Ted Greene Arrangement - November 20-1970
Compilation page by P. Vachon

Ted's Original Lesson sheet
OLittleTownOfBethlehem_KeyGandF_Ted Greene.pdf

My Compilation Page
OLittleTownOfBethlehem_KeyG_TedGreene1970_notes_grids.pdf

This is a very early (1970) arrangement by Ted that he wrote in standard music notation.  This page was actually found amongst his “personal music studies” papers and seems to be more of a draft of voice-leading to be used for writing up something later.  In 1972 he wrote another arrangement of this song with very similar voice movements, but in the key of F.  It’s interesting to compare the two versions and see what changes Ted made.  Each has something unique that you might like.  You might also try to learn both versions and work out some way to modulate into the other key, thereby playing both as a single arrangement.
 
I’ve drawn Ted-style chord diagrams according what I guess is how Ted would have played it, although you may find alternate chord forms that you prefer.

Some comments and fingering suggestions: (referring to the compilation pages)
Measure 2:       For a smooth transition from the Am to the Am7/C use this fingering:
1,3,2 then keep fingers 1 and 3 planted and add fingers 2 and 4 on strings 6 & 5.

Measure 4-5:    I found that this fingering works best for the G chord move in measures 4 to 5:
(starting on the 4th beat of measure 4) 4,1,1 to 4,1,1 to 3,4,2,1.  You may also want to set up and place your 2nd finger on the G note on the second string, even though you don’t play it until later.

Measure 5:       You may want to also try playing the E7 on a lower string set at the 12th fret. 

Measure 6:       For the Am to Am/C move use this easy fingering:  open 5th string, 3,4,1, then play the B bass note with your first finger and lay it down for a full barre.  Now simply move your 2nd finger from the top string to the bottom string and play the triad 2,1,3.  (keep your 3rd finger planted the whole time).

Measure 14:     The F#9 chord is a monster, yet I’m sure Ted couldn’t resist the beautiful voice-leading of  it into the G chord that follows.  Work on it a bit and it’ll be easier to jump into the large spread.

Measure 15:     The G chord on the 3rd beat is another monster spread, but necessary to sustain the B melody note during the switchover tot eh D7 chord.  You could also try the same notes on a higher string set (in the 3rd position) if you find that easier to play.
Even though Ted didn’t provide rhythmic figures for the lower part of the chords in the move, the melody is marked with a dot, and it sounds “wrong” to play the whole D7 chord on the upbeat, so I worked out the fingerings accordingly.  If you’re not interested in the sustained B melody note, then skip this large G chord form and use something simpler.

Measure 15:     To play the X note on the A7 chord while sustaining the other notes, I’m guessing that Ted fingered it as:  3,3,2,4 and then rolled his 3rd finger over to just the 5th string, lifting if off the 4th string.  The first finger should have been placed on the G note (4th string) in preparation of this move.
Try this to see if you can get this down—if not, use another fingering such as:  2,3,1,4 and use your first finger to catch the G note (you’ll lose the sustain on the C# note).

Enjoy… and Happy Holidays!
--Paul