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PaulV

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Reply with quote  #1 
The June 2013 Newsletter is now up and you'll find all the new Ted lesson material is posted in their respective sections.  Come and feast on the goodies!
http://www.tedgreene.com/news/default.asp

Our Audio section continues to grow, and so our webmaster, Dan Sindel has re-designed it so it's a bit more clear and easier to navigate through. 

Hope you find something in this months lessons that you can use in your playing.  
Enjoy!

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--Paul
Keith

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Posts: 105
Reply with quote  #2 
Hi Paul,
Thank you for all your efforts in bringing these beautiful arrangements and lessons from Ted to us all!
The lessons on minor tonality are a perfect match for the arrangement of Exodus.  I'm loving it.
My best to you,
Keith
klasaine

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Posts: 151
Reply with quote  #3 
Thanks for re-copying the latest 'Harmonic Improvement' page.
I probably got an early Zerox of that sometime between 1977 and 1980 either from Chips Hoover or Daryl Caraco.
Most of the info on those pages had become part of me a long time ago but it's really nice to see it clearly. I'm sure I probably missed some things.

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ken lasaine
PaulV

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Reply with quote  #4 
Keith,
The Aeolian tonality pages and the Exodus arrangement was sheer coincidence. No planning on my part, but I'm glad they compliment each other.

Ken,
Ted has more pages on "Harmonic Improvement" which will be coming out in the next few months. Actually, he wrote the first series in 1976, then revised several pages of it in 1977, then made some quizzes, and finally a summary page. We'll post all of them, and hopefully it will be clear what was going on with the revisions.  It's such great material for solo guitar and accompaniment playing, and I'm sorry we didn't post it years ago. 

Right now I'm focusing on posting Ted's lessons with his handwritten comments.  It's wonderful to have these since most of his lesson sheets are just grid diagrams.
When we first decided to "transcribe" Ted's lessons, Leon White made the comment that his handwritten pages seem kind of magical, so personal - like you're receiving ancient secrets from the master, and when you see them typed out some of that seems to get lost.  But we need to do this in order to make them more legible and accessible to everyone.  Hopefully the message is just as powerful regardless of how it looks on the page.
I hope you all find these pages helpful.  In a way we're kind of creating "The Ted Greene Guitar Method" book...one lesson sheet at a time.

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--Paul
klasaine

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Reply with quote  #5 
Agreed about the 'look' of Ted's handwritten pages. And in fact after many years I still literally find things in those pages that I missed due to the semi-cryptic style of his writing. You know, the stuff going down the side of the page, the arrow pointing to something on the bottom or in the margin, etc. 
I hope if there ever is a posthumous TG volume besides the re-written stuff that at least a little bit of his handwritten examples will survive the editorial process. I think they're important in understanding 'Ted'. 

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ken lasaine
PaulV

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Reply with quote  #6 
Hi guys,
I wanted to let you all know about a small typo that has just been corrected in the recent "Harmonic Improvement, 1976, parts 1-2" lesson.
It's located in the "Harmony & Theory" section.
http://www.tedgreene.com/images/lessons/harmony/HarmonicImprovement_parts_1-%202_1976-06-02.pdf
The error was discovered by Tim Lerch as he was playing through the lesson.
It was on page 2 of my typed transcription, about in the middle of the page (on Ted's original lesson sheet it's on page 1, slightly below the middle). It's the chord that is right before the Abmaj7 that is in brackets - the second to the last chord in the second line of chord diagrams.  I erroneously had it listed as G7, when in fact is should be Gmaj7.
Ted wrote it as G7.  

This is the European way of making a 7, but in short-hand chord notation it indicates major:  A slash through a 7 is major 7; a slash through a 9 is major 9, a slash through a 13 is major 13. In the 70's Ted sometimes used this, but later tended to write the triangle for major.  I knew this, but overlooked this instance.
So, if you've already printed this lesson sheet, you might just want to change that G7 to Gmaj7.  Or you could just re-print page 2 if you like things nice and neat.  

However, as Tim emailed me, even though Ted wrote G7 the chord actually has a 6 in it also, and according to Ted's chord naming convention, this should be called Gmaj7/6.  
I didn't call it that simply because Ted didn't.  He's showing the Gmaj7 chord approaching the Abmaj7 from a 1/2 step below, while the melody (top note, or soprano) is approaching from a 1/2 step above, creating a contrary motion.  I think he was thinking of the chords and melody lines as separate, so he didn't include the 6 in the Gmaj7 name.

Does this make sense?

Anyway, call it what you like, but the error has been corrected and I am duly chastised!   

Thanks, Tim, for catching this boo-boo....I always welcome any input in order to get things right!


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PaulV

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Reply with quote  #7 
Well, this is embarrassing....another typo was discovered in the "Harmonic Improvement, 1976 parts 1-2" document.  It was on page 4, the sixth chord in the first group of grid diagrams.  
The Am7/11 chord was given the incorrect fret number.  The corrected file has now replaced the defective one.
Sorry about this...again!
Thanks to Ken Lasaine for finding this error.  He mentioned that he found it because it is a favorite of his.

It is interesting to note that these lesson pages on "Harmonic Improvement" seem to be treasured sheets for a lot of Ted's students.  They have great fundamental knowledge for developing a richer vocabulary for chord-melody and tasteful comping. It's good to know they're being studied (and re-studied).

A side note about these transcription pages:  on many of the chord diagrams which I created from Ted's original page I placed the fret number at a different spot than Ted did.  I did this consciously, based on the fact that over the years Ted changed where he decided to place the fret number.  At the time he wrote these Harmonic Improvement pages his practice was to place the fret across from the highest note in the diagram (meaning the note closest to the fretboard's nut).  Later he changed to placing the fret across from the root, or visual root - which was often (but not always) based upon the lower strings.  I've tried to follow that as much as seems practical in these examples.  Also, I've tried to draw the grids in such a way that the grids share the same visual space without unnecessary shifting of perspective.  For example, if a chord sequence shows a chord on the 5th fret, followed by a chord on the 7th fret, I would try to keep the 5th fret on to top row for both chords - even though for the second chord the 5th and 6th frets may be empty.  I hope this is clear and makes sense.

Anyway, the bottom line is that the chords remain the same, but the fret number may change, as well as the placement of the dots inside the grids.  
If you compare some of the examples you'll see what I mean.  Okay?

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TedGreeneFan

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Posts: 26
Reply with quote  #8 
Thanks for the excellent material this month (and every month!).
I especially find helpful the Harmonic Improvement pages and look forward to the rest of the series.
The Descending Progressions lessons are beautiful little ideas.  Real gems.
I also dig Paul's writeup on Nature Boy.

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Bob
PaulV

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Reply with quote  #9 
Special thanks to our "humble webmaster" Dan Sindel for keeping the Ted Greene Facebook page up-to-date with announcements every month for our Newsletter and new items.
Way to go, Dan!  

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--Paul
kontiki

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Posts: 256
Reply with quote  #10 
I second that, and I hope he's in good health!
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Dmolished = Egads
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