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May 2018 • TedGreene.com Newsletter

May Greetings!

Before we dig into the new lesson material we’d like to share an excerpt from an essay written a few years ago by Omar Haddad: Ted Greene–The Legacy Lives On, an essay by Omar Haddad which can be found in our Personal/Articles & Interviews section. You’ll want to read the rest of the article if you haven’t already done so.

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Probably the greatest influence on Greene’s capacity to deal with many voices and treat them independently was his study on baroque and neo-baroque music, two styles that reside in polyphony. Ted Greene’s knowledge of this music has been widely reported on several media, including his own website, TedGreene.com: The Legacy of Ted Greene Lives On, where his own students have posted private lesson material dealing with baroque music.

Greene directly talks about the connection between his solo arranging approach and baroque music in his 1993 master class, available on YouTube as “Ted Greene 1993 GIT Seminar pt.3,” which took place at the Guitar Institute of Technology, an affiliate of Music Institute of California: “The root movements f Bach… those are just like those old standard tunes…. These kinds of progressions… have been around for a long time. It’s still the same stuff,” he says as he improvises a walking bass line, solo line, and chords on “Autumn Leaves” (6:25).

Greene also explains his conception of Bach’s music: “Implied chords. That’s what Bach did. Bach teaches us that his music is about chord tones that are stitched together with either scale tones or chromatics, and the genius is that there are motifs binding it all together, themes… but if somebody wrote in a similar style but didn’t use actual themes, they could still get the effect of the harmonic environment of a Bach, if they knew his harmonic vocabulary” (2:41).

Based on all these accounts, it is possible to establish that Greene’s interest in and knowledge of baroque music aided him in the development of his solo arranging style capable of polyphony. Additionally, the incidental connection between jazz and baroque music through similar chord progressions (cycle of fourths) and moving bass lines (the baroque basso continuo and jazz walking bass line) made the music of Bach a practical model whereby Greene could develop mature arranging and performing techniques.

Another of Greene’s musical incorporations in his style, taken most likely from jazz pianists, can be seen in his voicing choice. The introduction to “They Can’t Take that Away from Me” on Solo Guitar shows how Greene moves far away from typical guitar voicings. The progression constitutes a chromatic cycle of fifths that supports a soprano voice moving independently. Greene strategically selects rootless altered dominants of four or five notes, creating a dissonant texture by using the tritone and two of the dominant’s alterations or far extensions, such as the sharp ninth or the thirteenth…. [Go to full article to see the notated example.] These quartal dissonant chords resemble Bill Evans’s voicings and are played within the uppermost frets of the guitar, a usually neglected area. Thus, this approach addresses the need to incorporate universal jazz vocabulary beyond the resources that the instrument offers.

Ted Greene stands out as a solo arranger and performer by achieving polyphony on the guitar, giving different voices independent treatment simultaneously, and incorporating piano and bass resources into guitar playing. These accomplishments are all the more admirable when observed in the context of the year Solo Guitar came out, when nobody was doing anything similar at that time or before. Wes Montgomery had incredible command of the fretboard on chord soloing and captured a wide range of audiences with his particular touch, but he never established polyphonic textures, much less develop such an unusual stylistic crossover.

A similar comparison could be made between Ted Greene and Joe Pass, who was a pioneer on progressions with walking bass lines but did not achieve the voice independence present in Greene’s style. Furthermore, Pass did not develop a technique that would allow him to play walking bass, chords, and melodies at the same time, although he was able to stand alone solidly and improvise on jazz standards with his own accompaniment.

Pass and Montgomery’s music was significant in and of itself, and Greene’s development does not invalidate or diminish either performer’s accomplishments. Measuring artists against each other is like comparing apples and oranges, and competition is not the point of this observation, as all music has its own right to be enjoyed and preferred. Nevertheless, these contrasts point out that Ted Greene was indeed one of the greatest jazz masters of all times, as we can perceive in Greene a high degree of musicality development and unique innovative contributions to music and jazz guitar in particular.

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Special thanks to Alex Mesquita and Demma K. for sharing their cassette recordings of Lessons with Ted. Alex mailed them to us from Brazil and we now have the mp3 files in our Audio section. We’d also like to thank Tony Darren for sharing the pages from his private sessions with Ted. These have been posted in our “From Students” section. We’ll have a few more of his pages to share next month.

~ Your friends on the TedGreene.com Team

NEW ITEMS

ARRANGEMENTS:
* And Your Bird Can Sing, 1989-03-14. [This is not really an arrangement as much as it is a transcription of Ted’s interpretation of the “lead breaks” for this old Beatles song from the album “Revolver.” He wrote this up as a special request during a private lesson. We added a lead sheet to Ted’s grids to show the format of the song….you’ll have to fill in the rest of the chords.]
* Just in Time, 1982-12-15. [This arrangement is not too difficult to play and might be a good one to start with if you’re relatively new to playing Ted’s pieces. Notation and lyrics added to Ted’s grids.]

AUDIO:
* Ted Greene Guitar Lesson with Alex Mesquita and Demma K., 1997-05-21.
[mp3 file, 35 min., 320 kbps.]
* Ted Greene Guitar Lesson with Alex Mesquita, 1997-06-19.
[mp3 file, 48 min., 320 kbps.]
* Ted Greene Guitar Lesson with Alex Mesquita, 1997-10-13
[mp3 file, 51 min., 320 kbps.]

BAROQUE:
* Common Diatonic Chord Progressions in Baroque Harmony, 1975-03-24. [Ted explains the common chords for both major and minor keys, defining Primary and Non-Primary Triads as well as Related Triads. He shows these relationships in Tonic, Subdominant and Dominant families. He then gives 34 progressions for major and 38 examples for minor using Roman numerals. He titled this for “Baroque Harmony,” but the concepts explained here have a much broader application and can be used for other kinds of music. Typed translation page included for easy reading. (Ted had two copies of this page, one with additions notes later added.)]

CHORD STUDIES:
Under the Bass-Enhanced Triads header:

* Bass-Enhanced Triads - Misc. Ideas 1, 1989. [A collection of ideas Ted jotted down in 1989, probably saved to be used for the book he intended to write about Bass-Enhanced Triads. Notation provided for easy reading.]

Under the Harmonization of a Given Melody header:

* Warm Harmonization of Diatonic Major Scale Melodies, 1985-09-01. [In this lesson, Ted provides 14 different ways to harmonize a melody of E, F#, D, A, and he gives a brief description of each version, like “Scale-wise bass heading for IV, or Expanded Diatonicism via bVII, etc. Lots to learn by playing and analyzing these examples. Notation and chord names added for clarity and ease of absorbing the concepts.]

COMPING:
* All the Things You Are (V-1 chords), 1985-06-18. [Ted subtitled this page, “Mostly V-1’s on the middle strings,” so you’ll encounter a few long stretch chords here. We combined Ted’s grids with their notation and a lead sheet with lyrics. This allows easy analysis of Ted’s reharmonization compared to the original chord changes.]

OTHER:
* For My Book on Harmony (or The Harmony of American Music), 2000-10-10.
[This is from Ted’s Personal Music Studies files, and it’s one of several pages he wrote as outlines for various books that he wanted to write. On this one he describes some ideas for a chapter on “Favored Diatonic Progressions.” These outlines afford us a window into his thought processes for presenting some musical concepts. New typed text included for easy reading.]

SINGLE-NOTE SOLOING:
* Diatonic Major Scale Runs - Part5, 5th Position, 1977-11-11.
[This is a continuation of the series we posted last month. They come from Ted’s original manuscript for his Single-Note Soloing Vol. 1 book, although he never included these pages, but instead chose other similar ideas. New music notation has been included to make it easier for you to read.]
* Diatonic Major Scale Runs – Part6, 6th Position, 1977-11-11. [see above.]
* Diatonic Major Scale Runs – Part7, 8th Position, 1977-11-12. [see above.]

THE V-SYSTEM:
* Chord Homonyms for Favorite 4-Note(Voice) Chords, 1980-04-18 &1984-11-22. [This is a worksheet from Ted’s Personal Music Studies files, and shows his analytical thinking revolving around exploring every possible combination of 4-note chords. As James Hober writes in the comments/introduction page, “This page is the birth of his V-System.” It’s a monumental achievement that outlined a path which Ted might not have expected to go down, but now seems inevitable owing to the extreme thoroughness in his harmonic investigations. The V-System is one of his unique contributions to guitar pedagogy, and this is the page that set the stage for it to flower. We meticulously transcribed every smudged letter from his original page (no easy feat that!) and present it here for your consideration – if you feel so inclined to join Ted in his exploration. We’ve placed this document under the header, “Ted’s Comments on the V-System.” Thanks to James Hober for his explanations and gentle prodding for us to get this page transcribed. Whew!]

FROM STUDENTS:
Under the “Contributions from Tony Darren” header:

* Chord Progression, 1991-12-00. [All these pages are ones that were written up during private lessons with Tony Darren. This one focus on a progression of E11-Amaj9-Am7/11-Am9-Gmaj9-Abm9. The top line of this page is not Ted’s grids or chord names, but instead is probably a homework assignment written by Tony.]
* Chord Spelling-Triads, 1993-01-06. [This is a fundamentals lesson on triad spelling.]
* Cumulative Mental Scale Practice, 1988-10-31. [Another fundaments lesson on how to add flats in key signatures, plus he shows the name of the keys by bolding the second-to-last flat in each key signature. Ted wrote out a descending A major scale in small, then larger and larger portions, for “cumulative” learning. Ted wanted this to be primarily a mental practice.]
* Harmony Fundamentals, 1988-07-13. [This lesson contains a lot of fundamental information all crammed on one page: triad spelling, intervals, diatonic triads, harmonized scale, Roman numerals, etc. ]
* Mental Drills, 1986-02-26. [I believe this page was intended to provide some drills for practicing the guitar mentally only, focusing on the learning the notes all over the fretboard.]
* Notes on Tony’s Tunes, 1991-01-31. [I assume this is Ted’s comments he jotted down after listening to some tunes that Tony wrote. It has some analysis of some concepts/tendencies that Tony seemed to favor. Ted listed his main “harmonic palette.” It is interesting to see how Ted can quickly sum up a person’s level of harmonic understanding by reviewing a few of his pieces…one of the signs of a great teacher.]

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April 2018 • TedGreene.com Newsletter

April Greetings!

Hope you all have been digging into the mountain of lesson material that we’ve been posting over that past several months. It’s really starting to accumulate, and it’s probably impossible to absorb it all. Something that Ted tried to do was to not overwhelm his students with too many lesson pages. Well, he could overwhelm us with just one page! So, you’ll just have to pick and choose which lessons or arrangements you want to focus on and put the rest aside…at least for a time.

We wanted to share the following article we found on the web from Guitar Teacher magazine. This is part 1 of a 2-part series, published in their Winter 2006 issue. Unfortunately, the magazine is no longer in business and we’ve been unable to locate part 2 of the article. And we have been unsuccessful in attempts to contact either the publisher or the author. If anyone has a copy part 2 in their next issue (Spring 2007) or contact info, please let us know via this site. But for now, you can read part 1. Enjoy!

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Ted Greene
The renowned teacher left a legacy of passion and knowledge for his students.
By Jason Garoian

Ted Greene was one-of-a-kind, a teacher’s teacher. Although he only released one album under his own name, 1977’s Solo Guitar, his contribution to music, through guitar teaching, is immense. The brilliant guitar instructor passed away at his home in Encino, California, on July 25 at the age of 58, leaving behind legions of inspired students and a catalog of superb teaching materials. Chord Chemistry, the comprehensive chord book which is his best-known work, has secured him high rank in the pantheon of guitar geniuses. A consummate teacher and eternal scholar, Greene’s commitment to music and his students is a testament to what is possible in the world of guitar pedagogy.

Pinpointing a Student’s Musical Personality

Greene was a gentle, caring spirit who extended himself far beyond the typical teacher-student relationship. “If you kept coming back and you became friends with him, he would go that extra mile, doing whatever it took to help you,” says Tony Darren, a longtime student and friend of Greene’s.

To Greene, teaching wasn’t just his job. According to his students, he felt he was entrusted with their musical development, and he took great care with that appointment. Extremely sensitive to his students’ level and interests, Greene would quickly pinpoint a student’s musical personality and assist them in their musical evolution. He’d get a sense of what someone liked by playing records and chord progressions for them. In Darren’s lessons, that attention even extended to chords. “He knew what I liked,” says Darren. “At the time, I didn’t know these chords, but he’d play major sevenths, major ninths, 6/9s, and I thought, ‘I love that chord.’” Greene would compile tapes for Darren and introduce the new voicings in increments.

Guitar Guru

Greene’s home studio was lined with stacks of books, records, and videos, and he had piles of amps and guitars. No distinction was made between living space and workspace. He could always be found with a guitar in his hands, most often his ’52 Fender Telecaster. Famous guitar players would seek him out for a lesson when they were in town. “Going to Ted’s was like going to Yoda’s den,” says Darren. “He always had bare feet, he never had shoes, and he never sat in a chair. He’d always sit cross-legged on the floor. And then, when we’d listen to music, he’d close his eyes and just kind of bob his head up and down and really get into it.”

Even though Greene was an expert guitarist, he was always able to meet people at their own level. If a student wasn’t getting something, he would find a different way to communicate the concept. “His mind was like an iron trap, and it worked a million miles an hour,” says Darren. “Sometimes I couldn’t keep up with it. Then, he’d break [the concept] down and simplify it to its most basic element. He wouldn’t stop until you understood it. You wouldn’t meet a sharper guy, that’s for sure. He was definitely firing on all cylinders.”

While writing out a lesson, Greene would have Darren play the material they’d covered the previous week. Never skipping a beat, he’d correct Darren without looking up from the paper. “He’d say ‘No, no, what was that chord?’” Darren recalls. “And I’d say ‘minor-seven-flat-five.’ And he’d say, ‘No, no, play it again.’ [If I made a mistake] he’d pick it out in a minute, but he’d never stop writing the next lesson.”

A Fountain of Knowledge

Greene covered so much ground in his hour lessons that most people found it necessary to record them just to keep up. “I used to have hours and hours of those tapes,” says Mike Rao, a guitar instructor at Blue Bear School of Music in San Francisco. “The time would go by really fast. You never knew what you were going to walk out with. It was really intense.”

In addition to the tapes, Greene’s handouts are the stuff of legend. His students remember how he regularly churned out comprehensive learning materials. “He’d have chord-melody arrangements laid out for ‘Prelude to a Kiss,’ ‘Misty,’ ‘Stella by Starlight’—every jazz standard you can think of,” recalls Rao. “He’d written all this stuff out by hand in the same way that he’d written all his books out. (The chord diagrams and fretboard charts in Greene’s books are handwritten.) He had this wealth of material laying around. I still have a lot of that stuff. Once in a while I’ll Xerox it for a class, and I’ll mention to the students to make sure they look into his books.”

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And now, on to the new lesson material….

One note: this month we’ve added yet another header to the “Chord Studies” section. It’s called “Harmonization of a Given Melody” and we’ll be adding more pages to it in the future.

~ Your friends on the TedGreene.com Team

NEW ITEMS

ARRANGEMENTS:
* Brian’s Song (The Hands of Time), 1992-07-23 [From the 1971 movie of the same name, here is Ted’s arrangement of Michel Legrand’s theme song for the film. Lyrics are from Marilyn and Alan Bergman. This 1992 arrangement is relatively easy to play and might be a good one to start with if you’re new to Ted’s pieces. Standard music notation and lyrics have been added to Ted’s grids for easy reading.]

Under the “Classical Pieces” header:

* Bach – Chorale No. 26 (BWV 20), 1972. [This is Ted’s early transcription/arrangement of Bach’s Chorale #26, or also known as “O Ewigkeit, du Donnerwort”, which translated is: “O Eternity, You Word of Thunder.” For some reason Ted did not do the last 4 measures, but he did add an “Intro in A” at the end with undefined rhythmic values. We’ve transcribed Ted’s notation and added Ted-style chord grids as suggestions for playing (other chord forms are also possible). We also went ahead and finished the transcription and added suggested grids. The original Bach score has also been added to Ted’s original page for comparison.]

CHORD STUDIES:
* I-IV-III-VI-II-V-I Variations, 1978-12-02. [For each of these 19 examples of an ascending scale harmonized with a variety of I-IV-III-VI-II-V-I chords (all major or dominant in quality), Ted wrote the melody, bass lines, and chord symbols. Based on his very specific chord names, we’ve added “suggested” chord voicings and chord forms to aid in following his page. Optional notes in the grid diagrams have been added with circles to show Ted’s alternate chords. The examples are mostly in the key of A, and just the last two in Gb. New notation and grids provided for easier reading.]

Under the “Chord Streams” header:

* 3-Note Close Harmony Dominant Extensions, 1989-07-20. [Last month we posted the first part of this series for “major sounds,” and this month we finish this series with the dominate extensions and minor extensions lessons. This page focus on the middles 3 strings (2, 3, and 4) for A7, E7, Bb7, and F#7 dominant sounds. Ted really liked the sound of using these sequences, and encouraged students to persevere in working on them, difficult as they are to get up to a nice smooth execution. Notation and chord names provided for easy assimilation.]
* 3-Note Close Harmony Dominant Extensions, Top Set, 1989-07-20. [Another page of dominant sounds, this time for the top 3 strings for D7, F7, A7 and F#7 sounds. Notation and chord names provided.]
* 3-Note Close Harmony Minor Extensions and Friends, 1989-03-12. [This is the final lesson for this series of 3-note close harmony exercises. Twelve exercises all given for G minor sounds. Notation and chord names added.]

Under the “Harmonization of a Given Melody” header:

* Diatonic Harmonization Through Counterlines, 1983-05-10. [With this lesson we start a new area in the “Chord Studies” section. This is the first in a series of pages in which Ted gives a short melodic phrase and then harmonizes it in many different ways, using different devices, such as counterpoint, pedal tones, contrary-motion, diatonic chord scales, sustained notes, approach chords, etc. In this lesson Ted’s melody is a I major triad: 5-R-3-5, and he has limited his harmonization to diatonic notes/chord for the given key. There are 43 examples presented here, in a many different keys. Notation and chord names provided to go along with Ted’s gird chord diagrams.]

Under the “Bass-Enhanced Triads” header:

* Bass-Enhanced Triads – Slash Chords, 1987, 1988, 1989. [This file is a compilation of four ideas Ted wrote for his Personal Music Studies papers. They were all titled as some kind of “slash” chord, so we combined them. Notation and chord names were added to Ted’s grids. Bear in mind that you’ll want to add rhythmic variety to what is written—to give them more musical life.]

COMPING:
* All the Things You Are (V-2 chords on the top 4 strings), 1985-01-08. [This is a great page for beginning to learn comping. The chord forms used are very common and easy to play, and Ted’s combination of these is very musical. Notation added to Ted’s grid diagrams, along with lead sheet with lyrics.]

PERFORMANCES:
Under the Live Performances header:
* 1973, March 2-3 — Ted Greene at with Gabor Szabo at McCabe’s Guitar Shop
* 1973, August 24-25 — Ted Greene with Joe Pass and Herb Ellis at McCabe’s Guitar Shop
* 1974, February 8-9 — Ted Greene with Al Viola at McCabe’s Guitar Shop
* 1992, January 21 — Ted Greene at Monteleone’s Restaurant
* 1993, February 5,6 — Ted Greene at the Seashell Restaurant
* 1993, April 16, 17 — Ted Greene at the Seashell Restaurant

[Thanks to Steve Herberman for discovering and sharing these dates and their corresponding newspaper ads.]

OTHER:
Under the “Harp-Harmonics” header:
* More Consonant 6-Note Voicings for Harp-Harmonic Technique, 1979-12-03. [Ted gives us 93 more chord forms to use with the harp-harmonic technique. Many of these are very difficult to play cleanly, but you’ll find plenty that are easier to grab and sound beautiful. Good luck! Redrawn grids for easier reading.]

SINGLE-NOTE SOLOING:
* Diatonic Major Scale Runs, Part 1, 2nd Position, 1977-11-02.
[This series of lessons are from Ted’s original manuscript for his Single-Note Soloing Vol. 1 book, although these pages were never included. He ended up using some similar pages, but the examples here are slightly different.] Next month we’ll post parts 5-7 of this series. We added new music notation to make it easier to read.]
* Diatonic Major Scale Runs, Part 2, 4th Position, 1977-11-08.
[See above comments.]
* Diatonic Major Scale Runs, Part 3, 5th Position, 1977-11-08.
[See above comments.]
* Diatonic Major Scale Runs, Part 4, 7th Position, 1977-11-08.
[See above comments.]

THE V-SYSTEM:
Under the “Combined Sets” header:
* V-8 and V-9, Seven Basic Qualities and their Systematic Inversions – Worksheet, 1989-10-06. [This is the worksheet Ted made prior to making his individual pages for the V-8 and V-9 “Seven Basic Qualities” pages. If you look at those pages, you’ll see that this is just redundant material, created 2 or 7 days earlier. Redrawn grids for easy reading.]

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March 2018 • TedGreene.com Newsletter

Welcome to the March edition of the TedGreene.com newsletter!

If you’re relatively new to this site we invite you to thoroughly explore all the different areas here.  Keep in mind that there’s a lot of stuff packed away in the deep recesses of the various sections.  For instance, go to Lessons / The V-System / V-2 to find a load of V-2 (drop-2 voicing) lessons.  Or read through the Newsletter Archives to find articles nowhere else published, including some words from Barbara Franklin (who wrote and coordinated all the early Newsletters), Leon White, Jim Carlton, Andy Brown, Cathy Segal-Garcia, Rowanne Mark, Steve Lukather, Dan Sawyer, Tim Lerch, and more.

And check out the Audio section (found by going to the tab on the top right of the Homepage) to hear recordings of Ted that are not published elsewhere, including tons of recorded private lessons with Ted, seminars, interviews, and albums.  The Personal / Articles & Interviews section has many articles published by or about Ted that make for great reading.

We could go on and on…and someday we hope we’ll have some kind of “tour guide” that can take you through to it all.  But for now, enjoy the exploration.  We’re sure you’ll find something that will perk your interest, get you thinking, inspire you or simply enjoy…and it’s all for free!  Oh, and of course, don’t forget the Forums…especially going back and reading older posts (try using the search feature to find subjects you’re into).

If you’ve been following the Forums lately you’ll have noticed that Steve Herberman recently provided us with some YouTube links to a recording he made of his extended lesson with Ted back in 1995.  This is a fabulous encounter between two awesome musicians.  You can tell that Ted was excited to find such an accomplished young player.  A couple of times Ted told him, “You don’t need lessons….”  There’s a great exchange of musical thoughts going on here. We wanted to let you all know that we’ve added those recordings (more accurately, the YouTube links) to our Audio section under “Lessons with Steve Herberman” (see description below).  If you could, we’re asking if you could support Steve’s YT page with a “like” and to subscribe to his YT channel.  He also is providing us with two Ted recorded lessons with John McCain, one of which is an upgrade from a 1991 lesson we had published previously, and the other is a unpublished 1989 recording.  Thanks for sharing these, Steve and John!
And finally, we wanted to leave you with some memories of Ted by some of his students, extracted from the Ted Greene Memorial Blog:

“I first met Ted in the early ‘70s while shopping for a tele at Betnun Music in Los Angeles.  I remember hearing what I thought were two guitarists playing in another room.  When I looked around the corner there was only one player, and of course it was Ted.  His gentleness and artistry are the two traits I will remember the most.
“Our paths crossed many times over the years, and every time I felt I was in the presence of a great artist and an exceptional human being.  Ted had a profound influence on guitarists everywhere and it’s difficult to imagine a world without him.  Thank you, Ted for making our world a more beautiful place.  I’ll never forget the beauty of your playing or the purity of your heart.”
~ Jody Fisher

“Ted was probably the most inspiring man I have had the privilege of meeting.  As an Australian resident, I managed to organize a handful of lessons during my infrequent visits to Los Angeles.  It is no exaggeration to say that these meetings had a profound and lasting effect upon my life.  On one occasion I inquired as to why he performed so infrequently.  His response was that it was no longer a priority.  When pressing him as to what was a priority, he replied simply:  knowledge!  How many people in this day and age devote their entire being to the pursuit of knowledge?  He was truly a remarkable being whose teaching extended far beyond the musical arena.”
~ Lucas Michailidis

“I met Ted and began studying with him when I was 17 years old.  I am now 36 [this was written in 2005].  Ted and I became friends from the first phone call.  And there was a waiting list at that time! Remember that?  Some of you out there will remember his first apartment that had 2 chairs, a music stand, an ashtray, and needless to say, a tape recorder with which he demanded that the lesson be taped.  The lessons and the man were serious then, really serious.  (The apartment was clean to a fault.)  But, even as we have known him in recent years, he was very kind, understanding and selfless then as well.

“At this time he became like a surrogate father to me.  Many times we wouldn’t even pick up the guitars – we would just talk for 2 hours.  He helped me learn how to live life.  So many times he talked me through some really rough experiences.  He was more of a father to me than my father.  Ted was not only a teacher of music for me, but he taught me so much about living!  I could talk to him about anything.  I do not know where I would be without having him in my life.  And now in 2005 he is still like my father and dearest friend.

“We shared quite a bit together.  I am sure that there are others out there who got to share some special times and special conversations with him.  There were many sides to Ted.  I will cherish the memories of speaking to him so frankly on such a wide range of subjects!  And he surprised the hell out of me with his vast knowledge and ideas about so many things.

One time I brought him a bunch of my Roman and Greek coins to see.  The next week he had started up again with his coin collection.  They were all over the place!!  Quarters galore!  He said that he loved the quarters!  I loved sharing with him my collections of all things ancient.

“Ted, you know how much we will all miss you.  You touched so many lives.  I’m not sure what I/we will do without your direction, opinions, thoughts, and guidance.  I am sad beyond words, and the world—and especially the world of music and guitar—is a different place without you here.”
~ Rich Glasband

~ Your friends on the TedGreene.com Team

NEW ITEMS

ARRANGEMENTS:
* Love Walked In (key of G), 1977-05-25. [This arrangement is the G version that Ted wrote up for students back in 1977. We posted the Eb version last month. The G version ends after 24 measures, and Ted just wrote, “etc.” – meaning, it is up to the student to finish it. On the write-up, we included the melody, lyrics, and basic changes for the remaining 8 measure, but left out any harmonization so you add your own ideas. A couple of suggestions: you might look at the harmonization that Ted used elsewhere in the G arrangement and borrow those chords for the final 8 measures. Or, you could look at the Eb version and transpose the last 8 measures to G and import it. Yet another idea that might be more “Ted-like” would be to start off by playing the G version, then at measure #24 modulate to the key of Eb, and play Ted’s entire Eb arrangement. Experiment and find out what works best for you. Enjoy!]
* Softly as I Leave You, 1989-09-10. [This is a beautiful song that Ted created a really nice version that I think you’ll find very satisfying and not too difficult to play. Probably the hardest thing about Ted’s original page this was trying to follow or navigate it as he intended (measure 36 onward), and to notate it accordingly. One key to playing this (and other Ted arrangements) is to be sure that the melody really sustains above the moving harmony. “Make it ‘sing’” – as Ted would often say. Notation, lyrics, and chord names provided for easy reading, learning, and absorbing.]

AUDIO:
Under the “Lessons with Steve Herberman” header:
* Ted Greene Lesson with Steve Herberman, 1995-12-04 (part 1) Length: 45:52
* Ted Greene Lesson with Steve Herberman, 1995-12-04 (part 2) Length: 47:01
* Ted Greene Lesson with Steve Herberman, 1995-12-04 (part 3) Length: 47:35
* Ted Greene Lesson with Steve Herberman, 1995-12-04 (part 4) Length: 18:19
Total length: 2:38:47

Comments from Steve:
Part 1: This was my first meeting with master musician Ted Greene at his apartment in Encino CA. We discuss George Van Eps, Lenny Breau, Johnny Smith, cross rhythms, bringing out lower harmonics in chords, and Chord Chemistry.

Part 2: Topics in this part of 4 include Lenny Breau essential tone comping, Low A string gauges and string cores, A-Frames, deep tuning, “greasy” blues & gospel, astrology, cycle 5 on blues, George Van Eps, and more.

Part 3: Ted continues his discussion/demonstration of American and European guitar styles for chord/melody improvisation. Topics included are: Ted’s amazing Baroque-style playing, “Bouncy” playing Chet Atkins style (stride and ragtime), finding and nurturing one’s own voice, playing for the audience, Ted’s love of sustained sounds and delayed entrances, being yourself, Lenny Breau, Chord Chemistry’s chord reference charts and his voicing system (the V-System), Gretsch 7 string, Ed Bickert’s Tele, vacancy in Ted’s building!, beauty and groove, Pseudo-Latin style and New Orleans style, Gospel 3 and Doo-Wop 3.

Part 4: This final portion includes: arranging techniques including keys and feels, Beatles tunes “And I Love Her” and “Ticket to Ride,” shuffles, marches, different types of waltzes, tumbao bass, folk fingerpicking, Bo Diddley beat, New Orleans grooves, Lenny Breau’s practicing and George Van Eps!

Under the “Lessons for John C. McCain” header:
* Ted Greene Lesson for John C. McCain, 1989 (part 1) Length: 46:19
* Ted Greene Lesson for John C. McCain, 1991 (part 2) Length: 46:11

[These 2 lessons were recorded by Ted on a single tape cassette and mailed to John as “correspondence lessons.” They’re the result of Ted sitting in front of a tape recorder, guitar in hand, and giving a spontaneous lesson without the benefit of the student being present. It was provided to us by Steve Herberman, who had a cassette copy of this recording from John. John’s tape had deteriorated over time and parts of it were corrupted, which resulted in a wobbling speed and distorted sound. But Steve’s copy plays perfectly, and it now replaces the older file we posted previously. Thanks, John and Steve!]

BAROQUE:
* Baroque 2-Voice Counterpoint, 1989-08-08. [Three extended exercises in F#m, Dm, and Bbm. Ted subtitled this page, “Adding a part to an ascending scale-wise bass – in 2-to-1 ratio.” Notation provided plus chord symbols that represent an interpretation of the “implied” harmony. Just two notes can often be harmonically interpreted several different ways, and we’re not saying that the added chords names are absolute, but we thought to include these to show at least one version, because it can be helpful to see thinking behind the notes, and thereby help you to create your own 2-voice counterpoint. (Thanks to James Hober for his help with this page.)]

CHORD STUDIES:
Under the “Chord Streams” header:

* 3-Note Close Harmony Major Extensions, 1st Series 2nd Set of Strings, 1989-07-24. [Five exercises on stings 2,3,4 for E major and Db major sounds. This series better fits into the category of “chord streams” rather than triads, since many of the forms are more chord fragments (such as 6no3). Ted really liked the sound of using these sequences, and encouraged students to persevere in working on them, difficult as they are to play smoothly. Notation and chord names provided for easy assimilation.]
* 3-Note Close Harmony Major Extensions, 2nd Set of Strings (pt.1), 1989-03-12. [Nine exercises (well, 10 actually if you count 8a as one), all for D major sounds. Notation and chord names provided.]
* 3-Note Close Harmony Major Extensions, 2nd Set of Strings (pt.2), 1989-03-12. [A continuation of part 1. Twelve exercises for D major and G major sounds. Notation and chord names given.]
* 3-Note Close Harmony Major Extensions, Top Set of Strings, 1989-07-20. [Five exercises for A, F, E, and Db major sounds. This page focuses on the top 3 strings. As usual, notation and chord names have been added.]
* 3-Note Close Harmony Major Extensions – Used in Little Melodic Phrases, 1989-02-20. [This group of exercises are for strings 2,3,4, and are a bit more melodic than the previous pages. Notation and chord names are given, though you want to think of them all as just major with extensions.]

Under the “Bass-Enhanced Triads” header:

* Cool Rock and Motown-ish B.E.T. Colors, 1992-12-16. [Ted had this page filed away with his other “B.E.T. sheets, although there really isn’t any “B.E.T. or “slash” chords here. Notation and some chord names provided for easy reading.]

COMPING:
* Stella By Starlight, 1988-10-26. [Here’s another comping page Ted made for this classic standard, using V-1 and V-2 chord voicings. For some reason Ted titled this page, “Stella That Starlight Girl” – maybe because he was thinking of publishing it and didn’t want to use the copyright title. We added notation for Ted’s grids, along with lead sheet, lyrics, and chord “qualities” to Ted’s chord root names.]

FUNDAMENTALS:
* Cumulative Aeolian Scales, 1989-06-17. [Ted often used the “cumulative” approach for learning new things. This involves first learning little pieces, then adding another small portion, and then adding more. It breaks something into bite-size chunks that are easier to absorb. In this series, Ted shows some fingerings for the Aeolian minor scale for Fm, and Bbm. Notation provided to make it easier to see what Ted is describing with his chord grid diagrams.]
* Cumulative Major Scales, 1989-06-13. [As above, this page has 7 runs in E major.]
* Cumulative Mixolydian Scales, 1989-06-15. [And 7 more runs for E Mixolydian.]
* Triads, 1973-03-24. [This is an early lesson page Ted gave to students to cover a wide variety of subjects relating to triads: basic forms, chord formulas, common progressions, substitute principles, etc. At this time, Ted defined chord voicings as “small, medium, and large” – this was before he discovered his V-System of organizing 4-note chord voicings. He later discarded these definitions of small/med/large chords. Translation page with newly drawn grids provided for easy of reading.]

HARMONY & THEORY:
* Scale-Chord Relationships in Popular Music, 1974-03-23. [On this page Ted defines the diatonic, secondary chord, and “other secondary chords” along with their extensions and associated scales. Typed out translation page added for easy reading.]
* Tonality Types for Solo Guitar, 1975-03-25. [Ted subtitled this page “Dealing more with norms than exceptions.” He listed 5 major and 9 minor types and their various rhythmic and harmonic elements. Typed translation page to make it easier to read.]

OTHER:
Under the “Harp-Harmonics” header:
* Harp-Harmonic Forms on the Top 5 Strings (More Dissonant), 1980-11-01, 24. [On these two pages Ted wrote out 329 grids to be played using the harp-harmonics technique. He labelled them as “more dissonant,” but many of them sound wonderful “in context.” You might also find that a lot of them are great for unusual/odd/eerie sounds for things like a movie soundtrack. A great deal of these forms are extreme finger-stretchers – but all are reachable, especially for those with small guitars, large-hands, or an iron determination and perseverance to get it down! I’m sure Ted would advise one to try them all, to highlight the ones that you love, and just set aside the rest. Don’t overburden yourself with too many, because there’s a limited use for these sounds, and you certainly don’t need a lot of them. Newly drawn grids provided to save your eyes from squinting at Ted’s original pages.]

SINGLE-NOTE SOLOING:
* Scale Hearts – Dominant, 1987-06-16.
[Here’s another approach Ted used for teaching scales and arpeggios relating to chords in the same positions. Translation page provided.]

THE V-SYSTEM:
* V-3 Diatonic, (undated). [Last month we completed the posting of all of Ted’s “official” V-System lesson pages. We’ll now continue posting some V-System pages, but they will be from his “Personal Music Studies” files, generally not intended to be given to students. This V-3 page has some fragments of diatonic chord scale patterns, and with broken melodic patterns. Notation and chord names provided.]

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February 2018 • TedGreene.com Newsletter

Greetings to all old and new fans, friends, and students of Ted Greene – the Chord Chemist!

In the process of preparing the new lesson material for this month, we came across one of Ted’s lead sheets for “Lullaby Medley” arranged by Cathy Segal-Garcia and Ted.  As you may already know, a beautiful recording of this can be found in the GIT seminar from 1978.  I contacted Cathy and asked if she was okay with us posting the arrangement, and if she had any comments about that piece.  We’ve combined her thoughts along with Ted’s notation and harmonization.  You can find it in the “Arrangements” section below.

And since we were looking at that piece, I thought it would be nice to share the comments that Cathy added to the DVD/CD, “Never Forgotten” she released in 2014:

Never Forgotten
Album Notes by Cathy Segal-Garcia

Ted Greene was my friend since the day I met him in 1976. I had heard about him at Berklee College of Music in Boston when I attended 1972-1975, since there were a lot of guitarists there when I attended. Ted was (and still is, in my opinion) a gentle and kind spirit. Intensely focused and obsessed with what he was obsessed with! A loving and giving friend to many, he got a real kick out of people, and helping them. His sweet girlfriend Barbara totally “got” him, and loved him with all she had. I’m content that they are traveling spirits together now. Humble, almost to a fault, I’m afraid Ted would not have loved that I put these recordings out. But like I always said to him, we’re artists because we can reflect the state of mankind, and that’s a gift that we’ve been entrusted with – we’ve got to do it and give it to the people! So Teddy, this is for you, and me, and everyone. You’ve made mankind just a little bit better because of you and your art. I love you.

This package is one DVD and one audio CD. The DVD is a complete gig in 2000 at the famed “Rocco’s” in Los Angeles, up on Mullholland Drive. Ted and I did a mix of old pop hits, standards, and other genres. Seeing Ted play and hearing him speak is a joy and a treasure! These archival audio-only recordings are from two places: One from 1978 at the old Musician’s Institute in Hollywood, a performance for the students. And the other from 1998 when we did a gig at Papashon Restaurant in Encino. The audios were originally recorded on cassette, and re-mixed in 2014, for quality listening by the amazing musician and engineer, Wayne Peet, of Killzone Music, Los Angeles.

I was one of the only vocalists to work with Ted. I met him when I waitressed at the well-known jazz club in L.A., “Donte’s”. He fainted (he had a problem with loud sound) and I was leaning over him when he woke up! I knew of him, but had never met him. When he found out I was a singer, he asked me if I wanted to get together and play. We did. We worked up a repertoire of standards, in which every single one modulated to at least one other key. I remember when I had my first non-Ted gig after that, I totally had disregarded for myself that my songs were in several keys. Oh boy! That was an embarrassing night!

The first gig Ted and I had was at The Sound Room in Studio City, for owner David Abhari. I had to convince David to book us, we were the first live group he hired. I went around and put up 3 flyers. I didn’t realize that Ted didn’t play out a lot, and that he had a serious following. When I showed up at the gig, there was not even standing room! That was actually my first gig in L.A.

For those of you who know Ted’s playing, you’ll love being privy to him just playing a few gigs, like a regular guy! For those of you who don’t know Ted, look him up on the web, he has a site. He played the bass line, the chords, and the melody all at the same time. And amazing harmonies to boot. A beautiful human being and a major contributor!

* * * * *

If you don’t have a copy of this album, you might enjoy hearing and watching a master accompanist working with a fine jazz singer. I wanted to point out one very subtle thing in Ted’s preamble to “Lullaby Medley,” which I’ve transcribed here:

Ted: “[This is] a medley of lullabies and associated tunes Cathy had put together, and hopefully it’ll put you in a nice place…not to suggest you’re not in it already.”

This last short comment is so typical of Ted. My experience with him was that he never criticized people, or even suggested that they had problems or imperfections. As a guitar teacher it’s so easy to get into the mode of pointing out things that are wrong with a student’s playing and to being somewhat critical in the helping process. Ted would do exactly the opposite by complimenting you on some aspect of your playing, no matter how small or seemingly insignificant it was. He made you feel like you were progressing just fine, and that he was simply sharing some new ideas and sounds that you might like or find helpful to your playing. He made you comfortable about where you were at, but was always encouraging you to push yourself beyond your comfort zone.

So now…on to the new lesson material…not to suggest that you need any of these ideas or that you’re playing isn’t in a nice place already….

~ Your friends on the TedGreene.com Team

NEW ITEMS

ARRANGEMENTS:
* Love Walked In, (key of Eb), 1977-05-25. [This arrangement comes from Ted’s “red period” – when he used red ink with a chord grid stamper. Boy, we don’t like writing up these pages, because every grid needs to be straightened and cleaned of all the extra lines, etc. If you don’t know this song, listen to Ella Fitzgerald sing in on YouTube… then slow it down even more so that you can make the melody sing with the sustaining chords. New notation provided.]

AUDIO:
* Ted Greene Lesson for John C. McCain, September 1991. [This is a lesson recorded as a special request for one of his students. Ted was alone while making this tape, and talks without the focus of having a student present, so the content is more stream-of-consciousness. Some subjects touched on are I-vi-ii-V formulas with walking bass, “I Remember You,” some blues improvisations, and some comments about studying/practicing and teaching. MP3 file, 177 kbps, 50 minutes. This file has been added to the “Miscellaneous” section under the header “Lesson for John McCain.”]

BAROQUE:
* Progressions Using 1st Inversions; Figured Bass, 1974-12-27, [Ted explains Figured Bass, and details 75 different progressions using Roman numerals and figured bass. See Mark Thornbury’s “From Students” file for the chord grids he made as “homework” for this lesson. His chords provide just one of the countless ways to play these progressions.]

CHORD STUDIES:
* Melodizing ii7-V7-I in Close Harmony , 1980-11-10. [Some interesting ii-V-I moves with mostly V-1 type voicings. Five exercises with moving voice in the bass, and five with moving voice in the soprano. Ted’s grids combined with standard notation.]
* 3-Note ii7 Voicings in ii7-V7-I Progressions , 1984-01-01. [Eighteen examples of ii-V-I progressions with 3-note voicings, most of which are close voicings, or V-1 type or fragments. Notation added to Ted’s chord diagrams.]

In the Bass-Enhanced Triads section:

* Bass-Enhanced Triads Stuff, 1991-09-30, 1992-12-10. [Some misc. ideas Ted collected for his B.E.T. book. Notation provided and added chord names.]

COMPING:
* Time After Time, 1977-08-21. [Key of C. Please also see Ted’s arrangement of this song and his lead sheet/arrangement outline page.]

FUNDAMENTALS:
* Chord Progressions , 1974-12-25. [Ted explains and lists 13 basic progressions. Typed text provided.]
* Guitar Layout and Sight-reading Foundation Studies , 2001-09-24.[Using large-sized grids, Ted shows how one melody can be played in several places on the guitar neck. This understanding lays a foundation for being able to sight-read all over the fretboard, not to be stuck in just one or two positions.]

HARMONY & THEORY:
* Non-Voice Leading Exercises on Important Progressions , 1974-11-15. [Ted explains some things to do when voice-leading is abandoned. He also gives 11 progressions in major, and 10 in minor as homework for the student to work out different chord voicings using to these ideas. Re-typed for easy reading.]
* Tonality Types – Modulation & Tonality Transitions , 1975-10-10_12. [Ted lists 15 different tonality types and defines them by rhythms, textures, chord types used, and other various uses such as bass movements, moving lines, pedal tones, and other harmonic devices. A good reference sheet or a tool to help inspire new ideas. Typed text added to save your eyes from too much squinting.]

OTHER:
* Harp-Harmonic Forms on the Top 5 Strings, (More Consonant), 1980-11-01, 24 & 1980-12-07. [Here Ted defined 329 chord forms to be used for harp-harmonics. These are ones which he considered “more consonant” sounding. There’s quite a few finger-stretchers here, and lots of optional notes. Next month we’ll give Ted’s collection of “more dissonant” chord forms for harp-harmonics. Re-drawn grids for easy reading.]

PERFORMANCES/SEMINARS
* 1978 — G.I.T. Seminar. Given at the first G.I.T. building at 5858 Hollywood Blvd, Hollywood, CA. [Ted gave two seminars this day with Cathy Segal-Garcia to the students and faculty. An audio recording of one of these can be found in our AUDIO section as well on the DVD/CD Never Forgotten.” See Set List.
* 1998, Dec. 10 — Papashon Restaurant, Encino, CA. Ted and Cathy Segal-Garcia performed live here. This event was audio recorded and appears on the DVD/CD Never Forgotten.” See Set List.
* 2000, June 13 — Rocco’s, Los Angeles, CA. Ted and Cathy Segal-Garcia performed live here. This event was videotaped and appears on the DVD/CD Never Forgotten.” See Set List.

PERSONAL/DISCOGRAPHY & PUBLICATIONS
* 2014 — “Never Forgotten” DVD/CD. Cathy Segal-Garcia & Ted Greene. A documentary: Live at Rocco’s in Los Angeles, CA, 2000, plus live audio recordings from 1978 at G.I.T and 1998 at Papashon Restaurant in Encino, CA.

SINGLE-NOTE SOLOING:
* Major Scale Sounds for Single-Note Playing, 1975-07-15. [Here is one of Ted’s early reference sheets for single-note soloing. Here is one of Ted’s early reference sheets for single-note soloing. It outlines five basic positions for the notes in the key of Bb major and shows the corresponding chord and various arpeggios for each degree of the scale. This is great for those new to soloing or for those who want to better see the chord/scale/arpeggio relationships within the scale patterns. Redrawn grid diagrams for easy reading.

THE V-SYSTEM:
* V-1, ii7-V7-I on Top and Middle 4 Strings , 1980-11-05 and 1979-06-23. [Ted called this page, “Exercise and ‘Acquaintance.’” He wrote out 75 different voicings. Although he didn’t title the page as a V-1 lesson, it certainly falls in that category, with the exception that some of them are 3-note chords, rather than a formal 4-note V-System voicing. Be ready for some finger-stretchers here!]
* V-1 Minor 7th Streams as ii7 or vi7 , 1985-04-19. [This lesson could also have been placed in our “Chord Studies/Chord Streams” section, but since Ted titled it as a V-System page it seems better suited to be combined with the other V-1 lessons. Standard notation provided for all 10 examples. Ted indicated in red that he thought it was best to divide this lesson into 2 pages when giving to students, but apparently he didn’t do this. However, you can just consider examples 1-5 as part 1, and examples 6-10 as part 2.]
* V-1 Minor 7th Types - Close Harmony-Derived Voicings , 1980-11-09. [Ted details the voicings and names of 95 different V-1 minor 7 types: 31 for the top 4 strings, and 64 for the middle 4 (and top 5) strings. Technically, 5-note chords do not belong in the V-System lessons, but since Ted titled this page as such we’ve included it. The page was created in 1980, but at some later date he made a few additions with his red pen (as Barbara Franklin told us that he was constantly reviewing and revising many of his old lesson pages).]

FROM STUDENTS:
* Progressions Using 1st Inversions; Figured Bass , 1974-12-27 [Mark Thornbury’s chord grids he made as his “homework” assignment for this lesson page. These sheets are an excellent companion to Ted’s original lesson. Be sure to see the typed version of Ted’s page in the “Baroque” section. Thanks Mark!]

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January 2018 • TedGreene.com Newsletter

Happy New Year greetings to all Ted Greene fans, friends, and students!

The beginning of the year is a good time to take a look at where we are, how far we’ve traveled in the past year, and to look ahead at the coming months. I did a quick review of the new Ted lessons and other related items that we posted in 2017 and here’s what I came up with:

2017 New Lesson Items Posted: 222
Arrangements: 48
Articles & Interviews: 4
Baroque: 18
Blues: 14
Chord Studies: 33
Comping: 18
Discography & Publications: 1
From Students: 5
Fundamentals: 11
Harmony & Theory: 3
Jazz: 3
Other: 8
Performances: 1
Single-Note Soloing: 6
Transcriptions: 24
The V-System: 25.

And many, many of these lesson pages are multi-page, most of which contain some kind of translation or notation that was added for clarity. So, it would be safe to round that number up to about 275 for new lesson pages. Not bad for one year! Even if you studied privately with Ted every week for years, you still wouldn’t have amassed as much material as we’re providing on this site. However, what you would have gained is a unique one-on-one experience with one of the finest guitar teachers and musicians. So, what we lack in that personal instruction we try to compensate with quantity. We also do our best to translate many of Ted’s pages into legible, easy to read and follow lessons that one should be able to absorb what Ted was trying to teach. Nevertheless, a lot of the learning comes from your own diving deep into each lesson pages and tuning in to whatever Ted was trying to convey.

But let’s not forget one of the least-used resource on our site: the Forums. It seems that it has been neglected in recent months, with only a few posts per month. But this is a wonderful place to discuss anything related to Ted Greene, with an excellent community of guitarists ready to tackle any technical, musical, or off-the-wall questions – many of whom are Ted’s former students and they are happy to share insights to Ted’s approach, his techniques, his music, gear, and lots more. Don’t be shy about using this fine resource.
And now looking at the “Lesson Files upgrades” we did since we started this project in December 2016:

Upgrades Total so far: 186
Upgrades: December 2016: 18
Upgrades in 2017: 168 (94 of which are in the “Arrangements” section)

Wow!

Reviewing all the lesson pages in Ted’s Teachings Archive, it’s hard to say exactly where we are, but a rough estimate is that we’ve posted about 82 percent of all the sheets that were scanned by Barbara Franklin and Leon White. This doesn’t include his Personal Music Studies folder, in which only a small percentage have been posted, and it hasn’t been fully indexed yet. Many of those sheets were never intended to be given out by Ted as lesson material, but is mostly a collection of miscellaneous musical ideas, work sheets, calculations, sketches, etc. Tons of them are really not worthy of posting, being just scribbled ideas that Ted wouldn’t want us to publish. But after all the files in the formal Teaching Archives have been posted we’ll be going through the PM Studies papers and pulling out and posting anything that seems remotely useful or informative.

A review of the status of the arrangements and comping sheets shows that roughly 80 percent are now published on our site. Many of the remaining ones are from private lessons, or are fragments of songs—but there are quite a few gems yet to be posted, so stay tuned!

Almost the entire “V-System” lesson pages are now posted (just 3 more pages to go)! Whoopie!! Barb Franklin told us that this was Ted’s “pet project” and it was what he considered one of his major contributions to guitar pedagogy. Unfortunately, he didn’t put all these ideas into a complete and graduated method or system of study, but he would be happy to know that everything he wrote has been disseminated to the world (not to mention the superb explanations provided by Mr. James Hober). There are numerous V-System items in Ted’s Personal Music Studies files, and we’ll now begin going go thru and writing up anything from there that is helpful or that sheds some light on the subject of the V-System.

Looking ahead at 2018: We’ll continue to push through with the Lesson Files Upgrades project, and try to finish this before we make any major design changes to the site. But the output for 2017 was enormous, and 2018 will have to be less prolific.

We should be able to finish up all of Ted’s “Bass-Enhanced Triad” lessons, “Ear Training” pages, “Harp-Harmonic” sheets, and “Blues” lessons sometime in 2018. We also plan to create a new series with a header in the “Chord Studies” section called, “Harmonizing a Given Melody” to house the pages Ted wrote up on this subject. These are among some of my favorite sheets—Ted doing what is does so well: taking a simple melody and harmonizing it 20+ different ways, with different textures, colors, moods, feelings, etc. It should be fun, but it’ll take a lot of time notating some of these sheets. We also plan to put some focus on posting more of Ted’s Baroque pages. And, of course we hope there’ll be more transcriptions forthcoming from all of you.

We want to deeply thank everyone who has contributed to the growth of the site this past year, either by monetary donations, or by sharing your transcriptions of Ted’s recordings, or your Ted-related lessons for our “From Students” section, or by aiding in the proofreading some of the lesson write-ups. All of these efforts, plus our monthly newsletter/new items, helps to keep us as one of the most exciting sites on the web for learning solo guitar. Oh, did I mention that we’re also the most affordable place to learn and improve your playing?

~ Happy New Year from your friends on the TedGreene.com Team

NEW ITEMS

ARRANGEMENTS:
* Days of Wine and Roses (key of F), 1984-09-14. [Ted subtitled this page as “Ensemble or solo style harmonized melody (intermediate level). I think you’ll find this one fairly easy to lean and fun to play. Standard notation added to Ted’s grids.]
* Here Comes the Sun, 1973-09-04 and 1993-09-30. [This is not a transcription of the Beatles tune, but Ted’s fingerpicking arrangement of it. He made the notation version of it back in 1973, and then during a private lesson he mapped out the chord diagrams to correspond to his notation. We simply combined both and added chord names to his grids.]

BAROQUE:
* Examples of Progressions Using 1st Inversions, 1975-02-09. [Major keys, various diatonic progressions with Roman numeral analysis showing first inversion figured bass (with a subscript 6). New notation with chord names provided. For chord grid diagrams of each example, please see Mark Thornbury’s “homework” of this page in his “From Students” section.]

CHORD STUDIES:
* Approach Chords - Contrary Motion Soprano, 1985-10-30. [This is a simple page which shows approach chords from a half-step above the target chord, which has an 11th in the soprano and the root in the bass.]
* Mixed Major Tonality - bIII-bVII-IV-I, 1989-12-14. [Some ideas Ted wrote up for add9 or major 9th chords. These pages almost qualify to be part of the B.E.T. collection. Almost. Translation page with chord names provided for clarity.]
* Multi-Tonal Major – Diatonically Mixed Major, 1989-12-17. [Like the lesson listed above, this page has some “moves” for add9 chords, and might be considered part of the B.E.T. lessons.]

Listed under the BASS-ENHANCED TRIADS header:

* B.E.T. Language and Misc. Ideas, 2000-02-05, 1992-02-01, 1994-09-11. [This file combines one page and 3 fragments of some of Ted’s “Bass-Energized Triads” for the book he intended to write. Notation and chord names provided. ]

Listed under the TRIADS header:

* I-ii Low-End Open Triads, 1985-09-20. [This is a fill in the dots assignment. Answer page given as reference.]
* Low-End Open Triads, I-IV-iii-I and I-IV-bIII-I Chains, 1985-09-20. [Another fill in the dots lesson.]
* Low-End Open Triads in I-IV Progressions, 1985-09-18, 20 and 1986-01-11. [This file combines three related lesson pages, two of which are the fill in the dots variety.]
* Low-End Open Triads Using iii and vi, 1985-09-20. [Some minor triad forms for open triads.]
* Open Triads, I-ii-IV-iii-I, 1987-01-07. [Translation pages with filled-in dots included.]
* Open Triads - Low-End Major and Minor 1st Inversions, 1985-09-17. [Two original pages plus two translation/filled-in pages.]
* Open Triads - Low-End Major and Minor 2nd Inversions, 1985-09-17. [One original plus a translation page.]
* Using All 3 Low-End Open Triad Major Forms, 1985-09-18. [Summary homework page with answer page provided.]

COMPING:
* Days of Wine and Roses, (key of Eb), 1984-09-04. [Comping on the lower strings (mostly V-2 chord types and some fragments. Notation with lyrics added.]
* Days of Wine and Roses, (key of F), 1984-09-04. [Comping on the middle strings (mostly V-2 chord types and fragments. Notation with lyrics included. This lesson and the one in the key of Eb are identical except that they are a half-step apart and the chord forms are located on different string sets. Other than that, the voicings are the same, so this should make learning easier after you’ve learned one.]

FUNDAMENTALS:
* The Dominant 7th Scale, 1977-12-30. [This is a very early lesson sheet. It may have been a draft for a book he was writing. The original page also includes an incomplete paragraph on “Scale-Chord Relationship” that he crossed off. This was not included in the translation write-up.]

THE V-SYSTEM:
* V-1 Dominant 7#5 on Top, 1985-08-09. [Have need of a dominant 7th with a #5 on top, look no further – Ted has a few for you here, plus various resolutions to major type chords.]

FROM STUDENTS:
* Examples of Progressions Using 1st Inversions, 1975-02-09. [This is Mark’s “Homework” pages for this lesson. He used Ted-style chord grids to map out all of the examples on Ted’s original sheet. Find it under the “Contributions by Mark Thornbury” header.]

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