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barbarafranklin

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Reply with quote  #1 
"Study chords by the view of harmonizing every melody note (all 12) in major, minor, dominant, whole tone & diminished tonalities with all possible chords. Do this by CREATING MELODIES THAT LEAD TOWARDS THE GIVEN NOTE."

"In composing know your progressions from 2 points of view: 1. Harmonic tendencies of all main types on any given root (regardless of degree) ex. m6 chords sound good going to Maj up a 5th and 2. Harmonic tendencies within a key. ex. vi6 sounds good going to III."

"When life has us in a tight corner, one of the first questions to ask is "Can I solve this with some humor?"

Here is a quote that Ted saved by John Wooden (former UCLA basketball coach). Ted truly admired this man.
"Talent is God given - be humble. Fame is man given - be thankful. Conceit is self given - be careful."

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Barbara Franklin
FattQ

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Reply with quote  #2 

These thoughts are very valuable! Thanks again Barbara.

barbarafranklin

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Reply with quote  #3 
more from Ted's notes:

1. THE KEY TO THE INSTRUMENT in (various styles too) is a thorough knowledge of
2 & 3 NOTE VOICINGS from which to create the appreciation of the true richness of the larger ones through your favorite devices of EXPANSION, GROWTH, and CONTRARY MOTION.

2. MELODY is the SUPREME ORGANIZER in music; Bass is the "2nd" Melody.

3. EVERY time you pick up the guitar, you should find SOME new way to play a progression such as: I bIII7 bIV ii7 V7

4. Kindness is a small price to pay for the good will & affection of others.

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Barbara Franklin
barbarafranklin

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Reply with quote  #4 
To anyone reading these,

Please feel free to inquire about any of the thoughts. Also if there is something particular you are interested (re: Ted's thoughts in a certain area) in let me know.
Barbara

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Barbara Franklin
FattQ

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Reply with quote  #5 

Hi Barbara,

Thank you for posting the thoughts! Thanks for making my day :-)

 

From the transcribing of Ted's music, I found that point No.1 is the essence of Ted's arrangement. Can you please elaborate more on it? Is there examples on them?

 

Regarding point No.3, did you mean I bIII7 "bVI" ii7 V7?

 

FATT.

barbarafranklin

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Reply with quote  #6 
Hi FattQ
Sorry, of course it's bVI. I'll try to find his 2 & 3 note chord pages, if I recall he does expound upon those ideas. He was ALWAYS experimenting too.
It makes me happy to know "Ted" can still make your day. Barbara

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Barbara Franklin
barbarafranklin

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Reply with quote  #7 
OK FattQ, here is one example:

Find ALL 3 note (& 2 note) structures in (say) the Diminished Scale. Try them all over Tonic and/or 5th pedals AND in ii (or IV) idim7 I progressions.
also: ii7 idim7 I idim7 ii7 V7 i & ii7 idim7 I VI7b9 ii7 V7 I

Hope this is clear & helpful. Barbara

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Barbara Franklin
FattQ

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Reply with quote  #8 

Hi Barbara,

 

WOw, what a quick response. Thanks.

 

See if I got them right:

"Find ALL 3 note (& 2 note) structures in (say) the Diminished Scale."

- Any 2/3 notes combination. Including stacking of successive 2nd eg. C,C#,Eb , or C,D,E in C Major scale

 

"Try them all over Tonic"

- Try those C Diminished scale structures over a static C Diminished chord in the background.

- Or, try those C major/minor scale structures over a static C major/minor chord in the background.

 

" and/or 5th pedals"

- Play those C Diminished scale structures over G pedal.

- Or, play those C major/minor scale structures over G pedal.

 

" AND in ii (or IV) idim7 I progressions."

- Play those C Diminished scale structures over Dm7-Cdim7-C changes.

- Or, play those C major/minor scale structures over Dm7-Cdim7-C / Dm7b5-G7alt-Cm6 changes

 
"also: ii7 idim7 I idim7 ii7 V7 i & ii7 idim7 I VI7b9 ii7 V7 I"

- Play those C Diminished scale structures over Dm7-Cdim7-C-Cdim7-Dm7-G7-Cm / Dm7-Cdim7-C-A7b9-Dm7-G7-C changes.

- ..C major/minor scale structures over those major/minor functional harmony situation.

barbarafranklin

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Reply with quote  #9 
Hi FattQ
The responses won't all be as forthcoming, I happened to remember where that was as I had viewed it recently.
Re: interpretation - these are Ted's personal practice notes - experimentation - enabling Ted to explore all possibilities in a certain area in order to determine what works.
I don't think he meant to put the 2&3 note "structures" over static chords. Just the Tonic & V "single note". (but you could certainly try that)
I am getting into some "dangerous territory" here. I DON'T WANT TO SECOND GUESS.
Any and all experimentation with this is still beneficial & within Ted's line of thought.

Also, I have no way of posting examples & music material. (no scanner) & no room for a scanner!!!!! at this stage.
Hope this helps. Have fun with it if you can.
Barbara

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Barbara Franklin
Hal9000

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Reply with quote  #10 
wow,  my first thought after reading the notes is how Ted found the time to do all of that.  I'll bet there are few that have gone that far.  Thank's Barbara
barbarafranklin

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Reply with quote  #11 
Hi Hal,
As you know, this vexing exercise is just one drop in Ted's musical studies bucket. B.

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Barbara Franklin
FattQ

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Reply with quote  #12 

Hi Barara,

Thanks for the reply.

The thoughts will definately make people here have a lot of fun (keep us occupied for a looong time). Nice work!

 

FATT.

barbarafranklin

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Reply with quote  #13 
This is just one example of how much time, energy & focus Ted dedicated to his studies & his teaching. He was continually acquiring, applying, & experimenting with new knowledge & refining his skills for his personal growth & his teaching. The pages below represent many 1000's of hours of work. These pages were written in 1973:

Attached Images
jpeg Practice_Prog._10-73.jpg (30.82 KB, 904 views)
jpeg Work_Sheet_11-73.jpg (31.96 KB, 621 views)


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Barbara Franklin

PaulV

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Reply with quote  #14 

Hi FattQ,

Wow, you did a great job of deciphering those 2 pages.  If the resolution was greater we could probably read it better.  Anyway, I tried my best to fill in the blanks where you had question marks.  Below is what I came up with.  The words in RED are the changes I found.

Any possibility of help from Barbara to check this against the original pages?

Thanks!

--Paul

7/8/06 UPDATE:  Barbara provided the missing words in BLUE.  Thanks!

 

 

Practice_Prog[1]._10-73

 

PRACTICE PROGRAM

================

 

-Reading, BACH

-Names of notes on neck

-Names of notes in MAJOR SCALES

-TRIADS: MAJOR SCALE FINGERING

-DIATONIC TRIADS CLOSED/OPENED (LEARN TRIADS IN ALL KEYS-FOLLOW CIRCLE OF 4THS)

-HARMONIC PATTERNS + (DELAYS)

-CROSS OVERS

TRIADS ACROSS FINGERBOARD

CONNECTING 2 DEGREES ACROSS

CONNECTING INVERSION OF SAME CHORD

-I-IV-(I)-V-I CONNECTIONS

KEEP COMMON TONE IN SAME VOICE

MINIMUM MOVEMENT OF OTHER VOICES

-HARMONIZING FROM THE BASS UP

-4 NOTE TRIADS IN THE 5 MAIN AREAS OF THE NECK

SHEETS ON TRIADS, INVERSION, ETC.

MORE HARMONIZING FROM THE BASS UP, SOPRANOS

CADENCES

CADENCES WITH INVERSIONS

PHRASES,PERIODS, FORM OR STRUCTURE

MINOR KEYS

7TH CHORDS, V7-I, INCOMPLETE 7THS

DIATONIC maj7'S, min7’s, min-maj 7’s (using 7 with slash to indicate major)

TEAM CONCEPT OF FINGERING

HARMONY SUMMARY

TONICIZATION and MODULATION

MODES

MIXTURES OR BORROWED CHORDS

CADENCES AND PROG’S THRU CIRCLE OF 5ths

SEQUENCES (DIATONIC) TRIADS, 7ths

SEQUENCES (MODULATING)

PEDAL HARMONY

CONTRARY MOTION EXERCISES

SIMPLE TUNES

EXTENSION/ALTERED CHORDS USE IN PROGRESSIONS

MODERN PROGRESSION WITH MODULATION

RESOLUTIONS SHEETS OF EXT & ALT DOMS

SHEET OF EXT TONICS AND SUBDOMS (AND DOMS) VIEWED FROM MELODY

SUBDOM CONNECTIONS TO TONIC (& DOM)

TONES TURNAROUND

ADVANCED MODULATION

INVERSIONS OF m7, m6, m7b5, M7, 6, 7b9, 9, 7+, 7b5, 7b9+ (SHEET OF EXERCISES)

MIXED SCALES

4TH CHORDS

OTHER SUBSTITUTION PRINCIPLES

PROLONGATION: CHAINS, CAMPS

SYMMETRIC HARMONY

+ SUBSTITUTE + CYCLES

EMBELLISHMENTS

CONTRARY CHROMATIC

WANDERING, ENTRANCES, MORE TONICIZATION

SATELLITE NOTES

HARMONICS

DRONES

MORE PEDALS

SWITCHES

DYNAMICS [I think this is PYRAMIDS]

POLY-CONTRARY

 

EAR TRAINING EXERCISES

 

 

 

Work_Sheet_11-73

 

WORK SHEET

===========

READING

BACH PIECES

NAMES OF NOTES (CHROMATIC SCALE-MUSICAL ALPHABET)

NAMES OF NOTES OF FINGERBOARD

EXPLANATION OF WHOLE, ½, STEPS & MAJOR SCALE

MAJOR SCALE FINGERINGS

MEMORIZING NOTES IN ALL MAJOR SCALES

EXPLANATION OF CHORD CONSTRUCTION IN TERMS OF 3rds(ALSO, BASIC INTERVALS)

4 NOTE TRIADS (LEARN IN REFERENCE TO WHEN NOTE IS IN BASS)

BEGINNING CHORD PROGRESSIONS (IN ALL KEYS EVENTUALLY, FIRST ALL MAJOR KEYS)

METHODS OF VARIATION:

1.CHANGE RHYTHM

A.BROKEN CHORDS

B.PASSING TONES

C.DIFFERENT METER

2.KEEP THE SAME BASS LINE-USE DIFFERENT VOICING IN TOP

A.SAME ROOT PROGRESSIONS

B.DIFFERENT ROOT PROGRESSIONS

3.KEEP THE SAME MELODY

BUT USE DIFFERENT CHORDS UNDERNEATH LIKE ABOVE

4.CHANGE BOTH MELODY AND BASS WHILE KEEPING SAME ROOT PROG.

NAMES OF NOTES IN NATURAL + HARMONIC MODES

EXPLANATION OF DIATONIC MAJOR + MINOR CHORDS

RESOLUTION OF V7-I-V7-i (AFTER PROG.4)

EXPLANATION OF DIATONIC 7THS (MAJ MIN/AFTER PROG 8)

REVIEWING TRIADS BY VIEWING 3 NOTE INVERSIONS - OPEN + CLOSED

HARMONIC PATTERNS, CROSS OVERS

CONNECTING TRIAD UP/DOWN NECK, ACROSS NECK, I-IV-V, VOICE LEADING CONCEPTS

 

EXTENSIONS - ROOT IN THE BASS FIRST, BEGINNING SUBSTITUTION

CONTEMPORARY PROGRESSIONS

INVERSION OF 7th,m7, 6, m6, m7b5, M7, m7, 7b9, 9, 7+, 7b5, 7b9+, etc.

SEQUENCES

MODES, COMPLETE MINOR TRIAD + 7TH VOCABULARY

MIXTURES

MORE SUBSTITUTION PRINCIPLES

TONICIZATION + MODULATION

HARMONIZATION/EXERCISES

FORM(STRUCTURE),PHRASES, CADENCES

FILLING IN OF OUTER VOICES OF SONGS

PEDAL HARMONY (DIATONIC)

CONTRARY MOTION EXERCISES

SHEETS OF CHORDS VIEWED FROM MELODY

MORE SUBSTITUTION PRINCIPLES

CHORD MELODY STUDIES

BLUES + TURN AROUNDS

MODERN PROGRESSIONS

MODERN RESOLUTION SHEETS

ADVANCED MODULATION

SUBDOMINANT CONNECTION TO TONIC + DOM

HARMONICS

 

 

4TH CHORDS

PENTATONIC 6/9, M7/11 INVERSIONS

PROLONGATION

SYMMETRIC CYCLES

EMBELLISHMENTS

CONTRARY CHROMATIC STUDIES (INC. POLY-CONTR.)

SWITCHES

DRONES + TUNINGS

MORE PEDALS

PYRAMIDS

WANDERING: ENTRANCES, SATELLITE NOTES, ADVANCED TONICIZATION

 

EAR TRAINING EXERCISES

 


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--Paul
barbarafranklin

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Reply with quote  #15 
Sorry the pages didn't come out very clearly. I thought they would be able to be enlarged. Nonetheless, Paul & Fatt - thanks - you both did a great job.
Here are the remaining ?'s

PRACTICE PROGRAM
connecting 2 DEGREES ACROSS
Inversions of m7,m6,m7b5,M7,6,7b9,9,7+,7b5,7b9+
other substitution PRINCIPLES
wandering, ENTRANCES, more tonicization

WORK SHEET
explanation of whole, 1/2,steps & maj. scale

(under "Methods") a. BROKEN CHORDS
3. keep the same melody but use different chords underneath LIKE above

resolution of V7-I, V7 - i (after PROG. 4)

connecting triads up & down the neck & across neck I-IV-V, VOICE LEADING CONCEPTS


(at the bottom where it starts 4th chords)
CONTRARY CHROMATIC STUDIES (INC. POLY-CONTR.)
drones & TUNINGS
wandering: entrances, satellite notes, ADVANCED TONICIZATION


Did I get them all? again, sorry.

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Barbara Franklin
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