| T O P I C R E V I E W |
| RWD |
Posted - 06/30/2010 : 12:53:27 PM
I listened to "How'd Ya Do" on the way to visit a customer yesterday. It's a very cool jazzy/Hawaiian sounding number and I really liked it.
Does anyone know the chord progressions and willing to share?
Is it standard or slack tuning?
And, did Gabby play steel or guitar?
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| 15 L A T E S T R E P L I E S (Newest First) |
| mike mccrary |
Posted - 10/03/2013 : 5:31:09 PM
And, I actually play Cm7 and F7. I don't have much formal musical training, so I don't always get the names of chords correct (and since I play rhythm, I often substitute chords). However, you are quite right and I am attaching the chords with your corrections. Thanks, again. Originally posted by mike mccrary
Basil: You are correct. What I wrote and what I play are sometimes a little different. Thanks.quote:
Originally posted by Basil Henriques
quote:
Originally posted by mike mccrary
I play rhythm guitar in standard tuning. We do it in F. See below for the chords.
How D’ya Do
KEY OF F
4 BEATS FOR EACH CHORD
Gm7 C7 Gm7 C7
F Am Dm F#dim
Gm7 C7 Gm7 C7
F Eb9 F
BRIDGE:
Cm7 F7 Cm7 F7
Fm7 Bb7 (or 9) Fm7 Bb7 (or 9)
BACK TO TOP
OK Mike, firstly PLEASE do not think that this is a personal attack, it's just my opinion and an attempt to get discussion on the matter.
You use Fm - Bb7 (or 9th) x2 in the last part of the middle section. I don't disagree with the usage, but pose the question... Why then is the F after the Cm in the first part of the middle section not also a 7th.?
In my book the Cm should be Cm7 and the F an F7, the reasoning is that the Cm7 is purporting to be an F11th with a Bb top note resolving to an F7th with an A top note..at least that's the melodic way.
[/quote] |
| mike mccrary |
Posted - 10/03/2013 : 4:30:54 PM
Basil: You are correct. What I wrote and what I play are sometimes a little different. Thanks.quote:
Originally posted by Basil Henriques
quote:
Originally posted by mike mccrary
I play rhythm guitar in standard tuning. We do it in F. See below for the chords.
How D’ya Do
KEY OF F
4 BEATS FOR EACH CHORD
Gm7 C7 Gm7 C7
F Am Dm F#dim
Gm7 C7 Gm7 C7
F Eb9 F
BRIDGE:
Cm F Cm F
Fm Bb7 (or 9) Fm Bb7 (or 9)
BACK TO TOP
OK Mike, firstly PLEASE do not think that this is a personal attack, it's just my opinion and an attempt to get discussion on the matter.
You use Fm - Bb7 (or 9th) x2 in the last part of the middle section. I don't disagree with the usage, but pose the question... Why then is the F after the Cm in the first part of the middle section not also a 7th.?
In my book the Cm should be Cm7 and the F an F7, the reasoning is that the Cm7 is purporting to be an F11th with a Bb top note resolving to an F7th with an A top note..at least that's the melodic way.
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| Basil Henriques |
Posted - 09/17/2013 : 1:23:22 PM
quote:
Originally posted by slipry1Where is it that I wander to, Bas? Your website?
quote:
Originally posted by Basil Henriques
just wander over to the Steel Guitar section and you'll fine the tab of Jules Keliikuihonua Ah See version `verbatum` 
..not easy mind you..It took me a few hours to figure out the tricky harmonics section, I can see why so many dodge that part..
The Steel Guitar Section I refer to would be HERE |
| slipry1 |
Posted - 08/30/2013 : 10:59:27 AM
quote:
Originally posted by Basil Henriques
quote:
Originally posted by slipry1
Bas - I try to play as closely as I can Jules' version. I agree about Jerry's version. He even changed the tuning so he could get a chord at the end.
Good that you appreciate the definitive Electric Steel Guitar version, in that case, just wander over to the Steel Guitar section and you'll fine the tab of Jules Keliikuihonua Ah See version `verbatum`
..not easy mind you..It took me a few hours to figure out the tricky harmonics section, I can see why so many dodge that part..
Where is it that I wander to, Bas? Your website? |
| Kapila Kane |
Posted - 08/29/2013 : 2:31:48 PM
Not sure I can do this justice, but it is theory...
and theory is fun, sorta.
when a chord that is minor moves up a 4th (down a 5th), and moves to a Dominant 7th,
that is a preparation for the Dominant, even if temporary..., and also possibly a temporary circle of fifths in the progression, is happening.
So c minor could just as well be cm7, same dif, just an extension of 3rds.
and as to the 9th chords.
any dominant 7th can take on another 3rd in the "stack" of 3rds...1,3, 5, 7 , 9...yada yada.
but if the 11th in a dominant is a sharp 5, or is it flat 5?
well that's a horse of a different color.
but a minor 7th chord, when moving up a fifth, if it has an diatonic (unaltered) "11th" , well the 11th is usually is usually just a sus 4--COLOR.
I think.
therefore I am.
difficult. |
| Basil Henriques |
Posted - 08/22/2013 : 05:04:47 AM
quote:
Originally posted by mike mccrary
I play rhythm guitar in standard tuning. We do it in F. See below for the chords.
How D’ya Do
KEY OF F
4 BEATS FOR EACH CHORD
Gm7 C7 Gm7 C7
F Am Dm F#dim
Gm7 C7 Gm7 C7
F Eb9 F
BRIDGE:
Cm F Cm F
Fm Bb7 (or 9) Fm Bb7 (or 9)
BACK TO TOP
OK Mike, firstly PLEASE do not think that this is a personal attack, it's just my opinion and an attempt to get discussion on the matter.
You use Fm - Bb7 (or 9th) x2 in the last part of the middle section. I don't disagree with the usage, but pose the question... Why then is the F after the Cm in the first part of the middle section not also a 7th.?
In my book the Cm should be Cm7 and the F an F7, the reasoning is that the Cm7 is purporting to be an F11th with a Bb top note resolving to an F7th with an A top note..at least that's the melodic way. |
| Basil Henriques |
Posted - 08/22/2013 : 04:47:33 AM
quote:
Originally posted by slipry1
Bas - I try to play as closely as I can Jules' version. I agree about Jerry's version. He even changed the tuning so he could get a chord at the end.
Good that you appreciate the definitive Electric Steel Guitar version, in that case, just wander over to the Steel Guitar section and you'll fine the tab of Jules Keliikuihonua Ah See version `verbatum`
..not easy mind you..It took me a few hours to figure out the tricky harmonics section, I can see why so many dodge that part..
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| slipry1 |
Posted - 07/24/2013 : 6:51:44 PM
Jerry Byrd played it in A on his B11 neck. You can tell by his use of natural harmonics on the "outro". Gabby played it in C because he had a high G in his C6 tuning. You need that I-III-V (i.e., C-E-G or A C# E0 to play it. I play it in either key but prefer playing it on the B11 neck. |
| mike mccrary |
Posted - 07/24/2013 : 03:53:39 AM
I play rhythm guitar in standard tuning. We do it in F. See below for the chords.
How D’ya Do
KEY OF F
4 BEATS FOR EACH CHORD
Gm7 C7 Gm7 C7
F Am Dm F#dim
Gm7 C7 Gm7 C7
F Eb9 F
BRIDGE:
Cm F Cm F
Fm Bb7 (or 9) Fm Bb7 (or 9)
BACK TO TOP
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| Basil Henriques |
Posted - 07/19/2013 : 11:47:12 PM
Fran, I omitted a word from my statement please re read what I said re: the copyrighted VERSION..
Whilst titles may not be copyrighted per se, the wrong spelling of a title on a return or performance related submission, would see the royalties going either into the "Slush Fund" or to the wrong writers.
"Probably" |
| slipry1 |
Posted - 07/18/2013 : 6:31:00 PM
Bas - I try to play as closely as I can Jules' version. I agree about Jerry's version. He even changed the tuning so he could get a chord at the end. |
| Fran Guidry |
Posted - 07/18/2013 : 09:57:26 AM
Titles cannot be "owned" by US copyright, sorry. You can use "Yesterday" or "Blue Hawai`i" for the title of your own composition with no risk. The copyright applies to the melody regardless of the title, and there's a rule about the number of consecutive notes that constitutes infringement. Enforcement is accomplished by civil action, so there must be a party with rights and sufficient motivation to bring suit. George Harrison could have given you more specific details based on his court experience.
This is expanded somewhat in the modern era by the automated tools used to enforce DMCA on sharing sites like YouTube.
And, of course, copyright is a national issue and varies by the jurisdiction.
Fran |
| Basil Henriques |
Posted - 07/18/2013 : 07:52:11 AM
All the versions mentioned above are surreptitiously avoiding royalties to the original composer.. FWIW..
The Jerry Byrd version is far removed from the original, and it's probably only popular because the tab is so readily available.
Wrong in two respects, the totally unconnected intro (Actually and adaptation of the Andy Iona intro to "Getting Sentimental Over You" ... and also the misspelling of the COPYRIGHTED version's title.
In spelling it the way one would assume it's meant to be, the royalties will actually go to whomsoever recorded a version with that misspelled title. NOTHING will go to the original writers writers (Andrew Iona Long/Lew Pollock) SHAME on those concerned for that bit of devious copyright manoeuvring.
It's one of the classics from the 30’s that endured and became synonymous with Hawaiian Steel Guitars, and is the subject of the tablature in this June's issue of Aloha Dream .
The definitive version being the Jules Keliikuihonua Ah See version featured on so many broadcasts and also on the Capitol album “Waikîkî ” T772.
THIS one.
Recorded originally by Andy Iona and his Orchestra:
Song Title: How'd Ya Do
Performer: Andy Iona and his Orchestra
Record Company: Columbia
Label Number: 35846 (Alb C-39 7/8)
Country/City: United States / New York, NY
Publication Date: 1940-06-06
Matrix Number: LA 2243-A
NOTE: The correct title (Above), oft now misspelled as ‘How D’Ya Do’. (Deliberately ?)
The above version was an instrumental, later recordings
featured lyrics.
Read what I have to say and see the tab of the Jules' version HERE
All in all 'tis a Fine "How D'Ya Do" methinks.. |
| Konabob |
Posted - 08/08/2010 : 06:19:43 AM
I have been trying to get Bryan's version down too. Thanks for the info~
quote:
Originally posted by Momi
Funny that I wandered into this discussion - I've been trying to learn this song based on Bryan Tolentino's excellent version on "Ka `Ukulele Lele." Here's what I figured out last week (roughly - still a work in progress):
Bm7 E7 Bm7 E7 A C#m7 F#m7 (you could also play an A dim there)
Bm7 E7 Bm7 E7 A F A
Em7 A7 Em7
Am7 D7 Am7
Bm7 E7 Bm7 E7 A F A
[warning - key change]
Gm7 C7 (or C9) Gm7 C7 (or C9) F Am7 Cdim
Gm7 C7 Gm7 C7 F Db F
Cm7 F7 Cm7
Fm7 Bb7 Fm7
Gm7 C7 Gm7 C7 F Db F
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| slipry1 |
Posted - 08/06/2010 : 07:08:53 AM
quote:
Originally posted by Kapila Kane
This has been a challenge for me, which goes to the back burner every time.
I wrote out a Makana version...in music, but...
but am frustrated, fingerings seem a little challenging in F Wahine
still can't play it--so far!
done in F,C,E,G,C,E. if my memory works...Big maybe!
and was using 12/8 time to write the syncopated parts...
think I'll go back to the Gabby and Isaacs versions,
So, what original recording might be THE BEST WAY to start with the Old Masters...?
On Jerry Byrd's version (History of the Hawaiian Steel Guitar is a good source CD) Atta Isaacs plays it in C, while Jerry plays it in A. The Gabby Pahinui Hawaiian Band, V2, has Gabby doing it, starting on guitar in C and coming in on steel half way (although it may be Atta, again, on slack key - some of that album was done in the studio, with Gabby overdubbing himself). |
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