Wildwood Flower A. P. Carter Arranged by Merle TravisTranscribed from the DVD: "Merle Travis - Rare Performaces 2, Vestapol 13034" TablEdited by michaeljoyce@hotmail.com o"!d C3c3C3-F0  F0.f0 f0-F5 @0 F50 F0 D0 i3P! f0! d0! I3"F5@"0"D5%%0)f0 @0 f00 01+F0 @1 F01 01 f02 F055@ F0@@ 3`@0A f0@A 3`A0AB F0@B 3`B0CFCFEEP@Pf P0Q0@Qf QQF5RF@Rf%R)1PR)0U>@U> U>U>`@`F `@af b@bF%bbcCcFcFe>@e> e>e>p@pF p@qf r@rF%r0sCs)2s)0ttFu>@wf8wf8@xf8xf8@yf8yf8z8z8{8{8}f@}}~f@F @f @f @F%FFC@f8f8@f8f8@f8f88888f@f@f 00@f 0F5F@f%)1P)0>@> >>@f8f8@f8f8@f8f88888f@f@F @f @F%CFF>@> >>@f8f8@f8f8@f8f88888f@f@F @f @F%0CF0F>@> >>@f8f8@f8f8@f8f88888fff@F@f@fF@FFC>@> >>@f8f8@f8f8@f8f88888f@fF0F0@F0F0@f8f8@f8f8@f8f88888f@f0@f f F5@  @f%Ff% >@> >> @f8f8@f8f8@f8f88888f@ff@f @ F@i5`I0FF>@> `>>>@f8f8@f8f8@f8f88888fff@ @f f @  F@f%f%C>@> >> @f8f8@f8f8@ f8 f8 8 8 8 8 f@  f  @f f @  @f%f%C# C>@> >> @f8f8@f8f8@f8f88888f@f   @!f0! @"F"%"#C& #F%>@%>%>%> @'f8'f8@(f8(f8@)f8)f8*8*8+8+8,f,f,f@-0@0F 0@1f 2@2F%203C3)23)044F5>@5> 5>5>@7f87f8@8f88f8@9f89f8:8:8;8;8<f<f=f@=@@FA@AfA@BfBBC@CFCFCFDCE>@E> @Gf8Gf8@Hf8Hf8@If8If8J8J8K8K8Lf@MMfMP@Pf Q0@Qf QQF0RF@Rf%R)1PR)0@Wf8Wf8@Xf8Xf8@Yf8Yf8Z8Z8[8[8\f@]]f]`@`F `@af b@bF%bbcCcFcF@gf8gf8@hf8hf8@if8if8j8j8k8k8lf@mmfmp@pF p@qf r@rF%r0sCs)2si0tF@wf8wf8@xf8xf8@yf8yf8z8z8{8{8}f@}}~f@F @f @f @F%FFC@f8f8@f8f8@f8f88888f@f@f 0@f F0F@f%)1)0@f8f8@f8f8@f8f88888f@f@F @f @F%CFF@f8f8@f8f8@f8f88888f@ff@F  @f @F%0C)1i0F@f8f8@f8f8@f8f88888f@f@F@f@fF@FFC@f8f8@f8f8@f8f88888f@f@&0F00F0@f8f8@f8f8@f8f88888ff@0@f f F5@  @f Ff  @f8f8@f8f8@f8f88888f@f@f @ F@i5`I0FF@f8f8@f8f8@f8f88888fff@ @f f @  F@f%f%C@f8f8@f8f8@ f8 f8 8 8 8 8 f@  f  @f f @  @f%f%C# C@f8f8@f8f8@f8f88888f@f   @!f0! @"F"%"#C& #F@'f8'f8@(f8(f8@)f8)f8*8*8+8+8,f@--f-f0@0F 0@1f 2@2F%203C3)23)04F@7f87f8@8f88f8@9f89f8:8:8;8;8<f<f=f@=AC AC Bc Bc Cc Cc DCDCEE@Gf8Gf8@Hf8Hf8@If8If8J8J8K8K8LfLf@MMQC QRc Sc TCU UU@Wf8Wf8@Xf8Xf8@Yf8Yf8Z8Z8[8[8\f@]]f]@`F`aaD@bfbfc @cFcFeeF@gf8gf8@hf8hf8@if8if8j8j8k8k8mf@mmnfpDpD`qIq@rfrf@sFsFuF@uuF@wf8wf8@xf8xf8@yf8yf8z8z8{8{8}f@}~f~fD`IDf8@F8F8 F8@F8@f8f8@f8f8@f8f88888f@fD`ID@ff@FF F@F@f8f8@f8f8@f8f88888f@ff@FD@ff@FFFF@f8f8@f8f8@f8f88888f@fDD`I@ff@FFF@F@f8f8@f8f8@f8f88888f@ffD`IDf8 @F8F8F8@ŽF8@f8f8@f8f8@f8f88888f@f@FD@ff @FFFF@f8f8@f8f8@f8f88888f@fI@ F IF I F `I F  @f8f8@f8f8@f8f88888f@f`I F @F I FF@f8f8@f8f8@f8f88888f@fI@ F IF I F `I F  @f8f8@f8f8@ f8 f8 8 8 8 8 f@  f `I F @F I F F@f8f8@f8f8@f8f88888f@ff I@! F "I"F "I# F `#I# F $ @'f8'f8@(f8(f8@)f8)f8*8*8+8+8-f@--.f`0I01 F @2F 2F 3I3 F5@7f87f8@8f88f8@9f89f8:8:8;8;8=f@=>f>f@I@AF BIBF BICF `CICID@Gf8Gf8@Hf8Hf8@If8If8J8J8K8K8@MMfMNfPAPPQ aRaS ASFTTFPU>@Wf8Wf8@Xf8Xf8@Yf8Yf8Z8Z8[8[8]f@]]^f` @`F`aaD@bfbfc @cFcFeeF@gf8gf8@hf8hf8@if8if8j8j8k8k8mf@mmnfpDpD`qIq@rfrf@sFsFuF@uuF@wf8wf8@xf8xf8@yf8yf8z8z8{8{8}f@}~f~fD`IDf8 @F8F8F8@F8@f8f8@f8f8@f8f88888f@fD`ID@ff @FFF@F@f8f8@f8f8@f8f88888f@ff@A@ff@FFFF@f8f8@f8f8@f8f88888f@fD`I  D @FFF@F@f8f8@f8f8@f8f88888f@ffD`IDf8 @F8F8F8@ŽF8@f8f8@f8f8@f8f88888f@fD`I@ff@FFF@սF@f8f8@f8f8@f8f88888f@fC C @FFFF@f8f8@f8f8@f8f88888f@f`I  D D @f8f@F8FF@F@f8f8@f8f8@f8f88888f@fCC@ff@FFfcFC@f8f8@f8f8@ f8 f8 8 8 8 8 f f@  `Id @f@FF@F@f8f8@f8f8@f8f88888f@ff @  `!I ! "@"F8"D #@#F8#F$%F@%%F@'f8'f8@(f8(f8@)f8)f8*8*8+8+8-f@--.f`0I01D1D@2f82f@3F83F4 5F@55F@7f87f8@8f88f8@9f89f8:8:8;8;8=f@=>f>f@F@I%`AIAAI BDBi8BI @CF8CI8CI8D EF8@EEF8E@Gf8Gf8@Hf8Hf8@If8If8J8J8K8K8@MMfMNfP P F%`P IP P DQ Q F `Q IQ Q DR S0 T @TTU U@Wf8Wf8@Xf8Xf8@Yf8Yf8Z8Z8[8[8\f\f]f@]`@` !b@b f8b f8@c F8c F8d f8d f8e F8e F8@gf8gf8@hf8hf8@if8if8j8j8k8k8lf@mmfmp F@p Ip D`q Iq @r f8r f8@s F8s F8t f8t f8u F8u F8@wf8wf8@xf8xf8@yf8yf8z8z8{8{8|f@}}f} @ ` I @ f8 D@ F8 F8 f8 f8 F8@ F8@f8f8@f8f8@f8f88888fff@ D` I d` i D@ f8 f8@ F8 F8 f8 f8 F8@ F8@f8f8@f8f8@f8f88888f@f D` I D@ f8 f8@ F8 F8 f8 f8 F8@ F8@f8f8@f8f8@f8f88888f@f D` I d` i D@ f8 f8@ F8 F8 f8 f8 F8@ F8@f8f8@f8f8@f8f88888f@ff` I D D@ F F f f F@Ž F@f8f8@f8f8@f8f88888fff D` I  @ f8@ F8 f8 f8 F F8@ս F8@f8f8@f8f8@f8f88888f@f`ႉᄉ@f f iiF F > > @>`>>> >>@f8f8@f8f8@f8f88888ff@>> >>`@f f iiF > > @>`>F @f8f8@f8f8@f8f88888f@f`@f f iiF F @f8f8@f8f8@ f8 f8 8 8 8 8 f f f@ @FF@FF @FF@FFFF@f8f8@f8f8@f8f88888f@f  @ f  f @! ! @"f%"f%#C# #C%>@%> %>%> @'f8'f8@(f8(f8@)f8)f8*8*8+8+8,f@--f-0@0f 0@1 1 @2f%2F%23C# 3F5>@5> 5>5> @7f87f8@8f88f8@9f89f8:8:8;8;8<f@==f=f@@@F @@Af B@BF%B0CCC)2C)0DDFE>@E> E>E>@Gf8Gf8@Hf8Hf8@If8If8J8J8K8K8LfLfMf@M@PFQ@QfQ@RfRS@SFSFSFTCU>@U> @Wf8Wf8@Xf8Xf8@Yf8Yf8Z8Z8[8[8\f@]]f]`@`f ``0a0@af a0aF0bF@bf%b)1Pb)0@gf8gf8@hf8hf8@if8if8j8j8k8k8lf@mmfmp@pF p@qf r@rF%rrsCsFsF@wf8wf8@xf8xf8@yf8yf8z8z8{8{8|f@}}f}@F @f @F%0C)2i0F@f8f8@f8f8@f8f88888fff@@F @f @f @F%FFC@f8f8@f8f8@f8f88888f@f@f 0@f F0F@f%)1)0@f8f8@f8f8@f8f88888f@f@F @f F@F%FF@f8f8@f8f8@f8f88888f@ff@F  @f @F%0C)1i0F@f8f8@f8f8@f8f88888fff@@F@fF0@fF@FC@f8f8@f8f8@f8f88888f@fF0F000@F0F0@f8f8@f8f8@f8f88888ff@ @f f F0@  @f%Ff%@f8f8@f8f8@f8f88888f@f@f @ F@f%FF@f8f8@f8f8@ f8 f8 8 8 8 8 f f f@  @f f @  F@f%f%C@f8f8@f8f8@f8f88888f@f  @ f  f @! ! @"f%"f%#C# #C@'f8'f8@(f8(f8@)f8)f8*8*8+8+8,f@--f-00 0@1f01 @2F2%23C& 3F@7f87f8@8f88f8@9f89f8:8:8;8;8<f@==f=f@@@F @@Af B@BF%B0CCC)2C)0DFE@Gf8Gf8@Hf8Hf8@If8If8J8J8K8K8LfLfMf@MPC3QC Qc3Rc RC3Sc TCUU@Wf8Wf8@Xf8Xf8@Yf8Yf8Z8Z8[8[8\f@]]f]`-F0 ` F0a.f0 af0b-F5 @b0b F5b0e@gf8gf8@hf8hf8@if8if8j8j8k8k8lf@mmfmp F0p D0pI3Pq f0q d5q i3rF5@r0uu@wf8wf8@xf8xf8@yf8yf8z8z8{8{8|f@}}f})F0 @ F +f0 @ F f0 F@@f8f8@ f8 f8@f8f8 8 8 8 8f@f F0@ f0 F5@FFF>@>>>@f8f8@f8f8@f8f88888f@ffF0`I@F IF F  >@>`> >>> @f8f8@f8f8@f8f88888@ffF0`I@F IF F  >@>`> >>> @f8f8@f8f8@f8f88888ffF@Af@aF@A@>@>@f8DŽi8P@f8i8i8f8@f8i8i8f88i8i8f88˄i8P˄f8Pff)C I l)c i l*C i l I l>>׆i8P׆i8Pf8i8i8i8i8f8i8i8i8i8f8i8i8i8i8ۄf8Pۄi8Pۄi8Pfc l^ l l l i8P`i8Pi8Pi8Pi8 i8@i8`i8i8i8i8i8i8 i8@i8`i8i8i8i8i8i8 i8@i8`i8i8i8i8i8i8P@i8Pi8Pi8P CE: 7.040 CE 44.343 See NotesDD_ C;_20 E7@2H0  FX0X1 Cf88f8 C808G7088F@ @ C#7\yy D7 8i8!8G(6)8i88i8D988 G6C9 G6D9GG(9)CC#dim7G9 G9+5   C Blues G7 0f8f8  Cf8 0f8 E7C3Am7C7FD9 CD9G13&Merle played this version of the Wildwood Flower on the Porter Wagoner Show in the late '60's. He reprises his parts from the hit single that he and Hank Thompson and the Brazos Valley Boys had about 10 years earlier, while playing Hank's part as well. I received lots of requests for transcribing Hank's and Merle's version. I chose this one as it has most of the licks from the original recording plus a few new ones, but played by one guitarist. I also transcribed Hank's and Merle's verion in another TEF. Merle plays this on his Gibson Super 400 Special. A rhythm guitarist and a snare drum can be heard in the background, but only Merle is seen. He plays all the leads, including recreating the intro from the hit recording that was originally played on steel guitar and fiddles. He plays a new ending based on the intro. For the melody, Merle plays a modified Mama Maybelle Carter lick. The thumb plays the melody, often striking two strings, and the index finger strums a downstroke. I wasn't able to find any instance where he played an upstroke following the downstroke as Mama Maybelle did. The rest of the tune is vintage Merle. Throughout the parts of the tune where Merle plays the melody with his thumb, two notes sound. Merle played hard and loud, and I believe (probably as an over-analyzation of what he's doing) that the second (higher) note was a result of the inertia of his thumb. So my suggestion is to concentrate on the lower note and play it LOUD. The second note will sorta take care of itself. Measures 1 - 5: Merle plays the chords using his thumbpick like a straight pick, even making an up stroke at the end of measure 3. Measure 9: Note that Merle follows the Hank Thompson arrangement by omitting a whole measure and goes directly to the second pass of the melody. For those of us used to that measure, it is very difficult to omit! Measure 46: The last beat of the measure Merle is transitioning from the third position to the seventh. At this beat, he lifts his hands, and plays the 4th and 3rd strings open. Since D and G are notes of a G chord, it has no unusual sound. Measures 47 - 53: Merle plays these banjo rolls as P P I P P I. Of course these can be played P I M P I M, or as I prefer, P I M P I A. But to get Merle's phrasing, try it his way. Measure 54: This is sort of the reverse of Measure 46. On the last beat Merle plays the fourth and fifth strings open. As D and A are notes of a D(7) chord, and the A going to the G of the next measure seems like a mini-bass run, the transition seems totally natural. Measure 66: The slide on the last beat of the measure is not a specific slide, but rather a fall-off. Merle is changing hand positions for the G chord, and he sounded the change. Rather than try to play what is written, I suggest that you practice the chord change between the two G forms and put a sliding motion in the change. Measure 79, 80, and 81: This is the best part of this tune!! It settles the age-old controversy how Merle played 4-note arpeggios- PIMA. The video shows this clearly. Almost every finger seems to have a different dynamic with the notes played by the A finger weaker than the other fingers. Measure 92: Note that on the first beat Merle plays a G note when we were expecting an E on the fourth string. Measure 110 and 111: Note that in the video Merle grabs a full string chord, but he only plays the top notes of it. I put in the full chord diagram, but it isn't really necessary to finger the full 6-string chord. Note that Merle really pumps that Bigsby.cy %).38Merle's Super 400c %).38Rhythm Guitar400 c 5:?D8Bassm Guitar400