February 2 is “World Play Your Ukulele Day.” This holiday was established in 2011 by Mike Lynch (a.k.a. “Ukulele Mike”; see below). In the original announcement, Mike Lynch kept his expectations low. “Take your uke out of its case,” he said, “and play it.”
Simple enough.
Screen grab from Mike Lynch’s original Youtube video announcing World Ukulele Day. Click the image to see his video on Youtube.
OK. I did that.
What else can I do?
Mike had a suggestion: “Find someone who needs a smile. You might take it to an elder care, you might take it to a shut-in….” In other words, try to make the world a better place by playing your ukulele. But I went on a field trip with teens from our congregation’s youth group, which didn’t leave time for ukulele excursions.
Since I don’t have time to do anything else, I’ll share a ukulele song sheet for “It Was a Lover and His Lass,” Thomas Morley’s 1600 setting of poetry by William Shakespeare. Before you get all critical, yes I know it’s a pretty primitive song sheet. And no, I didn’t attempt to transcribe Morley’s lute accompaniment for ukulele (way above my pay grade), I just put in chord indications based on a simplified form of Morley’s harmony. Yet even in this simplified form, it’s kind of challenging. We tried it at our Cohasset ukulele circle, and people noted the nine different chords you have to know, the fast chord changes, and the tricky rhythm in mm. 22-23. Whatever, it’s a great song — and this is the best I’ve got for World Ukulele Day 2025.
(N.B.: Public domain music, public domain words, and I’m releasing my mediocre typesetting into the public domain. Go ahead and copy it all you want.)
More about Ukulele Mike
Michael B. Lynch (1945-2018) was a career music educator and an accomplished ukulele player. As a youth, he played in a ukulele ensemble led by the legendary ukulele educator Chalmers Doane. Beginning in 2009, he produced a popular series of instructional Youtube videos under the name “Ukulele Mike.” He also published a number of instructional CDs and books, still available through his website that his wife continues to maintain.
2 p.m.: Fun with Ukulele — for all levels, but especially useful for beginners. 3 p.m.: Common Chord Progressions — what you need to know to play your favorite songs.
Doors open at 1:40 p.m. Be ready to start at 2 p.m. with a tuned ukulele. Need help tuning? Show up early and we’ll help!
Bring your ukulele, music stand (if you have one), and water bottle. Tea and snacks will be provided.
Registration
Please register at the link below. This workshop is customized to workshop participants, catering to all levels. The more you describe yourself, the better the fit.
An entry under the category of Niche Hobbies: handbell change ringing.
If you’ve read Dorothy Sayers’s murder mystery Nine Tailors (or watched the TV version), you know what change ringing is. It’s very English: you have a tower with eight or so bells, and a bunch of people stand around and ring the bells in certain defined patterns. If you don’t have a tower full of bells? Then you can use handbells, and you get handbell change ringing.
One musician describes handbell change ringing like this: “A series of 4-12 bells are rung in a series of mathematical permutations. Remember work with 12-tone tone rows in 20th-century music theory class? This is similar in practice, but with diatonic notes.” Also, to my ears it sounds much better than most twelve-tone music.
Click on the image below to see a video of handbell change ringing in action.
Screen grab from the video. Note the looks of intense concentration on the faces of the ringers.
This is the kind of niche hobby that’s going to appeal to a certain kind of person: someone who likes mathematical patterns, someone who likes cooperative efforts in small groups, someone who likes the meditative effect of intense concentration, and so on. OK, I admit it: that someone could probably be me. Since the last thing I need right now is yet another niche hobby, I’m fortunate that there’s no handbell change ringing group near me.
I have to spend a lot of time thinking about music for my job. Honestly, though, much of what passes for sacred music in Unitarian Universalist circles these days is pretty dreary stuff. To avoid dreariness and boredom, this will not be a post about UU sacred music. Instead, here’s some of the more obscure music I’ve encountered this past year.
Benny Chong and Byron Yasui performing in Hawai’i (screen grab from video)
I’ve also been listening to Carmen Souza, who mixes traditional Cape Verdean music with contemporary styles. Here she is with “Amizadi” from her latest album. Souza writes: “For this song, I composed a Funaná [a traditional Cape Verdean genre] based on the story of Francisco Cruz, a.k.a B.Leza. This genre promotes fun and social interaction, so I called it Amizadi (Friendship).” Next, here she is solo, singing “Confiança & Bonança”, a video released on International Women’s Day 2024.
Carmen Souza, performing live in France (screen grab from video)
One of my musical obsessions this year has been handbells, because I started playing in our congregation’s handbell choir. Sadly, much of the handbell music you find online tends towards dreary Christian sacred music. Yawn. But if you look, you can find more interesting stuff. Like the Double Mallet Ringers, based in Hong Kong. Most of their ringers are professional music educators, they commission compositions, and they even have a resident composer. In addition to more serious music, they also do goofy covers like this.
Double Mallet Ringers, Hong Kong (screen grab from video)
Finally, So Percussion and Caroline Shaw released another new album together this year. What they do could be described as singer-songwriter meets avant-garde. Do their lyrics actually mean anything? Whatever, it’s incredibly refreshing music. Here’s the title track from their new album Rectangles and Circumstance.
There’s a lot of great musical creativity out there, from a variety of different cultures, in a variety of styles. Maybe the new year will bring some new creativity and variety to UU sacred music….
Today I got to listening to Ella Jenkins songs on Youtube. I was mostly curious how she used her ‘ukulele when she was singing with children.
But as I watched the few videos there are of her actually singing with kids, I began to appreciate how good she is working with children. She was especially good with preschoolers and early elementary grades. There’s a great photo on her website showing her sitting on the floor in the middle of a circle of young children leading a song. Of the 18 children visible in the photo, every single one appears engaged with the music — even the ones who are looking away are clapping along with the song.
Her music is also just right for young children. Her singing is understandable and straightforward, and she’s brilliant at using call-and-response techniques to get kids singing. Her skillful ukulele accompaniment is understated, so that it supports but never overwhelms the singing. Both the songs she has written, and the folks songs she has found, are prefect for singing along. Pretty much everything she does seems designed to get kids to sing along with her.
You can watch her in action in a video where she sings “Who Fed the Chickens” with another group of preschoolers. This is a call-and-response song with hand motions. Ella sings, “Who fed the chickens?” and the children respond with “I did,” or “she did,” or “they did,” or “we did,” while pointing at the appropriate person or group of people. Ella makes it all fun, and the children respond. It’s also worth noting that the video was recorded in 2012, when Ella was 88.
Ella Jenkins is pretty fabulous. Makes me want to play the baritone ukulele.
(Still recovering from a mild concussion…slowly emerging from brain fog….)
Twenty years ago, sociologist Mark Chaves demonstrated that one of the things that congregations are really good at is exposing people to the arts, especially music (Congregations in America, Harvard Univ. Press, 2004). In the course of studying everything that congregations are really good at, Chaves came to a rather surprising conclusion:
“If we ask what congregations mainly do, the answer is, in the first place, gather people for worship and religious education. But another answer is that, in their pursuit of worship and religious education, congregations generate as a by-product more artistic activity than either social services or political activity. Although many may wish it were otherwise, congregations facilitate art… more commonly and more intensively than they pursue either charity or justice.” [p. 201; emphasis mine]
I believe this remains true today. In fact, in my limited experience I’d say participating in music-making (as opposed to consuming music, or as opposed to other art forms) is what really hooks people in the UU congregations I’ve been part of. If you want to grow your congregation, and you have the choice between asking staff to spend more time on public acts of social justice, or asking staff to spend more time on nurturing the choir — go with nurturing the choir, every time.
Recently, though, I had a conversation with a UU who pointed out that many people feel intimidated by choir participation. This comment came from someone who is a fairly skilled amateur musician; they were not talking about themselves, they were making what I feel is an astute observation. And it tallies with my own observations. I remember leading some songs with a group of UU children a dozen years ago, and realizing that several of the children had never sung in a group before — we are a society that either consumes music, or performs music, but rarely makes music together.
“The amateur ukulele club scene is a kind of musical revival of participative music making, reminiscent of the sixties folk music and eighties rock band, with the ukulele as a self-accompanying instrument for singers and non-singers alike. The explosive growth of ukulele clubs and sales raises the question: how does the combination of a simple song sheet with no music symbol or notation and a small, lightweight four-stringed acoustic instrument provide sufficient material for group music making by performers who are not trained to read music or at all in music?….”
Ku documents how ‘ukulele clubs are evolving new ways of making music together, while drawing from a widely-known repertoire of popular music, and using online learning tools such as Youtube videos and lyrics websites.
So then of course I started searching for UU ukulele groups. I found them in: Ithaca, N.Y.; Eugene, Ore.; Salt Lake City; Dubuque, Iowa; Boca Raton, Fla.; Newark, Del.; and Raleigh, N.C.. No doubt there are others out there, but I was too lazy to continue my web search.
I’m not saying that your UU congregation should start a ‘ukulele group. But if we want to reverse the decline of Unitarian Universalism, I suspect we should all start thinking more about expanding the kinds of participative music making we nurture.
I took a sick day today (for a truly boring reason not worth going into). My main need was plenty of rest, so I did as little as possible. Since I’ve been getting increasingly serious about playing ‘ukulele, I decided to listen to a bunch of ukulele virtuosi. What follows are my notes to myself about what I’ve been listening to.
Jake Shimabukuro is perhaps the preeminent ‘ukulele virtuoso today. I’m in awe of his technical proficiency. However, his music doesn’t do much for me. I have to say the same thing about James Hill, who occupies the number two spot amongst ‘ukulele virtuosi — amazing skills, but I’m not much moved by his music. Taimane, who I think now edges Hill out for the number two spot, also dazzles me with her technical brilliance but once again her music just doesn’t do it for me.
Now on to some lesser-known ‘ukulele players who do move me with their music.
I first discovered Corey Fujimoto from his 2015 video of the Presto movement of Bach’s Sonata No. 1 in G minor (BWV 1001). His technical skills have only increased since then. He doesn’t appear to be recording much these days, butt he’s a regular on the Hawaii Music Supply ‘ukulele podcast, where he usually plays with Kalei Gamaio, another ukulele virtuoso. Here’s one of their recent recordings. In my opinion, Fujimoto is not only technically brilliant, but his musical sensibility is worth spending time with. His deep knowledge of classical, pop, rock, jazz, and traditional Hawai’ian musics comes together in something uniquely beautiful. He has a deeply humane musical sensibility.
Kalei Gamaio’s solo work is also well worth listening to. I think I first ran into his playing from this video of him jamming on Pachelbel’s Canon in D with Brittni Paiva and Sungha Jung (they really get going about a minute and a half in). Gamaio is probably best known for his own composition “The Unknown,” which has been covered by hundreds of aspiring ‘ukulele players. But I like him best when he plays jazz, as in this recording of “Autumn Leaves” with Neal Chin — or this recording of “Spain” with Chin and Andrew Molina. What I especially like about Gamaio is how well he listens to other players, and complements what they’re doing without overwhelming; he never shows off, but always uses his technical abilities in service of the music. For me, this kind of humility and sensitivity raises him above many other players.
Turning back to jazz and pop, Brittni Paiva is, in my opinion, underrated as a ‘ukulele player. Women are often ignored in the ukulele world, and of the women uke players Taimane Gardner seems to get the most attention. Paiva isn’t as flashy a player as Gardner, but her technique is so good she doesn’t need to be flashy. You see, Paiva doesn’t need to play a lot of notes because every note she plays is perfect, every note has a purpose, as in this recording. She’s also a multi-instrumentalist, and has issued albums where she played every instrument, and produced the album as well. Listen to her version of Dave Brubeck’s “Take Five.”
Fujimoto, Gamaio, and Paiva all come from Hawai’i, the home of the ‘ukulele. The other major hotspot for ‘ukulele players is Japan. I’m just beginning to learn about Japanese players — if you don’t speak Japanese (like me), it’s hard to find out about them. Fortunately, I just discovered the ‘Ukulele Japan website, an English-language site with links to a dozen of the top Japanese players. I’m still exploring this site, and learning about players like Kiyoshi Kobayashi, Iwao, and Tomoko Suzuki. Check out Suzuki’s version of Benny Goodman’s “Sing Sing,” which includes an amazing percussion break — sheer unadulterated fun
George Formby singing “When I’m Cleaning Windows”
Speaking of unadulterated fun, that brings me to the ‘ukulele player who inspired George Harrison, and indeed all the Beatles. That would be none other than George Formby. It’s easy to dismiss Formby’s humorous songs as dated, but there’s more than than you’d think. Maybe he’s not an impressive ‘ukulele soloist like Paiva, but his syncopated right-hand technique is world-class — as in this film performance of “When I’m Cleaning Windows.” And while his songs are goofy, there’s a kind of innocence and simplicity to them. He’s an Everyman ukulele virtuoso.
Which brings me to one final ‘ukulele virtusoso, George Harrison himself: here he is playing the ukulele not long before he died. Simple stuff, but so well done. It’s just about perfect. (And I do think I hear a little bit of Formby in Harrison’s playing.)
So what do I look for in a ‘ukulele player? Dazzling technique is ultimately empty, unless there’s some deep meaning behind it. The best music has to have — for want of a better word — humaneness.
And that’s what I did on my sick day: I listened for the humanity in the music.
Also, I left out Aunty Genoa Keawe, but that’s mostly because I couldn’t find good free videos of her online (she died in 2008). I love the way she accompanied her singing with her uke.
The Eurovision song contest is usually ignored here in the U.S. That might change a teeny bit with this year’s contest, which was won for the first time by a non-binary singer, with a song about how they came to terms with their non-binary identity. (This song will surely be condemned by the U.S. right-wing, and perhaps embraced by some of the U.S. LGBTQ+ community and their allies. But most Americans will probably ignore Eurovision, as usual.) Good for Nemo for winning.
But this is the only Eurovision contest where I actually had a song that I wanted to win. The nu-folk duo Puuluup, from Estonia, teamed up with the Estonian hiphop group 5miinust on the song “(Nendest) narkootikumidest ei tea me (küll) midagi.” They came in 20th, out of 25 finalists. Of course they didn’t win; if I like them, they’re not going to win.But wouldn’t it have been cool if someone playing a folk instrument — in this case, the talharpa — won Eurovision?
With these songbooks, you can get lead sheets for Malvina Reynolds’s most famous songs — for free. I’m especially pleased to see this, since I lost my copy of There’s Music in the Air during our move from California to Massachusetts.
The Malvina Reynolds Songbook has “God Bless the Grass” (p. 29), “It Isn’t Nice” (p. 40), “Little Boxes” (p. 44), “Magic Penny” (p.50), “Turn Around” (p. 81), and “What Have They Done to the Rain” (p. 90).
There’s Music in the Air has all of these except “It Isn’t Nice,” but it also includes “You Can’t Make a Turtle Come Out” (p. 94). This songbook also has the lesser-known but hilarious song “Let Us Come In” a.k.a. “The Party-Crashers’ Carol” (p. 48). (Somewhere I have a 3-part madrigal-type arrangement of this latter song, which I’d be happy to share to anyone who wants it.)
Tweedles and Foodles has songs I’ve never heard before. It’s also unusual in that it has both guitar chords and simple piano accompaniment. Looks like there’s some fun songs in there — “Rabbit Dance” looks like fun, and maybe I’ll learn it.
Thank you, Nancy Schimmel, for your generosity in giving away your mother’s music for free!
Nym Cooke, well-known scholar of early American music, will be offering a webinar on “The Sounds of New England Congregationalism in the 18th C.” under the auspices of the Congregational Library and Archives. Info about how to register may be found here. And to whet your appetite, here’s the first sentence of the description:
“The ‘sound of Congregationalism’ — the musical sound, at any rate — changed markedly several times during the hundred years from?1720-1820, as musical philosophies shifted between two sets of poles: ritual and art, and worship and performance….”
I signed up as soon as I heard about it. I’m fascinated by the soundscapes of New England congregational-polity churches, so I’ve already been using Nym Cooke’s website “Early American Sacred Music.” I can’t wait to hear more from this top-notch scholar.
