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Posts: 3
Reply with quote  #1 
My name is Terrence McManus, I am a guitarist and composer in the New York City area.

I am also currently a graduate student in a jazz history and research program and a current project I have chosen to do
is about Ted. (I hope to do some other projects on him as well.)

The project I have come up with is to try and research and find instances of the influence of Bill Evans in the performance, harmony and pedagogy of Ted.

I have come across a few mentions of Bill in various lessons sheets and in some blog posts, and am looking in other books, articles and interviews.

If you are a former student of Ted's (or anyone that has direct knowledge) and have recollections or better yet writings addressing the above, please get in touch with me if you can.

I'll also be looking to recordings of both, listening for similarities, as well as other research ideas I have, but anything you may know would help.

Thank you.



Terrence McManus
guitarist-composer-sound artist

Posts: 289
Reply with quote  #2 
Welcome here Terrence. I think Ted liked and respected Bill Evans, but Evans was not really a big influence on him. Ted's main harmonic influences were from the early part of the 20th century such as Max Steiner and George Gershwin. Lenny Breau was the guitarist most influenced by Bill. Also check out guitarist Sid Jacobs.
Dan Sawyer, friend of Ted's.

Posts: 337
Reply with quote  #3 
Recently, Ted's Original Tunings have been posted.  They include unusual guitar tunings that facilitate playing close "piano" harmony.  Some of these tunings Ted named his "Bill Evans" tunings.  For details, download the Original Tunings pdfs at:

Posts: 22
Reply with quote  #4 
This is hard to gauge, other than a few references to his tunes and the aforementioned "Beloved Bill Evans tuning". Ted never goes into great detail. Now I gather all of this from whats available on this site. Had you sat down with the guy, Im sure he could give you a few hours on this subject, one way or the other. Personally Ive come to the conclusion that Ted respected most folks' presence and contributions - Evans included. 

Considering this is a graded subject, I would have went "George Van Eps influence on Ted" (easy A LOL!)

Posts: 37
Reply with quote  #5 
I studied with Ted through the mail (and before email).
In one of our written exchanges, he mentioned that he wanted to work out "a Bill Evans-ish arrangement of Danny Boy" (I'm sure he was familiar with the one Bill actually recorded, which was more musing than a finished piece). I of course said I'd love to see it.
From time to time he said he was working on it, but was running into problems with it. I then came up with the idea of him doing an audio tape of what he had gotten so far, so we could look together at what was and wasn't working, and we could learn a lot from that. He really liked the idea.'s one of the zillion things he never got around to doing.
I agree with Dan that B.E. was not really a major harmonic influence on Ted, but he was certainly aware of those sounds (I think he referred to the style of one of his arrangements of Stella as "a la Bill Evans trio setting" (can't remember if it's posted here, or whether his comment was actually written down or he just said it in passing to me). And sometimes one of his voicings just kills me in the same way Bill's did--try Ebmaj 7 voiced over all six strings (top down)--D F Eb C G Bb (the C and G are double-stopped with the forth finger). Pure bliss....

Posts: 337
Reply with quote  #6 
I tried that chord.  For me the C and G were double stopped with the 3rd finger and I used a sixth fret barre.  Hint: warm up before attempting.  Are you sure you're doing it with a 4th finger double stop?

Posts: 37
Reply with quote  #7 
You're absolutely correct--double stop with the 3rd finger, my typo (and would actually be impossible). And yes, warm up first!
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