Documente Academic
Documente Profesional
Documente Cultură
Regular Folk
Page 2
Songwriting for
Regular Folk
Page 3
The Process
Song Pattern
Chord
Progression
Melody
Recording or
Performing
Lyrics
Finished Song!
In A Nutshell
Which comes first--the chicken or the egg? Order doesnt matter. Some begin with a chord progression, others
hear a melody first, and some prefer to write lyrics before any music is made. The process is different for
everyone. But it is a process. While the occasional song might come quickly, one can approach songwriting
like a craft, experimenting with the pieces until something comes together. So while this booklet takes
you through some possible steps, those steps are really just suggestions and
directions to take for musical brainstorming. Dont look at the coming pages
as formulas, but as ways to clear writers block. This booklet is far from
exhaustive, but it is my hope that it will open up some avenues to the
process via knowing the instrument better. Songwriting is rewarding and
fun. Its a great way to communicate with other folk.
Accomplished songwriter Richard Thompson says this about songwriting: I think its an unpredictable
struggle, and its always difficult. Its endlessly frustrating, and occasionally rewarding. Theres no real way of
knowing how to write a song. I think you sit down, and you either start playing an instrument, or you get an
idea in your head, or you start writing down some lyrics. There are endless ways to start, and whichever way
you start really doesnt matter. Its what you end up with that counts.
If, at the end of this process, you end up with a song, youre a songwriter.
How to Use This Booklet: This is not tablature! It is a representation of your fretboard the way
you look at it while you are holding your ukulele. Too long have players had to look at chord fingerings from an
unnatural position. Most of the patterns in this booklet are outgrowths of the basic shapes on the GCEA strings-1114, 3211, and 3121; shapes you might use to make a Db, Bb and a Gb. All tunings are GCEA re-entrant.
A
E
C
G
A
E
C
G
For the 1114 shape above, the chords shown will usually
be exactly relative to that fretboard position; however, as
you see below, there is a (1) on the third fret; that (1)
corresponds to the first fret on the fretboard above. The six
and seven indicate the sixth and seventh quality.
A
E
C
G
(1)
A
A
A
min7 b5
2
2
2
2
KEY TO SYMBOLS
Normal play.
A Alternate fingering.
6 Altered sixth.
7 Altered seventh.
2 3 Play in numerical order.
(1) Relative fret.
Songwriting for
Regular Folk
Page 4
Chord Progressions
The chord progression is the harmonic backbone of most songs. Its the part
you play while you sing your melody. As you have noticed from playing
songs, many of them share similar or identical chord progressions; its the
melody, the rhythm, and spacing of the chords that is different. In Western
music, nobody has the corner on the market for chord progressions. Even
popular songs that sound complex usually have simple underlying chord
progressions with some modified or altered chords thrown in for style. The
circle of fifths (pictured right) allows you to see the relationship between
chord progressions in an orderly fashion. For example, if you are in the key
of Ab, the IV chord is counter-clockwise, and the V chord is clockwise. The
ii (lower-case means minor) chord will be 10 minutes away clockwise, and the vi minor 15 minutes away
clockwise. This is a great reference chart if you need actual chord names once you are in any given key.
6
E
Common Progressions
1
G
Key of C
I
ii
C
D
III
E
IV
F
V
G
vi
A
VII
B
I
C
Key of D
I
ii
D
E
III
F#
IV
G
V
A
vi
B
VII
C#
I
D
Key of E
I
ii
E
F#
III
G#
IV
A
V
B
vi
C#
VII
D#
I
E
Key of F
I
ii
F
G
III
A
IV
Bb
V
C
vi
D
VII
E
I
F
Key of G
I
ii
G
A
III
B
IV
C
V
D
vi
E
VII
F#
I
G
Key of A
I
ii
A
B
III
C#
IV
D
V
E
vi
F#
VII
G#
I
A
Here are some common 3- and 4-chord major progressions that are repeated in popular and folk music:
I - IV - V(7)
I - bVII - IV
I - III(7) - IV
I - ii - IV - V
I - iii -IV - V
iii - vi - IV - V - I
I - IV - I - V
I - V - IV
I - ii - V(7)
I - vi - IV - V
I - iii - ii7 - V
I - VII - IV - V
iii - vi - ii - V - I
i - VII - iv
i - VII - iv - VI
i - III - iv - VI
i - VII - iv - V7
i - VI - III - VII
i - iv - V7
Songwriting for
Regular Folk
Page 5
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
IV
A
E
C
G
A
E
C
G
iii(m)
V7
A
E
C
G
bVII
vi(m)
ii7(m7)
A
A
A
A
III7
A
E
C
G
i(m)
IV
bVII
iii(m)
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
IV
III7
bVII
iii(m)
vi(m)
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
A
A
V
7
iv(m)
A
E
C
G
ii(m)
A
E
C
G
A
E
C
G
iv(m)
A
E
C
G
i(m)
A
E
C
G
A
E
C
G
vi(m)
A
E
C
G
V7
V7
A
E
C
G
II
A
E
C
G
ii7(m)
III7
III
III
A
E
C
G
II
A
E
C
G
Major Pop!
Minor Pop!
La Bamba--Ritchie Valens
I - IV - V
Earth Angel
I - vi - IV - V
Songwriting for
Regular Folk
Page 6
A
E
C
G
High Seventh
High Seventh
A
E
C
G
Major Sixth/vi/7
Major Sixth/vi/7
7
A
E
C
G
Major Sixth/vi7
7
7
7
7
Minor/7th/6th
Minor/7th/6th
A
E
C
G
6/7
6/7
6
6/7
A
E
C
G
Minor/7th/6th
(1)
A
E
C
G
6
6
6
7
A
A
A
min7 b5
A
E
C
G
min7 b5
A
A
A
A
A
E
C
G
A
E
C
G
A
E
C
G
min7 b5
(7)
A
A
A
Ninth
A
E
C
G
A
E
C
G
Eleventh
Sus4
Ninth
Ninth
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
Sus2
A
E
C
G
Sus4
Sus4
Major Seventh
Major Seventh
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
Seventh
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
A
E
C
G
Seventh
Seventh
A
E
C
G
Major Seventh
Eleventh
Thirteenth
A
E
C
G
A
E
C
G
Eleventh
A
A
A
A
Thirteenth
A
A
A
A
Songwriting for
Regular Folk
Page 7
Progressive Progressions
Adding Some Spice
Walkarounds, turnarounds, and altered chords are all good tricks in the
To the lower right is a simple I, songwriters handbag. Throwing them in can change a simple progresii, V progression. Nice, but not sion to a something sublime. It can be as simple as shifting a barre chord
very interesting. We can add a by a half-step or adding some extras. As usual, experimentation is key.
little spice by adding some
I
ii
V
A
A
sevenths and walking into the A
E
E
ii chord. In the lower row, play CE
C
C
the black bubbles first, then the G
G
G
2 bubbles.
walkdown to ii7
V7 (2=+/aug)
ii7
I
2
2
A
A
E
C
G
A
E
C
G
A
E
C
G
2
2
2
E
C
G
A
E
C
G
A
E
C
G
Instead of a IV,
try this (ii6)
vi or vi7
A
E
C
G
A
E
C
G
End with
a V7
A
E
C
G
7
7
7
Ending B
Instead of a IV,
try this (IV 7)
End with
a V7
A
E
C
G
A
E
C
G
stop here...
A
E
C
G
stop here...
A
E
C
G
2
2
2
to get there...
A
E
C
G
A
E
C
G
to get there...
A
E
C
G
A
E
C
G
A
E
C
G
back here...then up
Blue Cheese: Like the blues? Howabout spicing up that standard progression with some altered chords?
We can all agree the shuffle
below is a great place to start.
A
E
C
G
A
E
C
G
A
E
C
G
2
2
2
A
E
C
G
2
2
2
2
play I again...
IV
A
E
C
G
A
E
C
G
A
E
C
G
end on V
2
2
2
2
Songwriting for
Regular Folk
Page 8
Song Patterns
Verse 2
Verse 1
Chorus
CHorus
SOLO
or
Verse 3
Chorus or refrain? If its long, its a chorus. If its a line, its a refrain.
However good your verse melody was, this has to be better. Chorus work
does not benefit from too many chords in the progression; simple changes
and strong melodies make for strong hooks. If you cant stop singing it, its a
great chorus, and will probably hook listeners too. Lyrically, the chorus is the
main point, the thesis (if you will), of the song.
Bridge
Verse 4
Chorus
Songwriting for
Regular Folk
Page 9
Embellishments
A
6
E
8
5
A
E
C
=Octave
G
Minor third
Sixth
A run in thirds out of the 3121 position.
A
E
1
1
C
G
4
A run in sixths out of the 3211 position.
A
E
C
5
5
5 4
?
3
Songwriting for
Regular Folk
Page 10
Songwriting for
Regular Folk
Page 11
Songwriter Resources
http://www.ezfolk.com
ezFolk.com is where the home-based folkies hang out.
This online community not only shares and trades a
wealth of information about ukulele, but also includes
other instruments: dulcimer, banjo, guitar, mandolin, and
anything else that might be considered a folk instrument.
The best part about this site is that we also share songs:
everyones invited, and everyones music has the chance
to be appreciated, whether youre a pro with a band or a
home-based musician willing to share some acoustic
recordings. The .mp3 hosting is currently FREE with
unlimited uploads, and there are about 300 contributing
artists. The forum community likes to talk about new
music and is very encouraging to songwriters. This is a
place worth visiting, and its a music sharing website
where your music will actually get played.
http://www.justplainfolks.org
Just Plain Folks is a national networking community of songwriters, producers, and others who want
to share their knowledge of the music biz. Although
there is no audio hosting here, if you sign up for
their forum, members are more than happy to give
some honest critiques of your work--you just have
to link to the .mp3 file. Youre more likely to get
help if you comment on the work of others. This
organization also franchises itself for grass-roots
songwriting clubs.
http://www.performingsongwriter.com/
http://www.sdsongwriters.org/
The San Diego Songwriters Guild has a chapter
that meets in San Diego County, but many
major cities have songwriter guilds that get
together for critiques, discussions, and sometimes, opportuntities to pitch original work.
http://www.openmikes.org/
http://audacity.sourceforge.net/
What are you waiting for? Take advantage of some
free multitracking software and start recording at
home today!
Songwriting for
Regular Folk
Page 12
Appendix A
Flukified
A
E
C
G
A
E
C
G
(play:
G7 F#7 G7
2
2
A
E
C
G
C B C
(play:
2
2
2
2
[V1]You have (1)Martin and Kamaka, KoAl(2)oha and the like. They are all good ukes but they will set you(3)quite a ways behind.
[V2]There are (1)those who need that flashy uke to(2)match that playing style--but Im not a fancy, jazz-romancy,(3)fingerpickin guy.
A
E
C
G
(play:
(play:
) A7 A7+ A72
A
E
C
G
2
3
3
3
3
) Fmaj7 F6 E6 F6
2
By the(1)time you finally pay them off you wont(2)have another dime. And youll
If you(1)saw the way I treat my ukes, itd(2)make you want to cry. And
C A7
A
E
C
G
2
2
2
Am6
A
E
C
G
F7 Cdim7
A
E
C
G
A
E
C
G
(2)ruin that
(2)touch, theyre
Ebm6 Dm6
2
2
2
(3)perfect
(3)just for
A A6 A7 A6
C C6 C+
A
E
C
G
2
2
(1)shine.CHORUS:
(1)show.
A
E
C
G
C B7
2
2
2
2
A
E
C
G
A
E
C
G
(1)Expensive wood is
(1)Its perfect for the
(1)Built by friends and
(1)Who cares if it starts
A
E
C
G
(2)drastic, so
(2)shipwrecked:
(2)neighbors:
(2)rainin?
2
2
cost?
Dm7
(play:
Cmaj7 C6 Fmaj7 F6
Gsus G
A
E
C
G
(3)dip me in platstic.
(3)food bowl, head-rest.
(3)no child labor!
(3)Ill still be playin!
3
2
2
2
Songwriting for
Regular Folk
Page 13
Appendix B
I Love My Ukulele!
Order:
Verse 1
Verse 2
Bridge
Intro
Verse 3
Bridge
A
E
C
G
A
E
C
G
3
2
3
2
3
3
2
2
B B6 B7 B6 B B6
A
E
C
G
D#7
A
E
C
G
A
E
C
G
2
2
2
A
E
C
G
A
E
C
G
2
2
2
A
E
C
G
2
2
A
E
C
G
3
3
2
2
A
E
C
G
Cdim7 C#7
Dm6 C#m6
A
E
C
G
2
2
2
2
B B6 B7 B6
A
E
C
G
2
3
Dm6 C#m6
2
2
A
E
C
G
3
3
(3) sack.
(3) time.
(3) bars.
3
3
A
E
C
G
Cdim7 C#7
Dm6 B B6 B7 B6
(3)back unless I
(3)yuck it up with some corny
(3)jam is just another
B B6 C#7
2
2
B B6 F#7+
2
2
2
Bridge: (1) Life played some lousy games on (2) me, yes it did, baby. My
A
E
C
G
2
2
Dm6 C#m6
A
E
C
G
A
E
C
G
Cdim7 C#7
A
E
C
G
2
2
2
2
2
2
2
2
2
2
2
A
E
C
G
Dm6 C#m6
(3) do-do-do-do-do
2
2
2