One Day
By Tommy Emmanuel
Notes for playing written by Akira Satoyoshi
Drop D tuning, with capo second fret
Thumbpick
Hi, I transcribed this beautiful arrangement based on the recording from the album IT’S NEVER TOO LATE.
It’s very hard to describe in words but I tried my best to give you the tricks as much as I know. Hope this helps you
learn and play this wonderful tune easier and better. Enjoy and good luck!
Basics
The whole song is free-flowing especially the intro, but I wrote it within the time signature so it still has a similar
feeling to the original recording when it’s played on a computer. Once you are comfortable with the song you can
match the tempo to the original recording or to your own style.
The left-hand-fingering is very important so I put the fingering numbers next to all the notes. It’s pretty much the
same as how Tommy moves his fingers as far as I could tell from watching some of his videos.
Also I put the chord diagrams, but they (some of them) are not suitable for strumming with the song. I added them
so that you can easily picture the shape of your left hand on the fretboard for each point in the song as you are
playing the melody.
*All the chords are named as if you are not using a capo. If a chord diagram says D, the actual chord is E since the
capo is on the second fret.
You’ll see lots of “let ring”. Don’t worry about it too much at first. When you get used to the song you can
concentrate on letting the notes ring out. Also there are lots of accent marks. I’d say that they are more like for
describing the strength of your right fingers, giving soft touch or strong touch. Before I put these accent marks, the
software played this song and it sounded so dead. Tommy always makes a song look so easy but probably he
controls his touch a lot. I think the best way is to listen to the original a lot and get the feeling right and try to do the
same rather than looking at the accent marks. The most important thing is to make the melody stand out over the
harmonies.
Intro
The whole intro is free-flowing. The harmonics are played with a thumb pick. Tommy usually uses his pinky on his
left hand for the harmonics, but for the ones right after the bending vibrato in measure 11 and 29, he uses his ring
finger for it. I notated it the way he does but if it’s not very comfortable for you it’s no problem to use your pinky
for all the harmonics.
Page 1 of 2
Section A
There are some left-hand-fingering numbers in brackets (not talking about the tied notes). They are the notes that
it’s ok to add. They are the notes that are played very softly or Tommy played it in his other performances.
Especially the one in measure 41, on the open A string notated as (0) is played very noticeably in his recent
performances. You can’t hear it in the original recording but I put it because I really like it when it’s there.
In measure 46, this fast passage, if you are familiar with hammer-on and pull-off this is not as difficult as it sounds.
I can tell two tips. First, the timing to start the first slide from 7th fret to 9th fret is important. Second is to start the
slide with a strong emphasis. I really recommend to practice this part by playing with the original recording again
and again until you can do it with the same timing. If done correctly it sounds so beautiful.
In measure 47, you have to hold two strings with your left middle finger, the one notated as 3 (3) on the B and G
strings and hold the two strings through until the chord changes to G in measure 48. The software didn’t let me
assign the left fingers as I wanted for the chord diagrams in this part but this is the trick for this part.
Section B
It’s very busy here, lots of left hand movement. In measure 61, there is a big stretch for the left hand when you do
hammer-on and pull-off at the first fret on the B string.
Section C
Pretty much the same as Section A but had to notate separately because some parts are different. In measure 66, the
timing of the melody is a bit complicated. I like this kind of change in the middle of the song but you can play just
the same way as in the first run if you want to.
Bridge
Interesting left hand movement on the D chord basis. In measure 89 and 91, there is D augmented. Please look
carefully at the left finger numbers on the chord diagrams. They have different finger positions and the same
movement comes up again as you repeat the same melody. The trick is that when you form D6 in measure 90, hold
the B and G strings together with your middle finger if you can. Again, the software didn’t allow me to put the
fingering the way I wanted for this D6 but if you can hold two strings there, it just feels more efficient in left hand
movement. But this part can be done just as the chord diagrams show as well.
Outro
The last note in measure 103 is done by hammer-on on the B string, 3rd fret with the middle finger. Let the note ring
out as long as possible and keep the middle finger there until the end of the song. The note is not played at the end
of the song in the original recording but Tommy always forms the chord this way and sometimes finishes the song
with an upstroke picking from 1st to 6th strings with his pinky. Through measure 104 to 106, the notes are palmmuted and picked with a thumbpick.
Page 2 of 2
One Day
Tommy Emmanuel
from the album IT"S NEVER TOO LATE
Written by Martin Taylor
Arranged by Tommy Emmanuel
Transcribed by Akira Satoyoshi
Dropped D
1=E 4=D
2=B 5=A
3=G 6=D
Intro
H
1
H
P
H
2
P P
H P
P P
H P
3
S-Gt
Capo. fret 2
H
0
H
0
P
2
5
H
2
4
5
2
Bend
H
H
7
H
P
H
9
H
9
5
H
7
2
Bend
8
10
0 1 0
(<12>)
<12>
<12>
<12>
Bend
7
3
6
(2)
H
5 2 0
<12>
<12>
(2)
2
7
9
7
P
8
H
7
10
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
7
10
1/12
H
10
H
P
11
H
0
(10)
0
H
2
P
H
5
2
2
P
5
P
2
H
15
P
1
0
P
14
0
P
P
13
3
P
<12>
<12>
H
H
12
P
2
0
2
2
(2)
<12>
<12>
P
16
H
H
17
18
P
0
3
H
H
0
H
3
0
3
H
20
H
0
0
H
2
(3)
P
19
<12>
H
P
5
H
2
P
P
H
P
P
P
H
P
21
(2)
<12>
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
2
5 2 0
3
0
1 0
2
2/12
22
23
(2)
2
24
(<12>)
<12>
<12>
<12>
(2)
Bend
H
Bend
Bend
H
H
25
P
H
26
H
10
7
27
H
9
H
5
7
7
9
7
P
8
H
7
10
H
28
7
H
29
H
(10)
<12>
P
H
0
H
P
2
H
0
3
0
P
2
5
P
2
5
2
<12>
32
P
P
P
31
5
P
30
0
P
10
33
P
1
0
2
2
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
(2)
3/12
P
34
35
36
P
2
(2)
0
(0)
<12>
<12>
A
D5
P
D/C#
Dmaj7/F#
Bm
H
H
7
- - - 12 -
- 3 - 121
37
3 - - 114
3 - - 114
38
P
3
39
H
0
2
H
3
3
0
3
2
5
7
9
7
5
(0)
4
A(no5)F m(no5)/A
5
1- -3-4
D
2
- - -3-2
2
2
0
9
5
3 - - 121
10
7
7
0
G
2
10
4
0
D/F#
2
Asus4/C#
2
- - -1-2
Bm
2
- - - 132
2
- 4 - 13 -
- 1342 -
H
40
41
42
H
(2)
(2)
0
2
3
7
7
5
0
7
7
5
2
(7)
6
2
(0)
0
(3)
2
2
0
0
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
2
3
0
2
4
3
2
4
4
4/12
Asus2add13(no5)
E7/G#
2
A7
3
- - 34 - -
Dadd11/A
5
4 - - 21 -
- - 1211
43
0
4
0
5
5
4
(0)
0
7
7
5
6
6
5
0
6
5
7
7
9
2
- 1312 -
2
3 - 1241
46
10
10
F 7(no5) F 7( 5)F 7(no5)
A/F#
H P
- 32 - - 4
45
0
3
4
7
- - 1341
44
(3)
G
5
G
2
3 - 1221
47
0
0
9
3
3 - 1241
3 - - 21 -
48
H P
10
7
9
109
12
10
11
9
G(no5) D/F#
3
10
9
5
3
2
2
3
3
(2)
(3)
(3)
3
4
4
A 6( 5)
4
0
5
Bm
3
114 - 2 -
2
- - 432 -
49
5
3
4
G/A
H
2
3 - - - - - 3 - - 12 -
3
(3)
4
Em9
2
0
- 12 - 4 -
50
- 1342 -
51
H
0
0
3
2
5
4
0
3
0
4
2
2
0
4
0
(0)
(4)
3
0
3
0
5
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
4
0
3
2
1
0
3
2
4
4
5/12
D6add9/A
E7
Dadd9/F# G5
2
2
- - 342 -
2- -1- -
H
Dadd9/F#
3
3 - - 12 - 4 - - - 2 -
2
3 - - 12 -
114 - 2 -
P
52
53
H
0
Em9
2
54
P
2
20
3
1
0
0
1
2
0
1
3
2
2
4
0
3
0
0
0
0
5
0
3
2
(0)
3
0
4
4
2
2
4
0
3
B
G/A A 5( 5)
3
3
D
Asus4/F#
2
- - 432 - - - - 1 - -
- - - 132
4- - - - -
57
H
4
0
3
5
3- -1- -
P
56
0
D/F#
2
3 - - 12 -
H
55
G
2
0
3
P
2
3 2
0
0
0
2
3
0
0
4
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
5
2
10
7
0
9
9
4
6/12
A(no5) F m(no5)/A
G
5
5
1- -3-4
2
- - -3-2
D
Gsus2
2
- - -1-2
Asus4
2
- - - 132
D
2
4 - - 12 -
- - - -2-
7
0
7
5
2
6
2
0
H
2
2
2
0
5
0
G
2
4- - - - -
0
3
3
2
Em/A
2
- -1- - -
0
5
2
4
0
Asus4/G
2
2
- - 412 -
H
63
H
H
0 1 0
3
Asus4/D
- - 112 -
62
H P
0
4
1.
61
2
2
0
2- - - - -
H
H
3
0
2
- - -1-1
H P
2
Em7
2
3- -1- -
P
0
(3)
0
5
F m(no5)/A
D/F#
P
60
H
7
3 - - 12 -
H
59
7
2
- - - 132
H
58
Asus4/F#
2
H
2 3
2
2 4
2
0
0
0
0
0
3
2
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
0
2
0
3
3
2
2 4 4
2
2
5
3
0
0
7/12
C
2.
Em7
Em/A
2
D
2
2- - - - -
D/C#
2
- -1- - -
- - 312 -
64
Bm
2
H
7
- 3 - 121
3 - - 114
65
66
H
0
(0)
(0)
3 0
0
0
3
3
(2)
2
0
2
Dmaj7/F#
2
4
0
5
10
7
9
7
9
F m(no5)/A
5
3 - - 121
10
7
7
0
4
G
2
3 - - 114
3
0
D/F#
2
2
1- -3-4
D
Asus4/C#
2
- - -1-2
2
- - - 132
- 4 - 13 -
H
67
68
69
H
5
2
2
2
0
7
3
7
0
4
5
7
0
6
6
(0)
5
Bm
2
4
0
4
0
4
(2)
(2)
4
- - 1211
71
3
(2)
0
5
4 - - 21 -
70
0
A7
3
- 1342 -
2
0
E7/G#
2
2
0
(3)
2
72
3
4
0
0
0
5
5
7
7
6
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
5
6
0
5
6
7
7
5
8/12
G
F 7(no5) F 7( 5) F 7(no5)
A/F#
H
7
P
9
- 32 - - 4
2
- 1312 -
73
3 - 1241
74
H
10
0
0
9
10
10
7 9
G(no5)
3
D/F#
3
3 - - 21 -
2
3- - - - -
76
3 - 1221
3 - 1241
2
3
3
5
3
P
10 9
12
10
9
11
0
10
3
(3)
5
3
2
4
H
4
4
G/A
A 6( 5)
- - 432 -
- 12 - 4 -
Em9
2
3 - - 12 -
2
75
9
G
2
3
114 - 2 -
77
78
H
3
4
0
0
4
0
5
3
2
5
Bm
0
3
0
4
4
D6add9/A
2
0
4
2
2
0
(0)
3
E7
Dadd9/F#
H
2- -1- -
H
2
4
4
0
2
4- - -2-
80
3
Dadd9/F#
3 - - 12 -
P
79
0
1
3
3 - - 12 -
0
3
G5
2
- - 342 -
0
4
5
0
2
- 1342 -
0
3
(0)
81
P
2
20
3
1
2
0
1
0
1
3
2
2
4
0
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
3
0
5
0
0
0
3
2
0
4
9/12
A 6( 5)
Em9
Bm
2
D6add9/A
2
114 - 2 -
- 12 - 4 -
E7
- 1342 -
2
- - 342 -
2- -1- -
H
82
84
H
2
0
4
2
0
0
3
G5
2
Dadd9/F#
3
4
3
0
0
0
5
3
2
2
4
0
3
- - 432 -
- - -1- -
87
3
0
4
2
2
4
0
0
1
A 5( 5)
G/A
3
0
3
2
(0)
1
2
86
3
0
1
0
114 - 2 -
85
20
4
2
3 - - 12 -
P
2
Em9
2
4- - -2-
0
3
2
1
3 - - 12 -
P
83
3
0
4
Dadd9/F#
2
2
4
5
0
3
4
3
5
0
Bridge
Daug
D
2
D6(no5)
2
- - - 132
2
- - - 231
H
- - - 321
P
88
P
P
89
H
(0)
0
(3)
0
0
90
P
2
20
0
P
3
(0)
2
P
0
3
0
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
3
0
2
3
(0)
4
0
3
0
0
10/12
Daug
Daug
D
2
2
- - - 221
2
- - - 132
P
- - - 231
H
91
P
P
92
93
P
2
H
0
3
4 3
(0)
0
3
3
(0)
0
P
2
0
0
0
(0)
2
0
3
3
0
0
Outro
Daug
P
2
P
2
- - - 321
H
H
P
- - - 221
94
95
96
P
2
P
0
2
3
4
4
(0)
0
H
0
0
3
0
H
P
P
P
H
H
P
2
P
5
2
99
P
5
H
2
P
98
2
0
<12>
<12>
0
97
(2)
3
0
D6(no5)
3
(0)
P
2 0
5
P
2
H
0
3
0
P
1
0
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
2
2
11/12
P
100
P
101
102
P
2
(2)
<12>
3
P
2
0
(0)
(<12>)
<12>
P
H
H
103
104
P
3
H
0
105
H
3
0
3
(3)
(3)
0
0
0
2
4
0
0
0
0
E11(no5)/D
- - 412 -
106
107
108
0
2
4
0
0
109
0
0
2
4
0
0
0
0
2
4
0
1
4
0
0
110
(0)
(0)
Copyright © Transcribed by Akira Satoyoshi - Nov 2015
All Rights Reserved - International Copyright Secured
12/12