Ike Everly's Rag By Merle TravisTranscribed from the Capitol Album "Walkin' The Strings" and TablEdited by Michael Joyce, michaeljoyce@hotmail.com edited by Jack R. Baker-1dF3F3F3@ F0F0I0F0I0F0 F0@ F F0F F @FIf8 @FFFF @`IDF@f8F@FFfFF@ F0F0I0F0I0 F0!F0@%F0&F0'F0'F0*I*+@+F+, -@-F-F.f.f/F/F0D@0`0I012f@3F83F5F5F6@6F677I7@8f8f@9F9F;F;F<I <I@<`<I<C=@>f>f@?F?FAFAFB`BIBCCI CI@C@DfDf@EFEFGFGF`HIHFHII II@IJ@Jf@KFKFMFMFN@NFNOOIO@P f8P f8Q F@Q F8Q F8SFSFTD`TITU@U@V f8Vf8@W F8WFYFYF[@[F [[I[ \@\f8\f8@]F]F^f^f8_F_FaD@a`aIab@bf8bf8@cFcFdfdceFeFfggI0h@hF0 iI0iF0iI0jF0`jI0jF0m`mI0m0mF3nF0nF3@oF0oF0oF3 pI0@r F0rF0rI0sF0sF0tF0uF0@yF0zF0{F0{F0~~ I@C f8@FF8cFF @`IDd @FFfCF  I@I  f8@F8FF8F8 I@I @f8 @FfFF8F8 I@I @f8 f8@F8F8FF8 @`ID@f8@F8f8FCF8 I@I  @F8FF8F8 I@C C @FFF8F8@`IDI@F8F8ffFFD@`I@f8@F8FF8F8I0@F0 I0F0༇I0 F0`I0 F0`I0F0@F0f0 ÉI0F0F3ƁI0@F0 ȇI0F0ȇI0 F0`ɉI0 F0`́I0F0@F0f0 ωI0 F F0ӁI0@ F0 ՈI0F0ՈI0 F0`֊I0 F0`فI0 F0F0@F0 ܊I0 F0 C0C0 C0`I0@ F0 F0 C0C0C0`I0@F0F0@ F0F0I0F0F0@F0F0F0F0 I@C ff8@FF8f8FF K C C C C C C C C- See NotesMTNE7&A%(%( A7E% %F#9,0 ,  B) ) A7 % D C#W=vW=~W=NW  C  E99=NW=&W=jW A9W=NW=&W=, D6/d8w8DdB}GxE7*+,C#B-dC=Rp:dqB=d:UF#9@__2]F#7!Bd8 B7d=BThis is Merle Travis' tribute to Ike Everly from his Walking the Strings album. This was the first of the tunes that I transcribed and it is one of my very favorites of all his music. It has a little bit of his most famous riffs, runs, and licks. As Merle never seemed to play anything the same way twice, I believe that he would, however, say that this is a accurate portrayal of the tune. The true difficulty of the piece is getting it to the speed at which Merle played it. I've noticed in my personal study of his style that the faster the tunes, the more he relied on old standard licks, which makes for faster memorization. I fingered the piece using barre chords as I don't use my lefthand thumb for fingering notes. I don't mean to encourage or discourage the practice of noting with the thumb. It's just something that doesn't work for me. Note that I didn't change any of his notes to do accommodate my fingers. Now you have the option of which fingering to use. The characteristic riff in measures 1, 2, and 3 and repeated throughout the tune could be played in various places on the neck. I believe that the lefthand rhythm phrasing using the figuring I show is closer to what Merle may have played. The ringing of open strings against noted strings gives it the smooth sound called "legato". The D6 chord was fingered by Merle with his third finger getting the notes on the 5th and 6th strings, second finger getting the notes on the 4th and 3rd strings, 1st finger on the 2nd string and 4th finger on the 1st string. Throughout the piece you will encounter "MTN" which is my shorthand for "Merle's Transition Note." Merle was infamous for his leisurely movement between chord forms which usually involved an open string or two. You won't notice this as being out of the ordinary as the notes are generally "D's" and the piece is written in D. As with anything I submit, any suggestions, changes, additions, or collaboration is welcomed and encouraged. cw %).38 %).38Merle's D-28ar