I have been trying to think about how to phrase something that comes as a bit of a concern to me. It has to do with the current ukulele craze. I am not qualified to speak to it, really, but it is something I have noticed...
You see, I know a whole lot of uke players. I also have seen many others in concert or on Youtube. I read the online catalogues from ukulele companies, too. What I have noticed (and it isn't too hard to notice) is that the vast majority of images of ukulele players are white and millennial. Yes, there are also some Gen Xers thrown in (like me, usually also white). Also (of course) professionals like Jake Shimabukuro and the late Israel Kamakawiwoʻole aren't exactly invisible. However, this demographic and marketing trend is an interesting one that I think we should be aware of, particularly because the uke is at the same time closely identified with an ethnic minority and specific region.
One reason we should be aware of this is that it is the responsible thing for a uke player to do. One should know the history of the instrument. It may even be worthwhile to learn an actual Hawai'ian folk tune rather than the simple pop songs that most of us learn. The uke grew out of an even smaller instrument brought from Portugal and it was developed for a specific context for the use of native Hawai'ians. This is why it sounds the way it sounds and is played the way it is played. It had to augment and deepen the traditional music of the islands. Knowing the instrument's (non-ironic non-slacker) roots gives depth to our own playing.
Another reason is that with this current popularity, we should worry that the original context will be either a) lost to most of us or b) caricatured. I have direct experience of the first of these possibilities. More than once after I have played the uke in church, a visitor will come up and talk to me about it. It is surprising how frequently they say they didn't know its history. Some folks think it is British (George Formby). Others are under the impression it is basically a toy--a mini-guitar--used to teach school children or maybe a prop for hipsters. This isn't necessarily their fault, it just reflects what they see.
The issue of caricature can be see on labeling for cheaper ukes from time to time. There is a fine line that people who sell these instruments have to walk between promotion of the "sun, sand, and good times' image of Hawai'i and the ukulele on one hand and stereotyping of the "Atlanta Braves mascot" variety on the other. Most do a good job, but that risk is still there.
Also, there is that slacker vibe that goes along with the ukulele lifestyle. There are a wide variety of books geared toward playing anything from Heavy Metal to Classical, to Irish Folk music and the implication is that it will be somehow easier and, well...funnier that way. I think it is great that ukuleles and ukeists don't take themselves too seriously. At the same time, it is worth noting that for some folks there is a seriousness to the endeavor. In the recent documentary "Life On Four Strings", one of the current owners of Kamaka Ukuleles says "We don't make toys, we make musical instruments" in a series of comments directed at, well, people not too different from me.
The divorce of an instrument from it's roots is, I believe, something worth thinking about. One of the most prominent African-American instruments in history is the banjo. Today--thanks to the complicated racial politics of our country--most people are completely unaware of this. The unfortunate popularity of the minstrel shows, of course, had a lot to do with the change in identity. Now it is most prominently used in bluegrass as well as in various forms of British/Celtic rock and folk. If you were to ask people today who the greatest living banjo player is, those in the know might say Bela Fleck or Noam Pikelney. Someone else might (incorrectly) assume Steve Martin. Everyone else would lift up "that guy from Mumford and Sons".
This is changing. Bands like the Carolina Chocolate Drops and its various alumni (including Dom Flemons) are doing a great job of bringing the African roots of the banjo back into our consciousness. The situations, of course, are very different. However, the question the ukulele community must keep somewhere in the back of its mind has to do with preventing the uke from being loved right out of its original home.
The story needs to remain intact. What are you doing to keep it going?
Of course, it takes work to be able to play like this:
Here (below) is David Wax Museum (one of my favorite bands) opening for the Carolina Chocolate Drops and borrowing Dom Flemons. Here he isn't playing the banjo, but the bones. David Wax is playing the uke, though, which is cool.
When last we left each other I had done my best to break down some of the "first things" of uke purchases. We talked about where to buy, what to look for, and a few other details to help keep you informed. Now I would like to take a look at some of the ukes I have either owned or played and why I chose them.
I will still speak in generalities to a certain extent. The reason, quite simply, is that you are somewhat stuck with whatever there is in the local area. Also, any company I mention here will be one that I think is worth looking at. I don't want any confusion.
Finally, a disclaimer: I am not a professional. I am--at best--an enthusiastic amateur of average gifts. What I am saying here, then, is from that perspective. If you want a pro, look somewhere else.
Concerns About Price (Not Really):
One of the great things about the ukulele is that it is small, simple, and--in its bones--a folk instrument. Few people make their careers on the thing. Playing one well does not give the kids a leg up getting into college. It is for fun. It is for expression of feeling. It can be a window into your soul and an avenue toward a new language of personal expression and communication. Fortunately, none of that is easy to monetize and you can buy a uke for much less than a comparable guitar.
This is my way of saying that you need not worry too much about cost and shouldn't look at price at the clearest indicator of quality. You can purchase--and I have purchased--a good quality instrument for less than $100 and a serviceable one for half that. For a little more money there are plenty of options to help you make the sound you want to make.
Here I am going to make a general rule about size, quality, and cost which has more than a few exceptions but is also true in many if not most cases: the best "quality" for your dollar will be found in the smaller uke sizes. Which is to say--hypothetically--a soprano ukulele that was as good in build and tone as a $200-$250 acoustic guitar may cost less than half that. A concert may cost slightly more than half and a tenor slightly more than that. A similar Baritone may be only $20-$50 less. this is not to say that you shouldn't get a concert or a tenor (baritones are a special case which I discussed in Part I) because a) there are exceptions and b) that may be the size that looks, feels and sounds best to you. Here I am really just talking about certain qualities. Others may outweigh them.
After all, even though this fact has been general knowledge for some time people still buy guitars. We have a few in the parsonage, obviously, and a few other sorts of instruments as well.
A Brief Departure Into Makers:
This is the perfect place to mention a few makers. Some of the big "name" guitar companies make ukuleles. I recently played a cute Gibson soprano with an internal pick-up. Also, Martin has a long history with the uke. High end luthiers like Collings make them too. These are great. However, some of these are very expensive and really for pros and collectors. Others --like the Gibson--are probably a bit overpriced as you are buying a name. It is best at this point to stick to outfits who make the ukulele as their primary product.
Now, there are some truly great ukulele makers. Kamaka is probably the most famous. However, I am only going to talk about companies whose instruments I have played and that also make good starter and "second" or "third" ukuleles. Which is to say that they can all be acquired for less than, say, $300. Some (obviously) can be had for much less...
When looking for a quality inexpensive ukulele of any size, it is worth gravitating toward two brands: Kala and Lanikai. While they have slightly different approaches and products lines, they are in most respects similar. The founder of Kala worked for Lanikai before moving on, for example, and they both produce good products in our budget range. Makala is just a cheaper Kala. Mahalo is just a name on a toy uke. I tend to play Kala's more than Lanikai. The biggest reason is that my local music store carries Kalas, but I have to say that they have been pretty darn good. I was over there today checking things out and found a great many factory seconds that sounded fantastic...
OK so, I am going to go vaguely based on size and the first category is...
Sopranos That Are Also Toys:
The fact is, there are many people who want to buy a ukulele for a child or adult who never really expect much playing to be done on it. This isn't always a bad thing. They can be used as souvenirs or decorations, or part of a Halloween Costume (though I ask you to keep the costumes appropriate and sensitive the culture that produced the uke). The "toy" ukes (almost all sopranos or soprano-like) can be a bit embarrassing to actual players. Their presence, after all, is why the instrument isn't taken seriously or respected. They can, after all, be serious fun but there is no reason to buy garbage.
So I present you with the Mahalo soprano uke. It is made basically out of actual plywood and many, many coats of shiny paint. It is also sufficient for a starter uke for a child. My seven year old has one and he knows how to play it, bringing it to lessons every week. With these cheap instruments, though, it is important to check the action (the distance between the strings and the fretboard) to make sure it isn't too high. Kids need to build up their finger muscles and if we make it too hard to press down, they will stop playing.
Also in this category and even cuter is the Makala "Dolphin Uke". This is also a soprano. It is made of plastic and is the one I take with me if I have to go on an airplane. I have a very detailed description of it as it won the coveted "Ukulele of the Year" award from Burbania Posts last year. I will link to that review at the end. In general, I would take the Makala over the Mahalo if you can find one. their durability is excellent and (once you change the strings to new polycarbons as I recommended in Part I) the sound is surprisingly spritely!
An old man playing the Makala Dolphin Uke on a summer afternoon
Sopranos That Are Not Toys:
There are plenty of these. Soprano ukuleles are prized for their traditional sound and the general sense of fun. All ukes make people smile. However, when you pull out a soprano they smile the widest. I know, I have taken mine to nursing homes and there is a truly pastoral dimension to the instrument. Also, they are good for beginners. In fact, all ukulele players of any skill level should have access to one. The example I have here is a Kala long-necked soprano. Yes, it is mine. My twelve-year-old likes to play it. The action is good. It has a sweet tone, and it has a wood-laminate body. In fact, this one may very well have been getting the most use lately. It can be purchased new for under $80. They also have a slightly more expensive solid-wood version of this. The sound is fantastic and if you want to worry about hydration (it needs a humidifier, which you can ask for at any music store) it may be worth a few extra bucks. In fact a certain young man may be finding one (a second) under the tree so I can have this one back!
Kala Mahogany Long Neck Glossy (front). This is the prettiest uke in our collection.
Concerts:
Both Kala and Lanikai have an abundance of these in different woods and finishes. They range in price from about $120 to much, much more. However, you can get a good one for under $200. Some of these have electric pick-ups. I do not have any that do (though I have played them). Electronics is a matter of choice. My personal feeling is that unless you need it for jamming with louder instruments (like a guitar, banjo, mandolin, etc) or if you plan on performing in a very large room, it might make sense to take that money and invest it in a an instrument that is better in other ways. If you are going to do those things, however, then you are investing in a slightly better uke...for you!
Kala and Lanikai--while they are based in the US--do most of their manufacture overseas. My sense (from some limited research but by no means exhaustive) is that they are responsible corporate citizens. By moving construction offshore they are able to keep their costs down. Most US-made instruments I have encountered are rather expensive and if I was able to afford them I would buy them exclusively...but I can't. This brings us to another company that produces their ukes right here in New England. Flea Market Music or The Magic Fluke Company produce quality instruments that sound much better than what you pay for. However, they look a bit odd, which may upset your traditionalist gene. I have played their soprano (the "Flea") and I own a basic model of their concert size (the "Fluke"). They have a rich tone all their own, which is thanks in part to their mostly-plastic bodies. The neck is wood and the front is wood-laminate.
An arty angle on the Fluke. The top picture is of the same instrument.
I have reviewed the Fluke elsewhere in this blog and will post the review at the end. I actually encourage you (contrary to what I have written before) to order this online and to customize it. If you are comfortable with the non-traditional look, then you should be as non-traditional as you like! The one I have is currently listed (new) at around $200. I would buy it again. I would, however, spent the extra $40 or so to upgrade the fretboard. The one in the picture (mine) is plastic, which works fine for everyday use. However, a wooden fretboard would enable one to occasionally use a wound string for the lowest note (wound strings would wear down the plastic frets). Also, maybe a funkier color would be nice. The one I have matches my boring clericals...
Tenor:
What I have written about the concert counts here as well. In fact, Fluke (whose body is a bit large for a concert) does have a tenor-neck option. The instrument I am most familiar with in this category, however, is my son's Kala. It is a factory second and cost us under $200. This one does have an internal pick-up which enables him to play runs and such while working with the rest of the Ukestra...or just with his father as in this video here. I, for the record, am playing the long-neck soprano. Here we are rehearsing for a piece we did in church. Try to concentrate on the separate sounds of the two ukes...
OK So... That is it! Good hunting. I hope this helps. Most of these web pages and brands can be found through the simple process of googling. However, I am listing the two ukulele reviews below...
Makala Dolphin Uke As I re-read it, this isn't much of a review, but there is some good advice so I link anyway. I should note, however, that anything I wrote in the Christmas Guide should supersede any conflict in the previous post. I have learned a lot since then and my thinking on ukes has changed somewhat.
I have been getting a whole lot of questions about ukes lately from kids, adults, and adults thinking about their kids. It makes sense, I think, to write my advice down at this point. It is what any responsible ukulele-toting pastor would do....
Where do I go?
First, to make a good purchase, you need a good place to look. Musical instruments are not the best things to buy online. Sometimes this cannot be helped and--with research--you can still make a quality purchase. Still, what sounds good to one person may sound horrible to someone else. Even the same make and model can sound, look, and feel different. Ideally you would go to a local music store that has many (new and used) stringed folk instruments on the wall. Yes, that means mostly guitars (electric and acoustic) and bass guitars with the occasional banjo and mando thrown in. They will know their ukes.
Stores that sell band instruments often will have a few entry-level ukuleles that are just barely rising over the "toy" level that haunts players everywhere. Many of these are good, but ukes are popular now. If your teen has asked for one, they are probably not thinking of something like this. They want something classy. Guitar Center and other "instrument malls" are also best thought of as a last resort. They are OK, particularly if you have done a lot of research, but the helpers don't always know much past the basics, particularly since you are not interested in an electric guitar. Also, I know that places like Best Buy and Barnes and Noble will have "Kits" with an instrument and perhaps a book. Avoid these...really...
The key issue, however, is to not be afraid! If you are not someone who has spent time around instruments and music stores, you might worry about appearing stupid, getting ripped off, or just feeling out of place. Honestly, don't worry too much about these things. Most of the dudes and dudettes who work at the stores are really nice. They have a passion for music and they want to share it, even if they are a lot younger (or older) and hipper (always hipper) than you.
What do I need to know?
Good question! Know the basics, of course... Size: There are four ukulele sizes that you should be thinking about and will encounter in your average store. There are others and some combinations of sizes, but that is fairly advanced so think four and adapt on the fly if necessary. Remember, none of these are very large! They are all smaller than your average-sized guitar...
The soprano (or standard) is the traditional one. They are bright and festive and charming. Most of the "toys" are in this category because they are smaller and therefore cheaper to make. Still, some of the best and most classic ukes fall into this category. They are portable, practical, economical and--getting away from the toys but not spending too much more--beautiful to see and hear. I have four sopranos and through my kids own two more. The one that keeps me company in the office and when I travel is a soprano. The one I find myself picking up the most often at home is a soprano long-neck (one of those hybrids, more later)...
In fact, all "long neck" means is that the neck is from a uke one size up! In this case the concert. The intergenerational Eliot Church Ukestra to which I belong (as pastor and member) has a love affair with the concert. The neck is bigger (more range, somewhat easier to play). It is a bit louder. The sound is also a tad mellower and (I find) somewhat more round. The purpose of the instrument is right there in its name! These positive traits can outweigh the loss of charming uke-sound in certain situations. I play a concert uke in the Ukestra. It has seen a whole lot of action.
Next up is the Tenor. This somewhat larger instrument is tuned the same way as the other two (gCEA). That "g" is not a typo. This is called "re-entrant tuning" and the g is tuned one octave higher than the other strings. Hum to yourself the famous tune "My Dog Has Fleas". There yah go. Uke tuning. Now, I say this, but some of my ukes have other tunings and it is common to find tenors and concerts tuned with a low "G" as well.
The tenor has a fuller, richer sound (usually) and, again, a larger neck. Many of the pros use this size because of greater range of notes available. Jake Shimabukuro uses one that you cannot afford. The same is true for Eddie Vedder, though he has played a variety of sizes in concert. My son plays the tenor in the Ukestra. We have one more in the band as well. Again, it is about what you like. The biggest difference is the sound they make.
Finally a note about the Baritone. This graceful instrument is tuned like the four highest strings of a guitar. I like them a lot though I do not own one or play one frequently. I think they add something special to songs that a guitar does not. However, they are for specific functions. We do have one in the Ukestra and it is important to our sound. My recommendation is NOT to buy one as a first ukulele. If you think you should buy one because you already play guitar, don't. You are buying a guitar with fewer strings. If you think you are buying one so you or someone you love can learn to play the guitar, don't. Respect the Bari and buy a small guitar.
Strings: OK...so the best kept "secret" about the ukulele is that the greatest influence on sound comes from the strings. This is particularly true for the smaller models and is less true going up in size. Yes, the wood, plastic (not always a bad thing) or plastic/wood bodies do influence the sound, but because they are so small a good set of strings will influence the experience a great deal. Here is my first actual purchase recommendation: Get new strings with the uke. For concert-size and up I am a fan of Aquila Nylgut strings. For the "true" (not long-neck) sopranos, I suggest Martin Polycarbon strings. These can be ordered online.
I should say that the strings are a matter of personal taste. The Martin polycarbons are a bit brighter which sounds "thin" to me on a larger uke but just right on a soprano. That said, my son has Martins on his Tenor. The Aquila strings are "fatter" sounding and help to fill it out. Be sure--whichever you choose--to purchase the right size for the uke. Uke first, then strings.
Body: Some ukes are plastic. Most of these are junk. However, some of them are brilliant. I have two ukes that are made entirely or in part out of plastic. Play them and see what you think!
Other ukes (most even) are made out of wood, but that wood can be some form of press-board in the toys. It can be laminate (plywood) or it can be solid wood. Now, I am assuming you know little about these things and you are looking at purchasing your first "serious" uke. In my opinion there is no real reason to get a solid wood instrument at this time. There are great laminate instruments that sound as good as (sometime better than) the solids. Go with a laminate or a good plastic model. Do not get pressured into buying more ukulele than you actually want!
Now, in all honesty, I covet a couple of solid wood instruments (made by Pono) just outside my price-range. Someday they may not be and I will not hesitate to try to convince my wife I need one. The wood is part of the reason for the quality of their sound and I can envision myself using an instrument like this in my ministry. However, laminates sound great and are not nearly as finicky. I have a solid wood Mandolin and sometimes I feel like I am caring for a bonsai tree. I worry if it has enough water. I worry if it is too cold or two hot. My ukes don't treat me that way and I love them for it.
Final Body Note: Those hybrids I mentioned earlier? They get even more elaborate than different neck-sizes. The ones that are particularly trendy right now are the banjo-ukes and the resonator-ukes. In both cases, those aren't what you are looking for in a first good ukulele. Like the Baritone, they have a place and time but you will want to figure out if they possess a sound you want. The one exception may be British people who recall the banjo-uke work of George Formby.
Tomorrow: So this is a lot to take in, isn't it? Also, much of what I have written isn't all that specific. This is not the worst thing. If you are in a rush, you might just want to read this and go out into the marketplace to see what you can find. However, tomorrow I will make some specific product recommendations that may help. For an amateur, I have gotten a chance to play a whole lot and a whole of different instruments. I am blessed in this way and will make sure to pass along some ideas and directions.
Until then, check out the Ukestra Christmas Video Card!
For the record: you are listening to 1 Baritone, 2 Tenors, and 4 Concerts. One (mine) is a plastic/laminate hybrid. The others are all very pretty plywood. The strings are by choice but mostly some form of polycarbon. They all have re-entrant tunings except one of the concerts and the Baritone. So there ya go! A great combination...
So I realize that I just posted yesterday and this may be a bit too soon for the folks who prefer my current bi-monthly schedule, but you see, the Eliot Church Ukulele Orchestra is having its first meeting and I need to furnish them with some links. Therefore, if you aren't into this project, feel free to ignore me and go about other business...
OK, so the goal I think is to have a group of people who will play in church with some reasonable instrumental competency but may be called upon to lead hymns and perhaps attempt a sung piece at some point (not everyone, I realize, is planning on singing and that is cool). Because of this we need to give some thought to the kind of ukulele's to purchase for those who do not have them. what follows is, I hope, a useful set of links to get a sense of the landscape...
Getting a Uke
First, I must admit that I have learned more about cheap ukuleles over the last couple days than I thought there was to learn on the subject. As regular readers may recall, I have in the past touted the virtues of the very cheap ukulele. I even gave the Makala "Dolphin Uke" my "Uke of the Year" award. I still like the Makala but I have to say that a) the intonation isn't very good and b) it doesn't age well. Mostly the problem is the tuners. I have been trying to tune it up for our meeting and it just won't hold for more than a few minutes. So if your goal is simple chords on the beach or at the campsite, I say "go for it". For anything else, expect to replace it within a year. Also, new players may find it frustrating to learn on.
Here, though, is my review of the Dolphin Uke (around $40) during happier times.
One might want to pay twice this (still under $100) for a soprano Kala ukulele. Kala makes the Makala but the actual "Kala" instruments seem to hold up fairly well. I am currently road-testing the long-neck soprano (KA-SLNG for around $80, no case) and will give a fuller report in early July. So far the sound is much better and it looks quite a bit nicer, too. Durability seems OK so far (again...I don't have a case). Here is a link to Kala's web site. They have a lot of nicer instruments as well that are sadly out of my price range but may not be for you!
Another good source is the Flea Market Music Company. For those of us in Southern New England, this is the chance to support a local business! They make three excellent and unique instruments, the Flea (a soprano) the Fluke (a concert) and the Firefly Banjo Uke (which is just plain cool). They make their instruments to order and they are a bit more pricey than the others listed (around $200-$300 with the Firefly a bit less than $200). However, they do age well and have a great sound. I wrote a review of the Fluke (the uke I usually play) here. It is also worth checking out thanks to its brief digression on the various ukulele sizes. Here is the web page of the company as well...
Here is the link to the Kamaka Ukulele company. This is the most storied company of ukulele makers. They are also expensive. I know coveting is wrong but...man...these are nice instruments...
Also, here is a link to Pono, a line of very good instruments in the $400 line. They have a great reputation but--while I have heard them and seen them--I haven't had a chance to play them. I hope to some day.
Also, Also, here is a link to an article about the difference between Kala ukes and Lanikai (basically there aren't many differences) and it features a chord chart!
Online Resources for Learning:
One of the great things about the ukulele is that you can learn how to play by searching Youtube. However, there are a couple of web sites that are particularly helpful.
I did not preach yesterday. The Sunday after Christmas is the day when many Interns, Assistant Pastors, and Associate Pastors preach while the Senior Pastors take a break. My very capable Associate Matt Carriker did the honors. I am recovering from a run of sermons that began before Thanksgiving and ended on Christmas Eve. Good stuff, but I am glad for the rest!
Here is my sermon from December 23rd. It reads as a little grumpy. If you were there it wouldn't so much. we had many carols and some of our gifted Middle School and High School guitarists helped me out. Stephen James our Music Director was there, too. Anyway, imagine little smiley and winky emoticans every once in a while. I also took the liberty of putting in the rather shakey video of the songs we played. The first and last are hymns (you should recognize them). The middle one is a cover of "Journey of the Magi" by Frank Turner.
"A Joyful Noise" Rev. Dr. Adam Tierney-Eliot
First let's thank the kids for playing today. It isn't the easiest thing to take time out of your weekend to play at church and I, at least, enjoyed it very much. I like playing with them. I am glad they don't mind appearing in public with me.
The music also created something of a festive atmosphere, didn't it? Which is just what we need today...
Suddenly a great company of the heavenly host appeared with the angel, praising God and saying, "Glory to God in the highest, and on earth peace to men on whom his favor rests."
The title of my reflection today is “A Joyful Noise” as in “make a joyful noise”. It is the request, order, demand, that we see appear from time to time in the Bible in places like the psalms. It also appears in sermons (though not always mine) and hymns. It also shows up in prayers. “Make a Joyful Noise”. Celebrate the certainty of our faith and the happiness in our hearts.
Now, certainly this time of year there is plenty of noise to go around. There are carols on CD players and ipods...and in the stores. There are Christmas specials and Christmas commercials. There is even a tendency among friends and acquaintances to wish each other Happy Holidays and remain upbeat in conversation no matter how we might really be feeling...
In fact, the joyful noise this year hasn't quite cut it for some folks. It sounds joyful but it doesn't reflect our own experience. Outside we are presented with all the bright lights and holiday spirit but inside, for many, the joy has turned to exhaustion...even desperation. We talked about this last week a bit, too. In the season of the fiscal cliff, and Newtown just over a week ago and numerous real and difficult personal circumstances...it is hard, very hard, to make that joyful noise. Or at least to make it as often as we are expected to make it. So in the midst of our haste and pressure the sounds we hear turn to static instead.
But, really--as hard as things are today--even in a good year, we are all a bit ragged by this time. Yes, it is only the fourth Sunday in Advent but it is also the 23rd. It is Christmas Eve...Eve! We are normally feeling stretched a bit thin. We have every right to be.
Perhaps that is why we are given to nostalgia, of thinking of, and hoping for a simpler time like the one described by Charles Dickens.
When the clock struck eleven this domestic ball broke up. Mr and Mrs. Fezziwig, took their stations, one on either side the door, and, shaking hands with every person individually as he or she went out, wished him or her a merry Christmas.
I love the Fezziwigs. I love that fiddler dunking his face in the bowl of porter. I love this party and Scrooge loves it too. I love it partly for the same reason that I love Elizabeth, the mother of John the Baptist. These are no-nonsense people. They work hard and they know how to throw a party. They care for the people who care for them and we know from Scrooge that they are forgiving and patient not just on this one day but everyday.
I think we all like them very much and we want to be like them. But--I think, if we were to be honest--while we like to think of ourselves in that way, we really have a bit more of the Scrooge in us than makes us comfortable.
Now last year I preached a sermon in which I stuck up for the Grinch (do any of you remember it?). The Grinch was someone who just wanted to be left alone. He was someone who didn't want to be told what to think or how to act around his vacuous neighbors. Scrooge, on the other hand, is nasty. He is greedy and territorial. He likes to get his own way and when he does not, people are punished.
Dickens knew folks like this well. Even for him the Fezziwigs were from a different idealized era. Scrooges ruled Industrialized London. He--Scrooge--is a tragic figure. Blinded by his own needs, his own pain and, yes, his own wealth. He is tired of the joyful noise but also unable to make his peace and unwilling for others to make theirs.
And so inside us (at least for Dickens) we struggle. The angels (that we aren't so sure we believe in) tell us to sing in praise of a story we aren't so sure we believe either. Besides, we aren't sure we are up to all that celebrating in the mess of our lives anyway.
And so Fezziwig and Scrooge do battle inside us. Sometimes one and then other steps forward. One keeping us grounded in our better natures and the other challenging us with our longings and our regrets. In the midst of this battle we seek solutions. We try to find ways and traditions, best practices to improve our souls and spirits to keep Scrooge at bay.
Now. how we do this varies, of course. We each have different needs and personalities. We come with different stories and perspectives. However, we all try to find some middle path, seeking the joyful in the midst of the static...finding peace in the midst of the chaos...and hope in the midst of the pain.
For me music helps shut out the less-joyful noise. Services like today and like the ones tomorrow help in this way. The performances of the boys and Stephen today...the congregation singing both now during the holiday season and at other times, too. This helps me to focus and to celebrate.
Perhaps paradoxically, silence helps, too. On Friday I enjoyed the time I could take out of my holiday planning to sit in silence during Jacqueline Brodnitzki's Solstice meditation.
Now, some of you might enjoy the same things. They may turn the tide. Since you hang out around here it wouldn't be a surprise! Others may read books, or decorate the house, or garden when it isn't winter and plan next year's when it is.
Or perhaps you just need to spend time in community...in the community of family and friends...in the community of the church. The options, after all, are endless...
Whatever it is that brings us joy and enables us to spread it, we need to make use of it now and every day. To lift up our voices...To celebrate...To sing.
So let us take a moment now in silence
To think about what brings us to the joyful noise
Winter--when cold nights make everything pretty--is on its way. I am sitting at my computer at home trying to get it together enough to figure out the general outlines of the Advent series of worship services. It is snowing, which helps. I have one of the Sufjan Stevens Christmas albums playing the background. Various anthologies and essays--by Theodore Parker and Eleanor Roosevelt among others--are strewn about the living room/office. However, it is tough getting going. There are other things going on, after all, that need attention. Of course...When is it not like that?
I try to have things line up a little differently in worship as we get closer to Christmas Eve. The first Sunday always features a ritual in which we read the passages we will be using for the rest of the season as we light the candles--one for each window for a total of six. It is (or can be) a lovely process. It does require some planning, though.
We try to change up the music as well. Last Sunday marked the third anniversary of my locally-famous "White Christmas" sermon which ended with me playing the uke and leading everyone in singing the song. That year the first Sunday in Advent was right after Thanksgiving, so we had the candles as well. It was the first time I had brought the ukulele out at a time other than summer services. I have since gotten a couple of better ones and--I hope--I have since learned to play better. However, for the sheer fun of the moment, it has been very hard to beat.
This year we sang Bob Dylan's Forever Young. It was fun, too. I played Mandolin and did the loudest singing (though my voice quit on me shortly thereafter). Matt and Conor played guitars. We enjoyed ourselves immensely. In a way, it was a perfect fit. In church, when we put aside the piano and organ for a few minutes, we tend to play three different types of songs. The first--and most common thanks to the summer series--are traditional hymns reinterpreted. Another type is the explicitly religious song. Things like chants and modern or "Contemporary Christian" hymns fall into this category. Finally, there are popular or folk tunes.
I like this last category best. Sometimes these pieces are familiar songs indeed. However, we get to see them differently. Through them our religious experience changes as well. White Christmas and Forever Young certainly fall into this category, so does Hallelujah by Leonard Cohen. In the summer we sang songs like O Freedom and Michael Row the Boat Ashore. As "Special Music" (non-hymns) our youth have played things like Elephant Gun by Beirut, Rise by Eddie Vedder and I Still Believe by Frank Turner. Each time they are moved from their secular settings, they grow in meaning if only for us. In a congregation of doubters and seekers, these songs add to the language we use to talk about the transcendent. Also...they are very cool songs.
Anyway, that is what I am thinking about these days. The question with a time like this is how to interpret the holiday in ways that speak to us right now. How do we keep from sounding the same every year? The story--both the one with Jesus in it and the one where everyone wants us to buy stuff--stays the same. What changes is us.
.
Here is Forever Young from this Sunday. There is no uke in it, but that's OK....
Today is ostensibly my "sabbath day". In reality I rarely take it off. This is neither a complaint nor a boast. As with many occupations, the ministry has an organic flow. September to January is our peak season, with another bump during Lent in the spring. I work every day (and many nights) right now as the church feeds off the excitement of the season, the many visitors, and the general positive energy we have tried to cultivate over the past few years. It is a fun time to be part of the Eliot Church and I am enjoying it immensely, even though it leaves very little down time.
However, what I do like about Mondays is that there is more time for reflection. I try to set up my week to allow for reading, writing, and other projects that I might forget to do as time goes on. Many of my colleagues have fairly intense spiritual disciplines. Mine is study. Today is particularly reflective. The kids are home and we are waiting for Frankenstorm.
I think we will have to figure out some indoor activities. The lawn has been cleared of potential flying debris and the rain is finally coming down. It may be a good day to practice music and to read. I actually have a plan to figure out some alternative chord forms for the ukulele. It has been something that I have worked on for the mandolin as well, but the uke could use them more. It is important to have these, by the way, to add a dimension to songs where there are more than one instrument of the same type. All you guitar playing pastors out there might want to find some alternative formations yourselves. More than two guitars doing the same thing and you have big, muddy mess. Most people are too polite to tell you. I am not that polite.
Of course, those of us who play more novel instruments don't encounter this problem as often (except at the Ukulele Melee of course). I have, however, found them useful on the mandolin when I have played with a guitarist in church (My associate, and my eldest son have both played along). By sliding from one form to another, you can follow the melody a bit and create musical cues for the congregation singing along. This is good stuff, I think, that adds to the depth and dimensions of "folk worship". It certainly adds to the music you are playing.
So I better wrap up before the power goes out. Here are some final links and items for thought....
I recently read the book Zen Guitar by Philip Toshio Sudo. It isn't particularly about Zen or the guitar (though these were both touchpoints for Sudo). It was about music and spirituality more generally. I liked it. Buy it used and keep it around when you stop enjoying playing (or preaching or cooking or whatever it is that brings you joy). It didn't have an epiphanies for me, but reminded me instead of things I should have already known. This makes sense, with the Buddhist focus on "beginner's mind." Here is a link to the Zen Guitar Dojo. Sudo himself died in 2002 at the age of 42. However, this page may be worth browsing during the storm.
Also, I referenced some old posts. If you want to explore a bit, here are the links...
Here is the one about the Ukulele Melee. I went a couple of years ago. It is a thoroughly goofy event for uke geeks who are, of course, the best geeks that ever were.
Long ago I wrote about what I mean when I say "Folk Worship" and being a permanent beginner on the uke. You can check that out, too.
Finally, a shameless suggestion. If you are thinking, "what would enhance Adam's music ministry (and family jams for that matter...family)?" a Firefly Banjo Uke would. Donations are, of course, accepted. ;)
OK...the wind is picking up. Have a good storm and keep safe!
Ask any person who is affiliated with my congregation and they can
tell you that summer at Eliot Church is different. There are fewer
folks around. Most of us who are around are also focused on
different things. Even those of us who are around and working have
scheduling changes to deal with, particularly if we have kids. Of
course, we do still try to make it to church from time to time and we
have projects like the garden and building repairs that will keep
some of us busy until September. Life at the church goes on. It is
just altered by the hot weather and long days.
Today, for example, I am dodging electricians and painters at the
parsonage and demolition folks at the church while trying to get a
grip on the music situation for summer services. I will be
officiating at four of them this year. My colleague Matt will take
two and my other colleague Donna has one. It isn't clear if the two
remaining dates will be filled or will serve as a "mini-vacation"
from church. We opened them up to lay folks but it appears no one is
around.
Anyway, the music situation this year is similar to those in the
past. Our Music Director is off and each officiant is left to his or
her own designs when it comes to hymns, anthems, and whatnot. This is
another place where I asked for volunteers and got a couple so we
will be fine. Still--from a worship perspective--summer can be a
challenge. Challenges, however, lead to possibilities...
At the end of this post I will link to my "Ukulele Hymns"
post about leading hymns for small group (and that is what summer
congregations are) worship. I have traditionally played the uke. This
year I will do so again but will add the mandolin and play with
whomever I can each Sunday to add some depth. Before I post the link,
however, I wanted to list a few things that I have learned since that
time which--when added to the previous post--may be helpful to folks
who find themselves in my situation...or in one like it.
The Medium May Change but the Context Does Not:
Over the course of the year (particularly in Advent and Lent) I
have selected and/or played (with other people and on my own) a
variety of songs during worship. What I have found is that our
congregation seems to prefer hymns and folk songs that they already
know over newer or more contemporary pieces. That is, they would
rather sing along to "Michael Row the Boat Ashore" or "Come
Thou Fount of Every Blessing" on the uke or mandolin than, say,
"I Still Haven't Found What I'm Looking For" (by U2) or
some modern hymn. This is in keeping with our context. We
are a liberal church that likes the tradition embedded in our
rituals. To play an old song in a new-to-us way is interesting and
fulfilling. It honors who we are and where we come from. For many
folks, taking one more step into pieces that may not as closely
reflect our church culture also makes us step out of our "worshipful
minds".
A while ago I preached a sermon about how part of the challenge of
worship is to take old things and interpret them in new ways. This is
certainly true in our scriptural interpretation. It is true with
preaching and prayer. It is also true for music.
What this means for another sort of church (of course) varies. If
the tradition is "Contemporary Christian" or if it leans
toward modern pop music, then too much of the folky stuff will start
to sound odd as well. Also, a little variety is necessary anyway.
Horizons need expanding after all. However, it is important to
actually know when we are singing out of context. When we do this, we
need to plan the service with intention and respect..
Simplicity is a Virtue...Especially When Singing:
Leading a hymn is not the same as playing an interlude. Neither of
these are the same as a concert. For hymns, folks are trying to sing
along. The uke or guitar or whatever needs to keep the beat and
provide the cues that keep everyone on the same page. Too much fancy
stuff is distracting and makes participation difficult.
This is even more important when singing. Most of us probably sing
more often than we play an instrument. Also, some of these
instruments encourage us to make greater use of our voices (the uke,
in particular, is a singer's instrument). This means that we like to
slide into notes and mess with the rhythm and melody. This sounds
great in concert and on a CD (and in the shower or whilst cooking
dinner), but it is hard for group singing. If congregants want to get fancy, that is much more than fine. However, the song leader is carrying the tune for everyone else. That is a serious responsibility.
For both singing and playing it is best to be basic. Your job
isn't to impress but to sit in the background and facilitate the
participation of others. If you are a child of the '80's (and some of
you are) or just a fan of good music, then there are a great many
professional examples of good, solid, unadorned musicality to choose
from in the worlds of folk and punk. Listen to Joe Strummer, Shane
McGowan, Tommy Makem, and Pete Seeger. They will set you right.
Practice If You Are in a Group (and Take it Seriously):
Here I am not so much warning against hacking around (it should be
fun, after all) but about being mindful of other performers. This
includes the congregation. Doing a good job means being aware of
other performers and comfortable enough to take in the whole of the
moment. This means being able to "read a room" and adjust
on the fly. This is a skill that preachers (good ones anyway) use all
the time. In order to do that, you must know your stuff.
Take Advantage of the Talents of Other People...and Keep
Expectations Realistic:
Music is the part of the service that everyone gets to participate
in. This needs to be recognized. In our church we have a group of
younger members who are very gifted musicians. They
continue to learn and grow while the congregation takes advantage of
their talents. It is important to recognize growth as the holy thing
it is. However the opposite is also true. We are talking
about a worship service. While professional-grade
performance isn't necessary all the time. There is also a minimal
threshold. People (both children and adults) should notexpect
to be able to play a song whenever they would like. Again, it isn't a concert or a recital...
Well, anyway, the "ukulele worship" experience
continues. Over the summer I will try to remember to post updates.
Past posts on this subject can be found in the "Ukulele"
and "Worship" sections of this blog. Also, here is the post
about Ukulele
Hymns for Congregational Worship...
So today is Ash Wednesday. Alone, it is not a big holiday for me. I don't go for the ashes or the ritual around it. For many folks, of course, it is a big day. If it is for you, I wish you well.
That said, I love Lent. I enjoy the naturally contemplative mood of the season. It also marks the beginning of the coming of spring. Today feels like spring, too. What a relief after the long weird winter. Here at the parsonage there are already a few flowers poking their way through the dirt. Some trees are showing signs of early life. My hop plants are beginning to show some activity as well. Of course, with a good cold snap all of this new life will go horribly wrong. Still, on this Ash Wednesday it is nice to see the frozen parts of the earth loosen up just as our own frozen parts are beginning to feel the thaw.
So Lent is a time for beginning and for beginners. The more open we are to the changes around us, the better these changes feel. The better we feel as we move about in the light once again. Today instead of ashes and church I took the boys for a hike. How great is that? Still, there is more to this season than openness.
This afternoon I will spend a little time practicing the mandolin. Son #1 and I have lessons to go to after my wife comes home. He is taking the guitar to add to his musical experience. He already plays the trumpet. For my son, lessons are a usual part of life. He is a kid. Kids go to school where they expect to hear from "experts". Parents teach them, too. For me, it is different. This "lesson thing" underscores how little of this sort of learning I do now. I am older now and put myself forward in some aspects of life as a sort of expert myself. There are things I know a great deal about, after all. Part of the challenge of being this sort of person is that we (or I, at least) forget that being good at one thing doesn't mean we know squat about something else.
So it is with the mandolin lessons. I am learning discipline. Somewhere floating in the blogosphere is a piece I wrote about being a beginner at the ukulele. At the time, I chose not to take lessons. Instead I fell back on my previous--somewhat faulty--understanding of the guitar and learned enough to play at church during the summer services. This worked well in many ways. However, there is also something to be said for starting from the beginning with someone who can help you get the most out of the experience. By taking lessons I learned, for example, that I had concentrated too much on my left (chord-making) hand and had neglected the simple act of strumming in rhythm. I had also never really bothered to learn to read music or understand what makes a seventh-chord different from a major-chord or a minor-chord, or a ninth. In some ways I had built the second floor before the first. I made the attic before the foundation.
Both my approaches--to the mandolin and the uke--are those of the beginner, but they provide different sorts of perspectives. One (the self-taught uke) is built on the freedom to both explore and to fail. It is a celebration of the wonder of musical discovery. I learned to play this way in the midst of summer when we are surrounded by life and possibility. The other (the mandolin lessons) has to do with depth of understanding, seeing how things connect and how I connect to them. It is a practice built from the ground up. It also requires humility. This is the sort of beginner I want to be in Lent.
I hope that you also find a Lenten practice that makes demands of you even as it rewards your efforts. I hope, too, that it makes you humble. This is a time of year when we have the opportunity to re-orient ourselves. We have the chance to better understand our place in the order of things. It may feel funny at first. We experts don't like admitting what we don't know. However, persistence will bring growth. Growth will bring understanding. Understanding will bring a sort of deep joy and connection that we cannot achieve another way.
We are all beginners all the time. We can try to hide that fact or we can embrace it in all its fullness and mystery. Happy Ash Wednesday. Blessed Lent.
So I finally have worked my way back to the blog after a long hiatus. This may be the way things are for a while as my mind is elsewhere these days. I have been working at the church on various projects and plans. There are also the usual pastoral requirements that seem to be more frequent and intense these days. I suspect that this is the result of my lengthening tenure here. It is good. I am connecting with people in different ways. Also, I have been spending time with my family, getting to know the kids in this phase of their lives and hanging out with my wife as we get used to her new job and schedule. She doesn't have a home office anymore. This means we have to be more intentional about making time for each other.
Now, I do think about Burbania Posts. Every once in a while something happens (like the Super Bowl) that makes me want to go type up a little essay to share with the score or so readers who might accidentally encounter it. Still, there is always something better to do. In the spare moments of my day I would rather read, or visit, or practice the ukulele or mandolin. The fact is, I am becoming old-fashioned. Technology isn't moving me these days. It isn't all that convenient and now I am finding myself increasingly compromised by my friends at Google and Facebook and there rapidly vacillating confidentiality policies. I am enjoying being more of a person and less of a computer part, I guess.
Stepping away from this stuff has been good. I am enjoying interacting with people in more personable ways. I am also finding that a world of church, family, and books is good for me. Even the instruments I play are old-fashioned. In these pictures, you can see them resting on my grandparents' ratty old chair. The chair, itself, and I go back for about forty years. It is interesting that we turn to this sort of thing when we get tired of all the rushing about. I am not nostalgic for a simpler past. I don't think such a past ever existed. I am, however, drawn to things that don't beep or whistle at me and that don't need a plug or a key.
Don't worry, I am not going away completely. I will still be around enough for my information to be stolen. Its just that if you really want to know what I think about something (or what I am thinking about) your best bet is to give me a call, or come to church.
See, I am already worn out from all this typing and posting. Today is my ostensible sabbath-day and I am "stealing time" from other things. Turns out I still do work on the sabbath, but I try to make it more general planning and study-type work instead of focussing on immediate tasks. Right now I am thinking about how the church could offer different sorts of worship at different times. I am planning the music for those services when I double as musician. It has been interesting to listen to different songs played both on the uke and the mando. There are different emphases for each. I am having trouble deciding what to play on which. It will probably depend on context. Who is singing and do I have anyone playing along? Let me know if you would like to sit in on a couple of songs this summer...I'm serious...
I will, of course, post what songs I decide to play both as hymns and for special music this summer (and for any other "special services" I end up with). I will also try to get myself into a reasonable weekly posting schedule as there are things I am thinking about that could use some air.
Anyway, back to it. Worship scheduling, music, family, congregation, even prayer.... Real life is good, even if the virual life is a bit thin in places....
So, as a follow up to my previous post, the jury returned and the answer was "mandolin". A healthy dose of Eliot members contributed to the conversation (virtually and in person) and a goodly number of others chimed in as well. It was nice to hear from folks. It turns out that many of us have opinions about music in general and church music in particular. I find that reassuring. It isn't really just a consumer product after all!
During the "discernment process" I learned a few things. Actually, it might be better to say that I was reminded of them. Many of them had to do with ritual and symbol. I started thinking about this when it was suggested to me that the uke--though certainly capable of achieving depth in a wide range of musical styles--is perceived by many as a "toy". This perception then alters the experience of the worship service. In a different way the same can be said for the organ and the piano. They, too, are capable of a wide range of expression. However, if the uke is viewed as whimsical, these more "traditional" instruments are viewed as formal. In both cases, bringing them into a church makes them liturgical objects invested with religious meaning.
This simple fact brings up questions for the worship leader and church musician. Should you play in a style that reinforces the instruments' perceived strengths and biases, or should you change it up? Will a serious song on the uke or a folk (or jazz, or rock) song on the organ help or hinder your message for that week? The instruments we use are themselves symbols that say something about what worship will be like on a particular Sunday. In addition (particularly for the larger instruments that double as furniture) they send a message to the observer about what kind of people worship in that space. The message may be true or false. After all, they do this without ever playing a note.
I usually try to avoid the terms "traditional" and "contemporary" when talking about worship because they are more of a hindrance than a help. What, after all, is traditional for one group is not for another. What is true is that the instruments we use and the music we play on them tells the story of who we were and who we are right now. The real question for people is whether or not our worship experience fits the context we find ourselves in. Each week we ask our selves if what we see and here is in some way us.
One thing we must all remember, though, is that this context evolves over time. At Eliot Church we originally accompanied singing with bass-viol, violin, clarinet and flute. Today that would be considered odd. Back then it wasn't. It would be wrong for us to look back and assume that our predecessors' greatest wish was an organ (in 1830!!??). More likely it just worked for them. Many songs we now consider "traditional" when played on the organ were made for other media. I still maintain, for example, that one of the worst crimes perpetrated in hymnody was to move Were You There? to the organ. I am sure others disagree.
What does all this mean? It means that we come to church with different expectations about music just as we come to church with different expectations around other parts of the worship experience. We also come with different hopes and desires for what worship will be like for us in the future. This process is different for each of us just as it is different for each congregation. Our challenge as communities of faith is figuring out how to have conversations around these things. This means understanding how our context changes over time. It also means we must understand how it remains the same.
In my Doctoral Project Paper that no one is ever likely to read I talk about how it is important when preaching to speak the symbolic language of the congregation one is preaching to. The landmarks of our lives have special meaning to us and when they are used well, we are better able to engage with an idea or theme. Music is one of those landmarks. It is important to know what works for us and to understand that other styles probably work well for others. The challenge for those of us who lead worship regularly is to be aware of and connected to our communities in ways that make these landmarks accessible to us as well.
So, anyway, the uke isn't going anywhere. Neither are the piano or the organ. However, as time goes on we will continue to seek ways to expand our worship pallet (musically and otherwise). This will include mandolin and guitar. It will include offerings from children and adult volunteers. Each congregation speaks its own language, after all. I think we all want that language in our particular congregations to be as rich as possible.
I have been giving a lot of thought lately to the direction of worship music--particularly non-piano and non-organ music--at the church. Since the advent of our summer ukulele (and other instrument) worship series, we have seen a steady increase in other forms and styles. During the other three seasons, we have never actually replaced a regular hymn, but we have added other tunes to the service. This seems to work well. In addition to the usual soloists that accompany our accomplished pianist from time to time (trumpet, cello, clarinet, et cetera), we have heard from the uke, many guitars, drums, bass, and mandolin. Many of these performers were youth. Folks seems comfortable with that and we have allowed a few of the older and more serious of our young musicians to play on "normal" (non-kid-focused) days.
I, of course, continue to hack away at the ukulele. It comes out once in a while during the year and--I must admit--I seem to be a little bit better than I was two summers ago when this experiment got seriously underway. That said, I feel like I am at a turning point. Perhaps the church is as well. I am not sure, though, so I will keep this post directed toward my own music ministry.
The fact is, I see some weaknesses in the current set-up. The "Adam pulls out the uke" routine isn't quite old hat, but it is limiting. I lead hymns and occasionally play "special music" but I am always on my own. My colleague Matt does pretty much the same with the guitar and occasionally accompanies youth singers. The difference, I think, is that guitar has a greater range.
Also, the uke just cannot compete with other instruments in an ensemble. This Christmas vacation, during one of those family jam sessions that sometimes break out amongst hippy families, I was clearly outclassed in terms of volume. The casual guitarist banging away on a big steel-string will naturally obscure a small, nylon four-stringed instrument. While I don't foresee a time in the near future at Eliot where we would have a regular "praise band," certainly occasional group performances would lend a deeper dimension to what we are doing. When the youth groupers do it, people talk about it for weeks...in a good way.
What I do know is that I have little interest in dusting off my guitar. There are plenty of guitar players of varying interests and skill levels. The world doesn't need another one. One of the advantages of the uke has been that it is unusual. It makes even old hymns seem new and different. The uke makes us quirky and funky. These are both good things when struggling against cookie-cutter worship. Still, as I mentioned earlier, the concert uke does suffer a bit in range as well as volume. Also, mine (the Fluke) does perky well, but struggles when a fuller sound is called for. Most of my work will continue to be solo, so I would like some depth.
This is all a long way of saying that I need to branch out, consider more ensemble work, and generally increase my solo options over the long, hot summer as well as (to a lesser extent) the church year. This will require an additional instrument, but I am not sure which way to go.
I have ruled out certain directions, though. The Banjo, for example, is a great instrument but is too much like the Fluke in sound and image. In fact, I have narrowed it down to three overlapping options...
Mandolin: Over Advent a couple of our confirmands performed Eddie Vedder's song "Rise" on the mandolin and it sounded great. The a-type mando has a clean old-timey sound which would go well in our congregation. It is also loud. As a steel-stringed instrument is can compete with the guitars without need of amplification. This is important in a church with 19th Century wiring.
The downside, of course, is that it is not a uke. I like ukuleles and their mellower, rounder tone. Also I would have to learn new chords. This isn't a deal-breaker. It would be fun! Still, it has to be factored in since I am not that great a musician to begin with and the purpose isn't so much my enjoyment as creating and growing a new dimension in our congregational worship...
8-Stringed Tenor Ukulele: OK, this is an intriguing option. The 8-stringed uke is, naturally, fuller sounding. It is tuned like a regular uke. The larger tenor body gives it a mellower feel. One made of wood instead of plastic would also help here. I know how to play it and the samples I have heard have a lovely, rich sound that would win people over in a heartbeat.
The only problem, honestly, is that they aren't falling off trees here in New England. These are expensive instruments, particularly the solid mid-range ones. I would have to order online and hope for the best. Mandolins, on the other hand, are plentiful. People also know what they are. I have gone to multiple music stores and the 8-stringed uke stumped everyone I talked to. Finally, it would need to eventually take an amp for group play. Wiring aside, this is fine. However, those models naturally are better made and cost more...
Electric/Acoustic Tenor Uke: This occurred to me recently while pestering a local music dealer about mandolins. In order to distract me, he put me in the corner with a Kala UBASS and plugged me in. The UBASS is--as you probably guessed--a bass guitar in the form of a tenor(ish) sized uke body. I had played it before, but unplugged its polyurethane strings make it sound like rubber bands hitting a cereal box. Plugged in, though, it is beautiful. Sting (apparently) likes them because they take up so little space but give a great big sound. I reluctantly walked away from the fretless model. I could see exactly how I would use it. Unfortunately, it didn't fit the needs of the church. That is, it would only be useful in a group. Feel free to buy me one, though. I would definitely put it to work...
Anyway, perhaps what I need to do is get a good solid-wood acoustic tenor ukulele with a good pick-up. It would have the strength of being easier to play solo and in groups. It would have a better sound than my current line-up. Also, I could get a better one of these for the same money that I would spend on one of the other options. The disadvantage, though, is that it wouldn't have the full sound of the 8-stringed instruments. Effects pedals might even the score a bit, but--let's face it--I play pretty small rooms so the natural acoustic sound would dominate anyway. It would be a lovely sound...but it would be one with half the strings of the other choices.
Anyway, I am asking for your help. What do you think? If you are a member at Eliot, what would you like to hear this summer? If you like the current sound, option #3 might make sense. If you would like more range, the others may be more advantageous. If you are not a member, I bet you still have an opinion. I would love to find out your biases.
Let me know...really...either here or one Facebook or by email. I have truly enjoyed this aspect of worship and would like to see it grow!
I am sooo glad 2011 is over. I am looking forward to 2012 and new pages to be turned. Of course, there is some unfinished business to attend to here at Burbania Posts. I got sick before, during, and after Christmas so have been silent in the virtual sense for some time. This means I missed the holidays, end-of-year meditations, and such that were better handled by other clergy-bloggers anyway. What they cannot handle, though, are football predictions and...the ukulele....
So today I wanted to lift up my "Uke of the Year". It is not the best I have played nor is it my "main instrument". It is, however, the best value and--as a New Englander--I like that. I was given this particular uke as a reward for spending a lot of money at a local used instrument store. My plan was to give it to my five-year-old. The ungrateful wretch was so pleased, he threw it in the trash! It is mine now. Finders keepers...
If you are not given one, the Makala MK-SD (because that is its name) is easily purchased for under $40. Most folks would look at such a low price and deem it a toy. In a good way it is! However, in another way it is not. The sound is classic soprano uke. It is durable (it is also part-plastic which is a good thing in this case) so it can be tossed around. It is cute. It comes in bright sparkly colors and features a bridge in the shape of a dolphin. The paint seems to be somewhat thicker than one might expect, but that is in part to hide the plastic and the no-doubt close-to-cardboard front.
Here at the parsonage we have left it sitting on the couch in the living room. Most of us cannot help but pick it up and give it a strum when we pass by. I have found myself playing around with it as I try to think of the right word for a prayer or sermon. It really is that charming. It makes us happy.
So, for the record, I have played a lot of ukes this year. In the soprano category there has been my Johnson UK-100, the "Flea" (and also its cousin the Firefly banjo-uke), a poorly tuned Lanikai, an unamed uke for sale at Best Buy, and multiple varieties with the word "Aloha" printed on them. This little Makala held its own and was far and away the best one for under $40. Everyone should own a ukulele. However, few people should spend more than this. You should be comfortable getting sand in it or hitting it with a soccer ball. More expensive ukes are for people with performance requirements or who want a larger size. Ukes that are both bigger than a soprano and cheaper than $100 are usually not very good.
That said, I will probably buy it some Aquila strings to improve the sound. In fact, the soprano uke is such a small instrument, much of the sound quality comes from strings. This may be a useful tip for those of you who don't want it to be too jangly.
Here is a comparison picture to see what you are dealing with. The smallest one is--yes--the Makala. The Fluke is one size up (concert) and the instrument I play in church. The other is a guitar just to show you how small the uke really is...
