Two Ted Greene Arrangements and an Accompaniment Study by Paul Vachon
This song was written by George and Ira Gershwin for the movie The Goldwyn Follies (1938) which was released shortly after George Gershwin's death. "Our Love is Here to Stay" also appeared in the 1951 MGM picture An American in Paris, for which it served as the main theme. The song was the very last composition George Gershwin completed. Ira Gershwin wrote the words after his brother's death, giving the song a special poignancy. The correct title is "Love is Here to Stay."
Ted wrote up two different arrangements of this Gershwin tune: one in the key of G, the other in D. If you’re unfamiliar with this song go on YouTube and listen to Nat King Cole’s version, or get a recording of Ella Fitzgerald singing it. In playing a simple song like this it’s important to phrase the melody like a singer would. It’ll sound more lyrical. Don’t feel constrained to play the melody exactly as the lead sheet indicates. On Ted’s 4/25/94 arrangement he wrote a note to the student about phrasing (see below).
Ted's Original Lesson sheets
Our Love is Here to Stay Ted Greene Arr. key of G 1992-01-05
Our Love is Here to Stay Ted Greene Arr. key of D p.1 1994-04-24
Our Love is Here to Stay Ted Greene Arr. key of D p.2 1994-04-24
My compilation pages, changes and comparisons
Our Love is Here to Stay Ted Greene Arr. key of D compilation p.1
Our Love is Here to Stay Ted Greene Arr. key of D compilation p.2
Our Love is Here to Stay Ted Greene Arr. key of G compilation p.1
Our Love is Here to Stay Ted Greene Arr. key of G compilation p.2
Key of G, written on 1992, Jan 5th
P.1, line 1 The A9 to A11 – use the first finger to slide up/down on the second string, and keep the other fingers planted.
P.1, line 1 For the D9sus to D7(b9), try this fingering: 22214 – 1324
P.1, line 1 For the G/B – Cm7 – Bm7(#5), try:2134 – 2234 – 2234 or 2134 – 2114 – 2114 (this may seem strange, but works well).
P.1, line 2 That #11 in the Eb7(#11) chord sounds pretty dissonant to me, and perhaps Ted wanted it to be hinted at or played briefly to lead into the next chord.
P.1, line 3 I opted for the easier E9 on the E13 chord and used the same voicing as the D9 in the next measure, but with an open 6th string for the bass note.
P.1, line 3 Be sure to use Ted’s fingering for the last chord: 3422 – so you can get the “X” notes on strings 2 & 3 while allowing strings 4 & 5 to sustain. This fingering also works: 3411.
P.1, line 4 For the D11 – Bb/D – D9, finger it this way to get the sustain on the first string: 2221(or 3)4 – 21134 – 13124
P.1, line 4 The Em passage: finger the first Em7 to E11(b5) as: (open)321 – (open)4312, and keep the 3rd finger planted on the 4th string. This makes it a lot smoother. Then, on the Em(maj9) to E7(#5#9), just slide the fingers up ½ step on strings 4 and 5.
P.2, line 1 The Eb9/A fill is a bit dissonant, but again, I believe it’s meant to lead into the D11 chord that follows.
P.2, line 1 For the D9 chord, try the thumb on the 6th string, unless you can barre strings 6,5,4 with your third finger.
P.2, line 2 A simpler, alternate voicing for the A13 chord (if you don’t want to use that long stretch) would be: b7, 3rd, 6th, 9th, on strings 5,4,3,2. It’s essentially the same, but without the doubled 9th.
P.2, line 2 B – E7 – C#m7(b5) – C13. This is a tough passage to play, let alone get the strings to sustain. Do your best. Notice that the highest note of the C13(#11) is an F#, which then moves to an E note. Ted added an extra fret line on the diagram.
P.2, line 3 On the E7 chord (last in the first measure), the melody (according to the lead sheet) should be a D note (not an E as Ted’s diagram indicates). I’ve added the note in red to show this. Perhaps Ted wanted a melodic variation, or maybe it was simply an oversight.
P.2, line 4 Finger the E13(b9) to Am11/D as 12214 – 22213.
P.2, line 4 For the Bb13 – Ebmaj7 – Ab6/9(#11) passage, barre the first finger across all 6 strings and move only those fingers that are necessary; keep the others planted.
P.2, line 4 For the Ab13 – G6/9, use this fingering: 34211 – 3 (open) 2 (open), (open). Simply slide down ½ step on the 3rd and 6th strings.
These comments refer to the compilation pages:
Key of D, written on 1994, April 25th.and May 9th
This arrangement is slightly easier than the one in G. It was written up for a private student at two consecutive lessons. As with many of Ted’s pages, you might consider this as an outline form, meaning you’ll need to follow the lead sheet and add melody notes where necessary. For example the F#m7 – B13 – Em7(b5) – A7 passages need some help with the melody.
At the top of Ted’s original page he wrote, “Phrase like you sing, Mike. Consider [cut-time] tuba (Roger Bobo) bass. Lay back, make ‘em wait ( ? then ?) do the heavy-handed ( ? ) …more as it goes on.” The Xerox of the page cut off some of Ted’s comments, but I think you get the idea he was trying to convey. I believe he was referring to textures: start off light and then build it up as the song progresses.
For the E13 chord on p.1, line 2 of the compilation, Ted wrote, “Either anticipate the bass note or the other notes.” Again, he’s referring to phrasing.
At the end of the tune, Ted takes a little detour as he modulates toward the key of E. You’ll have to work with it a bit to get the right phrasing. Somewhere on the final C#7 chords you need to add the pickup melody notes (B – C# - G#) before you land on the first chord of the new key. (That first chord will, of course, be an F#7 with an E melody note.) You can go back to the beginning of the arrangement and try to work the chords in the new key by moving everything up 1 step. It’s not too difficult, except for those chords that use open strings.
If you don’t want to take the modulation and instead end on the final two measures you might try to play the C11 – D11 – Dmaj7/A or something similar. Another idea would be to modulate to the key of G and play Ted’s 1/5/92 arrangement.