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”
On my first day of taking the intermediate ukulele course in Hawaii, I was surprised to witness the entire class playing and singing along. We were sight reading and sight singing, skills that take years to master for musicians.
That morning at Maui College in January 2016, all we had in front of us was a single sheet of paper that contained the lyrics, chord names, and chord diagrams. No music notation. No Italian words about tempo and dynamics in italic. No tablature. No abbreviations. No other music symbols. How could a single sheet of paper with minimal information guide music making?
Continue reading “Song sheets: the barebones to guide music making”
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”
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.
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What exactly happens in a ukulele jam session?
The word “jam” conjures up images of people playing music together, on different instruments in a frenzy. As ukuleles come in different sizes, they naturally sound different. Often there are complementary instruments such as the cajon, bass guitar, tambourine, kazoo, harmonica, and violin. The word “jam” also sounds loud rather than soft but it doesn’t have to be. Coining the words “jam session” makes it sound more sophisticated than the technical description: a group play and sing along. It’s not karaoke, because it’s not about people taking turns singing on the microphone, rather, everyone plays and sings together. As you may expect, not all jam sessions are the same.
Continue reading “Ukulele jam sessions: what to expect”
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”
As usual in our jam sessions, we get bolder and bolder the later it gets. By 9 pm, the ten chords in “Hey Jude” don’t look formidable anymore. How can we sing “Let It Be” and exclude “Hey Jude” the last number in the Beatles Carpool Karaoke? Besides, Paul McCarney sings it in the same key as the song sheet from San Jose Ukulele Club.
Continue reading “Hey Jude on 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”
As usual, I began our 7 o’clock ukulele jam session with an easy song, one that everyone knows with few easy chords. This being the Beatles Carpool Karaoke, I chose “Let It Be,” using San Jose Ukulele Club’s version in the original key of C major, with just four chords, rather than the G-major transposition with nine chords in the version in Richard G’s Songbook.
What can you do with “Let It Be” if you already know it very well?
Continue reading “Let it be real good”
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”