I’ve been a fan of Ariana Grande as a person since the classy way she handled the Manchester bombing. I haven’t been a consistent fan of her music but thank u, next is a winner. Firstly, there’s the tasty chord progression. In the key of this arrangement it goes:
Second is that great vocal run leading into the chorus (bar 20). It’s very quick so I used campanella picking to play it. If you prefer, you could use hammer-ons and pull-offs like this:
And, third, her use of the Scotch snaps rhythm in the chorus (first cropping up in bar 24). Which goes like this:
Coupled with half-time Scotch snaps in the intro and outro:
It’s St Patrick’s Day this Sunday so time of the traditional Pogues chord post. This time I’ve gone with their cover of my favourite early- Dylan song When the Ship Comes In.
The two songs are in the same key but they do contain a fair few differences so I’ve written up both.
– Four times for the G in the intro.
– Twice on the G at the end of the even numbered lines in the verses.
– Twice on the Bm in the fifth line of the verses.
The tune in the solo fits pretty nicely on ukulele. I’ve introduced a little campanella run in bar 6. To prepare for it I suggest barreing across the 7th fret at the start of bar 5.
If you’ve been following along, you’ll know I’m a big fan of Paul Hemmings’ Duke Ellington covers. Now you can pick up the Duke On Uke tab book of his arrangements.
I stumbled across a Cliff ‘Ukulele Ike’ Edwards track I was unfamiliar with on The Internet Archive with some fantastic ukeing and his trademark deranged scatting: When My Sweetie Puts Her Lovin’ On.
My favourite aspect of this song is the dichotomy between the beautiful piano playing and Waits’s raspy voice. He continues that split in the outro where pretty chords knock-up against dissonant notes. I’ve reworked the outro but kept that same idea. I’d definitely recommend coming up with your own outro. When you’re using dissonance, there are no wrong notes.
Most of the piece is played on a banjo roll style arpeggio involving three fingers. Accentuate the first two notes in every bar to create a sense of ethereal melody. You can even add some dramatism by slowing the beat just a little on the start of the measure.
Grips are fixed for the full measure in almost every bar, and position shifts are minimal. Maybe you’ll need some practice to achieve a smooth transition into bar 6, otherwise, I’d call this one a quite feasible piece.”
About the project:
I’m publishing a collection of 50 short pieces for ukulele solo I’ve title 50 Miniature Studies for Ukulele, at a rate of two videos per week. Videos are released every Wednesday and Friday each week and can be found on Instagram, Facebook and YouTube. The tabs, performance notes and other goodies are accessible for patrons through Choan’s Patreon page.
Verse, Solo, Bridge: I like to use a two bar strumming pattern here. The first bar goes like this:
d – d u d u d u
And the second:
d u d u – u d –
In the first two lines you play the first bar on G then the second bar on D then both on G. After that it’s one bar per chord with an added down-strum on the D7 at the end of the verse.
The solo is just the first two lines of the verse and the bridge is just the second half of the verse. So you can use the same strumming there.
Chorus and Outro: For the rapid G-C changes I just do two down-strums per chord. The one long down-strum each chord on the last two lines.
The intro combines the organ stabs and the guitar riff (which pops up again at the end of the chorus). If you want to make it easier to play you can switch the opening chords with 021x and 0003.