?F?FF@@@@@@̽I`I@F?F?FF@@@@@D@`Id`i@FFFF@@@  @@@I`I  @FFFF@@@  @@ D@ ` I  d` i @ F? F? F F@@@@@@`I  I@F?F? F!F@##@$$%@%%%&&''@))@--//1@2`@3F?3F?4F5F@77@889@999::;;@==@AACC@D`DIDEE IE FFF0@GF?GF?HFIF@KK@LLM@MMMNNOO@QQ@UUWWXD@X`Y IY @ZF0ZF0@[F?[F?\ F] F@__@``a@aaab b cc@ee@iikk@lm `m Im mIm@nF0nF0@oF?oF?p Fq F@ss@ttu@uuuv v ww@yy@}}D@d`I  @FFFF@@@  @@@`II @FFFF@@@  @@D@`Id@FFFF@@@  @@@`II`ii`II@FFFF@@@@@ D` I @ѽ d` i @F?F?FF@@@D`I@d`i@ F? F? D C@@@D`I@d`i@FFFF@@@     D` I @ d `i  x@FFFF@@@ L6! L6 " L60# L6@$ L6P% G6% 04@5@6@7@8@jAD#7E7A6 Bm7E7 sus4 G#7 C#m79V9 C#mxIIrBmE9E7 Anything Goes: How Chet let this tune slip through his fingers, I'll never know. It screams "Play me, Chester, play me!" I arranged this tune years ago and alone it just didn't have enough variation to make it a stand alone. I just recently got the idea to include it with Mackie and I'll not try to influence your opinion as to whether they fit together. Mack the Knife: I always wondered why Chet never recorded this tune. Bobby Darin and Louis Armstrong had big hits with it, and the French Cafe tune 4/4 beat begs for Chet. Later in his career, Merle Travis recorded this tune on an album of instrumentals. This arrangement only steals Merle's idea of a key change (modulation). Actually, except for transposing to A major and sycopating most of the notes that were originally on the third beat of each measure, there wasn't much "arranging" necessary. The piano arrangement was very Chet-like as it was. Rhythm Guitar: Get a Merle Travis video and check out Eddie Kirk. He has an interesting strum that I wish I could better imitate. The downbeat he plays by upstrumming with his flat pick and on beats 2 and 4 he down strums. Lots of folks tend to overlook guys like Eddie and my all time favorite, Freddie Greene from Count Basie's band. What they do is a lot harder than it either looks or sounds. Percussion: I stole this from Larry Kuhns' and Jack Baker's transcription of Volare that they recently published. It was about exactly what I wanted. It reminds me of Hawkeye Pierce playing the drums to My Blue Heaven on the TV programs "MASH". I added it with tongue firmly in cheek. Ending: Please forgive the Charlie Byrd-ish ending on a Chet type tune. It just seemed to work, so I used it.c0p %).38 %).38Guitarc Guitarc0 %).38Rhythm cb0#!*"'/+48888Percussion001001010000=007:>899<>7F000P044S0//8000000000001EE0/1111010::::H<1000000000001000000000V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s