Trambone By Chet Atkins Edited by Jack R. BakerTranscribed from the RCA LP "Down Home" TablEdited by michaeljoyce@hotmail.combI!e+   #!f"@"f"F@$&$&%&F' 3 @3 34 @4 4 i(5 @5 5 i(6 @6 6 i(6 (7 @7 7 (@8 8 (:C0; >i0@>i0p>0>i0>i0`BIBBCI CF`CiCC@E&FFF@GM M@TT@U i(U i(@V i(V i(@W i(`W (W i(W (X (X (Y (Y (YY [F0[&3\C _i0@_i0p_0_i0_i0cfd@dfdF@f&f&ghFn u @u uv @v vi(w @w wi(x @x xi(x (y @y y(@z z(|#0|C0i0@i0p0i0i0`II F`i@&F@ @@i(i(@i(i(@i(` (i( ((((( C0F0&3i0@i0p0i0i0F@fF@&&F @  @ i( @ i(  @ i( @ (@ (C0C i0@i0p0i0i0FI ǂI`I@ȃI I @&&FF˽ @ؽؽ@i(i(@i(` i( @i(i(((((ݽ C0C0i0@i0p0i0i0@$I"` $F@$I"` $F @$I2 `0$I0 $F0F0i0  @  @  @  @  @ @ C0C0i0@i0p0i0i0 f @ F f @ EF # f   f @ F f  f   @ !C0"F "&#%i0@%i0p%0%i0%i0)&*@*f*F@,&,&-.F ; @; < @< = @= > @> ? @? @@ BC0CC Fi0@Fi0pF0Fi0Fi0`JIJJKI KF`KiKK@M&NFN@OU U@\\@] i(] i(@^ i(^ i(@_ i(`_ (_ i(_ (` (` (a (a (aa b&3cF0dC gi0@gi0pg0gi0gi0kfl@lflF@n&n&opF } @} }~ @~ ~i( @ i( @ i( ( @ (@ (C0C0i0@i0p0i0i0`II F`i@&F@ @@i(i(@i(i(@i(` (i( (((((ࣽ C0F0&3i0@i0p0i0i0f@fIi@&&F@ @  @ i( @ i( „ @ i(Ä @ (@ (C0C i0@i0p0i0i0 F`IFI@&&F@ӽFӽ`@@i(i(@i(` i( @i(i(((((C0C i0@i0p0i0i0k0k0k0k0k0F0`k0k0@K1PK0@@@i(i(@i(` i( @i(i(((((C0 C i0@ i0p 0 i0 i0f0I0 :nf0 0I0@""@#i(#i(@$i(`$ $i($ @%i(%i(&(&('('()F0)F0*C -i0@-i0p-0-i0-i01I0 102i0 202 02F03I0 3:n3f04I06C677 @CC@Di(Di(@Ei(`E Ei(E @Fi(Fi(G(G(H(H(@JF0JF0JF0KF Ni0@Ni0pN0Ni0Ni0Rf0SI0 S0Sf0Ti0 T:nT 0TI0WX X @dd@ei(ei(@fi(`f fi(f @gi(gi(h(h(i(i(jF0@kF0kF0kF0oi0@oi0po0oi0oi0s I0 s 0t i0 t 0t I0t I0u I0 u :nu 0u i0u i0vI0xy y y@@i(i(@i(` i( @i(i(((((F0F0F0@F0i0@i0p0i0i0f0 0f0 :n 0I0@@i(i(@i(` i( @i(i(((((F0@F0F0F0i0@i0p0i0i0I0 0i0 0F0 I0 :n 0f0I0@ǽǽ@i(i(@i(` i(@i(i(((((@F0F0F0F0i0@i0p0i0i0֍f0I0 0׌f0i0 :n 0؏I0۽@@i(i(@i(` i(@i(i(((((F0F0@F0F0i0@i0p0i0i0 I0 0 i0 0 F0I0 :n 0 f0I0@ @ i( i(@ i(`  i(  @ i( i( ( (((F0@F0F0F0i0@i0p0i0i0 I0  0 i0  :n0@**@+i(+i(@,i(`, ,i(@-i(-i(.(.(/(/(1F0@1F01F02F#5i0@5i0p505i05i09&:@:f:F@<&<&=>C>F@KK@L i(L i(@M i(M i(@N i(`N (N i(N (O (O (P (P (RC0SC Vi0@Vi0pV0Vi0Vi0`ZIZZ[I [F`[i[[@]&^F^@_` `@ll@m i(m i(@n i(n i(@o i(`o (o i(o (p (p (q (q (rF3sF0tC wi0@wi0pw0wi0wi0{F|@|f|F@~&~&F@@i(i(@i(i(@i(` (i( (((((C0C0i0@i0p0i0i0`II F`i@&F@ @@i(i(@i(i(@i(` (i( (((((C0F0F3i0@i0p0i0i0f@fIi@&&F½@ @ϽϽ@i(i(@i(` i( @i(i(((((C0C i0@i0p0i0i0 F`IFI@&&F@F@@i(i(@i(` i( @i(i(((((C0C0i0@i0p0i0i0@F f f  @I0`I00f0F0`@@i(i(@i(` i( @i(i(((((C0C i0@i0p0i0i0 !f @!i `!i ! ! !" @" `" " "#f0@#0`#i0#0#%&@&`&&@22@3i(3i(@4i(`4 4i(4 @5i(5i(6(6(7(7(9C0:C =i0@=i0p=0=i0=i0A)i0@ A B+0@C*0@@CD+i0@H L M 0@M 0M 0M 0N 0N 0O 0@SS@T i(T i(@U i(U i(@V i(`V (V i(V (W (W (X (X (ZC0[C ^i0@^i0p^0^i0^i0`b i0bi0`c 0c 0d@d `d i0d 0d 0e i0@fg`h h!`oI o0pI @pI @tt@u i(u i(@v i(v i(@w i(`w (w i(w (x (x (y (y (zF0{F0|C i0@i0p0i0i0`000`0" 0 0 0 0@@i(i(@i(i(@i(` (i( (((((C0C0i0@i0p0i0i00000 0  0@ I `I I I @@i(i(@i(i(@i(` (i( (((((C0F0F0i0@i0p0i0i0c0c00000c0c0#$) ) I `I @׽׽@i(i(@i(` i( @i(i(((((C0C i0@i0p0i0i0c0c000c0c0%&`I0I0I0I0@ 0 I  @@i(i(@i(` i( @i(i(((((C0F0F0i0@i0p0i0i0d0i0c00  d0 i0  c ' ( ) 0 0= 0 0 0@@i(i(@i(` i( @i(i(f(f(f(f( C0 C0$i0@$i0p$0$i0$i0(0)0*0*5K05K0 5K0@5I0`5I05I05I05I05 I0@::@;i(;i(@<i(`< <i(< @=i(=i(>f(>f(?f(?f(AC0BF BF Ei0@Ei0pE0Ei0Ei0I a0Ja0JO*W I1 W I0@X I0`XI0XH XH Xh @[[@\ i(\ i(@] i(] i(@^ i(`^ (^ i(^ (_ (_ (` (` (bC0cC fi0@fi0pf0fi0fi0 j f0j f0j f0k 0 kf0`ki0kf0k f0p+v I0v I0xy @||@} i(} i(@~ i(~ i(@ i(` ( i( ( ( ( ( (F0F0C i0@i0p0i0i0 `0 `0, I0 I0@ I0 I0` 0 I0@@@i(i(@i(i(@i(` (i( (((((C0C0i0@i0p0i0i0 0`i0 f0f0 0` i0 f0 f0`-,-I0@I `i  @@i(i(@i(i(@i(` (i( (((((C0F0F i0@i0p0i0i0c0c0c00c0./I0I0I0I0`I I @I  ޽@߽߽@i(i(@i(` i( @i(i(((((C0C i0@i0p0i0i0c0c0c0c001I0  0@I0`I0I0I0I0 @@i(i(@i(` i( @i(i(((((C0C i0@ i0p 0 i0 i0c0i2i0i0 0c02I0I0I I I @I `I L L =@!!@"i("i(@#i(`# #i(# @$i($i(%(%(&(&((C0)C ,i0@,i0p,0,i0,i01i0 1i0@1 0`1i01010@3<I0<I0=0=@BB@Ci(Ci(@Di(`D Di(D @Ei(Ei(F(F(G(G(IF0JC JF Mi0@Mi0pM0Mi0Mi0QcRSSTcWH]I0 ]I0@]I0]I0^I0^I0`_ 0_ 0@bb@cc@di(di(@ei(`e ei(e @fi(fi(g(g(h(h(@jF0jF0jF0kF ni0@ni0pn0ni0ni0`rI r sF @sI `s s t @t `t t tuF0@ui0`ui0u0xE@xFpxGI0I I0@I I I `I"I @@i(i(@i(` i( @i(i(((((F0@F0F0F i0@i0p0i0i0 i @f i f I   @    i0@f0i0f0i0 D(0(0(0@I0I I @@i(i(@i(` i( @i(i(((((F0F0F0@F0i0@i0p0i0i0 @f i  i i f 0@f0f0i0 )2 )0@I0`I00@ƽƽ@i(i(@i(` i( @i(i(((((F0@F0F0F0i0@i0p0i0i0` i id` ` d` i iCI0I0@ K K `I K =@@@i(i(@i(` i(@i(i(((((F0F0@F0F0i0@i0p0i0i0  I0 I0@I0D0`I0I @@ i( i(@ i(`  i(@ i( i( ( ( ( (@F0F0F0F0i0@i0p0i0i0`i  f `  d  @i `i  d  @ d @i `@@A#)0#)0#)0# $I0`$I0 %I0@%I0(@))@*i(*i(@+i(`+ +i(+ @,i(,i(-(-(.(.(0F0@0F00F00F04i0@4i0p404i04i08c9::;c>?D&0@DD D)0D)0D )0I@JJ@Ki(Ki(@Li(`L Li(L @Mi(Mi(N(N(O(O(QF0@QF0QF0RF Ui0@Ui0pU0Ui0Ui0Y aZ Z f[ a_3e )0 e 0`e 0@f)0f&0fj@j@kk@l i(l i(@m i(m i(@n i(`n (n i(n (o (o (p (p (rC0sC vi0@vi0pv0vi0vi0z c{ {|JC0( 0  0@ )0`)00)0)0) @@ i( i(@ i( i(@ i(` ( i( ( ( ( ( (F0F0C i0@i0p0i0i0@cf@@@cf@> 0  )0)0) ) @) ` @@@i(i(@i(i(@i(` (i( (((((C0C0i0@i0p0i0i0f@iiiFf$@i`ii ff@iif<=0@)0)0)0)  0ͽ@νν@i(i(@i(i(@i(` (i( (((((C0F0F0i0@i0p0i0i0` `;)0)0`) +++=@@i(i(@i(` i( @i(i(((((C0C i0@i0p0i0i0f@f d i @   @f   cc4@:5 )0 )0@ )0 )0 )0 )0 )0@@i(i(@i(` i( @i(i(((((C0C0i0@i0p0i0i0 !"#`,)0@,)0,)0-)0.) .) @11@2i(2i(@3i(`3 3i(3 @4i(4i(5(5(6(6(8C09C <i0@<i0p<0<i0<i0BB D)0D)0E)0F N) @N) N) N) @RR@Si(Si(@Ti(`T Ti(T @Ui(Ui(V(V(W(W(YF0YF0ZC ]i0@]i0p]0]i0]i0aFb@bfbF@d&d&e&fF@ss@t i(t i(@u i(u i(@v i(`v (v i(v (w (w (x (x (zC0{C ~i0@~i0p~0~i0~i0`II F`i@&F)8&8@ @@ i( i(@ i( i(@ i(` ( i( ( ( ( ( (F0F0C i0@i0p0i0i0F@fF@&&&F@@i(i(@i(i(@i(` (i( (((((C0C0i0@i0p0i0i0`II F`i@&F)0@ɽ &@ֽֽ@i(i(@i(i(@i(` (i( (((((C0F0F0i0@i0p0i0i0F@fF@&&&F@@i(i(@i(` i( @i(i(((((C0C i0@i0p0i0i0FI F`II @ & & F@ F @@i(i(@i(` i( @i(i(((((F0C0F0#i0@#i0p#0#i0#i0(@(I `( (I"(i @)I )I")i ) )I@*I1`*I0*I2*i0,@,,-6@:i(:i(@;i(`; ;i(; @<i(<i(= = > @>> >@C0@C0Di0@Di0pD0Di0Di0HIf @IF Jf @JE& #Jf JKf @KF Kf Lf LMN@[i([i(@\i(`\ \i(\ @]i(]i(^ ^ _ @__ _aC0bF bF#ei0@ei0pe0ei0ei0i&j@jfjF@l&l&mnF@{{@| i(| i(@} i(} i(@~ i(`~ (~ i(~ ( ( ( ( (C0C i0@i0p0i0i0`II F`i@&F )8&@ @@ i( i(@ i( i(@ i(` ( i( ( ( ( ( (F0F0C i0@i0p0i0i0F@fF@&&&F@@i(i(@i(i(@i(` (i( (((((C0C0i0@i0p0i0i0`II F`i@&F )8@ѽ&@޽޽@i(i(@i(i(@i(` (i( (((((C0F0F0i0@i0p0i0i0f@fIi@&&&F@@i(i(@i(` i( @i(i(((((C0C i0@ i0p 0 i0 i0 F`IFi@&&F@F@ @!i(!i(@"i(`" "i(" @#i(#i($($(%(%('C0(C +i0@+i0p+0+i0+i0@/>`/> />/>/> />/>/> 0C01k01k02k02k02k03F0`3k03k0@4K1P4K0@AA@Bi(Bi(@Ci(`C Ci(C @Di(Di(E(E(F(F(HC0IC Li0@Li0pL0Li0Li0P>QI0 Q0Qf0RI0 R0R Rf0SI0 S:nSI0TI0 T:nUW @bb@ci(ci(@di(`d di(d @ei(ei(f(f(g(g(iF0jC jF mi0@mi0pm0mi0mi0qf0rI0 r0r 0rf0sI0 s:nsi0vwx@@i(i(@i(` i( @i(i(((((@F0F0F0F i0@i0p0i0i0I0 0I0 0f0I0 :n 0f0I0 @@i(i(@i(` i( @i(i(((((F0@F0F0F0i0@i0p0i0i0f0 i0 0f0 I0 :n 0i0 @ŽŽ@i(i(@i(` i( @i(i(((((F0F0F0@F0i0@i0p0i0i0 I0 0 I0 0Շf0 I0 :n 0ևf0׈I0ٽ @@i(i(@i(` i( @i(i(((((F0F0@F0F0i0@i0p0i0i0f0i0 0f0I0 :n 0I07@@i(i(@ i(`  i(@ i( i( ( ( ( (@ F0F0F0F0i0@i0p0i0i0I I0 0 f0 i0  :n 0 F0I@((@)i()i(@*i(`* *i(@+i(+i(,(,(-(-(/F0@0F 0F 0F 3i0@3i0p303i03i07f08 i0 8 08f09 I0 9 :n9 09I0<==@II@Ji(Ji(@Ki(`K Ki(K @Li(Li(M(M(N(N(PF0@QF QF RF Ti0@Ti0pT0Ti0Ti0X I0 X 0Y i0 Y 0Zi0 Z:nZ0\)0\)0] ])0^@jj@ki(ki(@li(`l li(l @mi(mi(n(n(o(o(pF0@qF0qF0rF ui0@ui0pu0ui0ui0y&z@zfzF@|&|&}&~F@@ i( i(@ i( i(@ i(` ( i( ( ( ( ( (C0C i0@i0p0i0i0`II F`i@&F )0&0@@@ i( i(@ i( i(@ i(` ( i( ( ( ( ( (F0F0C i0@i0p0i0i0F@fF@&&&F@ͽͽ@i(i(@i(i(@i(` (i( (((((C0C0i0@i0p0i0i0`II F`i@&F)0@ &@@i(i(@i(i(@i(` (i( (((((C0F0F0i0@i0p0i0i0f@fIi@&&&F@@i(i(@i(` i( @i(i(((((C0C i0@i0p0i0i0 F`IFi@!&!&#F@##F#@00@1i(1i(@2i(`2 2i(2 @3i(3i(4(4(5(5(7C07C0;i0@;i0p;0;i0;i0@@A`B`C@0J LI0 L)0@L)0`L)0L)0L)0L )0R`(S`(T`(U`(V`(Y@ \i0@a&aaIab@d&0d3dI0d0@e7@f8f9m)0 m @n@p7q@zF z#zI z ^0 Bigsby Dive Return CE: 42.864BridgeRefrainC0i5i0 G7i0I5 I0G  C i5@i5`A mini02i5@F Maj74I4G min@MI`MG9+5C added 9G+T|GC7#!f C9+5%&  F added 9 4  C+@6 6 i( F7 8 (:C0 A9+5i0>i0`B D added 9@ A+@D7-#@0$ D9+5(@C) G added 9@V. D+e2@i3 G7x7@{8 D added 9=G13A@@BC@F@GC minK@LG7P@QBb min@@VC6Z@[G6_@` C6t(|# C6i0i0`I C Maj7A minFF Maj7F6FG7G9 (D min)G C  C^ C #D9G13G minDBCD7FA minA minA min0p0G13G 7sus4FFG7x (y @y@f D13@`@F7C7C7-9C13-9C9Chet's album "Down Home" was his first album that I owned, so naturally Trambone is one of the earliest tunes that I remember hearing him play. I did a Google search for the definition of what a Trambone is and didn't find one. Years ago a musician I respected told me that "Trambone" is just a New Orleans Dixieland term for a trombone. I can't vouch for the accuracy, but it certainly seems plausible. Chet actually recorded several versions of this tune, and also other artists recorded it as well, including Duane Eddy. The earliest version that I've found was from1956 (Released on Chet Atkins - Then and Now). That version had Chet playing all the leads except for a piano in the third chorus and had a country jazz feel to it. Additionally, on the French released LP "Then Came Chet Atkins", Chet plays a live version as the first tune in a medley. I think that this version from the Down Home is the best known and my favorite, of course. About the transcription: Chet's part: I attempted to transcribe this as accurately as I could. When the sax is in the lead, Chet's part is sometime drowned out by the other instruments. I paid a lot of attention to dynamics. Chet imitates a trombone with his Bigsby. There were several different ways to get TE to approximate this sound. I settled for a text notation calling it a Bigsby Dive Return (as opposed to a "Dive AND Return". I notated this by entering the final note, then lowering it with the pitch option and having it slide into the final note. It's a little unusual notation, but I believe after studying it for a minute or so the logic of the notation will come to light. Chet palm mutes his bass part and the 2nd and 4th beats are particularly staccato. The closest sound that I can get from the midi is to treat it as a dead note, but raise the dynamics. Make sure that in the Special Effects menu from the Note pull down menus, the box to the right of Dead Note is NOT checked. If it is, your display will show X as tablature rather than a fret position. Sax part: I'm not a sax player or one that often transcribes sax music. I did my best to at least get in the ballpark My abilities to get the midi to sound like a sax are pretty humble at best. My main objective was to come up with a reasonable facsimile so that I could transcribe Chet's tasty comping licks. From the Sax bridge until the end of the Sax break, Chet's parts were either faintly heard or drowned out by the piano and other rhythm instruments. I did my best to recreate those measures. Somebody played the notes I have, but it's a good possibility that Chet didn't. Rhythm guitar part: I believe I can hear two guitars playing rhythm. Behind Chet's first lead, a very low level arpeggiated chord can be heard at each chord change. I melted that part into a rhythm guitar part. I didn't transcribe exactly what the rhythm guitarists were doing, but rather the style and rhythm, and I arranged a rhythm part from those notes. Piano part: The piano is just part of the rhythm section on this tune and is heard in various parts. I have no idea how to notate piano other than standard notation. Since the only part that the piano plays is just to provide rhythmic fill I left it out. Bass part: I attempted to accurately transcribe the bass part. I think I came pretty close. Percussion: The percussion is pretty low key on this recording and it appears that a brush on perhaps a closed high hat cymbal was 99% of the percussion part. I listened to the first few measures and tried to duplicate what I heard, then I just repeated it throughout the tune. It's close enough for the purposes of this TEF. Measure 1 and all Bigsby Dive Return references: Chet gets this effect by depressing his Bigsby lever before picking the bass note and then releasing it in time to a quarternote. The entire note will have the value of a half note and Chet picks it pretty heavy to get that sustain through the pitch change. Measure 8: The pulloffs on the last part of the 2nd beat are not heavy legato pulloffs, but more of a release of a barre on the 3rd fret. I found that instead of playing these notes with a barre, but with individual fingers, I got better results. Measure 9: Note the chord diagram. With the first finger barre the 3rd fret and with the 3rd finger barre the 2nd,3rd, and 4th strings. That will put your hand in position for the G7 on the 2nd beat. The notes on the 3rd beat could be played as open strings, but if you do, after playing them, mute them with your left hand getting that staccato sound. This prevents them from lowering in pitch while you're getting the Bigsby ready for the 4th beat. For me it's just easier to play them as fretted notes as shown in the score. Measure 17 and others with Bigsby vibrato: My good friend Jack Baker pointed out to me a long time ago that it was very rare that the Bigsby vibrato starts immediately with the note or chord, but rather a 1/8 or 1/4 note's duration after picking the chord. To get a realistic sound from the midi playback, it must be written that way. In this instance it's easier to play it than to read it. Measure 17 - 25: This is Chet's bridge. To me this is the most interesting part of this tune. Compare this part with the bridge that Chet plays on his last break at the end of the tune. Chet plays the same chords, but he inverts the order. If the first bridge can be thought of as 1 2 3 4 5 6 7 8, the second bridge is 2 1 4 3 6 5 8 7. What a neat trick! c0w %).38%).38 Chet Atkinstarc0 %).38%).38 Timing and Chords cB0  %).38%).38 Tenor Saxuitarc0 %).38%).38 Rhythm Guitarrc 0 5:?DBassric Guitarcb(0#*+/4+48888Percussionitar001001010000=107:>899<>7F000P040S0//0000000000001EE1/1101010::::JJ100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s #bABCDEFGEEIJKLMNO$A