Ukulele For The Complete Ignoramus by Ted Parrish Wayne Erbsen (Parrish, Ted Erbsen, Wayne)

Table of Contents
Instructional MP3s
Welcome to the Ukulele!
A Brief History of the Uke
Choosing a Ukulele
How to Hold the Ukulele
Tuning the Ukulele
Left Hand Chording
Right Hand Strumming
Waltz Strums
Following the Song Charts
Playing the Melody
What a Typical Page Looks Like
Go Tell Aunt Rhody
Whole World in His Hands
Buffalo Gals
When the Saints Go Marching In
Camptown Races
Oh, Susanna
Clementine
Amazing Grace
This Little Light of Mine
Do Lord
Molly Malone (Cockles & Mussels)
Wabash Cannonball
Home on the Range
The Water is Wide
Down in the Valley
On Top of Old Smoky
Shel'l be Comin' 'Round the Mountain
Red River Valley
Aloha 'Oe
Aura Lee
Simple Gifs
Down by the Riverside
Skip to my Lou
Michael Row the Boat Ashore
Shortenin' Bread
Shady Grove
Man of Constant Sorro
Bring Me a LIttle Water, Silvie
Swing Low, Sweet Chariot
Take Me Out to the Ballgame
Driftless Rag
Kickapoo Rag
Ukulele Boogie Woogie
Careless Love
Trouble in Mind
I've Been Working on the Railroad
Auclair de la Lune
House of the Rising Sun
Scarborough Fair
Fingerpicking the Ukulele
The Chord Study
Ukulele Chords
Ukulele Strums
About the Authors
Credits
Native Ground Books & Music
Simple Gifs
Down by the Riverside
Skip to my Lou
Shortenin' Bread
Shady Grove
Man of Constant Sorro
Bring Me a LIttle Water, Silvie
Driftless Rag
Kickapoo Rag
Ukulele Boogie Woogie
Careless Love
Trouble in Mind
I've Been Working on the Railroad
Auclair de la Lune
Scarborough Fair
The Chord Study
Ukulele Chords
Ukulele Strums
About the Authors
Credits
Instructional MP3s
To help you learn the tunes in this book, visit
www.nativeground.com/ukulele-ignoramus-mp3s to download the
instructional MP3s that accompany this book, and enter the password
‘uketime’.
Throughout the book you’ll find illustrations of an old

gramophone with numbers below it. These numbers correspond
to the MP3 tracks. You will find examples of all of the songs,
including the chords and melody. We have also posted ukulele
instructional videos on our website www.nativeground.com.
5, 6
Instructional MP3s
To help you learn the tunes in this book, visit
www.nativeground.com/ukulele-ignoramus-mp3s to download the
instructional MP3s that accompany this book, and enter the password
‘uketime’.
Throughout the book you’ll find illustrations of an old

gramophone with numbers below it. These numbers correspond
to the MP3 tracks. You will find examples of all of the songs,
including the chords and melody. We have also posted ukulele
instructional videos on our website www.nativeground.com.
5, 6
Welcome to the Ukulele!
W
hether you call it a ukulele or a uke, it is one of the easiest instruments to play,
even for a complete ignoramus. Trust us. Compared to other instruments,
learning the ukulele will be a snap. Even if you have never played a musical
instrument before, we guarantee that you will learn to play songs on the ukulele
by using this easy book. All it takes is desire, dedication, and practice.
This book is aimed at the total and absolute

beginner. Like the other books in the Complete
Ignoramus series, we’ll teach you the basic
techniques for playing the instrument using
simple folk songs that you know like the back
of your hand. After you get the basics down,
you can apply your new skills to practically
any style of music. Pick up your uke at least
once a day and you’ll be a bona fide ukulele
player in no time.
Here’s a little story: Ted and his wife Catherine

gave his mom a ukulele for her 75th birthday.
She had never played an instrument before in
her life. They weren’t sure she would even
want it. To their delight, she was excited and started to learn. Ted showed her
two chords and she was off and running. Within two weeks, she was playing and
singing a variety of songs. A year later she founded a ukulele club that now has
over 185 members. The group is still going strong and Marlene continues to
nurture new members who join the group.
The ukulele has taken the country by storm, and chances are good that there is a
ukulele club or group right in your hometown. These clubs are great for learning
and support, as well as making new friends. Once you start playing the ukulele
you will surely find other like-minded folks out there. Don’t forget about the
internet. There are many videos on the web, including ones that support this
book. So grab a ukulele and jump in with both feet, the water’s fine. You WILL
play the ukulele!
The first part of this book will help you understand how to hold, tune, strum, and
ments to play,play your ukulele. If you want to skip ahead to one of your favorite songs right
instruments,away, go ahead. The songs are arranged by key and are roughly in order of
yed a musicaldifficulty, so try one of the early songs first. If you really want to work on some
on the ukuleleskills before you play songs, try the chord study on pages 97-100.
d showed her
s playing and
that now has
continues to
that there is a
at for learning
ng the ukulele
get about the
internet. There are many videos on the web, including ones that support this
book. So grab a ukulele and jump in with both feet, the water’s fine. You WILL
play the ukulele!
The first part of this book will help you understand how to hold, tune, strum, and
play your ukulele. If you want to skip ahead to one of your favorite songs right
away, go ahead. The songs are arranged by key and are roughly in order of
difficulty, so try one of the early songs first. If you really want to work on some
skills before you play songs, try the chord study on pages 97-100.
A Brief History of the Uke
I
n the 1880’s, Portuguese immigrants sailed to Hawaii with a variety of
instruments, including one called the machete. This instrument was a four
stringed cousin of the guitar. Native Hawaiians were captivated by the
Portuguese music and in their hands the machete eventually evolved into the
ukulele.
Photo by J.J. Williams
King Kalakaua was an ardent supporter who helped popularize the ukulele in
Hawaii. But it was the Panama Pacific International Exposition of 1915 in San
Francisco that brought Hawaiian music, culture, and the ukulele to the mainland
and the world. The 1920’s brought a craze for all things Hawaiian. The ukulele
was everywhere!
The ukulele mania that swept America lost its fizzle with the Great Depression
and then World War II. But a new wave of popularity arose with its introduction
to TV by Arthur Godfrey in the 1950’s and again with Tiny Tim in the 1960’s.
The current ukulele craze started in the mid-1990’s. The internet played a role in
bringing artists such as Israel Kamakawiwo’ole and Jake Shimabukuro into the
a variety oflimelight. Ukulele clubs have sprouted up everywhere. Played in countries all
t was a fouraround the globe, the ukulele is prized for its versatility, portability, ease of
vated by theplaying, and cheerfulness.
lved into the
How to Pronounce “Ukulele”

The word ukulele is Hawaiian, which is where the ukulele was
invented. It means “dancing flea,” which may refer to how the
player’s hands looked when dancing around on the strings.
Anyway, in Hawaii you say OOK-Koo-Lay-Lay, with emphasis
on the first syllable. Everywhere else you say You-Koo-LAY-
Lee, emphasis on the third syllable. To further confuse things,
the word is often shortened to uke, and sometimes written as uke
or uku, and pronounced “ook” or “yuke.” Both are common, so
either pronunciation can be used. There is only one spelling,
however, and that is ukulele.
he ukulele in
f 1915 in San
the mainland
. The ukulele
at Depression
and then World War II. But a new wave of popularity arose with its introduction
to TV by Arthur Godfrey in the 1950’s and again with Tiny Tim in the 1960’s.
The current ukulele craze started in the mid-1990’s. The internet played a role in
bringing artists such as Israel Kamakawiwo’ole and Jake Shimabukuro into the
limelight. Ukulele clubs have sprouted up everywhere. Played in countries all
around the globe, the ukulele is prized for its versatility, portability, ease of
playing, and cheerfulness.
How to Pronounce “Ukulele”

The word ukulele is Hawaiian, which is where the ukulele was
invented. It means “dancing flea,” which may refer to how the
player’s hands looked when dancing around on the strings.
Anyway, in Hawaii you say OOK-Koo-Lay-Lay, with emphasis
on the first syllable. Everywhere else you say You-Koo-LAY-
Lee, emphasis on the third syllable. To further confuse things,
the word is often shortened to uke, and sometimes written as uke
or uku, and pronounced “ook” or “yuke.” Both are common, so
either pronunciation can be used. There is only one spelling,
however, and that is ukulele.
Choosing a Ukulele
W
hen you go into your local music shop to look for a ukulele, you will notice an
incredible variety of instruments. How do you choose the right one?
Let’s break it down a little. There are different sizes to consider, different woods
and finishes, and different features. Let’s look at the most important thing first,
the size of the instrument. There are four sizes of ukulele. Which one you will
play depends on your size to some extent, but more on what feels best when you
are holding it. One famous Hawaiian musician, Israel Kamakawiwo’ole, was a
pretty big guy who played the smallest size ukulele.
Size doesn’t just refer solely to the body of the instrument, but also to the scale
length, which means how long the strings are from the nut to the saddle. The
longer the strings, the “tighter” they feel. A soprano “feels” the easiest to play.
will notice an
fferent woods
nt thing first,
one you will
best when you
wo’ole, was a
o to the scale
e saddle. The
Left to right: soprano, concert, tenor and baritone
Soprano: The smallest of the family and historically the most popular. This is
the one most people picture in their mind when they think “ukulele.” Easy to
cradle in your arm, it has a bright, light tone. But some folks find it a little
cramped to hold and play. Best for a smaller person.
Concert: The next size up. Just a little bigger than a soprano and perhaps the
most popular size in the modern era. Retains the bright tone, but a little easier to
hold and play. Best for most people.
Tenor: The tenor is most popular with folks who have played guitar before
because it looks and feels like a little guitar. It is louder with more bass tone. It is
also the easiest to play while holding in your lap like a guitar. Best for a bigger
person or if you have big hands.
Baritone: The baritone is a ukulele, but not like the others. It is tuned differently
(more like a guitar) and not usually played with the others unless you are good at
transposing music. The baritone has its own set of chords and a different
instruction book.
These are your basic choices. Except for the baritone, they are all tuned the same
(even though they take different sets of strings to accommodate the different
scale lengths) and they can all play together happily.
In addition to the size, you will also need to decide between a solid top or a
laminate top ukulele (a laminate is basically plywood, but plywood for
instruments is way different than plywood you use to build a doghouse). A solid
wood top will generally provide a better quality sound than laminate. However,
pular. This islaminates are sturdy and just fine for instruments; in fact they require a little less
ele.” Easy tocare (a solid top will need to be humidified in the winter).
ind it a little
A glossy, or shiny, surface is easy to take care of. If fingerprints are showing on
the top, just rub it down with one of those little cloths you get with your new eye
d perhaps theglasses. A matte or flat looking finish is also a nice option.
little easier to
In a music shop with a wide selection, you will see some ukuleles with 6 or 8
strings, called the Lili’u and the Taro Patch respectively. These are tuned the
guitar beforesame as a regular uke, but some of the strings are tuned in unison for a richer
bass tone. It issound. They make a great second or third ukulele. At some point you might also
t for a biggerwant to consider a banjo ukulele or a resonator ukulele.
Yes, that’s right, second or third ukulele. If you get into this and start having fun,
ed differentlymaybe playing with a group or in a club, you will notice that everyone seems to
ou are good athave more than one ukulele…maybe a fancy one, one to loan to a visitor and one
d a differentfor the kids. The ukulele is too much fun not to share. And, compared to other
instruments, they are not that expensive, even for a really nice one. So don’t fret
too much about picking the right uke…it won’t be your last.
uned the same
the different
What about those $29 ukuleles? Great price, right? Yes, but they are more toys
than instruments. They will not play well or stay in tune, and they will have a
less than desirable tone. It would be better to spring for a better one. A good
solid top or ainstrument for an adult will usually start at $99.
plywood for
ouse). A solidA couple more considerations: Some ukuleles have a built-in “pickup.” A
However,pickup is a device inside the ukulele that allows you to plug it in to an amplifier
re a little lessand play louder. It’s not something you need right away, but if the uke you like
best has a pickup, it is not going to be in your way. Many pickups include a built
in tuner, which is a nice option. Note that a pickup system will make your uke a
e showing onlittle heavier.
your new eye
When you buy a ukulele you should buy a tuner, (preferably the kind that works
by sensing vibration. Ask your salesperson about it), a good case, and this book,
s with 6 or 8if you are just reading it at the music store.
are tuned the
n for a richerOnce you choose the size that is most comfortable, you have to consider a few
ou might alsomore options:
Wood selection: Wow, there are a lot of pretty ukuleles out there! The most
rt having fun,basic models will be brown, made of mahogany or a relative of mahogany.
yone seems toThese are fine to get started on as long as they are set up to play well. You will
isitor and onealso see maple ukuleles with spruce tops and all kinds of exotic woods like
pared to otherbocote, zebrawood and monkey pod (what the heck is monkey pod?). Find one
So don’t fretthat suits your personality and one that has a tone that grabs you.
are more toys

y will have a
one. A good
“pickup.” A
o an amplifier
uke you like
nclude a built
ke your uke a
nd that works
and this book,
onsider a few
re! The most

of mahogany.
well. You will
c woods like
d?). Find one
that suits your personality and one that has a tone that grabs you.
How to Hold the Ukulele
T
he classic Hawaiian way to hold your uke for playing is to rest the neck of the
uke in your left hand. Cradle the body of the uke in your right arm pushed into
your bicep. Hold the uke against your body. The neck should be pointing straight
out to the side.
An alternate way that works great when you are sitting, particularly with a larger
tenor uke, is to rest it on your lap. Because it is now lower, raise the neck up at
an angle for playing.
e neck of the
m pushed into
inting straight
Some folks find it helpful to use a strap to hold the ukulele for them, making it
easier to play and not have to concentrate on holding it. This is fine, but note that
there are a number of different types of straps and you will have to try them to
see which is best for you.
An overview of straps:
with a larger
he neck up atThe guitar style strap: Usually requires the installation of one or two strap
buttons on the uke. Not a big deal, but a little more hardware. Holds the uke on
both ends.
The classical guitar strap: This kind goes around your neck and under the uke,
attaching to the rim of the soundhole. This works well but don’t let go of your
instrument or it will fall on the cold hard ground.
The leash: Attaches on the neck end only. It’s a support without all the bulk of a
full strap. Again, don’t let go.
Classical style strap
em, making it
, but note that
o try them to
or two strap
ds the uke on
under the uke,

et go of your
l the bulk of a
Classical style strap
Tuning the Ukulele
T
here’s just one catch to all of this - the ukulele must be tuned before you can
play it. Some older books will tell you to think of the phrase “my dog has fleas”
to help you tune. Well, whether your dog has fleas or not won’t help you here.
While the uke is really easy to play, tuning it can be a challenge at first.
Here’s the low-down on how to tune.
First of all, note that the strings are referred to as the 1st, 2nd, 3rd and 4th
strings. The 1st string is the one closest to the floor as you are holding the uke in
playing position and the 4th string is the one closest to your head. A downward
strum plays across strings 4 3 2 and 1 in that order. Got it?
Here are the notes: 4th - G, 3rd - C, 2nd - E,

1st - A
Memory aid: Goats Can Eat Anything

1
The C is the lowest in terms of pitch and the A the highest. Note that the strings
are not in pitch order. The 4th string is higher in pitch than the 3rd string, which
is unique to ukulele. If you are matching tones to a piano or keyboard, here is a
diagram:
efore you can
dog has fleas”
elp you here.
3rd and 4th

ing the uke in
A downward
There are great little tuners that clamp on to the headstock that sense vibration
and tell you which note you are closest to when tuning a string. A demo from a
knowledgeable person will help you learn how to use the tuner, or check out our
tuning video at nativeground.com. There are also lots of tuning apps available
for your phone or tablet. They work great, but an actual tuner that reads vibration
1 is better, especially in a noisy environment.
hat the strings

Remember that tightening the string makes the pitch higher (or sharper) and that
string, which
loosening the string makes the pitch lower (or flatter). Once your strings are
oard, here is a
broken in you shouldn’t have to tune dramatically - just a small adjustment each
time before you play.
The most common tuning issue is that you can’t hear the pitch, and continue to
tune higher and higher, trying to hear it. Best to stop, rest your ears, then try to
match tones to a piano or other instrument. The more you do it, the better you
will be. Now, go give your dog a bath!
ense vibration
demo from a
check out our
pps available
eads vibration
rper) and that Photo by Harry Whittier Frees

ur strings are
justment each
d continue to
rs, then try to
he better you
Photo by Harry Whittier Frees
Left Hand Chording
T
he left hand is responsible for fingering the chords and finding the right notes to
play.
What is a chord? A chord is a collection of several notes that sound good when
played together. We will strum all the strings with the right hand, while holding
down various strings with our left hand to make different chords. Sometimes you
will only fret (hold down) one string, but you will still strum all the strings.
Our first chord is C. Place your ring finger on the 1st

string at the 3rd fret, following the diagram to the left.
The diagram on the left shows a ukulele neck pointing

straight up. On the diagram the strings are always the
vertical lines, with the 1st string on the right. The
horizontal lines are the frets, which are the metal bars
on your uke neck. You always play just behind the fret
(toward the headstock), not on top of it. So, if you are
playing at the 3rd fret, your finger will be just behind
that 3rd metal bar. The number shows which finger to
use (1=index, 2=middle, 3=ring, 4=pinky).
Strum all the strings while holding down that note. This is the C chord. Make
sure your finger is arched so that it curves, and your finger tip is pushing the
string down. Your thumb should be behind the neck providing counter pressure
to your finger.
Let’s play our second chord, F: Two fingers this time. Your index finger plays
the 2nd string at the 1st fret and your middle finger plays the 4th string at the
2nd fret. A little more challenging now because there are two fingers involved.
right notes to
nd good when
while holding
ometimes you
ger on the 1st Important: Whenever you play a chord using two or more
fingers, it’s vital that all your fingers land on the strings at
exactly the same time. This is the most efficient way to play
neck pointing chords and will make a big difference in your ability to play
re always the chords quickly. The way to practice this is to go to a chord
he right. The and then lift up your fingers about a half an inch. Then,
he metal bars practice landing on the strings all-at-the-same-time. If you do
ehind the fret this every time you practice, you will learn to make your chords
So, if you are the correct way.
be just behind
hich finger to
Now, the G7 chord:
chord. MakeThree fingers this time. Moving from F to G7, leave your index finger on the
s pushing the2nd string at the first fret and place your middle finger on the 3rd string at the
unter pressuresecond fret. Then add your ring finger to the 1st string at the second fret.
These are three very useful chords. There are literally hundreds of chords, but if
x finger playsyou learn about a dozen or so you will be able to play a LOT of songs. There are
h string at thelittle chord diagrams above the measures of each song in this book so you can
play them on the spot.
There is also a handy reference chart to common chords on page 100. Take some
time to learn each
chord, and say the
name of the chord as
you play it. I suggest
you learn just a few
chords at a time and
practice those. Also,
try to make your
fingers go to the
chord simultaneously,
all getting to where
they need to be at the
same time. This will
help with transitions
between chords when you are playing, and will
improve with practice.
Right before the chord chart in the back of the book (pages 97-99) you will find
the Chord Study. Even before you try playing songs, the Chord Study is great
way to practice your chords and changing from one chord to another in an easy
format. It is a superb practice tool. I suggest you read through the Chord Study
section and use it as a warm up every time you play.
Tips For Fingering Chords

finger on the Keep your left hand thumb behind the neck to provide
d string at the counter pressure to your fingers.
Keep your fingers arched and pointed.
Keep your wrist slightly bent.
chords, but if
ngs. There are For extra practice making, playing, and transitioning
ok so you can between chords, be sure to check out the Chord Study
on pages 97-100.
. Take some
you will find
Study is great
her in an easy
Chord Study
Right Hand Strumming
H
olding your uke in playing position, it is now time to
learn to strum. First, hold a C chord with your left
hand. Now, take your thumb and brush it across all the
strings heading downwards towards the floor. Now, tap
your foot in a slow, steady rhythm and begin to strum
at the same time. The goal is to strum downwards as
you tap downwards, and move your hand back up as
your foot moves up, ready for the next strum/tap. Count
as you do this: one, two, three, four, one, two, three,
four, one, two, three, four. Pretend that your big toe on
your right foot and your right hand are connected by an
invisible stick, so that if your right foot is moving down
then your right hand is moving down as well. Your rhythm will lock in when
you do this.
You can also strum with your right hand index finger for a different sound.
Slightly curl your hand and strum across with the nail of your finger. Practice
that while tapping your foot. We will strum with both the thumb and the finger,
so it is necessary to be comfortable with both.
We are now playing the Simple Strum, once down across the strings on the beat
(it’s not called the down beat for nothing!). Below is a diagram of one measure
of this strum.
This is the Simple Strum and you can play virtually any song with this basic
rhythm. This is the best strum to use when learning a new song. Count out
loud while strumming.
HINT: When you learn a new song in this book, I recommend

lock in when you always start with the Simple Strum so you can learn the
chords and get the feel of the song. Then you can try a
recommended strum.
ferent sound.
nger. Practice
nd the finger,There are some other fun rhythms you can play. To get there, you need to learn
the mother of all strums: the Down-Up Strum, which is illustrated below.
gs on the beat
one measure
Notice you are still strumming down on each beat along with your foot. Only
now you are also brushing the strings on your way back up with the pad of your
finger or the side of your thumb to prepare for another downward strum. Again,
your foot and hand should feel connected. Continue to count, but now say “one
and two and three and four and.” The down beats are still there, but we are
adding the up beats, represented by the + signs. This may also be called an
eighth note rhythm (eight total strums per measure, four downbeats and four
upbeats). Your foot and hand move down on the beats and up on the “ands.”
Let’s look at some other strums. Most strums are the mother strum with some
part taken away. Before we actually do that, here is an important point: notice
with this basicthat when you are strumming the Down-Up strum your hand is always moving
g. Count outup and down in a continuous motion. You will want that continuous, fluid
motion to remain during all the other strums. None of the strums are “jerky” or
“stop and starty.” If you find yourself stopping in the middle of a pattern, or find
your foot and hand at odds (one up and one down), you have probably lost the
fluid motion that makes these strums work. If and when that happens, go back a
step to the Simple Strum or Down-Up Strum.
Our next strum is called the Dramatic Strum. We are not going to play on the
upbeat of count one. This will accentuate the first beat and make it, well,
dramatic. ONE two and three and four and ONE two and three and four and.
need to learnLeave the space for the “and” of one, move your hand up even though it is
missing the strings and prepare for two.
ur foot. OnlyClosely related is the Double Dramatic Strum. Strum down on one and two,
e pad of yourand strum down up on three and four.
strum. Again,
now say “one
e, but we are
be called an
eats and four
m with some
point: notice
ways moving
inuous, fluid
are “jerky” or
attern, or findCowboy Strum: Same as Dramatic Strum, but we are not going to play on the
bably lost the
“and” of one or three. ONE two and THREE four and ONE two and THREE
ns, go back afour and. Take a look at the diagram below.
o play on the
make it, well,
and four and.
n though it is
You can use the numbers, or if you prefer, say the motion like this: DOWN
DOWN up DOWN DOWN up DOWN. The Cowboy Strum can be a little tricky
because the pattern doesn’t fit perfectly in a measure like the Dramatic Strum.
The Cowboy Strum overlaps the measures - it does not end on the fourth beat
like other strums, so you must be vigilant with your counting.
Here’s another biggie: the Folk Strum, also called the calypso. This is one of
one and two,the hardest for some people. But once you get it, it’s as easy as eating pie. Notice
for the first time we are going to not play on a beat (gasp!). One two and and
four and. Tricky! If you tap your foot nice and loud, it will audibly fill in the gap
made by the absence of “3.”
o play on the
and THREE
Playing Your Foot

Tap with your right foot; it moves with your strumming hand.
Anchor your heel on the floor and tap your toes. This is the most
effective way to tap. When you are starting a song, be sure to tap
a measure first with your foot while counting to establish the
time and prepare to play and sing.
this: DOWN
a little tricky
amatic Strum.
he fourth beat
This is one of
the hardest for some people. But once you get it, it’s as easy as eating pie. Notice
for the first time we are going to not play on a beat (gasp!). One two and and
four and. Tricky! If you tap your foot nice and loud, it will audibly fill in the gap
made by the absence of “3.”
Playing Your Foot

Tap with your right foot; it moves with your strumming hand.
Anchor your heel on the floor and tap your toes. This is the most
effective way to tap. When you are starting a song, be sure to tap
a measure first with your foot while counting to establish the
time and prepare to play and sing.
Waltz Strums
F
or songs played in ¾ time, or waltz time, we only count to three. There are three
beats in the measure. Here are three waltz strums. Videos of all these strums are
on our Native Ground website (www.nativeground.com) so you can see how
they are played.
here are three
ese strums are
can see how
To Pick or Not to Pick

What about a pick? Ukulele players generally do not use any
sort of pick or plectrum. Some of the rhythms are actually harder
with a pick. But feel free to experiment once you get some
basics down.
To Pick or Not to Pick
What about a pick? Ukulele players generally do not use any
sort of pick or plectrum. Some of the rhythms are actually harder
with a pick. But feel free to experiment once you get some
basics down.
Y
ou do NOT have to be able to read music to play the ukulele. Instead, we have
provided you with simple song charts that will help you play. Our first example
is Skip to My Lou. If you are not familiar with this song, please report back to
kindergarten. The four little lines under each measure indicate the beat. Tap
your foot while counting to four and strum down on each beat. When singing,
keep the strumming steady.
Y
ou do NOT have to be able to read music to play the ukulele. Instead, we have
provided you with simple song charts that will help you play. Our first example
is Skip to My Lou. If you are not familiar with this song, please report back to
kindergarten. The four little lines under each measure indicate the beat. Tap
your foot while counting to four and strum down on each beat. When singing,
keep the strumming steady.
Playing the Melody
T
he ukulele is a great instrument for playing single note melodies as well as
rhythm. The melody is the tune of the song, the part that goes with the lyrics. We
can play these notes just the same as we can sing them by using tab.
Tab is short for tablature. It is a music notation system for fretted stringed
instruments that has been around longer than standard written music. It is very
useful for learning tunes and fingerings. Unlike standard notation, tab is different
for each instrument (a banjo or mandolin, for example - different strings,
different tunings). The main difference is that you read diagrams and numbers
instead of notes. The lines in tab refer to the strings and the numbers to the frets.
So when you see this diagram, it means play the 3rd string open or unfretted two
times. The zero means no fret is used. Don’t hit any other strings, just the 3rd
string.
Let’s review what “1st string” means. You could count from either side, couldn’t
you? As you are holding and playing the instrument, the 1st string is the one
nearest the floor, and the 4th string is the one closest to your chin. On the tab the
1st string is the top line and the 4th is the bottom line. There is one line per
string. Now I know what you are thinking: “Why is the tab written upside down
compared to the uke I am holding?” And that is a good point. The reason is that
everything is relative to pitch. A higher note is higher in pitch, and is written on
the higher line. When written, tab for most instruments and standard notation
mirror each other and can be used together. It is a little different for the ukulele,
with a high fourth string, but we follow the convention just the same.
So, in the example, we have:
es as well as
the lyrics. We
etted stringedWe will play the 3rd string open twice, then the 4th string open twice. Did you
sic. It is verynotice that we played four notes in that measure? They occur right on the beat,
ab is differentlike the simple strum.
erent strings,
and numbers
rs to the frets. Important: If your ukulele has a low G string on it, you need to
unfretted two make a change to the way you play the tab. Wherever you see
s, just the 3rd tab indicating to play the 4th string open, you will instead play
the 2nd string at the third fret. This will give you the correct
melody note. A low G string means your 4th string has been
replaced with a wound string that is still a G, but one octave
lower than the regular G.
Let’s continue:
side, couldn’t
ng is the one
On the tab the
one line perIn the second measure we play the 1st string open twice, then the 4th string
upside downopen, then on the fourth beat we do nothing but tap our foot and wait for the next
reason is thatmeasure. The beat is accounted for, but no string is played.
is written on
dard notationHere are four measures of the tune, which may sound familiar by the end. Notice
or the ukulele,the numbers in measures three and four. The “1” means that you play the 2nd
string fretted at the first fret twice, followed by the same string open twice. In
that fourth measure, you fret the 3rd string at the second fret for two beats, play
the same string open, then rest for the final beat.
What fingers should you use to pluck the strings? You have
choices here, from all thumb to all one finger. I find that the
wice. Did you most efficient right hand plucking method is to use your thumb
t on the beat, to play the 3rd and 4th strings (G and C) and your index or index
and middle fingers to pluck the 1st and 2nd strings (E and A).
Great! Now here is the complete melody of Twinkle, Twinkle Little

Star.
he 4th string
it for the next
he end. Notice
play the 2nd
pen twice. In
that fourth measure, you fret the 3rd string at the second fret for two beats, play
the same string open, then rest for the final beat.
What fingers should you use to pluck the strings? You have
choices here, from all thumb to all one finger. I find that the
most efficient right hand plucking method is to use your thumb
to play the 3rd and 4th strings (G and C) and your index or index
and middle fingers to pluck the 1st and 2nd strings (E and A).
Great! Now here is the complete melody of Twinkle, Twinkle Little

Star.
2
What a Typical Page Looks Like
Ancient Secrets to Practicing & Playing

Music
Tap your foot
Count out loud while you strum
Practice slowly
Go Tell Aunt Rhody
4/4
Key of C
G
o Tell Aunt Rhody is a classic nursery rhyme that many of us grew up singing.
According to musicologist Norm Cohen, the melody was used in an opera
written in 1750 by Jean Jacques Rousseau. It was then published as a piano solo
about 1818. Besides Aunt Rhody, the owner of the goose has been called Aunt
Patsy, Aunt Tabby, Aunt Abby, Aunt Nancy and Aunt Dinah.
This is a great song to start. There are only two chords and the Simple Strum
works great.
Remember to tap your foot and count before you start. Then try the chords while
singing. The next step is to play the melody using the tabbed notes.
Did you miss the first page of this book? Click HERE to download the
instructional MP3s that accompany this book, as indicated by the images of the
antique gramophones throughout these pages.
3
w up singing.
in an opera
s a piano solo
n called Aunt
Simple StrumLyrics
Go tell Aunt Rhody,

chords while Go tell Aunt Rhody,
Go tell Aunt Rhody,
The old grey goose is dead.
download the
images of the The one that she’s been saving,
The one that she’s been saving,
To make a feather bed. (Chorus)
She died in the millpond,

From standing on her head. (Chorus)
The goslings are crying,

Because their mammy’s dead. (Chorus)
Lyrics
Go tell Aunt Rhody,

Go tell Aunt Rhody,
Go tell Aunt Rhody,
The old grey goose is dead.

To make a feather bed. (Chorus)

From standing on her head. (Chorus)

Because their mammy’s dead. (Chorus)
Whole World in His Hands
4/4
Key of C
A
lso known under its complete title, He’s
Got the Whole World in His Hands, the
lyrics of this spiritual were first heard in
Alabama and printed as early as 1927. Folk
song collector Frank Warner learned it
from Sue Thomas in North Carolina in
1933 and went on to record his own
version for Elektra Records in 1952. From
there it spread like wildfire, both in
America and in England. In 1958, the song
skyrocketed up the charts to # 1. In fact, to
this day it remains the only religious song
to ever top the pop singles chart. It has
been recorded by Odetta, Frank Sinatra, Library of Congress
Dolly Parton, Waylon Jennings, Perry Como, as well as Tammy Wynette and
George Jones.
As they say, this song is just “two chords and the truth.” Learn it with the Simple
Strum, then try it with the Folk Strum. The melody is familiar and has a lot of
open strings, so you should play the 4th string with your thumb and the other
strings with your index finger.
Pickup Notes
Sometimes folks have trouble starting a song because the lyrics
often start before the 1st measure. When the melody/lyrics start
before 1st measure, they get a special partial measure at the
beginning and are commonly referred to as pickup notes. The
beginning of the melody is played or sung first and the rhythm
starts on the “one” of the first measure. If you play another verse
and the pickup notes are played again, they are played in the last
measure of the song (to take you back to the beginning).
ress
Wynette and
th the Simple
d has a lot of
and the other
Lyrics
He’s got the whole world in His hands,

He’s got the whole world in His hands.
He’s got my brothers and my sisters in His hands,

He’s got the sun and the rain in His hands,

He’s got the moon and the stars in His hands,
He’s got the wind and the clouds in His hands,
He’s got everybody here in His hands,

He’s got everybody there in His hands,
He’s got everybody everywhere in His hands,
Lyrics


He’s got the sun and the rain in His hands,

He’s got the moon and the stars in His hands,
He’s got the wind and the clouds in His hands,
He’s got everybody here in His hands,

He’s got everybody there in His hands,
He’s got everybody everywhere in His hands,
Buffalo Gals
4/4
Key of C
C
hanging names became a habit for Buffalo
Gals. The song started out in 1844 as the
minstrel era song entitled Lubly Fan, written by
John Hodges, whose stage name was Cool
White. It was so popular that when touring
minstrel bands took the song on the road, they
cleverly changed the name of the song,
depending on what town they were performing
in. Now you see why it has gone under such
names as Cincinnati Gals, Alabama Gals and
Charleston Gals. Feel free to substitute your
hometown in the lyrics unless you live in
Nothing (Arizona), Monkeys Eye
ow (Kentucky), Tightwad (Missouri),
Frogtown (Mississippi) or Hooker (Oklahoma).
The Cowboy Strum works well on this song and there are only two chords to
worry about. The melody is a little challenging because there are some eighth
notes in the chorus. Hum as you play the melody and you will be able to play
these notes. Eighth notes are kind of like down-up strumming and the quarter
notes are like simple strumming. For example, in measure 9 when you see eighth
notes connected with lines, you would count the melody “one and two three four
and.” Listen to the MP3 if it is not clear (Click here for directions to download
the MP3s).
5
wo chords to
some eighth
e able to play
nd the quarter
you see eighth
wo three four
to download
Lyrics
As I was lumb’ring down the street,

Down the street, down the street,
A handsome gal I chanced to meet,
Oh, she was fair to view.
Oh, Buffalo gals won’t you come out tonight,

Come out tonight, come out tonight,
Buffalo gals won’t you come out tonight,
And dance by the light of the moon.
I asked her if she’d have a talk,

Have a talk, have a talk,
Her feet took up the whole sidewalk,
As she stood close to me. (Chorus)
I asked her “would you want to dance,

Want to dance, want to dance?”
I thought that I would have a chance
To shake a foot with her. (Chorus)
Oh, I danced with the gal with a hole in her stocking,

And her hip kept a-rockin’ and her toe kept a-knockin’,
I danced with the gal with a hole in her stocking,
And we danced by the light of the moon. (Chorus)
I danced with a gal with a wooden leg,

I guess that’s the reason they called her Peg. (Chorus)
Lyrics
As I was lumb’ring down the street,

Down the street, down the street,
A handsome gal I chanced to meet,
Oh, she was fair to view.
Oh, Buffalo gals won’t you come out tonight,

Come out tonight, come out tonight,
Buffalo gals won’t you come out tonight,
And dance by the light of the moon.
I asked her if she’d have a talk,

Have a talk, have a talk,
Her feet took up the whole sidewalk,
As she stood close to me. (Chorus)
I asked her “would you want to dance,

Want to dance, want to dance?”
I thought that I would have a chance
To shake a foot with her. (Chorus)
Oh, I danced with the gal with a hole in her stocking,

And her hip kept a-rockin’ and her toe kept a-knockin’,
I danced with the gal with a hole in her stocking,
And we danced by the light of the moon. (Chorus)

I guess that’s the reason they called her Peg. (Chorus)
When the Saints Go Marching In
4/4
Key of C
E
vidence of the origin of When the Saints Go Marching In points to the Bahama
Islands, but we may never know the truth. It was first copyrighted on June 17,
1896 by J. M. Black. It appeared in Black’s book, Songs of the Soul No. 2, with
music by J. M. Black and lyrics by Katherine E. Purvis. My guess is that Black
and Purvis may not have composed it, but merely arranged it. In the 1930s, it
became a standard and was frequently performed by the jazz band at
Preservation Hall in New Orleans. Over the years, they were asked to play this
song so many times that in the 1960’s they privately referred to it as “The
Monster.” The story is told that they put up a sign in Preservation Hall that they
would charge $5 to play When the Saints Go Marching In. By 2012, the price
had gone up to $20. With any luck and a lot of practice, you might even make
some money playing this song!
o the Bahama
d on June 17,
ul No. 2, with
is that Black
the 1930s, it
azz band at
d to play this
to it as “The
Hall that they
012, the price
ht even make Preservation Hall Jazz Band
A crisp Cowboy Strum will have everyone marching in no time. The melody,
while not difficult to find with your fingers, is a little tricky in the timing.
Sometimes the melody waits until the second beat of the measure to start and it
is tempting to jump right in with the rhythm on one. A good way to prepare to
play the melody is to first strum the chords and sing or hum the melody for
placement, then try playing the melody.
6
The melody,
n the timing.
to start and it
to prepare to
e melody for
Lyrics
And when the sun refuse to shine,

And when the sun refuse to shine,
Lord, how I want to be in that number,
When the sun refuse to shine.
And when the moon turns red with blood,

And when the moon turns red with blood,
When the moon turns red with blood.
Oh, when the trumpet sounds its call,

When the trumpet sounds its call.
Oh, when the stars fall from the sky,

When the stars fall from the sky.

When the trumpet sounds its call.

When the stars fall from the sky.
Camptown Races
4/4
Key of C
N
ow considered an American classic, Stephen Foster’s Camptown Races was only
modestly successful when it was first published. In the first seven years after it
made its appearances on February 19, 1850, it earned a total of just $101.25 on
the sale of 5,000 copies. Of course, back then sheet music cost just two cents
each. It was first performed by the Christy Minstrels and it remains one of
Foster’s most well-known songs. First, use the Simple Strum to play Camptown
Races. When you want get a little fancy, bump it up to a snappy tempo with the
Cowboy Strum.
7
was only
years after it
st $101.25 on
ust two cents
mains one of
Camptown
mpo with the
Lyrics
Camptown ladies sing this song,

Doo-dah, doo-dah,
The camptown racetrack five miles long,
Oh! do-dah-day!
I come down there with my hat caved in,

Doo-dah, doo-dah,
I go back home with a pocketful of tin,
Oh! do-dah-day!
Oh! do-dah-day!
Goin’ to run all night!

Goin’ to run all day!
Bet my money on the bob-tail nag,
Somebody bet on the bay.
The long tail filly and the big black hoss,

Doo-dah, doo-dah,
They fly the track and they both cut across,
Oh! do-dah-day!
The blind hoss sticken in a big mud hole,

Doo-dah, doo-dah,
Can’t touch bottom with a ten foot pole,
Oh! do-dah-day! (Chorus)
Old muley cow come onto the track,

Doo-dah, doo-dah,
The bobtail fling her over his back,
Oh! do-dah-day!
Then fly along like a railroad car,

Doo-dah, doo-dah,
Runnin’ a race with a shootin’ star,
See them flyin’ on a ten mile heat,

Doo-dah, doo-dah,
Round the racetrack then repeat,
Oh! do-dah-day!
I win my money on the bobtail nag,

Doo-dah, doo-dah,
I keep my money in an old towbag,
Oh, Susanna
4/4
Key of C
O
h, Susanna is considered a true classic, as
American as apple pie. It was penned by
Stephen C. Foster and was performed on the
minstrel stage as early as September 11, 1847.
It soon became the rallying cry of the forty-
niners as they headed West to seek their
fortune in the gold fields of California. But
unlike some of the lucky miners, Foster himself
reaped no riches for composing Oh, Susanna.
Instead, scores of unscrupulous publishers soon
claimed the song as their own and printed
pirated editions.
When playing the chords to Oh, Susanna,

Stephen C. Foster
notice that there are a lot of split measures
where you have more than one chord per measure. Play each chord for two
beats. The Cowboy Strum is good, but you might try the Simple Strum for the
split measures so that each chord is played to full effect.
8
Foster
hord for two

Strum for the
Lyrics
Oh, I come from Alabama with my banjo on my knee,

And I’m going to Louisiana my own true love for to see.
It rained all night the day I left, the weather it was dry,
The sun so hot I froze to death, Susanna don’t you cry.
Oh, Susanna,
Oh, don’t you cry for me,
For I come from Alabama,
With a banjo on my knee.
I had a dream the other night, when everything was still,

I thought I saw Susanna, a-coming down the hill.
The buckwheat cake was in her mouth, a tear was in her eye,
Says I, I’m coming from the South, Susanna don’t you cry. (Chorus)
I soon will be in New Orleans, and then I’ll look around,

And when I find Susanna, I’ll fall upon the ground.
But if I do not find her, then I will surely die,
And when I’m dead and buried, Susanna don’t you cry. (Chorus)
Lyrics
Oh, I come from Alabama with my banjo on my knee,

And I’m going to Louisiana my own true love for to see.
It rained all night the day I left, the weather it was dry,
The sun so hot I froze to death, Susanna don’t you cry.
Oh, Susanna,
Oh, don’t you cry for me,
For I come from Alabama,
With a banjo on my knee.
I had a dream the other night, when everything was still,

I thought I saw Susanna, a-coming down the hill.
The buckwheat cake was in her mouth, a tear was in her eye,
Says I, I’m coming from the South, Susanna don’t you cry. (Chorus)
I soon will be in New Orleans, and then I’ll look around,

And when I find Susanna, I’ll fall upon the ground.
But if I do not find her, then I will surely die,
And when I’m dead and buried, Susanna don’t you cry. (Chorus)
Clementine
3/4
Key of G
I
f you’re not familiar with Clementine, then you
may know this song best as Found a Peanut, as
sung by thousands of boys and girls around a
smoldering campfire. The lyrics to an early
version of Clementine were first printed in
1863 as Down by the River Lived a Maiden,
written by H. S. Thompson. Another version
appeared in a 1864 book entitled Billy Morris’
Songs. Finally, in 1884 Percy Montrose came
out with Oh, My Darling Clementine with the
melody that we now associate with this song.
Since copyright laws were notoriously lax in
those days, we honestly don’t know who can
legitimately claim authorship of Clementine.
We may not know who actually wrote Photo by Wayne Erbsen

Clementine, but we can say for sure that this waltz has just two chords, so it is a
good one to practice your waltz strums. Try planting your index finger at the 2nd
fret while playing the melody- you’ll be able to reach the 5th fret with your
pinky without moving your hand or losing your place.
9
Lyrics
In a cavern, in a canyon,
Excavating for a mine,
Lived a miner forty-niner,
And his daughter Clementine.
e Erbsen Oh my darling, Oh my darling,

ords, so it is a Oh my darling, Clementine!
ger at the 2nd You are lost and gone forever,
ret with your Dreadful sorry, Clementine.
Light she was and like a fairy,

And her shoes were number nine,
Herring boxes, without topses,
Sandals were for Clementine.
In my dreams she still upon me,

Broken garments soaked in brine,
Though in life I used to hug her,
In death I draw the line.
How I missed her! How I missed her,
How I missed my Clementine,
So I kissed her little sister,
And I forgot my Clementine.
How I missed her! How I missed her,
How I missed my Clementine,
So I kissed her little sister,
And I forgot my Clementine.
Amazing Grace
3/4
Key of G
F
or those of us who live in the South, no hymn can begin to rival the popularity of
Amazing Grace. The composer of the lyrics was John Newton, who was born in
England in 1725. At the age of nine his mother died and young John was shipped
off to sea. Not liking the life as a cabin boy in the British Royal Navy, he
attempted to escape, but he was brought back, whipped, and put in irons. He
slowly rose through the ranks and eventually became captain of a slave ship that
carried its human cargo from Africa to the shores of America. During a violent
storm when he thought his ship was going down, Newton found solace in God.
This religious conversion eventually led him to leave behind the life of a seaman
and became an ordained minister in the Church of England. After Newton
composed the lyrics to Amazing Grace in 1789, he set the words to an
anonymous hymn tune that often appeared in old hymn books as New Britain or
Harmony Grove.
Amazing Grace is in 3/4 or waltz time, so we’ll be counting to three in each

measure. Any of the waltz strums will sound good with Amazing Grace. The
chords change fairly often, so start the song slowly. You’ll want to use your
thumb on the fourth string and your fingers on the other strings for the melody.
This will make playing the eighth note sections much easier.
10
popularity of
o was born in
n was shipped
yal Navy, he
in irons. He
lave ship that
ring a violent
olace in God.
e of a seaman
After Newton
words to an
ew Britain or
three in each
. The
t to use your
r the melody.
Lyrics
Amazing grace how sweet the sound,

That saved a wretch like me.
I once was lost, but now I’m found,
Was blind, but now I see.
‘Twas grace that taught my heart to fear,

And grace my fears relieved.
How precious did that grace appear,
The hour I first believed.
Through many dangers, toils and snares,

I have already come.
‘Twas grace that brought me safe thus far,
And grace will lead me home.
When we’ve been there ten thousand years,

Bright shining as the sun.
We’ve no less days to sing God’s praise,
Than when we first begun.
Through many dangers, toils and snares,

I have already come.
‘Twas grace that brought me safe thus far,
And grace will lead me home.
When we’ve been there ten thousand years,

Bright shining as the sun.
We’ve no less days to sing God’s praise,
Than when we first begun.
This Little Light of Mine
4/4
Key of G
H
arry Dixon Loes was so good at writing gospel songs that some of them were
mistaken for ancient black spirituals. Such is the case with This Little Light of
Mine, which Loes wrote about 1920. You could have knocked me over with a
feather when I discovered the true origins of this song. In fact, Loes not only
wrote This Little Light of Mine, but hundreds of other gospel songs too. Of
course, I’m not the only one who was fooled by Loes’ prodigious skills as a song
writer. In 1939, none other than the eminent folklorist John A. Lomax
“collected” it. That was only nineteen years after Loes wrote it!
This Little Light of Mine is in the key of G and uses a lot of G and C chords. An
E minor (Em) sneaks into the third line for some drama. The melody follows a
pattern that fits well with the Cowboy Strum.
11
of them were
Little Light of
e over with a
Loes not only
ongs too. Of
kills as a song
n A. Lomax
C chords. An
ody follows a
Lyrics
This little light of mine, I’m gonna let it shine,

Let it shine, shine, shine, let it shine.
Everywhere I go, I’m gonna let shine,

All in my house I’m gonna let it shine,

Out in the dark, I’m gonna let it shine,



Do Lord
4/4
Key of G
S
ome people have joked that there’s really only
one song and everything else is a variation of
that. If you’re one of those people, we present
you with this song, Do Lord. Often called Do
Lord Remember Me, this classic African-
American spiritual has its roots in slavery days
in the old South. Its melody has been widely
copied and has been used for the melody of
such songs as Worried Man Blues, Sun’s
Gonna Shine in My Backyard Someday, I Got a
Home in Beulah Land, Lights in the Valley and
Gotta Travel On. It was first recorded by the Garner Brothers on January 9,
1925.
Try playing Do Lord with an upbeat Folk Strum or a Cowboy Strum. The
melody features a lot of open strings, so use your right hand thumb to play the
fourth string and your fingers to play the other strings.
12
on January 9,
y Strum. The
mb to play the
Lyrics
I’ve got a home in gloryland that outshines the sun, (3 times)

Look away beyond the blue. (Chorus)
I kept Jesus as my Savior, you take Him too, (3 times)

When I’m in trouble, do remember me, (3 times)

When this world’s on fire, do remember me, (3 times)

I kept Jesus as my Savior, you take Him too, (3 times)

When I’m in trouble, do remember me, (3 times)

When this world’s on fire, do remember me, (3 times)

Molly Malone (Cockles &
Mussels)
3/4
Key of G
E
ven though there’s scant evidence that a fishmonger named Molly Malone died
of a fever or even existed, try telling that to the Tourist Information Office in
Dublin, where a statue of Molly Malone now stands. Is it just me or am I correct
in speculating that America’s Puritan past would prevent most American tourist
offices from showcasing a public statue that showed off this much cleavage?
For Molly Malone, we’ll try the Dramatic Waltz Strum. Be sure to play this song
slowly, not only to preserve its tragic story, but because the chords change every
measure. The melody is great because there is a note on almost every beat, so it
is a little easier to keep track of where you are. Keep an eye on that beat though
and don’t skip any notes when there are several of them in a row.
13
Malone died
ion Office in
r am I correct
merican tourist
play this song

change every
ery beat, so it
at beat though
Lyrics
In Dublin’s fair city,

Where the girls are so pretty,
I first set my eyes on,
Sweet Molly Malone.
As she wheeled her wheelbarrow,
Through streets broad and narrow,
Crying cockles and mussels,
Alive a-live O!
A-live a-live O!
A-live a-live O!
Alive a-live O!
She was a fishmonger,

And sure it was no wonder,
For so were her father,
And mother before.
And they both wheeled their barrows,
Alive a-live O! (Chorus)
She died of a fever,

And no one could save her,
And that was the end,
Of sweet Molly Malone.
Now her ghost wheels her barrow,
She died of a fever,

And no one could save her,
And that was the end,
Of sweet Molly Malone.
Now her ghost wheels her barrow,
Wabash Cannonball
4/4
Key of G
F
or lovers of railroad songs, it doesn’t get any
better than Wabash Cannonball. It was
apparently based on an earlier song first
published in 182 called Rock Island Route by
J.A. Roff. Although the Carter Family recorded
it in 1929, it was Roy Acuff and his Crazy
Tennesseans’ recording in 1936 that helped
turn it into the classic it is today. It didn’t hurt
that it was one of Acuff’s signature songs that
Dough Walker Collection
he frequently performed on Saturday night at
the Grand Ole Opry. For a great train song, we need a great train rhythm, and the
Cowboy Strum fits this song like a glove. The Dramatic Strum also works well.
For the melody, use your first finger at the 2nd fret so your pinky can reach the
5th fret without moving your hand. Notice that most of the notes are played at
the 2nd fret anyway.
14
Collection
ythm, and the

o works well.
can reach the
are played at
Lyrics
From the great Atlantic ocean to the wide Pacific shore,

From the queen of flowing mountains to the south bells by the shore,
She’s mighty tall and handsome and known quite well by all,
She’s the combination of the Wabash Cannonball.
Listen to the jingle, the rumble and the roar

As she glides along the woodland, through hills and by the shore,
Hear the mighty rush of the engine, hear that lonesome hobo squall,
You’re traveling through the jungle on the Wabash Cannonball.
She come down from Birmingham one cold December day,

And she rolled into the station you could hear the people say,
There’s a girl from Birmingham, she’s long and she is tall,
She come down to Birmingham on the Wabash Cannonball. (Chorus)
Here’s to Daddy Claxton, may his name forever stand,

And always be remembered in the courts of Alabam,
His earth race is over and the curtains round him fall,
We’ll carry him home to victory on the Wabash Cannonball. (Chorus)
Lyrics
From the great Atlantic ocean to the wide Pacific shore,

From the queen of flowing mountains to the south bells by the shore,
She’s mighty tall and handsome and known quite well by all,
She’s the combination of the Wabash Cannonball.
Listen to the jingle, the rumble and the roar

As she glides along the woodland, through hills and by the shore,
Hear the mighty rush of the engine, hear that lonesome hobo squall,
You’re traveling through the jungle on the Wabash Cannonball.
She come down from Birmingham one cold December day,

And she rolled into the station you could hear the people say,
There’s a girl from Birmingham, she’s long and she is tall,
She come down to Birmingham on the Wabash Cannonball. (Chorus)
Here’s to Daddy Claxton, may his name forever stand,

And always be remembered in the courts of Alabam,
His earth race is over and the curtains round him fall,
We’ll carry him home to victory on the Wabash Cannonball. (Chorus)
Home on the Range
3/4
Key of G
Y
ou don’t have to be a cowboy to like cowboy songs, but it helps. The Cowgirl
Waltz Strum is perfect out here on the prairie. There are quite a few chords in
this song and in waltz time they seem to come up quickly. Start slow and
concentrate on the song. It is also a long song so make sure you stay in the
saddle! The melody is tricky as well. The main focus is to keep on beat and keep
track of where you are in the song.
15
The Cowgirl
few chords in
art slow and
u stay in the
beat and keep
Lyrics
Oh, give me a home where the buffalo roam,

Where the deer and the antelope play.
Where seldom is heard a discouraging word,
And the skies are not cloudy all day.
Home, home on the range,

Where the deer and the antelope play.
Where seldom is heard a discouraging word,
The Water is Wide
4/4
Key of G
T
he Water is Wide is one of America’s most
beloved folk songs. Its origins go back to
seventeenth century Scotland, where it was
sung under the title Wally, Wally. It has been
suggested that the original song referred to the
unhappy marriage of James Douglas, 2nd
Marquis of Douglas, and Lady Barbara
Erskine. In 1906, English folk song scholar
Cecil Sharp gathered together a number of
floating verses from earlier English broadsides
and ballads and published it under the title The
Water is Wide. Pete Seeger helped to
popularize it during the folk revival of the
1960’s.
Like most ballads and slower songs, the Folk Cecil Sharp
Strum sounds perfect on this classic. Keep a nice slow beat throughout to bring
out the beauty of this melody.
16
rp
ghout to bring
Lyrics
The water is wide, I can’t cross o’er,

And neither have I wings to fly.
Build me a boat that can carry two
And both shall row, my love and I.
There is a ship and she sails the sea.

She’s loaded deep, as deep can be.
But not so deep as the love I’m in,
I know not how I sink or swim.
Oh, love is handsome and love is fine,

The sweetest flower when first it’s new.
But love grows old and waxes cold,
And fades away like summer dew.
I leaned my back up against an oak,

Thinking it were a trusty tree,
But first it bent and then it broke,
Thus did my love prove false to me.
Oh, love is sweet and love is kind,

Fresh as the dew when first it’s new,
And fades away like the morning dew.
Oh, love is handsome and love is fine,

The sweetest flower when first it’s new.
And fades away like summer dew.
I leaned my back up against an oak,

Thinking it were a trusty tree,
But first it bent and then it broke,
Thus did my love prove false to me.
Oh, love is sweet and love is kind,

Fresh as the dew when first it’s new,
And fades away like the morning dew.
Down in the Valley
3/4
Key of F
A
true American folk song, Down in the Valley was collected as early as 1910 with
such titles as Birmingham Jail, Bird in a Cage and Down on the Levee. The tune
is similar to Happy Home Waltz from about 1850. First to record Down in the
Valley was Marion Underwood in September of 1927.
This waltz is fun with any of the waltz strums, although my favorite is the
Cowgirl Waltz Strum. It is easy with only two chords that don’t change very
often. Just be sure to keep track of your measures - sometimes when a song
changes chords less often it is harder to keep track of where you are. It is also a
good tune to work on reading tab. The tab is fairly simple, but watch your timing
and focus on counting all the beats as you play.
17
as 1910 with
. The tune
Down in the
avorite is the
change very
when a song
re. It is also a
h your timing
Lyrics
Down in the valley, the valley so low,

Hand your head over, hear the wind blow.
Hear the wind blow, love, hear the wind blow,
Hang your head over, hear the wind blow.
Violets love sunshine, roses love dew,

Angels in Heaven know I love you.
Know I love you, dear, know I love you,
If you don’t love me, then love who you please,

Throw your arms round me and give my heart ease.
Give my heart ease, dear, give my heart ease,
Throw your arms ‘round me before it’s too late,

Throw your arms round me and feel my heart break.
Feel my heart break, dear, feel my heart break,
Write me a letter, send it by mail,

Back it and stamp it to the Birmingham jail.
Birmingham jail, love, Birmingham jail
Build me a castle a hundred foot high,

So I can see him as he goes by.
As he goes by, dear, as he goes by,
If you don’t love me, then love who you please,

Give my heart ease, dear, give my heart ease,
Throw your arms ‘round me before it’s too late,

Feel my heart break, dear, feel my heart break,
Write me a letter, send it by mail,

Birmingham jail, love, Birmingham jail
Build me a castle a hundred foot high,

As he goes by, dear, as he goes by,
On Top of Old Smoky
3/4
Key of C
H
eading west from my home in Asheville, North Carolina, it’s less than an hour’s
drive to the heart of the Smoky Mountains that divide North Carolina from East
Tennessee. Although the composer of On Top of Old Smoky is unknown, one
thing is clear. Back in the late 19th and early 20th centuries, this was fertile
ground for banjo pickin’, fiddle playing and ballad singing. I’m not a bit
surprised that this song originated there. By 1915, the lyrics were collected for a
scholarly article in The Journal of American Folklore. George Reneau, who was
billed as the “Blind Musician of the Smoky Mountains,” was the first to record it
on October 15, 1925. The Weavers’ 1951 recording of the song went on to sell
over a million copies. That same year it became the signature song of Burl Ives,
whose version reached #10 on the Billboard chart.
On Top of Old Smoky is a fun one to play and sing. Of course, if you prefer, you
can also sing On Top of Spaghetti. Just remember that it is a waltz and you only
need to count to three. The melody has a lot of open strings and is not too
complicated. Just make sure you are counting all the beats between notes. In
fact, it helps to count “1 2 3” out loud as you are playing to keep your place in
the song.
han an hour’s
ina from East
unknown, one 18
is was fertile
’m not a bit
ollected for a
eau, who was
st to record it
ent on to sell
of Burl Ives,
ou prefer, you
and you only
nd is not too
een notes. In
your place in
Lyrics
On top of old smoky all covered with snow,

I lost my true lover by courting too slow.
For courting’s a pleasure and parting is grief,

And a false hearted lover is worse than a thief.
A thief will but rob you and take all you save,
But a false hearted lover will lead you to the grave.
The grave will decay you and turn you to dust,

Not one girl in a hundred a poor boy can trust.
They’ll hug you and kiss you and tell you more lies,
Than cross lines on a railroad or stars in the skies.
So come all you maidens and listen to me,

Never place your affections on a green willow tree.
For the leaves they will wither and the roots they will die,
You’ll all be forsaken and never know why.
She’ll Be Comin’ ‘Round the
Mountain
4/4
Key of F
T
he first person to capture She’ll Be Comin’
‘Round the Mountain in print was the poet Carl
Sandburg. In 1927 he included it his book, The
American Songbag. The melody apparently
came from the African-American spiritual,
When the Chariot Comes. Sandburg wrote that
the lyrics were “made by mountaineers…and
spread by railroad work gangs in the Midwest
in the 1890’s.” The song was later popularized
by the Mustang Band of Southern Methodist
University in Dallas, Texas. I would guess that
one of the reasons for its continued popularity Carl Sandburg
is the fact that the lyrics have a great deal of repetition, so it’s one of the easier
songs to sing.
Try the Dramatic Strum on this tune. Lots of F in here… for a little variety you
can make the second F in line three an F7. Merely play a regular F, then adding
your third finger to the 3rd string, third fret.
19
burg
e of the easier
le variety you
F, then adding
Lyrics
She’ll be driving six white horses when she comes…
She’ll be wearing pink pajamas when she comes…
Oh we’ll all come out to meet her when she comes..
We will kill the old red rooster when she comes…

We will all have chicken and dumplings when she comes…
We’ll all be shoutin’ “Hallelujah” when she comes…

We will all have chicken and dumplings when she comes…
We’ll all be shoutin’ “Hallelujah” when she comes…

Red River Valley
4/4
Key of F
E
ven the thought of singing Red River Valley puts me in the mind of sitting
around a campfire roasting a marshmallow. Heck, I can practically feel the heat
of the fire from here. Although most people consider Red River Valley to be the
quintessential cowboy song, others claim its origins go back to the Mohawk
Valley in New York State. I hate to be the one to break it to you, but Red River
Valley has its deepest roots in Canada. The Red River in the song actually refers
to the river that flows into Lake Winnipeg, Manitoba, Canada. Researchers have
found that it was sung in the Northwest Territories of Canada as far back as
1869.
Red River Valley is a classic cowboy tune, so of course, we will try it with the
Cowboy Strum. The melody is fun and gently paced. Just be sure you play the
two pickup notes at the beginning, ahead of the chords.
20
ind of sitting
y feel the heat
to be the
the Mohawk
Red River
actually refers
earchers have
s far back as
ry it with the
you play the
Lyrics
From this valley they say you are going,

I will miss your bright eyes and sweet smile.
For they say you are taking the sunshine,
That has brightened our pathway a while.
Come and sit by my side if you love me.

Do not hasten to bid me adieu.
But remember the Red River Valley,
And the cowboy who loved you so true.
I’ve been waiting a long time my darling

For the sweet words you never would say.
Now at last all my fond hopes have vanished,
For they say you are going away.
O there never could be such a longing

In the heart of a poor cowboy’s breast.
That now dwells in the heart you are breaking,
As I wait in my home in the West.
Do you think of the valley you’re leaving?

O how lonely and drear it will be!
Do you think of the kind heart you’re breaking,
And the pain you are causing to me?
As you go to your home by the ocean,

May you never forget those sweet hours,
That we spent in the Red River Valley,
And the love we exchanged mid the flowers.
Lyrics
From this valley they say you are going,

I will miss your bright eyes and sweet smile.
For they say you are taking the sunshine,
That has brightened our pathway a while.
Come and sit by my side if you love me.

Do not hasten to bid me adieu.
But remember the Red River Valley,
And the cowboy who loved you so true.
I’ve been waiting a long time my darling

For the sweet words you never would say.
Now at last all my fond hopes have vanished,
For they say you are going away.
O there never could be such a longing

In the heart of a poor cowboy’s breast.
That now dwells in the heart you are breaking,
As I wait in my home in the West.
Do you think of the valley you’re leaving?

O how lonely and drear it will be!
Do you think of the kind heart you’re breaking,
And the pain you are causing to me?
As you go to your home by the ocean,

May you never forget those sweet hours,
That we spent in the Red River Valley,
And the love we exchanged mid the flowers.
Aloha ‘Oe
4/4
Key of F
A
loha ‘Oe is one of the most famous songs to
come from Hawaii, and it is one that you must
know if you play the ukulele. It was composed
in 1878 by Queen Liliuokalani. She was the
last Queen of Hawaii and is revered in the
islands for her strength and determination as
well as for her many beautiful compositions.
Aloha ‘Oe is a beautiful song of farewell that is

often sung at the close of a Kanikapila or
Hawaiian music gathering. It is traditionally
played at a slow tempo with a lot of feeling.
The Cowboy Strum is best here.
21
Aura Lee
4/4
Key of F
T
hanks to Elvis Presley, we all know the melody of Aura Lee. That’s because he
and fellow songwriter Vera Matson used the melody of Aura Lee to compose a
new song they called Love Me Tender. It was a smash hit in 1956. Aura Lee was
originally written by the songwriting team of George R. Poulton (music) and W.
W. Fosdick (lyrics) and copyrighted May 1, 1861.
So here is the original song, Aura Lee. These original lyrics are very poetic and
romantic and have certainly stood the test of time. It should be played at a mid
tempo; the Simple Strum sounds best for the chords.
22
’s because he
to compose a
was
music) and W.
ery poetic and

ayed at a mid
Lyrics
As the blackbird in the spring, ‘neath the willow tree,

Sat and piped, I heard him sing, sing of Aura Lee.
Aura Lee, Aura Lee, maid of golden hair,
Sunshine came along with thee, and swallows in the air.
Aura Lee, Aura Lee,

Maid of golden hair,
Sunshine came along with thee,
And swallows in the air.
In thy blush the rose was born, music when you spake.
Through thine azure eye, the morn, sparkling seemed to break.
Aura Lee, Aura Lee, birds of crimson wing,
Never song have sung to me as in that night, sweet spring. (Chorus)
Aura Lee, the bird may flee the willow’s golden hair,
Swing through winter fitfully, on the stormy air.
Yet if thy blue eyes I see, gloom will soon depart.
For to me, sweet Aura Lee is sunshine through the heart. (Chorus)
When the mistletoe was green, midst the winter’s snows,

Sunshine in thy face was seen kissing lips of rose.
Aura Lee, Aura Lee, take my golden ring.
Love and light return with thee, and swallows with the spring. (Chorus)
In thy blush the rose was born, music when you spake.
Through thine azure eye, the morn, sparkling seemed to break.
Aura Lee, Aura Lee, birds of crimson wing,
Never song have sung to me as in that night, sweet spring. (Chorus)
Aura Lee, the bird may flee the willow’s golden hair,
Swing through winter fitfully, on the stormy air.
Yet if thy blue eyes I see, gloom will soon depart.
For to me, sweet Aura Lee is sunshine through the heart. (Chorus)
When the mistletoe was green, midst the winter’s snows,

Sunshine in thy face was seen kissing lips of rose.
Aura Lee, Aura Lee, take my golden ring.
Love and light return with thee, and swallows with the spring. (Chorus)
Simple Gifts
4/4
Key of F
W
hile some songs seem to beg for wild improvisation, Simple Gifts is perfect just
the way it is. It was composed in 1848 by Joseph brackett while he was an elder
of the Shaker community in Alfred, Maine. The song was only known to a small
number of Shakers until the composer Aaron Copeland discovered it and used it
in his 1944 composition, Appalachian Spring. From there its popularity spread
and today it is known world-wide.
Just three chords in this song; making it one of the easier ones to play. Try the
Simple Strum (pun intended) or the Dramatic Strum. The melody is not too
difficult, but the song is long, so stay focused.
23
is perfect just
was an elder
wn to a small
it and used it
ularity spread
play. Try the

dy is not too
Down By the Riverside
4/4
Key of F
F
irst to record this African-American spiritual were the Fisk University Jubilee
Singers on December 29, 1930. In the 1960’s, Down by the Riverside was often
sung as an anti-war protest song.
The chords in this song are not too difficult until you get to the chorus and run
into the Bb. Start slowly so you have time to change to all the chords as they
come up. I recommend using the Double Dramatic Strum. When playing the tab,
remember to watch the timing- it is a long song and it is easy to lose your place.
Fisk University Jubilee Singers

24
ersity Jubilee
was often
horus and run

hords as they
aying the tab,
Lyrics
Gonna lay down my sword and shield…
Gonna lay down my burden…
Gonna try on my long white robe…
Gonna try on my starry crown…

Gonna put on my golden shoes…
Gonna talk with the Prince of Peace…
Gonna shake hands around the world…
Gonna cross the river Jordan…
Gonna climb upon that mountain…
Gonna climb the road to heaven…

Gonna put on my golden shoes…
Gonna talk with the Prince of Peace…
Gonna shake hands around the world…
Gonna cross the river Jordan…
Gonna climb upon that mountain…
Gonna climb the road to heaven…

Skip to My Lou
4/4
Key of F
I
n pioneer America, many old-timers firmly believed that dancing was a sin. For
them, one of the only things worse than dancing was the fiddle, which was
sometimes known as the “devil’s stalking horse.” To get around this widespread
idea that dancing was somehow immoral, a type of children’s game was
developed that became knows as a play-party. Even though it was essentially a
dance, play-parties were seen as acceptable. Maybe that was because the only
music that was provided were the songs the children themselves sang.
Orphans Home, San Antonio, Texas, 1935
Of all the play-party songs known to exist in the early pioneer days, Skip to My
Lou was surely the most popular. It was collected by Mari Ruef Hofer as early as
1907 and printed in her book entitled Popular Folk Games. By the way, in
Eastern Tennessee, “lou” was a common term for sweetheart and Webster’s
Dictionary gives “loo” as a Scottish word for love.
We wrote Skip to My Lou out in two different keys to show that you can change
the key of a song. You might want to do this to make it easier to sing or to play
along with someone else. The chords change, but the relationship between the
was a sin. Forchords is the same. Keep in mind that the chords change on the same measures.
e, which wasOf course, the tab will be different when changing keys. Try it both ways and
is widespreadsee which you prefer.
’s game was
s essentially aTry the Simple Strum, then the Cowboy Strum on Skip to My Lou in either key.
ause the only
25
Skip to My
fer as early as
y the way, in
nd Webster’s
ou can change
ing or to play
p between the
me measures.
oth ways and
Skip to My Lou
4/4
Key of D
25
Lyrics
Lou, Lou, skip to my Lou,

Lou, Lou, skip to my Lou,
Lou,Lou, skip to my Lou,
Skip to my Lou, my darling.
Lost my partner, what’ll I do? (3x)

Skip to my Lou, my darling. (Chorus)
Fly in the buttermilk, shoo, fly, shoo, (3x)

Little red wagon, paint it blue, (3x)

I’ll get another, prettier than you, (3x)

25
Little red wagon, paint it blue, (3x)

I’ll get another, prettier than you, (3x)

4/4
Key of D
F
or those of us old enough to remember, the thought of Michael Row the Boat
Ashore takes us back to the early ‘sixties. During the height of the great folk
revival, this song was heard at every hootenanny you could find. Of course, a
hootenanny or “hoot” was either an open mic at a folk music club or a private
party where folks sat around singing folk songs and strumming guitars and even
ukuleles. It’s a word you don’t hear much anymore.
The song itself is the real deal. It was collected

on St. Helena Island, South Carolina from
former slaves by Charles Pickard Ware. In
1867, it was included in the book Slave Songs
of the United States. Almost a hundred years
later, Boston folksinger Tony Saletan taught it
to Pete Seeger and from there it spread. Bob
Gibson soon recorded it in his 1957 Carnegie
Hall album and the Weavers included it in their
1960 songbook. The Highwaymen had a #1 hit
with the song in 1961. Popular recordings were
then made by Harry Belafonte, Peter, Paul and
Mary, Percy Faith, The Brothers Four, The
Smothers Brothers and Raffi.
Pete Seeger
We’re in the key of D for Michael Row the Boat Ashore, so review the chords
before you start. Em and F#m may be unfamiliar at first. The Double Dramatic
Strum works well, as does the Folk Strum.
27
Row the Boat

he great folk
Of course, a
b or a private
tars and even
er
ew the chords
uble Dramatic
Lyrics
Michael, row the boat ashore, Hallelujah,

Michael, row the boat ashore, Hallelujah.
Sister help to trim the sail, Hallelujah,

Sister help to trim the sail, Hallelujah.
The river is deep and the river is wide, Hallelujah,

Milk and honey on the other side, Hallelujah.
Jordan’s river is chilly and cold, Hallelujah,

Chills the body but not the soul, Hallelujah.
Sister help to trim the sail, Hallelujah.
The river is deep and the river is wide, Hallelujah,

Milk and honey on the other side, Hallelujah.
Jordan’s river is chilly and cold, Hallelujah,

Chills the body but not the soul, Hallelujah.
Shortenin’ Bread
4/4
Key of D
I
can’t tell you why, but I find playing Shortenin’ Bread almost addictive. When I
start to play it, I can barely force myself to stop. I must not be alone because this
song has been popular since the early to mid 1800’s. Known as a “plantation
song,” it is also likely that it was a favorite on the minstrel stage with blackfaced
performers. The song was first collected and published in 1915. All this talk
about shortenin’ bread is making me hungry! If you’re in the same fix, put your
skillet on a hot fire. While it’s getting hot, mix up some corn meal and add some
bacon gravy and bits of crisp bacon, which are called “cracklins.” No wonder
it’s sometimes called “crackin’ bread.” Pour your mixture into a hot greased
skillet, and sit back while you wait for it to cook. In the meantime, pick a little
bit of Shortenin’ Bread on the ukulele.
Try not to get hungry while playing Shortnin’ Bread! I like the Cowboy Strum
on this classic. It is mostly D, played with the middle finger to make shifting to
the A in the split measures a little easier. From the D, roll your finger to the 4th
string for the A. To play the melody, play all the notes on the 2nd fret with your
first finger. That way, you can reach the 5th fret with your pinky without moving
your hand.
ctive. When I
e because this
a “plantation
th blackfaced
All this talk
fix, put your
and add some
” No wonder
a hot greased
e, pick a little Photo by Harry Whittier Frees
owboy Strum
ke shifting to
ger to the 4th
fret with your 28
thout moving
Lyrics
Mama’s little baby loves shortenin’, shortenin’,

Mama’s little baby loves shortenin’ bread.
Mama’s little baby loves shortenin’, shortenin’,
Mama’s little baby loves shortenin’ bread.
Put on the skillet, put on the lid,

Mama’s gonna make a little shortenin’ bread.
That ain’t all she’s gonna do,
Mama’s gonna make a little coffee too. (Chorus)
Three little boys, lying in bed,

Two was sick, and the other most dead.
Sent for the doctor, and the doctor said,
Feed them babies on shortenin’ bread. (Chorus)
Slipped in the kitchen, slipped on the lid,

Slipped my pockets full of shortenin’ bread.
Stole the skillet, stole the lid,
Stole the gal to make shortenin’ bread. (Chorus)
Three little boys, lying in bed,

Two was sick, and the other most dead.
Sent for the doctor, and the doctor said,
Feed them babies on shortenin’ bread. (Chorus)
Slipped in the kitchen, slipped on the lid,

Slipped my pockets full of shortenin’ bread.
Stole the skillet, stole the lid,
Stole the gal to make shortenin’ bread. (Chorus)
Shady Grove
4/4
Key of Em
T
he minor sounding melody of Shady Grove
gives me that lonesome feeling of a true
southern mountain folksong. I remember first
learning it from a live performance of Doc
Watson in the early 1960’s. Of course, Doc
hailed from Deep Gap, North Carolina, so I’m
not surprised that he knew it. In fact, the tune
was widely played all through Kentucky,
Tennessee and in much of the mountain South.
Although it’s difficult to pinpoint the exact
origins of Shady Grove, it bears a strong
resemblance to ancient British folk songs such
as Little Matty Groves and Little Margaret. The
Doc Watson
lyrics under the tab below come from the
singing of the Kentucky two-finger banjo player Lee Sexton. The verses that are
often sung to Shady Grove are what folklorists refer to as “floating” verses
because they seem to float from one song to another. Take your pick of verses to
sing because they’re all quite singable.
The Cowboy Strum is a good one for Shady Grove.
29
Lyrics
Shady Grove, my little love,

Shady Grove I’m bound,
Shady Grove my little love
on Bound for higher ground.
verses that are
ating” verses I went to see my Shady Grove,
k of verses to Standing in the door.
Shoes and stockings in her hands,
Little bare feet on the floor.
Wished I had a big fat horse,

Corn to feed him on.
Shady Grove to stay at home
Feed him while I’m gone.
Peaches in the summertime,

Apples in the fall.
If I can’t get the girl I love
I won’t have none at all.
Lips as red as a blooming rose,
Eyes the deepest brown.
You are the darling of my heart,
Stay ‘til the sun goes down.
Sixteen horses in my team,

The leader he is blind.
Ever I travel this road again,
There’ll be trouble on my mind.
If I had a needle and thread,

As fine as I could sew.
I’d sew that pretty girl to my side,
And down the road I’d go.
Fifteen miles of mountain road,

Twenty miles of sand.
If ever I travel this road again,
I’ll be a married man.
When I was a little boy,

I wanted a Barlow knife.
Now I want little Shady Grove,
To say she’ll be my wife.

Shady Grove my darlin.’
I’m going back to Harlan.
Lips as red as a blooming rose,
Eyes the deepest brown.
You are the darling of my heart,
Stay ‘til the sun goes down.
Sixteen horses in my team,

The leader he is blind.
Ever I travel this road again,
There’ll be trouble on my mind.
If I had a needle and thread,

As fine as I could sew.
I’d sew that pretty girl to my side,
And down the road I’d go.
Fifteen miles of mountain road,

Twenty miles of sand.
If ever I travel this road again,
I’ll be a married man.
When I was a little boy,

I wanted a Barlow knife.
Now I want little Shady Grove,
To say she’ll be my wife.

Shady Grove my darlin.’
I’m going back to Harlan.
Man of Constant Sorrow
4/4
Key of A
D
ick Burnett had every reason to write Man of Constant Sorrow. An orphan by the
time he was twelve, he was almost murdered in 1907 when he was robbed and
shot in the face with a shotgun. Although he survived, Burnett was now a blind
man. To earn a livelihood for his wife and child, he took to the streets with his
banjo, fiddle and a tin cup tied to his leg. In 1913 he created a small songbook
which he titled Songs Sung By R. D. Burnett - The Blind Man - Monticello,
Kentucky. Among the four songs in the book was one called Farewell Song
which he wrote in 1912. This is the song we now know as Man of Constant
Sorrow. Burnett taught the song to his neighbor, Emry Arthur, who recorded it
on January 1, 1928. Ralph Stanley learned it from his father, who remembered
hearing it somewhere in Kentucky, possibly from Dick Burnett himself.
In 2000, the Coen

others released the film O Brother, Where Art
Thou? which prominently featured Man of
Constant Sorrow, as performed by the Soggy
Bottom Boys. The soundtrack included two
additional versions of Man of Constant Sorrow.
One of them featured Ralph Stanley’s haunting
version and the other was a lonesome fiddle
piece by John Hartford, who learned it from the
legendary blind West Virginia fiddler Ed
Haley.
We’ll be in the key of A for this old-time tune,

so review D7 and E7 before we start. Use the
Double Dramatic Strum. Notice that the entire
melody is played on the 1st string. That makes
it a little easier because you don’t have to Ralph Stanley
switch strings at all. But, you will have to play up the neck. Try using your pinky
on the 7th fret note, your ring finger on the 5th, and your index finger on the 3rd
fret. Those (plus the open string) are the only notes you need to play, so once
you set your hand up to hit those notes, you’ll be ready to go.
orphan by the
as robbed and
s now a blind 30
reets with his
mall songbook
- Monticello,
arewell Song,
n of Constant
ho recorded it
remembered
nley
ng your pinky
ger on the 3rd
play, so once
Lyrics
I am a man of constant sorrow,

I’ve seen trouble all my days,
I bid farewell to old Kentucky,
The state where I was born and raised.
For six long years I’ve been in trouble,

No pleasure here on earth I’ve found,
For in this world I’m bound to ramble,
I have no friends to help me now.
You may bury me in some deep valley,

For many years where I may lay,
Then you may learn to love another,
While I am sleeping in my grave.
Maybe your friends think I’m just a stranger,
My face you’ll never see no more,
But there is one promise that is given,
I’ll meet you on God’s golden shore.
Maybe your friends think I’m just a stranger,
My face you’ll never see no more,
But there is one promise that is given,
I’ll meet you on God’s golden shore.
Bring a Little Water, Sylvie
4/4
Key of A
Q
uite a few people can probably claim they have sung while being locked up in
jail. However, there’s probably only one who can boast that they have actually
sung themselves out of jail not once, but twice! Huddy William Ledbetter, better
known as Leadbelly, not only made such a claim, but he could back it up. In
January, 1918, Huddy was sentenced to 7-35 years in prison at Imperial Farm in
Sugar Land, Texas for murdering his cousin in a fight over a woman. While
behind bars, he frequently entertained his fellow prisoners and guards. In 1925,
he composed a song to the governor of Texas, Pat Morris Neff. Even though
Neff had run on a pledge of not issuing pardons, he was persuaded by
Leadbelly’s song to issue a pardon for his release. It didn’t hurt that the prisoner
had already served the minimum sentence of seven years.
Leadbelly
Leadbelly
By 1930, Leadbelly was back in prison for attempted murder, but this time he
was sent to Angola Prison Farm, in Louisiana. Three years into his sentence, he
was “discovered” by folklorists John and Alan Lomax. They returned with
portable equipment and made extensive recordings of Leadbelly both in 1933
and 1934. With his good behavior and by the persuasive powers of John and
Alan Lomax, Leadbelly was again pardoned, this time by Louisiana Governor
locked up inOscar K. Allen. Upon his release in 1934, he became a driver for 67 year old
have actuallyJohn Lomax on an extensive field collecting trip throughout the South. In spite
dbetter, betterof several additional scrapes with the law, Leadbelly became a fixture in the folk
back it up. Inmusic revival in New York City, and was friends with such figures as Woody
perial Farm inGuthrie, Brownie McGee, Sonny Terry and Pete Seeger. In addition to Bring Me
woman. WhileA Little Water, Sylvie, Leadbelly gave us such songs as Goodnight Irene
ards. In 1925,Midnight Special, In The Pines and The Rock Island Line.
Even though
persuaded byBring Me A Little Water, Sylvie has just two chords, A and E7. The Cowboy
t the prisonerStrum would be perfect. The melody has a lot of eighth notes, so be ready for
them. For example, the melody in the first measure would be counted as “one
and two and three four,” picking the eighth notes two per beat.
31
t this time he
s sentence, he
returned with
both in 1933
of John and
ana Governor
r 67 year old
outh. In spite
ure in the folk
es as Woody
Bring Me
dnight Irene,
Lyrics
The Cowboy
be ready for Bring me a little water, Sylvie,
unted as “one Bring me a little water now,
Bring me a little water, Sylvie,
Every little once in a while.
Don’t you see me coming,

Don’t you see me now,
Bring it in a bucket, Sylvie,

Bring it in a bucket now.

Bring me a little water now,
Lyrics


Don’t you see me now,

Bring it in a bucket now.

4/4
Key of F
C
redit for being the first to record Swing Low, Sweet Chariot goes to the Jubilee
Singers of Fisk University. This legendary group of African-American musicians
first published it in their songbook, Jubilee Songs on March 11, 1872. In 1909,
they recorded it at the very dawn of the recording industry. While the origin of
most Negro spirituals is lost in time, some sources point to Uncle Wallace (or
Wallis) Willis as the sole composer of Swing Low, Sweet Chariot. Uncle
Wallace was a freed slave living in the Indian Territory near what is now Hugo,
Oklahoma. As the story goes, a minister named Alexander Reid heard Uncle
Wallace sing it and sent it to the Fisk Jubilee Singers. If this story is true, my hat
goes off to Uncle Wallace.
Swing Low, Sweet Chariot has two parts: the different verses, and the chorus
which is repeated after each verse. The tab is divided into the chorus (first 8
measures) and verse (last 8 measures), with a pickup note for the melody
appearing at the end of the chorus. The chords are challenging, especially the
split measures that include Bb. The melody is a lot of fun, featuring many eighth
notes. Play this spiritual slowly with the Simple Strum.
32
to the Jubilee
can musicians
872. In 1909,
the origin of
e Wallace (or
. Uncle
is now Hugo,
heard Uncle
s true, my hat
nd the chorus
horus (first 8
r the melody
especially the
g many eighth
Lyrics
Swing low, sweet chariot,

Comin’ for to carry me home,
Swing low, sweet chariot,
Comin’ for to carry me home.
I looked over Jordan, and what did I see?

Comin’ for to carry me home?
A band of angels coming after me,
Comin’ for to carry me home. (Chorus)
I’m sometimes up, I’m sometimes down,

But now my soul is heavenly bound,
If you get there before I do,

Tell all my friends that I’m comin’ too
I’m sometimes up, I’m sometimes down,

But now my soul is heavenly bound,
If you get there before I do,

Tell all my friends that I’m comin’ too
3/4
Key of C
D
on’t even think about going to a baseball game without
eating a hot dog and singing along when they play Take
Me Out to the Ballgame. This classic American song
was composed in 1908 with lyrics by Jack Norworth
and melody by Albert Von Tilzer.
The Cowgirl Waltz Strum is in order here. You will

find a few unusual chords later in the song, so review
these before starting. The melody is a lot of fun to play,
although a little tricky. Don’t forget to insert the name
of your favorite ball club!
33
Driftless Rag
©2015 by Ted Parrish
4/4
Key of C
I
wrote this tune to introduce you to the ragtime format. The chord progression
over 16 bars is classic and it will remind you of other songs that follow this
structure. Rags are fun to play fast once you get the chords down, but start slow
and get all those split measures in there. The melody here follows the chords and
can be picked while playing the chords in most places. Use the Double Dramatic
Strum.
34
d progression
at follow this
but start slow
he chords and
uble Dramatic
Kickapoo Rag
©2015 by Ted Parrish
4/4
Key of C
H
ere is a little rag that is fun to play. The notes are not a true melody, but a lead
part to play along with someone else playing the chords. Notice that the tabbed
part played over the D7 chord goes up to the 5th fret. Play the 5th fret note with
your ring finger, and put your index finger on the 3rd fret note and leave it there.
You can now play back and forth between those two notes. For the rhythm, the
Double Dramatic Strum works best on this one or the Cowboy Strum.
35
dy, but a lead
hat the tabbed
fret note with
leave it there.
e rhythm, the
Ukulele Boogie-Woogie
©2015 by Wayne Erbsen
4/4
Key of C
I
don’t know about you, but when I hear a good boogie-woogie, I just want to
wiggle all over. Historically speaking, the boogie woogie was created by
unknown piano players in the 1870’s who kept things lively in the hard-drinking
smoky bars, barrelhouses and honky-tonks in the deep South. After getting
established on the piano, it spread to the guitar and the bass fiddle. By the 1930s,
the infectious rhythms and melodies of boogie-woogie were picked up by big
bands like Glen Miller and Tommy Dorsey. In the early 1950’s, boogie-woogie
became a key element of early rock and roll with such tunes as Rock Around The
Clock as performed by Bill Haley & His Comets. The Delmore Brothers, among
others, brought boogie-woogie into country music from the stage of the Grand
Ole Opry in Nashville, Tennessee.
It’s high time the ukulele jumped on the boogie-woogie band wagon. This little
tune I put together has the classic elements of the boogie-woogie style. I’ve
written it out so that it just kind of rolls like a wheel and keeps repeating. When
you’re finally ready to quit, you can stop at the first note in the last measure.
The fingering in the first two measures of line two can be tricky. I suggest you
use your ring finger to play the 1st string, 3rd fret and the same finger to play the
1st string, 5th fret. Then play the 1st string, 6th fret with your pinky and the 1st
string, 5th fret with your middle finger. If you’d like to add some variety, you
can play any, some, or all of the notes twice (as eighth notes). The Dramatic
just want toStrum sounds good.
s created by
hard-drinking
After getting
By the 1930s,
ed up by big
oogie-woogie 36
k Around The
others, among
of the Grand
on. This little

ie style. I’ve
eating. When
I suggest you
ger to play the
ky and the 1st
e variety, you
The Dramatic
Lyrics
The ukulele boogie is the real dang thing,

You’ll wiggle and you’ll giggle when you do the swing,
The ukulele boogie will make you twitch,
It’ll leave you walkin’ with the double twist,
Yeah, the ukulele boogie-woogie’s about to drive me wild.
The ukulele boogie-woogie is the latest craze,

It’ll drive you crazy, you’ll go insane,
You’ll strut your stuff in the latest style,
It’ll make you laugh, it’ll make you smile,
The ukulele-boogie is sure to please,

You’ll do the double shuffle down on your knees,
The young and the old will have some fun,
They’ll boogie on down ‘til the day is done,
Oh the ukulele boogie is easy to play,

If you strum your ukulele every day,
If you pick it in the morning and you strum it at night,
The ukulele boogie will treat you right,
Oh the ukulele boogie is easy to play,

If you strum your ukulele every day,
If you pick it in the morning and you strum it at night,
The ukulele boogie will treat you right,
Careless Love
4/4
Key of F
T
his is one of the oldest jazz and blues standards of all
time, coming out of New Orleans at the start of the jazz
age. W.C. Handy, known as “the father of the blues,”
reportedly played Careless Love as early as 1892. His
arrangement was first recorded in 1921 by Noble Sissle
on Emerson Records. The song was first collected by
Howard Odum in 1911. We can trace Careless Love
back to several English songs including I Wish I Wish,
What a Voice, and O, Waly, Waly. It has been recorded by an incredible variety
of musicians like Fats Domino, Ray Charles, Bessie Smith, Louis Armstrong,
Joan Baez, Johnny Cash and Bob Dylan.
Careless Love follows a fairly standard 16 bar pattern. The chords are best
played with a light Cowboy Strum. You’ll notice in the melody in line three a
“walk-up” on the 1st string from fret three to four to five. This is called a
“chromatic run” and can be an effective way to get from one note to another. A
chromatic run means you use all the available notes between two notes.
37
edible variety
s Armstrong,
ords are best

n line three a
is is called a
to another. A
Lyrics
Love, oh love, oh careless love,

You can see what love has done to me.
Sorrow, sorrow, to my heart,

When me and my true love have to part.
When my apron strings were long,
You passed my window with a song.
Now my apron strings won’t tie,

Now my apron strings won’t tie
You pass my cabin door right by.
You passed my window with a song.
Now my apron strings won’t tie,

You pass my cabin door right by.
Trouble in Mind
4/4
Key of F
U
nlike most blues songs whose origins are lost in
time, we know for certain that Trouble in Mind
was composed by the early jazz piano player
Richard M. Jones (1889-1945). By 1908, Jones
was a fixture in the New Orleans red light
district known as Storyville. He composed
Trouble in Mind in the early 1920s and it was
first recorded in 1924 by the singer Thelma La
Vizzo with Jones on the piano. An eight bar
slow blues, Trouble in Mind has become a
classic as recorded countless times by the likes
of Big Bill Broonzy, Sam Cook, Cannonball
Adderley, Muddy Waters, Johnny Cash, Jerry
Lee Lewis and even Roscoe Holcolm. Big Bill Broonzy
Trouble in Mind is a great little 8 bar blues in F. The Simple Strum works pretty
well here. Once you get that down try it with the Folk Strum. The melody is fun
to play but like most blues, timing is everything. Follow the beat carefully,
especially in the note-heavy measure 6.
38
onzy
m works prettyLyrics
melody is fun
eat carefully, Trouble in mind, I’m blue,
But I won’t be blue always,
‘Cause the sun’s gonna shine,
In my back door someday.
I’m gonna lay my head,

On some lonesome railroad track,
And let the 2:19,
Carry me right on back.
I’m goin’ down to the river,

Gonna take my rocking chair,
If the blues don’t kill me,
Rock away from here.
Trouble in mind, it’s true,

I’ve almost, almost lost my mind,
Sometimes I feel like livin’,
And sometimes I feel like dyin’.
Trouble in mind, I’m blue,

My ole heart is a-beating slow,
I never had so much trouble,
In my life before.
May 1941
Rock away from here.
Trouble in mind, it’s true,

I’ve almost, almost lost my mind,
Sometimes I feel like livin’,
And sometimes I feel like dyin’.
Trouble in mind, I’m blue,

My ole heart is a-beating slow,
I never had so much trouble,
In my life before.
May 1941
I’ve Been Working on the Railroad
4/4
Key of F
39
ailroad
Au Clair de la Lune
4/4
Key of F
A
u Clair de la Lune is an ancient French folk song that dates back to the 18th
century. The melody was first printed in J.F. Adrien Boieldieu’s Les Voilures
Versees in St. Petersburg, Russia on April 26, 1808. It makes a lovely duet when
two ukuleles play together, with one ukulele playing the melody and the other
ukulele playing the harmony. A third ukulele can strum chords for a full
arrangement. The Simple Strum is best, allowing the melody and harmony room
to be heard together.
40
k to the 18th
Les Voilures
ely duet when
and the other
ds for a full
armony room
3/4
Key of Dm
H
ere is a challenge for you: the House of the Rising Sun. This classic folk song
was collected in the South by Alan Lomax for the Library of Congress and tells
the tale of regret for a life gone wrong. It is in ¾ time, so you’ll want use the
Cowgirl Waltz Strum. Be sure to play it slowly because the chords change
almost every measure. The tab is challenging as well. In the first measure of
lines two and three you’ll see that you need to slide up to the 5th fret to get a
note. Just be sure to move your hand back to first position after that note.
New York 1924

41
ssic folk song

gress and tells
want use the
hords change
st measure of
h fret to get a
Lyrics
There is a house in New Orleans,

They call the Rising Sun.
It’s been the ruin of many a poor girl,
And me, oh Lord, was one.
My mother was a tailor,

She sewed them new blue jeans.
My father was a gamblin’ man,
Way down in New Orleans.
Now, the only thing a gambling man needs,

Is a suitcase and a trunk.
And the only time he’s ever satisfied,
Is when he’s on a drunk.
Go and tell my baby sister,

Never do like I have done.
But to shun that house in New Orleans
With one foot on the platform,

And the other on the train.
I’m goin’ back to New Orleans,
To wear the ball and chain.
I’m going back to New Orleans,

My race is almost run.
I’m going back to spend my life,
Beneath that Rising Sun.
Lyrics
There is a house in New Orleans,

It’s been the ruin of many a poor girl,
And me, oh Lord, was one.
My mother was a tailor,

She sewed them new blue jeans.
My father was a gamblin’ man,
Way down in New Orleans.
Now, the only thing a gambling man needs,

Is a suitcase and a trunk.
And the only time he’s ever satisfied,
Is when he’s on a drunk.
Go and tell my baby sister,

Never do like I have done.
But to shun that house in New Orleans
With one foot on the platform,

And the other on the train.
I’m goin’ back to New Orleans,
To wear the ball and chain.
I’m going back to New Orleans,

My race is almost run.
I’m going back to spend my life,
Beneath that Rising Sun.
Scarborough Fair
3/4
Key of Dm
T
his ancient Scottish ballad is known today mainly through the 1966 version by
Paul Simon and Art Garfunkel. They first heard it performed by British folk
singer Martin Carthy, who had learned it from a songbook by Ewan MacColl
and Peggy Seeger. Their recording achieved widespread fame when it was
included in the soundtrack to the movie The Graduate in 1968. Unfortunately for
Martin Carthy, he was not credited on the recording. Several years earlier Bob
Dylan heard Carthy’s version of Scarborough and apparently used the melody
for his song Girl From the North Country.
Peggy Seeger
Scarborough Fair is a challenging song both in the melody and the chords. Try
the chords first, nice and slow. The Dramatic Waltz Strum works well. When
you are ready to tackle the melody, you will find two challenges: the timing and
the notes up the neck. For the timing, just count and beware that measure 5 has a
rest on the first beat, and in measure 8 that last note will sneak up on you. When
you play the 1st string at the 5th fret, use your ring finger and plant your index
finger at the 3rd fret. You will be able to play both notes without moving your
hand.
The lyrics below are some of the ones that are commonly sung, although only a
few of them show up in the Simon and Garfunkel recording.
66 version by 42
y British folk
wan MacColl
when it was
ortunately for
rs earlier Bob
d the melody
e chords. Try
s well. When
he timing and
easure 5 has a
on you. When
nt your index
moving your
though only a
Lyrics
Plow the land with the horn of a lamb,

Parsley, sage, rosemary and thyme,
Then sow some seeds from north of the dam,
And then she’ll be a true love of mine.
Tell her to reap it with a sickle of leather,

And gather it all in a bunch of heather,
If she tells me she can’t, I’ll reply,

Let me know that at least she will try,
Love imposes impossible tasks,

Though not more than any heart asks,
And I must know she’s a true love of mine.
Dear, when thou has finished thy task,

Come to me, my hand for to ask,
For thou then are a true love of mine.
Are you going to Scarborough Fair?

Remember me to one who lives there,
For once she was a true love of mine.
Have her make me a cambric shirt,

Without no seam nor fine needle work,
Tell her to weave it in a sycamore wood lane,

And gather it all with a basket of flowers,
Have her wash it in yonder dry well,

Where water ne’er sprung nor drop of rain fell,
Have her find me an acre of land,

Between the sea foam and over the sand,
Come to me, my hand for to ask,
For thou then are a true love of mine.
Are you going to Scarborough Fair?

Remember me to one who lives there,
For once she was a true love of mine.
Have her make me a cambric shirt,

Without no seam nor fine needle work,
Tell her to weave it in a sycamore wood lane,

And gather it all with a basket of flowers,
Have her wash it in yonder dry well,

Where water ne’er sprung nor drop of rain fell,
Have her find me an acre of land,

Between the sea foam and over the sand,
F
ingerpicking is a style of playing the chords while plucking notes individually,
rather than strumming the notes together. It sounds very beautiful. The tablature
for fingerpicking patterns looks a little intimidating, but note that these are
patterns that are repeated over and over. Once you get the pattern, it is just a
matter of replicating it. The patterns are played on the instructional MP3s using a
C chord.
Notice on the tab that no chords are indicated. That’s because it doesn’t matter
what chord you are playing, just apply the pattern to whatever chord you are
on. Practice the patterns on the chord study, and once your right hand has
developed the muscle memory to repeat the pattern without a lot of thought, you
will be ready to move on to a song.
For most songs, it is best to keep the rhythm part simple while you are singing.
One approach would be to fingerpick the chords of a song, then go back and
strum while you sing. Then, fingerpick through the song again to end.
The letters on the patterns represent your right hand fingers: T for thumb, I for
index (first finger), M for middle (second finger), and R for ring (third finger).
Be sure to follow the fingering strictly; that is how you ingrain the pattern into
your playing.
43
44
44
individually,
The tablature
hat these are
n, it is just a
MP3s using a
45
doesn’t matter
hord you are
ght hand has
thought, you
46
u are singing.
go back and
r thumb, I for
(third finger).
e pattern into
43
44
44
45
46
The Chord Study
N
ow that you can play some songs, it is time to look at a chord study: a simple
arrangement of chords for practice purposes. This chord study will be very
helpful to you and something you can use forever to work on your skills.
Remember, your fingers are just learning this stuff. And while you can play the
chords just fine, you will probably notice that it is the changing of the chords
while keeping time that is difficult.
The difference between a chord study and a song is that the chord study is slow
moving and predictable, allowing you to work on specific skills. There are no
lyrics to think about, nor beginnings and endings, etc. You can use the chord
study to work on right hand rhythms, left hand chording, new time signatures, or
speed and dexterity. Use the chord study as a tool for learning or as a warm up
before playing songs.
The chords in the study are arranged in a logical order both musically and in
terms of fingering. To begin with, we will play the chord study with the simple
rhythm, four beats per measure. Your initial goal will be to play while counting
and smoothly transitioning from one chord to the next. If you have trouble
moving to the next chord, keep your right hand strumming and force the left
hand to catch up. With practice, your left hand will improve. Try just the first
four lines of the chord study at first. Remember to count out loud and tap
your foot.
The next step is to move on to the rest of the study. You should try to memorize
your chords before playing. One good way to do this is to only add one new
chord at a time. Note that when moving from one chord to another - if there is a
finger that plays the same note in both chords, leave it on that note (example:
Am to F, middle finger). This is called a pivot finger. If your finger stays on a
string but moves a fret away, slide it to the note rather than removing and
replacing it on the neck (example: G7 to C, ring finger). This is called a guide
finger.
: a simple
will be very
n your skills.
u can play the
of the chords
study is slow
There are no
use the chordOnce you have mastered the above, you are ready to try a new strum. Then, if
signatures, oryou find the chord study too easy, only play half - two measures per line instead
as a warm upof four. This will speed up the frequency of chord changes. Try other strums
with different time signatures. Challenge yourself by only playing one measure
per line (instead of all four) play from the bottom to the top or play at a faster
sically and intempo. Remember to continue tapping your foot and counting time out loud.
ith the simple
while counting
have trouble You should count out loud because time and rhythm are not
force the left the same thing. When you strum, you are playing a rhythm.
just the first And there are many different rhythms you can play. When you
oud and tap keep time, it doesn’t change. Think of keeping time, which you
do with your foot, as the relentless ticking of a clock that is
steady and unchanging. And rhythm, which you do with your
to memorize right hand, as something you do in relation to time.
add one new
- if there is a
ote (example:
ger stays on a
emoving and
guide
Once you have mastered the above, you are ready to try a new strum. Then, if
you find the chord study too easy, only play half - two measures per line instead
of four. This will speed up the frequency of chord changes. Try other strums
with different time signatures. Challenge yourself by only playing one measure
per line (instead of all four) play from the bottom to the top or play at a faster
tempo. Remember to continue tapping your foot and counting time out loud.
You should count out loud because time and rhythm are not
the same thing. When you strum, you are playing a rhythm.
And there are many different rhythms you can play. When you
keep time, it doesn’t change. Think of keeping time, which you
do with your foot, as the relentless ticking of a clock that is
steady and unchanging. And rhythm, which you do with your
right hand, as something you do in relation to time.
The Chord Study
47
47
Ukulele Chords
48
49
50
51
52
53
53
48
54
49
50
51
52
53
53
54
Ukulele Strums
55
56
57
55
58
56
59
60
60
57
58 61
59 62
60
63
60
63
61
62
63
63
About the Authors
From Ted Parrish: I first discovered the ukulele in 1994, when it was not at all
popular or well known. I had stumbled across a Hawaiian music LP that quickly
became my favorite, as I played it every night to help my baby son go to sleep.
The ukulele, and Hawaiian music, soon became my new passions.
Ted Parrish
It took me a while to find an instrument, but I did. Then I called the Hawaiian
Consulate in Chicago to try to find someone to teach me how to play it. They
recommended that I call a Hawaiian Kumu Hula (master Hula teacher) by the
name of Lanialoha Lee. She took me under her wing and taught me how to play
the ukulele the Hawaiian way, and about Hawaiian music and culture. I played
in her Hawaiian ensemble Kupono for many years after that. I learned Hawaiian
slack key guitar too, and grew a great appreciation for Hawaiian culture, and
made a lifelong friend.
I spent many years as a musician in Chicago, gigging and teaching at the

venerable Old Town School of Folk Music. Along the way I learned to play
many other instruments, but none as fun as the ukulele. This century saw a move
to rural Wisconsin with my wife Catherine and children Julius and Jaali, all of
whom are wonderful artists and musicians. We have our own little music store,
Parrish Music, and continue to teach, play, and enjoy music. Please visit us at
www.parrishmusic.net
was not at all
P that quicklyFrom Wayne Erbsen: Even as a small child, I
n go to sleep.was fascinated with music. My dad took this
snapshot of my sister Bonnie and I in on our
front steps about 1950 when I was about five
years old. On a family vacation to Hawaii in
1959, we bought a koawood ukulele and I soon
got serious about learning to play. One thing
led to another and before I knew it, I was
picking out tunes not only on the uke, but also
on the guitar, banjo, mandolin and fiddle.
When I was a freshman in high school I started
giving guitar lessons and soon our family
living room became a teaching studio where I
taught large classes of students who wanted to Wayne Erbsen
sound like Joan Baez, the Kingston Trio or
Peter, Paul and Mary. Eventually, I turned my lessons into a series of over thirty
instruction and song books that have helped a lot of people realize their dreams
of learning to play stringed instruments. You can see my books at
www.nativeground.com
the HawaiianEnjoy, and mahalo. Thank you for reading our book. Let us know what you
play it. Theythink of it.
acher) by the
e how to play
ture. I played
ned Hawaiian
n culture, and
aching at the
venerable Old Town School of Folk Music. Along the way I learned to play
many other instruments, but none as fun as the ukulele. This century saw a move
to rural Wisconsin with my wife Catherine and children Julius and Jaali, all of
whom are wonderful artists and musicians. We have our own little music store,
Parrish Music, and continue to teach, play, and enjoy music. Please visit us at
www.parrishmusic.net
From Wayne Erbsen: Even as a small child, I

was fascinated with music. My dad took this
snapshot of my sister Bonnie and I in on our
front steps about 1950 when I was about five
years old. On a family vacation to Hawaii in
1959, we bought a koawood ukulele and I soon
got serious about learning to play. One thing
led to another and before I knew it, I was
picking out tunes not only on the uke, but also
on the guitar, banjo, mandolin and fiddle.
When I was a freshman in high school I started
giving guitar lessons and soon our family
living room became a teaching studio where I
taught large classes of students who wanted to Wayne Erbsen
sound like Joan Baez, the Kingston Trio or
Peter, Paul and Mary. Eventually, I turned my lessons into a series of over thirty
instruction and song books that have helped a lot of people realize their dreams
of learning to play stringed instruments. You can see my books at
www.nativeground.com
Enjoy, and mahalo. Thank you for reading our book. Let us know what you
think of it.
Credits
T
hanks to Catherine Hall-Parrish for vision and support, Marlene Parrish for
editing and guidance, Jim Luhning for photos, Joel Johnson for studio work and
C. Lanialoha Lee for inspiration. Special thanks to Jaali Parrish for the tuning
diagram on page 10, Harry Frees for photo on page 69 and Lightnin’ Wells for
suggestions on the tab. Thanks to Steve Millard for cover art and design, Jamie
Hooper for technical assistance with photos, Annie Erbsen for proofreading and
Josh Goforth for editing.
Credits
T
hanks to Catherine Hall-Parrish for vision and support, Marlene Parrish for
editing and guidance, Jim Luhning for photos, Joel Johnson for studio work and
C. Lanialoha Lee for inspiration. Special thanks to Jaali Parrish for the tuning
diagram on page 10, Harry Frees for photo on page 69 and Lightnin’ Wells for
suggestions on the tab. Thanks to Steve Millard for cover art and design, Jamie
Hooper for technical assistance with photos, Annie Erbsen for proofreading and
Josh Goforth for editing.
NATIVE GROUND BOOKS &
MUSIC
This book was converted into digital format by Native Ground Digital. Please
contact us at info@nativeground.com if you are an author or publisher and are
interested in our eBook conversion services.
More Music Instruction Books by

Wayne Erbsen
Bluegrass Banjo for the Complete Ignoramus!
Bluegrass Jamming on Banjo
Bluegrass Jamming on Fiddle
Bluegrass Jamming on Mandolin
Bluegrass Mandolin for the Complete Ignoramus!
Clawhammer Banjo for the Complete Ignoramus!
Flatpicking Guitar for the Complete Ignoramus!
Old-Time Fiddle for the Complete Ignoramus!
Books of Song & Lore

Backpocket Bluegrass Songbook
Backpocket Old-Time Songbook
Bluegrass Gospel Songbook
Cowboy Songs, Jokes, Lingo ‘n Lore
Front Porch Songs, Jokes & Stories
Hymns of the Old Camp Ground
Log Cabin Pioneers
Old-Time Gospel Songbook
Outlaw Ballads, Legends & Lore
Railroad Fever
Rousing Songs of the Civil War
Rural Roots of Bluegrass
Singing Rails
Old-Timey Cookbooks
A Garden Supper Tonight
igital. PleaseAunt Barb’s Bread Book
isher and areThe First American Cookie Lady
The Lost Art of Pie Making
Old-Time Farmhouse Cooking
Secrets of the Great Old-Timey Cooks
s by Take Two and Butter ‘Em While They’re Hot!
Log Cabin Cooking
Children at the Hearth
Mama’s in the Kitchen
Early American Cookery
Pioneer Village Cookbook
Recordings by Wayne Erbsen

An Old-Fashioned Wingding
Ballads & Songs of the Civil War
Battlefield Ballads of the Civil War
Cowboy Songs of the Wild Frontier
Front Porch Favorites
Long Cabin Songs
Love Songs of the Civil War
Old-Time Gospel Favorites
Old-Time Gospel Instrumentals
Railroad Fever
Railroadin’ Classics
Rural Roots of Bluegrass
Singing Rails
Southern Mountain Classics
Southern Soldier Boy
The Home Front
Write or call for a FREE Catalog:

109 Bell Road
Asheville, NC 28805
Phone:(800) 752-2656
E-mail: banjo@nativeground.com
Web Site: www.nativeground.com
Visit Wayne's music blog: www.nativeground.com/blog/waynes-
blog
en
The Home Front
Write or call for a FREE Catalog:

109 Bell Road
Asheville, NC 28805
Phone:(800) 752-2656
E-mail: banjo@nativeground.com
Web Site: www.nativeground.com
Visit Wayne's music blog: www.nativeground.com/blog/waynes-
blog

Ukulele For The Complete Ignoramus by Ted Parrish Wayne Erbsen (Parrish, Ted Erbsen, Wayne)

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Table of Contents

Throughout the book you’ll find illustrations of an old

Throughout the book you’ll find illustrations of an old

This book is aimed at the total and absolute

Here’s a little story: Ted and his wife Catherine

Photo by J.J. Williams

How to Pronounce “Ukulele”

How to Pronounce “Ukulele”

are more toys

re! The most

under the uke,

Here’s the low-down on how to tune.

Here are the notes: 4th - G, 3rd - C, 2nd - E,

Memory aid: Goats Can Eat Anything

3rd and 4th

hat the strings

rper) and that Photo by Harry Whittier Frees

Our first chord is C. Place your ring finger on the 1st

The diagram on the left shows a ukulele neck pointing

Tips For Fingering Chords

HINT: When you learn a new song in this book, I recommend

Playing Your Foot

Playing Your Foot

To Pick or Not to Pick

Great! Now here is the complete melody of Twinkle, Twinkle Little

Great! Now here is the complete melody of Twinkle, Twinkle Little

Ancient Secrets to Practicing & Playing

Go tell Aunt Rhody,

She died in the millpond,

The goslings are crying,

Go tell Aunt Rhody,

The one that she’s been saving,

She died in the millpond,

The goslings are crying,

He’s got the whole world in His hands,

He’s got my brothers and my sisters in His hands,

He’s got the sun and the rain in His hands,

He’s got everybody here in His hands,

He’s got the whole world in His hands,

He’s got my brothers and my sisters in His hands,

He’s got the sun and the rain in His hands,

He’s got everybody here in His hands,

As I was lumb’ring down the street,

Oh, Buffalo gals won’t you come out tonight,

I asked her if she’d have a talk,

I asked her “would you want to dance,

Oh, I danced with the gal with a hole in her stocking,

I danced with a gal with a wooden leg,

As I was lumb’ring down the street,

Oh, Buffalo gals won’t you come out tonight,

I asked her if she’d have a talk,

I asked her “would you want to dance,

Oh, I danced with the gal with a hole in her stocking,

I danced with a gal with a wooden leg,

And when the sun refuse to shine,

And when the moon turns red with blood,

Oh, when the trumpet sounds its call,

Oh, when the stars fall from the sky,

Oh, when the trumpet sounds its call,

Oh, when the stars fall from the sky,

Camptown ladies sing this song,

I come down there with my hat caved in,

Goin’ to run all night!