A massive thanks once again to the generosity of Uke Hunt’s Patreon backers for keeping the site up and running this month.
And extra thanks to June’s Tenor level backers:
– Arthur Foley
– Brian
– Colleen Petticrew
– Dennis Boutsikaris
– Elizabeth Beardsley
– Ely Fletcher
– Ivo
– Jeff K
– Jon Kenniston
– Kelby Green
– Leia-lee Doran
– Mary
– Nevylle Carroll
– Noah
– Pat Weikle
– Pauline LeBlanc
– Rick Wurster
– Robert
– Steven Pituch
How else could I pay tribute to Brian Wilson than with one of the greatest songs of all time: Wouldn’t It Be Nice. The song weaves through multiple keys and spans a wide vocal range, so I’ve done some shifting to bring it all within the range of the uke.
Intro: Kicking off in the key of B with a nifty riff that is a bit of a finger-twister but fun to play. This section ends with a D chord setting things up for the key change to G in the verse. If you’re going to change keys in a song, playing the V chord of the key you’re changing to is the smoothest way to do it.
Chorus: The happiest section of the song where you’re mostly rocking out open chords. As long as you keep things bright and percussive, you can’t go far wrong here.
Verse: Moving to the key of E minor (the relative minor of G) for the more melancholy verse. This section contains my favourite chord in the song (the juicy F9 in bar 14) and favourite note (the D on “staaaaaayyyy” at the start of bar 16).
Bridge: Shifting to the key of E major. This time, it’s more abrupt, without a chord to smooth the transition. This is the trickiest part of the arrangement. Lots of barre chords and use of the g-string in the melody.
Outro: A nice, simple jam of an ending. No need to even change the chord. It’s just G all the way through.
Intro: The intro has hardest part of the whole song: the long legato line in bar 7. I’ve cut it much shorter than the original, but it’s still a challenge. Particularly since it needs to be played smoothly as it’s intended to evoke rain.
Verse: Nothing much to worry about here. I’ve included the little twangy guitar riff in the first and third verses (e.g. bar 13). You can mix and match that with the straight chords in the second verse however you like.
Solo: This is loosely based on the original guitar solo. Feel free to come up with your own version. But I recommend using lots of hammer-ons and pull-offs with a few bluesy bends to keep the feel of the original.
Here’s my take on Cheers theme in tribute to George Wendt. I thought I’d done this one years ago (with it being one of the best theme tunes of all time) but it seems not.
The tune starts out simple enough. Next, things get jazzy in bars 7-9. Then it’s right to the top of the neck for the chorus. Things get decidedly fiddly up there. I did try out shifting the whole section down an octave. It works but it didn’t have the same joyful hit it has in the original.
I don’t think I’ve ever anticipated an album more than I did Pearl Jam’s Vitalogy. At the time, I was disappointed it wasn’t as exciting as Ten and Vs. But in hindsight, it’s clear they were transitioning into being a band that would be around for decades. And that’s reflected in Better Man, which wasn’t even released as a single but has become one of their most enduring and popular songs.
This one is pretty straightforward. Even the riff and the verse are almost identical. But I have shifted a couple of notes from the g-string to the A-string to create a bit of contrast.
The first half of the song is all fingerpicking. After bar 44, there’s a lot more strumming going on. And it’s after that change that the biggest challenge of the song crops up: the transition from C to D at the end of bar 46. I found it tricky to barre across the second fret and hit the E-string, 3rd fret.
A massive thanks once again to the generosity of Uke Hunt’s Patreon backers for keeping the site up and running this month. And double thanks go to these legendary patrons of the arts:
And extra thanks to May’s Tenor level backers:
– Arthur Foley
– Brian
– Colleen Petticrew
– Dennis Boutsikaris
– Elizabeth Beardsley
– Ely Fletcher
– Ivo
– Jeff K
– Jon Kenniston
– Kelby Green
– Leia-lee Doran
– Mary
– Nevylle Carroll
– Noah
– Pat Weikle
– Pauline LeBlanc
– Rick Wurster
– Robert
– Steven Pituch
RHCP’s Otherside fits nicely on the uke. Just some fast melody notes to deal with. And the easiest solo in guitar history.
Intro: A combination of the bass and guitar parts to create a little bit of counterpoint.
Chorus: A simple melody and familiar chord shapes make this section an easy one.
Verse: A bit more tricky with a more rapid melody requiring some alternate picking.
Bridge: I’ve cut this section down to just the melody part in the second half. It’s the toughest section to play. The melody switches between the g-string and the A-string (where you play the A-string, 5th fret).
Intro: Starting off with the cool, staccato riff. First an octave up. Then in first position (where it’s played when it crops up later in the song).
Verse: I like to be a little late to some notes in the verse. Particularly the Gm chord at the start of bar 9. This matches the lyrics about hesitation and stalling.
Chorus: The chorus shifts up the fretboard and is much more strident. I’ve thrown in a couple of licks in bars 17 and 21 that you can change to your own tastes.
Solo: And feel free to come up with your own version of the solo, too. In this solo, I’m using the G natural minor scale. Plus some chromatic notes in bar 28 to lead into the C minor chord.
