Ted Greene Jazz/Blues Comping Studies with compilation pages by Paul Vachon

Ted's Original Lesson sheets
ApproachChordBlues_KeyOfBb_TedGreene1985-10-27.pdf
ApproachChordBlues_KeyOfF_TedGreene1985-10-27.pdf
ApproachChordBlues_KeyOfC_TedGreene1985-08-25.pdf
ApproachChordBlues_KeyOfE_Var1_TedGreene1985-08-15.pdf
ApproachChordBlues_KeyOfE_Var2_TedGreene1985-08-16.pdf
ApproachChordBlues_KeyOfF_TedGreene1985-08-15.pdf
ApproachChordBlues_KeyOfF_Var2_TedGreene1985-10-27.pdf
ApproachChordBlues_KeyOfF_Var3_TedGreene1985-08-15.pdf

My compilation pages, changes and comparisons
ApproachChordBlues_KeyOfBb_TedGreene1985-10-27_COMP_p1.pdf
ApproachChordBlues_KeyOfBb_TedGreene1985-10-27_COMP_p2.pdf
ApproachChordBlues_KeyOfC_TedGreene1985-08-25 _COMP_p1.pdf
ApproachChordBlues_KeyOfC_TedGreene1985-08-25 _COMP_p2.pdf
ApproachChordBlues_KeyOfE_Var1_TedGreene1985-08-15_COMP.pdf
ApproachChordBlues_KeyOfE_Var2_TedGreene1985-08-15_COMP.pdf
ApproachChordBlues_KeyOfF_TedGreene1985-08-15_COMP.pdf
ApproachChordBlues_KeyOfF_TedGreene1985-10-27_COMP.pdf
ApproachChordBlues_KeyOfF_Var2_TedGreene1985-10-27_COMP.pdf
ApproachChordBlues_KeyOfF_Var3_TedGreene1985-08-15_COMP_p1.pdf
ApproachChordBlues_KeyOfF_Var3_TedGreene1985-08-15_COMP_p2.pdf

Ted wrote up this 8-part series during August and October of 1985.  There are 4 studies in the key of F, two in the key of E, one in Bb, and one in C. 

The idea is to learn to play accompaniment chords, or “comp” for a jazz blues by adding “approach chords” for more color.   Ted used some standard jazz blues progressions and preceded each chord with its V7 chord (often with some alterations and/or extensions).  Most of this occurs on the fourth beat of each measure, with the “approach” chord on the “four” and the target chord on the “and” of four.  Some of the variations are more complex in rhythm and harmony, and there’s usually more going on in the turnaround measures.

On Ted’s original pages he indicated the timing for the chords by writing out the words “one and,” “two,” “four,” “and,” etc.  This is rather difficult to read through and digest.  I wrote out the chord voicings and rhythms in standard notation and then added Ted’s chord diagrams above the notation.  I think you’ll find it easier to follow this way. 

Many of these “studies” are similar, so you might find it helpful to start by focus on learning just one of them well, and then the other variations should come much easier.  I think you will discover that they all sound more hip when you slide into some of the chords and perhaps add vibrato whenever possible.

I hope you enjoy these and can incorporate some of the moves into your comping bag of tricks.

--Paul