The form to send in questions is broken right now, so please feel free to email me at askukulala@yahoo.com and I will anwer any questions or get back to you.
If you would like your question answered on the blog, include as much information about yourself in your email as you want to be shown.
I just talked to Danno Sullivan, fellow uker in the Greater Boston Area, and he's going to be offering a beginner's class on the ukulele this fall in Cambridge, MA at the Cambridge Center for Adult Ed.
Here's Danno's fun description of the course:
Ukulele for the Almost Musical
Easier to get started on than other string instruments, but full of music and fun— it's the ukulele. The uke was big in the 20s, bigger in the 60s, and now it's the instrument of choice again for great-sounding, portable music. This class is for anyone who'd like to learn the basics and for players who'd like the chance to play songs with others. At each class you'll learn new songs in a variety of strumming techniques and styles, from Polynesian pop to rock to Tin Pan Alley; the new chords required; and how to figure out chords you don't know. Join the resurgence— small is big! No ukulele? Some loaners are available; e-mail the instructor for recommendations prior to class. Limited to 16.
Sec. 01: 8 Tuesdays, 5:45-7:15 pm. Begins Sep. 30, 56 Brattle St. | $159
In fact, first class starts this Tuesday, September 30th! So if you got a hankerin' for some ukerin', sign up and have some fun and, as Danno says,
I've been working on personalizing Ukulala a bit, so it feels more like it's own (and my own) place, and less like the generic blogspot site it actually is.
So don't run away just cause the site looks different!
I did a black-and-white background sketch, which hopefully you can see right now. It's a work-in-progress so who knows what may be added next. Link graphics? New post icons?!! New colors??! Maybe something to do with ukuleles? Anything is possible.
It may take me some time to get all the formatting right (and believe me, that's fun work... oh yeah), but hopefully soon it will be the "new-look" Ukulala. All the content should be exactly the same, it's purely a cosmetic change at this point.
So it's been a while since I last posted a new tutorial, but not because I haven't been busy on the uke.
My plan from the beginning is to make a video of "How to Play" every song I learn. That way I learn on my own, and then double-learn by making the tutorial video, which forces me to be more clear and accurate. That was Phase One. But there was also a Phase Two: I wanted to eventually make some of my own music.
The reason for fewer tutorial videos in the last few months is that I haven't been learning as many songs. Instead, I've been taking a break to make my own! My sister Flora and I (and Gorch from overseas) have been working on original music, with the goal of having a few songs done by the end of the year.
It's surprisingly difficult to coordinate, especially since the closest person to me in our makeshift "band" is, according to Google Maps, 3058 miles away.
So eventually (hopefully this year!) I'll have some original music posted here or on YouTube, along with several tutorials on songs I'm trying to learn.
I always have a few songs in mind I'm trying to figure out. I keep them categorized in my head like so:
If you have any suggestions about any of these songs, or if you can play them, PLEASE let me know! I especially want to see a good uke cover of I'll Believe in Anything.......... then I kan STEALZ IT!!!
Remember a long time ago when I first released the results of poll #1 and found out most Ukulala visitors were a bunch of drunks? Well, the results of poll #12 are now in!
...so what happened to polls #2 through #11...? See, I was going to do them in order, but then I had a bunch of problems with poll #2. Poll #2, as described here, was supposed to be a song that was based on the poll results. Unfortunately, it isn't entirely trivial to post mp3s on blogger. I would have to sign up for third-party web hosting and include a link, and find a compatible [player, and it just became a hassle that I decided to deal with later.
But I didn't want to release the poll results out of order, so I just didn't do write-ups on any of them. Now I think I'll just try to bang them out in whatever order I feel like, but I will get to them all! In that spirit, the most recent poll was:
Have you ever recorded your own music?
A: Yes, plenty of times. (54%) B: Yes, once or twice. (31%) C: No... not yet. (8%) D: No, I just love to listen. (8%)
Wow! 85% of Ukulala visitors have recorded their own music, and half of those who haven't are planning on it someday.
That's awesome.
I'd love to hear what you have recorded........ PLEASE post links to your music in the comments, or email me at askukulala@yahoo.com.
If you'd like me to, I'll let you know what I think--in a very honest and possibly cruel and brutal fashion!
Front row at the Ukulele Noir (click for bigger pic of Ian Schwartz and the Sour Candy Orchestra).
So it's been a very busy, busy month for Paz down at the Tepuloid shoe redistrubution center. We got two solid weeks of shipments from the new Tredz line without ANY of the inventory documentation or tags. Of course, I'm the guy who has to go in for overtime and tag them. Long story short-- if you ever wondered how many model 7A shoeboxes fit in a single compartment of a 3-story warehouse shelf, the answer is... a lot.
In my off hours, I did get out to check out an interesting show last week (or was it two weeks ago now?!), July 25th at the Castlebar in Brighton, MA. After some initial searching online for a local ukulele scene, I was enticed by the ukulele noir website and decided to give it a whirl.
I did a bit of internet research beforehand to figure out who was going to be there, and wrote down this list of who to look out for:
Craig Robertson - Ukulele Noir founder Tim Mann - thin, longer black hair Ian Schwartz - scruffy Amber Nash - ukebucket (!!) Robert Wheeler - Uke consciousness Tripping Lily - Monica, Demetrius, Alex, Laird
I was surprised that one of the performers was going to be Amber Nash of ukebucket, (whose April 30th original song I already had downloaded onto my computer). I can't find a link to it now, but it's good. I didn't really know what to expect, but I brought a camera and a little notebook. After my failed socks from a few weeks ago, I put my lucky make-out glasses on and hit the road.
The following is from my memory, my notes, and also I had a bunch of beers:
After leaving the bar and Sox game (they lost 1-0), I headed to the back room of the Ukulele Noir show. There was something different about this crowd... many of them were holding ukuleles, or long funny-shaped metallic doohickeys (would later find it was called a "floot"). It was a nice looking space with chairs and tables set up around the stage, which seemed appropriate... but unfortunately anyone coming or going had to walk in front of the stage.
It was a friendly crowd and I was right on time. One of the nice girls sitting next to me was Rachel Kiel, who, it turned out, was herself a musician playing with the first act: Ian Schwartz and the Sour Candy Orchestra It's funny, I actually recognized Ian from an online ukulele contest we both made videos for. Mine was Postcards From Italy and he did a few but I particularly liked his tutorial on four-note chords. So he looked familiar as soon as I got there.
Ian Schwartz and Rachel Kiel during the Sour Candy Orchestra performance. I remember they were the Sour Candy Orchestra. How, I imagine you asked? Because they threw out bags of sour candy in between each song--to make sure we all had a taste of their sweet sweet band. I'll never forget the sweet gum middle... and I'll never forget the Sweet Gum Middle Band.....
They had a cello (Behvin McDonnel), a soprano sax (Beth Goodman), a flute (Rachel Kiel), and of course Ian Schwartz on the ukulele. It was a good mix of instruments, and Ian and Rachel both did vocals. I wish I had a recording of the sound they had, because it's a bit different from what I am hearing now on their myspace. Apparently it was their first time playing all together, but it sounded pretty tight.
The songs sounded light but had a bit darker--or at least, more adult-- lyrical content than you'd expect if you heard an instrumental. I think they touched on cheating (You'll Drive Into the Night: "...she's holding me, kissing me--and I don't think that he would like it"), alcohol dependence (The Sun is Getting Colder: "...and for now, whiskey's all I need..."), and maybe the shame of being a blue-faced ever-lovin' ten-foot-tall disgrace (The Disgrace: "I hide my face in the clouds").
I talked to Ian after his set for a bit and he recommended I check out the Ukulele Underground forums. He also said he prefers to do shows with the bigger band because when it's just him with a uke up there on stage he can't help but think "Why am I up here?" I'm sure he's fine on his own with the uke, but it definitely doesn't hurt having an orchestra back you up (double bonus for shows if it's an all-attractive-girl orchestra).
Oh, and I found out later Ian is a friend of a friend. It's a small city.
Robert Wheeler Robert opened with some light playing and historical ukulele anecdotes. His set took a couple surprise turns, paraphrased from my notes:
"The uke... brings up all sorts of questions about life... like, 'why doggystyle?'"
"[something something something] Clinton... [something something] ...great contributions to the... Oral History of America."
Dirty man. Well ok, maybe just the jokes. He is an entertainer, after all. And founder of "Ukulele Consciousness", which I think has been around for a long while but I can't seem to find the definitive writings of. Maybe the whole thing isn't online?
I guess the jokes worked to get the crowd involved. By the time he got to his awesome rendition of "My Girl", the whole crowd was singing along.
Robert Wheeler after spitting some uke wisdom in his customized "uke consciousness" jacket. Craig Robertson
Craig's the man with the plan, the founder (founding member?) of Ukulele Noir. He is also a performer with a style that fit the dark cabaret atmosphere of noir: Craig Robertson, founder of Ukulele Noir, noirs it up.
His set was a bit dark with a mix of humor and, again, adult themes. I think I'm starting to get a feel for what the Uke Noir is all about.... the song he described beforehand as "the closest thing I have to a love song" had some french in it and then the lyrics "take that dress off".
I think the idea of an ukulele troupe is interesting. It's a community for the local uke players and perhaps a place for people to get comfortable doing shows with some friendly faces. Craig and Ukulele Noir have been around my neighborhood a while, so I'll be in touch with him about what's going on in the uke-munity where I live, and for advice while I'm learning.
Ed Arnold
"I have CDs for sale in the back," Ed said after the first song. "...Mostly Flock of Seagulls, but take a look, you might find something you like."
Heh heh, bootleg CDs for sale.... I think that's a pretty good gag actually. And despite (I suspect) being barely sober enough to stand, Ed may have been my favorite music of the evening.
Now, he wasn't the most talented uke player, and he didn't have the most polished sound (see Tripping Lily below), but his set was the closest to the kind of music I usually listen to. The way he used the ukulele, his choice of songs (mostly covers of excellent songs), and his energy--to beat-box, to make jokes and to stomp his feet to entertain us--won me over. He stopped to show for second (as he did every time he forgot the lyrics or chords) and said "I'm a drummer, dammit!"--and it showed. He played with a harsh rhythm, loud and energetic, while he stomped hard and in time to get a bass drum out of the floor.
He brought something to the table I hadn't seen before in a one-man uke act, and it was great.
Ed Arnold: drummer, ukulelist, entertainer, drunk.
I think he was a friend or possibly a guest of Ian's. I tried to look his music up on myspace or something, but all I found was him being quoted in the Boston Globe about Google's math problem billboards:
Ed Arnold, 31, of Watertown, a drummer with the band Amun Ka, had no idea what the banner meant until a reporter explained it. But then Arnold said: ''Advertising is all about targeting who you want to get. If they're trying to get very intelligent mathematicians, that's the way to go." Boston Globe, 2004
Damn right. And the Globe finished the article with his quote, which means it basically captured the point of the entire piece. Kudos.
Tim Mann
Another founding member of Ukulele Noir, Tim's music felt a lot more like folk than most of the other acts. He had a set of mostly original songs with his own unique style. It is soft music and I think the writing, especially the lyrics in 'Mystery' and the music in 'Distant Strangers', is very strong.
Tim Mann: keep on strummin'....... ...FOREVER.
I think his recordings on the myspace page really benefit from the richer sound he adds in. I'd like to see him play his songs with a larger band.
...He was also nice enough to give a belligerent drunken hobo like me a ride home...
Amber Nash Never showed, which means my damn glasses failed even worse than the socks. She was definitely one of the artists I was hoping to talk to, so I might get in touch with her in the future. Tripping Lily
Tripping Lily was probably the biggest, tightest, most polished act of the evening. The main event, if you will.
The band is: Demetrius singing and on the uke and guitar. Alex on the mandolin, violin (fiddle?), singing, and washboard. Monica on the fiddle and soprano uke. Laird on the stringed bass.
They moved off the stage and set up in the middle of the room in a tight circle. In between songs they would mix and match instruments and come up with a new combination that somehow worked. The gentleman next to me, who I had been talking with a bit over the night, told me he had come to see them. I could tell he was enjoying them on a deeper level than me when he started talking about the complexity of their rhythm changes. I liked how the washboard made me want to dance. Tripping Lily, imported goods from Nashville. Now, I am in no way a music reviewer. I know less about music than most people. In fact I know less about music than most people know about... differential equations. Music is still mostly a mystery to me, and part of Ukulala is figuring some of it out to play it myself. But I still am amazed when I see it done well, and I still only listen to about 10 bands regularly. I am not knowledgeable about music, is what I'm getting at, so I'll leave the job of describing Tripping Lily with complex music-talk to the pros:
Equal parts sassy bluegrassers and moody urban songwriters, jazzy jammers and sighing torch singers, Tripping Lily is nearly a genre unto itself. The folk-pop quartet formed in Nashville, but calls Boston home now, and its sound appeals to neotrad and alt fans alike. Guitars, mandolins, and fiddles prance behind airy, quirky melodies that feel both rootsy and modern. The harmonies lull like lullabies, then jolt as if shot through jumper cables. BOSTON GLOBE - Scott Alarik - Feb 1, 2007, as quoted on Tripping Lily's Press page
Phew. I never would have come up with all that. I thought it was awesome, and they had some of the best all-around musicians I've seen in a while (Alex on several instruments, including the mandolin, washboard, and violin). The upright bass really added depth to the music and made it... smoother.
Overall, this is a young group with good looks and a lot of musical talent between them. AND best of all, they have a name that sounds like an action sentence, so I can pull the ol' Simpsons gag next time I meet them:
1/7/09 UPDATE: Check out the comments for some additional notes and corrections from Will Dawson and Darrell, both part of SNZ. Thanks y'all!
7/23/08 UPDATE: Thanks to some corrections and details from the good folks over at HUMANWINE, I have made a few changes in the sections that talked about them.
First off: this is going to be a long post with lots of pictures, animated gifs, and video. So be forewarned!
Last week, on Friday, one of my favorite bands ever, the Squirrel Nut Zippers, played at the Paradise in Boston. Now... I don't want to give away too much about my secure undisclosed location, but Boston is close enough that I decided to make the rare trip out in the sun (and disgusting, filthy germ-filled air) to check out the show:
Now since I've done a tutorial on one of their songs (Plenty More) and since I am a fan of their stuff in general, I got in touch with the band a few days before the show to see if they'd be interested in talking a little bit about their music, their band, and --since they do use the ukulele sometimes-- about ukuleles. They graciously agreed to chat for a bit and maybe pose for some photos after their soundcheck.
Now I am by no means a professional interviewer, but I knew I wanted three things:
1: An answer to the question "How does the ukulele fit into the big picture of your music?" and 2: A photo of someone in the band playing the Ukulala ukulele, and 3: To make out with Katharine Whalen.
With those goals in mind (and my lucky make-out socks on), I met up with my friend and photographer Aaron at the front door and started taking some occasional notes. Over the next hour or so, I met Chris Phillips (the drummer), Drew (the stage manager), Jimbo Mathus (lead vocalist and writer), Katharine Whalen (female vocalist and four-string virtuoso), and several people part of or helping out HUMANWINE, the opening act.
The following snippets about each are based loosely off my notes and my rapidly-faltering booze-scarred memory: Chris Phillips
This is the first person I talked to, the drummer for SNZ. He approached me when he saw the ukulele case and introduced himself. I had him to thank for inviting us to stop by, and he brought us back to the stage to introduce us to the crew and band.
My memory of what we talked about is a bit fuzzy, but I think he has a couple kids, and he said they were growing up into music and would probably be learning on the uke at least while they're young and it fits them. He messes around a bit on it too. The gateway instrument....
I think he kind of expected that I was waiting to interview the lead singers or the ukulele player. Makes sense, but he seemed like a humble, down-to earth guy and I wish I had talked to him a bit longer and gotten more photos.
Here he is at the end, with Katharine:
Katharine Whalen and Chris Phillips cradle her ukulele like a baby.
At the end of the interview/chat, when he came out to talk to Katharine, he stepped in and asked if we had tickets to the show. I told I had mine already, but the show was sold out and Aaron didn't have a ticket. Chris said it was no problem if he wanted to go, and he got Aaron's full name and added it to the guest list. Drew (Andy)
The Squirrel Nut Zippers' stage manager's name is Drew (and Andy), and he's a hard-working, genial motherfucker with a keen sense of humor. The show went off without a hitch. Also--if your band is doing a sound check and you need to find a wireless mic guard and half of some jerk's broken glass pipe, he's the only dude you can trust to get it done.
SNZ Stage Manager Drew tunes the bejeezus out of Katharine's custom-made gift, a tenor guitar.
He helped us coordinate with the band so they could get their soundcheck in, have time to do a "limousine interview" (Katharine later said someone brought her around in a limousine with champagne and a photographer for an interview right before mine. Oh man, I can't compete with that), and still meet with us for a bit.
The mustachioed glue that keeps SNZ together and functioning behind the scenes. Jim Mathus
He's the front-man for the Zippers now, and he looks it. The man has style, even when, or maybe especially when, he's going straight-up casual: Jimbo Mathus
I wasn't sure whether to call him Jim or Jimbo, but I don't think it really mattered. I still don't know which to go with, 'cause I forgot to ask, but Aaron thinks Jimbo is best. We talked outside while he had a cigarette, and I just basically let him know who I was and asked him a few questions about how the band writes their songs and chooses their instruments.
While we were talking, a few members of the band HUMANWINE were walking by to set up their stuff, and he introduced himself and me. One girl, whose name I unfortunately did NOT write down but HUMANWINE tells me was Kaethe Hostetter, stayed to hang out. She plays the viola/violin.
It sounded like she was on the road pretty often and had a lot in common with Jim, so they swapped a few travel stories. She picked up the Ukulala ukulele, and--without being a regular ukulele player--played something cute and catchy. Then she played something a bit harder while Jimbo eyeball-danced: Jimbo Mathus of SNZ and Kaethe Hostetter violin player for HUMANWINE rock out on the Ukulala ukulele.
Then I witnessed something fantastic. Jim was chatting with Kaetheabout New Orleans when someone mentioned something about collaborations. The conversation went something like this (and I am viciously paraphrasing, but what they actually said was probably even shorter):
Jimbo: so, you guys want to collaborate at the end? Kaethe: Yeah, sure, that sounds cool. How should it go? Jimbo: We'll play C and G at the end of the encore, you guys can just jump in and play along. Kaethe: Yeah, just C and G? Jimbo: C for 2, G for 2, maybe a little bit of mixing it up, it'll be easy.
...and that was it.
Just like that, they were ready to play on a stage together. Man, to be a real musician............ I don't think they even know how much like a magic trick their conversation sounded. It was like... a recursive function: so reduced it couldn't be right. Anyone who knows what that means is a nerd and I will come to their house and beat them up.
At the climax of the show, both bands rocked out together on stage and then marched through a (thunderous) crowd in a congo drum line, so I guess the collaboration was approved at the higher levels.
The female vocalist and four-stringed virtuoso of the band also had a flare for putting together her thoughts into perfect groups of words. We chatted for a little while, and I decided to ask her, being the ukulele player in the band, my main question: "How does the ukulele fit into the big picture of your music?"
Well, without even pausing to do some internal editing she said --and this is the ONE quote I wrote down in full, because it was so good and I asked her to repeat it-- she said:
"The ukulele is sparkly, like bubbles in a glass of champagne." Katharine Whalen, Squirrel Nut Zippers
Now it may have just been because she had champagne on the mind after that "Limousine Interview" (as mentioned above in the Drew section) she finished just before she talked to me, but that quote is a gorgeous piece of imagery. It is the perfect way to describe the light, exciting, energetic spark of this instrument on a track.
We went back and forth for a while, with me just trying to get an idea of how these people put together their music, and what their influences were. In no particular order, I think I learned:
Katharine learned first on the banjo (Jimbo mentioned it may have been from teaching herself out of a Mel Bay book, but I didn't confirm that), then was introduced to the ukulele and encouraged to sing by her husband at the time.
Her husband at the time was (!?!? why didn't I know this?!) Jim Mathus (see above). They divorced several years ago but are now touring together. That revelation, of course, led to several other questions--none of which I asked.
Wash Jones is her favorite song to perform, as seen on this video from 2007.
Eddie Condon, legendary jazz musician and bandleader, was her biggest influence in terms of the style she plays. He played a rhythmic style on the ukulele, the four-string (tenor) guitar, and the banjo.
Her favorite instrument right now was a gift-- a custom tenor guitar.
She might start up a four-string band--banjo, tenor guitar, ukulele, bass--the sky's the limit! (Hi Katharine, looking for a third-rate ukulele player?!!? wink wink)
The song "Hell", off their biggest album (and my personal favorite of theirs!) was actually recorded with her baritone ukulele....
...which she THEN brought out and let me play: Paz plays the Marathon baritone ukulele used for the original recording of the SNZ song Hell.
It was tuned in "open G" I think she said, which is the same as a banjo. Makes it easier for her to switch between the instruments, but I had no idea where most of the chords were. Nonetheless, she had the Ukulala ukulele and I had her Marathon, so we had a quick little jam session where I definitely didn't keep interrupting her: Katharine Whalen from SNZ enjoys a totally relaxed jam session with Paz from Ukulala. By the way, I'm still looking for a link to the Limousine interview. I'm curious to see how it went and what she talked about with them just minutes before I spoke with her.
And because she volunteered that I should include pictures of myself, here's the first picture of me ever on this ukulele blog, with Katharine: Paz poses with Katharine, who holds the Ukulala ukulele.
I debated this in my head for a while, because I do like a certain degree of anonymity. But, what the heck, if we've got one picture of me we may as well include the one of me with Jimbo: Jim Mathus and Paz both enjoy a good chill outside the Paradise in Boston. Oh, and later that night, Katharine with a decidedly less casual outfit on: L... Legs.
HUMANWINE
They are a Boston-based band with a cool setup, and they opened for SNZ. Yes, HUMANWINE capitalizes their whole name (I'm not just yelling, it was part of their "ALLCAPSNOGAPS Policy of 2000 Group"). They drive around in a big school bus painted matte black, because NH law says to register a ex-school bus it must be painted any other color than "school bus yellow," and they chose black. The front window had a big sign that read "FREEDUMB". I don't know what it means, but I think it costs $19.95: The HUMANWINE bus shares a parking spot.
And they are in the process of converting it to be an entirely environmentally-friendly vehicle that runs on Waste Vegetable Oil (WVO), so they can tour the country without the brutal carbon footprint and high fuel costs you usually get from a big-ass bus. Their plan sounds fucking awesome.
Apparently Waste Vegetable Oil is trash that the restaurants actually have to pay to dispose of, so of course they're more than happy to have it hauled away for free. I even heard rumor (verified fact) that HUMANWINE's Ma and lead singer herself, Holly Brewer, carried some 19 gallons of unfiltered WVO herself on the first "Official WVO Run"from a restaurant in JP.
As HUMANWINE tells it, "We ask. They open their door for us."
True for so many things.
~#~
So that was Ukulala meeting the Squirrel Nut Zippers (and running into HUMANWINE). I also recorded a video of SNZ playing the song Hell at the show that night, which is definitely worth a watch to get an idea of the energy at their shows:
And here's one more shot of a few of the other guys in the band, who I didn't meet before the show but held it down live: Gabrieli Pelli and Will Dawson sax up the audience a bit.
I hope this blog entry got across how relaxed, friendly, eclectic, fun, and interesting group they seemed to be. It's funny when a group's music matches their persona. I had a great time and I hope they did too, and if you read this whole thing then I have one more thing to tell you: I only accomplished 2 of my 3 goals.
Well, I'm back from a nice and baseball-y vacation across the east coast. Apologies for the lame weekly poll (it was about the best spots to sleep on vacation), but that was the big question on my mind when I got home. I had a great time, but it feels good to sleep in my own bed again---and to play some Neutral Milk Hotel on my uke again!
In that spirit, this video is on Holland, 1945, another great Neutral Milk Hotel song along with In the Aeroplane Over the Sea. It's a dang good album that was inspired by the diary of Anne Frank, and this song seems to be the only one directly talking about her (maybe? who knows).
In making this, I sought assistance from Woodshed at ukulelehunt.com to make sure the chords I had were all correct. His version, which--I have come to accept--is usually the correct version, is a bit more complicated than the one I originally found here. It adds in a few more chords in the last verse, and calls for some very quick chord changes.
I am not quite at that level yet, but I did incorporate the advanced techniques into my youtube tutorial video:
Video Breakdown 0:00 Intro and Tuning (GCEA) 0:13Chords (Simple: G,C,D Advanced: G,C,D, G/B, D7, Am) 1:59Strumming pattern (8 beat loop) 4:10 Part 1- Intro 4:33 Part 2- Verse 1 5:29Example of Intro and Verse 1 w/lyrics 6:48 Part 3- Chorus 7:09 Part 4- Verse 2 (same chords/timing as verse 1) 7:25 Part 5- Chorus (same as first chorus) 7:36 Part 6- Verse 3 (has advanced version if you prefer)
The strumming pattern I describe in the video loops in eight beats, where each beat is a down or an up strum: 1) down 2) miss up 3) down 4) up 5) miss down 6) up 7) down 8) up (repeat, switching chords if necessary)
I had enough trouble figuring out the timing for this song that I decided to chart it all out (credit for idea goes to E-dub). I divided the song into units of time (or beats), and turned that into a table. Each cell in the table represents one loop of the strumming pattern.
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