9 Main Areas of Music

For Variations or Improvisation or Extended Composition

Ted Greene 5-84 thru 1-17-1987

1) MELODY
a) Decoration (“Elaboration”) thru ornamentation or embellishment via diatonic chromatic
tones.
b) Abbreviation
c) Phrasing including concepts related to rhythm

2) HARMONY
a) Chord Quality — [part of “what”] (“level of complexity)
b) Chord Connection (Progression and/or same root movement) — [part of “how”]
Harmonic formulas for linear derived.

3) REGISTER [“where”] and SPACING (“Voicings” and “Range”) [part of “what”]

4) TEXTURE(S) — [part of “how”]

5) HARMONIC RHYTHM: The frequency of changes of chords (a. regular or b. irregular)

6) RHYTHM
a) Tempo of the Beat(s) — Level 1
b) Meter (grouping of the beats and fractions of same)

Compare with with with

Opt: Different strengths of same

Not to mention and much more.

i) Regular accents as determining factors.
ii) Regular displaced accents
iii) Irregular accents
iv) No accents?
c) Rhythmic Figures (Level 3) and/or constant rhythm in Level 2 (Beat or Fractions)
All of this yielding: specific rhythmic types.
7) TONE COLOR
a) Instrumentation (related area: Density….one instrument? One group of instruments?
Two or more groups? All playing the same notes? 8va’s?
b) Intrinsic variations within each of same.

8) DYNAMICS (related to Volume….and to Rhythm: accents)

9) FORM[(AL) PRINCIPLES]
 Common Goals of Life (for adults)
Common = means commonly held, at least the majority of these goals
Goals = or wished-for conditions
Ted Greene – 1977, March 1

Many of these concepts are not 100% possible.

(Not all people want all of these goals)

Level 1:
Recognition To figure out what the goals are (i.e. that there are any goals at all).

Level 2:
Happiness

Level 3:
1) Physical Gratification (gratification of the senses)
2) Emotional Gratification
3) Mental Gratification

Level 4:
What People Specifically Want to Gain, Preserve, Create, Do, Be:
1) Survival (self-preservation, existence)
2) Freedom – being able to live your life the way you want to (not 100% possible)
3) Health, Vitality, Youth
4) Time, Long Life (some say no here, but that’s because they unfortunately have unhappy lives)
5) Security: – assuredness of continuation of (or improvement of) present worthwhile concepts in areas
of:
1) Financial – Due to any combination of amassed, present or future income and wealth.
2) Emotional – Long-term relationships, friendships; 2 levels: from without and within.
3) Physical – Two levels of this: from outer harm and inner harm.
4) Spiritual – (Beliefs in) good live here and hereafter; faith, guidance
5) Cultural Preservation of one’s Achievements, and all that you think is valuable.
6) Mental – Peace of mind, stable intelligence.
6) Justice All causes produce deserving effects and no unwarranted injury, illness, loss, loss of
property, etc., is possible.
7) Brotherhood (Peace) [the condition of general good-will (at least) towards one’s fellow man]
Possibly: desire to serve one’s fellow man
8) Purpose (Hope) (High but realistic goals); feeling cared for, needed, worthwhile, worthy, loved,
respected, admired, important, desire for status, prestige, fame, power, desire for
greatness, high-level achievement; making the world as good a place as it can possibly be;
excelling in whatever you do; generally, being the highest force for good that you can be
(being an instrument to provide as many benefits to yourself and others as you can possibly
be).
 Common Goals of Life Ted Greene, 1977-03-01 page 2

9) Reasonable degree of Love of Self (self esteem). Self: approval, admiration, respect, which lead to
self-confidence, self-love, even possibly self-fulfillment (containment) to a high degree.
In areas of (where applicable):
1) Your Outer self: appearance (desire for physical beauty), personality, manners, manner
2) Your Inner self: beliefs, goals, integrity and character, self-reliance, self-control, self-
discipline, ability to think, reason, etc. General wisdom, talent(s), creative abilities,
Mutually exchangeable qualities, actually

3) (Related to #2 above) Your Life: what you are actually doing or have done (with your
short time on this earth) to accomplish your goals, respect for your use of time and energy,
how hard you are working for what you believe in, self-actualization, living up to your
highest abilities and maybe even your highest ideals too, or knowing you are doing the best
you can for yourself and others (to provide as many benefits as possible); ability to earn a
living at something you enjoy and believe in.
10) Love of Others (loving others – includes animals or ?) Knowing others whom you can admire,
respect, care for, love and ? (see below). Applied to inner self and outer self and their
lives.
11) Love From Others (including animals or ?) Tolerance, open-mindedness, courtesy, cooperation,
attention, interest, patience, cheerfulness, warmth, fairness, justice, appreciation, gratitude,
honesty and sincerity, acceptance, approval, praise, admiration, sensitivity, respect,
generosity, unselfishness, humility, proper forgiveness, compassion, kindness, empathy,
consideration, caring, sharing, affection, love, sacrifice (where proper), loyalty (where
proper).
All this applied once again to your inner self, outer self, your life.
12) Beautiful Universe (environment, climate, beautiful places to visit, and ?)
13) Entertainment, Short-term (although it occasionally will turn into long-term) Gratification of
appetites in areas of: food, sex, recreation, rest, music, and other cultural areas?,
miscellaneous gratification of the senses and emotions – higher level (generally):
inspiration, new experiences variety, things to be excited about or to look forward to (these
aren’t always in the domain of entertainment).
14) Education, Knowledge, and Miscellaneous Mental Gratification – Knowledge of how and will
power to attain all this (or at least access the same).
15) Creative Outlets so as to produce Creative Expression
16) Comfortable Living Situation or Condition – definitely related in some ways to #12)
17) The Condition Where Those You Care For (and maybe others too, depending on the individual)
are and/or have attained or will attain the above too.
18) Various Negative Wants, like: not having to work, everything or at least many things handed to you
on a silver platter (general “something for nothing” attitude). (It’s not the wants that are
bad, it’s what they produce). Also: power, revenge, someone(s) to manipulate, and the
power to do it with instant or easy solutions.
 Ear-Training Progressions
Text for Ted Greene’s Original Pages

For those who have difficulty in reading some of Ted’s handwritten notes on these lesson pages, this
page offers a transcription of those comments.

Page 1
Title: Ear-Training Progressions Organized by the Soprano, page 1
Date: Ted Greene, 1985-09-07

Line 1, left margin: “Get acquainted with this page. Play all these over a low D pedal (tune the 6th
string down to D). Optional: mix in some A pedals too.
Line 2, grid 4: Optional: continue to Em as above.
Line 2, grid 7: Optional resolution or continuation.
Line 3, left margin: Play these examples over and over many times. Many of these progressions
scream for resolution. Others can be played as vamps over and over just as is.
Line 3, grid 5: And to D as at right.
Line 4, left margin: The ear will eventually remember the different colors if you concentrate while
you practice. Also, try going from F#m to Bm\F# (soprano note), and F#m to G\G, and F#m to D\F#.
Line 5, left margin: Mentally say the 1) names of the chords, 2) the Roman numeral functions and, 3)
the soprano degrees (alternate between all of this).
Line 5, grid 4 and 6: Optional resolve to ?
Line 6, grid 5: Optional resolve to ?
Line 7, grid 1: Why?
Line 7, grid 3: Chosen for the bass line as well as the soprano.
Line 7, grid 8: To D ala the 1st chord in this line; also to Bm\B.
Line 8, grid 1-2: Also in reverse.
Line 9, grid 5-6: Also try descending from high D\D to low Bm\D.

________________________________________________________________________

Page 2
Title: Ear-Training Progressions Organized by the Soprano:
Expanded Diatonicism (stage one), Page 2
Date: Ted Greene, 1985-09-08

Line 1, grid 3: Optional resolution, and then go back to D.

Line 1, grid 6: Optional. Or to C – G as at left.
Line 1-2 left margin: Practice this page as you did with page 1, except that you can forego the pedals
now.
Line 3 at end: When you feel up to it, compare these colors with those on page 1. Play one
progression from this page, then one from page 1. Also try the reverse: page 1 progression, then
page 2 type.
________________________________________________________________________
Ear-Training Progressions – Text for Ted Greene’s pages. p.2

Page 3
Title: Ear-Training Progressions – Soprano Organized:
Expanded Diatonicism (stage two), Page 3
Date: Ted Greene, 1985-09-08

Line 1, grid 2: Sounds like Gm.

Line 1, grid 4: Optional resolve to ?
Line 1, grid 7: Resol. [resolve]
Line 2, margin: A voice D - F\A/C - Em\G/A
[F chord with A in the soprano and C in the bass] – [Em chord with G in soprano and A in the bass]
Line 2, grid 2: Optional resolve to ?
Line 3, grid 4: Resolve to D
Line 4, grid 4: Optional resolve to ?
Line 4, grid 7: Resol. [resolve]
Line 5, grid 2: Optional resolve to ?
Line 6, grid 4: Optional resolve to Bb
Line 6, grid 8: Optional to Bb
Line 7, grid 4: Optional resolve
Line 7, grid 7: Resol. [resolve]
Line 8, grid 2: Optional resolve to ?
Line 9, grid 8: Optional to F

________________________________________________________________________

Page 4
Title: Ear-Training Progressions – Soprano Organized:
Special Expanded Diatonicism: Lydian (and contrasting review), Page 4
Date: Ted Greene, 1985-09-08

Line 1, left margin: Play all these over an open A.

Line 1: Pause on each chord and really LISTEN, filing away the sound. Repeat many times.
Line 2, left margin: Later, after friendliness sets in, tune the 6th string to D and try all the sounds over
it. Then mix the two pedals together underneath all the sounds.
Line 7, grid 8: This is an optional resolution for line (5).

________________________________________________________________________

Page 5
Title: Ear-Training Progressions – Soprano Organized:
Special Expanded Diatonicism: Lydian (and contrasting colors), Page 5
Date: Ted Greene, 1985-09-09

Line 2, left margin: Try an open A pedal under all this after getting acquainted.
Line 7, grid 8: This is an optional resolution for line (5).
 Ear Training - Hearing Chord Progressions and Their Basses
Ted Greene 1987-10-12 & 13

PART I
For those who need this:
1) PREPARATORY:
a) Sing, hum or whistle the first 3 notes of the Db major scale.
b) Then sing just 1-3 (that is, leave out the second note of the scale now.) If you do this enough
(in your “bassier” register by the way), you will eventually just be able to inwardly hear 1-3
without having to go 1-2-3 first.

Now play:

Now play just the bass notes of these chords.

Now the full chords again.
Repeat in many keys.

2) PREPARATORY:
a) Sing the first 5 notes of the major scale.
b) Then sing just 1 - 5

Then play:

Now just the basses.

And the full chords again.
And now in other keys.

3) PREPARATORY:
a) Sing the notes of the Db major scale descending as follows: 8 - 7 - 6 - 5 - 4.
b) Then just 8 - 4 (we’ll still call this 1 - 4).

Then play:

Now just the basses.

And the full chords again.
And now in other keys.
Ear Training - Hearing Chord Progressions and Their Basses Ted Greene, 1987-10-12 & 13 — page 2
 
 
 

4) PREPARATORY:
a) Sing the notes 8 - 7 - 6 in the Db major scale.
b) Now just 8 - 6 (we’ll still call this 1 - 6)

Now play:
Now just the basses.
And the full chords again.
And now in other keys.

_______________________

* Now review all of the above in one key at a time, comparing the sounds very attentively.
Repeat many times. Do this daily if results don’t come quickly. They will come if you are determined.
_______________________

5) PREPARATORY:
a) Sing the 1 - 3, then drop down to 4 below 1.
b) If this is too tough, try 1 - 3 then 1 - 7 below 1, 6 below 1, 5 below 1, then 4 below 1,…
then 1 again.

Now play:

Now just the basses.

And the full chords again.
And now in other keys.

6) Do the PREPARATORY work for the following if you need to. Then play:

Do in various keys and isolate

the bass as above, please.

7) Now repeat without the ii7 chord: I - iii7 - V7sus - Imaj7.

_______________________
Ear Training - Hearing Chord Progressions and Their Basses Ted Greene, 1987-10-12 & 13 — page 3
 
 
 

PART II
Please do the appropriate bass singing preparatory work. After you play each example, isolate the bass
and sing it again. And do each example in a variety of keys to help saturate the ears with each
progression.

I.
1) Key of F
I - iii7 - IV - V7sus - I

2) Repeat and now

add these:

3) Key of Ab

4) Key of E
I - iii7 - ii7
(V7sus - Imaj7)

5) Repeat and now

add these:

Suggestion:
Besides playing everything as written, for extra
interest (and increased hearing chops) try arpeggiating Right-hand pattern
some of the examples, from the bottom up in 6/8 time Æ visual graph:
Ear Training - Hearing Chord Progressions and Their Basses Ted Greene, 1987-10-12 & 13 — page 4
 
 
 

II.
1) Key of Gb
I - vi7 - ii7 - V7

2)

3) Key of D

4) Key of Db.

A little counterpoint to keep your ears alert….can you hear the inner voices conversing?

5) Key of F
Ear Training - Hearing Chord Progressions and Their Basses Ted Greene, 1987-10-12 & 13 — page 5
 
 
 

III.

1) Key of Db
One - six - four - five

2)

3)

4) Key of A

 
5) Key of C

_______________________
 Ear Training - Learning to Hear Diminished
(i°, i°6(°7), i°∆7 )
Ted Greene 1991-03-03

Let’s be clear: Diminished color is a sound, a sound best understood and heard as having at least two
tones (the 3rd and the 5th) that scream for resolution.

Look:

Doubts about this?

It’s easy to understand:

So why has this chord been called °7 [diminished 7] for centuries?

Two reasons, both historical, one having to do with 3rd intervals, the other with the Harmonic Minor.
But using Bb as an example, let’s look at this.
We can spell the Bb°6 chord: Bb, Db, Fb (E) and Abb and thereby call it Bb°7.
But it is just as easy and sensible in more cases to spell it with a G instead of a Abb.
(Frankly, it’s not about spelling anyway…rather good sense.)

What do you think? Be ready for either name for now.

Ear Training - Learning to Hear Diminished Ted Greene, 1991-03-03 — page 2
 
 
 

Back to the music:

ala Beethoven, Schubert and more.

Please isolate the b3 to 3 and b5 to 5 lines As you can hear, the §5

and learn to hear them and sing them. in the bass is a note to love
Ear Training - Learning to Hear Diminished Ted Greene, 1991-03-03 — page 3
 
 
 

Has this °∆7 [diminished major 7] business got you in a quandary? Never fear, it too is easy:

There’ll be more…study hard. The diminished color is a beautiful thing and we’re not
going to let it be difficult to understand.

_______________________
 Ear Training and Analysis List
of Initial or Semi-initial Intervals of Songs
or Bridges of Songs (Br:) also: Reference List
Ted Greene – 1985-08-23
( ) = 1) later in tune, or 2) optional

Ascending
Minor 2nd:
All the Way, As Time Goes By, Bidin’ My Time, Book of Love, Billy B., By the Light of the Silvery Moon, Carry
Me, Chattanooga Choo Choo , Danny Boy, Dark Eyes, Every C.U.R., Graduation Day, How Insensitive, Hard
Day’s Night, I Could Write a Book, I Left My Heart in San Francisco, I’ll Remember April, I’m in the Mood for
Love, Invitation, I Remember You, I Wish You Love, I'm Gonna Sit Right Down And Write Myself a Letter, It’s
All in the Game, Killing Me Softly with His Song, My Romance, Michelle, Nice Work if You Can Get It, Images,
One-Two-Three, People Get Ready, Pepe, Scrapple from the Apple, Somewhere in the Night, Stardust, Sweet
Lorraine, Shangri-La, Side by Side, Spanish Eyes, Spring is Here, Since I Met You B., That’s All, The Girl Next
Door, The Second Time Around, The Song is You, This Could Be The Start of Something, Till There Was You,
Tell Me Why, Undecided, What’s New?, With a Little Help from My Friends, Wild is the Wind, Wonderful
Copenhagen, Young at Heart, Zip A Dee Doo Dah.

Major 2nd:
Ain’t Misbehavin’, Alouette, Always, A Summer Place, And I Love Her, Breezin' Along With the Breeze, Cute,
Come Softly, California Dr., Desafinado, Dancing on the Ceiling, Embraceable You, Four, From This Moment On,
God Bless the Child, Goin’ Out of My Head, Guys & Dolls, Give Me that Old Time Religion, How About You?,
Home Sweet Home, Happy Together, I Got Rhythm, I Let A Song Go Out of my Heart, In The Still of The Night, It
Could Happen to You, It Had to Be You, I’ve Grown Accustomed to Her Face, If Ever I Would Leave You, I’m
Confessin’, I'm Gonna Wash that Man Right Out of my Hair, I'm Just Wild About Harry, It's a Most Unusual Day, I
Should H., Lover Man, Let's Face The Music And Dance, Love with the Proper Stranger, Makin’ Whoopie, More,
My Funny Valentine, My One and Only Love, Mr. Lucky, My Cherie Amour, My Bonnie, Norwegian Wood, On
the Street Where You Live, Our Love is Here to Stay, Oh Susanna, Only the Lonely, People, Polka Dots and
Moonbeams, Ruby, Runaway, Smile, Somebody Loves Me, Some Day, Someone to Watch Over Me, Sweet
Georgia Brown, Send in the Clowns, September in the Rain, [?], She’ll Be Coming ‘Round the Mountain, Soulful
Strut, Swanee River Rock, So Much in Love, Save the Last Dance, Silhouettes, Swingin’ the Blues[?descending],
Tenderly, The Man I Love, There Will Never Be Another You, These Foolish Things (Remind Me Of You), This
Masquerade, The Most Beautiful Girl in the World, They All Laughed, The Lion Sleeps Tonight, The Tender Trap,
The Hucklebuck, Unchained Melody, What’ll I Do?, Witchcraft, Walkin’ My Baby, We’ve Only Just Begun, What
a Difference a Day Makes, What Are You Doing the Rest of Your Life?, Where is Love?, With the Wind and the
Rain in Your Hair, Wouldn’t It be Lovely?, Walking with Mr. Lee, You Belong to Me, You’ve Got to Hide Your
Love Away, You’ve Really Got a Hold On Me.

Minor 3rd:
A Foggy Day, After You’ve Gone, Because They’re Young, Cherokee, Close to You, Dreamsville, Fascinating
Rhythm, Five Foot Two, Georgia, Gina, Greensleeves, Goin’ Home, (Here’s That Rainy Day), Jada, Let it Be Me,
The Lonesome Road, Moonglow, My Old Flame, Marie, Mack the Knife, Midnight in Moscow, Mama Said,
M*A*S*H Theme, On a Clear Day, Oh Lonesome Me, Picnic, Peanuts, Rosetta, Romeo & Juliet, Stompin’ at the
Savoy, Sleeping Beauty, Stand By Me, Spring Can Really Hang you up the Most, The Very Thought of You, Too
Close, Things We Said, [?], The Sounds of Silence, What the World Needs Now is Love, When You Smile, Wave,
Work Song, Windy, White Silver Sands, You Don’t Bring Me Flowers.

Major 3rd:
April Love, (A Certain Smile), A Time for Love, Anchors Aweigh, Bess You is My Woman Now, Blues In The
Night, [?], Can’t Buy Me Love, Don’t Let [?], Happy Days Are Here Again, Here There and Everywhere, I Could
Have Danced All Night, I Loves You Porgy, It’s Been a Long Long Time, Lavender Blue, My Blue Heaven,
Marine’s Hymn, Mr. Blue, Pata Pata, Stardust, September Song, Softly as I Leave You, Scarlet Ribbons,
Ear Training and Analysis List of Intervals of Songs - Ted Greene, 1985-08-23 page 2

Sometimes I feel Like a Motherless Child, Tammy, The Magnificent Seven, What Now My Love?, When the Saints
Go Marching in, You’ve Changed.

Perfect 4th:
A Certain Smile, Around the World, All the Things You Are, Auld Lang, Aura Lee, A Taste of Honey, A White
Sport Coat, Baubles Bangles and Beads, Beyond the Sea, Bridal Chorus, Bury Me Not on the Lone Prairie,
Columbo, Danny Boy, Dansero, Darn That Dream, Easy Living, Exodus, Get Happy, Ghost Riders, How High The
Moon, Heart and Soul, How to Handle a Woman, Indiana, It’s Not for Me, Jordu, Lazy Day, Matchmaker, Oh Look
at Me Now, ‘Round Midnight, Red River Valley, Someday My Prince Will Come, Small World, So Rare, The
More I See You, The Shadow of Your Smile, Too Marvelous for Words, The Look of Love, The Nearness of You,
The Odd Couple, There’s No Business Like Show Business, Tonight, Topsy, Ticket to Ride, Tequila, Up Up and
Away, Wh. Oh.[?], What Kind of Fool am I?, When I Fall in Love, Washington Square, We’re Off to See the
Wizard, Wichita Lineman, When Johnny Comes Marching Home, You’ll Never Know.

Augmented 4th:
Maria

Perfect 5th:
(A Foggy Day), (Alfie), Angel Eyes, April Showers, Can’t Help Falling in Love, Emily, Goodbye Oh Girl,
Goldfinger, Georgy Girl, Love and Marriage, Moon River, My Favorite Things, People Will Say We’re in Love,
Stranger in Paradise, Scarborough Fair, The Summer of ’42, Too Marvelous for Words, You Don’t Know What
Love is.

Minor 6th:
Go Down Moses, Manha de Carnival.

Major 6th:
Am I Blue?, Brazil, Days of Wine and Roses, Everybody Loves Somebody, My Bonnie Lies Over the Ocean, My
Prayer, One for My Baby, On Broadway, Raindrops, Shortnin’ Bread, Surfer Girl, Take the A Train When Sunny
Gets Blue.

¨7th:
(Friendly Persuasion), Heart, Somewhere.

Major 7th:

Octave:
Bali Ha’i, Somewhere Over the Rainbow, She’s a Woman, When You Wish Upon a Star, Walkin’ My Cat Named
Dog, You Go to My Head, You Needed Me.

“Unison” Repeat:
Barbara Ann, Breakin’ Up is Hard to Do, Bye Bye Blackbird, Come Rain or Come Shine, California Here I Come,
Cherish, Catch a Falling Star, Downtown, Duke of Earl, Da Doo Ron Ron, Fool on the Hill, Girl Talk, Great Balls
of Fire, Hello Young Lovers, Here’s That Rainy Day, Heart and Soul, High Sc.Ch., I May Be Wrong, It Never
Entered My Mind, It’s Easy to Remember, It’s the Talk of the Town, It’s You or No One, If I Were a Bell, Just in
Time, Johnny B. Goode, Killing Me Softly with His Song, Like Someone in Love, Live for Life, Love Letters,
Lucky Ol’ Sun, Lullaby of Birdland, Lucy in the Sky with Diamonds, Mame, One Note Samba, Rock & Roll
Music, Something, Surrey with the Fringe on Top, Teach Me Tonight, They Can’t Take That Away from Me, This
Guy’s in Love, Walk on By, What’d I Say, You Stepped Out of a Dream.

______________________________________________________
Ear Training and Analysis List of Intervals of Songs - Ted Greene, 1985-08-23 page 3

Descending
Minor 2nd:
As Long As He Needs Me, All My Lovin’, Birth of the Blues, Bye Bye Love, Beautiful Dreamer, Easter Parade,
Fly Me to the Moon, I Count the Tears, Joshua Fought the Battle of Jericho, Killer Joe, Manhattan, Mood Indigo,
Mona Lisa, Monday Monday, Prelude to a Kiss, Pete Kelly’s Blues, Pomp and Circumstance, Poor People of Paris,
Red Roses for a Blue Lady, Smoke Gets in Your Eyes, Stella by Starlight, Strike Up the Band, The Lady is a
Tramp, This Can’t Be Love, Triste, Twilight Time, Valley of the Dolls, We’ll Meet Again, When Your Lover Has
Gone, With a Song in My Heart, Wonderful World, Wedding March, You, You Make Me Feel So Young, Yellow
Bird

Major 2nd:
Alfie, Autumn in New York, Cry Me a River, Holiday for Strings, Honeysuckle Rose, Hooray for Hollywood,
Hallelujah I Love Him So, I’ll Know, In the Land of Make Believe, Jeepers Creepers, Moonlight in Vermont,
Meditation, Oh Lady Be Good, On the Sunny Side of the Street, Once I loved, Satin Doll, Secret Love, Star Eyes,
Swanee River, The Last One to Be Loved, There’s a Small Hotel, The In Crowd, This Magic Moment, There Goes
My Baby, Tequila, Volare, Yankee Doodle Dandy, Yesterday, The Yellow Rose of Texas, You Really Got Me.

Minor 3rd:
A House is Not a Home, America the Beautiful, (Always), Bewitched Bothered and Bewildered, Canadian Sunset,
Camptown Races, Cassidae, Dixie, Ebb Tide, The Girl from Ipanema, (Get at Job), Hey Girl, I’ll Take Romance,
Love is a Many-Splendored Thing, Misty, Manhattan Spiritual [Santo & Johnny], My Girl, Naked City #2,
Poinciana, Prisoner of Love, Rock a Bye your Baby with A Dixie Melody, S’Wonderful, Soon, Summer in the City,
Tea for Two, That’s Entertainment, The High and the Mighty, Tomorrow, The Star-Spangled Banner, Tallahassee
Lassie, You Took Advantage of Me, You’re a Grand Old Flag, You’ll Never Get to Heaven, Zing! Went the Strings
of My Heart.

Major 3rd:
(Almost Like Being in Love), A Sunday Kind of Love, Bridge of Both Sides Now, Good Night Ladies, In a Mellow
Tone, Oh Oh I’m Falling in Love, Summertime, Sentimental Journey, Swing Low Sweet Chariot, Tangerine, Time
after Time, We’ll Be Together Again, Wait Till You See Her, Yesterdays, You're Getting to Be a Habit with Me.

Perfect 4th:
All of Me, Born Free, Be Bop A Lula, Dance with Me, Exactly Like You, I Didn’t Know What Time it Was, I’m
Old Fashioned, I’ve Been Working on the Railroad, Let’s Fall in Love, Lil’ Darlin’, Living the Life, Memories are
Made of This, Our Day Will Come, Oklahoma, Softly as in a Morning Sunrise, Sleepwalk, Soldier Boy, Wives and
Lovers, Walk Right In, Yardbird Suite.

Augmented 4th:

Perfect 5th:
Easy to Love, Have You Met Miss Jones?, My Foolish Heart, The Way You Look Tonight, Waltz for Debby.

Minor 6th:
Love Story

Major 6th:
Love Walked In, (The Good Life).

¨7th:
Watermelon Man

Major 7th:

Octave:
Love Me or Leave Me, (The Sailors’ Hornpipe), To the Aisle, Willow Weep for Me.
 Ear Training and Harmonization:
The Primary Colors – Major Key (One, Four & Five)
Ted Greene – 1991-04-06

Assignment: 1) Alternate between thinking

a) The soprano notes in relation to key, supported by chord function of the moment.
Example: in #1 [above], it’s I\KR V\K7 I\KR V\K2
K = “key’s”
b) The soprano in relation to chord tones and of course, chord function.
c) Periodically, isolate one or more moving lines and really listen to them. Please.

The fret numbers correspond to the melody notes.

Which is the strongest chord on the page so far? Why? Which is the brightest or most “majory”? Why?
Ear‐Training and Harmonization: The Primary Colors Ted Greene, 1991‐04‐06 page 2

* For deeper musicianship, sing the sopranos, basses, and certain prominent inner voices. When you can
do this accurately, the next and important step (few take it – you be one of those) is to sing, think, and
visualize at least your favorite sounds above, away from the guitar; no need for perfect pitch here, any
imagined key will do at first – later, the perfect pitch will gradually speak to you, in dreams (no fooling!),
and in lucid, awake moments.
The main thing though is hearing the tones of a key and the chords that love them. It’s a beautiful
thing, and it can be yours, but most of us have to earn this one. Stay with it, even if it takes years. It’s
time well spent. Make yourself into a Musician.
 Ear Training Exercises
Ted Greene 1975, March 10 and May 8

PART 1
Wherever the word “sing” is used, you might wish to substitute “hum” or “whistle” if you prefer to
do these. If you do sing the exercises you will probably end up with a comfortable syllable, such as “la”,
“ba” or whatever you like. The main thing is to make the sounds, whether it be by whistling, humming,
singing or whatever (not playing through)

Try and learn to visualize the neck of the guitar, that is, visualize where the sounds are on your
instrument, or you are only getting 50% of the benefit of the exercises.

One of the main ingredients in music is melody; these exercises will help train your ear to be able
to hear and recognize good melodies by getting you familiar with lots of common intervals and patterns
that are derived right from chords, as most melodies are. As with most musical things, don’t expect good
results right away; consistent practice will produce the benefits.

1) Starting from any note (which you can strike on the bottom string of the guitar), sing an ascending
major scale. Same thing, but sing a descending major scale.

2) Sing the first five notes of any major scale; then sing only the 1st, 3rd, and 5th.
Sing the 5th, 3rd, and 1st tones in that order; starting from the 5th,
sing a descending major scale to the root (5 4 3 2 1).
Sing 1 3 5 3 1.

3) Play any major triad – then sing 1 3 5 3 1;

play any major triad; then sing the root only.

4) Play any pitch – call this pitch 1 – sing 1 3 5 3 1;

call it 5 and sing 5 3 1 3 5;
call it 3 and sing 3 1 5 1 3 and 3 5 1 5 3

5) Extend the range into other octaves: example: start on a very low pitch and sing 1 3 5 1 3 5 1;

new octaves
6) Practice singing “leaps” such as:

etc. etc.
and others of your own devising.

7) Singin ascending and descending major scales starting from all the other degrees.
Example: using the C major scale, sing DEFGABCD, DCBAGFED; EFGABCDE; EDCBAGFE;
FGABCDEF; FEDCBAGF, etc.

8) Starting from the root, sing all ascending intervals in the major scale.
Example: using the C major scale, sing CD, CE, CF, CG, CA, CB, CC (octave), CD (ninth), etc..
Descending: CD, CA, CG, CF, CE, etc.
Ear Training Exercises Ted Greene, 1975-03-13 & 1975-05-08 — page 2
 
 
 

9) Do exercise #8 but start from all other degrees of scale instead of the root.

10) This exercise requires 2 people: have someone play a major triad; sing the soprano (top pitch); figure out if
it is the root, 3rd, or 5th of the chord.

11) Again two people are needed: you are given the name of the soprano note of a major triad to be played;
triad is played, sing the triad and say whether the top note is the root, 3rd, or 5th.

12) Apply all above exercises to the natural, harmonic, and melodic minor scales and the minor triad.

13) Sing the diatonic triads in the major and minor scales in 1 3 5 3 1 order; then in 5 1 3 1 5, then 3 5 1 5 3.

14) You are given the root of a major scale; sing the I chord; now sing the V chord; now the IV chord; now the
vi, iii, ii, and vii°. Likewise in the minor scales.

15) Sing all the chord progressions that you play on guitar. Example: using I vi V I in key of A:

Note: you may wish to mentally move

the bass notes up an octave when it is very
far from the other notes, so that you can
sing these chords.

16) Apply as many of the exercises as you can to the diatonic 7th chords in major and minor scale.

17) From any given pitch sing the following intervals, ascending and descending:
(Ask about using songs as aids in this.)

m2, M2, m3, M3, P4, +4(d5), P5, +5 (m6), M6, m7 (+6), M7, octave, m9, M9, m10, M10.

18) Play any note on guitar; point to a note nearby and try to sing it; identify the type of interval created.

19) Sing diminished and augmented triads in various ways (it is harder out of context).

20) Apply as much of the logic on this page to the new sounds you learn as your vocabulary of chords expands.

21) Sing letter names in place of whatever syllable you have been using up to now.

Many of these exercises were borrowed from Elementary Harmony by Robert W. Ottman.
Ear Training Exercises Ted Greene, 1975-03-13 & 1975-05-08 — page 3
 
 
 

PART 2 (chord progressions)

Most of the music that a person (in this country) hears is based on chord progressions; the ability
to “hear” (recognize) these progressions is super-important for various reasons such as:

1) Being able to figure out songs, classical pieces, etc by “ear” off of records, the radio, and in live
situations (like in the recording studio or at jam sessions)
2) Being able to better understand and appreciate what other players are doing when you are listening
to live music in a club, concert hall, or whatever.
3) Being able to “follow along” when playing with other, even if you don’t know the material (unless
the music is highly complex).

Learning to recognize chord progressions is like learning a language; at first the ear can detect
differences but can’t identify them too easily. But by focusing in on one or a few sounds at a time, a
person can absorb them. Naturally, repetition is required to really sink a sound in for good, but once it has
sunk it, it is there for good.
The following list of progressions is give as a starting place—learning lots of songs or pieces,
while analyzing and storing away the chord progressions, would be another way to tackle the problem
(both ways are good). When practicing these progression, stick to basic root in the bass, chord fingerings
at first (like barre chords); then later, try using inversions as well. Try different melody (soprano) notes
and observe the effects. For example: using the progression I IV in the key of D you might play:

Using inversions:

Using root in
the bass:
Ear Training Exercises Ted Greene, 1975-03-13 & 1975-05-08 — page 4
 
 
 

Notice the bass lines in these progressions (isolate the bass by itself – then play the progression
listening jus to the bass; many progressions are constructed over a pre-conceived bass line, so it is
important to get used to listening to the bass as an independent line).

Try the progressions in various keys; don’t worry about strumming or rhythms, just play the
chords once each (but to repeat each whole progression, as mentioned above). Occasionally work from
the bass line view, as above.

MAJOR KEYS
1) I IV 2) I V 3) V7 I 4) I IV V I
5) I V IV I 6) I7 IV7 7) I vi 8) I vi ii V
9) I vi IV V 10) I7 vi7 ii7 V7 11) I iii 12) I iii IV (V) I
13) I iii7 IV/9 V7 14) vi iii(7) IV I 15) I ii 16) I7 ii7
17) I7 ii7 iii7 IV7 18) I ii IV (V) I 19) I ii vi IV 20) IV7 iii7 ii7 I7
21) ii7 iii7 (IV7) 22) ii7 iii7 IV7 V7
23) iii7 vi7 ii7 V7 24) (I7) IV7 vii±7 iii7 vi7 ii7 V7 I (sequence; ask for explanation)
25) vi7 ii7 V7 I(7) 26) ii7 V7 I

With Secondary Chords

1) II V I 2) II7 V7 I 3) I vi II V 4) I vi7 II7 V7
5) I III vi 6) I III IV 7) I III7 vi or IV 8) I VI7 II7 V7
9) I I7 IV 10) I VII(7) iii

With Borrowed Chords

1) I bIII IV (V) I 2) I bIII bVI 3) I bVI
4) I bVII 5) I bVII bVI bVII 6) I IV bIII bVII
7) I v 8) bVI bIII bVII IV I 9) I bII
10) I iv 11) I iv6 12) I iv7

MINOR KEYS Remember, III, VI, and VII are automatically flat.
1) i iv 2) i IV 3) i v 4) i V
5) i7 iv7 6) i7 IV7 7) i7 v7 8) V7 i
9) i6 V7 10) i6 vi7 11) i iv V i 12) i iv6
13) i6 iv7 or 6 V7 i 14) i VI 15) i VI ii±7 V(7)
16) i VI iv V(7) 17) i vi±7 II7 V7 18) i III
19) i II(7) 20) i bII(7) 21) i III6 II7 bII7
22) i VI7 23) i7 iv7 VII7 III7 VI7 ii±7 V7 i (sequence)
24) ii±7 V7 i 25) ii7 V7 i 26) II7 V7 i 27) i I7 iv

Other important types of sequences, moving line type progression, bass line derived progressions, and
blues progressions will be covered separately later.

If you wish to make the progressions sound more “jazzy,” you might add modern extensions and altered
chords.
 The Elements of Chord Progressions
Ted Greene, 1977-02-14

What 1) Good Harmonic Formulas (such as iii7–VI7–ii7–V7 or I–iii7–IV–V7) and other

types of progressions.

Where 2) Good Chord Voicings

3) Good Chord Construction or Voice-Leading

How 4) Good Method of Applying all this

5) Ability to Execute, to Actually Play

Optional: 6) Vehicles, such as Songs

Think about: Why, When, for Whom, etc.

 For My Book on “Harmony”
(and/or “The Harmony of American Music”)
Ted Greene, 2000-10-10, Tuesday, 2000-12-19, Tuesday, and 2003-08-05 Early Tuesday

Chapter on “Favored Diatonic Chord Progressions”

(major, then minor, then mixolydian)

1) Triad to Triad
2) Triad to 7ths (or other extensions)
3) 7ths (or other extensions) to Triad
4) 7ths (or other extensions) to 7ths or other extensions

Outline – (key of C)
Show in 3 and 4 and 2(!) voices

1) C to F | C to G | C to Am | C to Dm | C to Em | C to B° | (and of course C to C)
(but for some, don’t include)

2) F to C | F to G | F to B° | F to Am | F to Em |
also 8ve F Am

with change of size

Things like this are not as common, but very nice when spaced like this!)

3) G to C | G to F | G to Am | G to Dm |

4) Am to C | Am to G | Am to F | Am to Em | Am to Dm |

5) Dm to F | Dm to G | Dm to Am | Dm to C Gospel chain progression

The strategy is to learn harmony by memorizing one or two “choice” key examples
of one little progression at a time.
 * * * * * * * * * * *

Shortly after starting lessons with Ted, he invited me to a Lenny Breau workshop at Valley Arts
Guitars (1977). During that workshop Ted personally handed out his sheet on harp-harmonics that had
a variety of chords and patterns to work on. I vaguely recall this pattern that Ted wrote down and
expanded upon. It was from one of my “lucky accidents” at attempting to learn one of the patterns
from this sheet. I simply messed up and he took it further.

Harp-Harmonic Technique Part 1, 1977-02-03

I found my left hand cramps while holding some of these positions for very long and concentrating on
the right hand action practicing the patterns, therefore I gravitate towards the easier chords (i.e.
Cmaj13) until I get the right hand pattern down.

You can see Ted’s analytical mind moving these notes around, ever so slightly, in order to discover
new sounds that work well with this pattern. It will be fun to finally discover some new sounds Ted
has laid out here for my musical “toolbox.” I am honored he took note of my efforts, however
serendipitous that it might be, deemed worthy of further exploration.
~ Nick Stasinos, 1/24/2015
 * * * * * * * * * * *

[Ted’s comments:]

Yes, for Lenny’s clinic out here I had the honor of writing the instructional page handout, and labeled
it “Harp-Harmonics” [See: Harp-Harmonic Technique Part 1, 1977-02-03 ]

Thanks…but he [Chet Atkins] should be 1st, since he discovered/invented this technique!

And Lenny certainly 2nd, and since I got the inspiration from Domenic Troiano, telling me to stay with
Lenny’s 2nd (& 1st) album and try again.
 Harp-Harmonic Technique
ala Lenny & Chet
Ted Greene — 1978-10-14

1) Basic 6-string pattern for the right hand:

Harmonic -----Æ H H H H H H H
4 6 3 5 2 4 1 3 1 4 2 5 3 6 4
└──── Ascending ────┘└── Descending ───┘
portion portion

2) Some good voicings to apply this to:

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
And many, many more including lots of 5-string chords, and open string voicings too for Lenny’s sound.

3) Scales may be played in harmonics too (using harmmer-on’s and pull-off’s).

4) Notes & Harmonics may be played simultaneously, in various ways such as:

a) A harmonic and one note (for instance, 6th intervals in a scale).

b) A harmonic and two notes (for instance, triads in a scale).

c) A harmonic and three notes: This creates “tight” voicings without having to stretch. In this
case, the harmonic is played either on the lowest tone of a four-note voicing, or near a lower
tone.
 Ted Greene, 1977

Ideal Qualities in Student

(Some are indicators of a “born musician”)
1) True love of music
Sensitivity
a) Extreme positive reaction to different types of chords, nice progressions, etc.
b) Open mind to all sounds, willingness and eagerness to hear different types of
tonality
2) High degree of curiosity and general spirit of investigation
3) Love of actual playing
4) (Love of performing)
5) Good coordination, dexterity, (endurance), good hands for guitar
6) Quick, logical, and intuitive mind (does not need things to be explained very much)
7) Terrific musical ear
8) Great drive, enthusiasm, patience, perseverance, and determination
9) Great appreciation and respect for true achievement of the past, and interest in
evolution and sources of musical sounds
10) Ability to discern subtleties in chords, inflection, tone qualities, effects, modulations
11) Love of teaching (to carry on and possibly expand what has already been done)
12) Has plenty of time and uses it wisely…(resourceful)

Friendliness, consideration, responsibility, (tasteful sense of humor)

 Intros, Verses and Endings
Ted Greene

[This page comes from Ted’s Personal Music Studies files and was not intended to be a lesson, but rather notes and
reminders for himself. I believe those inverted carets in #6 & 17 below indicate that the two chords are a pair. For
#17 it’s obvious that the ii-V’s (or v) are pairs. In #6 Ted is showing that the whole I-vi-ii-V is thought of as a
group. Again in #6, the bVI-V is another pair. In "Pretty Turns" #4 we see another ii7-V7 pair. –Editor’s note.]

1) All turnarounds once or twice

2) MJQ Poly [Modern Jazz Quartet, polyphony or polyphonic]
3) Sequences – major, minor and irregular
4) Use ii or ii9 iv iii bIII7 etc. (When Sunny Gets Blue)
5) I bVII I vi bVI or II ~~~
6) I I7 IV I○ I vi ii v I bVI V – Bluesy
7) Scale passages
8) Rector-Mickman chromatic passages [Johnny Rector and Herb Mickman?]
~~~~~~~~~~~~~ (play)
9) bIII II bII I & I bVII bVI I
When You’re Smiling – Judy Garland (Bb D G)
10) C C+ A C+ Cm Em C A7 C Em ~~~ Bm G B Em A7 Am F A7 Dm G7 Æ
C Bb9b5 F D13 C ~~~ G7
11) Renaissance chord changes
12) Sarah Vaughn tune
13) Intro to ii – ii I iii○ VI7
14) Intro to ii – (ii V) I IV (vii) iii VI7
15) C G Bb F
16) C7 F B○ Em/G Am6 Dm etc.
Lucky Old Sun
17) B F# B7 E Em A7 D#m G#m C#7 C#m7 F#7
18) B G#m7 C#m7 F#7 :| B B7 E A7 D#m G#m C#m F#7
19) B C#9 B A9 B F9 E ….

20) Moonglow
21) Paper Cup Feel – Ebmaj7 Dbmaj9 Bmaj9 Dbmaj9 etc.
22) Vamps – I to (i○) (bii○) ii○, iii○, iv○, #iv○, v○, vi○, vii○

Pretty Turns Blues Turns Pretty Progressions!

1) I II7 IV V7 1) I IV II7 V7 I I7 IV V
2) I iii7 IV V7 2) I vi ii V7 I V I7 IV
3) I IV II7 V7 3) I bVI7 ii V7
4) I V bIII ii7 V7 4) I bVII7 bVI7 V7
5) I vi ii or II7 V7
6) I bvi7 ii7 V7
7) I bVIImaj7 bVImaj7 V7
8) Circle of Fifths
9) Full Circle of 4ths (pure & tempered)

Descending Sequences
1) V7 Imaj7 #iv○ vii7 iii7 vi7 II7 V7 bii○ #IV7 VIImaj7
 Moods and Feelings
A Collection of Miscellaneous Notes from Ted Greene’s Personal Study Papers (some repetition)

Concepts to Consider When Playing or Composing

Ted Greene, 11-1-73
I Determine Mood
1) Activity (Energetic) — Liveliness, scherzo chord repetitions on 16th notes. Stimulation
Possible displaced harmonic rhythm; any mode or scale.
4-to-1, 2-to-1, 6-to-1, 8-to-1, (triple rhythms for variety), baroque
2) Happiness, also Playfulness — Major scale, baroque, 20th century, dancing harmonics
2-to-1, 4-to-1, 6 & 8-to-1, 3-to-1, 6-to-1, 9-to-1, 12-to-1,
3) Serenity (soothing), Relaxation —
Slow triple meters, slow happiness motifs – baroque, 20th Century
4) Sentiment, Love, Tenderness, Beauty — Romantic and 20th century harmonies
Rubato, slow tempos
5) Dreaminess, Etherealness, Floatingness —
Harmonics, echo-harmonics licks, impressionism, Japanese scales
6) Nobility, Triumph — Diatonic, Mixtures, 4-note harmonies, borrowed chords,
borrowed polychords (certain), Phrygian cad. & with bII & bIII bII
Slow 2/4, 4/4, 3/4, 6/8, 12/8 — baroque, pre-baroque, Beethoven, occasionally Romantics
7) Melancholy, Loveliness — Minor scales, all time periods.
Slow tempos and rubato
8) Suspense, Power — (Scherzo, modulations) Warning, admonishment, aggression, surprise
Chords with octaves between bass & tenor
9) Humor — Nursery rhymes, wrong notes, funny motifs, intervals, surprise, anachronisms
10) Ancientness — Japanese modes, Renaissance sounds
11) Blues Stimulation — Alluring, amoral, anarchy, frenzy, chaos, greed
12) Holiness, Spirituality, Compassion — Baroque, 20th century, slow rhythms, Renaissance sounds,
ancient devices, modes, pentatonics

II Harmonic Devices, Tools

Baroque Diatonic Harmony (major scale) —
Diatonic Harmony (minor scales) —
1 or 2 triads across neck, streams,
suspensions, motifs in scales, prog.,
sequences, prolongation, bass view,
tonicization, pedals, contrary, pyramids
same

Romantic / Early Mixtures chromaticism, major & minor, extended tonic & mod., bass view,
contrary (chrom.), 7/6, 7b5, 7b9
This in sym. harm, in uni-loc.

20th Century Emergence of m6, complete vocab., parallelism, mixed scales, turns,
& Impressionism prolongation, advanced tonic & mod., sym. harm., adv. pedal,
contrary chrom. & diatonic (ext), wandering, miscellaneous, blues,
R. Rodgers chromaticism (bass view) complete back-cycling & subst., embell.

Ancient Modes, Japanese scales

[….?.....]

Harmonic Ideas 1) Chord scales, 2) Sequences (major & minor), 3) Prog., 4) Repetition,
5) Modulation (include wandering), 6) Mixtures, 7) Pedals, 8) Contrary,
9) Sym. harmony, 10) Pyramids
In all scales (all modes, minor pentatonics)
 Moods and Feelings Ted Greene, (various dates) — page 2
 
 
 

Moods and Feelings

Ted Greene, 6-18-74
(Use extensions and modern chords with discretion)
1) Moving, touching in a powerful way, uplifting, striking
2 Holiness, religious Nationalities?
4 2) Relaxing, soothing, serene
Slow triple meters, slow happiness motifs
7 3) Happiness, playfulness, liveliness
dancing harmonics
15 Chinese – Japanese
14 Hebrew
3 4) Compassion, beauty, tenderness, love, sentiment
12 The old South
13 Spanish
8 5) Dreaminess, etherealness, floating
Harmonics, echo-harmonic licks, impressionism, Japanese sounds
9 6) Activity, power, energy, courage, grandeur, suspense
Scherzo chord repetitions on 16th notes – displaced
Harmonic rhythms possible, chords with octaves between bass & tenor
10 7) Melancholy, concern, reflection
Minor scales
Mysterioso, deep inner feelings
5 8) Modern City Life
a) bluesy colors & borrowed sub-doms.
6 b) modern chords and extensions
9) Humor: Nursery rhymes, wrong notes, funny motifs, intervals, surprise, anachronisms

Keywords:
Melody, Rhythm, Harmony, Counterpoint, Tone Color, Form, Tempo, Mood, Style, Dynamics, Texture

Scales & Modes: Rhythms:

Ionian (lots of 5th movement) 2/4 4/4
Major 3/4
Pentatonic 6/9, m7/11
Lydian 6/8
Pentatonic Lydian 7+11, m6/9
Mixolydian March
Dorian
Aeolian
Phrygian
Locrian
Harmonic
Mixolydian of Harmonic
Hungarian
Mixolydian of Hungarian
Melodic
Mixolydian of Melodic
Pentatonic Melodic m6/9
Pentatonic 9th, 13th no root
Whole, 1/2; 1/2, whole
Whole tone
Moods and Feelings Ted Greene, (various dates) — page 3
 
 
 

Resources:
Prog. { 1) Chord Scales, ascending & descending
by 2nds { 2) Contrary Runs, ascending & descending
{ 3) Pedals, ascending & descending
I chord 4) Streams, ascending & descending
5) Prog., ascending & descending
a) 2 chords (vamps, chains, resolution)
b) 3 chords, with and without chains
c) 4 chords, with and without chains
d) 8 chords, with and without chains
e) Longer[? or Leaps]
f) Sequences
g) Sym. harmony & irregular sequences
6) Parallelism – with and without uni-loc.
7) Modulation
8) Pyramids
9) Compounds
10) Like Streams with seq. prog.
11) Substitution — temporary modulation
12) Embellishment — like Io7 of I, vi, bIII; emb. of I, IV
(Embellishment of this type is temp. mod.
or V7(b7) of I vi IV & many others
12) Wandering

What Makes a Ballad Sound Modern?

Possible Reasons:
1) Melody
2) Melody in relation to chords
3) Chords (basic)
4) Added chords, substitution chords and other modern harmonic treatments.

Ted Greene, 6-24-1974

Main Areas
Study, Writing, Teaching, Performing, Listening

Moods
1) Uplifting, moving, striking, inspiring thoughts of beauty, goodness, inner strength
2) Relaxing or soothing, serene, inspiring thoughts of beauty, kindness, goodwill;
On lower end - sentiment, include slow triple meters, slow happiness motifs
3) Inspiring thoughts of reflection, compassion, concern, brotherhood - on lower end – melancholy
4) Happiness, playfulness, liveliness, celebration, bounces,  
dancing harmonics,
Lydian in an extremely fast march which is like a bounce
5) Activity, power, energy, courage, grandeur, suspense, use scherzo note repetitions, chords with
octaves between bass & tenor, borrowed chords, 4-note triads, displaced harm. rhythm
6) Modern city life – bluesy colors, modern chords
7) Dreamy, ethereal, floating – use harmonics, echo-harmonic licks, impressionism devices, pentatonic colors
8) Humor: Nursery rhymes, wrong notes, funny motifs, intervals, surprises, anachronisms
Moods and Feelings Ted Greene, (various dates) — page 4
 
 
 

Moods and Feelings

Ted Greene – late 1974 or early 1975

1) Uplifting, inspiring, elevating, touching in a powerful way, striking

1a) above with blues inflection
2) Beauty, tenderness, compassion, love, sentiment, serenity
2a) above with striking climax
2b) above with strong preponderance of modern chords which gives different influence
2c) same with slow lope
3) Happiness, playfulness, liveliness
3a) Slower version of above
3b) “Jazz” happy
4) Dreaminess, etherealness, floating

(Romantic) (Dark)
Happy & Bluesy Tranquil & Bluesy Sad & Bluesy

“Bess, [You is My Woman]” “Lover Man”

“Can’t Help Lovin’[Dat Man]” “[The] Man I Love”
“Georgia [On My Mind]” “Ruby”
“Willow [Weep for Me]”
“You’ve Changed”

Transcribed by P. Vachon
 Ted Greene Original Tunings
Overview and Excerpts
From his Personal Music Studies Files

OVERVIEW:
(The tuning #’s were assigned by the transcriber)

• Tuning #1: R-5-9-3-5-R (D-A-E-F#-A-D) Dadd9 tuning [Ted called this “Modern Tuning”]
Also check R-5-b7-3-5-R for having kind of a cross between this and normal dropped
D tuning and regular concert pitch: B pedal on open 5th string when whole guitar is
tuned low sounds like A pedal in normal pitch.
• Tuning #2: R-b7-9-3-5-R (D-C-E-F#-A-D) D9 tuning
• Tuning #3: R-b7-9-b3-5-R (D-C-E-F-A-D) Dm9 tuning (or Ebm9: Eb-Db-F-G-Bb-Eb)
[Ted wrote 6 pages dated 1986-02-20 & 21 that are his “2nd or 3rd Attempt at an
Organization Plan” for this tuning. Ted loved this tuning and described it variously
as: “My Bill Evans cum Andrews Sisters Bus, w/a Hitchin’ Early Herbie H. tuning”,
“Sweet Tuning”, “Lovely Tuning”, “Tuning Amore Mi Soul”, “My Beloved Bill
Evans Tuning”, “My Bill Evans ‘Shoot for the Stars’ Tuning”, “My Wonderful
Tuning”, My Heaven-Sent Tuning”, and “My Gift-Tuning” ]
• Tuning #4: R-5-9-3-R-3 — add9 with range
• Tuning #5: R-5-3-#5-R-b3(#9) — Tuned 3 or 4 keys lower too. Great for full orchestral
voicings; use in lower keys.
• Tuning #6: R-b7-9-3-5-4
• Tuning #7: Tune low E to B, and low A to F# (also low E to C, and low A to G for more majory
colors); and for the 7-string, tune the 5th string to C, 6th string to F#, 7th string to B.
• Tuning #8: R-3-5-7-R-3 (Ab-C-Eb-G-Ab-C) or use A on 6th string.
For sentimental reasons later: Discovered by tuning the top 4 the way the 2nd set of 4
was in my D [C E F A] D tuning, and then lucking on to the right basses through
mistakes and trial & error, observing this on the 5th string by trying and listening.
View this tuning as if the 1st string were a 2nd string (and the 2nd string as the 3rd)
for ease of visual hook-up with how you see the neck. It’s still going to be a lot of
work, but this will lessen the load. (The 1st, 2nd, and 4th are in the same relationship
as the normal 2nd, 3rd, and 5th!!!) It will sound lower than concert, but so what? I
like this. ☺
• Tuning #9: [b9]-5-3-5-7-9-3 ([A]-Eb-C-Eb-G-Ab-C), lowest note for 7-string guitars only. Or
all up 1/2 step or all down 1/2 step.
New wonderful tuning…maybe the one that will endure for me…the one I’ve been
looking for all these hundreds of hours. It will provide 2 low roots to support the
wonderful rich clusters and other voicings upstairs. And it will have available the
grand 3-5-7-R-9 (9-11-13-b7-R, 5-b7-9-b3-11 and friends) on the top 5!!! In 2
fingerings no less!
It’s beautiful in both a 6-string and 7-string sound (not the tuning, but the available
voicings).
• Tuning #10: [b5]-R-6-R-3-4-6 or [b9]-5-3-5-7-R-3 lowest note for 7-string guitars only. Either
of these is an arbitrary angle.
Ted Greene Original Tunings – Overview and Excerpts page 2
Prospective Tunings:
(A list of alternate tunings Ted made on 1983, June 13 - 14 and 1984, April 10)

6-String:
1) Regular
2) Regular, down whole step
3) Regular, up a whole step for Bach
4) Regular, with low D
5) Regular, with high D
6) Down whole step with low D (C concert)
7) Down whole step with high D
8) R-5-9-3-5-R
9) R-b7-9-3-5-R
10) R-5-9-3-5-3
11) R-b7-9-b3-5-R
12) Regular with 5th string down 8ve
13) R-6-9-b3-5-R (Some great sounds, but some key ones are lost, so….)
14) Regular down 2 whole steps (but a little or quite a little sharp to this)
15) R-5-3-#5-R-b3
16) R-5-b3-#5-R-b3
17) R-b7-b3-#5-R-b3 — like having top E to D and bottom E to B
18) R-5-3-6-R-#9(b3) — top E to D and bottom E to B
19) R-5-3-6-R-3 — top E to D and bottom E to B
20) R-5-3-6-R-11(4) — top E to D and bottom E to B
7-String:
1) R-5-b7-9-3-5-R
2) R-4-b7-9-b3-5-R [String 4, (the 9) is] the only change [addition] from regular [tuning]
3) R-5-9-3-5-R-3
4) b5-R-b7-9-3-5-R
5) 5-R-b7-9-b3-5-R
6) 4-R-b7-9-3-5-R — “Feels” like 2 strings in middle are 1/2 step higher, and 1/2 step lower than
normal 3rd string
7) 4-R-b7-9-b3-5-R
8) R-5-b7-9-b3-5-R
George Van Eps: Lenny Breau:
1) 4-R-4-b7-b3-5-R 1) R-4-b7-b3-5-R-4
2) 5-R-4-b7-b3-5-R 2) R-4-b7-b3-5-R-3

Possible New Tunings:

String: 6 - 5 - 4 - 3 - 2 - 1
E - A - D - F# - A# - D#
E - Bb - Eb - G - B - E
E - A - Eb - G - B - E
E-A - E - A- B - E
E-B - E - A- B - E
Great: C - G - D - A - B - Eb (or E or F)
Tune the A down to E, and E down to A
Ted Greene Original Tunings – Overview and Excerpts page 3
Ted Greene Original Tunings – Overview and Excerpts page 4

Tuning #1: R-5-9-3-5-R (D-A-E-F#-A-D) D/9 (Dadd9) tuning

Ted Greene Original Tunings – Overview and Excerpts page 5

__________________________________________

Tuning #2: R-b7-9-3-5-R (D-C-E-F#-A-D) D9 tuning

Ted Greene Original Tunings – Overview and Excerpts page 6
Ted Greene Original Tunings – Overview and Excerpts page 7

Tuning #4: R-5-9-3-R-3 Add9

Ted Greene Original Tunings – Overview and Excerpts page 8

Tuning #3: R-b7-9-b3-5-R (D-C-E-F-A-D) Dm9 tuning (or Ebm9: Eb-Db-F-G-Bb-Eb)

Ted Greene Original Tunings – Overview and Excerpts page 9
Ted Greene Original Tunings – Overview and Excerpts page 10

Tuning #5: R-5-3-#5-R-b3(#9)

Ted Greene Original Tunings – Overview and Excerpts page 11

Tuning #6: R-b7-9-3-5-4

Tuning #7: B-F#-D-G-B-E or C-G-D-G-B-E [?]

Ted Greene Original Tunings – Overview and Excerpts page 12

Tuning #8: R-3-5-7-R-3 (Ab-C-Eb-G-Ab-C) or use A on 6th string

Ted Greene Original Tunings – Overview and Excerpts page 13

Tuning #9: [b9]-5-3-5-7-9-3 ([A]-Eb-C-Eb-G-Ab-C), lowest note for 7-string guitars only
Ted Greene Original Tunings – Overview and Excerpts page 14

Tuning #10: [b5]-R-6-R-3-4-6 or [b9]-5-3-5-7-R-3 lowest note for 7-string guitars only.
Ted Greene Original Tunings – Overview and Excerpts page 15
 Shuffles, Swing Feels & Delayed or Bouncy 8ths
Ted Greene 11-6-1982
2 Beat
Bm Sixteen Tons: bass Æ

F#m Kisses Sweeter than Wine:

Eb Oh Lonesome Me: very loose & fine rhythm guitar
G A Lover’s Question: finger snaps on 2&4. Lots of vocal backup & “bass”
with lots of rhythm guitar. C Foot on 4 or 1,3
Db It Happened Today: main figure in various sections simultaneously is swing
version of also C Foot on 2,4 1,3
D Jingle Bell Rock: bouncy bass Great tag ending with 1/2 step E9 repeated.

E Singin’ the Blues: accents on 2,4 in rhythm section; very loose ukulele type guitar;
happy whistling sync. fills.
________________________________________
Even 8ths
A Little Star: drums absolutely even, bass ; some accents on

________________________________________
2 Beat
F# Honeycomb:
________________________________________
Eb The Poor People of Paris: no rhythm section as such, but a 2 beat bass & very active horiz. harp.
E Colonel Bogey: Latin style (Edmundo Ros). A fast C where we actually sense ’s as ’s (notation
will be in terms of 4/4). Notable:
Bongos on “4 e & a 1” only. Maracas on “& a 2, & a 3”, etc. only
Horns on Bass on each

Drums on cymbals only on all but with backbeat accents

A Hot Diggity:

Subtle Combinations
Bb Whispering Bells:
Note: jazz 16ths | The effect is of quickness (+….)
in an essentially horizontal feel | but the pulse is not that fast.

Chalypso, Cha-Chas, Calypso

Let the Little Girl Dance, Little Darlin’, Good Timin’

Sacred
Gb The Sloop John B (& Let the Little Girl Dance, solo guitar figures)
 Solo Guitar Strategies and Concepts
A Collection of Miscellaneous Notes from Ted Greene’s Personal Study Papers

Solo Guitar Strategies When Working Out Arrangements

Ted Greene 9-21-1992

1) I try to see (and hear) the melody on the board. [fingerboard]

2) I think of the chord names and add (to the melody):
a) the low roots first
b) inner voice(s)
c) inverted basses too, if desired
i) with the roots (i.e. in succession)
ii) just the inversions
3) I also think of the texture: where (in which parts) should the motion be.

Solo Guitar Tips

Ted Greene, undated
1) Tone
2) Let chords, chord tones RING under the melody
3) PHRASE like the singers you admire…nuances of inflection too.
4) Use varied REGISTER to add excitement and fight boredom.
5) Use varied BASS chord tone when walking. Remember: walking bass is optional.
6) Use IMITATION for intros, interludes.

Chord Melody Concepts

Ted Greene, 11-26-1980

1) Play melody with some general melodic contour but from different degree for whole chorus or just
as teaser for one verse.
Example: “Lady Be Good” in C Æ Cmaj9\DCB F#9+ \D F13sus\D {or just think in another key.
2) Establish some melodic and/or rhythmic figure in the intro, and keep using variations on it in the
fills, interludes, and such.
Example: Moving tenths in 3-note diatonic ascending from iii7 all the way up to iv7, bVII7,
ii7, V7 for “When I Fall in Love.” This tune needs help in all the pauses. This will give life
to it at these places.
For 2nd chorus: Segue into a subtle waltz to a finger-picking 3/4.
3) Try every tune with 1/2 time melody against very up-tempo 4/4 or 3/4 double-time walking bass.
Solo Guitar Strategies and Concepts Ted Greene — page 2
 
 
 

For Solo Guitar — Teaching Concepts

Ted Greene, 8-4-1990

1) Transpose…find the favorable keys and wonderful juxtapositions.

2) Larger and/or more powerful voicings
3) Rubato with active, increased amount of chords
4) Long-meter cool medium tempo from very slow ballad tempo
5) Chime chords
6) Harp-harmonics
7) Moving any voice in any chord
8) EMBELLISHING any (or all) voice(s) from 1/2 step (or?)
9) Build progression from BASS lines: (start from any degree)
Ascending, descending, mixed
Diatonic, chromatic, or mixed
Low, medium, or even start a “bass” line on the 3rd or 2nd string
10) TEXTURES: Lots of variety here, including especially conversations or dialogues,
“delays” & “entrances”
11) Harmonic Rhythm

Conceptions for Solo Guitar

Ted Greene 8-6-1981

Improvisation on Harmonic Structure

a) 2 voice counterpoint:
i) 4th and 5th strings (mainly) (some 6th and 3rd strings)
ii) Free Question & Answer with sustains, using whole instrument – with or without other
sustained voices above or below.
b) 2 voice “blocks” (intervals): one of about 4 or 5 densities (or mixed densities)
c) Bass solos in up tempo tunes
d) Free single-line solo
e) Bass solo with other voices basically frozen
f) Walking chords and other chord solos
g) Walking bass with chordal punctuations on sustains
h) Pick-style driving full style – with or without a steady 4 feel of chords
(with or without polyrhythm of 3; or and with or without a walking bass line).
Harmonics Rubato; in time; “pinch”-Rubato; Pinch-in time;

Improvisation on Melody
a) Ascending diatonic and/or chromatic (or semi-chromatic) bass in any one of many Tonality Types.
b) Parallel Movement (ascending, descending or broken) in any structure, chromatic, semi-chromatic,
diatonic in any tonality type or other.

Transcribed by P. Vachon
 Ted Greene on Guitar Amps
From a letter written to Allan Whiteman, August 03, 1990
Transcribed and edited for clarity by Dan Sawyer
with additional comments by Allan Whiteman

I tried to make this more readable and clear up the meaning. Occasionally I added words for
meaning [usually with brackets]. I’m using Ted’s spelling of “tremolo.” Use of the word “very
expensive”—prices are outdated, of course. “Don’t tell dealers” lol! And I added consistency
with the use of parentheses in prices.
— Editor’s note

Dear Allan, 8-3-90

My sincere regrets at not responding sooner. I’ve had a torrent of
responsibilities and other, which have made [me] think as each week rolled around,
‘maybe this week I’ll get to Danny Boy - Bill Evans style,’ but alas.…
I’m holding hope for next month (actually this one, August) as having more
time for me. I wasn’t going to cash your $40 check till I filled your request, but I
noticed the date and figured my bank might not take it if I wait too long so I’ll put
it through today.

As for your second letter on amps, let me try to answer your questions.

1) Favorites:
A) Fender Tweed amps Æ
* Warm mid-range
* Edgy or silky highs depending on speaker,
* Gorgeous tremelo
* Not as tight bass as I usually would want, but with the right speakers maybe.
* Very expensive ($1000’s for some)
[note:] The 4-10″ Bassman [is] about to be reissued.

B) Fender ‘Browns’ and golden colors [amps] [models with] (controls on

front) 1959 to 1963
The quirkiest amps ever. Can sound out of this world or hard and terrible.
Factors: these amps are far less midrange-y, from the Super (2-10″s) on up: Pro 1-
15″, Vibrasonic 1-15″ JBL, and Concert 4-10″s. [They have] deep bass, lots of
power, gobs of lower treble (not the extreme sparkle of the tweeds and others, and
sometimes with certain guitars, [they] have more upper midrange than I wish.
[They] also [have] a most unusual ‘Vibrato.’ (It’s more like a tremelo (volume
shift) with a tone shift… almost like a Leslie speaker.
Ted Greene on Guitar Amps Page | 2

The medium small ‘browns’ (the [Fender] Deluxe and Vibrolux) are sweet
amps with the most gorgeous tremelo circuit. The Deluxe has very little bass and a
truly beautiful midrange with the right speakers. (Jensen Custom Design from
Fender are out of this world.) The Vibrolux has a nice deep bass with a JBL or
similar [speaker]. Usually a JBL can be a bit harsh for guitar, but not in the
‘Brown’ Fenders. The Vibroverb is Fender’s first reverb amp and very expensive
($1500… about to be reissued).

Recommendations:

$300-400 Deluxe wonderful amps with

$400-500 Vibrolux certain guitars and the
$600-800 Super prices are skyrocketing
$900-1200 Concert fast on these

C) The [Fender] ‘Blackface’ ‘Pre-CBS’ 1963 to 196? (black face plate, silver
grill cloth) Reverb Amps all are wonderful, but my favorite is the Vibroverb (1-
15″). [These] are hard to find… not many [were] made. [They can be] expensive;
($900 and up). What a sound though; deep bass, clear midrange (not too much here
either), gorgeous top-end [and] sweet, deep reverb.

Also very close [to my favorite is]: the Pro Reverb 2-12″s (approximately
$600 and up). The ultimate [amp] in a way, is the Twin Reverb 2-12″s but make
sure you can dial in the mid-range to your liking. These and the Super Reverbs
often have too much mid for some [people]. The same [can be said] with the
smaller Deluxe Reverb ($550 and up) and the Vibrolux Reverb ($600 and up). But
see below:

D) The Fender Silverface (silver face-plate), 1968 to present [1990]

Allan, these are the bargain. Many of the comments above apply to these but
these amps don’t have the snob appeal status. They’re often half the price of
equivalent earlier models [and] can have an even nicer top-end (with the right
guitar). And, sleepers abound. Example: the Princeton Reverb 1-10″ (replaced with
a heavy duty 10), can have the prettiest reverb and fine tremelo too. Not that the
black face doesn’t [also have these things], it’s just that for $150 versus $300 and
up, it’s worth thinking about.
Ted Greene on Guitar Amps Page | 3

Whew… Fenders! Don’t tell dealers, but keep your eyes out also for old
Ampeg amps such as the Reverbrocket; the prettiest reverb sound going. Walter
Woods [amps]? Emmett Chapman uses [them] with [the] Stick. [I] don’t know. I
love warm sounds and haven’t tried enough solid state [amps], but one of the best
amps I ever heard was an early 1980’s Fender prototype solid state 200 watt amp.
[I] think they gave up on it. But try and see.

Negotiate if you think the price is too high on older amps and make sure the
seller can and will back his claims of originality of parts or lack of same as
factored into his price. Old amps are currently absolutely going berserk price-wise,
so if you hear one you love, buy now if price is right. They’ll all be [worth] double
in two or three more years easily.

Hope this helps and hope to ship you some music soon.

Ted Greene

Additional comments from Allan:

1) Ted refers to “Danny Boy – Bill Evans style”

He had mentioned to me once that he wanted to work out such an arrangement, and I said I’d be
really interested in that one, since I love Bill Evans. He would say from time to time that he was
working on it, but wasn't getting it the way he wanted. At one point I had an idea: why not send a
tape of whatever he had, and talk about the places he was getting stuck, and we could look at it
together. That sounded like a lot of fun to me. He said he really liked the idea, but never
followed through.

2) About the “$40 check”—

I studied through the mail with Ted, and he charged $10 a lesson. I couldn't stand it. This was the
best guitar player I’d ever hear in my life—by a lot—and he was charging nothing. So I would
send larger checks and just ask him to send more material than he ordinarily would. I think it
made him uncomfortable, and would say he was “agonizing” over what to send me. In spite of
my reassurances that “If it's interesting to you, it'll be interesting to me,” and “if you like playing
it, I'll like playing it,” I think he never really felt right about it.
 Financial Policy
Ted Greene – 1980, July 17

I never circulated this as planned.

Background: This country has been encouraged to run on debt. It starts in

Washington with politicians promising just about everybody something (in
order to get elected), and then going more and more in debt (the Federal
Government, that is) in order to try to make good on all these promises.

This filters down to the business community, quite a bit of which also is
looking for a handout from Washington (part of which is understandable since
Washington is taking quite a bit of their money in the first place, and is
penalizing them according to how good(!) a job they do). But one result of the
Federal Government’s policies and the example they set is that business too is,
in general, heavily in debt.

The reason all this is applicable to me has to do with collection of

revenues owed to me. It is very difficult for businesses that are not run on
C.O.D. to collect from other businesses right now, because most of them are in
the hole.

Consequently, from now on my teaching income will become my bread

and butter (as opposed to money from sales of books, records, and such)
because it is more dependable. To put it another way, without an assured
teaching income, it will be very difficult for me to cover my rent, food,
gasoline, and other expenses.

I have not raised my rates in six years. I truly have not wanted to. But
inflation has knocked too loudly, too often recently, and I must, like it or not.
So the rates are changing from $5.00 a 1/2 hour to $7.50, and $10.00 an hour to
$15.00. This is a big jump but I will do my best not to change my fees again
for a long time. I really have tried to keep my rates down, but this is the way it
is.
 © 2-20-86
Ted Greene

R b7 9 b3 5 R Tuning – 2nd or 3rd Attempt at an Organizational Plan

Premises:
1) Organize the Middle Strings first for a number of reasons.
2) Use the 8th fret barre and 15th fret pinky barre as physical boundaries (biggest reasonable stretch)
3) Assign a number from 1 thru 8 for every note on each of the 4 strings and run through every
physically feasible 4 digit number starting with 1111, 1112, 1113, and so on. But change the 1st
number (1 thru 8) mentally with hands-on trial and error for practicality!! Otherwise you’re going
to have to write 8 x 8 x 8 x 8 diagrams (4096 – 40 pages worth!!).
4) Write the dots to represent all these and then check the names of each. (see #6)
5) This will result in truly thorough scouting of all the available sounds on the middle strings,
including doublings.
6) Assign numbers 1 thru 35 to the non-doubled note voicings. Then organize into chord families.
7) Do same for top 4 strings.
 Whole Tone and Other Chimes (Harp-Harmonics)
Ted Greene – 1982, July 20

For Whole Tone:

Start on every string (from say, C) and play the ascending scale by either
1) Playing a chime first, then a regular note 3 strings up, or
2) Playing a regular note first then a chime 2 strings down, or
3) As in 1) with a hammer after the regular note
4) As in 2) with 2 regular notes first via a hammer-on
5) Two regular notes in a row on adjacent strings
6) Two chimes in a row on adjacent strings
7) Pedal bass (what can become a non-bass tone) first
8) Also once you get started, you can apply the hammers or two regular notes (or chimes) in a row on
any string according to taste. Also similar things with descending logic.
9) Combinations of any of this.

________________________________________________________________

APPLICATION:
Whole Tone and Other Chimes (Harp‐Harmonics) Ted Greene, 1982‐07‐20 page 2
 Why Study Harmony or Theory?
Ted Greene 9-1-1974

Why Study Harmony or Theory?

A) To gain a knowledge of all the wonderful sounds at your disposal.

B) To learn about the effects of these materials in different contexts. (Also, to know how to create moods by
categorizing the materials.)
C) To save you time (using your ear only is the hard way, and unless your ear is highly developed you will
keep playing pretty much the same things). You may have to spend a lot of time now studying harmony,
but the time saved in the long run, plus the other rewards makes up for it ten-fold.

(Sometime you must “go backwards” in order to eventually jump much farther ahead—kind of like a bow and
arrow: first you pull the arrow back in order to make it zoom forward.) Like you might take a day or two making
up a certain lick, searching for a sound, that if you had studied you would have grabbed almost instantly or with a
very short amount of trial and error.

The knowledge of harmony (and theory) contained in most books on the subject is the result of hundreds of years
of trial and error on the part of composers and musicians in general, and it is fortunate for us that each generation
wrote down the results of their work so that now we have this great body of knowledge to save us all the time of
having to start all over again from scratch.

D) Expansion of an idea — if a particular sound really grabs you and you know harmony (and theory), there
is a great chance that just by using your knowledge you will be able to analyze the sound and find other
similar variations.
E) Benefits of thinking in numbers:
1) Transposition
2) Communication
3) Ease of memorization of songs, pieces, etc.
4) Helps in learning to recognize and pick up sounds faster.

What Can One Do with Harmonic Materials?

1) Compose
2) Figure out other people’s music quickly. Also, enable you to grasp the logic of a piece of music, see how
the other person was thinking to a large extent
3) Combine 1) and 2) by “recomposing” or arranging a tune
4) Improvise in many moods, styles, feelings

When there is extra time with students, some good things to do are:
1) Analyzing
2) Ear training
3) Improvising.
Play together in modes
Composition
4) Discuss goals
5) Converting major to minor (or vice versa) in examples
6) Quizzes
7) Building all extensions from a scale