Chords for Kimo Hussey Ukulele Video Series: Ukulele Practice Techniques
Tempo:
108.75 bpm
Chords used:
G#
F
C#
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hello, I want to show you this uke.
This uke is brand new to me.
The name of the company
that made this ukulele is Compass Rose.
It is a tenor ukulele and this one specifically
is made out of mahogany.
I think it's called a flamed mahogany and it's very, very nice.
One of the things about this ukulele is if you can see there's a little space between
this part of the fretboard and the body.
The reason why it was designed that way was to
let the underneath part, the top, because of that space vibrate a little bit more.
The
makers seem to think that by doing that [G#] it provides the ukulele much better [F] sound.
[C#] What I wanted to [C] talk today about [N] is practice.
If we just combine our left hand technique
with the right hand technique and throw in the wonderful progressions that composers
used to do their songs, it doesn't necessarily mean that everything will come out sounding
wonderfully.
One of the things that we do in order to create balance in our music is
to make sure that we utilize very good practice techniques.
So let's talk about practice just
for a little bit.
I think you should limit your practice to 15 or 20 minutes.
You don't
need to practice extremely early in the day.
You don't need to do anything.
The practice
that you do should be A, consistent and play whenever you want to.
The reason why I think
practice should be limited to 15 to 20 minutes is if we choose to go beyond that, it's because
we want to.
As opposed to feeling like, oh my god, I didn't practice for the last two
or three days and today I just have to hit it hard for an hour or two.
Whenever you feel
like you have to do anything, don't because it's the wrong attitude.
What I would do in
your practice session is to break them down into three basic areas.
The first thing I
would do is to take a look at the song that you're working on, especially if it's a new
song, and become familiar with the progressions.
The reason why you want to become familiar
with the progressions is that's what the composer used in order to identify his specific song.
So the next thing you do after identifying those progressions is to go to the left hand
and make sure that your left hand knows how to hold those chords.
If yes, fine.
If no,
then take the time to learn how to hold those chords.
The next thing to do is consider your
right hand participation in the song that you're doing.
Generally, what I would recommend
you do when you practice right hand technique is to lay it down.
The reason for that is
that I think it is very, very important, especially when we're starting to pay more
attention to right hand technique, is to put the ukulele down so that there's not a part
of our brain still trying to think about the left hand and what it's doing.
And the reason
also for putting that ukulele down is to take and address things like rhythm, for example,
and do some exercises that will help take something like rhythm and make that rhythm
come from inside of us rather than from an external source, because rhythm just doesn't
work that way.
So again, what I would do is break down your practice into four different
areas.
One is progressions, the other is left hand technique, and then right hand technique,
and that fourth category is extremely important.
What I would do in that fourth category is
to do anything for you that is really, really fun.
Break whatever rule you want, play however
you want, but have fun.
This uke is brand new to me.
The name of the company
that made this ukulele is Compass Rose.
It is a tenor ukulele and this one specifically
is made out of mahogany.
I think it's called a flamed mahogany and it's very, very nice.
One of the things about this ukulele is if you can see there's a little space between
this part of the fretboard and the body.
The reason why it was designed that way was to
let the underneath part, the top, because of that space vibrate a little bit more.
The
makers seem to think that by doing that [G#] it provides the ukulele much better [F] sound.
[C#] What I wanted to [C] talk today about [N] is practice.
If we just combine our left hand technique
with the right hand technique and throw in the wonderful progressions that composers
used to do their songs, it doesn't necessarily mean that everything will come out sounding
wonderfully.
One of the things that we do in order to create balance in our music is
to make sure that we utilize very good practice techniques.
So let's talk about practice just
for a little bit.
I think you should limit your practice to 15 or 20 minutes.
You don't
need to practice extremely early in the day.
You don't need to do anything.
The practice
that you do should be A, consistent and play whenever you want to.
The reason why I think
practice should be limited to 15 to 20 minutes is if we choose to go beyond that, it's because
we want to.
As opposed to feeling like, oh my god, I didn't practice for the last two
or three days and today I just have to hit it hard for an hour or two.
Whenever you feel
like you have to do anything, don't because it's the wrong attitude.
What I would do in
your practice session is to break them down into three basic areas.
The first thing I
would do is to take a look at the song that you're working on, especially if it's a new
song, and become familiar with the progressions.
The reason why you want to become familiar
with the progressions is that's what the composer used in order to identify his specific song.
So the next thing you do after identifying those progressions is to go to the left hand
and make sure that your left hand knows how to hold those chords.
If yes, fine.
If no,
then take the time to learn how to hold those chords.
The next thing to do is consider your
right hand participation in the song that you're doing.
Generally, what I would recommend
you do when you practice right hand technique is to lay it down.
The reason for that is
that I think it is very, very important, especially when we're starting to pay more
attention to right hand technique, is to put the ukulele down so that there's not a part
of our brain still trying to think about the left hand and what it's doing.
And the reason
also for putting that ukulele down is to take and address things like rhythm, for example,
and do some exercises that will help take something like rhythm and make that rhythm
come from inside of us rather than from an external source, because rhythm just doesn't
work that way.
So again, what I would do is break down your practice into four different
areas.
One is progressions, the other is left hand technique, and then right hand technique,
and that fourth category is extremely important.
What I would do in that fourth category is
to do anything for you that is really, really fun.
Break whatever rule you want, play however
you want, but have fun.
Key:
G#
F
C#
C
G#
F
C#
C
_ _ _ _ Hello, I want to show you this uke.
This uke is brand new to me.
The name of the company
that made this ukulele is Compass Rose.
It is a tenor ukulele and this one specifically
is made out of _ mahogany.
I think it's called a flamed mahogany and it's very, very nice.
One of the things about this ukulele is if you can see there's a little space between
this part of the fretboard and the body.
The reason why it was designed that way was to
let the underneath part, the top, because of that space vibrate a little bit more.
The
makers seem to think that by doing that [G#] it provides the ukulele much better [F] sound.
_ [C#] What I wanted to [C] talk today about [N] is _ practice.
If we just combine our left hand technique
with the right hand technique and _ throw in the wonderful progressions that composers
_ used to do their songs, it doesn't necessarily mean that everything will come out sounding
wonderfully.
One of the things that we do in order to create balance in our music is
to make sure that we utilize very good practice techniques.
So let's talk about practice just
for a little bit.
_ I think you should limit your practice to 15 or 20 minutes.
_ You don't
need to practice _ extremely _ _ early in the day.
You don't need to do anything.
The practice
that you do should be A, consistent and play whenever you want to.
The reason why I think
practice should be limited to 15 to 20 minutes is if we choose to go beyond that, it's because
we want to.
As opposed to feeling like, oh my god, I didn't practice for the last two
or three days and today I just have to hit it hard for an hour or two.
Whenever _ you feel
like you have to do anything, don't because it's the wrong attitude.
What I would do in
your practice session is to break them down into three basic areas.
The first thing I
would do is to take a look at the song that you're working on, especially if it's a new
song, and become familiar with the progressions.
The reason why you want to become familiar
with the progressions is that's what the composer used in order to _ identify his specific song.
So the next thing you do after identifying those progressions is to go to the left hand
and make sure that your left hand knows how to hold those chords.
If yes, fine.
If no,
then take the time to learn how to hold those chords.
The next thing to do is consider your
right hand participation in the song that you're doing. _
Generally, what I would recommend
you do _ when you practice right hand technique _ is to lay it down. _
The reason for that is
that I think it is very, very important, _ especially when we're starting to pay more
attention to right hand technique, is to put the ukulele down so that there's not a part
of our brain still trying to think about the left hand and what it's doing. _
_ And the reason
also for putting that ukulele down is to _ take and address things like rhythm, for example,
and do some exercises _ that will help take something like rhythm and make that rhythm
come from inside of us rather than from an external source, because rhythm just doesn't
work that way.
So again, what I would do is break down your practice into four different
areas.
One is progressions, the other is left hand technique, and then right hand technique,
and that fourth category is extremely important.
What I would do in that fourth category is
to do anything for you _ that is really, really fun.
Break whatever rule you want, play however
you want, but have fun.
This uke is brand new to me.
The name of the company
that made this ukulele is Compass Rose.
It is a tenor ukulele and this one specifically
is made out of _ mahogany.
I think it's called a flamed mahogany and it's very, very nice.
One of the things about this ukulele is if you can see there's a little space between
this part of the fretboard and the body.
The reason why it was designed that way was to
let the underneath part, the top, because of that space vibrate a little bit more.
The
makers seem to think that by doing that [G#] it provides the ukulele much better [F] sound.
_ [C#] What I wanted to [C] talk today about [N] is _ practice.
If we just combine our left hand technique
with the right hand technique and _ throw in the wonderful progressions that composers
_ used to do their songs, it doesn't necessarily mean that everything will come out sounding
wonderfully.
One of the things that we do in order to create balance in our music is
to make sure that we utilize very good practice techniques.
So let's talk about practice just
for a little bit.
_ I think you should limit your practice to 15 or 20 minutes.
_ You don't
need to practice _ extremely _ _ early in the day.
You don't need to do anything.
The practice
that you do should be A, consistent and play whenever you want to.
The reason why I think
practice should be limited to 15 to 20 minutes is if we choose to go beyond that, it's because
we want to.
As opposed to feeling like, oh my god, I didn't practice for the last two
or three days and today I just have to hit it hard for an hour or two.
Whenever _ you feel
like you have to do anything, don't because it's the wrong attitude.
What I would do in
your practice session is to break them down into three basic areas.
The first thing I
would do is to take a look at the song that you're working on, especially if it's a new
song, and become familiar with the progressions.
The reason why you want to become familiar
with the progressions is that's what the composer used in order to _ identify his specific song.
So the next thing you do after identifying those progressions is to go to the left hand
and make sure that your left hand knows how to hold those chords.
If yes, fine.
If no,
then take the time to learn how to hold those chords.
The next thing to do is consider your
right hand participation in the song that you're doing. _
Generally, what I would recommend
you do _ when you practice right hand technique _ is to lay it down. _
The reason for that is
that I think it is very, very important, _ especially when we're starting to pay more
attention to right hand technique, is to put the ukulele down so that there's not a part
of our brain still trying to think about the left hand and what it's doing. _
_ And the reason
also for putting that ukulele down is to _ take and address things like rhythm, for example,
and do some exercises _ that will help take something like rhythm and make that rhythm
come from inside of us rather than from an external source, because rhythm just doesn't
work that way.
So again, what I would do is break down your practice into four different
areas.
One is progressions, the other is left hand technique, and then right hand technique,
and that fourth category is extremely important.
What I would do in that fourth category is
to do anything for you _ that is really, really fun.
Break whatever rule you want, play however
you want, but have fun.