Daniel Ward’s 30-page “Arpeggio Meditations for Ukulele” for ukulele players reminds me of the Hanon exercises I played every day as a budding piano player. That’s how I built my technique, after playing the scales and arpeggios in the key I was assigned, I’d play one piece from Hanon for the entire week. This sort of repetitive finger exercise gets you into a trance. However, I daresay, Ward’s music is a lot more interesting and pleasing to the ear than Hanon’s.
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?
What next, after “Let It Be”?
Can we squeeze in another song from the Beatles Carpool Karaoke before our usual break at half-time?
Jim, the bassist from Jamaica Plain, scrolled through the song list on my iPad with me and spotted something that’s a bit more upbeat.
I said, “How about ‘When I’m Thirty-Four” ?”
With great expectations since I first received the score in early spring, I looked forward to the second performance of Robert Beaser‘s Chaconne. It’s a new work that I had studied and played in a large guitar orchestra for its premiere in April 2018. This time, Robert Bekkers, the conductor of our Boston Guitar Orchestra, played it with eight other musicians. Knowing that the nine guitarists rehearsed nearly every day of the Boston Guitar Festival confirmed my earlier belief that it was not an easy piece at all.
Hot off the press, Dan “Cool Hand Uke” Scanlan’s new book, lightweight paperback and nicely designed, is full of tips and advice gleaned from the author’s sixty years of playing and teaching the ukulele. In that time period, the author has undoubtedly encountered all sorts of questions, for playing an instrument isn’t just about playing. Adults like to ask questions. It takes an experienced teacher to explain the answers without taxing the brain and intimidating the beginner.
What a great idea to travel down memory lane singing songs you wrote in the different locations of your home town! That’s exactly what Paul McCartney did in Liverpool recently. The 24-minute Youtube video moved me to tears as “Let It Be” did for James Corden, host of “The Late, Late Show” in London.
The one time I was proud of my playing as a member of the guitar orchestra and the combined sound we produced was also the one instance that I had forgotten to bring equipment to video or audio record ourselves. The three pieces we played in the concert of 27th April 2018 were much easier than the repertoire of the two previous concerts. I felt in control. I felt like a contributing member of the ensemble. We started and ended at the same time, no extra noises. My only regret was that I did not record it, and we won’t be giving this concert again.
From the reaction of the audience (loud and instant applause after each piece and the prolonged applause at the end; individual compliments after the concert), I gather we didn’t do badly at all. What makes an excellent performance? The first clue, we had an effective rehearsal only four nights earlier.