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F?f f@c0c @((@(((@(((((@@ f? f? @Ž0 @((@(((@(((((@`   `  @ ? ? @ݽ0 @((@(((@(((((@^@ ? @0FI have substituted Chet's 1st break for the Anita Kerr Singers' part."The Famous Chet Atkins Super LickEI've substituted Chet's first break for Sonny Osborne's banjo break.The Start of Chet's last breakGE min7On the recording, Chet just plays the bass part for the next 8 measures. The melody part was "borrowed" from his other parts.DChord diagrams are repeated from the earlier measures unless noted.fFB9G@@ HfDE9M@@ NBdA9R@SbD6-W@0XA@@ E7 i iBbin7 i  A G7 G min7 A7@@  D (6)@ A7- @0  A7?@C   DR@@VC7e@iC#7 @{!D7%@&DeeD13*@@+G@/@0E minA9edA13@eDd@B7edB7eE7dA added 9dA7@ ?D ? ?DfGE9dAedD (6)@ B7Ge's banjo breakAbEgggEDLAz JGT|̹ jIF# min- hGE min,0GsdCGeDAbtpfEAEfEb7BcD (6) D60Gz g The first copy of Chet Atkins' Hometown Guitar was an 8-track cassette I had just bought for my car. The first tune was that unmistakable chord run starting Big Daddy's Alabamy Bound. I can remember saying "WOW" just like it was yesterday! This transcription represented several problems: Chet only has about a minute's worth of lead and the rest of the lead work is divided into parts for the Anita Kerr Singers, Sonny Osborne's 5-string banjo, and a steel player that was doing what we all have come to call "chicken pickin'". Rather than make an abbreviated transcription, I opted for repeating Chet's part, whether backup or his first lead. Chet's back up work was just scaling down his lead breaks, and actually it made a 2nd lead, though somewhat simpler. About this transcription: Every that is in Chet's module was actually played by Chet, although maybe not in this order. I didn't create or add anything new. In the transcription, I've noted the "rearrangements". The Bass and rhythm guitar parts were written by me in the style of the recording, which was keep those parts simple and in the background. The percussion also was very simple and I honestly couldn't hear anything other than brushes on snare drum or closed high hat cymbal. Measures 1 through 4: Note the homage to Merle Travis. Instead of a PIPI RH lick, Chet is playing a PIMI. The last note of the phrase is deadened by lifting the hand, but keeping the finger in contact with the string for a percussion effect. Measures 37 through 44: Chet is clearly heard just playing a boom chuck bass line. I added the abbreviated melody, based on the next 8 measures. Measure 53 through 68: On the recording, the Anita Kerr Singers have the lead here and Chet is playing backup with lead fills. What I've done is transcribed all the fills (which are pretty nice, BTW) and where the singers are, I've substitued Chet's 1st pass at the Bridge. For the most part it seems to work. Measure 67: Here's Chet's famous Super Lick on the D chord starting at the fifth postion. Note the rhythm. I believe that where most folks have a problem is in rushing the hammers and slurs, so that all notes hace the same duration. On beats 2 and 4, the body of the chord is played as triplets. The RH just drags the thumbpick down and up in this rhythm. Measure 85 through 100: I replaced the lead by 5-String Banjo picker Sonny Osborne with Chet's lst break. Measure 100 to the end: Chet takes his last break at this point, and shares the lead with the steel player. Note the variations Chet comes up with so that this lead is different from the first time through. Measure 125 and 126: This is an amazing screw up. Listen to the recording as half of the folks are going to a B7 chord and the other half to a D. I'm not sure if it is a patch or just something that got by the Quality Control boys. By Measure 127 everyone's back on track. I never really noticed it before and apparently no one else has either! Ending: Note the really staccato phrasing of the ending. I'm not so sure that Chet didn't overdub a little bit there, maybe as far back as Measure 125.c0w %).38 %).38Chettic Guitarc 05:?DBassric Guitar c0 %).38 %).38Rhythm guitarrcb(0#!*"'/+48888Percussionitar001101110000=107:>899<>7F000P044S0/00000000000001EE1/1111010::::H<100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s