Try to sustain that top C# note with the 4th finger when moving from the G#m7/11 to the C#9 chord. If this is too difficult, you may wish to voice that chord with a barre on the 7th position as follows: R,5,b3,b7, then lift the b7 to get the F# note on the 2nd string. The movement is just on the 4th string, moving the 1st finger down a ½ step. Now, from that Em9 chord, Ted goes to the Bm7 chord while keeping the fingers in position on strings 6, 3, and 2. If you can do this, great…if not, you just have to lift the fingers here. When it comes to the move of the E to the Em9, Ted employs the used of his flexible 4th finger to barre the 3rd and 2nd strings while sustaining the 6th and the 3rd strings. P.4, line 1: The Bm – G – E – Em9 – Bm7 move is pretty slick.

You may wish to re-voice that chord as follows: R, 5, R, b3, b7, R to make it a little easier. P.3, line 3: The Em7/11 is a difficult voicing, especially with the moving line on the top string. Do a little slide with the 4th finger for the C# – D melody line. 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 Ted Greene Arrangement - December 3, 1984

Bass chords georgia on my mind