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
My compilation pages, changes and comparisons
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.