Fall 2024 • TedGreene.com Newsletter

ADVANCE TO NEW ITEMS >>

Autumn Greetings to all of Ted’s friends, fans, students, and lovers of harmony!

For this newsletter we’d like to give you a brief overview summary of the current state of items that are available (for free) on this website.

There is now a total: 2,415 (including the 22 new items added this month).

To see the full breakdown, we invite you to utilize a simple tool developed that you can find here:

Downloads Index

In addition to what’s on the Index, the site includes: Photos, Discography, Performances, Biography, Gear, 2005 Memorial Comments, and of course the Forums (which has a ton of information and current discussions, as well as older conversations with Barbara Franklin and other students and friends of Ted).

Recently we finally finished indexing Ted’s Personal Music Studies files: 57 pages of single-spaced 12pt font text, which contains thousands of his miscellaneous ideas, worksheets, examples, lists, charts, chord organization collections, and chord grids, grids, and more grids. As it currently stands, we’ve posted approximately 18 pages of files from that index. Much of what is left to post are pages of collages and collections of short ideas and exercises, many of which are untitled.

Almost all of these pages need to be written up with some combination of typed text, new notation, and redrawn chord grids – simply because they are usually too illegible, messy, or disorganized to present as they are without some kind of translation for the general public. Remember, these are Ted’s personal notes for himself, which he never intended to be shared in their original state, if at all. Many of these notes were for his musical exploration, and they don’t constitute a method in any way – so don’t expect a “book-like” presentation. You may need to figure out what is going on yourself or with the help of a mentor or teacher who knows the stuff.

From writing up hundreds of such personal notes, I can tell you that the very process of working through the pages and experimenting on practical application, that the understanding will come to you…sooner or later (or much, much later!). Mostly, these pages contain lots of quickly jotted down ideas that came to Ted. We are trying to focus on cleaning up and sharing the “more important” pages that we think he would have wanted to offer to the world.

Ted had file cabinets that were full of his regular lesson pages for his students, as well as his personal studies papers. After his passing all these files were scanned by Barbara Franklin and Leon White, and saved as PDF’s. Ted’s organization of these files are as follows:

• Baroque Harmony & Counterpoint Studies
• Blues Ideas
• Chord Voicing Organization & Ref. Charts
• Ear-Training
• Film & TV transcriptions & Ideas
• Fragments of Ideas – Misc
• Jazz Ideas
• Misc. Chord Studies
• Misc. Harmony Studies & Ideas
• New Book Ideas
• Original Tunings
• Personal Misc. Ideas, etc.
• Personal Notes & Ideas
• Rhythm Studies
• Scale & Melodic Pattern Organization
• Seminars
• Single Line Ideas
• Voicing System Notes & Studies
• Work Sheets & Studies Lists

For each Newsletter/New Items we try to provide a cross section of a variety of these subjects. If anyone expresses a special interest in any specific topic, we will try to focus on writing up and posting those pages. The best place to make requests is in the TedGreene.com Forums.

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Something I found interesting in the September 2024 issue of Jazz Guitar Today is an excellent interview by Joe Barth with Pat Metheny wherein he mentions Ted Greene:

Joe Barth:  I know you wanted to express your own voice as a solo guitarist, but can you tell us about a couple of solo guitar albums that have inspired you as a guitarist and why?

Pat Metheny:  “I know I am a guitar player and everything, but it isn’t a priority for me as a destination. I am not sure if that makes sense, but my first response to your question is to say Glenn Gould – his playing could be the aspirational model for me in a setting like this in terms of a bunch of things. The whole idea of touch is a big thing for me, even too on electric. That is a subtle area of music-making and an unlikely subject for analysis in a way because it is hard to define and break down. It mostly has to do with internal dynamics and the way one shapes a phrase. I spend a lot of time working on how to play so each note has a certain kind of meaning in relation to what came just before and just after so when I am improvising, hopefully that kind of feeling can come out.

“But to be guitar-specific to your question, Paco De Lucia and Vicente Amigo are heroes in this area for me. Of course, the fancy stuff, but especially the adagio-type stuff that typically sets up the more burning stuff in their performances. And in our general community, Joe Pass remains in a class utterly by himself. And Ted Greene too.

“To me, Jason Vieaux is one of the great solo players in history. I saw a Bach performance of his some years back that is one of the best musical evenings as a listener I have ever experienced. There is also some great Derek Bailey solo stuff out there. I always liked Keiji Haino. Many others too. And there are plenty of guys who are great stepping out by themselves for a tune or two in almost every category in addition as an adjunct to their ensemble playing.”

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[From Nick Stasinos:]

“When Autumn Leaves Start to Fall”

In keeping with our Fall newsletter theme, “Autumn Leaves” remains a perennial favorite. If I recall correctly, one of the very first comping exercises featured with the TedGreene.com 2006 inaugural newsletter was “Autumn Leaves,” submitted in notation and TAB by Leon White HERE.

Here’s another version of the same lesson HERE:

I am now contributing an audio clip from my Ted Greene Lesson Archive (07-31-86) where Ted was teaching me how to comp “Autumn Leaves” in E minor from that very same sheet (dated 12-11-83). When I asked Ted, “What is the tempo you would like me to achieve?” he launched into this swinging accompaniment that diverged from that comp sheet altogether. Medium swing?! His driving, brisk tempo was clocked at 148 BPM. Why the nod to actor Bill Murray? I am going to go out on a limb and say he just saw the trailer to the upcoming musical “Little Shop of Horrors.” Ted was quite the movie buff, and Mr. Murray was apparently on his mind at the time of this spontaneous musical moment.

Special thanks to Paul for his expert skills in cleaning up and mixing the audio. There are two mixes available here: Audio Lessons with Nick Stasinos – a regular stereo mix, and a “hard stereo” mix (voice panned left and guitar panned right) to assist those who will except my challenge to create a chord grid sheet (or even better, a transcription) to share with the rest of us. These audio clips are truly the hidden “gems” in my lessons with Ted. I believe you will agree!

Have fun!

~ Nick

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Dana "Chips" Hoover

I’ve wanted to write something about Chips Hoover for several months, knowing that he recently passed away, but I’ve delayed this because I don’t have any details of his earthly departure. Chips was one of Ted’s very close good friends and fellow guitar instructors. Ted often recommended Chips to many guitarists who inquired about taking lessons. When I first called Ted about studying with him, he replied, “Well, you know, I’d like to do so, but I’m pretty booked with students right now. I can put you on my waiting list, or you can start right away with Chips Hoover. Chips is a great guitar player and he really knows my teaching material. Later, if you can wait at least six months, we can see how my schedule looks then. Is that something you’re okay with?”

Of course I agreed, and Ted gave me Chips’ number. I studied with Chips for almost exactly six months, and then called Ted back and we started with weekly lessons. True to his word, Chips was an exceptional guitarist, excellent teacher, and a very humble and kind human being. Many of our lessons revolved around Ted’s lesson hand-outs, and arrangements. Chips put me on firm footing so that when I started with Ted, I already had a lot of the basics down that he wanted all his students to know.
           
A few years ago, I contacted Chips several times and tried my best to get him to write a personal tribute to Ted for the TG.com newsletter. He certainly would have had many interesting stories to share about Ted and his guitar wisdom…but it was not to be. Below are some of Chips’ responses to my gentle urgings:

Hi Paul,

I would be thrilled and honored to add to this endeavor! I just need a bit of time for a couple reasons. One is that it’s tax time, and for the next couple weeks I need to collect and get the info to our business manager. Second is two-fold, I want to collect my memories, paperwork, etc., because I want to do a really nice piece for the site.

Teddy was what I considered for many years to be my very best friend, although I’m not sure of my placement on his list. We were in a couple groups together, and I would get together with him to exchange ideas (90% to me and 10% from me). I wanted to pay him for regular lessons, but he would just say that I was giving him ideas too (right!). I don’t think I have ever known another human being that was so giving. The only reason we drifted a bit apart in later years was because he wouldn’t allow me to pay him, and I felt guilty about the imbalance. I guess I should have been more selfish; I’d be a better musician if I had. As is, 75% of my ability now came from my association with him.

Anyway, I am going to put a big note on my bulletin board and in a couple of weeks should be able to start on something. Thank all you guys for the incredible work you’re doing to immortalize the best guitarist and person ever....Theodore Greene....Teddy to us.

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Hey Paul,

So sorry to be dragging my feet on this tribute. I really am honored that I could be included on the site. I have been going through a pretty hard time this year: on top of the pandemic, I’m in the middle of a divorce. But I will do my best to get something to you within the next month.

I also thank you for your comments regarding the lessons you took from me, and no apology is needed for transferring to Teddy when the opportunity presented itself. You would have been a fool not to. In my opinion Ted was the best guitarist in the world, and if I’m wrong about that (can’t be by much, though), I know he was the best teacher. I would have learned a lot more from him had he not been so generous. I felt guilty about him not accepting money from me for the knowledge I received from him. When I tried to insist on paying him, he would say, “Chips, you show me things too.” Yeah, maybe 1 to 100.

Anyway, I’ll make some time to get something to you. Thanks for keeping me in mind. In addition to Teddy’s genius and talent was his kindness and humility. I sure miss him. There’s no doubt about the old adage, “Only the good die young.”

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Hey Paul,

Thanks for remembering me. I’m still going through some changes but there’s now light at the end of the tunnel. I will definitely prioritize sharing some of my “Times with Ted.” And I thank you for placing a value on my input. For some time, Teddy was a close, close friend, and we shared many musical and friendship moments over the years. It will be my honor to add my “two bits.”

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Hey Paul,

I should know if I will be able to do this in 3 or 4 days. I’m getting a biopsy on a mass on my pancreas tomorrow and it takes a couple days to get the results. Bottom line...not sure what to expect for the future. As soon as I have some direction, I’ll let you know.

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Hi Paul,

Thanks for thinking of me. Unfortunately, the biopsy and subsequent tests were not of a positive nature. It’s 4th Stage Pancreatic cancer with metastasis into the liver. About 6 months they say. I wish I had jumped on this before, but at the present I’m just trying to keep up with all the medical & legal issues, medications, etc. Unfortunately, my life’s been a roller coaster for the last several years, now this!

Time permitting I’ll try to get something out to you, but no promises. Who knew it was so much work to die (ha, ha). I suppose I was lucky to make 75.

Thanks again for thinking of me. Teddy was one of the best friends I ever had. I’ll bet there’s 10,000 other players out there that would say the same thing, because it is true!!!!

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Hi Paul,
           
Thank you for your kind thoughts and wishes. Presently I’m struggling to keep up with all the work preparing for the end. I’m hoping that as I get things in order I will have some time to do things I want to do, like be a part of this wonderful effort you all are putting forth for the best person I’ve ever known in my life, Teddy. I truly want to be a part of this and think that once things calm down and I’m on cruise control, there should be no reason why I can’t add something meaningful. I’m putting a notice on my calendar every 2 weeks for the next 6 months so I don’t forget.
           
Again, thanks for thinking of me.

~ Chips

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[Chips wrote the following for the Ted Greene Memorial Blog:]

I first met Ted as I walked out into the shop at Ernie Ball’s studio in Tarzana. Here was this new kid Ernie had just hired, this New York boy, rocking back and forth and playing the most incredible Motown licks and changes. Who knew what was to come. I watched him dig, listen, practice, investigate, study and blossom into the most incredible master of harmony on the guitar that has ever lived. I was so very fortunate to have had him as a friend, and just to have known him. His generosity, kindness and passion to all who knew him will never be forgotten.

As far as his teaching, if only there was a way to bottle his energetic encouragement and then dole it out to all the teachers of all the subjects the world, knowledge would explode. Imagine, students coming home bursting with a passion for what they were learning. He gives a lesson to all the lesson givers. Please listen and learn.

Ted will live on through the knowledge he imparted to so many of us and the friendship that he gave of himself so earnestly. I know that hundreds of years from now, he will still be remembered. Like many great genius artists, the real recognition seems to come after they go. Watch the legacy grow.

My sorrows to the family. This was just too soon. He had so much more to give. I’ll miss you, my friend.

[And another Memorial Blog entry from Chips:]

Ted Greene, gone too soon. Ted Greene is gone…I can’t believe it. Ted was probably the kindest and most prolific person I’ve ever known. Even though I haven’t been able to keep in constant contact, I’ve always felt he was one of my best life-long friends. He is responsible for the majority of whatever musical abilities I have, and he had a major effect on my life for the better.

Ted did more for furthering guitar harmony than anyone I know of. When I sat with Ted, he always inspired me, always made me feel I could accomplish anything on the instrument that I desired. That’s what made him one of the greatest teachers of all time. The planet is, and will always be a better place for his visit.

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Special thanks to our content contributors to this newsletter: Nick Stasinos, Tsuyoshi Ichikawa, Francois Leduc, and Mike de Luca.

~ Paul and the TedGreene.com Team

NEW ITEMS

ARRANGEMENTS:
*I Got Rhythm (verse only) 1997. [This is the version that Ted taught to Tsuyoshi Ichikawa on December 3, 1997. Notation and TAB. This is in the key of F, and has only the verse. You can find Ted’s other version in the key of Bb and try to integrate both together, possibly with modulations, or transpose the Bridge section of the Bb version to the key of F. Good luck, and enjoy! Thanks to Tsuyoshi for sharing more of his Ted teachings library.]

AUDIO:
* Autumn Leaves Comp [In the “Ted Greene Lessons with Nick Stasinos” collection.]

* Autumn Leaves Comp (hard stereo mix – left, voice; right, guitar). [In the “Ted Greene Lessons with Nick Stasinos” collection.]

CHORD STUDIES:
* Borrowed Chord Sounds – Aeolian Major, 1976-06-11. [Ted gives us 16 examples of I-bVII-bVI-V7 in contrary motion progressions in various keys using chord diagrams. Redrawn grids for easy reading and study.]

*Chords by Soprano, 1998-04-12. [Triads (Major on page 1, minor on page 2) organized by which tone is on top: Root, 3rd (b3rd for minor) and 5th. This is an excellent reference page.]

*Chords for Me to Thoroughly Integrate This Year (1981), 1981-02-11 [Ted was always pushing his own guitar studies. Here we have his goals for learning and applying some new chords in 1981.]

*Chords to Integrate in 1983 and 1984, 1983-01-02. [Here we have more chords Ted wanted to learn in 1983 and 1984. It might be interesting to see if any of the chords from his 1981 group was carried over into 1983.]

*Dominant Types on the Top 4 Strings, 1987-10-15. [Ted wrote of this collection of chords:“Initially organized by outer notes, then extract into many little groups, such as #5 with altered 9’s if 9 is present, sus b9 types; b9’s, #9’s or m3 (V7)...and so on.” This is a worksheet that was certainly intended to lead to a comprehensive reference page for all dominant type chords. He has 3rd in bass, 4th in bass, and b5 in bass. Ted didn’t finish this page. He probably would have continued with 5th in bass, #5 in bass, 6th in bass, and b7th in bass. Redrawn chord diagrams with added chord names and chord tones for easy study.]

*Triads in Progressions, 1986-08-02. [This comes from an untitled 2-page study. We put them all in notation, added Ted’s original grids, and then added the chord names. Enjoy!]

*Usage of Unusual Voicings to Move into Beautiful Consonant Types, 1983-06-26. [Eighteen examples of uncommon chords resolving with good voice-leading to beautiful chords. Combined with Ted’s page, “Various Unusual Chord Movements.” Standard notation and redrawn chord grids provided.]

*Vamp Progressions (circa 1977) [This is a very short group of chords, one example in the key of C, and another in E.]

Under the “5-Note Chord Voicings” header:
* 5-Note Minor 7 Type Chords, 1984-07-04 [This is several pages of Ted’s “Favorite Bbm11 and Bbm711 5-note chord types. Although he didn’t mention it, these are all organized according to the top (soprano) note. Redrawn chord diagrams with added names and chord tones for easy study and reference. ]

Under the “Bass-Enhanced Triads” header:
*Bass-Enhanced Triads in Eb, 1977-07-15 [Ted didn’t title his original page for this group of grid diagrams, but it clearly fits within the realm of what he intended to be included in his book on B.E.T. (Bass-Enhanced Triads).]

HARMONY & THEORY:
* ii7-V7 and Substitutes, 1982-06-30. [Using Roman numerals, Ted maps out 34 different possible substitutes for a standard ii7–V7 in a major key. Retyped text.]

*Chord Substitutes: ii7-V7-I Substitutes, 1982-02-11. [Using Roman numerals, Ted maps out a few different possible substitutes for a standard ii7–V7–I, and then separated into 4-beat and 8-beat phrases.  Also included is Ted’s grids for a turnaround in G major. Retyped text.]

*Impressionistic Passages and Cycles, 1975-09-21. [Using the key of C, Ted shows us how to create an endless arsenal of Impressionistic sounds. Retyped text for easy reading.]

*Minor7b5 Family, m6 - min-maj7 Family Sounds, 1974-09-06. [In this lesson page, Ted explains the relation between minor7b5 and minor6 (or min/maj7) chords. Many grids are presented, usually with several optional notes, that can and should be analyzed as some kind of Am7b5 (and extensions) or as some kind of Cm type chord. Retyped text and grids for easy study and reference.]

SINGLE-NOTE SOLOING:
* 2-Note Melodic Patterns in Pentatonic, 1988-09-04. [Want some ideas for your pentatonic scales? Well, Ted lays our 80 patterns and some “Tidbits” for your experimentations. New notation for easy studying.]

* 4-Note Groups for Pentatonic. [What is this all about? Well, I believe Ted is numbering any 4-note groupings in a pentatonic scale with 1, 2, 3, 4, and then listing all the different permutations that can be made with these groups. But don’t keep it stationary, but move it through the scale, starting on every degree. He also included patterns for 3-note groups. Newly typed text.]

*Pentatonic Melodic Patterns for Sustaining or Single-Line, 1982-02-20. [Three basic patterns with multiple variations for use over a Dm6/9 chord. Remember to keep all notes sustaining throughout each pattern – unless it is necessary to release that note. New notation provided.]

TRANSCRIPTIONS:
*Side By Side (From “Messin’ Around at Home (I)” Transcribed by Francois Leduc. [Another excellent transcription from the prolific Mr. Leduc. Created with standard notation, grids, and TAB. Thank you, Francois!]

Ted on YouTube

Ted on Facebook

Ted on Twitter

The Official Ted Greene Forums

* 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 amazon.com

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

ABOUT THE BOOK
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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