12 BAR BLUES FOR THE UKULELE. IN THE KEY OF 'A'. Adapted from various parts of the interwebs, notably Ali Lexa at ruthenpress.info, by Mark. 12 Bar Blues For Uke. The basic structure of the blues uses 3 chords, in 12 bars, then repeats. The 3 chords are those based on the 1st, 4th. SF Uke Jam. Presents: Jazz & Blues I. Compiled by Cynthia Lin and Ukulenny. Find us on Facebook! Search SF Uke Jam. Cynthia Lin: ruthenpress.info

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Ukulele Blues Pdf

Heidi Swedberg Freight Train Uke workshop Heidi Swedberg Easy Pickins Uke workshop .. Millions of folk, country, blues, bluegrass and. Simple Ukulele Blues (Simple Ukulele ruthenpress.info) - Fichier PDF. David Bruce - Ukulele Blues sheet music for Ukulele Ukulele Fingerpicking Songs, Ukulele. Here's an example 12 bar blues chord progression for you to print out and try. It's very Click the front cover to download the complete PDF document. Please.

This workshop is for people who know basic ukulele chords eg. C F G7 and would like to further their understanding and ability to play Blues on a ukulele. Blues is the foundation of Rock and Roll, Rock, Jazz and other popular music forms. It follows a repeated 12 Bar structure, which makes it easy for jamming along with friends. We will look at:- Playing chords over the 12 Bar Blues pattern Using chord variations, including Barre Chords to accompany Blues songs Rhythm and strumming patterns, including the Boogie Woogie Shuffle Simple riffs and solos, using the Minor Pentatonic Scale Putting it all together to play a Blues song together All examples shown will be emailed in. The workshop will run twice at 2. Part of a whole day of ukulele activities organised by Ukuleles Anonymous. Don't miss the evening gig. Due to fire safety requirements we have a limit on how many wheelchair spaces we can accommodate so these need to be reserved in advance to avoid disappointment. Your browser does not support iframes, please use a browser that does.


Well we mean some sort of sequence that repeats itself over and over. In this case it is some sequence of the fingers of the picking hand that we play repeatedly throughout the song.

For example we might play the fingers T, 1, 2, 3, T, 1, 2, 3, T, 1, 2, We usually play one complete sequence in a single bar or measure of the tune, with the thumb T being played on the first beat of the bar. Counting out loud Counting along with the music while you are playing is great way to keep the beat consistent, helps you follow the pattern, and gently reels you back when your fingers have lost the plot.

Important tip Counting out loud for some reason works far, far better than counting in your head! If you're not real sure about bars and beats, have a bit of a glance at the theory section below We count every whole beat in the bar as 1, 2 3, 4 etc. Tabs A tab is a very common layout for describing how to play a tune on a stringed instrument.

Sometimes the tabs come with a corresponding score you know - the lines and dots other stuff that looks like real music The tab will tell you which frets to press, and which notes to play, when to play then and with which fingers, so it's really quite a compact way to learn to play tunes - especially so for Fingerstyle playing.

The tabs in these lessons do not come with a score, but there's really no need for it. Important The numbers on the strings are the Frets to press not the fingers of your chord hand! In the example notice the number "3" which appears twice on the "A" string.

To Blues Chord Progressions for Ukulele from A to

This means you hold down the 3rd fret on the "A" string T 1 2 3 are the picking fingers and we can see that we pick one string on each half beat of the bar. In this example we only need to specify the sequence once, since this creates the pattern we will be repeating for the whole song.

A Minuscule amount of Theory gasp! If you really want to know about music theory, then there are some excellent websites.

I'm just trying to get some very basic ideas across which will hopefully help with some of the lessons. You don't actually have to understand or even read the stuff here, it's just a little extra.

That said, the little bit of theory here is general music theory and applies to any instrument and any style of playing.

Bar or Measure Music is broken into small units called bars or sometimes measures. If you look at a piece of music written down, you'll notice that the horizontal lines called a staff are broken up by regularly occurring vertical lines. The bit between two vertical lines is called a bar. You've probably heard the term "12 bar blues"?

Ukulele chords Singing The Blues, Guy Mitchell, | Jim's Ukulele Songbook

Well this is just a piece of music based around a sequence of 12 bars which then repeats itself. The number of beats in a bar is usually but not always the same throughout the tune. I hear you say "What's a quarter note a quarter of? Good question. A quarter note called a crochet is a quarter of or a quarter the length in time of a whole note called a semibreve. An eighth note called a quaver is an eighth of whole note, so by some simple maths there are 2 quavers in a crochet. A full discussion of time signatures is way, way beyond us here.

Its characteristically strummy personality toughens up, zapping out pinpoint notes. Blue notes, no less. And chord-melody playing only beefs up the attitude that much more with extra harmony oomph. Perfect, since the eight-song Blues for the Ukulele repertoire is the real deal. All told, you get fed a steady diet of historic grooves and groans that fed everyone from Lead Belly and B. Not bad company. They all follow the same format so I'm going to focus primarily on the one with the most immediate appeal to me - Blues For The Ukulele.

Big Bill Broonzy's Just A Dream, in the key of A, starts with basic strumming accompaniment comprised of simple, movable blues chord shapes and a bunch of generic blues licks applicable to any blues jams.

The DVD steadily introduces more advanced techniques like picking licks and pull-offs through an excellent selection of songs. Little Red Rooster, played in open C tuning, is surprisingly effective, if acknowledged as something of a novelty by Sokolow's rhetorical: "Holy moly, bottleneck uke!

What'li they think of next!? Between the teaching, Sokolow tells a few anecdotes about the blues originators and blues folklore but there's no time wasted.

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