I’ve been a fan of Ariana Grande as a person since the classy way she handled the Manchester bombing. I haven’t been a consistent fan of her music but thank u, next is a winner. Firstly, there’s the tasty chord progression. In the key of this arrangement it goes:
Second is that great vocal run leading into the chorus (bar 20). It’s very quick so I used campanella picking to play it. If you prefer, you could use hammer-ons and pull-offs like this:
And, third, her use of the Scotch snaps rhythm in the chorus (first cropping up in bar 24). Which goes like this:
Coupled with half-time Scotch snaps in the intro and outro:
My favourite aspect of this song is the dichotomy between the beautiful piano playing and Waits’s raspy voice. He continues that split in the outro where pretty chords knock-up against dissonant notes. I’ve reworked the outro but kept that same idea. I’d definitely recommend coming up with your own outro. When you’re using dissonance, there are no wrong notes.
Most of the piece is played on a banjo roll style arpeggio involving three fingers. Accentuate the first two notes in every bar to create a sense of ethereal melody. You can even add some dramatism by slowing the beat just a little on the start of the measure.
Grips are fixed for the full measure in almost every bar, and position shifts are minimal. Maybe you’ll need some practice to achieve a smooth transition into bar 6, otherwise, I’d call this one a quite feasible piece.”
About the project:
I’m publishing a collection of 50 short pieces for ukulele solo I’ve title 50 Miniature Studies for Ukulele, at a rate of two videos per week. Videos are released every Wednesday and Friday each week and can be found on Instagram, Facebook and YouTube. The tabs, performance notes and other goodies are accessible for patrons through Choan’s Patreon page.