• Author / Uploaded
• Bob BaoBab

Citation preview

1

5-30-86 © Ted Greene

The Pentatonic Blues Scale This is the most popular scale for Blues and Rock and Roll; more runs and licks have been played from these notes than all the other scales combined (at least in a blues or rock setting). So, a working fluency with it is something you want to acquire, at worst just to see what your predecessors have been up to. This position of the scale has been the most favored by virtually everyone who uses the blues scale in their playing. So get acquainted, if you’re not already. Once you can play it reasonably well, try tapping your foot, setting up a strong groove of one type or another, and phrasing the notes in little groups, mixing the notes up in different ways. Focus on the top strings first (the skinny ones): take a few notes at a time, gradually adding more. Example:

Take your time with each diagram—really explore. Try hammer-ons, pull-offs, bends, slides, and accents to help the musicality of it all (also vibrato). Also, when playing adjacent notes with one finger, you don’t want to hop, you want to roll. Ask for help if need be. Now including the fourth string:

If your ears start to get bored, move all this to the key of Db. And bringing in the fifth string now:

And finally bring in the sixth string little by little. We’ll come back to this position very soon. But first we’re going to deal with another important one. The second important area for us will be presented without all six strings (don’t worry why for now, just relax and absorb it):

Learn this group of five notes gradually and when you feel comfortable, move on to the following:

5-30-86 © Ted Greene

2

Master each diagram before moving to the next. Work in both ascending and descending directions and of course mix the notes up in many orders and in many phrasings (which by the way, are separate concepts). We’re going to deal with a “two-strings-at-a-time” procedure for a while. Of course, some of this is kind of a review from the last page, but (1) the perspective is different and (2) we’re completing the position we began before (*).

As you may have noticed, the top two (or three) strings in this position can be (and often are) played with two different sets of fingers. Now try the “two-strings-at-a-time” bit with just the new full position. Three strings at a time is also a wonderful practice discipline and can produce some fine results on a good day. Also, please notice, if you haven’t, the parallel in sound, shape, and scale tone logic between:

Now we come to the third important area or position, and we’re going to start with it in a new key. And as before, we’ll deal with a portion rather than the whole at first, for various learning/usage-related reasons:

Take various little groupings within this area as before, maybe two or three notes at a time. You really learn by doing this.

5-30-86 © Ted Greene

And now combining the new position with our last one:

Don’t forget “spread” fingerings as well as the shifts.

It won’t hurt to try messing around also with the following:

If your ears get bored, lower all this down to the key of E. And now introducing some new notes in the new position:

Here’s the two-string bit again:

And the complete new position, finally:

There’s a lot of work on this page, but it can be a lot of fun, too, if you take it slow and easy.

3

5-30-86 © Ted Greene

4

How about hooking all three positions together (maybe you’ve tried already—if so, I hope there’ll be a new idea or two here):

Try all these type of examples backwards, too (kind of “descending” on the neck even though the sound is ascending). Here’s another example, this time in the key of A:

If we took everything on the preceding line and put the separate boxes together like we did in line 1, it would look like:

If you’re patient and diligent, this stuff can really become your friend and you’ll really be “seeing the neck,” at least in this type of harmonic color. And have fun with it…make it be MUSIC.

Transcribed by David Bishop 3/17/12

Minor Blues Ted Greene Composition — 1989, August 18th. Compilation pages by Paul Vachon, additional comments by Steve Herberman

Ted’s “Minor Blues” is an original composition for a 16-bar blues in B minor. Some Comments: Measure 2: Finger the Em as 3, 2 then add 4th finger for the X, 1st finger for square. This leads nicely into the Bm. Measure 8: For the C#m11 do a full barre and lay your 4th finger down to catch the A and E melody notes. Keep the barre for the F#7(#5). Measure 12: For some reason I just want to hear an E on top of the Cmaj9 chord, so if you also like this play the open 1st string. Measure 13: For a smooth transitions of the D6/9 to G#m7 finger it as: 3,2,2,4 then add 1st finger for the X. Now, keep everything in place but just slide your 3rd finger down one fret for the G# bass note. Measure 14: Play the G7 and Gmaj7 as: 1,1,3,1 to 1,4,2,3 (keep barre in place). Measures: 15-16: Play the B notes on the 5th string with 2nd finger. Play the F# notes on the 4th string with the 4th finger. Play the notes on the 3rd string with the 1st finger. There’s a small error in Ted’s diagrams: The F# note on the E/9 chord has a tie on it to the next diagram, but it shouldn’t be there. At the bottom of Ted’s original page he wrote: “There are a few little details that may be modified, but don’t do that until you can play it as is at a medslow pace. Try to read each diagram only 2 or 3 times maximum (i.e. memorize as you go)....you don’t really want to read all those [dot’s], X’s, etc. more than you have to, do you?” Also keep in mind that the numbers just below the grid diagrams refer to the counting, not fingering. You can pretty much ignore them if you can read the notation. This piece is fairly easy to learn and play, but of course anything from Ted’s always contain some challenges to our skills to become better players. Enjoy! ~Paul

From Steve Herberman: Allow me to discuss this 16 bar progression a little… The first thing that hit me while playing it was that the progression is similar to the Stanley Turrentine tune “Sugar.” It’s really nice that Ted used the IV chord in the second bar (quick IV), specifically the major IV and then immediately to the minor IV. Most minor blues tunes wait until the 5th bar to go to IVm and use a minor II-V in bar 2. So Ted used a different cadence, and instead of using C#m7b5 to F#7 he chooses E to Em which is more unique. And it gives the tune more color since non-diatonic tones are used, namely the beautiful G# (3rd of E). Love the open voiced triads as well. Since Ted chooses to go back to Bm in bar 5 and not E (just like in “Sugar”) it’s hard for me to think of it as a minor blues, but it is most definitely bluesy! I love what he did in bars 6-7 compressing the C#m to F#7 into one bar instead of stretching it over 2 bars which would be more common. Going from bar 9 to 10 makes me think of the tune “Sunny”—the Bm7 down to the Am7 to D13. From here to the end it doesn’t resemble “Sugar” much anymore. Maybe Ted was thinking of another existing 16 bar progression from a standard, but I can’t think of what that is today! …I want to quickly thank Barbara for all that she does and say that a day doesn’t go by where I’m not thinking of Ted’s brilliance. ~ Steve Herberman

Jumpback Blues Ted Greene Blues Study – April 19, 1988 This blues study illustrates the “V-of” principle: any chord may be preceded by its V7. I believe that Ted used the term “jumpback” here to mean that for a given chord, you would first play that chord, then “jump back” to it’s V7, then return to the original chord. Ted wrote at the top of his original page, “Jumpback Blues (I may also refer to it as ‘Sandwich V Blues’ or ‘Insert V Blues’)”. These are just different ways to express the same principle — to show how the given chord is played with its V7 chord inserted. Think of this as a single harmonic unit: I7 – V7 – I7. It’s just the I7 chord with its V “sandwiched” in between itself. This adds some harmonic interest and flavor to an otherwise somewhat stagnant harmony. On his original sheet Ted provided only the letter name of the chord, and wrote a comment that the student was to “add the exact chord qualities.” We’ve added these chord qualities in blue. Also attached is an analysis of the basic blues progression Ted used for this study. He added some extra chord “flavors” in some spots, but this is the basic harmonic structure. If you compare this progression to the “Jumpback Blues, you’ll see that for the first 6 measures Ted applied this “sandwich” or “jumpback” technique to each chord, adding its V7 chord. In measures 7-10 Ted used the common ascending scale-wise progression of I-ii-iii to add that “pretty major 7 sound” to the blues. For measure 7 instead of using the Bm7 chord (the ii chord), Ted played some E11 chords, which in essence have the same sound and function as the Bm7. Measures 11-12 is of course the turnaround. In Chord Chemistry (p. 99) Ted lists 25 of the “nearly infinite number of turnarounds.” Here he used #18 with some slight adjustments. If you find that the Bm9 – E7#9+ in bar 12 poses too much of a stretch for your hands, then find an easier voicing to grab with the same sound. Ted also wrote on his original page at the beginning of measure 8: “Please add some open ghost tones on some of the ‘ands’ (in between beats) on this line to help push it along.” And at the bottom he wrote: 1) MEMORIZE SLOWLY, phrase by phrase 2) The necessary ‘hip” jazz-blues feel is paramount. 3) Transpose to the keys of Ab, G, F# (or Gb) and Bb. Enjoy!

“Gospel” Blues Ted Greene Blues Study, December 1, 1978 and April 27, 1979 Ted began this sheet on “Gospel” Blues on December 1, 1978 and then finished it April 27, 1979. It’s a 12-bar blues study in which he completed the first chorus, but only wrote 4 bars of the second chorus. If you look at the first chord of each measure you can see the skeletal blues progression he was following. Ted applied a “walking chord” treatment to the progression: using inversions, substitutions, and I-IV-I or I-V-I to create some additional harmonic movement within each measure. Measures 1 thru 3 use I-IV technique: I-IV-I-IV. However, the first a measure is done as A major, then a bar of A minor, then back to A major. Measure 4 has a “fragment” D diminished 7. Ted used the word fragment here because there’s no b5, just the root, 3b, and bb7 (or 6th, if you will). The D dim 7 leads nicely into the first D of measure 5. Measure 6 has some very nice triad moves that take you back to A. In measure 8, Ted wrote an option for the A to D7 chords: “or A/3 then A/5 back to D7/3”. The “/3” means 3rd in the bass, and the “/5” means 5th in the bass. There’s some more diminished 7 “fragment” chords, and then a nice “retro” turnaround in measures 1112. Chorus #2 has some 4-note chords added in with the triads. Ted stopped after the 4th bar, probably left as an assignment for the student to continue and finish using similar voicings and progressions. On the top of Ted’s original sheet he wrote: “1/2 step slides (with or without delays) can sound good occasionally.” By “delays” he meant to break the chord up between melody (top note or notes) and the harmony (bass note or lower or middle structure). This is what Lenny Breau often did when playing chord-melody—it gives the impression of two separate parts. Play one part first and then follow with the other part, which is “delayed.” Don’t overdo though! Have fun with this arrangement! --Paul

The Blues: Harmonic Vocabulary and Progressions Ted Greene, 1978-05-01 Progression #1: 1

||

I7

2

|

I7

3

|

4

I7

|

I7

5

|

IV7

6

|

7

IV7

|

I7

8

|

9

I7

|

10

|

V7

11

| I7

IV7

12

VI7

|

II7 V7

||

or IV7 1) Each chord in the above progression has a Companion m7 which is built a 5th higher (than the given chord). Example: C7’s companion minor 7 is Gm7. The companion m7 may precede its “companion dominant” or may be “sandwiched” in between it. Examples: Key of C 1

||

Gm9 C9

2

|

1

Gm9 C9

| etc.

or

||

C9 Gm9

2

|

C9

3

|

4

C9 Gm9

|

C9

|

Naturally, extensions can be used according to taste on any chord. 2) Each chord in the above progression may be preceded by a dominant 7th chord whose root is a 1/2 step higher. Examples: 1

||

C7/6

2

D¨7/6

|

C7/6

3

D¨9

|

C13

etc.

In jazz swing feel: Assignment: Make up quite a few variations on progression #1. Consult the “Voicing Centers” below and strive to be melodic (melody is the heart and soul of Blues). The rhythmic feel is open to you, but jazz swing is a good place to start. Consider the performance context to include a bass player. Try the following procedure: 1) Play a version that just has “hip” voicings of the given chords. 2) Play a version that adds some 1/2 step dominants. 3) Play a version that adds some companion m7’s. 4) Play a version that uses some of both (1/2 step and companion m7) Repeat this whole process starting from a new voicing center. Repeat this whole process but mix up the voicing centers now. Voicing Centers

Common chord types to apply to progression #1: On I7: Group 1 dominants (including the dominant 7th chord itself) | Group 2 dominants | 7#9, 13#9 | other chords, Group 4 in passing to IV7. On IV7: Group 1, 2, 3 || 7#9, 13#9. On V7: Group 1, 2, 4.

© Ted Greene 10-29-1982

12-Bar Blues Progression Study Do All this in Key of F instead, then Db (then A?) 

Key of G  

1

2

G7

C7

G6/5 (or G7/5)

C7

G7/6

C9

G7/6

C9

G9

C9

Gmaj9

C9

Gmaj9

3

4

5

6

7

8

9

10

G7

G7

C7

C7

G7

G7

D7

C7

G6/5

G7

C7

C#o7

G6/5

E7#9

A7

D11

G7/6

G7alt.

C9

F13

G7/6

E7#9

A13

D7alt.

C#o7

G7/6

Dm9

C9

Cm7

F13

G7/6

C13

B7alt.

E7alt.

A13

Eb13

Am7

C#o7

Dm9

Abm9 Db9

C9

Cm7

F13

G7/6

C13

B7alt.

E7alt

A7alt.

Eb13

Gmaj9

Dm9

G7alt.

C9

Cm7

F13

Bm7

(Em7)

Bbm7

Eb9

C9

Gmaj9

Dm9

G7alt.

C9

Cm7

F13

Gmaj7 Am7

Bm7

Gmaj9

C9

Gmaj9

Dm9

G7alt.

C9

Cm7

F13

Gmaj7 Am7

Gmaj9

C9

Gmaj9

Dm9

G7alt.

C9

F13

Gmaj9

C9

Gmaj9

Dm9

G7alt.

C9

F13

      Wes  Bluesettish  Gospel 

C#o7

G9

G7alt.

(D7alt.)

11

12

G7

D7 ?

G7

Am7

D7

D7#9

G7/6

E7#9

A7/6

D7alt.

G7/6

Bb713

Ebmaj7 Ab13

Am7b9 D7alt.

G7/6

Bb713

Ebmaj7 Ab13

Am7

D7alt.

Gmaj7 Bb9

Ebmaj7 Ab13

Bbm7

Am7

D7alt.

Gmaj7 Bb9

Ebmaj7 Ab13

Bm7

Bbm7

Am7

E7alt.

Am7

D7alt.

Gmaj7

Bb9

Ebmaj7 Ab13

Gmaj7 Cm9

Bm7

E7alt.

A13

Eb9

Am7

D7alt.

Gmaj7

Bb9

Ebmaj7 Ab13

Gmaj7 Cm9

Bm7

E7alt.

Am7

E7alt.

Am7

D7alt.

Gmaj7

Bb9

Ebmaj7 Ab13