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Ted Greene Teaches “’Round Midnight” 01/24/2000 – Part 1
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As promised, here is the first installment from my video-taped lessons on “’Round Midnight” with guitar legend, Ted Greene!
In my previous posting, we left off with Jerome Kern’s “Yesterdays” in search for songs to play in a medley with Thelonious Monk’s “’Round Midnight”.
In search for a key, we arrived at Eb minor, a favorite key among seasoned sax players. Perfect! All the lead sheets I found, including the one in the Real Book, are also in the key of Eb minor (six flats). We are tuned at concert pitch in this video. I will be referring to the Real Book’s lead sheet (26 measures) for the measure number in order to keep track of where we are in the song.
Funny! Ted starts out, “I am gonna to play it like an office computer … programmed by a non-musician!” The ‘robot’ tries to add an ascending inner line, “Even the computer shut down on that one!” ”Play it naturally!” That comes so much easier to Ted!
The progression starts off: || i vi | ii V | (The Real Book) or the i chord with a chromatically descending bass line (other publications). In the 2nd measure, Ted gives us a variety of chords to play on the ii including a II7 to be played later on in a repeat, OR, Cb7, the flat 5 substitute for Fm7b5, for a more bluesy sound.
In measure 4, I suggest using half diminished chord to replace the Bm7. The chord changes are | Bm7 E7 Bbm7 Eb7 |. Ted’s responds, “Well, if you have had Greek ancestors!” Who doesn’t? He then plays a very cool Mediterranean soundtrack with just the half diminished to minor.
“Those lines!” are back in measure 3, focusing on the “inside motion” of Ebm7 ending with Ab7.
What's the stock melody here? A variety of melodies played for measure 4. Isn’t the Real Book accurate? Ted, “The Real Book occasionally gets it right!” Ted gives different examples then launches into the song "Dansero" that uses his last melodic choice. I listened to a variety of examples and everyone plays their variation that measure’s melody. The stock melody? Only four notes parked above the lyrics, “af-ter sun-down”. Jamey Aebersold got it right!
Ted played through measure 7 (the 1st ending) and is concern with repeating the changes. There was more going on in there than just the B7 to Bb7 in measure 8 as the Real Book has it! Try Cm7b5 to F7 or B7b5 to (Meas. 8) Bb7.
Ted corrects his phrasing of this melody. Both examples are very cool!
For the measure 3 repeat: | I | I7 | V | I7 | IV7 | the chord changes on each melody note! “Now with a pedal tone!” in the bass. Now “you got the jazz sound”, the chords become more modal sounding.
Ted ends this video segment by speaking about his experiences with those types of pristine sounds coming from his dad’s stereo receiver … that had a guitar input … and playing in the “Glass Room” with a Fender acoustic amp at a teaching seminar on the first night of the event.
Sadly, there are no written sheets by Ted for this particular jazz standard, yet he was so familiar with it. Stand by for Part 2, which will be posted soon.
In my previous posting, we left off with Jerome Kern’s “Yesterdays” in search for songs to play in a medley with Thelonious Monk’s “’Round Midnight”.
In search for a key, we arrived at Eb minor, a favorite key among seasoned sax players. Perfect! All the lead sheets I found, including the one in the Real Book, are also in the key of Eb minor (six flats). We are tuned at concert pitch in this video. I will be referring to the Real Book’s lead sheet (26 measures) for the measure number in order to keep track of where we are in the song.
Funny! Ted starts out, “I am gonna to play it like an office computer … programmed by a non-musician!” The ‘robot’ tries to add an ascending inner line, “Even the computer shut down on that one!” ”Play it naturally!” That comes so much easier to Ted!
The progression starts off: || i vi | ii V | (The Real Book) or the i chord with a chromatically descending bass line (other publications). In the 2nd measure, Ted gives us a variety of chords to play on the ii including a II7 to be played later on in a repeat, OR, Cb7, the flat 5 substitute for Fm7b5, for a more bluesy sound.
In measure 4, I suggest using half diminished chord to replace the Bm7. The chord changes are | Bm7 E7 Bbm7 Eb7 |. Ted’s responds, “Well, if you have had Greek ancestors!” Who doesn’t? He then plays a very cool Mediterranean soundtrack with just the half diminished to minor.
“Those lines!” are back in measure 3, focusing on the “inside motion” of Ebm7 ending with Ab7.
What's the stock melody here? A variety of melodies played for measure 4. Isn’t the Real Book accurate? Ted, “The Real Book occasionally gets it right!” Ted gives different examples then launches into the song "Dansero" that uses his last melodic choice. I listened to a variety of examples and everyone plays their variation that measure’s melody. The stock melody? Only four notes parked above the lyrics, “af-ter sun-down”. Jamey Aebersold got it right!
Ted played through measure 7 (the 1st ending) and is concern with repeating the changes. There was more going on in there than just the B7 to Bb7 in measure 8 as the Real Book has it! Try Cm7b5 to F7 or B7b5 to (Meas. 8) Bb7.
Ted corrects his phrasing of this melody. Both examples are very cool!
For the measure 3 repeat: | I | I7 | V | I7 | IV7 | the chord changes on each melody note! “Now with a pedal tone!” in the bass. Now “you got the jazz sound”, the chords become more modal sounding.
Ted ends this video segment by speaking about his experiences with those types of pristine sounds coming from his dad’s stereo receiver … that had a guitar input … and playing in the “Glass Room” with a Fender acoustic amp at a teaching seminar on the first night of the event.
Sadly, there are no written sheets by Ted for this particular jazz standard, yet he was so familiar with it. Stand by for Part 2, which will be posted soon.
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