S2E15 – Getting Out of a Rut

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How to find inspiration when you’re feeling stale.

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Transcript

Edited for clarity.

(00:02):
Aloha, welcome to the Live ʻUkulele Podcast. My name is Brad Bordessa. I am your host. And this is the podcast where we talk hard issues with real ukulele players, except there’s no one I’m talking with for this one. Cause it’s just me. That’s all right. We’ll still have fun.

(00:21):
But I want to talk in this episode about getting out of a rut, finding inspiration and what normally causes that kind of lull in your playing and improvement and some ways to overcome it and to get kind of back on track and getting stoked about playing ukulele again.

(00:43):
Before we do that, I want to remind you that liveukulele.com and the Live ʻUkulele Podcast are supported by listeners like you. If you haven’t already, please go check out the website, maybe peruse some of my eBooks and maybe my ukulele course, my video lesson course. All the proceeds of those go towards the time that I put into creating the podcast and also all the free content on the website. And if you haven’t already, go sign up for my newsletter, that’s a great way for us to stay in touch about upcoming products and things like that. New content, new podcasts, all that good stuff.

(01:26):
So being stuck in a rut is something that often happens to intermediate players who are a little bit burned out on learning ukulele, they’re not sure if their efforts are going towards the right things, they’re not sure what to do, they’re not sure what to practice. They’re not feeling stoked to do any of these things because they don’t see kind of the big picture of how it’s going to be helping them move forwards. And this is pretty understandable because especially in the intermediate level, it’s a place kind of, of slogging. You’re just kind of grind-stoning your way through all this material that isn’t really new, but that you need to get more familiar with. You need to get more comfortable with. And that’s really, to me, the essence of the intermediate stage is it’s like majority beginner stuff, but at a higher level and better.

(02:24):
And that’s why I think a lot of intermediate players sort of get frustrated that there isn’t any intermediate content. Because all that really separates the levels is how well you play these different things and how well you apply these different things. And there’s not necessarily… I mean, there are some subjects that are like intermediate specific, but you could also say that there’s not really any subjects that are advanced specific. It’s just all on one level, all different ways of doing things. And the level that you bring your ukulele playing kind of is what makes that presentation at whatever level. Anyways, that’s sort of a little bit off topic, but from an intermediate standpoint, getting stuck in a rut can feel a lot more bleak because there’s not really any content that you see around that’s like, you know, 10 ways to improve from intermediate to advanced. There’s not so much that kind of an attitude when approaching it, just because of the inherent place – or the inherent, I don’t know, meaningfulness of that level and of that place in the ukulele progression space.

(03:43):
So I think the first thing to understand is that if you are indeed just working at poking through and putting hours on the instrument that you need to get to a place where you’re a little bit more comfortable and happy, just playing things on the instrument. And I always encourage people to try and find the joy in whatever you’re doing. If you approach everything with the attitude of, you know, “oh, this is boring, this is just a stepping stone on the way to X, Y, Z.” Then it’s going to be easy to get burned out when there’s not new things stimulating you all the time. And that’s sort of like the new internet era, Facebook era of scroll, scroll, scroll, scroll, scroll, like, like, like kind of a thing. And ukulele playing and music isn’t like that. It doesn’t have that instant reward. That’s so obvious. It’s a long game thing where you work on something repeatedly and it gets a little bit better and a little bit better. And if you can’t enjoy the music in those repetitions and just be happy that you’re making beautiful sounds, then it’s going to be a lot easier for you to get stuck in a rut because everything you do is going to be like boring, right?

(04:56):
So in this episode, I’m going to try and share some thoughts on how to get out of that rut. And most of them are going to revolve around inspiration. That’s really what you’re looking for when you’re stuck, is like: what inspires you to take it to the next level to make it engaging again? What’s inspiring?

(05:21):
And so the first thing that is kind of counterintuitive that I find kind of helps me when I’m feeling stale – getting stuck in a rut, getting stale, being bored with the instrument, it’s all kind of in the same vein and it all sort of is the same thing, it’s just with different names – but for me is take a break. Don’t play music for a week and experience the other things in life. Because a lot of music – especially as I’m getting a little bit older and, you know, maturing with music kind of as my past – in my history – I’m starting to see that really the majority of the music that I create is more and more informed by life and by what I’ve seen and by the things I’ve experienced.

(06:13):
So even if I’m not playing – Isaac and I talked about this in the last episode – even if we’re not playing, a lot of times that life that you’re living in between is going to inform your music and make it a little bit more rich, make it so that… You know, maybe your chops aren’t super up or super proficient at that point in time. But the music… You have a lot more things to say with the music. And so I think that’s an important kind of counterpoint to practice practice practice is don’t practice, practice, practice, and instead go explore the world. Go for a walk, you know, notice the details, notice how beautiful the world is. Even, you know, even if you’re in the middle of the city, notice the amazing things that occur there and the amazing bits of the human experience that you can pull in to inspiration for your own music. And then hopefully when you return to playing, you’ll have a bit more perspective kind of as an occupier of this world. As opposed to like, oh, I’m just an ukulele player and it’s very cut and dried, and I need to practice this to get better at this and… There’s no such formula. It’s very much more of a experience and a journey, this whole music thing.

(07:32):
And so if you can inform that with some inspiration… You know, I’m a big proponent of nature. Being awed by the majesty of the world around us and of nature. I’m really an outdoors guy. And I know COVID has made that difficult for a number of people in certain places in the world. But even if you can just get outside and go to the park, you know, notice, notice like how the grass grows. It’s it sounds silly, but that’s an amazing thing. And I think that it’s really easy in this world of instant Facebook likes and dopamine gratification of scrolling to the next post or whatever. To appreciate really how amazing everything is. I’ve heard it said that music is life on a little scale and life is music on a big scale. And really it’s very true because you can express better than almost any other medium things in life with music that you can’t otherwise. You know, like try and express feelings with words and a lot of people get totally washed up. They don’t have any way of doing so. I know I’m not. I can sit here on this podcast and talk to you, but I’m not really a word person and I have a hard time putting feelings into words. But with music it’s easy because that’s like the perfect medium for expressing that – or the best medium that we have – as humans with art. And for me expressing the feelings in music is the easiest way to do that.

(09:08):
So get outside, appreciate the world, see some awesome things. Just, just take a break, maybe expose yourself to kind of different things maybe than you would normally. Different environments, different thoughts, different ideas, different people. And disconnecting from the music, unplugging from the music for a moment can help bring you a little bit more life when you return to the music. That’s always been really helpful for me.

(09:40):
In a rut, it’s easy to feel like you’re very much existing on your own plane and there’s no one around you. It can kind of feel isolating to be in that place and to play music. And I know a lot of ukulele players around the world are the only ukulele player within miles and they don’t have the ability to really socialize in a musical sense. So that can feel very isolating. And I’ve experienced that. I mean, I grew up playing music and kind of honing my chops in Honokaʻa where, you know, my buddy Ryan plays a little ukulele, but otherwise you don’t really see a whole lot of people. If they do play, it’s like kani ka pila style or they only play like at the hotels and you just never know that anybody around you plays ukulele. And so I kind of grew up honing my chops in that black hole.

(10:48):
And for me, the big inspiration that I could draw that made music feel a little more social was being inspired by other music and going down different musical rabbit holes and really appreciating stuff that’s outside of what I normally listen to. I kind of laugh about the fact that I play predominantly Hawaiian music, and I tend to write singer songwriter style songs, but like my joy of playing is Hawaiian music. I would probably rather play Hawaiian music than anything else. But when I get in my car and I got my sound system and everything’s groovy, you know, I’m listening to like heavy rock and sometimes some metal stuff and hip-hop and these genres that are very much not connected to Hawaiian music, but that are kind of inspiring because they are so different. And because with my instrument and my abilities, I can’t really touch that. I’m not like a rapper type. I’m not going to throw down a sick verse. And the ukulele doesn’t distort very well. And it’s not tuned very low. So I can’t do like drop D metal guitar. So it’s sort of like putting yourself between that inspiration that is so different from what you do and what you play, and then the actuality of what you do and what you do play. That contrast can be very inspiring and it can inform. All you’re trying to do is just inform yourself of alternative perspectives, I guess.

(12:31):
And so if you listen to tin pan alley stuff and that’s like, what you like to play is like old school music, try and, you know, go down a different rabbit hole. Try and find… Maybe there’s music from that era from a different part of the world. You know, what was hot in Italy at that time? That would be something that’s radically different from… Or it might be. I don’t know what was hot in Italy in the twenties. But just try and find that kind of difference in the music and something that is unfamiliar to you and kind of foreign and maybe rubs you the wrong way. But find something that rubs you the wrong way in an intriguing way. Where it’s like, oh wow, I’m really not used to this. It kind of makes me uncomfortable. It’s not necessarily something I would jam to, but I can appreciate how these people had these feelings and express them in these ways. And, you know, put that side by side with your tin pan alley and see what happens, see how you feel about it, see what inspiration you can draw from that.

(13:43):
Because I find that it’s really great to have idols inside your instrument. And I mean, not like inside the sound hole inside, but like inside the world of the instrument you play. Like Herb Ohta, Jr. for me was my mentor and somebody I really looked up to and tried to emulate a lot. Or James Hill or Tobias or Brittni or whoever you look up to in the ukulele world. That’s really good. And it’s very relevant and it’s something definitely to aspire to and work towards. Learn what you can from those people. But it’s also very close to home learning from those people. Which is why, if you go to other genres of music… You know, listen to guitar music, listen to piano music, listen to orchestral music, listen to koto music. Whatever it might be. Having that big gap in the backgrounds of the styles. It’s going to give you ideas and make you think about things differently. And when you go back to playing G7 to C, you’re not only going to hear it from an ukulele player’s perspective, but you’re going to start to hear it in contrast to a koto. It’s like, oh, can I koto even play G7 to C? I don’t know. Right? It just, it makes you makes you hear things in a different way.

(15:07):
So anytime you can get out of your comfort zone of music… You know, I think there’s a big difference between enjoying music, the music that is comfortable for you, that you grew up listening to, or that you find informative to your life. You know, like the soundtrack of your life. That’s very different from music that can be inspiring and contrast full to what you already know. And so find those things.

(15:37):
And there are lots of tools out there. I don’t necessarily rep Spotify. I don’t believe that they treat their artists very well. And the rates that they pay, the people whose music they’re streaming are very, very low. At least they are at my last time of understanding. I believe they’re working on passing some legislation that’ll hopefully help the artists out a little bit more and get Spotify and Pandora and all these to pay their fair share. But it is a great place to discover new music, to find things that are very outside of your comfort zone. Because you can just search by keyword and find something that is… You know, “20s Italian music” what would that pull up? And it might not actually be 20s Italian music, but it’s likely to be something that you otherwise wouldn’t have listened to and will have a very different background from what you’re used to.

(16:42):
All right. So we’ve talked about a couple of things that are kind of outside of the ukulele that can inform you in an inwards way. Where you’re inspiring yourself through external means. But there are ways on the ukulele that you can try and jumpstart your inspiration by kind of again, getting yourself out of the comfort zone. We’re talking about getting out of a rut. The whole idea is to kind of, you know, bounce your world so that you hop out on the other side and become more interested in what you are playing. And so there are some things you can do on the ukulele, but before we get there, I want to cover real quick, kind of the paradox of the whole, the whole idea here.

(17:29):
When you’re in a rut, you’re usually not very inspired to play and playing can seem kind of boring, not something you necessarily want to spend your time doing. But when you do get inspired again, if you haven’t been practicing at all. You know, the length of time you might be uninspired is different for everybody different for different times in your playing abilities. It might be a couple of days where you don’t feel like playing. It might be a year where you don’t feel like playing. It really depends on you as the person. But if you take all that time off and you weren’t feeling inspired, and then you kind of boomerang back around and you start feeling inspired again, not having played, you’re going to regret that. That’s what I have found in the past is like, I haven’t been inspired for the past couple of months. I haven’t really been playing a whole lot. When you come back around, those two months, even if you aren’t inspired, you know, that is a lot of time that you could have been practicing, even mundane things that like, okay, well, I’m not inspired. I might as well play uninspiring things and just run scales or learn the fretboard or whatever your task might be for practical technical improvement. When you return, you know, it’s nice to have your chops still there so that you can hit the ground running and be inspired again. Not always the case. Sometimes you just don’t want to play and that’s fine. But that’s something to keep in mind is that if you are in a rut, you should know that even if you don’t feel like you’re doing anything, even if you feel like you’re spinning the wheels, just having that technical experience and the repetition of playing something over and over and over again, that is lending itself to your abilities and down the road, you’re going to appreciate that you didn’t stop playing.

(19:18):
But returning to things that you can do on your ukulele to inspire yourself. Again, try something different. Again, going back to the last episode where I talked to my buddy, Isaac Wang. Had a really great discussion. We talked about some of the backstory of Live ʻUkulele and also some of his kind of thoughts on the progression of music and being a musician who doesn’t necessarily get to play as much as he’d like. Cause he’s very busy with the university. Worth the listen, if you find any of those subjects interesting. But he was saying that alternate tunings can be a great way to inspire yourself because it throws you onto unknown ground. And for the most part, for an inspired ukulele player, who’s like just wanting to learn a lot and feeling excited about the instrument. I wouldn’t necessarily recommend an alternate tuning because it just throws an extra layer of complexity into something that’s already difficult: learning how to play music on an instrument. But if you are in an uninspired place and you are needing something to kind of jumpstart your creativity, jumpstart, your stokage, you can try retuning your ukulele to something.

(20:39):
And the point would be not to learn an alternate tuning. You know, don’t go out and Google, you know, best alternate tunings for ukulele, because you’re not going to find a lot of information, but also why? It seems like it would make a lot more sense to me just to retune retune your ukulele. Start turning the tuning pegs and see what you can come up with. Some of the coolest tunings that I’ve ran across are when my car ukulele sits in the car for a while, it becomes all de-tuned because the strings have gone hot, cold, hot, cold, hot, cold, and it’s a terrible mess. Everything’s out of tune. But if I listen to that and I listen to what of that I could use and what I need to retune. A lot of times I’ll come up with some interesting tunings that I wouldn’t otherwise have thought of. Because you know, everybody’s ukulele is going to sit in the car and react differently. Don’t leave your ukulele in the car, unless it’s an Outdoor Ukulele or a similar plastic one. Because that is bad news.

(21:40):
But anyways, if you just do what somebody else has already done, it’s going to be something where you’re going to be inclined to study it in a way that’s already been done. And the kind of the whole idea is just to do something different, do something new that you’re going to kind of have to just force yourself to figure out and follow your ear. And so just retune your ukulele to something that sounds weird or nice. You know, a lot of times, most of us don’t give enough credit to our ears. And people say, “I can’t play by ear,” or “I can’t tune by ear” or whatever ear related excuse they might have. But your ear, for most people, unless you’re like really, legitimately tone deaf, your ear is going to tell you what is happening on the instrument. And what is going to sound good or work and what is not.

(22:35):
And so just start turning the pegs. Start turning the pegs and see what happens and see what you can come up with. And then once you do that and you have an ukulele that is in a tuning that sounds kind of funny. You’re not going to know anything. You’re not gonna know what the chord shapes are. You’re not going to know what the notes are. You’re not going to know where anything is because the idea is that it’s a completely fresh fretboard with nothing that is similar. And you’d be surprised how fast this changes. Even if you de-tune one string, it’s a completely different instrument. You have to think about it completely differently. And so the whole idea is that you will be forced to play by ear.

(23:18):
If you’re not already somebody who plays by ear, you’re going to be forced to play by ear because that’s all you have to rely on is your ears. You don’t know anything about this tuning except what happens when you press your fingers down on a string. Does this sound good? Yes or no. And you move on from there. Does this sound good? Yes or no. And by assessing that, you’re going to come up with sounds that you otherwise wouldn’t have come up with. Any time you place a finger or two down and like, oh, that sounds like a chord. It’s probably a chord voicing that you’ve never played before on ukulele because the strings are in a different order. And the notes that you’re playing inside the chord are all rearranged. And so having these new tones are going to, they’re going to sound different. It’s going to be like having a new flavor in your spice cupboard, but it’s also going to force you to, if you’re not already playing by ear, it’s going to force you to kind of explore that little world like, oh, what happens if I play this?

(24:20):
And if you haven’t played by ear a lot before, the thing to know is that playing by ear is all trial and error. It’s easy to get a little spoiled when you’re playing off of the paper and taking lessons and doing things very by the book in that, you know – “know” – the way things should be. But if you’re playing by ear, you don’t know any of that. You’re just creating music in its rawest form. And so that’s really beautiful. And I find that that is very much a way to get yourself out of the rut is just play something that is completely different, play something that is completely wrong from what you’re used to. That would be the first place I go for inspiration on the instrument. So retune that sucker and see what you can come up with.

(25:36):
In another time, in an earlier time, back before the internet was really rolling, I used to buy concert videos, concert DVDs. And I would get the DVD and I would put it in the DVD player and I would sit and watch the concert of whatever artist. I’ve got a number of them here. I never had a whole lot, but I think that I’ve kept most of them. And it’s not always just concerts, but kind of some variety just to give me inspiration and to make things a little bit more interesting. I got the Doobie Brothers live at Wolf Trap. The Doobie Brothers were actually my first rock concert. That was pretty cool. I went with my pops, great band. I was listening to one of their albums the other day and it’s just really strong music. I got a couple of Eric Johnson lesson DVDs from Hot Licks, which are fabulous if you need some inspiration from like a technical standpoint. Cause Eric Johnson is just a totally bad cat. He’s amazing. And he shows you a lot of his techniques and approaches in these videos. One that I watched a lot was Santana’s Sacred Fire. It’s a concert in Mexico City, but it was kind of like, for me at least, it was the very peak of his playing and his sound and the band was still young and excited and the crowd was super into it. And that’s a really inspiring one to watch. Cause Santana’s always been a big hero of mine, musically and dude-ily he’s a cool guy it seems like.

(27:21):
But just having these videos to reference kind of like, how is somebody at the very top doing it? That was always the question. It was like, I’m not going to be Santana. I’m not going to be the Doobie Brothers. I don’t necessarily want that kind of fame and regard. That’s not why I play music. But what are they doing that I can borrow? Because they’re obviously doing it at a very high level. If you’ve got a legitimately published concert DVD, you know, you’re a thing. Of course, things are different these days with YouTube and everything. Not many people are going to publish DVDs at this point. But take your favorite band or your favorite couple bands, see if they have any concert footage, and watch it. See what they’re doing, see how the songs are different live, see how they work the stage. Pay attention to what they do. And if it’s well shot, you’re going to be able to see how they’re playing.

(28:22):
And I’m not talking ukulele players here. There’s only a couple of ukulele DVDs that I know of though. There are lots of YouTube videos of ukulele players, which kind of does the same thing, but it’s also nice to just have that full concert experience. I recommend checking out Hi Sessions by John Yamasato. He does a nice job over there of capturing performances. And these are all Hawaiian artists so it’s predominantly, you know… Hawaiian artists who are going to have an ukulele in the mix. I know Jake’s over there, Taimane had one, Brittni has done one, Tobias has done one. There’s a lot of great content of just being able to watch ukulele players in a professionally shot environment. That’s pretty great. But also, mainstream bands that you appreciate and you like, they’re going to have a completely different presentation of their songs. And by seeing how somebody in a different part of the music world exists and presents and plays their stuff, interacts, all these different facets of music. That is going to be inspiring to see and informative to see.

(29:51):
You can also take lessons. Find yourself some good instruction and allow a teacher to kind of guide you on your way and guide you through something that you wouldn’t otherwise think of. Because everything I’ve talked about up to this point is sort of self-motivated. And I know some people don’t do so well in that kind of environment. They need someone else to push them. By having a teacher or by finding some instruction and telling yourself, okay, I’m going to stick with this. Either work all the way through the video lessons or, you know, take, take Zoom lessons or in person lessons with someone for a month and see what happens. And a lot of times that teacher is going to bring things to the table that you’ve never thought about. And just having a little taste of that and having someone else say, you know, like do this, this, and this with these, these, and these materials, a lot of times that will be interesting enough that it will push you forward. and you’ll be kind of jump-started into engaging with music positively again. And so that’s something I would try out.

(31:05):
This is not something that I necessarily had the opportunity to do so much out here. When I was cutting my teeth, it was a little bit before Skype and Zoom were really like a no brainer. But I did have the annual Kahumoku ʻOhana Workshop to go to. And that was always sort of like the real electric charge of, yeah, I’m so excited to play music. I get to go hang out with all my friends and learn from amazing artists and just experience all this for a week and then I’d come home all charged up. So if you have an opportunity to be in that charged environment, that’s really powerful too. A lot of people like ukulele festivals, but there are also like bluegrass festivals or bluegrass workshops or like fiddle camps. I’ve got a couple of friends who grew up going to fiddle camps. And even if you don’t necessarily play the fiddle, there are oftentimes opportunities for other instruments. And if you’re really clever, you could take the ukulele to any workshop that teaches any instrument and adapt all the material. As long as the instructors and the facilitators of said to workshop are open to it. That would be a possibility as well. But just having that third party material portrayed directly to you can be very interesting and engaging and like, oh, that’s how they do it. They sound really great. I like the way they play. That must be worth checking out.

(32:48):
But at the end of the day, as I kind of opened up with it really comes down to finding joy in the music that you are playing. And I don’t really have the silver bullet for this, but I feel like it’s something that I try and continually help people get to a place where they can enjoy this and experience this. Because so many players, they kind of choose a way that makes themselves miserable. And music should be anything but. So as you’re playing, don’t go into it thinking that you suck or that, you know, this isn’t what I actually want to be playing. This is just something I’m practicing so I can get better. You know, anytime you play a note, you’re creating music and you want to be able to honor that as best you can. And if you can get to a point where you play a note and go, wow, that’s pretty. That is where you want to be. Is that anything you play is going to be fun and engaging and beautiful.

(34:03):
Because everything you play, it’s all, it’s all in the ear of the beholder. And if you’re playing, if you’re the one who’s sitting, listening to your practice sessions, you want to have a positive ear for that. Like, you know, maybe it’s not perfect, but enjoy what you are getting right. If you can only play two notes out of a song correctly, play those two notes and appreciate those two notes. And when you get the third one, it’s going to be an exciting thing. But try and find a way to make yourself laugh. If you’re not getting out your instrument and when you pick it up and you’re playing, if you’re not like feeling giddy and getting giggles, I think that really is a shame and is something to examine as far as your interaction with the music and with the instrument. It’s like every time I pick up the ukulele and I play something, and if I can like tweak it a little bit from what I normally play and find a new expression with something I already use, that just gives me a big kick. I get all excited on something like that. Cause I’m like, oh wow, I’ve never played that before. Or, oh, wow, I’ve never done this song like that before.

(35:22):
Yes, a lot of these things come with comfort in music, but they’re not complicated. They’re not complicated at all. The majority of the stuff I’m playing, again, it’s just a more advanced interpretation or iteration of simple things. That’s all I do. And people get so hung up on, oh, I want to learn advanced techniques. Or I want to learn intermediate techniques or intermediate material, intermediate songs. And it’s like, you know, yeah, that’s fine. But really what you’re doing is you’re just, you’re adding to it with your more advanced interpretation and learning to interpret simple things in a way that is more musically exciting.

(36:08):
You know, if you give “Twinkle Twinkle Little Star” to Jake and say, play it for me, he’s going to make it sound beautiful and interesting because he’s a very high level player. Don’t put “Twinkle Twinkle Little Star” in a box because it’s “Twinkle Twinkle Little Star.” Your only limitation is your approach to the song. And so if you can take all the music you play with that grain of salt, then you kind of start to see that, you know, I am the limitation. You are the weakest link. And with that comes the joy of being able to expand that weakest link and become a little bit better with material you already know. Just change it, tweak it, make it better, play it cleaner, play it in a swing time instead of a straight time. Change the rhythm, drop one of the chords back a beat and bring the next chord forward. Whatever it might be. Phrasing. Learn how to phrase things differently. If you really play loud and see what happens, or if you want to just play it very relaxed, like a late night radio talk show… All these, all these things are available to you. You just have to see the inspiration for finding what they are, what your options are.

(37:36):
Anyways. That’s enough about that. I think I hope that you found some inspiration here, got a couple of ideas. And even if you’re not going through a learning rut, these inspirations can still be very useful to you. It might supercharge your playing to the next level. And if you do end up in a learning rut, which most people do get kind of in a slump after a certain amount of time, it’s just sort of part of the experience and the journey of music, you know, come back to this, reference it again. Or hopefully you’ve internalized some of these ways of finding inspiration and you can just roll right into, oh, well I’m feeling stale. Time to pull out X, Y, Z, or time to retune my ukulele or time to go to my library and check out some random CDs off the shelf and see what the heck they sound like. That’s the kind of stuff that helps keep people stoked on playing music is the variety. The variety and the joy. That’s what we’re going for.

(38:43):
Thanks for tuning in. This is the Live Ukulele Podcast. My name is Brad Bordessa. The rest of my teaching materials can be found on liveukulele.com. Many lessons, tabs, songs, and resources – charts, diagrams, etc you can find them all over there on the website. And if you want to experience the best of my work, my highest quality presentations, most thorough explorations of certain subjects, check out the store and have a gander at my ebooks and my 6th Sense ukulele course. The proceeds of these all help offset the time I putting in to creating this free content. Your support is very appreciated. Please go subscribe to the podcast if you’re not already, leave a review. And I’ll see you in the next episode. Be inspired out there, people. And keep living that life and informing your music with it. It’s the best way you can do things. I’m outta here. Aloha.

brad bordessa avatar About the author: Brad Bordessa I’m an ‘ukulele artist from Honoka’a, Hawai’i, where I run this site from an off-grid cabin in the jungle. I’ve taught workshops internationally, made Herb Ohta Jr. laugh until he cried, and once jammed with HAPA onstage in my boardshorts. More about me