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F!@!!F8"I`"" ##@$8 $8%@%8 %8&'.D/D `0I!0I 1@1&1&2F3F@33455 5@66 @77 99@D`AIAAD @BF?BF?@C&?C&DFEF@EF G`GGG@IIIKRI# RF`RIRSF?@TF?T&?U@U&?VFWF@W`W Y`YYY\\]@]d@d `dIdIdIdF@e@fF?fF?g@g&?g&?hFiF k`kkkm@mmmvD@vw`wIw@xFxF?@y&y&zF{F|@ F`ID @FF@&?&?F@F@I `I  F @&&FF@@  @  F `I IF@F0F?@&?&?F@F8`  @888@8888@8DD `)!) @&&FF@ýý@@C8@F@սս@ׄׄ׆@@@@@脉` @@@@   @@`@@@@   @@     @   @88@@   @@@`@ 8 8@!!""##*?+@+ + + @,,@--./0@001?1@22@33445@55=@= = = @>8>8@?8?8@8A8`BBC  CC@D8D8E8@E8E8F8F8@GG8O@O O O @PP@QQRSTTU@VV@WWYYa@a a a @bb@ccdef@hh@iikkr^t u z { ;Chet uses the same chordforms for his backup unless noted.<Merle repeats these chord patterns throughout unless noted. Chet's Part Merle's PartChet & Merle take it outE7 and swapped gA7Es and swapped gB7as a period whEs and swapped gA7Es and swapped gA7B7as a period whEs and swapped gA7 B7+5E7AbE78@< A7A7E7FgE9@A7  A7EAbE7`@@ aAbE(6)@` FgE9 (13)@@ CdCE7(#9)I@ `cBE7 (9)F?@&?BcA9@BBE9 (13)IAbbB7 (#9)&?&?CdE7 (11) CdE7##BdA9 I@ fEA9:@@ ;EeA9M@BdA9CdE7cBBBBA9CdE11cBBA7bBA13CCd#G@@@AbC'@CdD9@,AbC@B##C9DpC@ F F G (6) F D HHi(C (6)EEE&C7c#G7;@@ <Hi**G7@@AhH(C9-E@0FjJ*D9?J@CK HiiG6RO@@VPG'G6 I@ `I**G9 13) I**G9 (13)d This transcription is Merle Travis' and Chet Atkins' version of the Nine Pound Hammer as found on the RCA LP "The Atkins-Travis Travelin' Show". It is the first version of that tune that many younger guitarists discover. In my opinion, this is not the best version that either of these two giants recorded, but it is certainly noteworthy and represents the only time they recorded this much loved tune. Chet's 2nd break and Merle's bass runs accompanying Chet are great and worthy of study. The Nine Pound Hammer is in the Key of G. Chet plays his part capoed on the third fret while Merle plays without a capo. In the transcription, the chords for Merle's part have the correct name per tonality. Chet's chord diagrams are named for the chord forms that would be if there was no capo. One anomaly that I discovered during this transcription takes place around Measure 97. Throughout this recording the two are swapping 32's, that is each plays a 32 measure lead. When Merle starts his 2nd break he plays a 40 measure break. A close listen reveals that his third 8 measure phrase is roughly equal to his first. What I believe happened is that two versions were patched together. Chet and Merle are too professional to break from that scheme unless one had a great reason for doing so. As it seems like Merle's repeating the ideas without really adding to it, I'm assuming that it was patched rather than played. I don't wish to be critical, as every measure we have of either Chet or Merle is a precious jewel. Measure 17 (Chet): I believe Chet uses his thumb to note the 6th string, and dampens the 5th string. This way he can drag his thumbpick through all 6 strings to get the arpeggiation without a dissonance from the 5th string. Measure 25 (Chet): In all the recordings I have of Chet playing this tune, this is the only time I've noted he is using an E13 form instead of the B9+5 form as shown in Ms. 17. It makes for a nice variation. Merle uses this frequently in his other recordings. Measure 57 (Merle): Merle really butchers this measure, but one doesn't really hear it due to concentrating on what he is saying. What I have here is my best guess as to what he intended to do. Measures 76 & 77 (Chet): This stretch in Ms. 76 is a monster and not everyone will be able to make it. Look at module #3 for an alternate way of playing that only the most fanatical of Chet fans will know that you've altered it. The stretch in Ms. 77 is not unusual or particularly difficult. I changed the fingering in the alternative for consistency and to make the transistion from Ms. 76 to 77 smoother. Measures 122 & 123 (Merle): This chord is a HANDFULL! There is no other way to get all those notes. Note in Module 3 a substitution that is worlds easier to play and is very Merle. Measure 145 to End (Merle): One has to stretch his imagination to hear all of the notes I've shown on the 2nd string. That part was mixed to a low level, and the bass notes were played quite a bit stronger. I believe that due to the phrasing, they were there and so noted. Measure 162 (Chet): Note on the last beat of the measure, Chet plays the bass part on the 2nd and 3rd strings for a change of pace.c0p"&+05Chet AtkinsardGc0 %).38Merle TravisrdG c0p"&+05SubstitutionsrG001001030000=007:>899<>7F000P043S0/08000000000001EE101111010::::H<1000010000001000000000V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s