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JUMPIN' jlM'S
UKULELE
https://archive.org/details/jumpinjimsukulelOOjimb
JUMPIN' JIM'S
UKULELE TIPS 'N' TUNES
A Beginner's Method & Songbook
by Jim Beloff
Contents
Foreword 2
The Soprano Ukulele — Diagram/The Family of Ukuleles 3
Holding the Uke 4
Tuning the Uke 5
Forming the Chords 6
Strumming the Strings 7
Reading the Music — The Treble Clef, The Full Scale, Measures and Bar Lines,
Note Values and Rest Durations, Time Signatures 8
Sharps and Flats and Key Signatures — Key Signature Table 10
Key of C
He's Got The Whole World In His Hands — Two new chords/ Basic 4/4 downstroke. . 11
Clementine — Two chords/ Basic 3/4 downstroke 12
Buffalo Gals — Two chords/The Common Strum 13
Amazing Grace — New chord/ Basic 3/4 downstroke 14
When the Saints Go Marching In — Three chords/New 4/4 strum 15
The Climbing Song — New chord/4/4 strum 16
New Key — G
She'll Be Comin' Bound The Mountain — Two new chords/Barred chord/4/4 strum . 17
The Band Played On — Three new chords/ New 3/4 strum 18
Aura Lee — Two new chords/4/4 strum 20
Bill Bailey, Won't You Please Come Home — Try varying strums 22
You Tell Me Your Dream — Two new chords/3/4 strum 24
The Sidewalks Of New York — Three new chords/3/4 strum 26
I've Been Working On The Bailroad — Two new chords/ 'New 4/4 strum 28
New Key — F
A Bicycle Built For Two — Two new chords/3/4 strum 30
Oh, Susanna — New 2/4 strum 32
America — New chord/3/4 downstroke/ 'Chord Soloing 33
Home On The Bange — Two new chords/ 3/4 strum 34
You're A Grand Old Flag — Varied 2/4 downstroke 36
Swing Low, Sweet Chariot — New chord/ 4/4 strum/The Roll Strum/Tremolo 38
New Key — B^-
While Strolling Through The Park One Day — New chord/4/4 strum 40
Give My Begards To Broadway — New chord/4/4 strum 42
Let Me Call You Sweetheart — Two new chords/3/4 strum -+4
The Star Spangled Banner — Varied 3/4 strum 46
Yankee Doodle Boy — 2/4 strum 48
America, The Beautiful — New chord/Varied 4/4 strum 50
New Keys — D and A^
Beautiful Dreamer — Three new chords/3/4 strum 52
Drink To Me Only With Thine Eyes — 3/4 downstroke 54
Aloha Oe — New Key A^/ All barred chords/ 4/4 strum 56
The Key Change Song — Practicing all major chords/ 4/4 strum 58
Chord Chart 60
Transposing — Transposition Chart 62
Notes On the Ukulele Fretboard — Fingering Chart 62
The History of the Ukulele 63
Alphabetical Song Contents 64
Copyright © 1994 FLEA MARKET MUSIC, INCORPORATED
Box 1127
Studio City, California 91614
Exclusively Distributed by
HAL LEONARD PUBLISHING CORPORATION
7777 West Bluemound Road
Milwaukee, Wisconsin 53213
Foreword
Since the publication of my Ukulele Favorites songbook, Pve heard from and
met many ukulele fans. In fact, there are many more people playing the uke, collecting
ukuleles and participating in ukulele clubs and groups than you might imagine. My own
fascination with this instrument stems from the fact that it is extremely portable, and vet
capable of producing remarkably sophisticated arrangements.
Somehow, once you get hooked on this "little guitar," you can't stop playing it
and you can t stop encouraging others to play it too. Tips TV' Tines is ray contribution.
The challenge for me in writing this book was to give it some personality, make the learn-
ing process easy and fun, and, overall, try to create in print the experience of a private
lesson. cmaj'
One of the key innovations in this book is the use of "parenthetical'1 chords
This allows you to go back to a song that you've already learned and embellish it with
more interesting chords.
I would love to hear from you. If you have any suggestions or anecdotes, please
drop me a line.
— Jumpiri* Jim
Also Available.
Because the most common ukulele size is the soprano, this book has been written
for the soprano ukulele (or any ukulele tuned GCEA). Ukes, however, come in many
sizes. The baritone ukulele is usually tuned like the top four strings of a guitar (E B G D).
One of the best things about the uke is that it is so portable and light. Holding it
while sitting or standing doesn't require a lot of effort. In fact, your best playing will
come when you are the most relaxed.
• Press the uke against you with the middle of your right forearm.
• Hold the neck between your thumb and first finger of your left hand, so that
your fingers are free to move above the fingerboard.
• With your right hand, strum the strings just above the sound hole (see above).
Tuning The Uke
Today,
most soprano ukulele players use C tuning. In this tuning, the open strings
(strings
ngs with no fingers on them) are named:
with
Uke C Tuning:
(middle C on the piano)
A E C A
(middle C)
rr\ • rr\*
liming lips
1. Tune the first string to A (or high if you don't have anything to tune to).
2. On the second string E, place your finger on the fifth fret and tune the string so
that it matches the sound of the first string.
3. On the third string C, place your finger on the fourth fret and tune the string to
match the second string.
4. On the fourth string, place your finger on the second fret
<5 and match it to the first
string.
0 o G c C
You can also tune to
c— p — 1r —
1
the scale like this: So
m La
Doi Re
• Ti Do
Me
Fa
strings: 3rd 2nd 4th
1st
I— Staying In Tune.
On the back of each tuning peg you'll find a small screw. Keep this tight enough so
that the pegs still turn, but your uke holds its tune.
Forming The Chords
Playing the ukulele requires two simultaneous actions: One is strumming the rhythm
with your right hand. The second is forming the chords with your left hand.
In this book, you'll find diagrams (chord diagrams) that illustrate exactly what com-
bination ofopen strings and fingered notes you should play to form each desired chord.
They look like this:
These vertical lines indicate the strings: These horizontal lines indicate frets:
G C E A G C E A
Nut
First fret
Second fret
4th 3rd 2nd 1st Third fret
string string string string
1 = Index finger
2 = Second finger
3 = Ring finger
4 = Pinky
0 0 0 0 1 0
Front
view
— Fingering Chords. . .
• When pressing down the strings, use the tips of your fingers.
• Always press down in the space between the frets (not on them).
• Press the strings all the way down to the fingerboard.
• If you hear a buzz, vou may not be pressing down hard enough or you may be too
close to the fret.
• Keep your thumb at the back of the neck, parallel to the frets.
Chord Exercises
Moving quickly and gracefully from one chord to the next is essential ro playing the
uke. Practice the chords above in sequence. First practice fingering and playing each chord
several times by brushing your thumb down across the strings. Then slowly switch back
and forth between chords and increase your speed until you can move fluidly between them.
Strumming The Strings
Most ukulele players use their thumb and fingers to create the strums. This gives
them the most rhythmic options.
You may wish to start out with a pick, The ukulele pick is made of felt and produces
a soft, brushed tone.
Hold the pick lightly between The best way to move the pick
your thumb and first finger across the strings is in a smooth, even
with the smaller end pointing out: downward motion. Try this:
Remember to keep the movement exclusively in your hand and not in your forearm.
Exercise...
Now try the following chords with all downstrokes and then all upstrokes. Practice
in groups of 4 strokes per chord. Repeat until your strum is smooth and even, and the
chords sound clear.
0 0 0 3 2 0 10 0 2 13 0 0 0 3
K|23 — You may find that your thumb works better on downstrokes, while your
index finger can be used for both up- and downstrokes. A pick will work fine in
both directions.
Reading The Music
H ere are the most basic principles of music. Understanding these fundamentals will
ultimately make the process of learning the ukulele (or any musical instrument) easier
and more interesting.
The melodies of the songs in this book are written on a musical staff. This staff, con-
sisting offive lines and four spaces, is where the notes are placed. The notes indicate both
pitch and duration.
a staff
Ukulele music is always written in the treble clef (§) . The treble or G clef, which is
always placed at the beginning of each song, establishes the position of the note G on the
second line of the staff. Then, from it you can determine where all the other notes are
positioned.
The first seven letters of the alphabet are used for naming the lines and spaces. After
the seven letters are named, they repeat themselves...*
CDEFGABCDE FGABC
— * #
cbagfedcbagfedc
Ha
*See page 62 for a fretboard diagram and the corresponding notes on each string.
-Here are some tricks to remember the notes in the lines and the notes in the spaces.
-~ « — . . i
•-Fine — J f
4 F
^ Every
D
Measures and Bar Lines
The staff is divided into equal parts called measures. Bar li One Measure
The measures are divided by bar lines:
Two twin double bars One thin and one ■ These symbols indicate
are placed at the thick double bar indicate 1 to repeat all the measures I
end of a verse or chorus. the end of a song. in between them.
The shape of each note and each rest determines the length of time each is to be
held. A rest indicates a period of silence.
Whole Rest Half Rest
Quarter Rest
m
* 1
Time Signatures
At the beginning of each song, you will find a time signature. These numbers tell
you:
4 «— How many beats are in a measure (four)
4 «- The type of note receiving that beat (a quarter note)
The sharp symbol (#), the flat symbol (b) and the natural symbol all affect and
change the notes they precede...
G G*
Sharp # Raises a note one fret (musically, one half-step higher)
t* ^ I ^ %
The songs in this book are divided into groups by keys. The sharps (#) and the
flats (b) shown at the beginning of each song apply to all notes of the same name
throughout the song. As you can see, C major has no sharps of flats.
A1, Major
F minor
Ct»i
B^ minor
Major
0 2 13 0003
First Note
Spiritual
Moderately n n n n n n n
H *simile
world
He's got the whole in His hands, He's got the
+— #
world .
whole world
in His hands, _ He's got the whole
i « M— +— #
P
in His hands,— He's got the whole world in His hands.
* "Simile " means to continue playing the same strum throughout Alternate Strum
n v n v
Your first song in 3/4 time... While this song can be played with two chords and a
downward strum, don't hesitate to return later and try the alternative strum and the par-
enthetical chords. As I mentioned earlier, these chords add flavor to the arrangement.
Start by adding the easiest ones to play and add more as you gain confidence.
First Note
Late 19th Century Folk Song
C6 G7
Cmaj?
Moderate Waltz m (i)
H H H n H H simile
(ffl
Oh, my
C.7
min - er, 'for- ty - nin - er and his daugh- ter, Clem - en - ti
Cmaj?
(S) (i)
m m
4 jr ii-1-
darl - ing, oh,nmyu darl - ing, C6 Clem - en - tine,
oh, my darl - ing, you are
G*dim
(1)
lost and gone for - ev - er, dread - ful sor - ry, Clem - en - tine.
Alternate Strum
n n n v
Your third song has the same two chords as the first two, but introduces a fast
up/down strum (Common Strum). Note that the chorus features a rhythmic "hiccup" (a
missing downstroke) that adds more variety to the arrangement. Once you've mastered
this, look for other places in the upcoming songs to put in these kind of rhythmic breaks.
The Common Strum — This strum is the foundation for all the strums. It is pro-
duced with the first or index finger, or the thumb and index finger.
With your index finger, you strike downward with your fingernail and up with the
cushion of your fingertip (see diagrams below). You can also try this with your thumb
going down and the tip of your index finger going up.
While your wrist and finger must be flexible for good tone, do not allow your wrist
to move up and down.
Fast and
Spirited
nvnvnvn v nvnvnvnv
3
5
*
down the street, a pret-ty lit -tie girl I chanced to meet, and we danced by the light of the
C C
hiccup
Chorus G7
nvlvnvnv n v I vnvnvnvlvnvnv
moon. Buf-fa-lo Gals won't you come out to-night, come out to-night, come out to-night,
G? C
n vnvnvn v n v| vn vn v nvnvnvnv
m
Buf-fa-lo Gals won't you come out to-night, and dance by the light of the moon.
Copyright © 1994 Flea Markel Music, Inc.
International Copyright Secured Made in U.S.A. All Rights Reserved
Amazing Grace
F
2 0 10
Say "hello" to the F chord; after G7 it's the next most important chord in the key of
C. Note, too, how adding the C7 gives the arrangement more tonal feeling. Don't forget to
try the alternative strum.
First Note
Flowing Spiritual
With Feeling
n n n (1)
n n n simile
m
ing. how sweet the
Am
grace
(I)
m m 0
sound that saved a wretch like
T7" C
(I)
(I)
This song features a new popular strum. In fact, you'll find many examples of it in
this book. Just remember that the downstrokes occur on the downbeats. In this case, the
upstrokes only occur on the "and" of the third and fourth beats.
P.S. Doesn 't that F minor chord sound great?
First Note
Dixieland
Bright Gospel
n nvnvn n nvnvn ^miie
r J — -J1— •
J o l O
-VSk J ^ ^
* 1
.! s — ' -d- -et- *-»
oh, when the saints go marcn - ing
m 1 1 1 j
9
i - ber i
to be in that ~
Oh, Lord, I want
C7
Fm
ing
(1)
p
/hen the saints march
go
The Climbing Song
13 24
G*7
Here's an "original. " Actually it's a little ditty I came up with while hiking in
Maine. It introduces a chord, G#7, that's not found in the key of C.
First Note
Words and Music by
Moderately Fast Jim Beloff
C
Still on it goes, 1
How high arc wer G> don't stop.
Still we Each
GK7
think we're close to hea - ven, no - bod G7 - y knows. (Bum- bum - burn.)
think I hear a cho - ir.
G D7
0243 1111
2
Th e key of G has one sharp in it— Ftf. Two of the most important chords in the key
of G are C and D7. The D7 is an example of a barred chord. To form the chord, lay your
first finger across the entire second fret, keeping it as straight as possible. If there are no
buzzes,
formed athen
D7. put your second finger on the third fret of the first string. Now you've
Fast Foot
Stomping
n nvnvn n nvn vn nnvnvn
D7
She'll be com - in' 'round the moun- tain, when she conies.
— - — p — J— -
M *>
r r r r
i —
She'll be com - in' 'round the moun - tain, when she comes.
G G7 C
r r r r
_ She'll be com - in' 'round the moun -tain, she'll be com - in' 'round the
Gdim G D7 G
(S)
A it i — •
P . m
m m 9 9 i —o— \
moun -tain, she'll be com - in' 'round the moun -tain, when • she comes.
H
Copyright © 1994 Flea Market Music, Inc.
International Copyright Secured Made in U.S.A. All Rights Reserved
The Band Played On
Am
000 0 0 10 0 2000
C6
A new 3/4 strum. There are a couple of waysA7 to play a C6 (the sixth measure) on
the uke. One easy way is to simply strum the four open strings without any fingers on the
fretboard.
Firs t Note
Words by John E. Palmer
Relaxed Waltz Music by Charles B. Ward
G
Gmaj7
Gmaj?
(1) (1) (1)
n n v n H H V n simile Em7
D7
C"
f
band
played
He'd
-j w - —w *
glide cross the floor with the girl he a - dored, and the
Gmaj7
(1)
-6-t- ~r-
i
i. ir =
band But his
played
0 0Cm0a3j" 12 0 3
Note that in the fourth to the last measure, the E7 hits on the third beat. This tune
should sound familiar; it's the melody for Elvis Presley's "Love Me Tender."
First Note
Words by W.W. Fosdick
Moderately Music by George R. Poulton
G
a
■ A7 ■ — » — - — ■— \ p
As the black-bird in the spring, 7 - low tree
'neath the Dwil
A7
(S) (I)
r r r t
4'r
'An - r
ra Lee,
r Au - ra Lee, maid of gold - en hair.
E7
A7
r r r r
Sun - shine came a - long with thee, and swal - lows in the air.
D7
The strums in this book are very basic. Once you've learned the chords to "Bill
Bailey," try some variations on the strums (especially around the optional quick change
from Gdim to G where you can use one downstroke instead of what's written).
(S)
n nvnvn n n vnvn n nvnvn nnvnvn
c
f
Won't you come home, Bill Bai - ley, won't you come home?
GCdim D?
(!)
ZEE
0 O- —
She cries the whole day
I'll pay
~m
I'll do the cook - ing, hon - ey, the rent.
-0
wrong.
I know I've done you
Gdim G
(S)
o-
'Me«m -bei that rain - y eve that I drove you out with
A? Gdim G
El A7
(I)
shame? Bill
know I'm to blame, well, ain't that
A7 m K7
D7
There have been a number of very good recordings featuring the ukulele. Some are
easier to find than others, since, unfortunately, many are vintage recordings and have not
been re-released (yet). Ohta-San, one of the finest ukulele players alive today, continues
to live and play in Hawaii, as well as record periodically. All of his recordings are recom-
mended. So are any of the uke recordings of Cliff Edwards (Ukulele Ike — see Jumpin '
Jim's Ukulele Favorites) and Roy Smeck. You'll find plenty of uke strumming on Ian
Whitcomb's recordings, all of which are currently available. One of my favorite record-
ings isHow About Uke?, a jazz ukulele recording by Lyle Ritz put out by Verve records in
the 1950s.
Gdim Et-7
0 10 2
J_jike "Bill Bailey," this song contains a measure with two chords in it (the second to
the last measure). Learning to move quickly from one chord to another in two beats (or
less) is critical to becoming an accomplished uke player. Start out just going back and
forth between the chords until you can change from one to the other in tempo.
A7
G D?
was of you.
i heart,
Come, sweet tell —6
zr- —
A? if
the time.
The Sidewalks Of New York
12 0 4 0 10 2 0 10 2
The up/down stroke on the third beat gives this arrangement a little lift. Also fea-
tured are really interesting chord changes like the E7+5 to E7, the Em6 and 0 dim.
First Note
Words by James W. Blake
Music by Charles B. Lawlor
Bright Shuffle
G
G G?
nn vn n nvn simile
p side, — J
ide,
East D7
west
—o
— t-— J
i — — 1
J^J J
the town,
all round the
Cfdim
E7+5
tots Lon
sang "Ring a - round Ros - ie, don
Em6 ing
Em6
C—6 H 1 1 > q
> *■
J r
r
4Bridge fall down.
|J r 'r1
Boys and girls tor - geth - er,
i
I
and Ma - mie 0' Rourke
Cfdi m
-/?k — : • , m r
tripped the light fan - tas - tic the
—O
Err.6 Al
>—*
—6
t ^ 1
1
D^
•
r «
4
ide - walks of New York.
I've Been Working On The Railroad
B7sus
13 11 12 11
Here's a new strum. Don't let the additional B7sus to B7 scare you. All it means is
moving one finger back one fret — and, oh, do they add to the arrangement!
B7
First Note
American Folk Song
G
Snappily
n n v n H H V n n simile
I've been work- in' on the rail - road all the live - long day.
M J
Em6 Cmaj? r
It I , r-a m
jr w
I've been work - in' on the rail - road just to pass the time a - way.
B^sus B7
4«i >*nn
Can't you hear the whis - tie blow - ing? Rise up so ear - ly in the morn.
C G Em6 Cmap D? G
*
Can't you hear the cap - tain shout - ing "Di - nah blow your horn"?
The first instrument to cross the North Pole was a plain koa wood Martin ukulele
owned by Richard Wesley Konter. An American seaman and adventurer, Konter was a
volunteer on Commander Byrd's first expedition over the North Pole on May 9, 1926.
With the help of the pilot, Konter smuggled the ukulele aboard. This uke was later given
to the Martin Company by Konter, and can be seen in the Martin Museum in Nazareth,
Pennsylvania.
Information courtesy of Mike Longworth from his Martin Guitars — A History, 1988.
Photo courtesy of the Martin Guitar Company.
Songs In The Key Of F
3 2 11 000 1
Xwo of the most popular chords in the key of F are and CI. (like F on the gui-
tar) isone of the more difficult chords to play. The good news is once you can play it
without any "buzzing strings," everything else is a piece of cake.
First Note
Waltz Shuffle Words and Music by
F Harry Dacre
h n v pi n n v n simile
£=== m
Dai Dai
in
zy
—9 — -tr- m
im swer, do.
give
your
F Dm
r c
—0
I'm half
(1)
* .
1-6
— • J
m of
all for the lc
you.
Copyright © 1994 Flea Market Music, Inc.
International Copyright Secured Made in U.S.A. All Rights Reserved
Ukulele Ike
Photo courtesy of Ian Whitcomb / ITW Industries © 1992
Oh, Susanna
Here's a new strum. Just a reminder to initially play these songs at a slower tempo
to get the hang of the chord changes. Once you can play them at tempo, then dazzle your
friends.
my .
J- J' 'Lf C-Jsi -'LJ
an - a, Q|Jtrue love
J^for to
I'm goin' to Lou'
It rained
a all night
u the dayu I
' left, the weath - er it was
Fdim
(1)
J- j> i pj lj i n \n n \
dry. The sun so hot I froze to death, Su - san - na don't you
G7 C7
r r B-'p r p ic_r
cry.
Oh, Su - san - na, oh don't you cry for me. For I've
02 3 1
Like all good things, this arrangement takes time to master. But it is the closest
arrangement so far to "chord soloing." "Chord soloing" means that your melody notes
are found within the chord progressions — which means you are playing melody with an
accompaniment simultaneously. Also, note the altered F chord in the seventh measure:
This variation puts the high C in the chord, which is also in the melody.
(I) (S)
simile
C7
of thee, sweet land of
My coun - try, 'tis
Gdim Dm Gm F C7 F F
(1)
sing. r r r
lib - er - ty thee 1 Land where my
ty of
C7 F C6 Gdim
4br r C7 r r t
fa p died,
thers land of the
Pil grim's pride,
F Gdim F Gdim F F
F C7
J n n ii 2
Gm7 Dm
0 2 11 2 3 10
Aii chord fingerings are based on years of experience. Nonetheless, you may find
more comfortable finger placement. If so, go with your instincts.
m
n v n n n v n lirnile
mm
Oh, give me a home F7 where the buf - fa
F G? Gm?
(1)
M 0
and the deer and the an - te - lope play-
C7 C+5 m
(©
mm
Where sel - dom is heard a dis - cour
F?
B^m6
m
H H PI
r u
word and the skies are not cloud - y all day.
Dm
A^
m
•
n n a m— a *
G7
where the deer and the an - te - lope
I play.
— *
C? C+5 F
— • (H)
1
m j — M r r
(I)
This arrangement features rhythm marks throughout. Take your time with it and
feel free to add your own strum embellishments.
t> % F
m
n
i You' re a grand old flag, you're a high fly - ing
Ddim
C7 (1)
r C7 ij n
flaiz. and for - ev er in peace may you wave.
GrcP
n n
Dm
Dm7
A7
(ffl)
n n pi pi n n n n
n n n n
Gm
n n n n n n n n n n
brag.
• g^j J 14 :
F F*d mi
C"
n n n n (i)
for -
n n n
G7
^1
23 14
Another arrangement including more than one F7strum! For added drama, try adding
a roll strum or tremolo at the end of the song (see below). "D.C. al Fine" means "return
to the beginning and play to the word fine.''''
The Roll Strum — The roll strum is produced in the same manner as the common
strum, but with the fingers stroking the strings one after the other quickly, giving them
the effect of a rolling drum.
Start the strum with the nail of your little finger, followed by your third, second and
first fingers.
Try for a smooth, continuous roll. Don't move too fast, but surely and evenly.
The Tremolo — This strum is essentially the common strum, but it is played up and
down quickly, creating a tremolo or "organ" effect. It's especially useful to add expression
and drama.
First Note
Spiritual
Soulfully
n n v n v n n n V n V n
3
m
Swine 1( sweet char 1 - ot
(1)
nvnvn vnv nvnvnvnvnnvnvn
^ ^ m ■ — ■— mZ sweet
corn-ing for to car - ry me home, swing low,
Dm G7 C?
Fine
n nvn vC7 n nvnvnvnv simile
* m
looked o - ver Jor - dan and what did I
Cdim
(1)
Dm G? C7 F
# * * w
* * *— w 3E
com - ing af - ter me, . com-ing for to car- ry me home.
Songs In The Key Of
023 1
C? F
4 k''n
in the n
merfj
- ry month of May; 1 was tak - en by sur- prise by a
C7 F
pair of rogu - ish eyes, in a mo - ment my poor heart was stole a - way.
Gm D7 Gm
D7
-* J- B-
m of
i a
4l''L
/ we were
course, ljp as hap - py as can be.
Ah! I im-
-6^
i a
F7 Bt
F7
^nfl r p i^ ^ ^ ir^i
nev - er shall for-get, that love-ly af-ter-noon, I met her at the foun -tain in the park.
The ukulele has been featured in some pretty noteworthy movies. Perhaps the uke's
biggest role was as the instrument of Marilyn Monroe in Some Like It Hot. You'll also find
Elvis Presley strumming a ukulele in Blue Hawaii. Of course, the uke has been seen on
television thanks to the performances of Arthur Godfrey, Tiny Tim, Roy Smeck and
Lawrence Welk.
Tiny Tim
Photo courtesy of Archive Photos, New York
Give My Regards To Broadway
Cm?
1111
— 0
mm 1r rj _— —
C7 —0
F7+5
1r * 1
soon be there.
F?
Copyright © 1994 Flea Market Music, Inc.
International Copyright Secured Made in U.S.A. All Rights Reserved
Hlg
Cm?
3
to
Whis- per of how I'm yearn
« »
*
min - gle with the old - time throng.
Cm? G? Cm?
G>
my
r v T r r
gards to old Broad - way, and say that
C? F?
r t r
ni be there, ere l°ng-
Let Me Call You Sweetheart
B^dim
Bdim
0 10 2 13 2 4
I've often thought that good uke arranging is like barbershop singing. This song is a
*ood example of that, especially in the Tm in love with you... "chords.
n n v n n n v n simile
I'm
Let me call
you sweet - heart.
c;7 —e
with
B *
F7 you.
, ft i
r Cm?
B*
2
too.
you
F7
Copyright © 1994 Flea Market Music, Inc.
International Copyright Secured Made in U.S.A. All Rights Reserved
Bkiim
p
Kee
the love - light glow - ing
o—
your
G^ r r 1
eyes so true.
lim (
h 1 1 a m
y 1 p ... r —
c C
r
0
Let me call you sweet - heart, I'm in
}7
•
r
love with you.
The Star Spangled Banner
Play this standing up. Actually, play this and the next two songs standing up. Y#>
must be the patriotic key!
nnn nnnvnnn
nnn nvn n n n v n n n
J P
Gm D?
n v n n n v
r CJ
— »—
ing? Whose broad stripes and bright stars, through the
gleam
Gm C7 F &>
nn n n n n \i n n v n nn nv
r j ^
per - il - ous fight, o'er the ram - parts we watched were so
r r J n 4 s
gal - lant - ly stream- ing? And the rock - et's red glare, the bombs
Work hard at making the succession of changes from F7 to B1, (in the last eight
measures) as clean and clear as possible.
First Note
'm
nnvnvn n nvnvn simile
1 m
— v— —w
dan — V—>
i a Yan- kee Doo - die a
F7
(lit
kee Doo - die, do
Cm? G?
G7
Cm?
C? I
12'-
r * p
born on the Fourth
1 Jl ofr Ju - ly.
p
F7
F7 fit F? &■ F? Bt G7
C7
V
• F7—
9
I am a Yan - kee Doo - die boy.
America, The Beautiful
llll
E>6
First Note
Words by Katherine Lee Bates
Bdim Music based on "Materna "
F7 by Samuel Augustus Ward
Patriotically
W ~r — w mm
Oh. beau ti - ful for cious skies. for
spa
F7 B>
EW5 Cm6
pi n n n v PI
Bdim F C7
pvnn n n pi - - h n n
maj
4^- J'i r iy r r J i|
es - ties a the fruit - ed plain.
B*
n n v pi PI V P n
r r t Cm7
mer - i - ca! A mer E- ca! God shed 5
EWHis grace on
thee, J J-
andr <r
crown J,J
thy good r
with >r
broth - erJl
- hood from
Edim
ing
W
to shin
Mario Maccaferri (1900-1993) was the developer of the first and most popular
plastic ukulele. Maccaferri — a well-known performer, inventor and guitar maker (the
Maccaferri-Selmer guitar was popularized by the renowned Django Reinhardt) — became
fascinated with the potential of plastics in the late '40s. In 1950, he combined his knowl-
edge of guitar making and plastics to create the "Islander" uke. After getting the endorse-
ment of Arthur Godfrey, sales took off. At a retail price of $4.95, over 9 million of his ukes
were sold between 1950 and 1958.
Beautiful Dreamer
D Em D9
2340 3421 13 12
Two of the most important chords in the key of D are G and A7.
J.
s
Beau - ti - ful • — dream - er, wake un - to
' r r T
A7
star - light and dew - drops are
D
3=£
A?
A? El A?
E?
_<^~ —
Q a, &^ 1 &=■ 1 P (• P.. m
mm 1 1U = 1
throng;
beau - Ati? - ful dream - er, a
D D9 B? G
D A? D
A very simple melody with a lot of chord changes occurring on every beat.
First Note
Words by Ben Johnson
Liltingly Music: Old English Air
D D A7 D Em B7 Em
H H H H H H simile
A7 1
m * *
D D A? D
*
, Q
1 c o•
J ^ ym i
I will mi nr..
jledge wi tfa
cup
D D A7 D Em B7 Em
A'
D D A7 D
I'll
not ask for
The
5
Song In The Key Of
Aloha Oe
Th is classic Hawaiian song is in an unusual key. It's a challenge to you, so you can
practice playing with all barred chords.
Slowly
n v n n v n n v n n v
—0
o r,
At
-- -
Q .U i ,
a * * *
it
lil we meel At
5
Three Hawaiian ukes — Kamaka, Bergstrom, L. Nunez
Photo by Elizabeth Maihock Beloff
Hawaiian girl, Kohala Seminary, 1915 Maria Lane and friend with ukuleles,
R.J. Baker Collection, Bishop Museum, 1886 A.F. Mitchell, Bishop Museum,
Honolulu, Hawaii Honolulu, Hawaii
If you've gotten to this point, and you can play this song, then give yourself a round
of applause. The "Key Change Song" is just that — a practice tune that takes you through
all the major chords.
First Note
Music and Lyrics by
Jim Beloff
Quickly
n n v v n n n v v n
simile song
4 »i i ij
ma - ior chords that fea - tures
«J 4 j 4
A sharp or B - flat B flat be - cause
B C
1— i — — h-
• kr, \-=r-
= ' T
lr (\
B., —
it's be - low you see (C).
m
'— r— y— ^ —
C sharp fol - lows C un - less it's D flat.
=11
r lr "' <J ^ u |
D flat is a half step down from D.
==#»
4=^
D sharp or E flat is com - ing next,
p^— — -
D# E F
F»
zy.
sounds a lit - tie
i *r "r "J nJ My r ~ir
Tune Ukulele
i r1 r
G C E
MAJOR CHORDS
D F>
A* i
D&
MINOR CHORDS
D^m Dsm G^m
Am BtTI Bm Cm Em Fm F'm A^m
C*m Dm E^m G5m G
Gm
F»
B7
C7
A«6 i
A"
B6 C*Dl6>6 D*6
C6
D6 E«5
pS6l-6
G
G*A6W
F6
MINOR SIXTH CHORDS
Afm6 01*1116
Am6 Brn6 1 1
Bm6 E^ITl6
Cm6 A I'm6
Dm6
Em6 Fm6 Gm6
G'rria.p
A7-5 At<7-5
&7-5
B7-5
C7-5 C»7"5 D«7-5
D7"5 Et7-5 Gl-7-5
E7"5 F7-5 AbAug
b7-5
G^aug
Dfaug G»7-5
D^aug
AUGMENTED FIFTH CHORDS (AUG. or +)
A#aug
Aaug B^aug Baug Caug C^aug Daug E^aug Eaug Faug F^aug Gaug G^aug
23
A>Vhen you want to change the key of a song (for instance if it's too high or low to
sing), it is necessary to change all of the chords. In order to do this, it's just a matter of
counting up or down the scale. Here's a chart that will make this easier to do:
Major Minor
Lnords in L . C F G7 A
Am Dm E7
& B^m Ehn
D D G Bm Em F7
Ft u A7
1A 1^7— ' F"7
Cm Fm
Ffm G7
E . Bl>7
E A Ct*m
F b r B7 G$7
E C7 Dm Gm
A^m
I? H Dm A7
Dl>7 Bk7
G G c .\- D7 Am B7
Em Bl>m
EH Fm C7
I> F«m
A A D Bm
El 07
D" F7 Gm Cm D7
G»m
B B At E 0> F*7 0m D»7
For example, i " you wish to transpose a song in thf ; key of C to the key of D, you would. . .
W>
The Original Chord The New Chord
change C to D
change F to G
change G7 to A7
change Am to Bm
change Dm to Em
change E7 to F«7
In this case, everything moves up one whole step.
*
Notes on the Second String - E
*
Fret: open 1 8 9 10 11 12
The History Of The Ukulele
Th e story of the ukulele actually began in Portugal. In the summer of 1879, a boat
arrived in Hawaii's Honolulu Harbor with 419 immigrants from the Portuguese island of
Madeira. Upon arrival, one of the passengers, Joao Fernandez, began entertaining by-
standers byplaying a 4-string Portuguese instrument called a braguinha. In short order,
the islanders became enchanted with the little instrument and promptly renamed it—
ukulele. Pronounced oo-koo-le-le (and still to this day, pronounced this way in Hawaii),
the name was Hawaiian for "jumping flea," which is exactly how the islanders described
the effect of a player's fingers "jumping" around the fretboard.
Manuel Nunes, another Madeiran, played a major role in transforming the braguin-
ha into the modern day ukulele. Some of his refinements included replacing the steel
strings with gut strings and altering the tuning slightly to allow for easier chord forma-
tion. Along with some of the other great Hawaiian ukulele makers, Dias, and later, Santo,
Kumalae and Kamaka, he discovered that the local koa tree produced a wood that was
exceptionally light and resonant for uke manufacturing.
Hawaiian royalty also played a big part in the popularizing of the ukulele. King
David Kalakaua, Queen Emma and the future Queen Liliuokalani (who later wrote the
famous Hawaiian song "Aloha Oe") were all great ukulele admirers.
In 1915, Hawaii invested $100,000 in their Pavilion at the Panama-Pacific
Exposition in San Francisco, and thousands of Americans heard the ukulele for the first
time. In 1916, the Victor Record Company sold more Hawaiian records than any other
style of music. U.S. guitar makers, sensing a new market, jumped in with their own uke
designs. Companies like Martin, Gibson and National Resonator are three companies
whose early ukes have become quite collectible. The '20s saw the emergence of two of the
great uke players: both Roy Smeck and Cliff Edwards (Ukulele Ike) were considered
"pop stars" of their time. Because of their efforts, much of the sheet music in the '20s and
'30s featured ukulele chord diagrams.
Thanks to Arthur Godfrey, more waves of ukulele popularity occurred in the '40s —
and in the '50s, as a result of the sale of millions of low-cost plastic ukuleles designed by
Mario Maccaferri.
Now, there are only a handful of ukulele manufacturers (Kamaka is one of the few
remaining Hawaiian makers). However, like you, there are still many avid ukulele fans.
The annual Ukulele Festival in Hawaii continues to introduce new crops of children and
teens to the joys of the uke. Japan, Canada and England are big uke markets, and in the
mainland U.S., cities like Los Angeles can boast as many as three active ukulele clubs.
Alphabetical Song Contents
ALOHA OE 56
AMAZING GRACE 14
AMERICA 33
AMERICA, THE BEAUTIFUL 50
AURA LEE 20
BAND PLAYED ON, THE 18
BEAUTIFUL DREAMER 52
BICYCLE BUILT FOR TWO, A (Daisy Bell) 30
BILL BAILEY, WONT YOU PLEASE COME HOME 22
BUFFALO GALS 13
CLEMENTINE 12
CLIMBING SONG, THE 16
DRINK TO ME ONLY WITH THFNE EYES 54
GIVE MY REGARDS TO BROADWAY 42
HE'S GOT THE WHOLE WORLD FN HIS HANDS 11
HOME ON THE RANGE 34
I'VE BEEN WORKING ON THE RAILROAD 28
KEY CHANGE SONG, THE 58
LET ME CALL YOU SWEETHEART 44
OH, SUSANNA 32
SHE'LL BE COMIN' 'ROUND THE MOUNTAIN 17
SIDEWALKS OF NEW YORK, THE 26
STAR SPANGLED BANNER, THE 46
SWING LOW, SWEET CHARIOT 38
WHEN THE SAINTS GO MARCHING IN 15
WHILE STROLLING THROUGH THE PARK ONE DAY 40
YANKEE DOODLE BOY 48
YOU'RE A GRAND OLD FLAG 36
YOU TELL ME YOUR DREAM 24
JUMPIN' JIM'S
UKULELE
A Beginner's Method«&,Songbook
by Jim Beloff
Ukulele Tips TV' Tunes is a step-by-step introduction to the pleasures of playing the ukulele.
Like a private lesson in print. Written specifically for the beginner, you'll learn...
Each of the 29 songs is a special ukulele arrangement. Many include both basic chords and
more challenging chords to learn as you advance. Features include an overview of the
rudiments of music, illustrations and photos, a history of the uke, a transposition chart and a
complete chord chart.