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Ted Greene Solo Guitar Arrangement (incomplete) – undated
Compilation pages and Suggestions for Missing Portions by Paul Vachon

Ted's Original Lesson sheet

My compilation pages, changes and comparisons

This song was written by Jule Styne and Bob Merrill for the 1964 Broadway musical, “Funny Girl” and it was introduced by Barbara Streisand.  Before working on this arrangement I’d recommend you go to YouTube and listen to Barbara sing it (I found 6 different versions).  It’s her signature song and she’s superb with it.

I’ve included Ted’s lead-sheet for this song on which he marked it with some of his chord corrections.  When making the compilation pages I included his “improved” chord change plus the standard changes (transposed to the key of D) so you can see what he was thinking.

For this arrangement Ted wrote an introduction and the first 17th measures only, but unfortunately he never completed it.  Perhaps it was meant as a homework assignment for the student to arrange the rest of the song.  Please forgive me for being so bold – I’ve added my own interpretation in the compilation pages for the second half of the arrangement.  I believe my suggestions represent at least one possible way in which Ted might have finished the arrangement.  My chords are in blue to differentiate them from Ted’s.  I first learned Ted’s arrangement and tried to see how he was thinking and then attempted to follow through with what I felt was characteristic of a “Ted arrangement.”  If you don’t care for my suggestions, simply ignore them and create your own ending.

Some Comments:
At the top Ted wrote, “Many chords should have the bass struck 1st”.  He also drew a squiggly line and indicated that it meant, “Ripple right hand for fill” – meaning, to fill in the space by adding some right hand arpeggios or “rolls.”

For the first 4 measures of the Introduction try to keep the A harmonic ringing as much as possible.  For the two chords in bar 4 of the Introduction, finger them as:  3,2,2 to 2,3,1 (use the first finger to barre strings 1,2,3, and optional 4th string).  This makes for a smooth transition from the previous lines.

Measure numbers below refer to the song, excluding the Introduction measures.

  • In measure #2 I was surprised to see that Ted didn’t utilize the “improved” changes that he made on the lead-sheet.  I expected him to go from the I chord (D) to the iv chord (Gm6), but instead he played the V chord (A) as in the standard changes. 

The A9 at the end of bar 2 looks daunting, but it is very doable with a little practice.  The trick is to slide the 4th finger up on the 4th string and then use the George Van Eps “5th Finger” technique of slanting the first finger to catch the A note on the side of the finger.  Finger that chord: 4,1,3,1 as Ted has indicated on the chord grid diagram.  Practice those three A chords (A11 à A9 à A9) until they’re smooth.

  • Measures #4 - 5:  Please note that for the phrase, “Are the luckiest people in the world” Ted chose to play the melody down an octave.
  • The A bass note on the A11 in measure 4 may instead be played with an open 5th string if you wish.
  • Measure #7, for the C#m7(b5):  When you begin playing the lines that starts with the F# note, barre the entire 9th fret with your 1st finger.  This will make that measure easier to play and the notes will sustain nicely.
  • Measure #9:  Finger the Bm13 chord as follows:  1,2,1,1,3 then use your 4th finger to play the A# note on the 2nd string.  Be sure to sustain that note when you add the other notes of the next chord – the Bm(maj7).
  • Measures #9, 10, and 11:  Please take special notice of what Ted is doing here.  The melody for the lyrics, “needing other children” (notes G#, A#, B, C#, G#, A#) is echoed in the bass line that Ted created as a fill for bars #10 and 11. (The first G# bass note is the bass note of the Bm6 chord on beat 1 of bar #10).  Try to bring out this bass melody line over the Bm(maj9) chord.
  • Measures #13 - 14:  Here Ted takes the melodic sequence for the lyrics, “Letting our grown-up pride” (notes D, E, D, C#, B) and echoes it in the bass for the following measure, but moves the sequence down one scale step and down an octave (notes C#, D, C#, B, A).  Then, in measure #15, this sequence continues (notes B, C#, B, A, G#) in the melody.  Very clever for him to see this and use the bass to keep the melodic sequence moving.

(If this isn’t clear, play the notes of this sequence and then you’ll hear what’s going on.)
D, E, D, C#, B  ->   C#, D, C#, B, A  ->  B, C#, B, A, G#,
melody                      bass fill                     melody

  • Measures #19 – 20:  For the A7 – Em7 – A7 fill leading up to the second verse, I added a fill pedaling A notes on the 6th and 1st strings with some descending diatonic triads.  I hope it feels like a simple “Ted fill.” 
  • I used Ted’s “improved” chord changes for the second verse:  The Gm6 has a beautiful sound here.
  • For the last 3 measures on page 2:  I tried to mimic Ted’s technique of echoing the melody in the bass line.  The lyrics, “One very special person” (notes B, D#, E, F#, G, A, B) is echoed in the bass notes over the Bm (or D6) chord that follows. 
  • For the very ending I simply ended on a Dadd9 chord.  You may wish to extend the ending with a fancy tag, or repeat a few of the preceding measures, or maybe modulate to another key or another tune…or all of the above!

I hope these pages help in your learning and playing this beautiful song.  Enjoy!

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