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January 2017 • Newsletter


New Year’s Greetings to all Ted’s Family and Students!

For the January Newsletter last year we took a quick look at what was posted in the previous year. Let’s do that again. Here’s a listing of the different sections in the “Lessons” area and the number of lesson sheets we posted last year. Also, keep in mind that many of these files contain more than one lesson from Ted.

Arrangements: 25; Baroque: 8; Blues: 14; Chord Studies: 57; Comping: 11; Fundamentals: 4; Harmony & Theory: 6; Jazz: 11; “Other”: 6; Single-Note Soloing: 13; The V-System: 36; From Students: 13; Personal/Performances info: 6; Personal/Articles & Interviews: 11; and Discography & Publications: 1.

For the Audio section we added: “An Afternoon with Ted” (from Phil deGruy), “Your Song” (from the JB Wedding), “Ted & Emily Remler Jammin’ ” (from the TG archives), “Private Concert at Alec Silverman’s Home, July 1975,” (from Mark Thornbury) and “Moonglow – comping” (from Nick Stasinos). We also started the new “Transcriptions” area last February, and all of the entries were added in 2016. And of course the new “Trail Guide to Chord Chemistry” by Leon White came out in November.

Whew! That’s a lot of new material – enough to keep us all out of trouble for a long time. Nevertheless, we’re blazing forward in our effort to post as much as we can from Ted’s teachings archives. Hold on to your seat, for in addition to the monthly New Items, we’re also doing “Lesson File Upgrades” to a lot of the pages that were posted in the early years of this site. (Hopefully we can finish that well before the end of 2017.) And last but not least, this year Dan Sindel retired as our “humble webmaster” only to be replaced by Jeffrey D. Brown, who is the original developer of this site and long-time media designer/producer in guitar-related markets. In addition to planning future enhancements to the site, he has expanded our outreach substantially via direct marketing and social media.

Now, we’d like to draw your attention to another new item that has been a long time in the making: a newly notated version of Ted’s “Theme from E.T.” arrangement, complete with new grids. We’ve also posted Ted’s preliminary sketches for the making this arrangement. Plus we’ve uploaded a file of the new notation from the music writing program (Sibelius 6.0), and an mp3 file that’s a playback of the Sibelius file. The audio sounds a bit stiff since it’s a computer-generated rendition, but at least it allows you to get an idea of how the arrangement sounds. Unfortunately, we don’t have a recording of Ted playing this arrangement, but we all know that he would have filled it with great feeling, personality, and beauty…so you’ll have to keep that in mind as you work thru the piece.

After I had been writing up Ted’s arrangements for the site for a couple of years, Barbara Franklin told me that she wanted me to be sure to do a good job on Ted’s “Theme from E.T.” arrangement. She said Ted really poured himself into that arrangement, and that he was very proud (in his humble way!) of the final outcome. She wanted a new write-up to be done, and done well.

Leon White was involved with the history of this arrangement, so we’ll let him tell you about how it got started:

“Back in the day, Professional Music Products (PMP) was contracted to run the Belwin-Mills guitar catalogue. Marty Winkler, head of Belwin-Mills Publishing Corp., would often send us requests for particular guitar things and we’d work on them. One day he called wondering if Ted Greene would be willing to do a solo guitar arrangement for ‘Theme from E.T.’ I thought I knew the answer (‘No’), but I told Marty I’d ask him anyway. To my astonishment Ted said, ‘E.T? Hmmm…let me think about it.’ He was not in a publishing mood at that time so I didn’t expect anything. Out of the blue he called me back and said, ‘Okay, I’ll do it!’ I then worked it out so Ted could work directly with the music engraver that Belwin-Mills used. The result was a multipage sheet music version of Ted’s “Theme from E.T.’ Ted really surprised me in agreeing to do this, and we’re all so glad he did.”

Though it was published back in 1983, copies of it are difficult or impossible to find. On the site we’ve had Ted’s four handwritten pages posted for several years, but they’re pretty hard to read. If you search the net you can find a Guitar Pro version of it with Tab, although I haven’t checked its accuracy against Ted’s original pages.

This new write-up of Ted’s arrangement began several years ago with the transferring of his handwritten page into Sibelius. (Dr. David Bishop helped me with the initial notation input.) Then came time to add the grid diagrams. Ted’s hastily drawn grids on his original sheets are difficult to read and they don’t include his usual dot, X, square, triangle, and star symbols for moving lines. I think he must have included those diagrams there just as a general indicator for what chord form is to be used and for the location on the guitar neck. In our new version we used Ted’s grids as guides, but created all new diagrams and added the moving note symbols, which necessitated the addition a few more grids. We hope this makes the music easier to follow and understand what Ted intended.

This whole process was a bit overwhelming, and I kept procrastinating finishing the project. In the Fall of 2016 I finally got enough ahead with the monthly New Items so I could focus on getting this job completed. David Bishop then spent time proofreading everything; the corrections were then made, and now at last we have this to offer to you all. We hope you enjoy it.

There were a few things relating to Ted’s teaching archives that Barb said she really wanted to be sure got “out there” for the world. One of them was the posting of all of Ted’s “V-System” pages along with explanations. This “E.T.” arrangement was another one. I believe (hope) that she and Ted would be happy with our presentation. Perhaps one of you will learn it well enough to record and post it on YouTube (in part or in its entirety).

Happy New Year!

~ Your Friends on the Team


* Theme from E.T., 1982-09-16. [See Newsletter for more details. This is Ted's arrangement of John Williams theme for the film, “E.T. the Extraterrestrial.” Previous posted, we have now added 12 pages of new notation with grids for easy reading. We’ve also included the notation file (Sibelius 6.0) for those who would like to have it as an aid to learning. And we’ve posted an mp3 file that was generated from the Sibelius program so you can get an idea of how it sounds, albeit a rather mechanical rendition – but it at least lets you hear it as a whole, in tempo, and “correctly” executed.]
* Theme from E.T., - Ted’s Original Sketch, 1982. [These are Ted’s preliminary sketches for his arrangement. Dated just a few days before he wrote out his full arrangement.]

* Harmonic Patterns, 1973-10-30. [Ted gives us 54 exercises in 2-part or 3-part harmony for developing better musical hearing, fingerboard dexterity, visualization of the fingerboard, and harmonic knowledge. New notation provided for easy reading.]
* Harmonic Patterns, 1976-03-14 and 1976-04-29. [Ted called this “Type I: “Held-not” sound or Interval “Fill-ins.” The emphasize here is to let the notes ring for the full duration of the written notation. We can really see here how Ted would take an idea and methodically expand it to include many subtle variations. Two original pages accompanied by three pages of new notation.]
* Harmonic Patterns, 1978-09-04 & 05. [Here we have a truckload of exercises with assignments to do even more variations. This page was filed in Ted’s regular teaching materials, but may have been just for his private studies. New notation provided for easier reading.]
* Neo-Baroque Ascending Diatonic Bass Progressions, 1990-09-01. [Ted gives us 5 little etudes with ascending bass progressions. This file replaces one that had been previously posted as “Neo-Baroque_3.” We’ve improved the scan quality, added notation, and included chord names.]
* Neo-Baroque Light Colors-Diatonic Major Key, Upper Register, 1985-02-21. [Ted composed these two pieces demonstrating what he called “light colors” for the upper register of the guitar. They’re wonderful ideas that you could use, in part or whole, in a variety of situations for intros, fills, endings, etc. This file replaces one that had been previously posted as “Neo-Baroque_4.” We’ve improved the scan quality, and added notation.]

* Jazz Blues Comping, 1995-03-29. [Here’s a blues accompaniment page that Ted wrote up during a private lesson. I guess we could have placed it in either the “Jazz”, “Blues” or “Comping” section on this site, but we thought it best suited for the collection of Ted’s “Blues” studies. As extra bonus material, at the bottom of the sheet Ted started to write out a blues in F using “old pick-style rhythm.” Perhaps he left it unfinished as an assignment for the student to follow-thru and complete it. We left that for you to work on, but we’ve added standard notation to the G blues portion.]

* R537 Voicings Chord Scales, 1986-10-12. [Using the voicing of R, 5, 3, 7 Ted shows various chord scales in a few different keys, ascending and descending on the bottom string set and the string set starting from the 5th string. Three original pages combined with three “filled-in” pages for the grids that Ted left blank for the student to complete. In Ted’s “V-System” organization these are the V-5 chord groups. Go here: system V-5 for more on that voicing group.]
* R536 Voicings from the Bottom String, 1986-10-12. [On this page Ted gives us four examples of harmonized chord scales with 6ths!! Interestingly, he names the chords on the third and sixth degrees as “minor b6.” Keys: F, Ab, and E. As with the R537 voicings, these belong to the V-5 voicing group.]

* Cherokee (middle 4 and Bottom 4 strings), 1984-02-25. [If you worked through the recently posted comping page for “Cherokee,” this one will sound very familiar – the difference being that this version is in the key of Ab and utilizes the middle and lower set of strings. The other version is in the key of Bb and uses the top 4 strings only. The voicings are almost identical. Ted indicated that this piece could be used for comping or as a chord solo. Notation with lead sheet combined with Ted’s grids provided.]

* Cadences, circa 1973. [Ted explains what a cadence is, various types of cadences, gives multiple examples, and tells us a thing or two about music along the way. Good fundamental info. Transcription pages included.]
* Most Common Harmonic Tendencies in Jazz and Related Music, 1977-10-27 & 1979-09-14. [Using Roman numerals Ted lists every degree of a “home major key” and then shows the various common harmonic tendencies of that chord toward other chords as relating to the key. Transcription page provided for easy reading.]

* Jazz Blues (single-note solo), 1986-08-31. [This could go in either the jazz, blues, or SNS section, but we thought it was better suited for the “Jazz” section. New notation page included.]

* Chord Forms for Visualizing Scales, Arpeggios, and Runs, 1978-07-17 [A collection of chord grids meant to be used as skeletal outlines for visualizing scales, arpeggios. Three pages.]
* Melodic Patterns, Key of C, 1974-02-19. [This page is almost identical to another page Ted wrote up. It seems that in the early 1970’s he was constantly revising and updating his lesson sheets, so we sometimes find some redundancy…which never hurts the learning process. New notation included.]

* V-2 7b9, Learning to Work with 7b9’s in Musical Passages, Top 4 Strings, 1988-01-13 [Ted gives us 5 examples of resolutions of dom7b9 to major chords (V-I). Translation page included for easy reading.]
* V7-I, V7-I Progressions with Visually Troublesome V-2 7b9’s, 1984-03-28. [On this page Ted shows how diminished 7 chord forms can function as rootless dom.7b9 chords. He points out the chord tones to be used as “anchors” to help visualize the chord name. (In example #5 he stretches it out a bit and takes it somewhere else.)]

* Summertime / It Ain’t Necessarily So (from “Solo Guitar”) Grids, Mark Thornbury. [Mark wrote: I don’t really have any comments about this piece, although you can see I sort of skipped the analysis of the descending diminished triads with auxiliary soprano melodies on top in the next to last line. I wish I had asked Ted about that, for it sure is a cool ending!]

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* Of course, most of the videos are posted right here in our Video Section

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- - - - - - - - - - - - - - My Life with The Chord Chemist - - - - - - - - - - - - - -

My Life with The Chord Chemist
A Memoir of Ted Greene, Apotheosis of Solo Guitar
By Barbara Franklin

BUY NOW - Available at

Publication Date: Nov 24 2009
Page Count: 276
Trim Size: 8" x 10"

A retrospective of Ted Greene, virtuoso solo guitarist, beloved music teacher, world-renowned author and innovator of unique music concepts for guitar. This book also includes an overview of Ted Greene's early life and musical development, plus an insightful narrative of the 13 years prior to his death

Six agonizing months after losing my beloved Ted, I slowly emerged from a state of profound disbelief, almost coma-like. At that time I didn’t know what to do with the remnants of my life; then a path began to unfold before me. This website was started and became a saving grace.

During the ensuing years, I organized and categorized Ted’s material and personal studies. Upon completion of that massive undertaking, once again, I didn’t know what to do, so I began writing.

I wrote pages, and then threw them away, until once again a path began to unfold. What I wrote is mostly a personal memoir. I suppose it was what I had to write first.

From the preface:

“The decision to reveal parts of our personal life was something I deliberated over for a long time. Because our lives became so inextricably bound, I included what I felt necessary, but not without a considerable amount of apprehension. This book illustrates the many parallels between Ted the musician and Ted the person. I felt it was important to convey how Ted was driven compulsively not just to pursue music, but so many other things he loved.”

With this in mind, here is our story. It IS very personal and I still have apprehensions about publishing it. My hope is that it brings you closer to Ted, as you begin to get to know and understand this unique and extraordinary man and musician.


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