I don't know of books either.
What I can say is that that arrangement is in an alternating bass style, aka Travis picking; rather than conventional jazz chord melody style.
The process - and I once did a very similar arrangement of that same tune, many years ago - begins by learning the melody. The way I did it was by reading it in a songbook (I can read notation, which helps
). That gave me the chords too, of course, so I had to work out a key in which I could play the tune while also playing an alternating bass line. (I think I did it in E, or maybe drop D.... the guy in that video is doing it in A, tuned down a half-step.)
Then it was just a question of practising it phrase by phrase; working out fingering, trying different positions - this is the stage where I'd try different keys to see which sat under the fingers best, and maybe different tunings if that made it easier.
Obviously the melody is the thing: you need to be able to play that with fingers only (or largely fingers), to leave the thumb free for the bass.
As I said, I did it myself many years ago (so long ago I forget the key I did it in!*). I'd been playing alternating bass style for maybe a few years, and it was a challenge to see if I could arrange a well-known tune in that style rather than just transcribe recordings. I got it working OK (probably not as well as the guy in the video!), but then moved on to other stuff and basically forgot it.
I'll stress I knew practically nothing about music theory then, and I certainly read no books on how to play like that (there were none in those days!). I could read music, and I could transpose a chord progression; and I had a reasonable knowledge of the fretboard. My ear was not very good, but good enough to work out recordings by ear if I slowed them down (with a 2-speed tape deck); that's how I learned alternating bass, just by listening and copying. And lots of practice of course!
It goes without saying you need to be highly skilled technically to manage something like this. You need to not only know plenty of shapes, in various places on the neck, for any one chord; you need to be able to shift quickly and smoothly between various voicings too. And of course have full independence of thumb and fingers. (For the usual jazz "chord melody" style the latter is not quite so important: you don't often need to keep a 4-beat bass line going all the way through, regardless of what the melody is doing!)
(*I've just experimented now, and it seems to work well in A - as that guy plays it - but I can also do it, after a fashion, in E and C, although the bridge is tricky in any key. One of the problems with this tune is it has quite a big range - as well as the rapid melodic flow, with arpeggios in the bridge. In contrast, the A section is pretty straightforward: simple chords at least.)
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Originally Posted by gilcarleton
..... seems that I'm doing a great job of stimulating every ones economy. Haven't you felt it?