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  Polka Dots and Moonbeams (key of D)  

Ted Greene Arrangement - Oct 11, 2001
Compilation pages and comments by P. Vachon

Ted's Original Lesson sheet
Polka Dots and Moonbeams (key of D, 2001)

My Compilation Page

Here we have Ted’s arrangement of this popular jazz standard by James Van Heusen and Johnny Burke, written out during a private lesson. Normally played in either the key of Eb or G, Ted decided to put this one in D, which allows for some open string voicings. As usual, Ted left out the chord names for the student to add, so I’ve added them in blue.

The entire arrangement is written in standard notation and Ted’s grid chord diagrams have been added just above the corresponding notes. It sounds best when played in a relaxed rubato pace, as opposed to “in time.”  The rhythms should not necessarily be considered as set in stone - try being a little loose with interpreting it according to how you’re hearing it. Also be sure to check out Wes Montgomery’s version for phrasing and general feel (found on his 1960 album, “The Incredible Jazz Guitar of Wes Montgomery.”)

Instead of using repeat symbols I wrote out the entire song to be played straight through. Ted’s original page has a few navigational markings (coda, D.S., etc.) which I left out because they became unnecessary. You’ll notice a few repeated sections, and I apologize if it made the document longer, but it seemed to be clearer to do it this way.

Some comments and fingering suggestions: (referring to the compilation pages)
Measure 7: In order to sustain the lower 4 strings on the Em7 chord, try these fingerings: Open, 3, 3, 2, 1 then use your fourth finger for the “square” note. Or try this:  Open, 3, 4, 2 then use first finger for the X note, open top string for the square note (instead of playing it on the second string).
Measure 16: If you want to add a little fill on the D chord, try adding a G/B (sustain the D note on the 3rd string) then back to D/A before going on to the C#7 chord.
Measure 18: The C#9 chord here is interesting. You’ll need to lift a finger in order to get the E# note on the fourth sting (I remove finger 3 from string 5 for this).
Measure 19: Finger the C#7/B to D#m7 as:  2,1,1,1 then add finger 4 for the X note and hold it as you move to the D#m7 chord, 2,1,3. Finally, in order to get the X note on the first string you’ll need to use one of the other fingers that is already in use. You could use either first or third finger (I prefer first finger).
Measure 20: For a smooth transition between the two C#9 chords, try this fingering:  3,4,2,1 then 2,4,1 and add finger 3 for the X note. Be sure to hold down finger 4 as you transition.
Measure 22: Ted plays an alternate melody on the lyric “perhaps.”  Instead of G# he has a G-natural. If you know this song well that note may not work for you, so try adding the G# as I’ve indicated in red.
Measure 33: If the voicing for the Gmaj7 is too much of a stretch, try playing the F# note on the first string. In order finger this you may find it easiest to use the George Van Eps Fifth Finger technique and finger it:  1, 3,2,1.
Measures 34-36: Add some right hand rolls /arpeggios for fill, and try a splash of harp harmonics on the final chord.


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