St. Louis Blues W. C. Handy Arranged by Chet Atkins Modified by Jack R. BakerFrom Galloping Guitar (Bear Family CD) Transcribed by Johan Sjolin (Oct.2002) Modified by Jack R. Baker sjoliXv(d I I`I I@I`i  f0  F F ` I I I  I  I@ F @f0f0@F8F8F8F I II@00@F8F8FF@KK K@ I#@ii @F8FFF I@III`I  @ f0 f0@!F8!F8"F#F $I@$ `$I$I$I$$I% @%%%i &@&f0&@'F8'F(F)f8**+ + +I +I+I@,f,f0@-F-8@..F/F 0I01I@1I`1I1 1 1I@2i`2i2 2f@3F83F4F5F 6I@6 7I@7I0`7I 7 @8i8`8i 8 9F:F:F@; <I@<`<I<I<I<<I=  =i@==i==i >@>f8>i8@?F8?F8@F@AF@AB`BiBiBiC @DEIBDIDIFtGF@GEFBGFGF@IFIC JF @JfJfJ@KfKfK@LFWLFMFN@N`NININO  O I@O OIP@Pf0Pf0Q@QF8QFRvRSFSF8TI TI@T`U IU UIU@Vf0Vf0@WF8WFXF8XYF8ZF[f@[\f]FW]K ]K ]K^K ^K ^K^ ^K ^K_t@_K P_K `_K_ _K _K_ _K _K`K `K `K`@aK PaK `aKa aK aKaaIbK bK bK@b PbK `bKb bK bKbbic cK  cK@c PcK `cKc cK cKcc d dK dK@d PdK `dKd dK dKde eK  eK@e PeK `eK fI@ffIfIfgI`gIh @hf0hf@iFiFjFjkrkF8 lI@l`lIlIlIllIm mi n@nf0nf0@oF8oF8pFqF8rs sI sIsI@tF0ttF0@uFuF8vFwF xIxyI@yI`yIy yI@zF0zF@{F8{F|F}F ~II@I `I  @(`i  @FFFF I@`IIII  i@i i @f0f0@FF8FF K0t`K0I0I0K3ЎK0I0 I0@K3PK0@II@F I I@  @@FWCFI  @III` I@f0f0@ F8 F8FrF@II` I I I@f0f0@ F8 F8FF@I`I i@f0f0@ F8 F F F  I@ `I II I@00@FF8 FF @f0f0@F F@F F  I@I IF` If0@F8FFFK @ K `  HK @ K `  HK @ K `  H< @t<xK5< <@0<<K @FIK @ f IK ¡ @ FP< @tK5< š<@I I@II@ ` I@Ȋf0Ȋf0@ F FFʽF@II` I I I@Ίf0 i @ F8 F8FF@I`I I@ԇf0Ԋf0@ F8 F F F׽  I@ `I II Iڽ@ډf0ډi0 i@F8` F8  FF@޽޽ ` I I @i0` i i0 i@F FF F I@ I IF ` If0@F8FFFK @ aK k @ ak K @ aK @ @v@vK0< <@ a+0<<03C R))c R C R c R3CFF@@FFFFCff@@FFFFCFF@@FFFFF@` I @ f @ F F F F@@fi0i?@FI0FI0 I0`i? i0 i?@I0I0I0 I0  i0` i? i0 i?@I0I0 I0 I0 "i0`"i?"i0"i?@#I0#I0%I0%I0@' C'F@(f?(f0@)F)F*F++F-F@-I-I-`.i..f0@/F/F0F1F3 C3 C@4F?4F@5 F?5 F?6F7F8C9 C@:F:F@; F?; F?<F=F>@@i0@i?@AFAI0CFCI0 Fi0`Fi?Fi0Fi?@GI0GI0II0II0 Li0`Li?Li0LI?@MI0MI0OI0OI0PFPFQF Rf UFVF@V`VIV@WfWF8@XFXF[F[F@\`\I\]C ]F?^F@_FaFaC`bIbdF @ddf@eceFgFgFhF@h`iiijf @jjF@kFkFlFmmFnCoCpf @pfpf pf@qFqFsFsFuCuCvf @vFvf vF@wFwFxFxFzIz{D @{`{I{|f @|I?`|i ||F@}F?}F~F`~ ~F8@f@FF@FFFF@ F F @ F F? @ F8 F?F F F` I @ I I @ F F8@ F F?FF F@ ` I @ F? F?@ F? F?FF`I F@ @fF@ F? F?FF@FF FF@F?F?@FFFF@FF FF@F?f?@FFFF@D ડ @d ૡ @D ନ @D ୧ C 0௡<@FFFI@FI@f?f?@FFFF I@I`II@FF@FFFF I@I`II@FF@FFFF I@I`I@FF?@FFFFCC@FFFFC D I @FFFؽFF@F Ff F @   @FFFFFF @f@FFF@`I@fF@FFFF`IF @F?@FFFF`IF @f@cFFFF@`if @f@FFFFF` I I If@MIK I If@NiL i iF@MF5K F5 F5jFf@I `   f@I `   F W@I `   @F   I0@ <` 0 0 < < <  `  ` *`:`X1alternate fourth finger between D and B string7this is played on the Bigsby but is shown with slides$alternate fingering in measure 57#alternate fingering in measure 81)alternate fingering shown in measure 92$alternate fingering for measure 67 In the book, accompanying the record I have, one can read that Chet recorded this version on may 16, 1952. There is a second version on "Stringin' along with Chet Atkins", wich has an introduction and more improvisations. If you don't have a guitar with a bigsby bar, you can get some idas on what to do instead from this version. For example, you can find a very good replacement for measures 32-33 of this tab. The reason that I transcribed this version is that I wanted to practice Chet's thumbstyle on a tune that Chet played alone, and I had a tab of this version, done by T D Martin. However I realised that even tho the tab was OK it wasnt exactly like Chets version (like I wanted), so I started doing my own transcription as good as I could ( wich doesnt mean that all the notes are correct). This tab is the result of that work. I would like to thank Mr Martin for all the help I got from having his tab. In the thumbpicking part of the tune: Play the downstem notes with the thumbpick. To play the "dead" notes In measures 46-49 and 54-56, put your finger on the string without pushing it towards the fretboard. In all other measures the dead notes are notes muted by the right hand. On some occasions the notes Chet plays with the thumbpick isnt muted (see for example measures 52-53). Its tempting to treat them as small mistakes and neglect them (ie the fact that theyre not muted), but I didnt. The reason isnt that Im not the one to say what is a mistake or not (wich would be a good reason) instead its the fact that Mr Atkins claimes all mistakes to be intentional anyway, wich takes care of the problem. (At least thats what he says in his instructional video.) I found it difficult to make the Bigsby bar bends sound like the recording. For example, in measures 16 and 17 Chet dint bend the notes as much as a semitone as noted. In measures 32-33 and 40-41 the notes were like I wanted, but not the sound,so I inserted several tempochanges to try to make it sound better. This, however, has nothing to do with Chets playing. The complicated bend at the end of the tune sounds terrible. Normaly this would be an indication that the notes are wrong, but it doesnt sound so bad when I play it on a guitar, so I dont know what to do about it. The conclusion of all this is: Listen to Chets recording, if you have it. If you have any questions regarding the tab, feel free to send me an email.cw %).38 %).38Electric Guitar