Ted Greene Arrangement – December 4, 1984
Compilation pages by Paul Vachon
Ted’s Original Lesson sheet
My Compilation Pages
This is Ted’s advanced arrangement of the classic jazz standard by Jerome Kern. Because it’s rather difficult to play I’d suggest that you first learn Ted’s “basic version” arrangement before taking on this one. There’s some tough moves here, but if you work on each section slowly you may find it that in time you can play it just fine. Make whatever modifications you deem necessary in order to get it into a workable form, and then go back at a later date and see if you can add more of Ted’s original voicings.
I don’t believe Ted intended this piece to be played at a quick or even moderate tempo, but more as a slower chord-melody intro before playing the song “in time.”
Because of the many moving lines, fills, etc., I felt it was necessary to write out this arrangement in notation, rather than just a lead sheet as a guide. However, the rhythms are not set in stone, so you should be a little “loose” with interpreting it according to how you’re hearing it
Some comments and fingering suggestions: (referring to the compilation pages)
P.1, bar 1: Play the Fm/9 chord with the George Van Eps 5th finger technique, as Ted has indicated the fingering on his grid diagram. Play the X note with the second finger.
P.1, bar 3: For the Eb dominant chords Ted has a descending inner line of Db, C, B. Ted could have continued it for the very last beat by adding a Bb note. Try adding that to see if you like it.
P.1, bar 4: For the D7 chord Ted made a variation to the melody by playing an F# note, rather than the original G note. I’ve added the G note in red as an alternative. If you’d prefer the G use your fourth finger to play it.
P.1, bar 6-7: If you find that the transition from the Db/9 to the C6/9 is too awkward, then try playing a C/9 (C,E,G,D,E) instead. This is a simple half-step slide down from the Db/9—just remove the first finger. Easy.
P.1, bar 8: The chord names above the second chord here is C5 } G+ which is to indicate two different chords.
P.1, bar 9: You may find it easier to play the A bass note if you finger the Cm9 as: 3,2,4,1, but also have the second finger barred across strings 6, 5, and 4. Then all you have to do is to lift the third finger off and the A note is already in place.
P.2, bar 13: For the Ab/9 to Abmaj9 chords try this fingering: 4,1,2,1 then add 3 to the fifth string for the X note. Now, for the Abmaj9 keep your first and second fingers planted (first finger with barre) and add fingers 3 and 4 to strings 6 and 4 respectively (final fingering: 3,4,2,1). Then for the X notes, remove your fourth finger and get the F note on the fourth string with the second finger. Practice this two-chord move many times to get it smooth. It’s a nice move.
P.2, bar 15: The fill can be rhythmically played however you wish. I was hearing it occurring on beats 3 & 4 for the measure.
P.2, bar 16: I added a single G note on the first beat of the measure. It seemed empty if it wasn’t there, and it didn’t sound right for any of the “fill chords” from the previous measure to take up that space.
For the transition from the B7#9+ to the E7b9#11 finger them as: 3,4,1,1 to 3,4,1,2,1. Keep your fourth finger planted, slide the third finger a half-step down, slide the first finger up while retaining the barre, and then pop in the second finger. Simple.
P.2, bar 17: Am11 to A7#9+ as follows: 2,2,1,4,3 then get the X notes with 2,1 while sustaining strings 5, 4, and 3. Use the GVE 5th finger technique to get the B note on the top string.
Now for the A7#9+ use: 2,4,2,3,1 and then reach over with your right hand and tap the A note on the sixth string.
For the X notes of the Am11 chord, if you choose to play the Bb note option (as indicated by Ted) then just slide your fourth finger down a half-step.
P.2, bar 18: Finger the D7b9 to D11 as: 3,1,4,1 then keeping finger 3 planted: 3,1,1,1.
Or try: 2,1,3,1 then 2,1,1,1. Other fingering possibilities exist.
The D7#9 can be fingered as: 2,1,3,4,1 (GVE 5th finger for top note) or, if you wish to play the C note on the second string: 2,1,3,3,4.
P.3, bar 23-24: The F#9 to C6 } C7+ to E6 } E7+ is a fill (a little “outside” sounding). Finger each of these with a single finger double-stop on the 5th and 4th strings, and keep this down while you add the X notes.
P.4, bar 28: Finger the Abmaj9 to D7sus4 as: 2,4,1,3 (but also have the fifth string double-stopped with the second finger as preparation), then for the X notes move your fourth finger to the second string. Keep the third and fourth fingers planted as you move to the D7sus4 chord.
P.4, bar 29: Use your second finger to barre the strings 4 & 3. Be conscious of the descending inner line of Eb, Db, C in this measure.
P.4, bar 31: If you want a very smooth fingering for the Db9 to Cm7 to B9 passage, try: 3,4,2 to 3,4,2 to 3,4,2,1.
P.4, bar 32-33: I believe Ted forgot to include the Bbm7 chord for the 4th beat of measure 32, so I added (in red ink) the next logical inversion to the sequence. This retains the melody of the song. For an alternate version without the addition, see page 5 of the compilation.
P.4, bar 34: Finger the Eb11 to Eb7/11 as: 2,2,2,1,4 then 2,2,2,3. Keep your second finger planted.
P.5, bar 35: Ted wrote, Abo/T5 for which he meant to add the natural 5th in the bass (in addition to the b5 on one of the inner voices). As you know, a diminished chord doesn’t have a natural 5th, but this is a pedal bass note that is continued for the next three chords as well. I’m not quite sure what Ted meant with the “T 5”.
P.5, bar 36: Ted would probably have fingered the Eb11 and Eb11b9 chords with his third finger barred on strings 6, 5, and 4.
P.5, bar 37: On the Abmaj9 chord Ted wrote: “Add high C in Rt. Hand & strum whole chord.”
So choose any right hand finger to fret C on the fifth string, 15th fret, then use any free finger to strum all the strings.
On the final page of my compilation, you’ll see an “alternate” for measures 32-33 on page 4. These are the chords as Ted wrote them, which is a variation of the original melody. It still works, although I personally don’t like the Bbdim7 on the first beat of measure 33.
I hope the notated version and my comments help to clarify Ted’s original page somewhat.