Mister SandmanPat Ballard - Arranged by Chet AtkinsTranscribed from the RCA Single TablEdit By:Mike Joyce Modifications By: Jack Baker & Russ Jenkins August, 2002|Q Eq3F0F0@F0 F0 F0@F0F@F0F0F0F$%F0% F0@&F0'F001 @02 `03 @>F0?FA@HF0IF0JF0KFUF0U F0@VF0WF0Y``Fa CaFb cc CelCmCncnc@oF?oF?pFq@qqF@s0s0@t0t0@uuvwyyzzF?@{F?{F?|F}F@00@00@F@FFFf@fff@FFFF@00@00@@@F?@F?&F&@00@00@@FFF@F F F @F?F?&F@00@00@CCc c @FFF@F@00@00@F@FFFf`@f`f`f`@FFFF@00@00@`@F&F&@dž0dž0@Ȅ0Ȅ0@@FFF@f f f @FF&F@Ӆ0Ӆ0@ԃ0ԃ0@CCc c @FFF@ݽF@߅0߅0@00@@FFF @f Ff f @F f F @FFFF@넦0넦0@삦0삦0@  @FF&&@00@00@@FFF @FFF@F?F?&F@00@00@CC C C@ F? F? F F@00@00@ C C C C@F?F? F  F@00@00@ F@ A"F@"A@#F?#F?$F% %F@'0'0@(0(0@))*+,C-C.C.C/@/F?/F?0F@11F@3030@4040@556789::F?@;F?;F?<F=F@?0?0@@0@0@AABCDF@DFDFEFFF@FFFFFF@GFGFHIFIF@K0K0@L0L0@MMNOPPR@SFT&UFU&@W0W0@X0X0@YYZ[@\F\F\F]^@^F ^F ^F @_F_F`&aF@c0c0@d0d0@eeffhChCjC jC @kFkFlF@mmF@o0o0@p0p0@qqrruF@uFuFuFvF`@vF`vF`vF`@wFwFxyFyF@{0{0@|0|0@}}~@`II`F?@FFFF@00@00@ `IF @ F?@FFFF@00@00@D` I @C?F? @ F? F?F8@C@00@00@ @@ F? F?@ F? F?F8 F8@00@00@00 ` I I I @ F? F?@ F? F?F8 F8@@00@00@00 C C C C@F?F?FF@Å0Å0@ă0ă0@ CFFCFF?@F?F?FF@ρ0ρ0@Ђ0Ђ0@DI`IF?@F?F?F@ٽF8@ۃ0ۃ0@܃0܃0@F0F0F0@F F0 F0烦0胦0@ F0F0@F0F0F0@F0F0 F0 F0F0@F0F0  @ ` `@ F0F0@F0F0(F0@)F0*F0+ F04 F05F0@6F07F09@ C0Ac0B C>BF0B F0DLC0Mc0M C0NC0N c0O C0PAPB@S0S0@T0T0@UUVWY 0Z 0[ 0@_0_0@`0`0@aabcd&0@df0dF0eFp@epepefpf &0@f f0f 0f F0gCg p@k0k0@l0l0@m m n o pq@r @w0w0@x0x0@y y z { @|F0|F0|F0}0@}f0} f0}f0@~F0~ F0~F0@00@00@C0C0 c0c0 C0 C0@00@00@D0@00f<0@00<0@00F<@00@00@<@0<@0<@0@00@00@@ F0KF0IKF0I@ f0Lf0JLf0J@ F0LF0JLF0JE@00@00@KC0I F0 3L0Lc0J f0 3l0LC0J F0 3L0F@00@00@@F0F0F0@f0F0f0f0@F0f0F5F5F5@˄0˄0@̅0̅0@030303@ׄ0ׄ0@؆0؆0@0@KF0I F0 0@Kf0I f0 F0 0@LF5J F5 f0 F5@G@ㄦ0ㄦ0@䅦0䅦0@KC0IKc0I C0LC5J c0 C5G@00@00@LC0JLC0JLc0JLc0JMC5KMC5K!@00@00@KF0I@ A0Mf0K@ a0LF5J@ A5@"@00@00@    ` I0 I0 F0@ F0 F0 F0 I0I0#@00@00@`I0 I0 F0@ F0 F0 F0 I0I0H@00@ 0 0@!!"#`$I0$I0%F0@%F0%F0%F0 &I0&I0)%@+0+0@,0,0@- - . / 0I0`1I02 F0@2 F02 F02 F0 3I03I0@7070@8080@9 9 : ; `I0>I0A@C0C0@D0D0@EEGG`HI0H3I F0@I F0IF0IF0 JI0JI0@O0O0@P0P0@QQSST0T&U`UI0UI0VF0@VF0VF0VF0 WI0WI0@[0[0@\0\0@]]^_` aF0@aF?bf0@bf?bK1bK2bK0bF0cF0@cF?e@g0g0@h0h0@iijkmI0`nI0n0n0oI0@oI0oI0 pi0@s0s0@t0t0@uuvwy @yI0`y I0y yI0yF0 zI0@00@00@@ F<@ A0@00@00@   F0F0@00@00@  D0D0 d0` 0 d0 0D5D5'@00@00@F0@F0F0f0f0 f0 f0 F5 F5()@00@00@I @Ai @aI @A @*@00@00@F F@ F0DŽ0ȅ0+F0͉F0@ΊF0ϋF0؆F0@ىF0ڊF0 F0, F0F0@F0F0@ ` @-+F0F0@F0F0 F0@ F0 F0 F0, F0F0@F0F0 F0$&%-@%&%&,C- C. C. F?/.@/ F?/ F?1 F81 F8@3030@4040@55679@: F?: F?@; F?; F?= F8= F8@?0?0@@0@0@AABCDF@DFDFE FF F@F FF FG/@G F?G F?IF8IF@K0K0@L0L0@MMN OPQR @S &0S &0S&0UF@W0W0@X0X0@YYZ [\@\ F\ F\F@^F^F^F_#_Fa0aF@c0c0@d0d0@eeffh ChC@jF?jF?@kF?kF?lFmF8@o0o0@p0p0@qqrruF@uFuFuFvf@vfvfvf@wFwFxFy1yF@{0{0@|0|0@}}~@@&0&&F@00@00@@FFF2F?&@FFF@00@00@D`I@F?F?@FF?F@F@00@00@@FFFFf3@F?f?@FFFF@00@00@@F?@F&F&@00@00@@@@4@ F? F? &8 F8@„0„0@Æ0Æ0@Ć0Ć0@ C C C F?@ F? F? F8 F8@΄0΄0@φ0φ0@І0І0@ C C C C@ F? F? F85 F8@ۅ0ۅ0@܆0܆0@ F@ A F@ A@ F? F? F86 F8@焦0焦0@腦0腦0@C C C C.@ F? F? F F@00@00@@ @ F? F?@ F? F? F F@00@00@F@FF F F@ F F F/@ F? F? F8 F@ 0 0@ 0 0@    @ &0 &0&0F@00@00@ @F FF0@FF&@C?F!F@#0#0@$0$0@%%&&( C(C@*F?*F?@+F?+F?,F-F8@/0/0@0000@1122@4I5I`5I561 6I`6i6@7F7F8F9F@;0;0@<0<0@==>?A`AIAAIABBF?@CF?CF?DF8@EEF@G0G0@H0H0@IIJKL7@L`MIMNDNF?@OF?OF?PFQF@S0S0@T0T0@UUVW@XY D`YIYZ8@Z F?Z F?@[ F?[ F?] F] F@_0_0@`0`0@aabcdI`d Id e I@e `e ie f9@f C?f F?@g Fg F?h Fi F@j0j0@k0k0@l0l0n n `p Ip p Ip q@r F?r F?@s F?s F?t F@uu F@v0v0@w0w0@x0x0z z | C| C~ C~ C:@ F? F? F8 F@00@00@@ ` I I F6` I@ F0 F@@00@00@ F0F0 f0 F0`I0I0@I0I0`;<00@F0F0f0f0F0F0`I0I0@I0I0`=>f0f0@f0f0F0F0`I0I0@I0I0`?CCcccc#cC @@@@@|Bigsby Dip and Return@See Measures 126-133 at end of song for alternative fingeringA6abledit\1mike\ Bm7an.tef c:\my E9@ A Maj 9 @G#7C#9 (+5))F#7+5 F0@B9 (13)15dE13ldA (9)@F9@,- E9 (13)G@,HBmB-d/  Bm79V Dm6 (Bm7-5),  B7 (9)9a9b E7 (13)@FE7+4FFAF?FF D Maj 7>d Em7O>QQ D789@: A9 G Maj 79V  G6VQBd F#7GdB7(+5)BdoE7+501A7IJKEme'f'gD7FF@ D F?F8 GQ@R Bm*p+q@  AmG Maj 7ZG6I0 I0 I0 F#7ef@gE7A9@d@_ D13-9hi@A9@II`G9 C Maj 7 Dm700  G9 C Maj 7 (13)  B7E9(+5)0d0A7+5/dD13G13  C9W!9dO Eb9 Original Transcription: Mike Joyce [ michaeljoyce@hotmail.com ] Modifications By: Jack R. Baker [ jbaker7@ix.netcom.com ] Russ Jenkins [ russ_jenkins@lineone.net ] This transcription is of Chet's earliest recording of Mr. Sandman from the middle '50's. Chet recorded several versions of this tune over his career, including a "Greatest Hits" medley. Late in his career he recorded a version on an amplified nylon string guitar, and with a flute playing a lead. This is a very nice version and perhaps for contrast, I'll transcribe it sometime. A transcription of this tune was requested on the Fretboard. I actually thought that the tune was transcribed earlier. A very Chet like arrangement was in the TablEdit archives. For me what makes this tune interesting is Chet's harmony in the G section. He harmonizes the melody with three-note chords. However, rather than put the melody at the top or bottom of the chord, he puts it in the middle for a very nice effect. Chet used this technique on many early tunes that I have transcribed. Also, Chet plays an arpeggio (roll) in that section that is very interesting. It doesn't have the syncopation that he sometimes uses. As many of us have played this tune for years, I found it very interesting to note the chord forms that Chet used vs. what others have used. The Rhythm Guitar section was just my addition and not a transcription. On the recording there was probably a bass, but it was very subdued. After listening to the transcription with a rhythm guitar section, I decided that it wasn't needed. Also, there is a Celeste or xylophone or glockenspiel that plays in the beginning along with Chet. If anyone just has to have that part, let me know and I'll add it. Measures 12 and 13: Note Chet uses a plain-jane F type chord form so that the harmony doesn't clash with the melody. He does this in the C section as well. Measure 16: Note that Chet changes the melody. The sheet music shows that the note on the third beat is a C#. Chet maintains this melody in all of the sections. Measure 50: These two chords can be played on the first three strings. I preferred leaving them here as the left hand is in position to play the measure 52 with an open string. Measure 52: This chord could be played as 1st string, 6th fret; 2nd string, 7th fret; 3rd string, 9th fret; 4th string, 8th fret. The open string rings really well, so I preferred it. Measures 74-76: These notes could be played on higher strings, but I believe that Chet played this on these strings for the lefthand rhythm pattern. c0s %).38 %).38Chet Atkinstarc0 %).38Rhythm Guitar001011110000=007:>899<>7F000P042S0/00000000000001EE1/1111010::::H<100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s