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?
Continue reading “Mash-up, Medley, Marathon”
Reclaim your voice. Anyone can sing. You don’t need to read music notation. Listen. You can make beautiful music with your voice.
These are the messages of the “natural voice network,” something I read in Caroline Bithell’s well-cited 2014 book “A Different Voice, A Different Song: Reclaiming Community through the Natural Voice and World Song.”
I had to experience it for myself. I googled “natural voice network” and found a website with details of upcoming events. There was a free rehearsal at St Margaret’s House in Bethnal Green. It’s a part of East London I knew well, for I had lived and worked near Victoria Park some thirty years ago.
Continue reading “Natural voice network”
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.
Continue reading “Review: Arpeggio Meditations for Ukulele”
After spending over an hour working on “Let It Be” and half an hour on “When I’m Sixty-Four” we spent comparatively less time on the remaining three from the 15 songs on the Beatles Carpool Karaoke. While we were familiar with most songs, playing them on the ukulele was another matter.
Our coach showed us how to make an illusively simple three-chord song like “Love Me Do” interesting. It’s sometimes the case that three-chord songs are not necessarily easy to sing or rhythmically easy to play. So far, I’ve compiled more than 60 songs that require only the three chords of C, F, and G. It will be another exercise to play them well.
Continue reading “Love Me Do, another three chord song”
There seems to be an inverse correlation between construction and longevity. The longer lasting the song, the simpler you can expect the harmonic and melodic structures to be.
A song I sang as a teenager on long and winding road trips was a riddle in counting backwards from 99 to one. The idea is that the more you drink, the harder it is to count backwards in a group. [Note: Back then, there was no such thing as drinking age, especially on the island of Okinawa!] Add another dimension of modulating it through the major triads based on the twelve notes in a chromatic scale and you will be sure to stay sober!
Continue reading “99 Bottles of Beer on the Wall and counting”
Jason Mraz’s “I Won’t Give Up” is a ballad suitable for arpeggio accompaniment, in the key of E major.
Unlike “I’m Yours,” Jason Mraz‘s “I Won’t Give Up” is a ballad, requiring broken instead of block chords. Similar to “I’m Yours” the chord progressions repeat: A/E E | E | A/E E | A/E E | E | Bsus | B |
Continue reading “Jason Mraz I Won’t Give Up for piano ensemble”