Since lockdowns cascaded across Europe and America, I have been hosting an online, interactive song session called “Three Chord Thursdays.” Each Thursday, we ukulele enthusiasts (whether vocalists or instrumentalists) meet for an hour to share songs of a particular theme, category, or era. It’s entirely free to join by registering in advance for the login/password details. Volunteers submit their requests to perform in advance. We aim to fit up to 10 songs for the hour-long session in Zoom.
We welcome everybody everywhere in the world. Restated, that’s anybody anywhere in the world.
Continue reading “Three Chord Thursdays”
Today five virtuoso musicians met for the first time. Quartet San Francisco (QSF) was warming up in Gilman Chapel in Cedar Grove Cemetery. They had just driven up from Rhode Island where they were staying for a string workshop and concert at the university in their concert tour of Rhode Island, Boston, Lexington, and Martha’s Vineyard.
Robert Bekkers, who gave the inaugural concert of this new concert series, walked into the church and shook hands with them. He and Jeremy Cohen, founder and leader of QSF, had corresponded by e-mail after my introduction. One member of my ukulele pluck ensemble had told me about QSF, and after watching their videos, I was hooked.
Continue reading “When musicians meet, they play together”
On a chilly wet spring evening, I fought the drizzle and the descending darkness to get to a church near the bust stop. Jamaica Plain, or JP for short, was dead quiet, save those going into the famous ice cream shop.
I intercepted a young woman in a fluffy pink dress carrying what looked like a ukulele case. Concerned that I might have missed the event entirely, I asked if Bryan Tolentino was still inside. She nodded and pointed at the entrance to the First Baptist Church on Centre Street.
Continue reading “Bryan Tolentino workshop and concert in Boston”
How do you make money in music? To understand how musicians make money, I turn to successful business models. My paternal grandfather made a living teaching English. Teaching music is one of several ways to earn a living in music.
Continue reading “Successful business models in music”
If you travel through the London Underground and hear harp music being played, consider yourself lucky, for you will want to stop and chat with the harpist and buy his CD. Why? He is one of the nicest guys you’ll ever meet. His story will inspire you.
Continue reading “Live music underground in London”
Leading a group of ukulele players to play and sing together in front of an audience is quite different from 1) leading a group with whom you’ve been rehearsing for awhile, 2) leading a group without a separate audience listening, and 3) playing in the group as a member and not as a leader of the group. This morning I had the first time experience of leading my West London ukulele group in an outdoor performance at a charity event in Southall. It was a last minute invitation to lead, confirmed only this morning. I didn’t have time to think but made plenty of assumptions.
What did I learn?
Continue reading “Leading a ukulele group performance”
When musicians meet, they want to play together. They exchange recordings of themselves. Playing together is a way to establish whether they are compatible, whether they want to collaborate, whether there is a future together.
Such was the case when I met a classical guitarist more than seventeen years ago. He copied a recording of his guitar quartet on CD as a takeaway gift.
The next time we met, I brought the only piano guitar piece I owned — an arrangement of Vivaldi’s guitar concerto for guitar and piano. Eager to find more pieces to play, I visited music bookshops in my travel as magazine editor. He arranged music for us to play. Before long, we had collected and arranged enough sheet music to give a concert. Soon composers started writing for our piano guitar duo.
The subtitle of our first concert at the Makawao Union Church in Maui, in December 2007, was “four centuries of music for piano and guitar” —- which comprised of arrangements, original compositions, and commissions. We released the live recording of the concert as a CD in January 2011.
Nearly two decades later, the guitarist is conductor of a guitar orchestra while I have founded my own ukulele group. How do we combine the two? Is it possible?
Continue reading “Guitar meets piano; guitar orchestra & ukulele club”
“What shall we call ourselves?”
Until recently, there was no need to give ourselves a name. Then, we gave our first gig. The audience was thrilled and appreciative, but they didn’t know how to address us.
Not long afterwards, some of us played in another ukulele group’s gig, for which we bought and wore T-shirts bearing their name. I felt like an imposter at that moment.
Our next gig is coming up soon. What name shall we use to play in porchfests and farmer’s markets? Continue reading “Name for a band and a brand”
How do ukulele groups approach the task of song selection to serve the dual purpose
of attracting and retaining members and audiences? This question addresses both repertoire development and concert programming.
- Members are those who attend the meet-ups to play ukuleles and/or sing along
- Audiences are those who attend the performances, and may sing along from where they sit or stand but don’t play with the group
Does the responsibility for choosing songs, finding, creating, or altering existing song sheets, making them available online or in print, as links, individual song sheets, compiled songbook, etc rest on one individual such as the leader? Does an official “gig book” or “song book” exist for the group, from which participants call out their choice of song? Or does a new songbook or song list get compiled for each gathering? Alternatively, do participants bring copies of the song sheet of their own choosing to distribute to others?
Continue reading “Ukulele repertoire: song selection for ukulele groups and clubs”
Also known as “from participation to presentation”
Getting together to play music together is akin to everyone chatting musically at the same time. In my ukulele jam sessions, we accompany ourselves on our ukuleles to songs we pretty much know how to sing already. It may seem like sight reading, for we don’t usually practice or know what we will be doing beforehand. In one two-hour jam session, we could go through as many as thirty songs without a break.
There is a subtle difference between a jam and a gig. While there may be onlookers watching and hearing us from the sidelines, we aren’t playing to an audience other than ourselves. A jam session is participatory music making, where everyone is participating by singing and or playing. A gig, on the other hand, is presentational where we play to an audience.
Continue reading “From ukulele jam to gig”