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JohnN

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Posts: 27
Reply with quote  #16 
Hi Robert,

You may want to consider using one these. I had one made at my local stationery shop, but these at the link below seem to come ready made off the shelf. After a few false starts I found it really speeds things up. I mostly use it for adding simpler chords to the arrangements I find in the From Students section in this website. I think Ted may have used somethings similar in his earlier days by the look of some of the lesson sheets.

Sincerely,

John

http://www.musicstampseries.com/mss/order1.aspx
PaulV

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Posts: 1,551
Reply with quote  #17 
Robert,
I downloaded your file, then exported the pdf into TIFF files, then opened in Photoshop and enhanced the blacks with "curves"
I think you guys will find this easier to read.
(If I had the time it would be nice to create and add new, clean grids for all these....but alas, where is the time?)

 
Attached Files
pdf Ted_Greene_Original_Baroque_Composition_1971_v2_-_Grids_from_Robert_S.pdf (2.80 MB, 11 views)


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--Paul

RobertS

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Posts: 27
Reply with quote  #18 
Paul, all - here is a cleaner copy. Hopefully this make for a more enjoyable experience of this wonderful composition [smile]

regards
RS

 
Attached Files
pdf Ted_Greene_Original_Baroque_Composition_1971_v3_p._1.pdf (1.13 MB, 9 views)
pdf Ted_Greene_Original_Baroque_Composition_1971_v3_p._2.pdf (1.06 MB, 5 views)

PaulV

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Reply with quote  #19 
Robert,
This is great.  Ideally it would be nice to see the grids positioned above the notation.
It's not that difficult if you're a Photoshop (or similar) user.  You just have to use the original notation page and then resize the grids to fit in the correction position.
Anyone out there up for a little art project?

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--Paul
tedandbarbaraare1

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Posts: 48
Reply with quote  #20 
Robert,   your compelling contribution is such that I am now required to enter yet another concurrence to another of Paul's comments and a huge thank you to you. Between Paul's darkening and your darkening I am now out of the dark and into the light.   

As far as my tour through life friendship for me has less to do with music than it does with intellectual and/or spiritual (not necessarily religious) connection.   i consider all of you here in Ted Greene land my friends and I am honored if you confer that same status to me. Truth is, i don't have many friends but those i do have are special. I count those here in TG land among that small number.

TABA1

Without intending to detract anything from Ted, I would like to think that he'd get a kick out of Sid Jacobs' two Counterpoint classes that I am aware of,  one is available from MIke's Masterclasses and the other is available from Jazz Guitar Society.. I feel relatively certain, Robert, that you would really enjoy both of them. 

http://www.jazzguitarsociety.com/masterclasses/sid-jacobs-counterpoint-the-art-of-two-note-improvisation/

http://www.mikesmasterclasses.com/index.php/Counterpoint-Concepts/Detailed-product-flyer.html

fast forward the Mike's Masterclass example to 4:33 to see what I am talking about, then at about 6:12 he demonstrates what he showed "us" how to do virtually note by note, at least for an excerpt of the Baroque sounding counterpoint ideas of Sid's.  


 

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TABA1
RobertS

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Posts: 27
Reply with quote  #21 
Here is a more finished product. I only have basic Acrobat Reader and the snapshot/cut/paste capability but hopefully this is better overall. I have tried to use the fret number rule to line up with the key of the chord on the grid and in general I think in many places the fret numbers are correct for this model, but not always because I put 4 x 16th notes per grid and there are at times 2 keys per grid, alas...evidently, I'm still learning the art of grid notation a la Ted.

Paul: I can appreciate all the more all the time and effort you put into these sheets [smile]

TABA1 - many thanks for the comments and the pointer to the Sid Jacobs lessons. Indeed the overview videos sound great to my ears and I will for sure pursue. Thanks for sharing.

regards
Robert 

 
Attached Files
pdf Ted_Greene_Original_Baroque_Composition_circa_1971_-_grids_and_notation.pdf (2.91 MB, 15 views)

DaveAnno

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Posts: 173
Reply with quote  #22 
Now that's a heck of a lot easier on the eye Robert.

Fret number rule? I dunno, depends on the purpose, I think the number placement can aid reading the diagrams quicker instead of always denoting the root.

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Dave
PaulV

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Posts: 1,551
Reply with quote  #23 
Robert,
I agree with Dave, this looks so much nicer and is easy to follow. The only possible improvement that could be made would be to include the chord names, if possible.

The fret number "rule" that Ted eventually used was to place the number parallel with the root of the chord.  If no root is present then the number would be parallel with the "visual root."  But in his earlier days Ted just put the fret number at the uppermost fret of each grid.  Ted liked the logic of aligning the number with the root so the chord would be easier to see and remember.

If you're agreeable, I think we could place this final page of yours in the "From Students" section for next month's Newsletter.
Let me know.
Thanks for doing this work. (Yes, many of the pages I prepare take a heck of a long time and a lot of patience....which I'm still learning!  And my proofreaders keep me quite humble.)

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RobertS

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Posts: 27
Reply with quote  #24 
Paul, funny I thought you'd suggest more homework to add the chord names [smile] I agree it would be better, maybe i'll tackle that at some point...adding chord names per grid would have been cleaner had I gone for 2 x 16th notes per grid...live and learn..

Otherwise, fine for me if you'd like to post the document as is in the "From Students" section.

cheers 
tedandbarbaraare1

Registered:
Posts: 48
Reply with quote  #25 
Robert,   your latest version is very nice, it's paradise.  It's S'wonderful.

Thank you very much.  

Very appreciatively yours, 

TABA1 

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TABA1
RobertS

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Posts: 27
Reply with quote  #26 
All, attached updated with chord names which for the most part I think are correct. If anyone has any corrections, plse don't hesitate. Interesting to see how diverse and varied I, IV and V can sound. 

thanks
Robert

 
Attached Files
pdf Ted_Greene_Original_Baroque_Composition_circa_1971_-_gr..._and_notation.pdf (2.92 MB, 6 views)

James

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Posts: 275
Reply with quote  #27 
At the end of bar 7 of the notation, you got a flat for the high and low Bb's but you need a flat before the middle one.  Also, not sure you want the F tied because it isn't in the grids.
PaulV

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Posts: 1,551
Reply with quote  #28 
James,
The notation is my doing, not Robert's...so I'm to blame for the missing flat on the middle B in measure 7.  However, if you look at Ted's original page you can see that he didn't add the flat there either!  I was simply copying his notation, not correcting him.  Yet, it would have been good to add the flat.
The tie on the F stays...it also is in Ted's original script.  If it's not in the grids, it should be.

__________________
--Paul
PaulV

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Posts: 1,551
Reply with quote  #29 
Robert,
Here is an updated version of your file.  I corrected the Bb in measure 7 (as mentioned by James), and I tidied it up a little bit.
I'll put it up in the the "From Students" section next month, but it's here for any Forums followers.
Thanks for your work on the piece.  It would have made Ted smile.

 
Attached Files
pdf TedGreeneOriginalBaroqueComposition_circa1971_-_grids-n...n-RobertSmith.pdf (1.23 MB, 5 views)


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--Paul

RobertS

Registered:
Posts: 27
Reply with quote  #30 
Paul, the comment from James about the ties in the notation drove me to reconsider some of the proposed chord voicings. I've drawn up a few new voicings and grids to line up with the intended "ties" of the notation. The grid surgery changes (for those remotely interested) can be found in the attached "marked up" version of the piece, under the chord names marked in yellow. This marked up version also has the note ties marked over the grids.

I've attached here a "clean" copy of the document, with the new grids, and no yellow highlights, nor the hand drawn ties. Those so inclined can always draw in their own ties onto the clean copy.

Hope this all makes sense..

 
Attached Files
pdf Ted_Greene_Original_Baroque_Composition_circa_1971_-_gr...n_(Marked_up).pdf (2.20 MB, 8 views)
pdf Ted_Greene_Original_Baroque_Composition_circa_1971_-_gr...ation_(clean).pdf (3.03 MB, 8 views)

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