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Really enjoying this thread.
I’ve had a lot of ukepiphanies, in all different sizes. 😊 The first was just discovering again the utterly basic and pure joy of making music. Meaning: relearning how to read a score, struggling with the first notes and fingerings of a new song, on a new instrument, and then suddenly–a few bars! I played a tiny bit of guitar, clarinet, and flute in my youth, so this was kind of an epiphany revisited 40 years later, or Bare Bones Music Epiphany, The Sequel.
Or, yeah, a ukepiphany.
I’m not familiar with him, but will certainly look him up. And there’s nothing cringeworthy about your post! A thoughtful longer comment is fabulous.
(I go by Cindy Bremer as well as Cindy Nichols. Cin + Nichol–hence “cinichol” which became my common screen name eons ago.
That was probably more info than anyone needed lol )
His performance is such a trip! I notice right off how he varies volume and tempo pretty dramatically. (At least, I think that’s what he’s doing.) It’s amazing too the constant flourishes he brings to everything (like hammer-on/pull-offs and little slides?). (I just flashed on that old Elvis song, “Love Me Tender,” which is like the diametrical opposite: stripped utterly bare of flourish. I always thought it sounded kind of funny but also sweet that way.)
Anyway, one question: what do you call that kind of intro he does at the start? And what is that ultra intense strumming he does later in the song??
Also, how in the heck does he keep from beating his ukes all to hell lol.
Sting’s “Fields of Gold” as performed by Brandi Carlile and others.
Duane Eddy: anything
Anything by Brandi Carlile. Possibilities: “The Story,” “Have You Ever,” “Turpentine,” “Josephine,” “My Song,” “What Can I Say,” “Things I Regret.”
Anything by the Avett Brothers.
Any Beatles or Dylan.
Early Zeppelin, “Babe I’m Gonna Leave You.”
Pretenders: “Back on the Chain Gang.”
Patsy Cline, “I Fall to Pieces.”
Gary Clark Jr: ANYTHING.
Cure: “Lovesong.”
Mamas and Papas: “California Dreaming,” “Monday, Monday.”
Moody Blues: “Nights in White Satin,” “Tuesday Afternoon.”
More Neil Young.
Talking Heads, “This Must Be the Place” or other.
Tom Petty
Sorry to go a little nuts! I love all of the stuff you bring us.
Oh I just looked more closely at your explanation, and it makes total sense! I was doing the same wrong thing in Melody A with that first slide and what is supposed to be two consecutive pull-offs.
The world makes sense now. 😁
Awesome, @Andrew! Thanks so much. Took a quick look at your video last night and going to watch more carefully right now.
I’ve recently realized that I have a bad habit of first practicing each new monthly piece minimally most of the way through, or through a part I just like, and I’m so excited that I forget the tab for days just screwing around with what I can do. Then I check and realize I’ve been botching this and that, my technique is hideous, I haven’t paid attention to detail. This month with “Dew” I’ve managed to get my slides, hammer-ons, and pull-offs confused and jumbled. I’ve been sliding where there is no written slide, hammering instead of pulling…
Sometimes I think what I’m doing almost sounds ok, but I know I’m not getting all the benefits of the lesson. I think I’ll review the “how to practice” video!
That was probably more info than you needed haha. Anyway, thanks very much again again.
Hi @Andrew. I’m puzzled by the notation at the very end of melody A in “Morning Dew.” It’s a slide and then supposedly a pull-off to fret 1, string E (the notation has a “P”). But shouldn’t that be an “H” for a hammer-on? In the video it looks like you either hammer or just pluck the final note.
Trying to get a good review of H and Ps 😎
@Andrew
Ok! Thanks so much!