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madbooks

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Reply with quote  #16 
Interesting to come across this thread - when I went for my first (and only) lesson with Ted he asked me to play something. So I thought I'd try him out on my version of Flashes, which I'd culled from both the internet and listening to the recording.  He listened to it, scratched his head and startled me by telling me it was his arrangement.  Apparently Joseph came to him and asked him to arrange it - he wouldn't be drawn on what he thought of the final version but I did sense that he thought he could have played it better.

Rupert
NickStasinos

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Reply with quote  #17 
Welcome Rupert!

It's nice to know others have tried to tackle this tune!  Did you write anything down that you might want to share with us?  Please upload it!  I am beginning to see multiple ways to approach this tune.  The title page I started and posted here says "As played by Ry Cooder on Jazz", but I am beginning to think that what Ted came up with may have been altered by Ry afterwards.  Maybe I should subtitle it "As taught to me by Ted Greene"?  I am way overdue in posting the next few measures, possibly Sunday.

Nick

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madbooks

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Reply with quote  #18 
I have to say that I found Lon Kelly's version here http://www.acsalaska.net/~lonkelly/tabs.html and made a few changes, but it's pretty good I think, certainly good to start with.  There's another version here, but I think it's far too complicated and not accurate:
 http://www.fingerstyle2.com/Transcriptions.htm#Flashes

Anyway if anybody comes up with a definitive transcription please let me know.

Rupert

NickStasinos

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Reply with quote  #19 

Here is the next installment to my “Flashes” transcription!  I approached this from both Ry’s studio version and information from my lesson with Ted.  I will try to point out where Ry or Ted do what when.  I will be making reference to the session chart I posted earlier.

Measure 5:  Ted adds the 3rd, the F# note (3rd string, 10th fret) to the D#9#11 chord.

Measure 6: Ted adds the 6th (4th string, 12th fret) to the Fmi6 chord even though Ry does not play it.  The session chart shows the last chord as B7/F# as having a 7th or the A note played on the 2nd string, 10th fret.  Ry plays it!  I cannot figure out how to hold it in order to give it the full half note value.  I am using my 4th finger to play that and then hop over to the ascending chromatic line on the next string, all done with my 4th finger until I find a better way.  Any suggestions?  The last note is held with a fermata (maybe just a breath mark will do) and not tied to the next measure because this note is played again as part of the next chord in measure 7.

Measure 7:  Ted adds the B bass to the first two chords which makes them sound rich and full.  To play what Ry plays on the recording, just ignore this B bass and continue on to the next two chords.  Another addition Ted suggested is playing the last two intervals over an A pedal.  Try playing the 12th fret harmonic and let it ring under the two intervals.

Measure 8: Ry does not play the C# note (4th string) in the F#mi7 chord, but Ted does.  Also, Ted holds the F# bass for a full two beats, Ry does not.  I notated how Ry plays the bass for the F#mi7 chord.  The next chord should be a G#mi, but Ry plays it like a B7 chord.  Ted told me to “avoid playing the A note on the 4th string.”  Add the G# root to the 2nd string.  Sound nice?  It should!  Hold this chord as you lower the bass to B flat and then go on to the last chord, A9#11 starting with the open 5th string, strumming to hear every note clearly, letting it ring and hold it (another fermata).

That’s it for now!

Nick

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jpeg Flashes_(Title_Page)_2.jpg (241.81 KB, 62 views)


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NickStasinos

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Reply with quote  #20 

A few weeks have now passed and I have four more measures to add!  I will be referring a lot to the session chart posted earlier.

Measures 9 –12 are a variation of measures 1 – 4, adding ascending and descending 3rds in the soprano while the E bass is sustained.  Also note the following chord changes are played the same except for the 1st chord.  Ted writes it in as Ami6 (same as a F#mi7b5) at the beginning of measures 10 and 12. 

I use the session chart fingerings in measure 9.  It indicates holding and sustaining the E and B notes of the chord while planting the 3rd and 4th fingers on the D# and F# notes before moving up the 1st and 2nd strings in succession.  There is good reason for this since any other string sets will place your hand farther away from the following Ami6 chord.  

There are no fingering numbers in the chart to show how the descending 3rds are played in measure 11.  Clue: The E chord notes E and B are still sustained together.  In the Soundstage video, Ry plays it mid-neck stopping the E bass from ringing to play the B note.  You can play all the descending 3rds on the 1st and 2nd strings, ending with the C# note on the 2nd fret.  This IS how Ted showed it to me!  This way still allows plenty of time to jump to the Ami6 chord in the next measure.  BUT, I do like what Ry does in transitioning to the 2nd and 3rd strings, placing the last note, C# on the 6th fret, much closer to the Ami6 chord.  I have shown the descending 3rds here with classical fingerings that make perfect sense.  Ted always stressed “minimum movement.”

There hasn’t been any feedback or dialogue on this topic for a while, so I am wondering whether it would be wise to continue.  Any interest?  Please let me know!

Nick

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jpeg Flashes_Pg2A.jpg (301.98 KB, 54 views)


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horizon

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Reply with quote  #21 
I think you did an amazing job of transcribing "Flashes" thus far. Have you completed it? I've wanted to work through it for, literally, years. I was able to upload pg. 2 of your session chart from your lesson w/ Ted; but, the first page won't load. Could you email that to me or re-post it since it appears the link is broken?  (I'd like to see Ted's original chart and the degree to which it varies from Ry's recording and the Soundstage performance (which is indeed a bit different).  I look forward to hearing from you...I still can't believe the quality of what you have posted...it's just great and VERY challenging to play!
horizon

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Reply with quote  #22 
Hi Nick, the first page of the Flashes Chart is back up! Thanks again for posting this....this promises to be a work-out...
Warmest regards, Kendall
NickStasinos

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Reply with quote  #23 
I have worked through the entire piece, but it is not fully transcribed.  I was planning to finish up to the bridge, but life has handed me some challenges that need to postpone that plan for the time being.  Yes, the way Ted taught it to me with this session chart and Ry's recording was a bit different than the way Ry played it.  It has morphed over the course of time as seen in Soundstage performance video.
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magicbob

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Reply with quote  #24 
hi all,

New to this forum.  I was looking for Tabs of Flashes as played by Ry Cooder on his jazz album.
I used to own tabs for it but I lost them some years ago, unfortunately. I think it was done in an Open E tuning. The two transcription I found on the internet though, all have standard tuning (although tuned down to E flat). Anyone here knows the tuning Ry used?

kind regards, Bob 

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NickStasinos

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Reply with quote  #25 
Welcome Bob!

I have a variety of fan tabs of this song I have collected over the years, including some in open tunings, but the correct tuning is in standard tuning, a half step down in E flat. The best example of this would be to see Ry himself playing it on YouTube.  Check it out!



Nick

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