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KAMIKIUKULELE METHOD

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Illustration showing the Correct Position

For Holding the Ukulele

Copyright MCMXVUbyW? J. Smith & Co. New York

TheUkulele

•ri

Neckand.

Fingerboard

SoundMeor

Rosette

Nut

i# Fret

J>p

Jick or StrumWitimfe Area

String?

'ridge

TheUkulele-Banjo

TbsiHon. Mark?

Fingerboard

/ \

Rudiments of Music

Musical notation is composed of various signs and characters. The first

to be noticed is the staff, consisting1 of five parallel lines and the spaces be-

tween them. On the lines and in the spaces, characters called notes are writ-

ten to represent the sounds.

THE STAFF AND NOTES5th Line-

i4th Space

4th Line 3rd Space"

ane--*»4 fte-lot Lino

2nd space1st Space

E G B D F E

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

g. m

D G

Higher and lower pitches, or sounds, than the above, are represented by-

short lines called leger or added lines, written above or below the staff.

LEGER LINES AND NOTES

m£' A B C D E F

C B A G E

The notes are named after the first seven letters of the alphabet and areemployed 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. Any one of the first seven letters may be the first or

beginning of a scale; as: C, D,E,F, G,A,B,C.

TREBLE CLEF

The Treble Clef, made thus (5), is always placed at the beginning of com-positions 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.

[ - * * j ? i

F °

-e-

G

tJ

ftF E JD

rc

rB r r

G

RUDIMENTS OF MUSIC

It is necessary that the student should he acquainted with the duration of

musical notation.

The relative value of the notes is best shown by the following arrangement:

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

stave.

One line~ — is placed after each bar. Each bar contains the same num-

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 32^note 64^ note

#3CEI 4 J . $ , J , Jl . il

F^*Whole rest Half rest Quarter rest Eighth rest 15^ rest 32n_drest 6ithrest

A Dot placed after any note increases its value one half, Thus:

,-, r—-. ,-—5

;(fo r E| is equal to\

(' T|or

|T*

|to

|f ff or E to ¥=f

COMPARATIVE TABLEshowing the Relative Value of Notes

1 Whole Note

equals

2 Half Notes

equals

4 Quarter Notes

equals

8 Eighth Notes

equals

16 Sixteenth Notesand so on.

-*&-

J-

J

U.

J.

xxn

j.

i i

How to tune the Ukulele.

441 string 3rJ* string 2nA string 11* string

"O ifXE

^-

D Fff B

The open strings can be tuned to the piano by follow-

ing the above diagram.Another method is to time the D string

to middle D on the piano, then, stopping the D string at the

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

at the 3t? fret and tune the A string in unison; following the

same system, stop the Fjf string at the 5*- fret and tune the

B string in unison.

The string must be stopped right behind the frets not on them.

How 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 Ukulele.

The left 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

the first fret, with the first finger on the side of the B string.

The middle of the right forearm should press the back

of the Ukulele to the body, holding it firmly so that it maybe 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 and TENOR-BANJO(Ukulele style) TUNING, See last page

Scales for the Ukulele

i

4tl> string !l 3Ld string "and string 11 1st stringm i pf #6 8 1S-

F G Art2-

FretsA

2B

2E

3

Fi

G3

AB

D MAJOR PRINCIPAL SCALE

ift

3rd stringll 2nd string ~" ist string

i fe£P^wFrets 10 12

Diagram of Fingerboard

tJFrets

Notes on the ls_t strin.

*P10 11 12

#Notes on the 2nd string:

t+*10 ii 12

Notes on the 3r.d string

]!£:

v1 2

Notes on the 4^3

string

10 11 12

P0*1 2 3 4 &

10 n 12

Notes played on the A or 4th string are written an octave lower to avoid confusion

in reading

Chromatic Scale

3rd string " 2nd string ls_t string

m n m 0t0~^ «fr»rfTJujJJ I

tfJ ^J J

I*

JI ff 1

Frets 9 . 12 2 3 4 5 6 7 8 9 10 11 12

Signatures and Names of the Principal Major and Minor Keys

C majorA minor

G majorE minor

D maj orB minor

A majorFt* minor

E majorC# minor

I*F u

B majorG# minor

mii

F maj orD minor

E 1

' maj orG minor

El> majorC minor

At maj orF minor

* # g^ teaCopyright MCMXVII byW™ J. Smith & Co. NewYork

11

Notes on A or 4th String

Notes on the A String sound one octave higher than written

E4jj ' JJJJ Uiii 'jjjg

^rtJi ' jj JjUijj U flF11

"ait J: 2-J J '(J: J J ' *i i *i i ' si i i

J J »i i ' J J *i^"

'J i ^ J =

'J: ^ J:

$Notes on D or 3rd String

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Notes on F# or 2nd String

£ 3S i« ss* t#=322=-t 3» H ^rmw m m rJ.

£ 8" ~re~"J* l J 9*5£2 Sf 4 2T22

#Notes on B or 1st String

EH ip 3Pf T i I t r T ^ ap 1« ^^

« y ^ I

op *fa P

|

3r *f

8

p *rl °r

3

fQp^i

12

SCALE AND EXERCISES IN KEY OF C

4th W 3rd \l 2ndString y String W String

^m1st

String2nd 3rd

String y String

rfWf In:5t§:

Frets 3 023 13 013 5310 31 3 20Notes C DEF GA BCDE

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Count three

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2ndString

1st

String

M2nd 3rd 4th

String I IString String

13

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i3rd str.

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Copyright MCMXVI by W!? J. Smith & Co. New York

15

How To Read The Diagrams

This Page is for explanatory purposes and is not meant for practice

The four vertical 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 is termed the first, and is the one furthest fromthe play-

er when instrument is held in position for playing.

ExampleN91

ExampleN92

Nut. O O o

l?t Fret,

2n_d Fret.

3Ld Fret.

4th Fret.

5th Fret.

4

1

P">

?

4th 3rd 2^ l^t

STRINGS

The black dot • indicates where the string is to be stopped, and the numbersindicate the fingers of the left hand. When a string is to be played open (with-

out being touched with fingers of the left hand) the sign is thus O.

In illustration (number 1) the fourth string is stopped at the 2n_d fret.usingthe

2ld finger. The 3 r_d string is played open, the 2".d string is stopped at thell1 frecus-ing the 1«* finger, and the 1SJ string is played open. Always place the fingers be-

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

il

Chords ill D major

1:5 *D ] oGo o

3

it

o^ o

4

£<»

o A 7th\

l

o2 3

_o o

O (,D,3

s4*

k^Chords in B minor

t I lB m

oin

2

E min

<

1

>

• 4

3

*

Gth

• 4'

4

B minO 9

Modulations in Key of B

i^-—

^

wqD D 7th G G min „ D„ A7th „ £>QO O^O

4

o o

1

<>

l»

f 4

5

4

2>

r

*

<Q

*

E minor

1

o

2 9

Chords in G major \7

D 7 tho Mj 'o-

Chords in E minor

UAa— min

4

4

2

4

49

B 7 thi

LJ 'o~ o

1

oG O

t

19

4

4 4 9 4

19

4

1

49

29 4 9

29

39

1

E min-o

1O

2 ?

*Modulations in Key of G

W*~ *i

aG o

1

i t

24*

G 7th

4

1

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29

4

49

C mini

2o

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G o oDo7 t]i _£ o

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18 Chords in C major

1

G 7lh

A i 1 JLo o 4>_ o_

2 2 2_**__ __ o__ _*>

3 2 3 4 3> O O _i> O

Chords in A minor

%

A minor9

D min

3O

E7t_h

1r

4 9 4 9

2o

,A min

4 >

4

2>

4

4

#Modulations in Key of C

Tf

C7*

I i i

2o

3

o if

11/

2o

3 F

4 >

4

2t i >

Fmin C G7tho

i

o

t—,

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u Chords in A major 19&

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o o-L^o E7th

it2o

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umChords in Fff minor

m i

Fjt minor B minorI

o o -o

2

Cft7 th- o

i t

4

2t

9t

Fjt minor

_tt

2it

9 4it o

U Modulations in Key of A& y-m —

•

——

•

A A7th D D

_o o

o1

2_i*_

9O

minor A jV^ o A

O 4

9O

2 t 1 2it <

9it

20

iUP

1

O i* o

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Ctf minor

Chords in E major

o A

/ 3o o

it

B 7th

<

Chords in C# minor

3

pmin

/

4

8*

4

1

E

X 2o o o

IGj 7th Cflmin

frfa *

Modulations in Key of F

I;,l_j!L

1 1

nB 7th,E

1

<LJLJL_

O

1

E 7jh A Js.min O O E

L 2

Chords in F major

21

I3t

F Bt>

2 8

2

8it

C7th

1

4

<

1

f

2 8

Chords in D minor

%f

D minor G min A 7^ D min

t

i

1t

3t

4

t

i

2i

i t~i

1

i i iMi

2

8it

9t i

1 8t

22

Chords in Bh

k?

B\> E\> F 7th B l>

_j*^^t* <LJ[jL_ _iLZj'2 X 2 20__ I O O < o__

3 2 9O In O

3

I

Chords in G minor

m—w—

Gmin C min D7thOOP G min

1

* 4

1t

<

if\ i

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9i

t

24

2t

3O i

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1

Chords in E\> major

23

ii 3

Eb Ab Bb7t]i Eb

**_t

2_4»

3

4 9 <

'

i

2

3

1>

I

2

<L

3

f (

2<>

3

Chords in C minor

~W 5' 3

I-

mmr

Fmin

4

4

24P_

3 4» <

G 7*h

<

1

» (.7

2

<

4

'

C min

4 4

1

l» 4

3

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

24

nk*

Chords in A\> major

vy t

Ab Db Eb 7*}1

_j»

2

•3

1

*9_

2jP

3

1

IP

1^<

2

3

mmChords in F minor

i*Fmin. Bbmin. C7th Fmin.

l

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3 4 2> _£__

3 4

1

<2 2

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3 3 4» f_J»

4

Copyright MCMXVI byW? J. Smith <S;Co.,New York

DIMINISHED SEVENTH CHORDSand their Inversions

25

/~lJ Seri es A / Inversions

If m m sv—n

A Dim AtDim B DimJPA Din A'.t Dion BDim<? 'I^ ? 4 * i

1

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'4

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4

—

P <

4 P *1

t2

4 <

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f

3. 4»_J 4

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AUGMENTED FIFTH CHORDSDb£

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ib*1 i i)

ti eiTjSF

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,?

y El

4

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The above diagrams show Twelve Augmented 5th Chords; Practically thereare 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 writtendifferently, are played exactly alike.

26

TRANSPOSING CHART /

For the benefit of those who haven't the time nor the inclinati on to seri-

ously study transposition, we have devised the following chart, wherebyanyone acquainted with the chords of the Ukulele, can easily learn tochange from one key to another.

Major Minor

•li1 2"d 3rd \/4th

Chords in C -

>> » m>> » D» » E\>-

}> » E>> » F)> »Gt>> "G>» » At-

)) „ A -

>> " Bk>> »B

c

D!>

DE!>

E

F

Gl>

GAt>

AB\>

B

F

G!>

GA\>

ABt

Ct

c

Dl>

DEt

E

G7th

At 7th

A 7th

Bl>7th

B 7th

C 7th

D^7th

D7thEt>7th

E 7th

F 7th

F** 7th

A min.

Btmin

B min

C min

CknD min

Etmin

E min

Fitmin

F min

Gmin

G#min

5th

DminEtmin

E min

F min

Ft*min

Gmin

Atmin

A min

Btmin

B min

C min

C#min

Allied Chords

6in /7th

Augmented 5 th

E7th

F7th

F#7th

G7th

Ghth

A 7th

Bl>7th

B7th

C7th

Ctt7th

D7th

D**7th

C 7th

DWthD7th

E!»7th

E7th

F7th

Gt7th

G7th

At7th

A 7th

B!>7th

B7th

8th

D7thEl>7th

E 7th

F7th

F#7th

G7th

A!>7th

A 7th

BWth

B7th

C7th

C*7th

9th

A 7th

Bl>7th

B7thC 7th

Cl»7th

D7th

El>7th

E 7th

F 7th

F#7th

G 7th

G#7th

10th

No. 1 Dim

No. 2Dim

No. 3 »

No.l "

No.2 »>

No. 3 »

No.l -

No. 2 »

No. 3 »

No.l "

No. 2 »

No. 3 "

11th \

CAug-

DbAug.

D Aug.

El>Aug.

E Aug.

FAug.

GkAug.

G Aug.

AtAug.

A Aug.

BtAug.

B Aug.

Each letter in the first column of the chart, is the name of a Key Chord,and all other chords,- reading horizontally from it, are the attendant har-

monies or chords belonging to that key, or, closely connected with it. The1st, 2nd and 3rd columns, show the chords in major-, the 4th, 5th and 6thcolumns, 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.

HOW TO USE THE CHARTIf 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 to Eb

Chords in C. original KeyThe above transposed to DThe above transposed to E\?

C. F. G7th c. AminD. G. A?th D BminEb Ab B^th Eb Cmin

Dmin E?th

Emin F^ th

Fmin G^ h

27

While the following songs and accompan-

iments is intended primarily for those who

read music, it is so arranged as to be of e-

qual value to those who perform entirely

by ear.

This is made possible in the following man-

ner: Each chord as it appears in these ac-

companiments, is not only written in its

musical notation, but also labeled with its

name or title_ C, G, D, or whatever the

chord may be.

Needless to say, the tune or air in these

pieces, though written for the voice, may

be carried by Violin, Mandolin, or any lead-

ing instrument.

28

One, Two, Three, Four.BY REDDING,

arr. byW1? J.Smith.

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stream where I first met Re - bee

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29

*=p: ^^The sun loves to shine Bright -

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as they gazed in - to mine

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Chorus.

A7th D D

One, two, three, four, Some times I

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30

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wish there were more,

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gft=^i I n,*? p=* Sfdrei

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vier. I love the one that's near.

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l« S«=S m±«5 5555J: 55 ***** ***I) D E7th E7th A7th A7th

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rheath- en chi - nee, Fair_ girls be - reft, there

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r iP?h f^will get left, One, two and three,

www4- V^ -ww- * *** ^y^ w^w-w-w- -#

D B7th E7th A7th D D

31

My Bonnie

=3= iP $ i1. My Bon - nie lies o - ver the o- cean,_

2. Last night as I lay on my pil - low,

3. Oh, blow, ye winds, o - ver the o - cean,_

My Bon - nie lies

Last night as I

And blow, ye winds,

m J J J iJ 4Ji

J JJfflf

:=: 1^^1 n ' 3 13*** *EEm

ip » ii©-5- e$ P^? t^

o - ver the sea;_

lay on my bed;_

o - ver the sea;.

My Bon- nie lies o-ver the o- cean, _ Oh,Last nig-ht as I lay on my pil- low, I

Oh, blow, ye winds, o-ver the o - cean,_ And

i ±Mi,Ua 1 liSati* Jr-H—^^TltTil5: ¥ f ¥ TFTG 7*1» G 7 t

.h

I 3

F C

CHORUS

f—t-?-^bring back my Bon - nie to me—dreamt that my Bon - nie was dead.

bring back my Bon -nie to me._.

BringBringBring

back,

back,back,

I i i^±±1^^ azzuza fet 1=1

rrritt^^sT ^1 ITlTtG7*>

I ^ ir r r i m-p

bring back, Bring back my Bon- nie to me, to me; Bring

4 Jijii ji i j j» j»ij» ftF F G 7*h G 7tb

mmC G7th C

i i aa r t^-^mback, bring back, Oh! bring back my Bon -nie to me.

HiiiiH-iiF D 7th G 71 h • G7th

Copyright MCMXVII hy W™- J.Smith & Co., New York.

32

Aloha OeFarewell to Thee,

U Moderato.

£ ^mm$E s wf

$u

Ha a heo ka u - a i - na pa

Proud-ly swept the rain cloud "by the cliff

n A V n n n A V n n

li ke

As

^^ 13 «—

•

C#7th-D

*t fc fer ff

J<p p P p i r r i

nihi

on

a e - la ka - na he

it gli-ded throughthe trees

E ha-

St ill_

**1 J=*=*=*=J=* «=* 3=Jir www w w -

E7th E7th# WWW w w w w ~wE7th E7th

**p J>- JlJ> J-i &

hafol

i a - na i ka li

low-ing withgriefthe li

ko Pu a

ko The_

u¥=%E1 1 J3333333^FU=IF=lF=l=3=^i

c# D A

*fc ^^1f m ZZ3TZZZ

a - hi hi le hu a o u

a - hi - hi le nua of the vale.

ka

M-J3s

D B7th E7thf 3^^^

F A

33

Chorus.

£ g m igteA - lo » - ha

Fare well to

oe a - lo - ha oe E ke

thee fare well to thee Thou

Bfe£13B 1333=3=!3D

133333D

fMAyf JiJiJ^^ryp m mo na - o - na no - ho i - ka

charM-ing one who dwells a-mong the bowpo.

ers

AOne

fc 13333 133 a

—

wJ=* J=i4l=*E7th E7th A A7th

fcfcS ^ fe^Sfond em - brace a

fond em - brace be

ho - i a - e au Unfore I now de - part

.

Un

** 13 S3 13 13133333333D D

*£ i i sKft=£ PP 3Z

til

til

we meet

.

we meet

U*=t

Tt ~T T TE7th E7th

a

a

w w

gain,

gain.

Wt1

34

Sweet Lei Lehua

faff(«

—

|

/£ *v g ^ JM 9 K,1

~<S ' — ^ 1 IB§fc=^ 21" -» H=* :—

1

—1 -& •-) 1 ^_

o & . SB

(ft * ? ;*r—ff* ^ *

w—U

Bi

Ev<r A V A A

sti]

fre

n

Ll

sh

A A A

m-3

mj

r pu - i

m -

l - wai

,

'ry I

/£ ft J f=g—J 4—m—

s

*—

^

a a i a * a i «

tT *1- S^ 4

I" 51- 5L %L * «

G G D7th D7th

* BgE _

dream

na

of

e l

you Oh

ki - nei

my sweet,

* a—

a

a—

a

3=«1=M=3=I=1=1=1=3: ; j 5 * j 5 ;

G GD7th D7th

* a g p ir SHa

at

nu manoon

lie na - he, na-he.

and sun - set rays.

*• • 3=1=3

* *** *****G G

35

*Chor us.

ISweet lei Le - hu a. Be true to

IIFHFOFIFMFIF^FIFH^: ******

G G GD7th D7th D7th

*1^m

me fair one, Be true to

*3^^^F^^F^F^^^Fl=I=lF¥=i:

D7th D7th D7th D7th

* i=gme I trow, Give me the

*I=3 S=1=S *=*=* *—

«

«

—

******** ********G G

*r*#.

uhand I won, Sweet Lei Le - hu a.

i * ma=*j=i

D 7th "07th D7th

36

Ua Like No A Like("Sweet Constancy.")

Moderate-.

& h b j~^ fe

£^^U- a li - ke_ no a li - ke

When the dews of_ eve are fall-ing

Me kaGrlist-ning

i*r\ n n n 0__n__0__n

&=£*=*=*=* J=s=* ?F3F=3rlFJF3=l 3F=iEA7th A7th D D

4J i pi ^£ ?^P ?

Uon

a ka ni - le

the flowrs lovd so

hu - a

well,

me he

Then my

I

ii azza azzz* «-

—

J=S=*=3=J=J J=3 1=3F^JF1FJ=I=3:A7th A7th D D

4S^^ i £ £f i P' P ' P'

a - la e

heart to thee

ma - l - a - na,

is call-ing

Afrom our

i£m- -4- -* 4- 4- +- +- 4- +- -*-* *#•#*- #A7th A7th D D

-4

p r pJ) ^^g£

i a ke a - la i ka - natryst with - in the wood- land

—&—he

dell.

le.

M ft# * *— — — —»~ • »-

^ * *t # it it * ^A7th A7th

S—0 £*=* S2F=^Fi?f a=a

D Bt D

37

iChorus.

- oe

iFf^imno ka - u i u - pu a

My heart, Sweet, is thine for evn a V a a n_TL___ n n

er,

—1 1

ku'-u

it

I feS4- -*-S-^ -#- -#- -^ # -S- -0-^0-^4- ^0-^0- -0-^0-^0-

A7th A7th D D

&I I J) p- nip i S*

le - i hi - ki a

thrills with love for thee

li - a hi,

a - lone,

ke

Its

IIj=j=j=j=jj—j <r~j:—

j

, ' j^^F^rlFlr^FJIF1

!:

A7th A7th D D

m m ^p p^ka

con

m a na ma- nu,

stan-cy fades nev-er,

I na

I'll he

*F?=«F^?^=3=1F1=I=3F1:

GJ^T

A7th * D D

*F ^p

j) g g j ifpho

ev

la

er

o ke a u

true to Thee mymoe.

own.

In ^::;= Wm *

Sej=j mA7th A7th

3TW "5:D Bl» D

38

Over the Banister

Arr. by KAMIKI

if i £^O - ver the

No - bod - y,VOn.m

ban - is - ter

on - ly tbose

leans

eyes

a

of

face,

brown,

i4 • « *

* *- 0- * * f 3 . • • ^ *D A 7th Bdim.

^ wing,

ing,

« * -^

Ten - der - ly

Ten - der and

sweet and

full

be - guil

of mean

7 7.

^m -m m g 1 J m—j:j—j i— I i j=j* * * * * *A 7th

3=1:D D

H s£» *

While be

Gaze on the

h-m •=•

low her with ten - der grace,

love - li - est face in town,

He

-Ar-Mr—l:^0-^0-^0-

4 *

-0- 0- ^0-

u J=J*N

1) A 7 thBdim. D

fc£*i r'

' -Lj i z&z

watch - es the pic - ture smil -

O - ver the ban - is - ter lean -

Jf_ gg m m I m - a=z=j 1 a m l Lg=g 1—

~

A 7th A7th

ing.

ing

The

Copyright MCMXVII by W?j. Smith & Co.

39

|Ep^ i -&

light burns

Tim - id and

dim in the hall hetired. with down cast

low,

eyes,

* J=J

t t

J=Ja=a; • 0-

t t £ Tf-* *\

Crmin.

m si 5t -6^

No - bod - y sees them siarid

I won - der why she lin gers,m* *l=^l=3=1=l—J—J: l=*"> * * *

A?th

/TN

Say - ing good - night a - gain soft andAf - - ter ail the good - nights are

-0-^0- -0-

low,

said?

-6

-G"> '

I)D7th

* * * wGmirr.

^1£ ^mland

fin

Half - waySome - bod - y

up to the

holds her

ing.

gers.

^1=1=1 t=t- 1=1A7»h A7»_h D

Over the Banister-2

40

My Old Kentucky Home

ModeratoSFOSTER

Arr. by Kamiki

£P^£ IVOICE

IeS §1

1. The sun shines bright in the

2. They hunt no more for the

3. The head must bow and the

n A A A n_A A A

1=J=J ^*F1:r^r ******UKULELEG (J 7th

n p p r? M i J>> h h hi i) £

old Ken-tuck- y home, 'Tis sum-mer, the dark- ies are gay;

pos-sum and the coon On the mead-ow, the hill and the shore,-

backwill have to bend, Wher - ev - er the dark-y may go;

TheThey

A

=£*=

rr^irt j=j=i=j 13it*-D7th

**T* * *** 5 55t* & A 7th

^ ETT^-"^ fe^r r

J ''-mi* ^ f-M^^corn-top's ripe and the mead-ows in the bloom,While the birds make mu-sic all the

sing no more 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

*«=J4=J43 J=J=J==JI=JHim-rf« G G 7th

* 1*1 *** * I**-*^TJ^:

D7th

=£J I P P P f' f=^7

i? t r-fiil-

1

day;

door;

grow,-

The young folks roll on the lit - tie cab - in floor, All

The day goes by like a shad-ow o'er the heart, With

A few more days for to toto the hea-vy load, No

G (J7th C G

4=I=J=#*****

1*"*

Copy tight M^MXVIT byW")J. Smith & Co.

41

j

mer - ry, all hap - py and bright,

sor-row where all was de - light,

mat-ter, 'twill nev-er be light,

^ £ fBy'n - by "Hard Times" comes a -

The time has come when the

A few more days will we

iii=j=j j=jj=j* -% 4- -t 5. . *r^. Jl;1FJ «J fTTTTi>

a A7Lh

/7\

D7th (j 7 th

p p r n8"""-^1

-

^

i pJ'^

p^ p N-=i

knock-ing at the door, Then my old Ken-tuck- y home good- night.

dark -ies have to part, Then my old Ken-tuck - y home good- night.

tot - ter on the road, Then my old Ken-tuck -y home good- night.

£ I*i~irtrt l=±3

G tt A7th D7Lh G C G

CHORUS mmfWeep no more, my la - dy, Oh,

1 Enl=J=l=J=J« * -t 4 -fl- 4 4 '#* * * *G7*h

^ £ ^ £^^ £weep no more to - day; We will sing one song for the

i irf >.Ji| ff - J'lrnH-^P^PPP^ I

old Ken-tuck - y home, For the old Ken-tuck - y home far a - way.

/7\

im ___«: £S11111

G3 5A7th D7t_h G

MyO)dK.H.-2

42

Dixie's Land

j

jAllegro

S ^5 h~1r-K E

Arr. by KAMIKI

m J • J'

1. I wish I was in de land ob cot - ton, Old times dar am2. Old Mis-sus mar - ry Will de weab - er, Wil-liumwas a3. His face was sharp as a butch- eVs clea - ber, But dat did not

n A A V A V n AA A

HH£ j~i *iii i i^tc c

\m^mF

5t 5t

fe^^ ^^ If 5 E

not for - got - ten, Look a - way-

gay de-ceab - er; Look a - way-

seem to greab er Look a - way

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

Look aLook aLook a

K- h-

3 lz^z3=3 31=1

tillC

i tilc

F

^5 m ^=t^ PP^Land wharway

wayway

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

In Dix - ie

But when heOld Mis - sus

put

act

his

ed the

«=1=*=$ I I till

G7th

' £ J 1

h h5 m i Jm^- JO ^mV 7'

v tI was born in, Ear - ly on one fros - ty mom -in', Look a -

arm a -round 'er, He smiled as fierce as a for - ty pound- er, Look a

-

fool-ish part, And died for a man dat broke her heart, Look a-

JE I 1=1 iz^a 3 f*=*=*p F

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

A*

F^ m ^mway!way!way!

3 m azi:

Look a - wayLook a - wayLook a - way

h

C

CHORUS

«**wzm

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

h

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

***G7th

W P P I'' pp

iJ^ P ^TJj fe

Dix-ie Land, 111 took my stand To lib and die in Dix-ie A

i33^i^C noG7th

m & e5P mp r

way, A - way, A - way down south in Dix - ie, A -

iza—a:

I 1111 tUIG7th C

^ ^^JE i P I P r

way, A - way, A - way down south in Dix - ie.

IIizzazza:

v

ill VfW07th

tiiic

'nixie's Land

G7th

** Santa Lucia

AndantinoWZ

Arranged by

KAMIKI

Voice

Ukulele

SE

ifcpe gH

fe f*=i >—5?

"iM1

I tfi

(i p :^s ^B^1. - ver the rip-pling sea

2.List, how the " ev'-ning windn A A n A

Twi- light

Soft - ly

is cios - ing

is blow - ing

-m *~~

I m m *- I ^

^ ^? 5

«—

«

3 14D A 7th A7th

| K jlJ) | £E^j i I h £

O - ver the flow - 'ry lea

Mark how the swell - ing tide

Flocks are re - pos - ing

On - ward is flow - ing

tfezijzzz=± «=Ei=*D A7th

j j Eg 1 j I J=^=j:^F ^ ^ ^ ^ 3^ ^? ^3

A7th D

M i J> Jip | ; | g | JiSia

O - ver the rip-pling sea

List, how the ev'-ning wind

Twi - light is clos - ing;

Soft - ly is blow - ing

Ivu —• B3F=a=* J=1=J T=%D A 7th A 7th D

Copyright MCMXVI by W3 J.Smith & Co.,New York.

45

| ) j> ii

}^mO - ver the flow - 'ry lea

Mark how the swell -ing tide

J' J) i ^Flocks, are re - pos - ing.

On - ward is flow - ing.

Iftf— •

3==*3 3: 3

A 7th A 7th D

ty i s spf pHaste then, O la - dy fair

See, where my bound-ing bark

Come down to

Longs to be

me, love,

free love!

1 Ii3: J: 3? -fE minor E minor D

Fond

'Tis

iy-

on

m

E P F iIm wait - ing, Wait-ing for thee lovel

ly wait - ing, Wait-ing for thee love!

I ff tt <

F=f 1=3=3;D A 7th A 7th D

m wm i ^ SHaste than, la - dy fair

See, where my bound-ing bark

Come down to

Longs to be free

love,

love!

fe=i1 3 i^i

^•c + -0-

3=3=D E minor

Tf »E minor

• 5

B ^ mFond - ly Im.

'Tis on - ly_

wait - ing, Wait-ing for thee, love,

wait - ing, Wait-ing for thee, love.

fc=iMEta±?:: a—

a

^ 3E3==?: 1=3 3=3

'.iiita Lucia 2

46 Those Endearing Young CharmsWords by

THOMAS MOOREMusic by DAVENPORTArranged by KAMIK1

r?

a •> v ^^

iUkulele

ff^^3 5pw—mm r\

n P 3f

^^ ^') i .e=s ^ W*"—

*

1. Be2. It

lieve me, if all those en - dear - irg young charms, Which I

is not while beau-ty and youth are thine own, And thy

n n n n n n

4l

l *=j7 7

-0- -0- -m- V -# -#- •i=l=S=J=J* * 1 * 4

D D7th

*fI I J | Jj

Ji j i j i i

^S«r v

^SlZ,q on so fond - ly to - day, .

cheek's un-pro-faned by a tear,

Were to change by to-mor-row and

That the fer - vor and faith of a \

If^f^f^fifif^ H I ff * ^D

^A 7th

^N

D D D7th

£S S#—*M r M |

JIf ^F=R

fleet from my arms, Like fair - y gifts fad - ing a - way, Thou wouldst J

soul can be knownTo whichtime will but make thee more dear, Oh, the

n\

¥$m m— — '

0- -0- -* -* -# -• - -# -#•

G B diminished D A7th

Copyright MCMXVI by WS J. Smith & Co.,New York.

\l

47

£ m i Jiii % W

still be a - dored,

heart that has tru

as this mo - merit thou art, Let thy

ly loved nev - er for - gets,, But as

I 3 3 1F=1 = I I XD D

T—* 4 * * WG G

*t i }. i j i

i?

love - ii - ness fade as it

tru - ly loves on to the

will, _

close;

i 1=3? 3=3=3=^:D A 7th D

£And a

As the

* ta3Cn

11 i )< i j CTP ETT":

»- rround the dear ru - in

sun - flow - er turns on

each wish of my heart Would en -

her god when he sets The same

14 I \> => mG B diminishedD7th

jJl

i i i ^twine it - self ver - dant - ly

look that she gave when he

still,

rose.

fe=a <=a3=3=3=*=^* * * -*

D A7th D

e r>

PP# *=¥v—w ib=3:

..lose E. Y. Charms 2

48

Laughing Waters

Ukulele SoloKAMIKI

1 «1* *

* m^ ** «^ f.

fe^ fed ^Eim*

n r\ ... j ... jN=i—

i

#=N—

1

%

1 i

_ .. .. 0— ... m

I

« 0- 4 . l=J=*i

* 1 S^l^F2*-^f Fine

£ S 1 ffTfa -—1=1 1=*=1

^

4I ^m i *i^^i=i* *• ** *Wm. J. Smith Music Co. Inc. New York

< J J

7) C. al Mm\

'l

Pizzicato WaltzUkulele Solo

+ . : +

49

T j-

i

m J

—

—* * 1—

•

—*,

—* —m 1—4 _J_. jm—•

—

i 11 *

351

41 SSn=5g

St) ft •

i it

I5^ Pos.

MZE

P^l~^=^=^:-Q- -m- -0-

NOTE +Pick with thumb. Pick with First finger

.. Pick with Second fingrer

50

Hanapepe Waltz

Solo on D string

* '} l o,

KAMIKI

i. li ilH1 t=t t=t f^opr- r r

*=* £t=tr=r=r

a rj • »-

op. f

fefe i £ £i * n an* a * j* I4^j .—n

~0&-r r r

^£ £ £ 3=^r t t f-

'

Trprr op.

' * J J l.< J J-tTJ. iJ J I

* «=*Pr r r

±* £^

*=*r r

!|

r t#—

#

#—

#

r

lEEfeES' 1 j If J J j* g . i «

#—

#

*»?#—

#

+^r r

• • i/»v. rr» m S=£r

Notes with stems turned downwards are to be played on the D string and should be

picked with the thumb.

One, Two, Three, Pour51

Ukulele Solo

£+ V + V + V simile

I t=a=rYF\^\H^Y* fm

£1 t=4 1=1 *=J:IF=f=3F=n=f ************

+ V A V A V

eI 3+ V + V + V

* ** * **#—

#

•

—

m

==i=3 :=*=l:# 4hr=f

*f

j=jJ- 1- I JrHHI I 'It * * t 1 *• * 5P9rt~3S~t

ii

= 13333333 J3^3=1 J=J=J «=J 1=J *a

i14*j=j=j i******^^"-~" -

*rm * *TO i=*

tt#»»r»frt-m ,

£'l«g'*tp|«& g

**"****t # J:|i fflH33 IE33

-^tt

"

»ilmi H Irl^i^F^lrlr^rdir^ps=«

+ downward stroke with the thumb

52Hawaiian Waltz

UKULELE DUET KAMIKI

* x xn n n

2wmm * * Tf jf=j:1st Ukulele

2nd Ukulele V n V A V n V A n V A

m^^ a • m—mJ=J=J=.==*=*=*=**~ * * * * ** * J!!!:

* nX

j«

X—

«

Xn

4

n nX X X n n

p=l . , . —

|

-J-•H~t

p i a 5

1—t4

Iffi j—

"Irir-Jr-L|—1^Jr^fr-L^r-J|^1rrl=^ J—J -J1 **

in n nXX I I I X

r 'r j jl

ift i

X X n o

Pi 1 =:«=*==*=*1 111* * * * * **

HN^ x Xm

n

•

n

—

•

n

—

*

nX X

\=f=

n nX

. - I l :

-w—

<

f—

h

—Hi-•^-J ^[—

H|F^

1 1—JL 1

-4

r r —

.

W=lJ-i^ur-L|^|7+1 ^- -• - -0r*

1

[ -f

1i—8 %

1 %r r

—

Copyright MCMXVIT by W™ J. Smith & Co. NewYork

tf*An n

1

1—

>

< x .*> x >

J *

n A

4X

n n

53

V

11

n

1L i

n V

rj *

n

1—J

n V

0

n

- # -#

V A

[—La

—Jr-t

m(ft)

. 1^ 1—t—

s

8

11i

st—

^

-•-1-M—

^

.

f#=^

n V

5A

hi 15

x x n V A n n

^HH^I i

xi J1J i

xJ J i

i a

—#— 4\\ J- 1 *

t#=jr~Jhi h^: 1t 1

it It S—1—s

—

n nJ

J=J

A V A n n

3F=J=J 1=3;r-T -#-*

a :s=j=i==j=a=j+ + * * * * J=^=l=JF=t3=3=3;

A V A

.> XXX n aia^=^;

a^j_—

j— S^l=J=J

J f 111 *

Hawaiian Waltz

54

Holoholo KaaWaltz

UKULELE SOLO W. J. KAMIKI

y n A A A A A n A V A V A A A

"^ j j j ltii i

j j jji ijj j

**n VaV a a a ^aVaV

m III l liIfeEj J^j 1^1*»»

*»n

a V

*Efej^-i-^^a^ifc^^afc^i 3^

y n VaV::^ l^El^^E^»-* *1^=1 t=t 4 a i

*S

* * # £#fli *# -#-* ^Fi

Copyright MCMXVII byW? J. Smith & Co.

55

mV A v

n

imm^mmm^ 3EI=3^^:

*&-0—0- -0—0—0-

33:J! ^^:

* ^ "*" I «^i»" -¥-*-» ~T -* ~T

uV A V A V

fea=l=l=lF^=I3=l=i=^ =3F^bA

* "»

A A A A A V A V

P' i^iij i-trfFfl * * tr #f r

V A

l*jf-J—

—

VA

4

A A

m M m ~a - ^ - m m - m

^'TTij—

1

L 1L -|

1 *:—

^

—0—

1

—

«

—I— ;r*—

*

-4 1' -0

1;

1LU j \i Jj g j j j

r »f r*-#=*

i— ^^1i=J=J J=J g• 4* * * r~^r *~*

X

Holoholo K;ui-2

58

Indian Dance

UKULELE SOLO Wm J. SMIT11

A AAA A A V A v .

i-JL V A A A A

fe=S

\>s *ML*-+ # I I I I± % t % % it it % %

AAV Ay_A A n A A V A A V

Pr

I 1 I I I T

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Dance of the FairiesUkulele andGuitar Duet

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Dedicated to Win. J. Murray, Pittsburgh, Pa.

The "Ukulele Band"

Quickstep

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" » First finger" " Second finger

A Strike with nail of First finger

Copyright MCMXXI by W™ J. Smith Music Co.

64

How To Tune The "Taropatch"The "Taropatch" is strung with four pairs of strings, each pair tuned alike. They

are tuned to the following notes of the piano.

4th String 3rd String 2nd String

4 G #1st String

c E

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Principal Scale For Taropatch

4th String 3rd String 2nd String 1st String

WFrei C E F

1

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2

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D E5 7

££F G A8 10 12

NOTE: The Taropatch is tuned one full tone lower (two frets) than the ukulele. By placingthe "ELTON CAPO" at the 2nd fret of the Taropatch, it will then be in unison with

the ukulele.

How To Tune The "Tiple"

The "Tiple" (pronounced Tee -flee) is strung with ten strings, and is fingered in pairs

and triplets. Each pair or triplet is fingered as one string. The strings are tuned to

the following notes of the piano.

4th set 3rd set 2nd set 1st set

A A D D D Fit F# Ftt B Bm 3 y a p i r p

pPrincipal Scale For The Tiple

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Frets ABE2 4

F G A B c D E F G A B1 3 2 3 5 7 8 10 12

The "Tiple" is played in the same manner as the ukulele and can be studied

from this method.

How To String The "Tiple"

For 1st string use Banjo 1st wireFor 2nd string use Banjo Jst wireFor 3rd string use Guitar 1st wireFor 4th string use Guitar 3rd woundFor 5th string use Guitar 1st wire

For 6th string use Guitar 2nd wireFor 7th string use Guitar 4th woundFor 8th string use Guitar 2nd wireFor 9th string use Banjo 2nd wireFor 10 th string use Banjo ith wound

W.J.S.Mus.Co.

The ELTON "CAPO"MAKES UKULELE PLAYING EASY

with the aid of the Elton "Capo" You can Transpose your

music to any Key you like

Showing the

ELTON "CAPO"PLACED ON FINGER-BOARD 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 DIFFI-t

CULT KEYS . YOU CAN PLAY THE CHORDSYOU ARE MOST FAMILIAR WITH AND BY

PLACING THE ELTON " CAPO" AT DIF-

FERENT FRETS, TRANSPOSE TO ANY DE-

SIRED Key

Thousands of these have been already sold to Ukulele and Banjo

enthusiasts who 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 C H

Songs

Jiir

THIS brand new collection con-

tains thirty-eight of the best

songs ever written, especially

Ukulele ac-f^r-

fe=

Hawai

Neano

g

Planta

r

Boston Public Library

Central Library, Copley Square

Division of

Reference and Research Services

Music Department

The Date Due Card in the pocket indi-

cates the date on or before which this

book should be returned to the Library.

Please do not remove cards from this

pocket.

ce, the

yed byleading

rds are

1, each

e. The

ly turn

chord

words,

le most

Sc

simple

others were chosen tor tneir oasn «..- »»j •—»stroke of the Ukulele to best advantage.

written.

10 song-

l pen of

heir rich,

t-singing;

show up

the rag-time

PRICE $1.00 NET

I

BOSTON PUBLIC LIBRARY

3 9999 04998 992 2W I 3 m

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