With the Sound of Purple! Ken Middleton improvisation - My Bonnie

TURNING A FOLK SONG INTO A JIG

I love what Ken Middleton does. He's a great player. Improvisation and what he calls "noodling" are his specialities, I think, and every now and then he comes up with something that just grabs me. This is one such, turning the old folk song "My Bonnie Lies Over the Ocean" into a jig by altering the timing. The hammer-ons and pull-offs are magic.

I noticed Ken's use of triplets here, but didn't notice immediately that he's using the thumb-led triple. I'm used to the fore-finger led triple, but the thumb-led triple isn't tricky, it's just different!

Ken says....

"I wanted to try the well-known Scottish folk tune "My Bonnie Lies Over The Ocean" as a jig. The song is normally played in triple time (3/4), but, after the slow intro, I am playing it in compound duple time (6/8). A jig should have a clear 2 beat feel, with each beat subdivided into 3. Pretty much any tune with a good melodic line can be played as a jig, but folk songs work really well.

The strum I am using is basically a triplet strum: thumb down, pointer up, pointer down. But I don't always play the full triplet. And, I do use other finger and the tune is sometimes played as the triplet, sometimes with just thumb and sometimes with hammer-ons and pull-offs.

I chose to play it in G and often use the 4th string as a melody note."

I do hope you enjoyed that! I've watched it about four times already... one to try and play along with?

Oh - and did you clock that beautiful purple-coloured uke? Custom built for Ken by Rob Collins of Hebden Bridge here in England. It's a deep-bodied uke, 6mm deeper in the body than the normal tenor, for a fuller sound. And the purple colour comes from the wood itself, it's not painted. Purple Heart wood. There you go. For the sound that Ken wanted.

To find out all about this beautiful Purple Heart uke, see Ken's full youtube review... check it out here!

Thanks for dropping in - do call again!

Strum along with Ken Middleton in the Smoky Mountains!

I caught up with Ken Middleton again at the weekend, at the November convention of the George Formby Society in Blackpool. What a great weekend that was! (More about that very soon, I promise...) Once again Ken wowed the Sunday afternoon audience with his playing; first the Tennessee Waltz, then George Elmes joined him on stage to play the old bluegrass tune "Snowdrop". That's built around a repeated chord progression, so it's fun to join in for a strum.

Improvisation is what Ken is doing in this video, recorded during his recent travels to festivals in the USA. And it's something of a speciality of Ken's. I think it's time we heard Ken play in a festival in the UK.....

To improvise, (also called extemporisation), means "to play or sing (music) extemporaneously, especially by inventing variations on a melody or creating new melodies in accordance with a set progression of chords". The point is, it's "as you go along", with no previous planning. Clever stuff, eh? I've always been scared stiff of it..... deep water, as far as I'm concerned. But Ken is pretty good, don't you think?

The set progression of chords in this improvisation is G Dm F C. Playing this progression, I feel that it has a really haunting quality. That's strange, because it's in the key of C major, and major keys are bright keys, whereas minor keys have a sad or melancholy sense around them.... certainly the Dm chord adds that feeling in this progression. It's so effective here because of the beautiful autumnal Smoky mountain setting. Autumn seems to embody a sense of melancholy, with the retreating sun and the retreating green from the leaves, but the beauty is there in the reds and golds.... and the melancholy and the beauty are all here in this improvisation.

So if you've got your uke to hand (haven't you always?) strum along with it, it's fun! That's how I started my day today. I subscribe to Ken's youtube channel (good idea) so this lovely piece dropped into my email inbox this morning. And as Ken has kindly told us the chord progression he's using, I picked up my Tanglewood uke from its place right next to my computer and joined in along with Ken's friend Pete.

Lovely.

Good morning World.....

Oh - and actually, is this piece modal? Comments please!

A GENTLE WAVE - Ukulele Improvisation by Ken Middleton

Just the thing for a peaceful Sunday - tranquility, a calm sea and beautiful sounds from a ukulele. I've already listened to this three times - the usual, when I have really enjoyed a piece of music.

Ken Middleton is a dab-hand at improvisation. I wish I could do it - I know that I could, if I knew my way round the uke fret-board - and there's only one answer to that - work at it.

You have to know your way round the ukulele the way that you know your way round your own house - blindfold. To know where everything is. On the ukulele, that means every note, every chord, every progression, every movement by step up and down an scale, every leap to the note you want... and it means work, concentration and application, and exercising your memory. If you rely completely on chord charts and tabs, you never learn to master the instrument, because you don't know it intimately enough - it's like knowing something only second-hand, somehow.

You also need to know something about structure - structure of a musical piece. If you play, you know that most pieces are played in one key - and the most common key for the uke is the key of C - because that's the easiest key to play in for the ukulele. But a piece of music also has a musical form or shape - and a very common and basic one is AABA.

"Whaaat?" Don't panic. Think of a song - better still, look here, at how music works. I don't believe in reinventing the wheel - this chap explains it very well..... AABA song structure is actually very, very familiar to all of us!

For more detail look at 32 bar form.

AABA is just for starters, but it's a very good start, and enough to keep you going and thinking for a while.

So, knowing a bit about structure in music helps when you want to improvise. Is it essential? Well, it certainly gives you a framework, which you can build on.

Trying to remember how to play pieces without the papers in front of you is a great starter - keep the music nearby to go to when you're stuck, but remember, memorising the musical pathways is a great learning pathway to knowing your instrument. And anyway, it's so much nicer to be able to pick up your uke and just play it, instead of always having to have the music up in front of you.

So - if you want to be able to improvise, know your instrument. I resolve to get to know mine. And start looking at how pieces of music are structured. It's really interesting!