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See notes.E B7A  F#7C# min7F# min7Mountain Melody was composed by Chet Atkins and recorded January 31, 1951. The studio personnel during the recording session was Jack Shook on rhythm guitar and Ernie Newton on bass. The session also lists Marvin Hughes on piano, but I sure don't hear a piano on this recording. About this transcription: I transcribed Chet's guitar part as close as I could to the recording. Palmer Moore gave me some suggestions as to where on the fretboard he thought it was played and I pretty much followed his suggestions. Thanks, Palmer. I transcribed the bass part as close as I could to the recording. On several notes they were covered up so I substituted the note from the same place in the harmony of another pass. I wrote a rhythm guitar part in the style of 1950's Nashville guitar guitarists'. This means an arch top guitar played with a boom chuck muted rhythm. This sound has a feeling of a tuned snare drum and is very staccato. As it is difficult to get that muted sound using chords with a bunch of open strings, I chose common rhythm guitar chord forms, instead of open position chords. Maybe the one chord that beginning and intermediate guitarists may not be familiar with is the C# min7 chord form. Actually it is a simple and useful form. Make an F#7 chord on the 2nd fret with a 1st finger barre. Now put the 4th finger on the B at the 3rd string, 4th fret. Alternate the bass note with the 3rd finger. If you accidently hit the F# on the 1st string, 2nd fret, don't worry, It has the effect of being a lead in note to the F# minor chord which is next. That is known in formal musical circles as a "suspension" and we all have seen chords like F#7sus4. The period this tune was record, the Nashville Sound did not use a lot of suspensions, but it doesn't sound bad or out of place. Most of the intervals and three note chords seemed to have been played by Chet with his thumbpick instead of several fingers. Measure 27: I believe that Chet is trying to play the A9 chord as he did earlier, but it sounds like he muffed it a little. The C# and G are there but way down compared to the B. It also rings a little longer than he let it the first time around. I put it in to be true to the recording, but I don't think that you'll want to practice it that way. I recommend that you just play it like he did earlier. Measure 35: TE's midi sort of "spits" on the last beat, and I can't get that to go away. It sounds right when you play it on the guitar. Quite possibly it's my sound card. Measures 70 to 94: These are artificial harmonics. I believe that the closer to the open position it is played the easier and more accurate they are to play. If you find them easier to play in another position, by all means, juggle the strings to make it easier for you. Measure 71: The B harmonic on the 3rd beat can be played as a natural 2nd harmonic at the 19th fret so that the left hand does not have to move out of the first position. Measure 75: The "bent" harmonic is played by first plucking the harmonic, then bending the note with the left finger. Measures 87, 89, and 91: The high C# represents a double problem- you need to find the imaginary 21st fret, and then you have to move your lefthand down to that note. It helps to have two independent eyes! Or you can use a great trick: Fret an F# on the 2nd fret, 1st string. Now play the artificial harmonic on the imaginary 21st fret. What you are doing is playing an artificial 2nd harmonic. And you never have to move your hand from 1st position. Measure 87: The C# is played by finding the 21st fret. None of my guitars have a 21st fret. You can cheat by putting a little strip of masking tape under the strings and finding the harmonic, then marking the spot on the masking tape. If you are trying to place this tune on a nylon strung guitar, then you can actually mark the harmonic spot on the string with a "Sharpie". Measures 95, beat 2, 96, beat 4, and 97, beat 97: Note that I show the E note as open on the 1st string. I'm not exactly sure if Chet fingered it like that when he recorded this, but it's a pretty common technique he used later in his career. He even used this technique for some other chords in this tune. It's just too simple not to use. But if you want to play with a different fingering try the E on the 3rd string, 9th fret. cw %).38Guitar Standardc %).38Rhythm guitard c 5:?DBassm guitard