A version of Proud Mary in tribute to Tina Turner. It’s one of those covers that completely eclipse the original version. It’s so perfect it’s hard to believe it wasn’t written for her.
Uke Hunt turned 16 years old a few months ago.According to WebMD a 16 year olds, “can tell and write involved, incredible stories. They are better able to explain, describe, sum up, and argue.” Which will be a first around here.
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 ones people enjoy).
Here’s a round-up of my favourite tabs and the goings-on of the last year.
– I reviewed the tabbing software Guitar Pro 8. My updated thoughts: the ability to add an audio file in line with the tab has significantly improved the accuracy of my tabs. I wouldn’t go back to working without it.
– Big Chord Quiz 8.
– Ukulele moms are an embarrassment.
A version of Panic tribute to Smiths bassist, Andy Rourke.
Intro: A short jingle-jangle intro. I originally played it an octave up to accommodate the original. But this version is much easier to play and keeps the vibe of the original.
Verses: The verses are all very slightly different. The trickiest part comes in bar 17-18 with some quick triplets. The first will require a bit of alternate picking. The third verse starts using the g-string to play melody notes (beginning in bar 38).
Bridge: Keeping the barre across the strings even when you don’t need to makes this section easier to play.
Chorus: Even more melody notes on the g-string in this section to keep it rocking. Plus the chords are a little more filled out with a G between the C and D.
Love Shack isn’t the most uke-friendly song but it is a ton of fun to play.
Intro: Playing the melody using strum blocking i.e. strumming but muting everything but the string that’s playing the melody. That means you can play single notes but still keep things energetic and forceful.
Verse 1: Starting with Kate Pierson’s part played high up the neck before switching to Fred Schneider’s part lower down the neck. Schneider’s part is very talky so the melody here is somewhat created.
Pre-Chorus: A nice easy little section.
Chorus: The section I had most trouble playing. It’s tricky to combine the guitar riff and the vocal line smoothly. The second chorus is a little different from the first and third.
Verse 2: Four bars of talky section, four bars of strum blocking then some simple strumming to finish with.
Bridge: The section that works least well on the uke. I thought about leaving it out but it’s too iconic. It’s starts with a reworking of the bass riff then goes into a shortened version of the “Bang, bang, on the door” bit. I’ve even included an attempt at the “Tin roof, rusted” bit. Although I wouldn’t blame you for missing any of this out.
Iggy Pop’s The Passenger is a straight-forward basher. There’s the same chord sequence the whole way through:
Am – F – C – G
Am – F – C – E7
The E7 chord is a bit of an oddity. In my arrangement I’m avoiding playing the g-string (by muting with my thumb) to keep the chord ambiguous as the whether it’s major or minor.
Later in the song (starting on bar 48) the melody hits a G note which clashes with the Ab in the E7 chord. So in those cases, I’ve substituted in a G chord to make it sound more natural on the uke. And I’ve stuck with that G chord in the final chorus as well.
The one slightly fancy touch comes in the second half of the intro (bars 5-8). This riff based on the lead guitar part which I thought it deserved showcasing.
Shamefully, I haven’t played a Zelda game since A Link to the Past. So these arrangements are heavily influenced by that era.
Zelda’s Lullaby: A chill start to the medley with gentle picking and a soft Cmaj7 chord. There is a big leap up the neck in bar 6. But this part is slow enough that it’s not a big challenge.
Main Theme: Ramping up the pomposity and changing the key to F. There’s another big jump in 16. This one is at a quicker tempo so it’s more of a challenge. From there, you get the descending note until you hit the C.
Ilia’s Theme: Back to a more relaxed feel. This time, the challenge is a big stretch between the 4th and 10th fret in bar 23. If you’re struggling there, you can change the A-string, 10th fret to A-string, 7th fret in bars 22 and 23. It changes the feel a little but it still sounds nice.
Kakariko Village: The challenge here is to emphasise the melody notes so it doesn’t just sound like a melody-less picking pattern. Otherwise, nothing too difficult.
Hyrule Castle: Switching to C minor and more pomposity. Where the Main Theme is grand, this one has some menace with the chromatic notes on the 2nd, 3rd and 4th frets. 8-Bit Music Theory did an excellent video on this tune.
Song of Storms: A final key change to E minor and the trickiest section of the piece.
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
– Colleen Petticrew
– Dan
– Dennis Boutsikaris
– Elizabeth Beardsley
– Ivo
– Jameson Gagnepain
– Jeff K
– Jeff Otto
– Jon Kenniston
– Kelby Green
– Kie77
– Lisa Johnson
– Monika Kolodziejczyk
– Moses Kamai
– Nevylle Carroll
– Nick Parsons
– Pat Weikle
– Pauline LeBlanc
– Robert
– Thorsten Neff
– Tina Knight
It’s a very simple song. Other than bars 27-28, it’s all first position beginner chords and a straightforward melody. The only thing that makes it difficult is the tempo. So be sure to practice slowly and gradually build up speed.
One slight oddity comes in bars 6 and 15. Here there’s a hammer-on on the C-string from a note way back in the previous bar. I do this to create a subtle change to the G chord in order to emphasise the much stronger second note in the bar.