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Ted Greene arrangement, combined with notation by Paul Vachon


Ted's Original Lesson sheets
StormyWeather.pdf

My compilation pages, changes and comparisons
StormyWeather_Ted Greene_grids_notation_p1.pdf
StormyWeather_Ted Greene_grids_notation_p2.pdf

Ted made this solo guitar arrangement for a student during a private lesson, so the format is a little rough—more of an outline or sketch.  It was added to the “Tunes” section of the TedGreene.com website as part of the October 2008 Newsletter.  You should refer to it for his "original" arrangement.  There are places where he left out some chords, didn't include separate 1st and 2nd ending, and even skipped a couple of measures.  I'm sure that Ted expected his students to study the song's melody and harmonic structure when working on his lesson arrangements.  Perhaps he wanted them to fill in the holes with their own ideas.

In order for it to be a “complete” arrangement I've written in some suggestions of chords in red, hoping that these are close to at least one version of what Ted might have done.

  • Ted's arrangement begins on the 2nd measure of the song – the pickup and first measure are missing.  The Am7/11 chord has a note: "7th fret slant" - which means that the first finger is to be slanted so that it depresses both the 2nd and 1st string, eliminating the need to lift a finger to play the B note.
  • The A7/6 chord on the 2nd line says "twice" indicating that the top A note is to be played again after the “X’s”.
  • The D11b9 chord indicates the Eb note is played as part of the melody, when in fact the melody is E natural.  You can use either if you wish—the E-natural can easily be played using the open 1st string.
  • There is a short fill passage of F# - F - E9 that Ted added over the G#o7 chord which he wrote: “Gershwinesque” and “Fairly quickly.”
  • The eighth measure was modified from Ted’s original chart because he wrote his chords to repeat the phrase “keeps rainin’ all the time”, when in fact the music doesn’t include this for the first ending.  I’ve added a blank grid box for you to use any Am7 chord you wish here.
  • Ted didn’t write out a separate 2nd verse, so I simply repeated what he wrote for the first verse with slight modifications.  I chose not to repeat the “Gershwinesque” fill, so as to avoid it sounding too similar to the first verse.  Instead I added a G#o7 chord with the D note tied over.
  • At the end of the 2nd verse we come to a phrase which Ted left out:  the repetition of the words “the time” with a C7 - Bm7 - G#dim7 progression.  I had to eliminate Ted’s E7#9+ chord (because it didn’t fit with the melody or harmony) and inserted a C9 – G6 – Bb7 phrase here.  Of course you may choose to use something completely different — Bm11 - E7 or something else will do just fine.  (I used that E7#9+ chord later on in the arrangement.).  
  • At the very end of the 2nd verse I had to modify Ted’s arrangement again to include a G7 for the transition to the Bridge.  I used a G13 voicing he used later on in the Bridge (he called it a G7/6).  
  • The Bridge is all okay, except that there is a mislabeled fret number on the D7+ chord at the very end.  I’ve made that change in red.  
  • On the first C chord of the Bridge Ted wrote “Slight hammer-on” for the E note—meaning to barre the chord at the 8th fret and hammer-on the Eb to E for a little bluesy sound.
  • Ted ended his page with a Gmaj9 chord which is intended to be the first chord of the 3rd verse.  I completed the 3rd verse by repeating what he wrote for the first verse, and added the Gmaj7-E7#9+ chord that was removed from the end of the first verse.  (The comment on that chord says, “Continue with some A, D”).  Again, slight variations were made to accommodate the written notation.  
  • I ended with a simple G chord, but it obviously needs a nice bluesy tag.  Perhaps a G - Bb13 - Am7 - Ab13 - G7 or something similar will sound appropriate to your ears.

I’m sure that if Ted would have written a formal arrangement/lesson of this song he would have been more thorough and made separate variations for each verse, and even added a modulation or two!  I hope I wasn’t too bold in adjusting Ted’s arrangement and adding my own interpretation, but it seemed necessary to make sense out of this “sketch.”  If you don’t like what I’ve added, please just disregard it and make your own version.

I hope this makes it a bit easier for you to play this song with Ted’s arrangement.  Enjoy!
—Paul

 

 
   
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