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My comments, for what they are worth: The key changes of the original add a bit of interest that I missed here and I personally prefer the crisp sound of a thumbpick for this style but Mark plays it very cleanly and does a nice job. Also a bit different to hear it played on a 335 instead of the ubiquitous Gretsch. Cool ending too. Nice work.
"For anyone wanting to get into the Chet/Merle playing style there are just a couple of fundamentals: 1) You have to practice and perfect the muted alternating bass. 2) Most the playing is chord-based. i.e. the melody is found within the chords so work out the chord sequence and chord inversions first. You'll soon find that dominant ninth chords are used a lot in this style - particularly in Merle Travis's stuff."
In addition to that it's worth mentioning that many part-chords are used in conjunction with open notes. So, to play any tune in this style first work out the chords, or find them online, then work out what inversions of the chords you need to use along the neck to follow the melody.
Even other styles of playing follow this concept. You'll see that if you look at Mark's very nice version of Eleanor Rigby in his separate thread. It's not Chet-style playing but it is still substantially chord-based.
Even flashy pieces like Merle Travis's Walking The Strings are almost entirely chord-based - it's just the picking style that makes it seem otherwise.