Say Si Si Lecuona (Arranged by Chet Atkins) Edited by Jack R. BakerFrom "Chet Atkins Rare Performances 1955-1975" Transcribed by Russ Jenkins (December 2002) russ_jenkins@lineone.net fqA@d0i00@d0i00 I0`I00F0@@d0i00@d0i00 I0`I00F0@@)d0)i0)0@*d0*i0*0+ +I0`+I0+0+F0,@-<<CACAPF@PP PIP@Q>@Rf0@S'FSFTUFU(F@bbc@ddD dIei eff@f0f @gFgFiFiF8@vvxxyz0z0@{F{F}F}F@`I@00@FFF@F@D I@00@FFFF@ICi@00@FFFF@F `(I` i @`i@FFF8F@I!#i$i@#A @FFF8F@a`II @ff@FFFF@@@#c $@f#c @FF F@ F @a$"a @FFFF@@**,i-@-D -#I-$i@/F/F0F1F11@>>@cA A @AB8@CFCFDF8EF@RRTf UF@UUiU@VfV8@WFWFXF8YF@ffhi`hihh i`iii@j jfk@kFkFlF8mF@zz|  | I@| `} I} } i} } @~c0@ F8 F8F8@F@CC@c0i@FFFF@&D Ii @0(  @F'FF(F8@I`i i @ @i 0@FFFF@@DIΈ0@FFFнѽF@`iA @⇆0f8@FFF8@F@@f fi@8@FFF8F@i`i @  f@ F F F8 F@   i@   f@ f8 f8 0!!f@.. 1 @1 12 f `2 i2 2 f@3 f3 f84f5 f85@BB`E E F f@F fF iF @G fG f8HfI f8I@VVYd`YiYYiYf@Z0@[f[f\f@]]f@jjlclCmmcn@nf0n0@oFoFpFpF@~~AfI@FFCC@Cfc@FFCC@kk kkkk@kPk`kkЩkkc F0I0 I0 f0 f0 K1 K2 K0 K1 K2 K0@ F0 F0@ii@@FF f0 f0 I0 F0 I0@ F0 F0@ii@@FF `0 G00 L2@ I0 C0` I0@ii@@ F F f0 i0 I0@ii@@FF ! i0`! i0" 0@" I0" F0"f0%@(i(i)@)))++@2F2F4 f04 f05 I05 I05 i06 i07 C0@<i<i=@===>?@FFFFH f0I K1I K2 I K0@J F0J C0@PiPiQ@QQQSS@ZFZF\ I0\ i0`] i0] I0] i0^ ^ i0@^ I0a@did ie@eeegg @nFnFp F0p F0p f0q I0 q i0@q F0q I0q i0q K1q K2q K0@xixiy@yyy{{@FF i0 I0@ f0 i0 I0 f0I0 i0@K1P K2`K0I0i0K1ЅK2K0@ii@@FF i0 I0@ f0C0I0 i0@K1PK2`K0C0@ii@@FF I0 i0` i0 I0 i0 i0@ I0@ii@@FF I0 i0I0i0@ I0i0`Š0‹i0@ii@@FF O1 O2 L0 0ԅ0i0@I0i0`i0ֈI0@ii@@FFO1O2G0I0i0`i0@I0@ii@@FFCCc@i i@ @FFCCcCc@ii@@"F"F$$i$i$i$i%C%I%I%I%I&c &i&i&i&i@,i,i-@---//@6F6F8i 8`8i89I 9I@9 `9I9:i :i`::@=@@i@iA@AAABC@JFJFLLfMMMfNNf7@TiTiU@UUUVV@^F^^FaCaFabcbfbcC.cF.c#@hfhfi@iiij@jkk@rFrFtitititiu#Cu Iu Iu Iu Iv#c v iv iv iv iw#C.@|f|f}@}}}@FFi i`i I I`I i i@ `i I`I @ @ff@@@FF  I@  f@ff@@FF`i ii@I II i i@ f f @     @FF` I  i D Fɽ@ f f @     @FF I@ I` i I i F @ f f@  @FF f f F@틆 F틆@@ f f@  @FF i i I  I@ I I` i i I i@ff @     @FF C c C c cC@f@@&F&F( F@( ( ( ) f@) ) ) * f@* * * + f@+ + + ,F@,,, - :F< < C= > ? @PP FP I@QQ F0R i0R 0@S F8S F8TFTUFU@bFbFd D`d Id e @e F0e i0e f f i0@f 0f f0@g F8g F8hFhiiF8@vFvFx Fx Ix I@y fy iy z 0@{ F8{ F8|F}F}@FF F@@ F8 F8FF8@FF F ` I  i @ @ F8 F8F F@FF F F i  @0 @F8 F8FF@FFȈg@Ɉg ʈgʈgʈi`ˈgc f @FF`܈i݈g@ވi ߈g߈ W @FF I@DI@fF@0F0@FFF@F@FFD I@f0@FFFF@FF`I I@`i@0@FFFF@*F*F,@, D, i- @.a0@/ F8/ F80F01F@>F>>F@@ IA D`A iA A IA A @B0B @C F8C F8DFE FE@RFRFT F UFU iU U @V0V @WF8W F8XFXFY@fFfFhF `hI h i `ii i@j0j0@kF8kF8lF8mF8@zFzF| C`} I} ~@ii@@ii@FF A a F f@ii@@ii@FF C C c c@ii@@ii@FFi`ii ๋@ii@ii@@ii@FF ̊i f@͋΍i`΍i@ii@@ii@FFCCccCC@ii@@ii@FF C@`@ii@@ii@FFi`ii   @ i i@ii@@ii@FF ifF@fi`iF@#i#i@$$@%i%i&'@.F.F0@0001@1112@2@8f8f@99:@:::;;@BFBFDD D@DDCEE E@EE c@LfLf@MMN@NNNOO@VFVFXF@XfXXYf@YYYZF@Zf@_i_i@``@aiaibc@jFjFl l@llFl+Fm m@mmfm-f@sisi@tt@uiuivw@~F~F C c F Ё  k f Ђ  @ii@@ii@FF C C c c@ii@@ii@FF l l ll@ lP l` lpl lЩ l llii k k kh @ kP k`k h f f @h  h@ h @ -   f Bigsby dip Ken Goddard suggested I have a crack at this, so the tab is for him, as a small "thank you" for all the effort he puts into keeping Paltalk fingerstyle guitar rooms available for us wandering fingerpickers. This version is from the Stefan Grossman/ Vestapol video "Chet Atkins Rare Performances 1955-1975", and is a live performance from 1958, rather than the studio version on the "At Home" and "Relaxin' with Chet" LPs. The video shows Chet's hand positions for most of this piece, so most of the fingering positions in the transcription are pretty much what Chet was using. Here are a few points that struck me as interesting when doing the transcription: People often comment on the sustain Chet uses in his playing, but he also uses a lot of staccato rhythms to get a foot-tapping bounce, as in this arrangement. I've tried to copy this in the tablature to some extent, without, I hope, making the notation too cluttered. Bar 5 -Chet uses his 3rd finger for the 6th string B, compare "Poor people of Paris" and other tunes, where he uses the thumb, as all other fingers are tied up with melody notes. 9 - leaps between 2nd and 5th positions within the bar. He could get pretty much the same notes without leaping around, but that would be not so much fun. 12-15 - Minimises finger movement by careful choice of LH fingering. 16-17 - Typical Atkins cunning use of a slide to colour the run, and with minimum finger movement, just hang on with the 4th finger and aim for the F#. 24 - If the melody notes on the 1st string are a bit of a stretch, could be played on the 2nd string. 29 - Love the way he throws in the open B string to get a D6 sound. The accompanying parts are not transcriptions, just a rough backing to keep the beat going during the solo sections.c0x %).38 %).38Chetc0 %).3848888Rhythmc cb0 #!*"'/+4Percussion001111110000=007:>899<>7F000P042S0/02000000000001EE1/1111010::::H<100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s