S2E8 – Self-Critiquing My Own Playing

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Join me for a walk down memory lane as I listen back to some of my past performances and discuss what I would change and what I liked. Self-critiquing your own playing is a valuable tool for improving at the ukulele.

Episode resources:

Transcript

Edited for clarity.

(00:01):
Aloha. Welcome to the Live Ukulele Podcast. My name is Brad Bordessa, I’m your host. This is a little bit of a last minute podcast, trying to get it out before this Saturday when you’re hearing it. It’s now a Tuesday in Hawaii and it’s a little rainy. Though always lovely, of course.

(00:23):
And this is an exciting week for me. I’m working on putting together my kind of email blast for the launch of my new course called 6th Sense. Say that three times fast. I’ve got all the videos recorded, all the content is created, the tablature examples, all the fretboard charts and everything. It’s uploaded. It is ready for people to consume it, to learn from it. And now all that’s left is just to get the word out there about it. So this is a course for… Mainly for intermediate players who want to take their lead work up to the next level and learn to play harmonized double-stops in the form of 6th harmonies, which I find to be usually the most useful on the ukulele. Though 3rds are a close second. I thought I would start with the 6ths because they’re a little bit more obvious as far as how you can use them. And they have some really great Hawaiian applications, which I look into in the course. So it’s 16 videos of HD, two camera filming that I put together. There are two song walkthroughs, two different Hawaiian melodies that I teach you. And the rest of the content is all about how to harmonize scales, how to create, fills, how to play around chord changes, and how to really use these 6th harmonies in your own music. And, you know, the way that I like to teach is to present my students with concepts so that they can go away and know how to apply something to their own music, as opposed to just being able to play a single song and things like that. But there are a couple song examples.

(02:03):
And I’m really happy with how it turned out. I think it was a really good first effort into this video course thing. I’ve never really done the heavy duty video editing where I did all the color correcting and everything as well, but I got it looking quite a lot better than what I started with. It’s good enough for now. It’s going to be great for those who want to learn about these 6th shapes and yeah, it’s a good baseline for the future as I move forward to make it some more of these. So if you’re curious about learning more about the course, you can find more in the episode description, there’s a link down in the description, wherever you’re listening to it. If you’re on LiveUkulele.com already listening to it on site, you get extra bonus points and it’ll be just right below where the little player is.

(02:55):
So I thought today I would kind of take a trip down memory lane and take you along for the ride. And revisit some old performances and recordings of some different songs that were mainly kind of mainstay songs in my repertoire and my sets as I was performing out and about. But just so you can kind of hear the evolution of my playing, but then also from where I’m at now, in my understanding of music currently, kind of critique what was happening and try and allow you to hear what I’m hearing as a more experienced and advanced player at this point in time. What I would have done differently and maybe give you some ideas for maybe some things that you can improve in your own playing or some things to listen for.

(03:42):
And, you know, we’re all just on a journey and going back and looking at some of these songs, it was really interesting to hear. You know, we take for granted where we’ve come to in playing music and you know, right here is never good enough. At least I feel that way. It’s like, Oh, I could always be better. But then you look back and you kind of see the leaps and bounds you’ve made and certain times in your life when you were playing one way and then, you know, maybe a year later you were playing completely differently, had a different feel. And we can get a little bit more into that when I start rolling the songs.

(04:16):
But it’s also a chance to practically listen to some music on the podcast, which we don’t do a whole lot. Though, if you do like that sort of thing in my extended interview with Tobias Elof, which will be coming up in a couple of weeks, that’ll be the next episode to be released. He plays a number of songs and we also listened to some of his, one of his new singles that’s coming out, or out by now. But yeah, should be fun.

(04:43):
Let’s get right into it. I will cue up some of these songs I’m going to walk you through, let you know, some of the backstory of them and we’ll go from there. Let me know what you think of this episode and any other episodes. If there’s any content that you would really like to hear me share about, please let me know. You can find out how to contact me on LiveUkulele.com.

(05:06):
So this first song I want to walk you through is a very early demo that I did with my friends, Isaac and Micah Wang, who were sort of my musical compadres growing up. And Isaac actually was one of the people who helped me kind of found LiveUkulele.com because we thought we would make a ton of money and pay our way to go to the Kahumoku ʻOhana music workshop. That didn’t happen. Isaac got a little bit less interested in the website, but I always really liked it, even though we weren’t making a lot of money and have worked on it over the years and continued it to where it is now. But those two guys were kind of my sounding board for music and we played lots of gigs early on together. Micah played ukulele along with me and Isaac was more into learning slack key guitar.

(05:57):
But this I would imagine is from like 2008, probably. We were kind of like just starting to make a push to start gigging out for the first time. And I remember we played, I think like the King Kamehameha Hotel, there was some art gala thing – some sort of art presentation that we played a couple songs at. You know, just like at a podium mic, not even properly plugged in, but then a little bit down the road, we started to play at different venues around Kona. And we were very stoked to get paid in food by playing, like, at Island Lava Java or something down on bayfront Kona. And yeah, this was a part of our demo CD that we took to the managers and said, “Hey, why don’t you let us come play? We’d be really great. Here’s our CD. You can hear what we sound like.” And so this is one of the songs that we put on there. It’s our rendition of Guava Jam. I think every ukulele player has to do this song if you live in Hawaiʻi.

(07:07):
So the thing that I noticed in all of these early recordings is that when you’re beginning to play, always, always, always have the tendency to rush. And I know I rushed terrible in this era of my playing. It probably wasn’t until I went off to school at IHM that I really kind of cured that. Pretty sure I’m playing lead on this whole track and Micah and Isaac are just playing rhythm. But a lot of times Micah and I would go back and forth on leads and try and keep it dynamic and get everybody involved. And the tendency is to rush when it gets hard. Right? You think that you’re not going to be able to play fast enough. So you try and compensate by playing faster and it ends up just rushing. Something that kind of bugs me about my old playing sound is it was so kind of tinny. I hadn’t gotten to a point where I had developed a very good tone on the ukulele. I was just getting the notes out. That’s one thing that I’m so happy that I kind of moved beyond. I bet we rush here… Oh that wasn’t too rushing on the outro. Usually it’s the outros. You get like excited to get to the very end of the song.

(09:19):
But yeah, what I was saying about the tone is that… Kind of, before I went off to school, I was spending… My family had moved up to Honokaʻa and I had this killer basement bedroom, kind of the house is built into a hill and I kind of had… The downstairs was half in the hill, half kind of on the upslope side. And it was kinda my own zone. It was a pretty big room. There’s lots of room to have like my amps and stuff set up. And I was practicing a lot at that point. I miss having the desire to practice that much, but I remember sitting and I would just sit and work on my tone. Like just how my nails struck the strings, different ways I could file my nails, all the angles I could possibly attack the string with. Different touches, different locations on the string. And I know I’ve explored this significantly in… Well in some of my books and in a couple of articles on the website, but it’s just really dear to my heart because I feel like that was some of the most important practice time that I ever spent. It was just like, working on my tone and getting that so dialed in. And you can really hear the difference between that early recording from 08 or 09, whenever it was, into some of the later clips you’re going to hear.

(10:43):
And so this next one, the sound quality is not super great. I pulled it off of my YouTube channel. I don’t have the original recording and it’s just kind of crappy camera audio. But it flashes forward to 2011, I think the timestamp was at the Kahumoku ʻOhana workshop. Eventually after being students for long enough at the workshop, got to a point where we got our own slot at the concert day, there was always a concert day at the end of the workshop where everybody got to… Like the choir would sing and we’d present. And of course all the workshop instructors would play. But it got to the point where a lot of us kids, we were getting to a point where we could present, we could be performers as well. And so, you know, Uncle Keoki Kahumoku would let us have a spot on stage and we’d play three songs, just get on, get off. And this was, this is one of them.

(11:37):
This is actually a tune off of my EP. Isaac came up to Honokaʻa and we recorded this one day, but this version is with me and his brother, Micah, who, you know, back in the picture again, you’ll see him one last time before, before is out. And my good buddy who I haven’t seen or heard of in years and years and years, Joe Mann, who actually plays cello. He’s this kickass cello player. And we had a lot of fun jamming. Joe actually lived right across the way in Honokaʻa where we kind of grew up. This was a little piece out of our set at the Kahumoku veterans day concert. And I apologize for the audio quality, but it is what it is and it’s interesting to see. And I’ll put links in the episode resources to all these videos, or at least the ones that are available on YouTube.

(12:37):
First and only time I said that! And again, we kind of get some rushing going on, getting into the vibe of the song. A lot of times the rushing doesn’t happen so much in the middle of the song, I find. But at the beginning when you’re getting established and then at the outro, when you’re getting excited about the ending. So this is Micah playing lead right here. And then it switches to me. I find that kind of a side effect of being a solo performer and getting used to playing songs by yourself a lot is that you end up kind of adding more fills and chord punches than you normally would need to when you’re playing with a group. And I noticed that, watching this video and listening to the audio, that I was putting more in there than I needed to, and it could have been a lot cleaner if I just let the band do the work and hold the harmony up around me and just focus on playing lead. Back to Micah. You can hear his pickup was really kind of struggling. And that’s a huge deal when you’re performing live is having a good pickup sound cannot be overstated. Right here Micah does a really good job of kind of playing to the dynamics of the song and Joe and I didn’t follow him so much. And poor Joe. He had like, you know, we played through the song once, maybe with him, and I know the song better, of course. So I should have followed him and been able to bring the vibe or the energy of the bridge down a little bit more. That would have been a really nice musical touch. And here you can hear Micah playing some higher chord voicings to try and stay out of my way cause I’m playing the lead like on the first to third frets on the A-string and the E-string kind of. So he’s trying to get up out of my way with his harmony, which is a good call. I’m not sure why we did this bit for an arrangement. I think it was to create a little solo transition. You can totally hear Micah has been listening to a lot of Jake right about this time. But otherwise this little fill doesn’t do much for the arrangement. Totally rushing the outro.

(16:14):
But having a precise collected ending is super important as well. And that’s something that I learned more and more over the years is that if you can like da, da, da, that kind of exciting ending that we had for that song. We may have rushed up to it, which I don’t like, but having that walk-up, it’s very synchronized and it gets the whole band on the same exact page. And when you can nail it, it’s so much more exciting than just like fading out or just kind of coming to a halt. It’s just like… You were driving the car at a hundred miles an hour. And then at the very end, you just went off a cliff. And that was just the end of the song. And that’s sort of the impression you like to leave people with when you play kind of an upbeat, exciting song like that – especially an instrumental, you have a little bit less to work with. You got to kind of use the different dynamics you can pull out of the instruments to their best effect.

(17:21):
So thanks for tuning in. This is my self critique of some old school recordings. We’re moving up through the years. We’ve gone from like, 08 to 2011. Next we’re going to go to 2013. Before that I want to encourage everybody to check out my new course called 6th Sense. It’s 16 video lessons on how to play 6th harmonies, almost two hours of teaching material and priced similar to like what you’d expected at a festival workshop. Actually this week – this is going to get dated really quick. But this week only up until April 24th, you’re going to be able to get 20% off of face value. So it’s just going to be 20 bucks. And at the end of launch week, it’s going to go back up to $25. So jump in while you can. Please go check it out. If you get in and you think it’s great, feel free to send me an email with a testimonial, help me hype it up, get people involved and teach some folks how to get some Hawaiian sounding 6th sounds.

(18:32):
And I used Hawaiian as kind of the target genre, because I feel like most people have no idea how to play Hawaiian music. And that’s a very accessible way to introduce them to some Hawaiian sounds. But it’s all applicable to any genre of music, whether you play jazz or country or rock and roll or pop or whatever, it may be, 6th harmonies are there. Because 6th harmonies exist in every single chord you play, for the most part. It’s a built in harmony. And just this shows you how to pull it out and use it as a lead instead.

(19:11):
So now we’re flashing forward a bit to 2013. Same thing. This is again at the Kahumoku ʻOhana Music and Lifestyle Workshop at the end of workshop concert, again, and I’m accompanied by Micah Wang. It’s been two years and the improvement from 2011 to 2013 really super struck me when I watched this kind of, to prepare myself for, for this podcast episode. Because what I noticed is that… Okay, so backing up a little bit from 2012 to 2013, I went to the Institute of Hawaiian Music over on the island of Maui spent a year and a half blasting through kind of a condensed two year certificate program is what they considered it. And we played a ton of music. We learned how to kind of speak Hawaiian language. Not super well, just like 201 level, but well enough to know what we’re talking about in the songs. And we played a ton of gigs, which is what I think is probably the reason for a much more collected stage presence, greatly improved time, and just a number of other things that kind of come across so much better when you’ve had a chance to be on stage a lot, which I really hadn’t back in 2011 when the last clip was from. You know, I had played a few gigs here and there and Kona town or whatever, and played a couple of times maybe at the Kahumoku workshop, but those were like huge deals because we’d never done it before. But coming back to camp in 2013, I had played, you know, a hundred gigs, hundreds of gigs. I don’t even know how many shows we played or how many songs we just jammed while we were in the Institute of Hawaiian music. But it was a profound number for the amount of time that we were there going to school, doing homework and all of the stuff, basically a full course load, along with playing gigs. It was pretty bonkers.

(21:29):
I’ll let it speak for itself. This is a Herb Ohta, Jr. and Daniel Ho tune called “Step It Up.” I hope he doesn’t mind me sharing Micah and I’s cover of it on the podcast. He’s usually pretty cool about that stuff.

(22:00):
So Micah is playing lead here. I’m on rhythm. And my pocket is just profoundly improved from Carve. Just like sitting way back, letting the song kind of speak for itself instead of trying to push it along. And at this point I had just gotten the Moore Bettah. So my pickup pluged in sound is a lot better than it was with the – I think it was the MISI in the Kamaka. It just feels like we’ve really grown up a lot as musicians.

(23:06):
And so now I’m playing lead, trying to rip off Daniel Ho a little bit. And so as far as solos go, I don’t feel like I had as much to say at this point, musically. But I feel like this is probably the best my chops ever were as far as being able to just power stuff out. I was really well-practiced at this point in my career. And the unison playing here is kind of a cool touch. And at this point, Micah and I had played together a lot more than we had before. There’s no substitute for time when you’re playing with somebody, just understanding where they’re going to be in the groove, where they go for their solos, how you can kind of counteract that or counterbalance it. It’s just really powerful stuff having played with somebody for a long time. And unfortunately, I don’t think Micah is playing a whole lot these days. He’s doing the daddy thing. Got married a number of years ago and has a couple of kids. I think number two just came out. Love you, Micah if you’re listening. That’s a really nice variation that Micah has got going on there. Going high when it usually goes low.

(25:39):
I totally don’t remember this part. I really like it though. That’s cool. Sometimes you do great stuff and you don’t remember that you did it and you go back to playing the song the old way, but it can actually be quite clever when you do stuff like that. And so like that movement: dah, dah, dah, dah, dah, dah, dah, to break up the chords. I feel like that’s a much stronger arrangement sort of statement because it’s very different from the rest of the song. If you go back and listen to the outro of Carve where there’s kind of the little vampy jam solo thing at the end. That’s just, it’s kind of like more of the same just with different chords, maybe more open chords and it’s fine, it does the job, but that’s sort of a thing where you break it down.

(26:36):
It sounds like I’m playing some sort of octave riff kind of as part of the rhythm part, it catches your ear a little bit more and pushes the song along because you’re not used to hearing that. And it’s like, Oh wow, the rhythm just changed significantly, but it still fits. But it’s much more interesting. And then when you go back to the chords, it’s like, Oh, well that’s familiar. And then when you change it again, it kind of becomes this rhythmic motif that your audience will get used to hearing. And kind of every time you do it, it’ll get a little more familiar, but it’s still movement. And it’s still exciting because it is a variation – a significant variation. And so that’s part of the power of arranging is that you can do it as poorly or as greatly as you would like, or as you know how. Because just a flat, boring arrangement, won’t be that interesting to listen to. But if you do like an exciting arrangement where there’s lots happening and things are changing and moving around and the instruments are shifting, doing different parts, that’s a real joy to listen to.

(27:41):
I know I’m going to lose a lot of the older folks out there who are listening, but like Fall Out Boy, the first couple of Fall Out Boy albums are so much fun to listen to because they’re just, there’s a million things going on, but it’s always changing and it’s always dynamic and there’s breaks and there’s punches and the riffs play together. And it’s just super, super dynamite as far as arranging goes. And I love a well arranged song. Everybody does. It’s just lots of fun to listen to. And so good job. Pat on the back old Brad!

(28:17):
So as you can tell, that last clip I was probably most excited about hearing back. It sounds really good. I can be really proud of that moment in time. And I think it was the end of the workshop. It was kind of a Zen place for me if I remember right. Just being there, kind of right after school. And yeah, it would have been November, 2013 and I graduated in May or June or whatever it would have been. Yeah. So I was just like in s super calm, low key place, kind of a piece of myself having, cause I’m home at this point. It was sort of stressful being, not home, being in school and being away. Yeah. It was a good moment in time. I remember Uncle John Keawe came up to me afterwards. He said, “Brad, that was bad. Bad good.” And so that felt good. That was one of the first real big name compliments I remember ever getting. It was like, “Oh, Uncle John liked it. Wow. Wow. That’s pretty cool.” So thanks Uncle John. That little bit of approval goes a long ways and it’s much appreciated.

(29:32):
And so up to this point of what you’ve been hearing, I haven’t really gotten into singing a whole lot. I really started singing in 09 when my family back to California, for some random reason one year. I think they were planning on maybe selling the house and then the economy crashed and that didn’t pan out. And we ended up just moving back to Hawaii anyways. But I was teaching a few lessons out in Cali and I remember that I realized at one point, it was like, “Oh, damn. I’m really going to have to learn to sing if I want to be able to have students and be able to present songs with them, cause they need that to hang on to, I can’t just hum a song or play the chords and expect them to know where the melody is. They need that from me as a teacher.” So I was like, okay, I’ll try and start singing. And so I started singing like really straightforward, easy songs, like Waimanalo blues. I remember being one of them. But before that I hadn’t really dabbled in singing too much.

(30:32):
And after that I started to do it more and more. And even in school I wasn’t doing a whole lot, but it was becoming a little more natural. I remember taking vocal lessons as one of my special like extracurricular classes. We had some funds for like paying for private lessons in school. And so I remember taking some vocal lessons with Karen Sarring who’s a fabulous vocal teacher over at the University in Maui. And that was super helpful, but I still wasn’t like there. It got easier over time. It wasn’t something that I’ve… It’s still not something I’m super comfortable with, but I appreciate the value that it brings to music. Being able to share lyrics along with the musical – or the instrumental component, I should say. It’s all music. It’s just very valuable. People will normally have more patience to sit and listen to a vocal song, even if it’s poorly song than an instrumental, because you have to work so much harder to keep an instrumental interesting.

(31:39):
It’s really a tough thing for ukulele players who are like, “no, I don’t want to sing.” Like Jake. Kind of the fact that… Well any instrumental ukulele… Solely instrumental ukulele player, really. Like Herb and Jake and, like, you know, Kalei Gamiao, I don’t believe he sings. Kris Fuchigami… Brittni Paiva. These people don’t really sing. And the fact that they’ve been able to make it work is that much more amazing to me. Because the whole entire set it’s gotta be just like, wow. It’s gotta be amazing the whole time. Whereas if you sing, you catch people a little bit more kind of off their balance because they ended up listening to the lyrics, listening to the story, listening to kind of your expression of the story. It is, it’s just a story when you have lyrics. And they listen to that and they pay attention to that. And they’re not as… That can be dynamic. The story can be dynamic in addition to the music, as opposed to only having musical dynamics to work with.

(32:47):
Anyways, we’re going to flash forward considerably here. This is 2019. A couple of friends and I – Higgs who’s been on the podcast before – and my buddy Dagan Bernstein decided to put together kind of an artist appreciation venue was basically what it was. But we wanted to give people in Waimea town and Honokaʻa and the surrounding areas – Big Island, basically. We wanted to give folks a chance to play their original songs and really be heard. You don’t think about it, but that doesn’t happen very often. To write an original song and to perform it somewhere… You know, if you perform it at a festival, people are drinking beer and talking to their friends or doing whatever it’s a festival. If you play it at a restaurant, people are eating their dinner. They’re not listening to you. You’re just background music. So we decided we’re going to just start this venue that is very intentionally for listening. And we called it The Listening Room and, damn it, there’s no talking whatsoever when the person is playing. You know, you’re there to listen to the song that they wrote and they’re now sharing with you. And so it was kind of a revolutionary thing and people really liked it. We didn’t get as much support as I would have liked just because it’s a small town. It’s a small Island. It’s hard to get people out after hours. They’re just not used to that being available. And once a month, trying to get them to come out was a challenge.

(34:15):
Anyways. This is from my set when I played at The Listening Room. So this is a vocal song. All that to say, this is a song where I’m singing and I actually haven’t listened to this one all the way through since digging it back up. So it’ll be interesting to hear because I do notice that… Especially vocals, your presentation changes significantly over time, as you learn to sing better and express better and better. So this is called “Bulletproof.” It’s off of my LP, If Only. And yeah, you’ll hear all that it’s about right about now.

(35:09):
I’m playing this with a capo to get it up to where it’s a little bit more comfortable to sing. That’s why my ukulele sounds kind of closed and small. So it sounds to me like I’m singing a little bit back and I’m not presenting the song super well, lyrically. I feel like if I was to sing it now, I would enunciate more. One of the things that Karen Sarring told me early, early on when I was singing is that you need to like break it up more. Some people sing everything really clipped. I’m not one of those people. I try and legato everything. And so singing out and enunciating and, you know, stopping notes as I’m singing is one of the main points that I focus on when I’m trying to sing, because it’s something I really struggle with. And I think the reason I do that is because I’m trying to avoid popping the mic or getting like crazy sibilance or you get that hard S or T or G sound, whatever it may be. And that helps – it’s something to be aware of as you’re using a mic, but it also can detract from your enunciation. And sometimes you just got to like, say, screw it. I just really need to enunciate the song and make sure my words are heard. Because it’s a lot harder to hear words when you’re singing them over an instrument than if you’re just like talking. I’m using a lot of dynamic range right here for this outro riff. And then of course the classic chimes at the end.

(38:43):
Noodling! Not approved. No. That very naturally happens. It’s kind of, I think it’s just a reflex that a musician puts in there. I gotta to fill the space. Musicians are really shy about space, pay attention to that sometime. We kind of get insecure on stage when there’s just nothing going on.

(39:02):
Though I will share, before we wrap up here. I went to a concert at the Honokaʻa People’s Theater once super low key thing. It was, I believe he was from Turkey, definitely middle Eastern, but he played some like Turkish folk instrument played amazing music. But he requested at the beginning of the concert, please don’t clap at the end of the songs. And there weren’t a lot of people in the theater. It wasn’t a big show. It wasn’t super well-promoted. And you know, you got to have a certain special kind of interest to, you know, go to see a Turkish musician or a Turkish folk musician, nonetheless. And it was profound. To just let the music exist into silence and into space. And he intentionally let there be big gaps before he talked again. But like there was the very first song, there was, you know, somebody in the back it’s like… And everyone’s like, “shh!” And after that, no one clapped after the songs. And it was amazing. This was years and years and years ago, this is fairly early on from when I moved, moved to Honokaʻa. Must’ve been like right after I got back from school or even before I went to school. I don’t know. But it really stuck with me cause it was a very profound illustration of the power of silence. It was mind blowing.

(40:32):
So if you get the chance, when you’re performing a song, don’t feel like you got to fill the space. There can just be nothing, just let it exist. And you know, it’s a spell, you’re casting a spell when you play a song and you can either continue it by doing the right thing or you can break it by doing the wrong thing. And sometimes noodling can be kind of be good. It can kind of be a segue. You know, sometimes talking can be good, it can be kind of a segue, but then also it can kind of kill the vibe. And if you’re just talking to fill the space, you know, ask yourself, if you should just wait a second or start the next song or go right into your story of the next song, as opposed to just like running your mouth or diddling. That’s another thing that I’ve had to learn over the years.

(41:19):
But there’s less… I have less to say about that more current performance because it’s a lot closer to me and I haven’t progressed as much past that point. I mean, certainly I think I could probably play it better. I could certainly probably sing it better now. Not necessarily from a chops standpoint, but from a comfort in expression standpoint. I feel like I have a lot more variety in my library that I can pull from to present a song in a more interesting and engaging, relatable way. And that just comes from time and just playing music over a long period of time.

(42:04):
Thanks for coming along for this ride with me. I hope it was kind of interesting. I needed something to talk about on the podcast. I wasn’t quite sure what to do. I had another subject in my mind, but I didn’t want to do something that was like negative vibes, which this other thing was a little bit negative. So I thought this would be an interesting thing to throw out there and give you kind of a look back into my past and some of the different phases that I’ve gone through. And some of the different sounds that I was producing at different times. Because we really do change over the years. It may seem like everything’s the same, but it really is not.

(42:45):
So thanks for listening. The Live Ukulele Podcast is published on the first and third Saturdays of every month. If you’re not already subscribed on Apple Podcasts or Google Podcasts, mainly Apple Podcasts is the big one. Please do so. If you’re not signed up for the Ukeletter, my kind of lamely named newsletter that I send out usually less than once a month, but at a time like this, when I’m launching a course, I’ll send out a number of emails this week to let people know about what the course is about and everything like that. And if you’re interested in learning how to play 6th harmonies on your ukulele, please follow the link in the episode description and check it out. I’m really proud of it. I think it’s a good start for good things to come.

(43:27):
As always, take care of one another, be safe out there, keep playing music, and keep making those good vibes. I’ll catch you in the next episode. I’ll be talking with Tobias Elof. We had a really fun interview and I’m going to finish editing that up the next few days. Get that uploaded for your listening pleasure. See you down the road. Aloha.

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Double-Stop 6th Harmonies for Ukulele

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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