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Vette335

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Posts: 1
Reply with quote  #1 
Hi there.
I am a jazz guitar college major and I have recently become obsessed with Ted Greene's recordings and arrangements.  I have been doing a ton of listening and playing through the lessons on this site.  For my upcoming junior recital, I have decided to do a reharm of The Beatle's "Mother Nature's Son" and definately use some of the many ideas Ted taught his students.

my biggest concern is making it sound different than the Beatles recording and more in the jazz genre, but still keeping the mood of the tune and keeping it beautiful, not too dissonant. 

Does anybody have any good advice for approaching this tune or chord melodies in particular?

thanks!
Dan52Tele

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Posts: 43
Reply with quote  #2 
This is exactly the stuff i'd like to get into, putting your own stamp on a familiar tune within a Jazz context. I would also like any help on this topic.

Great vid this month, thanks Barbara
barbarafranklin

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Posts: 940
Reply with quote  #3 
Hi Vette, Hi Dan52,

Ted's Beatle song arrangements are fairly straight forward. When I'd listen to him play Beatle's songs - sometimes he would use chord substitutions & swing the rhythm a bit. I didn't study jazz so I can't help with technical advice.
Maybe Bob Holt, or William, or Leon, or Dan Sawyer????? can any of you reply? (Thanks). Barbara

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Barbara Franklin
ronjazz

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Reply with quote  #4 
while I'm not familiar with that particular tune, I've found that Beatles tunes can often be very effectively redone in new time signatures, such as 5/4 or 7/4.
Bob

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Posts: 145
Reply with quote  #5 
Ted drew from a very large harmonic vocabulary. These are two devices that he exposed me to, which I have applied to the song "Yesterday". The first example employs "Static Harmony," one chord form to harmonize a given melody --what Ted referred to as "moving land masses". The chord form was chosen based on the strength of its structure and I liked the color. 

The second example is "Chromatic Jazz Harmony". For the most part, it is a descending bassline in half steps. If you were to sing the opening two phrases of the second verse the examples will, hopefully, support the melody. These devices can work on pretty much any tune.

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Bob Holt

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