||Three Ted Greene Arrangements
(Sept. 12/1974, Dec. 18/1974 and March 22/1999)
With compilation pages by Paul Vachon
Ted's Original Lesson sheet
My Funny Valentine 1974-09-12
My Funny Valentine 1974-12-18
My Funny Valentine 1999-03-22
My compilation pages, changes and comparisons
This classic jazz standard was written by Richard Rodgers and Lorenz Hart for the 1937musical Babes in Arms. Ted wrote three arrangements for this, all in the key of C minor. I’d recommend you learn the 1974 versions first and then tackle the 1999 arrangement. You’ll find them all very similar, and after you know them well you may decide to mix them together.
1974, Sept. 12 Arrangement:
This is a very early arrangement by Ted, and it show that he hadn’t fully developed his chord grid system of note “playing order” at this time. Here he used X’s to indicate a note played after the dotted notes, but he didn’t have the squares or triangle shapes yet. As you can see from the first chord, Ted had two X’s on the same string, which was meant to be played as D then Eb. When reading through this arrangement, keep in mind that you’ll need to follow the written melody to guide you through some of Ted’s grids.
Ted’s original page was combined with two other arrangements, A Patch of Blue and Secret Love – but they were separated here in an effort to simplify the files on this website. (The other tunes will be posted at a later date.) As you can see, Ted used regular note paper and stamped his grid boxes by hand (with red ink, aligned rather crooked and crammed close together!). In my compilation pages I did my best to straighten these out and to clean up the grids. (I hope this makes it easier to read.)
Comments for fingering suggestions: (page and line numbers refer to the compilation pages)
P.1, line 2: Finger the Bb7 to Eb7sus as: 2,3,4 to 2,3,4,1.
P.1, line 2: The two X’s on the D7 have a line drawn between them. I believe that Ted intended this to mean that those notes were to be played together after the dotted notes. Sustain strings 3 and 4 as you do so.
P.1, line 3: Again, the two X’s on the Cm are played together.
P.1, line 3: Keep your 3rd finger planted on the C bass note as you move from the Cm to the G7/C. I’m not sure how Ted intended to finger the melody notes on the 2nd string. I’m guessing that you slide your first finger up from the F to the G, and then back to the F. This necessitates lifting the 2nd finger off the 3rd string. Another other option would be to play the G note with your 4th finger (which also requires you to lift it off the 4th string). Or, you could use your thumb as follows: T,4,2,1 and then add the 3rd finger for the G melody note.
P.1, line 3: As above, the F7 requires you to lift a finger off one or more chord tones in order to play the G melody note (unless you use your thumb again as: T,2,3,1 and then use finger 4 for the G melody note.)
P.2, line 1: For the Cm7 in measure 17, the two X’s are played together
P.2, line 1: Try this fingering in measure 21 for the Emaj7-Cm7-Cb7 move: 1,2,2,2,4 to 1,2,2 to 1,2,3 then lift the 3rd finger and play the D note using the barred 2nd finger.
P.2, line 3: For measure 27, try this fingering for the Cm7 move: 3,2,2,1 then roll the 2nd finger onto just the 4th string and add the 1st and 4th fingers on strings 2 and 3 respectively. Then for the next chord keep the 3rd finger planted on the 6th string and use fingers 1,2, 1 for the top three strings.
P.2, line 3: Bend your 2nd finger backwards to get the X’s on the D7/6 chord in measure 30.
P.2, line 4: For measure 34, try this fingering for the Cm7/11 – F7(b5) move: 2,2,3,1 to 2,2,3,1, and then add the 4th finger for the G note.
1974, December 18 Arrangement:
For this arrangement Ted wrote it out in standard notation. I’ve added chord diagrams according to the fingering and fret positions that he added on his page. The chord forms are very similar to Ted’s Sept. 12th arrangement, so please refer to those comments for fingering suggestions. I also added the chord names since Ted didn’t provide them on his notated page.
1999, March 22 Arrangement:
This arrangement was “written during lesson with John Kaywell after improvising something near to this” and is a little more advanced version than the previous two arrangements. Again, refer to the comments in the 1974-09-12 arrangement for suggestions of fingerings for similar passages.
Here are some suggestions for fingerings to chords that are unique to the 1999 version:
P.1, line 2: Try this for the D7#9#5 to G7b5 move: 4,3,2,1,1 and then add the thumb for the Ab on the 6th string. Then T,2,3,1 and add the 4th finger for the D# note on top. Ted wasn’t a big fan of using the thumb for chords like this, so you could also try this fingering: 4,3,2,1,1 and then lift the 2nd finger to play the Ab on the 6th string. Then 2,2,3,1 and add the 4th finger for the D#.
P.1, line 3: The Cm7/11 in measure 11 is very tricky. In order to play the G note on the first string (as indicated with the triangle) the only possible fingering I came up with is: 3,3,4,2,1.
P.1, line 4: Play the Cb11/13 (and the Bb11/13) as: 3,4,2,1,1. This utilizes the George Van Eps 5th Finger technique of leaning the first finger backwards to catch the top string on the side of the finger.
P.2, line 1: The Ebmaj7 and Eb+ in measure 21 are both V-8 chords (in Ted’s system of 14 different chord Voicing Groups for guitar). Finger them as: 1,3, 2,4 to 1,3,2,4 (same fingers, but just move the bass note up one fret). Be sure to pluck only those strings with your right hand. This then moves smoothly into the Cm in the next measure.
P.2, line 2: On the chord diagram of the Amin7(b5) in measure 23 Ted included the fingering as: open,4,1,1 (using the Van Eps 5th Finger technique) then add the 2nd finger for the C note on string 3. However, this same chord can also be fingered as: open,4,2,1 then add the C note with the 3rd finger. Your choice.
P.2, line 2: Finger the Db11/13 chord move as: 1,1,2,2,4 and then lift the 1st finger up and play the F note on the 4th string while at the same time lifting the 4th finger off to play the Ab on the top string. This allows you to sustain the notes on strings 3 and 4.
P.2, line 2: Sustain all the notes in the Cm/9 chord in measure 25. This is a big stretch, but it flows smoothly into the Cm/maj9 that follows.
P.2, line 3: Finger the D13 chord move as: 1,2,1,4,3 and then lay the 2nd finger down to get the X note, followed by adding the 4th finger barre to catch the “square” notes on the 11th fret (top 2 strings).
P.2, line 3: Finger the F7sus as: 1,1,3,4,1 and then add the 2nd finger for the X note, then add the 3rd finger for square note.
Ted didn’t include then chord names for the last 4 chords so I added them in red. I also added the Eb6 chord as the final chord. This is the same voicing he used in the other two arrangement of this song.
I hope these compilation pages make it easier to learn and play these beautiful arrangements by Ted.