Following on from These Days with another Cotten-picking arrangement: a rare White Stripes acoustic song We’re Going to Be Friends. But this is easier than These Days as the thumb alternating between the g- and C-strings through the whole song.
The melody is very simple and repetitive almost like a nursery rhyme. But there are slight variations between the verses that you need to include to create at least a little variety.
The only big variation comes in the bridge section where they go far out and include a fourth chord. But you’re still picking the same basic patterns.
A bunch of ukulele groups have been doing great work raising money to aid Ukraine. If you want to give some direct help, give some support to Kharkiv-based ukers Alcohol Ukulele.
Inevitably, NFTs have hit the ukulele world in form of UkeHeads. Like most NFTs, they’re hideous, procedurally generated monstrosities. But they do give you a chance to play on James Hill’s next album.
A massive thanks to all 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:
– Arthur Foley
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The intro is by far the trickiest part of the song. There are a bunch of chord stabs and some tasty licks.
The melody line is exceptionally straight-forward and easy to play. The only interesting part is the bluesy “Listen to me” at the end of the verse (bar 28). And I’ve thrown in a couple of licks inspired by the bass in bar 20 and at the end of the choruses.
Lead singer of The Darkness, Justin Hawkins’s YouTube channel is well worth a follow. Loads of insider insights into the music industry, touring and the rock and roll lifestyle.
One Love first came out in a ska version in 1965. But my arrangement is based on the later, more laid-back and more famous reggae version. You might have noticed that good-time island vibes and togetherness are not my métier. So I’m sure you can improve on my version.
I love the mix of textures on this track. Particularly the sharp guitar stabs, the rinky-dink piano and Marley’s smooth vocals. I’ve tried to include those in this arrangement as much as I can.
But the song was written by Jackson Browne and first released by Nico. This arrangement is based on Nico’s version rather the more laid-back Jackson Browne version version. I couldn’t resist playing the Cotton picking guitar of the Nico version (played by Browne himself) on the ukulele. Which is a pain in the arse.
Intro: Setting up the cotton picking pattern along with the thumb alternating between the g- and C-strings, the index finger picking the E-string and the middle A.
Except in bars 1 and 3 you start on the g-string and in the others you’re starting on the C-string. I’ve done to complete the descending line on the g-string. That run goes C-B-A-G in the first bar and needs the F on the C-string to finish it off.
Verse: Some more switching of the pattern in this section. This time it’s because some of the melody notes go low enough to fall on the C-string e.g. the final C note in bar 6 and the C-string, second fret in bar 8.
There’s a break from the alternating picking when you switch to one-finger-per-string picking in bar 12. That continues until you ease back into the alternating style in bar 16.
Solo: My take on the solo is a bit more in the Jackson Browne style. Particularly with the country bend in bar 26. I’ve also taken a hint from the descending bass-line and used a descending line harmonised with thirds in bars 24 and 34. The rest is plucking the chords with a few references to the melody thrown in.
Of course, you’re allowed and encourage to do whatever you fancy in this section and make it your own.
Uke Hunt turned 15 years old a few months ago. Meaning it’s lasted 14 years longer than I expected. According to WebMD a 15 year olds may, “Get taller and more muscular.” Which is something to look forward to.
A massive shoutout to everyone who has generously supported the site via Patreon over the last year. Not only are they the reason the site is still up and running, they’ve also suggested almost all the tabs I’ve done (and 100% of the popular ones).
Here’s a round-up of my favourite tabs and the goings-on of the last year.
Intro: Plenty of room to play around with ideas in the intro. I’m just picking out notes from a few chord inversions.
Verse: Just two chords (C and D), a stately pace and a contained melody.
Pre-Chorus: A classic pre-chorus, building up the energy into the chorus. So it starts at the same level as the verse, builds complexity and moves up the neck in bars 26 and 27. Then switches from picking to strumming in bar 28.
Chorus: The trickiest part of the song with chord changes coming thick and fast.
Solo: Another place you can introduce your own ideas. Mine is a similar idea to the intro with notes coming mostly from the chords. I’m also doing plenty of sliding around to emulate the slide guitar in the original.
This arrangement goes straight from the solo in the chorus. So I’ve taken a hint from the pre-chorus and ending the solo with a move up the neck and then some strumming.
Joe Hisaishi is a prolific film composer (I only realised while researching this post that he scored a movie I watched while working on this piece). But he’s best known for his scores for the Studio Ghibli films and for Takeshi Kitano. Summer comes from one of Kitano’s gentler movies: Kikujiro.
This arrangement starts with some palm muted arpeggios before moving into the main melody. In this section, I’ve used the open g-string as a melody note in a number of places. You can replace any of these with E-string, 3rd fret if you prefer.
The arrangement goes full campanella mode in bar 18. Playing one note on each string means you don’t have to move your left hand at all for this quick section. Once you’ve got the picking pattern under your fingers it’s very easy.
Unfortunately, I couldn’t get the rising bass line here to fit with the higher pattern. So I’ve divided them up. So you play the pattern in G, then the lower bass part in bars 20-21, the high pattern in C in bars 22-23 and the bass pattern in C in bars 24-25.
After a reprise of the A section, the outro closes out with some notes up the neck. Which I manage to flub in bar 39. So play what’s written rather than my screw-up. I manage it second time around in bar 41 if you want to hear how it’s supposed to sound.
