Colin Tribe’s new book offers new possibilities for ukulele players who aspire to fingerpick their way through thirty of the most popular songs of all time. These chord melody arrangements show a variety of ways the high G ukulele can be used for instrumental solo or duet (such as chord accompaniment and melodic fingerpicking) . Whether reading notation or tablature, fingerpicking is not for the faint-hearted. The book is well suited for intermediate and advanced players hungry for interesting arrangements that stretch the limits of the high G ukulele.
The 72-page “Discovering Fingerstyle Ukulele Songbook” by Colin Tribe follows the 173-page method book “Discovering Fingerstyle Ukulele” four years later. The method book is not a prerequisite but a companion and well-worthing studying for its exercises and examples.
The 30 popular pop and rock tunes in the new book range from songs released in 1928 (Mack the Knife) to 2017 (Perfect), with the bulk in the 1960’s (11 songs) and 1970’s (9 songs). Each arrangement includes tempo marking, chord names, notated melody line, and chord melody tablature. Absent are chord diagrams, lyrics, and fingering, which are not necessary for advanced players of instrumental (solo) ukulele.
Grades or Skill Levels
Arranged in alphabetical order by title, the thirty songs vary greatly in difficulty. It took me several passes before I chose the four pieces I’d study to record for this review.
When asked about the skill levels for the songs, Colin gave the following classification. Having structured the ukulele syllabus for the Victoria College of Music (VCM), he continues to serve as an examiner. The songs are alphabetically listed in each grade. Intermediate: 2-4; Advanced: 5-7.
My initial classification was less discerning, with four levels. A: can sight read with no bumps in the road. B: one or two bumps but doable after some study. C: barre chords, awkward chord shapes, high position playing “up the neck”. D: the previous plus left hand stretches and other tricky bits.
Additional Notes
After meeting Colin Tribe in person in early March 2020 and exchanging e-mails, I started receiving his daily workout exercises on the high G ukulele. Anyone can subscribe to get on Colin’s mailing list and receive such exercises and notifications of his latest arrangements and performances. He is prolific in arranging and sharing his arrangements through his YouTube Channel and Facebook page.
For the purposes of sharing as much information about Colin’s new book, I copy and paste (below) his notes about the songs in his new book which he sent to his e-mail list. (For additional information, I added the year the song was first released in parentheses.)
Both Sides Now (1966)
Note the order of the string in the opening bars, the strings are played in an ascending pattern rather than a simpler ukulele 4321 pattern where the instrument would dictate the music rather than the other way round! The use of repeating melody notes in the accompaniment in bar 28 works when they are kept softer in the background.
Bridge over Troubled Water (1970)
Paul Simon had been listening to some Gospel music when he composed this piece and then session musician Larry Knechtel added a beautiful piano part that I have adapted. Pull offs bring bar 5 to life and use a slide in bar 10 on the repeat. I use a back of the nails roll to highlight the chords in bar 12
Can’t Buy Me Love (1964)
An exuberant early Beatles song – delightfully mixing the 12 bar blues in C of the verses with the relative A minor opening chorus . It ends with C6 combining these two keys, that can be a harmonic at the 12th. For playing it needs you to have a good strong barre to secure the F at Fret 5 and G at Fret 7.
Don’t Worry Be Happy (1988)
Concentrate on bringing the melody out above the bouncy chords in this one first time through, then include more chord sounds in the repeat. In Bar 11 make use of a 2nd finger double stop on fret 2 and then fingers 3and 4 at 3rd &4th.
Eleanor Rigby (1966)
Note the strong on the beat rhythm as in the original – playing against the syncopated melody line. I really enjoy playing the 4th finger moves around fret 4 & 5 in this. In bar 17 I have included the ‘Cello ascending scale, octaves can be irrelevant in ukulele playing! Slide in bars 20 and 24 and maybe pull offs from 7 to 2 in bars 25 and 27.
(Everything I Do) I Do It For You (1991)
I found a useful way to keep the chord sustaining in Bar 5. By not using the B note on the G string for the last chord you can reach for the 7th fret melody note and keep the open G harmonising it. In bar 43 use a 3/4 barre with finger 2 on fret 10 so you can reach 10 and 11 with 3 & 4. Not easy this one, if it proves too tough, leave out the 4th string note.
Fly Me To the Moon (1954)
This jazz standard lends itself to both improvised choruses and many different ways of playing the accompaniment. After the 1/2 note chords for the first chorus I used a mix of 1/4 and 1/8 notes from bar 17.
When an accompaniment chord does not include a melody note, try to use a gentle brush stroke to keep the melody sounding above it. When I found that the song had been originally written in 3/4 time I incorporated that in an earlier arrangement – as an extension that might be a fun thing for you to try.
God Only Knows (1966)
Bar 7 I use a double stop with 2nd finger on strings2&3. Bar 8 shows a neat way of playing Abma7 rather than 1333. In Bars 23 &24 you need to mute the G as you lift fingers to stop the fretted notes. I use my 2nd finger to do it. Enjoy the mixture of swung 1/8 and triplet 1/4 notes
I Can See Clearly Now (1971)
This is fun from the first slide! Use finger 4 to mute the strings for the rests, use pull offs for the slurs as in 16. I doubled the open E with the fretted one in bar 16 to add a bit more harmony. It is a suitable piece to do a more strummy repeat for the second verse, but then play as written after the lovely chorus bars 28-37
Killing Me Softly (1972)
The words are about a girls love and yearning for the guitarist she is hearing, so play this to convey that – but for a ukulele player!. Dwell on the opening chords – especially the Bb to Eb over a melody A in 10 & 11. The D to Eb of 13 & 14 can be played as a slide from 2 to 3 and back, or try Fingers 1& 3 3/4 barre. From Bar 26 on get the joy of the full plucked chords Make use of tonal variations – the first ending sounds effective when played by the bridge, then change it to dolce for the final time.
Mack The Knife (1928)
The simplest beginning to any piece in the book! Pluck and hold the chords then get ready to accompany strum from bar 17 as the melody plays. The structure is simple – each verse a semitone higher than the one before – I did a quasi impro section in D flat and then back to normal melody in D. Play the final chord with a long strum or nail roll – or anything else you like. As with “Fly Me To the Moon” this lends itself to your own interpretation, with the added frisson of arranging it for yourself in different keys.
Mamma Mia (1975)
A typically catchy opening to this ABBA tune with its syncopated change to the augmented C chord that fits the instrument so well. In bar 9 hammer the first grace note 2-3 and slide the second one 5-7. Double stop with finger 1 in bar 18 and use 4th finger for frets 7 and 8. Pluck where the chord is combined with the melody but a few times where the chord is a rhythmic fill, use brush strums for – bar 29 last beat for instance.
Massachusetts (1967)
Whilst well able to write complex pop songs the BeeGees also had a simpler one verse no chorus style as here. After the plucked first two bar intro, repeat those bars with a freer up/down/up/down strum style. Including melody notes and even 4 note chords whilst the melody is played is a possibility. If you play it through 3 times the middle version can use that effect.
Memory (1982)
The opening lilting 12/8 works well with the 1/8 note arpeggios followed by 1/8 note melody notes. For the 10/8 bar I count – 1 & a, 2 & a, 3 & 4 &
Play the chord section from 9 with a pima roll – this emphasises the melody note as it is the final one played .
To add variety I have changed the octave in bars 6 &7 for the repeat in 22 & 23
Moon River (1961)
A beautiful example of one of the most used chord sequences in pop music
I VI, IV V7. From bar 5 use a gentle brush stroke to give the waltz time rhythm whilst accentuating the melody. Note the held harmony in bar 8 & 10 which is then changed for 24 & 25. The C in bar 36 can be allowed to ring to add to the harmony on the first beat. Care with fingering in bar 11 and 12 as you move the 1st finger from F to G# change the harmony but want to hold on to the D. Bar 45 can use a double stop with the 4th finger.
Moonlight Shadow (1983)
A fun but quite difficult idea for this is to palm mute the introductory 4 bars. Playing in F often means harmonising a Bb note with an F chord – I double stop this in bar 13 and it is a technique worth trying. Note the stresses in 24,25 & 28,29 following nail arpeggios in the bars before. In 32 & 38 you can either slide or bend the note. Push the bent note – it will stop the open C but is a nice effect!
My Heart Will Go On (1997)
By using slides in the intro I am trying to imitate to sound of the original. If the A minor shape 2007 is too much of a stretch then uses 5457 each time, neither is right or wrong, I like to use the lowest notes possible in the harmony – but only if they work for your hand. The CODA is a repeat of 17-24 but two tones higher.
Nights in White Satin (1967)
A gentle lilting piece in 12/8 – use hammer, hammer, pull for the delightful riff in bar 1. Slide with finger 4 in bar 4 then pull of with finger 2 – the melody note E then become part of the accompaniment. Bar 8 has the 4th finger stretching out and needs a strong barre at fret 2.
Perfect (2017)
In bar 9 the stretch from 2 to 7 is not easy, so you could leave out the accompanying chord on that 4th beat. If you can do it, then play the final note with the right hand i rather than p. I play the melody accompanied with chords with a rapid pima roll so all four strings can be heard distinctly with the melody note coming last.
Space Oddity (1969)
Maybe an unlikely piece for the ukulele but I have a belief that everything can be rearranged for the instrument, although sometimes, as in this there needs to be some editing of the original! Bar 3 has double hammer on /pull offs for the octaves. Keep the regular beat from 11 to highlight the syncopated melody. The chords in bar 25/26 are unusual but great fun, as is the octave lift in 28/29.
Star Wars (Main Theme) (1977)
More than any other piece in the collection, this is a transcription of the standard piano version, though of course octaves are changed. Use fingers 1 and 4 for the final bar 073 unison Gs
Sweet Caroline (1969)
This Neil Diamond song has become a great favourite with sport commentators and fans in the UK. The introduction I have arranged in four parts for ukulele sing and strum groups, but it works well as a solo. In bar 4 I use a double stop at the 5th with my fourth finger.
The Eye Of The Tiger (1982)
The open high G as a harmony note in this is and its part in the rapid opening unison arpeggio are noteworthy. Bar 19 use a 4th finger slide from 3-5. Pull off 3-1 in bar 30. For the G minor in bar 3 – 0,10,10,10 I use fingers 2,3,4.
The Rose (1980)
I start this off with a pima pluck followed by a back of the nail arpeggio then up down up down up pattern with p and i – it is more difficult to write down than play and you can use the idea throughout the piece. The single harmony accompanying notes from bar 3 I also play with this pattern though the arpeggio becomes a tremolo effect.
What a Wonderful World (1967)
Written in 4/4 this has a 12/8 feel – as sung by Louis Armstrong it has the free tempo I mention to deliver a relaxed thoughtful piece. Play the section from 21 with gently plucked chords, putting in a pima roll when the melody note is present
Wild World (1970)
Lovely time changes and rhythmic twists in this which also demonstrates the purpose of learning scales as they can be a prominent feature of composers work and often need to be played quickly. Bar 25 needs some careful finger positioning.
Without You (1970)
Use fingers 3 and 4 on frets 3 and 5 for the intro. Slide finger four in bar 3. I have included an Ossia bar at 16 to show alternative fingering for this octave shifted 4 bar section if you can’t do the 5th fret version.
Yesterday (1965)
A gentle ballad from Paul McCartney, hauntingly suspended melody notes make it a memorable piece. Scale passage from D melodic minor in bar 4/5. Try to hold the D at the end of that phrase. I use a back of nail arpeggio for chords not including melody notes up to bar 12 but then switch to an up and down brush stroke for 13 and then from 18-23.
Your Song (1970)
I adapted the piano introduction to make it work on the ukulele. The complexity of this one is fitting the lyric melody and it really helps to have the words in your head as you play, bearing in mind that Elton John would sing it slightly differently each time, so be aware of the freedom that gives you to interpret
You’ve Got a Friend (1971)
The complexity of this one is fitting the lyric to the melody and it really helps to have the words in your head as you play.
We ukulele instructors invited Colin to speak about his new book at the May 2022 meeting of Ukulele Instructors International group. Below is a short extract from the 90-minute video.
During the meeting, he referred to his video tutorial on arpeggios (below).
Both Sides Now
For several years, I had been looking for a good arrangement of Joni Mitchell’s iconic song. Colin Tribe took a different take on the piano introduction I grew up with, avoiding the need to transpose to a different key or use the low G ukulele to reach the G below middle C.
The right hand fingers execute a repetitive inside-outside picking pattern while the left hand keeps the A-string pressed on the third fret while the index finger alternates between lifting and pressing the E-string on the first fret.
Besides this catchy arpeggio, another easy but fun thing to do on the ukulele is to slide up and down the fretboard effortlessly, taking advantage of open strings in bars 9 and 12 below.
Fly Me to the Moon
When you change a waltz into a song in 4/4 time, you inevitably add syncopation, swing, and other improvisatory possibilities. Compare “Fly Me to the Moon” in its original 3/4 meter (my easy piano arrangement with chords) with Colin Tribe’s arrangement in 4/4 time. I couldn’t resist dancing with it.
Playing the last five chords (C, Dbmaj7, D7, Dbmaj7, Cmaj7) really felt like a trip to the moon.
Massachusetts
Colin Tribe’s arrangement makes use of suspended chords (Gsus2 to G) and the open G pedal tone as an ostinato. I made some changes to recall this favorite song from the Bee Gees in my recording of this nostalgic piece from the sixties.
What a Wonderful World
We are accustomed to hearing Louis Armstrong’s version of “What a Wonderful World” with continuous arpeggios flowing from the introduction to accompany the entire song. Colin Tribe uses it sparingly in the introduction, between verses, and in the end. The block chords can be played as a down strum, a PIMA simultaneous pluck, or a “Tribe” PIMA roll. The block and broken chords contrast each other as verse and instrumental interludes.
Next Steps
The 30 arrangements in the paperback book can be ordered as individual PDFs on the publisher’s website. It would be good to see a page with links to Colin’s YouTube recording of each song from the book. His videos show his fingers up close and are worth watching for guidance on interpreting his arrangements.
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