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Posts: 2
Reply with quote  #1 
Ok, first of, this is my first post on the forums, so greetings from South Florida. I got to know Ted through his videos on youtube and his album, and he's quickly become my favorite jazz guitarist. Being a classically trained guitarist, I can adapt pretty well to his finger style playing, and decided I would try to learn some of his music. Easier said than done! I downloaded the sheet for all the things you are, but found that the formatting was so unfamiliar that I couldn't read through it fluidly. Using powertab, I've tried to transcribe it, and was fairly successful up until the 15th to last diagram, from which point I just can't manage to decode the intended rhythm. I can't attach a .ptb file to this, so instead I just took two screen shots showing what I did up to this point. Anyone have any insight, or perhaps a video of Ted performing this?

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Posts: 1,773
Reply with quote  #2 

Hi Sarafan,
If you want to be able to play some of Ted's arrangements, might I suggest checking out the "From Students" section of the website.  I've posted a number of them which I combined Ted's boxes with standard notation, making it easier to follow. 
I can tell by your work that you pretty much understand Ted's notation format.  Perhaps most of us who studied with Ted or who have worked with his books take some of the basics for granted, especially in regard to Ted's grid box playing order:  Dots are played first, then X's, then squares, then triangles, and if needed, stars.  Circles (dots that are not solid) are usually optional notes.  Usually notes of a chord are sustained while the other notes move (if physically possible).  Tie lines between chords are meant to be tied, just like in standard notation. (I think you missed the ties in your notation.)

Also, one should know that Ted liked his arrangements to be somewhat undefined, meaning that the exact rhythmic treatment is left up to the player and left up to a certain amount of improvisation, rather than try to play it exactly the same each time.  Ted would certainly encourage a student to work out different variations using different chord voicings, or keys, or stylistic approaches.

There is a note in the Newsletter for September '08 that explains this better:

All of the arrangements that Ted wrote down were done so for the benefit of his students who wanted to learn a particular song.  Some are on the advanced level, some at intermediate, and some for "easy level."  Ted didn't need to commit an arrangement to paper in order to play a song. He was constantly changing and improving them each time he played.  His concepts were usually much grander than the simple chord charts he wrote.  In his performances, he would invariably include intros, interludes, modulations, stylistic shifts, different harmonic treatments, harmonics, etc., when he played a tune. Ted had the sounds, the feel, and the melody and progression of the tune all etched in his brain, so he could spontaneously enter into another way of expression or a new variation whenever a whim tickled his fancy.

It is important for students to realize that just memorizing Ted's arrangements as his pages indicate, doesn't come close to the masterpieces he created in his playing.  The pages are a starting point.  All one need do is to watch or listen to one of his recordings and try to follow along with his printed arrangement page.  It just doesn't work!”

Sarafan, thanks for making the TAB of Ted's "All the Things You Are" arrangement.  I'm sure that is helpful to the TAB fans.  If anyone is interested in me making one of the "compilation" pages for this tune, let me know and I'll start in on it and eventually post it on this site.

P.S.  This thread would have been better suited in the "Chord Melody" section of the Forums, not in the "General Topics."



Posts: 2
Reply with quote  #3 
Wow, thanks for all the advice. I probably should have mentioned that I left the ties out of tabliture purely for the fact that I don't quite know how to put them in using powertab. Also, I understand that the sheets are just loose guides, but the only way I found that I could piece it all together was just by transcribing it to something that I already knew how to read. Of course I wouldn't stick to a mathematical tempo, but I needed some way to understand how the progression was meant to flow.

In addition to learning the posted sheets and the "From Students" lessons, does anyone have any suggestions for a begining jazz guitarist? Coming from classical I often find that I hold myself to closely to the written chords. Is there an easy way to come up with inversions and such, or are the "intros, interludes, modulations, stylistic shifts, different harmonic treatments, harmonics, etc." just testaments to Ted's improvisational genius?

Posts: 121
Reply with quote  #4 
What I have to say may be somewhat different than many others on the site, because I did not come from a jazz background, either.  I have had to sort of 'unlearn' my own attachments to chords, or as the jazz folk call them 'grips.'  While it was a painful thing to let go of,  (security and all that) I have found there is great freedom in using only that part of a chord that is needed at that moment in an arrangment.  I cannot imagine what some of these arrangments might have been (passing chords, etc.) if each complete chord grip were used.  This jazz form (at least what I am using of it) seems much more in the moment and using only what is necessary in that moment. 
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