Wheels Norman Petty Arranged by Chet Atkins Edited by Jack BakerTranscribed from the RCA LP "Travelin'" Transcribed and TablEdited by: michaeljoyce@hotmail.com Edited by Jack R. 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)8 @@@EI`EIEF@FI`FIFF@GI`GIGF@H I`H IH FLCLCVi@V`VViV\ )8] )8 ^^@cI`cIcF@dI`dIdF@eI`eIeF@f I`f If FiCiCti@t`ttitz)8z)8z)8{)8 | @|| @I`IF@I`IF@I`IF@ I` I FCCi@`i )8 @ )8)8 `  )8 @I`IF@I`IF@I`IF@ I` I FCCi@`i)0 40&8@I`IF@I`IF@I`IFCCi@`i )8  @)8 9@I`IF@I`IF@I`IFCCi@`i)8)8  @)8@I`IF@I`IF@I`IFCC i@ `  i  )8  )8@ )8 )8`  )8 @I`IF@I`IF@I`IFCC(i@(`((i(. )8/ )8 00@5I`5I5F@6I`6I6F@7I`7I7F@8 I`8 I8 F<C<CFi@F`FFiFL )8M)8 N @NN @SI`SISF@TI`TITF@UI`UIUF@V I`V IV FYCYCdi@d`ddidj)8j)8`k)8k)8 ll@qI`qIqF@rI`rIrF@sI`sIsF@t I`t It FvCvCi@`i)8@ )8 )8 )8  `   @I`IF@I`IF@I`IF@ I` I FCCi@`i )8 )8 )8&8 `)8@I`IF@I`IF@I`IFCCi@`i&8@ )8 &8` &8@I`IF@I`IF@I`IFCCi@`i @ \@I`IF@I`IF@I`IF@ I` I FCCi@`i \@I`IF@I`IF@ I` I F@ I` I F CCi@`i &8 ) ) &8@!&(@%I`%I%F@&I`&I&F@'I`'I'F+D`+I,C6i@6`66i6=&8@=&8?&(?&(@CI`CICF@DI`DIDF@EI`EIEFICJCTi@T`TTiT] *\@aI`aIaF@bI`bIbF@cI`cIcF@d I`d Id FgChCri@r`rrir{*\{@I`IF@I`IF@I`IF@ I` I FCCi@`i&8))&8@&(@I`IF@I`IF@I`IFD`ICi@`i&8@&8&(&(@I`IF@I`IF@I`IFCCi@`iF0@3 F0 0f0@3 f0 0f0@3f00F0@3F00ללFFFCCi@`i&`@&`@'`@(`@`@i ^     CE 1:24.569 CE 0:27.419'CE 0:52.502 Echo starts strings added.BBBBA@@ EfDA6 @AbE7-@0AbE7?@CAbE7R@@VfA6BBBAAbE7LA LmE13F JkE9 IIIjA IIIE13 GGGGE11EfAIjIA CdD6EgDEfA13CdA9BcBDBBBA13BD6BcBD @@ DeD#@FgE7-@0EEfA?@CLLmER@@V Norman Petty From Wikipedia, the free encyclopedia Norman Petty (May 25, 1927 - August 15, 1984) was an American musician, songwriter, and pioneer record producer of the Southwest who helped shape modern popular music, including pop and rock. Born in the small town of Clovis, New Mexico near the Texas border, Norman Petty began playing piano at a young age and while in high school he had a 15-minute show on the local radio. He founded, with his wife "Vi", the Norman Petty Trio, along with guitarist Jack Vaughn. They landed a recording contract with ABC-Paramount Records and were voted Most Promising Group of 1954 by Cashbox magazine. In 1956, their major hit "Mood Indigo" had sold half a million copies and enabled Norman to expand the studio to how it is today. In 1957, their song Almost Paradise hit #18 and Norman won his first BMI writers award. However, he is most famous for his recording studio in Clovis, a town about ten miles west of the Texas border. In his homespun studio, he made 78 and 45 rpm singles for his own musical group and for then unknown Texan singers Roy Orbison, Buddy Knox, Waylon Jennings, Carolyn Hester, and a number of hits for Buddy Holly with whom he is most closely associated. Other hits made at Petty's studio included "Sugar Shack" by Jimmy Gilmer and The Fireballs and "Wheels" by The "String-A-Longs". Petty served as Buddy Holly's recording engineer, and also as his manager and co-producer until late 1958. Their split came over differences in Petty's wanting co-writer's credit in Holly's songs, in exchange for his extra efforts in Holly's recordings. Many of Holly's best and most polished efforts were produced by Petty at the Clovis studio. After Holly's death, Petty was put in charge of overdubbing unfinished Holly recordings and demos, to add to his recorded output. In 1961, the "String-Alongs" with Norman on piano recorded his composition "Wheels" and it became his biggest hit, making the top ten. Norman Petty died in Lubbock, Texas in 1984 of leukemia; wife Vi died in 1992. This version of Wheels is taken from Chet Atkins' 1963 RCA LP "Traveling". I have to admit that I never transcribed this tune until recently. I had seen Chet play Wheels in a video. He played it in G with his guitar tuned to 6=D and 5=G (G6 tuning). Not being a fan of alternate tunings, I never had an interest in working on it. Recently, while working on a project of converting Chet's alternative tunings recordings to standard tuning, I discovered that Chet played his first version of Wheels using standard tuning. About this transcription: My objective with this transcription was to produce a TEF that one could learn Chet's guitar part. The recording seemed to have a rhythm guitarist, bass player, pianist, and percussionist. The accompaniment shown in this TEF is meant to be reminiscent of the recording rather than a transcription of it. I attempted to transcribe Chet's part as accurately as I could. The bass part is also transcribed. The vibe part is transcribed through the part in D. When Chet returns to A, the level of the vibes is so low that it is lost in the accompaniment. The percussionist seemed to be playing with brushes and that is a difficult sound to imitate with midi. Behind Chet's thumblick parts, on the 2nd beat the brushes play a triplet figure that is very legato. The best I could do in the midi sounds a little staccato. There was a rhythm guitar part that was at a very low level and had that snare drum sound that was so popular at the time of the recording. I did not include that. The other instrument that I hear in the recording is a piano part. I did not attempt to transcribe that, but rather write a part that rhythmically more or less was in the spirit of the piano lead. Chet starts the recording in the key of A, modulates to D, and then returns to A. The tune has two parts, an A and a B and both are based on I - V7 harmony. This tune is relatively easy for anyone who regularly plays thumblick guitar. Measure 3: The E could be played as an open string. I used the E on the 2nd string to allow me to use a 1/2 barre on the 2nd fret. Measure 9: The fingering for this measure is critical. Refer to the diagram. Measure 15: This measure is similar to Measure 9 in that lefthand fingering is critical to make it smooth. Measure 34: Chet uses a very little vibrato on the chord on the 3rd beat, probably the Bigsby, but it can be done with the lefthand. He continues this technique in other measures where there is a 2 beat chord. Measure 49: Chet is modulating to the key of D. Starting here in the "A" part, Chet is muting the strings, reminiscent of the original recording by the String-A-Longs. Measure 80: Chet is returning to the key of A. Measure 95: Note that Chet lifts his right hand mute on the beginning of the 2nd beat to prepare for the F# on the last half. It gives that measure a little different color than the previous times. Measure 113 to the end: Chet again is playing the muted single string solo as he did starting at Measure 49. This part is very similar and I have attempted to duplicate the fingerings wherever possible to facilitate memorizing the part. c0 %).38Chet Atkinsardc0  %).38Pianoic Guitar c 05:?DBassAtkinsardc 0 %).38Vibestkinsardcb 0#!*"'/+48888Percussionitar001101010000=007:>899<>7F000P044S0//0000000000001EE1/1101010::::JJ100001000000000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s