PLEASE REGISTER TO POST. Also, be sure to visit the main website www.tedgreene.com

**************************************************************************************
Buy NOW on Amazon
My Life with The Chord Chemist
A Memoir of Ted Greene, Apotheosis of Solo Guitar
Available at amazon.com

*Check it out!!!

VISIT OUR NEW SUPPORT PORTAL
Your contributions keep the site healthy and growing


More information HERE

Official Ted Greene Archives Blog

Ted Greene Archives on YouTube

Join Ted on FACEBOOK

NEW! Follow on TWITTER

..:: The Ted Greene Forums ::..
Sign up Latest Topics
 
 
 


Reply
  Author   Comment  
kontiki

Registered:
Posts: 256
Reply with quote  #1 
So here is the Blues in C  from part 6 of the Boulevard Music Seminar 8-22-04 Video. I transcribed from roughly 1:35 to 2:50 (three choruses).

A couple of things to mention:

-Ted's Guitar is tuned down a 1/2 step

- Due to the limitations in this way of notating, I soon gave up trying to accurately notate rhythm, ghost notes, slides and many other nuances (basically everything you need to make music musical!) so you'll need to listen the recording for that or ask if there are any questions, (or do a write up  There are, however, rhythmic indications but they aren't very precise and the occasional ghost note.  

- Due to the audio quality (or lack thereof) It isn't always clear (to me at least) what is an overtone or what a played note, so I used Ted's traditional way of indicating "optional" notes ( an un-filled circle) to indicate notes that are uncertain for me or places where my brain tells me one thing and my ear another. 

- Because What Ted is doing is so difficult (improvising chord melody in public while speaking!) there are moments when it seems to me that he doesn't actually play what he might have intended (especially in measure 13), or all the notes of a given chord etc. In some of these cases i have transcribed what I hear when I don't think I know what he intended, and in other cases when it "seems" somewhat obvious to me what he intended i wrote in what i think he meant. I know this is presumptuous on my part but i think it's better this way than writing in something I don't think he wanted to play (let alone be notated for posterity) . There are only one or two of these places and I'm open to comments and complaints. 

Ok so any and all comments are welcome, especially about typos, errors, questions about rhythm, transcription accuracy etc.

 

Attached Images
png BlvdMusicBlues.png (988.50 KB, 139 views)


__________________
Dmolished = Egads

kontiki

Registered:
Posts: 256
Reply with quote  #2 
how about now?  it was visible when i first posted. i don't know went went wrong
__________________
Dmolished = Egads
PaulV

Moderator
Registered:
Posts: 1,689
Reply with quote  #3 
Mike,
When you go back to a post that has an attachment and do an edit using the "Quick" version, the files don't appear on the post (although they are still hidden in the message.)
So the solution is to use the "Go Advanced" feature when editing.
--Paul


__________________
--Paul
kontiki

Registered:
Posts: 256
Reply with quote  #4 
Pam,

   I just want to make it clear for the record: I never had the immense honour of studying with Ted. Everything I know about him and his technique is due to this website.

__________________
Dmolished = Egads
PaulV

Moderator
Registered:
Posts: 1,689
Reply with quote  #5 
Mike,
That's a good testimonial to this website and the to perpetuity of Ted's music and teachings!


__________________
--Paul
sonnyintervals

Registered:
Posts: 40
Reply with quote  #6 
Great stuff Mike, thanks for posting this, much appreciated.
Cheers, Steve.
jazzuki

Registered:
Posts: 64
Reply with quote  #7 

Kontiki. Since I started this all off in the may first place-I commend you on your "Labour of love"-it is to your credit. Not knowing you I thought the only accolade I could give you is"I always thought you were you a student of Ted's"-so many thanks from me .Well done! Now where did I leave the key to the wood shed.......? Regards Peter.

PaulV

Moderator
Registered:
Posts: 1,689
Reply with quote  #8 
I think it is fair to say that anyone who has studied from Chord Chemistry, Modern Chord Progressions, SNS vol. 1 or SNS vol. 2 and/or worked through the many pages by Ted that are available on this website and/or transcribed anything from Solo Guitar and/or listened to all of Mark Levy's lesson recordings and "learned along with him" can be considered a "student" of Ted Greene.
Obviously there are different levels.  A person may have only taken one or two private lessons with Ted and learned a mountain of information, and perhaps there are others who studied for years and never got too far along.
For those of us who visit this website - aren't we all his students?
--Paul
 

__________________
--Paul
TLerch

Registered:
Posts: 251
Reply with quote  #9 
Hi Mike,
I'm looking at your transcription and following along with the vid, I think you've done a fine job and thanks for the work you put into it.
As you mentioned that it's a work in progress, one bit of input right off the bat:  The bar numbers are an interesting addition and after I got used to seeing them I found them helpful but I would suggest calling bar 13 bar 1 again since most of us hear a blues as a collection of 12 bars with significant events occurring in various bars. In other words, you've got three 12 bar sections and I think it would be easier to keep ones place while learning/analyzing what Ted is doing if for instance I can look at what he is doing in bar 3 of the second chorus, rather than thinking of it as bar 16 of the entire 36 bar segment. Does that make sense? Anyway its a small thing and maybe others would find it easier to see it the way you have it written. Either way it's a cool thing to have done.
PaulV

Moderator
Registered:
Posts: 1,689
Reply with quote  #10 
Mike,
In addition to Tim's fine suggestion, what about adding the chord names above the grids?  That helps.  Unless we want to use this as a new addition to the "Name that Chord Progression" thread!
--Paul


__________________
--Paul
kontiki

Registered:
Posts: 256
Reply with quote  #11 
Tim, I think it's a good idea and it makes perfect sense since most of us are so familiar with what should occur in each bar of a 12 bar blues. The only problem is that how will we differentiate between choruses. I guess it could be written like  2-4 to say the 4th bar of the second chorus or something like that. I was originally going to keep only 4 bars per line but then i realized i wasn't going to have enough space. If i were to edit it, i would try to find a way to re-instate that format.

Paul, I knew you were going to say that! I just didn't have the patience to do it anymore, the writing out of the thing onto the computer used up all my patience (especially, the rhythmic notation busted my chops). by all means use it a as a name that progression type of thing.

So what do you guys think of bar 13? i'm not sure what he wanted to play, or, if that was what he wanted, i'm not sure i understand fully what the first two chords are. also i have a hard time hearing it clearly. if anybody hears something i don't please mention it.

__________________
Dmolished = Egads
jazzuki

Registered:
Posts: 64
Reply with quote  #12 

You know when I watch and listen to Ted playing this Blues and other upbeat tempo's I realise how he and others before him were influenced by "Big Band" arrangements.You can hear it in the playing and guitar arrangement's of Barry Galbraith(Claude Thornhill Band) Wes Montgomery(Lionel Hampton) Joe Pass(Gerald Wilson)-Thes guys out on the road probably two years at a time hearing  this every night in a 21 piece band(I dont think they sat around talking about scales and modes).It was pure unadulterated "big band jazz"arrangements.Plus all the small spin off groups. Sadly there are non of note today except for a few college's in the U.S. and a few in Europe that are youth Orchestras.They absorbed all  and it reflected in their solo playing. Ted came later on but obviously absorbed all of this as he did with all styles. I sincerely hope as I'm sure it will his and their legacies live on,that is why this dedicated site to Ted (and the others sites) are so important. So to all of you that "run" site this in any capacity a big THANKS.

PaulV

Moderator
Registered:
Posts: 1,689
Reply with quote  #13 
OK...so let's kick off the "Name That Chord" for Konkiti's transcription of Ted's "Boulevard Music Seminar Blues"
Here's what I get for the first 12 bars:

| C(add9)/E   | F9 - F13/Eb - F7 - F/A | C(add9)/E - Db9   | C9   |

| F9    | F7/A - F7 - F6 to F  | C9/E - Gm7 - Db9(no3) - C9(no3) | C9(no3) - C9  |

| G9 - G13/F   | F9 - F13/Eb | C7/Bb - C7  | Cm7/Eb - G9  |

Not mentioned are some walking bass lines.
Comments?
How about the next 12 bars?

__________________
--Paul
kontiki

Registered:
Posts: 256
Reply with quote  #14 
Paul,

  looks good to me except in bar 7 i think you meant Db9

plus, i don't think i would go to all the trouble of naming every single inversion, I would take the lazy way out and say, for example, bar 2 =  F13 because most of the chords (inversions) make sense in context. my 2 cents. 

__________________
Dmolished = Egads
PaulV

Moderator
Registered:
Posts: 1,689
Reply with quote  #15 
Mike,
Yup...that should be Db9 in bar 7.  I changed it in the previous message.

You're right that it really isn't necessary to name every inversion...but it does add extra clarity, and if a person is learning these chords and wants to understand it better the names do help (IMHO).

__________________
--Paul
Previous Topic | Next Topic
Print
Reply

Quick Navigation:

Easily create a Forum Website with Website Toolbox.

YOUR SUPPORT MAKES A DIFFERENCE :: DONATE