South Sea Island Magic – Arrangement Request and Feedback

[Marcus Wisweh]

Aloha.
I am currently working on one of my absolute favorite pieces, South Sea Island Magic. I am really fascinated by Benjamin Rogers, but I especially love the version by Jules Ah See and Barney Isaacs on the Hawaiian Strings LP by Webley Edwards. I believe there are two steel guitars, and Jules is most likely playing in B11 tuning.
I am still new to this tuning and only have a 6-string steel guitar, so I’d like to ask for your opinion and assistance in making an arrangement. I have attached my draft and would love to hear your feedback or any alternative versions you might have.
Looking forward to hearing from you! Mahalo, Marcus

South Sea Island Magic_Jules Ah See_8String_B11.jpg

South Sea Island Magic_Jules Ah See_8String_B112.jpg

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[Frank Welsh]

I was inspired by this recording back in the 1960's when I obtained the three record Hawaii Calls set. I have learned most of the steel guitar parts and am pretty sure that "South Sea Island Magic" was recorded with C13 tuning. Only one phrase puzzles me and I always wondered if Jules was using his Fender pedal steel to get a particular expression that I can not to this day figure out on non-pedal steel (a single note followed by a minor 6th chord and back to the single note (G). The vocal phrase here is "linger and dream by the sea". Watching Barney reminds me of what a magician he was on the steel with all kinds of tricks and even wacky chord ideas I would never even think of on my own.

Another great tune to learn from that album is "Hawaiian Vamp" which is a good workout with hammer ons, open strings, key changes and lots of slants (C6th tuning again). Also "Whispering Sea" is good to play, fairly easy compared to some of their other stuff.

[Rich Arnold]

I can't give you any advice, but I'd like to hear it when you get it done.
That's one of my favorite Hawaiian tunes!

[Marcus Wisweh]

Mahalo Frank & Rich!
I appreciate your insights and your recommendations for the other songs as well. I'm currently trying it with C13 and I think it fits

Do you happen to have an arrangement for C13? Or does anyone else have ideas or thoughts on this? Would love to hear different approaches!

[Marcus Wisweh]

I've put together another arrangement in C13. I'd love to exchange thoughts on it! I'm unsure about a few spots and think some chords might be played differently. Looking forward to hearing your opinions!

SSIM_Jules Ah See_8String_C13_1.jpg

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[Frank Welsh]

Marcus, your C13th arrangement is very similar to my take on this recording. You have some question marks over the Eb7th chord on the third measure of the second page and this is my problem area. The actual chord used on the recording seems to be a Bb minor 6th but for the life of me I can't seem to replicate the strum that seems to include the melody note and the chord for this particular phrase.

[Marcus Wisweh]

Hey Frank, thanks for the feedback! It might actually be a Bb-6/11 chord (which would basically be the same as an Eb7/9) – that would line up with what’s in the pic. The notes seem to check out.

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[Bruce Roger]

Hey Frank, thanks for the feedback! It might actually be a Bb-6/11 chord (which would basically be the same as an Eb7/9) – that would line up with what’s in the pic. The notes seem to check out.

I think the guitar player is playing a Bb dim7 with a G on top; bass playing Bb. I'd play a Bb. In his C13 tuning you have an Ab on the 7th string to go with the F and D if you want to substitute a Bb7. Using Bb would also conform to a typical I-IV-I-V7 turnaround (except that the V7 is swapped out for an E7 to modulate to the key of A for the bridge).

[Frank Welsh]

I think I solved the puzzle for playing that phrase covered by the E7th chord as found in the sheet music. To my hearing after repeated listening to the phrase in question, I'm sure that the actual recording is using a Bb minor 6th instead of E7th for the chord and the steel can get the chord and melody note easily with a three note slant --- tip of bar hits strings 3 and 4 at the tenth fret with the bar slanting back to the note on the fifth string at the ninth fret. This gives the notes G, F and C# for that Bb minor 6th effect that I seem to be hearing. Give it a try while playing along with the original recording.

Bruce, I agree that the guitar player on the recording can add notes to what the steel player is playing which adds to our confusion, trying over 65 years later to find out how they did it. Sometimes the "Hawaii Calls" group would play their beautiful signature three part harmonies with two steel guitars and one standard electric guitar and drive me nuts trying to figure it all out.

If only we could just talk to all these guys back then.

[Marcus Wisweh]

Aloha Frank & Bruce,

It’s truly fascinating how much depth these old recordings have – and how many secrets they still hold after all these decades. Frank, I tried your description of the slant right away – and it feels like Jules, for sure! And Bruce, your thoughts on the Bb-dim7 with G on top are really intriguing – I think it’s these kinds of ambiguities that make the piece so magical. I’m currently listening to the Tape Room Session – that’s going to be another exciting one to dig into.

By the way, does anyone happen to know if there are any sheet music or transcriptions available for these recordings? I love figuring things out by ear, but with two steel guitars and a regular guitar, it can sometimes turn into quite a long-term project, as you know.

Mahalo for all the insights – looking forward to more discussions as I continue to dive into this!

Marcus