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April 2019 • TedGreene.com Newsletter

Spring Greetings!

This month we’re sharing a few pages from Barbara Franklin’s book, My Life with the Chord Chemist dealing with some of Ted’s very early philosophical thoughts about life, music, drugs, and rock ‘n roll. (Although Barb later mentioned that his views about Rock and R&B changed over the years.)

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Although Ted continued his musical exploration with the utmost zeal, he began to feel there was something missing in his life in the area of higher purpose and meaning, so began his quest for an awakening in personal and spiritual growth. There were many avenues to explore, especially during this era, and Ted tested quite a few different paths. Some he readily discarded, some he found a small amount of wisdom in, and a few paths, one such as Paramahansa Yogananda, he found much to benefit from.

After exploring many options, he distilled the wisdom from the sources he felt most applicable to help engender the most positive aspects in his own life as well as utilizing his newly discovered philosophies in the area of teaching. The following thoughts and conclusions dated 5/12/74 were written as a result of his search for meaning and his subsequent understanding.

Reasons for Staying with Music as a Profession

1. Latent therapeutic powers for healing and awakening virtues in others, generally improving the quality of life due to the uplifting vibrations radiated out. A person who is striving for things consistent with these concepts can accomplish these things to a much greater degree. The healing forces can have a hard time getting through if the human channel is clogged up with too much ego, self-pride, arrogance, love of flattery & adulation, desire for self-gratification, etc. The wise person is consistently on guard to detect and dissipate these lower vibrations by remembering thoughts that inspire compassion, humility & sacrifice.
2. A person can set an example for others when he is in the position of exposure that the entertainment field creates. Remember the man who reforms himself will reform others.
3. The money earned can be used beneficially in a multitude of ways.
4. My talents lie in this area so it seems that the Creator would have it be this way, although math, puzzles, or COLOR are also possibilities.

Reasons for Self-Control

1. To decrease the focus on self and concentrate on helping others.
2. To build up the positive quality of will-power which coupled with kindness & reason (wisdom) or common sense can produce very great results in the world, positive vibrations are contagious, have repercussions, just as negative ones do. Will-power can transmute a negative emotion such as jealousy into a positive one such as kindness. Imagine that 10 people were kind to you on a certain day - you would be more prone to be kind to someone else (the contagious aspect) a cynic might say, “I would be surprised if 10 people were kind to me.” Well, eventually kindness wins out because it reaches that essential spark of goodness in all (I must confess to just a few doubts but I am confident time will hold the answers).
3. To not hurt others through lack of control of self. Remember, the quality of harmlessness; do not “use” others; do not be deceitful to satisfy your own selfish desires; do not radiate thoughts which can harm.
4. To set an example for others: “First become that which you want others to be.”
Helpful hints:
a) a cosmic viewpoint of life helps in a moment of heated emotion - just relax & think of the universe & how small and insignificant most things really are: “Is it really worth getting mad at others so much?” Life is too short for most worries.
b) Controlling one aspect can often help in controlling another (be careful here though, not to go so far overboard all at once that you over compensate in another area to make up for the emotional need).

Ted admitted to experimenting with recreational drugs (never ‘hard’ drugs), for a short time in his very early 20’s. He told me he tried psychedelics a few times and did not enjoy the experience. However, he did admit to a penchant for marijuana, but stopped using it for the reasons he listed in the following:

Reasons for Giving up Dope

(Quite a few years earlier was the actual occurrence)

1. Self-delusion (illusions, distortions in general)
2. Increased self-gratification sense is more often the case than not. The world needs more unselfish people, more healers, more people devoted to a life of service. This type of life is impossible to one who is too “high to cope” with the physical plane.
3. Dullness of logical thinking - unable to learn quickly and especially to retain information.
4. Unable or unwilling to cope with problems, crises.

Ted gave these reasons for giving up Rock n’ Roll, R&B, and ceasing to play in bands:

The Combination of High-Energy, Pounding Beat, Excessive Volume in Music

1. Causes riots.
2. Generally increases frenzy, chaos in the world occasionally if not often.
3. Stimulates the already over-stimulated self-gratification tendencies of mankind.
4. Fosters a high degree of competitiveness: Everybody trying to be the “hottest” or “funkiest” player, trying to “outblow” everybody else. Also, it creates more of these feelings in the listeners, they get caught up in who is the “hottest” etc.

What is needed instead is more music that inspires kindness, service, unselfishness, compassion and similar virtues to help mankind to live amongst each other in a harmonious way. Alarming sidelight: In some experiments plants died when exposed to loud hard rock music, while they flourished on Bach organ music.

Along with Ted’s spiritual awakening, he continued to formulate new musical ideas, improve his teaching methods, and find new ways to organize and categorize the material that he wished to expand. Part of this would eventually become incorporated into his second book. Ted often wrote out extensive and detailed “Organization Sheets” to clarify his ideas. This also helped Ted organize the material in his mind and he found making these sheets to be a very satisfying and productive way of thinking.

~ Barbara Franklin, My Life with the Chord Chemist

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~ Your friends on the TedGreene.com Team


* Let It Be Me, 1989-08-30. [This is Ted’s arrangement of this 1955 song in “outline format.” He wrote, “You have to add the missing melody notes to stitch this page together. Also, the right hand broken-chord texture is needed to keep the whole thing flowing.” In our write-up, we’ve provided standard notation, lyrics combined with Ted’s grids. In the notation we added the “missing melody notes” that you’ll need to add to the chord diagrams as you play. We could have added Ted’s usual X, square, triangle to his grids...but we’ll leave that up to you. This song was originally published in French as “Je t’appartiens” and became popular with an English version by the Everly Brothers, Jerry Butler in the 1960’s, and Elvis i 1970. For our write-up, the format and lyrics include verses that were not sung in these recordings.]

* Dominant7b9, Root on Top, Middle Strings, V7-I.
* Dominant7b9, Root on Top, Top 4 Strings, ii7-V7-I.
* Dominant7b9, Root on Top, Top 4 Strings, V7-I (1987-05-03).
* Dominant7b9, Root on Top, Top 4 Strings, V7-I (1987-06-16).
* Dominant7b9sus, Root on Top, Middle Strings, V7-I.
* Dominant7b9sus, Root on Top, Top 4 Strings, V7-I.

[All of the above pages provided beautiful voice-leading moves of the different 7b9 chords to I. We could have combined them all on one PDF file, but it just seemed to make more sense and for clarity sake to post them separately. Ted was meticulous about documenting specific chord voicings and in finding as many useful possibilities for practical application. This series is all about 7b9 chords with the root on top, and specifically, resolving to the I chord. On most of these pages he left out the chord names, and asked the student to fill them in as homework – sometimes also asking for the chord tones to be written below the grids. We’ve included an “answers and translation” page for your reference.]
* Dominant Approach Chord Catalogue for Blues and..., 1985-08-16. [This is collection of F9 chords with its various approach chords. Each of the F9 chords are voiced with the 3rd in the bass. The movement of the two chords creates a contrary motion melody (soprano) line. Translation page provided for those who have difficulty reading Ted’s handwriting.]
* Dominant Approach Chord Catalogue for Reference & Gradual Learning, 1985-08-16. [This is a series of five lesson pages for approach chords moving to 1) E7#9; 2) B7/6 or B13; 3) C9; 4) D7#9; and 5) F7/6 or F13 (with some altered tones too). Translation page provided for those who have difficulty reading Ted’s handwriting.]

* Playing Thru Changes, More – Basing Your Solo on Arpeggio Fragments, 1978-03-22 & 24. [We wrote up this lesson unaware that it had been included in Ted’s Single-Note Soloing, Vol. II, because the title of the lesson is slightly different from that in the book (Condensed Arpeggios vs. Arpeggio Fragments). Nevertheless, we’re including it here so you can see some of Ted’s original pages that he used for the book. New notation pages provided.]

* Ted Greene String Gauges.
[This list was compiled by Tomas Campbell. Here’s what he wrote about this list: “I first wanted to send my sincerest thanks for all the information you have shared about this wonderful musician. For the past 6 months I have been studying Ted Greene in the most detailed way that I can absorb. One thing I was writing about was his experimentation of different string gauges (I take notes on all his lessons, seminars, audio files, and lesson plans). It took me a while on a multitude of platforms to find as much as I could about his string preferences. Since I didn’t see anything about this posted in the Archives, I felt that this list might be helpful for others. It provides a list of all the string gauges he tried. Many thanks for your help and your time.” Thank you, Tomas! If anyone comes across additional information about Ted’s string gauges that is not included on this list, please contact us and we’ll update it.]

* “Shred with Ted” from Bob Holt. [This page was written up by Bob based on a private lesson he had with Ted. We had it posted on this website several years ago, but it somehow got misplaced or removed by accident. Thanks Bob!]

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March 2019 • TedGreene.com Newsletter

Greetings to all Ted fans, students, and friends!

Wes Montgomery. Ted absolutely loved his playing. He once called him “my favorite guitar player.” For this month’s new items, we combed through the TG archives and pulled out all the lessons, arrangements, transcriptions, and anything that Ted wrote relating to Wes. Much has already been posted, but now we’ve cleaned out the drawer and lay it out for you to feast upon.

We’re presenting two solo guitar pieces by Wes, “In Your Own Sweet Way” and a Wes original, “Mi Cosa” (Spanish for “my thing”). There are a few recorded versions of “Mi Cosa” and the one Ted notated was from Wes’ “Bumpin’” album. On it there’s a few measures that feature the string section where Wes doesn’t play – Ted nevertheless arranged those parts for solo guitar. So, you might say that this page is part transcription, part arrangement.

Ted had a special “Wes” folder that contained several lesson sheets on “Chords for Comping or Chord Soloing.” Although Wes is not mentioned on these pages, they provide the harmonic vocabulary that Ted felt was essential for playing like him. You’ll find several other pages that we posted previously on “Co-minor” or “companion minor” exercises that was a tool that Wes used a lot. I believe that Ted coined that term “co-minor.” And he almost always mentioned Debussy and Wes when discussing this concept. And there’s other Wes related lessons scattered throughout the Lessons section of this site.

Before we get to the new lessons, we’re going to share some excerpts from Barb’s book and from an interview in Just Jazz Guitar magazine.

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“Towards the end of April, Guitar Player Magazine invited Ted to participate in an upcoming Wes Montgomery article. Ted spent many hours writing and rewriting the article, refining it to what he considered perfection, attaining a balance of informative reading laced with his unique humor. To do an in-depth study of Wes’ playing he brought over a bag full of Wes CDs to listen to and share with me. Four hours passed, as we lay sprawled on the floor, mesmerized, in awe. Wes was truly brilliant!”

[Ted wrote:] “…It was also love at first sound with Wes Montgomery and me in 1964 or 5 when I heard “Caravan” from that breathtaking Movin’ Wes album. He remains my favorite guitar player to this day. His best stuff is near unbearably perfect to me. It’s practically pulverizing to listen to him at the top of his game. One could mention the powerhouse first album he did with Jimmy Smith, The Dynamic Duo. Or the ultra-fine 1963 album, Boss Guitar. Likewise the live, classic, Smokin’ at the Half-Note. The lush beauty of the Bumpin’ album. All of these albums--real stunners. The Body and Soul live album from his SRO dates in England at Ronnie Scott’s, the famous jazz club. Live at Jorgie’s, in St. Louis in the early `60’s, with his brothers playing and reacting to Wes playing his heart out on “Summertime.” Incandescent, would be a starting word to describe Wes at his best.”

~ Barbara Franklin, My Life with the Chord Chemist, p. 78 and 204-205

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“…Once I just tried to think of which guitar player’s sounds, feels, tunes, recordings and so on would be the hardest to give up, I could see for me, it would be Wes Montgomery’s.…because on his best stuff, he thrills me to the bone, thrills me like no other seems to….

Wes had knowledge in very noticeably high amounts from one perspective and very far less from another. The large amount area includes for instance, his highly developed ability to know where the things he wants to say ‘live,’ where they are on his instrument. The lesser area would include knowing only the 50 to 100 chord forms he knew, versus some top players knowing 5 to 10 times as many. But he used all his knowledge to serve the content of what he wanted to say, and this content was all in the service of those incredible tasty phrases that he made a career out of.

…He did have what I like to call “The 4 T’s,” and had them in such great abundance: Time, Touch, Tone, Taste….

Time—well, Wes’ time feel on many grooves is so, so good. Time like no one else before him that I can find except maybe a few bass players (of all things). Exhilarating. Exciting. Unpredictable. Consistently never lost. I’m always lost trying to exactly catch his time feel in some spots on many cuts. Very humbling.

Touch—the man knew how to touch a guitar. And he created a whole new sound because of it...which leads us to the next area.

Tone—well he didn’t always get a great tone on those early great records, but from some of ‘63 on, he usually got a spectacular tone. “Movin’ Wes,” “Bumpin’,” and “Smokin’ at the Half Note” are some albums that come to mind if one is longing to hear Wes with his bigger tone captured well.

Taste—he’s certainly one of the tastiest players I’ve ever heard. If you’re a sleaze-bucket you can say that his playing reeks of Tightness. If a little more elegant way of expressing things seems to curry favor with you, then we’ll just say that his playing on his best records possesses Tightness on almost every conceivable front. So often just full of great ideas—and his phrasing! Hmm mama. This relates back to his way with the areas of time and touch. Wes...so stylish, so creative, such a gas to listen to. You hear him on say “Besame Mucho” from the very, very fine album “Boss Guitar” where he just unfolds this thing from beginning to end, which besides the exciting content, has a construction to it, a true feeling of form—because of his beautiful sense of pacing, letting things build slowly, little by little. He was so superb at this. The jazz cats used to call it “really tellin’ a story.”

It’s fair to say that a big feature also is that Wes is usually playing harmonically sophisticated music, and I love this. Juicy chords, great voice-leading, clever progressions. Great songs—the fabulous tin pan alley ‘standards’. Also great originals—jazz tunes—by others and especially by him.

Technique—this area gets pretty ridiculous when you’re talkin’ about Wes Montgomery. I’ll leave it alone for now.

Talent—there’s no one I know of, at least in his chosen field of jazz guitar, who manifested more talent than Wes Montgomery. How many others created a whole style all their own, a whole new way to play the guitar? Talk about an original voice. Not that that’s a requirement for fine playing, because if you think about it, we all know that it’s not. But it is often a wonderful plus to hear such an ‘original’ talent show up on the scene and just captivate—no—just shock everyone. Hasn’t happened often, not in this field….

Transcendence—like I said, I don’t know much here, but I know from talking to hundreds of musicians over the span of decades and reading everything I’ve ever been able to get my hands on about Wes Montgomery and having seen him perform live in ‘65 or 66, that it’s pretty certain this man and his playing were operating on a transcendent level at times. And this was kind of often.

….So that makes 7 T’s, not 4…

Let me make a left turn: forget all these T’s. Just speaking personally, as a listener and maybe as a player too, I’m looking for beauty or excitement. Also soulfulness, freshness or surprise, creativity, versatility or range. And yes, great taste...knowing some fabulous notes to play or not to play at each moment; and knowing just how to play them to fit the desired feeling. I’ll take humor, joy and occasional sorrow, also lightheartedness, or playfulness too, especially if the others don’t show up.

….The hipsters I used to run with—we used to say, “That Wes...! He’s one righteous cat. The hippest cat in town.” If hip means exuding glowing warmth, beauty, sensitivity, buoyancy, happiness, as well as knowingness, confidence, passion, daring, recovery, resourcefulness, cleverness, and uniqueness—then Wes is still the baddest cat to come boppin’ along—the hippest cat in town. For me.

~ Just Jazz Guitar interview excerpts, May 2000.

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Also be sure to listen the Mark Levy’s recorded lesson (#41) with Ted on October 18, 1993 – described as “All About Wes.” Ted Greene Lessons with Mark Levy - 4

And check out Ted’s unedited transcript for his “Movin’ Wes” article in GP, August 1998. Movin’ Wes and Movin’ Wes (transcribed)

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~ Your friends on the TedGreene.com Team


* In Your Own Sweet Way (Wes Montgomery) Ted Greene Transcription, 1997-06-27. [This is a beautiful piece that Ted wrote out for a student. The ending doesn’t seem to be a part of the recording, so it may be Ted’s own tag. Notation for the ending is just one rhythmic interpretation; you may feel/hear it differently. Notation combined with Ted’s grids.]
* Mi Cosa (Wes Montgomery) 1993-01-25 & 1993-02-08. [This was written up for a student during two private lessons with Ted. As stated in the Newsletter message above, this is part transcription, part arrangement. Notation combined with Ted’s grids for easy reading. Thanks to David Bishop for proofreading this score and offering suggestions.]

* Bluesy Wes-Like Form, 1990-01-03 and Med-Slow Jazz Blues ala Wes, 1990-10-14. [These notes come from Ted’s Private Music Studies papers. They were not intended as lessons, but just some ideas he jotted down for himself. Notation combined with Ted’s notes and grids.]

* Chords for Chord Soloing and Comping – Dom. 7th Type & Co-Minor7 (1979)
* Chords for Chord Soloing and Comping – Minor 7th Type (1979)
* Chords for Comping and Chord Soloing – Dom. 7th Type & Co-Minors (1980)
* Chords for Comping and Chord Soloing – Major Type (1980)
* Chords for Comping and Chord Soloing – Minor 7th Type (1980).

[All of the above lesson pages each contain a collection of grid chord diagrams for the various chord types. They look similar to pages from Chord Chemistry and can be used as references for when you’re looking for just the right chord for your arrangement or for working on your comping.]

Under the “Chord Streams” header:

* Small 3-Note Min7th Type Voicings in Cumulative Chord Streams, 1987-09-30
* Using 3-Note Chord Fragments and Chord Hearts in Common Progressions, 1987-09-28.

[These pages were not in Ted’s “Wes folder,” but contain ideas and textures that are similar to things he played. New text is provided for easy reading. The chord names were not included, so you’ll have figure them out as “homework.”]

* “D-Natural Blues” – (Wes Montgomery) Ted Greene transcription. [Ted notated this solo from “The Incredible Jazz Guitar of Wes Montgomery” album. New notation provided for easy reading.]

* Both Sides Now (“Ted w/Rowanne Mark”)
– Notation+Grids+Tab – Francois Leduc
Special thanks to Francois for doing this transcription by request, and for all the fine contributions you’ve made for the TedGreene.com website. Please visit Francois’ website for more of his transcriptions: https://www.francoisleduconlinelibrary.com/

Under the header: “Contributions by unknown”
* Caravan (Wes Montgomery Solo) – Transcription by Ted Greene student. [This transcription was with all of Ted’s other Wes materials, but we’re certain that this was not written by Ted. The handwritten notes are very different than any of Ted’s other scores. We believe that one of Ted’s students wrote this out and then brought it to one of his lessons with Ted. It is obvious to see where Ted made some corrections to the score. New notation provided (with some rhythmic clarifications) for easier reading.]

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February 2019 • TedGreene.com Newsletter

Welcome to the February edition of our Newsletter.

As usual we have an assortment of new lessons from Ted this month, but first we’d like to share some stories and memories about Ted that you might enjoy from some fellow guitarists.

From Brad Rabuchin:

I was very fortunate to be living in Canoga Park when I first took up guitar while in high school in the 70s. I say fortunate because Ted was teaching in a little music store on Topanga Canyon near my house called Dales’ Guitars. I was taking lessons with him before I really had a clue about who/what or how great he was. I was probably neither good enough nor serious enough to rate a teacher of his caliber. Still, he always had a way of being very kind and supportive, but still make me feel the “heat” a bit (I wasn’t always practicing much back then). So, for quite a while I scuffled through his lessons but then at some point it began to click. I ended up studying with him quite a bit, and with even an occasional lesson until a few months ago.
Many of you remember his hand-written Xeroxes: musical examples or chord diagrams often with tiny written explanations crammed into every corner of the page. You could spend months getting down just one of those sheets. I still have a huge stack of those sheets daring me to practice them.
Ted really became a profound influence on my playing, particularly chord-wise and harmonically, and a huge reason why I play guitar professionally to this day. So, I just want to say thank you Ted for helping set me on course to experience the adventure of music and providing me with the tools to somehow live and work doing something that I love these past 25 years. You’ll always be in my music and in my thoughts,
~ Brad Rabuchin

From Chips Hoover:

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 had a major effect on my life for the better. He 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.
~ “Chips” Dana Hoover

From Sid Jacobs:

We all miss him. He was the personification of the truth that music is a spiritual path. Even beyond his amazing musical talent, his humility and generosity touched anyone who came in contact with him. Students, if they couldn’t make a lesson, were asked to send in a substitute. For him, there is no substitute. Such a unique treasure, it’s hard to imagine how a Ted could exist in the world, and now it’s hard to imagine a world without him.
~Sid Jacobs

From Barry Zweig:

[Ted and I] knew each other for over thirty years. He was an inspiration as a teacher and player. He showed me the perfect chord for a certain note in one of my own compositions.
~ Barry Zweig

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~ Your friends on the TedGreene.com Team


* I’ll Follow the Sun, 1996-01-04. [Here’s Ted’s interpretation of this fun Beatles song. This page was created at the request of a student during a private lesson with Ted. At the top of the page he added some comments for that student’s next session: “1) open triads, 2) pedal tones and triads, 3) other chord progressions, 4) minor keys.” This has nothing to do with this arrangement, so it wasn’t included in the compilation page. We created a document that has standard music notation with lyrics combined with Ted’s grids to make it easier to read and learn. The ending was interpreted based on Ted’s previous treatment of the same passage.]

* Chord Hearts and Blocks: ii7-V7-I, 1983-09-23 & 24. [This lesson page contains three pages from Ted’s files: page 1, page 2, and a supplement to page 2…plus we included an additional copy of the supplement page with the names of the implied chords. Even though Ted titled these lessons for “comping or chord soloing,” we did not place it in our “Comping” section since the examples are universally useful for any ii7-V7-I situation. At the top of page 1 Ted wrote: “Play with jazz feel and add syncopation. Repeat each example in Part 1 (this is a get-acquainted section).”]

* I Fall in Love Too Easily, 1996-04-18. [This page was filed away in Ted’s cabinet of arrangements, and I quickly discovered that it’s a comping study instead. Lead sheet with lyrics combined with notation of Ted’s grids provided for easy reading.]
* You Are There, 1994-11-21. [Some of these chord forms are a bit challenging to play all together smoothly, but there’s some rich harmonies and good voice-leading throughout. The lead sheet was included as a reference and for harmonic comparison of the original “basic or standard changes” to Ted’s chord choices. He didn’t include the chord qualities for most of the grid diagrams, as that was the assignment for the student to do, so we added them in blue. Also take note of Ted’s famous “17th” chord in measures 9 and 20. The voicing here is: Root, b7, 11th, 13th, 3rd (or 17th – a 3rd up two octaves). Ted has stated that for the 17th chord, the major 3rd must be above the 11th. This has a unique sound…check it out for yourself. Compilation page provided for easier reading and learning.]

* 3rd Stacks and Runs in 3rds, 1980-02-10.
[This isn’t technically a lesson for single-note soloing because it is for playing two notes together, but it fits right in with SNS playing, so we’ve added it to this section on the site. We’ve included notation for each grid diagram to make it perfectly clear what Ted was trying to convey for these 35 examples. Many of the runs are similar or exactly the same as others with the same chord/harmonic quality name, but the position on the neck is what changes. This will become clear as you work thru the exercises.]

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January 2019 • TedGreene.com Newsletter

Happy New Year!

To start off the new year we have a short piece to share that came from Dan Sawyer: a short story and some information about Ted and his guitars.

Ted and Barbie’s Pet Guitar Names

At some point, Ted and I traded guitars. I had a Guild X-175 with P-90 type pickups that he really liked. He said the narrow fingerboard would be perfect for Barbie’s small hands. Ted had a cherry-red Guild Starfire II that I loved. It had the normal Gibson neck width (1 & 11/16th inch). Before we could do any kind of trade Ted wanted to make sure Barbie liked it, so we waited for a few weeks. Once Barbie gave her thumbs up, the deal was set. One condition per Ted, was that I loved the guitar. Liking it was not enough for him. Ted asked for a little extra money because his guitar came with a really nice Gibson case which he said was more valuable than my Guild case. I was fine with this and really wasn’t going to argue because I “loved” his Starfire.

Ted and Barbie’s name for the Starfire was Camille. Barbie explained that they originally called the guitar Camouflage which was shortened to Camo and then finally, feminized to Camille. My old Guild guitar became Danette…named after me but with changed gender. (Notice that all Ted’s pet names are female.) A few years later I bought The Lady, his Gibson 1960 ES5 that’s on equipment list in the Personal/Gear section. It was named Lady because of the beautiful gold parts and luscious blonde wood.

Ted and Barbie really used these names when talking to each other. For example; “Please bring Daisy in here. She would be perfect for this Bach piece”. Or, “Lulu needs her B string changed.”

~ Dan Sawyer

Before we jump into the new lesson material for 2019, we thought to give a quick summary of Ted’s lesson materials that we posted in 2018:

New Lesson Items Posted in 2018: total: 217
Arrangements: 25
Articles & Interviews: 4
Audio Recordings: 5
Baroque: 13
Chord Studies: 49
Comping: 17
Discography & Publications entries: 1
From Students: 12
Fundamentals: 36
Harmony & Theory: 8
Jazz: 1
Other: 3
Performances Date entries: 9
Single-Note Soloing: 12
Transcriptions: 6
The V-System: 16

Lesson File Upgrades posted in 2018: 91.
That’s a total of 277 upgrades since we started this project. There’s 37 more to go, and then we should be ready for a site overhaul.

Also featured in 2018 were two articles written specially for our site: one by Adam Levy titled, “Three Things I Learned from Ted Greene,” and another penned by Leon White: “Ted Greene’s Solo Guitar - About the Recording.” Tim Lerch also created a very helpful instructional YouTube video reviewing Ted’s arrangement of “The Man I Love.”

In 2017 we posted 222 new lessons and 168 “upgrades,” so we’re about even with the new stuff, and considerably down with upgrades. (Many of those upgrades in 2017 were somewhat quick fixes, but the 2018 ones generally required more time.) We hope to continue with this same flood of material in this new year….so buckle your seatbelts, hold onto your hats and get ready for some great guitar lessons that will challenge your fingers, expand mind, and delight & amuse your ears — as usual from Ted!

If you’re somewhat new to this site you might find it interesting to look back through our older newsletters. There you’ll often stumble across some buried treasures that you won’t easily find elsewhere. And we’d like to invite any of you transcribers out there to share your Ted transcriptions with us. We want to keep our “Transcriptions” section ever growing. Also, please remember to visit the TedGreene Facebook page and “like” us there; visit our Forums regularly and participate in discussions there. And of course, we want to deeply thank you all for your donations — these are always greatly appreciated and help to keep everything here free for guitarist around the world.

Have a beautiful, exciting, and musical 2019!

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* A Time for Us – “Love Theme” from Romeo and Juliet, 1994-03-10. [This is a beautiful song for which Ted made a nice arrangement that’s not too difficult to play. You’ll want to add a lot of right-hand arpeggios to fill in certain spots. Something unique on this page is the symbols for the playing order. This is the only instance I’ve seen where Ted used a hexagon shape for the fifth note to be played (following his triangle). In the past he sometimes has used a diamond or star-shape symbol, but never a hexagon. Interesting…and he only used it once, in measure 24 on the Ebm chord. After measure 32 Ted created an extended ending. I’m not sure if this is Ted’s own creation, or if it is part of the film score arrangement. The diagrams look more daunting than they actually are. All those ties mostly indicate chord arpeggios played after the initial chord is struck, then a couple of melody notes at the end. Notation with lyrics combined with Ted’s grids provided for easier reading.]

* 3rd Stacks – Dominant Type Chords, 1979-05-10. [This is an interesting lesson page. Ted shows stacks of 3rds as laid out on the fretboard to be used for creating melodic phrases with either 2, 3, or 4 note groupings. Given are diagrams for the 4 main dominant types (“regular,” “sus,” “overtone series,” and “altered”). We’ve redrawn the diagrams to make them easier to read, plus added the chord tone names below the strings (as was the assignment).
* More Progressions Using Modern Dominant Voicings, 1979-02-02. [This collection of 10 exercises use advanced voicings mostly with 3-b7 or b7-3 on the bottom end of the chords. A real modern sound that seems most suitable for jazz settings.]
* Starting Chords, 1973-03-26. [Ted subtitled this page, “Also all close voicings and semi-close.” It’s unclear what he meant by “starting” chords. It’s a collection of major type sounds all in the key E. We’ve added newly drawn grids for easier reading. On Ted’s original page many of the chords include colored numbers showing the chord tone for the top note. These were not added to the redrawn grid pages. Most likely this was an assignment for the student to do.]

Under “Chord Streams” header:

* Comping Vocabulary - 3-Noters, Major Family, 1992-07-11. [Ted titled this page as “Comping Vocabulary” and you’d think we should have put this in our “Comping” section. But this page is more like a “chord stream,” being that Ted strung together a series of 3-note chords (triads, if you prefer) that outline a specific chord sound. This page is very similar to some of his “Chord Hearts” pages. Many or all of the lessons in the “Chord Streams” section may be used effectively for comping purposes, especially when used as fills in places where a single chord lingers for a longer period of time. On the top of the page he wrote, “2nd Set of Strings, p.1” although we don’t have any record of page 2 or any other string sets being written up. One could certainly take this as an assignment to do for yourself: Move these same exercises to the top 3 strings, and to other string sets (5,4,3 and 6,5,4) changing keys as necessary. We provided an extra copy of this lesson page with the chord names written in with blue letters. Ted would probably have wanted the student to think of the “visual root” for each chord form, and to also be aware of the chord tone of each of the soprano notes.]

* Fascinating Rhythm – comping on the middle strings (key of Eb), 1984-08-29. [Here’s another comping page for this jazz standard. Compare this page with the one we posted last month for the key of F, using the top 4 strings. Notation and lyrics combined with Ted’s grids for easy reading.]

* Playing in One Position, 1977-10-24.
[Three exercises for playing through the cycle of 5ths (4ths) progressions and staying in one position of the neck. Ted subtitled this page, “As a tool for learning major scale sounds and transitions between them.” However, he covers not only major add9 sounds, but also dominant 9 and minor add9 sounds as well. New notation provided for easy reading.]

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