Wow...what a fine musician we have here. Chord changes and bass playing all over the neck...come on... the subtle movements here and there...and the searching of what to play next..he has it all and takes me as a listener into his story...he plays like he's riding a bike on a very nice day , no care in the world..and the God of music sitting at the back...saying "we ve got you covered son"...magic!!!
He slides from complex chord to chord anywhere on the finger board with perfect smoothness and the same dexterity as most of us move from D to G to C triads in first position
I thank God for allowing certain "Geniuses" to be born and to share with us their greatness!!! Their Blessings and their rich contribution to the music world!!! Ted Greene, you have touched us all.💎
Nice! Ted, and Lenny Breau and a few other great ones really show a beautiful humility and lack of pretension when they do these master classes. That is as awesome as the way they play solo guitar, and impresses me tremendously.
at the end of this beautiful impro i would stand up and cry. Then i would start asking "how can u do that?!?!? how can it be so smooth? how can you make the bass, the chord, the melody flowing that way? Thank you for existing."
He spent most of his time playing explaining just that to his audience including writing 2 books. I think the place to start is with the bass and melody. Those are the 2 most important lines whether he is playing blues here or doing the baroque improv - and perhaps the reason it sounds smooth is because he knows when notes need to keep ringing and be played legato (especially the bass) - hey, perhaps the easiest way to sound like Ted would be to get a decent bass player and play together. Or, in these days of DAWs you could play the bass line and the melody separately. Once you get to the stage where you start creating stuff that you think sounds good then your task is simply playing the 2 lines together on the same instrument which is a technical problem rather than a musical one. The point is you can split the task into smaller problems to solve. How do you physically play vs what notes are you going to play - but if your end goal is just playing a few of Ted's pieces of course you can just grab a Tab (which tells you exactly what to play) and focus on the 'How do I play this?' part - the problem is you generally don't get to the point where you can take a song or melody and create your own Ted Greene-like version of the piece. From that I'd suggest knowing what to play is actually the more difficult of the two and the one where most non beginners are going to be behind relative to Ted. We can see plenty of youtube examples of people playing Ted's pieces but fewer videos of people who are composing or improvising their own pieces in a similar style. Which, to me, suggests that the latter is either harder to learn or tends to get neglected. Once you've got movement in the bass and melody then fill in the middle. I'd guess the key to that is knowing the fretboard. Albeit you could read Ted's book and just memorise a lot of chord shapes rather than having to rediscover them all yourself. This is not significantly different to Holdsworth who, as I understand it, wrote down all the T or H patterns on the fretboard to create scales, threw out duplicates, figured out which of the scales were the most important and then used those scale patterns to pick out chords. End result he ends up playing lots of weird shaped chords compared with someone who gets the typical chord shapes - his other end result is what he called these chords or scales wasn't what everyone else was - because he hadn't grabbed them all from a music theory book. But, the gist of this is knowing how to play C major all over the fretboard and then you can play a C major shape that fits the shape of the melody (as well as providing movement rather than just playing the same C chord for 4 beats) Of course all of this is going to require thousands of hours of effort and practise. That, as I said, largely won't be aided if you grab transcriptions of what Ted is playing and play those because you need to really understand what you're playing and why it works (aurally) so you can play what you understand and that's a big undertaking. He mentions in this video HH saying sometimes he's following his fingers (which implies remembered patterns and riffs) sometimes his ear (which implies he's imagining what he wants to play and then playing it) and sometimes his mind which is perhaps less easy to establish exactly what he meant, but each of these requires an extended period of study to develop. If you can imagine a melody in your mind add a bass line to it - and now find and play it on the guitar. For someone who can play well by ear it's going to be a doddle, for someone who has never developed their ear well they've got a big task - and one that there's a lot of distractions that will take you away from it - shortcuts to avoid the difficult work. Like looking at tab. Or playing what you can already play. Or getting distracted by social media or youtube. Step 1 is perhaps the hardest, you have to start doing it. Which may well, unless you're a beginner, mean forgetting, or at least putting aside a lot of how you currently play. That's not easy. You can't imagine, say, Steve Vai starting to learn the techniques he sees in younger guitar players like, say, Manuel Gardner Fernandes when he can grab a guitar and play to such a high level. It's like he's currently touring playing Robert Fripp's parts in King Crimson with Beat but he's found a middle ground of "playing like Steve Vai" for the bulk of the material - because it would be a monumental task to go right back and develop technique from scratch required to play Fripp's parts picked in the way Fripp does them. So, my advice stop playing what you can already play. It's like if you had technique that causes injuries or pain one way of learning to play better technique involves you going right back to basics. At that point you really want to avoid playing stuff from muscle memory because that's the stuff that most likely has the technique causing the issues. As you learn new pieces using better technique eventually when the better technique is becoming a habit you can start to relearn the pieces you knew making sure you're playing them with good technique. Well I'd suggest if you want to learn to play close to how Ted plays then you do a similar thing. That you stop noodling around and playing all the things you already can. Because our current improv doesn't have smooth moving bass lines and flowing melodies etc? Well it never will by magic will it? We have to sit for a long time right back to basics to be able to play those moving lines. Imagining the moving line in your head, finding it on the guitar, practising as often as you can. And then because it's jazz someone adds a note "Now play them in all 12 keys" Eventually you may get to the stage where you can take a piece you already knew and relearn it with your new skills without the risk that you just get distracted and playing it how you always do because that feels easy now.
Somebody Transcribe this please...Looks like I am going have to do it. Deep warm singing feel, relaxed swinging groove . Somehow Ted does not hurt my brain like Joe Pass does. I think it because I enjoy it singing / dancing along. Ted's jam feels like a celebration of good time together as oppose to a problematic chess game approach. Love the man and his lessons.
Yes, if you read his books, especially Chord Chemistry, he talks a lot about George Van Epps in the same breath as he discusses the classical master Chopin, and analyses his voicings extensively as probably the departure point for his own concepts of harmony.
Well, taildragger, I love Ted Greene *and* Elton John for different reasons. TG is one of the greatest masters of what I try to do. EJ writes beautiful songs. I like EJ's songs because they always go somewhere and take their time getting there. He's always got something to say, and so does TG. They just speak different languages.
Ted was great, he obviously studied the late George Van Eps thoroughly as did Joe Pass. their playing has so many elements of George's punch the name George Van Eps into UA-cam and check him out. all of this harmonically advanced fingerstyle jazz playing goes back to Van Eps
Check out Barney Kessel, another of my favorites who was equally masterful in linear and chordal playing. To me it seems that Van Eps centered his playing around chords more than Pass. Django played a lot of linear passages but in a unique Gypsy style different from Pass. When I say linear I mean concentrating on single note scalar lines more than chords. Regardless they are all great guitarists and that's all that really matters.
@ tbcass Firstly kudos to Ted for a lovely blues. RIP a true genius. Just my two cents on the joe pass charlie christian django discussion.(many years later i see now) I dont hear much charlie christian in joes lines nor django. Its possible that while they were influences pass didnt actually borrow from them. Of course he made albums dedicated to django and charlie parker but with regards to horn like lines, they said this of charlie christian, i hear many phrasing similarities between charlie and lester young, both favouring more lyrical lines rather than virtousity.
Joe (rest his soul) will keep me scratching my head for many a year but i feel his genius lies mostly in his chordal playing. Tbf the man was an absolute genius and i think harmonically was creating so much tension (in his lines) that were only resolved when he came back to his melodic chordal style. I suppose i have heard him also being very lyrical too though.
Deparko I just left a message for your other Ted Video (Autumn Leaves). Thanks for posting this gem. Please if you were able to get the Joey B. wedding dvd (I did not) could you please upload the tunes from that DVD. Thanks in advance... RC
Actually, he used to open for Joe in the 70s and ted took lessons from Joe...i think at some point, Joe starting turning around and listening to Ted :)
great feel..great tone ! :-) hey jazz-guitarists - ..have something 4 u .. wonna see/hear how to improvise bach music ? :-) ..look for vid : "bach sarabande jazz guitar" maybe u ll like it ..regards
Its funny That you guys say Pass is from the Charlie Christian school but I understand why you guys say that but I have seen interviews with Joe and he said he was influenced by Django and never really listend to Charlie at all.
seems some people just don't know how to be polite and end their chatter. their confusing a musical event with a coffee house a background guitar player noodling some tune and don't see anything wrong blabbing on with their stupid arse talking. maybe if Ted had been less of a gentleman about those rude chatterbox's spoiling his introduction. he should maybe have waited for them to finish and thanked them for their entertaining chat. that would have done the trick.
tone vicar shut up and listen and jean luc barson if you was up here playing i might listen to you but you are not ,nor or are you tone vicar so go on face book or twitter and spout your words some of us have ears beyond words and music critics always criticize others work so what
Wow...what a fine musician we have here. Chord changes and bass playing all over the neck...come on... the subtle movements here and there...and the searching of what to play next..he has it all and takes me as a listener into his story...he plays like he's riding a bike on a very nice day , no care in the world..and the God of music sitting at the back...saying "we ve got you covered son"...magic!!!
He slides from complex chord to chord anywhere on the finger board with perfect smoothness and the same dexterity as most of us move from D to G to C triads in first position
No niinpä. Helppoa, kun sen osaa...
The way the tunes just roll off his finger tips is amazing.
He was so great,
I will always remember him,
He inspired me...
I thank God for allowing certain "Geniuses" to be born and to share with us their greatness!!! Their Blessings and their rich contribution to the music world!!! Ted Greene, you have touched us all.💎
Nice! Ted, and Lenny Breau and a few other great ones really show a beautiful humility and lack of pretension when they do these master classes. That is as awesome as the way they play solo guitar, and impresses me tremendously.
Best blues guitar playing I've heard. True blues feel with a jazzman's ear for subtlety.
Ted was a player sent to us by God to provide inspiration to the rest of us.
at the end of this beautiful impro i would stand up and cry. Then i would start asking "how can u do that?!?!? how can it be so smooth? how can you make the bass, the chord, the melody flowing that way? Thank you for existing."
He spent most of his time playing explaining just that to his audience including writing 2 books. I think the place to start is with the bass and melody. Those are the 2 most important lines whether he is playing blues here or doing the baroque improv - and perhaps the reason it sounds smooth is because he knows when notes need to keep ringing and be played legato (especially the bass) - hey, perhaps the easiest way to sound like Ted would be to get a decent bass player and play together. Or, in these days of DAWs you could play the bass line and the melody separately. Once you get to the stage where you start creating stuff that you think sounds good then your task is simply playing the 2 lines together on the same instrument which is a technical problem rather than a musical one. The point is you can split the task into smaller problems to solve. How do you physically play vs what notes are you going to play - but if your end goal is just playing a few of Ted's pieces of course you can just grab a Tab (which tells you exactly what to play) and focus on the 'How do I play this?' part - the problem is you generally don't get to the point where you can take a song or melody and create your own Ted Greene-like version of the piece.
From that I'd suggest knowing what to play is actually the more difficult of the two and the one where most non beginners are going to be behind relative to Ted. We can see plenty of youtube examples of people playing Ted's pieces but fewer videos of people who are composing or improvising their own pieces in a similar style. Which, to me, suggests that the latter is either harder to learn or tends to get neglected.
Once you've got movement in the bass and melody then fill in the middle. I'd guess the key to that is knowing the fretboard. Albeit you could read Ted's book and just memorise a lot of chord shapes rather than having to rediscover them all yourself. This is not significantly different to Holdsworth who, as I understand it, wrote down all the T or H patterns on the fretboard to create scales, threw out duplicates, figured out which of the scales were the most important and then used those scale patterns to pick out chords. End result he ends up playing lots of weird shaped chords compared with someone who gets the typical chord shapes - his other end result is what he called these chords or scales wasn't what everyone else was - because he hadn't grabbed them all from a music theory book.
But, the gist of this is knowing how to play C major all over the fretboard and then you can play a C major shape that fits the shape of the melody (as well as providing movement rather than just playing the same C chord for 4 beats)
Of course all of this is going to require thousands of hours of effort and practise. That, as I said, largely won't be aided if you grab transcriptions of what Ted is playing and play those because you need to really understand what you're playing and why it works (aurally) so you can play what you understand and that's a big undertaking. He mentions in this video HH saying sometimes he's following his fingers (which implies remembered patterns and riffs) sometimes his ear (which implies he's imagining what he wants to play and then playing it) and sometimes his mind which is perhaps less easy to establish exactly what he meant, but each of these requires an extended period of study to develop.
If you can imagine a melody in your mind add a bass line to it - and now find and play it on the guitar. For someone who can play well by ear it's going to be a doddle, for someone who has never developed their ear well they've got a big task - and one that there's a lot of distractions that will take you away from it - shortcuts to avoid the difficult work. Like looking at tab. Or playing what you can already play. Or getting distracted by social media or youtube.
Step 1 is perhaps the hardest, you have to start doing it. Which may well, unless you're a beginner, mean forgetting, or at least putting aside a lot of how you currently play. That's not easy. You can't imagine, say, Steve Vai starting to learn the techniques he sees in younger guitar players like, say, Manuel Gardner Fernandes when he can grab a guitar and play to such a high level. It's like he's currently touring playing Robert Fripp's parts in King Crimson with Beat but he's found a middle ground of "playing like Steve Vai" for the bulk of the material - because it would be a monumental task to go right back and develop technique from scratch required to play Fripp's parts picked in the way Fripp does them.
So, my advice stop playing what you can already play. It's like if you had technique that causes injuries or pain one way of learning to play better technique involves you going right back to basics. At that point you really want to avoid playing stuff from muscle memory because that's the stuff that most likely has the technique causing the issues. As you learn new pieces using better technique eventually when the better technique is becoming a habit you can start to relearn the pieces you knew making sure you're playing them with good technique.
Well I'd suggest if you want to learn to play close to how Ted plays then you do a similar thing. That you stop noodling around and playing all the things you already can. Because our current improv doesn't have smooth moving bass lines and flowing melodies etc? Well it never will by magic will it? We have to sit for a long time right back to basics to be able to play those moving lines. Imagining the moving line in your head, finding it on the guitar, practising as often as you can. And then because it's jazz someone adds a note "Now play them in all 12 keys" Eventually you may get to the stage where you can take a piece you already knew and relearn it with your new skills without the risk that you just get distracted and playing it how you always do because that feels easy now.
He's so far ahead of anyone else I've observed, it is ridiculous.
Great posting, thanks. Head, hands and ears eh!
Thank you for posting this :-)
Always felt that Guild Tailpiece was the coolest design! TED -the chord chemistry professor 🇺🇸
Somebody Transcribe this please...Looks like I am going have to do it. Deep warm singing feel, relaxed swinging groove . Somehow Ted does not hurt my brain like Joe Pass does. I think it because I enjoy it singing / dancing along. Ted's jam feels like a celebration of good time together as oppose to a problematic chess game approach. Love the man and his lessons.
Wonderful notes, sound, improv and humble, ironic and great man RIP
His use of the 12 bar is amazing
beautiful
In D , In F ,In Db, plays all the good changes, may the good blues unite us all.
And he goes from one key to the other in such a smooth way that sometimes you can't even tell if the key changed or not.
Oh My Lord , what fabulous knowledge he had !!!
Most underrated and unknown.Simply Perfection!
Yes, if you read his books, especially Chord Chemistry, he talks a lot about George Van Epps in the same breath as he discusses the classical master Chopin, and analyses his voicings extensively as probably the departure point for his own concepts of harmony.
Ted was just absolutely brilliant, the harmonic understanding he displays is almost scary :)
this video is the best
Truly a genius
Well, taildragger, I love Ted Greene *and* Elton John for different reasons. TG is one of the greatest masters of what I try to do. EJ writes beautiful songs. I like EJ's songs because they always go somewhere and take their time getting there. He's always got something to say, and so does TG. They just speak different languages.
Ted was a conduit of musical physics of the angelic order.
Su toque con la diestra es muy clásico, se ve que hay una formación académica anterior muy presente.
Amazing Ted!!
Must be the most savvy piece of blues I've ever heard
angelic...
Looks like it is at Mccabes music store in Santa Monica
Incredible
Well said regarding Barney Kessel. One of my favorites of all time, such a versatile player
GENUIS
pra mim o maior sentiment da guitar jaaz!! vivia a musica !!
amazing
@RaymondFRevalee Please post some of your playing. That way, we can all hear what a genius you are on the guitar!
Sound-check, schmound-check. He dials in his tone on the fly, and keeps it musical.
Ted was great, he obviously studied the late George Van Eps thoroughly as did Joe Pass. their playing has so many elements of George's
punch the name George Van Eps into UA-cam and check him out.
all of this harmonically advanced fingerstyle jazz playing goes back to Van Eps
Check out Barney Kessel, another of my favorites who was equally masterful in linear and chordal playing.
To me it seems that Van Eps centered his playing around chords more than Pass.
Django played a lot of linear passages but in a unique Gypsy style different from Pass.
When I say linear I mean concentrating on single note scalar lines more than chords.
Regardless they are all great guitarists and that's all that really matters.
Ted was Even More Advanced than Barney
In Canada we have Lorne Lofsky. Check out his masterclass videos 🐕🎸
SHUT UP Lady! You are in the presence of GREATNESS!
Other listening suggestions would be Lenny Breau: The Velvet Touch Live and anything with Ed Bickert 🐕🎸
@abedesuka most likely most boxes he played were guilds im pretty sure
@MrNadeeo Joe Pass's "Virtuoso" recordings are all chord melody renditions of jazz standards.
Genius!
@ tbcass Firstly kudos to Ted for a lovely blues. RIP a true genius. Just my two cents on the joe pass charlie christian django discussion.(many years later i see now) I dont hear much charlie christian in joes lines nor django. Its possible that while they were influences pass didnt actually borrow from them. Of course he made albums dedicated to django and charlie parker but with regards to horn like lines, they said this of charlie christian, i hear many phrasing similarities between charlie and lester young, both favouring more lyrical lines rather than virtousity.
Joe (rest his soul) will keep me scratching my head for many a year but i feel his genius lies mostly in his chordal playing. Tbf the man was an absolute genius and i think harmonically was creating so much tension (in his lines) that were only resolved when he came back to his melodic chordal style. I suppose i have heard him also being very lyrical too though.
Every time I watch Ted Greene or Lenny Breau, I just want to pick up a music theory book and teach myself some chords on the guitar.
@robertsonthebruce
What a witty remark, well, always look on the bright side, don't we?
Kind regards
Deparko
I just left a message for your other Ted Video (Autumn Leaves). Thanks for posting this gem. Please if you were able to get the Joey B. wedding dvd (I did not) could you please upload the tunes from that DVD. Thanks in advance... RC
I wish he played "louder". He plays so delicately, which I suppose is to be admired. Who am I to judge though? I guess I'm just used to Pass =P
3:00 monologue is priceless
beach shirt FTW!
Sah-weet...
What sort of tuning did he use?
3:38 silence
strangely enough i havent listened to van eps
Lenny Breau, Ted, and Larry Coryell were the best from the 70's...and none of them ever really got the credit they deserved.
All I need to do is buy that guitar then I can play like that right?
No.
Practicando mucho.
The people talking at first shut up quick once he got moving .. I don’t think any of them realized what they were seeing … then the magic happened 😁
does anyone know how Ted died?
And he has the audacity to talk and crack jokes while dominating the guitar with elegant brilliance
Maybe I'm wrong but I think Pass was more a product of the Charlie Christian school.
wonderful chord sequences,very much Milt Jackson would like to use.
Actually, he used to open for Joe in the 70s and ted took lessons from Joe...i think at some point, Joe starting turning around and listening to Ted :)
Heart attack 2005
Pass's playing was nothing like Django's but instead more like Christian's linear horn like lines.
damn what a shame, i seriously wanna learn to play the blues like this
why would you say that?Joe and him are quite different.Dan
drop d?
great feel..great tone !
:-)
hey jazz-guitarists - ..have something 4 u ..
wonna see/hear how to improvise bach music ?
:-)
..look for vid :
"bach sarabande jazz guitar"
maybe u ll like it ..regards
Renato Rozic couldn’t find it... post a link!
Heart attack at his home in 2005.
Its funny That you guys say Pass is from the Charlie Christian school but I understand why you guys say that but I have seen interviews with Joe and he said he was influenced by Django and never really listend to Charlie at all.
Ted studied under Ace Frehley
That explains why the first time I saw Ted play, he shocked me and made me feel better!!
眠くなるわ！
seems some people just don't know how to be polite and end their chatter.
their confusing a musical event with a coffee house
a background guitar player noodling some tune
and don't see anything wrong blabbing on with their stupid arse talking.
maybe if Ted had been less of a gentleman about those rude chatterbox's spoiling his introduction.
he should maybe have waited for them to finish
and thanked them for their entertaining chat. that would have done the trick.
Simmer the fuck down. It would have helped if he had turned his amp up a little, or maybe played with a pick. He was playing absurdly quiet.
That's not the blues. That's a happy contented blues.
tone vicar shut up and listen and jean luc barson if you was up here playing i might listen to you but you are not ,nor or are you tone vicar so go on face book or twitter and spout your words some of us have ears beyond words and music critics always criticize others work so what
He's got huge hands but in " Chord Chemistry " he tells us to stretch. Yeah right Ted. With your hands I'll strecth no problem.
Yes, there's Delta Blues and Chicago Blues, but who knew? As it turns out there's also Gay Blues too.
you guys don’t have a fucking clue what you’re talking about
There are retarded people on UA-cam, and there are teenagers on UA-cam. But who knew there are also retarded teenagers on UA-cam?
There is your mum blues too, the one that everyone has been playing with dirty fingers since before your birth.