Ted Greene Arrangement - December 3, 1984
Compilation pages by Paul Vachon
Ted's Original Lesson sheets
My compilation page, changes and comparisons
This is a pretty difficult arrangement, but if you make a few adjustments according to your ability, you can play this piece with a little practice. Below I’ve made a few suggestions for easier voicings of the more difficult passages. You may need to make additional modifications if some of Ted’s chords present too many challenges. Remember that this song sounds best with a slow, relaxed groove, so don’t hamper that with chords that are impossible for you to play at this point.
At the top of the page Ted wrote: “Solo Guitar Outline – The word outline is used because you have to add at least Rt. hand delays or rolls to fill up the holes.” Ted expected the player to apply techniques in order to fill-in or color the “holes” or spots where the harmony sustains for 2 beats or more. “Delays” are when you separate the voicings in a chord and play one part, then the other. You might think of this as the melody part and the harmony part playing independently. “Rolls” refers to arpeggios or arpeggiated chords. You can also do short little bass runs between chords if there is enough time.
Some comments and fingering suggestions:
P.1: For the first chord Ted intended that the little finger play the E on the 2nd string and then bend backwards to play the A melody note on the 1st string. Ted was amazing in his ability to bend his 4th finger backwards for barring without moving the other fingers. If you find this move difficult here (as I do), you may have to simply lift the 4th finger off the 2nd string and play the A note. You may also wish to play the F#7 chord on the 3rd beat of the measure, delayed from the melody.
P.1, line 1: You may want to add the optional A melody note to the Am9 chord (not included on Ted’s chord diagram), this is part of the melody of the song, and I’ve include the note in parentheses.
P.1, line 2: You might find it easier to play the C9 on strings 5,4,3,2 instead. Use the same notes, but in the first position of the guitar. It seems to flow better here, and you can add a short descending bass line from the D of the G6 chord to the C of the C9 chord (D – Db – C).
P.1, line 3: You may wish to add the optional B melody note to the B13 chord (not included on Ted’s chord diagram). If so, finger the B13 as: 1, 1, 2, 3, 4 and then simply lift the 4th finger for the B note.
P.3, line 2: Finger the G7#11 chord as: 2,4,2,3,1,open. If this is too difficult, then just drop the 5th (D) on string 5.
P.3, line 2: Finger the Em6 – F#+/#9 chords as follows: open,1,4 to 3,1,4,2. Do a little slide with the 4th finger for the C# – D melody line.
P.3, line 3: The Em7/11 is a difficult voicing, especially with the moving line on the top string. You may wish to re-voice that chord as follows: R, 5, R, b3, b7, R to make it a little easier.
P.4, line 1: The Bm – G – E – Em9 – Bm7 move is pretty slick. Finger it as:
3,1,1 to 3,1,4 to 3,2,4,1 to 3,1,4,4 to 3,1,4,4,2
When it comes to the move of the E to the Em9, Ted employs the used of his flexible 4th finger to barre the 3rd and 2nd strings while sustaining the 6th and the 3rd strings. If you can do this, great…if not, you just have to lift the fingers here.
Now, from that Em9 chord, Ted goes to the Bm7 chord while keeping the fingers in position on strings 6, 3, and 2. The movement is just on the 4th string, moving the 1st finger down a ½ step. Very nice, but difficult. If this is too difficult, you may wish to voice that chord with a barre on the 7th position as follows: R,5,b3,b7, then lift the b7 to get the F# note on the 2nd string.
P.4, line 2: Finger the G#m7/11 – C#9 – C#7b9 as follows: 1,2,1,3,4 to 3,3,2,1,4 to 3,4,1,1. Try to sustain that top C# note with the 4th finger when moving from the G#m7/11 to the C#9 chord. If playing the C#9 chord with a 3rd finger barre on strings 6 and 4 is too difficult, then you may choose to finger that C#9 – C#7b9 move as: T,3,2,1,4 to T,3,1,1. Ted found it easy for him to use his 3rd finger as a barre, so he probably didn’t use the thumb here.
P.4, line 3: The Bb9 – E7/6 is a long stretch! See page 6 of the compilation for my optional alternate voicings for that passage (which retains most of Ted’s notes).
P.5, line 1: Finger the F\9 as 1,2,4,2.
P.5, line 1: The fingering that Ted wrote for the C7sus4 – Fmaj7 – Fm7 diagram seems to indicate that he intended that the C bass note is sustained throughout the inner-voice movement. This is pretty difficult and awkward. If you can do this, that’s great. If not, then fingering the C7sus4 chord with a barred 8th fret, and then just move the X and square notes without the sustained C bass.
P.5, line 1: The Ebm11 – Dm9 move is rather difficult. It’s just a quick ½-step type of thing. Ted seemed to relish these kinds of close-voiced chord moves, and he played them well. I play this passage by eliminating the lowest note for each chord to make it more doable. Also, put a little slide on it for color.
P.5, line 2: For the D7#9 – G7/6 – C7#9 – F7/6 move, notice that the lowest three notes are descending chromatically. This is easy. Finger this as: 1,2,2,2 to 1,2,2,3 to 1,2,2,3 to 1,2,2,4.
P.5, line 2: Ted plays an F note as the melody for the lyric “find” for the phrase, “…no peace I find…”, whereas the given melody of the song is actually a G note. If you want to play the G note, then instead of the Bb9, play a Bb6 chord (see the voicing of the G6 chord on p.1, line 2). If you do play Ted’s Bb9 chord here, then in order to get the C to C# moving line, lay your 3rd finger down to get the 3rd string.
P.5, line 3: The melody on the G7sus4 chord as given by Ted is F to D. However, the given melody of the song is actually Bb to D. If you want to play this, then use the same chord but move the little finger from the 2nd string to the 1st string.
P.6: For the smoothest fingering of the last five chords, try this:
2,3,4 to 3,2,4 to 3,2,4 to 3,2,4 to 3,2,4,1
Hope this helps in learning to play this arrangement.