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Ted’s Arrangement from April 19, 1985, with compilation pages by Paul Vachon

Ted's Original Lesson sheet
FineAndDandy.pdf

My compilation pages, changes and comparisons
FineAndDandy_Ted GreeneArr_notation_grids_p1.pdf
FineAndDandy_Ted GreeneArr_notation_grids_p2.pdf
FineAndDandy_Ted GreeneArr_notation_grids_p3.pdf
FineAndDandy_Ted GreeneArr_notation_grids_p4.pdf

Kay Swift wrote this song in 1930 as the title tune for a Broadway musical.  She is best known as the woman-George-should-have-married, on the pages of every Gershwin biography. 

Ted wrote this arrangement in the key of Eb with instructions at the end for a modulation up a minor 3rd to Gb.  I wanted to show how the same chord forms could be used in the new key, so I took a couple of extra pages to write out the modulation in the new key.  In one spot I used alternate string sets for the chords, so as not to need to venture too far beyond the 12th fret.  For the modulated key I used the same grid diagrams from the first part, and just changed the chord names and fret numbers to correspond to the new positions. 

This is a nice arrangement, probably for solo guitar level 2 players.  It isn’t too difficult, but there are some challenges.  Please watch the notation for the melody line, as a few of Ted’s diagrams require that you add a note or two of the melody.  If you find any of the chords hard to manage, try finding the same chord on a different string set, or use a simpler voicing according to your current ability.  Below I’ve made a few suggestions to help with fingering some of the more difficult passages

Some comments and fingering suggestions:
P.1, line 1:
For the first chord of the song (Ebmaj7), I believe Ted would have fingered it as, 3,2,11 and then bend the 2nd finger to catch the C note on the 3rd string.  Yes, you could also finger it as, 4,2,1,1 and then use the 3rd finger for the C note, and this is a very clean way to execute this passage.  But Ted really utilized bending fingers quite a bit for moving lines inside chords.  It’s good to get used to this kind of move to prepare yourself for some of the more involved ones.

P.1, line 1:
Notice that for the Bb7(b9) chord you only strike the notes Ab followed by Cb – the other notes are sustained or held over from the previous chord (even though Ted didn’t draw complete tie lines between the diagrams.  Also note that the top G note is held over to the Ebmaj7 chord no the next line.  Just keep the first finger planted on the top 3 strings.

P.1, line 2:
For the C7(#9) chord use the George Van Eps 5th Finger technique to catch the C note on the 2nd string.  Lay the first finger way back and you should be able to get it cleanly.  If this doesn’t work for you, then simply lift the first finger off the 4th string and use it. 

P.1, line 2:
Finger the Bb11 chord as, 3,3,2,1,4 and then lower the 1st finger for the D note.  Here again Ted uses his 3rd finger for a barre across strings 6, 5, and 4.  This may be somewhat awkward at first, as the 3rd finger is usually not as flexible for the backward bends as the other fingers, but work with it.  Ted often said that Nature will give way if you persist in your efforts.  (Or you could finger this as, T,3,2,1,4)

P.1, line 3:
Use your 1st finger to barre all six stings on the 8th fret when playing the Eb9.  This will allow you to easily play the moving line without losing the sustain of the other notes.

P.1, line 4:
Finger the Db13 chord as follows, 3,3,2,1,1 and then use the 4th finger for the Ab note on the 2nd string.  If this is a new fingering for you it’ll requires some work to make it smooth and clean.  I’m assuming that Ted intended to keep the 3rd finger barre for the next chord as well.  You may also wish to apply a 1st finger barre for at least the top three stings on the 6th fret, if you can manage it.  The Gbmaj7 and Gbmaj9 that follow indicate to sustain the notes on the top three strings, yet you only strike the 4th and 5th strings.

P.1, line 4:
Finger the Fm7/11 to Bb9 chord-move as follows, 4,3,1 and keep the 1st and 3rd fingers planted throughout the move.  After you play the D note on the 5th string, keep that finger planted as you play the C note on the 6th string with the 4th finger.  Ted wrote, “sustain” and drew a line to that D note. Play this descending bass line as quarter-notes.  No need to rush it.  Try to make the Bb melody note sustain above the moving bass line.

P.2, line 1:
Finger the first Ebmaj7/6 (no 3rd) chord as follows, 3,4,2,1 and then just pull the 1st finger and 4th finger closer for the next chord:  first finger up ½ fret; 4th finger down ½ fret.  Keep the bass note sustained.  This is a big stretch, but it’s not impossible.  Work it. 

The Ebo7/Ab has the word, “frag” written as part of the chord name.  I believe that Ted meant “fragment” since this diminished chord has only the Root, b5 and 6th (bb7), but no b3 at all.  Also notice that the natural 5th is in the bass as a pedal tone.

If you choose to play the Eb bass note on the Bb13(b9) chord (as indicated by Ted on the diagram), this would then be a Bb11/13 (b9) chord.

P.2, line 2:
Finger the Gm7(#5) to Ab chord-move as follows, 1,1,1,2  to  1,4,3,2 and keep the 2nd finger planted.

P.2, line 2:
The A(m)7/11(b5) chord isn’t technically a minor chord because no 3rd is present, but it’s implied, that’s why Ted put parentheses around the “m”.

P.2, line 2:
Finger the Bb7sus4 to E7(#11) move as, 1,3,1,4,1,1  to  3,3,1,4,(1).  Keep the 1st finger full-barre down for both chords.  The 3rd finger employs a double-stop on strings 6 & 5.  The top Bb melody note is sustained but not struck on the E7(#11) chord.

P.2, line 3:
Finger the Bbm9(b6) move as follows, 1,2,1,1  then add fingers 4 and 3 for the C and Ab notes on strings 4 and 2  (the X notes).  Then for the Gb and F notes (the Square notes), use which ever of the free fingers you want for the Gb note on the 5th string.  Keep the first finger full-barre down for the duration of the inner voice moves.  Notice that the melody line has the Ab twice, whereas Ted’s diagram only shows it played only once.  Play it again.

P.2, line 3:
Finger the Eb7(b9) as, 3,2,4,2 then add the first finger for the G note on the first string.

P.2, line 4:
Finger the Eb to F9/Bb to Fm9/Bb to Bb13(b9) passage as follows,
3,1,2,1  to  3,4,(1),2,1  to  4,3,2,1,1 to 4,3,2,1,1. 
You’ll need to use the GVE 5th Finger technique on the Fm9/Bb chord.  The tip of the first finger plays the 2nd string, and the side of the first finger catches the G note on the 1st string.

P.3, line 1:
For the Tag section, Eb – Eb7(#5) – Cm – Eb7(#5) – Ebmaj7, please notice that Ted has two moving lines in contrary-motion going on here:  a descending bass line of Eb, Db, C, B, Bb and an ascending chromatic inner line of Bb, B, C, Db, D.  All the while the G note and Eb on top remain unchanged. 

P.3, line 1:
At the end Ted wrote, “To Gb, up tempo, cut-time, I-vi-ii-V vamp”  I included the 4-bar vamp followed by the entire song modulated up a minor 3rd to the key of Gb.  It’s essentially the same arrangement using Ted’s diagrams (with a few exceptions).  It ends on the Gbmaj7, stopping before modulating again!

I hope these pages help in learning this arrangement.
-- Paul
 
   
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