Greetings from Saint Petersburg, Russia. My name is Pavel. I got a lot of requests on how to play this arrangement, so let me show exactly how I did it. And… good luck! So it starts with this little cue from Mark. And then they both play the melody. Chet is using palm mute here. And straight away you can see that, like these guys, I’m in a “plumber’s club”, so I grab the neck like a wrench or a bat. So… Fm. Again. Fm. C. This is G7 with the sharp 5 making this kind of augmented sound. Then B7 with the sharp 5. To C with the melody on top. Go down to A. Quick change to A7. Here. A little harmony. D7. And quick change again. From here to here. It’s all D7. To G7 augmented with the melody. This is tricky at first, but try it. To C7. To F. Fm. A little melody here. To C. G, B, C. Going to A7. with the melody. E. Am. Open B in the melody gives a split-second to change to C7 with a G bass. Here. To F. Turnaround. This is D9. To G13. Like… C7. So this is a song’s theme. And then Mark is soloing while Chet is laying down the straight rhythm. Fm. C. G augmented. C. This is a very economical way to change from G to C. Instead of… Just… Then a little melody here. A cool one. To D7. To regular G7. C7. F. Fm. C. G. C. A7. E. Am. C7 with a G bass and F to turnaround. And Chet just stops here on the third beat. To give him a split-second to go up the neck. Now this one is called the “Super Lick”. Basically, this is a sweeping arpeggio played in triplets. To learn how to play it, first of all — outline this FMaj7 arpeggio. The whole lick is within 5 frets, by the way. Learn just how to ‘see’ all the notes. It’s like A shape, but up here. The next step — is to use a proper left hand technique. It’s a hammer-on on a first note. Then a bar with the second finger. Then lift-off the second finger and play the rest. Then pull-off the top note. And go back the same way, but without pull-offs. Hammer-on, a bar, lift-off, the rest. Next — the proper right hand technique. It’s all the downstrokes. But on the very top note change the direction. And now this is all the upstrokes. Change. And on the very low note change the direction again to downstrokes. Change. This is the pattern here. And one more thing: Roll your second finger while playing. It’s as if you want to play it note by note, rather than to let it ring. Now take your metronome and start to practice. And the best way to practice it is to feel the accents. Say, metronome plays… 1, 2, 3, 4. This lick is in triplets, so play three notes to the beat like… One, two, three. Then, feel the accents only on the first beats, like… ONE, two, three. ONE, two, three. The idea is to bring it down just for two accents: on the low note and on the top note. Then Chet plays this lick, he thinks only about two notes. Not about dozen of notes, but just two. This one and this one. And if you slow it down it would sound like… So he plays the “Super Lick” two times. And then… To Fm. To C. To… this is augmented, remember that? The augmented pattern is symmetrical. Now this is just… C pentatonic. And to the very beautiful A7 roll. It’s A7, but with a two open strings. Pattern is: Thumb, index, thumb, middle, index, thumb, middle, index. Again. Thumb, index, thumb, middle, index, thumb, middle, index. If you do it right you will hear this catchy bass. And then… Beautiful, beautiful D7 roll. The pattern is: middle, index, thumb. To cascading scale. With open strings. The pattern is (starting from G)… Starting from index: index, thumb, middle (open string). And… ends with index. So you may ask — why not to start with the thumb? Well, because it would change the accents. Listen. Now — starting with index. So starting with the index finger gives you a more fluent sound. And, funny enough, this is exactly what Mark was trying to play at the end of “I’ll See You In My Dreams”. But he played it rather… rather awkward. Missing the middle part. He play… And this is why he’s laughing so hard, I think. Another piece of trivia for you. Then Chet plays the melody. Pretty self-explanatory. Again — Fm. Little sweep here. To C. To augmented. This is C pentatonic. And yet another A7 banjo roll. This time it starts with the thumb. It’s E, by the way. The pattern is: thumb, middle, index. You can practice it just like the “Super Lick”. One, two, three. I even learned how to play it backwards. To practice it. Like that. And again — you should think only about the low note and the top note. Something like that. It goes to… To Am. And a little F lick. Now Chet plays the rhythm without palm muting and brings more melodies in. That was a good one. Beautiful. To theme. Open. With a palm mute again. This is exact A7 banjo roll just like in the solo. So it happens two times. To this kind of bebop style single note line. It’s all alternate picking. Upstroke. This line is all about your accents and dynamic range. Theme. Now Chet plays a little melody here… and hit the harmonic here by pure accident. Very cool sound and proves that all mistakes are intentional, like Chet used to say. To the end. This is D with an F# in the bass. G. C. To A7. Then… Thumb, index, middle. C. The end roll is a C major scale. The pattern is: index, thumb, middle. Starting on an offbeat. With accents just like in the “Super Lick”. Three, one, two, three, one, two, three, one. And this is it. The next video will be about Mark’s part. Thanks for watching!