"Saturday Night Fish-Fry" changes in G?

Discussion in 'Tab, Tips, Theory and Technique' started by TeleHawg, Jul 19, 2019.

  1. TeleHawg

    TeleHawg Tele-Holic

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    I had to wing this one last Friday night, and it wasn't all that comfortable. Can anyone suggest reasonably accurate changes in G?

    Following the bass line, it's something like G7 - Bb7 - A7 -Ab7.

    I'm missing the chords for the last line of each verse.

    I think the chorus is basically a repeated G7 to C7, but I'm not sure about the "never heard such scufflin' and shufflin' till the break of dawn" part.

    Does anyone out there perform this song?
     
  2. Wally

    Wally Telefied Ad Free Member

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    Well, outside of all of the movements within the chords; I hear a I, IV, I, V, IV, I structure....with the V and IV taking half a measure each for the turn around. FWIW.....the original is in Bb. Gotta love that horn section. Learn those parts and you are home.
     
  3. klasaine

    klasaine Poster Extraordinaire

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    I used to play that years ago.

    Lets see, the verses will be ...
    || G7 Bb7 | A7 Ab7 | G7 Bb7 | A7 Ab7 | G G7 | C Cm | G7 | Am7 D7 ||

    Chorus ... || C7 | % | G7 | % | Am7 | D7 | G7 | % ||

    Play 9ths and 13ths for a lot of those. When it goes to the IV chord (chorus) I definitely play C9 to G13.
    *Occasionally the rhythm section does a straight I vi ii V in the verses depending on the version you listen to. Also, most of the typical 'jazz' substitutions work on the turnarounds.
    **The guitar on this is a combination of Freddie Greene style (4 to the bar) and riff style blues licks throughout.
     
    Last edited: Jul 25, 2019
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  4. Wally

    Wally Telefied Ad Free Member

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    Thank you for the excellent analysis, Klasaine. My first listening was on a ‘device’ that did not reveal to my aging ears what was going on with that bass. After reading your post this morning, I went back to the video ona better system....and then worked up a quick approach for my limited abilities...in B...on my guitar which is tuned just a bit flat and oddly matched closely to this version...which was probably played in Bb???...and in whatever processes has become a bit sharp in this video??? At any rate, I play a B9 and move down through those half steps with a 13 chord in each of those positions...flatting the 7th on the 4th string out of that big 9th form. Works for a single instrument. With a bass player in the mix, then I might choose another formation.
     
  5. klasaine

    klasaine Poster Extraordinaire

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    Yeah, that vid is solidly in (or near) B natural. Could actually be the key - ? Or, just history taking it's toll on the myriad reproductions and remasters of said vid/rec. I think we did it in Bb. Makes sense. It's a horn band.

    13ths are great, straight 7ths too. I really like a 9th on the IV chord.
    A lot of ways to skin that cat ... or, fry that fish ;)

    Louis Jordan kicked serious a$$!
    In 1956/57 he re-did all his hits, supplementing his original group with a few more horns and (a young) Quincy Jones re-working the arrangements. It's all available on a album called "Rock 'N' Roll" on Mercury/Polygram. *Bonus - Mickey Baker plays guitar on it. Here's a version of 'Caldonia' from that record ...
     
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  6. davidge1

    davidge1 Friend of Leo's

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    Don't all songs like this have the same G6 | G#dim | Amin7 | D7 progression? ...similar to Smoke Smoke Smoke and a bunch of others. I could be way off, but it sounds right when you sing it over those chords.

    That progression was used for turnarounds in slower songs too... pretty much any song by the Ink Spots starts out like that.
     
  7. Wally

    Wally Telefied Ad Free Member

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    David, I tried using those disminished chords going down, and it works unless one is concerned with that bass note....which is Bb,A, Ab...having a problem with the first minor third In those dim chords. Take the Bb bass note. There is a B natural minor third in that Ddim. I don’t know if that is a problem or not....it is a flat 9 to the bass note??? More color???
     
  8. klasaine

    klasaine Poster Extraordinaire

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    The b2 dim7 'works' but it's not what they're doing in this tune.
     
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  9. BigDaddyLH

    BigDaddyLH Telefied Ad Free Member

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    There is more than one way to skin a catfish! The second chord is a passing chord, on a weak beat, so you can harmonize it more than one way.

    Way #1: G6 | G#dim7 | Amin7 | D7. This is among the most common progressions in jazz, I VI ii V. You can think of G#dim7 as a rootless E7, or you can play the E as well for more rub.

    Way #2: G6 | Bb7 | A7 | Ab7. Here you can think of Bb7 as a tritone sub for E7, so it sounds like E7 with a b5 and b9. (Same idea with Ab7.)

    If you superimpose G#dim7 and Bb7 it can sound like a bit of a train wreck ... or not. Probably best to choose one way of the other. Listen to the bass player.

    EDIT: too slow!
     
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  10. DekeDog

    DekeDog Tele-Meister

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    Love this song by Pearl Bailey and Moms Mabley.

     
  11. johnny k

    johnny k Friend of Leo's

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    can you guys post a tab of how you would play that walking line please?
     
  12. klasaine

    klasaine Poster Extraordinaire

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    Which 'walking' line?
    Do you mean the chord shapes for the verses?
     
  13. TeleHawg

    TeleHawg Tele-Holic

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    This is GREAT! Thank you so much!
     
  14. johnny k

    johnny k Friend of Leo's

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    yes sir the chord shape with that walking bass
     
  15. klasaine

    klasaine Poster Extraordinaire

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    Here ya go ...

    SatPMFishFry.jpeg
    *That little G/B in parenthesis is an alternate for the G7 in the second line of the verse (G G/B C Cm).

    **The alt. chords (as in alternate) are just different grips that work well. They are 13th or 7/6 voicings.
     
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  16. johnny k

    johnny k Friend of Leo's

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    thanks a lot
     
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