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  • Patti Smith – Because the Night (Tabs)

    Patti Smith – Because the Night (Tab)Download

    Intro: The intro is the most challenging part to get down. But it’s a nifty picking pattern that could come in useful in many places. So it’s well worth learning.

    Verse: The fingerpicked verse is simple. Just a bit of sliding around to deal with.

    Pre-Chorus: Switch to using strums to build into the chorus. The biggest problem I had here was memorising the chords. They shift around rather than repeating exactly.

    Chorus: The chorus is fun to play. You can really bash out the chords.

    This arrangement uses just the end of the guitar solo from the original (bars 31 and 32) to build into the bridge.

    Bridge: More chord bashing in the bridge. The song’s Springsteen origin really becomes obvious here.

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  • Scissor Sisters – Take Your Mama (Tabs) and Jurassic Park

    Scissor Sisters – Take Your Mama (Tab)Download

    Intro: Kicking off with strums and a lot of muting (just relax your fretting hand so the notes don’t ring).

    Verse: A quick campanela lead into the verse. From there, it’s all open chords and a compact melody. Just a long string of pull-offs in bars 13 and 15 to deal with.

    Pre-Chorus: An even longer stretch of campanela notes starting out the pre-chorus. All played on open strings. Even though the song is in C major, the minor third (Eb) crops up here. Giving it a bluesy feel.

    Chorus: The falsetto means a big jump up the neck. Other than that, it’s just bashing out chords all the way.

    Solo: The solo is only loosely based on the original. So you’re free to use your own ideas. For my take, I’m mostly noodling around the chords and throwing in some bends.

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    Jurassic Park (Tabs)

    Here’s a quick tab of the main section of the Jurassic Park theme in tribute to, enthusiastic uker, Sam Neill.

  • Cab Calloway – Minnie the Moocher (Tabs)

    Cab Calloway – Minnie the Moocher (Tab)Download

    Intro: I love the way the Em6 here gives the song a heavy, brooding feel. There are a couple of challenging bits here. First, the slide up to the 7th fret in bar 6. Second, the fast picking on the triplets in bar 10.

    Verse: The verses are nice and simple. If you like, you can use the Em6 here as well in place of the Em. I chose the Em here to make the harmony clearer to the listener.

    Chorus: It’s important to create as much contrast as possible between the call and the response here. So this arrangement has the call in single notes high on the neck. And the response is low on the neck and in a chord.

    Double Time Chorus: This section is a burst of anarchy in the song. It’s also the most difficult to play. So I embraced the chaos and did whatever I felt like in this section.

    Outro: A very effective descending chord run to end on.

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  • Thanks to Patreons

    A massive thanks once again to the generosity of Uke Hunt’s Patreon backers for keeping the site up and running this month.

    If you join Patreon at the Concert level or higher, you’ll get access to all 77 previous exclusive tabs including June’s: The Jackson 5’s I Want You Back.

    And extra thanks to June’s Tenor level backers:

    • Arthur Foley
    • Brian 
    • Dan Dunn
    • Dennis Boutsikaris
    • Elizabeth Beardsley
    • Ely Fletcher
    • Ivo
    • Jeff K
    • Jon Kenniston
    • Kelby Green
    • Leia-lee Doran
    • Margit Stadlmann
    • Mary
    • Noah
    • Pat Weikle
    • Pauline LeBlanc
    • Rick Wurster
    • Robert
    • Steven Pituch
    • Ved

  • Chuck Berry – No Particular Place to Go (Tabs)

    Chuck Berry – No Particular Place to Go (Tab)Download

    Intro: Kicking off with a dissonant augmented E chord before diving straight into the verse.

    Verses: The verses have a call-and-response structure. The vocals are the major scale call, and the guitar licks respond with some minor notes. In this arrangement, I’m playing the vocal part with picking and the guitar part with strums. This helps to make them distinct.

    Solo: The solo is a workout for the strumming arm. It’s almost all triplets. But I’m playing them all with downstrums to keep a consistent attack.

    This is mostly based on the first solo, with a few ideas from the second one thrown in. Feel free to include your own ideas too. But I’d recommend not straying too far from the Chuck Berry style.

    Outro: A fun, if slightly cheesy, descending chord move at the end.

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  • Where Did UkeHunt Go?

    First off, thanks so much for your patience and support while Use Hunt was down. I massively appreciate it.

    As you might have noticed, the site has been struggling for a while and it finally collapsed like a Frenchman in the penalty box. It was a long and stressful journey that ended with finding out that most of the old server was unrecoverable.

    I do have backups of everything (or mostly everything) but they’ll have to be put back manually rather than automatically. So restoring things is going to be a process rather than an event.

    In the meantime, I’ve uploaded an archive of all the tabs to the Internet Archive here.

    Thanks in particular to Patreon backers. I can say very concretely the site would be gone for good without your support. With that, thanks to May’s Tenor level backers:

    – Arthur Foley
    – Brian
    – Dennis Boutsikaris
    – Elizabeth Beardsley
    – Ely Fletcher
    – Ivo
    – Jeff K
    – Jon Kenniston
    – Kelby Green
    – Leia-lee Doran
    – Margit Stadlmann
    – Mary
    – Noah
    – Pat Weikle
    – Pauline LeBlanc
    – Rick Wurster
    – Robert
    – Steven Pituch
    – Ved

    If you join Patreon at the Concert level or higher, you’ll get access to all 76 previous exclusive tabs including May’s Led Zeppelin’s Over the Hills and Far Away

  • Panic at the Disco – High Hopes (Tabs)

    Panic at the Disco – High Hopes (Tab)

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    Intro: Starting out dead easy with the parping horns section.

    Chorus: This section is fiddly. But it’s all contained on the lower frets. It’s also fun to play once you get it down.

    Verse: This section moves up the neck and ramps up in difficulty. Setting up bar 17 is particularly hard. To help with that, I recommend not letting the F chord in the previous bar ring. That gives your fingers more time to set up.

    Bridge: This is the fiddliest section. You can replace the 5 – 6 on the E-string with 0 – 1 on the A-string if you find that easier. Or even just use the open A-string followed by the E-string 6th fret.

    Pre-Chorus: A welcome easy section. You’re just blasting out chords here. That leads into a chorus with just the melody, then a final chorus with chords.

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  • The Clash – Should I Stay or Should I Go (Tabs)

    The Clash – Should I Stay or Should I Go (Tab)

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    The Clash’s Should I Stay or Should I Go like all good punk songs, it’s just four chords. And the melody and chords alternate so you’re only doing one of them at any given time. Just make sure you’re bashing it out.

    The only slightly unusual element is the song shifting to double time in the chorus. So you’re strumming twice as fast with this pattern:
    d – d – – u d u
    d – d – – u d u
    d – d – (then a picking section)

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  • Pink Floyd – Time (Tabs)

    Pink Floyd – Time (Tab)Download

    Pink Floyd’s Time is a real epic so I’ve done the most un-Pink Floyd thing of all time and shortened the song by trimming the solo and cutting out the more atmospheric parts.

    Intro: Starting off with the ticking sound. Made by muting the strings high up the neck and plucking close to the bridge. Then a lick to lead into the verse.

    Verse: This section is forceful and confrontational so keep the chords short and stabby.

    Chorus: The chorus switches from the brooding G minor section to a blissed out Ebmaj7. Let the chords ring out in this section to match the mood.

    Solo: I’ve changed this considerably from the original. So feel free to make changes for your version. I’m using the G minor pentatonic for the solo plus the occasional A note.

    Outro: The outro throws in a few curve balls. It throws in a Gb and modulates to Bb. Then ending on a glum sounding Ebm – E – Cm.

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  • R.E.M. – Shiny Happy People (Tabs)

    R.E.M. – Shiny Happy People (Tab)Download

    It’s crazy it’s taken me this long to cover R.E.M.’s Shiny Happy People given how perfectly it captures my personality.

    Intro: For such a light-hearted song, there’s a bunch going on musically. There are three key changes and a change of time signature before the vocals kick in.

    The song starts in 6/8 time in the key of G# (G in the original) for a relaxed intro before it kicks into 4/4 in bar 4. That shifts into the riff in the key of Bb. The riff is very fun to play. Worth learning even if you’re not bothering with the rest of it.

    Verse: The verse moves into the key of G minor. A less abrupt key change since Gm is the relative minor of Bb. The verse bounces up and down the fretboard. But it’s not too challenging to play.

    Chorus: Things are a bit more difficult in the chorus with the three, slightly overlapping, voices covering a large range.

    Outro: This is made up of the main riff and Kate Pierson’s “Happy peeepooooooole” bit. There’s room to play around with the chorus melody here if you fancy stretching out a bit.

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