Here's a clip of Roy Rogers pretty much combining everything on Robert Johnsons Terraplane Blues.
This might be a bit hard to tab John.
Yes, it would be difficult. Especially his ornate little rapid... intro-licks... before he actually begins the tune, as well as the other intracacies he's added to the original. But then any fingerstyle like that (or hybid-picking as Rodgers used, etc) is fairly difficult to tab note for note whether it's Roy Rodgers or Blind Blake or another master in the style.
We know these old-guys (Johnson, Blake, Fuller, Jackson, Lonnie Johnson, etc, etc) never played their own tunes identically note for note. They played the tune using the style in which they always played. The single time they played a tune and it was recorded just happened to be the version "written in stone" for others, like us, who have followed. We know this to be the case (as in the slightly different alternate-takes of some of Johnson's tunes finally released fifty years later than the original 78s, or Blind Blakes "number 2's" etc. I've met a number of old blues-guys and they never played their tunes exactly the same way as their old recordings. And so this should be taken into consideration when learning their tunes.
This is kind of how I've come to approach (for many years now) learning to play the tunes of these guys (and sort of how I tab them as well). I think of it as more "style for style" instead of "note for note."
First I'll try to learn to play part of the tune... maybe the first verse or a guitar-break intro or solo... actually note for note to the recording. I do this for two reasons: 1} to get the "feel" of the artist's style itself; and 2} so I don't have an excuse for my own lack-of-skill. (Of course there are sometimes things where my skill-level will never match the level of that master, for example Blind Blake or John Jackson's ability to pick perfectly in either dirrection with not only fingers but with their thumbs as well), but generally I try to get it note-for-note at first. (And typically I'll also tab the first verse or intro guitar-break when I do a tab.)
After I have that down pretty much I'll no longer worry about playing it note-for-note from rote-memory. I'll use their key-licks and structure, etc. And if it's an artist who has a number of recorded tunes and whose style and licks from those tunes I'm also familiar with, I'll keep those licks in mind too as I try to play the tune I'm working on. Drawing on that artist's "bag of tricks" in much the same way as the artist himself might. Often you find the same (or very similar) "signiture licks" within a number of tunes of that artist's material. Even in tunes that the guitarist has done in what are different keys and even different tunings you'll often find the same or very similar licks even if played somewhat differently. (For example the "Robert Johnson Walk-In-A" even if done in G, or Open-G or D, or with the added 2nd-string embelishment it's still basically the same signiture-lick.
Johnson's A-walk, done out of the barred Long-A position (003335)....... --5---5------5---5------5---5------5---5----(5)-- ------------------------------------------------- ------------------------------------------------- --2---2------5---5------4---4------3---3----(2)-- ------------------------------------------------- ------------------------------------------------- or with added 2nd-string... --5---5------5---5------5---5------5---5------5--- ------------------------3---3------4---4------2--- -------------------------------------------------- --2---2------5---5------4---4------3---3------2--- -------------------------------------------------- --------------------------------------------------
And so in using that same-sounding lick will immediately make a tune sound Robert Johnson-ish to anyone familiar with the body of his work. He used it or a similar lick in many of his tunes. Terraplane Blues also has it's own Johnson-sig lick (similar to Milk Cow Blues)...
In Open-G (or Open-A)... D}--5----5-5-5----5---5---5-----0---0---0------ B}--6----6-6-6----5---5---6-----0---0---0------(repeat this twice more) G}--0----0-0-0----0---0---0-----0---0---0------ D}------------------------------0---0---0------ G}------------------------------0---0---0------ D}--------------------------------------------- ...or, with added 3rd-string D)--------5---5-5-5---5-5---5-------------------------5-5--5------ B}--------6---6-6-6---5-5---6---0-0-0-----------------6-5--6------ G)--------7---7-7-7---7-7---7---0-0-0--(x3 then...)---7-7--7------ D)------------------------------0-0-0----------------------------- G)----0-------------------------0-0-0----------------------------- D)--0-------------------------------------------------------------
...which is heard repetatively within the tune whether by Johnson or Rodgers. And of course the lick can be used in another tuning, for example Open-D (or Open-E)...
D}--0----0-0-0----0---0---0-----0---0---0------ A}--5----5-5-5----5---5---5-----0---0---0------ F}--6----6-6-6----5---5---6-----0---0---0------(repeat this twice more) D}--0----0-0-0----0---0---0-----0---0---0------ A}------------------------------0---0---0------ D}------------------------------0---0---0------
And so once you become familiar with a given artist's licks and aspects of his style then you can play his material very authentically (or not, dpending on what you want). I know maybe (hard to say really) about a dozen or so Johnson-esque licks plus some variations on them. Maybe twenty-five or so Blind Boy Fuller-esque licks' or Lonnie Johnson's, etc, etc. And so that allows you to play most of their material. Also, not trying to play exactly note-for-note has other positives. The first is that most of the time for most of us we'll never match the original artist and a listener might as well listen to the original. So you've removed yourself from trying to be little more than a human CD-player!

Anyway, I've rattled on enough!