Ukulele Method and Song Folio

Music resources from www.traditionalmusic.co.
uk For personal educational purposes only
For personal educational purposes only Music resources from www.traditionalmusic.co.uk

Music resources from www.traditionalmusic.co.uk For personal educational purposes only
SONGS
Title Page
ABOUT A QUARTER TO NINE .............................................................................. 46
A CUP OF COFFEE, A SANDWICH AND YOU .................................................... 58
ALABAMA JUBILEE ............................................................................................. 24
AURA LEE ................................................................................................................ 27
BEDELIA ....................................................................... ......' .................................. 20
BILLY BOY ............................................................................................................... 12
BOWERY, THE ....................................................................................................... 55
BUFFALO GALS ...................................................................................................... 10
BY THE LIGHT OF THE SILVERY MOON ....................................... ................ 41
CLAP HANDS, HERE COMES CHARLIE ........................................................... 56
CUDDLE UP A LITTLE CLOSER ........................................................................... 64
DON'T FENCE ME IN .............................................................................................. 32
GIRL FRIEND, THE ................................................................................................. 52
GOLD DIGGERS' SONG, THE ................................................... ........................ 60
IF I COULD BE WITH YOU (ONE HOUR TONIGHT) .......................................... 34
I'M JUST WILD ABOUT HARRY ............................................................................ 28
I WONDER WHAT'S BECOME OF SALLY ............................................................. 44
LET'S PUT OUT THE LIGHTS (AND GO TO SLEEP) .......................................... 48
LULU'S BACK IN TOWN ......................................................................................... 50
MEMORIES................................................................................................................. 30
PLEASE DON'T TALK ABOUT ME WHEN I'M GONE ..................................... 18
POLLY PUT THE KETTLE ON ............................................................................... 15
PRETTY BABY ........................................................................................................ 14
RED RIVER VALLEY ............................................................................................ 23
SHOO FLY, DON'T BOTHER ME .......................................................................... 35
SKIP TO MY LOU ..................................................................................................... 11
SWEET GEORGIA BROWN ...................................................................................... 62
TIP-TOE THRU THE TULIPS WITH ME ............................................................... 38
WOULD YOU LIKE TO TAKE A WALK?................................................................ 36
YOU MUST HAVE BEEN A BEAUTIFUL BABY ................................................. 54
YOU'RE AN OLD SMOOTHIE ................................................................................. 42
© MCMLXIV by REMICK MUSIC CORPORATION

TABLE OF CONTENTS
Page
THE UKULELE-Its Model And Parts ........................................................... ........ 2
HOW TO HOLD THE UKE - GENERAL INFORMATION - THE STRINGS ... 3
THE RIGHT HAND..................................................................................................... 4
PHOTOS (6) - FELT PICK - FINGER POSITIONS .................................................. 5
THE LEFT HAND (Four Photos) . . ............................................................................ 6
TUNING THE UKE - (With Pitch Pipes Or Piano) .................................................... 7
TIME SIGNATURES AND RUDIMENTS .................................................................. 7
ADDITIONAL TIME SIGNATURES AND RUDIMENTS-TIPS ON FINGERING 8
YOUR THIRD CHORD GROUP

PHOTOS AND DIAGRAMS OF ALL DIMINISHED SEVENTH CHORDS ........... 16
YOUR FOURTH CHORD GROUP

PHOTOS AND DIAGRAMS OF ALL AUGMENTED (Aug. 5th) CHORDS ...... 17
THE REMAINDER OF THE MOST NEEDED CHORDS NOT USED IN

THIS FOLIO .................................................................................................. 65

THE UKULELE
ITS MODEL AND PARTS
STANDARD UKULELE

HOW TO HOLD THE UKE

As illustrated in the following pictures, which should be studied carefully the Uke is generally held
chest high in a horizontal position against the body. A slight pressure should be applied by the fatty portion
of the forearm. Press just enough against the chest to keep the instrument in correct playing position.
UKE
1 UKE 2 UKE 3
PREFERRED POSITION HOLDING UKE IN LAP STANDING POSITION
FURTHER EXPLANATION OF PICTURES NO. 1 THRU NO. 6.
1. The correct holding position whether standing or sitting.

2. The Uke is too small to be played in the lap. It would be difficult to maintain adequate control over the
instrument, and it presents a poor appearance.
3. If the occasion should ever arise when a standing position becomes necessary, place your right foot upon
a stool or chair as illustrated and rest the Uke upon the right leg.
GENERAL INFORMATION
The dictionary shows the American pronunciation of Ukulele to be "yuke-uh-lay-lee " The
Hawaiian pronunciation is the same with the exception of the first syllable which changes the word to
"oo-koo-lay-lee."
THE STRINGS
Use nothing but the best quality strings for replacement on the Uke or Bary. Observe the manner in
which the factory has mounted the strings on your instrument, enabling you to put on a new string in case
of breakage. It is always best to purchase your strings and accessories from a reliable music shop that
specializes in "small goods."

THE STRINGS (continued)

STRING PRESSURE
Many persons who purchase inexpensive Ukes are so discouraged with the "sound" and
"finger action" or pressure needed to make the strings touch the frets, that they soon give up the
attempt to play in disgust.
If you have an inexpensive Uke and are troubled about it sounding "out of tune" — even
after it has been correctly tuned, check the "nut" for height. You will probably find the strings are
too high above the frets. This is the most common fault of the cheaper
t\ms:^r;::;r_r:^ \. ::\:.;.',-,..:.-.'■ ■:
THE STRINGS SHOULD NOT BE OVER l/32nd OF AN INCH FROM THE TOP OF
THE FIRST FRET.
If you are mechanically inclined, you may deepen the string notches on the nut, or better
still, have the store where you purchased the instrument make the correct adjustments, i.e., if they
are equipped for this kind of work.
THE RIGHT HAND (Illustrations on Page 5)

........ A knowledge of the correct position df the right forearm in its relation to the hand
is necessary when stroking, or picking the strings. Carefully examine all of the illustrations on
page 5 and adopt the correct position for the forearm and hand at the very beginning of your
attempt (successful we hope) to master the Ukulele.
STROKING THE STRINGS WITH THE FOREFINGER

Picture No. 1 illustrates the correct position of the forefinger and thumb to produce a good
tone on the Uke. This method of stroking the strings with the bare fingers is to this day the most
favored way of playing the Uke. However, a new method of tone production has come into
professional favor due to the increasing popularity of the Uke on phonograph records and TV.
Professionals have found that the use of a "pick" produces a louder and clearer tone. Playing the
Uke with a pick enables the tone to "cut through" with more definition.
Picture No. 2 illustrates the most favored pick which is made of pliable quarter-inch felt.
For a stronger tone a "stiff" felt pick can be secured at most music supply stores and when real
"punch" is needed for maximum volume a celluloid or tortoise shell guitar pick may be used. The
use of the hard guitar pick completely alters the natural tone of the Uke and for that reason should
be used sparingly for special effects.
Once again, study the illustrations and text on page 5 concerning the right hand, felt pick
and the style of strumming with the fingers.
SLANTED LINES (l I I I) or Chord Names (C7) are used throughout this folio t indicate where
the strokes of the pick are to be played. While each slanted line or choi name represents a down
stroke, or one beat, it does not mean that the player cannot mat use of different rhythms. In
order to encourage you to employ different rhythmic effects I present next the more simple
strokes which may be used instead of the single strokt

THE RIGHT HAND
1 2 3
STROKING WITH 1ST FINGER FELT PICK HOLDING THE PICK
Picture No. 3 illustrates the correct manner of holding the pick.

Picture No. 4 illustrates the incorrect position of the fingers and wrist.
Picture No. 5 illustrates the correct angle of hand to forearm.
Picture No. 6 illustrates the correct position of the fingers and hand when strumming without a pick.
4 5 6
WRONG POSITION OF CORRECT RIGHT CORRECT STROKING

PICK, FINGERS AND WRIST HAND POSITION POSITION, FINGERS ONLY

THE LEFT HAND

(A) Keep the left arm close to the side of your body. (See photos on page 3.)
(B) Rest the neck of the Uke in the crotch formed by the thumb and first finger of the left hand.
(C) Most of the time the neck rests on the base of the third joint of the first finger and against the
first joint of the thumb,
(D) In order to have better contact points from which to exert greater pressure (when needed for
some of the tricky chords) it will be found necessary to have the fleshy part of the thumb on
the bottom of the fingerboard.
(E) The fingers must press the strings down almost at right angles to the fingerboard in
order not to touch any of the adjacent strings and thereby cause a "buzzy" tone.
Believing that pictures tell a story better than paragraphs of explanation, examine
carefully the following poses:
1 2 3
FINGERS NOT ARCHED CORRECT THUMB POSITION CORRECT POSITION OF

LEFT HAND
Picture No. 1. This "wrong way" picture illustrates the need for keeping the fingers arched when
playing single tones. When two or more notes are to be pressed down on adjacent strings by
the same finger and on the same fret, it calls for a flattening of that finger as shown and
explained below under The Bar (Barre).
Picture No. 2. This illustrates the position of the neck resting in the left hand.
Picture No. 3. When "barred" chords are to be played, more pressure is needed. This illustration
shows the position of the thumb and fingers for such a chord.
A "bar" is made by the fingering of three or

four notes across the same fret. There are many
chords that call for the use of the bar even though
all of the notes so formed do not sound. Here are a
few examnles:

TUNING THE UKE

You can buy an inexpensive Uke "tuner" at
UKE PITCH PIPES most music stores. The "pipes" of the tuner will
be named A (4th string), D (3rd), F# (2nd), and B
(1st). If in doubt as to the name of a string refer
to Inside Front Cover.
Blow lightly into one pipe at a time and

tune its corresponding string to the pitch of the
pipe. Pick the string continuously as you blow
the pipe so that you can tell when the pitch of the
string is the same as that of the tuner.
TUNE WITH PIANO

The pitch of the 3rd string (D) is found by the key to the
right of "middle C," the 28th white key from the right of the
keyboard. Tune the D string first, then the 2nd, 1st, and 4th
strings in that order.
Keep the "loud" pedal of the piano depressed when
sounding each note. This will cause the piano tone to remain
sounding while your hands are busily engaged in tuning the
Uke/
B or 1st string — the 23rd white key from the right of the keyboard. F#
or2nd string —the black key between the 25th and 26th white keys. D or
3rd string — the 28th white key from the right of the keyboard. A or 4th
string — the 24th white key from the right of the keyboard.
TIME SIGNATURES AND RUDIMENTS

The four vertical lines represent the strings; the horizontal lines represent the frets. The
black "dots" indicate where the fingers are to be placed, and the numerals show which
fingers are to be used. A zero indicates an "open" string and is not to be fingered. The
name of chord is placed above the diagram.
The slanting lines / / to the right of the chord diagrams mean that you play the previous
chord once for every slanted line.
TIPS ON FINGERING
Diagram No. 1 illustrates three notes barred with a single
note to be played on the first string. All chords of this and like
formation are actually fingered like diagram No. 2. In other
words, it is very awkward to bar the 4th, 3rd, and 2nd strings
without including the 1st string, so, always bar all four strings.
Only the note on the 5th fret of the 1st string will be heard, not
the barred note behind it. The curved lines that appear in the
above diagrams are for the purpose of
explanation and have not been included in the songs that follow
as the fingering
below each diagram serves the same purpose.
ALL CHORDS FOR THE SONGS IN THIS FOLIO ARE LOCATED ON

THE FIRST FIVE FRETS.

YOUR FIRST CHORD GROUP

BUFFALO GALS
American Song

SKIP TO MY LOU
Traditional

BILLY BOY
Traditional

YOUR SECOND CHORD GROUP

Words by
GUS KAHN
PRETTY BABY
Music by
TONY JACKSON and

POLLY PUT THE KETTLE ON

Folk Song

YOUR THIRD CHORD GROUP

DIMINISHED SEVENTH CHORDS
In manuscript or printed music one may come across several symbols that arrangers have
used to indicate the "diminished seventh" chord. A "C diminished seventh" chord, for example,
may be written:
OUR CHOICE OF SYMBOL WILL BE THE CHORD NAME FOLLOWED BY A SMALL

ZERO (C°).
ONLY THREE CHORDS WITH IDENTICAL FINGERINGS ARE NEEDED TO SUPPLY US

WITH ALL OF THE DIMINISHED SEVENTH CHORDS USED. HOWEVER, EACH OF
THESE DIAGRAMMED DIMINISHED SEVENTH CHORDS REPRESENTS SIX DIFFERENT
CHORDS!
THE 1st POSITION
THE 2nd POSITION
THE 3rd POSITION

YOUR FOURTH CHORD GROUP

AUGMENTED CHORDS (AUG. 5TH)
THE 1st, 2nd, 3rd & 4th POSITIONS
OUR CHOICE OF SYMBOL WILL BE THE CHORD NAME FOLLOWED BY A SMALL

PLUS (+). FOUR CHORDS WITH IDENTICAL FINGERINGS SUPPLY US WITH ALL OF
THE AUGMENTED FIFTH CHORDS USED IN HARMONIZATION.
EACH ONE OF THESE CHORD FORMS REPRESENT FIVE DIFFERENT CHORDS!

PLEASE DON'T TALK ABOUT ME WHEN I'M GONE

Words and Music by
SIDNEY CLARE
SAM H. STEPT


BEDELIA
Words by Music by
WILLIAM JEROME JEAN SCHWARTZ


YOUR FIFTH CHORD GROUP

RED RIVER VALLEY

Traditional

24
ALABAMA JUBILEE
Words by Music by
JACK YELLEN GEORGE L. COBB


SIXTH CHORD GROUP (Mixed)

27
AURA LEE
GEORGE R. POULTON

I'M JUST WILD ABOUT HARRY

Words and Music by
NOBLE SISSLE and
EUBIE BLAKE


30
MEMORIES
Words by Music by
GUS KAHN EGBERT VAN ALSTYNE


DON T FENCE ME IN
Words and Music by
COLE PORTER


IF I COULD BE WITH YOU

Words and Music by
HENRY CREAMER and
JIMMY JOHNSON

SHOO-FLY, DON'T BOTHER ME

By BILLY REEVES
FRANK CAMPBELL

36
WOULD YOU LIKE TO TAKE A WALK?


38 TIP-TOE THRU THE TULIPS WITH ME

Words by Music by
AL DUBIN JOE BURKE


YOUR SEVENTH CHORD GROUP

41
BY THE LIGHT OF THE SILVERY MOON
Words by Music by
ED. MADDEN GUS EDWARDS

YOU RE AN OLD SMOOTHIE


44
I WONDER WHAT'S BECOME OF SALLY
Words by Music by
JACK YELLEN MILTON AGER


46
ABOUT A QUARTER TO NINE
Words by Music by
AL DUBIN HARRY WARREN


LET'S PUT OUT THE LIGHTS

Words and Music by
HERMAN HUPFELD


50
LULU'S BACK IN TOWN
Words by Music by


52
THE GIRL FRIEND
Words by Music by
LORENZ HART RICHARD RODGERS


54
YOU MUST HAVE BEEN A BEAUTIFUL BABY
Words by Music by
JOHNNY MERCER HARRY WARREN

THE BOWERY
CHARLES H. HOYT
PERCY GAUNT

56
CLAP HANDS
BILLY ROSE and Music by
BALLARD Macdonald JOSEPH MEYER


A CUP OF COFFEE, A SANDWICH AND YOU


60
THE GOLD DIGGERS' SONG
Wordsby (We're In The Money) Music by
J


SWEET GEORGIA BROWN


64
CUDDLE UP A LITTLE CLOSER, LOVEY MINE
Lyric by Music by
OTTO HARBACH KARL HOSCHNA

CHORDS NOT USED IN FOLIO

Outstanding
UKULELE
Folios
Harry Reser's UKULELE
METHOD AND SONG FOLIO
Basic Instruction • Learn by Playing
and
Singing 31 Songs • Photographic Illustrations
All Chords Most Used
Partial Contents: ALABAMA JUBILEE . A CUP OF

COFFEE, A SANDWICH AND YOU . YOU MUST HAVE
BEEN A BEAUTIFUL BABY . MEMORIES . BY THE
LIGHT OF THE SILVERY MOON . SWEET GEORGIA
BROWN . CUDDLE UP A LITTLE CLOSER . IF I
COULD BE WITH YOU
GREAT THEMES FOR UKULELE

Arranged by Dan Fox
Hit Songs from Stage,
Motion Pictures and TV
Partial Contents: DAYS OF WINE AND ROSES • THE

HIGH AND THE MIGHTY . MY OWN TRUE LOVE
(Tara's Theme) . MACK THE KNIFE . 77 SUNSET
STRIP . HAWAIIAN EYE . RETURN TO PARADISE .
BIRTH OF THE BLUES .
BROADWAY SHOWCASE FOR UKULELE

Arranged by Harry Reser
Harry Reser's LET'S PLAY
THE BARITONE UKE Partial Contents: SEPTEMBER IN THE RAIN •
MOUNTAIN GREENERY • I FOUND A MILLION
A Basic Method and Collection of 29 Familiar DOLLAR BABY . LULU'S BACK IN TOWN . KISS ME
Songs • Chord Photos and Chord Diagrams • AGAIN . ALABAMA JUBILEE . DON'T FENCE ME IN .
More than 100 most used chords . Learn How
to Transpose
Partial Contents: APRIL SHOWERS • AM I BLUE?

BABY FACE . CHARLESTON . I'M LOOKING OVER A
FOUR LEAF CLOVER . IT'S ONLY A PAPER MOON .
THE BLUE ROOM . BYE BYE BLACKBIRD • WHEN
IRISH EYES ARE SMILING GYPSY LOVE SONG . I
LIKE MOUNTAIN MUSIC PRETTY BABY • MY BUDDY
•

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Music resources from www.traditionalmusic.co.

uk For personal educational purposes only

For personal educational purposes only Music resources from www.traditionalmusic.co.uk

© MCMLXIV by REMICK MUSIC CORPORATION

For personal educational purposes only Music resources from www.traditionalmusic.co.uk

YOUR THIRD CHORD GROUP

YOUR FOURTH CHORD GROUP

THE REMAINDER OF THE MOST NEEDED CHORDS NOT USED IN

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HOW TO HOLD THE UKE

PREFERRED POSITION HOLDING UKE IN LAP STANDING POSITION

FURTHER EXPLANATION OF PICTURES NO. 1 THRU NO. 6.

1. The correct holding position whether standing or sitting.

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THE STRINGS (continued)

THE RIGHT HAND (Illustrations on Page 5)

STROKING THE STRINGS WITH THE FOREFINGER

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THE RIGHT HAND

STROKING WITH 1ST FINGER FELT PICK HOLDING THE PICK

Picture No. 3 illustrates the correct manner of holding the pick.

WRONG POSITION OF CORRECT RIGHT CORRECT STROKING

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THE LEFT HAND

FINGERS NOT ARCHED CORRECT THUMB POSITION CORRECT POSITION OF

A "bar" is made by the fingering of three or

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TUNING THE UKE

Blow lightly into one pipe at a time and

TUNE WITH PIANO

TIME SIGNATURES AND RUDIMENTS

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ALL CHORDS FOR THE SONGS IN THIS FOLIO ARE LOCATED ON

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YOUR FIRST CHORD GROUP

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YOUR SECOND CHORD GROUP

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TONY JACKSON and

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POLLY PUT THE KETTLE ON

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YOUR THIRD CHORD GROUP

OUR CHOICE OF SYMBOL WILL BE THE CHORD NAME FOLLOWED BY A SMALL

ONLY THREE CHORDS WITH IDENTICAL FINGERINGS ARE NEEDED TO SUPPLY US

THE 1st POSITION

THE 2nd POSITION

THE 3rd POSITION

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YOUR FOURTH CHORD GROUP

OUR CHOICE OF SYMBOL WILL BE THE CHORD NAME FOLLOWED BY A SMALL

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PLEASE DON'T TALK ABOUT ME WHEN I'M GONE

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YOUR FIFTH CHORD GROUP

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RED RIVER VALLEY