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F? @ &? &?F F@I(I(@I(I(@I(I(f(f(f(f(C0C0 I F` I @ F?ŒD@ &? &?F F@ŽŽ@I(I(@I(I(@I(I(f(f(f(f(C0C0` IЊ DҊD@&?&F@սCս@I(I(@I(I(@I(I(f(f(f(f(C0C0@FD F@ F?IF?@&?&? F8F8@"!@I(I(@ I(I(@I(I( f(f( f(f(C0C0f@IJkkfW`kkkPkkk@kKf(f(f(f(f(C0c fpc ^     CE 0:16.565AA713)@ D@ D!@{"@ A6@A6@4@@8F#7@;U@>B7  A6 F98 E9AA A7 C#7 F# min D  F#7B minF @&?E7 AB7-9E7E7ADEA 6/9AD  F#7 B7 E7F7C#7F# min7 B min7B7-9"F @"F?F#76@7IA6@4@@8 B9 (E bass) C#7 F# min D@  F#7B minF @&?E7   AF7E7 B7^G Min7E13 D@ A  B7-9 E7 A6  EB minAAB7-9E7 D7%F&C0 D!@{"@ D7%F&C0 D!@{"@ A6A)@B F?B  E^f(_f(_ B9@{I({I(@E7FADE A  B7-9 E7 A6  EB minAAB7-9E7 A6A)@B F?B E9G@@ H B9@{I({I(@E7FE9G@@ H F min7 Dvorak's Humoresque is one of the best known and best loved melodies in the history of western music. The original melody is written as "ragged eight's", that is, a dotted 8th, a 16th, dotted 8th, 16th, etc. One of the rumors circulating is that Dvorak actually wrote the melody to the harmony of Stephan Foster's Swanee River (The Old Folks At Home). In deed, a number of musicians, including Chet Atkins have played the two melodies simultaneously as a novelty. This transcription is a composite of two live performances of Chet's: the first taken from a video from 1954 that was downloaded from the Internet, and the second from a 1959 Grand Ole Opry performance. The bass and rhythm guitar are shown in the background of the 1954 video, and I have included those parts. Due to the recording setups of both of the performances, it is difficult to hear those parts. Rather than attempt a futile transcription, I wrote the simplest bass and rhythm guitar parts in the style of that period. Measure 2: One could play the B on the 2nd and 4th beats as an open 2nd string. Chet repeats this measure about 6 times in this arrangement and most of the time he is playing all of the melody notes as staccato notes. It's very difficult to make open strings staccato. Besides Chet uses the 4th and 3rd strings as "portamentos" to go to the A7 chord in the 3rd measure. Measure 14: Chet doesn't sound the F# on the 2nd string so it's not absolutely necessary to make a 1/2 bar here. I included it because if you should accidently play the 2nd string, the F# sounds more in keeping the original arrangement philosophy. Measure 16: Chet played the bass A note by noting it with his thumb on the 6th string. I only include it here because this is somewhat of an archive of what he actually did. In later years he would just play the 5th string open and muted. That is my recommendation for this as well. Measure 20: Note Chet doesn't alternate the bass here as it would give an A-Ab and that dissonance would be out of character for this piece. Instead he repeats the D which gives a "tri-tone" and a diminished chord feel. A subtle but great touch. Measure 21: Here is a chord form that Chet uses many times in his arrangement. By playing the 1st string open it adds a dominant 7th to an F# chord. Measure 24, 3rd beat: Normally this chord form is thought of as a diminished 7 chord. In this instance it is resolving to a E7, so it's easier to think of it as a B7 chord with the 5th in the bass, and by adding a C to it it becomes the flat 9. Measure 53: The interval (or double stop as it is also known as) is also played as a staccato quarter note. TE has a bug that doesn't allow entry of staccato and a grace note to the same note. To get around this bug, I just made it an eigth note. Measure 54, first beat: Chet's video seems to show that he's sliding the double stop rather than individual striking of each pair. When I enter it that way in TE it doesn't sound like the video. The measure as shown sounds very close to Chet. Measure 56 and 57: Note Chet "borrows" phrases from Country Gentleman. Measure 58, 59, and 60: Here Chet is playing octaves the way Django, Les Paul, and later, Wes Montgomery played them. Watch the video and notice that Chet uses more of a Barred Minor Chord form to get those octaves. The most important thing about playing each is to remember to dampen the middle note with the first finger rather than actually noting it. As a variation try playing the octaves with the RH thumb and a finger. Rather than think of one as "better" than the other, I like to think of it as another way to do something with a slightly different sound. Measure 96: This is what Dr. John Knowles referred to once as the "Kentucky Derby" lick. Chet wrote a tune around it called Kentucky Derby that is on the Chet Atkins and His Guitar Camden LP. It's much easier to play than it sounds. The LH fingering reminds constant, but moves around a bit. A couple of minutes practicing this measure will show that it's not so tough to do. Measure 97, third beat: This is one of those unique Chet chords, an A 6/9. The fingering as Chet used in the video is the thumb on the 6th string, a 1st finger 1/2 barre on the 5th and 4th strings, 4th fret, and the 2nd finger on the 3rd string, 6th fret. For me it's much easier to note the A with the 2nd finger, and the C# on the 3rd sring with the 3rd finger. Actually, you can play this chord with an open A on the 5th, F# on the 4th, C# on the 3rd, and open 2nd, and 1st strings, as the chord only needs 1 C# in it. I personally believe Chet used it for a little showmanship on the ending chord! c0w %).38Chet Atkinsardc0 %).38Rhythm Guitard c 05:?DBassm Guitard001101010000=007:>899<>7F000P042S0//0000000000001EE1/1101010::::JJ100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s