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Ted Greene Arrangements
Compilation pages by Paul Vachon

Ted's Original Lesson sheets
FlyMeToTheMoon_KeyOfF.pdf (Gradual Evolvement to Solo Guitar Texture)
FlyMeToTheMoon_KeyOfE_TedGreene_1984-03-08.pdf
FlyMeToTheMoon_KeyOfEb_TedGreene_ChordOutline1977-06-01.pdf
FlyMeToTheMoon_KeyOfEb_TedGreene_2Arr_1977-06-01.pdf
FlyMeToTheMoon_TedGreeneCompingStudy1983-12-15.pdf

My compilation page, changes and comparisons
FlyMeToTheMoon_KeyOfC_TedGreeneComping_notation_1.pdf
FlyMeToTheMoon_KeyOfC_TedGreeneComping_notation_2.pdf

FlyMeToTheMoon_KeyOfE_TedGreene_grids_notation_1.pdf
FlyMeToTheMoon_KeyOfE_TedGreene_grids_notation_2.pdf

FlyMeToTheMoon_KeyOfEb_Simple_TedGreene_grids_notation_1.pdf
FlyMeToTheMoon_KeyOfEb_Simple_TedGreene_grids_notation_2.pdf

FlyMeToTheMoon_KeyOfEb_Adv._TedGreene_grids_notation_1.pdf
FlyMeToTheMoon_KeyOfEb_Adv._TedGreene_grids_notation_2.pdf
FlyMeToTheMoon_KeyOfEb_Adv._TedGreene_grids_notation_3.pdf
FlyMeToTheMoon_KeyOfEb_Adv._TedGreene_grids_notation_4.pdf

FlyMeToTheMoon_KeyOfF_TedGreene_LinesChordTextures_Notation1.pdf
FlyMeToTheMoon_KeyOfF_TedGreene_LinesChordTextures_Notation2.pdf
FlyMeToTheMoon_KeyOfF_TedGreene_LinesChordTextures_Notation3.pdf

Notes -

Ted Greene Comping Study, key of C - December 15, 1983

This is a pretty easy study.  It isn’t Ted’s usual “comping” study for a tune like this, but rather a collection of chords that utilize open strings (primarily the 1st string) and that all voice well together.  It is meant to be played with finger-style arpeggio “rolls” (as Ted often called them).  Or you can play with a pick!  It sounds great on an acoustic guitar.  Take note of Ted’s fingerings, whenever given. Sing or whistle the melody as you play the changes. 

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Ted Greene Arrangement, key of F – November 25, 1991
This is what Ted called, “Gradual Evolvement to Solo Guitar Texture” and it is the last arrangement he wrote for this tune.  The first part is simply the melody played in 7th position.  Then, Ted adds some other chord tones and moving lines.

For my compilation pages, I wrote out in notation Ted’s complete lines.  I didn’t name the chords, since a lot of it is implied harmony.  You can refer to the basic chords of the chart to see what’s going on in the progression. 

There’s some redundancy in the notation, due to the structure of the song, and I decided not to used the repeats and 1st & 2nd ending markings in order to make the whole thing easier to follow. (Besides, it would have gone on to 3 pages anyway.)

I’m sure that Ted would have emphasized the importance of sustaining the notes of the “chords” while the lines move.  Take special note of Ted’s fingerings whenever given.

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Ted Greene Chord-Melody Arrangement, key of E – March 8, 1984
This arrangement was written years after Ted made two arrangements of this same tune in the key of Eb.  Structurally it is very similar to the “simple” Eb arrangement from 1977, but this one has the added benefit of being in the key of E (a very guitar-friendly key) and utilizes some open strings for bass notes. 

On a few of the chords Ted wrote “Fill”, “Arp.”, or “Arpeggiate” to indicate to play the chord as “broken”, rather than as a block chord on a single attack.

For the G#m7b5 chord at the “1st ending” on p.2, line 3, Ted wrote:  “Or on top 4 strings instead”.  This means that you could play that same notes voiced on the top 4 strings (frets 6,7,7,7) if you wish.

Ted didn’t write anything for the Tag ending so I took the liberty to make some simple suggestions (in blue) in order to complete the arrangement.  Feel free to replace these with your own chord choices.

The two chords in red are Ted’s turnaround from measure #16.  Play these chords if you intend to repeat and then take the 2nd ending Tag.

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Ted Greene Chord-Melody Arrangements in Eb (two plus an outline) – June 1, 1977.
This popular standard was written by Bart Howard in 1954 and was originally entitled "In Other Words".  The song became known popularly as "Fly Me to the Moon" from its first line, and after a few years the publishers officially changed the title to that.  Originally written in 3/4 time, it seems to have transformed and is now more commonly played in 4/4 time.  (I found 6 charts that were written in 4/4 – but only two in 3/4.)

Ted wrote two pages for this song in Eb.  First he wrote out an “outline” of the changes he wanted to use in the arrangement, then he made another page with two versions for solo guitar, a simple versrion and a “more involved version”.  I’ve attached both original pages, but I didn’t put the “outline” together with notation, since this is almost identical to the “simple” version, minus the melody lines on the chord diagrams.  The page with two arrangements first has a basic “simple” version that is for intermediate level solo guitar, then a “more involved version” that has a lot more harmonic movement.  I hesitate to call it an “advanced” level arrangement because most of the chords are not too difficult.  The only part that I feel is challenging is the 2nd ending Tag, which has some chords above the 12th fret.

The “Simple” Eb Version:
I’d suggest to learn this version first before the tackling the “more involved version.”  You may decide later to combine elements of both arrangements into your own “hybrid version”. 

Here you’ll find a number of rare instances where Ted used his star symbol.  As you probably know this is to be played after his triangle symbol. 
Just as a reference, this is Ted’s normal playing order for his chord diagrams: 

O” is an “optional” note.  [For example, see the C9 chord in measure #8.  The “O”s indicate that you can play it either as a C9, C7(b9), or as C7.]

On Ted’s original sheet he posed the following question for the two chords in measure #6:  “What is the significance of the choice of these 2 chords here?”

For the Abmaj9 – Ab9 in measure #11, finger it as 2, 1, 4, 3 – 2, 1, 3, 4 and be sure to keep fingers 2 and 1 planted for a smooth switch.

On page 2, first measure:  for the Abmaj7 Ted didn’t indicate the G melody note that is part of the song here, but you can add it by playing it with the little finger on the 2nd string.

Ted didn’t write anything for the Tag ending, so I took the liberty to make some simple suggestions (in blue) in order to complete the arrangement.  Feel free to replace these with your own chord choices.


The “More Involved Version” in Eb:
The Eb7b9+ in parentheses in measure 4 isn’t an optional chord, but a fill chord.  If you want to get the note on the first string, you’ll need to use the “George Van Eps Fifth-finger slant” technique (using your first finger). Or you can play it as an Eb13 chord with a C note on top, as indicated by Ted’s writing inside the chord diagram.

In measure #5, Ted wants the Ab bass note to sustain as you play the melody in 4ths.  To do this, finger the Abmaj7 chord:  3, 2, 1, 1, 1, and then hold the 3rd finger down as you play.  To get the final “square” notes, you can flatten the 3rd finger down to get the 4th string, or you can lift the finger off the Ab for that last melody note.  Do you best.

The Cm9 in parentheses in measure 8 is an optional voicing.  It’s a bit of a stretch, but it sounds great.  You may wish to play that on the repeat.

For the top F note of the Db9 chord in measure #7 Ted wrote, “Slide this note up from E.”

I added a diagram of the B13b9 chord in measure #9 according to Ted’s directions on his original page.  This is simply dominant chord that’s a ½-step above, leading to the Bb9 chord in measure #10.  Finger that passage as:   Fm7:  1, 2, 4 3  to  B13b9:  1, 1, 2, 4, 3  to  Bb9:  1, 1, 2, 4, 3. 
Be sure to keep fingers 3 & 4 planted to sustain through the move.

On page 2, 4th line of the compilation pages, you may prefer to transfer the Cm7 – G7b9 – Cm7 passage to the top four strings instead.  Keep the same notes, but just on a different string set.  See Bob Holt’s page on “String Transference” in the “From Students” section.

For the Fm to C7 on p.2, line 4, finger it as:  3, 1, 4 to 3, 1, 4, 2.  Keep the first finger planted and simply slide fingers 3 and 4 down ½-step, and add the 2nd finger on the top string.  This is a very smooth chord move.

On page 4, for the 2nd ending:  Ted added the Fm7/11 chord as a fill here.  Even though he didn’t tie the C note on the first string of the previous C7 chord, I’d suggest to add that note as a tied note, and then add the fill melody notes as indicated with the X’s and square.

For the final 6 measures of this arrangement Ted wrote an alternate melody that is very different from the given melody.  I’ve written Ted’s melody in red along side the given melody line (in black).  The chords he chose are mostly above the 12th fret and might be difficult for some, so I added my “optional suggested chords for lower octave” version in blue.  They are basically the same chords but down an octave, although I made some modifications necessary for the lower voicings.  It retains the harmonic substance of Ted’s version. 

I’m not sure where Ted was going with that F13sus/17 chord…check it out yourself to see if it works for you.  Personally I like using the lower Ab13 – G13 – C9 chords as a fill, and then I abandon the rest and play the original melody with basic chords for the ending.  You can check out my compilation pages for Ted’s “Eb Simple Version” of this song for suggested chords I added for the end.  However, I do like the Emaj13 – Ebmaj13 ending that Ted wrote in this version.

This arrangement takes some effort to get it smooth and there are a few challenges along the way, but it’s worth it – a very nice tune.  I hope these pages help you to learn this wonderful Ted Greene arrangement.

Enjoy!
--Paul



 
   
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