The old B3 player here used to cover that tune quite a bit "back in the day" - where I was located, you couldn't get a gig unless you had a handle on this one.

I never viewed it as the classic 12/8, for starters.

It is in 6/8.

24 bars of 6/8 for the chorus.

And the Tempo does not really change at that so-called "Double-Time" break.

The Time Sig changes to, get ready, 6/16.

Of course, "sound-wise" as we have to do with BBs Time Sigs, it could be laid out in a variety of ways, possibly would go to using bars of 3 and laying it out that way, which would not make a good chart for reading, but may sound more appropriate at playback that way, and using the doubled Tempo trick at those bars. Never tried this one in BB.

If I had to create a Teaching situation, with audio playback plus charting, I'd likely close BB and try to lay the thing out in RealBand. Especially if you could find a good sounding MIDI file of it already out there somewhere. Then I could also open that MIDI file in a fullblown Notation Software to create written staff that could match it any way you want to lay it out, 12/8 inclusive if you would prefer to go that way. I would lay it out in 6, though, because that to me is the true trick of getting that feel across the choruses and with the fast break.


Yeah, lots out there identify this tune as a 12/8 thang, especially considering all the freebie TAB pages and whatnot, can't speak to them other than to way that I don't think they know enough about it to lay it out "right"...

Incidentally, the Allman's didn't invent this trick, they got it from Jimmy Smith, the man who defined so much of B3 jazz and blues playing, the man who likely single-handedly made the B3 part and parcel of the era's musics, both jazz, pop AND blues. Remember, Jimmy played the Bass parts with his Left Hand on the lower manual, accenting chiffs with the foot pedals, typically off of the Tritone. So, like if he was Walking the LH in F, he would be kickin' the B pedal, just at the initiation of the note, creating the "pluck" sound of the Acoustic Bass. In this great Allman rendition of Stormy Monday, we find electric bass being used to emulate Hammond keyboard bass ala Jimmy, how's that for turnin' it around and back again?


--Mac

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