Tag: Tricky

  • Charles Mingus – Goodbye Pork Pie Hat (Tabs)

    I hope you’re not coming here for a detailed harmonic breakdown of Charles Mingus’s Goodbye Pork Pie Hat, because I have no idea what he’s doing most of the time. Which made it a tough song for me to memorise. With all the unfamiliar chords and movements, I found myself constantly having to think ahead, since there weren’t many familiar shapes to fall back on.

    Verse: I found the easiest way to play the opening bars is to barre across the first fret from the last note of bar 1 to the Gm in bar 4. Not all the chords need the barre, but it’s a lot easier to keep it there than to take it on and off.

    As well as the harmony, there’s plenty of rhythmic jiggery-pokery going on. Most notably, the entire tune is in swing time except for bar 10. Which is played straight.

    Solo: In the original, the solo uses a new (slightly simpler) chord progression. For my version, I’ve gone with a simplified take on the original chords. And I’ve leaned into the songs bluesiness with a bunch of bends and slides.

    There’s loads of room here to bring in your own ideas. My take draws heavily on the melody. But you can go way off piste if you’re feeling brave.

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  • The Beach Boys – Wouldn’t It Be Nice (Tabs)

    How else could I pay tribute to Brian Wilson than with one of the greatest songs of all time: Wouldn’t It Be Nice. The song weaves through multiple keys and spans a wide vocal range, so I’ve done some shifting to bring it all within the range of the uke.

    Intro: Kicking off in the key of B with a nifty riff that is a bit of a finger-twister but fun to play. This section ends with a D chord setting things up for the key change to G in the verse. If you’re going to change keys in a song, playing the V chord of the key you’re changing to is the smoothest way to do it.

    Chorus: The happiest section of the song where you’re mostly rocking out open chords. As long as you keep things bright and percussive, you can’t go far wrong here.

    Verse: Moving to the key of E minor (the relative minor of G) for the more melancholy verse. This section contains my favourite chord in the song (the juicy F9 in bar 14) and favourite note (the D on “staaaaaayyyy” at the start of bar 16).

    Bridge: Shifting to the key of E major. This time, it’s more abrupt, without a chord to smooth the transition. This is the trickiest part of the arrangement. Lots of barre chords and use of the g-string in the melody.

    Outro: A nice, simple jam of an ending. No need to even change the chord. It’s just G all the way through.

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  • The Doors – Riders on the Storm (Tabs)

    Here’s one for everyone who is into The Doors: Riders on the Storm.

    Intro: The intro has hardest part of the whole song: the long legato line in bar 7. I’ve cut it much shorter than the original, but it’s still a challenge. Particularly since it needs to be played smoothly as it’s intended to evoke rain.

    Verse: Nothing much to worry about here. I’ve included the little twangy guitar riff in the first and third verses (e.g. bar 13). You can mix and match that with the straight chords in the second verse however you like.

    Solo: This is loosely based on the original guitar solo. Feel free to come up with your own version. But I recommend using lots of hammer-ons and pull-offs with a few bluesy bends to keep the feel of the original.

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  • Red Hot Chili Peppers – Otherside (Tabs)

    RHCP’s Otherside fits nicely on the uke. Just some fast melody notes to deal with. And the easiest solo in guitar history.

    Intro: A combination of the bass and guitar parts to create a little bit of counterpoint.

    Chorus: A simple melody and familiar chord shapes make this section an easy one.

    Verse: A bit more tricky with a more rapid melody requiring some alternate picking.

    Bridge: I’ve cut this section down to just the melody part in the second half. It’s the toughest section to play. The melody switches between the g-string and the A-string (where you play the A-string, 5th fret).

    Solo: A short and easy solo.

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  • Buzzcocks – Ever Fallen in Love (Tabs)

    Intro: Well worth learning the opening even if you don’t bother with the rest of it. It’s the easiest part of the song.

    Verse: Here’s where things get tricky. A lot of quick alternate picking to deal with. Make sure you’re fretting the E-string with you pinky for the G minor chord in bar 11. That’ll mean you’re in position for the quick hammer-on and pull-off between bars 12 and 13.

    Chorus: The trickiest part of the song comes in the transition between the Ab and the Eb. You can make it easier by releasing the Ab chord rather than letting it ring. That’ll give you time to prepare your index finger on the A-string, 1st fret.

    Break: Just the second half of the intro played a few times. Build up the volume here to increase the pull back to the chorus.

    Outro: A key change right at the end. Which does make it trickier to play. The upside is you can just slow it down and call it ritardando and people will think you’re fancy.

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  • Quantum Leap Theme (Tabs)

    The Quantum Leap theme was written by Mike Post who also wrote (previously tabbed) themes for Magnum P.I. and The A-Team.

    I love the 80s cheese of the theme. And it’s fun to play on uke too. I particularly enjoy the end of the B section (bars 17-22).

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  • Stereophonics – Handbags and Gladrags (The Office Theme)(Tabs)

    Handbags and Gladrags was written by, lead singer of Manfred Mann, Mike d’Abo in the sixties. But it wasn’t until the song was used as the theme to The Office (UK) and Stereophonics released a version that it became a hit. And it’s that version I based this arrangement on.

    Intro: The first four bars are the sweet oboe melody. Then the bluesier piano riff comes in bar 5 (which is my favourite part).

    Verse: The verse melody itself is very simple. The tricky part is quickly moving all the way up the neck for the piano riff. If you don’t fancy that, you can always sub in the oboe line for the piano line.

    Chorus: Also needs a few jumps around the neck but they’re not so big and quick. There’s a big stretch at the start of bar 16 to watch out for.

    Solo: The big brass solo is just three notes played over and over again.

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  • Pinky and the Brain Theme (Tabs)

    The Pinky and the Brain theme is a lot of fun to play. I always love a bit of strum blocking on the riff, i.e. strumming all the strings and muting all but one. It gives the tune a forceful, percussive sound that you can’t get from just picking.

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  • The Smiths – There is a Light That Never Goes Out (Tabs)

    Intro: A quick intro previously used by Marvin GayeThe Rolling Stones and The Velvet Underground. It uses one of Marr’s favourite tricks: letting open strings ring through chord changes.

    Verse: The verse is all in the first position. Mostly just switching between Dm and Csus4. There’s a little lick in bars 25-26 which I play first time round but not second time (where I substitute in bars 9-10).

    Chorus: The chorus is a step up in difficulty. In bars 39 and 47, there’s a big stretch to the fifth fret while playing Bb. If you want to make it easier, you could just play the A-string, 5th fret by itself. Or play the C-string open if you want a fuller sound.

    In bar 43 of the second chorus (“heavenly way to dieeeee”), I accidentally played bar 51 (“Pleasure and the privilege is mine”). So play what’s written rather than my screw up.

    Outro: A nice, easy strummed outro.

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  • Joy Division – Love Will Tear Us Apart (Tabs)

    Don your Joy Division oven gloves for a round of Love Will Tear Us Apart.

    Intro/Outro: This section ramps up the tension and anticipation. In the original, the bass plays an A power chord, and the guitar plays an Em chord. Combined, these produce an A9 chord.

    This arrangement moves the song down a step. So the G5 and Dm create a G9 chord. The intro chord also includes a 4th (the C note on the A-string) for an extra bit of tension.

    Chorus: This section flows so smoothly on ukulele. I love playing it. Which is handy because it makes up most of the song.

    Verse: The verse I found less natural to play. The melody here fits more awkwardly against the chords to fit the song’s lyrical theme.

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