Blue Smoke Merle Travis Edited by Jack R. BakerTranscribed from Capitol LP "The Merle Travis Guitar"; TablEdited by michaeljoyce@hotmail.com; Edited by Jack R. 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F8!F8# F8#F8$@$`%I%%I%&D@'F8'F8(f(c)F8)F8*D`*I*+D@+`+I@,f8,f@-F8-F8.c/F8/F80F@0 @1`1I12'@2 f8@3 F83F85 F8`5(5F@6`6I%67 D`7I 7 9)@9 F89F8; F8; F8 f0> f8?'@? F8?F8@ cA F8A F8@B`BIBC@C @DFE*@E F8EF8FcGFGCH D`H IH I D@I`I II J'J f8@K F8K F8M F8M F8@N`NIN O DOIO P+@Q F8Q F8RfSFSFT@T AU,@V f8V f8@W F8W F8Y F8Y F8Z D`Z IZ@[@\ f8\f8@] F8]F8_ F8_ F8``I`a a I@a bbf8c@c F8cF8e F8`e-e F8@ffIf`g Ig hD h f@i F8i F8jF8k f@k.k F8l@l Dlm Im n@n f0n f8@o F0o F8q F8q F8r)@r`rIrt Dt f8@u F8u F8w CwF8x@x`x Ix y Iy z Dz F0@{ F8} F8} F8~.@~~I~` I D @ F8 F8 C F8 F I@ C f8@ F8 F8 F8 F8 I@ @ f8F8@ F8F8 F8 F8/@f  I@ f8 f8@ F8 F8 F8 F8F@ ` I@@ f8f8@ F8F8 F8 F8@f I @ f8 f8@ F F F f0 Ff@ ` I@` I  8@ f8 f8@ F F f f F F@f I 1@ F8 F8@ F8 F8 f f F8 F8f@ ` I@` I@ f8f@ F8F f F8 F8@` I DI2@ f8 f8@F8F8 f f F8 F8@`ID`I@ff@FFF8F83@`IDf8@F8F8f8f8F8F8@ƽ`I D`I@c8f@F8FF8F8@̽`ID@f8f@F8FfcF8F8@ҽ`IҽFӉf@ `I@f8F@F8IfF8 4 i0 i0@i0`i0 i0 i0i00@bRg i0 i0@ i0` i0 f0 i0i0b[e0iiii_`끆 i   @i X`i 5 SlapMTN CE 1:22.717 CE 1:47.556 See NotesDrop 6th string to D quicklyDmD@`Dm7IBb9iCA7` i i@Dmi iA7C` Dm&:'I0` A9i Dm7,,i  A71k1A>dI9dK Dm9  Eb7+,@D9"<@#=$G70N0O1C9@>a?bC13t@MuN A7Q{R|@D9a@bG9@qrG13YF8YF8@C13eCeCF@oFoFBb9{ F8}f A7 @F8F8 Bb7F8F8@   A7-9F8fDm6`iA9F@D9I`G9f@ f8 IC9D@C13iCDm ?FFG2i@3iDmMF`PIG7c8`faF8C9sFvA  C#f8@F8 Dm9 I  Dm@f8f@ A9@F8F8 A9F@@F A9 D` Dm6fF Dm passing A7D` I  D9I@$I %I G13F@@   C9iX YiF9F8mF8oF8ADAmC@`I Dm6C%c To the best of my knowledge, this is the second and last recording of Blue Smoke made by Merle Travis. It was included in his famous "yellow" album"- The Merle Travis Guitar. This album was recorded with his famous Gibson Super 400 Special electric guitar and filled with touches that have a love/loathe relationship with guitarists per the posts in guitar bulletinboards. I found that a number of transcriptions of this version didn't sound like the recording. There are so many differences between this version and his "Walkin' The Strings" version (my personal favorite), that I decided to transcribe this one. Some day I would like to make a duet between the two versions much like Thom Bresh's and Marcel Dadi's duet of "Walkin' The Strings" (although they both play the same version.) Opening measures: these are sure to cause controversy. First of all, the chords are Dm, Dm7, Bb9, A7. Also, because Merle was going so fast, sometimes he would eat the 4th note of the arpeggio. It is an F, though a weak one on some of the chords. This is different from the WTS version where he played Dm, Dm7, Bb6, A7. In a number of chord diagrams I have been creative with the names. I actually believe that some of the notes were unintentional, but because they are on the recording I placed them on the diagram. Measure 8: the slap marked sounds like a snap of the fingers more than Merle's usual slap. Measure 9: The chord on the second beat is played by brushing the thumb down on the 4th and 3rd strings, while the 1st finger brushes up on the 1st and 2nd strings. It is a limitation of TablEdit to depict this acturately. Measure 14: The D is sort of an unusual note to be played there. I believe that it wasn't intentional and was probably supposed to be a C#. Measure 66: The last beat was, I believe, unintentional. I believe that Merle was in a transition and just happened to have his finger on the C note of the third string. Measures 82 and 84: Marcel Dadi goes into great detail about this chord in his instructional video. Needless to say, it will require extra practice. Measure 131: The 2nd beat D I believe was played in the brush down by the thumb, but could have been picked by his finger. Measure 159: This F7 is only possible when one notes the fifth and sixth strings with the thumb. And even then, it isn't easy. My thanks go out to Jack Baker for his inputs, especially timing the vibrato effects. c0 %).38Super 400 Special