Here are the fingerings that I use to play a chord-melody arrangement of W. Hanna, J. Barbera, and H. Curtin's 1960 standard (Meet) The Flintstones from "The Flintstones." I play it in the key of G not the original key of F. I play the song in a lively 4/4 time.
This tune was written using the rhythm changes. Jazz musicians are familiar with the term “rhythm changes,” which is a phrase referring to the chord progressions of “I Got Rhythm.”
K. J. McElrath, Musicologist for JazzStandards.com, explains that "In the first few decades of the 1900’s, record companies began encouraging musicians to reuse chord progressions of existing popular songs. In that way, they could borrow the harmonic formula of a successful song without running afoul of copyright laws. Although the “rhythm changes” are usually attributed to Gershwin’s I Got Rhythm, their exact origin is not known; many of the well-known composers of jazz standards, including Gershwin, mined the early jazz clubs for their material.
Regardless of their origin, the “rhythm changes” have been used for hundreds of published songs. Some examples are, Allen’s Alley, Don’t Be That Way, The Flintstones, The Jeep is Jumpin’, Lemon Drop, Lester Leaps In, Red Cross, Rhythm-a-ning, Salt Peanuts, Shaw Nuff, and Squatty Roo.
Charlie Parker had a genius for writing songs based on the chord progressions of I Got Rhythm. Just a few of these inventions are Kim, Dexterity, Ah-Leu-Cha, Crazeology, Anthropolgy and Moose the Mooch."
Jazz guitarist, John Stowell, commented: "I doubt that George Gershwin could have foreseen that I Got Rhythm would be the basis for dozens of other jazz melodies employing his original changes. The melody is cute and endearing, but it’s the tempo and rapid progression that have made the tune a litmus test for jazz soloists for 70 years."