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Ted Greene - 2 Arrangements - April 4, 1974
Compilation pages by Paul Vachon

Ted's Original Lesson sheets
Michelle_TwoArrangements_Ted Greene_1974-04-04.pdf

My compilation page, changes and comparisons

Notes -
Ted wrote two arrangements for this well-loved Beatles song on April 4th, 1974.  Both are for “Chord Melody Studies, Easier Level,” and they are almost identical.  Version #2 has a few extra bass notes added and a couple of more advanced voicings. I combined both versions on the same “compilation” pages, to make it easier to use both versions together.  Normally there is a tag at the end of the song that Ted didn’t include, so you’ll need to add that yourself.
You’ll notice that at this time Ted had not fully developed his “playing order” symbols for his chord diagrams.  He didn’t have the square and triangle that followed the X notes so in some cases he has two X’s on the same string—they are meant to be played consecutively, not together.  Consider these arrangements as “outline format” in which you’ll need to add a few melody notes that are not on the grid diagrams.  Just follow the notation.

1974, April 4 (Basic Version):
You might wish to add some open string bass notes wherever possible.  It will add fullness to the arrangement.
Comments for fingering suggestions:  (page and line numbers refer to the compilation pages)
P.1, line 2:        Finger the Bb(7) chord as 3,3,2,1 then add 4th finger for the G note.
P.1, line 2:        Originally Ted didn’t write a 1st and 2nd ending, but I included them to make the song a little more complete.  The E7 in measure 5 has only two melody notes, so don’t play the E note.
P.2, line 2:        Finger the Gm as 3,2,4 then add the 1st finger for the F and E melody notes.


1974, April 4 (Version #2):
Comments for fingering suggestions:  (page and line numbers refer to the compilation pages)
P.1, line 1:        The first chord is tough if you’re not used to bending your 4th finger backwards.  I usually have to spend extra “setup time” to get that chord clean.  Ted effortlessly popped into these kinds of finger-benders…probably from years and years of working on it.
P.1, line 1:        It’s not written with a tie, but I’d suggest sustaining the E note when going from the C7/6 to the Fmaj7 — it makes the move smoother. 
P.1, line 3:        Consider this fingering for the E7(b9) to Amaj7 move:  3,2,4,1 then slide the 1st finger up for the F note, then slide the 1st finger back down to the E note, and then finger the Amaj7 chord as 2,3,4,1.  It may seem a bit awkward, but it allows you to play the melody smoother.  I use this often.  Be sure to play the A note on the top string before going to the Bridge.
P.2, line 3:        I believe that Ted intended that the last measure have the E melody note played on the first beat, followed by the G#, E, and B notes of the E chord on the second beat, then the A, C#, and G notes of the A7 chord.  Sustain that E note throughout.  This creates a bit of delay and separation of melody and harmony that adds a little interesting variety.


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