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She called me up, from down in El Paso, She said "Come back daddy, oh I need you so." Now she's gone, but I don't worry, 'Cause I'm sittin' on top of the world. You don't like my peaches, don't shake my tree, Get out of my orchard, let my peaches be. Now she's gone, but I don't worry, 'Cause I'm sittin' on top of the world. And don't you come here runnin', Holdin' out your hand, I'm gonna get me a woman, Like you got your man. Now she's gone, but I don't worry, 'Cause I'm sittin', on top of the world. I first heard "Sittin' On Top Of The World" in the early '60's on the Vanguard LP "Doc Watson", and immediately fell in love with it. About 5 years later while on a military tour in Viet Nam, I discovered Chet Atkins had recorded it as well on his RCA LP "Hometown Guitar". Doc's version is played a little faster. He tunes his guitar to an open D (D A D F# A D), and places a capo on the 1st fret so that he's playing in the key of Eb. He finger picks two leads, plus adds a lot of interesting fills in the 5 verses he sings (he repeats the 1st verse.) Chet's version is in E with the guitar in standard tuning. Actually, on all turntables I've ever had, the tuning is a 1/4 note sharp on all strings. Chet plays two leads and two backups for the two verses that the Anita Kerr Singers perform. I believe I can hear Chet in there singing as well. Then Chet and Charlie McCoy on French Harp swap licks for one pass and a board fade ending. Besides Chet, Charlie, and the singers, I can hear a rhythm guitarist, a bass player, Sonny Osbourne on banjo, and at least one percussionist that's playing mostly on a snare drum and maybe a tamborine. I used Chet's recording as the foundation for this transcription. I transcribed Chet's part as accurately as I could. I wrote a rhythm guitar part in the style of the recording. I transcribed 3 passes of bass and saw such little variation, that I just used the first two passes for passes 4 and 5. I didn't manipulate Chet's part except in Measure 79. In the recording, Chet just plays the thumb part and Charlie McCoy adds a melody. I borrowed an earlier melody Chet played and added it. As it is very close to what Doc is playing, it's not even noticable. As Doc had a total of 7 passes, I picked parts that best merged with Chet's. Out of the left over parts I created the fade out ending which also uses Doc's original ending. I'll probably release a solo version of Doc's with all the breaks and fills he played. If one isn't interested in Doc's part, just silence Midi Module 2 "Doc". Because Chet is playing his Gretsch electric and Doc a D-18 Martin (if the cover photo can be believed), the two contrasting sounding guitars make a great blend at least to my ears. Doc's harmony is just a little different than Chet's as he slips in a B7 chord for a couple of measures that Chet plays an E or E7 chord. The reason why the two chords don't clash, but gives a modern sound is because Doc's B7 chord doesn't have a third in it, that is a D# note. Without the D#, the B7's notes are B, F#, and A. Add those tones to an E or E7 and you have an E11. Perhaps for purist country ears, it's a little too modern, but it works for me. Neither of these parts are challenging for an intermediate fingerstyle player. I love to do projects like these as it brings the music a new life. c0w %).38 %).38Chetric Guitarc0 %(,18Dochm Guitarr c0 %).38Rhythm Guitarrc 0 5:?DBassm Guitarr001121110000=007:>899<>7F000P042S0/00000000000001EE1/1111010::::H<100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s