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I had just returned from a year's duty in Viet Nam the first of February, 1969. I had ordered a new Dodge Charger with a state of the art 8-Track cartridge player. I bought a bag full of cassettes and one was Solo Fllights. There are a number of great tunes on that album, but when Autumn Leaves started to play, I had to pull over, because I could not concentrate on my driving. This is Chet's first recording of Autumn Leaves and he plays it on a Gretsch "George Harrison" double cutaway 6122 that had short scale bass strings on the 5th and 6th strings. This guitar was named the "Octa-bass Guitar". This type of guitar went underground in Chet's repetoire until the late '80's or early '90's, when Chet and Paul Yandell played one (a Gibson version) during live shows. Chet used one in his recording of "I Still Write Your Name In The Snow." I can only hear three players in this recording: Chet on the Octabass, a vibraphonist, and a percussionist/drummer. This tune is a bit of a mystery to me because of the keys it is in. Chet plays two passes in G minor, then modulates to C minor for two passes. As much of this tune is very high on the neck, I'm assuming that Chet actually tuned the Octabass a minor third higher than normal. I show it capoed on the third fret, but I do that knowing that 99 44/100% of the folks are going to attempt to play this in E minor then A minor. The Capo just matched the tonality of the recording. I added the percussion and vibes parts. I am not a percussionist or a vibraphonist, nor will I ever be. The accuracy of these parts is probably in the neighborhood of 95%. I attempted to duplicate the drum events. The vibes part was mostly added because Chet plays a great and interesting chord progression and I needed a way to show that. I think I got most of the notes, but little tricks like grace notes and the legato sound of the vibes are clearly out of my league. If one isn't a vibes player and doesn't listen too closely to that part of the recording, then this module will pass as a reasonable facsimile. The 2nd module called Timing/Chords gives the timing and chord diagrams. The Octabass guitar staff creates a piano-like bass/treble staff. By adding the chord diagrams to this part it really becomes cluttered and difficult to read. Measures 26 - 27: Chet is holding an inside diminished 7th chord form and moving it in minor thirds (3 frets per move). Measure 27: The chord on the 2nd beat is slid in with all notes sounding. If I show that TE "spits" or makes a high pitched bleeping sound. Measure 30: I'm pretty sure Chet is using his "Mr. Sandman C Ma7/6 chord form. The C on the 6th string is played with the left thumb in order to have enough fingers for the rest of the chord. Measure 33: Make sure to kill the notes on the 1st and 2nd string. Since they are open notes, and you are moving from the 1st position to the 12th, it may be a little tricky. Measures 50 - 63: Chet is playing backup to the vibes. I love his chord progression on this bridge. The thumb notes on the 2nd and 4th beats can be removed and this just be played as a 2/2 bossa nova guitar part and no one will know the difference (if you're interested in a nice variation.) Measure 82: This E7 chord form has a tricky fingering that Chet used in other tunes like "You'd Be So Nice To Come Home To". On the 2nd half of the 2nd beat there is a note on the 6th fret/2nd string. Play this with your 1st finger. Measure 87: This is the toughest chord form to make in the entire piece. If you are comfortable playing Chet's Super Lick, then this is just holding that form for a measure. Measure 88: This single note solo can be played in a number of places on the fretboard. I chose this fingering as it was the most logical with the least amount of movement. Measure 90 - 91: Chet is moving a diminished 7 chord form in minor thirds, as he did in Measures 26 - 27. This is just a different chord form for that type of chord. Measures 92 - 93: Those muted notes are played by releasing the chord right after string the 2nd, then playing the open G, but immediately grabbing the next chord form. Sounds much more complicated that it really is. Measure 96: The bass note played on the first beat could be played by using an open 5th string. But for me, it was much easier to go to the next chord form which had to use a barre, so I show that both forms use a barre. The chord on the next measure can be played as a 1/2 barre, though. Measures 99 vs. 107: Note that those two are very similar but not quite the same thing. Really tasty little variation by Chet. Measures 125 to End: Chet just plays these measures very freely slowing down as he gets to the end. Measures 129: The triplets can be played as artificial harmonics if desired. Check out the Timing/Chord Diagram module for the fingering. Note that the volume control for this module is in minimum. c0w"&+7F000P042S0//0000000000001EE1/1111010::::H<100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s