Ukulele For Music Teachers1

Ukulele for Music
Music
Teachers
Robin Giebelhausen
To my students - past, present, and future
To the monkey children I know well,
To those I am only starting to understand,
And to those I have yet to know -
# You really do mean the world to me. You get me forever.
# Thank you for being just who you are.
# # # # # # # # # -Giebes-
i
About the author
(PreSchool-8th grade) and choral director in Grand Ledge, MI.
She has taught music education courses at the University of New
Mexico since 2013 bringing her ukulele and technological chops
with her. Each spring, she teaches Secondary School Music,
where music majors learn vernacular music facilitation, creativity
pedagogy, and her ukulele ideas for teachers and students.
Dr. Giebes has research interests that include secondary general

music, music technology, gender issues in music, and music com-
Robin Giebelhausen (a.k.a. robingiebes) is an assistant professor position pedagogy. She has publications in the General Music To-
of music education at the University of New Mexico, where she day, Michigan Music Educator, GIA’s Musicianship: Composing in
teaches foundations and methods courses in elementary and sec- Band and Orchestra, and the Journal of Research in Music Education.
ondary general music. She has a BME in music education from She maintains an active video blog through her YouTube channel
the University of Illinois, Champaign-Urbana (2004), an MM covering topics related to music, education, and various other in-
from Northwestern University (2008), and a PhD from Michigan terests. She has presented on creativity, technology, gender is-
State University (2015) with a cognate in creativity. Her disserta- sues, and the ukulele in many states. Click below to connect via
tion focused on the composing experiences of three female social media.
graduate composition majors. At the University of New Mexico
she serves as the chapter advisor to UNM’s collegiate NAfME
chapter. She has completed levels training in Orff-Schulwerk and
has studied Kodály and Music Learning Theory.
Dr. Giebelhausen was a public school music teacher for six years
in Libertyville, IL specializing in middle school general music
and choir. She spent three years as the general music teacher
ii
So, why the ukulele?
“Can you play the guitar? At least a little?” Three years later, I was at a music education conference when I
stumbled into a session all about the ukulele in the music class-
I will never forget when my future principal asked me that ques-
room lead by Matthew Thibeault. It was mostly a jam session,
tion during my initial interview for the job that I would eventu-
but that didn’t matter. Timing is everything. I had been teaching
ally accept. And so, the piano player turned vocalist learned very
PreK-8 general music at a parochial school with few resources.
beginning guitar techniques for a 12 week intro to guitar course
Despite all the time I had taught middle school general music, I
for eighth graders. It was an incredible uphill climb. The guitar
was struggling to find the right curriculum for this particular
just never seemed to fit me. I was always honest with my stu-
group. This conference session set off fireworks in my mind.
dents. “I’m not the greatest guitar player, but I know a lot about
THIS was the very thing I had craved for these students.
music.” And for five years - that worked.
In addition to elementary and middle school students, I have
It was during a one week “guitar for music teachers” workshop
now taught ukulele to preservice and current teachers all across
that I was first introduced to the ukulele. The teacher, Michael
the country. I particularly enjoy teaching ukulele to young, soon-
Miles, pulled one out and said “it is great for kids who have a
to-be music teachers. These students are thick with the pres-
hard time stretching their hands.” I was totally intrigued. He was
sures of being a music major: rehearse for ensemble, rehearse for
talking about students but he might as well have been talking
lessons, rehearse for all the extra things. For these students, the
about me. Just a few months later, I was the proud owner of my
intense amounts of practicing can make music a stressful thing
very first ukulele.
rather than the thing that gives them pleasure. Place a ukulele in
What surprised me most was not that I used my ukulele in class, their hands and all of a sudden they have an instrument that they
it was that I found myself picking it up at home and playing it can play to return to the joy of music. It is wonderful to see how
for fun. I would sit at my window seat and serenade my neighbor- the ukulele makes these students happy in the way it made me
hood. I was channeling my inner Audrey Hepburn. I absolutely happy on my window seat, singing Moon River out my window.
loved this instrument. It made me happy. Carefree music mak-
ing.
iii
About this eBook (book that is e?)
I’m really not into paper. In my world, everything would be digital But a word of warning, this is “Ukulele for Music Teachers”. This
and paperless. So when I saw the opportunity to put everything eBook makes some assumptions about what you do and do not
into a digital format, I had this reaction: know. This book will give you insight into the ukulele, how to
read ukulele charts, and how to teach ukulele to students. It will
not be teaching about basic music elements or music theory.
If you want some information that will help you with music read-
ing and general musicianship, I suggest the following books and
websites:
-MusicTheory.net
I also really like gifs.
-Basic Music Theory by Jonathan Harnum / (Free PDF version - 1st edi-
tion)
So! In addition to saving the world from some paper, eBooks al- - Teoria.com
low us to embed other media in simpler ways. Throughout this
I hope this is helpful to
eBook you will find pictures, links to video, links to sound, and
you. If you use these songs
links to download PDFs.
or make adaptations for
Also, gifs. your classroom, please let
me know. I am always ea-
ger to hear how the gospel
of ukulele is spreading in
music classrooms across
the United States and be-
iv
Chapter 1
Getting to know uke
There will be puns. So many puns.

Getting to know uke (Chapter 1)
Chapter One Outline

Dude, this is the instrument you never knew you NEEDED to learn.
In this chapter you will learn...
Ukulele anatomy
Ukulele tuning
Holding the precious
Baby’s first chord
Major strumming
Something blue
Just keep strumming
The two-fingered chord
Switching chords
The clincher
You could be a pop star now. No, really.
2
Ukulele anatomy
Isn’t it adorable? I just love this instrument.
Ok, before jumping into playing, it is helpful to have some com-

mon terminology in order to play the uke.
Click on the next few images to discover the parts of the ukulele that are
important to know before you play your uke.
3
Can you remember what all of the parts are called? Test your
memory and find the following on your uke: Strings, body,
sound hole, tuning pegs, neck, fretboard, frets, string
nut, and bridge.
# Ukulele anatomy assessment
These parts remain constant no matter what size ukulele you

have. The first part of this eBook will be working with the so-
prano, concert, and tenor ukuleles. The latter part will ex-
plore the baritone. Check out the size differences below.
4
Ukulele tuning
Soprano, Concert, and Tenor tuning
C
C6 is considered “standard tuning” for the ukulele (G4, C4, E4,
A5). It is also know as Reentrant Tuning, or the next string re-enters
lower than than the previous string. The ukulele is unusual in its use
of reentrant tuning. Typically, most string instruments go from low
to high. The ukulele starts high, then drops low, then continues to
get higher with only the final string higher than the initial string, G4.
C E Tuning by ear
Tuning by ear takes time and patience, unless you have perfect pitch.
If you have some experience with tuning instruments, you might
have luck tuning by ear. However the ukulele does require excellent
G A tuning because the instrument is so small. The difference between in

tune and out of tune can be a micro turn of the tuning peg.
If you do wish to try tuning by ear, I suggest humming the pitch

while turning the pegs. This helps one compare the sound that is be-
ing made to the preferred sound. As you get very close to the pitch,
you may notice the sound becomes wobbly or harsh. When the
sound waves get close, sometimes they fight against each other so as
to be heard. This is a good thing! This means you are almost there!
As long as the strings aren’t new and the uke has been tuned regu-
larly, you shouldn’t have to turn the pegs too much. Remember to
keep this in mind as you turn. A small turn makes a big difference,
Click on the tuning pegs to hear the sound each string should make. but a big turn can mean a snapped string.
5
Tuning with a tuner string loops through the tuning peg. When you think you have a
sense of this, hook the string into the bridge first. After the
Unless you are proficient at tuning by ear, I would suggest get-
string is tied into the bridge, take the string up the neck and
ting a tuner for your ukulele bag or case. It is always helpful to
loop it into the tuning peg. Take care to turn the tuning peg in
check to see if your overall pitch has remained intact. My favor-
the direction you previously utilized for that string, otherwise
ite tuner is the clip-on Snark.
your tuning will be off.
Electric tuners try to make clear what you need to do in order to
After the string is properly tied in, keep turning until the string
tune your string. Typically if the needle is to the left, the sound is
is in tune. Over the next 24 hours you should continue to tune
too low. If the needle is to the right, it means you are sharp.
the uke as often as possible. The strings take a while to stretch
Flat %% Sharp % and settle.
I recommend this browser-based tuner if you don’t have one

available to you.
Changing the strings
At some point it will happen. A string will break and you will
have to change it. When this happens, be prepared to tune your
ukulele a lot in the first 24 hours. Ukulele strings take a while to
settle. When do kids tune their own instrument?
To begin with, remove all remnants of the broken string both Kids can tune their own instrument after playing the ukulele suc-
from the tuning peg and the bridge. Next, observe how the cessfully for a while. Remember, their ears are not nearly as devel-
strings are tied in at the top and bottom. Every uke is different, oped as yours. They need to hear what in tune sounds like before
but they all have a way to be tied in both at the top and bottom. they attempt tuning the instrument themselves. Most string edu-
Notice the direction it is tied into the bridge. Notice the way the cators do not recommend that students tune their instruments
from the beginning. I recommend that middle school students
6
tune their ukulele in their second year of instruction and high
schools students tune their ukes in their second semester of uku-
lele education.
Other tunings
While C6 tuning is the standard for concert, soprano, tenor uku-

leles, there are other options. I highly suggest C6 tuning as most
ukulele charts are written for this string orientation.
Mostly used for Tenor, but also used for

C6, low G G3, C4, E4, A5
concert or soprano.
Used for Soprano, Concert, and Tenor -
D6 A5, D4, F#4, B5 mostly in Canada. Considered a
“brighter” sound.
Mostly used for Tenor in Canada, though
D6, low A A4, D4, F#4, B5
can be used for concert or soprano.
7
Holding the precious

Generally, I don’t get too hung up on technique for the ukulele, 2. The body of the uke is parallel to your body.
but there are a few details to get correct.
1. Neck on the left side of the body.
Sometimes kids get lazy and can’t see

the frets as well as they like, so the uku-
lele ends up flat on their lap. That’s a
big ole....
Yes, I suppose there are left-handed ukuleles, but both hands are
equally active so I generally have everybody play the ukulele the
same way to prevent confusion.
8
3. Your left hand goes around the neck. 4. Your right hand is for strumming and plucking.
Reaching down in front of the body, you can use your thumb or
your finger nails. Typically strumming or plucking happens above
the sound hole rather than over it.
Ideally, the thumb sits on the back of the neck, though I don’t
get too hung up on this. More importantly is to have your hand
If you keep those four things in mind, you have a pretty good
ready so that the index, middle, ring, and pinky finger can fret
foundation for holding your precious ukulele.
the instrument by
reaching under the
neck.
9
Baby’s first chord

Reading a ukulele chord chart boils down to three ideas: they might do on a math graph. Instead, reading a ukulele chord
chart is about reading line to space.
% What strings?
On the chord chart, the first fret is the first horizontal space all
# What frets?
the way across.
# What fingers?
% Frets %
The chord chart is set up like a vertical ukulele fretboard. Each Strings
vertical line is a string. If you look at the chart, the lines going
from left to right are G C E A or numbers 4 3 2 1.
% % % G C E A
Our first chord: C (major)
Take a look at the chord chart to the right.
What strings?
% The A string or the 1st string is the only

% G C EA
one with a fretted note.
What’s tricky is that you connect the line of the sting to a hori-
% G, C, E are considered open strings be-
zontal space. The horizontal lines are the lines for the frets, but
cause there is not a fret placed on the chord
you use the spaces between the lines to place your fingers. Stu-
chart AND the chord chart has an O marked
dents will often try to connect line to line or point to point like
above the string (for OPEN).
10
What frets?
% The A string has a circle on the 3rd space down or the 3rd
fret.
What fingers?
% You decide! What works best for you? Index? Middle?

Ring?
Repertoire
You have three songs to play with only the C chord
This is what it looks like % Are You Sleeping?

when you fret the C chord
% Row, Row, Row Your Boat
on the fretboard.
% Three Blind Mice
Media
You can hear examples of these songs both as videos and sound
The quality of this chord is Major. It is important to note that
files.
in ukulele chord charts, if you see a letter by itself the quality is
Major. If it is anything other than major, you will see indications VIDEO SOUND
of the quality.
Are You Sleeping? Are You Sleeping?
To strum this chord, simply use the side of your thumb and
Row, Row, Row Your Boat Row, Row, Row Your Boat
strum down away from you. This is called a Downstroke. For
the beginning literature, you will use only down strums. Three Blind Mice Three Blind Mice
 
11
Major strumming
New chord: C7
What strings?
% The A string or the 1st string is the

only one with a fretted note.
While you have already explored the downstroke in the above
% G, C, E are OPEN. pattern, it is not the only kind of strumming technique available.
The counter strum, the upstroke, involves moving your thumb in
What frets? the opposite direction--towards you, across the strings. The
downstroke should be a heavier sound than the upstroke. In
% The A string has a circle on the 1st space down or the 1st
fact, it is ok if your thumb misses some of the strings on the way
fret.
up in order to get the lighter effect of the upstroke.
What fingers?
% Again, you decide! What works best for you? Index? Mid-
dle? Thumb probably isn’t the best choice, but which finger you
fret with won’t make much of a difference until you start switch-
ing chords in a song.
The quality of this song is a 7th Chord. This is indicated by the Click the patterns to hear them played.
“7” next to the letter above the chord chart.
Meter
Strumming Patterns
The first pattern could be used regardless of meter. When you
play this way, you are only hearing the macrobeats, or big beats
% = Downstroke% % = Upstroke
of music. However, while the second pattern could be used in
12
lots of pieces of music, it cannot be used for all. All the music
that you will explore in this eBook will fall into one of two me-
ters: Usual Duple and Usual Triple. Usual Duple and Usual Triple
are terms from Edwin Gordon’s Music Learning Theory. Usual Du-
ple means that the macrobeat contains groups of two smaller
beats, often referred to as microbeats. Examples of time signa-
ture for Usual Duple are 4/4, 2/2, and 2/4. Usual Triple means that
the macrobeat contains groups of three microbeats. Examples of
time signature for Usual Triple are 3/4, 6/8, 9/8, and 12/8. The fol-
lowing are some common strumming patterns for each meter:
Usual Du-
Usual Triple
ple
Repertoire
You have one song to play with the C7 chord. While playing this
song, try different duple strumming patterns. There is no “cor-
rect” strumming pattern, there is only what sound you like to
hear. Continue to try new strumming patterns as you explore
new repertoire.
% Coconut PA
Media
VIDEO SOUND
You can hear examples of this song both as a video and a sound
Coconut Coconut
file.
13
Play-alongs
Coconut is a “play-along” song. A play-along song is a selection

where the lead sheet is in the same key as a famous recording of
the song. I provide recordings for every song via SoundCloud,
but sometimes it feels extra special to play along with the origi-
nal artist. If you see PA marked next to a song, it can be played
along with the famous recording. To help you find the recordings
I am referring to, I have created two playlists: Spotify and Apple
Music. Apple Music contains the exact copies of songs, but since
you would need to subscribe to Apple Music, I also have created
a playlist on Spotify. Please note some artists have elected not to
share their music through Spotify, like Taylor Swift. In these
cases, I have provided a link to the cover of the song.
% Soprano/Concert/Tenor Spotify Play-Along List
% Soprano/Concert/Tenor Apple Music Play-Along List
14
Something blue
New chord: Am Repertoire
What strings? % Have You Seen the Ghost of John?
% The G string or the 4th string is the % Hey, Ho! Nobody Home!
only one with a fretted note.
Strumming notes: both songs are in usual duple.
% C, E, A are OPEN.
Media
What frets?
% The G string has a circle on the 2nd files.
space down or the 2nd fret.
VIDEO SOUND
What fingers?
Have You Seen the Ghost of John? Have You Seen the Ghost of John?
% This chord will require more stretch from you as you will
Hey, Ho! Nobody Home! Hey, Ho! Nobody Home!
be reaching across the fretboard. Index and middle will be the
easiest, though some people do use thumb on occasion. Be
aware, that if you use your thumb, you will be moving your hand
a lot.
The quality of this song is Minor. This is indicated by the lower-

case “m” next to the letter above the chord chart.
15
Just keep strumming

Strumming and muting Listen to the mute strumming pattern below.
Besides downstroke and upstroke, there is one more basic strum-

ming technique to add in your strumming arsenal: the mute.
Muting is where you kick your hand back against the strings to
hold them or prevent them from vibrating. Watch the gif to see
what this looks like.
Repertoire
Try this duple meter strumming pattern that uses a mute for the
next song.
% Koomalama
Media
You can hear examples of this song both as a video and sound
files.
Sometimes depending on the speed of the mute, you get a secon-
dary sound out of the mute. This sound, which my students call
VIDEO SOUND
a uke slap, can be a desirable effect from a “mute” strumming pat-
tern. Koomalama Koomalama
16
Student Choice Option:
This song is a great opportunity to have students select the

strumming pattern they would like to explore. Ask them to dem-
onstrate a duple meter strumming pattern and the class plays it
for the next round of Koomalama. Whatever you do, just keep
strumming!!!
17
The two fingered chord

New chord: F Repertoire
What strings? % Frère Jacques
% The G and E strings or the 4th and 2nd Strumming notes: this song is in usual duple.
string are both fretted notes.
Media
% C and A are OPEN.
You can hear examples of this song both as video and sound files.
What frets?
% The G string has a circle on the 2nd

space down or the 2nd fret. The E string has
VIDEO SOUND
a circle on the 1st space down or the 1st fret.
Frère Jacques Frère Jacques
What fingers?
% This chord will require more stretch from you as you will
be reaching across the fretboard and keep the fingers somewhat
arched in order to prevent accidentally muting other stings. In-
dex and middle fingers are the obvious choice, but middle and
ring can also be used.
18
Switching chords
Navigating the switch chord, it is wise to back off on the total number of chords used
throughout the song. Two or three chords is ideal.
Switching from one chord to another is hard. So far, you have ex-
plored songs which allow the player to remain on one chord 2. The intervals between chord changes.
throughout. I like starting with these songs. Students feel really
The best songs are ones with consistent chord changes - some-
successful, they can explore various kinds of strumming, and
thing that happens at a regular interval. Deep in the Heart of Texas
learn to sing and play without casualties.
and I Love It are particularly good because the students get to
However, after a few songs, one chord songs get pretty boring hang out on one chord for a while and then shift to the other
and eventually you will want to utilize songs with chord changes. chord for an equal amount of time. Consistent chord changes
As a teacher you should consider what repertoire will help stu- help with overall success.
dents navigate the switch with the least pain. Considerations for
switching chords include:
Strategies
1. The chords themselves.
Even if you choose the perfect song when introducing a new
F and C are ideal for initial chord switch because it does not in-
chord with chord changes, sometimes kids don’t get it right
volve too many fingers to plant on the fretboard. Some other
away. To avoid frustration, here are some troubleshooting tac-
texts go with C and G (or G7), but G and G7 are three fingered
tics.
chords. Very tricky.
-AirUke. My number one troubleshooting method. Students
As you move forward, this will be something to consider even
practice their chord changes but strum the air rather than their
once the students can successfully play several chords. Every
strings. While they do this, I play the chords so they can hear
time you introduce a new chord, you need to consider how they
them in connection with the song.
get in and out of that chord. Are the shifts manageable given
what the students already know? Whenever you introduce a new
19
Plus you look super music making or the act of “jumping right in” and making music.
cool. In participatory music making, everyone is actively doing some-
thing: playing an instrument, singing or chanting, and/or danc-
ing. There is no separation between audience and performers. In
participatory music making, the selected repertoire is the main
teaching tool. Repertoire is selected so that any challenges are
manageable. In this situation, manageable means that the chal-
lenges can be accomplished while playing the music with others
-In the context of a song, half the class plays one chord. The
who are either at the same skill level or more accomplished. In
other half plays the other chord. Switch.
participatory music making, rehearsal or spot practice is absent.
-In the context of a song, the class plays only one chord. You play In participatory music making, music is in its holistic form.
all chords. Switch. Repeat the experience with a different chord
Participatory music making is how I teach ukulele to my stu-
from the song.
dents. The focus is on playing the music as a whole, not by micro-
-In the context of a song, play chords only once on the chord managing technique or worrying about small mistakes. Instead
change. students work through their mistakes by playing with the group.
Every time you play the ukulele, it is treated like a performance
-Play-along songs: As discussed in section 6, find recordings of and everyone who hears the music is encouraged to participate.
songs that are in the same key as your charts.
No matter what you do to address the issues surrounding chord

changes and new chords, students are always expected to sing. Repertoire
Singing is one thing they are never allowed to opt-out of. If they
% Day-O (The Banana Boat Song) PA
strum without singing at home, it is not a very satisfying experi-
ence. Therefore, students must always practice singing and play- % Deep in the Heart of Texas
ing their ukulele in class.
% I Love It (I Don't Care)
Participatory music making
Strumming notes: all songs are in usual duple.
In 2008, Thomas Turino wrote the book, Music as Social Life. In
this work, he outlined how many cultures engage in participatory
20
Media
files.
VIDEO SOUND
Day-O (The Banana Boat Song) Day-O (The Banana Boat Song)
Deep in the Heart of Texas Deep in the Heart of Texas
I Love It (I Don't Care) I Love It (I Don't Care)
21
The clincher
New chord: G Strumming notes: all songs are in usual duple.
What strings? Media
% The C, E, and A strings or the 3rd, 2nd, You can hear examples of these songs both as videos and sound
and 1st string are all fretted notes. G is files.
OPEN.
VIDEO SOUND
What frets?
Low Rider Low Rider
% The triangle! The C string is on the 2nd fret. The E string is Jambalaya Jambalaya
on the 3rd fret. The A string is on the 2nd fret.
Three Little Birds Three Little Birds
What fingers?
I’ll Fly Away I’ll Fly Away
% This chord will require a lot of stretch and arch from your
hand and fingers. From left to right I use middle, ring, index. Which first? G or G7?
This is just a suggestion. Use what feels best.
There is no absolute answer to this - either option works. Both
Repertoire chords offer the same challenges and open similar doors. My best
advice is to choose the chord that you, the teacher, are the most
% Low Rider PA
comfortable playing. Your demonstrations have a huge impact on
% Jambalaya PA student success.
% Three Little Birds You also may choose to not introduce both at the same time. It
may be too confusing to students. Again, this is your call as
% I’ll Fly Away
teacher.
22
New chord: G7 % Crawdad Song
What strings? % Keep on the Sunny Side
% The C, E, and A strings or the 3rd, Strumming notes: Happy Birthday/For He’s a Jolly Good Fellow is in
2nd, and 1st string are all fretted notes. G is usual triple. All other songs are in usual duple.
OPEN.
Media
What frets?
% The reverse triangle! The C string is files.
on the 2nd fret. The E string is on the 1st fret. The A string is on
VIDEO SOUND
the 2nd fret.
Groove Is in the Heart Groove Is in the Heart
What fingers?
Oh My Darling, Clementine Oh My Darling, Clementine
% This chord will require a lot of stretch and arch from your
hand and fingers. From left to right I use middle, index, ring. Happy Birthday/For He’s a Jolly Happy Birthday/For He’s a Jolly
This is just a suggestion. Use what feels best. Good Fellow Good Fellow
The Lion Sleeps Tonight The Lion Sleeps Tonight
You Are My Sunshine You Are My Sunshine

Repertoire
Crawdad Song Crawdad Song
% Groove Is in the Heart
Keep on the Sunny Side Keep on the Sunny Side
% Oh My Darling, Clementine
% Happy Birthday/For He’s a Jolly Good Fellow

Chord quiz
% The Lion Sleeps Tonight
Every once in awhile, it is a good idea to check in on individual
% You Are My Sunshine student knowledge. Chord quizzes are designed to help check
student’s visual knowledge of chord charts, but they also include
23
a playing component to show if a student is developing the neces-
sary ability to play chords with clarity. This is the first of four
chord quizzes.
% Chord Quiz #1
24
You could be a pop star now. No, really.

Harmonic progressions MINOR/AEOLIAN
MAJOR
i III VI VII  
(tonic) (Mediant) (Submediant) (Subtonic)
I IV V/V7 vi
(Tonic) (Subdominant) (Dominant) (submediant) A minor Am C F G
C major C F G(7) Am
Common chord progression in minor (Aeolian)

You will notice after a while that certain chords always get
% i VI III VII% (Am, F, C, G)% %
grouped together. That is because certain chord progressions are
exceedingly common in popular music, like the following: % i VII VI VII % (Am, G, F, G)%
% I V IV V% % (C, G, F, G)% % % i III VII VI % (Am, C, G, F)%
% I V vi IV % (C, G, Am, F)% Note that the vast majority of popular songs are in Aeolian (low-
ered 7th scale degree) rather than Harmonic Minor (raised 7th
% I vi IV V % (C, Am, F, G)%
scale degree).
% I IV vi V % (C, F, Am, G)%
Repertoire
Check out Hook Theory to see some amazing chord progression
% Shake It Off PA
analyzations! Sadly, they really only deal in major - or if they
work with a song in minor, they call the tonic chord “vi”. % Let It Be PA
% You’re Gonna Miss Me PA
25
% Ho Hey PA Song assessment
% Octopus’s Garden If at any point you wish to check the progress of your stu-
dents’ singing and playing, I have created an assessment to help
% Wonderwall
this process. It is adaptable to any song you wish to assess.
% Counting Stars
% Song Assessment
Strumming notes: all songs are in usual duple.
Media
files.
VIDEO SOUND
Shake It Off Shake It Off
Let It Be Let It Be
You’re Gonna Miss Me You’re Gonna Miss Me
Ho Hey Ho Hey
WELL DONE! You have learned the “basic four” which can be
Octopus’s Garden Octopus’s Garden used in a multitude of songs. To get a sense of how often I, IV, V,
and vi are used in popular music, check out the Axis of Awe-
Wonderwall Wonderwall
some.
Counting Stars Counting Stars
But for now, enjoy this major accomplishment! You can live on
these four chords for a long time, if necessary!
26
Chapter 2
Songs in the key of uke
Because music has variation.

Songs in the key of uke (Chapter 2)
Chapter Two Outline

I mean C major is great, but let’s get some options shall we?
Now you can go to town in the key of G
Don’t worry. Play the ukulele
The minor fall, the major lift
Superheroes WISHED they played the uke
Now go, Cat, go!
I never knew me a better time
But tonight uke belong to me
Complicated
Breathe easy for a while
Everything is satisfactual
I’m crossing uke in style
28
Now you can go to town in the key of G

So far, you have done quite a nice job in the keys of C major and that chord yet. However, in G mixolydian the chord would be
Am. As mentioned at the end of chapter 1, with just four chords Am (a chord that you know and love already)
you can play and sing a lot of different songs from many genres.
Chords in C and G Mixolydian
However, you must continue to grow your ukulele chops. By add-
ing just one new chord, you can begin to play music in a new ma-
I IV V/V7 vi
jor key.
(Tonic) (Subdominant) (Dominant) (submediant)
Chords in C and G Major C F G Bbm
I (Tonic) IV (Subdominant) V/V7 (Dominant) G C D Am
C F G/G7 New chord: D

G C D/D7
Those three fingers smushed closely together
can be tricky. I use fingers 3, 2, & 1 (left to
Mixolydian
right on the chart) all piled up on top of one
Mixolydian is often mistaken for major because they both have another, but it is not the only option. Some
raised third degrees. However, when playing an accompanying people prefer 1, 3, 2 in order to mirror the
instrument you will notice certain chords appear in mixolydian shape of the G chord. This can work well since
but not in major. One such chord is the minor chord on the low- it is quite common to move between these two
ered 7th scale degree. In major, the chord on the seventh scale chords. A final group of people will use their
degree is diminished and not used as often. In C major, the thumb to press down on all three strings. This
chord on the 7th scale degree would be B diminished. In C mix- is a solution, but not a great one as it often requires a lot of mo-
olydian, that chord would be Bbm, but you haven’t gotten to tion to shift between the D chord and any other chord. As usual,
try them all out and see what works .
29
Repertoire Alternative fingering: D7
% Sweet Home Alabama PA But you can totes do this one. It is not ideal,
but it is a good starter chord (or cheater chord)
% Radioactive
until you are ready for the closed chord version
% Ring of Fire PA of D7 on the bottom of the previous page. It is
not ideal because it is technically missing the
% Knockin’ on Heaven’s Doors PA “D” note from the chord. The way it is con-
structed, you will likely hear it in your head
Media
even though it is not articulated in this spelling
of the chord. This is also a very attainable chord to play along-
VIDEO SOUND
side the G chord. It is a very friendly chord change.
Sweet Home Alabama Sweet Home Alabama
Repertoire
Radioactive Radioactive
% This Land Is Your Land
Ring of Fire Ring of Fire
% I’m Yours
Knockin’ on Heaven’s Doors Knockin’ on Heaven’s Doors
% Hey Jude
Chord slide (G shape)

New chord: D7
One thing that is fun with certain chords is that the shape of the
Ok, so reality is you’re probably not quite chord can be moved along the neck to create interesting sounds.
ready for this chord. This is why you are go- The G chord works nicely in this capacity. While you cannot use
ing to look at the alternative fingering right this new finger placement to create a new common functioning
away BUT at some point you will be ready chord, a chord slide on the G chord can create a nice “stinger”
for this chord - especially once you learn a for the end of the song. To learn to do the chord slide, first look
few closed chords. at the gif on the next page to watch this motion in action.
30
Ukulele chord charts
Now that you are moving beyond the basic starter kit of ukulele
chords, it might be helpful for both you (and your students) to
have a reference chart for the chords you have learned - and will
learn!
% Soprano/Concert/Tenor Ukulele Chord Charts
% Soprano/Concert/Tenor Ukulele Chord Posters
Feeling saucy? Learn even more chords! (Created by

Ukulele-Tabs.com)
The chord slide for the G chord means you start on the G chord,
move the whole shape backwards one fret, and then quickly
move back to the chord. Listen to it here in isola- Look at you!
tion or at the end of “This Land is Your Land”.
You could have stopped in the previous chapter! But you kept going!
Media
files.
VIDEO SOUND
This Land Is Your Land This Land Is Your Land
I’m Yours I’m Yours
Hey Jude Hey Jude
31
Don’t worry. Play the ukulele

New chord: Dm possible in aeolian, the device is used more in dorian. Besides
Drunken Sailor, Radioactive is also in dorian.
As far as new chords go, this one generally
does not give too many problems. When Chords in D and A Dorian
teaching students, I often have them place
their fingers for the F chord and then place i III IV VII
the final finger down on the third string. It (tonic) (Mediant) (Subdominant) (Subtonic)
is not uncommon to move from F to Dm Am C D G
and back, so its a technically helpful move.
Dm F G C
Dm will act as a ii chord in the key of C ma-
jor or C mixolydian for most songs presented below. ii can act as Repertoire
a substitute for IV in some music or simply precede the IV.
% Drunken Sailor
The only exception to this is Drunken Sailor. In this song, Dm
acts as tonic in Dorian. % Don’t Worry, Be Happy *
Dorian % Y.M.C.A.
Dorian is often mistaken for minor because they both have low- % Scooby Doo, Where Are You!
ered third degrees. However, when playing an accompanying in-
*This song has a creativity extension found in Chapter 4, Section 5
strument you will notice certain chords appear in dorian but not
in minor. In particular, because there is a raised 6th you will get a As the asterisk points out, “Don’t Worry Be Happy” has a coordi-
major IV chord. In minor (both aeolian and harmonic minor), nating activity that incorporates a creative extension for the
the subdominant is minor. It is a common device of dorian songs song. You may check them out now, or you may wait until Chap-
to utilize the minor tonic to major subtonic. While this is also ter 4 when they are discussed in depth.
32
Media
VIDEO SOUND
Drunken Sailor Drunken Sailor
Don’t Worry, Be Happy Don’t Worry, Be Happy
Y.M.C.A. Y.M.C.A.
Scooby Doo, Where Are You! Scooby Doo, Where Are You!
You inspire me
You have come so far. I’m so proud of you.
33
The minor fall, the major lift

New chord: E7 Media
VIDEO SOUND
E7 will require a bit more motion from
your left hand. However, this is a good Joshua Fought the Battle of Jericho Joshua Fought the Battle of Jericho
time to remind both you and your stu- Hallelujah Hallelujah

dents of the left thumb. By placing the left
thumb in the middle of the back of the
neck, this should minimize the amount of Transposing
motion one has to do while shifting.
A musicianship skill that is accessible on the ukulele is transpos-
While it may not be comfortable at first,
ing. After playing C, F, & G songs for a while, students should be-
it gives the young player an advantage if
gin to notice the relationships. C is the home chord, and F & G
they want to shift to guitar or an orchestral string instrument.
are used to transition back to C. When you switch to songs in G,
That technique is
the transition chords are C & D. Now is a very good time to rein-
mirrored on those
force these relationships as tonic, subdominant, and domi-
instruments. This
nant.
picture shows the
ideal placement of Major keys #
the left thumb
I (Tonic) IV (Subdominant) V/V7 (Dominant)
C F G/G7
Repertoire
G C D/D7
% Joshua Fought the Battle of Jericho
F Bb (will learn later) C/C7
% Hallelujah PA
34
These relationships are also present in harmonic minor keys, Even more interesting than transposing from one major key to
though the students should be made aware of the Major 7th another major key is to move from major to minor or vice versa.
Dominant chord in the minor key. Just remember that you transpose the major tonic chord to the
minor tonic chord and so on. In the song below, you will keep all
Harmonic Minor keys
C chords (C or C7) as Am as you don’t yet know Am7.
% You Are My Sunshine

i(tonic) iv (subdominant) V/V7 (Dominant)
Am Dm E7 Old Key C/C7 F G
Given these relationships, students should now be able to trans- New Key Am ? ?
pose a few songs to new keys.
Repertoire
Media
Since transposing is about doing this in your head without the
reference of a new piece of music, there will not be new lead While I won’t give you the lead sheets in the new keys, you can
sheets given below. However suggestions will be made for songs listen to the songs in the new keys - just to make sure you are on
to transpose and the new key for transposing. the right path! You can hear examples of these songs both as vid-
eos and sound files.
% Day-O (The Banana Boat Song)
VIDEO SOUND
Old Key F C7
New Key C ? Day-O (The Banana Boat Song) Day-O (The Banana Boat Song)
Three Little Birds Three Little Birds

% Three Little Birds
You Are My Sunshine You Are My Sunshine
Old Key C F G
New Key G ? ?
35
What the what?!
You are transposing now??? You’re unstoppable!
36
Superheroes WISHED they played the uke

New chord: F6 Closed chords
Unlike any of the chords we’ve experienced Many barre chords are also closed chords. Closed chords means
so far, even though there are multiple strings that all four strings are fretted at the same time. The benefit to
being fretted, you will only use one finger to these kinds of chords it that they can be moved along the neck.
play this chord. To play F6, take your index For example, If you take the shape of F6 and move it back one
finger and lay it across the fret board on the fret to the 4th fret, you now have the E6 chord. Move it back to
5th fret. Rather than using just the pads of the 3rd fret and you have the Eb6 chord. If you remember, in dis-
your finger, roll it back slightly so that bone cussing tuning, C6 is called “standard tuning”. If you were to
pushes down on the frets. Check out the gif take the F6 shape and push it back to one space behind the nut
below to see this in action. This is a barre that is where C6 lives. Playing all strings open is C6. See chart
chord. When you see an arched line stretching across multiple below for further help. You will learn more closed chords by the
lines on the chord chart, this is done to help you recognize a end of this chapter.
barre chord.
LOWEST
NUMBER FRET CHORD NAME
IN THE SHAPE
0 C6
1 C#6/Db6
2 D6
3 D#6/Eb6
4 E6
5 F6
37
Repertoire
% Spiderman
Media
VIDEO SOUND
Spiderman Spiderman
Wowzer!
Your first real barred chord! You are awesome!
38
Now go, Cat, go!

New chord: A New chord: A7
Nothing terribly difficult about this chord, What?? A one-fingered-chord??? Didn’t

though it does allow you to play in the key of think you’d see anymore of those, did you?
A major. Welp! Here you go! Enjoy it! It is your last
one! It also allows you to play in the key of
I IV V/V7 D major.
(Tonic) (Subdominant) (Dominant)
A D E7
I IV V/V7
Repertoire D G A/A7
% I’m a Believer
% Little Boxes * Repertoire

*This song has a creativity extension found in Chapter 4, Section 4
% Jamaica Farewell
Media
% Blue Suede Shoes PA
VIDEO SOUND Media
I’m a Believer I’m a Believer VIDEO SOUND
Little Boxes Little Boxes Jamaican Farewell Jamaican Farewell
Blue Suede Shoes Blue Suede Shoes

39
Transposing: Multiple major keys
Yo! Look at all the keys you now have domination over! Now’s a Get it.
good time to try some transposing into these new keys. Try Jamai-
Did you know that you are a ukulele Jedi master? I did.
can Farewell (D -->A, C, or G). You could also try Keep on the
Sunny Side (C -->A, D, or G).
I IV V7
A D E7
C F G7
D G A7
G C D7
Chord quiz
It is time for another chord quiz! Please note that these are not
cumulative. These only deal with the new chords learned since
the last chord quiz.
% Chord Quiz #2
40
I never knew me a better time
New chord: Em Media
The variations on E (E7, Em, and E) all seem VIDEO SOUND

to be really tricky. E7 requires you to keep
Stand By Me Stand By Me
your thumb firmly planted and keep a high
arch in your fretted fingers. Em requires the I Knew You Were Trouble I Knew You Were Trouble
feeling of “shift”. All of the previously known
chords never move beyond the third fret.
Em gives the player the feeling of moving Passing chords: C6, Em7, Em, & Cmaj7
down the fretboard to a new position.
By passing chord, I mean that it is used to
To practice Em, move between C & Em. It is a common switch transition from one chord to another. Gener-
but does not require as much motion as some other chords. Af- ally, these chords do not get extensive use in
ter success with C and Em, try G and Em, and then finally D the context of a song. Beginning with C6, you
and Em. Once you have the the feeling of these three chords, will recognize this as the open version of the
you are ready to jump into the repertoire. F6 chord
you learned
a few les-
sons ago. I
Repertoire
believe you should do just
% Stand By Me fine figuring out this chord....
% I Knew You Were Trouble
41
Repertoire
% Eleanor Rigby PA
Media
VIDEO SOUND
Eleanor Rigby Eleanor Rigby
And now back to our regularly Em programming

Em7, Em6, and Cmaj7 work together in Eleanor Rigby. As per
usual, I suggest trying to figure out which fingers make the most
sense to you to set you up for success moving from the Em7 to
the Em6 to the Cmaj7 and then finally landing on Em (as you do
in Eleanor Rigby).
Nothing is necessarily wrong, but once you have figured out

which way you like, check out the gif below to see what I recom-
mend.
Repertoire
% Somewhere Over the Rainbow/What a Wonderful World PA
% Crocodile Rock PA
% Kansas City
42
Media
VIDEO SOUND
Somewhere Over the Rainbow/ Somewhere Over the Rainbow/

What a Wonderful World What a Wonderful World
Crocodile Rock Crocodile Rock
Kansas City Kansas City
BTW...
You have accomplished a lot at this point. You are awesome.
43
But tonight uke belong to me

New chord: Fm New chord: Cm
Like E7, Fm tends to require a high arch and There are two ways to go about playing Cm.
well placed thumb on the back of the neck. The first involves smashing fingers 1, 2, & 3
Without these two technical aspects, the together like you do for the D chord. The
hand will struggle to reach these frets with other way would be to barre this chord with
precision. your index finger. Not all barre chords are
also closed chords. Either way works. When
We Will Rock You can be a “play-along” song if
you practice this chord, move towards Fm
you play it in Em. I choose to use the song as
to see what feels comfortable.
an introduction for Fm, since I struggle to
find accessible repertoire for that chord. By adding in Cm to your chord bank, you now can play in the
key of C harmonic minor.
Repertoire
% We Will Rock You

i(Tonic) iv (subdominant) V/V7 (Dominant)
% Across the Universe Cm Fm G/G7
Media Repertoire
VIDEO SOUND
% Go Down, Moses
We Will Rock You We Will Rock You
% All the Rowboats PA
Across the Universe Across the Universe
% Tonight You Belong to Me PA
44
Media
VIDEO SOUND
Go Down, Moses Go Down, Moses
All the Rowboats All the Rowboats
Tonight You Belong to Me Tonight You Belong to Me
I’m agog. Simply agog.
You are on FIRE. Nothing is gonna stop you now.
45
Complicated
New chord: Bb Closed chord shapes
Yup, this one is hard. That is ok. That is why Like the F6 chord, this shape can be moved up the fretboard.
you have waited until now to learn it. It is a With the 4th and 3rd string fretted on 1st fret, you get Bb. Move
useful chord once you know it, but it does the shape up to the 2nd fret, you get B. 3rd fret, C. This chord is
take some finger strength. great to know as it works for major chords. Here’s the list of
chord names for this closed chord shape:
Place the left thumb squarely on the back of
the neck. Then, use your index finger and LOWEST
barre it across the first fret on both string 1 NUMBER FRET CHORD NAME
& 2. Remember that “rocked back” action dis- IN THE SHAPE
cussed when learning F6. Once you have the index finger in 1 A#Bb
place, then you can place the middle finger on string 3 and the
2 B
ring finger on string 4. Strum with your right hand to test the
3 C
sound.
4 C#/Db
If the sound is muffled, keep re-shifting your arch and your barre
5 D
until the sound is clean. Then lift and place to practice this
chord with the needed timing. Repertoire
You now have power over F major. Awwww yeah. Achy Breaky Heart
% With a Little Help From My Friends

I IV V/V7 vi
(Tonic) (Subdominant) (Dominant) (submediant) % Say Something
F Bb C/C7 Dm
% Complicated PA
46
% Somebody That I Used to Know PA Repertoire
Media The Hanging Tree
VIDEO SOUND Media

Achy Breaky Heart Achy Breaky Heart
VIDEO SOUND
With a Little Help From My Friends With a Little Help From My Friends
The Hanging Tree The Hanging Tree
Say Something Say Something
Complicated Complicated
Somebody That I Used to Know Somebody That I Used to Know

You deserve a gif.
You have been working so hard - so, let’s make it a Jennifer Lawrence gif
at that.
Closed chord variation: B
After Bb, the most likely iteration of this

chord shape is B. Also quite useful. Unlike its
peer, Bb however, this variation will have a
shifted feeling as you are now playing the
chord in a new position on the neck. In that
way, it pairs nicely with Em (which is good be-
cause they play together nicely in the har-
monic minor sense).
i iv V/V7 VI
(tonic) (subdominant) (Dominant) (Submediant)
Em B/B7 B/B7 C
47
Breathe easy for a while

New chord: Gm Repertoire
I have always found this chord a big tricky. It Hava nagila

probably shouldn’t be because it is only
% Chapel of Love
three fingers, but I think getting in and out
of it from the related chords has its issues. % Love Song PA
For instance, moving from A7 to Gm is not
easy, neither is moving from Dm to Gm, and Media
moving from F to Gm really requires a lot of
hopping around for the fingers. Basically, on VIDEO SOUND
the surface Gm looks easy but offers lots of complications. How-
Hava nagila Hava nagila
ever, it does give you new harmonic options in various keys.
Chapel of Love Chapel of Love
F Major
Love Song Love Song
I ii IV V/V7 vi
(Tonic) (supertonic) (Subdominant) (Dominant) (submediant)
F Gm Bb C/C7 Dm New chord: Bm
D Harmonic Minor Like the Bb chord, you should try barring

strings 1, 2, & 3. As for string 4, use whatever
i iv V/V7 finger with which you feel comfortable reach-
(tonic) (subdominant) (Dominant) ing to the 4th fret. By adding in Bm into your
chord vocabulary, you now have access to the
Dm Gm A/A7
submediant in D.
48
D major Chords in C & D Major
I IV V/V7 vi I IV V/V7 vi
(Tonic) (Subdominant) (Dominant) (submediant) (Tonic) (Subdominant) (Dominant) (submediant)
C F G/G7 Am
D G A/A7 Bm
D G A/A7 Bm
Repertoire
Chords in A & B Aeolian/Natural Minor
Beat It
i III VI VII  
% RUDE (tonic) (Mediant) (Submediant) (Subtonic)
% Shut Up and Dance Am C F G
Media Bm D G A
VIDEO SOUND
Closed chord shape
Beat It Beat It
Hopefully, you are starting to recognize a closed chord when you
RUDE RUDE see one. This is a great shape for minor chords. Check out the
chart below for the common uses of this chord shape.
Shut Up and Dance Shut Up and Dance
LOWEST
Transposing: C to D major/ A to B aeolian NUMBER FRET CHORD NAME
IN THE SHAPE
Bonus round! Since you now know I, IV, V/V7, & vi in both C
and D major, you can take any of those songs that you learned at 1 A#m/Bbm
the end of chapter 1 and transpose them to C major (or B aeo- 2 Bm

lian). Use the chart to assist. I love this moment because D is a 3 Cm
GREAT key to sing in. I suggest starting with Shake it Off or Won-
4 C#m/Dbm
derwall.
5 Dm
49
Closed chord variation: Bbm Another freaking milestone.
A common variation on this closed chord Now you are just showing off. You are freaking amazing.
is Bbm. Not many harmonic options
opened up just yet, but it adds a nice op-
tion for jazz standards such as It Had to
Be You.
Repertoire
% It Had to Be You PA
Media
VIDEO SOUND
It Had to Be You It Had to Be You
Chord quiz
It is time for another chord quiz!
% Chord Quiz #3
50
Everything is satisfactual
New chord: Bb7 Alternative fingering: B7
Achievement unlocked! You now are ready If you want to challenge yourself, you can do
to do some SUPER barring. The line across the full closed chord version of B7 (or C7 or
all of the 1st fret implies that you need to D7) in your repertoire, but the alternative ver-
barre the entire set of strings AND THEN sion of B7 is a nice option. This version works
you add another finger on the 3rd string, 2nd quite nicely with songs in Em since they have
fret. the same shape.
Super finger strength: Activate! Repertoire
Closed chord shapes Sway/¿Quién será?
But you got this! By adding this closed chord into your reper- % Hotel California
toire, you now have a shape to use for 7th chords. Check out the
Media VIDEO SOUND
chart below for the common uses of this chord shape.
Sway/¿Quién será? Sway/¿Quién será?
LOWEST Hotel California Hotel California
NUMBER FRET CHORD NAME
IN THE SHAPE New chord: F#m
1 A#7/Bb7
After working so hard to get that Bb7 barre
2 B7 shape, you deserve a break! How about a to-
3 C7 tally easy chord? However, do you realize how
4 C#7/Db7 much you would have struggled to play this
three finger chord when you first started play-
5 D7
ing uke? And now? CHILD’S PLAY!
51
Repertoire Aeolian/Natural Minor Keys
Halo i III vi VI VII/VII7

(tonic) (Submediant) (dominant) (Submediant) (Subtonic)
% Zip-A-Dee-Doo-Dah
Am C Dm F G/G7
Media
VIDEO SOUND Bm D Em G A/A7
Halo Halo Cm F Gm A Bb/Bb7
Zip-A-Dee-Doo-Dah Dm G Am B C/C7
Zip-A-Dee-Doo-Dah
F#m A B C E7
Transposing: Expanded harmonic content
Dude. You have got OPTIONS now. In major keys, you can trans-
pose I, ii, IV, V7, and vi chords in several keys (though notice, One day maybe...
you have not quite accomplished V for A major. Soon).You can
I’ll grow up to be as cool as you. You. Are. Awesome.
also have a great time in several aeolian keys. I’m not even gonna
suggest some tunes. Go crazy, my friend.
Major Keys
I ii IV V/V7 vi
(Tonic) (supertonic) (Subdominant) (Dominant) (submediant)
A Bm D E7 F#m
C Dm F G/G7 Am
D Em G A/A7 Bm
F Gm A Bb/Bb7 Cm
G Am B C/C7 Dm
52
I’m crossing uke in style

New chord: F7 FINAL chord: Eb
Before I introduce this new chord, I would It is not a barred chord, but it will require
just like to say “BRAVO!” Srrly. You have a similar amount of finger strength. I sug-
come so far on this ukulele journey and I love gest placing fingers 2, 3, & 4 on fret 3 and
it. Ok, final few chords.. then place your index finger on the first
fret, first string. It will stretch your fin-
I always suggest when learning F7 you first
gers, but it works!
place your fingers in F and then add the extra
finger. That is it! The trick is moving from F7 Btw, now you can rock and roll in Bb ma-
to Bb. Practice that a few times before trying the next song. jor and G aeolian (and can transpose to these keys).
The variation of Paperback Writer shared in this test is in F. Paper- Bb major

back Writer can be a “play-along” song if you play it in G.
I ii IV V/V7 vi
Repertoire (Tonic) (supertonic) (Subdominant) (Dominant) (submediant)
Paperback Writer Bb Cm Eb F/F7 Gm
Media G aeolian/natural minor
VIDEO SOUND
i III iv VI VII/VII7
Paperback Writer (tonic) (Submediant) (subdominant) (Submediant) (Subtonic)
Paperback Writer
Gm Bb Cm Eb F/F7
53
Closed chord shapes Repertoire
By adding this closed chord into your repertoire, you now have a Wild Thing
different shape to use for major chords. Previously, you used
Happy Together
the Bb closed chord shape for major chords. By adding in this
second shape, you can have access to certain major chords that
were previously too high on the neck with the Bb chord shape
(like E and F# major). Check out the chart below for the com- Media
mon uses of this chord shape.
VIDEO SOUND
Wild Thing Wild Thing

LOWEST
NUMBER FRET CHORD NAME Happy Together Happy Together
IN THE SHAPE
1 D#/Eb Alternative Fingering: Eb

2 E
While the Eb shape is useful for the other
3 F chords in the shape, rarely do you use that
4 F#/Gb7 shape for Eb itself. Instead, utilize the alter-
5 G native fingering for Eb.
With this chord shape you

now have control over E
Repertoire
major. Not an easy chord,
but you have built up your % Armed Forces Medley
strength to be ready for it
at this point. The other VIDEO SOUND
useful variation of this
chord shape is F# major. Armed Forces Medley Armed Forces Medley
54
YO! YOU DID IT!
You did it. You finished learning all the common chords for the You made it through all the chords and songs! Well done!
ukulele. PLUS you have the tools to learn new ones, either
through closed chord variations or just fun new chords that you
encounter in the future. But before you finish up, you will learn
one more song; one to be played out your window seat:
% Moon River
VIDEO SOUND
Moon River Moon River
The Complete GiebelUke Songbook

Chord quiz
GiebelUke Songbook for Soprano, Concert, or Tenor
It is time for THE FINAL chord quiz!
% Chord Quiz #4 VIDEO SOUND
Complete Playlist - S/C/T Complete Playlist - S/C/T
55
Chapter 3
Be less high strung
A little bit of theory, a little bit of

baritone, a whole lot of happiness.
Be less high strung (Chapter 3)
Chapter Three Outline

You wish that you could be like the cool kids? I don’t know if this will do it, but it couldn’t hurt!
Tab it out
Fingerpicking fun
Just a wee bit of notation
Circle of fifths and chord families
Some more chords!
Making the switch
Growing your baritone chops
The bari tough stuff
We’re better together
When do you baritone?
Moving towards the guitar
57
Tab it out
Introduction to tablature On top of each string, you see a number to indicate which fret
you play on that string. Take a look at this simple pattern for A
Tablature or tab is just another kind of way to read music. There
major
is plenty of snobbiness out there about tab not being REAL MU-
SIC READING (insert mock disgusted face here), but person- A major:
ally - if it gets somebody to play and enjoy music, I’m not going
to be too upset about it. Truthfully, in the world of ukulele play-
ers, I don’t know too many that typically read music from tradi-
tional notation. In that sense, tab is the more authentic way to
read ukulele music.
Tab simplifies music reading to a string and a fret, much in the

same way that chord charts do. However, instead of the strings
For Do (A), you play the open 1st string. Re is on the 2nd fret of
being vertical like in a chord chart, in tab, the strings are horizon-
the 1st string, Mi the 4th fret of the 1st string, and Sol is the
tal
open 2nd string.
Finger placement
When playing several notes on the same string, avoid being “the
one finger wonder”. Rather than sliding your index finger up and
down the neck to fret every note, make logical decisions about
which finger to use. For the above A major pattern, I suggest us-
ing your index on Re and ring finger on Mi. You have four fingers
Notice that the highest string is situated at the top of the tab available to fret the strings. The more efficient you are with fret-
chart. ting fingers, the more musical your sound will become.
58
It is possible to learn entire songs in tab. However, this curricu- E minor:
lum will utilize tab mostly for tonal patterns that can be used for
improvisation. Chapter 4 will outline specific activities to use for
improvisation. There is also an improvisation assessment avail-
able to you, if desired.
% Improvisation Assessment
For now, simply try out the patterns for various keys. See if you
can play simple songs given these tonal sets. See if you can create
melodies or improvise with these given tonal sets.
F major:
A minor:
C major:
E major:
59
C minor (aeolian): D minor:
G major:
D major:
60
Fingerpicking fun
Too much chunking The names in parentheses are Spanish since Spain is the country
where guitar music developed. The fingerpicking techniques
So, you will start to notice, if you keep strumming every song -
used for guitar are also used for ukulele.
there starts to be a similar sound for every single song you play.
Strumming is the way to start, but it isn’t the only way to play. A subtle change
One way to alter your sound is through fingerpicking. Finger-
You will start with a very easy introduction to fingerpicking on
picking is exactly what it sounds like. Rather than using a single
the ukulele. Please note, in all of the following examples I am
finger and strumming through the strings on a chord, fingerpick-
playing a C7 chord.
ing is the art of using various strings to outline and elaborate on
a chord. Specifically, it is used in folk, country, and rock music to
accompany a song as an alternative to strumming.
Finger names for fingerpicking
Because you will be using many fingers to create the fingerpick-

ing patterns, you will need a shortcut way to indicate which fin-
ger to use. Harmonizing string instruments use the following ab-
In this pattern, the thumb is the only finger used. However, the
breviations for fingerpicking:
thumb rests after playing the top string and then lightly strums
p% - Thumb (Plugar) the bottom three strings. To hear an example of this pattern in
action, listen to Moon River.
i% - Index (Indice)
Fingerpicking in duple
m % - Middle (Medius)
Fingerpicking can be tricky because it requires you to isolate
a% - Ring (Annular) each finger on a single string. This is much more precise work
than strumming. The first few patterns are not practical for a lot
61
of songs, but they do give the player a simple exercise to master
the necessary isolation.
Travis picking (a.k.a. getting fancy!) 

This next pattern will require the player to move the thumb Named after Merle Travis, Travis picking allows you to really
back and forth between the 3rd and 4th string while the index show off your stuff! If you feel like you have gotten the hang of
and middle finger stay put. It is similar to the first pattern the other fingerpicking patterns, give these a try!
learned, but requires more skill from the player. You can also use
m & a instead of i & m (player’s choice).
Fingerpicking in triple
Because fingerpicking is very rhythmic in nature, not every pat-

tern will work in every song - especially songs in meters other
than duple. The following patterns work well for triple meter.
62
Just a wee bit of notation

If you have utilized the C major scale for improvisations, it If you do this with students, split the class in two. Half the class
might be time to try some notation. Using the tab and nota- plays the melody while the other plays the chords.
tional key below, try to play Row, Row, Row Your Boat from the no-
You can repeat a similar experience with Three Blind Mice (still
tation.
C major).
You can try this with other simple songs and other various keys,
but beware the pop song in notation. Because of the high use of
syncopation, the rhythms of pop songs are not so easy for music
reading. Your best bet is to stick with folk songs for notation.
63
Some more chords!

Most of these chords are not utilized in the GiebelUke Song-
book, but they are always good to have on hand. You know, in
case of ukulele emergencies.
Those ukulele emergencies tend to occur when one is playing a

jazz standard or songs from musical theatre.
Diminished chords
Diminished chords are a very particular shape. And because of

the theoretical makeup of a diminished chord, there is actually
only one shape to learn in three positions.
64
Augmented chords
Similarly, there are several shapes that represent three of the aug-
mented chords.
65
Minor 7th chords
Minor 7ths have a pattern that is easy to follow: four different

shapes moving up the neck (note that C6 and Am7 are the same).
66
Major 7th chords
Major 7th chords have several shapes, but also one oddball.
There are also several in this bunch that are quite tricky
67
Circle of fifths and chord families

Transposing guide
Several times throughout this curriculum, I have suggested try-

ing to transpose a song from one key to another. As a music
teacher, you may understand these chord functions quite well. It
is a skill that students can learn as well, but not without some
help. This chart can help students navigate through harmonic
and tonality shifts, should you choose to develop their transpos-
ing skills.
Transposing Guide Chart
Circle of fifths
The other reference tool that can help students understand rela-
tionship between keys is the circle of fifths. The circle of fifths
moves through every key moving to the right by the interval of a
5th. It is also sometimes known as the circle of fourths because
you can move to the left and move by the interval of a fourth.
The picture on the right showcases the circle of fifths with the
key signature for each major key, but also embeds the major tonic
chord and the corresponding ukulele chord chart. The inner part
of the circle shows the relative minor for each key as well as the
ukulele chord chart for the minor tonic chord. As a bonus, also
included is the major tonic 7th chord for each major key.
68
Chord families Circle of fifths/Chord family wheel
The circle of fifths can also provide extra insight into the musical In fact, this is such a useful tool that you can turn it into a practi-
construction of most popular songs. There are certain chords cal tool for yourself and your students. By putting the circle of
that are always grouped together. These are called chord families. fifths on a piece of paper (yes, I am suggesting you use paper for
They hang out together, like a family. Using the circle of fifths, something), the cut-out on another piece of paper, and then con-
you can find a chord family by isolating three neighboring seg- nect the two with a round head fastener, you can create a rotat-
ments. ing wheel to view all the chord families. See it in action below!
For example, isolating the top three segments highlights the

chord families for C major and A aeolian/natural minor. The sub-
dominant is on the left (F/Dm) and the Dominant is on the right
(G/Em).
You can make your own! Here’s the template
69
Making the switch

Baritone tuning
Differences in anatomy: Soprano vs. baritone
Like the other ukuleles, the baritone is a four stringed instru-

ment, but the tuning of those strings is quite different then ei-
ther the soprano, concert, or tenor. To begin, the baritone does
not utilize reentrant tuning. Instead the strings move from low
G B to high like a guitar. In fact, the guitar and baritone ukulele have
quite a bit in common. The tuning for the baritone mirrors the
top four strings of the guitar.
Baritone G6 D3, G3, B4, E4
D E Moving from soprano to baritone
Because the tuning is different between the two kinds of ukule-

les, it will take a bit of an adjustment to transition from one in-
strument to the other. The
shapes for the instrument
will be the same, but the
chord name changes. For
example, the C chord on
soprano, concert, and
tenor ukulele will be a G
on the baritone.
Click on the tuning pegs to hear the sound each string should make.
Soprano Baritone
70
Because of this, there are many chords which are basic on the so- ning chords on soprano and the coordinating chords for bari-
prano which will be much more difficult on the baritone (such as tone:
F), but on the other side there are chords that are more accessi-
ble on the baritone that were previously more difficult on the so- Soprano,
prano (such as Em). Concert, C C7 Am F G G7
and Tenor
If you are moving from soprano to baritone, there are certain
songs that are more accessible. Consider the following songs as a
Baritone G G7 Em C D D7
starter package for making the switch:
% Jambalaya
Some songs have been transposed for ease of playing on the Bari-
% Sweet Home Alabama% tone. If this is the case you will see a T next to the repertoire.
% Stand by Me Like the Soprano/Concert/Tenor set list, I have also created a se-
ries of play-along playlists for the Baritone repertoire. If you see
% Jamaica Farewell PA marked next to a song, it can be played along with the famous
% Radioactive recording.
% Little Boxes % Baritone Spotify Play-Along List
Beginning with baritone % Baritone Apple Music Play-Along List
If you are beginning your ukulele journey with baritone, you will Repertoire for baritone
want to progress through chords in a different order than previ- Every time a new chord is introduced, that chord will be in paren-
ously outlined. Consider that for soprano, concert, and tenor you theses.
began with C, but for baritone the G chord has the same shape.
Here’s where your transposing skills will help. Transpose every % Are You Sleeping? (G) T
shape that was learned for soprano up a perfect fifth or down a
% Low Rider PA
perfect fourth (C-->G). The following chart outlines the begin-
% Hey, Ho! Nobody Home! (Em) T
71
% Koomalama T
% Three Blind Mice (C)
% Row, Row, Row Your Boat
% Jambalaya
% I Love It (I Don’t Care) T
% Sweet Home Alabama (D) PA
% Ring of Fire PA
% Don’t Worry, Be Happy T
% This Land Is Your Land (D7)
% Happy Birthday/For He’s a Jolly Good Fellow T
% Stand by Me
% Groove is in the Heart (G7) T
% Oh My Darling, Clementine (C, G7)
Media
Just like for the Soprano, Concert, Tenor GiebelUke Songbook,

there are videos and audio files for the Baritone GiebelUke Song-
book. They can be found in the appendices.
% Baritone GiebelUke Songbook - Video List
% Baritone GiebelUke Songbook - Sound List
72
Growing your baritone chops

Cool! What’s next? % The Lion Sleeps Tonight T
% Achy Breaky Heart (A) T % Blue Suede Shoes PA
% I’m a Believer % You Are My Sunshine T
% Jamaica Farewell (A7) % Crawdad Song T
% Keep on the Sunny Side T % Crocodile Rock PA
% Have You Seen the Ghost of John? (Am) % Beat It (Bm)
% Shake it Off PA % Shut Up and Dance
% Radioactive % RUDE
% I Knew You Were Trouble % You’re Gonna Miss Me T
% Knockin’ on Heaven’s Door PA % Let it Be T
% Joshua Fought the Battle of Jericho (E7) % Ho Hey T
% Little Boxes % Octopus’s Garden T
% Three Little Birds (E) T PA % Wonderwall T
% Wild Thing % Counting Stars T
% I’ll Fly Away T % Scooby Doo, Where Are You! T PA
73
The keys to baritone Order of aeolian/natural minor keys learned for Baritone
With the song sequence I have established, the pace of learning

i III iv VI VII/VII7
new chords is a bit faster for the baritone. This is largely because (tonic) (Submediant) (subdominant) (Submediant) (Subtonic)
the key of G major is less easy to sing in then C. Instead, the Gie-
Em
belUke Songbook for Baritone moves you steadily towards being
able to work in the key of D - a great key for singing. Am C D G
Bm G A
The following is the order of the keys in both major and minor
tonality that you access as the chords are introduced through the
GiebelUke Songbook for Baritone. You will see the repetition of
the same key as new functions are introduced. The introduced
chords will be bolded.
Order of major keys learned for Baritone
I IV V/V7 vi
(Tonic) (Subdominant) (Dominant) (submediant)
C G
G C D/D7 Em
D G A/A7
C G Am
A D E/E7
D G A/A7 Bm
74
The bari tough stuff

And now, your challenge (should you accept it) % Spiderman (F6)
% Hotel California (B7) % Coconut (C7) PA
% Sway/¿Quién será? % Day-O (The Banana Boat Song) PA
% Happy Together T % Deep in the Heart of Texas
% Tonight You Belong to Me (Cm) PA % Hava nagila (Gm)%
% Frère Jacques (F) % Chapel of Love
% Y.M.C.A. % We Will Rock You (Fm)
% I’m Yours % Go Down Moses
% Hallelujah PA % All the Rowboats PA
% Hey Jude % Across the Universe
% Somebody That I Used to Know T % Halo (F#m) PA
% Drunken Sailor (Dm) % Zip-A-Dee-Doo-Dah
% The Hanging Tree T PA % Say Something (Bb)
% Somewhere Over the Rainbow/What a Wonderful World PA % With A Little Help From My Friends
% Kansas City % Complicated PA
75
% Love Song PA
% It Had to Be You (Bbm) PA
% Paperback Writer (F7)
% Armed Forces Medley (Eb)
% Eleanor Rigby (C6, Em7, Em6, Cmaj7)
% Moon River
Well that escalated quickly....
So the reality is that the end of the baritone songbook gets

pretty hard. Keep in mind that I wrote the soprano songbook
and then adapted it for baritone. I have considered in great de-
tail how to teach soprano, concert, and tenor ukulele. It is the
main way I teach. Baritone came second. Likely, the baritone
songbook will change in the future. While I anticipate updates in
all areas in the future, the baritone section is the area where I am
currently aware there needs to be further development.
76
Ukulele chord charts
You have the reference chord charts for Soprano/Concert/Tenor,

here are the reference charts for Baritone!
% Baritone Ukulele Chord Charts
% Baritone Ukulele Chord Posters
Feeling saucy? Learn even more chords! (Created by

Ukulele-Tabs.com)
The Complete GiebelUke Songbook
The same principles of learning on the soprano apply to bari-

tone, but with different chord sequencing as well as key sequenc-
ing. The details of how to work through the baritone repertoire
won’t be outlined here in the same way I did for soprano, but you
can apply those principles discussed for the soprano to the bari-
tone. Enjoy exploring the baritone ukulele world! It is a handy
thing to have in your ukulele arsenal!
Chord quizzes (Baritone) % GiebelUke Songbook for Baritone
Just like for Soprano/Concert/Tenor, chord quizzes are a good VIDEO SOUND
way to check in on individual student progress
Complete Playlist - Baritone Complete Playlist - Baritone
% Chord Quiz #1
% Chord Quiz #2
% Chord Quiz #3
Chord Quiz #4
77
We’re better together

Why both? Beginner songs for both
A single violin is good. Several is also good. But one of the most % Are You Sleeping? (G) or Are You Sleeping? (C)
exciting sounds is when you group a section of violins, with some
% Low Rider (G)
violas (insert viola joke here), a group of cellos, and a small posse
of upright basses. There are more possibilities and the sound is % Three Blind Mice (C)
richer. The same is true with ukuleles.
% Row, Row, Row Your Boat (C)
You can group some soprano ukes with some baritone ukes and
you have a very respectable ukulele ensemble. The sound be- % Jambalaya (C, G)
comes richer, you can layer in several different parts, and the stu-
% I Love It (I Don’t Care) (G, C)
dents tend to enjoy the sound of this dynamic group. If you are
feeling super sassy, you can add in a few concert ukes, some ten- % Sweet Home, Alabama (D, C, G)
ors, and maybe even a ukulele bass. Yes, a ukulele bass.
% Ring of Fire (G, C, D)
The Ukulele Orchestra of Great Britain can show what this
looks and sounds like. They have all the ukes represented, includ- % This Land is Your Land (G, D7, C)
ing the tallest man playing the smallest ukulele. Check out their % Happy Birthday (G, C, D7)
version of The Good, The Bad, and The Ugly or their entire You-
Tube Channel. % Groove is in the Heart (D7, G7)%
If I were to “redo” my elementary and middle school teaching, I % Oh My Darling, Clementine (C, G7)%
would teach 4th-6th grade soprano ukulele, 7th grade would
% Achy Breaky Heart (D, A)
switch to baritone, and 8th grade would learn guitar. Just like the
Orff-Schulwerk world does with recorder, it is possible for stu- % I’m a Believer (D, A, C, G)
dents to learn on different instruments with similar setups.
78
% Jamaica Farewell (D, G, A7) A minor
% Keep on the Sunny Side (D, G, A7) (aeolian/
% Have You Seen the Ghost of John? (Am) natural minor)
% Hey, Ho! Nobody Home! (Am)
% Koomalama (Am)
% Shake it Off (Am, C, G) (harmonic

minor)
% Radioactive (Am, C, D, G)
% Knockin’ on Heaven’s Door (G, D, Am, C)
Feeling super saucy? Add in a bass!!!

C major
Try adding in a ukulele bass or regular bass. The ukulele bass has
the same tuning as a regular bass (E2, A3, D3, G3) just with a
smaller neck. By adding in the bass, you add further depth to the
sound of your ukulele ensemble. It is also not too hard to learn
roots of I, IV, V, & vi in your favorite major keys (A, C, D, F, G)
or I, III, iv, V/I, III, VI, VII in your favorite minor keys (Am,
Dm, Em). Tabs presented allow for both minor tonalities, D major
aeolian/natural minor and harmonic minor.
A major
79
D minor F major
(aeolian/
natural minor)
(harmonic G major
minor)
E minor
(aeolian/
natural minor)
(harmonic
minor)
80
When do you baritone?

What instrument do you choose for beginners?
PRO CON
The short answer is “it depends”. Depending on your situation,
either the baritone or the soprano can be the logical choice. -This is the instrument most commonly -Chord shapes are the same as guitar,
associated with “ukulele”. but the names are different.
Choose for pedagogical reasons, but also consider your larger
community. Find out if anyone in your school district or commu- -Most people write ukulele chord charts -Am (first minor key learned) is
with this instrument in mind. problematic for singing.
nity plays the ukulele. Pick the ukulele that works best for your
community, your pedagogical needs, and your budget. -Inexpensive ($30-60 for a student -Will require a lot of tuning when
Soprano instrument). strings are new.
When deciding on a specific brand of ukulele, do your research;
-C major (first key learned) is good for
look at online reviews and ask other music teachers for input. singing.
There are many posts on social media threads discussing this
-Ideal for small and big hands alike.
topic. Besides the pre-made ukes, there are also kits to build uku-
leles. This is a great opportunity to do an interdisciplinary pro- -Easily stored and carried.
ject with the art teacher. Also, consider investing in a nice -Easier transition to guitar (same chord -Expensive ($80-150 for a student
teacher instrument for yourself—a higher quality instrument. It shapes, plus two strings). instrument).
is important to have an instrument that you enjoy playing! -Em (first minor key learned) is good for -G major (first key learned) is
singing. problematic for singing.
The pro/con list Baritone
-Ideal for small and big hands alike. -Will require a lot of tuning when
Deciding which way to go (soprano or baritone) depends on your strings are new.
-Easily stored and carried.
specific situation. The following is the pro/con list to help you -Not all ukulele chord charts are
work through the murky waters of decision making. written with this instrument in mind.  
81
Moving towards the guitar

Guitar tuning
The guitar
The guitar has six strings that are tuned low to high: E3, A4, D4,
G4, B5, E5. Remember that the baritone ukulele has the same
top four strings, and the bass uke (and regular bass - both upright
and electric) have the same bottom four strings down an octave.
D G
If your students play the ukulele but you would like to switch
over to a guitar, there are a few chords that are ideal to serve the
transition, but it depends if you are moving from soprano uku-
A B lele to guitar or baritone uke to guitar.
Soprano ukulele to guitar
This is the tougher switch. The chords have extra strings AND
E E the shapes have new names. Because of this shift, it is a good
idea to discuss transposing prior to this switch. If your students
already understand transposing up a fifth or down a fourth (as ob-
served in the circle of fifths), students will have an easier time
making this shift towards a new chord name with a familiar
shape.
Baritone ukulele to guitar
Because the top four strings of the guitar are the same as the
Click on the tuning pegs to hear the sound each string should make. baritone uke, this serves as an easier transition. That being said,
the two added strings of the guitar can make for new technical
82
challenges. Because of this, D, A, and A7 are the ideal chords for After teaching D and A/A7, Em is quite accessible. Then, I sug-
transitioning from baritone ukulele to the guitar (though you will gest teaching C, Am, & G on the guitar.
need to teach students to mute one or two of the bottom
strings). This gives you two I and V/V7 chords to utilize as you
transition to guitar.
Hey, Ho! Nobody Home! (Em) or Hey, Ho! Nobody Home! (Am)
Koomalama (Em) or Koomalama (Am)
Are You Sleeping? (G) or Are You Sleeping? (C)
Low Rider (G)
Three Blind Mice (C)
Row, Row, Row Your Boat (C)
Repertoire Jambalaya (C, G)
You can use the following repertoire to help students adjust to I Love It (I Don’t Care) (G, C)
their new instrument with similar chords (or transpose any other
I V/V7 or I IV songs - like Jambalaya or I Don’t Care ) Don’t Worry, Be Happy (D, Em, G)
% Achy Breaky Heart (D, A) Sweet Home, Alabama (D, C, G)
83
Ring of Fire (G, C, D) % -Hal Leonard’s Guitar Method Book
This Land is Your Land (G, D7, C) % -Essential Elements for the Guitar
Happy Birthday (G, C, D7) % -Hands On Training: First Year Guitar
I’m a Believer (D, A, C, G) However, this ain’t a shabby place to start.
Jamaica Farewell (D, G, A7)
Keep on the Sunny Side (D, G, A7)
I Knew You Were Trouble (G, D, Em, C)
Have You Seen the Ghost of John? (Am)
Shake it Off (Am, C, G)
Radioactive (Am, C, D, G)
Knockin’ on Heaven’s Door (G, D, Am, C)
The guitar is NOT the ukulele
From here on, I suggest seeking out material specifically written

for the guitar. Unlike ukulele, there are advanced groups dedi-
cated to guitar playing, technique, and ensembles. Because of the
additional strings and the tradition associated, there is a need to
play the guitar with both technique and various style sets.
Suggested resources for the guitar
% -Jerry Snyder’s Guitar School
% -Mel Bay’s Mastering the Guitar

84
Chapter 4
Creativity and uke
Love the participatory culture,

but you can do more.
Creativity and uke (Chapter 4)
Chapter Four Outline

Improvising, arranging, and composing
Questions and answers
12 bar blues
Little boxes of improv
Don’t worry, just improvise
The Mary Suite
This Land is Your Land arrangement
Parody songs
My Sister Ate an Orange
Hogwarts school song
Protest songs
Catchphrase songwriting
86

Student Information (View as a worksheet) Musical Questions
In A major, let’s use these notes: When you string a few patterns together, you create a musical
sentence or a phrase. Some of these phrases will sound unre-
solved, much in the same way that a question leaves you wanting
an answer. A musical question ends on anything EXCEPT Do.
Musical Answers
Musical answers are a string of patterns that end on Do. But mu-
sical answers are not very interesting unless you have a musical
question preceding it.
In tab those notes look like this: Unity vs. Variety
As you create various questions and answers, you will notice that
some sound really good together. When this happens, it is often
because the answer incorporated one of the patterns from the
question. Keeping something the same is called unity. That being
said, if the whole answer was the same as the question it would
be boring. To keep it from being boring, a good answer incorpo-
rates some parts of the question but also adds in new material.
This new material is the variety.
With your teacher, practice various patterns using these notes.
Make sure you play AND SING the solfege. All of these strategies allow us to Improvise. Improvisation is
one kind of musical creation where you make up music in the
moment. Any music made up on the spot can be improvised, but
87
the kind that is the most musically satisfying uses the structure This can serve as an introduction to tablature. In doing so, con-
of patterns, questions, answers, unity, and variety to create an im- nect the solfege to notation as well as the tab.
provisation that is interesting for both the player and the lis-
Processing
tener.
While you can have students strum the A major chord under-
-In pairs, create musical questions and musical answers. You can
neath student improvisations, it is not necessary for this first ex-
have one partner create the questions and the other partner cre-
perience. Students will likely be still learning to navigate the fret
ates the answers and then switch roles OR one partner could cre-
board and will occasionally forget to keep their music metrical. I
ate both the musical question and then finish with the musical
would not suggest that you push this immediately. Allow them to
answer before the second partner tries to improvise Q & A’s. As
explore. This activity will stretch their tonal abilities. Connect
you practice, see if you can find a good balance in your answers
the tonal and rhythmic pieces at a later time.
between unity and variety.
With some groups of students, it might be possible to complete
-If you get really good using this set of notes as questions and an-
this entire lesson in one day. However, if you would like to proc-
swers, ask your teacher for the “pattern extension” to help you go
ess this out over several days begin with just some call and re-
farther!
sponse of the pattern and variations of the pattern. That can be
Like most things we do, be prepared to share! an introductory lesson on its own. Follow up with some group im-
provisation as questions and answers. Finally, work towards part-
ner improvisation by adding the idea of unity vs. variety.
Teacher Information
If you wish to have students share their improvisations as a class,
Preparing consider bookending the improvisations with a song in A major
(consider transposing a song in G to A). The final share could be
There isn’t a lot of “preparatory knowledge” required for this ac- in one of the following Rondo formats:
tivity, but it is important that students are comfortable with uku-
lele anatomy (string numbers and fret numbers). % Song/Question/Answer/Song
You can teach this with or without the tablature/notation. It can % Song/Question 1 /Answer 1/Question 2/Answer 2/Song
be done with the solfege but without the visual component.
88
Extending This activity is written for Soprano, Concert, or Tenor ukes. The
following is a variation written for Baritone.
Pattern extension
Baritone Version
For those students who quickly understand the concepts pre-
sented in the lesson and are ready for an added challenge, you
may give them this extension of the pattern.
The O above Fa and Ti is to remind students to use these notes

sparingly. They are connecting notes--notes to be used as a transi-
tion to another note. Ti moves nicely to Do and Fa often moves
to Mi.
Other patterns
You can repeat this entire activity with other pattern sets from
Chapter 3, Section 2.
89
12 bar blues
Student Information (View as a worksheet) SOPRANO/CONCERT/TENOR% % %
Harmonic Progression
I7 I7 I7 I7
IV7 IV7 I7 I7
V7 V7 (IV7) I7 I7(V7)
Fill the empty boxes with the correct chords
BARITONE
I7 IV7 V7
C7 F7 G7
D7 G7 A7
E7 ____________ ____________
F7 ____________ ____________
G7 ____________ ____________
90
D minor pentatonic scale – Improvising for Blues Progression Teacher Information
Preparing
Unlike the previous improvisation activity, these tonal improvisa-

tions will be performed metrically. You will be having the stu-
dents play the chords as well as the improvisation. This will be
the first activity where students are responsible for playing AND
listening.
SOPRANO/CONCERT/TENOR
-Students should be able to play D7, G7, and A7.
-Students should have done some simple question and answer im-
provisations.
Processing
Begin with an introduction or review of chord progressions and

chord families. What does a I or tonic chord mean? Why do you
BARITONE
call F a IV chord when C is a I chord? What would be the V
chord in C major? Adjust this process for various tonic centers
(D, E, F, & G). Help the students fill in the charts.
Detail the chords in the blues progression in D (D7, G7, A7). Play
examples of songs in blues progression to further elaborate
(Boogie Woogie Bugle Boy, Wipeout, Ball and Biscuit). Boogie
Woogie Bugle Boy is also in D and therefore students can play the
progression along with the recording to gain further comprehen-
sion.
Like most things we do, be prepared to share!
Prior to teaching the scale to students, demonstrate an improvisa-
tion. Ask the students to play the pattern without you, but qui-
91
etly. While they do this, share an improvisation. At this point,
teach the blues pentatonic scale. Sing through it. Play through it.
Do questions and answers. Do all the various tricks taught in the
previous improvising activity. Do this to gain autonomy over the
technical demands of the scale.
Once they are able to independently improvise without meter,

now add in the blues progression while they improvise. You can
do this with half the class playing while the other improvises.
You can also have the whole class improvise while using a D
blues backing track. Eventually work towards individuals impro-
vising while the class plays the blues progression.
Extending
The scale is quite simple for C minor pentatonic, but moving

from C7 to F7 can be difficult for the C blues scale improv. That
being said, you could provide the backing chords for the stu-
dents or play a C blues backing track.
C minor
penta-
tonic
92

Student Information (View as a worksheet) In between verses of Little Boxes, play the following chord pro-
gression (each box is one measure in triple).
Today we learned improvisation patterns for two different
chords. For the A major chord, we used the following notes:
A A E7 E7
E7 E7 A A
A A E7 E7
E7 E7 A A
With a partner, practice the improvising patterns over the chord

changes. One partner will play the chord progression while the
For the E7 chord, we used the following notes:
other practices improvising. Make sure you notice when the
chord changes and change your note set for improvisation.
Remember the question and answer technique we have worked

on before. Try to end your improvisation patterns on different
notes and have both unity AND variety in your rhythmic pat-
terns.
93
Teacher Information Little Boxes on a previous day. The E7 pattern set will be the
new experience. Singing and playing this pattern in all its varia-
Preparing
tions in a call and response fashion would be an appropriate way
This lesson works best if they have experienced both the ques- to begin.
tion and answer activity as well as the 12 bar blues activity. The
Extending
skills presented here build on the challenges of those lessons.
It is also possible to add in a D major pattern (Do to Sol) as well.
-Students should be able to play the A, E7, & D chords on the
If you wish to add in this pattern, I would suggest the following
uke and sing/play Little Boxes.
chord progression:
-Students should have experience with improvising both tonally
and rhythmically on the uke.
A A D D
-Students should have experience playing an established chord
progression while other students improvise. D D A A
-Students should have experience reading and interpreting tabla-

A A E7 E7
ture.
Processing E7 E7 A A
This lesson introduces the idea of different pattern sets depend-

ing on the chord being played. Where in previous lessons most This activity is written for Soprano, Concert, or Tenor ukes. The
of the notes could be played at any time, students will now need following is a variation written for Baritone.
to connect the chord being played and identify appropriate notes Baritone Version
to play at the same time AND consider questions/answers as well
as unity and variety.
It is again possible to teach this in one day, but also possible to

parse these ideas out over several days. For instance, it is likely
that the students will learn both the A major pattern as well as
94

Student Information (View as a worksheet) After the chorus of Don’t Worry, Be Happy play the following
chord progression (each box is one measure in duple).
C major chord:% % % % D minor chord:
C C C C
Dm Dm Dm Dm
F F F F
C C C C
With a partner, practice the improvising patterns over the chord

changes. One partner will play the chord progression while the
% % % % F major chord: other practices improvising. Make sure you notice when the
chord changes and change your note set for improvisation.
Remember the question and answer technique we have worked

on before. Try to end your improvisation patterns on different
notes and have both unity AND variety in your rhythmic pat-
terns.
95
Teacher Information This is the final suggested improvising activity, but this does not
mean you cannot continue to extend these experiences with
Preparing
other songs in other progressions and with other patterns. Feel
This lesson works best if they have experienced both the ques- free to continue the experience and use the suggested patterns in
tion and answer activity as well as the 12 bar blues activity. Even Chapter 3, Section 2 to act as a guide.
better if they have also experienced the Little Boxes improvisa-
Also, while this is the last of the suggested improvisation activi-
tion activity. The skills presented here build on the challenges of
ties, you can create similar ones using various tonal patterns with
those lessons.
coordinating chords. Improvisation can also be assessed just like
-Students should be able to play the C, Dm, & F chords on the playing or chord quizzes. It adds another dimension into a stu-
uke and sing/play Don’t Worry, Be Happy. dent’s overall musical progress.
-Students should have experience with improvising both tonally % Improvisation Assessment
and rhythmically on the uke.
This activity is written for Soprano, Concert, or Tenor ukes. The
-Students should have experience playing an established chord following is a variation written for Baritone.
progression while other students improvise.
Baritone Version
-Students should have experience reading and interpreting tabla-
ture.
Processing
A similar process to the previous improvisation activity but with

a new song and new patterns and three chords to consider. In ad-
dition, these patterns are triads rather than stepwise intervals. It
will have a different sound when the students improvise.
Extending
If the students are ready for a bigger challenge, consider giving

access to more notes in C major, D minor, and F major.
96
The Mary Suite

Student Information (View as a worksheet) C Section:
A Section:
D Section:
B Section:
97
As a class, we created an arrangement in Rondo Form Teach each section by rote. Have students both play and sing/
(ABACADA). We also added a Coda: chant. After teaching section A, label it as such. Repeat for every
part of the form.
After you teach each new section, have students play and sing/
chant all sections known as a complete set. Showcase the form of
the piece in its original form: ABCD. Rearrange in a new form:
ABACADA (Rondo). Add in the coda.
At this point, divide the students in groups (or pairs) to create

their own arrangement. Limit their time (5-10 minutes).
As a group, create a new arrangement of the Mary Suite using Extending
all four sections. You may repeat any section you’d like more than
once. If students are feeling particularly ambitious or they finish early
compared to the other groups, have the groups create a har-
Like most things we do, be prepared to share! monic accompaniment to the D section. Another challenge
would be to create a melody for the B section.
Teacher Information
Preparing
Almost no experience is needed.
-Students should be able to play the C, & G7 chords on the uke.
Processing
The focus of this lesson is on arranging. You can teach this prior
to improvisation skills, concurrently, or after.
98
This Land Is Your Land arrangement

Student Information (View as a worksheet) plain. Consider how you would explain the arrangement to some-
one who had not heard the new version, but had heard the origi-
Variety is the spice of life! And while we are united, America is
nal song.
made up of 50 individual states. This Land is Your Land discusses
the variety across America in the text, but does not showcase the Ooh Child: ______________________________________________
musical diversity heard across the country. To celebrate variety,
Higher Ground: __________________________________________
you will create an arrangement of This Land Is Your Land.
Toxic: ___________________________________________________
In an arrangement you can change some qualities of the song,
but it still must be recognizable as the original. Here are some Another Brick in the Wall: _________________________________
examples of arrangements in popular music:
Use these examples to help you discuss a new arrangement of
ARRANGEMENT This Land Is Your Land. You will do this in small groups, so
ORIGINAL
make sure you agree and reach compromises with all group mem-
Ooh Child Ooh Child bers. For your arrangement of This Land Is Your Land, change
two (or more) of the following dimensions of this song:
Higher Ground Higher Ground
% -Rhythm/Meter
Toxic Toxic
% -Tonality
Another Brick in the Wall Another Brick in the Wall
% -Tempo
Links above take you to Spotify % -Expression
What changes do you notice from the original to the arrange- % -Form
ment? Use music vocabulary alongside mood descriptors to ex-
99
Teacher Information As you help groups, give them a time to finish their assignment -
either by the end of one class or over the course of two classes
Preparing
(working for half class period). In a project like this, a teacher
Because students will be asked to change multiple parameters in works better as a facilitator giving prompts for groups that are
this song, they will also need to know how to understand those having trouble getting going, or acting as a mediator for groups
parameters. They do not need to have experienced improvising with too many ideas. Being a facilitator also means keeping these
on the ukulele, but it will help with possible melodic content groups aware of the time so that they finish and are prepared to
changes if they have done some of those activities. perform their arrangement in a timely fashion.
-Students need a general understanding of various meters, tonali- Extending

ties, tempo, expression, and form prior to this lesson.
If a group finishes much earlier than the other groups you can
-Students should be able to play the C, D7, & G chords on the have them either arrange more verses and/or change more pa-
uke and sing/play This Land Is Your Land. rameters for their final performance.
Processing I suggest you consider recording (sound and/or video) and shar-
ing the student works digitally. This allows students to see you
I encourage you to spread this activity out over several days - at demonstrate the process of recording so they can attempt it in
least five, ideally. In doing so, the examples of arranged songs will the future, but also sharing music digitally allows students to
be introduced one at a time and students will unpack the differ- take their music classroom home.
ences between these arrangements over several days. By spacing
out the lesson, you allow the students extra “think time” be-
tween class periods; where students are considering musical dif-
ferences as a passing thought. This “think time” will yield helpful
results when the students get into groups.
When students are in groups, I suggest assigning them a specific

verse to perform in their arrangement. They may elaborate and
perform more, but the inclusion of their assigned verse will help
keep the assignment efficient.
100
Parody songs
Student Information (View as a worksheet) lives, interests, or day-to-day requirements). People have been do-
ing parodies for a long time. Some of the music created for relig-
Parody Songs are a great way to work on creativity in lyrics. A
ious services in the middle ages were called “parody masses”.
parody involves changing or copying existing (usually well
Parodies have probably been around for so long because it’s such
known) musical ideas or lyrics, or copying the peculiar style of a
a great way to help the creative juices get flowing!
composer or artist, or even a general style of music.
% -In your group, brainstorm a list of 4-8 songs that you all
One of the most famous creators of parody songs is Weird Al
like which could help you create a parody song. They can be cur-
Yankovic. His entire career is based upon parodies of top 40
rent songs or older ones.
hits. In a parody song you can change some the lyrics of the
song, but the music must be kept as close as possible to the origi- % -Next, brainstorm a list of topics which you all enjoy. This
nal (Or if they do add in new material, it’s to add into the parody should also be a list of 4-8 items to help you begin. School life is-
- like Dark Lord Funk). Here are some examples of parody songs: sues, pop-culture things, hobbies, shared interests - whatever you
can all agree upon.
ORIGINAL PARODY
% -Now start pairing these things. Do any of the songs natu-
I Want It That Way Ebay rally connect to your topics? Consider rhymes. “That Way” be-
Welcome to Miami Xmas Jammies came “Ebay” and “Uptown Funk” became “Dark Lord Funk”.
What song and topic would work well together?
Uptown Funk Dark Lord Funk
% -Finally, once you have figured out the topic and the song,
Beat It Use It now it’s time to work out the rest of the lyrics. Start with the
chorus. Once you have done that, create lyrics for at least one
Links above take you to YouTube or Spotify.
verse. You may do more if you wish, but only one is required.
The best parodies use music the creators like and rewrite the lyr-
ics with topics that are highly relevant to their world (like their
101
Technology extension: their own musical accompaniment with ukuleles, they will need a
large repertoire of chords at their disposal.
-Record your song into GarageBand (or other recording soft-
ware) and then upload your song to SoundCloud. If possible, get Processing
a karaoke version of the song to provide a backing track.
Like the arrangement of This Land is Your Land, I encourage
-Create a video to accompany your recording. Consider what dif- you to spread this activity out over several days. In doing so, the
ferent ways you might like to visually represent your music. Lyrics examples of parodies will be introduced one at a time and stu-
only? Still photographs? Acting? Dancing? Upload your video as dents will unpack the differences between these arrangements
an unlisted YouTube video. over several days.
The focus of this lesson is on lyrics. The idea is to give them a

construct to work within to develop lyrics. They are constrained
in every other way except lyrics.
Like the previous group activity, you will act as a facilitator - help-
ing groups to get going, acting as a mediator, and being a friendly
reminder of the time. Set deadlines early (though you can adjust)
to help them work towards completion and performance.
If you have never engaged with either sound or video recordings,

this would be a great place to start - but only try one at a time.
Once students have done the audio recording, you can attempt
Teacher Information the video - but only attempt one process at a time. They are both
rewarding, but both time consuming. The following are good
Preparing places to start (as a general google search):
Depending on how involved you would like this project to get, % Student audio recording setup tips
different levels of preparation will be necessary. If you have ac-
cess to karaoke versions or backing tracks of the original songs, % Student audio editing tips
you will need much musical preparation. If students are creating
% Student video recording setup & editing tips
102
Extending
This is the first creativity project with a technology extension. I

love these integrations when possible - obviously this depends on
equipment, capabilities, comfort level, time restraints, as well as
district permissions. Consider these when possible, but you
know your situation best. Do what works for your world, but
know that sharing music digitally allows students to take their
music classroom home.
103

Student Information (View as a worksheet) As a class, we will make decisions to turn this poem into a song.
-Meter
“My Sister Ate an Orange” by Jack Prelutsky -Tempo
from Something Big Has Been Here -Tonality
-Harmony/Chord progression
% My sister ate an orange, -Melody/Melodic patterns for each line
% I’m astonished that she did, -Expression
% She swallowed it completely,
% She’s a disconcerting kid. When we have completed this song, you will have created an
original composition!
% My sister ate an orange,

Technology extension:
% It’s a novel thing to do,
% Then she also ate a yellow
ware) and then upload your song to SoundCloud.
% And a purple and a blue
104
Teacher Information future. There are obviously more than two options available, but
this limited choice gives the students a way to focus.
Preparing
Once you have completed the assignment, consider recording
I highly suggest variable experiences with both improvising and
the music and digitally sharing. Also consider creating the final-
arranging prior to composition. It will make the composition ex-
ized notation in notation software. Give copies of the notation
perience more meaningful if they have done prior musical crea-
to the students and call them composers!
tive work.
Extending
Students will need to have had performance experiences in vari-
ous meters, tonalities, tonal patterns, and harmonic progressions. This experience can be repeated with a different poem and with
They may not understand them explicitly, but they should be different options. Depending on the musical experience of the
able to hear the difference. class, you may be able to offer more interesting choices. Un-
usual meters, mixolydian, or dorian. You are only limited by
Processing
the student’s understanding.
First - do not do this all in one day. Do. Not.
I suggest that each parameter is separated over several days. The

melodic patterns may take several days to process out, but every-
thing else should be able to be addressed in a single day.
For each parameter, I suggest offering two options. For example,

when presenting meter, say the poem in both duple and triple me-
ter. Have the students choose their preference. Record it for the
future. When presenting tempo, say the poem both quickly and
slowly. Students choose. Record. Repeat with all future parame-
ters.
The idea of limited choice is important for this first exploration

in composition. While some students may be ready for an open
door, this gives a way to consider making compositions for the
105

Student Information (View as a worksheet) "Ah, music, he said, wiping his eyes. A magic beyond all we do here!"
% -Albus Dumbledore (Harry Potter and the Sorcerer’s Stone)
"And now, before we go to bed, let us sing the school song! Everyone pick their favor-
Using the text from the Hogwarts school song, compose a
ite tune and off we go!"
NEW melody (rather than Dumbledore’s suggestion to use one
# -Albus Dumbledore (Harry Potter and the Sorcerer’s Stone) that already exists). In this assignment, you should...
% % Hogwarts, Hogwarts, Hoggy Warty Hogwarts, -Create and sing a melody that connects with the text.
% % Teach us something, please,
-Create a chord progression to accompany melody.
% % Whether we be old and bald
-Consider meter, tonality, dynamics, tempo, and expression that
% % Or young with scabby knees, would be appropriate for this text.
-Once you have made your creative choices, practice your song
% % Our heads could do with filling
with the intention of sharing your music.
% % With some interesting stuff,
% % For now they're bare and full of air,

% % Dead flies and bits of fluff,
% % So teach us things worth knowing, Technology extension:

% % Bring back what we've forgot,
% % Just do your best, we'll do the rest, ware) and then upload your song to SoundCloud.
% % And learn until our brains all rot.
106
Teacher Information surprise when presenting. Students and you will be surprised at
the wide variety of musical choices each group employs.
Preparing
This project may also inspire writing a song for YOUR school.
As students will be creating music on their own in groups, sev-
Create lyrics and music to celebrate both.
eral experiences with improvising, arranging, and at least one
class composition are highly recommended. Those experiences
give students the structure to work on their own for this project.
Processing
Upon presenting this lesson, the important thing to stress is the

need for a NEW melody rather than a known one (like the text
suggests).
Because students should have had experiences with improvisa-

tion, arranging, and class composition prior to this activity, stu-
dents should have a working understanding of how to approach
this assignment. Again, act as facilitator as you work with the
groups.
Depending on time constraints you may assign specific stanzas

to certain groups rather than requiring they compose music for
the entire set of lyrics.
Extending
If a group quickly finishes one stanza, you could require them to

complete the song by creating music for all stanzas.
Because all students are working on similar lyrics, sound record-

ing while still working in small groups allows students the most
107
Protest songs
Student Information (View as a worksheet) % Colors of the Wind
There are many ways to create a song and many places to begin % Glory
that process. You could start with the music and then create a
Links above take you to Spotify
text later or you could begin with a text and find music that coor-
dinates appropriately. In this exercise, we we will begin with the Let’s have a group discussion about the things in your world that
text. bother you; things that you’d like to change. Your teacher will
help gather your thoughts so that we can decide as a group our
As a class, we will make decisions to create a text and then turn
unified topic and the lyrics that we create from that topic. We
that text into a song.
will also decide upon the musical form while we write these lyr-
It has been said many times, that the best creative work comes ics.
when you understand the topic. When you write what you know.
Once we have created the text, we will decide upon the other mu-
Many composers who have done this, have used their music to
sical decisions in the way we have done in the past.
express something they are bothered by - something they wish
to protest. This Land Is Your Land and Little Boxes are both exam- -Meter
ples of protest songs. For more, listen to the following exam-
ples: -Tempo
% Blowin’ in the Wind -Tonality
% Ohio -Harmony/Chord progression
% Imagine -Melody/Melodic patterns for each line
% Sunday, Bloody Sunday -Expression

108
Teacher Information tions or questions for us to consider about a given topic (e.g.
“What do you think might be a solution for the lack of nutri-
Preparing
tional options provided during school lunch?”). This will be im-
Several experiences with improvising, arranging, and at least one portant for the chorus.
class composition are highly recommended.
Once the board is full of the word/phrase bank, begin revisiting
Processing the bank. Say them out loud and look for favorite phrases--ideas
with a musical quality. Aim for a positive phrase or question for
Like the arrangement of This Land is Your Land and Parody the chorus. Make sure the area of protest is well understood in
songs, I encourage you to spread this activity out over several the verses.
days. In doing so, the examples of protest songs will be intro-
duced one at a time and students will unpack the differences be- Keep working on redistributing the words/phrases until a well de-
tween these arrangements over several days. veloped song format is established.
Like this whole class composition, this activity gives students a To develop the music, revisit the process established in the
structure for creating lyrics and music for a song on their own in whole class composition activity.
the future. How you demonstrate the process of developing an
Obviously this is a project that will take quite a bit of time to de-
idea will help students develop lyrics on their own in the future.
velop. The lyric writing part will need at least 2 days on its own.
The trick of this facilitation is to start the conversation on “what Ideally, this project would take around 10-12 days to complete us-
bothers you”. Students need a conversation that is not petty but ing part of the class period or the entire class period.
also not too politically divisive (that it would get you in trouble).
Extending
When I hear topics or ideas that I want students to develop, I
ask questions about that to get them talking more. I ignore state- This experience can be repeated again (either as a class, in small
ments or redirect when I am worried about the direction of the groups, or individually), but the more interesting extensions in-
conversation. volve how the music is shared. Consider a public performance of
the music once it is created. This allows your students’ voice
While students are having this conversation, I use the white/
(both musically and metaphorically) to be given a stage to be
black board as a place to dictate their ideas. I write down snip-
heard.
pets of their statements. The words on the board become a word
bank for creating lyrics. I also give prompts to come up with solu-
109
Also consider both an audio and video performance of the song.
Once it is created, share share share!!!!
110
Student Information (View as a worksheet) sition to musical decision making before completing the text -
this is your choice.
For the next two weeks, keep a journal. This journal is not to
document your day to day activities, but to dictate particular In this assignment, you should...
phrases that you find intriguing. Listen to the words that you say
-Create a text that is inspired by a catchphrase.
in a new light. When you say something, could it be a line in the
new song you write? If you hear something that resonates, write -Develop a musical form for this text.
it down. It could come from you or a teacher, friend, or family
member. Inspiration comes from lots of different places! -Create and sing a melody that connects with the text.
Your journal can be electronic or paper. Whatever works for you. -Create a chord progression to accompany melody.
But anytime you hear a phrase that you like, write it down. The
-Consider meter, tonality, dynamics, tempo, and expression that
more you write, the more likely you are to find the topic for your
would be appropriate for this text.
song.
-Once you have made your creative choices, practice your song
At the end of two weeks, look at all the phrases you have written
with the intention of sharing your music.
and narrow it down to your favorite five catchphrases. With
these 5 phrases, brainstorm how this could be elaborated into lyr- Like most things we do, be prepared to share!
ics. What would the bigger topic be? What mood does this set?
What musical ideas does this inspire? How might others find Technology extension:
these phrases relatable? Try to write a paragraph of ideas for each -Record your song into GarageBand (or other recording soft-
of your favorite five catchphrases. ware) and then upload your song to SoundCloud.
Now decide upon which shall be your selected text. Develop this -Create a video to accompany your recording. Consider what dif-
catchphrase into your song. At this point you may decide to tran- ferent ways you might like to visually represent your music. Lyrics
111
only? Still photographs? Acting? Dancing? Upload your video as and time for the “open mic”, you give students a working dead-
an unlisted YouTube video. line. It is also a great opportunity to invite outsiders in to view
the work that has been happening in your classroom. Invite
Teacher Information
grade level teachers, administrators, parents - other students. Let
Preparing them know how important this is to you by letting them see the
work that students have been creating. Most importantly, make
Several experiences with improvising, arranging, at least one sure you call your students “musicians” and “composers”. In do-
class composition and the protest song composition are highly ing so, they just might view themselves as musicians and compos-
recommended. ers.
Processing The Complete Creativity Projects Packet
Because students should have had experiences with improvisa- % Creativity Projects - Soprano, Concert, and Tenor
tion, arranging, and class composition prior to this activity, stu-
dents should have a working understanding of how to approach % Creativity Projects - Baritone
this assignment. Again, act as facilitator as you work with the
You may wish to simply display directions either as a substitute
groups.
for the packet or in addition to. In either case - HERE YOU
What will be tricky is that students will be working independ- GO!
ently on this project. You will need to decide how much class
Creativity Projects - Soprano, Concert, Tenor - Google Slides
time to dedicate to this experience and how much time you will
need to simply check in on their progress. Previous student en- Creativity Projects - Baritone - Google Slides
counters on creativity projects will gauge how you plan for this.
Extending
An “open mic” might encourage students to do their best work.

Recording and video projects are all great options as well, but al-
lowing students a moment to share their work in front of their
peers as a live performer and composer lets them know just how
much you value this experience. In addition, by sharing the date
112
Appendix
Don’t fret about it
Resources and stuff and things

Don’t fret about it
Appendices Outline
If you’re like me, you skip to this section and learn it backwards
The appendices contain...
Song List: Soprano/Concert/Tenor
Video list: Soprano/Concert/Tenor
Sound list: Soprano/Concert/Tenor
Student worksheets
Song List: Baritone
Video list: Baritone
Sound list: Baritone
Teaching resources
Danke schön and auf wiedersehen
Like what you learned?
114
Appendix 1
Song list: Soprano/Concert/Tenor

Are You Sleeping?% % % % % Crawdad Song Joshua Fought the Battle of Jericho% % % Say Something
Row, Row, Row Your Boat% % % % Keep On the Sunny Side% Hallelujah% % % % % % Complicated
Three Blind Mice% % % % % Shake It Off Spiderman% % % % % % Somebody That I Used to Know
Coconut% % % % % % Let it Be% I’m a Believer% % % % % % The Hanging Tree
Have You Seen the Ghost of John?% % % You’re Gonna Miss Me Little Boxes% % % % % % Hava nagila
Hey, Ho! Nobody Home!%% % % % Ho Hey Jamaica Farewell%% % % % % Chapel of Love
Koomalama% % % % % % Octopus’s Garden Blue Suede Shoes% % % % % Love Song
Frère Jacques% % % % % % Wonderwall Stand By Me% % % % % % Beat It
Day-O (The Banana Boat Song)% % % % Counting Stars I Knew You Were Trouble% % % % RUDE
Deep in the Heart of Texas% % % % Sweet Home Alabama Eleanor Rigby% % % % % % Shut Up and Dance
I Love It (I Don't Care) % % % % % Radioactive Somewhere Over the Rainbow/What a Wonderful World% It Had to Be You
Low Rider% % % % % % Ring of Fire Crocodile Rock% % % % % % Sway/¿Quién será?
Jambalaya% % % % % % Knockin’ on Heaven’s Door Kansas City% % % % % % Hotel California
Three Little Birds% % % % % This Land is Your Land We Will Rock You% % % % % Halo
I’ll Fly Away% % % % % % I’m Yours Across the Universe% % % % % Zip-A-Dee-Doo-Dah
Groove is in the Heart% % % % % Hey Jude Go Down, Moses% % % % % Paperback Writer
Oh My Darling, Clementine% % % % Drunken Sailor All the Rowboats% % % % % Wild Thing
Happy Birthday/For He’s a Jolly Good Fellow % % Don’t Worry, Be Happy Tonight You Belong to Me% % % % Happy Together
The Lion Sleeps Tonight% % % % % Y.M.C.A. Achy Breaky Heart% % % % % Armed Forces Medley
You Are My Sunshine% % % % % Scooby Doo, Where Are You! With A Little Help from My Friends% % % Moon River
115
robingiebes / soundeducators.org robingiebes / soundeducators.org
GiebelUke Songbook GiebelUke Songbook

Are You Sleeping? Row, Row, Row Your Boat
SOPRANO/CONCERT/TENOR SOPRANO/CONCERT/TENOR
(C) Are you sleeping? (C) Row, row, row your boat,
Are you sleeping? Gently down the stream.
Brother John? Merrily, merrily, merrily, merrily,
Brother John? Life is but a dream.
Morning bells are ringing!
Ding ding dong!
Ding ding dong!
BARITONE
BARITONE
Are You Sleeping? Traditional Row, Row, Row Your Boat Traditional
Are You Sleeping?
Row, Row, Row Your Boat
PDF Download
PDF Download
Are You Sleeping? Back to Chapter 1, Section 5 Row, Row, Row Your Boat
Back to Chapter 1, Section 5 116

Three Blind Mice Coconut
(in original key)
(C) Three blind mice. SOPRANO/CONCERT/TENOR
Three blind mice. (C7) Bruder bought a coconut, he bought it for a dime
See how they run. His sister had anudder one she paid a quarter lime
See how they run.
They all ran after the farmer's wife, She put de lime in de coconut, she drank 'em bot' up
Who cut off their tails with a carving knife, She put de lime in de coconut, she drank 'em bot' up
Did you ever see such a sight in your life, She put de lime in de coconut, she drank 'em bot' up
As three blind mice. She put de lime in de coconut, she call de doctor, woke 'im up

Said, "Doctor, ain't there nothin' I can take?"
I said, "Doctor, to relieve this belly ache"
I said, "Doctor, ain't there nothin' I can take?"
I said, "Doctor, to relieve this belly ache"
BARITONE
Now lemme get this straight
You put de lime in de coconut, you drank 'em bot' up
You put de lime in de coconut, you drank 'em bot' up
You put de lime in de coconut, you drank 'em bot'up
You put de lime in de coconut, you call your doctor, woke 'im up
BARITONE
Woo, ain't there nothin' you can take?
I say, "Woo, to relieve your belly ache"
You say, "Well, woo, ain't there nothin' I can take?"
I say, "Woo woo, to relieve your belly ache"
You say, "Yow, ain't there nothin' I can take?"
I say, "Wow, to relieve this belly ache"

Put the lime in the coconut and drink 'em both together
Put the lime in the coconut and you'll feel better
Put the lime in the coconut and drink 'em bot' up
Put the lime in the coconut and call me in the morning

Yes, you call me in the morning
You call me in the morning, I'll tell you what to do
If you call me in the morning, I'll tell you what to do
Three Blind Mice Traditional Coconut © 1972 Harry Nilsson; RCA Victor
PDF Download PDF Download

Back to Chapter 1, Section 5 Back to Chapter 1, Section 6 117

Have You Seen the Ghost of John? Hey, Ho! Nobody Home!
(Am) Have you seen the ghost of John? (Am) Hey, ho! Nobody home!
Long white bones with the skin all gone. Meat nor drink nor money have I none.
Oooooooo! Still I will be merry!
Wouldn't it be chilly with no skin on? Hey, ho! nobody home!
Boo!

BARITONE BARITONE

Have You Seen the Ghost of John? Traditional Hey, Ho! Nobody Home! Traditional
Have You Seen the Ghost of John? Hey, Ho! Nobody Home!
Have You Seen the Ghost of John? Back to Chapter 1, Section 7 Hey, Ho! Nobody Home! Back to Chapter 1, Section 7
118

Koomalama Frère Jacques
(Am) Koomalama, koomalama, koomalama, feesta! (F) Frère Jacques,
Koomalama, koomalama, koomalama, feesta! Frère Jacques,
Oh, no, no, no, not the feesta! Dormezvous?
Oh, no, no, no, not the feesta! Dormezvous?
Sonnez les matines!
Eenameenie, desameenie, oowahten, walameenie! Sonnez les matines!
Eenameenie, desameenie, oowahten, walameenie! Ding ding dong!
Exameenie, zalameenie, oowahten, wah! Ding ding dong!
Exameenie, zalameenie, oowahten, wah!
BARITONE
Beetbeedlee, otinbotin, bobo dasquoten, dohtin,
bobo dasquoten, dohtin, squadish! Yeah!
BARITONE

Koomalama Traditional Frère Jacques Traditional
Koomalama Frère Jacques
Koomalama Back to Chapter 1, Section 8 Frère Jacques Back to Chapter 1, Section 9

119

DayO (The Banana Boat Song) Deep in the Heart of Texas
(in original key) (original key: E)
(F) The stars at night are big and bright
REFRAIN Deep in the heart of (C7) Texas
(F) Dayo, me say (C7) day(F)o The prairie sky is wide and high
(F) Daylight come and me (C7) wan' go (F) home Deep in the heart of (F) Texas.
(F) Dayo, me say (C7) day(F)o
(F) Daylight come and me (C7) wan' go (F)home The sage in bloom is like perfume
Deep in the heart of Texas
(F) Come, Mister tally man, (C7) tally me banana Reminds me of the one that I love
(F) Daylight come and me (C7) wan' go (F) home Deep in the heart of Texas
(F) Come, Mister tally man, (C7) tally me banana
(F) Daylight come and me (C7) wan' go (F) home The coyotes wail along the trail
Deep in the heart of Texas
Lift (F) six foot, seven foot, eight foot BUNCH! The rabbits rush around the brush
(F) Six foot, seven foot, eight foot BUNCH! BARITONE
(F) Daylight come and me (C7) wan' go (F) home The cowboys cry, "Ki yippee yi!"
REPEAT REFRAIN Deep in the heart of Texas
BARITONE The dogies bawl and bawl and bawl
A (F) beautiful bunch o' ripe banana Deep in the heart of Texas
(F) Daylight come and me (C7) wan' go (F) home
(F) Hide the deadly black tarantula The stars at night are big and bright
The prairie sky is wide and high
Lift (F) six foot, seven foot, eight foot BUNCH! Deep in the heart of Texas
(F) Six foot, seven foot, eight foot BUNCH!
REPEAT REFRAIN

REPEAT REFRAIN

DayO (The Banana Boat Song) © 1956 Jamaican mento folk song, Harry Belafonte; RCA Deep in the Heart of Texas © 1941 June Hershey & Don Swander; Decca Records
Day-O (The Banana Boat Song) Deep in the Heart of Texas
Day-O (The Banana Boat Song) Back to Chapter 1, Section 10 Deep in the Heart of Texas Back to Chapter 1, Section 10
120

I Love It (I Don't Care) Low Rider
(original key: Ab) (in original key)
(C) I got this feeling on the summer day when you were gone. (G) All my friends know the low rider
(F) I crashed my car into the bridge. I watched, I let it burn. The low rider is a little higher
(C) I threw your stuff into a bag and pushed it down the stairs.
(F) I crashed my car into the bridge. (do do do do...)
(C) I don't care, I love it.
(F) I don't care. Low rider drives a little slower
Low rider is a real goer
REPEAT SONG 2x
(do do do do...)
BARITONE
Low rider knows every street, yeah
BARITONE Low rider is the one to meet, yeah

(do do do do...)

Low rider don't use no gas now
Low rider don't drive too fast

(do do do do...)

Take a little trip, take a little trip
Take a little trip and see
Take a little trip, take a little trip
Take a little trip with me

(do do do do...)

I Love It (I Don't Care) © 2012 Charlotte Aitchison, Patrik Berger, & Linus Eklöw; Ten Low Rider © 1975 War & Jerry Goldstein; United Artists
I Love It (I Don’t Care) Low Rider
I Love It (I Don’t Care) Back to Chapter 1, Section 10 Low Rider Back to Chapter 1, Section 11
121

Jambalaya (On The Bayou) Three Little Birds
(in original key) (original key: A)
Goodbye (C) Joe me gotta go me oh (G) my oh CHORUS
Me gotta go pole the pirogue down the ba(C)you (C) Don't worry about a thing,
My Yvonne the sweetest one me oh (G) my oh 'Cause (F) every little thing gonna be a(C)lright.
Son of a gun we'll have big fun on the ba(C)you Singin': (C) Don't worry about a thing,
'Cause (F) every little thing gonna be a(C)lright!
CHORUS
Jamba(C)laya and a crawfish pie and fillet (G) gumbo VERSE
Cause tonight I'm gonna see my ma cher am(C)io Rise up this (C) mornin', Smile with the (G) risin' sun,
Pick guitar fill fruit jar and be (G) gayo Three little (C) birds by my (F) doorstep
Son of a gun we'll have big fun on the ba(C)you Singin' (C) sweet songs of melodies (G) pure and true,
Sayin', (F)"This is my message to (C) yououou: "
Thibo(C)daux Fontaineaux the place is (G) buzzin' REPEAT CHORUS
Kinfolk come to see Yvonne by the (C) dozen REPEAT VERSE
Dress in style and go hog wild me oh (G) my oh REPEAT CHORUS x2
Son of a gun we'll have big fun on the ba(C)you BARITONE
REPEAT CHORUS
BARITONE
Son of a (G) gun we'll have big fun on the ba(C)you.
Jambalaya © 1952 Hank Williams; MGM Three Little Birds © 1977 Bob Marley; Tuff Gong
Jambalaya Three Little Birds
Jambalaya Back to Chapter 1, Section 11 Three Little Birds Back to Chapter 1, Section 11
122

I’ll Fly Away Groove Is in the Heart
(original key: G) (original key: Ab)
(C) Some glad mornin' (C7) when this life is o'er, INTRO
(F) I'll fly a(C)way. (G7) (C7) (G7) (C7) x2
(C) To a home on God's celestial shore,
(C) I'll (G) fly a(C)way. The (G7) chills that you spill up my (C7) back keep me filled with
satis(G7)faction when we're done satis(C7)faction of what's to come
CHORUS
I'll fly away, oh glory, PRECHORUS
I'll fly away. (G7) I couldn't ask for a(C7)nother
When I die, Hallelujah, by and by, No, (G7) I couldn't ask for a(C7)nother
I'll fly away.
Your (G7) groove, I do deeply dig, No (C7) walls, only the bridge,
When the shadows of this life have gone (G7) My supper dish, My succotash (C7) wish
I'll fly away REPEAT PRECHORUS
Like a bird from prison walls has flown BARITONE
I'll fly away CHORUS
REPEAT CHORUS (G7) Groove is in the heart (C7)
BARITONE (G7) Groove is in the heart (C7)
Just a few more weary days and then, (G7) Groove is in the heart (C7)
I'll fly away. (G7) Groove is in the heart (C7)
To a home where joy shall never end,
I'll fly away. The (G7) depth of hula groove, (C7) Move us to the nth hoop.
REPEAT CHORUS (G7) We're going through to, Horton hears a (C7) Who.
REPEAT PRECHORUS

DJ (G7) Soul was on a roll, (C7) I been told he can't be sold
(G7) Not vicious or malicious, (C7) Just delovely and delicious
REPEAT PRECHORUS
REPEAT CHORUS x2

(G7)

I’ll Fly Away © 1929 Albert E. Brumley; Hartford Music Company Groove Is in the Heart © 1990 Dmitry Brill, Chung DongHwa, Kierin Kirby, Herbie Hancock, &
I’ll Fly Away Jonathan Davis; Elektra
Groove Is in the Heart
PDF Download
PDF Download
I’ll Fly Away Back to Chapter 1, Section 11 Groove Is in the Heart

Oh My Darling, Clementine Happy Birthday/For He's a Jolly Good Fellow
(C) Near a cavern, across from a canyon, excavating for a (G7) mine, Happy (C) Birthday to (G7) you!
Lived a miner, forty(C)niner, and his (G7) daughter Clemen(C)tine Happy (G7) Birthday to (C) you!
Happy (C) Birthday, dear (F) whoever.
CHORUS Happy (C) Birthday (G7) to (C) you!
Oh my darling, Oh my darling, Oh my darling Clementine.
You are lost and gone forever, dreadful sorry, Clementine For (C) he’s/she’s a jolly good (F) fel(C)low!
For (G7) he’s/she’s a jolly good (C) fellow!
Light she was and like a fairy, and her shoes were number nine For (C) he’s/she’s a jolly good (F) fellow!
Herring boxes without topses, sandals were for Clementine. Which (G7) nobody can de(C)ny!
REPEAT CHORUS
BARITONE (C) Which nobody can deny!
Drove she ducklings to the water, every morning just at nine, (C) Which nobody can deny!
Hit her foot against a splinter, fell into the foaming brine.
REPEAT CHORUS For (C) he’s/she’s a jolly good (F) fel(C)low!
For (G7) he’s/she’s a jolly good (C) fellow!
Ruby lips above the water, blowing bubbles soft and fine, For (C) he’s/she’s a jolly good (F) fellow!
But alas, I was no swimmer, so I lost my Clementine. Which (G7) nobody can de(C)ny!
REPEAT CHORUS BARITONE

How I missed her! How I missed her! How I missed my Clementine,
Till I kissed her little sister, and forgot my Clementine.
REPEAT CHORUS

In the church yard in the canyon, where the myrtle doth entwine
There grows roses and other posies, fertilized by Clementine.
REPEAT CHORUS
Oh My Darling, Clementine Traditional Happy Birthday © 1893 Patty Hill & Mildred J. Hill; Warner/Chappell Music
For He’s a Jolly Good Fellow Traditional
Oh My Darling, Clementine Happy Birthday/For He’s a Jolly Good Fellow

Oh My Darling, Clementine Happy Birthday/For He’s a Jolly Good Fellow

The Lion Sleeps Tonight You Are My Sunshine
(original key: F) (in original key)
CHORUS CHORUS
(C) Weeooh (F) weeooh. You are my (C) sunshine, my only (C7) sunshine
(C) A weeooh bumbo(G7)weh. You make me (F) happy when skies are (C) grey
(C) Weeooh (F) weeooh. You never (F) know, dear, how much I (C) love you
(C) A weeooh bumbo(G)weh. Please don't (C) take my (G7) sunshine a(C)way

(C) In the jungle, the (F) mighty jungle, The other night, dear, as I lay sleeping
(C) the lion sleeps to(G7)night. I dreamt I held you in my arms
(C) In the jungle, the (F) quiet jungle, When I awoke, dear, I was mistaken
(C) the lion sleeps to(G)night. So I hung my head, and I cried
REPEAT CHORUS REPEAT CHORUS

(C) Near the village, the (F) peaceful village, I'll always love you and make you happy
(C) the lion sleeps to(G7)night. If you will only say the same
(C) Near the village, the (F) quiet village, But if you leave me to love another,
(C) the lion sleeps to(G)night. You'll regret it all one day
BARITONE BARITONE
(C) Hush, my darling, don't (F) fear, my darling, Please don't (C) take my (G7) sunshine a(C)way
(C) the lion sleeps to(G7)night.
(C) Hush, my darling, don't (F) fear, my darling,
(C) the lion sleeps to(G)night.
REPEAT CHORUS

(C)
The Lion Sleeps Tonight © 1939 & 1961 Solomon Linda & The Tokens; RCA You Are My Sunshine © 1939 Oliver Hood; Jimmie Davis and Charles Mitchell


Crawdad Song Keep On the Sunny Side
SOPRANO/CONCERT/TENOR (original key: Ab)
(C) You get a line and I'll get a pole, Honey, SOPRANO/CONCERT/TENOR
You get a line and I'll get a pole, (G7) Babe. (C) There's a dark and a (F) troubled side of (C) life
(C) You get a line and (C7) I'll get a pole There's a (C) bright, there's a sunny side, (G7) too
(F) We'll go fishin' in the crawdad hole Tho' we (G7) meet with the darkness and (C) strife
(C) Honey, (G7) Baby (C) mine. The (G7) sunny side we also may (C) view

Sittin' on the bank 'til my feet get cold, Honey, CHORUS
Sittin' on the bank 'til my feet get cold, Babe. (C) Keep on the sunny side, (F) always on the (C) sunny side,
Sittin' on the bank 'til my feet get cold (C) Keep on the sunny side of (G7) life
Lookin' down that crawdad hole It will (C) help us ev'ry day, it will (F) brighten all the (C) way
Honey, Baby mine. If we'll (C) keep (F) on the (C) sunny (G7) side of (C) life (F) (C)

Yonder comes a man with a sack on his back, Honey, The storm and its fury broke today,
Yonder comes a man with a sack on his back, Babe. Crushing hopes that we cherish so dear;
Yonder comes a man with a sack on his back Clouds and storms will, in time, pass away
Packin' all the crawdads he can pack The sun again will shine bright and clear.
Honey, Baby mine. REPEAT CHORUS
BARITONE BARITONE
Hurry up, babe, you slept too late, Honey Let us greet with the song of hope each day
Hurry up, babe, you slept too late, Babe. Tho' the moment be cloudy or fair
Hurry up, baby, you slept too late Let us trust in our Saviour away
The crawdad man went past your gate Who keepeth everyone in His care
Honey, Baby, mine REPEAT CHORUS

I heard the duck say to the drake, Honey If we'll (C) keep (F) on the (C) sunny (G7) side of (C) life (F) (C)
I heard the duck say to the drake, Babe
I heard the duck say to the drake,
There ain't no crawdads in this lake
Honey, Baby mine.

Whatcha gonna do when the lake runs dry, Honey
Whatcha gonna do when the lake runs dry, Babe.
Whatcha gonna do when the lake runs dry
Sit on the bank, watch the crawdads die
Honey, Baby mine.

(C) This is the end of my crawdad song.
Crawdad Song Traditional Keep On the Sunny Side © 1899 Ada Blenkhorn and J. Howard Entwisle; Carter Family

Shake It Off Let It Be
(in original key)
(in original key)
I stay up too late. (Am) Got nothing in my brain (C) INTRO
That's what people say. (G) That's what people say (C) (G) (Am) (F) (C) (G) (F) (C)
I go on too many dates, (Am) But I can't make them stay (C)
At least that's what people say. (G) That's what people say When I (C) find myself in (G) times of trouble (Am) Mother Mary (F) comes to me
(C) Speaking words of (G) wisdom, let it (F) be (C)
PRECHORUS And (C) in my hour of (G) darkness she is (Am) standing right in (F) front of me
But I keep cruising (Am) Can't stop, won't stop moving (C) (C) Speaking words of (G) wisdom, let it (F) be (C)
It's like I got this (G) music In my mind, saying it's gonna be alright

CHORUS
CHORUS
Let it (Am) be, let it (G) be, let it (F) be, let it (C) be
Cause the (Am) players gonna play, play, play
(C) Whisper words of (G) wisdom, let it (F) be (C)
And the (C) haters gonna hate, hate, hate

Baby (G) I'm just gonna shake, shake, shake. Shake it off. I Shake it off
And when the brokenhearted people living in the world agree
Heart(Am)breakers gonna break, break, break
There will be an answer, let it be
And the (C) fakers gonna fake, fake, fake
For though they may be parted there is still a chance that they will see
Baby (G) I'm just gonna shake, shake, shake. Shake it off. I Shake it off

There will be an answer, let it be
I never miss a beat. (Am) I'm lighting up my feet (C) REPEAT CHORUS x2
And that's what they don't see. (G) That's what they don't see BARITONE
I'm dancing on my own. (Am) I make the moves as I go (C) And when the night is cloudy there is still a light that shines on me
And that's what they don't know. (G) That's what they don't know Shine on until tomorrow, let it be
REPEAT PRECHORUS I wake up to the sound of music Mother Mary comes to me
REPEAT CHORUS Speaking words of wisdom, let it be
BARITONE REPEAT CHORUS x2
(Am) Shake it off. Shake it off. (C) Shake it off. Shake it off
(G) Shake it off. Shake it off. Shake it off. Shake it off OUTRO
(F) (C) (G) (C)
(Rhythmic Uke)
Hey, hey, hey! Just think while you been getting down and out about the liars
And the dirty dirty cheats of the world
You could have been getting down to this sick beat

My ex man brought his new girlfriend
She's like oh my god, but I'm just gonna shake
And to the fella over there with the hella good hair
Won't you come on over baby we could shake, shake
REPEAT CHORUS

(Am) Shake it off. Shake it off. (C) Shake it off. Shake it off
(G) Shake it off. Shake it off. Shake it off. Shake it off (Am)
Shake It Off © 2014 Taylor Swift; Big Machine Let It Be © 1970 Lennon–McCartney; Apple
Shake It Off Let It Be

Shake It Off Let It Be
You're Gonna Miss Me Ho Hey
(in original key)
(in original key)
(C) I've got my ticket for long way 'round INTRO/INTERLUDE
(F) Two bottles of Pepsi for the (C) way (C) (Ho!) (F) (C) (Hey!) (F)
And I (F) sure would (G) like some (Am) sweet company (C) (Ho!) (F) (C) (Hey!) (F)
and I'm (F) leaving (G) tomorrow, whatdya (C) say?
(C) (Ho!) I've been trying to do it right (F)
CHORUS (C) (Hey!) I've been living a lonely life (F)
When I'm (Am) gone, when I'm (F) gone (C) (Ho!) I've been sleeping here instead (F)
(Am) You're gonna miss me when I'm (G) gone (C) (Hey!) I've been sleeping in my bed,
You're gonna (F) miss me by my (G) hair (Am) (Ho!) Sleeping (G) in my bed
You're gonna (Am) miss me everywhere (C) (Hey!) (F) (C) (Ho!) (F)
(F) You're gonna (G) miss me when I'm (C) gone
When I'm (Am) gone, when I'm (F) gone (C) (Ho!) So show me family (F)
(Am) You're gonna miss me when I'm (G) gone (C) (Hey!) All the blood that I would bleed (F)
You're gonna (F) miss me by my (G) walk (C) (Ho!) I don't know where I belong (F)
You're gonna (Am) miss me by my talk, oh (C) (Hey!) I don't know where I went wrong
(F) You're gonna (G) miss me when I'm (C) gone (Am) (Ho!) But I can (G) write a song
BARITONE (C) (Hey!)
(C) I've got my ticket for the long way 'round BARITONE
(F) The one with the prettiest (C) view CHORUS
It's got (F) mountains, it's got (G) rivers I belong with (Am) you, you belong with (G) me, you're my sweet(C)heart
It's got (Am) sights to give you shivers I belong with (Am) you, you belong with (G) me, you're my sweet(heart)
But it (F) sure would be (G) prettier with (C) you
REPEAT CHORUS x2 REPEAT INTRO/INTERLUDE
(C) (Ho!) I don't think you're right for him. (F)
(C) (Hey!) Look at what it might have been if you (F)
(C) (Ho!) took a bus to Chinatown. (F)
(C) (Hey!) I'd be standing on Canal
(Am) (Ho!) and (G) Bowery.
(C) (Hey!)
(Am) (Ho!) And she'd be standing (G) next to me.
(C) (Hey!)
REPEAT CHORUS

(Am) Love – we need (G) it now (C)
(Am) Let's hope, hope for some (G) (C)
(Am) So, we're bleed(G)ing out (C)
REPEAT CHORUS

(C) (Ho!) (F) (C) (Hey!) (F)(C) (Ho!) (F) (C) (Hey!)
You're Gonna Miss Me © 2009 A. P. Carter, Luisa Gerstein; Republic, UMe Ho Hey © 2012 Wesley Schultz, Jeremy Fraites; Dualtone
You’re Gonna Miss Me Ho Hey

You’re Gonna Miss Me Ho Hey
Octopus's Garden Wonderwall
(original key: E) (original key: F#m)
(C) I'd like to be (Am) under the sea INTRO
In his (F) octopus's garden in the (G) shade (Am) (C) (G) (F) x4
(C) He'd let us in, (Am) knows where we've been
In his (F) octopus's garden in the (G) shade VERSE 1
(Am) Today is (C) gonna be the day
(Am) I'd ask my friends to come and see That they're (G) gonna throw it back to (F) you
An (F) octopus's (G) garden with me (Am) By now you (C) should've somehow
(C) I'd like to be (Am) under the sea Rea(G)lized what you gotta (F) do
In his (F) octopus's (G) garden in the (C) shade (Am) I don't believe that (C) anybody
(G) Feels the way I (F) do about you (Am) now (C) (G) (F)
(C) We would be warm (Am) below the storm
In our (F) little hideaway beneath the (G) waves VERSE 2
(C) Resting our head (Am) on the sea bed (Am) Back beat, the (C) word is on the street
In an (F) octopus's garden near a (G) cave That the (G) fire in your heart is (F) out
(Am) I'm sure you've (C) heard it all before
(Am) We would sing and dance around But you (G) never really had a (F) doubt
Be(F)cause we know we (G) can't be found (Am) I don't believe that (C) anybody
(C) I'd like to be (Am) under the sea (G) Feels the way I (F) do about you (Am) now (C) (G) (F)
In his (F) octopus's (G) garden in the (C) shade
BARITONE PRECHORUS
(C) We would shout (Am) and swim about And (F) all the roads we (G) have to walk are (Am) winding (Am)
The (F) coral that lies beneath the (G) waves And (F) all the lights that (G) lead us there are (Am) blinding (Am)
(C) Oh what joy (Am) for every girl and boy (F) There are many (G) things that I would
(F) Knowing they're happy and they're (G)safe (C) Like to (G) say to (Am) you
But I don't know (F) how (F) (F) (F)
(Am) We would be so happy you and me BARITONE
(F) No one there to tell us (G) what to do CHORUS
(C) I'd like to be (Am) under the sea Because (Am) maybe (C) (G)
In an (F) octopus's (G) garden with (Am) you You're (F) gonna be the one that (Am) saves me (C) (G)
In an (F) octopus's (G) garden with (Am) you And (F) after (Am) all (C) (G)
In an (F) octopus's (G) garden with (C) you (F) (C) You're my (F) wonder(Am)wall (C) (G) (F)
REPEAT VERSE 1
REPEAT PRECHORUS
REPEAT CHORUS

I said (Am) maybe (C) (G)
You're (F) gonna be the one that (Am) saves me (C) (G) (F) x3
(F) (Am) (C) (G) (F)
(Am single strum)
Octopus's Garden © 1969 Richard Starkey; Apple Wonderwall © 1995 Noel Gallagher; Creation
Octopus’s Garden Wonderwall

Octopus’s Garden Wonderwall
Counting Stars Sweet Home Alabama
(original key: C#m) (in original key)
CHORUS (D) Big wheels (C) keep on (G) turning
(Am) Lately I've been, (C) I've been losing sleep (D) Carry me (C) home to see my (G) kin
(G) Dreaming about the things that (F) we could be (D) Singing (C) songs about the (G) Southland
But, (Am) baby I've been, (C) I've been praying hard
(D) I miss (C) Alabama once a(G) gain, and I think it's a sin, yea
(G) Said no more counting dollars, (F) we'll be counting stars

Yeah, we'll be counting stars Well, I heard Mr. Young sing about her
(Am) (C) (G) (F) x2 Well, I heard ol' Neil put her down
I see this (Am) life like a swinging vine, Well, I hope Neil Young will remember
(C) Swing my heart across the line A Southern man don't need him around anyhow
(G) In my face is flashing signs,
(F) Seek it out and ye shall find. CHORUS
(Am) Old but I'm not that old Sweet home Alabama
(C) Young but I'm not that bold
Where the skies are so blue
And (G) I don't think the world is sold
Sweet home Alabama
(F) I'm just doing what we're told
Lord, I'm coming home to you
PRECHORUS BARITONE
(Am) I (C) feel something so (G) right by doing the (F) wrong thing In Birmingham they love the governor, boo boo boo
(Am) I (C) feel something so (G) wrong by doing the (F) right thing Now we all did what we could do
(F) I could lie, couldn't I, couldn't I? Now Watergate does not bother me
(F) Everything that kills me makes me feel alive. Does your conscience bother you? Tell the truth
BARITONE REPEAT CHORUS
REPEAT CHORUS x2
(Am) (C) (G) (F)
Now Muscle Shoals has got the Swampers
I feel her (Am) love and I feel it burn
And they've been known to pick a song or two (Yes, they do!)
(C) Down this river every turn
(G) Hope is our fourletter word, Lord, they get me off so much
(F) Make that money watch it burn They pick me up when I'm feeling blue, now how about you?
(Am) Old but, I'm not that old REPEAT CHORUS x2
(C) Young, but I'm not that bold
And (G) I don't think the world is sold
(F) I'm just doing what we're told
PRECHORUS
REPEAT CHORUS x2

TAG (Rhythmic Uke)
Oh, take that money watch it burn,
Sing in the river the lessons I learned x4

(F) Everything that kills me makes me feel alive
REPEAT CHORUS x2
REPEAT TAG
Counting Stars © 2013 Ryan Tedder; Mosley Interscope Sweet Home Alabama © 1973 Ed King, Gary Rossington, Ronnie Van Zant; MCA
Counting Stars Sweet Home Alabama
Counting Stars Back to Chapter 1, Section 12 Sweet Home Alabama Back to Chapter 2, Section 2 130
Radioactive Ring of Fire
(original key: Bm) (in original key)
INTRO (G) Love is a (C) burning (G) thing
(Am) (C) (G) (D) x2 And it (G) makes a (C) fiery (G) ring.
(G) Bound by (C) wild (G) desire
VERSE 1 (G) I fell into a (C) ring of (G) fire.
(Am) I'm waking (C) up to ash and (G) dust
I wipe my (D) brow and I sweat my (Am) rust CHORUS
I'm breathing (C) in the chemi(G)cals (MUTE) (D) I fell into a (C) burning ring of (G) fire,
I went (D) down, down, down as the (C) flames went (G) higher
VERSE 2 And it (G) burns, burns, burns,
(Am) I'm breaking (C) in, shaping (G) up, The (C) ring of (G) fire, the (C) ring of (G) fire.
then checking (D) out on the prison bus (Am)
This is (C) it, the apoca(G)lypse The (G) taste of (C) love is (G) sweet
(D) Whoa When (G) hearts like (C) ours (G) meet.
I (G) fell for you (C) like a (G) child,
CHORUS (G) Oh, but the (C) fire went (G) wild.
I'm waking (Am) up, I feel it (C) in bones, REPEAT CHORUS x2
E(G)nough to make my (D) systems blow. BARITONE
(Am) Welcome to the new age, (C) to the new age. And it (G) burns, burns, burns,
(G) Welcome to the new age, (D) to the new age. The (C) ring of (G) fire, the (C) ring of (G) fire.
(Am) Whoa, (C) whoa, I'm (G) radioactive, radio(D)active. The (C) ring of (G) fire, the (C) ring of (G) fire.
(Am) Whoa, (C) whoa, I'm (G) radioactive, radio(D)active.
BARITONE
VERSE 3
(Am) I raise my (C) flags, don my (G) clothes,
It's a revo(D)lution, I sup(Am)pose.
We'll paint it (C) red to fit right (G) in.
(D) Whoa
REPEAT VERSE 2 & CHORUS

BRIDGE
(Am*) All systems (G*) go, the (G*) sun hasn't (D*) died
(Am*) Deep in my (G*) bones, (G*) straight from (D*) inside
REPEAT CHORUS

*Single strum
Radioactive © 2012 Alexander Grant, Ben McKee, Josh Mosser, Dan Platzman, Dan Reynolds, & Ring of Fire © 1963 June Carter, Merle Kilgore; Columbia
Wayne Sermon; Interscope, KIDinaKORNER Ring of Fire
Radioactive
PDF Download
PDF Download
Radioactive Ring of Fire Back to Chapter 2, Section 2
Knockin' on Heaven's Door This Land Is Your Land
(in original key) (in original key)
(G) Mama, take this (D) badge off of (Am) me CHORUS
(G) I can't (D) use it any(C)more. This land is (C) your land This land is (G) my land
(G) It's gettin' (D) dark, too dark to (Am) see From Cali(D7)fornia to the New York (G) island;
From the red wood (C) forest to the Gulf Stream (G) waters
I (G) feel I'm (D) knockin' on heaven's (C) door.
(D7) This land was made for you and (G) Me.

CHORUS As I was walking that ribbon of highway,
Knock, knock, knockin' on heaven's door I saw above me that endless skyway:
Knock, knock, knockin' on heaven's door I saw below me that golden valley:
Knock, knock, knockin' on heaven's door This land was made for you and me.
Knock, knock, knockin' on heaven's door REPEAT CHORUS

Mama, put my guns in the ground I've roamed and rambled and I followed my footsteps
To the sparkling sands of her diamond deserts;
I can't shoot them anymore.
And all around me a voice was sounding:
That long black cloud is comin' down
This land was made for you and me.
I feel I'm knockin' on heaven's door. REPEAT CHORUS
REPEAT CHORUS
When the sun came shining, and I was strolling,
BARITONE And the wheat fields waving and the dust clouds rolling,
As the fog was lifting a voice was chanting:
REPEAT CHORUS
BARITONE
As I went walking I saw a sign there
And on the sign it said "No Trespassing."
But on the other side it didn't say nothing,
That side was made for you and me.
REPEAT CHORUS

In the shadow of the steeple I saw my people,
By the relief office I seen my people;
As they stood there hungry, I stood there asking
Is this land made for you and me?
REPEAT CHORUS

Nobody living can ever stop me,
As I go walking that freedom highway;
Nobody living can ever make me turn back
REPEAT CHORUS
Knockin' on Heaven's Door © 1973 Bob Dylan; Columbia This Land Is Your Land © 1944 Woody Guthrie; Ludlow Music
Knockin’ on Heaven’s Door This Land Is Your Land
Knockin’ on Heaven’s Door Back to Chapter 2, Section 2 This Land Is Your Land Back to Chapter 2, Section 2 132

I’m Yours Hey Jude
(original key: B) (original key: F) SOPRANO/CONCERT/TENOR
(C) (G) (Am) (F) Hey, (G) Jude, don't make it (D) bad,
Well, (C) you done done me and you bet I felt it Take a (D7) sad song and make it (G) better.
I (G) tried to be chill, but you're so hot that I melted Re(C)member to let her into your (G) heart,
I (Am) fell right through the cracks. Now I'm (F) trying to get back Then you can (D7) start to make it (G) better.
Before the (C) cool done run out I'll be giving it my bestest
And (G) nothing's gonna stop me but divine intervention.
Hey, (G) Jude, don't be a(D)fraid,
I (Am) reckon, it's again my turn to (F) win some or learn some.
You were (D7) made to go out and (G) get her.

But (C) I won't hesi(G)tate no more,
The (C) minute you let her under your (G) skin,
No (Am) more. It cannot (F) wait, I'm yours. Then you be(D7)gin to make it (G) better.

(C) (G) (Am) (F)
(G7) And anytime you feel the (C) pain, hey, Jude, re(Am)frain.
(C) Well, open up your mind and see like (G) me, Don't carry the (D7) world upon your (G) shoulders.
Open up your plans and then you're (Am) free. (G7) For now you know that it's a (C) fool who plays it (Am) cool
Look into your heart and you'll find (F) love, love, love, love. By making his (D7) world a little (G) colder.
(C) Listen to the music of the moment, people dance and (G) sing, Da da da (G7) da da (D7) nananana!
We're just one big fami(Am)ly
And it's our Godforsaken right to be (F) loved, loved, loved, loved, (D7 single strum) loved (pause) Hey, (G) Jude, don't let me (D) down,

You have (D7) found her, now go (G) and get her.
So (C) I won't hesi(G)tate no more,
Remember (C) to let her into (G) your heart,
No (Am) more. It cannot (F) wait, I'm sure.
There's no (C) need to compli(G)cate. Then you can (D7) start to make it (G) better.
Our time is (Am) short. This is our (F) fate, I'm yours. BARITONE
(C G) (Am G) (F) (D7 single strum) (G7) So let it out and let it (C) in, hey, Jude, be(Am)gin.
BARITONE You’re waiting for (D7) someone to per(G)form with.
I've been spending (C) way too long checking my tongue in the mirror (G7) And don’t you know that it’s just (C) you, hey, Jude, you’ll (Am) do.
And (G) bending over backwards just to try to see it clearer The movement you (D7) need is on your (G) shoulder.
But my (Am) breath fogged up the glass and so I (F) drew a new face and I laughed. Da da da (G7) da da (D7) nananana!
I (C) guess what I'll be saying is there ain't no better reason
To (G) rid yourself of vanities and just go with the seasons.
Hey, (G) Jude, don't make it (D) bad,
It's (Am) what we aim to do. Our (F) name is our virtue.
Take a (D7) sad song and make it (G) better.

But (C) I won't hesi(G)tate no more, Re(C)member to let her under your (G) skin,
No (Am) more. It cannot (F) wait, I'm yours. Then you can (D7) start to make it (G) better, better, Better, BETTER!
(C) Well, open up your mind and see like (G) me, (G7) Better, better, WOAH!
Open up your plans and then you're (Am) free.
Look into your heart and you'll find that (F) the sky is yours. (G)Na na na (F) na na na na, (C) na na na na! Hey (G)Jude!
So (C) please don't, please don't, please don't...There's no (G) need to complicate. (G)Na na na (F) na na na na, (C) na na na na! Hey (G)Jude!
'Cause our (Am) time is short.This oh, this oh, this is our (F) fate. (G)Na na na (F) na na na na, (C) na na na na! Hey (G)Jude!
I'm yours. (D7 single strum) (pause) (C single strum)
REPEAT AS NECESSARY!!!
I’m Yours © 2008 Jason Mraz; Atlantic Hey Jude © 1968 Lennon–McCartney; Apple
I’m Yours Hey Jude
I’m Yours Back to Chapter 2, Section 2 Hey Jude Back to Chapter 2, Section 2 133

Drunken Sailor Don’t Worry, Be Happy
SOPRANO/CONCERT/TENOR (original key: B)
(Dm) What shall we do with a drunken sailor, SOPRANO/CONCERT/TENOR
(C) What shall we do with a drunken sailor, INTRO
(Dm) What shall we do with a drunken sailor, (C) (Dm) (F) (C) x2
(C) Early in the (Dm) morning?
(C) Here's a little song I wrote
CHORUS (Dm) You might want to sing it note for note
Weigh heigh and up she rises Don't (F)worry, be (C) happy
Weigh heigh and up she rises (C) In every life we have some trouble
Weigh heigh and up she rises (Dm) When you worry you make it double
Early in the morning Don't (F)worry, be (C) happy

Lock him in the guard room 'til he gets sober. CHORUS (whistle if you can)
Lock him in the guard room 'til he gets sober. (C)Oo.. (Dm) oo….(F) oo.. (C) Don't worry, be happy
Lock him in the guard room 'til he gets sober. (C)Oo.. (Dm) oo….(F) oo.. (C) Don't worry, be happy
Early in the morning
REPEAT CHORUS (C) Ain't got no place to lay your head
BARITONE (Dm) Somebody came and took your bed
Give 'im a dose of salt and water. Don't (F)worry, be (C) happy
Give 'im a dose of salt and water. (C) The land lord say your rent is late
Give 'im a dose of salt and water. (Dm) He may have to litigate
Early in the morning Don't (F)worry, be (C) happy
BARITONE
(C) Ain't got no cash, ain't got no style
(Dm) Ain't got no girl to make you smile
But (F)worry, be (C) happy
(C) 'Cause when you worry your face will frown
(Dm) And that will bring everybody down
So (F)worry, be (C) happy
Don't worry, be happy now
REPEAT CHORUS x2
Drunken Sailor Traditional Don’t Worry, Be Happy © 1988 Bobby McFerrin; EMIManhattan Records
Drunken Sailor Don’t Worry, Be Happy
Drunken Sailor Back to Chapter 2, Section 3 Don’t Worry, Be Happy Back to Chapter 2, Section 3 134

Y.M.C.A. Scooby Doo, Where Are You!

(original key: F#) (original key: A)
(C) Young man, there's no need to feel down. (C) Scooby Dooby Doo, (Dm) Where are you!
I said, (Am) young man, pick yourself off the ground. We've (G7) got some work to (C) do now.
I said, (F) young man, 'cause you're in a new town (C) Scooby Dooby Doo, (Dm) Where are you!
There's (G) no need to be unhappy. We (G7) need some help from (C) you now.
(C) Young man, there's a place you can go.
I said, (Am) young man, when you're short on your dough. (C) Come on Scooby Doo, (Dm) I see you,
(F) You can stay there, and I'm sure you will find Pre(G7)tending you've got a (C) sliver.
Many (G) ways to have a good time. (C) You're not foolin' me 'cause (Dm) I can see
The (G7) way you shake and (C) shiver.
CHORUS
It's fun to stay at the (C) Y.M.C.A. (F) You know we got a mystery to solve,
It's fun to stay at the (Am) Y.M.C.A. So Scooby Doo get ready for your (C) act.
They have (Dm) everything for you men to enjoy, Don't hold back!
You can (G) hang out with all the boys ... And Scooby Doo, (F) if you come through
It's fun to stay at the (C) Y.M.C.A. You're gonna have yourself a Scooby (G7) Snack.
It's fun to stay at the (Am) Y.M.C.A. BARITONE
You can (Dm) get yourself clean, you can have a good meal, (C) Scooby Dooby Doo, (Dm) Where are you!
You can (G) do whatever you feel... You're (G7) ready and you're (C) willin'.
BARITONE If (C) we can count on you, (Dm) Scooby Doo,
(C) Young man, are you listening to me? I (G7) know we'll catch the (C) villain.
I said, (Am) young man, what do you want to be?
I said, (F) young man, you can make real your dreams.
But you (G) got to know this one thing!
(C) No man does it all by himself.
I said, (Am) young man, put your pride on the shelf,
And just (F) go there, to the Y.M.C.A.
I'm sure (G) they can help you today.
REPEAT CHORUS

(C) Young man, I was once in your shoes.
I said, (Am) I was down and out with the blues.
I felt (F) no man cared if I were alive.
I felt (G) the whole world was so jive ...
(C) That's when someone came up to me,
And said, (Am) young man, take a walk up the street.
There's a (F) place there called the Y.M.C.A.
They can (G) start you back on your way.
REPEAT CHORUS x2
Y.M.C.A.© 1978 Jacques Morali, Victor Willis; Casablanca Scooby Doo, Where Are You! © 1969 David Mook & Ben Raleigh; HannaBarbera
Y.M.C.A. Scooby Doo, Where Are You!
Y.M.C.A. Back to Chapter 2, Section 3 Scooby Doo, Where Are You! Back to Chapter 2, Section 3 135
Joshua Fought the Battle of Jericho Hallelujah
SOPRANO/CONCERT/TENOR (in original key)
CHORUS SOPRANO/CONCERT/TENOR
(Am) Joshua fought the battle of Jericho, INTRO
(E7) Jericho, (Am) Jericho, (C) (Am) (C) (Am)
(Am) Joshua fought the battle of Jericho,
And the (E7) walls came tumbling (Am) down! I (C) heard there was a (Am) secret chord
That (C) David played and it (Am) pleased the Lord
(Am) You may talk about your men of Gideon, But (F) you don't really (G) care for music (C) do you? (G)
You may talk about your men of (E7) Saul, Well it (C) goes like this: The (F) fourth, the (G) fifth,
But there's (Am) none like good old Joshua The (Am) minor fall and the (F) major lift
And the (E7) battle of (Am) Jericho! The (G) baffled king com(E7)posing “Halle(Am)lujah”
REPEAT CHORUS Halle(F)lujah, Halle(Am)lujah, Halle(F)lujah,
BARITONE Halle(C)luuu(G)u(C)jah… (Am) (C) (Am)
(Am) Right up to the walls of Jericho
They marched with spear in (E7) hand; (C) Baby I've been (Am) here before
"Go (Am) blow them ram horns," Joshua cried, I've (C) seen this room and I've (Am) walked this floor
"Cause the (E7) battle is in my (Am) hand." I (F) used to live a(G)lone before I (C) knew you (G)
REPEAT CHORUS I've (C) seen your flag on the (F) marble (G) arch
(Am) Love is not a (F) victory march
Then the (Am) lamb, ram, sheep horns began to blow, It's a (G) cold and it's a (E7) broken “Halle(Am)lujah”
And the trumpets began to (E7) sound, Halle(F)lujah, Halle(Am)lujah, Halle(F)lujah,
(Am) Joshua told the children to shout that morning Halle(C)luuu(G)u(C)jah… (Am) (C) (Am)
And the (E7) walls came tumbling (Am) down! BARITONE
REPEAT CHORUS (C) Maybe there's a (Am) God above
But (C) all I've ever (Am) learned from love
And the (E7) walls came tumbling (Am) down! Was (F) how to shoot some(G)body who (C) outdrew you (G)
And the (E7) walls came tumbling (Am) down! It's (C) not a cry that you (F) hear at (G) night
It's (Am) not somebody who's (F) seen the light
It's a (G) cold and it's a (E7) broken “Halle(Am)lujah”
Halle(F)lujah, Halle(Am)lujah, Halle(F)lujah,
Halle(C)luuuu(G)jah
Halle(F)lujah, Halle(Am)lujah, Halle(F)lujah,
Halle(C)luuu(G)u(C)jah… (Am) (C) (Am) (C single strum)

Joshua Fought the Battle of Jericho Traditional Hallelujah © 1984 Leonard Cohen; Columbia
Joshua Fought the Battle of Jericho Hallelujah
Joshua Fought the Battle of Jericho

Back to Chapter 2, Section 4 Hallelujah Back to Chapter 2, Section 4 136
Spiderman I’m a Believer
(original key: Cm) (original key: Ab)
(Am) Spiderman, Spiderman, (D) I thought love was (A) only true in (D) fairy tales
Does whatever a spider can (D) Meant for someone (A) else but not for (D) me.
(Dm) Spins a web, any size, (G) Love was out to get (D) me
(Am) Catches thieves just like flies (G) That's the way it (D) seemed.
(E7) Look Out! Here comes the Spider(Am)man. (G) Disappointment (D) haunted all my (A) dreams.

(Am) Is he strong? Listen bud, CHORUS
He's got radioactive blood. Then I saw her (D) face, (G) (D)
(Dm) Can he swing from a thread? now I'm a be(D)liever (G) (D)
(Am) Take a look overhead Not a (D) trace (G) (D)
(E7) Hey, there! There goes the Spider(Am)man. of doubt in my (D) mind. (G) (D)

I'm in (D) love, (G) I'm a be(D)liever!
In the (G7) chill of (C) night
I couldn't (C) leave her if I (A) tried.
At the (E7) scene of a (Am) crime

Like a (G7) streak of (C) light
(D) I thought love was (A) more or less a (D) given thing,
He ar(F6)rives just in (E7) time.
(D) Seems the more I (A) gave the less I (D) got.
BARITONE
(G) What's the use in (D) tryin'?
(Am) Spiderman, Spiderman
(G) All you get is (D) pain.
Friendly neighborhood Spiderman
(G) When I needed (D) sunshine I got (A) rain.
(Dm)Wealth and fame He's ignored
REPEAT CHORUS x2
(Am) Action is his reward.

BARITONE
To (E7) him, life is a great big (Am) bang up
(E7) Wherever there's a (Am) hang up
(E7) You'll find the Spider(Am)man.

Spiderman © 1967 Paul Francis Webster and Robert "Bob" Harris; RCA Studios I’m a Believer © 1963 Neil Diamond; Colgems
Spiderman I’m a Believer
Spiderman Back to Chapter 2, Section 5 I’m a Believer Back to Chapter 2, Section 6 137
Little Boxes Jamaica Farewell
(original key: F) (original key: Eb)
Little (A) boxes on the hillside, (D) Down the way, where the (G) nights are gay
Little (D) boxes made of ticky (A)tacky, And the (A7) sun shines daily on the (D) mountaintop
Little (A) boxes on the (E7) hillside, (D) I took a trip on a (G) sailing ship
Little (A) boxes all the (E7) same. And when I (A7) reached Jamaica I made a (D) stop
There's a (A) pink one and a green one
And a (D) blue one and a (A) yellow one, CHORUS
And they're (A) all made out of (E7) ticky tacky But I'm sad to say I'm on my way
And they (A) all look (E7) just the (A) same. Won't be back for many a day
My heart is down, my head is turning around
And the people in the houses I had to leave a little girl in Kingston town
All went to the university,
Where they were put in boxes Sounds of laughter everywhere
And they came out all the same, And the dancing girls swing to and fro
And there's doctors and lawyers, I must declare my heart is there
And business executives, Though I've been from Maine to Mexico
And they're all made out of ticky tacky REPEAT CHORUS
And they all look just the same. BARITONE
BARITONE Down at the market you can hear
And they all play on the golf course Ladies cry out while on their heads they bear
And drink their martinis dry, Ackee, rice, salt, fish are nice
And they all have pretty children And the rum is fine any time o' year
And the children go to school, REPEAT CHORUS x2
And the children go to summer camp
And then to the university,
Where they are put in boxes
And they come out all the same.

And the boys go into business
And marry and raise a family
In boxes made of ticky tacky
And they all look just the same.
There's a pink one and a green one
And a blue one and a yellow one,
And they're all made out of ticky tacky
And they all look just the same.
Little Boxes © 1961 Malvina Reynolds; Columbia Records Jamaica Farewell © 1926 Irving Burgie
Little Boxes Jamaica Farewell
Little Boxes Back to Chapter 2, Section 6 Jamaica Farewell Back to Chapter 2, Section 6 138

Blue Suede Shoes Stand by Me
(in original key) (original key: Bb)
Well, it's (A) one for the money, (A) two for the show, When the (G) night has come
(A) Three to get ready, now (A7) go, cat, go. (Em) And the land is dark
And the (C) moon is the (D7) only light we'll (G) see
No I (G) won't be afraid
CHORUS
Oh, I (Em) won't be afraid
But (D) don't you step on my blue suede (A) shoes.
Just as (C) long as you (D7) stand, stand by (G) me
You can (E7) do anything but lay off of my blue suede (A) shoes.
CHORUS
Well, you can (A) knock me down, (A) step in my face, So (G) darling, darling
(A) Slander my name all (A) over the place. Stand by me, oh (Em) stand by me
(A) Do anything that you (A) want to do, Oh (C) stand, (D7) stand by me
But (A) uhuh, honey, lay (A7) off of my shoes (G) Stand by me
REPEAT CHORUS
If the sky that we look upon

Should tumble and fall
(A) (A) (D) (A) (E7) (A)
All the mountains should crumble to the sea
I won't cry, I won't cry
You can (A) burn my house, (A) steal my car, No, I won't shed a tear
(A) Drink my liquor from an (A) old fruit jar. Just as long as you stand, stand by me
(A) Do anything that you (A) want to do, REPEAT CHORUS x2
But (A) uhuh, honey, lay (A7) off of my shoes BARITONE
REPEAT CHORUS
BARITONE
(A) (A) (D) (A) (E7) (A)

Well, it's (A) one for the money, (A) two for the show,
(A) Three to get ready, now (A7) go, cat, go.
REPEAT CHORUS

Well it's (A) blue, blue, blue suede shoes
(A) Blue, blue, blue suede shoes yeah
(D) Blue, blue, blue suede shoes baby
(A) Blue, blue, blue suede shoes
You can (E7) do anything but lay off of my blue suede (A) shoes.

Blue Suede Shoes © 1956 Carl Perkinss; Sun Records, Sun 234 Stand by Me © 1961 Ben E. King, Jerry Leiber and Mike Stoller; Atco
Blue Suede Shoes Stand by Me
Blue Suede Shoes Back to Chapter 2, Section 6 Stand by Me Back to Chapter 2, Section 7 139

I Knew You Were Trouble Eleanor Rigby
(original key: Gb/Ebm) (in original key)
(G) Once upon a time a few mistakes ago INTRO/INTERLUDE
(D) I was in your sights, you got me alone
(C) Ah look at all the lonely (Em) people (x 2)
You (Em) found me, you found me, you (C) found me

I (G) guess you didn't care, and I guess I liked that
And (D) when I fell hard, you took a step back VERSE 1
With(Em)out me, without me, with(C)out me (Em) Eleanor Rigby picks up the rice in the church
Where a wedding has (C6) been, lives in a (Em) dream
(G) And he's long (D) gone when he's next to (Em) me
(Em) Waits at the window, wearing the face that she keeps
And I rea(C)lize the blame is on me

In a jar by the (C6) door, who is it (Em) for?
CHORUS
'Cause (Em) I knew you were (C) trouble when you walked in (D) CHORUS
So (G) shame on (D) me now (Em7) All the lonely (Em6) people,
(Em) Flew me to (C) places I'd never (D) been
where (Cmaj7) do they all come (Em) from
'Til you (G) put me (D) down, oh
(Em) I knew you were (C) trouble when you walked in (D)
(Em7) All the lonely (Em6) people,
So (G) shame on (D) me now where (Cmaj7) do they all be(Em)long
(Em) Flew me to (C) places I'd never (D) been BARITONE
Now I'm (G) lying on the cold hard ground VERSE 2
(Em) Oh, (C) oh, (D) trouble, (G) trouble, (D) trouble
Father McKenzie writing the words of a sermon
(Em) Oh, (C) oh, (D) trouble, (G) trouble, (D) trouble
That noone will hear, noone comes near
BARITONE
(G) No apologies. He'll never see you cry, Look at him working, darning his socks in the night
Pre(D)tends he doesn't know that he's the reason why. When there's nobody there, what does he care?
You're (Em) drowning, you're drowning, you're (C) drowning. REPEAT CHORUS
Now I (G) heard you moved on from whispers on the street
REPEAT INTRO/INTERLUDE
A (D) new notch in your belt is all I'll ever be

And (Em) now I see, now I see, (C) now I see
VERSE 3
(G) He was long (D) gone when he met (Em) me Eleanor Rigby died in the church and was buried
And I rea(C)lize the joke is on me, yeah! Along with her name, nobody came
REPEAT CHORUS
Father McKenzie, wiping the dirt from his hands

And the (C) saddest fear comes (Em) creeping in
As he walks from the grave, noone was saved
That you (C) never loved me or her, or (D) anyone, or anything, yeah REPEAT CHORUS
REPEAT CHORUS

Trouble, (G) trouble, (D) trouble
Trouble, (G) trouble, trouble
I Knew You Were Trouble © 2012 Taylor Swift Max Martin Shellback; Big Machine Eleanor Rigby © 1966 Lennon–McCartney; EMI Studios
I Knew You Were Trouble
Eleanor Rigby
PDF Download
PDF Download
I Knew You Were Trouble Back to Chapter 2, Section 7 Eleanor Rigby

Somewhere Over the Rainbow/What a Wonderful World Crocodile Rock
(in original key) (in original key) SOPRANO/CONCERT/TENOR
(C) Somewhere (Em) over the rainbow (F) way up (C) high INTRO
(F) And the (C) dreams that you dreamed of (G) (G) (Em) (Em) (C) (C) (D) (D) x2
(G) Once in a lulla(Am)by (F)
(C) Somewhere (Em) over the rainbow (F) bluebirds (C) fly I re(G)member when rock was young
(F) And the (C) dreams that you dreamed of Me and (Em) Suzie had so much fun
(G) Dreams really do come (Am)true ooh (F) ooh Holding (C) hands and skimming stones
Had an (D) old gold Chevy and a place of my own
Some(C)day I'll wish upon a star But the (G) biggest kick I ever got
(G) Wake up where the clouds are far (Am) behind (F) me
Was doing a (Em) thing called the Crocodile Rock
Where (C) trouble melts like lemon drops
While the (C) other kids were Rocking Round the Clock
(G) High above the chimney tops that's (Am) where you'll (F) find me
Oh, (C) somewhere (Em) over the rainbow (F) bluebirds (C) fly We were (D) hopping and bopping to the Crocodile Rock
(F) And the (C) dream that you dare to,
Oh (G) why, oh why can't (Am) I? (F) CHORUS
Well (Em) Croc Rockin’ is something shockin’
Well I see (C) trees of (Em) green and (F) red roses (C) too, When your (A7) feet just can't keep still
(F) I'll watch them (C) bloom (E7) for me and (Am) you (D7) I never knew me a better time and I (G) guess I never will
And I (F) think to myself, (G) “What a wonderful (Am) world” (F) (E7) Oh Lawdy mama those Friday nights
Well I see (C) skies of (Em) blue and I see (F) clouds of (C) white
When (A7) Suzie wore her dresses tight
And the (F) brightness of (C) day, (E7) I like the (Am) dark
And the (D7) Crocodile Rocking was out of (C) sight
And I (F) think to myself, (G) “What a wonderful (Am) world” (F) (C)
(G) (G) (Em) (Em) (C) (C) (D) (D) x2
BARITONE
The (G) colors of the rainbow so (C) pretty in the sky
BARITONE
Are (G) also on the faces of (C) people passing by But the (G) years went by and the rock just died
I see (F) friends shaking (C) hands (Em) Suzie went and left us for some foreign guy
Saying, (F) "How do you (C) do?" (C) Long nights crying by the record machine
(F) They're really (C) saying, (Dm) I...I love (G) you (D) Dreaming of my Chevy and my old blue jeans
I hear (C) babies (Em) cry and (F) I watch them (C)grow, But they'll (G) never kill the thrills we've got
(F) They'll learn much (C) more than (E7) we'll (Am) know Burning (Em) up to the Crocodile Rock
And I (F) think to myself, (G) “What a wonderful (Am) world” (F)
Learning (C) fast as the weeks went past

We really (D) thought the Crocodile Rock would last
Some(C)day I'll wish upon a star
(G) Wake up where the clouds are far (Am) behind (F) me REPEAT CHORUS
Where (C) trouble melts like lemon drops
(G) High above the chimney tops that's (Am) where you'll (F) find me

Oh, (C) somewhere (Em) over the rainbow (F) way up (C) high
(F) And the (C) dream that you dare to,
Oh (G) why, oh why can't (Am) I? (F) (C)
Somewhere Over the Rainbow/What a Wonderful World © 1993 Harold Arlen, E.Y. Harburg, Bob Crocodile Rock © 1972 Elton John, Bernie Taupin; MCA (US) & DJM (UK)

Thiele, George David Weiss, Israel Kamakawiwo'ole; Big Boy Records Somewhere Over the Rainbow/ Crocodile Rock
What a Wonderful World
PDF Download
PDF Download
Somewhere Over the Rainbow/What a Wonderful World Crocodile Rock Back to Chapter 2, Section 7 141
Back to Chapter 2, Section 7

Kansas City We Will Rock You
(original key: Ab) (original key: Em)
I (C)went to Kansas City on a (F) Friday (Fm) Buddy you're a boy make a big noise
By (G7) Saturday I learned a thing or (C) two Playin' in the street gonna be a big man some day
For (C) up 'till then I didn't have an (F) idea You got mud on yo' face
Of (G7) what the mod'rn world was comin' (C) to. You big disgrace
I (G) counted twenty (C) gas buggies (D) goin' by theirs(Em)elves Kickin' your can all over the place
(D) Almost every time I took a (G) walk Singin'
(G) An' then I put my (C) ear to a (D) Bell tele(Em)phone
An' a (D) strange woman started into (G) talk. CHORUS
(G) What next! What next? We will we will rock you
We will we will rock you
(C)Everything's up to (G7) date in Kansas (C) City (G7)
They (C) gone about as (E7) fer as they can (F) go! (A7) Buddy you're a young man hard man
They (D7) went an' built a (G7) skyscraper (C) seven (E7) stories (Am) high, Shoutin' in the street gonna take on the world some day
A(G7)bout as high as a (D7) buildin' oughtta (G7) grow. You got blood on yo' face
(C)Everything's like a (G7) dream in Kansas (C) City (G7) You big disgrace
It's (C) better than a (E7) magic lantern (F) show. (A7) Wavin' your banner all over the place
You can (D7) turn the radi(G7)ator on REPEAT CHORUS
when(C)ever you (E7) want some (Am) heat BARITONE
With (D7) every kind of (G7) comfort every Buddy you're an old man poor man
(C) house is (E7) all com(Am)plete. Pleadin' with your eyes gonna make you some peace some day
You could (F) walk the (E7) privees (Am) in the (G7) rain You got mud on your face
and (C) never (G7) wet your (C) feet! Big disgrace
They've (Dm) gone about as (A7) fer as they can (Dm) go. (Yes, Sir!) BARITONE Somebody better put you back into your place
They've (F) gone about as (G7)fer as they can (C) go! REPEAT CHORUS x2

Kansas City © 1943 Rodgers & Hammerstein; Williamson Music Company We Will Rock You © 1977 Brian May; EMI, Elektra
Kansas City We Will Rock You
Kansas City Back to Chapter 2, Section 7 We Will Rock You Back to Chapter 2, Section 8 142

Across the Universe Go Down, Moses
(original key: D) SOPRANO/CONCERT/TENOR
SOPRANO/CONCERT/TENOR When (Cm) Israel was in Egypt land
(C) Words are flowing (Am) out like endless (G) Let my people (Cm) go
(Em) rain into a paper cup Op(Cm)pressed so hard they could not stand
They (Dm) slither while they pass they slip (G) Let my people (Cm) go
a(G7)way across the universe
(C) Pools of sorrow (Am) waves of joy are CHORUS
(Em) drifting through my open mind (Cm) Go down (Fm) Moses (G) way down in Egypt land
Po(Dm)ssessing and ca(Fm)ressing me (Cm) Tell old (Fm) Pharaoh to (G) let my people (Cm) go

CHORUS So (Cm) Moses went to Egypt land
(C) Jai Guru Deva (G) Let my people (Cm) go
(G7)Om He (Cm) made old Pharaoh understand
Nothing's gonna change my world (G) Let my people (Cm) go
(F)Nothing's gonna change my (C) world REPEAT CHORUS
(G7) Nothing's gonna change my world
(F)Nothing's gonna change my (C) world Thus (Cm) spoke the Lord, bold Moses said
(G) Let my people (Cm) go
(C) Images of (Am) broken light which If (Cm) not I'll smite, your firstborns dead
(Em) dance before me like a million (G) Let my people (Cm) go
(Dm) eyes they call me on and on REPEAT CHORUS
a(G7)cross the universe BARITONE
(C) Thoughts meander (Am) like a restless
(Em) wind inside a letterbox
They (Dm) tumble blindly as they make their
(G7) way across the universe
REPEAT CHORUS
BARITONE
(C) Sounds of laughter (Am) shades of light are
(Em) ringing through my open ears
In(Dm)citing and in(Fm)viting me
(C) Limitless un(Am)dying love which
(Em) shines around me like a million
(Dm) suns. It calls me on and on
a(G7)cross the universe
REPEAT CHORUS

(C) Jai Guru Deva
(C) Jai Guru Deva

Across the Universe © 1969 Lennon–McCartney; Regal Starline Go Down, Moses Traditional
Across the Universe Go Down, Moses
Across the Universe Back to Chapter 2, Section 8 Go Down, Moses Back to Chapter 2, Section 8 143

All the Rowboats Tonight You Belong to Me
(in original key) (in original key)
(Cm) All the rowboats (G) in the paintings I (G) know (I know)
(Fm) They keep trying to row away You be(G7)long to (C) somebody (Cm) new,
(Cm) And the captains’ (G) worried faces But to(G)night you be(D)long to (G) me.
(Fm) Stay contorted and staring at the waves

(Cm) They’ll keep hanging (G) in their gold frames
Al(G)though (although)
(Fm) For forever, forever and a day
(Cm) All the rowboats (G) in the oil paintings We're a(G7)part, you're (C)part of my (Cm)heart,
(Fm) They keep trying to row away, row away But to(G)night you be(D)long to (G)me.
(Cm)(G)(Fm)(Fm)
Way (Cm) down, by the stream
Hear them whispering French and German How sweet it would seem,
Dutch, Italian, and Latin Once (G) more just to (E7) dream in the (A7) moonlight,
When no one’s looking I touch a sculpture (D7) My honey
Marble, cold and soft as satin

But the most special are the most lonely
I (G)know (I know)
God, I pity the violins
In glass coffins they keep coughing With the (G7) dawn that (C) you will be (Cm) gone,
They’ve forgotten, forgotten how to sing, how to sing And to(G)night you be(D)long to (G) me.
BARITONE BARITONE
(Cm)(G)(Fm) Just (Cm) little old (G) me.
La la la la la
La la la la la
(Cm) La (G)(Fm)(Fm)
(Cm)(G)(Fm)(Fm)x2

First there’s lights out, then there’s lock up
Masterpieces serving maximum sentences
It’s their own fault for being timeless
There’s a price to pay and a consequence
All the galleries, the museums
Here’s your ticket, welcome to the tombs
They’re just public mausoleums
The living dead fill every room
But the most special are the most lonely
God, I pity the violins
In glass coffins they keep coughing
They’ve forgotten, forgotten how to sing
They will stay there in their gold frames
For forever, forever and a day
All the rowboats in the oil paintings
They keep trying to row away, row away
All the Rowboats © 2012 Regina Spektor; Sire Records Tonight You Belong to Me © 1926 Billy Rose & Lee David; Banner Records
All the Rowboats Tonight You Belong to Me
All the Rowboats Back to Chapter 2, Section 8 Tonight You Belong to Me Back to Chapter 2, Section 8
144

Achy Breaky Heart With a Little Help from My Friends
(original key: A) (original key: E) SOPRANO/CONCERT/TENOR
(Bb) You can tell the world you never was my girl (G) What would you (D) think if I (Am) sang out of tune
You can burn my clothes up when I'm (F) gone Would you (Am) stand up and (D) walk out on (G) me?
You can tell your friends just what a fool I've been (G) Lend me your (D) ears and I'll (Am) sing you a song
And laugh and joke about me on the (Bb) phone And I'll (Am) try not to (D) sing out of (G) key
You can tell my arms go back to the farm
You can tell my feet to hit the (F) floor CHORUS
Or you can tell my lips to tell my fingertips Oh I get (F) by with a little (C) help from my (G) friends
They won't be reaching out for you no (Bb) more Mm I get (F) high with a little (C) help from my (G) friends
Mm gonna (F) try with a little (C) help from my (G) friends

CHORUS
(G) What do I (D) do when my (Am) love is away?
But don't tell my heart
Does it (Am) worry you to (D) be a(G)lone?
My achy breaky heart
(G)How do I (D) feel by the (Am) end of the day?
I just don't think he'd under(F)stand
Are you (Am) sad because you're (D) on your (G) own?
And if you tell my heart
REPEAT CHORUS
My achy breaky heart
He might blow up and kill this (Bb) man BRIDGE
BARITONE Do you (Em) need any(A)body?
(Bb) You can tell your mom I moved to Arkansas I (G) need some(F)body to (C) love
You can tell your dog to bite my (F) leg Could it (Em) be any(A)body?
Or tell your brother Cliff whose fist can tell my lip I (G) want some(F)body to (C) love
He never really liked me any(Bb)way BARITONE
Or tell your Aunt Louise, tell anything you please (G) Would you be(D)lieve in a (Am) love at first sight?
Myself already knows I'm not (F) OK. Yes I'm (Am) certain that it (D) happens all the (G) time
Or you can tell my eyes to watch out for my mind (G) What do you (D) see when you (Am) turn out the light?
It might be walking out on me to(Bb)day I can't (Am) tell you, but I (D) know it's (G) mine
REPEAT CHORUS x3 REPEAT CHORUS
REPEAT BRIDGE

Oh I get (F) by with a little (C) help from my (G) friends
Mm gonna (F) try with a little (C) help from my (G) friends
Oh I get (F) high with a little (C) help from my (G) friends
Yes I get (F) by with a little help from my (C) friends
With a little help from my (Bb) friends (Cm) (G)
Achy Breaky Heart © 1992 Don Von Tress; PolyGram Mercury With a Little Help from My Friends © 1967 Lennon–McCartney;
Parlophone

Say Something Complicated
(original key: D) (in original key)
CHORUS (Dm) (Bb) (F) (C)
(Dm) Say something, (Bb) I'm giving up on you (F) (C)
(Dm) I'll be the (Bb) one if you want me to (F) (C) VERSE 1
(Dm) Anywhere (Bb) I would've followed you (F) (C) (F) Chill out, what you yellin' for?
(Dm) Say something, (Bb) I'm giving up on you (F) (C) (Dm) Lay back, it's all been done before
(Bb) And if you could only (C) let it be (C7) you will see
And (F) I'm feeling so (Am) small (F) I like you the way you are
It was (Bb) over my head (Dm) When we're drivin' in your car
I know nothing at (F) all (C) (Bb) And you're talking to me (C) one on one, (C7) but you've become
And (F) I will stumble and (Am) fall
I'm still (Bb) learning to love PRECHORUS
Just starting to (F) crawl (C) (Bb) Somebody else 'round everyone else
REPEAT CHORUS You're (Dm) watching your back like you can't relax
You're (Bb) tryin' to be cool. You look like a fool to (C) me. Tell me
And (F) I will swallow my (Am) pride
You're the (Bb) one that I love CHORUS
And I'm saying good(F)bye (C) (Dm) Why do you have to go and make (Bb) things so compli(C)cated?
REPEAT CHORUS (C7) I see the way you're
BARITONE (Dm) Acting like you're somebody (Bb) else, gets me fru(C)strated
(Dm) Say something, (Bb) I'm giving up on you (F) (C) (C7) And life's like this you,
(Dm) Say something, (Bb) (F) (Dm) You fall and you (Bb) crawl and you break and you (F) take what you get and (C) you turn it into
(Dm) Honesty, you promised me I'm never gonna find you (Bb) fake it
No, no, (F) no
BARITONE
VERSE 2
(F) You come over unannounced
(Dm) Dressed up like you're somethin' else
(Bb) Where you are ain't where it's (C) at you see, you're (C7) making me
(F) Laugh out when you strike your pose
(Dm) Take off all your preppy clothes
(Bb) You know, you're not fooling (C) anyone when (C7) you've become
REPEAT PRECHORUS
REPEAT CHORUS

(F) Chill out, what you yellin' for?
(Dm) Lay back, it's all been done before
(Bb) And if you could only (C) let it be (C7) you will see
REPEAT PRECHORUS
REPEAT CHORUS x2
Say Something © 2013 Ian Axel Chad Vaccarino Mike Campbell; Epic Complicated © 2002 Avril Lavigne, Lauren Christy, Scott Spock, Graham Edwards; Arista

Somebody That I Used to Know The Hanging Tree
(in original key) (original key: Am)
INTRO Are (Em) you, are (Am) you (Em) coming to the (B) tree?
(Dm) (C) (Dm) (C) x5 They (Em) strung up a (Am) man they (B) say who murdered (Em) three.

VERSE 1
(Em) Strange things did (C) happen here, no (Em) stranger would it (B) be
(Dm) Now and (C) then I think of (Dm) when we (C)were to(Dm)gether (C) (Dm) (C) If we (Em) met at (Am) midnight (B) in the hanging (Em) tree.
(Dm)Like when you (C) said you felt so (Dm) happy (C) you could (Dm) die (C) (Dm) (C)
(Dm) Told my(C)self that you were (Dm) right for (C) me Are (Em) you, are (Am) you (Em) coming to the (B) tree?
(Dm) But felt so (C) lonely in your (Dm) company (C) Where (Em) dead man called (Am) out (B) for his love to (Em) flee.
(Dm) But that was (C) love and it's an (Dm) ache I (C) still re(Dm)member (C) (Dm) (C) (Em) Strange things did (C) happen here, no (Em) stranger would it (B) be

If we (Em) met at (Am) midnight (B) in the hanging (Em) tree.
(Dm)(C) (Dm) (C) x4

VERSE 2 Are (Em) you, are (Am) you (Em) coming to the (B) tree?
You can get addicted to a certain kind of sadness Where I (Em) told you to (Am)run so (B) we'd both be (Em) free.
Like resignation to the end, always the end (Em) Strange things did (C) happen here, no (Em) stranger would it (B) be
So when we found that we could not make sense If we (Em) met at (Am) midnight (B) in the hanging (Em) tree.
Well you said that we would still be friends
But I'll admit that I was glad that it was over
Are (Em) you, are (Am) you (Em) coming to the (B) tree?
BARITONE Wear a (Em) necklace of (Am) hope, (B) side by side with (Em) me.
CHORUS
(Em) Strange things did (C) happen here, no (Em) stranger would it (B) be
(Dm) But you (C) didn't have to (Bb) cut me (C) off
If we (Em) met at (Am) midnight (B) in the hanging (Em) tree.
(Dm) Make out (C) like it never (Bb) happened and that (C) we were nothing
(Dm)And (C) I don't even (Bb) need your (C) love BARITONE
But you (Dm)treat me like a (C) stranger and that (Bb) feels so (C) rough
(Dm)You (C) didn't have to (Bb) stoop so (C) low
(Dm)Have your (C) friends collect your (Bb) records and then (C) change your number
(Dm) I (C) guess that I don't (Bb) need that (C) though
(Dm) Now you're just some(C)body that I (Bb) used to (C) know (Dm)(C)(Bb)(C)
(Dm) Now you're just some(C)body that I (Bb) used to (C) know (Dm)(C)(Bb)(C)
(Dm) Now you're just some(C)body that I (Bb) used to (C) know

(Dm)(C)(Dm)(C) x2

VERSE 3
(Dm) Now and (C) then I think of (Dm) all the times you (C) screwed me (Dm) over (C) (Dm) (C)
(Dm) But had me (C) believing it was (Dm) always something (C) that I'd (Dm) done (C) (Dm) (C)
(C5) And I don't wanna live that way
Reading into every word you say
You said that you could let it go
And I wouldn't catch you hung up on somebody that you used to know
REPEAT CHORUS

(Dm)(C)(Bb)(C) x2
(Dm)
Somebody That I Used to Know © 2011 Wally de Backer; Eleven Music The Hanging Tree © 2014 Suzanne Collins, Jeremiah Fraites, Wesley Schultz, James Newton Howard;
Republic


Hava nagila Chapel of Love
SOPRANO/CONCERT/TENOR (original key: D)
(A7) Hava nagila, hava nagila SOPRANO/CONCERT/TENOR
(Dm) Hava nagila (A7) venis'mecha CHORUS
(A7) Hava nagila, hava nagila (F) Goin' to the chapel and
(Dm) Hava nagila (A7) venis'mecha we're gonna get married
(Gm) Goin' to the (C7) chapel and
(A7) Hava neranena, (Gm) hava neranena we're (Gm) gonna get (C7) married
Hava neranena (A7) venis'mecha (F) Gee, I really love you and
(A7) Hava neranena, (Gm) hava neranena we're gonna get married
Hava neranena (A7) venis'mecha (Gm) Goin' to the (C7) chapel of (F) love

(Dm) Uru, uru achim Spring is (F) here,
Uru achim belev same'ach, Uru achim belev same'ach the sky is (F) blue, whoa oh oh
(Gm) Uru achim belev same'ach, Uru achim belev same'ach (Gm) Birds all (C7) sing as
(A7) Uru achim, uru achim belev same'(Dm)ach (Gm) if they (C7) knew
(F) Today's the day
REPEAT WHOLE SONG we'll say, "I (D7) do"
BARITONE And we'll (Gm) never be (C7) lonely
any(F)more (C7) because we're
REPEAT CHORUS
BARITONE
Bells will (F) ring,
the sun will (F)shine, whoa oh oh
(Gm) I'll be (C7) his and
(Gm) he'll be (C7) mine
(F)We'll love until
the end of (D7) time
And we'll (Gm) never be (C7) lonely
any(F)more (C7) because we're
REPEAT CHORUS

(Yeah, yeah, yeah, yeah)
(Gm) Goin' to the (C7) chapel of (F) love
(Yeah, yeah, yeah, yeah)
(Gm) Goin' to the (C7) chapel of (F) love

Hava nagila Israeli folk song Chapel of Love © 1964 Jeff Barry, Ellie Greenwich and Phil Spector; Red Bird Records


Love Song Beat It
(in original key) (original key: Ebm)
(Gm) Head under (Bb) water INTRO
And they (Dm) tell me to breathe (F) easy for a while (Bm)(A)(Bm)(A) x2
(Gm) The breathing gets (Bb) harder,
even (Dm) I know (F) that
(Bm) They told him, "Don't you ever (A) come around here.
(Gm) Made room for (Bb) me
Don't (Bm) wanna see your face. You better (A) disappear."
but it's too soon to (Dm) see if I'm (F) happy in your hands
(Gm) I'm unusual(Bb)ly The (G) fire's in their eyes and their (A) words are really clear
Hard to hold (Dm) on to (F) So (Bm) beat it, just (A) beat it

(Gm) Blank stares at (Am) blank pages (Bm) You better run, you better (A) do what you can
(Bb) No easy (Am) way to say this Don't (Bm) wanna see no blood, don't be a (A) macho man
(Gm) You mean well, (Am) but you make this (Bb) hard on me
You (G) wanna be tough, better (A) do what you can

CHORUS So (Bm) beat it, but you (A) wanna be bad
I'm not gonna write you a (Gm) love song
'cause you (C) asked for it, 'cause you (F) need one, you (Bb) see CHORUS
I'm not gonna write you a (Gm) love song Just (Bm) beat it, beat it, (A) beat it, beat it
'cause you (C) tell me it's make or (F) break in this if you're (Bb) on your way, (Bm) No one wants to be de(A)feated
I'm not gonna (Gm) write you to (F) stay (Bm) Showin' how funky (A) strong is your fight
If (Dm) all you have is leaving I'ma (G) need a better reason (Bm) It doesn't matter (A) who's wrong or right
To (Bb) write you a (C) love song today, today
BARITONE
BARITONE
(Bm) Just beat it, (A) beat it x2
(Gm)(Bb) (Dm) (F)

(Gm) I learned the (Bb) hard way (Bm) They're out to get you, better (A) leave while you can
That they (Dm) all say (F) things you want to hear Don't (Bm) wanna be a boy, you wanna (A) be a man
(Gm) And my heavy (Bb) heart You (G) wanna stay alive, better (A) do what you can
sinks (Dm) deep down (F) under you So (Bm) beat it, just (A)beat it
(Gm) And your twisted (Bb) words,
Your help just (Dm) hurts. You are (F) not what I thought you were. (Bm)You have to show them that you're (A) really not scared
(Gm) Hel(Bb)lo You're (Bm) playin' with your life, this ain't no (A) truth or dare
To (Dm) high and (F) dry
They'll (G) kick you, then they beat you, then they'll (A) tell you it's fair

(Gm) Convinced me (Am) to please you So (Bm) beat it, but you (A) wanna be bad
(Bb) Made me think (Am) that I need this too REPEAT CHORUS x2
(Gm) I'm trying (Am) to let you (Bb) hear me as I am
REPEAT CHORUS (Bm)Just beat it, beat it x2
REPEAT CHORUS x4
(Dm) Promise (Am) me (Bb) that you'll leave the (F) light (C) on
(Dm) To help me (Am) see (Bb) with daylight, my (F) guide, (C) gone
(Dm) 'cause I (A) believe (Bb) there's a way you can (C) love me because I say
REPEAT CHORUS

(Gm)(Bb) (Dm) (F) x2
Love Song © 2007 Sara Bareilles; Epic Beat It © 1983 Michael Jackson; Epic
Love Song Beat It

Love Song Beat It
RUDE Shut Up and Dance
(original key: Db ) (original key: C#)
(G) Saturday (A) morning jumped out of (D) bed and (Bm) put on my best suit (D) (G) (D) (A)
(G) Got in my (A) car and raced like a (D) jet, (Bm) all the way to you
(G) Knocked on your (A) door with heart in my (D) hand to (Bm) ask you a question CHORUS
(G) 'Cause I know that (A) you're an (D) old fashioned man yeah yeah (Bm) Oh don't you (D) dare look back (G)
Just keep your (D) eyes on me. (A)
PRECHORUS I said you're (D) holding back, (G)
(G) 'Can I have your daughter for the (A) rest of my life? She said shut (D) up and (A) dance with me!
Say (D) yes, say yes 'cause I (Bm) need to know (D) This (G) woman is my (D) destiny (A)
You say I'll (G) never get your blessing till the (A) day I die She said (D) oh oh oh (G)
Tough (D) luck my friend but the (Bm) answer is no! Shut (Bm) up and (A) dance with me

CHORUS (G)(A)(Bm)(A) x2
(G) Why you gotta (A) be so rude? We were (G) victims (A) of the (Bm) night,
(D) Don't you know I'm (Bm) human too The chemical, (G) physical, (A) kryptonite (D)
(G) Why you gotta (A) be so rude? Helpless to the (G) bass and (A) faded light (Bm)
(D) I'm gonna (Bm) marry her anyway Oh we were (G) bound to get to(A) gether,
(G) Marry that girl. (A) Marry her anyway (D) Bound to get together.
(D) Marry that girl. (Bm) Yeah no matter what you say
(G) Marry that girl and (A) we'll be a family PRECHORUS
(G) She took my arm,
(D) Why you gotta (Bm) be so (G) rude? (A) (D) (Bm) (D )I don't know how it happened.
(G) We took the floor and she (A) said
BARITONE
(G) I hate to (A) do this, you leave no (D) choice. Can't (Bm) live without her
BARITONE
(G) Love me or (A) hate me we will be (D) boys (Bm) standing at that alter REPEAT CHORUS
(G) Or we will (A) run away (D) to another (Bm) galaxy, you know (G) (A) (Bm)
(G) You know she's in (A) love with me. (D) She will go (Bm) anywhere I go A backless (G) dress and some (A)beat up (Bm) sneaks,
REPEAT PRECHORUS My discothèque, (G) Juliet (A) teenage dream. (D)
REPEAT CHORUS I felt it in my (G) chest as she (A) looked at me. (Bm)
I knew we were (G) bound to be to(A)gether,
(D) Why you gotta (Bm) be so (G) rude? (A) (D) (Bm) (D) Bound to be together.
REPEAT PRECHORUS
REPEAT PRECHORUS REPEAT CHORUS

REPEAT CHORUS
(Bm) (D) (G) (A) x4

(G) Deep in her eyes,
(D) Why you gotta (Bm) be so (G) rude? (A)
(D) I think I see the future.
(D) Why you gotta (Bm) be so (G) rude? (A)
(G) I realize this is my (A) last chance.
(D) Why you gotta (Bm) be so (D) rude?
REPEAT PRECHORUS
(D) (G) (D) (A) x2
REPEAT CHORUS x2

(G) (A) (Bm) (A) (D) Oh oh oh (G) Shut (Bm) up and (A) dance with me x2
(D)

RUDE © 2013 Nasri Atweh Adam Messinger Mark Pellizzer Ben Spivak Alex Tanas; Latium RCA Sony Shut Up and Dance © 2014 Ben Berger, Ryan McMahon, Eli Maiman, Kevin Ray, Nicholas Petricca, &
Music Sean Waugaman; RCA

It Had to Be You Sway/¿Quién será?
(in original key) (original key: G)
(F) (D7) (G7) (C7) (Em) When marimba rhythms (B7) start to play
Dance with me, (Em) make me sway
It had to be (Am) you Like a lazy ocean (B7) hugs the shore
Hold me close, (Em) sway me more
It had to be (D7) you

I wandered a(G7)round and finally found
Like a flower bending (B7) in the breeze
The somebody who Bend with me, (Em) sway with ease
Could make me be (C7) true When we dance you have a (B7) way with me
Could make me be b(Dm)lue Stay with me, (Em) sway with me
Or even be (G7) glad just to be sad
thinking of (C7) you Other dancers may (D) be on the floor
Dear, but my eyes will (G) see only you
Some others I've (Am) seen Only you have that (B7) magic technique
When we sway I go (C) weak (B7) (Mute)
Might never be (D7) mean

Might never be (G7) cross or try to be boss
I can hear the sounds of (B7) violins
But they wouldn't do Long before (Em) it begins
For nobody (Bb) else gave me a (Bbm) thrill Make me thrill as only (B7) you know how
With all your (F) faults, (A7) I love you (Dm) still Sway me smooth, (Em) sway me now
It had to be (C7) you, wonderful you BARITONE
It had to be (F) you Quien será la que me (B7) quiera a mi
Quien será. (Em) Quien será
Quien será la que me (B7) dé su amor
BARITONE

Yo no sé si la po(B7)dré encontrar
Yo no sé. (Em) Yo no sé
Yo no sé si volve(B7)ré a querer
Yo no sé. (Em) Yo no sé

He querido vol(D)ver a vivir
la passión y el ca(G)lor de otro amor
de otro amor que me (B7) hiciera sentir
que me hiciera fe(C)liz
como a(B7)yer lo fuí

Quien será la que me (B7) quiera a mí
Quien será la que me (B7) dé su amor

(B7) Quien será, (Em) Quien será.
(B7) Quien será, (Em) Quien será.
It Had to Be You © 1924 Gus Kahn & Isham Jones; Warner Bros. Sway © 1953 & 1954 Luis Demetrio and Pablo Beltran Ruiz/Norman Gimbel; 143, Reprise
It Had to Be You
Sway/¿Quién será?
PDF Download
PDF Download
It Had to Be You Sway/¿Quién será?
Hotel California Halo
(original key: Bm) (in original key)
(Em) On a dark desert highway, (B7) cool wind in my hair (A) Remember those walls I built? (Bm)
(D) Warm smell of colitas, (A7) rising up through the air Well, baby, they’re tumbling (F#m) down
(C) Up ahead in the distance, (G) I saw a shimmering light And they didn’t even put up a (D) fight
(Am) My head grew heavy and my sight grew dim (B7) I had to stop for the night They didn’t even make a (A) sound
I found a way to let you (Bm) in
(Em) There she stood in the doorway; (B7) I heard the mission bell But I never really had a (F#m) doubt
(D) And I was thinking to myself,"This could be (A7) Heaven or this could be Hell" Standing in the light of your (D) halo
(C) Then she lit up a candle (G) and she showed me the way I got my angel now (A)
(Am) There were voices down the corridor, (B7) I thought I heard them say...
PRECHORUS
CHORUS It’s like I’ve been awakened (Bm)
(C) Welcome to the Hotel Cali(G)fornia Every rule I had you breakin’ (F#m)
Such a (B7) lovely place (Such a lovely place) It’s the risk that I’m takin’ (D)
(Em) Such a lovely face (B7) (Em) I ain’t never gonna shut you out (A)
BARITONE
(C) Plenty of room at the Hotel Cali(G)fornia CHORUS
Any (Am) time of year (Any time of year) Everywhere I’m looking (Bm) now
(B7) You can find it here I’m surrounded by your em(F#m)brace
Baby, I can see your (D) halo
(Em) Her mind is Tiffanytwisted, (B7) she got the Mercedes bends You know you’re my saving (A) grace
(D) She got a lot of pretty, pretty boys (A7) she calls friends You’re everything I need and (Bm) more
(C) How they dance in the courtyard, (G) sweet summer sweat. It’s written all over your (F#m) face
(Am) Some dance to remember, (B7) some dance to forget Baby, I can feel your (D) halo
BARITONE Pray it won’t fade a(A)way
(Em) So I called up the Captain, (B7) "Please bring me my wine" I can feel your (A) halo, halo, halo
He said, (D) "We haven't had that spirit here since (A7) nineteen sixty nine" I can feel your (Bm) halo, halo, halo
(C) And still those voices are calling from (G) far away, I can feel your (F#m) halo, halo, halo
(Am) Wake you up in the middle of the night (B7) just to hear them say... I can feel your (D) halo, halo, halo
(A) Woah
REPEAT CHORUS
They (C) livin' it up at the Hotel Cali(G)fornia Hit me like a ray of the sun (Bm)
What a (Am) nice surprise (what a nice surprise) Burning through the darkest (F#m) night
(B7) Bring your alibis You’re the only one I (D) want
Think I’m addicted to your light (A)
(Em) Mirrors on the ceiling, (B7) the pink champagne on ice I swore I’d never fall a(Bm)gain
And she said (D) "We are all just prisoners here, (A7) of our own device" But this don’t even feel like (F#m) falling
(C) And in the master's chambers, (G) they gathered for the feast Gravity can’t for(D)get
(Am) They stab it with their steely knives, but they (B7) just can't kill the beast To pull me to ground a(A)gain
REPEAT PRECHORUS
(Em) Last thing I remember, I was (B7) running for the door REPEAT CHORUS 2x
(D) I had to find the passage back to the (A7) place I was before
(C) "Relax, " said the night man, "We are (G) programmed to receive.
(Am) You can checkout any time you like, (B7) but you can never leave! "
Hotel California © 1976 Don Felder, Glenn Frey, Don Henley; Asylum Halo © 2009 Beyoncé Knowles, Ryan Tedder, & E. Kidd Bogart; Columbia

152
Back to Chapter 2, Section 11 Back to Chapter 2, Section 11
ZipADeeDooDah Paperback Writer
(original key: G) (original key: G)
CHORUS (F7single strum) Paperback writer
(A) ZipADeeDoo(A7)Dah,
(D) ZipADee(A)A (F7) Dear Sir or Madam, will you read my book?
(D) My oh (A) my, what a (B7) wonderful (E7) day It took me years to write, will you take a look?
(A) Plenty of sun(A7)shine It's based on a novel by a man named Lear
(D) Heading my (A) way And I need a job, so I want to be a paperback (Bb) writer.
(D) ZipADee(A)DooDah, Paperback (F7) writer.
(B7) ZipA(E7)Dee(A)A
(F7) It's the dirty story of a dirty man
Mister (E7) bluebird on my (A) shoulder And his clinging wife doesn't understand
It's the (B7) truth, It's actual His son is working for the Daily Mail
(E7) Everything is satisfactual It's a steady job but he wants to be a paperback (Bb) writer.
(A) ZipADeeDoo(A7)Dah, Paperback (F7) writer.
(D) ZipADee(A)A
(D) Wonderful (A) feel(F#m)ing! (F7single strum) Paperback writer
(B7) Wonder(E7)ful (A) day! BARITONE
(F7) It's a thousand pages, give or take a few
REPEAT WHOLE SONG I'll be writing more in a week or two
I can make it longer if you like the style
I can change it round and I want to be a paperback (Bb) writer.
BARITONE Paperback (F7) writer.

(F7) If you really like it you can have the rights
It could make a million for you overnight
If you must return it, you can send it here
But I need a break and I want to be a paperback (Bb) writer.
Paperback (F7) writer.

(F7single strum) Paperback writer

(F7) Paperback writer, paperback writer
Paperback writer, paperback writer

ZipADeeDooDah © 1946 Allie Wrubel, Ray Gilbert; Philles Paperback Writer © 1966 Lennon–McCartney; Parlophone & Capitol

Zip-A-Dee-Doo-Dah Paperback Writer

Zip-A-Dee-Doo-Dah Paperback Writer

Wild Thing Happy Together
(in original key) (original key: F#)
INTRO VERSE 1
(A) (D) (E) (D) Imagine (Dm) me and you, I do
I think about you (C) day and night, it's only right
CHORUS To think about the (Bb) girl you love and hold her tight,
(A) Wild thing, (D) (E) (D) you make my So happy to(A7)gether
(A) Heart sing (D) (E) (D), you make
E(A)verything (D) (E) (D) VERSE 2
(A) Groovy (D) (E) (D) If I should (Dm) call you up, invest a dime
(A) Wild thing (D) (E) And you say you be(C)long to me and ease my mind
Imagine how the (Bb) world could be, so very fine
(G) (A) (G) (A) Wild thing, I think I love you So happy to(A7)gether
(G) (A) (G) (A) But I want to know for sure
(G) (A) (G) (A) Come on and hold me tight CHORUS
(G) (A) (G) (A) I love you (D) I can't see me (C) loving nobody
REPEAT INTRO 2x But (D) you for all my (F#) life
REPEAT CHORUS (D) When you're with me, (C) baby
BARITONE The skies will be (D) blue for all my (F#) life
(G) (A) (G) (A) Wild thing, I think you move me BARITONE
(G) (A) (G) (A) But I wanna know for sure VERSE 3
(G) (A) (G) (A) So c'mon and hold me tight (Dm) Me and you and you and me
(G) (A) (G) (A) You move me No matter how they (C) tossed the dice, it had to be
REPEAT INTRO 2x The only one for (Bb) me is you and you for me
REPEAT CHORUS So happy to(A7)gether
REPEAT CHORUS
REPEAT VERSE 3
REPEAT CHORUS no words
REPEAT VERSE 3

(Dm) So happy to(A7)gether
(Dm) How is the (A7) weather
(Dm) We're happy to(A7)gether
(Dm)
Wild Thing © 1966 Chip Taylor; Fontana Happy Together © 1967 Garry Bonner, Alan Gordon; White Whale
Wild Thing Happy Together
Wild Thing Back to Chapter 2, Section 12

Happy Together Back to Chapter 2, Section 12 154

Armed Forces Medley
SOPRANO/CONCERT/TENOR BARITONE
(Play top to bottom or bottom to top)

MARINES: Marines’ Hymn

From the (D) Halls of Montezuma to the Shores of (A7) Tripo(D)li;

We (D) fight our country’s battles in the air, on (A7) land and (D) sea;

First to (G) fight for right and (D) freedom and to (G) keep our honor (D) clean;

We are (D) proud to claim the title of United (A7) States Ma(D)rine.

ARMY: The Caisson Song
First to (G) fight for the right, and to build the Nation’s might,
And The (D) Army Goes Rolling A(G)long
Proud of (G) all we have done, fighting till the battle’s won,
And the (D) Army Goes Rolling A(G)long.
Then it’s Hi! Hi! Hey! The (C) Army’s on its (G) way.
(Em) Count off the (A) cadence loud and (D) strong (TWO! THREE!)
For where (G) e’er we (B) go, (C) you will always (G) know
That The (D) Army Goes Rolling A(G)long.

AIR FORCE: The U.S. Air Force
(C) Off we go (G) into the (C) wild blue yonder, (F) climbing high into the (C) sun; (G)
(C) Here they come (G) zooming to (C) meet our thunder, (D) at ‘em boys, give ‘er the (G) gun!
(C) Down we dive, (G) spouting our (C) flame from under, (F) off with one heckuva (E7) roar!
We (Am) live in (A) fame or go (Dm) down in (D7) flame.
(C) Nothing can stop the U.S. (G) Air (C) Force!

NAVY: Anchors Aweigh
(F) Anchors A(Dm)weigh, my boys, (F) An(C)chors A(F) weigh.
(Bb) Farewell to (F) foreign shores, we (G) sail at break of (C) dayayayay.
(F) Through our last (Dm) night on shore, (F) drink (C) to the (F) foam,
(Bb) Until we (F) meet once more. (Dm) Here’s (F) wishing you a (C) happy voyage (F) home.

COAST GUARD: Semper Paratus
(Bb) So here’s the Coast Guard marching song, we (Eb) sing on land or (Bb) sea.
Through (F7) surf and storm and (Bb) howling (Gm) gale, high (C7) shall our purpose (F7) be.
(Bb) “Semper Paratus” is our guide, Our (Eb) fame, our glory (Bb) too.
To (F7) fight to save or (Bb) fight and (Gm) die, Aye! (Bb) Coast Guard, we (F7) are for (Bb) you!

Marine’s Hymn © 1919 W.E. Christian & Jacques Offenbach Marine’s Hymn © 1919 W.E. Christian & Jacques Offenbach
The Caisson Song © 1918 Edmund L. Gruber, John Philip Sousa; Carl Fischer The Caisson Song © 1918 Edmund L. Gruber, John Philip Sousa; Carl Fischer
The U.S. Air Force © 1939 Robert Crawford; Carl Fischer The U.S. Air Force © 1939 Robert Crawford; Carl Fischer
Anchors Aweigh © 1906 Charles A. Zimmermann & Alfred Hart Miles
Armed Forces Medley Anchors Aweigh © 1906 Charles A. Zimmermann & Alfred Hart Miles
Semper Paratus © 1943 Homer Smith Semper Paratus © 1943 Homer Smith
PDF Download
Armed Forces Medley
robingiebes / soundeducators.org
GiebelUke Songbook

Moon River

(original key: F )


(G) Moon (Em7) river, (C) wider than a (G) mile

I'm (C) crossing you in (G) style some (Am) day (B7)
Oh (Em7) dream (G7) maker, you (C) heart (Cm) breaker

Wher(Em7)ever you're (Em6) going, I'm (C6) going your (D7) way robingiebes / soundeducators.org

(G) Two (Em7) drifters (C) off to see the (G) world
There's (C) such a lot of (G) world to (Am) see (B7)
We're (G) af(Em7)ter the (Em6) same (C6) rainbow's (G) end
GiebelUke Songbook
(C) Waiting 'round the (G) bend, my (C) huckleberry (G) friend
(Em7) Moon (D7) river and (C) me (Cm) (G)

BARITONE
2016 SOPRANO/CONCERT/TENOR

Moon River © 1961 Johnny Mercer, Henry Mancini; RCA Victor Records
Moon River GiebelUke Songbook - Soprano/Concert/Tenor

Moon River GiebelUke Songbook - Soprano, Concert, Tenor
Appendix 2
Video list: Soprano/Concert/Tenor

Are You Sleeping?% % % % % Crawdad Song% Joshua Fought the Battle of Jericho% % % Say Something
Row, Row, Row Your Boat% % % % Keep on the Sunny Side% Hallelujah% % % % % % Complicated
Three Blind Mice% % % % % Shake it Off Spiderman% % % % % % Somebody That I Used to Know
Day-O (The Banana Boat Song) % % % % Counting Stars I Knew You Were Trouble% % % % RUDE
I Love It (I Don't Care)% % % % % Radioactive Somewhere Over the Rainbow/What a Wonderful World% It Had to Be You
You Are My Sunshine% % % % % Scooby Do, Where Are You! With a Little Help from My Friends% % % Moon River
157
Appendix 3
Sound list: Soprano/Concert/Tenor

Are You Sleeping?% % % % % Crawdad Song% Joshua Fought the Battle of Jericho% % % Say Something
Row, Row, Row Your Boat% % % % Keep on the Sunny Side% Hallelujah% % % % % % Complicated
Three Blind Mice% % % % % Shake it Off Spiderman% % % % % % Somebody That I Used to Know
Day-O (The Banana Boat Song)% % % % Counting Stars I Knew You Were Trouble% % % % RUDE
I Love It (I Don't Care) % % % % % Radioactive Somewhere Over the Rainbow/What a Wonderful World% It Had to Be You
You Are My Sunshine% % % % % Scooby Do, Where Are You! With a Little Help from My Friends% % % Moon River
158
Appendix 4
Student worksheets
These are my templates for these activities. However, I realize Improvising Assessment
that my instructions or examples may not work for your situa-
Transposing Guide
tion. You have my permission to rewrite or adapt any of these activities
as you see fit. Circle of Fifths/Chord Families Wheel Template
Chord Quizzes (B)
Baritone Chord Charts
12 Bar Blues
The Mary Suite
Parody Songs

Ukulele Anatomy Assessment
Song Assessment
Protest songs
Chord Quizzes (S/C/T)
Soprano/Concert/Tenor Chord Charts
159
TOTAL _____/18 Assessment TOTAL _____/20 Assessment
Ukulele Anatomy Song Assessment

Name:____________________________________________ Date:_________________
Name:____________________________________________ Date:_________________

Song:____________________________________________
Please label the following

parts of the ukulele
(2 points each): 1 (Undeveloped) 2 (Developing) 3 (Approaching) 4 (Proficient)

Strings Ukulele rhythm context
Body Ukulele tonal context
Sound hole
Tuning pegs Singing rhythm context
Neck
Fretboard Singing tonal context
Frets Uke & person posture
String nut
Bridge _______/20

Comments:____________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Ukulele Anatomy Assessment Song Assessment

Ukulele Anatomy Assessment Song Assessment
Chord Quiz # 1 (Soprano/Concert/Tenor) Chord Quiz # 2 (Soprano/Concert/Tenor)

Name:____________________________________________ Date:_________________ Name:____________________________________________ Date:_________________

PART 1 PART 1
Please fill in the chord charts for the following chords (4 points each): _______/24 Please fill in the chord charts for the following chords (4 points each): _______/24

C G F Am C7 G7 E7 D A7 Dm D7 A

PART 2 PART 2
Your teacher will also come around and ask you to play two of the above chords on your ukulele: Your teacher will also come around and ask you to play two of the above chords on your ukulele:

Chord #1:___________ 1 (Undeveloped) 2 (Developing) 3 (Approaching) 4 (Proficient) Chord #1:___________ 1 (Undeveloped) 2 (Developing) 3 (Approaching) 4 (Proficient)
Finger Placement Finger Placement
Quality of sound Quality of sound
Uke & person posture Uke & person posture
_______/12 _______/12

Chord #2:___________ 1 (Undeveloped) 2 (Developing) 3 ( Approaching) 4 (Proficient) Chord #2:___________ 1 (Undeveloped) 2 (Developing) 3 (Approaching) 4 (Proficient)
_______/12 _______/12

Soprano/Concert/Tenor Ukulele Chord Quiz #1 Soprano/Concert/Tenor Ukulele Chord Quiz #2

Chord Quizzes (S/C/T) SCT Chord Quiz 2
161
Chord Quiz # 3 (Soprano/Concert/Tenor) Chord Quiz # 4 (Soprano/Concert/Tenor)


PART 1 PART 1

Bb Em Fm Gm Cm Bm B7 Eb F#m Bb7 C6 F7

PART 2 PART 2

_______/12 _______/12

_______/12 _______/12

Soprano/Concert/Tenor Ukulele Chord Quiz #3 Soprano/Concert/Tenor Ukulele Chord Quiz #4

SCT Chord Quiz 3 SCT Chord Quiz 4
162
Soprano/Concert/Tenor Chord Charts Soprano/Concert/Tenor Chord Charts

SOPRANO/CONCERT/TENOR UKULELE CHORD CHARTS
maj7 m7 aug dim maj7 m7 aug dim
Major Minor 7th Major Minor 7th

Soprano/Concert/Tenor Ukulele Chord Charts
PDF Download
Soprano/Concert/Tenor Ukulele Chord Charts
TOTAL _____/16 Assessment Transposing Guide

Improvisation Assessment
TRANSPOSING GUIDE
Name:____________________________________________ Date:_________________ (in each tonality, chords in lighter colors are secondary to darker colors)
Major
Song:____________________________________________
I ii iii IV V/V7 vi

(Tonic) (supertonic) (mediant) (Subdominant) (Dominant) (submediant)
1 (Undeveloped) 2 (Developing) 3 (Approaching) 4 (Proficient)
A major A Bm C#m D E/E7 F#m
Ukulele rhythm context
B major B C#m D#m E F# G#m
Ukulele tonal context
Improvisatory choices C major C Dm Em F G/G7 Am
Uke & person posture D major D Em F#m G A/A7 Bm
_______/16 E major E F#m G#m A B/B7 C#m

F major F Gm Am Bb C/C7 Dm
Comments:____________________________________________________________________
G major G Am Bm C D/D7 Em

______________________________________________________________________________

______________________________________________________________________________

Aeolian/Natural Minor
______________________________________________________________________________ i III iv v VI VII
(tonic) (Mediant) (subdominant) (dominant) (Submediant) (Subtonic)
A Aeolian Am C Dm Em F G
B Aeolian Bm D Em F#m G A
C Aeolian Cm Eb Fm Gm Ab Bb
D Aeolian Dm F Gm Am Bb C
E Aeolian Em G Am Bm C D
F Aeolian Fm A Bm C#m D E
G Aeolian Gm Bb Cm Dm Eb F

Improvisation Assessment Transposing Guide

Improvisation Assessment Transposing Guide
164
Transposing Guide Transposing Guide
Harmonic Minor
i III iv V/V7 VI Dorian
(tonic) (Mediant) (subdominant) (Dominant) (Submediant) i ii III IV v VII
A minor Am C Dm E/E7 F (tonic) (supertonic) (Mediant) (Subdominant) (dominant) (Subtonic)
B minor Bm D Em F#/F#7 G A dorian Am Bm C D Em G
C minor Cm Eb Fm G/G7 Ab B dorian Bm C#m D E F#m A
D minor Dm F Gm A/A7 Bb C dorian Cm Dm Eb F Gm Bb
E minor Em G Am B/B7 C D dorian Dm Em F G Am C
F minor Fm A Bm C#C#7 D E dorian Em F#m G A Bm D
G minor Gm Bb Cm D/D7 Eb F dorian Fm Gm Ab Bb Cm Eb
G dorian Gm Am Bb C Dm F

Mixolydian
I ii IV v vi VII
(Tonic) (supertonic) (Subdominant) (dominant) (submediant) (Subtonic)
A mixo A Bm D Em F#m G
B mixo B C#m E F#m G#m A
C mixo C Dm F Gm Am Bb
D mixo D Em G Am Bm C
E mixo E F#m A Bm C#m D
F mixo F Gm Bb Cm Dm Eb
G mixo G Am C Dm Em F

165
Circle of Fifths/Chord Families Wheel Template Circle of Fifths/Chord Families Wheel Template
Bottom Top

Circle of Fifths/Chord Families Wheel Template
PDF Download
Circle of Fifths/Chord Families Wheel Template
Chord Quiz # 1 (Baritone) Chord Quiz # 2 (Baritone)


PART 1 PART 1

C G D Em D7 A E7 Am A7 G7 E Bm

PART 2 PART 2

_______/12 _______/12

Chord #2:___________ 1 (Undeveloped) 2 (Developing) 3 ( Approaching) 4 (Proficient) Chord #2:___________ 1 (Undeveloped) 2 (Developing) 3 (Approaching) 4 (Proficient)
_______/12 _______/12

Baritone Ukulele Chord Quiz #1 Baritone Ukulele Chord Quiz #2

Chord Quizzes (B) B Chord Quiz 2
Chord Quiz # 3 (Baritone) Chord Quiz # 4 (Baritone)


PART 1 PART 1

B7 Dm F Gm Cm C7 Bbm F7 Fm Bb B Em7

PART 2 PART 2

_______/12 _______/12

_______/12 _______/12

Baritone Ukulele Chord Quiz #3 Baritone Ukulele Chord Quiz #4

B Chord Quiz 3 B Chord Quiz 4
Baritone Chord Charts Baritone Chord Charts

BARITONE UKULELE CHORD CHARTS maj7 m7 aug dim maj7 m7 aug dim

Major Minor 7th Major Minor 7th

Baritone Ukulele Chord Charts
PDF Download
Baritone Ukulele Chord Charts
Creativity Projects Creativity Projects
Questions and answers Questions and answers (Baritone)

In A major, let’s use these notes: In A major, let’s use these notes:

In tab those notes look like this: In tab those notes look like this:

With your teacher, practice various patterns using these notes. Make sure you play AND SING the With your teacher, practice various patterns using these notes. Make sure you play AND SING the
solfege. solfege.

Musical Questions Musical Questions
When you string a few patterns together, you create a musical sentence or a phrase. Some of these phrases When you string a few patterns together, you create a musical sentence or a phrase. Some of these phrases
will sound unresolved, much in the same way that a question leaves you wanting an answer. A musical will sound unresolved, much in the same way that a question leaves you wanting an answer. A musical
question ends on anything EXCEPT Do. question ends on anything EXCEPT Do.

Musical Answers Musical Answers
Musical answers are a string of patterns that end on Do. But musical answers are not very interesting Musical answers are a string of patterns that end on Do. But musical answers are not very interesting
unless you have a musical question preceding it. unless you have a musical question preceding it.

Unity vs. Variety Unity vs. Variety
As you create various questions and answers, you will notice that some sound really good together. When As you create various questions and answers, you will notice that some sound really good together. When
this happens, it is often because the answer incorporated one of the patterns from the question. Keeping this happens, it is often because the answer incorporated one of the patterns from the question. Keeping
something the same is called unity. That being said, if the whole answer was the same as the question, it something the same is called unity. That being said, if the whole answer was the same as the question, it
would be boring. To keep it from being boring, a good answer incorporates some parts of the question but would be boring. To keep it from being boring, a good answer incorporates some parts of the question but
also adds in new material. This new material is the variety. also adds in new material. This new material is the variety.

All of these strategies allow us to Improvise. Improvising is one kind of musical creation where you All of these strategies allow us to Improvise. Improvising is one kind of musical creation where we make
make up music in the moment. Any music made up on the spot can be improvised, but the kind that is the up music in the moment. Any music made up on the spot can be improvised, but the kind that is the most
most musically satisfying uses the structure of patterns, questions, answers, unity, and variety to create an musically satisfying uses the structure of patterns, questions, answers, unity, and variety to create an
improvisation that is interesting for both the player and the listener. improvisation that is interesting for both the player and the listener.

In pairs, create musical questions and musical answers. You can have one partner create the questions In pairs, create musical questions and musical answers. You can have one partner create the questions
and the other partner creates the answers and then switch roles OR one partner could create both the and the other partner creates the answers and then switch roles OR one partner could create both the
musical question and then finish with the musical answer before the second partner tries to improvise Q & musical question and then finish with the musical answer before the second partner tries to improvise Q &
A’s. As you practice, see if you can find a good balance in your answers between unity and variety. A’s. As you practice, see if you can find a good balance in your answers between unity and variety.

If you get really good using this set of notes as questions and answers, ask your teacher for the “pattern If you get really good using this set of notes as questions and answers, ask your teacher for the “pattern
extension” to help you go farther! extension” to help you go farther!

Like most things we do, be prepared to share! Like most things we do, be prepared to share!

Questions and answers-SCT Questions and answers-B
Questions and answers Back to Chapter 4, Section 2 Questions and Answers-Baritone Back to Chapter 4, Section 2
170
12 Bar Blues Little boxes of improv

Harmonic Progression Today we learned improvisation patterns for two different chords.

I7 I7 I7 I7
For the A major chord, For the E7 chord,
IV7 IV7 I7 I7 we used the following notes: we used the following notes:
V7 V7 (IV7) I7 I7(V7)

Fill the empty boxes with the correct chords
I7 IV7 V7

C7 F7 G7
D7 G7 A7
E7 ____________ ____________
F7 ____________ ____________

G7 ____________ ____________ In between verses of Little Boxes, play the following chord progression (each box is one measure in
triple).
SOPRANO/CONCERT/TENOR BARITONE
A A E7 E7

E7 E7 A A

A A E7 E7

E7 E7 A A

With a partner, practice the improvising patterns over the chord changes. One partner will play the chord
D minor pentatonic scale – Improvising for Blues Progression progression while the other practices improvising. Make sure you notice when the chord changes and
change your note set for improvisation.

Remember the question and answer technique we have worked on before. Try to end your improvisation
patterns on different notes and have both unity AND variety in your rhythmic patterns.

12 Bar Blues Traditional Little Boxes © 1961 Malvina Reynolds; Columbia Records
12 Bar Blues Little boxes of improv-SCT
12 Bar Blues Back to Chapter 4, Section 3 Little boxes of improv Back to Chapter 4, Section 4 171
Little boxes of improv (Baritone) Don’t worry, just improvise

Today we learned improvisation patterns for two different chords.
C major chord: D minor chord: F major chord:

For the A major chord, For the E7 chord,
we used the following notes: we used the following notes:

After the chorus of Don’t Worry, Be Happy play the following chord progression (each box is one
measure in duple).

In between verses of Little Boxes, play the following chord progression (each box is one measure in C C C C
triple). Dm Dm Dm Dm

F F F F
A A E7 E7
C C C C
E7 E7 A A

A A E7 E7 With a partner, practice the improvising patterns over the chord changes. One partner will play the chord
progression while the other practices improvising. Make sure you notice when the chord changes and
E7 E7 A A

With a partner, practice the improvising patterns over the chord changes. One partner will play the chord Remember the question and answer technique we have worked on before. Try to end your improvisation
progression while the other practices improvising. Make sure you notice when the chord changes and patterns on different notes and have both unity AND variety in your rhythmic patterns.

Little Boxes © 1961 Malvina Reynolds; Columbia Records Don’t Worry, Be Happy © 1988 Bobby McFerrin; EMIManhattan Records
Little boxes of improv-B Don’t worry, just improvise-SCT
Little boxes of improv-Baritone Back to Chapter 4, Section 4 Don’t worry, just improvise Back to Chapter 4, Section 5 172
Don’t worry, just improvise (Baritone) The Mary Suite

A Section:
D major chord: E minor chord: G major chord:

After the chorus of Don’t Worry, Be Happy play the following chord progression (each box is one
measure in duple).

D D D D B Section:
Em Em Em Em
G G G G
D D D D

With a partner, practice the improvising patterns over the chord changes. One partner will play the chord
progression while the other practices improvising. Make sure you notice when the chord changes and
change your note set for improvisation. C section:


Don’t Worry, Be Happy © 1988 Bobby McFerrin; EMIManhattan Records Mary Had a Little Lamb Traditional/Mary Quite Contrary Traditional
Don’t worry, just improvise-B Lesson adapted from activity by Sarah Hockman Hassler The Mary Suite

Don’t worry, just improvise-Baritone Back to Chapter 4, Section 5 The Mary Suite Back to Chapter 4, Section 6
173

D Section:

Variety is the spice of life! And while we are united, America is made up of 50 individual states. This
Land is Your Land discusses the variety across America in the text, but does not showcase the musical
diversity heard across the country. To celebrate variety, you will create an arrangement of This Land is
Your Land.

In an arrangement you can change some qualities of the song, but it still must be recognizable as the
original. Here are some examples of arrangements in popular music:
ORIGINAL ARRANGEMENT
Ooh Child Ooh Child
Higher Ground Higher Ground
Toxic Toxic
Another Brick in the Wall Another Brick in the Wall
All sound links above take you to Spotify
As a class, we created an arrangement in Rondo Form (ABACADA). We also added a Coda:
What changes do you notice from the original to the arrangement? Use music vocabulary alongside mood
descriptors to explain. Consider how you would explain the arrangement to someone who had not heard
the new version, but had heard the original song.

Ooh Child: ______________________________________________________________________

Higher Ground: __________________________________________________________________

Toxic: __________________________________________________________________________

As a group, create a new arrangement of the Mary Suite using all four sections. You may repeat any
Another Brick in the Wall: __________________________________________________________
section you’d like more than once.

Use these examples to help you discuss a new arrangement of This Land is Your Land. You will do this in
small groups, so make sure you agree and reach compromises with all group members. For your
arrangement of This Land is Your Land, change two (or more) of the following dimensions of this song:
Rhythm/Meter
Tonality
Tempo
Expression
Form
Mary Had a Little Lamb Traditional/Mary Quite Contrary Traditional This Land Is Your Land © 1944 Woody Guthrie; Ludlow Music
Lesson adapted from activity by Sarah Hockman Hassler This Land Is Your Land Arrangement

PDF Download
This Land Is Your Land Arrangement Back to Chapter 4, Section 7

174
Parody songs My Sister Ate an Orange

Parody Songs are a great way to work on creativity in lyrics A parody involves changing or copying

existing (usually well known) musical ideas or lyrics, or copying the peculiar style of a composer or artist, “My Sister Ate an Orange” by Jack Prelutsky
or even a general style of music. from Something Big Has Been Here

One of the most famous creators of parody songs is Weird Al Yankovic. His entire career is based upon My sister ate an orange,
parodies of top 40 hits. In a parody song you can change some the lyrics of the song, but the music must I’m astonished that she did,
be kept as close as possible to the original (Or if they do add in new material, it’s to add into the parody She swallowed it completely,
like Dark Lord Funk). Here are some examples of parody songs: She’s a disconcerting kid.

ORIGINAL PARODY My sister ate an orange,
I Want It That Way Ebay It’s a novel thing to do,
Welcome to Miami Xmas Jammies
Then she also ate a yellow
Uptown Funk Dark Lord Funk
Beat It Use It And a purple and a blue

Links above take you to YouTube or Spotify. As a class, we will make decisions to turn this poem into a song
Meter
The best parodies use music the creators like and rewrite the lyrics with topics that are highly relevant to Tempo
their world (like their lives, interests, or daytoday requirements). People have been doing parodies for a Tonality
long time. Some of the music created for religious services in the middle ages were called “parody Harmony/Chord progression
masses”. Parodies have probably been around for so long because it’s such a great way to help the Melody/Melodic patterns for each line
creative juices get flowing! Expression

In your group, brainstorm a list of 48 songs that you all like which could help you create a Like most things we do, be prepared to share!
parody song. They can be current songs or older ones.
Next, brainstorm a list of topics which you all enjoy. This should also be a list of 48 items to Technology extension:
help you begin. School life issues, popculture things, hobbies, shared interests whatever you Record your song into GarageBand (or other recording software) and then upload your song to
can all agree upon. SoundCloud.
Now start pairing these things. Do any of the songs naturally connect to your topics? Consider
rhymes. “That Way” became “Ebay” and “Uptown Funk” became “Dark Lord Funk”. What
song and topic would work well together?
Finally, once you have figured out the topic and the song, now it’s time to work out the rest of
the lyrics. Start with the chorus. Once you have done that, create lyrics for at least one verse.
You may do more if you wish, but only one is required.

Record your song into GarageBand (or other recording software) and then upload your song to
SoundCloud. If possible, get a karaoke version of the song to provide a backing track.
Create a video to accompany your recording. Consider what different ways you might like to visually
represent your music. Lyrics only? Still photographs? Acting? Dancing? Upload your video as an unlisted
YouTube video.
My Sister Ate an Orange © 2010 Jack Prelutsky
Parody Songs My Sister Ate an Orange
Parody Songs Back to Chapter 4, Section 8 My Sister Ate an Orange Back to Chapter 4, Section 9
175
Hogwarts school song Protest songs

"And now, before we go to bed, let us sing the school song! There are many ways to create a song and many places to begin that process. You could start with the
Everyone pick their favorite tune and off we go!" music and then create a text later or you could begin with a text and find music that coordinates
Albus Dumbledore (Harry Potter and the Sorcerer’s Stone) appropriately. In this exercise, we we will begin with the text.

Hogwarts, Hogwarts, Hoggy Warty Hogwarts, As a class, we will make decisions to create a text and then turn that text into a song.
Teach us something, please,
Whether we be old and bald It has been said many times, that the best creative work comes when you understand the topic. When you
Or young with scabby knees, write what you know. Many composers who have done this, have used their music to express something
they are bothered by something they wish to protest. This Land Is Your Land and Little Boxes are both
Our heads could do with filling examples of protest songs. For more, listen to the following examples:
With some interesting stuff,
For now they're bare and full of air, Blowin’ in the Wind Sunday, Bloody Sunday
Dead flies and bits of fluff, Ohio Colors of the Wind
Imagine Glory
So teach us things worth knowing,
Bring back what we've forgot, Links above take you to Spotify.
Just do your best, we'll do the rest,
And learn until our brains all rot. Let’s have a group discussion about the things in your world that bother you; things that you’d like to
change. Your teacher will help gather your thoughts so that we can decide as a group our unified topic
"Ah, music, he said, wiping his eyes. A magic beyond all we do here!" and the lyrics that we create from that topic. We will also decide upon the musical form while we write
Albus Dumbledore (Harry Potter and the Sorcerer’s Stone) these lyrics.
Once we have created the text, we will decide upon the other musical decisions in the way we have done
Using the text from the Hogwarts school song, compose a NEW melody (rather than Dumbledore’s in the past.
suggestion to use one that already exists). In this assignment, you should... Meter
Create and sing a melody that connects with the text. Tempo
Create a chord progression to accompany melody. Tonality
Consider meter, tonality, dynamics, tempo, and expression that would be appropriate for this text. Harmony/Chord progression
Once you have made your creative choices, practice your song with the intention of sharing your music. Melody/Melodic patterns for each line
Expression
SoundCloud.

Harry Potter and the Sorcerer’s Stone © 1997 J. K. Rowling; Bloomsbury (UK)/Scholastic (US)
Hogwarts school song Protest songs
Hogwarts school song Back to Chapter 4, Section 10 Protest songs Back to Chapter 4, Section 11
176
Creativity Projects


For the next two weeks, keep a journal. This journal is not to document your day to day activities, but to

dictate particular phrases that you find intriguing. Listen to the words that you say in a new light. When

you say something, could it be a line in the new song you write? If you hear something that resonates,

write it down. It could come from you or a teacher, friend, or family member. Inspiration comes from lots
of different places! robingiebes / soundeducators.org

Your journal can be electronic or paper. Whatever works for you. But anytime you hear a phrase that you
like, write it down. The more you write, the more likely you are to find the topic for your song. Creativity Projects

At the end of two weeks, look at all the phrases you have written and narrow it down to your favorite five

catchphrases. With these 5 phrases, brainstorm how this could be elaborated into lyrics. What would the
bigger topic be? What mood does this set? What musical ideas does this inspire? How might others find
these phrases relatable? Try to write a paragraph of ideas for each of your favorite five catchphrases.

Now decide upon which shall be your selected text. Develop this catchphrase into your song. At this point
you may decide to transition to musical decision making before completing the text this is your choice.

In this assignment, you should…
Create a text that is inspired by a catchphrase.
Develop a musical form for this text.

Create and sing a melody that connects with the text.

Create a chord progression to accompany melody.
Consider meter, tonality, dynamics, tempo, and expression that would be appropriate for this text.
Once you have made your creative choices, practice your song with the intention of sharing your music. 2016 SOPRANO/CONCERT/TENOR


SoundCloud.
Create a video to accompany your recording. Consider what different ways you might like to visually
represent your music. Lyrics only? Still photographs? Acting? Dancing? Upload your video as an unlisted
YouTube video.

Catchphrase songwriting Creativity Projects - SCT
Catchphrase songwriting Back to Chapter 4, Section 12 Creativity packet - SCT Back to Chapter 4, Section 12
177

Creativity Projects

2016 BARITONE

Creativity Projects - B
PDF Download
Creativity packet - B Back to Chapter 4, Section 12

178
Appendix 5
Song list: Baritone

Are You Sleeping?% % % % Have You Seen the Ghost of John? Ho Hey%% % % % % % Coconut
Low Rider% % % % % Shake It Off Octopus’s Garden% % % % % Day-O (The Banana Boat Song)
Hey, Ho! Nobody Home!%% % % Radioactive Wonderwall% % % % % % Deep in the Heart of Texas
Koomalama% % % % % I Knew You Were Trouble Counting Stars% % % % % % Hava nagila
Three Blind Mice % % % % Knockin’ on Heaven’s Door Scooby Doo, Where Are You!% % % % Chapel of Love
Row, Row, Row Your Boat% % % Joshua Fought the Battle of Jericho Hotel California%% % % % % We Will Rock You
Jambalaya% % % % % Little Boxes Sway/¿Quién será?% % % % % Go Down, Moses
I Love It (I Don’t Care)% % % % Three Little Birds Happy Together% % % % % % All the Rowboats
Sweet Home, Alabama % % % % Wild Thing Tonight You Belong to Me% % % % Across the Universe
Ring of Fire% % % % % I’ll Fly Away Frère Jacques% % % % % % Halo
Don’t Worry, Be Happy % % % % The Lion Sleeps Tonight I’m Yours% % % % % % Zip-A-Dee-Doo-Dah
This Land is Your Land% % % % Blue Suede Shoes Hallelujah% % % % % % Say Something
Happy Birthday/For He’s a Jolly Good Fellow% You Are My Sunshine Hey Jude% % % % % % With A Little Help From My Friends
Stand by Me% % % % % Crawdad Song Somebody That I Used to Know% % % % Complicated
Groove is in the Heart% % % % Crocodile Rock Drunken Sailor% % % % % % Love Song
Oh My Darling, Clementine% % % Beat It The Hanging Tree% % % % % It Had to Be You
Achy Breaky Heart% % % % Shut Up and Dance Y.M.C.A.% % % % % % Paperback Writer
I’m a Believer% % % % % RUDE Somewhere Over the Rainbow/What a Wonderful World% Armed Forces Medley
Jamaica Farewell%% % % % You’re Gonna Miss Me Kansas City% % % % % % Eleanor Rigby
Keep on the Sunny Side% % % % Let It Be Spiderman% % % % % % Moon River
179

Are You Sleeping? Hey, Ho! Nobody Home!
(G) Are you sleeping? (Em) Hey, ho! Nobody home!
Are you sleeping? Meat nor drink nor money have I none.
Brother John? Still I will be merry!
Brother John? Hey, ho! nobody home!
Ding ding dong!
Ding ding dong!
BARITONE
BARITONE

Are You Sleeping? Traditional Hey, Ho! Nobody Home! Traditional
Are You Sleeping? Hey, Ho! Nobody Home!

Are You Sleeping (G) Hey, Ho! Nobody Home! (Em)

Koomalama I Love It (I Don't Care)
SOPRANO/CONCERT/TENOR (original key: Ab)
(Em) Koomalama, koomalama, koomalama, feesta! SOPRANO/CONCERT/TENOR
Koomalama, koomalama, koomalama, feesta! (G) I got this feeling on the summer day when you were gone.
Oh, no, no, no, not the feesta! (C) I crashed my car into the bridge. I watched, I let it burn.
Oh, no, no, no, not the feesta! (G) I threw your stuff into a bag and pushed it down the stairs.
(C) I crashed my car into the bridge.
Eenameenie, desameenie, oowahten, walameenie! (G) I don't care, I love it.
Eenameenie, desameenie, oowahten, walameenie! (C) I don't care.
Exameenie, zalameenie, oowahten, wah!
Exameenie, zalameenie, oowahten, wah! REPEAT SONG 2x

Beetbeedlee, otinbotin, bobo dasquoten, dohtin, BARITONE
BARITONE

Koomalama Traditional I Love It (I Don't Care) © 2012 Charlotte Aitchison, Patrik Berger, & Linus Eklöw; Ten
Koomalama I Love It (I Don’t Care)

Koomalama (Em) I Love It (I Don’t Care) (G, C)

Don’t Worry, Be Happy Happy Birthday/For He's a Jolly Good Fellow
(original key: B)
INTRO Happy (G) Birthday to (D7) you!
(D) (Em) (G) (D) x2 Happy (D7) Birthday to (G) you!
Happy (G) Birthday, dear (C) whoever.
(D) Here's a little song I wrote Happy (G) Birthday (D7) to (G) you!
(Em) You might want to sing it note for note
Don't (G)worry, be (D) happy For (G) he’s/she’s a jolly good (C) fel(G)low!
(D) In every life we have some trouble For (D7) he’s/she’s a jolly good (G) fellow!
(Em) When you worry you make it double For (G) he’s/she’s a jolly good (C) fellow!
Don't (G)worry, be (D) happy Which (D7) nobody can de(G)ny!

CHORUS (whistle if you can) (G) Which nobody can deny!
(D)Oo.. (Em) oo….(G) oo.. (D) Don't worry, be happy (G) Which nobody can deny!
(D)Oo.. (Em) oo….(G) oo.. (D) Don't worry, be happy
For (G) he’s/she’s a jolly good (C) fel(G)low!
(D) Ain't got no place to lay your head For (D7) he’s/she’s a jolly good (G) fellow!
(Em) Somebody came and took your bed For (G) he’s/she’s a jolly good (C) fellow!
Don't (G)worry, be (D) happy Which (D7) nobody can de(G)ny!
(D) The land lord say your rent is late BARITONE
(Em) He may have to litigate
Don't (G)worry, be (D) happy
REPEAT CHORUS
BARITONE
(D) Ain't got no cash, ain't got no style
(Em) Ain't got no girl to make you smile
But (G)worry, be (D) happy
(D) 'Cause when you worry your face will frown
(Em) And that will bring everybody down
So (G)worry, be (D) happy
Don't worry, be happy now
REPEAT CHORUS x2
Don’t Worry, Be Happy © 1988 Bobby McFerrin; EMIManhattan Records Happy Birthday © 1893 Patty Hill & Mildred J. Hill; Warner/Chappell Music
For He’s a Jolly Good Fellow Traditional
Don’t Worry, Be Happy Happy Birthday/For He’s a Jolly Good Fellow

Don’t Worry, Be Happy (D, Em, G) Happy Birthday/For He’s a Jolly Good Fellow (G, C, D7)

Groove Is in the Heart Achy Breaky Heart
(original key: Ab) (original key: A)
INTRO (D) You can tell the world you never was my girl
(D7) (G7) (D7) (G7) x2 You can burn my clothes up when I'm (A) gone
You can tell your friends just what a fool I've been
The (D7) chills that you spill up my (G7) back keep me filled with And laugh and joke about me on the (D) phone
satis(D7)faction when we're done satis(G7)faction of what's to come You can tell my arms go back to the farm
You can tell my feet to hit the (A) floor
PRECHORUS Or you can tell my lips to tell my fingertips
(D7) I couldn't ask for a(G7)nother They won't be reaching out for you no (D) more
No, (D7) I couldn't ask for a(G7)nother
CHORUS
Your (D7) groove, I do deeply dig, No (G7) walls, only the bridge, But don't tell my heart
(D7) My supper dish, My succotash (G7) wish My achy breaky heart
REPEAT PRECHORUS I just don't think he'd under(A)stand
BARITONE And if you tell my heart
CHORUS My achy breaky heart
(D7) Groove is in the heart (G7) He might blow up and kill this (D) man
(D7) Groove is in the heart (G7) BARITONE
(D7) Groove is in the heart (G7) (D) You can tell your mom I moved to Arkansas
(D7) Groove is in the heart (G7) You can tell your dog to bite my (A) leg
Or tell your brother Cliff whose fist can tell my lip
The (D7) depth of hula groove, (G7) Move us to the nth hoop. He never really liked me any(D)way
(D7) We're going through to, Horton hears a (G7) Who. Or tell your Aunt Louise, tell anything you please
REPEAT PRECHORUS Myself already knows I'm not (A) OK.
Or you can tell my eyes to watch out for my mind
DJ (D7) Soul was on a roll, (G7) I been told he can't be sold It might be walking out on me to(D)day
(D7) Not vicious or malicious, (G7) Just delovely and delicious REPEAT CHORUS x3
REPEAT PRECHORUS
REPEAT CHORUS x2

(D7)

Groove Is in the Heart © 1990 Dmitry Brill, Chung DongHwa, Kierin Kirby, Herbie Hancock, & Achy Breaky Heart © 1992 Don Von Tress; PolyGram Mercury
Jonathan Davis; Elektra
Groove Is in the Heart Achy Breaky Heart

Groove Is in the Heart (D7, G7)% Achy Breaky Heart (D, A)

Keep On the Sunny Side Three Little Birds
(original key: Ab) (in original key)
(D) There's a dark and a (G) troubled side of (D) life CHORUS
There's a (D) bright, there's a sunny side, (A7) too (A) Don't worry about a thing,
Tho' we (A7) meet with the darkness and (D) strife 'Cause (D) every little thing gonna be a(A)lright.
The (A7) sunny side we also may (D) view Singin': (A) Don't worry about a thing,
'Cause (D) every little thing gonna be a(A)lright!
CHORUS
(D) Keep on the sunny side, (G) always on the (D) sunny side, VERSE
(D) Keep on the sunny side of (A7) life Rise up this (A) mornin', Smile with the (E) risin' sun,
It will (D) help us ev'ry day, it will (G) brighten all the (D) way Three little (A) birds by my (D) doorstep
If we'll (D) keep (G) on the (D) sunny (A7) side of (D) life (G) (D) Singin' (A) sweet songs of melodies (E) pure and true,
Sayin', (D)"This is my message to (A) yououou: "
The storm and its fury broke today, REPEAT CHORUS
Crushing hopes that we cherish so dear; REPEAT VERSE
Clouds and storms will, in time, pass away REPEAT CHORUS x2
The sun again will shine bright and clear. BARITONE
REPEAT CHORUS
BARITONE
Let us greet with the song of hope each day
Tho' the moment be cloudy or fair
Let us trust in our Saviour away
Who keepeth everyone in His care
REPEAT CHORUS

If we'll (D) keep (G) on the (D) sunny (A7) side of (D) life (G) (D)
Keep On the Sunny Side © 1899 Ada Blenkhorn and J. Howard Entwisle; Carter Family Three Little Birds © 1977 Bob Marley; Tuff Gong
Keep on the Sunny Side Three Little Birds

Keep on the Sunny Side (D, G, A7) Three Little Birds (A, D, E)

I’ll Fly Away The Lion Sleeps Tonight
(original key: G) (original key: F)
(A) Some glad mornin' (A7) when this life is o'er, CHORUS
(D) I'll fly a(A)way. (A) Weeooh (D) weeooh.
(A) To a home on God's celestial shore, (A) A weeooh bumbo(E7)weh.
(A) I'll (E) fly a(A)way. (A) Weeooh (D) weeooh.
(A) A weeooh bumbo(E)weh.
CHORUS
I'll fly away, oh glory, (A) In the jungle, the (D) mighty jungle,
I'll fly away. (A) the lion sleeps to(E7)night.
When I die, Hallelujah, by and by, (A) In the jungle, the (D) quiet jungle,
I'll fly away. (A) the lion sleeps to(E)night.
REPEAT CHORUS
When the shadows of this life have gone
I'll fly away (A) Near the village, the (D) peaceful village,
Like a bird from prison walls has flown (A) the lion sleeps to(E7)night.
I'll fly away (A) Near the village, the (D) quiet village,
REPEAT CHORUS (A) the lion sleeps to(E)night.
BARITONE REPEAT CHORUS
Just a few more weary days and then, BARITONE
I'll fly away. (A) Hush, my darling, don't (D) fear, my darling,
To a home where joy shall never end, (A) the lion sleeps to(E7)night.
I'll fly away. (A) Hush, my darling, don't (D) fear, my darling,
REPEAT CHORUS (A) the lion sleeps to(E)night.
REPEAT CHORUS

(A)
I’ll Fly Away © 1929 Albert E. Brumley; Hartford Music Company The Lion Sleeps Tonight © 1939 & 1961 Solomon Linda & The Tokens; RCA
I’ll Fly Away The Lion Sleeps Tonight

I’ll Fly Away (A, A7, D, E) The Lion Sleeps Tonight (A, D, E, E7)

You Are My Sunshine Crawdad Song
(original key: C) SOPRANO/CONCERT/TENOR
SOPRANO/CONCERT/TENOR (A) You get a line and I'll get a pole, Honey,
CHORUS You get a line and I'll get a pole, (E7) Babe.
You are my (A) sunshine, my only (A7) sunshine (A) You get a line and (A7) I'll get a pole
You make me (D) happy when skies are (A) grey (D) We'll go fishin' in the crawdad hole
You never (D) know, dear, how much I (A) love you (A) Honey, (E7) Baby (A) mine.
Please don't (A) take my (E7) sunshine a(A)way
Sittin' on the bank 'til my feet get cold, Honey,
The other night, dear, as I lay sleeping Sittin' on the bank 'til my feet get cold, Babe.
I dreamt I held you in my arms Sittin' on the bank 'til my feet get cold
When I awoke, dear, I was mistaken Lookin' down that crawdad hole
So I hung my head, and I cried Honey, Baby mine.
REPEAT CHORUS
Yonder comes a man with a sack on his back, Honey,
I'll always love you and make you happy Yonder comes a man with a sack on his back, Babe.
If you will only say the same Yonder comes a man with a sack on his back
But if you leave me to love another, Packin' all the crawdads he can pack
You'll regret it all one day Honey, Baby mine.
REPEAT CHORUS BARITONE
BARITONE Hurry up, babe, you slept too late, Honey
Please don't (A) take my (E7) sunshine a(A)way Hurry up, babe, you slept too late, Babe.
Hurry up, baby, you slept too late
The crawdad man went past your gate
Honey, Baby, mine

I heard the duck say to the drake, Honey
I heard the duck say to the drake, Babe
I heard the duck say to the drake,
There ain't no crawdads in this lake
Honey, Baby mine.

Whatcha gonna do when the lake runs dry, Honey
Whatcha gonna do when the lake runs dry, Babe.
Whatcha gonna do when the lake runs dry
Sit on the bank, watch the crawdads die
Honey, Baby mine.

(A) This is the end of my crawdad song.
You Are My Sunshine © 1939 Oliver Hood; Jimmie Davis and Charles Mitchell Crawdad Song Traditional
You are My Sunshine Crawdad Song

You are My Sunshine (A, A7, D, E7) Crawdad Song (A, A7, D, E7)
You're Gonna Miss Me Let It Be
(original key: C) (original key: C)
(D) I've got my ticket for long way 'round INTRO
(G) Two bottles of Pepsi for the (D) way (D) (A) (Bm) (G) (D) (A) (G) (D)
And I (G) sure would (A) like some (Bm) sweet company
and I'm (G) leaving (A) tomorrow, whatdya (D) say? When I (D) find myself in (A) times of trouble (Bm) Mother Mary (G) comes to me
(D) Speaking words of (A) wisdom, let it (G) be (D)
CHORUS And (D) in my hour of (A) darkness she is (Bm) standing right in (G) front of me
When I'm (Bm) gone, when I'm (G) gone (D) Speaking words of (A) wisdom, let it (G) be (D)
(Bm) You're gonna miss me when I'm (A) gone
You're gonna (G) miss me by my (A) hair CHORUS
You're gonna (Bm) miss me everywhere Let it (Bm) be, let it (A) be, let it (G) be, let it (D) be
(G) You're gonna (A) miss me when I'm (D) gone (D) Whisper words of (A) wisdom, let it (G) be (D)
When I'm (Bm) gone, when I'm (G) gone
(Bm) You're gonna miss me when I'm (A) gone And when the brokenhearted people living in the world agree
You're gonna (G) miss me by my (A) walk There will be an answer, let it be
You're gonna (Bm) miss me by my talk, oh For though they may be parted there is still a chance that they will see
(G) You're gonna (A) miss me when I'm (D) gone There will be an answer, let it be
BARITONE REPEAT CHORUS x2
(D) I've got my ticket for the long way 'round BARITONE
(G) The one with the prettiest (D) view And when the night is cloudy there is still a light that shines on me
It's got (G) mountains, it's got (A) rivers Shine on until tomorrow, let it be
It's got (Bm) sights to give you shivers I wake up to the sound of music Mother Mary comes to me
But it (G) sure would be (A) prettier with (D) you Speaking words of wisdom, let it be
REPEAT CHORUS x2 REPEAT CHORUS x2

OUTRO
(G) (D) (A) (D)

You're Gonna Miss Me © 2009 A. P. Carter, Luisa Gerstein; Republic, UMe Let It Be © 1970 Lennon–McCartney; Apple
You’re Gonna Miss Me Let It Be

You’re Gonna Miss Me (D, G, A, Bm) Let It Be (D, A, Bm, G)
Ho Hey Octopus's Garden

(original key: C) (original key: E)
INTRO/INTERLUDE (D) I'd like to be (Bm) under the sea
(D) (Ho!) (G) (D) (Hey!) (G) In his (G) octopus's garden in the (A) shade
(D) (Ho!) (G) (D) (Hey!) (G) (D) He'd let us in, (Bm) knows where we've been
In his (G) octopus's garden in the (A) shade
(D) (Ho!) I've been trying to do it right (G)
(D) (Hey!) I've been living a lonely life (G) (Bm) I'd ask my friends to come and see
(D) (Ho!) I've been sleeping here instead (G) An (G) octopus's (A) garden with me
(D) (Hey!) I've been sleeping in my bed, (D) I'd like to be (Bm) under the sea
(Bm) (Ho!) Sleeping (A) in my bed In his (G) octopus's (A) garden in the (D) shade
(D) (Hey!) (G) (D) (Ho!) (G)
(D) We would be warm (Bm) below the storm
(D) (Ho!) So show me family (G) In our (G) little hideaway beneath the (A) waves
(D) (Hey!) All the blood that I would bleed (G) (D) Resting our head (Bm) on the sea bed
(D) (Ho!) I don't know where I belong (G) In an (G) octopus's garden near a (A) cave
(D) (Hey!) I don't know where I went wrong
(Bm) (Ho!) But I can (A) write a song (Bm) We would sing and dance around
(D) (Hey!) Be(G)cause we know we (A) can't be found
BARITONE (D) I'd like to be (Bm) under the sea
CHORUS In his (G) octopus's (A) garden in the (D) shade
I belong with (Bm) you, you belong with (A) me, you're my sweet(D)heart BARITONE
I belong with (Bm) you, you belong with (A) me, you're my sweet(heart) (D) We would shout (Bm) and swim about
The (G) coral that lies beneath the (A) waves
REPEAT INTRO/INTERLUDE (D) Oh what joy (Bm) for every girl and boy
(D) (Ho!) I don't think you're right for him. (G) (G) Knowing they're happy and they're (A)safe
(D) (Hey!) Look at what it might have been if you (G)
(D) (Ho!) took a bus to Chinatown. (G) (Bm) We would be so happy you and me
(D) (Hey!) I'd be standing on Canal (G) No one there to tell us (A) what to do
(Bm) (Ho!) and (A) Bowery. (D) I'd like to be (Bm) under the sea
(D) (Hey!) In an (G) octopus's (A) garden with (Bm) you
(Bm) (Ho!) And she'd be standing (A) next to me. In an (G) octopus's (A) garden with (Bm) you
(D) (Hey!) In an (G) octopus's (A) garden with (D) you (G) (D)
REPEAT CHORUS

(Bm) Love – we need (A) it now (D)

(Bm) Let's hope, hope for some (A) (D)
(Bm) So, we're bleed(A)ing out (D)
REPEAT CHORUS

(D) (Ho!) (G) (D) (Hey!) (G)(D) (Ho!) (G) (D) (Hey!)
Ho Hey © 2012 Wesley Schultz, Jeremy Fraites; Dualtone Octopus's Garden © 1969 Richard Starkey; Apple
Ho Hey Octopus’s Garden
Ho Hey (D, G, Bm, A) Octopus’s Garden (D, Bm, G, A) Back to Chapter 3, Section 8
Wonderwall Counting Stars
(original key: F#m) (original key: C#m)
INTRO CHORUS
(Bm) (D) (A) (G) x4 (Bm) Lately I've been, (D) I've been losing sleep
(A) Dreaming about the things that (G) we could be
But, (Bm) baby I've been, (D) I've been praying hard
VERSE 1
(A) Said no more counting dollars, (G) we'll be counting stars
(Bm) Today is (D) gonna be the day

That they're (A) gonna throw it back to (G) you Yeah, we'll be counting stars
(Bm) By now you (D) should've somehow (Bm) (D) (A) (G) x2
Rea(A)lized what you gotta (G) do I see this (Bm) life like a swinging vine,
(Bm) I don't believe that (D) anybody (D) Swing my heart across the line
(A) Feels the way I (G) do about you (Bm) now (D) (A) (G) (A) In my face is flashing signs,
(G) Seek it out and ye shall find.
VERSE 2 (Bm) Old but I'm not that old
(D) Young but I'm not that bold
(Bm) Back beat, the (D) word is on the street
And (A) I don't think the world is sold
That the (A) fire in your heart is (G) out
(G) I'm just doing what we're told
(Bm) I'm sure you've (D) heard it all before
But you (A) never really had a (G) doubt PRECHORUS
(Bm) I don't believe that (D) anybody (Bm) I (D) feel something so (A) right by doing the (G) wrong thing
(A) Feels the way I (G) do about you (Bm) now (D) (A) (G) (Bm) I (D) feel something so (A) wrong by doing the (G) right thing
(G) I could lie, couldn't I, couldn't I?
PRECHORUS (G) Everything that kills me makes me feel alive.
And (G) all the roads we (A) have to walk are (Bm) winding (Bm) BARITONE
And (G) all the lights that (A) lead us there are (Bm) blinding (Bm) REPEAT CHORUS x2
(G) There are many (A) things that I would (Bm) (D) (A) (G)
I feel her (Bm) love and I feel it burn
(D) Like to (A) say to (Bm) you
(D) Down this river every turn
But I don't know (G) how (G) (G) (G)
(A) Hope is our fourletter word,
BARITONE (G) Make that money watch it burn
CHORUS (Bm) Old but, I'm not that old
Because (Bm) maybe (D) (A) (D) Young, but I'm not that bold
You're (G) gonna be the one that (Bm) saves me (D) (A) And (A) I don't think the world is sold
And (G) after (Bm) all (D) (A) (G) I'm just doing what we're told
You're my (G) wonder(Bm)wall (D) (A) (G) PRECHORUS
REPEAT CHORUS x2
REPEAT VERSE 1

REPEAT PRECHORUS
TAG (Rhythmic Uke)
REPEAT CHORUS Oh, take that money watch it burn,
Sing in the river the lessons I learned x4
I said (Bm) maybe (D) (A)
You're (G) gonna be the one that (Bm) saves me (D) (A) (G) x3 (G) Everything that kills me makes me feel alive
(G) (Bm) (D) (A) (G) REPEAT CHORUS x2
(Am single strum) REPEAT TAG
Wonderwall © 1995 Noel Gallagher; Creation Counting Stars © 2013 Ryan Tedder; Mosley Interscope
Counting Stars
Wonderwall
PDF Download
PDF Download
Wonderwall (Bm, D, A, G) Counting Stars (Bm, D, A, G) Back to Chapter 3, Section 8

Scooby Doo, Where Are You! Happy Together
(in original key) (original key: F#)
(A) Scooby Dooby Doo, (Bm) Where are you! VERSE 1
We've (E7) got some work to (A) do now. Imagine (Em) me and you, I do
(A) Scooby Dooby Doo, (Bm) Where are you! I think about you (D) day and night, it's only right
We (E7) need some help from (A) you now. To think about the (C) girl you love and hold her tight,
So happy to(B7)gether
(A) Come on Scooby Doo, (Bm) I see you,
Pre(E7)tending you've got a (A) sliver. VERSE 2
(A) You're not foolin' me 'cause (Bm) I can see If I should (Em) call you up, invest a dime
The (E7) way you shake and (A) shiver. And you say you be(D)long to me and ease my mind
Imagine how the (C) world could be, so very fine
(D) You know we got a mystery to solve, So happy to(B7)gether
So Scooby Doo get ready for your (A) act.
Don't hold back! CHORUS
And Scooby Doo, (D) if you come through (E) I can't see me (D) loving nobody
You're gonna have yourself a Scooby (E7) Snack. But (E) you for all my (G) life
BARITONE (E) When you're with me, (D) baby
(A) Scooby Dooby Doo, (Bm) Where are you! The skies will be (E) blue for all my (G) life
You're (E7) ready and you're (A) willin'. BARITONE
If (A) we can count on you, (Bm) Scooby Doo, VERSE 3
I (E7) know we'll catch the (A) villain. (Em) Me and you and you and me
No matter how they (D) tossed the dice, it had to be
The only one for (C) me is you and you for me
So happy to(B7)gether
REPEAT CHORUS
REPEAT VERSE 3
REPEAT CHORUS no words
REPEAT VERSE 3

(Em) So happy to(B7)gether
(Em) How is the (B7) weather
(Em) We're happy to(B7)gether
(Em)
Scooby Doo, Where Are You! © 1969 David Mook & Ben Raleigh; HannaBarbera Happy Together © 1967 Garry Bonner, Alan Gordon; White Whale
Scooby Doo, Where Are You! Happy Together
Scooby Doo, Where Are You! (A, Bm, E7, D)

Back to Chapter 3, Section 8 Happy Together (Em, D, C, B7, E, D) Back to Chapter 3, Section 9 190
(original key: Dm) (in original key)
INTRO Are (Am) you, are (Dm) you (Am) coming to the (E) tree?
(Am) (G) (Am) (G) x5 They (Am) strung up a (Dm) man they (E) say who murdered (Am) three.

VERSE 1
(Am) Strange things did (F) happen here, no (Am) stranger would it (E) be
(Am) Now and (G) then I think of (Am) when we (G)were to(Am)gether (G) (Am) (G) If we (Am) met at (Dm) midnight (E) in the hanging (Am) tree.
(Am)Like when you (G) said you felt so (Am) happy (G) you could (Am) die (G) (Am) (G)
(Am) Told my(G)self that you were (Am) right for (G) me Are (Am) you, are (Dm) you (Am) coming to the (E) tree?
(Am) But felt so (G) lonely in your (Am) company (G) Where (Am) dead man called (Dm) out (E) for his love to (Am) flee.
(Am) But that was (G) love and it's an (Am) ache I (G) still re(Am)member (G) (Am) (G) (Am) Strange things did (F) happen here, no (Am) stranger would it (E) be

If we (Am) met at (Dm) midnight (E) in the hanging (Am) tree.
(Am)(G) (Am) (G) x4

VERSE 2 Are (Am) you, are (Dm) you (Am) coming to the (E) tree?
You can get addicted to a certain kind of sadness Where I (Am) told you to (Dm)run so (E) we'd both be (Am) free.
Like resignation to the end, always the end (Am) Strange things did (F) happen here, no (Am) stranger would it (E) be
So when we found that we could not make sense If we (Am) met at (Dm) midnight (E) in the hanging (Am) tree.
Well you said that we would still be friends
But I'll aAmit that I was glad that it was over
Are (Am) you, are (Dm) you (Am) coming to the (E) tree?
BARITONE Wear a (Am) necklace of (Dm) hope, (E) side by side with (Am) me.
CHORUS
(Am) Strange things did (F) happen here, no (Am) stranger would it (E) be
(Am) But you (G) didn't have to (F) cut me (G) off
If we (Am) met at (Dm) midnight (E) in the hanging (Am) tree.
(Am) Make out (G) like it never (F) happened and that (G) we were nothing
(Am)And (G) I don't even (F) need your (G) love BARITONE
But you (Am)treat me like a (G) stranger and that (F) feels so (G) rough
(Am)You (G) didn't have to (F) stoop so (C) low
(Am)Have your (G) friends collect your (F) records and then (G) change your number
(Am) I (G) guess that I don't (F) need that (G) though
(Am) Now you're just some(G)body that I (F) used to (G) know (Am)(G)(F)(G)
(Am) Now you're just some(G)body that I (F) used to (G) know (Am)(G)(F)(G)
(Am) Now you're just some(G)body that I (F) used to (G) know

(Am)(G)(Am)(G) x2

VERSE 3
(Am) Now and (G) then I think of (Am) all the times you (G) screwed me (Am) over (G) (Am) (G)
(Am) But had me (G) believing it was (Am) always something (G) that I'd (Am) done (G) (Am) (G)
(G5) And I don't wanna live that way
Reading into every word you say
You said that you could let it go
And I wouldn't catch you hung up on somebody that you used to know
REPEAT CHORUS

(Am)(G)(F)(G) x2
(Am)
Somebody That I Used to Know © 2011 Wally de Backer; Eleven Music The Hanging Tree © 2014 Suzanne Collins, Jeremiah Fraites, Wesley Schultz, James Newton Howard;
Republic
Somebody That I Used to Know (Am,

BackG, F, G5) 3, Section 9
to Chapter The Hanging Tree (Gm, Cm, D, E) Back to Chapter 3, Section 9 191

GiebelUke Songbook

2016 BARITONE

GiebelUke Songbook - Baritone
PDF Download
GiebelUke Songbook - Baritone Back to Chapter 3, Section 9 192

Appendix 6
Video list: Baritone

Low Rider% % % % % Shake it Off Octopus’s Garden% % % % % Day-O (The Banana Boat Song)
Koomalama% % % % % I Knew You Were Trouble Counting Stars% % % % % % Hava nagila%
Three Blind Mice% % % % Knockin’ on Heaven’s Door Scooby Doo, Where Are You! % % % % Chapel of Love
Row, Row, Row Your Boat% % % Joshua Fought the Battle of Jericho Hotel California%% % % % % We Will Rock You
Sweet Home Alabama% % % % Wild Thing Tonight You Belong to Me% % % % Across the Universe
Don’t Worry, Be Happy% % % % The Lion Sleeps Tonight I’m Yours% % % % % % Zip-A-Dee-Doo-Dah
Happy Birthday/For He’s a Jolly Good Fellow% You Are My Sunshine Hey Jude% % % % % % With a Little Help from My Friends
Stand By Me% % % % % Crawdad Song% Somebody That I Used to Know% % % % Complicated
193
Appendix 7
Sound list: Baritone

Low Rider% % % % % Shake it Off Octopus’s Garden% % % % % Day-O (The Banana Boat Song)
Koomalama% % % % % I Knew You Were Trouble Counting Stars% % % % % % Hava nagila
Three Blind Mice% % % % Knockin’ on Heaven’s Door Scooby Doo, Where Are You!% % % % Chapel of Love
Row, Row, Row Your Boat% % % Joshua Fought the Battle of Jericho Hotel California % % % % % We Will Rock You
Sweet Home Alabama% % % % Wild Thing Tonight You Belong to Me% % % % Across the Universe
Don’t Worry, Be Happy % % % % The Lion Sleeps Tonight I’m Yours% % % % % % Zip-A-Dee-Doo-Dah
Happy Birthday/For He’s a Jolly Good Fellow% You Are My Sunshine Hey Jude% % % % % % With a Little Help from My Friends
Stand By Me% % % % % Crawdad Song Somebody That I Used to Know% % % % Complicated
194
Appendix 8
Teaching resources
These are my templates for these activities. However, I realize Browser-Based Tuner
that my instructions or examples may not work for your situa-
Create-a-chord Chart - Promethean File
tion. You have my permission to rewrite or adapt any of these activities
as you see fit. Create-a-chord Chart - SMART Notebook File
Soprano/Concert/Tenor Chord Posters
Soprano/Concert/Tenor Spotify Play-Along List
Soprano/Concert/Tenor Apple Music Play-Along List
Soprano/Concert/Tenor Chord Charts - UkuChords.com
Soprano/Concert/Tenor Creativity Projects - Google Slides
Baritone Chord Posters
Baritone Spotify Play Along-List
Baritone Apple Music Play-Along List
Baritone Chord Charts - Ukulele-Tabs.com
Baritone Creativity Projects - Google Slides
Teaching Examples - Spotify Playlist
Teaching Examples - Apple Music
Teaching Examples - YouTube Playlist
195
Appendix 9
Danke schön and auf wiedersehen
and people continue to push me along in my musicianship and chal-

lenge me to think about new AND older music. Phyllis, Linda, Mi-
chael, and Gary - you are gems in the desert.
To my students of “Secondary School Music” - I love and miss your

faces. Make sure you tell your GiebelMom about what is next for
you. *insert Kermit flailing arms here*
To Mitch Robinson - I owe you so much. Thank you for the world
you have given me. Also, thank you for feeding me so often =)
Finally, Mum, Dadoo, and Nicholas - UKE ARE THE GREATEST.
Where would be without the input and support of others?
Thank you to my colleagues who have both helped make this work
possible and inspired it. In particular, a special thank you to Cathy
Fox, Megan Carnevale, Adam Kruse, John Kratus, and Matt Thi-
beault. I am so grateful to have been able to collaborate with you on
things of a ukulele nature. Additional thanks to my colleagues at
UNM, Bruce Dalby, Regina Carlow, Julia Church Hoffman, Art Shein-
berg, and Steve Block for their continued support.
Many thanks to the Roadrunner Strummers, High Desert Sand Fleas,

and the Albuquerque Ukekopelli Festival. These places, situations,
196
GiebelUke Songbook
The Parting Glass
Of (Am) all the (F) money that (C) e'er I (G) had
I've (Am) spent it (F) in good (C) company (G)
And (Am) all the (F) harm that (C) e'er I've (G) done
(Am) Alas it (F) was to (Dm) none but (Am) me
And (C) all I've (F) done for (C) want of (F) wit
To (Dm) memory (G) now I (Am) can't re(G)call
So (Am) fill to (F) me the (C) parting (G) glass
Good (Am) night and (F) joy be (Dm) with you (Am) all

Of (Am) all the (F) comrades that (C) e'er I (G) had
(Am) They are (F) sorry for my (C) going a(G)way
And (Am) all the (F) sweethearts that (C) e'er I (G) had
They would (Am) wish me (F) one more (Dm) day to (Am) stay
But (C) since it (F) falls un(C)to my (F) lot
That (Dm) I should (G) rise and (Am) you should (G) not
I'll (Am) gently (F) rise and I'll (C) softly (G) call
Good (Am) night and (F) joy be (Dm) with you (Am) all
BARITONE

The Parting Glass
PDF Download
Back to the beginning?
VIDEO
The Parting Glass
The Parting Glass Scottish and Irish traditional song SOUND
The Parting Glass The Parting Glass
197
Appendix 10
Like what you learned?

So here’s the thing - I’m offering this for free. I am doing this for Also - if you notice an error anywhere in this eBook, please send
several reasons, but mostly because I believe in sharing ideas. I me a note. The best way to do so is to send me a note via my web-
also believe in Amanda Palmer’s “Art of Asking” (also a book). site. If you can’t toss a few dollars my way, perhaps consider sub-
Therefore, Ukulele for Music Teachers will always be free (including scribing to me on my various social media. Perhaps consider sub-
any updates I do in the future!), but if you found this to be help- scribing, even if you can help financially.
ful - perhaps even important for your teaching, please consider
supporting me on Patreon. If I get enough support for this and
other things that I currently create, I will be able to create more.
This is also known as the “Public Radio/TV” model. I believe

way too many schools, students, and teachers don’t have enough
to make their classroom work. For those people financially floun-
dering, for those students just starting out, for those random edu-
cators who are barely making ends meet - please don’t donate.
I’ll be fine. Keep your money. Maybe one day you will be able to No matter what you do or don’t do - y’all are cool. Thanks for
give, but for now please save it. But for those who can afford to reading.
give and would like to support what I do - please consider it.
198
7th Chord
A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh
above the chord's root. When not otherwise specified, a "seventh chord" usually means a
dominant seventh chord: a major triad together with a minor seventh. However, a variety
of sevenths may be added to a variety of triads, resulting in many different types of seventh
chords. In music theory, to symbolize the seventh chord a 7 is added to the Roman nu-
meral for the appropriate chord. Therefore, if the chord is a dominant seventh, V7 is used
to represent the chord.
Related Glossary Terms

Chord, Dominant, Major 7th chords, Minor 7th chords, Tonic
Index Find Term
Chapter 1 - Major strumming

Aeolian
Aeolian, the natural minor scale, is a diatonic scale corresponding to the white keys of the
piano from "A" to "A". The solfege pattern for the aeolian mode is la ti do re mi fa sol la.
The important harmonic functions in aeolian are the tonic (i), the Mediant (III), and the
Subtonic (VII). The Submediant (VI) is also used with high frequency.

Harmonic Minor, Minor
Index Find Term
Chapter 1 - You could be a pop star now. No, really.

AirUke
My number one troubleshooting method. Students practice their chord changes but strum
the air rather than their strings. While they do this, I play the chords so they can hear
them in connection with the song.

Drag related terms here
Index Find Term
Chapter 1 - Switching chords!

Arrangement
A version of precomposed song where some musical qualities of the song are changed, but
it is still recognizable as the original. Changes might occur in the melody, harmony,
rhythm, tempo, expression, and/or form.

Composition
Index Find Term
Chapter 4 - This Land Is Your Land

Augmented
In Western music and music theory, the word augmentation has three distinct meanings.
Augmentation is a compositional device where a melody, theme or motif is presented in
longer note-values than were previously used.
A major or perfect interval that is widened by a chromatic semitone is an augmented inter-

val, and the process may be called augmentation.
When referring to a triad, the chord that has a root, a major third, and an augmented fifth
(perfect 5th raised by a half step).

Chord, Diminished, Major, Minor
Index Find Term
Chapter 3 - Some more chords!

Baritone
The baritone has a low vocal range with a low tessitura. When referring to a ukulele, bari-
tone is one of the lower range ukuleles with a larger body. Typically, baritone ukuleles are
tuned with G6 tuning or the highest four strings of the guitar (D4, G4, B5, E5).

Bass, Concert, Soprano, Standard tuning, Tenor
Index Find Term
Chapter 1 - Ukulele anatomy

Barre chord
A type of chord on a ukulele or other stringed instrument, that the musician plays by using
one or more fingers to press down multiple strings across a single fret of the fretboard (like
a bar pressing down the strings).

Chord, Closed chord
Index Find Term
Chapter 2 - Superheroes WISHED they played the uke

Bass
The bass has a lowest vocal range with a lowest tessitura. When referring to a ukulele, bass
is one of the lowest range ukuleles with a larger body. Typically, bass ukuleles are tuned E2,
A3, D3, G3 or the lowest four strings of the guitar. This is the same tuning as a regular up-
right or electric bass.

Baritone, Concert, Soprano, Standard tuning
Index Find Term
Chapter 3 - We’re better together

Body
This is the largest area of the uke. Some ukes have a shapely curve, but this is not an abso-
lute requirement. The body acts as an amplification system and allows the strings to be
heard across the room.

Index Find Term

Bridge
Like the string nut, the bridge keeps the string lined up and raised up. It is also the other
place where the strings get tied in (along with the tuning pegs).

Index Find Term

Chord
A chord, in music, is any harmonic set of three or more notes that is heard as if sounding
simultaneously. These need not actually be played together: arpeggios and broken chords
(these involve the notes of the chord played one after the other, rather than at the same
time) may, for many practical and theoretical purposes, constitute chords.

7th Chord, Augmented, Barre chord, Chord chart, Chord families, Circle of fifths,
Closed chord, Diminished, Dominant, Major, Major 7th chords, Minor, Minor 7th
chords, Passing chord, Subdominant
Index Find Term
Chapter 1 - Baby’s first chord

Chord chart
A chord chart is a kind of music notation used to read chords on a ukulele or other string
instrument.
The chord chart is set up like a vertical ukulele fretboard. Each vertical line is a string. The
horizontal lines are for frets. Dots are placed at the intersection of the vertical lines to hori-
zontal spaces to show finger placement for specific chords.

Chord, Frets, Strings
Index Find Term

Chord families
Chord families are the related chords for a given key. For example, in the key of C major,
the related keys are F major, G major (or G7), A minor, E minor, and D minor. These chord
families help predict the chords one needs to know when playing in a specific key.  
 
The circle of fifths can be used to determine a chord family. To determine a chord family,
look at one section of the chart. Related chords or chord families are found to the immedi-
ate left and right of the selected section.

Chord, Circle of fifths
Index Find Term
Chapter 3 - Circle of fifths and chord families

Circle of fifths
The circle of fifths (or circle of fourths) is a visual representation of the relationships
among the 12 tones of the chromatic scale, their corresponding key signatures, and the as-
sociated major and minor keys. More specifically, it is a geometrical representation of rela-
tionships among the 12 pitch classes of the chromatic scale in pitch class space. When mov-
ing to the right or clockwise, the key centers increase by the interval of a perfect 5th.
When moving to the left or counterclockwise, the key centers increase by the interval of a
perfect 4th.

Chord, Chord families
Index Find Term
Chapter 3 - Circle of fifths and chord families

Closed chord
All four strings are fretted at the same time. These kinds of chords can be moved along the
neck with the same shape but create a new chord of the the same quality (major, minor,
7th, etc.) Many barre chords are also closed chords.

Barre chord, Chord
Index Find Term
Chapter 2 - Superheroes WISHED they played the uke

Composition
An original piece of music, the structure of a musical piece, or the process of creating a
new piece of music. People who practice composition are called composers.
When using lyrics for an original composition, lyrics can be either original or from a pre-
conceived source.

Arrangement, Improvisation
Index Find Term
Chapter 4 - My Sister Ate an Orange

Concert
A concert is a live music performance in front of an audience.
When referring to a ukulele, the concert ukulele has the same range as the soprano but
with a slightly larger body and fretboard. Typically, concert ukuleles are tuned with C6 stan-
dard tuning.

Baritone, Bass, Soprano, Standard tuning, Tenor
Index Find Term

Diminished
In Western music and music theory, diminution has three distinct meanings. Diminution
may also be the compositional device where a melody, theme or motif is presented in
shorter note-values than were previously used.
A minor or perfect interval that is narrowed by achromatic semitone is a diminished inter-

val, and the process may be referred to as diminution .
When referring to a triad, the chord that has a root, a minor third, and a diminished fifth
(perfect 5th lowered by a half step).

Augmented, Chord, Major
Index Find Term

Dominant
The dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is
next in importance to the tonic, and a dominant chord is any chord built upon that pitch,
using the notes of the same diatonic scale. The dominant function (diatonic function) has
the role of creating instability that requires the tonic for resolution. In the C major scale,
the dominant is the note G; and the dominant chord uses the notes G, B, and D (and some-
times F). In music theory, Roman numerals are used to symbolize the dominant chord as
'V' if it is within the major mode or 'v' if it is within the minor mode.

7th Chord, Chord, Subdominant, Tonic
Index Find Term
Chapter 2 - The minor fall, the major lift

Dorian
Dorian is a diatonic scale corresponding to the white keys of the piano from "D" to "D".
The solfege pattern for the dorian mode is re mi fa sol la ti do re. The important harmonic
functions in dorian are the tonic (i), the Subdominant (IV), and the Subtonic (VII). The
Mediant (III) is also used with high frequency. Songs in this book in dorian include Radioac-
tive and Drunken Sailor.

Index Find Term
Chapter 2 - Don’t worry. Play the ukulele

Downstroke
To strum a chord or note on the ukulele in a downward fashion. It is often indicated with
the following symbol:

Upstroke
Index Find Term

Fingerpicking
Fingerpicking is exactly what it sounds like. Rather than using a single finger and strum-
ming through the strings on a chord, fingerpicking is the art of using various strings to out-
line and elaborate on a chord. Specifically, it is used in folk, country, and rock music to ac-
company a song as an alternative to strumming.

Travis picking
Index Find Term
Chapter 3 - Fingerpicking fun

Fretboard
Located on the top part of the neck, the fretboard is the space where the left hand will do
most of its work.

Index Find Term

Frets
Frets are the spaces located between the lines on the fretboard. Your left hand will aim for
various frets while your right hand strums or plucks the strings.

Chord chart
Index Find Term

Guitar
The guitar is a popular musical instrument classified as a string instrument with anywhere
from 4 to 18 strings, usually having 6. The sound is projected either acoustically or through
electrical amplification. Standard tuning for guitars is E3, A4, D4, G4, B5, E5. 
The guitar is for people who simply have not discovered happiness, also known as a uku-
lele.  

Standard tuning
Index Find Term
Chapter 3 - Moving towards the guitar

Harmonic Minor
The notes of the harmonic minor scale are the same as aeolian/natural minor except that
the seventh degree is raised by one semitone, making an augmented second between the
sixth and seventh degrees. The solfege pattern for the harmonic minor scale is la ti do re
mi fa si (sharp sol) la. The important harmonic functions in harmonic minor are the tonic
(i), the subdominant (iv), and the Dominant (V/V7). The Mediant (III) is also used with
high frequency.

Aeolian, Minor
Index Find Term
Chapter 1 - You could be a pop star now. No, really.

Improvisation
The process of devising a solution to a requirement by making-do, despite absence of re-

sources that might be expected to produce a solution.
Musical improvisation is usually defined as the composition of music while simultaneously

singing or playing an instrument.

Composition
Index Find Term
Chapter 4 - Questions and answers

Macrobeats
The big beats of music. Macrobeats are those beats that one arbitrarily feels to be the long-
est. In dancing to music, persons normally step naturally to each pair of macrobeats with
one foot followed by the other. In usual meters, macrobeats are felt in even pairs. In un-
usual meters, the macrobeats will be uneven in length.

Meter, Microbeats
Index Find Term

Major
Major or the ionian mode is a diatonic scale corresponding to the white keys of the piano
from "C" to "C". The solfege pattern for the major scale is do re mi fa sol la ti do. The im-
portant harmonic functions in major are the Tonic (I), the Subdominant (IV), and the
Dominant (V/V7). The submediant (vi) is also used with high frequency.
When referring to a triad, the chord that has a root, a major third, and a perfect fifth.

Augmented, Chord, Diminished, Minor
Index Find Term

Major 7th chords
A seventh chord that has a root, a major third, a perfect fifth, and the “seventh” is a major
seventh above the root.

7th Chord, Chord, Minor 7th chords
Index Find Term

Meter
Meter is the organization of beats into groups. Common meters are usual duple (consistent
macrobeat with 2 microbeats per macrobeat), usual triple (consistent macrobeat with 3 mi-
crobeats per macrobeat), unusual meters (inconsistent macrobeats).

Macrobeats, Microbeats
Index Find Term

Chapter 4 - My Sister Ate an Orange
Microbeats
The small beats of music. In most cases, macrobeats are divided into either two or three
microbeats of equal duration. It is the groupings of microbeats within the macrobeat that
determines meter.

Macrobeats, Meter
Index Find Term

Minor
The minor scale is one of the most commonly used musical scales, especially in Western
music. It may refer to either aeolian/natural minor, harmonic minor, or melodic minor.
When referring to a triad, the chord that has a root, a minor third, and a perfect fifth.

Aeolian, Augmented, Chord, Harmonic Minor, Major
Index Find Term
Chapter 1 - Something blue

Minor 7th chords
A seventh chord that has a root, a minor third, a perfect fifth, and the “seventh” is a minor
seventh above the root.

7th Chord, Chord, Major 7th chords
Index Find Term

Mixolydian
Mixolydian is a diatonic scale corresponding to the white keys of the piano from "G" to
"G". The solfege pattern for the mixolydian mode is sol la ti do re mi fa sol. The important
harmonic functions in mixolydian are the Tonic (I), the Subdominant (IV), and the Sub-
tonic (VII). The supertonic (ii) is also used with high frequency. Songs in this book in
dorian include Sweet Home Alabama and Coconut.

Index Find Term
Chapter 2 - Now you can go to town in the key of G!

Mute
Mute is the act of muffling or silencing sound. When playing the ukulele, muting occurs
when one kicks a hand back against the strings to hold them or prevent them from vibrat-
ing.

Index Find Term
Chapter 1 - Just keep strumming

Neck
The neck is the long part of the ukulele. It should be placed on the left side of your body.

Index Find Term

Parody
Parody involves changing or copying existing (usually well known) musical ideas or lyrics,
or copying the peculiar style of a composer or artist, or even a general style of music. Al-
though the intention of a musical parody may be humor (as in burlesque), it is the re-use of
music that is the original defining feature.
Modern uses of parody typically only rework the lyrics, leaving the rest of the music intact.

Index Find Term
Chapter 4 - Parody songs

Participatory music making
The act of “jumping right in” and making music. In participatory music making, everyone
is actively doing something: playing an instrument, singing or chanting, and/or dancing.
There is no separation between audience and performers.

Index Find Term

Passing chord
A chord used to transition from one chord to another. Generally, these chords do not get
extensive use in the context of a song.

Chord
Index Find Term
Chapter 2 - I never knew me a better time

Play-along songs
A play-along song is a selection where the lead sheet is in the same key as a famous record-
ing of the song. I provide recordings for every song via SoundCloud, but sometimes it feels
extra special to play along with the original artist. If you see PA marked next to a song, it
can be played along with the famous recording. To help you find the recordings I am refer-
ring to, I have created two playlists: Spotify and Apple Music. Apple Music contains the ex-
act copies of songs, but since you would need to subscribe to Apple Music, I also have cre-
ated a playlist on Spotify. Please note some artists have elected not to share their music
through Spotify, like Taylor Swift. In these cases, I have provided a link to the cover of the
song.
% Soprano/Concert/Tenor Spotify Play-Along List
% Soprano/Concert/Tenor Apple Music Play-Along List
% Baritone Spotify Play-Along List
% Baritone Apple Music Play-Along List

Index Find Term

Protest songs
A song that is associated with a movement for social change and hence part of the broader
category of topical songs (or songs connected to current events). It may be folk, classical,
or commercial in genre.

Index Find Term
Chapter 4 - Protest songs

Soprano
The soprano has the highest vocal range of all voice types, with the highest tessitura.
When referring to a ukulele, soprano is the highest range ukulele with the smallest body.
Typically, soprano ukuleles are tuned with C6 standard tuning.

Baritone, Bass, Concert, Standard tuning, Tenor
Index Find Term

Sound hole
The open space in the body allows the sound from the string to enter the inside of the
body to reverberate. Without the sound hole, the amplification system of the body would
not work.

Index Find Term

Standard tuning
The typical tuning of a string instrument. For ukulele this is G4, C4, E4, A5 also called C6
tuning. For guitar this is E3, A4, D4, G4, B5, E5. For bass (electric or upright) this is E2, A3,
D3, G3.

Baritone, Bass, Concert, Guitar, Soprano, Tenor
Index Find Term
Chapter 1 - Ukulele tuning

String nut
The string nut keeps the strings lined up on the fretboard and raises them just high
enough so they can be pushed down by your left hand when you play.

Index Find Term

Strings
The core of the sound! The four strings on a ukulele are where the sound begins by being
plucked or strummed. By strumming or plucking the strings, the strings begin to vibrate
and create the ukulele sound. You will strum or pluck the strings with your right hand.

Chord chart
Index Find Term

Subdominant
The subdominant is the technical name for the fourth tonal degree of the diatonic scale. It
is so called because it is the same distance "below" the tonic as the dominant is above the
tonic - in other words, the tonic is the dominant of the subdominant.It also happens to be
the note immediately "below" the dominant. In the C major scale, the subdominant is the
note F; and the subdominant chord uses the notes F, A, and C. In music theory, Roman nu-
merals are used to symbolize the subdominant chord as 'IV' if it is within the major chord
or 'iv' if it is within the minor chord.

Chord, Dominant, Tonic
Index Find Term

Tablature
Tablature (or tab for short) is a form of musical notation indicating instrument fingering
rather than musical pitches.
Tablature is common for fretted stringed instruments such as the ukulele, guitar, and other
stringed instruments. Tablature was common during the Renaissance and Baroque eras,
and is commonly used in notating rock, pop, folk, ragtime, bluegrass, and blues music.

Index Find Term
Chapter 3 - Tab it out

Tenor
The tenor has a medium low vocal range with a medium low tessitura. When referring to a
ukulele, tenor is one of the higher range ukuleles with a larger body. Typically, tenor ukule-
les are tuned with C6 standard tuning or C6 tuning with a dropped G.

Baritone, Concert, Soprano, Standard tuning
Index Find Term

Tonic
In music, the tonic is the first scale degree of a diatonic scale and the tonal center or rest-
ing tone. The triad formed on the tonic note, the tonic chord, is thus the most significant
chord. More generally, the tonic is the pitch upon which all other pitches of a piece are hi-
erarchically referenced. Scales are named after their tonics, thus the tonic of the scale of C
is the note C. Simple songs may begin and end on the tonic note. In the C major scale, the
tonic is the note C; and the tonic chord uses the notes C, E, and G. In music theory, Ro-
man numerals are used to symbolize the tonic chord as 'I' if it is within the major mode or
'i' if it is within the minor mode.

7th Chord, Dominant, Subdominant
Index Find Term

Transposing
In music transposition refers to the process, or operation, of moving a collection of notes

up or down in pitch by a constant interval.
For example, one might transpose an entire piece of music into another key. Similarly, one
might transpose a tone row or an unordered collection of pitches such as a chord so that it
begins on another pitch.

Index Find Term

Travis picking
This style is commonly played on steel string acoustic guitars. Pattern picking is the use of
"preset right-hand pattern(s)" while fingerpicking, with the left hand fingering standard
chords. The most common pattern is sometimes broadly referred to as Travis picking after
Merle Travis, and popularized by Chet Atkins, Marcel Dadi, James Taylor and Tommy Em-
manuel.
Travis picking patterns are associated with guitar but can be adapted to any string instru-
ment, like the ukulele.

Fingerpicking
Index Find Term
Chapter 3 - Fingerpicking fun

Tuning pegs
Strings must be tuned! In order to get the strings in tune, these pegs are turned one way to
raise the sound and another to lower it. One tuning peg is present for every string. The tun-
ing pegs are also the place where the strings get tied in.

Index Find Term

Upstroke
To strum a chord or note on the ukulele in an upward fashion. It is often indicated with
the following symbol:

Downstroke
Index Find Term

Ukulele For Music Teachers1

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Ukulele For Music Teachers1

Hochgeladen von

Copyright:

Verfügbare Formate

Ukulele for Music

To the monkey children I know well,

To those I am only starting to understand,

And to those I have yet to know -

# You really do mean the world to me. You get me forever.

# Thank you for being just who you are.

Dr. Giebes has research interests that include secondary general

Getting to know uke

There will be puns. So many puns.

Chapter One Outline

In this chapter you will learn...

Holding the precious

Baby’s first chord

Just keep strumming

The two-fingered chord

You could be a pop star now. No, really.

Isn’t it adorable? I just love this instrument.

Ok, before jumping into playing, it is helpful to have some com-

# Ukulele anatomy assessment

These parts remain constant no matter what size ukulele you

G A tuning because the instrument is so small. The diﬀerence between in

If you do wish to try tuning by ear, I suggest humming the pitch

I recommend this browser-based tuner if you don’t have one

Changing the strings

While C6 tuning is the standard for concert, soprano, tenor uku-

Mostly used for Tenor, but also used for

Holding the precious

1. Neck on the left side of the body.

Sometimes kids get lazy and can’t see

Baby’s first chord

Our first chord: C (major)

Take a look at the chord chart to the right.

% The A string or the 1st string is the only

% You decide! What works best for you? Index? Middle?

You have three songs to play with only the C chord

This is what it looks like % Are You Sleeping?

% The A string or the 1st string is the

Coconut is a “play-along” song. A play-along song is a selection

% Soprano/Concert/Tenor Spotify Play-Along List

% Soprano/Concert/Tenor Apple Music Play-Along List

What strings? % Have You Seen the Ghost of John?

The quality of this song is Minor. This is indicated by the lower-

Just keep strumming

Besides downstroke and upstroke, there is one more basic strum-

This song is a great opportunity to have students select the

The two fingered chord

What strings? % Frère Jacques

% The G string has a circle on the 2nd

No matter what you do to address the issues surrounding chord

Deep in the Heart of Texas Deep in the Heart of Texas

I Love It (I Don't Care) I Love It (I Don't Care)

What strings? Media

What strings? % Keep on the Sunny Side

The Lion Sleeps Tonight The Lion Sleeps Tonight

You Are My Sunshine You Are My Sunshine

% Happy Birthday/For He’s a Jolly Good Fellow

You could be a pop star now. No, really.

Common chord progression in minor (Aeolian)

% I V IV V% % (C, G, F, G)% % % i III VII VI % (Am, C, G, F)%

% You’re Gonna Miss Me PA

You’re Gonna Miss Me You’re Gonna Miss Me

Songs in the key of uke

Because music has variation.