LizaG.Gershwin, I.Gershwin & G.Kahn Arranged By Chet AtkinsTranscribed from the RCA LP "Fingerstyle Guitar"; TablEdited by Michael Joyce, Bob Frye, Russ Jenkinsi ICC@ff0@FF0F&& 'I8'I8`(i8(i8`)I8)I8+I8+I8,>,?-C-D@.f0.i0.3@/F0//I0/31F1F<< =I8=I8`>i8>i8`?I8?I8 AI8AI8B@BAC@C FC FC FD @DfDf0E @EFEFGF0 G FRR`S I8S I8S I8 T 8`T i8T i8 U 8`U I8U I8 W I8W I8XY CY n@Z f0Z n@[ F0[ n\ C n] Fh i I8`j i8`k I8l I8 m I8nBPnCnDnEnFo  o I @o #`oI oI#oI of  p i @p #`pi pi#pi p  q I @q #`q I qI#qI qg0s F@sssl0~~  1@ I8I8I8I8i8@ i8i8i8i88@ I8 I8I8I8i8 I8` 0 0IHf F@i#`i !C H F@#` "c Jf H@i3`i0!c 00GXH@ Hi8F`i8i8I8 H8F`88i8 Ji8H`i8i8i8i8{@F@flll@flМl@fll@F0@J`I8`i888Ы8`i888`i8`I8@{ F0F ^L88l8I8F@FC@ȅfȆf0@ɆFɅF0FF I0`I8I8`i8i8`I8I8 I8I8KLCC@f0f0@F0߆0F0F0F0 I8I8`i8i8`I8I8 I8I8F@ F F@ f f0@FFFFI8  0` I8 I8` i8 i8`I8 I8 I8I8 C@ f0@ F0 F F F 0  I8` i8I8` I8I8  I8F@fF@  @!f0!f# F#F.`.i8.I8 / 0`/8//I8`0i8081i8 2I83I84F4@5F 5C*n@6f06c n@7F07c n8F8c n9x9 9CD DI8`EI8EI8`Fi8Fi8`GI8Gi8 HI8Hi8II8J{@Jf J@Kf KlKlKl@Lf LlLlLlMl@Nc@O`Zi8`[i8[l8[l8[l8`\i8\l8\l8`^i8@_|_`{@bI`cIeF eF pPrl8`rI8@sl8sI8@u`uhuI8uI8vM@vF vF v@wf wf x@xf xf @yf yF.@zF.{!{&\`I8I8 0`I8i8  0`i8i8`8i8`I8 I8@v)8@I ` I F F @ i ` i f f @ i ` i f f  #0F0F0@b  0`I8 I8 I8I8` i8 i8 i8 i8` i8 i8 i8i8 )8 I8I8F f @k Pk `i f k Уk ࣆk f @k Pk `i f k Фk इk @k Pk `k f k Хk ॅk @CC00i0 I8@k^lb i8`l8pl8i8i8l8l8 i8`l8pl8i8i8l8l8`l8pl8i8i8l8l8`C I8i8 0{ c n nc ni8i8i88i8i8CCccCC I8I8i8i8I8 I8PKF@K`K@f F@F @  0pL8I8`L8L8`l8I8`L8 I8@UXD C*nD `i c*nD `i c*nD>`i0C:n ` J e I8 I8 I8 i8 i8 I8 i8 i8 I8ai8I8@FCf @f0f0@F0F0FF `!I8!I8 "i8`"i8"i8`#I8#I8% %I8%I8'@'F'C@(f(f0@)F)F0+F+F6 7 0`7I87I8`8i88i8`9I89I8 ;I8;I8<=@= F= F = F@> f> > f@? F? ? FA FA FL M 0`M I8M I8M I8`N i8N i8`O I8O I8 Q I8Q I8RS CS n@T F0T *n@U F0U *nV D nV VL0W Fbb c I8`d I8`e I8f I8 g I8hH0 hHhF@iHiFllCmm xI8@xI8xI8`yI8yI8| 1|I8|I8}}A aaaA  I8 i8 i8 i8 I8# f lllf @lliЗlc )8 i8l8l8l8 i8` 0Цl8l8l8 i8ЩF @ i8 I8` 8@@fC@… c@&?&?F ^F  0`i8I8 `8i8`)8)8 I8I8D`I׆D`I؈@&?&?F@۽F I8I8 I8I8`)8)8 I8`I8 DFF dff@ &? &? F F@ I8 I8 I8  0@ i8 i8 i8` )8 )8  I8 I8 A Af0@ & & F F 0  I8  I8 i8` )8 )8 I8  I8 DF f@&?&?FF@(I8(I8)i8`+)8+)8 - I8-I8.I /F`/I / @0F?0F?@1&?1&?2F@33F >I8@?I8?I8`@I8@I8`A)8A)8 BI8`CCI8DIDF EI@EI`EIFF FF@GFG&HFHIIF TI8TI8@UI8`UI8UI8VI8VI8`WI8W)8 XI8YI8ZI [F`[I[@\F\F?]@]&]&^F_F@_h_ jI8@kI8kI8`lI8lI8`m)8m)8nI8 oI8`oq qD qc  rD r @s&s&uFuF  0@I8i8@I88`)8)8 I8I8D`ID`I@&&F@F I8I8 I8I8`)8)8 I8`I8`I@ID@i F?@&&FFI8  0` I8 I8` i8 I8`)8)8 I8I8`  D@ F? F?@ &? &? F F I8` I8 I8` )8 )8 I8 I8F ɉDɂF F@ &?& FFI8@ I8I8  0I8` )8)8 I8I8I F`I  @F?F?@&?&?F@F I8@I8I8`I8I8`)8)8 I8`I8Ff@I`IfIIIfIF7 I8 i8`I8I8 i8I8I8 i8I8 I8    I    &8&8 1 0I8 I8@ 8  0)8)8  ` I  !F !F " "I @#&#&%F@%%F%%!0I8@1I81I8 2 0`3)83)8 5I8`55I85 6F6D8 `8I 8 8F?@9&9&:F;F@;h;"@FI8FI8HI8HI8HI8`I)8I)8JI8 KI8`KLA LMa Na NF@O&O&PPFQF \I8\ 0 ]i8 ^i8^I8`_)8_)8`I8 aI8@bIb cI`cIc dI`di d e#@e&e&gFgF`rI8 sI8sI8@tI8ti8`u)8u)8 wI8wI8xf@x `xIxy`yiyy @{&?{&?|F}p}}F 1 i8` 1I8 8i8`)8)8 I8I8@II  I`ID$@&?&?FF`I8I8 1  1@I8I8I8`)8)8 I8I8@IIFF`II @&?&?F%F`I8I8I8 I8I8`)8)8 I8I8` D   D @&?&?FxF 1I8I8I8`)8)8 I8I8`  фD фF  ҅d ҆f @&?&?FF 1 0 1  0@I8I8@i8i8`)8)8 I8I8D`ID`I@&?&?F@F I8I8 I8I8`)8)8 I8I8  DFF DFF@ &? &? F F  0@ I8 I8 I8@ I8 I8 I8` )8 )8  I8 I8  A A@ & & F F # I8 $ I8`% )8% )8& I8 ' I8 (D(F) )F@+&?+&?,F,--F@8I88I89I8`;)8;)8 <I8=I8>I ?F`?I ? ?I@@F@I?@i @A&?A)?BFBFB @CCC& NI8@OI8OI8`PI8PI8`Q)8Q)8 RI8RI8U Ud Uf UF V Vd Vf @W&W&XFYfeI8@ei8ei8eI8fi8@fi8fi8`g)8g)8h 0 hI8ii8j'@jjmF nf @nn&nFoF`z 0z 0 |I8 }i8`~ 8~)8~I8 I8D0` D0 @F?F?@F?F?F8F8CC I8 0I8D0`I0:n@F?F?@F?F?F8@F8CC I8I8K1 K2K0@F0F0@ F? F?@ F? F? F8 F8CCL8 L8I8@ 0` I8 I8I0)0 I0I0@I0`I0I0I0@ F? F?@ F? F? F8 F8CC I8@I8I8`I8I8I8I80@ K2PK2`K2نF0چF0@F?F?@F?F?F8F8CC)8` L8pL8I8I8I8(0 (0@h0C @F?F?@F?F?F8@F8CC )8@)8`i8I8K1K1 K0@i0h `i0h h @ F? F?@ F? F?F8F8CC L80L8@I8`i8i8i8i8i8K1K2 K0@F0D0 @"F?"F?@#F?#F?$F8%F8@%&F@'F'F'F +L80+L8@+I8`,I8,I8/ 0 D0`1i31c0@8F?8F?@9F?9F?;F8;F8>C?C @ I8Ai8Ai8F D0`Gi3Gc0@NF?NF?@OF?OF?QF8@QQF8TCTC V I8Wi8Wi8\K1\K2 \K0\F0\I0\I0@^F0@d F?d F?@eF?eF?gF8gF8jCjC lL80lL8@lI8lI8lI8`nI8r:mrI0@z F?z F?@{ F?{ F?| F8} F8CCI80 I0I0I3@I0` I0I0I0@F?F?@F?F?F8F8CCI8@ I8 I8`I8 I8I8I8I0I3 I0@ I0 I0I0`I0I0@F?F?@F?F?F8@F8CCI8 I8@I8` I8 I8I8I8I8 I0 I0@I0` I0 I0 I0 I0 I0@F?F?@F?F?F8FCCI8 I8@ I8`I8 I8 I8 I8 I8 @ n@F?F?@F?F?F8C8CC I8 I8 f3@0i0@f3-i0@ F3@2I0 F3-I0 F3@1I0@F3-I0 N@OP@F?F?@F?F?F8@F8CC i8`0i8@i8-i8@ I8`2I8 I8-I8 I8`1I8@I8-I8 f0` I0 0f0` I0 0F`)00Q`R@F?F?@F?F?F8@F8CC  i8 I8 8 i8 I8 8 I)88 f3@ 0i0@ f3 -i0@ F3@ 2I0 F3 -I0  F3@1I0@F3-I0 S@TU@F?F?@F?F?F8F8CC  i8`0i8@i8-i8@  I8`2I8 I8-I8  I8`1I8@I8-I8 "f0`" I0" 0#f0`# i0# 0# 0$f0`$ I0$ 0'V@*F?*F?@+F?+F?-F8-F8.C/C 2 i82 I82 8 3 i83 i83 8 4 i84 I84 88 F3@8-I0@8 F38)I0@9 f3@9+i0 9 f39)i0@: F3@:-I0 : F3:*I0@=W@=X=Y@@F?@F?@AF?AF?BF8CF8FCFC H I8`H-I8@H I8H)I8@I 0 I i8`I+i8 I i8I)i8@ J I8`J-I8 J I8J*I8@Nf0`NI0N0Of0`O i0O 0Pf0`PI0P0SZ@VF?VF?@WF?WF?YF8YF8[C[C ^i8^I8^8 _ i8_ i8_ 8 `i8`I8`8df3@d)i0 d f3d&i0@eF3@e+I0 e F3e&I0@e 1fF3@f*I0 f F3f&I0@i[@i\i]@lF?lF?@mF?mF?nF8oF8orCrC ti8`t)i8 t i8t&i8@ uI8`u+I8 u I8u&I8@ vI8`v*I8 v I8v&I8@zF0`zi0z0{f0`{0{0|F0`|i0|0^`_@F?F?@F?F?F8F8CC I8i88 1 i888 I8i88@ #0#0@F?F?@F?F?F8F8CC )8)8F` ) 0`@F?F?@F?F?F8@F8CC I8 )8 0 0` I0I0I0 I0I0@I0@ F? F?@ F? F? F8 F8CC I8I8I8 I8`I8 I0 I0` I0@I0 I0 I0 I0 I0@ F? F?@ F? F? F8 F8CCI8 I8@ I8 I8`I8 I8 I8 I8@ I0` I0K2K2K0 I0I0 I0 I0@F?F?@F?F?F8F8CC` I8 I8L8L8I8 I8@ I8 I8 I8I0 I0 F0` I0 0@F?F?@F?F?F8F8 C CI8 I8@I8 I8 0  I0@I0` I0 I0 I0 I0 I0@F?F?@F?F?F8F8 C!C$ I8@$ I8`%I8% I8% I8& I8& I8, @0@2F?2F?@3F?3F?4F85F86F@7F7F7F; I8 < I8@C0@7E@H F?H F?@I F?I F?K F8K F8MCNC PI8P7VC0V7@^ F?^ F?@_ F?_ F?a F8@aa F8cCcC fI8f7l C0l 7@tF?t F?@uF?u F?v F8v F8yCyC | I8| 7 7` 7 7@ F? F?@ F? F? F8 F8CC 7 77 7 7 @77@F?F?@F?F? F8 F8CC 707@7`777 7 7 @777@F?F?@F?F?F8FCC 707@7`777 7@7`77777@F?F?@F?F?F8F8CC7@7`777777@ 6@F?F?@F?F?F8F8F@FFF7 7` 7=p@7@ F? F?@ F? F? F8 F8CC 7`77`77@ F? F?@ F? F? F8 F8CC 77@ 7 7 7@$F?$F?@% F?% F?' F8' F8)C)C , 0`, 7, 72 7`2 72 7@: F?: F?@; F?; F?< F8= F>C?C B 7B 7H7H7 H 7H7H7 H 7@I 7I 7@PF?PF?@QF?QF?R F8S F8UCUC X 70X 7@X 7X 7X 7X 7`Y 7Y 7^7^7 ^7^7^7 ^7@_ 7_ 7@fF?fF?@gF?gF?hF8@iiF8jCkC n70n 7@n7n7n 7n7`o 7o 7t7t7 t7@u7u7u7u7@|F?|F?@}F?}F?~F8FCC 808@8`87777@7` 7@F?@F?FF8F8CC 7`7 07 0`003 00`003 00`773p 77`773F7`a@F?F?@F?F?F8@F8CC888 8 8888 8 8888 8 8888I8 00 0@ 0` 100 7@ 007 17@777b@ F?F?@F?F?F8 F8@CC 88 8` 8 188 8` 888 8`888@000@0` 100 10@7707@77cd@F?F?@F?F?F8F8CC`88 8`8 188 1 8`888 8`88@000@000@777@77e@ F? F?@ F? F? F8 F8CC`88 1 8`88 8`88 8`8800`0007`00`77f@F?F?@F?F? F8 F8CC 8 8 8 8  0 8 8 8 8 800`07``g@F?F?@F?F?F8FCC 8 888 0 8 8 8!8!8$0%0`%0%0&7`&0&0`'7'7)h@,F?,F?@-F?-F?.F8/F81C1C 48 585858 6868687878;0`;0;0<0`<0<0=7`=7=7?i`?j@BF?BF?@CF?CF?EF8EF8GCGC K8K8K8 L8L8L8 M8M8M8@P)0`PI0PK1PK2PK0PF0Q0R0S7@XF?XF?@YF?YF?ZF8ZF8]C^C``)8`I8`L8`L8`I8`I8fF0@f 1`fI0f0@nF?nF?@oF?oF?pF8pF8@qsCsC vI8`v 1vI8|0@| I0`| I0| K1| K2| K0|F0@F? F?@F? F? F8 F8CC  0` I8 I8 L8 L8 I8 I8F0` I0 0@ 1@ F? F?@ F? F? F8 F8CC I8 I8` 1 0 F0` 3F0F0@F?F?@F?F? F8 F8CC  0@ I8I8I8I0I3 I0@I0I0 I0`I0I0@F?F?@F?F?F8@ɽFCC I8@ I8`I8I8 I8I8I8I0 I0@I0`I0I0I0I0I0@F?F?@F?F?F8F8CCI8 I8@ I8`I8I8I8I8I8F0@&0 F8FI8 I8`)8`kk k# kPkk k #k@kk i kk@lmni8i8@i8pl8l8 l80l8`l8l8 i8 l8o@^ a a a@a ' i8 ' i8 ( i8 ) i8@*K`+ i8 RH palm mute CE 2:16.744Change Key to CBigsby vibrato2Chord diagrams repeat unless notated differently. CE minGD7G6  C# dim7 G9 CA minBb dim7E7BbA minhj@(n E9@A@G7+5c@(md D min7 C0E9H& E min7@@ Gh(C7-51@@2 C7@W@ B7Df0@EFE min7~~G7CE7-9G min6D6C?@@@`D9@ Hj@KG681i8 2I8D7@sl8sI8@E minC9imB9G7+5E7-9A min(7)A min added 11G E min E min C7 B7 G7  E7A7-9D13D9 F9R@@ S E9W@XC#9/d/C9@/e/D min@/A7?e?A7?@?Ab7?d?G7[F6]G6[ C[Jk(D7O(_!Bb dim7G6hH(C7!k "@"hH)C# dim7 CBbA min to G minnA min E9@A@E7D7E7A minBb dim7G6E min7@@  E min E min E min C7 B7 D# mine E min E min G7  Cd@ C6ed  Cd@ E7A min A minedA minA7-9D13D9F9R@@ SE9W@XD9C#9/d/C9@/e/D min@/A7?e?D min@/Ab7?d?G7[CF6]G6[ C[Jk(See Notes(_!Bb dim7G6hH(C7!k "@"hH)C# dim7 CBbA min to G minnA min E9@A@E7D7E7A minBb dim7G6E min7@@  E min E min E min C7 B7 D# mine E min E min G7  Cd@ C6ed  Cd@ E7A min A minedA minA7-9D13D9F9R@@ SE9W@XD9C#9/d/C9@/e/D min@/A7?e?D min@/Ab7?d?G7[CF6]G6[ C[Jk(D7O(_!Liza by George Gershwin, Ira Gershwin, and Gus Kahn Liza, Liza, skies are grey But if you smile at me, all the clouds will roll away Liza, Liza, dont delay Come keep me company, and the clouds will roll away See the honey moon is shining down We should make a date with Parson Brown So Liza, Liza, name the day When you belong to me, and the clouds will roll away See the honey moon is shining down We should make a date with Parson Brown Liza, Liza, wont you name the day When you belong to me, and the clouds will roll away Liza was written for the 1929 musical "Show Girl" and according to my research, George himself performed it. Chet recorded Liza on his wonderful LP "Fingerstyle Guitar". This entire LP was recorded in one day by Chet, who, by the way, played all the parts himself: lead guitar, and after two solo passes, a bass part, and rhythm guitar. The rhythm guitar part sounds like the harmony from Chet's 2nd pass. The bass line was remarkably repeated as if it were written and performed exactly as written. This was a time consuming transcription. Chet's first pass was extremely rubato and I had to measure practically every note to get the timing right. From the 2nd pass until the end, the rhythm is very exact. I don't think I've ever transcribed any work by Chet as rubato as the 1st pass of this recording. I attempted to transcribe all parts to the best of my ability. The rhythm guitar part in places is "in the mud", so I took the bass harmony of his 2nd pass and made that the rhythm guitar part for the 3rd pass. The 4th pass changes keys to C. I transposed the 32 measures of pass 3 and adjusted it for the key of C. In the few places one can hear the rhythm part, I checked what I did against it and it is practically identical. Chet's lead has some echo/reverb. To duplicate that effect, I generated a 4th module called Echo&Timing which I hid. To see this module go to TablEdit's File>Options>Multitrack and check module four's tab and standard notation boxes. Upon my initial cut at transcribing and entering it in TEF format, I sent this to Bob Frye and Russ Jenkins. These two found a number of "gotchas", and without their help this transcription would not be near the quality it is. My thanks to both of these great guys. The chords with harmonics in the Bridge of Pass 4 gave me a really dificult time as I've never transcribed this particular technique of Chet's. I finally wrote a set of guidelines that I believe Chet may have used: 1. The chords must be relatively close to the open position. 2. The chord forms will probably utilize the highest 4 strings. 3. Chet's artificial harmonic technique (P and I fingers) would place the harmonic on the lowest string of the fretted chord. 4. The chord progression should be relatively intuitive to facilitate memorization. Bob Frye noted that in Chet's instructional video, his version of When You Wish Upon A Star uses a chord/harmonic technique very similar. So between the two of us, we came up with what we believe is pretty close to what Chet played. Measure 20: All of the chords are muted with the righthand palm on the bridge. Measure 83: Chet actually starts his slide on the first beat 1 fret lower than before. I don't think that he intended to do that, but because it's a strong slide, it isn't obvious unless one is analyzing measure for measure. If one is learning this arrangement, my recommendation is to repeat Measure 81 rather than 83. Measure 101 and subsequent measures with harmonics and slurs: This plays a lot easier than it looks. Place the fingers of the lefthand on the 1st string at frets 8, 7, 6, and 5. Strike the artificial harmonic with the "I" finger on the string over the 20th fret. As soon as it is struck, do the pulloffs as you would if it were a pure note. Measure 105: Play the artificial harmonic of the F# and then bend it to the G note as if you were playing a pure tone note. Measures 113 - 121: Chet played artificial harmonics with his thumb and index finger. The additional notes can be plucked by the M and A fingers or the thumb can brush down. The latter gives an arpeggio sound that I didn't hear on this recording and I believe that Chet plucked them. Measure 130: The final chord is a little bit difficult. I believe that Chet fingered this D chord form with fingers 1, 2, and 3, and grabbed the C bass note with the thumb. The name of the final chord is really controversial. The notes are D, F#, A, C which are the notes found in a D7 chord. Because the key at the end was C and the C was the bass note, some of us believe the chord should have a C name. D is a 9th, F# is either an augmented 11th, or a b5 (Gb), A is the 6th or 13th. So the name in C could possibly be a C6/9 aug11, or C Maj13b5. My personal guess is that Chet never gave the chord a name, but rather was looking for a unique sound and invented it. So I just used the KISS (Keep It Simple, Stupid) approach and named it from the notes, a D7. But I think of it as a highly colored C. c %).38Chets Echoardc %).38Rhythm guitard c 5:?DBassm guitardc %).38echo & timingtim001001110000=007:>899<>7F000P043S0/00000000000001EE1/1111010::::H<100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s