Lullaby Medley

Arranged by Cathy Segal-Garcia and Ted Greene, 1977

These were songs from my childhood that I loved. I wanted to combine them,
and Ted was more than willing to collaborate with me on this. He too loved all those
songs. It was terribly sweet singing with him playing. So very beautiful. I don’t think
I’ve ever heard anything like this before. But then again, Ted was one of a kind: heart,
soul, and understanding.

I miss him so much. That’s why I made that DVD/CD, “Never Forgotten” -
Cathy Segal-Garcia & Ted Greene. It’s a music documentary of us playing live at
Rocco’s in LA, in 2000, at G.I.T. in 1978, and at Papashon’s Restaurant in 1998.
“Never Forgotten” is a solid piece of beautiful evidence of us making magic together.
Ted was so sweet and kind and always a joy to be around.

Recently someone asked me, “When Ted accompanied you, he played such lush,
delicious chords with dancing cascades of harp-harmonics, so many beautiful little fills,
interludes, and modulations—much of what seems to emerge from far beyond this
world where the rest of us mortal guitarists live. What was it like to sing to that? And it
was probably different every time, right?”

Yes. I must say, that singing with Ted was a beautiful experience. During our
rehearsals, if I thought something was too high for me to sing, he’d say something like,
“Cath, you’ve worked your whole life to have the right and ability to sing up there.” He
was totally supportive. I sang well with him. He was a major accompanist for me, and
it was in the beginning of my career—I was quite young, about 22 when we started.

The first gig after I had after working with Ted, I didn’t even totally realize I was
going to have to sing a song in just one key!!! Boy was I surprised! Ha! It’s funny,
because I grew up singing. My dad was a sax player/band leader, my mom sang, and
my older twin sisters and I had groups together. I always sang, and professionally. But
I was a young experienced singer when I met Ted!

On the chart and the G.I.T. recording I made a slight change in the order of the
lyrics to “Over the Rainbow.” That’s just how it happened, and now I’m more married
to the way I sang it, but it really doesn’t matter to me.

I’m happy to now have a copy of this chart after all these years. Maybe I might
have to sing that arrangement again. Hmmm…I wonder who could accompany me and
play it as pretty as Ted?

~ Cathy
 O Come All Ye Faithful
Four Ted Greene Arrangements from Chord Chemistry
Ted’s Comments

Example #1 (Using Closed Triads)

Measure #7, beat 4: This melody note could be left unharmonized (like the one in the 2nd to
the last measure), due to the speed with which the next chord must be played.

Example #2 (Using the Relative Minor and Major Chords)

Compare the changes made with the 1st arrangement….The technique of substituting the
relative minor is often used on the IV chord of a key; so in [this] example Am replaces C,
which is the IV chord of the key of the song, G. However, the Em in measure #6 doesn’t seem
to be replacing the IV chord; it would seem that it is replacing the I chord, G. This is only true
from one viewpoint, which actually is not the wisest one in this case. Notice that in [measure
#5] the chord A7 appears after D. This A7 has a note which is not in the key of G (C#), and
actually the key has temporarily switched to D, which has the C# in it. Think of the A7 as the
V7 chord of the new key, and for the next 3 measures you are in the key of D.

Example #3 (Using Open-Voiced Triads)

Measure #7, beat 1: This chord is kept in close voicing because the bass line then can continue
upward as the melody comes down (this is called contrary motion), which is a pleasing effect
to most ears.
Measures #7-8, beat 3 and beat 1: The A7 and D chords here have 4 voices. The D chord is
the last chord in the phrase, and when using open triads, the root is usually put in the bass for
the last chord in a phrase: since the melody is also the root, in order to have all three tones of
the major chord in the chord, you would have 4 tones — two roots, the 5th, and 3rd. If you
wanted a triad, you could leave out the 5th and keep the two roots and 3rd. The A7 chord has 4
voices because it leads smoothly to the 4-note D chord; this is not necessary, but more a matter
of taste.
Measure #12, beat 4: Cadd9(no 3rd) for the C chord.
Measure #12, beat 2: The E melody note, instead of being harmonized, is left alone, and one of
the most important notes of the chord that would be there normally (A7) is used in the bass
preceding it.

Example #4 (Using 4-Note Chords)

Measure #2, beat 2: These two notes (G + E) are used as passing notes between the notes in the
two D chords. Note that there are three 3rd intervals in a row.
Measure #5, beat 2: This partial A chord is used as a passing chord between Em and D; this
will work nicely here because it makes the ii (Em) - I (D) progression into a ii-V-I progression,
which you should know by now, is a common sound.
Measure #6, beat 4: G6 instead of G.
Measure #8, beats 2-4: This run just uses notes of the scale of the chord (D major).
Measure #12, beat 4: D7sus instead of C or Cadd9 is just an ear thing — no real rules, possibly
that the D is V and C is IV, and they are closely related, but that is really hunting for a reason.
Measure #16, beat 1: D7 instead of C — again no real rule — just putting in the V7 for the IV
chord where it sounds good.
 ALLEGRO
from the VIIth Suite
4-7-75 [HG II/i/7; G252]
©Arr. Ted Greene George Frederic Handel
Adapted for Guitar

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*Ted's added notes are shown in parentheses

 Greensleeves
Ted Greene Arrangements from Chord Chemistry
Ted’s Comments

Example #1 (Basic Lead Sheet)

Example #2 (Basic Chord Melody)

Here is what a very basic chord melody might look like, moving the melody up one octave and
playing chords on the 1st beat of each measure. Wherever possible, you may let the chords ring for
all three beats of a measure while you play the melody.
This arrangement sounds pretty dull because it is so basic.

Example #3 (Using Relative Majors and Minors and a Few More Chords)
1) The use of more than one chord in certain measures. When this occurs here, the extra chord
added is the same as the 1st chord in the measure: like in measure 2, there are two G chords.
2) In measures # 8 and 14 the B7 chord is used instead of B.
3) Some of the chord notes are put on beat 2 by themselves, as in measures #11, 12, 13, etc. This
seems to fill out the sound a bit.
4) In measure #21, Em is used for C; sometimes a major chord is replaced by its iii – this is similar
to the relative minor concept, but be careful where you do this. Let your ears tell you if it is
right.
5) In measure #22, the F# note is not a note of the chord; however it is the 6th of Am (which could
have been used for C, according to the relative minor concept), and in combination with the rest
of the notes, it gives the sound of Am6, which is acceptable here to most ears.
6) In measures #23 and 24, the bass line note C# is just part of a line between the root (B) and 3rd
(D#) of the B chords.
7) The last chord is E instead of Em. Ending on a major is an often used technique in minor songs.
It is really a matter of personal taste, nothing more.

Example #4 (Jazz Treatment in 4/4)

For more “jazz” oriented sounds we can take the same song and possibly play it in the following
way. (Notice that the meter has changed to 4/4 now. Try playing this with a bouncy, swingy
feeling, and syncopating the rhythm for that nice “jazz” feel.)
1) The extended and altered chords give more of the jazz sound than the previous arrangements of
this tune.
2) Notice the A7 type chords in measure #2 where the basic chord was Em; also remember that in
measure #3 the basic chord was D. This is a case of back-cycling – that is, putting the V7 of D
before the D. Think of the Em as being the ii of D. If you hear ii to I, you may think ii -V7 to I
instead. If you start looking for these possible ii-V7 progressions, you will grow to hear them
instinctively….
3) Notice the F#7 in measure #3. This leads better to the Bm than F#m; once again, this is putting
in a V7 chord to smooth out the transition; in other words, F#7 is the V7 of the next chord, Bm7.
4) In measure #4, the F#7 and B7 are gotten by back-cycling from the next chord. The difference is
that you go back two chords in the cycle from the Em7 instead of one.
5) Measure #6 and 7 – (B7, G7/6sus, C#m7/11, and F#7+) – first of all, the B7 was arrived at by
chance. It replaces a D7 type chord just because it blends well here; remember that dominant
chords 3 frets apart are related…. The B in measure #8 was replaced by Bm – no rules here –
just an ear thing.

[See Chord Chemistry for more detailed comments and instruction from Ted.]
 Processional in Bm
Ted Greene, 1968
Commentary by David Bishop

Paul asked me if I thought that the “Processional in Bm” was a “Ted original” and I responded
that I am sure it is (that is, I’m sure it wasn’t composed in the Baroque era). Although it shows
that Ted possessed a deep understanding of the Baroque-style harmonic language early in his
career (1968), there are a number of stylistic idiosyncrasies that point to someone who also
possessed an understanding of more modern harmonic use (and who didn’t mind relaxing some
of the voice leading “rules” from that earlier era). Nevertheless, it’s a charming piece and a joy
to play.

Although the piece is in Bm, it does touch on a number of closely related keys, just as you
would expect any good Baroque composer to do. These are D (mm. 3–6), back to Bm (mm. 7–
10), back to D (mm. 11–12), G (mm. 12–15), another hint of D (m. 16), Em (mm. 17–19),
setting up the return to Bm (mm. 19–22). The actual return to the tonic Bm doesn’t occur until
m. 22, but is expected in m. 21, only to be delayed by the unexpected arrival of the E7 on the
downbeat of m. 21 (which is why I personally prefer the G# over the alternate G-natural).

Although there are a number of interesting harmonic details that I could discuss in this piece,
one stands out, and I think it shows the breadth of Ted’s knowledge of the Baroque literature.
It appears during the wonderful chromatic lead-up to the cadence on Bm in m. 22 (this build-
up of tension right before the cadence is typical in this style). In m. 21, beat 3, we hear what is
best described as a G7#11/F (the missing—and defining—note is a B, which is still floating in
the ear from the previous chord). From a modern viewpoint, this is a substitute dominant of F#
(the V chord), albeit in an unusual inversion. But it is this unusual inversion that makes this
chord so interesting from a Baroque viewpoint.

In classical harmony this is an “augmented sixth” chord, which was more often used in the
classical era and beyond as an approach chord to the dominant. It does appear in Baroque
works but to a lesser extent. This chord would normally be voiced so that it approaches the V
from a half-step above (if this were the case here, G would be in the bass, with the F-natural
[spelled as E#) placed somewhere above), rather than a half-step below, as here. I know of
only one Baroque piece—a very famous one—that does contain this chord in such an unusual
inversion, as an approach to the V from a half-step below: Bach’s Mass in B minor. (For those
with access to the score, it appears as the last chord in m. 51 [the third bar from the end].) It is
even itself approached by a half-step below, just as in Ted’s piece.

If there were ever any doubt that Ted knew his Baroque literature well, I think this confirms
that he did. Otherwise, we’d have to accept that Ted simply “thought as Bach would” at this
point…which, when considering Ted’s immense talent, may not be such a stretch at all!

~David
 Thanksgiving Chorale
By Ted Greene, 11/28/1974
Compilation pages by Paul Vachon, Analysis pages and commentary by David Bishop

From Paul Vachon:

Ted Greene’s Thanksgiving Chorale was written on Thanksgiving Day, November 28, 1974,
when he was just 28 years old. Ted didn’t include any chord diagrams, chord names, Roman numeral
analysis, or string & finger markings on his page, so we’re not exactly sure how he would have
played it. Some of the chords can only be played comfortably one way; many other passages may be
played with alternate forms. Each player is encouraged to experiment with different options and find
what works best for him.
I simply transferred Ted’s music notation into Sibelius 6.0 music writing program and added
chord names and my own diagrams. I chose chord forms that seemed to flow well together and retain
all of the sustained notes as Ted wrote. I hope you find the diagrams easy to follow and helpful in
learning this beautiful Bach-inspired composition.

Enjoy!
Paul

*******

From David Bishop:

Barbara Franklin has stated that Ted was studying the music of J.S. Bach during the time that
he wrote his Thanksgiving Chorale, so I thought it would be fun to do a more “classically oriented”
harmonic analysis of this piece. In many places it is very much like Bach, but Ted seems to have put
a little bit of himself in here and there, which I think is nice: a few modern touches in a more
traditional framework. In my Roman numeral analysis I have generally avoided indicating the
inversion of the chords, mainly because I do not know how many on the Forums are familiar with
figured bass symbols (apologies to those who do). When I do include them, I’ll explain in more
detail at that time.

Ted’s Thanksgiving Chorale begins in E major and ends in D minor (but on a D major triad—
the so-called “Picardy third” chord). Other keys are visited after the opening key, C-sharp minor, F-
sharp minor, F-major, D-minor, and G-minor. It is organized into two parts (each 28 measures long);
the second being almost identical to the first except that it begins in F major, a half-step above the E
major that begins Part 1. The tonal plan is what I would call “progressive,” in that it starts in one key
and moves continuously away, ultimately ending in another key. This is in contrast to the vast
majority of tonal pieces that begin in one key and end in the same key, often with many other keys
touched on during the course of the piece.

In “chorale style,” every beat will usually contain a chord change (or a re-voicing, if a chord
does not change). Most often the harmony on each beat can be determined by taking stock of the
vertical notes that occur on the beat, but sometimes a non-chord tone will sneak in to throw us off.
Where this happens in Ted’s chorale, I have indicated so with red parentheses. The more advanced
harmonic language of our day would allow us to label every chord on each beat without regard to
what is and is not a chord tone, but not so in Bach’s time.

For example, in measure 2, beat 3, the four notes make up a B7sus4 (V7sus4), with the sus4 in the
bass, and this label is technically correct. But a more historically oriented way of hearing this
sonority would be to consider the F# and the A as merely lower neighbors to the G# and B on either
side, moving voices within the unchanging E-major triad. The same goes for the chord on beat two
of the next measure, which could certainly be heard as a C#-minor triad, or as an E-major triad with
an accented (so named because it occurs on the beat) upper neighbor in the tenor voice. Our ears are
so used to hearing just about anything these days that this concept may not entirely convince some of
you, but there’s absolutely nothing wrong with that. Many of my interpretations are open to
discussion, and we should all welcome that. Other instances of non-chord tones appearing on the
beat are heard in measures 7, 8, and 21.

The music begins to move away from E-major to C#-minor with the introduction of the B#
leading tone to C# in measure 8 (all B’s are sharp for the next six measures), and around measures
15-16 we begin to leave C#-minor and move on to F# minor, due to the disappearance of B# and the
introduction of the D-natural (b6) and E# (leading tone). This key remains in effect until the end of
Part 1, although the close is not on the tonic chord, but on the dominant (albeit a slightly tonicized
dominant).

Let’s look a little more closely at the measures that end Part 1 (measures 21–28). The
dominant pedal point in the bass (C#) with moving chords in the voices above is a favorite device of
Bach’s and can be found in many of his compositions. The first chord of the series (m. 21) is, not
surprisingly, V, followed by parallel triads in the top three voices over a C# pedal (mm. 22–27), one
chord per measure. And you could label each of these, as I have done. Or you could consider the
bigger picture: all these moving triads have one function, which is to prolong the C#-major triad (V)
that appears in m. 21. In particular, note how the upper voice G# in m. 21 moves up a step to A and
then down stepwise through G#, F#, E#, and D# to C# in m. 27. In essence, the C#-major triad is
being “unfolded” in time, in a linear fashion, all the time being supported by its root. Ted has
harmonized these melody notes diatonically within the C#-major triad with thirds and sixths;
therefore, the triads that appear in the upper voices can be considered merely as consequences of the
moving voices, creating C#-majorish sonorities on the strong beats (mm. 21, 23, 25, and 27) with
passing motions in between. (Note that the chord in m. 23 is actually a dominant 7th sonority [or E#
diminished], reinforcing my hearing of all of this as V of F#.) Finally, Ted adds the leading tone to V
(B#), which serves to give this chord a suggestion of closure, by briefly tonicizing it in the last few
measures. It’s still an inconclusive cadence, but one with a hint of local conclusion.

For Part 2, Ted chooses a key that Bach probably would not. I think what Ted was more
interested in was the more modern sound of modulation by common tone. Here’s how this is
affected: The final chord in Part 1 is C#-major (V of F# minor). The third of the chord, E#, is
enharmonically the same pitch as F, and through this use of a common tone, Ted modulates smoothly
from F# minor down a half step to F major. This is a technique that came into practice some time
after the late baroque period when Bach was active. Another way of hearing this modulation is
through a technique similar to what Ted did throughout his version of “A Certain Smile” on his
recording Solo Guitar. From a V or V7 chord, move down a half step to a major chord in second
inversion (which becomes I of the new key), followed by a V or V7 in this new key and resolve it to
root position I. Both ways of looking at this modulation give the same result: modulation down by
half step.

Part 2 proceeds just as Part I did (I have marked the minor differences with asterisks). The
real change comes at the end. Ted knew that he couldn’t end Part 2 the same way as he ended Part 1:
it just wasn’t conclusive enough. So we see a significant change in the last four measures of the
piece. Ted has set up the pedal point of V of the local key (G-minor) just as he did toward the end of
Part 1, but by the fifth measure of the pedal point, he abandons the D in the bass (and the F#s in the
previous four measures) and moves to an A in the bass, creating a second inversion D-minor triad.
All of a sudden our ears begin to re-interpret the function of D as V (as it ways in measures 49–52)
and begin to hear D as tonic, helped by the V–I motion in the bass of measure 53, which then ascends
stepwise to scale degree 5 in measure 55, where we have the strongest of all cadences: tonic in
second inversion followed by a root-position dominant seventh followed by root-position tonic. The
bracket I have used to label this indicates that this whole measure represents dominant harmony, with
the notes D and F above the dominant bass A on beat one of measure 55 labeled as non-chord tones
resolving to E and C# (the resolution to E not present but implied). The figured bass numbers above
the bracket simply indicate the intervals, and their movements, above the bass. (By the way, the
arrival of the V is up for grabs: it could certainly be beat two rather than beat three of m. 55. I prefer
beat three, though.) In measure 56, Ted resolves the dominant harmony to tonic, but delays the
arrival with a suspension in the tenor voice. Finally, with the resolution of the suspension, we arrive
on tonic, but not quite the tonic we expected. D minor has been set up for us, but Ted gives us a D-
major triad, which was very common in works that ended (or should have ended) on a tonic minor,
even before Bach’s time. A little ray of sunshine at the end!

This is just a cursory glance at the treasures that exist in Ted’s chorale, and I hope you get
something out of it. Some of what I have presented can certainly be interpreted differently, but this is
how I hear it. Please let me know if you have any questions (and certainly if you find I’ve made an
error!) or want to know more about how I’ve presented this very nice work of Ted’s.

Happy Thanksgiving to everyone!

David
 Water Music - Air
By George Fredric Handel
Arranged for guitar by Ted Greene — 1972, March 13
Notation and chord diagrams by Paul Vachon and David Bishop

Ted wrote out a preliminary sketch of this piece on July 12, 1970 in Handel’s
original key of F, probably working from a string quartet in which he combined the parts
onto one staff. However, this version isn’t really playable for solo guitar. A couple of
years later he then notated his arrangement, this time in the guitar-friendly key of D with
the 6th string tuned down to D.
Since Ted didn’t provide any chord diagrams or fingerings we’re not exactly sure
how he would have played it, but some of the voicings can only be played in one position,
while others have only a couple of options. I’ve added “Ted-style” grid diagrams and
combined them with the new notation page. At that time (1972) Ted seemed to be having
fun with squiggly lines in his notation!
I added some finger numbers to the score in measure 9. This seems to work best for
playing the bass line while sustaining the B and D notes. I’ve also added some finger
numbering just below the chord diagrams in measure 10 and 17. This may help a little.
The rest should either be pretty much self-explanatory to you, or you’ll be able to find a
fingering that works for you. Try a couple of the alternate chord voicings or perhaps
you’ll find another that works as well. Start slowly, but eventually you’ll want to build
this up to a moderately tempo.
This piece was part of three suites which premiered in a special concert on
7/17/1717, with 50 musicians upon a barge floating down the River Thames—hence the
title “Water Music.” Commissioned by King George I, he must have thought this was an
auspicious day with all those seventeen’s in it!

David Bishop also helped with this “compilation” page, and offers these additional
comments:
“In measures 4 and 16 Ted has a dominant 7 on beat 2, whereas Handel has a
major triad.
In measure 12 Ted has a dominant 7 on beat 2, whereas Handel has a major triad.
In measure 13 Ted has a dominant 7 on beat 3, whereas Handel has a major triad.
Overall, Ted has stayed true to the original, but has made a few alterations and
omissions.”

Have fun learning this piece!

--Paul and David
 “The Girl with the Flaxen Hair”
Guitar Arrangement by Ted Greene
Music notation and additional chord diagrams by Paul Vachon

Attached is a compilation of Ted’s arrangement of Claude Debussy’s “The Girl with the
Flaxen Hair.” It combines new notation (rhythmically based on the original piano score) with
Ted’s chord diagrams

This piece was originally composed in Gb, and Ted transposed it down a step to E for guitar.
He wrote this up “for Barb.” On 9/7/97 he completed up to bar 14, and then continued again
on 2/13/99 and went as far as bar 25. Apparently he didn’t finish writing it out.

This left 11 unaccounted-for measures at the end. In order to complete the arrangement, I
wrote up what I believe Ted might have done, based on the Debussy piano score and Ted’s
treatment of the previous bars. A lot of those remaining 11 measure are just repetitions of
sections from measures 1, 2 and 14, so I was able to duplicate the same grid boxes. I also
watched the “Joey Backenstoe Wedding” video and noticed how Ted played those last few
bars. I believe my added diagrams (in blue) are fairly accurate and faithful to his arrangement.

Ted added the chord names to some of his diagrams, but left others blank. I have added the
names in blue. You’ll notice that some of the chords in measures 5, 6, 8, and 9 have numbers
written below the chord name. This was Ted’s way of sometimes indicating what interval was
in the bass: 3rd, 5th, or 7th.

The measure after measure 13 (call it 13.1 if you want) is an extra phrase that Ted called
“Echoes,” and is an optional insertion. I’ve notated it, but not numbered that measure so that
the arrangement follows the original score. You can choose to skip this measure if you wish.

Please listen to and watch Ted playing this piece in the “Joey Backenstoe Wedding” video –
it’s the first piece he plays for entrance music, and he adds a lot of enhancements, harmonics,
repetitions, etc. It’s a very beautiful version. It doesn’t correspond exactly to the Debussy
score or to Ted’s written arrangement, but it is helpful to it to get a feeling and flavor for the
piece as he played it. Ted’s guitar is tuned down a 1-1/2 steps (to Db), so if you want to play
along or transcribe it you’ll need to retune your guitar.

This written arrangement is fairly easy to execute and I think you’ll enjoy playing it, and
hopefully these pages makes it easier to learn.

~Paul
 We’re Off to See the Wizard
Ted Greene Arrangement — 1991, January 12
Compilation pages by Paul Vachon with assistance from
James Hober, Mike de Luca, David Bishop, and Barbara Franklin.

Ted loved film scores, especially musicals, and he seems to have had a great love for sweet, simple
songs such as those often found in Walt Disney and other “children” type movies. Perhaps it was his love
for the purity and innocence that these films often express in their soundtracks that attracted him. The
classic The Wizard of Oz falls into this category, with Ted’s arrangement of We’re Off to See the Wizard,
written by Harold Arlen (lyrics by E.Y. Harberg) in 1939.

Barbara Franklin wrote:

Ted’s love for the earlier Walt Disney or similar film musicals was generated by the tender,
charming, and optimistic nature that the music and stories engendered. He also loved that many of these
films included a subtle yet wise underlying life-lesson message. The entire experience brought him
tremendous joy. But the songs in particular would stimulate all these joyful, light-hearted sensations, and
he was inspired to learn them so he could recreate and express the joy and cheerfulness he felt inside and
share that with others. This music emphasizes Ted’s quote about playing music that touches others' hearts
the way it had touched his.

James Hober wrote:

I’ve been playing “We’re Off to See the Wizard” lately. This is in what I would call Ted’s “kid
style.” That is to say, although it is a sophisticated arrangement with wonderful inner voice movement,
there is a kind of beautiful innocence to it, a child-like quality that can renew the child in you.

Special thanks to James Hober, Mike de Luca, and David Bishop for proofreading the notation,
checking chord names, and providing some musical insights. We’ve incorporated their thoughts into the
comments below.
On his original page Ted indicated at the top two symbols (a star and a diamond) with specific
rhythmic figures to be played for each one. These instructions apply only for this arrangement. (In his
other arrangements, the star and diamond are sometimes used as part of his “playing order” of moving lines
on a chord diagram.)
He also wrote, “This piece is in 12/8 time.” However, the original music score has it in 6/8. The
only reason I bring this up is because the final chord of the “song” portion really should fall at the beginning
of the measure, as it appears in the original score. In Ted’s version this chord falls on beat 7 of the 12/8 bar.
This occurs in measure 25 of the compilation score. In addition, the original piece doesn’t end right on the I
chord but instead continues for a few measures with a short Tag (in 6/8). Nonetheless, Ted’s arrangement
works great as it is.
We added a 1st and 2nd ending so you can repeat the song, even though Ted’s arrangement doesn’t
include this, and we added an F#7 chord in the 1st ending to bring you back to measure 14.
As usual Ted did not provide chord names, as this was for the student to add. We’ve taken the
liberty of adding them, although some chords could be analyzed differetnly.
There’s a 13-bar introduction to this piece before the song begins. At first we thought that this was
taken directly from the movie soundtrack, but after watching the film with an ear open for this passage, we
concluded that Ted must have written this introduction himself. It’s a wonderful into to the main theme.

Here’s what Barbara Franklin wrote about Ted’s intros and the “Wizard” intro:
Ted told me that he worked hardest and put his greatest effort into writing and arranging the intros
for the songs on his Solo Guitar album. Not only was Ted very fond of these intros, but he was also very
proud (yes, he did say that!) of his efforts and how well the intros complemented the songs.
 Considering what Ted told me about composing intros, and from what I know about him, it is more
than likely that Ted composed the intro for “We’re Off to See the Wizard.” When Ted wrote an
arrangement it was all-inclusive.

James Hober wrote about this:

Amazing how long this beautiful intro is before the song actually starts. But that’s the way I heard
Ted play things at Spazio’s on Sunday mornings: interesting intros, then the tune in two or three keys and
feels. Incredible!

Some comments and fingering suggestions: (referring to the compilation pages)

Measures 4 and 5: Notice that measures 4 and 5 have a D bass pedal with the progression G – C – Bm –
Am – D, then moving to G in measure 6. This is just a simple variation on diatonic step-wise triads. Nice.

Try this fingering for the G to C/D to Bm to Am  D: 1,2,2,2 (keep 1st finger planted in full barre) to
1,4,2,3 (lift 4th finger for X note on string 4, then use the 2nd finger to play the A note [square] on string 5,
then play the D again on string 6).

Now, keep the 1st finger barred and play the Bm as: 1,3,2,4 then slide down a step on strings 4, 3, and 2 to
the Am  D as: 3,2,4. Then lift your 3rd finger and get the X note [A] with the first finger. Barre if you
wish. Get the square [F#] with the 2nd finger and the triangle [D] with the 3rd finger. A bit awkward to
coordinate this smoothly, but it works well once your fingers know what to do.

From David Bishop:

I hear mm. 4 and 5 all with a pedal D, even the Am, even though the D doesn’t arrive until the last
eighth note of m. 5. This would make the last half of m. 5 a D9 chord.

Measure 6: James observed:

Ted was an outstanding proofreader of his own material. It’s rare to find errors in any of his stuff.
Nevertheless, I’m pretty sure that the third chord grid of the second line, the G major chord, should have
diamonds instead of stars.

Yes, that’s correct—they should be diamonds, and we’ve indicated that in the notation page.

Finger the C/9 to Cm6 in measure 6 and the G/9sus in measure 7 as follows:
3,2,1,4 to 3,1,4 (you might find it convenient to barre the 8th fret with finger 1 here). Then, going on to the
G/9sus: 3,1,4,2 (with full barre at the 7th fret). Lift finger 2 off for the B note on the top string, then add it
back on string 2 for the G note. Stretch your 4th finger over to get the Db note on string 4. Try to keep that
B note on the top string sustained throughout this move.

For the smoothest transition between these two moves, just slide your full barred first finger down from the
8th fret to the 7th fret while keeping your third finger planted on the G note on string 5. In fact, you may
wish to do a full barre on the G and Gmaj7 chords that occur prior to the C/9 and use the same technique of
keeping the 3rd finger planted and sliding the barre up one fret. This will make all of these chord ring
longer and sound better.

Measures 8–10: For a smooth transition from the D7 in measure 8 to the C#9(b5) in measure 9, finger it
this way: 3,4,1,1 to 3,4,2,2. Just slide down a half-step on strings 6 and 4. Use your first finger to play the
bass notes on the 6th string. Repeat this same fingering for the A9(b5) in measure 10.
From David Bishop:
Measure 8 to 9: Resolution of the leading tone (F#) at the end of m. 8 to G (our perceived tonic) on
the downbeat of m. 9, with the basic harmony moving down by half step. Beautiful deceptive resolution of
the V of G major to launch us into the transition!

Measures 9 and 10: Comments from David Bishop about these two measures:
Wow, two wonderful measures. I think I would go with the C#9(b5) and A9(b5) labels. (On beat
4 of m. 9 you could very well put B+ and on beat 4 of m. 10, G+. Or just consider those two bass notes
(B and G) as passing sevenths.)
It’s almost a complete whole-tone collection on C#, with one missing note, E# (F). As you know,
this is very slippery material (just like a series of diminished chords), and I’m not surprised Ted used it at
this point as the transition to the new key. One really loses a sense of being in a key in these measures,
making it easy to slip smoothly into, in this case, the new key of B. (It’s all very swirly, isn't it?...just like
the twister in the Wizard of Oz!)
For some insight into these chords, I would direct the interested reader to Chord Chemistry, end
of Section 8, discussions of Dominant 9th b5th Chords and Dominant 9th #5b5 Chords (pages 51 and 52
in my edition); also Section 11, Part XIX, discussion of Dominant chords with b5ths and / or #5ths (page
64 in my edition). Note where Ted writes “...the last chord in a case like this [i.e., moving parallel
dominant-type chords 2, 3, or 4 frets] will most often be the V7...of the [key] you are leading to....” On
the downbeat of m. 11, the B/F# stands in for the F#7 (V7 of B). And, as always, he stresses to “be
careful to resolve nicely,” which, of course, he does in this section.

James Hober observed:

There's no question that measures 9-10 are tricky to analyze. I agree with David Bishop that one of
the two whole tone scales is the source material for this passage. And I like his descriptions that the
passage is slippery and swirly like a twister. However, I am not hearing clear dominant chord function
here.
True, Ted would have instantly known the homonyms of the first chord of measure 9:
C#9b5 no 3rd = G(7)#5b5 = Eb7+ = A9b5 no root
and similarly the measure 10 chord:
A9b5 no 3rd = Eb(7)#5b5 = B7+ = F9b5 no root.
And I definitely hear dominant function INTO measure 9 from the D7 chord to the chord that can be
understood as G(7)#5b5.
But then we are in augmented/whole tone mystery land, which old cartoons used for things like
hypnotism, and Dukas used to magical effect in “The Sorcerer's Apprentice.” Ted likely felt such
references. Measure 10 is simply measure 9 transposed down a major 3rd = two whole tones, the same way
you would move from one augmented voicing to another.
From measure 10 to measure 11, there is one tendency tone motion: the pitch G down to F#. The
rest of the voice leading is common tone connection. So to claim dominant function, you have to be hearing
the G as the b7 of the A9b5 chord resolving downward with no other voice leading motion happening.
One also could hear scale degree b6 to scale degree 5 in the key of B as what's called an augmented
sixth chord in classical theory or as what Ted called an approach chord. But there's no augmented sixth
(E#) above the G. So that kind of understanding only reflects the pull of the G pitch down to F# and isn't an
explanation for the other common tone connections.
So while I can see/hear some support for the dominant chord names, I'm not fully convinced.

To me, the simplest analysis is two measures of suspenseful B augmented chord that resolves to a B
major chord and key. Under this is whole tone bass motion, with strong rhythmic emphasis given to
accented passing tones, to increase the mysterioso effect.
In chord symbols: B+/C# /B /C# /B and then B+/A /G /A /G.
Measures 11, 12 and 13: James Hober wrote:
In bars 11, 12 and 13 Ted's intro features several false starts, that is, little hints of the melody to
come. It's as if he's cueing the singer, i.e. the higher octave melody when the tune begins in earnest.

Measure 12: Finger the D to F#9 as 3,4,2,1 to 2,4,2,1. For the transition, simply slide fingers 4 and 1 down
one fret…don’t lift them off the fretboard.

Measures 15 and 16: On the repeat, if you want a variation, try this: B then B/A (A, F#, B – strings 6, 4,
3) then E/G# (G#, E, B – strings 6, 4, 3), then continue with the Emaj7 as Ted wrote but add an open E bass
note on string 6.

Measure 16: James Hober wrote regarding the last chord in measure 16:
Is it D#m7? The chord in question sounds like it’s changing from the previous chord. [David
Bishop agrees.]
F#/9? How does that move to G#m11?
Call me crazy but I hear G#9sus with 9 in the bass. Hmmm.

Call this chord what you may, but when transitioning to this chord from the previous D#m7, keep your 4th
finger planted on string 2.

Measure 18: Use the George Van Eps 5th finger technique (side of your first finger, or “slant barre”) to
catch the A# note on the top string.

Measure 19: David Bishop wrote about the final chord in measure 19:
I realize that the C# occurs on the beat, but the D# is the chord tone here, with C# functioning as
an accented passing tone between B and D#. To label it as a B/C# might be misleading, since it indicates
that the C# is part of the chord (at least to me), and this is not the case.

Measure 21: This whole measure is essentially just C#7 with some chromatically ascending lines. Yes,
chords are created if you analyze them vertically, but it’s easier to see it all as a dominant chord move.
Nice, Ted!

Measure 22: David Bishop wrote about this measure:

On beat two, I wonder if C#+/F# would make more sense here. I’m essentially hearing an entire
measure of F#7 with moving inner voices, and labeling that chord a min/maj7 bothers my theorist brain.
But that’s what it looks like, so I can accept your analysis.

Measure 23: If you find it slow and a bit awkward to play the scale with chords for the first half of this
measure, you might try playing just the notes alone (and throw in an open E bass note on string 6).
Finger the E as 2,2,2,1 and then use finger 4 for the A# note.

Measure 26: I really want to hear a B in the bass for the final chord. [David agrees!]
James adds:
To get the B in the bass that your ear craves for the final chord, just remove your finger from the D#
and tap on the 7th fret B bass note with the right hand thumb. Ted commonly did that kind of thing.

I hope you find the notated compilation pages and these comments helpful. So kick back, roll up
your sleeves and dig in, letting the ‘kid’ inside you enjoy learning and playing this fine guitar arrangement
by Mr. Ted Greene!
~ Paul
 Prelude
Sechs Kleine Praeludien, No. 2
BWV 934
(original in C minor) by J. S. Bach

œ œ œ œ œ œfij œ œœœœœ œfij

œ
#œ#œ œ œ œ œ œ œ œ # œ œ
œ œ
Ted: & 43 œ œ œ œœ œ œ œ œ œ œ #œ ˙ nœ
œ ˙ œ
œ
œ œfij #œ#œ œ œœ
œfi
j
œœ œ œ œ œ œ
Bach: Œ œ Œ
œ œ

œœœœœœ œœ œœœ œœœœœœ œ œœ œœ œœœ œœ œœ

œ œ
6
œ
& œ œ œ ˙ œ œ œ œ ˙ œ ˙
œ
œ
œ
œ œ
œ
œ œ

œœœœœœ œœ œœœ
œ
œ œ œ œ œ œ

12
œ œ œ
œ
& œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œbœ œ œ œœ œ œ œ
œœœœ
œ œ œ œ b œ œ œ œ œ œ œ œ œ
œ
œ
œœ œ œb œœ œ
œ

œ œ œ œ œ œ n œ œ œ ˙‰ ™ œj ˙˙ œœœœœœ œ
œfij #œ œ œ œ œ
Œ ‰ œ œ ™™ ˙ <b>œ
18

& œ œ œ bœ œ œ œ œ œ
œ ˙ ™ J #œ œ
 œ œ œ#œ nœ œ œ œ œ
23 bœ œ œ œ œœ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ
& œ œ œ œ nœ œ œ œ ˙ œ œ #œ œ

œœ œœœ
#œ œ #œ œ #œ œ œ œ#œ œ œ œ œ#œ œ™ bœœ
28
#œ˙ œ œ œœ #œ
& œ
œ #œ œ œ œ œ œ
œ œ œ œ #œœ œœ
œ

b œ # œ œ
33
œ œ œ œ œ œ œ œ œ #œ œ œ œ
& #œ #œ œ œ œ œ œ œ #œ
œ œ œ œ ˙ œ œ ˙
#œ œ œ

œ œ œ œ œ #œ œ œ œ œ œ #œ
œ œ œ Œ œ œ œ Œ

37
#œ nœ œ #œ œ œ œ œ #œ
œ ˙‰ ™ œj ˙
& #œœ œ #œ œ œ œ #œœ œ nœ Œ ˙
‰ œJ œ
˙™
œ œ œ œ œ
œ

œ œ œ œ #œ
œ
œ œ œ
Along with his transcription for solo guitar of J. S. Bach’s Invention No. 1, Ted
included a cursory analysis of the imitative voices in this well-known work.

The 15 two-part inventions were published in 1723 in the Clavier-Büchlein (“little

keyboard book”) for his son Wilhelm Friedemann Bach. There were also 15
three-part inventions. They were composed to be instructive, showing how
simple musical ideas could be developed and turned into a complete, coherent
work.

Ted has labeled the opening material (the upper voice, played by the right hand
on the keyboard) as “A”. He then labels its reappearances throughout the
remainder of this work. As you can see, in m. 2 the exact same material
reappears, transposed up a perfect fifth (labeled A5).

In m. 3 he notes how Bach has inverted the first half of the original material and
transposed it to other pitch levels (up a 6th, up a 4th, etc.), and we can see many
other instances of this in subsequent measures.

Other points of interest:

1. mm. 11 and 12: double counterpoint refers to the technique of writing two-
voice counterpoint that still “works” (according to counterpoint rules) when
the voices are swapped (lower voice becomes the upper voice).
2. mm. 19 and 20: “Inversion of inversion.” Not exactly sure what Ted’s
referring to here, since if we compare these measures with mm. 3 and 4,
the material is inverted (upper and lower lines present inverted material,
but the two voices themselves are not inverted.) Maybe he should have
put “Bars 11 and 12 in “inversion of inversion.”
 Ted Greene
Transcription
1980-05-12

J.S. Bach - Invention No. 1

“A” A5

b œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ
& b b c ≈ œ œ œ œ œ œ œ œ≈ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ

Inversion @ 6 Inversion @ 4
(inversion a 6th higher) (inversion a 4th higher) Inversion @ 2 Inversion @ 7
(inversion a 2nd higher) (inversion a 7th higher)

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& bbb œ œ œ nœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
3 œ nœ œ œ

Inversion @ 6
(inversion a 6th higher again)

b œ™ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœœœ
& b b œœ œ œ nœ œœ œ œœ
œ
œ œ
œœ nœ œ œ
œ ™ œ œ œ
5
œ
œ œ nœ œ œ œ œ œ

A2 on V of V

‰ Œ ≈ œ œ œ œ œ
b bb ˙ œ œ œ œ œ œ œ œ nœj n œ œ œ œ œ
& ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
7
œ œ œ nœ œ

A5 Reversed Order A2 on V of V reversed

(bass then soprano)
Inversion @ 2 Inversion @ 3

bb œ ™ œ b œ ‰ œ ≈ œ œ œ œ œ œ œ œ™œ œ ‰ ≈ œ œ œ œ nœ œ
& b œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œœ œ
œ
9
œ ™
Inversion @ 6
Inversion @ 5
 J.S. Bach - Invention No. 1 - Ted Greene Transcription, p. 2

Double counterpoint all a 2nd higher of bars 3, 4, 5, 6

bb œ b œ nœœ œ œ œ œœ œ œœ œ œ nœ œ œ œ œ œ
& b œ œ œ œ œ œ œ œ œ nœœ œ nœœ œ œœ œ œœ œ œ
œ nœ œ œ œ
11
Inversion @ b7 Inversion @ 5 Inversion @ 3
Inversion

A3 on V of vi

œ n œ œ œ œ œ
3
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ
& b b œ œ nœ nœ œœ œ ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ
œ œ œ œ
13 œ J bœ nœ nœ œ

Soprano head of bars 5 and 6 up a 2nd

Inversion @ 6
A3

œ bœ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
b
&b b œ œ œ ˙
œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ
15

Inversion @ 3 A6
Inversion @ 5
A2

b œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙
&b b ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ bœ œ œ œ œ
17

Inversion @ 2 A5 minor
A3 A5
A

œ œ œ œ œ n œ œ œ œ œ œ œ 3
œ
b œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
& b b œ œ œ œ œ œ œ œ œ œ
œ
œ bœ œ œ œ œ œ œ œ
19

Bars 3 and 4 (also 5) in “inversion of inversion” A2

Inversion @ b7

b œ œ œ œ w
& b b œ bœ œ
œ œ œœ œ œœ œ œœ nœ œ œœ œ ww
21 œ œ œ œ
 Bach’s “Aria”
Ted Greene Arrangement/Transcription, 1974-01-20
Comments

Ted wrote out the notation by hand back in 1974. I put his notes on the computer
and then wrote out Ted-style grid boxes for the chord diagrams. Ted didn’t include any
finger or string numbering, so it’s not always obvious as to how he intended to play
each chord. I included optional diagrams for instances where the chord could be played
in more than one position. Instead of using the D.S. for the first 9-bar repeat, I simply
wrote it out again and used alternate fingerings. This is a nice piece, I hope you enjoy
it.
~ Paul
_____________________________________________

Here’s some additional information about this piece,

as supplied by Barbara Franklin:

This Aria can be found in Anna Magdelena’s notebook in the key of Eb. The title
is “Bist du bei mir,” which means (roughly) “Be Thou but Near.” It does not “belong”
to another work. Apparently Bach scholars have disputed whether it was even written
by Bach, some say it was Gottfried Heinrich Stolzel. (Ted did not believe this; he found
it sooo ‘Bachian’). It was assigned BWV508, according to a compendium of J.S.
Bach’s works that Ted had with a long German title.
This was a favorite of Ted’s and subsequently mine. Anytime Ted transcribed
something for himself, you can be sure he absolutely loved it and wanted to study and
play it.

Enjoy,
~Barbara Franklin
 Stormy Weather
Ted Greene Arrangement

Ted made this solo guitar arrangement for a student during a private lesson, so the format is a little rough—more
of an outline or sketch. There are places where he left out some chords; he didn’t include separate 1st and 2nd
ending, and he even skipped a couple of measures. I’m sure that Ted expected his students to study the song’s
melody and harmonic structure when working on his lesson arrangements. Perhaps he wanted them to fill in the
holes with their own ideas. In order for it to be a “complete” arrangement we’ve added some suggestions of chords
in blue, hoping that these are at least close to one way Ted might have played it.

Ted’s arrangement begins on the 2nd measure of the song – the pickup and first measure are missing. The
Am7/11 chord has a note: “7th fret slant” - which means that the first finger is to be slanted so that it depresses
both the 2nd and 1st string, eliminating the need to lift a finger to play the B note. Ted often called this the
“George Van Eps 5th Finger technique” or “Slant barre.”

The D11b9 chord indicates the Eb note is played as part of the melody, when in fact the original melody is E
natural. You can use either if you wish—the E-natural can easily be played using the open 1st string.

There’s a short fill passage of F#-F-E9 that Ted added over the G#o7 chord which he wrote: “Gershwinesque” and
“Fairly quickly.”

The eighth measure was modified from Ted’s original chart because he wrote his chords to repeat the phrase
“keeps rainin’ all the time”, when in fact the music doesn’t include this for the first ending. I’ve left the first part
of that measure blank for you add your own Am7 fill.

Ted didn’t write out a separate 2nd verse, so I simply repeated what he wrote for the first verse with slight
modifications. I chose not to repeat the “Gershwinesque” fill here, so as to avoid it sounding too similar to the
first verse. Instead I added a G#o7 chord with the D note tied over.

At the end of the 2nd verse we come to a phrase which Ted left out: the repetition of the words “the time” with a
C7-Bm7-G#o7 progression. I had to eliminate Ted’s E7#9+ chord here (because it didn’t fit with the melody or
harmony at this point) and inserted a F#7b9–Bm7/11–Bb7 phrase instead. Of course you may choose to use
something completely different, for example, a Bm7/11 - E7 will do just fine. (I used that E7#9+ chord later on in
the arrangement where it fit the melody more correctly.)

At the very end of the 2nd verse I had to modify Ted’s arrangement again to include a G7 for the transition to the
Bridge. You can use any G dominant sound that you like.

On the first C chord of the Bridge Ted wrote “Slight hammer-on” for the E note—meaning to barre the chord at
the 8th fret and hammer-on the Eb to E for a little bluesy sound.

Ted ended his original page with a Gmaj9 chord which is intended to be the first chord of the 3rd verse. I
completed the 3rd verse by repeating what he wrote for the first verse, and added the Gmaj7-E7#9+ chord that was
removed from the end of the first verse. (The comment on that chord says, “Continue with some A, D”). Again,
slight variations were made to accommodate the written notation.

I ended with a simple Gmaj7 chord, but it obviously needs a nice bluesy Tag – whatever sounds good to your ears.
I’m sure that if Ted would have written a formal arrangement/lesson of this song he would have been more
thorough and made separate variations for each verse, and even added a modulation or two! I hope we were aren’t
being too bold in adjusting Ted’s arrangement and adding our own interpretations, but it seemed necessary in order
to make sense out of this rough “sketch.” If you don’t like what was added, please just disregard it and make your
own version.

Enjoy!
 Something
Ted Greene Arrangement — 1992, May 7 and 1993, January 10.
Compilation pages by Paul Vachon

Ted wrote up two pages for this well-loved Beatles song (both in the key of A)— one
for a private lesson in 1992, and the other dated 1993, which is an unfinished arrangement
that was probably intended as hand-out for students. My guess is that he got interrupted and
never got around to finishing the 1993 version. Ted also wrote out a rough lead-sheet in
1974 (in the key of G). All three of these original pages have been combined onto one .PDF
file, along with my “compilation” pages which combines Ted’s grids from both of his
arrangements with standard music notation.

Because both of Ted’s arrangements are almost identical, I used the 1993 version for
the A section, and the 1992 version for the bridge. In cases where there are differences in
the two arrangements I’ve included both diagrams, as optional alternatives.
In a few places Ted’s diagrams are slightly different from the standard melody, so
you have the option of either playing it according to his diagrams, or to treat the
arrangement as an “outline” arrangement (as Ted called it) and add the missing melody
notes as needed. You’ll also need to do some right-hand fills in a number of spots in order
to fill up the time.
As you can see in the original 1992 lesson page, it begins with a lesson on
“Descending Bass Doo-Wop in Ab (Accompaniment Style)”and then that discussion most
likely led into the example of “Something.”
The first three measures of “Something” provide a good example which shows a
major chord with a descending line of root to 7 to b7. In this case its actually A/9 to Amaj9
to A11 to A9. It’s a good illustration for new students learning about major chords and how
a moving line changes the sound and name of the base chord. Another descending line also
occurs on the F#m chords in measure 7 and 8: minor to minor/major7 to minor 7 and then
to its companion dominant 7th chord (Bb7).

Enjoy!
— Paul
 Misty
Ted Greene Arrangement and Analysis
Ted Greene – 1974, May 15
Analysis:
1) The first four measures are an elaboration of the simple I – I7 – IV – iv progression.
2) The next two measures are the old war-horse, I – vi – ii – V with scalular harmonies (Fm7, Gm7)
added between I and vi, and chromatic back-cycling between V and the upcoming III7. Normal
back-cycling to G7 would use the D7 type preceded by an Am7, ± [half-diminished], or 7th type,
so the Ab7 is being used for D7 according to the cross-cycle principle.
3) The next two measures are known as a turnaround, which could be defined as a series of chords
connecting one section of a tune to another, or back to its own beginning again.
One of the most common is III7 – VI7 – II7 – V7, which is the basis for the above cross-cycle and
back-cycle principles (like the Gb13 with the C9, B9 with F7/6, Fm7 before Bb76).
4) In the second chorus of the tune, note the B7 to Eb in 2nd inversion. This is a classical music type
of change; the B7 (bVI7) is a borrowed chord; bVI7’s are commonly used before I chords where
time, taste, and the melody of a tune permit.
5) Notice the back-cycling directly after the Eb to precede the C7 (Ab7/6, G13#9) and then again
before the Fm7 (G7, C7).
6) The Eb (I) – Abm6 (iv) – Eb (I) is a typical 2nd or final ending in a tune.
7) Once again, back-cycling with Bbm7 as the destination, at the beginning of the bridge, also, again,
preceding the Am7/11.
8) The final turnaround is an example of a progression founded on the pull of an upward bass line.
Notice the borrowed chord (Gb) and the strength of the 2nd inversion (2nd inversions are
notorious for their richness if used “properly”).
_________________________________________________________________________

Roman Numeral Analysis of Basic Chord Progression of Tune:

----------1------------
V7 ||: I v7 I7 IV iv7 bVII7 | I vi ii V | III7 VI7 II7 V7 :||
---2, 3----
| I || v7 I7 IV | #iv7 VII7 | vi7 II7 | ii7 V7 :||

Roman Numeral Analysis of Tune in Terms of Shifting Tonal Centers:

-----------------1-----------------
V7 ||: I ii7 V7 I ii7 V7 | I vi ii V | V of vi, V of ii, V of V, V7 :||

of IV of bIII
---2, 3----
| I || ii7 V7 I | ii7 V7 | ii7 V7 | ii7 V7 :||

of IV of iii of V

There are advantages and disadvantages to both ways of looking at the tune; you should pick from the
best of both ways in any tune you are working on.

Every tune that you play should be learned in Roman numerals for ease of transposition,
memorization, comparison, and communication.
 “Danny Boy (Londonderry Air)”
Arrangement for solo guitar by Ted Greene, 1985-12-04

Here is Ted’s beautiful arrangement of “Danny Boy” for solo guitar that he wrote in 1985. In
1977 he recorded another version of it for his Solo Guitar album, and it’s considered by many to be a
guitar masterpiece. This arrangement is not a transcription from that album, but instead a much
simplified version that he used when teaching this song to his students. It includes many similar chord
moves that appear on the recording, and will serve as an aid if you want to transcribe it from the album.
Listen to Ted play it in order to get the general feel of the arrangement and some of his fills.

I’ve included Ted’s original page and his lead sheet, plus my compilation pages that align his
chord diagrams with standard notation. I put the lyrics for “Londonderry Air” as the first verse, and
“Danny Boy” as the second verse. Please note that there are a couple of places where Ted deviates from
the given melody, and I’ve marked these with red notes. As with many of his arrangements for students,
Ted did not include the names for the chords; that was the homework for the student. I’ve added the
names in red.

Ted provided a few alternate variations for some of the passages, and I’ve aligned those variations
above the main arrangement to make it easy to see how they fit together. For the last measure on p.2,
either play the D chord and end with the G – F#m – Em – D, or go back to the head and play the “2nd
time” A7sus to A9 pickup for a repeat. I indicated to play a D chord at the very end, even though Ted
didn’t write this. I’m guessing he thought that was obvious, or he may have left it open-ended to allow
a point for an interlude and/or modulation.

This is one of my favorite of Ted’s arrangements, and I’d be bold enough to say that if you could only
learn one of his arrangements, this would be one of the best choices – it’s quintessential Ted Greene.

I hope these pages make it easy and fun to learn and play this piece.

Enjoy!
--Pau
 Bluesette
[Ted Greene’s Roadmap]
Key of G or Bb:

|-------of vi-----|-----of V-----|-----------of IV---------|--------of ¨III-----------|

| I | I | ii±7 | V7 | ii7 | V7 | ii7 | V7 | I | I | ii7 | V7 | I | I |

|---------of ¨II-----------|
| ii7 | V7 | I | I | ii7 | V7 | iii7 | ¨III7 | ii7 | V7 ||

This song is probably more easily thought of on an intuitive level: that is just thinking
Of the interval movement from chord to chord, as well as the chord qualities.
Or think numbers all in home key.