P.4, line 1: The Bm – G – E – Em9 – Bm7 move is pretty slick. You may wish to re-voice that chord as follows: R, 5, R, b3, b7, R to make it a little easier. P.3, line 3: The Em7/11 is a difficult voicing, especially with the moving line on the top string. Do a little slide with the 4th finger for the C# – D melody line. If this is too difficult, then just drop the 5th (D) on string 5. If so, finger the B13 as: 1, 1, 2, 3, 4 and then simply lift the 4th finger for the B note. P.1, line 3: You may wish to add the optional B melody note to the B13 chord (not included on Ted’s chord diagram). It seems to flow better here, and you can add a short descending bass line from the D of the G6 chord to the C of the C9 chord (D – Db – C). Use the same notes, but in the first position of the guitar. P.1, line 2: You might find it easier to play the C9 on strings 5,4,3,2 instead. P.1, line 1: You may want to add the optional A melody note to the Am9 chord (not included on Ted’s chord diagram), this is part of the melody of the song, and I’ve include the note in parentheses. You may also wish to play the F#7 chord on the 3rd beat of the measure, delayed from the melody. If you find this move difficult here (as I do), you may have to simply lift the 4th finger off the 2nd string and play the A note. Ted was amazing in his ability to bend his 4th finger backwards for barring without moving the other fingers. P.1: For the first chord Ted intended that the little finger play the E on the 2nd string and then bend backwards to play the A melody note on the 1st string. You can also do short little bass runs between chords if there is enough time. “Rolls” refers to arpeggios or arpeggiated chords. You might think of this as the melody part and the harmony part playing independently. “Delays” are when you separate the voicings in a chord and play one part, then the other. hand delays or rolls to fill up the holes.” Ted expected the player to apply techniques in order to fill-in or color the “holes” or spots where the harmony sustains for 2 beats or more. Remember that this song sounds best with a slow, relaxed groove, so don’t hamper that with chords that are impossible for you to play at this point.Īt the top of the page Ted wrote: “Solo Guitar Outline – The word outline is used because you have to add at least Rt. You may need to make additional modifications if some of Ted’s chords present too many challenges. Below I’ve made a few suggestions for easier voicings of the more difficult passages. This is a pretty difficult arrangement, but if you make a few adjustments according to your ability, you can play this piece with a little practice. GeorgiaOnMyMind_Ted Greene_notation_girds_p6.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p5.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p4.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p3.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p2.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p1.pdf My compilation page, changes and comparisons Passing chords in the lower registers work particualy well after blues licks and lines in the right hand.Ted Greene Arrangement - December 3, 1984 We use dominat passing chords to create energy and forward motion which drives the tune forward. The melody also lends itself to pasing chords. To create a full sounding arrangement, we then balance this with use of bass notes in the lower registers of the piano. Throughout the form we incorporate bluesy fills and licks in the upper registers. We use all 3 of these option to create a varied arrangement. The minor to major movement can be voiced at the top of the chord, in the middle, or at the bottom as a bass line. The minor line cliche appears multiple times in the form and so we explore the different ways we can navigate through this common progression. To start this tutorial, we play through the form again adding some bigger, more interesting voicings and applying more advanced harmony including altered voicings and upper structure triads. In this lesson we take it a step further by applying this scale to the tune Georgia On My Mind. In part 1 of Georgia, we introduced the concept of the major blues scale and the extended blues scale.
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