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I know of two recordings of this tune: 1. Merle's last Capitol LP "Strictly Guitar" 2. Video duet of Merle with Thom Bresh. A musician friend sent me a TEF of Tommy Flint's transcription and wanted to know why it didn't sound like the recording. What I discovered is that Tommy did more of an arrangement than a transcription. Although it is a fine version, it isn't what Merle played. This transcription is taken from the "Strictly Guitar" LP. That LP featured Merle overdubbing guitar parts on all the tracks. I have been able to distinguish three parts: Merle's lead, a second guitar playing harmony or backup, and a bass part. The mixing put all together. When I examined the recording's tracks, they appear to be two almost identical tracks. Caveats: It was very difficult for me to separate the parts. Since most folks attempting to play this tune will play it as a guitar solo, I made no attempt to transcribe the bass part. I only attempted to transcribe the parts of the 2nd guitar that were essential to the score, such as when Merle was playing the melody as single bass notes. Due to my inabilities to separate the parts, I made my best guess as to what notes went where. What I came up with is two playable parts, although they may be somewhat fictitious. About the transcription: The recording has 4 choruses: 1. The opening chorus in C Major. As this chorus' lead guitar part is complete, I did not transcribe any other part. 2. The 2nd chorus in Bb Major. Merle mostly plays this as a single note melody line on the bass strings. It was necessary to add the 2nd guitar part here. 3. The 3rd chorus in A Major. Merle improvises on the melody in this chorus. It was necessary to fill in the holes in parts with the 2nd guitar part. 4. The 4th and last chorus returning to C Major. Merle's 2nd guitar part plays a harmony part. Although the lead guitar's part is more or less the same as the 1st chorus, the harmony part gives it a much different flavor. As in ALL of Merle's guitar solos, there are some chords that defy explanation. Most common is his use of an open 4th and usually with it, an open 3rd string, on the 4th beat just before a chord change. It is so common that I have invented a symbol for it: MTN for Merle's Transition Notes. Most folks, especially the casual listeners, don't notice it. Measure 1: After strumming through the G9 chord, Merle slaps the top of the guitar. Measure 7: Because Merle only used his index finger to play 99.99% of the time, the only way to play chords was to use either the finger or thumb to brush through the chord. It's not difficult to learn, but without it you'll never approach Merle's style. Measure 18: Note that there are 2 D notes in the bass line per the measure. Interesting effect. Measure 30: Merle starts his 2nd chorus (in Bb). To get the sound Merle got, one has to pick the notes with the thumbpick at about over the 14 fret (where the neck of the guitar meets the body.) Merle also had an extra long Bigsby Vibrato handle with a loop in the end. Merle also would hook his right pinkie in that loop so he could use the Bigsby. Merle also never overdid the Bigsby vibrato as many do. Measure 47: I'm not entirely certain that Merle played the bass notes in the lead guitar part, but rather played the 2nd guitar part a little louder. I left them in so that you can make up your mind as to how you want to play them. Measure 58: Merle has changed keys to A Major and he is improvising a melody. The 2nd guitar is more in the background as in the 1st chorus, and punctuates phrases from time to time. Measures 62 and 65: I worked on these four measures more than the rest of the entire transcription. I have decided that Merle is playing one lick in the lead and another lick in the 2nd guitar part. I could never get a sound exactly like the recording (although it is quite a bit closer than the Tommy Flint version), I put the notes I could make out in the lead guitar part. For a fingerstyle picker that uses more than just his index finger, this is very easy to play, but for a Merle style two-finger artist, quite a bit harder. I arranged the notes to make it a little easier and therefore, closer to what Merle may have actually played. Listen closely to Measures 64 and 65 and it sounds like there is an overdub there. I believe I came pretty close to what one guitar was playing in those measures. I'm open for suggestions if these measures aren't satifactory. Measure 80: The open D note on the 2nd beat is not an error. Has an interesting sound as only Merle could get! Measure 81: Note that the 2nd guitar has an F chord that Merle plays a little Bigsy on. Measure 85: Beat 4 has another slap of the top or side of the guitar. Measure 86: Merle starts the 4th chorus by returning to the key of C Major. Note that the 2nd guitar is now playing a harmony part that is mostly 3rd's and 6th's. He used this technique when he played duets of the Cannonball Rag and if you are familiar with how he did that, then this part is a piece of cake. Measures 90, 91, and 92: These measures were difficult because Merle was strumming these chords of both parts to the same beat. I really couldn't divide them by guitar due to the mixing and both guitars set to approximately the same settings. So I divided the notes between the lead guitar in a high register, and the 2nd guitar in a lower register, and I also remembered what chord forms were the most popular to Merle. What I got is very close to the recording, but as I mentioned above, you can use what you like best. Measure 98: Here Merle slaps the strings near the bridge in this slap on the 1st beat. Measure 102: This measure is similar to Measure 98, except it sounds like Merle brushed through the strings, rather than slap them as he did in the other measure. For you that may want to sing along: Lyrics (per the Louis Armstrong Version) Way down yonder in New Orleans In the land of the dreamy scenes There's a garden of Eden...you know what I mean Creole babies with flashin' eyes Softly whisper their tender sighs Then stop....won't you give your lady fair...a little smile Stop..ya bet your life you'll linger there...a little while We've got heaven right here on earth With those beautiful queens Way down yonder in New...Orleans (instrumental break) You're gonna find heaven right here on earth With all them beautiful queens Way down yonder in New Orleans..... I goin' down yonder to New Orleans It's way down yonder in New Orleans. c0 %).38Merle Travisarc0  %).38Acoustic Guitar001121110000=007:>899<>7F000P042S0/00000000000001EE4/111103'::::H<1000010`0020000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s