Chords for 3 Qustions: Ukulollo

_ _ _ [G] _ _ [Bbm] _ [F] _ _
[B] _ _ [D] _ _ _ _ _ _
[Am] _ _ _ _ _ [F] _ _
Yeah, I used to be a guitar player before, I mean a mediocre guitar player, but I was a ukulele player.
I just didn't know that that instrument existed.
I saw it for the first time four years ago because I'm Italian.
And Italian is such an underdog, nobody knows it.
So I had to find it by myself on the internet. _
And since I got my ukulele, I left behind all the other instruments, kept on playing.
And there I was in England, like I think three years ago, at the Ukulele Festival of Great Britain.
And I met Boar Wooden, and we were just on a jam on a Friday night.
It was just an easy jam to welcome people.
And he saw my rumba technique, like this kind of strumming. _ _ _ _
And so he asked me to join him for his live set the day after.
So yeah, there I went in front of all these wonderful people, and I enjoyed that so much that I naturally wanted to keep on performing.
And also I started to think about an original way to perform. _
[Dm] _ _ _ [G] _ _ [Bbm] _ _ [F] _
_ [Cm] There are three things that I used to teach on my _ workshop.
And one of these things is the thinking forward method.
And it's something that, whether you know _ consciously what you're doing, or whether you're not, you have to learn it if you're performing.
Because this is the only way to avoid mistakes and be able to play naturally in front of a big public.
And that means, you know, it's like a race pilot of a car race.
When they start, before starting, they think, okay, they look at the next curve, and they think, okay, when I'll be there, I will have to steer the wheel of this amount of degrees for this long time.
But when they get there, they don't actually think, okay, they are not stuck there like, I have to turn that.
They're looking at the next curve and thinking, okay, when I'll be there, why am I steering that?
And when I'll be there, okay, I've got to turn this way.
Otherwise, they would crash.
We would crash if we would run without this kind of advice.
Same thing when you're performing.
When you're performing, before starting the actual performance, just take _ your time to think about the rhythm, _ the tempo of the song you're playing.
So, you don't do something _ [G] like_
And then you [Am] realize you were too [F] fast.
[G] Okay, that's wrong.
Take your time to record.
And when you're thinking of, when you're playing a chord, _ first of all, set the first chord, set the first line if you're singing.
And while you're doing that, think about what's next.
So, you think_
_ Over the rainbow.
_ A minor.
_ [Am] Way up high.
Way, [F] way up high.
Something like that.
So, you always have to be forward.
And this way, you can_
It has a lot of _ wonderful consequences.
The first one is that you have to be natural.
_ Because you'll be somewhere else and that means that you've got to be natural.
It's something that [Db] is instinctive and that's the most important [C] thing when you play music.
It's really like something that becomes natural.
And second thing, you can avoid mistakes.
You can think like_
Somewhere over the rainbow.
[G] Over_
Oh, I have [D] no idea what's coming next.
But you've got some seconds to think about it and to find a solution like_
Somewhere _ [Em] over the rainbow.
[E] _ _ _ _ Way up high.
And if I have a solution like a Z chord, or you can do something like_
_ _ _ [Em] Somewhere over the rainbow.
Your [Dm] turn!
_ _ [C] _ [G] _ _ _ _
[F] _ _ [Gb] In Italy, there are not so many ukulele players and I like to perform and play together.
Because I'm not so skilled.
So, I'd rather have maybe a couple of ukuleles playing different things and maybe some other instruments.
Not too many.
Because a good thing of the ukulele is that it captures the essential of the song.
But you know, sometimes two ukuleles just make a big difference.
Just like two voices are much more than just one voice.
I mean, more than a diction of them.
And so I thought, since when I was composing the album Completely Unbroken,
to the old concept, so I tried to keep it simple in order to do this thing I'm doing with the screen here.
When I play with myself.
_ _ And_
Yeah, the old project was built with this idea.
So it came out easily.
It's the only way to bring other instrumentalists, other people with me without paying them.
Because I'm not rich, unfortunately, and I can't afford that.
And also, even if I would be rich, you know, I'm playing with such a lot of great artists.
And it just wouldn't be possible to bring them around.
So this way I managed to be original, I guess, in one way.
And to give to the public everything that is in the CD, and at the same time playing really live,
really live, because there is this connection.
And keeping it simple, on the screen you rarely _ feel like you're listening to a background track.
But most likely you will have the sensation that the other musician is there.
Because if there is a girl singing, we only hear her voice.
There won't be other tracks beyond that.
So, yeah, that's how I built it.
[Dm] _ _ [Am] _ [G] _ _ [Bbm] _ _ [F] _ _ [B] _ _ [D] _ _
_ _ _ [F] _ [Am] _ _ _ _