Very little original material has been written for the ukulele, compared to the piano and other instruments. As such, most of the music for the ukulele consists of transcriptions. The journey to make a song sheet work for ukulele groups to read and use is one of reducing and simplifying the musical material to its barebones. After interviewing various transcribers who share their song sheets online for my research, I now share my way of transcribing songs for the ukulele.
A thought occurred to me while playing for the recent half-marathon. We ukulele players shouldn’t be having song breaks when marathon runners don’t. When we are the foreground music, such as a concert or gig, it’s natural to have beginnings and endings. It not only gives us time to flip to the next song sheet but also let the audience react with applause.
For background music or as support for marathons and other races, however, we need to keep going. How does one keep going when the average song length is 3 minutes?
Reading about the legendary London Yiddish Ukulele Group (LYUG) at the Open Mic in the Jewish Museum in London reminded me to write about the way I learned to sing in Yiddish. I learned those Yiddish songs by listening and singing to an audio recording, in the days leading up to the live performance.
Now that I’ve been sold on the idea of ukestras and ukestration, I turn to the companion book by the same authors: “The Business of Being a Community Musician.”
In this 58-page e-book, Mark Jackson and Jane Jelbart explain how to set up a business and more importantly, how to stay in business as a community musician. The latter is the reason for writing a business plan, to avoid burn out and financial distress.
subtitle: Orchestrating Music Making in Ukulele Groups
After playing in various ukulele groups and starting my own, I had a burning question. “What can we do differently to get more out of our ukulele jam sessions?”
The answer lies in “The Ukestration Manual: Creating Music Making Communities with the Ukulele and Ukestra Method” by Mark Jackson and Jane Jelbart. Continue reading “Review: The Ukestration Manual”
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.
If you are as fanatic about playing the ukulele as I am, getting to and from a jam session could be an issue if the venue is relatively far and inconvenient and if it’s the first time (in case you get lost). If the jam experience is worth it, you’d find an alternative way to get there to make it less painful and arduous. I’m always surprised when seasoned ukulele players drive more than an hour through rush hour to come to our weekly ukulele jam sessions. It’s not always easy to find parking in our area. The first time, they say they are curious. If they come again, it’s a compliment. We’re doing something right.