This is a rare occasion where I didn’t get tilted trying to record the video. It’s a straightforward and fun song to play on uke. There are many moves up and down the neck but you have plenty of time for them.
The only challenge I had was playing the open C note on the offbeats in the verse (e.g. bar 13). I’m so used to plodding out the thumb-picked notes on the beats it took a bit of practice to rewire my brain.
Tom Odell’s Another Love managed to amass 900 million views on YouTube without me ever having heard it. Luckily, my Patreons are more on the ball than I am and requested it. And it’s a catchy song that fits nicely on ukulele in the original key.
Technique-wise, it’s a song of two halves. For the first half, it’s all fingerpicking. The intensity picks up in the first midtro with the strums coming in during bar 42. Don’t worry about hitting every note exactly as it’s tabbed in the strumming section. It’s more important to keep up the intensity and the feel.
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:
And extra thanks to February’s Tenor backers:
– Arthur Foley
– BigHempin
– Colleen Petticrew
– Dennis Boutsikaris
– Elizabeth Beardsley
– Ivo
– Jameson Gagnepain
– Jeff K
– Jon Kenniston
– Kelby Green
– Leia-lee Doran
– Margit Stadlmann
– Mary
– Moses Kamai
– Pat Weikle
– Pauline LeBlanc
– Robert
– Tina Knight
Possibly because of Eddie Vedder’s affection for the uke, the mandolin song from the Into the Wild soundtrack, Rise fits nicely on the uke without changing the key.
After a fingerpicking intro, the song is almost all strums. With just a few notes picked out. The verses and choruses are straightforward. It’s just the solo and that outro that have a few stretches and jumps up and down the neck.
I’ve kept the solo and the outro fairly faithful to the original, but there’s plenty of space in those to throw in your own ideas.
The biggest challenge here (after spelling the title) is the very rapid delivery of the verse melody. These bits are played with a long succession of hammer-ons and pull-offs. Make sure you pull-off downwards rather than straight off the string. That’ll give it an extra pluck to keep the notes sounding.
Other than that, it’s a fun song to blast through.
Intro: The original intro is unusually long, lasting more than a minute. I’ve chopped it down a little for this arrangement.
The intro (like the whole song apart from the bridge) is just Dm-Bbmaj7. The first 8 bars have the guitar line on top of that. And the next four focus on the bass line.
The final 8 bars focus on the string line. With long notes on the Dm and pizzicato notes on the Bbmaj7. To imitate the pizzicato, I’m muting the strings by gently resting the side of my picking hand on the strings near the bridge.
The transition into bar 17 is made easier by muting the g-string with your thumb instead of playing the whole chord. But you can always add in the g-string, 2nd fret if you’re fast enough.
Verse: The wispy and whispery vocals make the melody a little hard to discern. I’ve tried my best but I’ve taken a few liberties with it. Nothing too tricky to deal with here. Just a trip up to the fifth fret at the end.
Bridge: They go all jazz with it and add a third chord. Still straightforward, though. Just a couple of quick pull-offs to deal with.
Outro: This is where things get tricky. There’s a flurry of notes in bars 46 and 50. I’ve gone campanella with it and involved the g-string in the melody to spread out the notes a little.
Intro: The verse of Boulevard uses the same chords as the verse of Wonderwall so I went extra Wonderwally for the intro.
Verses: Nothing too tricky here. Just fingerpicking around first position chords.
Chorus: Switching to strums and moving up and down the neck much more.
Solo: This is where it gets challenging. It’s a series of chord stabs with octaves between them. The upside is that it’s very repetitive, so there’s not a lot of it to tackle.
Outro: A completely new chord sequence here using chromatic moves. It’s just bashed out with strums.
I started the Uke Hunt Patreon four years ago and the support of Patreons has made a massive difference for the site. A huge thank you to all the backers. It’s tough times for everyone at the moment and I deeply appreciate you ensuring Uke Hunt stays running and is more profitable than Twitter.
As a bonus for backers, all Patreons get tabs as soon as the video goes up. And there’s a monthly tab request thread with almost all tabs now being requests from Patreon. There are also more rewards for higher tiers:
Concert level backers ($5 per month) and up also get access to monthly Patreon-only tabs. These tabs tend towards the more challenging in terms of skill level. When you sign up, you’ll get access to 48 tabs not available anywhere else. Including these from last year:
Finally, Tenor level backers ($10 per month and up) get their names immortalised as Medicean-level patrons of the arts along with these exceptional folks:
– Arthur Foley
– BigHempin
– Colleen Petticrew
– Dennis Boutsikaris
– Elizabeth Beardsley
– Ivo
– Jameson Gagnepain
– Jeff K
– Jon Kenniston
– Kelby Green
– Leia-lee Doran
– Margit Stadlmann
– Mary
– Moses Kamai
– Pat Weikle
– Pauline LeBlanc
– Robert
– Tina Knight