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Ted’s Arrangement, with compilation pages by Paul Vachon

Ted's Original Lesson sheet
CantHelpFallingInLove_TedGreene_Arr_1985-05-06.pdf

My compilation pages, changes and comparisons
CantHelpFallingInLove_TedGreene_Arr_plus_standard_notation_p1.pdf
CantHelpFallingInLove_TedGreene_Arr_plus_standard_notation_p2.pdf
CantHelpFallingInLove_TedGreene_Arr_plus_standard_notation_p3.pdf

Here's another of Ted's arrangements, put into a compilation format with standard notation and Ted's original grid boxes. I also included the original hand-out.

"Can't Help Falling in Love" was recorded by Elvis in the key of F. Ted arranged it starting in G and then modulated twice, each time on the last beat of the bridge. The song is an AABA form, with the bridge being only 5 measures! Ted played it as follows:

A-A-B (modulate down 1/2 step on last measure, beat 4)-A-B (modulate down minor 3rd on last measure, beat 4)-A-TAG ending.

I added the "standard" changes above the melody. Its good to be able to see how Ted reharmonized certain sections. I especially like his substitution of the iv6 for the ii in the 6th measure of the A sections. Nice.

The TAG has a semi-baroque flavor to it, as does the addition of a Plagal cadence (IV-I) on the 8th measure of each A section.

I added notation for the harp harmonics at the end, using the basic pattern of combining harmonics with regular notes. The optional Bb bass note on the 6th string was included in that final chord. Other patterns for the harmonics also work well. For more about the harmonics technique, look in the "Lessons" section of this website, under "Other". There's 4 pages on "Harp Harmonics" that were added in April, 2008 as part of the April Newsletter (great sheets...thanks, Barbara!).

At first glance I thought this was one of Ted's "easy" arrangements, but he always manages to sneak in something to challenge the hands. Ted could easily play the same chord in many different ways, and how or where he played it made little difference to him - so when he arranged a simple song like this he tended to use variations of the same chord. Perhaps this was for the student to see different options, or maybe he wanted different tones from the different string sets. Anyway, when I come across a chord in one of his arrangement that's a big struggle for me, I'll find a substitute that is essentially the same chord, but fits my hands easier...while at the same time being aware of what Ted wrote, and gradually working towards getting that chord to be more friendly to me. This enables me to get through the whole piece without being stopped when I crash into "the monster!"

Be sure to read the note at the bottom of page 3, in which Ted explains how to play this arrangement.

-- Paul

 
   
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