Intro 1: The album version of the track starts with Martin Quittenton’s (completely out of place) little contrapuntal piece in 3/4 time. I almost skipped it but it’s a fun tune that’s worth learning by itself.
Intro 2: The second intro is much more in keeping with the song’s melancholy mood.
Verses: The verses are fairly straightforward. It’s mostly strummed with a few notes picked out here and there.
Solo: Loosely based on the original with lots of sliding around the fretboard. As always, throw some ideas of your own in here.
Intro: It’s a fun riff to noodle away on. I recommend learning this bit even if you don’t learn the whole song. (Put a capo on the first fret to play along with the original.)
Verse: The intro and verse are all fingerpicked with thumb on the C-string, index on the E and middle on the A. The verses are very repetitive, so I cut the second verse down to half. You might want to do the same with the first verse too.
Chorus: Like every Nirvana song, there’s a quiet-loud-quiet-loud dynamic going on. So switch to strumming and bash out the chorus.
Outro: The riff again. This time played with a bit more abandon and hitting the open C-string any time you feel like. Then a dead simple ending.
Sunday Morning is the poppiest song The Velvet Underground’s debut album. It has a laid back, easy going vibe. And you have two days to learn it so get to work. Watish!
Intro: Played high up the neck to give a music box feel. But if it’s too cramped up there or your uke doesn’t have enough frets, you can play the same picking pattern with any inversion of F and Bb and it’ll work.
Verse: Switching from thumb and two finger picking in the intro to one finger per string for the start of the verse. It’s tricky to bring out the melody in bars 13-16 with the melody switching from the A-string down to the C. So emphasise those as much as you can while keeping the chill vibe.
Back to thumb and two finger picking from the Fmaj7 in bar 17 to bring out the descending low notes.
Chorus: Bringing in a few strums in the chorus for contrast.
Solo: The original solo has a bunch of hammer-ons, pull-offs and double stops. So I’ve used that concept for this solo rather than recreating it note for note.
Outro: Similar to the first bars of the verse. But here there’s a slide up to the fifth fret instead of the open A-string. I toyed with playing it this way in the verse and decided to hold it back for the outro. But give it a go in the verse and see how you feel about it.
This arrangement of Green Day’s Good Riddance is played with fingerpicking the whole way through (one finger per string picking style). I love the way the intro sounds played that way and fingerpicking brings out the melody.
But I originally arranged it strumming so it’s closer to the original and it works well. Plus it’s easier to play that way. So you have my full permission to play it that way (not that you need it).
Possibly the most bizarre story I’ve ever seen in fifteen years of doing this: Colleen “MirandaSings” Ballinger responded to allegations of child grooming with a jaunty ten minute ukulele song. And of course I had to tab it.
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
– BigHempin
– Colleen Petticrew
– Dennis Boutsikaris
– Elizabeth Beardsley
– Ivo
– Jameson Gagnepain
– Jeff K
– Jon Kenniston
– Kelby Green
– Leia-lee Doran
– Lisa Johnson
– Loreena Humbert
– Mary
– Michael Lufkin
– Monika Kolodziejczyk
– Moses Kamai
– Nevylle Carroll
– Pat Weikle
– Pauline LeBlanc
– Robert
– Thorsten Neff
– Tina Knight
– Virtual Performing Arts Academy
Amy Winehouse’s Back to Black has to be one of the best albums of the noughties. I tabbed Rehab a while back. And it’s high time I tackled the title track.
The chord progression is Gm – Cm – Eb – D in the verse and chorus. That drop down from Eb to D is so effective in conveying a sense of defeat.
The verse melody acts in a similar way starting out on just a single note repeated (G in this arrangement) and ending by dropping down one fret on the D chord.
To emphasise the Zevonness, my arrangement kicks off with a loose interpretation of Life’ll Kill Ya‘s intro. So long as you’re working within the F-Bb-C chords, there’s plenty of scope for your own ideas in the intro.
From there, I’ve tried to keep everything very simple and easy to play.
The only tricky bits are some fast hammer-ons and pull-offs at the end of bar 24 then into the Break section. Again, you can adjust this section to your taste. If you pick out notes from the chords and melody, you can’t go wrong.
