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Ted Greene Arrangement - December 4 -1984
Compilation pages by P. Vachon

Ted's Original Lesson sheet

My Compilation Page

This is Ted’s early arrangement of the jazz standard by Michel Legrand (music) and Alan & Marilyn Bergman (lyrics).  It was written in 1969 for the film, The Happy Ending and was nominated for an Academy Award for Best Original Song, and then in 1973 and 2000 it won Academy Awards.
During December 1974 Ted wrote this piece in standard notation and included chord names and guitar fret positions, but he didn’t add his grid chord diagrams.  For my compilation write-up on this piece I transferred Ted’s notation to the computer, included the lyrics and added the chord diagrams in the “Ted Greene style” based on his fret position numbering.  These diagrams include the X and square moving lines and ties.  The only thing I retained from Ted’s original page is his handwritten chord names.  The new diagrams make the fret positions unnecessary, so I didn’t include them.  I wrote the tune from start to finish without the use of repeats,  D.S., or Codas, so I excluded Ted’s navigational markings.  I made the diagrams as large as would fit on the page for easy reading, so the compilation ended up 4 pages long.  Sorry about that!

This arrangement is not too difficult, and would be a good one for an intermediate chord-melody player to learn.  At the top of Ted’s original page he wrote:  “Fill in with broken chords (see beginning of 3rd complete measure).”  I believe that he intended the student to bring the arrangement to life by using some right-hand fills, rolls, or broken chord fingerings, rather than just play the half-note chords with the melody above.  Ted would certainly have encouraged players to take some artistic freedom with interpreting this arrangement.

Some comments and fingering suggestions: (referring to the compilation pages)
P.1, measure 1:             The first measure (actually the pick-up, but it’s numbered as measure 1) is an ascending scale.  The grid box shows the notes used and the position.  I didn’t use dot, X, square, triangle, etc., here because that would be more confusing.  Of course you’ll recognize this as an F# harmonic minor scale, starting on the 3rd degree of the scale.
P.1, measures 6-7:        Finger the Bm/9 to Bm(maj7/9) to Bm9 to Bm6/9 as: 
4,2,3,1 to 4,3,2,1 to 4,2,1,1 then add finger 3 for the X note to 4,3,1,2 and then slide finger 2 up for the X note.  Now hold fingers 4 and 3 on the strings 5 and 4 play the C# note on string 2 with either fingers 1 or 2 (with a slide) and then an open 2nd string.
P.2, measure 16:           Finger the F#maj7 as:  1,3,2,2.  You should add some kind of fill here.
P.2, measure 18:           The G#m11(b5) might be easier to see as a Bm6, but Ted was thinking ii-V in the key of F#m in this measure so that’s why it’s a G#m chord (with the b3 in the bass).  In order to get the triangle note, use your 1st finger and raise part of your barred 3rd finger off the first string.
P.2, measure 21:           Finger this F# major passage as:  3,2,1,4,1 to 3,1,2,1 to 3,1,1,1.  Keep fingers 3 and 1 held down the whole time.
P.2, measure 22:           Now, coming from measure 21, retain the barre with the 1st finger as you finger the Fm11 and Bb7 chords.
P.2, measure 23:           The single notes on the Eb are written by Ted to be:  1 – 1 – 1 – 2 – 1.  Uses slides between the first three notes on string 3.
P.4, measure 38:           Finger the F#m as:  2,3,1,1 then add finger 4 for the X note, and then for the D#m7(b5) 4,2,1,1 then add finger 3 for the X note. 
For the F#m you could use a double-stop on strings 5 &4 with your 2nd finger and use finger 3 for the X.

I hope the compilation pages make this piece easy to learn and play.  Enjoy!

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