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Ted’s Arrangement, with compilation pages by Paul Vachon

Ted's Original Lesson sheets
But Beautiful_TedGreene_05-04-77.pdf
But Beautiful_TedGreene_04-14-83.pdf
But Beautiful_TedGreene_12-07-85.pdf

My compilation pages, changes and comparisons
But Beautiful_1.pdf
But Beautiful_2.pdf
But Beautiful_TedGreene_grids_changes_notation1983_v1.pdf
But Beautiful_TedGreene_grids_changes_notation1983_v2.pdf
But Beautiful_TedGreene_grids_changes_notation1985_v1.pdf
But Beautiful_TedGreene_grids_changes_notation1985_v2.pdf

In 1977 Ted made a lead sheet for of this tune, which he wrote the basic chord changes along with his enhanced changes.  Then in 1983 he wrote an arrangement using his chord grid boxes, but apparently didn't finish it. In 1985 he wrote another more detailed arrangement using many of the same moves from the '83 version. 

I made a compilation lead sheet showing Ted's chord changes with the "standard" changes from some common jazz fake books.  It's interesting to see how he heard & thought differently compared to the common changes.

1983 Version
This is almost an "outline" format - some of the melody notes need to be added – the first chord is even left blank!  You’ll need to refer to the notation to get the melody right. 

Ted wrote navigation directions with a Coda and D.C. al Coda – but no Code was given (or, if it was on a second page, that page is missing).  I took the liberty to repeat the chord boxes for the repeated 8 measures on the top of page 2 in order to make the arrangement easier to follow.  The last 8 measures are blank, since Ted didn't finish this.

The Eb9#11 chord in parenthesis in measure 11 is meant as an alternate fingering for the chord that follows it; choose one or the other, not both.  However, the Bb9#11 chord in parenthesis in measure 13 can be played as a substitute for the chord that follows it, or you can play both of them. 

In measure 6 Ted wrote "gradually" on the E13b9 chords – I believe he meant that the chord should be arpeggiated, rather than strike all the notes at once, which sounds a bit harsh that way.

1985 Version:
For measure 5 Ted wrote for the Gmaj7 chord, "Or re-strike as D, F# on the 3rd & 2nd strings" – instead of holding the D and G notes, you can play the D and F# (on the 2nd string), followed by the melody of B to Bb.  This is a nice variation and it's easier to execute.

In a few places Ted wrote on the chords "play 3 times" where the melody is actually repeated only twice or even just once.  Refer to the music notation.

For the fill in measures 15-16, he wrote, "Try various phrases of this.”   For the C triad with the 3rd in the bass he wrote, “or Bb6(no R)/F.” For measure 18 on the B7#9#11 to E13(b9) he wrote, "Roll 1st finger sideways while still barring." In measure 18 on the Emaj7 or Abm he wrote, "or use Bb11." The final 2 measures Ted added a delayed resolution Tag – instead of going to a final G chord, he played Eb/Bb followed by a series of chords that finally resolve to Gadd9.

During Mark Levy’s January 27th 1992 recording of a lesson with Ted, they briefly talked about this tune “But Beautiful” – it’s worth a listen if you want to hear a taste of Ted playing it. 


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