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FF@8@8888@8888@8888@888 C0 C0@iII,@)lLIl D` I dF?@ &? &? FF@8@8888@8888@8888@888 C0 C0@iII,@)lLIl D@ F F?@ &? &? F F8@8888@8888@8888@888C0 C0@iII,@)lLIlF @F ЂI f @f I!F f @f F@&&FF8@8888@8888@8888@888 C0 C0@iII,@)lLIlF @F I f @f I!F f @f F@&&FF8@8888@8888@8888@888 C0 C0@iII,@)lLIlF @F I I!F 8@8888@888 8@ 8 8 8 8@ 8 8 8 C0 C0@iII,@)lLIl F `I I f `i F i F0`I0f I0F0F F08 8!8#8& C0&F 'F -I See Notes PercussionA6@A DMaj7/D6@Dmin+7/Dmin6FBmin7E7  @ E7   A+ (E Bass)E+@F#+$% G+ (E Bass), E+1%2@&3 A9*8*?' D@,F?,F@ DI801I D @C# @C# 9 (+5) F# 7B7(+5)"@#B7(-9))E11@ /!0A C6 F  F9Bb6Bbmin6 FminG7(-9)C11FC+ C+ Bb+A9 sus4n comes tA7M@Q F  F9Bb6Bbmin6 FminG7(-9)C11FC+ C+ Bb+ F6/9op\1-Tabledi B13ers\Mike\Desk C13ckey Baker JaB6/9e\106MuskratC6/9ng\Deed I DoA Maj7#11:\UsersF Maj7 sus4A13I Bb13  A7 Bb7A min7Bb min7 A min7 Bb min7 E6/9  This tune was recorded by Chet and Les Paul on their Grammy winning RCA LP: Chester and Lester. After the modulation from A to F, Les takes the lead. Then Chet comes back in. During the last bridge, the two swap leads and come to a conclusion with a pretty elaborate ending. Well, if that's what you were expecting, sorry to disappoint you. I wanted a version I could play solo or with a bass and drummer. I originally transcribed this piece and tried to be faithful to the recording as best I could. For this version, I took much more liberty. In the original recording Chet played a guitar that had a "B-bender" lever and could get those 2 half tone bends. I don't have a guitar with one of those so I adapted this to compensate. No one will ever mistake Chet's influence as both the opening and ending are based on his arrangement. I retained Chet's keys, A and F. Instead of immediately going to F, I put a variation in A, peppered liberally with Chet's licks like those deep bends and a backward roll passage. The bridge and last 8 measures are single string in the Charley Christian school. In F, the bass part and the guitar part "swap 4's" with the drummer for one entire pass. One of the guitar parts has my experiments with harmony based on chords build of 4ths. I was pleased with the part, but readily admit that a "little dab'll do ya." The last pass has mostly a chord solo up to the bridge. For the bridge, I transposed Chet's "A bridge." And the ending is something that was going around in my mind and a takeoff on Chet's augmented chord lick in the body of the tune. I really don't expect anyone to learn this version note for note, but my hopes were to inspire others to take a stab at their own version. Measures 26, 27, 28 29, 36, 37, 38, 44, 45, 46, 60, 61, 62: These measures have big bends or bends and releases. The next note shown on the tab is not to be played but is the sound of the note that the bend will go to. Make sure you listen to the playback and maybe Chet himself on the CD/LP. These were pretty tough for me to notate. From Measure 50 until the end I reconstructed from Chet's earlier measures to make the bridge and last pass, plus the ending. It is reminiscient of Early Chet and I don't think that he would find it out of character. c0w %).38#',16Lead Guitarsc %).38#',16Rhythm Guitarr c 5:?DBassrkinsscb(#!*"'/+48888Percussionitar001103110000=0077>7:7<>7F300P023S0//00000000000018<4/111103'::::H<1000010o/020000000008V0000000Page &p / &n&c&2&t &c&6&s &r&3&m &r&3&t - &3&s