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Ted Greene Solo Guitar Arrangement - August 28, 1983
Compilation pages by P. Vachon

Ted's Original Lesson sheets

My compilation pages, changes and comparisons

At the top of the original page Ted wrote: “Level: Difficult (unfortunately)”—and while few of the individual chords themselves are beyond the reach of us, the “difficult” part of this arrangement is putting it all together, switching from chord to chord, keeping the sustained notes sounding, making the melody sing, giving it a nice feel, and making it all sound smooth and natural.  And of course Ted seemed to do this effortlessly.

If you’re venturing into tackling this piece, you might first want to work through all the other sheets that Ted wrote for this tune:  two arrangements for “ensemble-style”, two harmonization studies examining the first phrase of the song, and a comping study.  In addition, Ted mapped out George Van Eps’ recording of this.  All these can be found in the Arrangements, Chord Studies, Comping, and Other sections of this website.  (Also be sure to check out my compilation pages for the same in the From Students area.)

Now, having worked through the other arrangements and studies, you probably won’t require much input from me regarding how to read through Ted’s sheet, or need any tips on fingerings.  However, I do want to point out a couple of things in my compilation page.

First of all since Ted didn’t provide any chord names to his grids, I’ve added them.  Feel free to disregard them if you prefer a different name.  In a few instances I’ve included alternate names.

In Measure 25 Ted omitted the C melody note that occurs on beat 4.  I’ve added this to the score and placed an X in the grid box (in red).  Play it or disregard as you please.

Measure 43:  finger the Am7 to A7(#9b5) as:  1,1,1,1,4 then hold finger 4 down and play 2,2,3,1.  Even though Ted wrote “opt.” for the C note, it sounds best to sustain it.

Measure 44:  for the D7(#9#5) chord finger it:  1,2,2,4,3 then lift finger 3 and catch the C note on the first string with the side of finger 1 (the George Van Eps 5th finger technique). 

Measures 47-48:  Ted provided the Dbmaj7 chord and then wrote, “And proceed diatonically up to F#m7 then into key of E.”  I wrote out what I believe he meant for the diatonic scale-wise motion, and assumed he would have added some kind of B7 then into some kind of final E major chord.  My chords are just one suggestion and there are many other possibilities—experiment and come up with your own ending.

Also give attention to the optional variation that Ted wrote for measures 42-43 and for measures 25-28 (on page 7 of the compilation). 

For the alternate variation of measure 25-28 try this fingering:
Gm11:  2,2,1,3,4 hold finger 4, then
C7(#11#9):  1,3,3,2,(4)  hold finger 4, then
Gm11/F:  2,2,1,3,(4) then finger 4 for the X note.

If you put in the time and effort on this arrangement it will pay off—not only for this piece, but the acquired skills will improve your overall chord-melody playing.
Good luck!

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