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When I offered the ending and my comments on why it was tough to transcribe (at least, to me), a bunch of folks asked me to do the entire tune. My thanks to Mr. Palmer Moore for his constructive comments and encouragement. Later, more interest was shown so I added the rhythm section. I have added chord forms where I thought a diagram might help; however, if Tabledit generated a chord form that was in the ballpark, I let it stand. The rhythm section was more inspired than transcribed. As the very vast majority of users of this TEF are going to be guitarists, I didn't spend a lot of effort on transcribing the bass, rhythm guitar, and percussion. The bass is pretty close. The rhythm guitar part is written as close to the first position as possible using simple open chords wherever possible. I did attempt to match the rhythm of the guitarist. The percussion was taken from the first few measures and just repeated throughout. Measure 7: What a Chord!! Measure 32: On the up side of the second beat, there is a dead note that has some tone equal to an open E of the 1st string. After listening to this a number of times I believe that it came from the rhythm guitar player and not Chet. Measure 49: At first I believed that Chet muffed the first note of the measure which was a G on the 4th string, 5th fret, if we can deduce from the logical progression set up earlier. After listening to this all my life and studying this in this transcription, well, I'm just more undecided than ever. Measure 53: This figure on beat 1 is played by sliding up and down. If I enter that with Tabledit's slide feature, my sound card gives a strange combination. It's probably a problem with my laptop, but on the chance that it is an anomoly with Tabledit, I'm leaving it like this. On beat 3 of this measure, the rhythm guitar player is so strong, that he totally covers what Chet may be doing. Actually, I don't believe Chet played any other notes in this measure. Measure 54: Note that Chet plays this "roll" with ragged eights rather than straight eights as he would usually play this lick. Measures 62 - 64: If one doesn't have a cut away guitar, these can be played on the top three strings. I think though it sounds more like Chet to play it on the 2, 3, and 4 strings, though. Measure 78: Here's an interesting example to me. Chet's using a technique that when most folks hear it, they think of Wes Montgomery. I believe that this is a technique that Chet stole from Django Reinhardt or maybe Les Paul. The recording of this tune predates Wes' popularity. Anyway, the first finger mutes slightly the string in between the octaves. Note that if one plays the octaves clean without that muted open string it doesn't sound right. To get the right effect in Tabledit, I had to give the dead string a "pp" dynamic. Also, the B that I hear in there probably was a harmonic from the bass which was playing (I believe) a low B. I put it in anyway as a ghost note cause it sounds more like the record with it than without. Measures 92 and 93: This was without a doubt the toughest part of the arrangement to figure out and notate in Tabledit to approach Chet's sound. I believe what he's doing is sliding a '6' chord form continuously between the 5th position(A6) and the 10th position (D6) and somewhere in between, an 8th position (C6) in time. Getting this rhythm is probably going to be the toughest thing to do. I couldn't put the chord diagrams over each part as there wasn't enough space. But since the measures repeat, somewhere in the measures are the chords.cy %).38%).38 Chettic Guitarc 5:?DBassm Guitard c %).38Ryhthm Guitardcb(#!*"'/+48888Percussionitar