<< Overview  
     
  Time After Time  
 

Ted’s Arrangement (July 6, 1977) with compilation pages by Paul Vachon

Ted's Original Lesson sheet
TimeAfterTime_TedGreene_1977-07-06.pdf

My compilation pages, changes and comparisons
TimeAfterTime_TedGreene_grids_notes_p1.pdf
TimeAfterTime_TedGreene_grids_notes_p2.pdf

This is a very early arrangement by Ted from 1977. (No, this is not the song with the same title made popular by Cindi Lauper!) Written by Sammy Cahn and Jules Styne, this song originally appeared in the 1947 movie, It Happened in Brooklyn, and wassung by Kathryn Grayson accompanied on piano by Frank Sinatra.Before learning this piece you may find it helpful to go to YouTube and listen to some different versions:

Kathryn Grayson (from the movie It Happened in Brooklyn):
http://www.youtube.com/watch?v=TlBYm4WWGs4&feature=related
Judy Garland:
http://www.youtube.com/watch?v=jrPxsMulV38&feature=fvw
Ella Fitzgerald:
http://www.youtube.com/watch?v=nwPhQw4NpX0&feature=related
Chet Baker:
http://www.youtube.com/watch?v=nchEXBimNlg

This is about an Intermediate Level solo guitar piece. You’ll need to add some right hand arpeggios and “rolls” in order to fill it out a bit and to give it some motion. After you become comfortable with the arrangement, try phrasing the melody a little differently in certain spot to give it more personality. I’d recommend that you learn the lyrics and sing it mentally as you play. It will add an extra dimension to your interpretation and enjoyment of this beautiful song.

**************************************************************

Below are some suggestions for fingering some of the more difficult spots:
(Page and measure numbers refer to the compilation pages only)

P.1, line 1:        Notice that in measures 3 to 4 there is an ascending bass line (A – B – C# – D).  Be sure to bring out that B note as you play the X’d notes of the A chord.

P.1, line 3:        Finger the C#m/9sus as follows: 
3,1,4,2  to 3,1,2  and be sure to keep fingers 3 and 1 planted for the move to the X notes.
Alternately, you could play the same notes by voicing both chords on strings 5,4,3,2. 

P.1, line 4:        Finger the Bm/9sus – F# - Bm7/11 as follows:
            1,2,4,3  to 1,2,3,1 (for the X notes)  to 4,3,1 (then slide finger 1 up for the X)  to  2,4,2,3,1. 
Keep the little finger planted when moving from the F# to the Bm7/11 chord.  It will stabilize the move.  If you find this Bm7/11 too difficult to get clean, try omitting the F# on the 5th string and then finger the whole chord as simply 2,3,4,1.

P.1, line 4:        Notice that when you play the Bm7 chord in the 4th measure on this line, all you play is a open D note – the other notes are sustained from the previous B7 chord. 

P.2, line 1         For the D to E7 move try this:  D:  3,2,1  then add the 4th finger for the X note.  Keep the 3rd finger planted and move the 4th finger up one fret to catch the G# on the 4th string and play it with the open E on the 6th string.  Next play the D and B on strings 5 and 3.  You still have your 3rd finger planted for the D note, so all you need to do is add the 1st finger on the B.  If you want to add the optional C note that follows the B, either slide your 1st finger up on fret or use your 2nd finger.
(I hope this doesn’t sound too confusing.  It’s a very nice move and easy if you apply these economy-of-motion fingerings.)

P.2, line 2         For the Em7 to A7 move I’d recommend this fingering: 
                        (open E), 3,4,2  then add 1st finger for the G (the X note).  Then you move to the A7 chord, but keep fingers 2 and 4 planted, lift your 3rd finger from string 5 to play the A bass note on the 6th string.  Finally, play the C# and A notes with fingers 2 and 1 respectively….still keeping fingers 2 and 4 planted.  This is another nice move, but you’ll need to practice a few times to get the coordination smooth. 

P.2, line 2         Ted would certainly have used a 4th-finger barre on the D/9 chord.  If you find this difficult to grab, then substitute any other Dmaj7, Dmaj9, or D6/9 chord instead (with an A note on top).  I personally like to play a 6-voiced Dmaj9 and then play harp harmonics on it.

P.2, line 3         For the F#m chord in the first measure I don’t believe Ted intended that we sustain the dot notes when going to the X and boxes.  This seems to be a separate E major chord, played after the F# minor.

P.2, line 3         Finger the C#7+ as 1,1,2,2, then add the X notes with fingers 3 and 4.

P.2, line 4         The E13(b9) chord can be fingered a few ways.  I find this the easiest for me:
                        1,2,2,2,1 (using the George Van Eps 5th-Finger Technique for getting the top string). 

Go ahead and add the open E on the 6th string for added richness (and also on the E11).  You may wish to  add some harp harmonics on the final A6/9 chord for a nice sparkle at the end.

Enjoy!
-- Paul

 
   
© copyright www.tedgreene.com