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brettboy – Love the vocal and the comment humor, hilarious! The tempo change from the 1st to 2nd theme was really cool, but I think for practicing, I would keep it steady throughout all themes. By doing this, you’ll be better able to focus on cleaning up the tricky areas. And as always, this comes down to targeting those areas and applying the three practicing steps.
jedart – Here is a video with my feedback 🙂
stianukulele – I shared this with Chris, he and I both loved it! Keep up the great work 🙂
brenna – First off, that uke sounds so good! Second, bravo! Technique looks great, I think the only thing that I would suggest is to practice it at a slower tempo, so that you can focus on cleaning up some of the tricky sections and getting the transitions a little smoother. Excellent work overall!
Looks like she taught it as island strum, but performed it with a slightly different strum pattern:
Bar 11: 1 (&) 2 (&) (3) & 4 &
Bar 12: (1) & 2 & (3) & 4 (&)
For things like this, I’d recommend gaining an understanding of the rhythmic notation. If you’re able to read the rhythms above the tab, you’ll know exactly what to play. The best way to learn how to do this is by learning to read music.
After that, you can apply this rule of thumb: strum up on the up beat and down on the down beat.
Hey Becky, check out the theory course. It kicks off with a lesson on the Major scale. There’s a diagram of that scale in 5 positions throughout the neck in this lesson.
Banjolele lessons will happen. Stay tuned!
@rickeymike – Matt’s working on an arr. of that tune 🙂 Great movie, still holds up!
In Fingerpicking Thumb Approach Exercise 3, at the end of the 2. bar, what are you doing with your left hand? When it seems you sweep up the neck. (Sheet writes there C E – CE.)
Just something I do, sort of to help keep time. You can ignore this.
Also at this lesson, shall I know from the sheet that I have to pull off my left finger and not to use my right tumb, ot is it just the technically easier way? Like at the first part after strumming C, from B to A.
Pull-offs and hammer-ons are signified with an arch connecting the notes. So in this bar, the PO happens on beats: & (of 1) 2 and 3 &.
@carolevoss – Yes, there are many ways to do this technique. Here are 3 ways to do it.
Thanks for the feedback too. I’ll relay the message to Stephen for future lessons 🙂
Welcome, @wc27613! Left hand fingernails should be short and callouses develop in time. If your fingertips hurt, take a break 🙂
Thanks for the kind words! I’m always around if you need help or have ?’s on the lessons. Don’t hesitate to email or post on the forum.
@tastyshrimp – Great job & neat variation on the other one! So your comment on chord transitions being difficult is something I noticed too. To me, it looks like you are struggling because you are not moving into the next chord shape in unison. Watch how you move to the Em and G chord. The index goes down first, followed by the other two fingers. You want all 3 fingers to form the chord at the same time.
So I would strip away this technique and just practice going from one chord to the next. Put it into a time frame, for example, hold each chord for a whole note at 90 BPM in 4/4. Increase the tempo when you have the muscle memory down.
Here’s a video showing how to do it 🙂
And to learn more features, check out this page.
@jinajupiter – I believe he played quite a number of instruments.
@jinajupiter – Here is what Chris sent: “Here’s a good one at 1:20. He throws in some shakes and triples as is usual Formby, but this one lays pretty heavy on the basic strum.”
Roy Smeck is the other uke player 🙂