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Harmoniast

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Posts: 3
Reply with quote  #1 

This has probably been answered somewhere else, but as a newcomer to this forum I'd really like to know what became of the promised successor volumes to Modern Chord Progressions Volume 1. Did Ted leave sketches or notebooks for them, and - if so - does Barbara intend to edit them for publication?

brx76

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Reply with quote  #2 
I am wondering this same thing.
PaulV

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Posts: 1,652
Reply with quote  #3 
This is not an "official" answer - perhaps Leon knows the inside scoop - but Ted just never got around to putting it together.  Ted had many ideas for new books...most of which he never started. 

I'm sure it was a difficult process for him to commit to writing his material.  As you read in My Life with the Chord Chemist Ted was constantly revising an article that was to be published in a guitar magazine.  He was a perfectionist, and publishing meant setting something "in stone."

Another way of looking at the "big picture" is that he did leave behind for us a TON of his lesson materials, and of which we are disseminating to you all via this website.  Download and print this stuff, and you'll be creating the new Ted Greene book for yourself.

If you have specific areas of interest please let us know - this will help us in selecting what we post each month.  Tell us what you want. One list of "some" of his lesson pages is in the back of the above-mentioned book.  Check it out.

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--Paul
LeonWhite

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Posts: 441
Reply with quote  #4 
In my own experience with him during those days, Ted agonized, and I mean AGONIZED over how to teach things and what to put where and what order, even which topic.  I use "Agonize" to mean mental anguish, unhappiness, and things like stomach aches. 

I don't wish to imply it was all like that because it certainly wasn't.  But there were many weeks where a single decision would consume him.  As noted here and elsewhere, he thought a lot about many different things.  He would approach a decision from many angles, one after the other, when the decision impacted others. 

It was hard to watch at times.  When you see all his material here and in his books please remember how much he poured into it all.  He really cared about his students and the product he put his name on.  His work is not the stuff of lightning genius pouring out - it was the result, perhaps, of lightening genius pouring out and then being reconsidered and reviewed more then once.

This is my recollection of course, so I hope others will step up with their recollections or stories.

Thnks
Leon
WilliamPerry

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Posts: 63
Reply with quote  #5 
So strange to know Ted and see things (somewhat) differently.  Modern Chord Progressions...I'm sure that Ted had already worked out the next volumes.  Was it all written out?  Leon or Barbara would have had access to that.  But, no doubt they were worked out in his head.  Now, did he like the organization of any of his books?  Did he find them essential for his students?  No.  No doubt he was proud of them, but he realized that they were overwhelming for most people.  How could he not.  This was how Ted needed to organize things for himself.  We talked about this many times, how we both had to organize our thoughts on paper.  I've seen this in several genius'...Ron Kurtz, Nathaniel Brandon, Andrew Galambos....they just move on.  Just too much talent and too much to say to repeat themselves.   In his later years, Ted had so much joy in teaching students one on one and teaching to their individual level and interest.  He seldom taught from his books and ALWAYS recommended that you went through them to pick out things that you could use or enjoy....never used as a method to be studied and memorized.....and, he was also enjoying and focused on playing out, sharing his music with others.  
DanSawyer

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Posts: 288
Reply with quote  #6 
For me personally, there is enough in volume 1 to work on for a long, long time. However, I'm sure Ted had a lot of other ideas. For example, he had fourth-type chord progressions ala McCoy Tyner with Coltrane.  He also had a lot cool chords using alternate tuning such as the one where the first string E went down to D (treble string, not bass string).
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Dan Sawyer, friend of Ted's.
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