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  Angels We Have Heard On High  
 

Ted Greene Arrangement - December 9, 1978 and January 17, 1983
Notation by Ted; chord diagrams and TAB by Paul Vachon

Ted's Original Lesson sheet
AnglesHeardOnHigh.pdf

My compilation pages, changes and comparisons
AngelsWeHaveHeardOnHigh_Ted GreeneArr_NotesTabGrids_p1.pdf
AngelsWeHaveHeardOnHigh_Ted GreeneArr_NotesTabGrids_p2.pdf
AngelsWeHaveHeardOnHigh_Ted GreeneArr_NotesTabGrids_p3.pdf
AngelsWeHaveHeardOnHigh_Ted GreeneArr_NotesTabGrids_p4.pdf
AngelsWeHaveHeardOnHigh_Ted GreeneArr_NotesTabGrids_p5.pdf

Ted wrote this arrangement in standard notation and included a few finger and string numberings.  I transferred his notation to the computer then created TG style grid chord diagrams based upon his transcript; I also added lyrics and TAB.  If I found it possible or practical to play any of the chords in more than one position I included the variation above the other grid box.  If Ted provided an optional chord, I included it in a slightly reduced size just next to the other chord.  Optional variations are not included in the TAB.

P.1, line 1:         I added the fingering for the Aadd9 chord.  There are three steps in this chord move.  The whole things is a little tricky, but very doable.  First grab the initial chord, which requires that you use a double-stop with the second finger for strings 5 & 6.  Next, add the little finger on the 3rd string.  And finally, lift the 3rd finger and add a little extra pressure to the side of the first finger to get the A note on the first string.  This is the George Van Eps Fifth-Finger technique. 

P.2, line 1:         The G#m chord on beat 4 of the first measure has a wide spread for the right hand.  This is a chord form I don’t use much, so in order to get comfortable with it’s spacing I practiced this voicing in a harmonize major scale.  It doesn’t take long to get it down.

P.2, line 3:         In order for the A chord to sustain with the moving lines, try barring the entire 5th fret with the first finger.

P.3, line 1:         Finger the E passage as:  3,2,1  to  3,1,4  to  3,1,2,1  then play the D# with the 3rd finger.

At the end of Ted’s original page he wrote:  “Optional from bar 11” and then he wrote out a variation for bars 11 & 12, followed by “And reverse the 2 cadence phrases.”  This meant that the player was to play the variation for measures 11 & 12, and then swap measures 13 & 14 with measures 19 & 20.  (The cadences occur on the lyrics, “In excelsis Deo.”) 

The arrangement formally ends at the bottom of page 4 of the compilation, however, I’ve added an additional page to show the optional variation and cadence switches that Ted mentions.  Please note that p.5, top line:  the first two bars are Ted’s optional variation; and the two bars that follow them have the new cadence from the switch (bars 19 & 20).  And then on p.5, line 3, the first two bars have the new cadence from the switch (bars 13 & 14).  It’s a little confusing to describe, but if you look at the music it should become clear. 

Barbara Franklin wrote about this: “The variations here could be endless for Ted.” 

I hope you enjoy this arrangement.
--Paul

 
   

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