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MUSIC 8059.304
The Kamiki ukulele method.
The Arts Nonfiction
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KAMIKI

$o].3of

UKULELE METHOD

showing the Correct Position

For Holding the Ukulele
Copyright MCMXVUby W? J. Smith & Co. New York

Illustration

The
ri

Ukulele
J>p

Nut
i# Fret

Neck
and.

Fingerboard

Jick or Strum
Witimfe Area

Sound

or

Me

Rosette

String?

'ridge

The

Ukulele -Banjo

TbsiHon.

Mark?

Fingerboard

Rudiments of Music
Musical notation is composed of various signs and characters. The first
to be noticed is the staff, consisting of five parallel lines and the spaces between them. On the lines and in the spaces, characters called notes are writ1

ten to represent the sounds.

THE STAFF AND NOTES

5th

Lin e-

4th Lin e

-*4
lot

4th Space
3rd Space"

a
Lino

ne-

fte-

2nd space
1st Space

Immediately below and above the staff are the following two notes, D and

g.

Higher and lower pitches, or sounds, than the above, are represented byshort lines called leger or added lines, written above or below the staff.

LEGER LINES AND NOTES

m
'

The notes are named after the first seven letters of the alphabet and are
employed over and over again; and when written in regular succession,with
the first note repeated- after the seventh, a scale of eight notes will be formed;
thus: A, B, C, D, E,

F,

G, A.

beginning of a scale; as:

Any one
C,

of the first seven letters

D,E,F, G,A,B,C.

may be the first

or

TREBLE CLEF
beginning of compositions for this instrument.
It establishes the note G, on the second line
of the staff and from it, all other notes are determined; either ascending or
descending, as in the following example.

The Treble

Clef,

made thus

(5), is

always placed

at the

F
?

ft

JD

r
c

-e-

J
r

r
G

RUDIMENTS OF MUSIC
necessary that the student should he acquainted with the duration of

It is

musical notation.

The relative value of the notes

shown by

is best

the following arrangement:

Notes are divided into Bars by single or double lines drawn across the
stave.

One line ~

placed after each bar. Each bar contains the same num-

is

ber or value of notes, and must last precisely the same length of time.

Seven characters determine the value of notes, seven the value of

rests.

FORMS OF DIFFERENT NOTES AND RESTS

Whole note Half note Quarter note Eighth note 16^ note 3 2^ note 64^ note

3CEI

Jl

Whole

A Dot

;(fo

rest Half rest Quarter rest Eighth rest

placed after any note increases

-,

E|

is

equal to

('
\

its

T*

15^ rest 32 n_d rest

,-5
f

to
|

ff

or

COMPARATIVE TABLE
showing the Relative Value of Notes
1

Whole Note

-*&-

equals

2 Half Notes

j.

J-

equals

4 Quarter Notes

equals

8 Eighth Notes
equals

Notes
and so on.

16 Sixteenth

U.

xxn

J.

6ithrest

value one half, Thus:

r-.
or

F^

to

=f

How
441

string

to tune the Ukulele.

3 rJ* string

"O

2 nA string

if

11* string

^-

XE

Fff

The open strings can be tuned to the piano by following the above diagram. Another method is to time the D string

D string at the
4th fret, tune the F# string in unison; next, stop the Fjf string
to

middle

on the piano, then, stopping the

at the 3t? fret

and tune the

same system, stop the

A string

in unison; following the

string at the 5*- fret and tune the

Fjf

string in unison.

The

string

must be stopped

How

right behind the frets not

on them.

to string the Ukulele.

For the First String use Banjo 3 r_d string

For the Second String use Violin E string

For the Third String use Violin A string
For the Fourth String use Banjo 3rd string

To hold
The

the Ukulele.

arm should be thrown well forward, holding the

Ukulele between the thumb and joint of the forefinger, the
tip of the thumb resting on the side next to the A string near
left

the first fret, with the first finger on the side of the

The middle

of the right forearm should press the

string.

back

of the Ukulele to the body, holding it firmly so that it may

be played either standing or sitting. In order to get the best

tones from the instrument, great pains should be taken to hold

it

exactly in the manner described above.

FOR TIPLE, TAROPATCH

(Ukulele style)

and

TENOR-BANJO

TUNING, See

last

page

Scales for the Ukulele

string

4tl>

3Ld string

!l

"and string

i
Frets

D MAJOR

1st string

pf

1S-

rt2-

PRINCIPAL SCALE

3rd string

11

2nd string

ll

ft

~"

ist string

Frets

Diagram
l s_t

Notes on the

fe

P^

of

12

10

Fingerboard

strin.

P
tJFrets

10

11

12

10

ii

12

10

11

12

10

12

Notes on the 2nd string:

#*

t+

Notes on the 3 r.d string

]!:
v

Notes on the

4^ string

0*1

A or

Notes played on the

in reading

&

4th string are written an octave lower to avoid confusion

Chromatic Scale
3rd string

JujJJ
Frets 9

2nd s t r i n

"

tf

C major

J
I*

string

ff

^
1n m 0t0~

Signatures and

A minor

^J

l s_t

Names
G major

E minor

of the Principal

D maj or
B minor

Ft*

major
minor

major

F maj or
D minor

E maj or

El>

G# minor

G minor

C minor

ii

Copyright

'

MCMXVII by W

g^
J.

10

11

12

Major and Minor Keys

*F
B major

frrfT

Smith

& Co. New York

major

C# minor

At maj or
F minor

ate

11

Notes on
Notes on the

A or 4th String

String sound one octave higher than written

4jj JJJJ Uiii 'jjjg

'

^rtJi jj JjUijj U flF

'

"

J J

2-J

ait J:

'

JJ

'(J:

'

Notes on

$E
o
Jr
fm
v/

3ZZ

t)

*i

'

^ J = 'J: ^

J:

or 3rd String

&

~T&

UW-^i

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si

><

flm.
.

^"

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'

11

c>

U* X) ^

3^>

SiTJ

"*
V

3fl

*}

Am
v

1
1
1
1

U*

UCJ

Notes on F# or 2nd String

S
52

8"

Sf

Notes on

EH T i
f

y ^

op
I

3 H

t#=322=-t
rmw
*

ss

ip
I

t
*f

~re~"J*

9*

rJ.

2T22

or 1st String
3

P
|

*f

ap

^^

*r

Qp

^i

12

SCALE AND EXERCISES IN KEY OF C

4th

String

3rd

W String

^m

023

Frets 3
Notes C

2nd

\l

String

9*
(

4^

J J

.j

'

^=^

3*

op

^^F
P

In:
5t:

31

BCDE

!==

3rd
String

20

Count three

-t*

rfWf

GA

#pg
j
t
i

2nd
String

013 5310

13

DEF

1st

String

^^ PP
m

^#gk

-*<S>-

^^

=^

i-

,J

J
r

li

^^

d^i-^

13

2nd

1st

2nd

String

String

String

IString

rrrrrm-iJ
013

'

'

787

310

10

4th
String

3rd

m
3

Vrm

6+-

Hawaiian Boy
KAMIKI

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1&23

fe=B=

iffj^TT

Count

&

Pr

Tnr

0*

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W
V

II

4^J:

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4=J=J

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'IFIFIF*
o 5 5 5 s' * * *

-h*

'u^J

ig

oJ

=
r

j=a:

to

14
gnd str.

3rd st r

A
*

W
"

Str.

4th

1 SJ Str.

iff

Waikalulu

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W.

|j

mr*

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"it

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iJ

KAMIKI

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*=*

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*=^E
Copyright

MCMXVI

by

W!?

J.

Smith &

Co.

New York

11

15

How To Read The Diagrams

This Page

is

for explanatory purposes and

The four vertical

is

not

meant

for practice

lines represent the strings of the Ukulele, and the horizontal

lines represent the first five frets of the finger-board.

The string on the right

er

when instrument

is

is

termed the

first,

and

is the

one furthest fromthe play-

held in position for playing.

Example
N92

Example
N91
o

Nut.

l?t

F re t,

P">

2n_d Fret.

3Ld

Fret.

4th Fret.

5th Fret.

4th 3rd

2^

l^t

STRINGS
The black dot indicates where the string

be stopped, and the numbers

indicate the fingers of the left hand. When a string is to be played open (without being touched with fingers of the left hand) the sign is thus O.
In illustration (number 1) the fourth string is stopped at the 2 n_d fret.usingthe
2ld finger. The 3 r_d string is played open, the 2".d string is stopped at t hell1 frecusing the 1* finger, and the 1 SJ string is played open. Always place the fingers beis to

hind the frets, not on them.

1
""
Illustration (number 2) shows the barre
in which one finger stops or
presses two or more strings.
Example: The first, second and third strings are stopped by the first finger
,

at the first fret.

The fourth string

is

stopped by the third finger at the third

fret.

Study this pag-e carefully before

trying" the next

^
16

Chords

D major

ill

l
1:

oG
o^

A 7th

,D, 3

_o

<

it

4*

Chords in

k^

minor

B moin

E min

th

B min
O

1
< >

4*

4'

Modulations in Key of

i ^-
O

w
Do

qD
O^O

7th
o

min

A7th

>Q

1
<>

2
l

>

Chords in G major

\7

*
<Q

D
Mj

th
7'o-

1
t

oG
1

49

1
49

49

49

49

3
49

Chords in

minor

A min

minor

E min-o

o
2

th
7'o~
o

B
LJ

4
49

Modulations in Key of G

*i

W*~
aG

7th

2
4*

4
49

i t

C min

oDo7 t]i

49

49


18

Chords in C major

Ao

7lh

JL

o_

4>_

_**__

_*>
4

O O

>

o__

__

_i>

A minor

Chords in

%
A9 minor

E7

D min

,A min

t_h

1r

4 >

2
49

49

4 >

Modulations in Key

Tf
C7*

o
3

Fmin

11/

of

if

>

G7tho
l

c
TT

4H>

tr*>

_4^
2

2
4 t

_j|
t*

i>

u&

19

Chords in A major

E7th

o-L^o

it

<

9
it

um
Fjt

Chords in

minor

Fff

m
B minor
o o -o

minor

Cft7 th
-o

Fjt

minor

_tt

i t

it

4t

&

it

Modulations in Key

y-m

A7th

of

minor

jV^
2

_o

A
2

<

it

O
2

_i*_
9

9
it

20

UP

Chords in

major

7th

<

i*

o o o

it

Chords in C# minor

U.
i

I
Ctf

min

minor

Gj

7th

Cflmin

p
/

8
4

Modulations in Key of
frfa
;,l_j!L

E
1

<LJLJL_

7jh

Js.min

F
1

1
O

nB
O

7th,

21

Chords in

major

I
3t

C7th

Bt>

f
4

2
<

8
it

Chords in

minor

D minor

A 7^

G min

D min

2
i

1
i

t~i

3
i t

1
i

2
i

8
it

9
it

1
i

22

Chords in Bh

k
?
B\>

E\>

_j*^^t*

7th

_iLZj'

<LJ[jL_

2
0__

X
O O

<

o__
9

In

l>

Chords in G minor

Gmin

C min
i

min

1
i

1
i *

f\

D7th
OOP

2
t

1
i >

3
<

>

'

4t

4
i9

23

Chords in

E\>

major

3
Eb

Bb7t]i

Ab

Eb

1
4

<

>
I

'

<L

**_t

<>

_4
3

Chords in C minor

5'

~W

mm

G 7*h

Fmin

C min

1
1
4

<

(.7

4P_
I-

<

<

'

Copyright

MCMXVI by W?J. Smith & Co., New

York

4 l

24

Chords in

k*
vy

A\>

major

Db

Ab

Eb

7*} 1

1^

IP

_j

<

*9_
2

jP

Chords in

F minor

mm

Fmin.

C7th

Bbmin.

Fmin.
1

<

#
2

4
3

<_

_J

___

>

Copyright

f_J
4

MCMXVI by W? J. Smith <S;Co.,New York

25

DIMINISHED SEVENTH CHORDS

and their Inversions
A

/~lJ Seri es

If

JP
Dion

A Din
<?

'I

A'.t

BDim

A Dim

__

Inversions

sv

At Dim

B Dim

? 4*

<

'4
4

**

1
<

3
f

4_J

1
*

3
It

1
4

<

O3

AUGMENTED FIFTH CHORDS

Db

ii

ei

ti

D3

b*

El>4

i)

TjSF
<?_

(LJt

,?

2
4

3
4

F2

El
y a
,,

G4

Gb3

tea

ii;

IF
t*

t?

17

L_<

th

>

AH

ii P=*W
;

A2

<
4

Bl.

*I
S.

is
4

J'

it

<

41

The above diagrams show Twelve Augmented 5th Chords; Practically there
are only four, and for this reason we have marked above each chord, its name rind
a number- You will notice that all chords of a same number, although written
differently, are played exactly alike.

26

TRANSPOSING CHART
For the benefit of those who haven't the time nor the inclinati on to seriously study transposition, we have devised the following chart, whereby
anyone acquainted with the chords of the Ukulele, can easily learn to
change from one key to another.

Major
1

li

Chords in C

>>

>>

Minor

2"d 3rd \/4th

G7th A

D!>

G!>

At 7th

G A

7th

Dmin E7th C 7th

Btmin Etmin F7th DWth
B min E min F#7th D7th
C min F min G7th E!7th
Ckn Ft* min Ghth E7th
D min Gmin A 7th F7th
min.

E\>-

E!>

A\>

Bl>7th

}>

E
F

>>

)>

Gt

Gl>

Ct D^7th Etmin At min

>>

"G

D7th E min A

>

At-

At>

Dl>

Et>7th

))

>>

"

Bk

>>

7th

Bt C 7th

Fit

min

D E

B\>

Et F 7th Gmin

F**

7th

Allied Chords
9th
8th

6in / 7th

5th

F min

7th G#min

Bl>7th

D7th

A 7th

Augmented 5 th
10th
11th \
No. 1 Dim CAug-

El>7th Bl>7th No.

E 7th B7th
F7th C 7th

2Dim

DbAug.

No. 3

D Aug.

"

El>Aug.

No.l

F#7th Cl7th No. 2

>

G7th D7th

No. 3

FAug.

Gt7th A!>7th El>7th No.l

GkAug.

B7th G7th A 7th

Btmin C7th At 7th BWth
B min Ctt7th A 7th B7th
C min D7th B!>7th C7th
C#min D**7th B7th C*7th
min

7th No. 2

F 7th

Aug.

Aug.

No. 3

At Aug.

F#7th No.l

"

A Aug.

7th No. 2

BtAug.

G#7th No. 3

"

B Aug.

column of the chart, is the name of a Key Chord,

and all other chords,- reading horizontally from it, are the attendant harmonies or chords belonging to that key, or, closely connected with it. The
1st, 2nd and 3rd columns, show the chords in major-, the 4th, 5th and 6th
columns, their minor connections; the 7th, 8th, 9th, 10th and 11th columns,
are chords that are allied to them, either through the major,
or their
minor relations.

Each

letter in the first

HOW TO USE THE CHART

If we have an accompaniment in the key of C, commencing with the
chord of C, and wish to transpose the same to the key of D, we find under
the given chord of C, the chord D, which must be taken in its place,andso
on through the entire piece, always finding the corresponding chord of
the new key directly under or above the chord to be transposed.

Showing Chords transposed from C to D, then

Chords in C. original Key
The above transposed to D
The above transposed to E\?

Amin Dmin E? th
Bmin Emin F^ th
Eb Cmin Fmin G^ h

G7th c.
D. G. A?th D
C. F.

Eb Ab

B^ th

to Eb

27

While the following songs and accompaniments

is

read music,

it is

so arranged as to be of e-

qual value to those

by

who

intended primarily for those

who perform

entirely

ear.

This
ner:

is

made possible

Each chord

companiments,

is

as

it

in the following man-

appears in these ac-

not only written

its

in

musical notation, but also labeled with

name

or title_ C, G, D, or

chord

may

its

whatever the

be.

Needless to

say, the

tune or air in these

pieces, though written for the voice,

may

be carried by Violin, Mandolin, or any leading instrument.

p
28

One, Two, Three, Four.

BY REDDING,
arr.

by

W ? J.Smith.
1

*H
i ===13^3

mzzm

J=J

-*-

the

I 1=1^3^=^=^=1:

D A7th D

MH
#=M

by

-m-

A7th

where

stream

^==^=t?

g-

fr;i

Down

P^:
ff^

F#7th

r=1=I=lE
* *> -*T

=* =1 =1 =* = =J =1 =J =*

A7th

A7th

Re

met

first

A7th

^
fS

# m
=* =J =1 =* =1
fl

A7th

bee

n*
Fl rM^i
D
-

29

^^

*=p:
The

sun loves

to

shine

J^^l=J=S=l

www w

W-WW

E7th

E7th

t&

-0--0--0-J- :

the

-W-

7D ^S-^W-

W-W-

A7th

A7th

ZZJ

hued

gar

Bright

lands

wove

Re

for

I^FIF^F*
D

ft

|=Jz=t|=J=iJ
A7th

A7th

5ZJ

jdi

-0-0-0-W

&

W-

W w
W w

as

1^3^1
w

m~

B7th

gazed

in

to

i==j=i=i=ta=j=j
w~
A7th

4
Emin.

=-

they

eyes

her

B7'th

TV

were

Bright

ca,

A7th

A7th

hec

.11

jj=1=1=tj

3EE

mine

ifjeifh^i;
D

A7th

Chorus.

4
One,

two,

three,

ww w
2

four,

Some times

-#-

www- WW

w
G

*w

30

*F

j~T~t

zz:

wish there were

zwei,

*f

--*

*=t
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gft=

m-w-S-S-

^i

drei

&

;,,

3 ===*= =*==:

+\ZL W
S-0-0-0S
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D

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p=*

n,*?

vier.

one

the

love

that's

near.

#-*-*

l
S=S
5 5555J: 55 ***** ***
D

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more,

put

Ifflft

E7th

E7th

A7th

A7th

*t
Yet

sam

nee,

w wwww

tht

tt

F#7th

.^Lx-r

heath- en chi

j~nr

r
get

j=

FS

jfrl

f^

iP?h
One,

left,

www4-

B7th

-ww-

r
there

reft,

D
-4

be

Fair_ girls

nee,

^ rM

J^JUir*

Ii

will

So says

see,

* ***
E7th

two

and three,

^y^
A7th

w^w-w-w-

-#

31

My

Bonnie

=3=

1.

2.
3.

My

Bon

nie

n
:=:

1
5

i-

low,

Last

cean,_

And

nie

lies

night as
I
blow, ye winds,

My

Bon-

nie

P^? i
o-ver

lies

t
o- cean, _

the

lay on my
Last nig-ht as
I
Oh, blow, ye winds, o-ver the

pil- low,

cean,_

Oh,
I

And

Mi,U
liS
Jr-H
^^TltTil
TFT
G
a

ati*

f
G

'

sea;_
bed;_
sea;.

5:

pil

Bon

J J
iJ
J J JJ
4
1^^
EE
fflf
**
*
3 13*

e$

^
o - ver the
lay on my
o - ver the

i
My

o- cean,_

ver the
lay on my
o - ver the
o

lies

night as
I
blow, ye winds,

Last
Oh,

m
i

7 t.h

7*1

CHORUS

I3

bring
dreamt
bring

ft-?-^
back
that

back

my
my
my

I 1^^
^^sT ^1
I

^
bring

Bon - nie to
Bon - nie was
Bon -nie to

back,
back,
back,

1=1

i^

i fet

rrritt

G7*>

i
m-p

r
r
r
Bring back my Bon- nie

jij

7*h

i
back,

Bring
Bring
Bring

ITlTt

me._.

back,

dead.

azzuza

4 Ji jii ji j
F

me

bring

Oh!

me;

to

ft

7tb

a
back,

me,

to

G7th C

bring back

mm

t^-^m

my Bon -nie

to

HiiiiH-ii
F
Copyright

7th

71 h

MCMXVII hy W-

Bring

J.Smith &

G7th
Co.,

New

York.

me.


32

Aloha Oe
Farewell to Thee,

^m

Moderato.

Um$E
Ha

heo

swept
n A

Proud-ly

f
ka

u^^

fc
J<

r
nihi
on

**
1
ir

p
a

la

ka

na

p
i

u=%E1

c#

3TZZZ

JlJ>

=*

hi

hi

~w

E7th

&
ko
ko

li

li

Pu

The_

J3333333

hi

le

hu

hi

le

nua

of

M-J3
s
B7th

3=J

J-i

^^ m

ha-

St ill

# WWW w w w w

na i
ka
withgriefthe

fe

i
E

1
^FU=IF=lF=l=3=^i

*fc

As

E7th

J>-

low-ing

ke

li

he

E7th

**

ha

pa

wwwJ=*=*=*=J=*
w w

fol

na

gli-ded through the trees

it

E7th

i -

13

ff

the rain cloud "by the cliff

n
A V n
n
n

C#7th-

*t

E7th

the

ZZ

ka

u
vale.

3^^^
F

33

Chorus.

lo

Fare well

fe

igte

ha

oe

to

thee

ha

oe

to

thee

lo

fare well

1333=3=!3 133333

na - o - na no - ho i - ka
charM-ing one who dwells a-mong the

bow

fcJ=*
E7th

fcfc

**

em
em

brace

brace

ers

One

be

ho

- i

fore

now

fe

au

de

A7th

part

13 S3 13

Un
Un

13

i PP

Kft=

we
we

til

til

Tt ~T

3Z

meet

gain,

meet

gain.

*=t
E7th

^S ^

133333333

po.

a
w
13333 133J=i4l=*

E7th

fond

Thou

13B

fMA
yf JiJiJ^^ryp

fond

ke

T T

w
E7th

Wt

^a

34

Sweet Lei Lehua

fa

ff(

*v g

Bfc=^

w
o &
*

tT

;*

'

-&

m-3 r

fre sh

mj

f =g J

1-

4
I"

-)

pu

- il -

wai
'ry

D7th

D7th

Bg
E _
dream

na

ki

of

you

Oh

my

1=M=3=I=1=1=1=3:
D7th

Ha

nu

ma
noon

at

***

3=1=3

*****
G

j 5 *

nei

sweet,

ir

sun

5 ;

na

lie

and

3=
G

D7th

^_

1
1

5L %L *
G

1-

r ff

sti] Ll

<S

SB

Ev<

ft

K,

Bi

H=*

1"

(ft

set

he, na-he.
rays.

35

Chor us.

I
Sweet

Le

lei

hu

IFHFOFIFMFIF^FIFH^:
D7th

D7th

D7th

Be

a.

true

******
G
G

^m
me

1
Be

one,

fair

to

true

to

3^^^F^^F^F^^^Fl=I=lF=i:
D7th

D7th

D7th

D7th

i=g

*
me

trow,

=3

S=1=S

the

*=*=*

******* ********
I

r*#.

u
hand

i*

me

Give

Sweet

won,

j=i

Lei

Le

hu

a.

a=*
D 7th "07th

D7th


36

Ua Like No

Like

("Sweet Constancy.")
Moderate-.

U-

li

When the

dews

i *&=

ke_
of_

no

fe

li -

ka

Grlist-ning

*=*=*=* J=s=* ?F3F=3rlFJF3=l 3F=iE

A7th
A7th
D
D

?^P
U

ka

ni

the flowrs

on

hu

le

S^^

me

azzz*

=3

1=3F^JF1FJ=I=3:
D

la

heart

P'
ma

to

thee

-*

4-

'
i

P
-

?
he

Then my

well,

A7th

A7th

pi

lovd so

Ii
azza
J=S=*=3=J=J

Me

ke

fall-ing

are
eve
n 0__n__0__n

n n

r\

^^

j~^

&h b

'

P
a

na,

from our

call-ing

is

i
m- -4A7th

4- +- +A7th

J)

p
ke

with

tryst

M
^

ft

*
A7th

a
-

*t

in

la

the

it
A7th

*##*- #
D

^^g

-4

-*-*

+-

4-

ka - na
wood- land

&

he

le.

dell.

S0 *=*
2F=^Fi?f a=a

it

* ^

Bt

S
D

37

Chorus.

iFf^i

i
My

ka

no

oe

n_TL___

pu

for

ev

-S-

ku'-u
er,

it

fe
4- -*-S-^
A7th

&
I
le

-^

-#-

-#-

I
-

with love

J)

p-

nip i

ki

li

for thee

< r~j :

j=j=j=j=jjj

ka

con

stan-cy

fades

S
ke

hi,
Its

ma-

na

j ^^F^rlFlr^FJIF !:
D
D

'

p^

lone,

A7th

A7th

-0-^0-^4- ^0-^0- -0-^0-^0-

A7th

hi

thrills

m
u

Sweet, is thine

heart,
n a

II

1 1

nu,

nev-er,

na

I'll

he

*F

J^T ?=F^?^=3=1F1=I=3F1:

A7th

*F
p

ho
ev

er

In
::;=
A7th

g g

j)

la

true

if

ke

moe.

to

Thee

my

own.

W
m
3TW

j=j
A7th

Bl

Se
"5:
D

^
^

~
38

Over

the Banister
Arr. by

if

i
O

ver

No

ban

the

bod

on

VOn.

y,

der
der

While
Gaze on

and

sweet

ly

and

of

A 7th

es

ver

^ *

w
ing,

mean

ing,

with

her

love

li

ten
face

est

der

grace,

in

town,

0-

^0-

Bdim.

ban

ture

is

ter

a =z=j

m-

smil
lean

ing.

ing

ml

A7th

Copyright

MCMXVII

by

-Ar-Mrl:
^0-^0-^0-

&z

-Lj i
pic

He

u J=J

the
the

j:

i i
* * j*=j*

'

7.

A 7th

low

be
the

'
-

f
3
Bdim.

j
* *

A 7 th

watch

guil

1)

-m

-0-

fc*

face,

brown,

-^

3=1:

*N

gg

be

full

a
of

h-m

Jf_

* *

leans
eyes

ter
tbose

A 7th

ly

0-

*-

^m
-

Ten
Ten

is

^
-

KAMIKI

W?j.

Smith

& Co.

Lg=g

The

39

|Ep^

-&

the

hall

he

low,

with

down

cast

eyes,

t
light

Tim

dim

burns
id and

in

tired.

J=J
t t

a=a;

J=J
Tf *

0-

Crmin.

i
No

5t

bod

sees

them

won

der

why

she

siarid

lin

l=^l=3= =lJJ:
1

">

-6^

gers,

l=*
* * *

* *

A?th

^
Say
Af

">

'

/TN

ing
-

-0-^0-

good
ter

-0-

night

soft

and

low,

nights

are

said?

gain

the good

ail

-6
-G

* * *

D7th

Gmirr.

I)

Half

way
y

up
to
holds

1=1=1

t=t-

Some

bod

A7h

Over the Banister-2

^1

^m

the
her

land

ing.

fin

gers.

1=1
A7_h

40

My

Old Kentucky Home

FOSTER

Moderato

P^

VOICE

2.
3.

IeS
UKULELE
p

1
*F1:
r^r
p

1=J=J

****** ^
G

Mi

old Ken-tuck- y home,

pos-sum and the coon
backwill have to bend,

'Tis

On

the

Wher

h h

J>>

sum-mer,
mead-ow,
-

ev

The sun shines bright in the

They hunt no
more for the
The head must
bow and the
n A A A n_A A A

1.

Kamiki

Arr. by

er

(J

hi

7th

i)

the dark- ies

the hill and

are gay;
the shore,-

the dark-y

may

The
They

go;

=*=
j=j=i=j
rr^irt **T*

*&

t*

***

13
it*-

5 7th55

D7th

fe^
^ ETT^-"^ f-M^^

^''-mi*

and the mead-ows in the bloom, While the birds make mu-sic all the
by the glim-mcr of the moon, On
the bench by the old cab - in
few more days and the trou-ble all will end, In
thefieldswherethesu-gar-canes

corn-top's ripe

sing no more

=J4=J4^
3
Him-rf

-fiil-

day;
grow,-

4=I=J=#

*****

J=J=J==JI=J

1*1 ***

D7th

The young folks

The day
goes

* I** *^TJ^:

G 7th

i?

door;

few

more

roll

on the

by
days

like a

(J7th

for

to

tie

cab

shad-ow

o'er

lit

f'

f= ^

in floor,

the heart,
toto the hea-vy load,

*"*

Copy tight

M^MXVIT byW")J.

Smith & Co.

All

With
No

^
41

mer - ry,
sor-row
mat-ter,

hap - py

all

was

where

all

'twill

nev-er

5.

-% 4- -t

de

bright,

By'n

light,

The

light,

be

i
j=j
1FJ
. *r^. Jl;

i=j=j

>

and

A7Lh

j=j

fTTTTi
i

D7th

"""-^
-

knock-ing at
the door, Then
dark -ies have to part, Then
tot - ter on
the road, Then

my
my
my

P^

old

Ken-tuck

to

irf
-

y home,

*
G

A7 th D7Lh

la

>.Ji
|

Oh,

dy,

En

l=J=l=J=J
4
4 4

-t

We

day;

For the

^ ^^
*

l=3

my

more,

no more

good- night.
good- night.
good- night.

mm

weep

=i

N-

home
home

tt

* * * *

y home

CHORUS

old Ken-tuck - y
old Ken-tuck -y

no

old Ken-tuck-

i~irtrt

Weep

J'^

7 th

(j

/7\
8

'#

-fl-

one

will sing

G7* h

song

for the

J'lrnH-^ I
P^PP
ff -

old

Ken-tuck

y home

far

way.

/7\

m ___:

11111
MyO)dK.H.-2

by "Hard Times" comes a time has come when the

we
will
few more days

3
A7 th

5
D7t_h

i
G

42

Land

Dixie's

Arr.

Allegro

h~1r-K

^5

1.

2.

Old
His

3.

wish

was
mar

Mis-sus

in de

land

ry

face was sharp as

A
A
n
A
V

HH j~i *iii
j

not

for - got

gay

de-ceab
to greab er

ten,
- er;

Look a
Look a
Look a

lz^z3=3

AA

wayway-

way

5t

K-

way
way
way

DixDix Dix -

h-

ie
ie

til

i
c

PP^

^=t^

Land.
Land.
Land.

ie

Look a
Look a
Look a

way!
way!
way!

^5

5t

till

not

Look a
Look a
Look a

1=1

did

I
-

But dat

am

i^t \m^m

^^

fe^^
seem

Old times dar

Wil-liumwas

cot

J'

ton,

ic

Will
de weab - er,
butch- eVs clea - ber,

ob

by KAMIKI

In

Dix

But
Old

when
Mis

ie

Land

whar

he

put
act

his

sus

ed the

1=*=$

I I

till

G7th

'

V
I

was born

in,

arm a -round

'er,

fool-ish part,

And

*=*=*

m
7'

i
v

Jm^-

JO

^m

one fros - ty mom -in', Look a He smiled as fierce as a for - ty pound- er, Look a
died for
a man
dat broke her heart,
Look a-

Ear

JE

I
p

Copyright

ly

on

1=1

iz^a 3 f
F

MCMXVII by W>? J. Smith & Co. New York

A*

F^
Look a - way
Look a - way
Look a - way

way!
way!
way!

h
m azi:

^m

Look a -way!
Look a -way!
Look a -way!

Dix-ie Land.
Dix-ie Land.
Dix-ie Land.

wzm

**

***
G7th

CHORUS

Dix-ie Land,

''

took

111

i
p
p
my
stand To

lib

J^

and

die

^TJj

fe

Dix-ie

in

i33^i^

&

no
G7th

way,

iza

way,

1111
A

way,

way,

tiii
Land

south

^^

izzazza:

'nixie's

way down

mp

Dix

in

tUI

a:

JE

II

G7th

way down

r
-

ie,

G7th C

south

in

P
Dix

ie.

ill VfW
07th

**

Santa Lucia
Arranged by

KAMIKI
Andantino
Voice

WZ

Ukulele

fc
pe

SE

gH

fe

"i

f*=i

1.

2.List,

tf

ver

the

how

the
A

"

is

cios

ing

Soft

is

blow

ing

jl

ver

Mark how

tfezijzzz=

J)

'ry

lea

the

ing

tide

A7th

On

re

ward

pos

j
^

Eg

the

rip-pling sea

Twi

how

the

ev'-ning wind

Soft

light

ly

A 7th

Copyright

MCMXVI

by

W3 J.Smith &

ing
ing

=^=j:
^?
^3

J
D

3^

ia

is

clos

ing;

is

blow

ing

J=1=J
A 7th

JiS

|
-

flow

is

A7th

3F=a=*
D

Flocks are

ver

=Ei=
^F

List,

vu

flow

Ji

*-

^?

J>

A7th

swell

the

~~

E^j

-m

ly

A 7th

Twi- light
-

5?

^B^

:^s

ev'-ning wind

rip-pling sea

14

(i

>

D
Co.,New Yor k.

T=%

| )
O

ver

Mark how

}^m

j>

ftf

ty

the

flow

the

swell -ing

lea

'ry

Flocks, are

re

On

tide

ward

^
-

is

pos

ing.

flow

ing.

3==*

3:

Haste then, O
See, where my

3?

J:

A 7th

A 7th

pf

3:

J)

J'

la

dy

fair

bound-ing bark

Come down

to

me,

love,

Longs

be

free

love!

to

-f
E minor

minor

Fond

iy-

Im

wait

ing,

on

ly

wait

ing,

Wait-ing
Wait-ing

for

thee

lovel

for

thee

love!

<

IF=f
D

1=3=3;
A 7th

m wm
Haste than,
See, where

dy fair

bound-ing bark

^c

-0-

Tf

minor

Come down

to

Longs

be

^
Fond
'Tis

ly

on

Im.
ly_

'.iiita

Lucia 2

minor

free

love,
love!

3=3=

m
wait

ing,

wait

ing,

fc=i

MEta?::

to

i^i
E

^ S

i
la

my

A 7th

fe=i

E
'Tis

ff tt

45

3==?:

1=3

Wait-ing
Wait-ing

for

thee, love,

for

thee, love.

3=3

3E

46

Those Endearing Young Charms

Words by

Music by

THOMAS MOORE

Arranged by KAMIK1

^^

>

mn P
^^ ^
r\

Ukulele

5p

ff^

^3

Be

e=s

.
*"

all

if

-0-

-0-

-m-

*f

-#

cheek's un-pro-faned

^M

=j

i=l=S=J=J

soul

from

ly to

by a

day,

Were

^N

*
r

my arms,

*
I ff
D7th

S
F=R
^^
M
Like

fair

$m

0-

diminished

Copyright

-0-

-*

MCMXVI

-*

-#

Thou wouldst J

JI

to

y gifts fad - ing a - way,

can be knownTo whichtime will but make thee more dear,

change by to-mor-row and

That the f er - vor and faith of a

tear,

n\

-#-

Ji

7th

fleet

dear irg young charms, Which I

youth are thine own,
And thy

and

If^f^f^fifif^
A

Jj

fond

on so

D7th

I I J |

^SlZ,q

en

those

not while beau-ty

is

n
7

wm

me,

lieve

2. It

')

1.

DAVENPORT r?

Oh,

the

'

-#

-#

A7th

by

WS

J.

Smith & Co.,New York.

\l

be

still

dored,

has

heart that

47

tru

1F=1

love
tru

this

ly

loved nev

ii

ness

fade
on

loves

ly

round
sun

i
r

)<

TT":

flow

14
Jl

as
to

er

for

twine

it

look

that

it

the

gets,,

thy
as

will, _

And

close;

As

a
the

ta3

in

each

wish

of

my

turns

on

her

god

when

he

\>

=>

er

Cn

D7th

ver

she

gave

sets

The

en

same

diminished

self

CT

heart Would

dant

when

ly

still,

he

rose.

=a
3=3=3=*=^

fe=a

j
ru

Let
But

art,

7th

dear

the
-

thou

3=3=3=^:

11

merit

i?

1=3?

T*

mo

as

}.

ti

Ji

<

A7th

ePP#

-*

r>

v
..lose E. Y.

Charms

*=

ib=3:

48

Laughing Waters
Ukulele Solo

KAMIKI

1* *
*

^m

**

fe^

^Ei

...

...
..

..

j
m

...

0-

f.

fed

n r\
#=N 1

N=i
=J=*

^F

*-^f

a1=1
-

1=*=1

S^l
Fine

ffTf
^

4I

<

^m i^^i=ii
*

** *

7)

Wm.

J.

Smith Music

Co. Inc.

C. al

Mm\

New York
'l

49

Pizzicato Waltz
Ukulele Solo
+

j-

4 *

_J_.

j
1

1
35

4
1

S
n=5

ft

St)

i it
5^ Pos.
MZE

~^=^=^:
-Q-

NOTE +Pick with thumb

.

..

Pick with First finger

Pick with Second fingrer

-m-

P^l
-0-

'

##

50

Hanapepe Waltz
D

Solo on
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KAMIKI

string

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51

One, Two, Three, Pour

Ukulele Solo
+

simile

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52

Hawaiian Waltz

UKULELE DUET
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KAMIKI

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1st

2nd Ukulele

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54

Holoholo Kaa
Waltz

UKULELE SOLO

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58

Indian Dance

UKULELE SOLO

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Dance

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Ukulele and
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62

Kamiki Rag*
Ukulele Solo
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Dedicated to Win.

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63

Murray, Pittsburgh, Pa.

The "Ukulele Band"

WM.
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x Pick with Thumb

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64

How To Tune The

The "Taropatch"

"Taropatch"

strung with four pairs of strings, each pair tuned alike. They
are tuned to the following notes of the piano.
is

4th String

2nd String

3rd String

1st Str ing

Principal Scale For Taropatch

4th String

Frei

NOTE: The Taropatch

the

2nd String

3rd String

is

1st String

fB

10

12

tuned one full tone lower (two frets) than the ukulele. By placing
the 2nd fret of the Taropatch, it will then be in unison with

"ELTON CAPO" at

the ukulele.

How To Tune The

"Tiple"

The "Tiple" (pronounced Tee -flee) is strung with ten

and triplets. Each pair or triplet is fingered as one

strings,

string.

and is fingered in pairs

The strings are tuned to

the following notes of the piano.

4th set

3rd set

Fit

2nd set
F#

1st set
Ftt

Principal Scale For The Tiple

Frets

ft
ABE
2

The "Tiple" is played

from this method.

in the

use Banjo
2nd string use Banjo

wire
wire
3rd string use Guitar 1st wire
4th string use Guitar 3rd wound
5th string use Guitar 1st wire

1st string

W.J.S.Mus.Co.

1st

Jst

fB

10

12

same manner as the ukulele and can be studied

How To
For
For
For
For
For

String The "Tiple"

For
For
For
For
For

string use Guitar 2nd wire

string use Guitar 4th wound
string use Guitar 2nd wire
string use Banjo 2nd wire
10 th string use Banjo ith wound

6th
7th
8th
9th

The

ELTON "CAPO"
MAKES UKULELE PLAYING EASY
"Capo"
You can Transpose your
music to any Key you like

with the aid of the Elton

Showing the

ELTON "CAPO"
PLACED ON FINGERBOARD OF UKULELE
Can be

shifted to the different positions

without being removed from instrument

The ELTON " CAPO " is invaluable to

THOSE WHO CAN NOT PLAY IN THE DIFFICULT KEYS YOU CAN PLAY THE CHORDS
YOU ARE MOST FAMILIAR WITH AND BY
t

PLACING THE

ELTON

"

CAPO"

FERENT FRETS, TRANSPOSE TO

SIRED

Thousands

of these have

enthusiasts

who

AT DIF-

ANY DE-

Key

been already sold to Ukulele and Banjo

appreciate the merits of this wonderful device

Can

be used on

Ukulele, Ukulele-Banjo, Tenor-Banjo and Banjo

For Sale At All Dealers

Price 25 cents

SONGS FOR THE UKULELE

3BD

brand new collection conTHIS

tains thirty-eight of the best
songs ever written, especially
f^rUkulele ac-

Songs

the

ce,

Jiir

yed by

fe=

leading

rds

are

1,

each

e.

The

ly turn

Boston Public Library

chord

Central Library, Copley Square

words,
le

most

Division of

Reference and Research Services

Music Department
written.

Hawai
The Date Due Card

Neano
g

Planta

in the

pocket indi-

10

song-

cates the date on or before which this

book should be returned to the Library.

Please do not remove cards from this

pen of

pocket.

r
heir rich,
Sc

t-singing;

simple

tneir oasn ..- j

others were chosen tor
advantage.
the Ukulele to best
the rag-time stroke of

show up

PRICE $1.00 NET

BOSTON PUBLIC LIBRARY

3 9999 04998 992 2

W m
I

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IHBWi
111*111

11111111

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