I started the Uke Hunt Patreon last February and have been blown away by the amount of support I’ve had. My goal was to get 50 patrons in the first year, so it’s amazing that it’s just past 180 Patreons. I’m massively grateful to all those people and everyone who has been a Patron along the way. It’s been a rough year for everyone, and having that support has made a huge difference.
It’s also let me focus on pumping out the tabs on the site with 59 full tabs in 2020 compared to 34 in 2019. I’m hoping to at least match this year.
In return for your support, all Patreons get tabs as soon as the video goes up. And there’s a monthly tab request thread with most tabs now being requests from Patreon. There are also more rewards for higher tiers.
Finally, Tenor level backers ($10 per month and up) get their names immortalised as Medician-level patrons of the arts along with these exceptional folks:
– Alina Morosanu.
– Arthur Foley.
– Colleen Petticrew.
– Craig Mills.
– Dan.
– Elizabeth Beardsley.
– Fiona Keane.
– Jeff K.
– Katherine Penney.
– Kie77.
– Leia-lee Doran.
– Lisa Johnson.
– Mr Daniel Barclay.
– Nick Parsons.
– Olga deSanctis.
– Pat Weikle.
– Pauline LeBlanc.
– Sandi Clement.
– Thorsten Neff.
– Trevor Mccravy.
This one is a lot of fun but a real finger-twister. I slowed it down a fair amount from the original and it’s still a challenge with quick runs, big leaps up the fretboard and a couple of triplet strums.
There are also some very strange musical choices in it. Most notable is the key change from E minor to F major (in my version) in bar 13. Up to that point, the only two notes that haven’t appeared are F and C (both of which show up in the F chord).
A little tribute I put together for Mary Wilson of The Supremes who died recently.
Where Did Our Love Go, written by the legendary Holland-Dozier-Holland, was originally intended for Mary Wilson. But Berry Gordy decreed Diana Ross the leader. Which is a bit of a shame as this song would have suited her deeper, richer voice more than Ross’s higher, poppier sound.
The arrangement starts out with a Motown stomp before two rounds of the main melody. Next up, I throw the backing vocals into the arrangement.
The only tricky bit of the arrangement comes in the solo. I’ve already adapted it pretty heavily from the original, so feel free to adjust it to suit your playing.
The song has a beautiful melody that fits nicely on the uke. The chord changes come fast, but they’re all simple chords. The intro/outro and the solo are the trickiest parts. But I’ve tried to keep those as playable as possible. You can always lay out on the solo if you want to show off.
The song is a lot of fun to play. The arrangement is mostly bashing out the chords with a few hammer-ons and single notes thrown in. There are only two sections in the song and they’re virtually identical.
After the opening twiddle, the arrangement starts out with campanella playing. Let these notes ring into each other to build up the sound.
The trickiest bit comes in bar 15 with three open A-string notes played in quick succession. If you’re struggling with that, you can substitute the middle note with the g-string, 2nd fret. Or miss it out entirely.
The only other bits that might throw you are the slight finger-twister in bar 38 and the switch to 3/8 time for bar 42.
When Toploader’s cover of Dancing in the Moonlight (originally by King Harvest) turned out to be the most liked request on Patreon this month, I was unsure about taking it on. It was played to death when it came out and I inevitably ended up loathing up. But I had a lot of fun playing it. And it’s as much of an ear-worm as it ever was.
My version is heavily based on Toploader’s. But it does take a few elements from the King Harvest version in the solo. And it steers very clear of Liza Minelli’s nutso take.
Window Shopping
