UKULELE CONTORL2: Made for intermediate Uke players

1. UKULELE CONTROL: Made for intermediate Uke players: Hi there and welcome to this ukulele course. If you want to be a better ukulele player, that's all you need to know because this is for advanced ukulele play. We're going to start with love's things. We're gonna talk about seventh chords and chord progressions that are more sophisticated, new playing techniques. We go into detail about lead sheets, song work, some playing techniques for your strumming hand and many, many, many cool original songs, typically for the ukulele, but there are some pop songs as well. So you will definitely learn how to work on your songs and to learn new songs to play. My name is Philip and I'm a professional teacher from Germany and I would love to work with you on your ukulele skills for the next few hours. The course is structured with and yet many sophistic is sophisticated things. So we start as an advanced and start with a new chords, seventh chords. Maybe you heard about that to make your play more interesting. And then we dig into detail with some work. So what is this song structure? How is lead sheet functioning? How do I work with my patterns? How do I work on my rhythm? And in the end we have some songs that you can work on. A very cool thing, right in the end, we have a FAQ section where you find some detailed tips and tricks for you as a ukulele player. If you want to jump around within the course, that's totally fine. You do not need necessarily to work it through step-by-step. And if you need some orientation there, the big capital letters. So there is a new part beginning, a new structure beginning. So if you want to have a look on detailed things, just go for the capital letters and you know where you are within the course. If I'm talking too fast in the meanwhile, or if you want to increase or decrease a temple for working with the songs or something like that. Few free we have a cool video functions so you can rearrange the temple in a way that's a cool feature. I definitely love that. If that all sounds good to you, and I would love to be your ukulele coach for the next few hours. So let's dig into detail and we see each other within the first video. 2. 7TH CHORDS AND WHAT THEY DO: Now, welcome to the next part, as we could say part to this, because it's very important to talk about special courts. And in this part of the course, ukulele control, I will show you seventh chords, what our seventh chords. Well, first of all, you can find all the diagrams again as a big PDF as a download with, in this section. So don't worry, download the thing and have a quick look. You know how to read it, you know how to find out how to play those cards. But first of all, let me explain where to use them or why they are important. Well, you can live totally without seventh chords because as I said before, we have the basic chords. And of course, basic chords means that those other courses that you necessarily need to play, everything there is. But let me say I have a, I have a song where I play four bars of C like this. Sounds boring. What could help to make it more interesting for my listener or for me as a player. Well, I could change pattern, I can play, it could work. But as we will see and as you already can imagine, it's very important to have a almost steady pattern. You can change several strokes and you can make it more interesting by that. And as you've seen before with in our song, we're changing in-between patterns, but that's more for the dynamics of a song. If you want to bring in more tension, if you want to get the listener's ear back to your playing because you play the same chord for a very, very long period. It could be very useful to use seventh chords because as I explained why we talked about the basic course, basic chords are built within with three nodes. So for instance, a C chord is built by C on the piano white key, then E and G, and those three notes together, our C major like that. Now, as you know, we play four nodes within our epiallele courts. So we could, we could do more what could happen or what would happen if we would put another note on top of that. So instead of playing Free Corps, we could play a three nodes. We could play four notes, and that's where the seven comes in. Now, the seven is an interval that's built from the sea, in that case the root node to the next C. And we would say it's an octave. Octave comes from eight, so the seven is the note below, and we have two options to build a seven. There is a major seven and a minor seven. Where does that come from? Well, from C to C, We will play an octave. We say it's eight nodes, and if we count, It's like C, D, E, F, G, a, B to C, makes total sense. But if you count the keys on the piano, we have see a black key, d, a black he, E, and F. There is no black key. F to G is a black key. G to a is a black key, a to B is a black key. And B2C, there's no black key, so we have a two black keys on our down here and three black keys over here, seven nodes from C to the next C Before we do the step honesty. So it's not really like going eight nodes in real life with 10. When we count the black keys within, we go 12 steps. And those 12 steps are all the notes we haven't. Now, if we say there is a seven, we make a group of a big seven that would be like 11 steps. And we have a small seven, or we call it the dominant seven, that's only 10 steps. And both of them have different sounds, but they make it more interesting. I play the pattern one more time, and I bring in a C major 7 and the fourth bar, Let's have a listen. Interesting, or let's bring in a minor errors or another minor seven, a dominant seven chord that would sound like that. Those cards are built with the basic chords, like the same three notes as before, C major chord, and we pack a seven on top of that. Well, you do not need to know all the theory stuff. That's just something that maybe for a game, a quiz game or something like that. But you can learn those chords and it is as easy as I said right now. The idea is not to let, let me, let me start again. The one idea could be that you have a sheet where it is written, please play E major 7. Now then you go on your sheet, you have a look. Where is my image is seven and you have a look. How can I play that? And then you play the major seven instead of e, which brings in more attention. And there must be a, an idea why it is written on your sheet like that. The other idea is if you have a part or if you are advanced already, if you start playing and playing and it's getting boring because he using the exact same basic chords all the time. You can play around with that. There are two ways to do that. One thing is if you have a long row of bars with the same chord, tried to put in a major chord or a minor chord. And if you do not know how it works or what chord will function because you do not have the knowledge of the music theory behind it. No problem, just try it out and if it sounds craft, leave it away. The other idea is you can bring it within your, your stroke. So maybe if you play it or you can walk around with a C7, C major seven, C, you can, or you can play. And that brings in more spiciness in a pod which just says play C. Okay, so be creative with that, work around with that, That's very cool to bring in C dominant seven. No, Not only see dominant, dominant 7 sound and a major 7 sound with in your playing, it's worth it. And we go on, we have a look and I will show you step-by-step how those seven chords function and how you can find those. Here we go. 3. Chord: C7: Our first seven chord is the C dominant seven. Well, you remember this a C major. And if you want to have a C dominant seventh chords, you just, yeah, suspend the third thing. Finger on your third fret with a first finger on the first fret on the a string. That's C, dominant seven. 4. Chord: Cmaj7: C major seven is almost the same. This C major. And I suspend your third finger on the third fret with your second finger on the second fret of the a string. That's C major seven. 5. Chord: D7: D dominant seven is a bit complicated because this is your D major chord. Now there are two ways to play it. The easiest way would be you leave your D major chord like it is, and you put your pinky on the third fret of the a string. But as you can see, we have some, some, yeah, little bows between those, those dots on your fretboard. So you could play like that as well. You could lay down your index finger like if you play a B major or minor chord, and then you can put your middle finger on the third fret of the third finger, as it depends. So this would be D dominant seven as well. I would prefer that one because it comes from the court. And as we talked about, if you want to bring it in as a little spiciness, then this would be my preference. That's D dominant seven. 6. Chord: Dmaj7: The major seven is a bit more complicated. So if this is a D chord, D major, and that was D dominant seven, then D major 7 would be with your pinky on the fourth fret of the a string. Maybe if you do not have that big hands, that could be handy if you use the Barea on the second fret, and then you can use your ring finger on the fourth fret of the a string to get D major 7. Okay, That's the major 72 versions. 7. Chord: Dm7: Within the family of the D chords, we can build a D minor 7 as well. If you start from your D minor chord, it's quite easy because you just put your pinky on the same space where you put it for the D dominant seven chord. So third fret on the a string. Nice corner like this. D minor seven. 8. Chord: E7: The next chord is E dominant seven, so we already start from E major. Now we have to rearrange because we need that node here and pink is going away. But that would be no good idea too. Yeah, bring in the ring finger. So ring finger jumps on the space where you have your middle finger second fret on the a string, and your middle finger jumps up to the second fret on the C string. That's E7. Not that comfortable to make a quick change, but possible. So ring finger on the second fret, middle finger on the second fret. And your first finger on the first fret, G string, C string, and the string E, dominant seven. 9. Chord: Emaj7: Next core is E major 7 and we begin with major again. And if you want to get that core to E major 7, that's quite comfortable. You just put your ring finger on the third fret of the C string and your pinkie goes away. That's E major 7, E major ring finger on the third fret, C string, and pinkie goes away. That's E major 7. 10. Chord: Em7: A bit more easy is E minor seven. Now we start from E minor again. The problem is we have to take away or rearrange a little hard because we need the second fret on the a string. I would prefer the ring finger, third finger. And then we put our middle finger on the second fret of the a C string. That's it. The rest is open. Okay, So E minor, ring finger, second fret, a fret. A string, middle finger on the second fret on the C string, E minor seven. Sounds nice as well. E minor seven. 11. Chord: F7: Forever there's only F dominant seven. That's a bit easier to play. So this is your F chord. And if we bring in the ring finger on the third fret of the C string, and you're in your pinky on the third fret of the a string, you get F dominant sounds. So f quite easy. F dominant seven with all four fingers, ring finger on the third fret of the a C string. And pinky on the third fret of the a string. F dominant seven. 12. Chord: G7: To play G major seven coming from the G chord, it's there two options. So this is your G chord, G major. Now one would be to take away the middle finger and to lay down your index finger to a little Berets. So we had that node and that node below, below here. Sorry, I'm, I'm, that's, that's the first beginning. So you could play G from there. That's still a G, but switched positions. And now if you want to get G major seven, you just take away the ring finger. So it's just a little Barea over those three notes. That's one possibility to play G major seven. The other way, if you do not want to use a Barea, you could play G. You leave your index finger and then you put your middle finger on the second fret of the E string, and the ring finger jumps down on the second fret on the a string. Same thing. So once with a Barea, once with three fingers in one fret, that's G major seven. 13. Chord: Gmaj7: If you want to play G dominant seven chord, it's quite easy because it's like mirroring the G-Major chord. Now this is G major. And if you would put a mirror right here, then that finger would jump on the other side. So on the first fret, now, of course, we cannot use a mirror. We need to rearrange our fingers so your middle finger comes up to the second thread on a C string. Your index finger place the first fret on the E string and your ring finger jumps down on the a string. Second fret, G dominant seven. So G major, G major chord. Jumping around like mirroring over here to G dominant seven. That's it. 14. Chord: Gm7: Now the G minor seven chord is a bit more complicated and there are two versions as well. I would definitely put the middle finger on the second fret on the a C string. And now you can choose, you can play it like this with a little, little small Berets. So first finger presses down first fret of the E and the a string. Or you could use a confusing version, middle finger down here first for a string, index finger first fret, E string, and the ring finger on the second fret of the a C string. I would prefer that version because it's far more easy to come from G minor. G minor seven. C. Just take away the ring finger and put your index finger flat over to string. G minor seven. 15. Chords: A7: Now one of my absolute favorites within the seventh chords is on, on place number 2, a dominant seven y, where we only use one finger. Well, this is a major. And if you want to play a dominant seven, you just take away the middle finger. Just one finger, left first finger on the first fret of the a C string. Quite useful. A dominant seventh. 16. Chords: Amaj7: Our next chord is a major seven chord. So we start again from the a major chord. And if you want to play a major, you have to switch fingers on their strings. So the first finger jumps on the first fret on the seas edgy string, and the middle finger on the first fret of the C string. So this is a major 7. A major jumbled around a major seven. 17. Chords: Am7: Our third a chord or third A7 chord is a minor seven, and this is my absolute favorite core because it's as simple as that. If you play your open strings on the ukulele in GCA tuning, you have automatically an, a minor seven chord. So if this is a minor, just leave away or fingers. And that's a minor seven. I could do that all day long. A minor seven. 18. Chord: B7: A B dominant seven chord is almost the same as the B chord. We have a Barea with our index finger on the second fret, all over the strings. And then you only play the middle finger on the third fret of the C string. Because remember that was B major. And if you leave away the ring finger, that's B dominant seven. So always keep in mind what's the original coordinate if you want to play around with them. That's quite useful and easy. Okay, be dominant seven. 19. Chord: Bm7: Now the B minor seven chord is quite easy as well. If you remember, this is B minor, so you have your index finger as a Barea over the second fret. And then you have your ring finger on the fourth fret of the G string. And if you want to reach B minor 7, just leave away ring finger. Quite easy. B minor, B minor seven. That's it. 20. BARRE CHORDS: Now welcome to some tips and techniques, tricks that we use while playing ukulele. We talked already about strumming patterns and there is not much about technique, but there is some things we could use as, let me call it smart playing. Well, we talked about basic chords, and within almost all basic chords, there are no full courts, like for instance, the B major chord or the minor chord. They are full courts because we do not have any open strings. But there is a little problem if you have a song where you cannot find all the courts within the basic courts. For instance, you have a song and you play, and there is a cord called F-sharp major, or a flat major or minor or whatever. Well, if you have a quick look or you Google it up, you will find out that those, those hashtags, those sharps and those flats, are meant for rising or increasing the nodes or decrease notes. So if you have a C and you play C-sharp, you will increase the C one note up. We talked about the piano already. So if you have a wide key and there is a sharp sign, you will not play the C key, you will play the next Hikida Blackett, ok. Now, if this is the idea behind that, if this is the, the music theory behind that, then we could already do the same with our chords. So if it's called F sharp, we just should increase the course. So I will play my F because I know that it's a basic chord. And if I want you to increase that one node, I bring up those fingers one-by-one, Fred, why not? So it's one note higher. If this is F, this should be F sharp major ta-da. And it sounds like crap. Why is that? Well, let's have a closer look on our ukulele. And if you have a good look and you think about it, you will find the mistake. We didn't increase, uh, we didn't rise up all the nodes because we're playing for nodes within our F chord. But two of those are open strings, the C string and the string is open. So if I rise up those two nodes, I leave two nodes in the exact same place they were before. And that brings a dissonant, not good sounding chord. Now how on earth can I do that? How can I increase it for one node to get that F sharp? Well, that's where we get into the idea of Barea as a technique. We already know what Barry is because we have it in B minor seven and B major and be dominant seven and B. You play one finger, cross over all the strings, pressing down, so you have all four strings ringing. And if we do so we can increase that. So good thing is if this is B minor seven, then this could be C minor seven and C-sharp minor seven, and D minor seven, and so on and so on. So if we do not have open strings, we can do whatever we want. We can slide them up the fretboard to reach whatever course you're looking for. Now. Easy thing would be if this is F and we want to increase the OneNote, first thing we need to do is to get free that index fingers. So I will switch over. My middle finger goes into the position my index finger was, my ring finger gets the position my middle finger was before and now today. My index finger is free. And now I pretend that there is no, no neck point, no, no a fret 0 is minus one, minus two, minus three, minus four. And I need necessarily to put my finger here to put down all those notes to get GCE and a. And now I have my Barea core for F. Of course, there is no need to play a Barea like that. But if I would increase that kind of building right now than I would in a way, slideUp all nodes, also those who were open strings before. And now I have a total fine F sharp caught because I really did all my work. This is F, and I slide it up 11 fret. Now this is F sharp, and this would be G, and this will be G-sharp, an a, and so on and so on. Let's have another example. For instance, let me say we have our C. C is very complicated because we only have one node that's yeah, with, with a finger or the other nodes. Open strings. So I would lay down my, my index finger here. Maybe you would like to change the finger because it's more comfortable to use not the ring thing about the pink instead. Now, I could rise that up as well. Please be careful that you always have 123 bars to the finger. Now if this is C major, this is C sharp major, and this is D, and D sharp major, and so on and so on. So I think you get the idea. First step is the problem in your way is we have one chord that we want to increase or that we cannot reach because it's not a chord that is in my, in my list of basic chords, for instance, a flat. Now, there are two ways to build that. It's a bit of theory that you should know if this is your problem, you must know what does flat mean, what does sharp mean? And another thing when I'm talking about that just in a second, sharp means we increasingly bring it up one fret and, or the other way round flat means we bring it down one fret, okay? Now the problem is if we, for instance, looking for a flat and I could use the a, but I cannot bring that down. Bringing something down is always a bad idea because usually we are on the lowest point possible for that. So we can just work with increasing. And now, there is a thing that you must know about music theory. Each sharp node can be seen as a flat node and the other way around. So if you have a look on your C major scale, C, D, E, F, G, a. If you're looking for a flat, and it means the node in between G and a. If you're not quite sure how to reach those flats, just have a look on the next line and then the next note below, because you want to reach the node in between. And to get that you can think from the note below. So if I want to play a flat, C, D, E, F, G, K, the know before was G. And now I play my G. And if I increase that one note up, then I will get G-sharp, or you could call it as well a flat, and that's what we're looking for. Same thing here. We have one node, open string. So I'm rearranging my fingers. Bring my index finger on the 0 fret. Bring that up one bar. Make sure that I leave that space over here. The first Fred was three, very important. And now this is G-sharp major or a flat major. And it works. So that's the cool thing about the records. We have the possibility to play more nodes with one finger. And we use that technique sometimes to play chords that you cannot find within your basic chord overview, but you can reach those chords. And sometimes in songs there are strange corps that are not out of the family of the basic course, but that's the way how you could find them if you want to play those songs. 21. String Mutes: The next trick that you could use when you want to rearrange courts is the string yields to not get confused. We talked about muting strings already by holding down your hand to get dead nodes, or by putting your hand with a palm down on the strings with a bead or just, yeah, like, like putting it on strings and stroking behind that to get those, those muted sounds like, you know what I'm talking about? Well, this is meant the other way and not really the other way round for another idea of playing well, we talked about rearranging the G chord just a few minutes ago. And if we want to increase a chord like the G chord up one node, then you could use string using by the cool opportunity that the ukulele is that small because I can wrap my thumb around the neck to mute that string over here. So if I do not want to get that string heard, and that's something that could be interesting if I'm playing a G chord, because within the G chord we have an open G string. Now if I'm rising it up to G-sharp, Then I definitely cannot play that G string anymore because it sounds wrong. So now I'm bringing my thumb over the G string smoothly that that sounds is to hear sounds awful. I know, but if you play the court, he won't hear it anymore. Sounds good. It sounds like G-sharp major and you got rid of that note that you do not want to hear. So that's the idea of beauty. Strings in a way in, there's another way we could use it if we want to bring in more percussive play. For instance, if you play an F chord and you want to do some percussive play and you do not want to get rid of the court. So let me say one plant one way would be if you want to play though, those open datanodes to get away of the court. Lay down your hand flat. Get back to the card. Very exhausting, very dangerous because you could get on the wrong string when you move back and forward and so on and so on. So if you only use two or three fingers, maybe you could use the trick to use your pinky for that. I'm just laying my pinky easily and smoothly over the strings so they unmuted. And of course I release the tension back here, so I'm not pushing anymore on the court, but if I'm going back to the court, I only have to push and take away the pinky against her pinky on releasing the tension. Now I got muted strings to get a percussive play. And when I want to get back to my F chord, I take away the pinky, released the strings and bring in the tension again. We could do that with other courts as well. For instance, C, Same thing here, releasing tension over here. It's quite easy. And bring in that, that pinky great thing to no string mute. So little summary, you can use that for percussive play with your pinky and by releasing the fingers on the exact same position that the court is meant to be paid. Or you can use it if you want to rearrange the courts to mute the strength of, for instance, the G string with your thumb by going over the neck in a way that's the idea of string news or string muting. 22. The Capo and how to use it: Another very useful thing you definitely need to have is this little tiny thing here. It's called the capital a capital duster. What does it do? Well, there are several ways of capitals. As you have something you can round, you can strung them there. This is with a little with a little mechanism. So I can simply use that gum part or what it is, put it on the strings, on a thread that I choose, release it there and it stays there. And this little thing, in a way suspends my finger my briefing or this is like a Barea. Now I have four fingers left and I can play like I de-tune my ukulele. I can use the exact same course than before. So if I play like, I don't know, G, D, E minor, and see, we add that in an example song. And now Let's say 11 reason could be your singer. And the song is too low for you, it would sound definitely nicer if you will bring it up. Well, good thing about the kapo is I can bring it up, I can bring it on the first fret. Now it's one note higher, but I still try to, in a way, pretend that this is my, my ground 0. This is my fret number zeros, so this is number one and this is then a G chord. I simply ignore that. I now detuned my ukulele and played the same course as before. Still too low for you. Well, no problem bringing it up one more time. This is the second fret. Same thing. I'm ignoring that. I pretend that this is my friend 123 and all my chords are the same. So this is G for me. But now I'm sounding like G, and I increase it for one node, so G-sharp Now it's a but I do not have to switch to an accord. But because I do not know how to switch them all, I just played the same course as before with my kapo Dasa. See that now maybe it's perfect for your voice. I don't know, there's just one idea. Another idea would be we have some songs within here and you find them on the internet as well. If you use ultimate guitar for a finding songs, there is, for instance, a possibility if you find a song you want to play and it's in a bad key. So let me say E-flat major. So you just read science like E flat, a flat, B flat, C minor, or courts that you're not really easy used to play. There is another trick. You have a transpose that you could use. And there it says plus one or minus one. And if you bring that up, you will come to court. If you bring that down, you will come to course that you know, if you have E flat and you press minus1, you get to D. Now, if you put your first, you couple on the first fret and you play D. It sounds like e flat, a bit of mathematics, but it means if you bring down your lead sheet on ultimately tau one or two or three steps and you put your cap on the fret, the exact same amount. As you release or transpose everything, you will get the exact same key. That means you will find basic course that you can play like instead of E flat major where you do not know what to play it, now you simply have a cap on the first fret and now you play D. And now if you read that sheet, all courts are lowered one node. So it's like, for instance, a E-flat major is now a, d, a. Where am I? An A-flat major is now a, B, and so on and so on. And so all calls that you know, and now you're able to play the song in the exact same key, in the original key without using Barea courts or getting into very complicated things. So capital is a very useful thing. We have several examples songs within ukulele control where we will use a capital to get you used to that because it's the definite key for you. If you want to increase a key or decrease anything because it's too high or too low for you to sink if you're looking for another key to singing. And it's a good tool if you have a complicated song and you want to work on it and some songs on the Internet are already, yeah, displayed with capital on a first or second fret. So by one, you do not necessarily need to buy the most expensive one, but it's very cool tool, very useful. I can totally, totally recommend that by it. We will use it when we move on to our next song. So definite, definite trick. Each ukulele player should know. 23. HOW DO I PLAY SONGS?: This section is in a way about songs and it's very important because if we go on and we learn more and more songs, we definitely need to talk about some structural things. We need to talk about lead sheets and many, many things. And we will start with a lead sheet first of all, well, the first thing is what is a lead sheet? Usually maybe, you know, like Christmas carols or children songs or gospel songs from those books where we have just the melody as nodes. We have the lyrics underneath this melody, underneath the notes. And we have maybe the second, third, fourth verse only as, as lyrics, only as text underneath those lines. That could be a lead or a leading sheet. Or the idea of lead sheet with an, a popular music pop song is to lead you through the song. And that means you have like several, several pages. You could download those or you can get those on the internet and those lead sheets have the idea or the, the, the job to lead you through the song. So usually it's just and written lyrics. And you have, yeah, for instance, like here you have the name of the song. Maybe you can find the interpret. You can find a key or any other ideas like, is it a 4, 4, 3, 4 depends on how good the lead sheet is. And then you will find the sung lyrics. You will find the song parts like here, it's called verse chorus and so on. And you will find your ukulele cards on top of those lyrics. And if it is good on the word where it is strong. So if you sing I and you have to play the chord on that, I usually the court, the letter for the court is written on top of that Word where it is played, That's the lead sheet. And by that, you can move through the whole song. You have several pages because you really want to get through the song and you know how many versus the R, You can read all the words and the thing for US that you need to read the words and the courts at the same time. So it's very important to know your chords by heart and very, very, very good. It gives you have that each sheet you're able to play the song. That's it. Well, where do you find a lead sheet and where do you find good lead sheets? There's one easy way to do that. You can go on the internet, you check out, Google, you in the name of your favorite songs that you want to play. Maybe the interpret, not that important. So if you just given, let it be the Beatles, maybe ukulele, and then she'd, or lead sheet or lyrics. You will find several things. Sometimes it's only the lyrics. Sometimes you will get real tabs or scores, but most of the time it will lead you to several pages, web pages where you can find lead she's as a download or at least you can make a screenshot or play them in front of your computer. That's one thing and I would suggest you that you go to ultimate minus guitar.com because that's a very cool a website. And I do not get paid for that. It's just a site that I use. Oftentimes, it's like a big music community. It's for ghetto player's bass players and ukulele players as well. And of course you can use it as a piano player, keyboardist or whatever as well. And there you have a searching engine where you can dial in the song that you're looking for and you can play, you can dial in ukulele as well. And they will make you several suggestions for lead sheets with tabs, with base tabs, with ukulele tabs, with chords. It is called, you have a rating system where you can see how many users opened up the sheet or use the sheet and they rated that sheet. That's very cool. So you know, what she does, good war is bad. You have different keys because sometimes people load up sheets there in other keys. So maybe if you are using for looking for another key, that's very useful. And usually you have lots of sheets like that. But there is one single little problem. It is a community. So you can, you, I think you must create an account and then you can, can, in a way you can store your own and favorites. You can make playlists. You can find them easily. You can in a way, organize them. You can create your own sheets and load them up for the community. That's pretty cool, but that leads to the problem. Any body can create lead sheets for ultimate minus guitar.com. So it's not that there's anybody really controlling if everything's correct. So it can be that you have to have a look on 456 different sheets. And really you have to try those because it can be that they are in a way wrong. There's a wrong court. There are some words wrong because it's a big community and everybody is able to put it up there. Well, It's not that bad if you want to get those leeches and you're not able to, to buy those or you don't find other websites as easy as that. It's my definite suggestion. Another thing could be you could buy those in a music shop. There are some books where they put lead sheets in. The only problem with that is they're definitely 100% correct. Because usually they're made by real musicians, but they're expensive and they are old in a way because if this whole system behind that is very, very slow, so if a new song is coming out, it takes its time until it found its way into a book like that. So something like half a year or something like that. So the cool thing about ultimate minus guitar to come is especially if you live in different countries and you're looking this course and we're sending from Germany. And the cool thing is if there is a new song in the US a, or in Great Britain, then in most of the times I, if it's released in Germany or in France or in Denmark, or wherever you are the planet. It is already a sheet findable on ultimate guitar.com. So go there, have a look, downloads your own things, you can download those as a PDF. I said it already before. You can change the keys, you can transpose it. You can edit your personal versions or you can write and things they're like little commons or what you, whatever you need. Great thing, absolute recommendation. Go there and work with lead sheets because it's very good for learning new songs. 24. Song parts: Now after we talked about the lead sheet, let's quickly talk about song parts because it's, in a way, some special words that we need to talk about where we are in a song or if you go to a rehearsal, if you work with other musicians, you usually do not only play the song and there are no parts. There are several parts with him, pop music. So you can say this is the burst, this is the chorus and things like that, to know what function a part has. That's for composers or for songwriters and for musicians to, in a way, arrange a rehearsal. So for instance, you play and you want to work on a specific part, it's good to give that part of the name so you all know what you're talking about, even if you're doing your own music, your own style. Now, what kinds are some parts are there? I have a sheet over here, and here you can see the most common ones. We have verse, we have chorus, we have interlude. Maybe we'll find some more over here. We have a bridge down here. And sometimes you can even find an ending or outro. We find some things like intro. Those are typical parts you have within your, your sheets and within music itself. Now, each part has a function, as I said that before, usually the chorus or in Germany or in France or other parts of the world, and even in America, sometimes you call it a riff or refrain. That's a party usually use for the repetition. So it's the most popular words of the song, the most popular melody, the hook, the thing that you have in mind afterwards, and R&B and hip hop, you call it definitely the hook part. Verse is clear. It's the part where the story is told, where you have new words every time the melody is different than within the chorus. And then we have a part that's sometimes called Bridge or pre-chorus. That's usually part, that's a, a bridge, as it's called already, between the verse and a binding malady that leads to the melody of the chorus. That's usually a bridge or a pre-chorus part. Bridge could be as well, a C part that could be after the second verse or after the second chorus for most of the times. And in the eighties there was the guitar solo. And within metal and heartbroken is still the part where you play the solo. In pop music, you often have a new part with a new melody or spoken words or something like that to bring in another idea of tension. And after that, you usually have another two choruses and an ending part. Now, just to get that set, that's what we usually have. Sometimes you have an instrumental part and interlude or solo as well within those songs, especially if you play evergreens from the sixties or from the seventies and from the eighties. And those parts are necessary so you understand how she'd works. We can talk within eukaryotic control while we're working on a song. And if I want to say, use this pattern for that, that part, you should know your parts and they are written down, of course. And it's good for you if you want to become a musician and you want to talk to other musicians to have the same language in a way so you know what you're talking about, you know what they are talking about. And you can talk to each other and really arrange and be most efficient within your practicing time, you're rehearsing time. With that said, let's move on to the next one. 25. Strumming patterns and playing techniques: Within song work, we talked already one more time about strumming, strumming patterns, strumming playing technique wise that we already talked about it. Well, I want to point out one thing that's very important for you to note, really get the most out of ukelele control. This is a beginners course and it's a course for advanced people as well. But a thing that I usually recognize when my students is that they learn one pattern, two patterns, 3, 4, 5, 6, many parents, many songs. And at the end they know like, I don't know, 20 songs. And if they want to learn to play the 21st song, they're totally lost because there is just a song sheet, elite sheet, and there is no pattern for that. And then they come and ask me what to do, how to play that. And that's a big problem we want to solve with this course because our definite target is to bring you in to knowing how to play ukulele. That's why we call it Ukulele control. So you really need to know how to learn patterns and how to get the most out of that. That's why you find a PDF within this video for download where we have several strumming patterns and please do not understand it like this is all we need to know. It's just a summary and to give you an idea of how many patterns there are. And there are two ways of thinking about that. One is, Oh my God, there are so many patterns. I will never get to learn those. All right, definitely correct. It's totally a bad idea to, to get to know all those patterns because nobody does it like that. You learn a new song and there is a new pattern or you, you listen to a ukulele players, you using a pattern you do not know, get their train that, learn it and learn it by heart. Because if you come to New Song and you want to play the new song, just listen to it. Listen to the beat, listen to the tempo, listen to the style. And if you did your homework, well, you know, enough patterns to play that song. So strumming parents are, in a way, imitating other players, imitating the rhythm of the music does so if you play a song that is punk music, you tried to, in a way imitate punk rhythm. If you want to play reggae song, you want to imitate the rhythm. So if you have a tungsten has more aggression, high tempo. Yeah, Fast nodes, many downstrokes you could also place. Would be funky ukulele playing, easy but cool. And that's a good idea if you have the same course, but within reggae song it would be more like That's the difference. So learn to understand that each song is just a suggestion with, in the, the idea of patterns. You learn a pattern, but please take it into your tool case, into your box of a way of a, a whole group of patterns that you need to know for different situations, different styles, different tempi to be able to play directly and to imitate that. And we will talk about some tricks later on. But now if you look on that strumming pattern sheet, we can go into detail. We have the first pattern here, it starts with a C and it says it's 11. Can use them for any Ballard for 90 songs, for easy listening songs. Played fast. Can play it slow. And please be creative with that. You know, I talked already about it. Play over time the little nodes. This time it would be the 16th note. So please stay in a steady movement with your, with your strumming hand and then you can bring in some notes as well. So if you slow, I'm just playing around. But it's a useful pattern. And if you're in a metabolism, for instance, so you can walk around with that. Let's have a look on pattern B. It looks a bit more complicated. It's down. Tan, tan, tan, tan, tan, tan, tan, tan, tan, tan. Same thing here if we move in through in 16th notes. So you can improvise with that, you can be creative with that. But it's first of all is strumming pattern. You could learn one more time. This is pattern B. You can work with that fast or slow. The tempo. Quite useful, very cool. Let's have a look on patterns. See it, just examples you can use them, please learn them all, but it's just for you, you, you decide, and you can now after that video, go on in the net, go to ultimate minus guitar that come, have a look for 10 songs that you're interested in. Have a look if they use basic courses, you already know. If not so have a look on the basic course that you need to know or to look up. Have a look on the seventh course and have a look on the brake horse and the capital thing to make sure that you're able to play those songs and then tried to play it with one of those or even a hall of those patterns. Okay, So let's want dependency. It's with an E because it sounds more interesting, is very useful as well. Fast, slow, or miserable. Very, very, very useful. Parent D, useful as well. It's sounds more like a beginner, but if you play that first bit dynamic, you get like a country feeling that's a good thing for country. Now, the next pattern are a bit more complicated. You see rest nodes and you see some, some notes on top of pattern, either 2 eighth notes and then we have a equal sign. And after that it's called with a trial against. So you have a quarter note and an eighth note underneath a trial, and that's called a shuffle. That's some kind of definition we use in the beginning of a song or here in the beginning of a pattern. So that means the next two within these lines are in a shuffle mode. And shuffle means we, we think in trials, although we're playing two notes from Anna playing 1234, we playing 12. You know that from, from blues music it sounds like not long, short, long, short long. Okay, That's a trial thing and tried field, and that's called shuffled. So that means all our nodes are not played like that. That's what's written here. We have down, down tap the little rest. Little rest. And please take the rest Seriously. We really want to hear nothing. So it's not, it's meant. And now if you bring in the shuffle groove, you will hear the rhythm and you definitely heard it, especially within the players that use a ukulele sounds like. So you really use those rest. You can make arrests there or you can use we talked about that earlier. A beat, a snowed, a adeno, playing a combination datanode on the first dress and the rest behind. See that? Cool rhythm. Definitely a must know within your pattern machine, pattern toolbox, pattern f, still a shuffle means, sorry. Straight, but it's not like one. Reg if you have ion feelings are pretty cool for the use of the ukulele. Now last part of your patterns and mass point that out one more time. It's just a suggestion is just a, an idea of what could be possible with ukulele is another timing, another counting. Go back to eight nodes, are eight nodes again. So this is straight, like 1234 and this is 68 rhythms. So if, for instance you have folk music, you have German lieder marking, things like that, that using 6834, like a waltz, oftentimes, but it's sometimes find it in countries well, in many pop songs by a gel Sam Smith or call it whatever you want. Now you're counting 123456123456, ramped up a bucket like a shanty that 1, 2, 3, 4, 5, 6. And now this is pretty cool and pretty easy. We play 3456123456123456123456. And you can use that fastest as well. Okay. The other one is just another example, 4, 6, 8 depend on age. It would be 1, 2, 3. And because you have three 16th notes in here, so it's like one. It's hard to count. You should get 1, 2 3, 2, 2, 3, 1, 2, 3. So it's time to contract that one too. So it's a bit more than the two. It's 1, 2, 3, and 123123123123123. Same here. Can play it slow or fast. Now, that's just a little An extra work or to bring you a little more extra idea of how to use chords and for especially how to use those chords as a song, as a line that you know what to play, but you do not know how to play. And that's when you use your strumming parents. And the most important thing is if you go on the internet and you search for your new lead sheets, there won't be any suggestion for a parent. Sometimes there is, but oftentimes there is none. So if you use ukulele control and tried to get out the patterns from each song. You will have in the end, I don't know, like 20 patterns that you are able to play. And to bring within the next song. We have slow songs, we have evergreens, we have different styles. So please learn it like that. Take them out of the song. Please do not combine them or think of it like it is the pattern for the song and I cannot use it for anything else. That's definitely the wrong direction. And if you do so as I suggested, I'm definitely sure that you will learn how to play ukulele and get your ukulele control with the use of the basic course, the seventh chords and those many, many, many patterns that should be easy for you to work on new songs and get better and better and better. 26. The secret of professionals: Another hint that I want to give, and we call that the busy click painting in a way that secret of professionals. Now what is meant by that? Well, I definitely do not know how you get the best play, the best paid ukulele player worldwide or something like that. That's not what I'm talking about it and say a beginner advanced course for ukulele players. But there is one thing that I got out of my teaching lessons all the time, and we already talked about that in a specific way. But I really want to point that out because it's so important. If you have your patterns and we have different songs where you have two of three or more patterns to make it more comfortable for the listeners or more interesting for the listeners and you will sound more professional and more sophisticated. But oftentimes, I see that my students learn those patterns and even if there are four, they steadily played that pattern through. And sometimes it's my fault as a teacher because yeah, for sure they must think that I'm controlling it and I'm listening to it. Or maybe I would go on them if they will play one node slightly different, but I would definitely not. And that's why I'm doing this video now for you because I want to tell you one thing. The secret is, are there two secrets that will keep you away from getting very good at ukulele playing because you think you must do it very accurate and that's definitely wrong. The good players do some lazy stuff. They do things that are so easy for your mind, for your brain, for your hands. But the only thing that you really have to keep in mind is keep that rhythm going. That's very, very important. Okay? So if you have a pattern, let me say it's let's say we have a 689. You play that for three minutes, four minutes, that's totally fine, but it will sound like it beginner. First thing you should do is make a rest at anytime. Now you cannot play one bar rest one harassed. But if there is a new part and you have some songs like that way, you still have 11. Court has just shown 123456 and then you get into there. That's totally fine to make it more comfortable, you can change patterns if you work with that. We talked about that already. If you have your 20-plus patterns by heart, you can rearrange things like that, but that's very complicated and very, I'm from your brain, the thing is you need not necessarily plan that. If you have a song and it sounds like the only information that is important is how does it work? How is it built with my hands? And how do I keep it? And if you're in that rhythm and if you know the one logical thing and all professionals do that, they just ran through with their hand. And if they hit one more note or OneNote less, it sounds cool. It makes it more interesting and there is no stress within so they need not necessarily count what they're doing. They're singing, It's totally fine. And you will definitely have a look at each video with, in this course, each song, you will find several bass we're amplifying the wrong pattern. Why is that? Well, I'm not I'm not made for concentrating on that pattern that I want to show you throughout the whole song and sync by that is for me a totally natural feeling. And if I'm playing and I'm thinking, maybe I changed the rhythm a bit, live away 10. And I'm just playing around with that rhythm. Getting in more strokes. Just not living by accident. So think of it as a deer, as a suggestion, as a, a, a scheme that you play around and really want to work out your own thing. But it's not working it out, it's just letting go, come into a flow. Let your, let your hand flow, let the lattice be played fluently and you play rather than if you do, as I suggested. Play it with the use of the little note in the notes worth less. The last countings, like a 16th note, an eighth note or quarter note, whatever is the less note that you have in your pattern. And you have that natural feeling of playing around with that. Then you come into that natural play and start to sound more like a professional. That's very important. And the last thing I already talked about that is another trick they use, and most of the students do not use it because they think, oh, I want to make it as good as possible if you change courts and you play like C to F. Most players really want to get to that last node. Then they find out there is no space in between the last stroke that I did and the first stroke of the next part where I had to change my court. So where on earth shall I changed that caught them? Well, the triggers added flow again and go on the last stroke that you do with the court before and use that note or that count to change already. So in that plane, if it's slow and you can't do that, well, fine, do that, but let's pretend that was too hard for me, then I would play. If I'm playing slow, it's really hearable. You get an idea of how it sounds and it's not that queue. But if you're in a cool rhythm, there's always zeros in between. I call those zeros. They're always open strings. If the rhythm is cool and you are fast enough, then it's totally okay. And it's very smart to play like that because it sounds even more interesting than playing perfectly the court until its end. And it's quite more easy for you to get to the next chord because you have more time. That's the idea behind that. So please keep that in mind. Be creative with that. Leave that space and be smart while playing the ukulele. You do not necessarily need to play it till the end of the bar until the last node is drawn and then jump like a crazy mind to the next core because that sounds too harsh. You're not in a hustle. Be relaxed music is a cool thing and it should be fun. Keep that in mind. Those two tricks are very, very, very helpful and absolutely necessary if you want to bring your ukulele playing on a higher level. 27. MORE SONGS: Now we're finally here in the most important part where it's called songs, songs, songs. So more songs for you to learn, more songs, to have a look on patterns, chords and everything. And you already know how it works, but I still want to summarize it a bit. So for each song we have a little introduction video where I will explain the patterns that are used. I will show the course and I will maybe give some hints and tricks. And afterwards we have a second video where you have only the core changes for your fretting hand. So you can practice that with the almost original temple with a drumbeat or metronome. And a third video is a little slower than the original temple. But there we tried to bring together the patterns we have and the courts to play the whole song. Well, it's very important for you to know one more time. If something is too fast for you, decrease the temperature within this video course. So you just can slow down the video temple. If it's too slow for you, you want to increase by rehearsing it, then bring up the template if you want to. If it does not work for you, if it's not cool with you for the pitch, no problem. You can download the MP3 for the two songs. And there you can put it in your DAW, DAW like Cubase or Ableton or Studio One or logic of protons or whatever you use, or even GarageBand on your Apple or neck products. And they're usually, you have always a function where you can load the MP3 in and easily increase or decrease the temperature. You can use apps for that as well as any tuned, for instance. So with that said, let's dial into the songs. We have so many cool songs that are playable on Lilian. We started directly. Now. 28. Losing my religion (Patterns): The next one is an evergreen as well. Rems losing my religion. Let's have a look on the course that we need. We have F, we have G, we have a minor, then we have E minor. Then we have d minor in the end. And that's it. Okay, So a minor from the beginning, F, G, and a liner. Then we have D minor. And I think I forgot to see right there. There must be other courts. And if you look through, you have an intro, you have a verse, second verse, then we have a chorus, third burst forth verse, chorus. Then we have a interlude. After the interlude, we have a fourth verse, chorus and an outro. Those are the parts and there are the courts. Now, let's move over to the patterns. And if we have a look on those patterns, It's not that complicated, but special thing is we have a specific pattern for the intro. We go to that in just a second. Let's start with the main pattern on, down on the first page of your patterns. So we have an, a minor chord as an example. And we usually played two bars because you see both bars are combined or binded by a bow. So we play 12341. Okay, 12341. That's the thing where it's getting interesting. So you could hit the one down here, 12341. And then we play and 234. So mainly eighth notes all the time, just with that little long node. And we have that two quarter notes within there. Their have one quarter note on the one. The other quarter notes is mainly on the four ends and bind into the next note or into the next bar. And then we have a quarter note on two of the second bar again. So it's like 12341234. Together. 34, down, down, up, down, up, down, down, up, down. One more time. 34, down, down, down, down, down, up, down. One more time. 34, down, down, down, down, down, down. Quite easy. Work on that. The only trouble is, but therefore we have the second video where we put the courts. Sometimes we have two bars for the courts. Sometimes we'll bring them in together. Okay, From there, let's jump to the intro. It's the same pattern, but we work around with more courts. So we bring in courts within those, those bars. So we start on F, same pattern, changed into g for the rest of the main pattern. Moving over to a minor, one whole main patterns. The same thing we practiced before. Moving back to African, to the gene, same as on top. And now it's a bit new. We have a minor, we bring in the G on the last upstroke within the bar. That's where the verse would begin. Here goes here again, the hint, use for exchange to get to that G very, very, very quickly, the node before, because it's very important that we have the G because it's a syncope and really need that sounds against this is bigger. Okay, let's practice the whole intro together. 3, four is down, down, up, down, up, down, change to G, down, up, down, up, change to a minor, one whole pattern. And down, down, up, down, up, down, up, down, down, up down. F, F3, F4, down, down, down, down, down, down. A minor, down, down, up, down to the G. One more time without a break in-between, a bit slower, three. For F. A liner. Upstroke to G. A minor. Don't forget the g and great job. And from there we go into the verse and so on and so on, main pattern. Now we play the main pattern throughout the whole song, just rearranging the courts. And then we have this inner loop part where it says a minor G, F G, a minor G, F, G. We do not really play that cords and where we play more of an original and we already talked about tablature. So you see that there's seven written and we have three nodes that we play. We play an E minor, but we used the index finger instead of the middle finger. So a minor usually is done. Now for the interlude, please switch to the index finger because we need our pinky really on the seventh fret on the a string. And we play down, up, down. Then we pull down the pinky on the fifth fret. As you can see, replay. Leave a downstroke up. Okay, means 7, 3 times 5, three times 123. Then you can use your ring finger on the three on the a string. You can see it on your sheet. Same pattern down town and take it away and play 0. It's always down, up, down, up, up, up. Okay. So 753034 switch away. Okay, one more time. 34, switch 3, 0. Okay, the end that should sound like That's this inter-loop part. And if we move on to the next part that I caught, that that was just a dream because that's what is Sanders to the interlude. It's a new part. We move to C. So we, we play the same pattern, down, up, down, up, changing to a minor. That was just a dream. That drain, then back to the main pattern. And in the end we have a new part. It's the same pattern. Only the a minor chord is hold and we play just same thing. Down, up, down, up, down, up, down, up as we had it before. Okay. So that was just a dream pod. That was that was just a jury and the ending is only a minor. Okay. That's it. So please work on that and we move on to the next song or next video where we tried to bring together the courts and the exact places. 29. Losing my religion (Changes): So let's give it a try with the original chord changes in the original temple. This is some kind of bead that we could use here. Would be like, okay, that would be the beat, but we only play the chords. Here we go. 1, 2, 1, 2, 3, 4. We play F. Move on to the G. A minor. Long time that we play again, AF G, a minor back to the G. 0 is beggar. He can already practiced to beat Prager than you, and you may. The length will go to the distance sr, said D minor to a cell. So many space for your course, that's me. That's me and sperm. Hi, I'm losing my religion. Which try key. With the, you know, with back and do and say to me, I haven't said a thought that her to laugh and scattered faster. A thought that I heard. She's saying stay on a minor thing. So you try g in every way. Every waking hour when I'm choosing my confessions. Try key. And Niang, you, lucky her last gland foo, foo. Say to merge D minor. Assert a. Consider this. Consider himself to send should really consider that slip. The bra, meet human needs for the span and see scum phase. Now, say g to the chorus, uh, for that or heard she laughed, faster. A thought that or heard she's saying, stay there. So you try. Now let's try and interlude. Then he goes to see that was just a minor and that was just a dream. That's me. That's me and spawn. Losing religion. We try the key with view and add FAQ and do. Say to me. I hadn't said a thought pad or her to laugh and fast part again for that or heard she's saying Stay with a minor thing cap. So you try now it's repeated in a way. But that was just a dream G. It's tri, tri. Tri, that was just a dream. Just stay drain. Just the dream. Dream. A minor. A minor. A minor and a minor. And a minor, and a minor. And it's faded out, and so on and so on. Great job. Now let's reduce the tempo a bit and tried with the patterns. Again, work on that. Okay, Very important. See you in the next round and the next video. 30. Losing my religion (Song): And here we go. We have decreased the temple bit. It should be like, if this is still too fast for you, no problem. You can reduce the tempo a bit, but please try to be as fast as we are as soon as possible. And if that works very fine for you, increase the tempo again to come to the original sample. I would say, here we go. This is our beat, our county and f star we play the intro. First of all, 121234. Dream. Changed. The early. Is bigger. It's bigger. You go to this. That's me. That's response to the change. And female, if I can do to which I have the same colors, I fall. She's saying. So the sperm, they learn. I choose. Confessions is the key. That baggage 16, fooling. Push us. Consider the case. He said there's a safety issue. Hence the scale, the growth phase. This phase. Now, he said too much to say. So naturally answer those. Next path that was just drain. That was chances to drain back to challenge me on that. If the key K2, to which I have heard she is to instruct that was checks and try the words chance changing in Champs, injury, chances changing, algebra, A-Minor, fading. It is a minor. Great job, great job losing my religion. Keep in mind, increasing the tempo a bit to get to the original sample, but a cool song for your repertoire. 31. Somewhere over the rainbow (Patterns): The next song is the definite ukulele classic. It's a song out of the 20s and 30s, I think in a traditional we can say somewhere over the rainbow there. So, so many covers song, so many great versions. But of course, there is a famous ukulele version by Israel, chemical vivo or lay from Hawaii. And it's pretty cool and pretty easy because we do not have that many cores. We just use a C chord, E minor, a minor, F major. Then we have a G chord. We have F AB nine. I will show you that if you have an F chord, it sounds pretty cool as you put your third finger on the same string as the index finger on the E string. But in the third fret, that's f, with an additional node, that's the ninth node. Yeah, a cool node, a cool sound. To work around that. And we have a E7. Those are the courts we use for somewhere over the rainbow. And they are pretty more easy than in the standard version of a traditional version where we have jazz voicings and everything like that. Cool, cool version, cool song, a bunch of songs, courts. Now let's have a look at the pattern that looks quite easy as well because it's just sixteenths known playthrough. But if you have a closer look, the first node of each 4 16th pack is not stroke. It's abstract. It's just bidding on the corpus, on the body. And because we have the beat over here, it's like giving you a beat. That's the original patterns that Israeli chemical vivo is playing. He might not have been. That good ukulele player is not that complicated, but if you start learning that, it's very complicated. So please keep your bead and if you beat it down, just come out there with an upstroke with your, with your index finger. Then you have down, up again, up, down, up, up, down, down, up, up, down. And practice that as often as possible through a whole bunch of bars and bars and bars. And you really get into that cell. Can you count that? 12341234 CPU, cool stuff. So work on that, work through the courts, make sure that you know those costs because in the next video, we're going to have a look where the cards are sitting. We play the song in the original home, the temple. You already know that and try to fill in the course and the right spaces. Here we go. 32. Somewhere over the rainbow (Changes): Let's give it a try with your original temple and just try to fill in those courts. Or maybe you can still struggle around a bit to get into that pattern. You do not necessarily need to play directly rapid. I will play through because then you have an orientation. You just try to play the core. This is our original sample. Means. So here we go. Want to, want to three as an additional nine for f, two. So where? Although the rainbow, the Marines that January, once the rainbow birds dreams that usury in, dreams come true. Sunday, I wish Chicago in stars were killed when the clouds upon the troubled drops high above the chin learned tough stance where you find the 0, 0. Rainbow. Birds fly and the drain that you still can have. Some player, we shift the star records where the candy bar B, C were troubled. Lagging a, moon drops, higher burden shin Manage. Tab stands where you find all the rainbow earrings that shield there to 0. One can too. And so on and so on. There are many versions of that song. On the radio version you see where it would be as a fade out their part. So you just can play on those changes on and on and on. If you already just tried to play the chords and rights-based and DHAP was too fast for you. We have another video for you where we slow it down a bit but with a pattern. So maybe first of all, move on to that and then come back to this video to play it with me in the original sample. So see you and they slow-mo version. 33. Somewhere over the rainbow (Song): And here's the slow-mo version for somewhere over the rainbow, starting with the initial pattern is in that beat a bit slower. It should be. Please work on that so you can be sure to play it with me, our counters in, and then we start playing together. Want to want 234? It's saying a minor. The FMI, f crew. So over the rainbow way trains that you once. To sum to 0. Rainbow. Uber. The earrings that injury. Dreams come true. And some they always should start weaker when the clouds, the travel drops high above that shell chap stands where if you find the rainbow, the blue birds, the train that I can choose. Some day I wish, star. Where the clouds are far the hand may be where travel is like the main chapter where we both had during the shield. Why? Why can it be true to who and so on? Stubborn. See you. Great job. That's your version of somewhere over the rainbow. 34. Can’t help falling in love (Twenty One Pilots Version) (Patterns): The next song is can't help falling in love, a classic in the original version by Elvis Presley. And there is a very famous ukulele version by 21 pilots. And I think that's quite cool because the keys pretty cool. You can sing it, it's pretty high for a guy, but you can see the octave below. I will do that. And the latest canceling it as well. So great key, we're in the key of C. Let's have a look at the chords. So we play C. Then we have E minor, then we have a minor. Then we have F major, C major, G major. So those are the main course. Then. G-major is not alone. We sometimes play G dominant seven. You can find that in your seventh chords. And then in the chorus there is a B dominant seven chord. Then we have a A7, that was this one. D minor seven would be demand. And with pinky down here. Pretty nice. And then moves back to G dominant seven. And you could pack in a minor seven as well. There was easy chord that because sometimes it's pretty cool if you play when there is written a minor and you just leave away the middle finger that leads to the F. Sounds good. You could go there. That was already it those are the courts. They it sounds like there are many, but it's pretty cool. So a good work, good thing to work on. And now let's have a look at the pattern I already played it and you always have to be careful on top where it says, Vs, there is Britain, 2 eighth notes equals one quarter and 1 eighth note underneath a triad. We already talked about that. That means we have a shuffled again. So in the original it's not really. And of course it's a 34 rhythms. So we have 1, 2, 3, 1, 2, 3, but it's not really the binary rhythm. I played 123123123 and it's the first note of the age is long, the second node is short. So we have, that's the path you made together. 313 and up, up, down, down, up, down, up, down, up, down, up, down, up, down, up, down, up, down, up, down. Okay. That's the main pattern. And usually we have there all the time. We have one chord per bar. Sometimes replay a core for two bars or longer. So that's when we have a look at the chorus. There's a part that comes only three times. The rest of the song is all the time the pattern we already played. In the chorus. You play the same pattern for E minor. Then you switch to be dominant seven and you just play a, a long note, a three quarter note, 23 geta. And that's for the three times E minor be dominant seven. And if you have a look at the chorus at the end, darling, So it goes and it says some things where you play E minor seven, then you, you already play another thing, things. So that would be E minor, a dominant seven. And you're back in your pattern against. So that's like a turn around to that point. You really, really stay there. So it's just three times the chorus part. And the fourth time we play the verse pattern again so bad. For the chorus part, for the other part is done throughout all the time. Okay, pretty cool, pretty good to know. So with that said, let's move on to the next video. You first of all, practice your pattern and your chords. And with an exon, we tried to original temple and to arrange the courts at its real places. Here we go. 35. Can’t help falling in love (Twenty One Pilots Version) (Changes): So here we go with your original temple. That would be this. We have only a click here, okay? And we just play the chords. First of all, they directly start with a C, so it's 1213123. Only. Pi. Fall in. If I stay here, you could play a minor seven. Would it be sin always, whenever two bars. So far? Is the chorus E minor pi k, river flow. Sure they'd see this, see Garland. So it goes something really. Big. Sigma, MO to sorry, F, C, G. And F is the hormone charm, chorus. Hi, river flow. Sure they to the c. So it go some, some NCBI. And a minor seven, sake my bot to follow the woman chime. Far then, of course in the ad you would more doulas, something for the like, a ritardando. Great job, rearranged this course. And that a minor, a minor seventh thing is just a hint because it sounds cool. If you have this move into the f. Okay, so let's move on. If, if that is clear and that is shared to the next video, and let's try it a bit slower with your original patterns. And altogether, here we go. 36. Can’t help falling in love (Twenty One Pilots Version) (Song): So let's give it a try with the patterns and the courts. We have a slower rhythm. Played. Wal-mart sam for you. 123. So 12, 1, 2, 1, 3, y o how shall I ever be? Is, if I fall. I see. And so it goes back to the pattern, something a minor seven, sake to correspond one sound with gather pattern. Like a railway. Sure. The Darlington, so some thing, some a minor seven, sake. Leave to form. A minor. Repetition. Good job. Can't help falling in love. 37. All of me (Patterns): The next song is a wedding classic already. It's all me by the famous John Legend and very important if you want to play the original key, we need the kapo on our first threat because it is in F minor. Okay, as always, forget about that now we start over here. Second fret is now our first fret. And then we have the chords E minor, C, G, and D. And that's, yeah, almost, it's, that's what we were, we definitely need to play. And later on we have an, a minor chord in there as well. Okay, so that's it. See as, sorry, we started with a liner, C, G, and D. That's the main changes. And afterwards we have a minor in there as well. There have a look on your sheet. We have an intro two times we play that section. We have Verse 1, a pre-chorus, then we have the chorus. Verse 2, pre-chorus chorus. Then we have a so-called pre-chorus 2, or you could call that bridge or C part as well. And then we have a chorus and an ending. It is pretty easy if we look through because the courts don't change that much. We get in that A-Minor from time to time. Most of the time we play E minor, C, G, and D. So that makes it quite easy for you to work on that changes. So please make sure that you're really good at changing those four chords and bringing in the, a minor chord in the end. The next good news is that we only have one pattern throughout the whole song, and that's because it is a ballad. And that ballot is usually played only with a piano. So if you listened to the original, we only have a piano played by John legend himself, his voice. And then there is little crazy facts in the, in the end, some, some robotic voice, something like that so we can play it easily on the ukulele if we tried to imitate. And the structure, the cost structure and the rhythm that the piano plays. And it sounds like that he plays it two ways to do that. I've written down a version that's easier for some to play because we have a Cinco in here as well. The problem is you play 1234 and then there was just a half of the bar. Okay. So as it's written down in play 12 and 341234, and that sounds more with an accent because we have more. Okay, So smaller, bam, bam, pop up or down, down, up, down, up, down. Not really the rule that I created that you have to move through and 16. So if you do that, it could be a bit confusing, but you could play instead of what's written down, down, up, up, down, up, down, up, down, up, down, up. So you can choose. It sounds a bit less accented. That's via the piano has more attack because that bom, bom, bom, bom, bom, bom, bom, Ok. So you can choose whatever you want. Let's give it a try together. You have always have a bar for that. So it's have our E minor, have a bar C, have a bar, G, have a bar D. Okay, so here we go slowly, 3, 4, it's C to D, G, Sorry. And from the beginning, one more time, 341234, try to keep with me. And although it's a ballad is quite fast in the, anna was slower than the original. Please keep in mind that you should use the last 16th note for a change. So in a plane, That's too much of a rush or too much in a hurry. So you change already on the last stroke. Okay. Gotta see that. So I'm really releasing my fingers on the way to the next core within the last stroke. Please practice the pattern. Please work on that courts. First of all, just play them through in a row easily because we move on to the next video, original tempo. There we tried to play the chords throughout other sections. So you know, where is half a bar whereas a whole bar, whereas the stub, things like that, Here we go. 38. All of me (Changes): So let's give it a try with your original sample. We starting at E minor with the intro. Here we go. For those of you who tried to play directly with the bead. And we got 12, 1, 2, 3, 4, it's E minor, C, D. We just changing chords, just the changes to C, to G, to D. And then into the verse that your smart mounds drawing me in a new peak in the my head spin. K1. Pinning down what skills? Beautiful Mind. I'm so dizzy. Let me my daughter. He your crazy. Cuz you have your edges, all your perfect imperfections. Give you the, I give my. See you. Hello My begin. Even when you zoom, when you zag me and you give me a second verse, how many jobs do I added to you, Even when you dry in your beautiful to the world is through every move down. Your mommy's distraction. My rhythm and blues, I can't stop my head for a minor, my head shall no water. Breathe in. Your crazy and all the new edges. All your perfect imperfections. I gave my See you, you're my them. Begin even when some when you zag me and you give me give me some, scan it. Because all of you love your curves, edges, all your fact imperfections. I give my C, you begin. Even women who zag, uh, me. And you hear me. Cuz you give me your name, and you give me a good job. And now move on to the next video a bit slow. And then we tried to bring together the original pattern at those changes that we now mashed it already. 39. All of me (Song): So here we go. Slow tempo. The pattern would sound identify one more time for you. Okay, so prepare yourself. Here we go. 1, 2, 1, 2, 3 intro and four. Well, we're just kicking me. Know, I can pin down what's beautiful. J, Mr. Mayor. And so a Z have made my headache crazy and stay hidden. Edges. All your effect, Infections. Good. I give the exact leave it. How beautiful is B? Through your phone, your Mao words, distraction. A chance to say, Hey, my head, so crazy. And edges. The factions here I give to begin eating is zagging. Stay there. Cuz a view. A view care. Edges. Get louder. I can't even when his release. Great job. Don't forget to increase the tempo as soon as possible and enjoy that great song by John Legend. 40. Dream a little dream of me (Patterns): The next one is a classic called dream, a little dream of me. There are many, many cover versions or many bands are playing that it's a traditional, a jazz standard. And maybe you know, the famous version by the mama center Papez out of the sixties, I guess. And the cool thing, it's, it's a song perfect for ukulele as well because it's that swing feeling. It's a swing jazzy thing. But we have many courts, so let's have a quick look at that first. So we need lots of seventh chords. We start at C, B dominant seven. Then we need F minor. You can find that on your sheet as well. G-major. Okay? Then we need a dominant seven. That was quite easy with this one. And then we have a core that's not on your sheet. It's a B flat major. It is called, this is a chord that we can use BY find by using the trig. I told you, when we, in a way, slide up a core that we already know, know and we talked about a sharp can be a b as well. So if you want to have a flat, you need to know what is the next natural note below that. So we say C, D, E, F, G, a warm bag is G. So if we play G sharp, it's the same as a flat coming from one note below G-sharp. Now we're going down a flat, okay? So we know how to play a G chord. And if we bring that up one node to that black key on a piano, then it would mean we do not play it on the second, third fret. We played on the third, fourth fret. But please have a mind that the G string is wrong within that chord because we did not move that. So there are two possibilities we could played like this with a Barea on, on Fred's 0. So we bring it up. Or what I would prefer because it's just a little cord and we have that oftentimes in Swing or in jazz. It's just a movement of a court as we did at right now, we move it up one core to bring it down to the court that is really needed. So we just play for a little, little time a flat major and bring it back to G. So I would prefer to mute it with my thumb. So I will play. Okay, That's it. And then we have a look at the bridge part because there are new chords, there will play a major, F-sharp minor. You can find that as well on your sheets. B minor seven, that was cool barrier on the second fret. And E dominant seven. And in the end of the part that comes a flat major, again, don't forget to mute it with your thumb. Okay, now, let's have a look at our pattern sheet. Or first of all, Let's have a look on our sheet as well. We start with an intro. We have a verse one, verse 2, then we have the bridge. It could be a chorus as well, but as it is a jazz standard, we oftentimes do not have a recurs. It's more like a part and be part. That's what jazz musicians call those parts. They do not really use VS, or choruses or things like that. So it doesn't matter what you call it the a part is the intro, the verse, the B part is the bridge. Then we have the verse again. Instrumental is the verse as well. Then we have one more town, the bridge. We have a verse and we have a, we would call that in the jazz term turnarounds. So the outro and away is that dream a little dream of me, Rima, little dream of me of time. So with that said, let's have finally a look on our pattern sheet, and then we find three patterns. But first of all, a look on top of the line where we see, Aha, it's a shuffle again, if you do not know what a shuffle is, have a look at the other songs we already worked with. Shuffled beat. It is that little thing on top of your notes where it says, you have 2 eighth notes equals one quarter note and 1 eighth note with a triad above. So we do not play one end to play 123 for so long, short, long, short, long. And that is set for all eighth notes and as well for all coordinates. But what is the difference if I play coordinates? Well, in fact, nothing. When I start with the first bar, it says C dominant seven. But if you want to get more of that triad feeling, if you want to get more of that swing filling than you could work with a stop. I'm using a backbeat with my hand here. C, Then maybe we can try together is slow. Just to make those nodes of our scores pretty short, pretty easy, pretty cool and enjoyable. So that would be a technique I would use for those corners. But first of all, you can definitely play. Now when we move on to F minor, we have our first shuffle feeling you play down, up, down and move over to G a syncopy as well. So it's like okay. And then back down, up, down, up. And they'll forget the shuffle nudge. It's okay. That's their bar. That would be the intro. I played one more time for you and then we tried together. Is okay. So slow motion with you. 341234. I was on the wrong thread. I think you heard that one more time together. Concentrate on neuron 3, 4, 1, 2, 3, 4, 1, 2, 3, sorry, g 34. And you see, concentrate on rhythm, then it's totally okay if you do something wrong in your in your failing and concentrate on that DAG that one more time, 341234. And last time 341234. Don't forget, you can hit for the one that we skip with the g would play down here again. Okay, So sorry. That's it. Moving on to the pattern. That's the pattern we play throughout versus all the time. That's CMB dominant seven again. So it's and now we do not play that gap Ababa who would play only and leave it there. So we have a downbeat That's not hit already here. And again, the end is the exact same as with the centrosome. Should sound like data play warmer time for you. So data abab, a bit complicated, but always keep in mind if you move through in your shuffled beat and you hit a node that's not written in the pattern, it doesn't matter. The most important thing is you keep the revenue, keep the steady rhythm going here. So one more time with you. 1234, C. Dominant seven, F minor, or Marchand three for c. And one more time, 34. Great thing, great job. Now, the last pattern is for the bridge. That's a very typical swing rhythm you can hear by dramas and swing. And we play cat, cat, cat, cat, cat, cat. So little bit more happening in the end of the bar. So it's moving to the next chord, F-sharp minor, B minor seven. The dominant seventh. Okay. Together with you, 3412412341, more time, 34141234. Please make sure that they really tried to focus on that. Shuffle things that you hear, that it sounds different. And as always, you can use that last short nodes to already changed the court. So it's more like a that's the trick behind that. So make sure to practice your patterns. Make sure to work out all the courts because there's some special courts. We did not use that often. And then we'll move on to the next video where we play the song with only the chords, without the pattern for the first time. 41. Dream a little dream of me (Changes): So now let's give it a try with the original temple, but only tried to find the courts. This is our beat. Beat. Okay, So 121234, C F minor, G, C, T, F minor. And G. Stars shine Umbra. Raises, seem to whisper, I love you. Seeing in, in sycamore tree, tree mode, little dream of me saying 39 cares. Just hold midside and sell me, you miss me. Lou as Kilby. Three more little dream of me is seven. Stars fade in. Linger on. To crave in your kid. To lingered tilde on. Say, sweet dreams to some beans, Fine. Sweet dreams then leave own worries behind you. Greens, where ever they bay. Dream a little dream me instrumental party we go, It's C p seven. And so on. A7, stay there. Stay there, F-minor, stay there and see a flat. C, E 7 and bridge. Star spade in. Linger. Still crave in your kit. Long cylinder till dawn. Just say, sweet dreams to some beams. Find Sui to reuse them evil where he's been. Dreams where the PEI dreams dream of me. Ba, ba, ba, ba, ba, ba, ba, ba, ba, ba and so on. This is a fade out park where you play those cores all the time, throughout, all the time. Pretty good job. Now you know where to play the chords and now let's move on to the next one where we tried to put that together with those 33 patterns and those chords. I'm totally excited to do that with you. 42. Dream a little dream of me (Song): And here we go. Nuts. The original temple bath with the patterns. The pattern would be like that. Okay, So here we go. Prepare yourself. 121234. They enter stores shoe. The breezes seem to where Street View saying she cares name. Just told you this. The dream may be changing. Stars faded. Still crave your kids. To linger, to say, sweet dreams to sound beings fine, too. Sweet dreams that leave on work. And dreams were vaguely three months. They will drain. The instrumental part. And stars faded. Linger on. Still crave. Your kid is to say, sweet dreams as zombies find 23 dreams that leave always behind. Your dreams were vaguely liberal drain. And so on and so on to fade out. Great job, great song. I hope you like it as much as I do because it's a definite classic. I really loved that song. 43. Don’t worry, be happy (Patterns): The next song is don't worry, be happy by the famous and really, really great Bobby McFerrin. And the cool thing is in the original, it's an acapella song. So he's, he's done it all and the student is only producing the sounds bias voices. And there's this cool written this boom, kick deck upon decay can take upon the Caltech a weekend, recreate that on the ukulele. So it's a perfect song for you and your ukulele and a really happy song. I love that song. But in the original key it's a bit complicated or bit more complicated. Nothing that you cannot handle. And because we're using courts do not use that. Often. We starting with a B major chord. And then directly we have a C-sharp Minor and you cannot find that within your basic chords. Well, you already know what to do. We need to do a little trick. We need to transfer it. And if you look on your basic courts, you know that you have a C minor chord. And now we have to only slide that up one bar, but don't forget, we bring it up from the third to the fourth fret, but we did not move the G string. Well, there are two possibilities to do that. One could be you use a Barea finger on the ground, 0 on fret number 0. But in my opinion, that's a bit dangerous because if you bring that up, there is dangerous potential that you could be in the fifth fret are and the third fret, and then it sounds crap. So my suggestion would be, if you grab that C-sharp Minor on the fourth fret with his second, third, fourth finger-like middle and ring and pinky. Then you can string you to G string, either with your index finger or with your thumb. Step would be the easiest way. So coming from the B to C sharp minor, and I would prefer the index finger because you already had it before when you play the B major chord on your second fret. So it's in perfect position just to play it like that. With yielding G string, then you move over to E. And that's good for the index finger as well because you just move down to the first fret and then set the other fingers for the E major chord. And then you go back to B major. Now there's one complicated thing about a parent like that, because the courts are a pattern as well in the song, we play like a loop. It's the same three courts throughout all the time, but the pattern is not D, C-sharp minor, E, and then B, C-sharp minor because we have in the NAB cord as well. And that's sometimes confusing because you always have to keep in mind that when you play the last D major chord, that you start with a new B major chord again. So B, C-sharp minor, E, D. And then we start again with C-Sharp minor. So please practice, Dan, and the good thing is there's nothing else. It's, the whole pattern moves through the whole song. We have an intro, we have a verse than we have that chorus with this x2 and so on. And that's it. We have second verse, chorus, verse, chorus, chorus. Outro is in a way that looping thing throughout and a fade out. Okay, now let's have a look on the pattern sheet. And there you can find how we play it. And it looks a bit confusing, but it is totally the same pattern that the voices are singing in the original. On top. We already have a shuffle again. So you have this time to 16th notes equal 1 eighth note, and another 60 known underneath a trial. That's the same thing as we had before, with the eighth node equaling a quarter note and an eighth note underneath and tried, but it's just a faster counted rhythm, so we just define a shorter rhythms here. But the one and the three are free. There are rests in your sheet, you see that those those little those little tiny rest signs. So we do not play one. We play one. Then they lay down a beat on the strings and a dancers. That's the parent. 1, 1, 1, 1, 1, Geta. We do together, 341313. 1313. So you only have the bead on the two and on the 412341234. And interesting is that you do the downstroke at the end, but it's definitely okay because we need that that accident and we have a rest directly after that. And it's just necessary to, to, to write down to rest here. So you see you have a 16th rests and an eighth rest because we want to hold that note as shortest possible sonar. That's too long. It's really short, one to two away, one. To really make them short. You can do two things depending on the court that you're playing. You can release the fingers on your fretting hand so you do not have the corner anymore or I would do both starboard here. But please be careful to not beat throughout all the time so he could play. But it's too fast, so it's moving onto C-sharp Minor. Don't forget for Fred and index fingers is muting. Same thing here. Just release your fingers. Move on to the EEG coordinates bit more complicated because the only chord in the song where we have an open string. So here I would use the pinky too muted. See that? Releasing all the fingers and I'm in a way tilting my, my, my pinky to really stop that. That is stirring from, from Sweden. And then back to B. Now let's play one parents together very smoothly. 341234 over two C-sharp Minor, muting it, 1, 2, 3, 4 over e. That's a bit more complicated. 1234, Back to be 1, 2, 3, 4. So you see it's, although the song sounds so easy, so natural, it's a complicated rhythm and away. And you see that we're now in an advanced level already. Please practice that, work on your course. And then we move on to the next video played in the original temple focusing on the changes. 44. Don’t worry, be happy (Changes): So now here we go and try to fill in the course in the right places, because it's a loop. I will play the pattern throughout all the time. So please, if you can try not to play B and C sharp minor and so on, on the 1234, wherever it is, please try to play on the one that you really get into the feeling already. I will play the original pattern because it sounds pretty boring if I do not do that. And your first focus is to really concentrate on the spots where you want to put the courts are ligated to the one to play the chord after beat after the 13. So here we go. There's our pattern. Would be like, Okay, here we go. Intro. It's 121234. First, only concentrate on the changes. You do not need to play the rhythm already. One, checking behind it. Okay. Now to the verse is a little song I wrote. My one thing you note for an unknown, so don't worry. Be happy. In every lab we have some troubles. But when he worried, making terrible should do anyway. The happening. We're really happy. Sack and burn. And Gandalf play. So lay your head. Somebody came and took your bed, so don't worry. Happy. Is your rent his leg. He may have to litigate. So don't worry. Don't worry. We're really happy. Tone wearing third verse in gap, no cache and God knows Style, and no girls make you smile. So don't worry. The value were you face will round and that will bring everybody down. Don't worry, be happy. Don't worry, be happy. We're really happy. Worry be happy. And so on and so on and so on. You could fade that out. A kid improvise over that. That's Don't worry, be happy. Now to set that one more time. Clear focus, first of all on the changes themselves. And afterwards you can try to go to the next video would play with a pattern a bit more slow. And the good thing is because I played the pattern throughout all the time. You can come back to this video again to play it in original temple entered, cool. I think so. So see you within the next video. 45. Don’t worry, be happy (Chords): Now let's play the song or the one with the pattern. The pattern would be in this temple. I played former TAM for US born. So you see you have time for a change. I think that should work. Okay, so our counterion, here we go. Prepare yourself. 12123. Here we go. Two times. Q to get in. Verse is lyrical song. My want to sing it. For every lab we have some verbal cues. When you marry, you may clear, travels down, we're very happy now. Keep that rhythm and happy. Don't forget to mute that string is second-order. In God not. So somebody came and took your best say your rent leg. You may have to litigate a don't worry. Be happy. Don't bury the happy now. Happy. Happy. The third verse. A gap, no cash in GAN style. A young girl, make you smile. So don't worry. Be happy. Face will. And that will train every body down. We have a Rebekah happen now. And be happy. Don't worry. And be happy. And so on and so on. Great job, really, really cool. And I hope you loved that song as much as I do. 46. Hey Soul Sister (Patterns): The next song is haze sources to buy, train. A great song, almost a happy song with a cool pattern. And the good thing here is you can hear the panel right in the beginning because they played in the original with the ukulele or a guitar Leyla, you cannot really definitely a define that. You cannot really be sure, but a cool song and we only need a bunch of courts. We start with an a chord, sorry, E chord. Then we play a B major. Then we play C sharp minor. We already learned that within, Don't worry, be happy if you did not play that song already. And it is C minor. But we move it up because of the sharp one bar. And please do not forget that the G string must be muted them. The good thing is after the baby is quite easy just to leave your index finger on the first, sorry, the fourth string, the G string, where it was before, just using it, so it's not hurt anymore. And we use second, third, fourth finger for the C minor chord. So that would be C-sharp minor if we put it on the fourth fret. And the last chord is a. So those other forecasts we play throughout the whole song. It's E, B, C-sharp Minor with your index finger on the G string and a. Okay, that's very important and we move through the whole song. Let's have a look on our sheet. We start with a little intrusive. Then we have a verse 1, we have a chorus. We have a verse 2. We have a chorus. Again, we have a bridge part. We have a chorus and an outro part. And then if you have a closer look, we have some some struggling or strumming in formation where it says lettering or where it says last strum with a little star. Okay, that means that we only play one hit one to create some space over there before we move on with our pattern, then we have another thing that's very important. We will talk about that when we work on the changes in the chorus we play. So SR that MR. MR. On the radio very fast. So he would play the a the county would be a 234234. So that's very important that it really makes sure that you learn that before too, to change in-between and directly. Okay? Now, with that said, it's only for the course. The rest is pretty easy. It's almost the same throughout the whole song. Only those stops of those trumps are important. And then we have our pattern or the balance sheet. It looks a bit dangerous because there are so many nodes, but if you have a closer look, you only play straight through 16th notes. And we have equal two parts for the bar. So if you start with an E, just 123434, so it's eight and seasons. Because we so fast. It's sounds like, okay, that's almost the rhythm or the tempo that we need in the end. So it's quite, quite fast. Let's start with the equal we tried together. So it's down, down, up, down, up, down, up, and then one more time, down, down, up, down, up. Hey, 3, 4 and down, down, up, down, up, down, three, down. One more time, 341234. And we change over to B Corps. Same thing here. 1, 2, 3, 4. C sharp minor. Same thing here. Don't forget your string mute with your index finger. 1234. Over to the a chord. One. We do that one more time, please, to arrange your fingers as smart as possible and try to increase the tempo directly. We get a bit frazzled. 3, 4, 1, 2, 3 to the beaker. 1, 2, 3, 4. C-sharp minor 1, 2, 3, 4 to a one. Let's bring it on one more time. 3412, 321. Great job. Please leave away those breaks that I've filled in right now and you really need to increase, increase, increase the temple. So my suggestion would be, first of all, practice those cards that you really know where to put your fingers on, then practice that pattern. And we move on to the next video, will play a song with the original sample and try to fill in the right course at the right space. 47. Hey Soul Sister (Changes): So let's give it a try to rearrange the courts. We start on E. This is our original pattern, original tempo. We just tried to foot and the courts, so 1, 2, 1, 2, 3, 4 verse you lipsticks, stains from Global sai brains and new sketch so that she blown. A and B is sweet moon the smell of you and have a single dream, dream and do and we collided. You're the one I have the side that was one a, Mac, a, and B. And we move back and hey, so SR, that MR. MR. On the radio stereo, the way you're moving. Hi, So Sister, one single thing you do. And tonight have a second verse, Justin. And how I'm so glad you have a one track mind like me gave me, I love the ration became show the connection. We can pin a and B. Um, so cells, ours bounces, be dried out. Man sram shares believe, and you lack a Persian. Yeah, Madonna. And I'm always gone on and blow your own and to be back and hangs. So SR aimed at Mr. Mr. Radio stereo the way moving, fair. You know, hey, so sister, Juana, Mrs. Singer, do sonar the way again, current era to watch and yes, they all have Dragan knee just gangs around solar it really well and I'm dream and you see, I can be myself fan are the effectors of them NAC and be a 10 world to see you be where main, Hey, so SR aimed at Mr. MR. on the radio stereo the way you move in, fair, you know, hey, so SR single dude. So SR, one single thing you do tonight. Tonight. And stop on tonight. Good job. A bit of a rush Within the chorus. So please make sure that you really practice that if it's too fast for you slow down the tempo a bit or move bit back and forth to really make sure that you get into that and really, really will slow down the tempo right now for the next video and try to bring that together with the pattern. 48. Hey Soul Sister (Song): So let's give it a try a bit slower. There's RB, that would mean we start over here Playboy more time for you. It would sound like that. Still bit fast ANOVA, but please work on that and practice and practice and practice to get into that table, we want to start our counterion. 121234 states stains on from my side, brain and new forget shell. So when the lead sheet, row a and B directly, the sweet new they smell. Receiving girl dream, dream. Do we know why we have this minus1 Mac, a, and B directly? So third, MR. MR. On the radio stereo the way fair, you know, hey, so SR one uses single angstrom ones. Cni, just one track. Hi, the Cave direction. It came show love connection. We can be. And so my heart in the right hands friend shares in the new convergently is gone to B and back. Hey, so MR. MR. Job, stereo, the way new vein, fair, you know, hey, so sinister. Say no way you can. Washington, you draw that in the zone gangster. And so for me, my own word boundary, we'll see I can't be mast cells to the effectors now, then I can be a one word. The main too high. So SR that MR. MR. On the radio, stereo, rain, ferry know, hey, so sinister. One is saying, Hey, so sinister. One, cell signal due soon and ending on the Great job. Really, really hard and strong for your fretting hand, but it's worth the work. So keep up the good work and see you for our next song. 49. Love yourself (Patterns): Now our next song is a very cool song by Justin Bieber. Love yourself. He's written a song together with Ed Sheeran and that's something you can really hear because the guitar pattern is so cool and it's cool arrangement as well. The original, we only have one electric guitar with a pattern and some voices and they stack those voices and the answer, pretty cool song for your ukulele as well, because we only can try to imitate the electric guitar that's used here. So let's have a look at our course. It's an E major original key. So we have E major, then we have B major. Then we have C-sharp minor. We already had that before. For those who are new to that, you have a C minor in your basic chords. And you can bring that up through the C-sharp, which means bringing it up one node. If you put your fingers on the fourth fret instead of the third, but please make sure that you unmute the G string because the g would be a wrong note. So you can still play for strings, but I use my index fingers slightly on the G string to make sure that it's muted. That C-sharp Minor on the fourth fret. And so that's basically it. We have a, a chord as well. For the pre-chorus and for the corresponding. So E, B, C-sharp minor, like C minor, but on the fourth fret with the index finger muting the G string and a major. So very typical shapes or changes as well. Let's have a look at the structure of the song. We start with the verse 1, Then we play a pre-chorus, that's this antigen one around the song part. Then we have the chorus. Because if you like the way you that damage, going on to the second verse, playing the pre-chorus, playing the chorus again. Then there is an interlude as in parallel. And then we have the ending part, chorus, chorus, and that's it. Okay, So with that said, let's have a look at our patterns because they're a bit more complicated, because there's a lot of stuff going on. We have a lot of rests That's typical for adherence playing. We're starting with the cotton, we play a long note, no shuffle this time, so we're playing down and the beat, but please not. It's short beats. Okay, That's the thing. Please practice that. First of all, it's 16th notes. 16th notes, every counting. So it's listen to the original. And then we have that bead on the two sorts, one, to change into B. Same thing, 3, 4, C-sharp minor, 1234 is a big Rest. Okay, can we practice that first of all, for pattern a, 341234 is for B and for C sharp minor, 1, 2, 3, 4, good job. Amartya. 3, 4, 1, 3, 4. Great. One last time. N 12341234. Good job. Let's have a look at pattern B. That's a bit different appellant alias for the versus pad and B would be for the precursors and add in one song, anyone, and it was again, but not directly. So through the pre-chorus, you play pattern a for almost the half. And at the point where it starts, an Amazon like he or she likes everyone, That's the part where paren be kicks in. I will play it for you. We started a C-sharp minus. Get it. Pretty cool as well. So what are we doing here? The same thing as in pen on a, but we prolong the notes we play. And down, sorry, down, beat. Okay. And move over. After we've beaten up her guitar, we move in, move it over to the a chord and that's a syncopy as well. So, or down, Beads, down. Pete, It's just a long note. Down. The down beat. Upbeat down. People. The complicated thing is that fast switch over here, so we only have time for the beat. So why are you doing the BG could already jump over to the court. Say that one more time. Look at my left-hand. And then same thing with e, But we do not change chords. Back to C-sharp minor. You see those little dots at the end of the line. Those are repetition dots. So that means we repeat that part 2 times C sharp minor a E, C a e. Then we move on to the next line. Same here, C-sharp Minor e and ln to be. So that's a new thing, again that we play again, C-sharp minor, and then over to B. And now you only have downstrokes and eighth notes as one. And rest. Let's play together from the beginning, 3, 4, C-sharp minor, a beat to the E. And B. Repeat C-sharp minor, free for people to eat. Now to the next line. C-sharp minor again, to eax, directly to be girded back to C sharp minor, a and b five times 12345 coup. One more time because that's a bed complicated. Three for the a and B. E. Beat again, repetition. E. Go on, seizure mine. Now EMB directly, C-sharp minor again. And the five B's. Great thing. And then there's this little rest before we move on to the chorus preserve you lie though. And the chorus is new pattern again. So that's patterns see. And that's quite easy as well because we play one to leave away the 3 and bring the other core behind answers 1, 2, 3, and 4. Bit confusing, but it's pretty cool. 1234, c minus same thing, 1, 2, 3, and 4. So although it's an upstroke, it should be an abstract he praised with a downstroke. So E is the star together, 3, 4, 1, 2 over 2, b, 3 and 4. Downstroke beat. Okay, C-sharp minor, same thing, long, two to a 34, back to E to be 34 and then E, two and again, three for nothing warmer, time patency from the beginning. Three, 41234, C-sharp minor, 1234, E 1234. And E again, 1, 2, 3, 4. Please. Never mind. Every time you beat the strings or the body of the guitar ukulele, you can switch over to the next codon. Ready? So you play E, one, beads, jumped F3 and F4 jump over one, to jump over 34, jump over, to jump over 34, jump over, and so on and so on. Please. I know that's very, very, very complicated patterns. First work on your chords. We have a video for that, and then we try to bring it together with a patterns. It's such a cool song, It's so much fun to play that. But maybe it will take a bit time because you really have to bring those things altogether, but don't get confused. It's pretty easy. It's definitely I think you can manage. So let's move on to the next video. 50. Love yourself (Changes): Now let's try to bring it together with the courts. I will play not the patterns we are because that's too confusing, but police tried to really hold on with those changes. They're a bit complicated and maybe you can give it a try. And those parts where we should play pattern B in the end that you try to play those syncope is already placed, C sharp minor, a C-sharp Minor. And to get a feeling for the placement of the chords already, same with the chorus, with patency. So this is our beat and the original that is not really a beat. So it's just a metronome to get you in your shape in original tempo. So here we go. We start in 11234. Other times that you get and it sinks, you broke my heart I think and know my song. Cuz I didn't want anyone think in ASU care down to here. Baby. Yeah. Thank You. Should be some bag. Maybe you should know that switch. My mom. She lives now. Never lag 2 was wrong. And had been so caught up in Niger. Skill in Bao know though, that you should go leave it there. Few. That still. Something you should go on love yourself. And show me that she hated my friends. Limb problem was with you. Love them. And encourage me to buy appearing was wrong and made me forget where I came from. Wanna write a song. Cuz I didn't want anyone thing again, ASA care. He's still here. And baby. Yeah. And I think you should be something back. Maybe you should know that my mom was wrong. And happens. So ensues going to be mad asleep. Though. Their baby should go Love yourself. 51. Love yourself (Song): So let's try it with the patterns together. Slowly down a beard, that would mean for the pad and a pen and B would be that. So I think there's enough time to get to get through those patterns and parts and do not worry if it doesn't function. Reward a bit or slowed down a bit, or practice your parts again and come back to the video afterwards. So we give it a try. Good luck and enjoy. This is our beat. 12, 1234. Other times that you think you broke my heart or girl for goodness sake, I think my song and I think still care. And they haven't. Thank you. Sure be something back. You should know that pattern be Mama. She'll like server-1. And two. Was wrong. Happens. So Carter, larger scale. Now, I see a few of you. That baby should go viewers cell. And then I still owe them something. You should go, love yourself. Next verse, pattern aid. But well, you tell me that my friends was with them. Rich, mutual made me forget. I came from. And I think in as clear as per month. And maybe haven't think you shouldn't be some lap pad and baby mama. Every one. And now I'm never too. I was wrong. So now see if you like, then you should go yourself. And live view. There's still something you should do. Yours. Interlude here we go. Part 2 times 1, Madame verse for other fields, film. And therefore Val, so when Rome ruled, how do you break down the wall? Directly, see, and they're few lag that go love yourself. And that still hold something you should go on, love yourself. Or what Sam, chorus, few lag. The damage. You should go yourself. And the few things that still hold. Something should go. Love your cell. And that's it. That's love yourself by Justin Bieber. And if it works good for you and you get not to confuse with those centerpiece and those breaks and beads and stuff like that. Please try to increase the tempo as soon as possible. 52. SUMMARY FOR ALL PLAYERS: Do you love play ukulele and singing at the same time? Well, maybe I have a good other course for you. If you're interested in getting better and better in singing, there is another course called Voice Control. So if you want to get better, maybe have a look using my name and search for that course on this platform here, it's a great course for learning how to sing. Now with this video, I will, in a way, conclude the course, ukulele control, although there's still more videos to follow in our FAQ section. But this section is a little summary and a little hint and tips and tricks video and a little there conclusion to all that you learned today, because I hope you learned a lot within the ukulele control. We have other stuff that you need but most important, and that's why I wanted to have a, another video where I can conclude that and give you that as a, I don't know, as a mantra for you and your way with the ukulele, please have in mind that other things are the songs, especially that we worked on within eukaryotic control are only examples, although they're real songs. But please always have in mind that you definitely need to, to suck out all the stuff that's in songs that you learn and that's the same for songs in the future. So if you move on right now, if you take your basic chords, dominant seventh chords and major seven chords and minor chords and all the stuff that you learned. And you write out your patterns. I don't know, rearranged the whole bunch of parents that we worked with within those songs, within ukulele control there you will definitely see that some of those patterns are almost the same. So it's definitely, as I said before, the patterns are not only for one song, they are a pattern that's free for use. So if you want to improvise, if you want to be creative, if you want to write your own songs, take out those patterns and practice those and work around with them, play around with them. If you love working with the training bead, play different patterns above that, that's no problem. You can do that. If you go to ultimate minus guitar.com and you search for new songs, please, before you start playing the song, it could be a good idea to take out all the patterns from the other songs, the strumming patterns, and have a look and play them for the new song and get an idea of what parents are good for, what you use for fast, you slow use for ballots, for ukulele songs, for reggae songs, for Punk songs, rock songs, all that there is. And if you do not find a pattern within this course that fits, go on YouTube. Riders a message with the title, for instance, our work it out by yourself by listening to the original song because you always can try to copy or to, to imitate the rhythm the whole band is playing no matter what we are dealing with, we already talked about that. And the other thing is work on your cards that you do not forget those tragic. Get rid of those sheets as soon as possible so that you really are only working on your own stuff, euros songs, and you really are at that point then a ukulele player and an advanced ukulele player. So that's the way you should take by yourself. Live for myself. I had so much fun creating this course and working on those tracks, working on those songs, working on those patterns, creating other stuff that we gave to you. So I hope that you really work through everything, enjoy everything, get out as much as possible because this is an offer we make to you. You can have all the information that is built in here for your ukulele playing, for your musical development in a way to get a really good ukulele player. And maybe this journey is not on the end. I would definitely hope so. Don't forget to give us a rating and a common if you loved the course and don't forget to have a look for our other courses. There are especially voice control is a great course that you could use in combination with UC related to get good at singing as well. And I just wanted to say, thank you so much for your time. Thank you in advance so much for your messages and your ratings and comments. And maybe we see each other within other videos within this course because from time to time, we may produce new FAQs or something that will come into this course again. So please keep updated and be part of our ukulele control community and now have a good time and have a great musical time with your instrument and ukulele control. Bye-bye. 53. FREQUENTLY ASKED QUESTIONS: Welcome to this section of the video course. You can really control and it's quite important and could be very entertaining. So have a closer look on what we're doing here because this is our section frequently asked questions. We, with an ukulele control, we see us as a community. So if you are part of Euclidean control and you are playing around working on new stuff and you have some questions, please feel free to send those questions to us using the messenger function or whatever comes to your mind. And we tried to answer as soon as possible, but sometimes, and we do that quite often for other courses as well. Questions are frequently asked. So we started or we decided to create videos to answer the most popular questions, the most frequently asked questions with an videos. So you've got a lot of answers directly from the start. And the cool thing about that is if you keep asking questions, we will produce new videos time by time. So this is a part of the course that is in a way growing and developing throughout all the time. So have a closer look at those videos posted here. And if there are many questions, we will produce new videos from time to time. So enjoy that. I hope there are many questions already that you could have in mind. So let's start with the first questions and enjoy. 54. How to find lead sheets to new songs?: A question that comes from time to time is how to find new sheets to songs or two new songs, something like that. So let's talk one more time about lead sheets. We have a video for that already and I'm already talking about that, but maybe this is the right point to go deeper into their question. And lead sheets are usually only lyrics with, with the chords. And you can find those on the internet or you can go and buy some at a bookshop or on the online shops. So no problem to get something very good. I would suggest to buy some things, but I already said that if you want to have new songs, like already released songs or quite new songs like just a few weeks ago. And after the release, it is a problem to get some lead sheets to buy because it takes a lot of time to produce those, to bring them into print version or what else? So this is a problem. You usually can only buy lead sheets for evergreens, for classics, for songs that are already, I don't know, half a year or a year old. Depending on what country you are living and using ukulele control. There is a little good news about that because if you have international tracks that are quite new, maybe you're the lucky one because the songs already released in another country. And that's where the Internet is very useful because most of those pages, web pages where you can find lead sheets to new songs are community-based and that leads to the point that many of those communities are filled with new songs directly from the start. So if a new song comes out, there are good chances that anybody on this planet already created a sheet and loaded it up on the Internet. So first thing you could always do if you're having a look for songs, no matter how old they are, Go on it onto your Google. Dial in the name of the track that you're looking for. Maybe you can put in there behind the track of a track name, the artist's name. You can write ukulele that could be very useful. And you could say sheets or notes or lyrics is not a good idea because usually you only get the lyrics than a lead sheet. Those are the key words to have a look for. Then you will get a lot of suggestions for webpages where you can either find the lyrics or full lead sheets. As I said before, as a community base, my suggestion would be you go directly to ultimate minus guitar.com. And although it said guitar in there, the main idea or the main customer idea is to create tabs and things for guitar players. But it's very useful for bass players, for keyboard players, piano players, and of course for ukulele players as well. Because here you have the big amount of songs from the, I don't know, twenties, thirties, forties Through top actual tinkle titles. So this is a great, great thing to work on and you just use it as Google. You have a search engine so you can dial in the title that you're looking for all of the artists and you can see what lead sheets are on the page already by that art has pretty cool tool. You can type in ukulele and you see what equilibrium sheets are there. So those are sometimes in other keys than the original, but in use for keys for playing on ukulele. Very cool, very useful. And the good thing is you can find many different sheets to one song. If it's a very popular song, you have like 10, 15 different versions. That's pretty cool. If you want to have a closer look, what key is good for you when you want to sing? And you can, in a way, have a closer look, which is easier for you to play or better to play, because sometimes they create easy versions with, I don't know, only four chords, then you have a version with more courts are more core changes like seventh chords and things like that. And sometimes they have, as I said before, different keys to work on. So that's pretty cool. If you want to find a sheet that you could play with and you can play around. They have tools like a needed function. You can create your own sheets, your personal sheets, so you can add your comments or recreate things like if you have the idea that a court that is in that sheet is wrong and you want to correct it, no problem, you can do that. You have a transpose function, so if you have a sheet, It's quite cool, but you do not like the key or it's not the original key and you need the original key, you can increase it step-by-step or decrease it step-by-step. You can use flats and you can use shops to do that. And you can download the PDF at the answer pretty cool tool and a big community. The only problem about that is everybody can load up stuff here. And that leads to the little problem that some of those are wrong in a way. So as I said, wrong is a, a cruel term. Sometimes the courts are not 100% correct. Sometimes it's the wrong key so that it's not really incorrect or wrong, but that can be a bit annoying if you want to have the original key directly by hand. But there is a rating function. So my suggestion is here to go, first of all, for the sheet with best ratings, that's pretty cool. And then you, most of the time, you find a pretty good sheet is pretty close to the original. So that would be my suggestion. Use the Internet, maybe you can buy sheets as well. But the my go-to website and that's what I do all the time, is ultimate minus guitar.com go in there and they're mainly will find all the songs that you need and in different languages as well. So enjoy that and I hope that was very helpful with the idea of finding new lead sheets for your songs. 55. How to practice the right way: A lot of people ask all the time. I'm working on ukulele control, I'm working on my stuff, but I am not quite sure if I'm doing it right. Philip, please tell me how do I practice the right way. Well, that's not that easy to answer because it depends. If you have let me say if you have a little spot every day, that's good. If you have a big spot on the on the weekends and nothing to do or no time during the week. That's good as well, but it works in a different way. So of course, the more time you spend with you collinear, it's pretty good and you will develop very, very, very fast. On the other hand, it's very good for your muscle memory, for an all new stuff that comes into your brain, into your mind and things are new to you. So repeating is very important and it's way better to do a little amount of time every day or every two days, like one big amount of time once a week. So I would say you can do that. You can only work with your ukulele, let's say four hours on the weekend, but you won't develop that fast. And if you have the time to work on your stuff like every day for a half now or 45 minutes. Um, but no matter how much time you have or no matter how frequently you could play or work on your stuff, it's very important to think about how to arrange your time. So let me say if you have only 30 minutes and you can equal that too, you have four hours of working for one's week. There is a structure that I would suggest for working on new stuff. So let me start with the 30 minutes. You can calculate that up to 40 minutes or 60 minutes or whatever. Just bring in those timepieces to arrange a good amount of time. And even if it's just 15 minutes, that would be the way to really work efficiently in a way. So I would start with a repetition that could be playing a song you worked on. Getting into it again, maybe playing a song that you know, very good, but I would suggest to play a song that you already learned like two days ago. Or you start with a part of a song that you worked on like for ten minutes. So repeating stuff you did the session before is always a good idea. New stuff you did the session before, because you warm up, you get into the topic again, your fingers gets used to the ukulele and then after that 10 minutes or equal to that, you have a good starting point for new stuff. So that would be the idea where you should plan before. What am I about to do today? So that could be learning a new part of a song, working on a pattern, trying to become faster with a pattern you already know working with a metronome or drum computer to increase the temple, learning three new courts, working with the training beat and rearranging new courts and trying new changes. So that would be the part new stuff within your block. That would be because I think of 30 minutes, another 10 minutes, maybe 15 minutes. So the time that's left in the end is what I usually call for my students, free time or fun time, because that's the time and I think that's very important. Of course, it's very important to learn new stuff and work on new stuff and things like that. But you always have to make sure that you enjoy what you're doing, that you have fun with the ukulele. So I would suggest to plan in a amount of time for the end of your session of your working session of your work in progress. Where you have Fanta, where you play songs that you know very good, that you'd only enjoy, that you just want to make music in that part. Is that clear in a way? So that would be my suggestion starting with repetition, something new that you already learned to, to bring it more deep into your muscle memory and into your brain. Then working on new stuff that is totally new to you, repeating that and using that mostly trippy the most amount of time to recreate new things, to install new things into your muscle memory in mind. And in the end, some fun time too. Yeah, just few free Have fun with the instrument. The idea is to not come out of that session with a problem or with a, a problematic part that you worked on and you have the feeling that you did not do any progress, that's not good. So in the end, always to something that you're good at, that you have fun playing and enjoying yourself because that's what it's all about music and fun and loving that. So that would be the perfect arrangement. No matter how long you have that time to arrange your re-creation, rehearsal, or practicing time. 56. Posture and body: Sometimes people ask about correct posture and body things to have in mind while playing the ukulele? Well, if you're working on a piano or a guitar or bass electric guitar, there are more problems than with Ukulele because if we have a look at our little instrument, that's quite useful because the main things we have to keep in mind as being straight up, having no problems within our shoulders or within our arms. And that's not their problem because the neck is not that along as with the bass guitar, the body is not that big that I'm hardly getting around and everything. So the correct posture were already talked about that. But please always have in mind, Try to stay upright as good as possible because it's good for your back. Try not to bring your head too much in front of that to see what's, what's going on on your fretboard because there's not good for your neck. Please. If you're working on some cores and things like that, make sure that your shoulders and I pulled up or pull down too much. So that's free and easy and everything's fine. And for your, your fretting hand, that's important. And please make sure that your ankle is always okay. So sometimes we need to rearrange that. Sometimes my elbow is moving out or my my ankles moving forward because otherwise, I could not reach the court that I want to play right now. But please always come back into a good poster that would look like that. You hold your ukulele next to your chest or to your stomach with your arm, but not too much pressure. Your shoulders are in a normal position, not raised up, relaxed. Your neck is relaxed and your your fretting arm. Let me let me say that depending if you're left-handed or right-handed, you have threading arm is relaxed as well. Easy, no tension. And that's good idea to play easily with ukulele. That would be a perfect posture. 57. Why is rhythm so important?: Some people asked, after working through, you can really control why rhythm is so important and why I point that out so often. So I think it's necessary to do another video on that topic within the FAQs because it is that important. And most of the time when I hear people play, beginners play the play, something like that. And that little break, that little rest inbetween bars is totally confusing. It's not very musically thought, and it's not enjoyable. So if you listen to somebody who's playing like that, it's okay because you know, i is a beginner, but I know because I'm teaching for that long of a time, I know that this will hinder you to become good at rhythm. So that's why I have, from the beginning on say Please take rhythm before changes. So if you have trouble changing those courts, no matter what song it is, first of all, work on a rhythm and work on it slow. If the end rhythm is totally fine, That's too fast. I cannot do that, but please do not play original temple then break, break. Break. There's no chance for your feeling, for your, for your brain to get into a good rhythmic feeling if you work on your things, on your stuff like that. The problem is, most of the students do that on their own. They, they press Play and listen to the song, listen to the rhythm, listen to the music to the temple and say, okay, that's it, stop. I'm fine. I'm doing it correctly. Grade. Perfect. But they do not recognize that little break. And if they want to try to play with the original, then it's impossible because they worked on their stuff wrong. So my suggestion would be, and I know I'm sounding like an old teacher, like you always have to use it isn't that way, but it is the best way to get as early as possible into a good feeling on your rhythmic stuff. So please take that seriously and work on your rhythm all the time with a metronome or, and, or with a drunk computer because you will get a better rhythmic feeling. I'm so happy that I worked with stuff like that from the beginning on that I always worked very hard on my things to play with your original as soon as possible that I had coaches and teachers that told me that it's so important that your rhythm is good, that I'm so happy today that I'm not struggling around with rhythm anymore. So please take that hint and take that advice and slow down the tempo. Tried to play the, the pattern as slow as you needed. But to keep that structure. And that's you can change the color without interrupting the river. Very important. And if it's still too hard for you because the pattern is very complicated, are, I told them, I don't know 100 times within eukaryotic control already. If you have a very short note at the end of a pattern or a pen on part and you need to change to the next chord. Always have in mind, rhythm is number one, rhythm is priority. So please keep the rhythm and tried to work with other tricks. Like if you're totally new to a thing, play the rhythm through and get to the next chord as soon as possible. And if it takes two of three or four notes, no problem. It is like it is. And you played like that. It sounds crap. I know, but I keep my rhythm priority number one. And now I'm working on my concentration on my fretting hand. So if this is running like a motor, like like a robot, like some automatic thing, then you can definitely concentrate on what you're doing here in your fretting hand. That's so important to work like that. And always keep in mind you can use a trig. You can definitely use the last known to change. Now that rhythm is not that interesting because I have a long note. Let's say we have, you can really hear that I'm playing. I'm always playing the zeros, so all strings are open and I'm keeping my threatening work. I'm not doing it. Stop, I'm not doing a break. I'm playing my stuff through. So if you have a short note at the end of a pattern or a pad on part, changed the next court on that little last node and yeah, work with that open strings on its okay. It sounds okay, There's no problem. You do not really hear that or, or recognize that as disturbing sound. So that's why rhythm is so important. And please always have that in mind and work on your rhythm first. 58. Focus on left or right hand?: Another question is, should I work on my left or right-hand at first? Well, first of all, I said that before. We do not try to think of things like in left-handed or right-handed because there are so many differences. We say, should I work on my fretting hand or on my strumming hand. First of all, well, the focus and that's very goods. Ask because I already talked about rhythm so often. Should always be your strumming hand. So that's the first thing to go to, but it should not always be the focus because of course, if you work on your rhythm and you only focus on that hand, you will get very good at rhythm. But if you do not work on your fretting hand as well, well, maybe sound crap or you will arrange chords wrong or you won't be that flexible to play. Sophisticated stuff. We had some, some things in here. We replayed little melodies and things like that. So it's both hands are equal, equally important. Let me say it like that both hands are equally important, but the first focus should be rhythmic parts for your strumming pattern, your strumming hand. And the idea is in a way, helping your brain a bit. So if you work on your strumming hand, at first, you get more into the rhythm, you get more into the idea behind that. And if you are easy on that, then you can forget about that again. So if your rhythm is totally fine, like let me say if you play that and you know how to play it and you're free at that. Then it runs like a modeller and then you can start to concentrate totally or let me say 100% on fretting hand or are on your singing. And that's so important to talk about that. So there's no real focus that I could say this hand is more important than the other hand. But the idea to Trig out your brain and to get good at a new thing and a new pattern and a new rhythm with a new song as soon as possible as first work on your rhythm. Second work on your courts. And if there's something new, and third thing is forget about it. So if you want to become a singer who is playing Euclidian, you definitely need to forget almost about what's going on here. And that's only possible if you work not on both hands at the same time. You really have to start over here. First rhythm than courts, then bring that together and then forget about it. That's the idea. So focus on both hands. We start with a strumming hand. We work secondly, on the fretting hand. In the end, we bring it all together so there's no real focus anyway. 59. Where do I find this drum computer app?: Another question is, where do I find this drum computer app? Well, that's a good question. I already talked about that, but now you have a direct link to that video where you can find me answering the question. The problem is, this app that I'm using with an ukulele control is only usable for iOS uses for Apple users. That's because I'm using it with a tablet, with an iPad. And there you could go easily to your app store and you can download the app called dN, one. That's the drum machine or drum computer I use and it is definitely not the best on the market. I just came through it and I'm using it's still because I'm very used to it. It has some cool features. You have a mixer energy, you have some effects that you can use. You have loads of sounds from electronic sounds to industrial experimental sounds, to acoustic drum sets that you can use. You have your instruments separated so you can work on your patterns and can program it for all the instruments that are within your drum set. And you can of course, work around with rhythm. You can range whole songs and parts and everything. But they, there are many other drum machines and ROM computers as well. So if you do not have an iPad or you do not want to buy an app like d m1. Free to have a look for free versions given drum computer, drum machine, loop machine, rhythm machine, those are the keywords that you can use as an Android user as well. And then you might find some other drum machines of free drum machines that work as well. So there's no need to definitely by d and one, but if you want to, It's only for iPad, only in the App Store D, M, one. 60. What strings, ukuleles and material do you use?: Another question that comes frequently is about gear and about equipment. And of course, I want to answer that as good as possible. So many people ask, what strings to play, what capital do you use, what ukuleles do you use? And of course, there are many, many, many other cool things that you could buy it. I would suggest, as I talked about earlier, that you first of all, ask yourself if you want to have a small ukulele, like a soprano ukulele, I'm using concert or tenor ukulele is preferred with a pickup system because I played them on stage as well. And me for myself, I like Ortega because they have quite, quite good and not that expensive Ukulele. And because on stage I'm usually not using that expensive ukuleles because I'm on tour, I'm on the road. Some of those who are massive are a bit dangerous on stages well, because they can produce feedbacks and stuff like that. So I'm using pretty easy ukuleles like this one. It's a pretty nice little one with core or not words in that series. So CO2 is a great, great Would that you could use Marangoni is a great word. Different woods, sources like, like nuts or what do we have as well? Mainly those are those that you could usually used for good sounding or typical sounding ukulele. And then you have to talk about or think about if you want to have a very compact, so that would be soprano ukulele. Or you can use a tenor or a constitutionally like I do, you have more frets? I have a cutaway is well, that's pretty cool so I can get into the higher frets as well. The pickup system is nothing very special. It's just the original biotech itself. You have the battery in there which is pretty cool because those are the small round batteries. That's, that's pretty useful. A tuner is built and then I'm using silent plaques on cardio or clots cables. So it's pretty cool because they have a technique in. It's good for stage because I can plug them out without muting the channel. That's cool for my technician and for me because I'm not worrying about producing any, any trouble with the amplifiers or mixing desks or in the studio is pretty cool. So that's about the ukulele. There are many on the markets. I would start around like leprosy, so something like €120.120 bucks would be very nice. Just go on the Internet and have a look at your local music shop, what they are giving to you. I would maybe have a look for inequalities that have a bag with it. So that's pretty cool. And maybe a bag with the possibility to carry it easier round like over your shoulder or something like that. And that's pretty useful in pretty handy because if you are rehearsing or traveling or something like that, It's pretty good if you not only by the ukulele naked and you only have some packaging stuff or something like that. Please do not try to pack it within your your travel bags or something like that because maybe you will reopen your travel bag and have two parts of a ukulele after you were on a flight or something that's sort of a bag is quite good, quite necessary. And maybe a real case, but that's very professional. If you want to record a ukulele, you could use it like I do with a plug and with a pickup system, but we have a microphone as well. You cannot see that, but it's, it's more for the whole room. There are two ways to record the ukulele with a microphone. You can use a big a condenser microphone like a studio microphone. I'm preferring a Neumann microphones, but you can use shore or sanitizer or ETH, for instance, great microphones for recording a ukulele, but there are other ways of recording it. So if you take a big studio microphone, I would place it around here so that you are free to play, that you're not hitting it with your arm, but you can get the whole body. So if you if you get the whole body, you'd get a warm body sound. That sounds pretty nice and pretty good for ukulele. But you can do it in other way around. You can use a small condenser microphone that you can place directly onto the sound that you want to record. There are good microphones by roads or numinous well, or what was a good, cheaper version? The road would be good. So something around €100, 150 row, I guess. Those are just little, little sticks and aware and you can place them directly onto the spot that you want to record on your ukulele. Of course, they record the whole instrument, but they're not that boomy and basal and Woody as a big microphone, is there more thin? And Get more of the strings, more of that. That's, it's pretty cool. Sometimes you can place this microphone directly from here, or you can place the microphone directly from here. The more it's pretty easy, the more body you record. It's more body, four more woody. The more you go up to the next you get more string sound, more crispiness and clearness in the cell. I would suggest maybe a mixture of that, That's pretty cool as well. So a big condensers studio mic over here for the Bulinus and a second mic to record it directly together. For the next. So then you can mix it in. You have maybe two records running. That would be my suggestion for a perfect ukelele sound if you want to record it for video for, I don't know what whatever you can imagine. Now let's talk about some other stuff as well. We talked already about a cable and microphones. I use those capitals. They are pretty cool. They are made by the the customer, Dunlop. Pretty cool. They have several of those. Please make sure that it's big enough and that you do not necessarily, you can use a Kappa for a guitar as well. Those are a bit more accurate, so pretty cool. And I like those who are not, not too strung around us of a very cheap ones like, I don't know, 7810 heroes, something that you can place some, some plastic part on your strings and just wipe it around. That's pretty cool, but not that handy because this one's pretty cool. I can place it directly over here and I can use it on stage. So that's what I'm doing on stage all the time. If I'm having a constant, I just placed their play my stuff without a capital and then I can grab it, place it wherever I need to go on to the next song. So that would be my suggestion. But there are good other things like, I don't know, the Dario shrub and crier, uh, for custom-built, create coupled types. So you could decide by yourself. And I think that costs around 15 to 20 euros, something, something like that. But I think it's worth definitely because it's a great thing, easy to handle and strong enough. So it's not detuning your ukulele. It's in a way it professional solution and not that expensive, like €100, something like that. And talking about strings, I'm actually using a killer guitar. Ukulele strings. They're affordable, they're good, It's good. Nylon, they sound very clear. They stay in tune. They sound for a long period of time. Good because some of the strings are, because there's tension on the strings and they, from time to time they lose their, their inner tension. And then they start to detune a lot and then they start to sound a bit muddy or like you have a piece of cloth in front or in-between your strings and stuff like that. So that's not a very good idea. I would suggest maybe those strings, but you can use whatever you like or give it a tribe. They should be something around like 7€8. I guess that would be a normal price for a set of four strings. And oftentimes people ask, when do I need to change strings? Well, the good thing is you have only nylon strings is no wire around here. No, no. Like western guitar, no, no corrosion that you can have on your strings. That's a good thing. So if you're lucky and you're just playing for yourself from time to time. Or even if you work a lot, you can use the strings for overhears. But if you get the feeling that they sound muddy, that a sound not that crisp and clear anymore, that would be a good part to change strings. So I would do that like half a year or once a year to really sustain a good sound if you need that, if you're a professional, if you're recording, if you're doing YouTube or I don't know, if you want a good sound from time to time, like every six to 12 months, changed those strings. And of course, if a string cup broken, please have always admired. It happens very, very, very seldomly. But if it happens, do not change only the string that broke. Please rearrange the whole set because if you have one new string and three strings that are already used, it would sound totally horrible because you have one clear and nice sounding string within your chords and the other string sound muddy and dump. So if one string is broke, please rearrange all four strings. Yeah, I think that's, it's maybe another hint if you have a wooden ukulele like I have, which is not that, that polished higher, something like that. It could be a good idea to take lemon oil or furniture or something like that. And from time to time, maybe only if you rearrange the strings, if you restring your ukulele, take a piece of cloth, takes some water with a little bit of soap or something like that, just a little bit and wipe it easily and dry it afterwards because then you get rid of some fingerprints and stuff like that of sweat that's going into the wood and working with the wood and making it, making it disappear with a time over years and years and years and afterwards. Wood is very happy if you give it some oil. So I would oil that you can really like once a year or twice a year. That would be good. Lackey do with your furniture at home or a wooden stuff that you have in your nearest surroundings. So that would be nice. You can buy a guitar oil. Lemon oil is very popular for ordering that. You can also oil the wood on your fretboard. That's very cool because it really soaks in the oil and it will look nicely and feel better. So that would help you to prolong the life of your ukulele. If you bought one, you want to have it as long as possible, then we could already talk about straps. I have a strap point a down here, a pin for a strap. You can find straps that are placed here and that are strung underneath the strings through so they will hold up here. And that could help you to have a good position with the ukulele, but it's not really necessary. I usually play without a strap because it's quite easy and quite handy. Even if I play while standing, I'm just pressing it against my chest and working with my ukulele like that. So pretty, pretty easy, pretty cool. You do not necessarily need that. And that's why I cannot give any suggestions on a strap because I definitely do not use those, but there are many. So feel free to buy one and that would be what I already talked about in the course. Well, of course, you can buy a tuner, you can buy a metronome if you want to. But as I said right in the beginning of the course, you can use a smart smartphone as well. Navies, you go on stage. It's not that professional. If you take out your smart phone in front of a an audience and start tuning your ukulele like that. Then maybe you would use a clip tuner. That's what I do for live shows. I clip it sooner here, or I have its unit built into my ukulele. And this is pretty cool because it mutes my ukulele as well. So when I'm tuning, the audiences not hearing that I'm tuning right now. So I can, for instance, talk to the audience and tuning the ukulele while I'm talking. And then I can go on with the next song. Well, that's that's it's so far for equipment, gear talk, all the stuff you need to know around you, ukulele.