![]() ![]() ![]() ![]() If this is too difficult, then just drop the 5th (D) on string 5. If so, finger the B13 as: 1, 1, 2, 3, 4 and then simply lift the 4th finger for the B note. P.1, line 3: You may wish to add the optional B melody note to the B13 chord (not included on Ted’s chord diagram). It seems to flow better here, and you can add a short descending bass line from the D of the G6 chord to the C of the C9 chord (D – Db – C). Use the same notes, but in the first position of the guitar. P.1, line 2: You might find it easier to play the C9 on strings 5,4,3,2 instead. P.1, line 1: You may want to add the optional A melody note to the Am9 chord (not included on Ted’s chord diagram), this is part of the melody of the song, and I’ve include the note in parentheses. You may also wish to play the F#7 chord on the 3rd beat of the measure, delayed from the melody. If you find this move difficult here (as I do), you may have to simply lift the 4th finger off the 2nd string and play the A note. Ted was amazing in his ability to bend his 4th finger backwards for barring without moving the other fingers. P.1: For the first chord Ted intended that the little finger play the E on the 2nd string and then bend backwards to play the A melody note on the 1st string. You can also do short little bass runs between chords if there is enough time. “Rolls” refers to arpeggios or arpeggiated chords. You might think of this as the melody part and the harmony part playing independently. “Delays” are when you separate the voicings in a chord and play one part, then the other. hand delays or rolls to fill up the holes.” Ted expected the player to apply techniques in order to fill-in or color the “holes” or spots where the harmony sustains for 2 beats or more. Remember that this song sounds best with a slow, relaxed groove, so don’t hamper that with chords that are impossible for you to play at this point.Īt the top of the page Ted wrote: “Solo Guitar Outline – The word outline is used because you have to add at least Rt. You may need to make additional modifications if some of Ted’s chords present too many challenges. Below I’ve made a few suggestions for easier voicings of the more difficult passages. This is a pretty difficult arrangement, but if you make a few adjustments according to your ability, you can play this piece with a little practice. GeorgiaOnMyMind_Ted Greene_notation_girds_p6.pdf ![]() GeorgiaOnMyMind_Ted Greene_notation_girds_p5.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p4.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p3.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p2.pdf GeorgiaOnMyMind_Ted Greene_notation_girds_p1.pdf My compilation page, changes and comparisons Upper structure triads can also be used to create more tension and strengthen the sense of resolution for each chord change.Ted Greene Arrangement - December 3, 1984 We can use half step chromatic approach chords in between each of the chord changed to create more harmonic impact. This harmonic and melodic situation is particularly well suited to passing chords. Passing Chords For 3625 Progressionsīars 5 to 8 of the A Section contain 2 back-to-back 3625 progressions with the chord changes on the half beat and the melody on the quarter beat. A half step above D- is Eb so we would play some kind of Eb7 chord and we now have the progression E-7b5 to A7 to Eb7 to D. This passage can be further enhanced with a chromatic dominant passing chord into the D-7. Remember that with minor 251s the ii chord is usually voices as a -7b5 chord. The A7 is functioning as the V7 chord of D- and so we can approach the A7 with E-7b5 to create a full 251 progression. The first opportunity that I spot to add a passing chord is in the second bar of the tune where we have an A7 chord for the entire bar moving to D- in bar 3. Approaching V7 Chords with the Related ii-7 Chord The A Section of the tune repeats 3 times and so passing chords can be used to add interest and variety to otherwise identical harmonic passages. Understand that we don’t have to play passing chords but they are an option. We are now going to focus on the harmony of the tune and apply passing chords in addition to the regular chord changes. In the previous lessons we have studied the basic harmony of the tune “Georgia On My Mind” and we introduced a simple left hand stride style with right hand melodic embellishments. In this lesson we will explore the concept of passing chords. ![]()
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