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Ted Greene Arrangements for solo guitar - August 26, 1981 and January 12, 1995, with compilation pages by Paul Vachon

Ted's Original Lesson sheets
TillThereWasYou_TedGreene_Arr_KeyOfC_1991-08-28.pdf
TillThereWasYou_TedGreene_Arr_KeyOfEb_1995-01-12.pdf

My compilation page, changes and comparisons
TillThereWasYou_KeyOfC_TedGreene_Compilation_p1.pdf
TillThereWasYou_KeyOfC_TedGreene_Compilation_p2.pdf
TillThereWasYou_KeyOfC_TedGreene_Compilation_p3.pdf
TillThereWasYou_KeyOfEb_TedGreene_Compilation_p1.pdf
TillThereWasYou_KeyOfEb_TedGreene_Compilation_p2.pdf

Ted wrote out two arrangements for this beautiful song – one in 1991 that he used for his regular teaching and another one for a private lesson in 1995.  The one in 1995 is a slightly easier version and is in the original key of Eb.  My guess is that the student wanted to learn it in the original key. I've attached Ted's original pages along with my compilation pages that align his chords to a lead sheet with lyrics.

At the top of the 1995 version Ted wrote, “Many chords which contain melodic pauses should be followed by the ripple Rt. hand.”  In addition, there are a couple of places in the piece where he indicated to “fill”.  At the end he wrote, “Opt. Slide low str. (right hand) Bb down & quickly de-tune to Eb.  I wrote out the entire song without repeats and copied Ted’s chords for the repeated phrases.  In retrospect, I could have used 1st and 2nd endings instead, but it still would have taken two pages, so perhaps it’s more clear as it is.  This is a pretty straight-forward arrangement and doesn’t need any explanation, except for passage at the bottom of p.1 (of my compilation).  Here Ted played a different melody line for the phrase that leads up to the Bridge (“And there was…”)  You can either play it as Ted wrote or modify the chords to fit the melody (if you do so, you’ll need to keep the Eb as a major chord, not dominant, since the last note is the natural 7.  Or you could re-harmonize this passage.)

The 1991 version is a little more complex and has been transposed to the key of C with a modulation to E after the Bridge.  In this arrangement Ted left the chord “flavors” blank as an assignment for the student to write in.  I’ve added these in red.  I’ve also aligned in the proper place the optional chords that Ted listed at the bottom of the page.  (He wrote, “Optional chords for the 2nd ‘8’.”)  The Dm11 chord that follows the A11 chord was placed right after that A11 chord, even though it technically sould be placed in the following measure.  I did this for space considerations.  At the bottom of Ted’s page he wrote, “This is a short version of this song for use in medleys.”  I moved this comment to the top of page 1 of my compilation.

Some comments for the 1991 version: (these refer to the compilation pages)

Page 1, line 4:
The optional G13(b9) chord requires the “1st finger-slant” technique to get the C# and F notes on the 2nd and 1st strings.

Page 1, line 5:
I added a chord diagram for the C\9/3 chord (Cadd9 with 3rd in bass) that Ted wrote as an alternate.  He said “or try”, and I believe the voicing I used is what he was referring to (it could also be played on the top 4 strings instead).

Page 1, line 5:
The Dm11 in parentheses is meant as a variation for the next measure.

Page 2, line 2:
Try this fingering for the Fm6 to Cadd9 passage:  3, 4, 2, 1 then to 1, 4, 2 and keep the 4th and 2nd fingers planted as you move the 1st finger.

Page 2, line 2:
The A7 (b9b5) chord could also be played with an open A on the 5th string.

Page 2, line 3:
In the second measure Ted plays an alternate melody line over the C7 chord.

Page 2, line 4:
Ted wrote an alternate melody line for the Co7 passage, “And there were…”  If you want to stay true to the original melody you’ll need to make a modification here.

Page 2, line 5:
The A9 can have an open A on the 5th string if you wish.  Be sure to play the final Bb melody note that is in the score.  (Ted didn’t add an “X” in that chord diagram.)

Page 3, line 1:
The modulation to E begins on the B7 chord.

Page 3, line 5:
For Ted’s TAG I added the notation of what I think he intended.  You might have a slightly different rhythmic interpretation.

Hope the attached pages help you to learn these arrangements.

Enjoy!

--Paul

 
   
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