Chords for Ted Greene Blues Guitar Lesson - Part 2

_ _ [G] _ _ _ _ _ _
[G] _ _ _ _ _ _ _ [G#] _
_ _ _ _ _ [B] _ _ _
[D] _ _ _ _ _ [Em] _ _ _
_ _ [F#m] _ _ _ _ _ _
[Fm] _ _ [C] _ _ _ [G#] _ _ [G] _
[Dm] _ _ _ _ [F] _ [Dm] I try to hear a little melody in my head on the top [D] line of the chords, so that _ was_
_ [Dm] _ _ _ _ _ _
It was like quite a single line thing.
_ _ [D]
We're supposed to be doing a component, and what are we doing getting [F#] in the way of the singer?
Well, the truth is, it won't really get in the way of the singer.
_ _ [E] _
_ _ I definitely live up in here, you know, all my singers up in here.
Sometimes I'm above her.
_ You might hear a lot of older guys say, stay out of the singer's way, and just do [Dm]
three
bar [F] chords, do like a Freddie.
[D] Yeah, it's not necessary, it's fun.
I love doing that too, but you can only get up in here and compliment what she's doing
if [C] she doesn't mind.
_ [Dm] You won't be in her way if she's [D] singing_
_ _ [F#] _ _
_ _ _ [D] _ _ _ I mean, it just has its [Dm] own life.
Her thing is still soaring. _ _
[E] You know, it's going to be the most prominent feature.
You won't take [G] away.
_ [Dm] You know, if we really are, and she's singing, [G] _ _ _ _ [D] _ [Dm] I don't know how to say it, she'd be here. _ _
_ _ _ You guys are right in the same [A] territory, but the tone of the singer's voice, _ [E] _ _
[D] I'm a poor
singer at best, _ but I'll try to do this more stable.
_ [C#] _ _ [N] _ It doesn't get in the way, does [G] it?
No.
So in case you were worried that you were [D] supposed to do slower ones.
_ _ I'm saying singer, but it's true if a guy's got a horn, or a flute, or another guitar player
blowing lines, blowing the head of the tune.
_ _ So you won't think yourself impolite if you're doing it this way, okay?
Okay.
_ [B] _ _ [G#] _
_ [C] _ _ [D] Now let's talk about the [Am] arrangement a little [A] bit that you took from _ this_
[Fm] _
_ [D] Show me again that one, just when we're writing it down.
_ _ [Am] _ _ _ [D#] _ _ [C] _
_ [A#] So already we [D#m] have this, now what's that [D] doing there when the fake note says that you need
to go back?
_ [C#] _ _ [D] _
Well, you're_
it's a half-step approach, right?
Well, [C#] the fake note says A minor [A] 7, [C] D7, so we [Bm] seem to have gotten rid of those chords.
So [D] in what sense is A flat related [E] to the chords we've gotten rid of?
_ [F#] You're right though about half-step, if there weren't a D [D] chord written there, [C] but since
there is a D and an A minor in the word, [D] we're already looking at it. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[A] _ _ _ _ Yeah, now here_
[D]
Okay, the first chord.
Let's do this, take the D7, _ play, _ let's say like a _ [G] D7_
_ _ [D] _ _ D7 [Dm] sharp 9.
_ Take the bass off, _ [Fm] put an A flat in the bass of your thumb instead.
_ _ They're all about the same.
[D] Right.
They both approach G something [Fm] or other if you wanted to, right?
So because this was noticed years ago, [Dm] that dominant chords in that relationship, [D] flat
5, sharp 4, _ [E] _ share almost [F#] exact same notes. _ _ _ _ _ _