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  The Shadow of Your Smile  

Ted Greene Solo Guitar Arrangement – June 29, 1977
Compilation pages by Paul Vachon

Ted's Original Lesson sheets
ShadowOfYourSmile_Ted GreeneArr1977-06-29.pdf
ShadowOfYourSmile_Ted Greene_Lead Sheet1974-07-04.pdf

My compilation pages, changes and comparisons
ShadowOfYourSmile_Ted GreeneArr_NotationGrids_p1.pdf
ShadowOfYourSmile_Ted GreeneArr_NotationGrids_p2.pdf

At the top of Ted’s page he wrote some instructions for the playing order of the dot, X, square, star, and O, plus two “double-function” symbols of dot + X and dot + square.  This arrangement was written in 1977, and at that time Ted was still developing his system of chord diagrams and the symbols for moving lines.  As you can see, he didn’t have a triangle symbol yet. 

There are a few places where a melody note is not included in the chord diagrams.  Please refer to the lead sheet notation as a guide.  Some of Ted’s handouts are what he called “outline” arrangements – meaning that the chord diagrams give the voicing, but some of the melody notes need to be added by the player.  This arrangement of “Shadow…” isn’t really an “outline,” but you do need to be mindful of some missing melody notes.

Some Comments:

  • The song requires a B pickup note played at the beginning, which isn’t included in Ted’s chord diagram.  You could play that B note with a B7 chord, or just as an E minor sound with an open 6th string on the bottom (perhaps even as a harmonic).  I’d also suggest a B7 in measure #16, (I added one in red), but don’t play a B7 in measures #4 and #20 – they should have some kind of A or A7 chord (or even with just an E minor sound if you prefer).
  • Measures #8:  The slash through the 13 indicates a C major 13, not a C dominant 13.  Interesting that at this time Ted wrote dominant 13 chords as 7/6.  I guess he was trying to clarify that it was a dominant without the 9.  Technically, a dominant 13 includes a 9, but it is an optional voice.  (See the F13 on p.2, line 4, measure #1.)  In late years Ted usually named these as “13” for dominants both with and without the 9.
  • Instead of using Ted’s “D.C. al Coda” and “Coda” navigation marks, I just wrote out both verses in full, so there is some repetition.  I find it easier to follow the arrangement this way.
  • Page 1, line 3, measure 2:  For the Cmaj13 to C\9 to C7/6 moves, I’d suggest the following fingering:  2,1,1,1,3,1 to 1,1,3,4 to 1,1,3,4.  Keep the 1st and 3rd fingers planted for the Cmaj13 to C\9 transition.  When going from the C\9 to the C7/6, simply slide down, keeping the fingers on the same strings.  Then finger the F#m7 chord in the next measure as 1,2,1,3,4.  Again, fingers 3 and 4 can remain on the top two strings.  Economy of motion.
  • Page 1, line 5, measures 1-2:  For the C#m7b5 to G7 to F#7 moves, I’d suggest this as the smoothest fingering:  2,3,4,1 to 2,3,4 to 2,3,4.  Just slide down and keep the fingers on the same strings (minus string 2).
  • Page 2, line 3, measure 2:  Optional:  add an open 6th string to the E7 chords.
  • Page 2, line 3, measure 3:  Please notice that the melody note on the 3rd beat is not written in Ted’s diagram.  You’ll need to add that.  It also sounds good to add an ascending chromatic bass line from the Am7 to the Cm7 (sustain the C melody note on the top string with the little finger for the A to A# to B bass run).
  • Page 2, line 4, measure 2:  The melody of the D-natural note doesn’t fit over the B7/6 (or B13) chord.  You’ll need to lift your finger off the 3rd string to play the D note.  Finger the B7/6 to F9+11 to Bm7/E as follows for smoothest transition:  1,1,2,3,1 to 4,1,2,3,1 to 1,1,1,1,1.  Just keep the first finger barred.  This same fingering can be used for the A7/6 to E9+11 to Am9 chords on p.2, line 5, measures 1-2.
  • Page 2, line 4, measures 2-3:  In this arrangement I don’t see that Ted was using “ties” between chords diagrams.  Maybe he hadn’t developed that fully in 1977.  I think he might have put a tie for the top B note to sustain from the F9+11 to the Bm7/E.
  • Page 2, line 4, measure 3:  In order to play the E7/11 chord with the fingering as indicated (2,1,3,1), you’ll need to apply the “George Van Eps 5th Finger Technique” of slanting the 1st finger to catch both the 4th and 1st strings.  Then you can play the G# note with the free 4th finger.
  • Page 2, line 5, measure 2:  You may wish to play the Am9 and the D11b9 with their bass notes on the open 5th and 4th strings respectively.
  • The last 2 measures sound like a final ending.  If instead you want to repeat the arrangement, then play the G chord followed by a B7 with a B note on top.  This will then take you back to the pickup E minor chords at the head. 
  • When you do play the G6\9 chord at the very end, you may want to reach over the neck with your right hand and tap a low G note on the 6th string as a final bass note.
I hope these pages help in learning to play this arrangement.  Enjoy!

-- Paul

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