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Ted Greene Arrangement - Dec 18, 2000
Compilation pages by P. Vachon

My compilation pages, changes and comparisons

Here’s Ted’s chord-melody arrangement of the very popular 1938 song Heart and Soul by Hoagy Carmichael and Frank Loesser. Ted wrote it out during a private lesson and provided us with some nice reharmonization on the song’s basic I-vi-ii-V progression. Take special note of the modulation at the end of the bridge, moving from the key of E to the new key of Db (or C#)—down a minor 3rd. After you’re comfortable with playing the arrangement, try adding a slow groove to it in order to bring it to life.

Some comments and fingering suggestions: (referring to the compilation pages)
Measure 1: Try this fingering for the E to C#7(#9) chords: 1,4,2,2 to 3,1,2,2. Keep finger 2 planted.
Measure 6: For the F#m11 use this fingering: 1,1,1,2,1 then for the X notes add 3,3,4, then lift those fingers for the square notes. The F# bass note should ring throughout.
Measure 7: I don’t believe Ted intended that the dotted notes should sustain as you play the X notes. Think of them as two separate chord punches.
Measure 10: Finger the F#m7 as: 1(bass note), then for the X notes add 3,3,4, then 1,1,4 for the square notes. The F# bass note should ring throughout. Start out with a full barre on the 2nd fret.
Measure 11: For the A#m7(#5) you could finger it three ways: 1) 3,3,3,4 then 1 for the X note, or 2) 2,3,3,4 then 1 for the X note, or 3) 3,2,2,4 then 1 for the X note. All work fine. You might decide to keep it simple and just play the X note (Gb) on the 2nd string instead. That would allow you to utilize a 6th fret barre (I like this!).
Measure 13: For the C#11 to C11, don’t worry about sustaining the G# melody note. Again, just think of them as two separate chord punches.
Measure 15: Ted added a hammer-on from the G to the G# on the 3rd string. You might prefer the open E on the first string to make this measure sound smooth.
Measure 20: Both of these G# chords are a bit challenging. You could try using your thumb on the 6th string bass note for both. Or try to finger it as Ted probably did: 3,3,2,1,4 for the G#11, and then from that position you can easily jump into the G#7(b5) while keeping your 3rd finger planted: 3,3,4,2,1. It gets easier with a little work. Good luck.
Measure 22: I don’t know how Ted was able to sustain the F# note on the 1st string while hitting the A# bass note. It’s a good stretch. I just bail out on the sustain and go for the bass note alone.
Measure 24: I added the “square” note (in red) on the Ab7 chord because that is the melody of the song. Ted either forgot it or left it out intentionally. Regardless, it’s easy to add while sustaining the chord, so I added it because it makes the arrangement more “complete” that way.
Measure 26: For the Ebm7 finger it as: 3 (for the dotted note) and sustain it throughout, Then for the X notes add 1,4; finger 2 for the “square” note, and then stretch your 4th finger over for the triangle note, being careful to be sure the Eb continues to ring.


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