Up the Neck and Back

In lieu of naming my work in progress for the past few days, I tentatively gave the file name “Up the Neck and Back” to describe the physical process of moving my left hand up the neck of the ukulele and back down. Unless you play a string instrument, you may think it’s about the human neck and back. What exactly do these 16 bars entail?

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Call and Response

One of the first workshops I gave at a ukulele festival was “call and response.” Songs that use this structure include “Doo Wah Diddy” and “Day O, the Banana Boat Song.” It’s also possible to “call and respond” with the Z-chord. Here’s a piece that gives practice for the development of many musical skills.

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Z Before A

Here’s a chord switching exercise laid out in notation and tablature with accents, strum patterns, and left hand fingering. Why Z before A? The Z Chord begins the piece. And it ends on the A chord, hence “Z Before A” for high G ukulele.

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Relative Lives in Parallel Universe

The idea of writing an instrumental piece that uses only one finger at a time is idealistic. After penning “One Finger at a Time,” I noticed it didn’t sound right. Reusing the same opening, I rewrote the piece. Like the harmony of moving from a minor key to its relative major and then to its parallel major, sometimes we live relative lives in a parallel universe.

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The Z Chord or “Zed Chord”

In the very first ukulele class I give, I introduce the Zed Chord. Before we even start tuning our ukuleles and introducing ourselves, I get everyone to hold the ukulele and make the Z or Zed Chord. What is this famous chord?

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Roman Hands & Russian Fingers

It is so easy to get complicated. As usual, before I opened my eyes while still in bed, I was mulling over how to simplify “One Finger at a Time.” All the best laid plans of mice and men went awry when I tried to develop the instrumental piece last night. Were there bits I could re-use in a new piece for Level I of my new book? I heard “roaming hands and rushing fingers” as a teenager. When translated to the ukulele it’s suddenly “Roman Hands & Russian Fingers” for the high G ukulele!

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One Finger at a Time

One of the first pieces I learned to play on the classical guitar was an earworm that I still remember decades later. It was a simple melody in a minor key. Pressing one left hand finger at a time, sliding on the fretboard with the right hand fingers in a predictable fingerpicking pattern, I committed the piece to memory. Does such a piece exist for the ukulele?

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Major Minor Magic

No sooner had I posted “Major Minor Menagerie” than a new idea surfaced. What if I remove the third and sixth degrees from the C major melody? How would that affect the harmonic possibilities? This thinking is akin to baking a cake and asking if I could get away with fewer ingredients. Which notes are essential? Which notes are not? In “Major Minor Magic” I explore the piece that emerges from such contemplation.

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Major Minor Menagerie for ukulele

Can a melody live in both major and minor worlds? Before my eyes open to embrace the day, I am already composing a melody in my head. Which chords are necessary to “force” a major melody into its parallel minor? Do the notes need to change? Let’s take a simple melody and find out in the “Major Minor Menagerie” for ukulele.

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A Minor Moment to C for high G ukulele

The classical guitar literature is blessed with melodious study pieces by Carulli, Carcassi, Sor, Giuliani, to name a few. The piano literature is also replete with Burgmuller, Czerny, and even more composers. These pieces are written to exercise and develop technique but are also beautiful to play and hear in their own right. Inspired by these greats, I try my hand at creating something for the ukulele. The piece starts in A minor and eventually ends in C major, hence the title “A Minor Moment to C.”

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