Rockabilly-For-Uke-Final Ukuele Zen

Rockabilly for Uke: “Uke-a-billy”
Volume 1: Classic Rock n Roll Rhythm Styles for Ukulele
Copyright 2017 Stukulele Music www.stufuchs.com

Welcome to Volume one of Rockabilly for Uke: “Uke-a-billy”
Thank you SO much for your purchase of this book! This first volume is dedicated
to everyone who has attended my ukulele workshops - and for the growing
worldwide community of “Ukulele Zensters” who have enjoyed my videos on
my You Tube Channel “Ukulele Zen”….your support means everything to me!
For years now I have been offering ukulele workshops all over North America
and beyond. I’ve been repeatedly asked to create a method book about the
rockabilly/classic rock n roll style. At last the first book is here!
I want to outline a few important things before you dive in:
Firstly: This first volume of “Rockabilly for Uke” is NOT a songbook - it is a

method for learning how to bring the styles of rockabilly and classic Rock n roll
accompaniment to your ukulele playing. In the process of learning these
rhythm and accompaniment skills, you will be improving your uke playing for
ALL the music you play.
There are so many resources out there for finding song sheet with chords & lyrics
for the songs you’ll love to play - my intention with this book is to give you the
skills needed to make your ukulele playing sound more in the style of
Rockabilly/classic Rock n roll.
Perhaps someday I will assemble a songbook, but for now I wanted to teach the
stylistic nuances of Rockabilly music that so many ukulele players have been
asking me to explain in more detail.
Secondly: this is the FIRST VOLUME of a complete “Rockabilly for Uke” method.
In this volume will be focusing on rhythm playing (rhythm is king!). VOLUME TWO
will cover soloing with single & double notes, chord fills and will feature a few
COMPLETE solos painstakingly transcribed for you to learn. Rock n Roll !!!
Thirdly: As you work through his book be sure to watch the accompanying
videos - they will help you understand and apply the material better. If you’re
reading this in an e-book (PDF) format, click on the links…or you can type the
links into your web browser.
At the end of the book there is a complete list of each video - and a full playlist
available on my you tube channel “Ukulele Zen” (please subscribe!)
Finally: Be sure to read & listen to the recommended artists - Most of learning
music is about listening - which is both fun, informative…and very inspiring!
Enjoy the journey & thanks again

for your support!
Copyright 2017 Stukulele Music www.stufuchs.com

NOTE: CLICK HERE TO WATCH ALL LESSON VIDEOS IN ONE PLAYLIST
WHAT IS ROCKABILLY MUSIC?
Rockabilly or "classic" rock and roll is one of the earliest styles of

rock music, dating back to the early 1950s in the United States, with
its roots in South. The term "rockabilly" itself is a marriage of
"rock" (from "rock 'n' roll") and "hillbilly", the latter a reference to the
country music (often called "hillbilly music" in the 1940s and 1950s)
that contributed strongly to the style.
As a musical style genre it blends the sound of American roots styles

such as country, bluegrass with that of rhythm and blues to form a
new style of American dance music. Other important influences on
rockabilly include western swing, boogie woogie, jump blues, and
electric blues.
Defining features of the rockabilly sound included strong backbeat

rhythms from drum & upright bass, wild electric guitar solos, wild
personalities, tape echo effects, and vocals that not only shrieked with
wild excitement but also gave voice to the growing youth movement of
the 1950’s. May of it’s leading figures came to symbolize teenage
romance & rebellion.
But it’s not all about cruising at 90 MPH in your straight 8 cylinder hot
rod and playing mailbox baseball. Your own exploration of the style
will reveal how many of these out and out rocking artists also recorded
very tender ballads with gorgeous vocal and instrumental harmonies
can be traced directly to gospel church music of from South.
The influence and success of the style waned in the 1960s;

nonetheless, during the late 1970s and early 1980s, rockabilly enjoyed
a major revival. An interest in the genre endures even in the 21st
century, often within a subculture. Rockabilly has left a legacy,
spawning a variety of sub-styles and influencing other genres such as
punk rock.
Perhaps YOU will become the next link in the chain of

rockabilly - propelling the music forward on your ukulele!
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Notable artists to listen to
This is by no mans a complete list! The following artists are a few of the
many pioneers in the Rockabilly style, as well as some modern players as
well. Their music is essential listening for anyone who wants to get into the
sound of this truly American music. Checkout their hits - and their lesser
known tunes to find some real gems! Listen to learn, learn to listen.
__________________________________________________
Little Richard (born December 5, 1932), Pianist an influential figure in

popular music and culture for more than six decades, Little Richard's most
celebrated work dates from the mid-1950s, when his dynamic music and
charismatic showmanship laid the foundation for rock and roll. His music also
played a key role in the formation of other popular music genres, including
soul and funk. Little Richard influenced numerous singers and musicians
across musical genres from rock to hip hop; his music helped shape rhythm
and blues for generations to come, and his performances and headline-
making thrust his career right into the mix of American popular music. Little
Richard has been honored by many institutions. He was inducted into the
Rock and Roll Hall of Fame as part of its first group of inductees in 1986. He
was also inducted into the Songwriters Hall of Fame.
Check out: “Good Golly Miss Molly”, “Tutti Frutti”, “Long Tall Sally”, “Keep a
Knockin”, “Send Me Some Lovin’” …and everything Little Richard did!
Chuck Berry (born October 18, 1926) is an American guitarist, singer and
songwriter and is one of the pioneers of rock and roll music. With songs such
as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll
Music" (1957) and "Johnny B. Goode" (1958), Berry refined and developed
rhythm and blues into the major elements that made rock and roll
distinctive, with lyrics focusing on teen life and music featuring guitar solos
and showmanship that were a major influence on subsequent rock music.
Check out: The songs listed above plus: “No Particular Place to Go” , “Brown
Eyes Handsome Man”, “School Days”, “Memphis Tennessee”, “Sweet Little
Sixteen”, “Too Much Monkey Business” …and everything Chuck did!
Carl Lee Perkins (April 9, 1932 – January 19, 1998) Carl Perkins was an
American singer-songwriter who recorded most notably at the Sun Studio, in
Memphis, Tennessee, beginning in 1954. His best-known song is "Blue Suede
Shoes”. Perkins penned so many great songs that were recorded by artists
(and friends) as influential as Elvis Presley, the Beatles, Jimi Hendrix, and
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Johnny Cash, which further established his place in the history of popular
music. Paul McCartney claimed that "if there were no Carl Perkins, there
would be no Beatles.” How’s that for some high praise! Called "the King of
Rockabilly", he was inducted into the Rock and Roll Hall of Fame, the
Rockabilly Hall of Fame, the Memphis Music Hall of Fame, and the Nashville
Songwriters Hall of Fame. He also received a Grammy Hall of Fame Award.
Check out: “Blue Suede Shoes”, “Honey Don’t”, “Movie Magg”, “Everybody’s
Trying to be my Baby”, “Matchbox”, “You Can Do No Wrong”
Jerry Lee Lewis (born September 29, 1935) Jerry Lee became known by
his nickname, The Killer. He has been described as "rock & roll's first great
wild man.” A pioneer of rock and roll and rockabilly music, Lewis made his
first recordings in 1956 at Sun Records in Memphis. It was his 1957 hit
"Whole Lotta Shakin' Going On" that shot Lewis to fame worldwide. He
followed this with "Great Balls of Fire", "Breathless" and "High School
Confidential". Lewis has a dozen gold records in both rock and country. He
won several Grammy awards, including a Lifetime Achievement Award. Lewis
was inducted into the Rock and Roll Hall of Fame in 1986, and his pioneering
contribution to the genre has been recognized by the Rockabilly Hall of
Fame. In 1989, his life was chronicled in the movie Great Balls of Fire,
starring Dennis Quaid.
Check out: “Whole Lotta Shakin’ Going On”, “Great Balls of Fire”, “Crazy
Arms”, “Breathless”
Bo Diddley (born Ellas Otha Bates, December 30, 1928 – June 2, 2008),
was an American R&B and Chicago blues singer, guitarist, songwriter and
music producer who played a key role in the transition from the blues to rock
and roll. His influence cannot be overstated! Bo Diddley had an impact on
artists including Elvis Presley, Buddy Holly, the Beatles, The Rolling Stones,
Eric Clapton, The Who, Jimi Hendrix and Parliament-Funkadelic.
His use of African rhythms and a signature beat, a simple three and five-
accent hambone rhythm, is a cornerstone of hip hop, rock, and pop. In
recognition of his achievements, he was inducted into the Rock and Roll Hall
of Fame and won a Grammy Award from the National Academy of Recording
Arts and Sciences. He is also recognized for his technical innovations,
including his distinctive rectangular guitar.
Check out: “Mona”, “Who Do You Love”, “I’m a Man”
Eddie Cochran (October 3, 1938 – April 17, 1960) was an American

musician. Cochran's rockabilly songs captured teenage frustration and desire
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in the mid-1950s and early 1960s. He experimented with multitrack
recording, distortion techniques and overdubbing even on his earliest
singles, playing the guitar, piano, bass and drums. His image as a sharply
dressed and good-looking young man with a rebellious attitude epitomized
the stance of the 1950s rocker, and in death he achieved an iconic status.
Sadly, Cochran died at age 21 after a road accident, while traveling in a taxi
in Chippenham, Wiltshire, during his British tour in April 1960, having just
performed at Bristol's Hippodrome theatre. In 1987 Cochran was inducted
into the Rock and Roll Hall of Fame.
Check out: "Twenty Flight Rock", "Summertime Blues", "C'mon Everybody",

and "Somethin' Else”
Brian Setzer (born April 10, 1959) is an jaw dropping guitarist , singer and
songwriter. In the early 1980’s he formed 1950s-style rockabilly revival
group Stray Cats whose music helped usher in a modern revival of rockabilly
music with several worldwide hits. In the mid-1990s Setzer once again
resurrected an older form of youth-oriented music, swing and jump blues
music, when he formed The Brian Setzer Orchestra, an ambitious 17-piece
ensemble project, which has released four studio albums and toured
worldwide.
Check out: “Rock this Town”, “Stray Cat Strut”, “Sexy & Seventeen”, “I won’t
stand in your way”
Deke Dickerson (June 3, 1968 in St. Louis, Missouri) is an American singer,

songwriter, and guitarist. Deke is a big figure in the modern rockabilly
revival. His style incorporates country, alternative country, rockabilly,
hillbilly, blues, Western swing and rock n’ roll. Dickerson writes a regular
column in Guitar Player magazine and feature articles in Vintage Guitar
magazine and The Fretboard Journal. He also organizes an annual "Guitar
Geek Festival" held in Anaheim, California, every January, during the NAMM
Show.
Check out: “Red Headed Woman”, “Will you be Mine?”, “Mis-shapen Hillbilly
Gal”, “Hot Rodder’s Lament”, “Mexicali Rose”
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Chapter One: Strum patterns for Rockabilly
Rockabilly is fundamentally dance music and that means RHYTHM IS
KING. By practicing these strums in the manner outlined below, you’ll
develop rock-steady rhythm & groove skills that will serve your ukulele
playing in every style of music.
Here are the three essential grooves/strums that we will be covering for use
in Rockabilly for Uke (“Uke-a-Billy"). While there are many variations, these
three will serve you very well and cover most styles you’ll be playing in
classical rock n roll/rockabilly styles.
These strums are based on rockabilly rhythm guitar styles which traditionally
are played on an acoustic guitar, while the lead player decorates and fills in
the groove with single note lines, double stops, and finger picking (ala
“Travis Picking”…more on that later!) Think of the musical roles of Elvis and
Scotty Moore for an example.
1. SHUFFLE BEAT STRUM

This is the rhythmic feel you hear in classic songs like “Blue Suede
Shoes” (Carl Perkins) and “Rock Around the Clock” (Bill Hailey and the
Comets). This groove can be used on literally thousands of songs from rock
n roll, blues & swing/jazz styles.
This groove has a bouncy, swinging feel to it. Although written as a steady
stream of 8th notes, they are based on a triplet figure, creating an UNEVEN
eighth note pattern of “Long, Short, Long, Short”.
Below is this shuffle beat strum -notated on an A7 chord

(For all the examples in this book - follow the direction of the arrows for
down & up strums - not how they go across the tablature’s strings)
Count: “one and, TWO and, three and FOUR and…” (beats 2 & 4 are
played louder) It is difficult to notate in writing the sound of this UNEVEN
eighth note shuffle strum. Most music is learned using oral tradition!
Watch this video for an example of the shuffle beat:

https://youtu.be/nr-TERuqCWQ
Lessons, E-Books, Music, Press kit @ www.stufuchs.com

Practice Tip
“If you can say it, you can play it” - African Music Wisdom.
Please follow this THREE STEP PROCESS for internalizing any rhythm you
want to learn. It was shared with me by my African drumming teachers and
it really works!
Use it and you will be richly rewarded with an easier path for learning as well
as a sense of empowerment (“HEY! My hands really ARE doing what I’m
asking them to do!”)
1. Say the rhythm out loud
Music begins with the human voice and body. Period. When you can make
the sounds you want with the musical instruments you came into the world
with, then putting these sounds onto an instrument is much easier. Go slow
& be kind to yourself as you learn to cultivate and refine your rhythmic
sensibilities.
NOTE: Your voice needs to be audible and not whispered…if the sound can
make it back to your ears, then it is making it back to your brain and
creating a positive feedback loop.
Please don’t skip over or underestimate the importance of this process. The
deepest lessons I’ve ever received from African drumming to classical and
jazz guitar all included this process of “say it, then play it”.
What we’re working with here is dividing the steady pulse of the quarter
note into three even parts - sounds like “Buf-fa-lo, Buf-fa-lo Buf-fa-lo, Buf-
fa-lo…”
WITH A STEADY TEMPO YOU SAY ALOUD (Three different ways):
“TRI - PAH - LET, TRI - PAH - LET, TRI - PAH - LET, TRI - PAH - LET”
“1 and a, 2 and a, 3 and a, 4 and a”
2. Coordinate the speaking of the rhythms with the motion of your strum
Note the middle of the triplet pattern (the “and”) is left out - and we only
strum on the 1st & 3rd part of the triplet figure in a down & up motion:
TRI - PAH - LET, TRI - PAH - LET, TRI - PAH - LET, TRI - PAH - LET
“1 and a, 2 and a, 3 and a, 4 and a”

SAY IT & PLAY IT AT THE SAME TIME…YOU’RE GETTING IT!
3. When relaxed control is achieved, drop saying the rhythm along -
continue to “vibrate it” in your consciousness while you play
Practice this slowly at first, then increase speed. Steady your tempo by
playing to a metronome click. As musicians, we want to learn to be rock-
steady with our tempo, and the metronome is your best friend for training
you to not speed up or drag behind.
Think of your metronome as your “drumming buddy” - always keeping

steady groove for you. It will click (or beep) on the beats - the numbers
you’re counting.
At first, metronome practice can feel frustrating and even a little confining…
but please keep up with it.
The metronome is your best friend and will make your groove steady & solid!
A steady groove that doesn’t waver is very important…especially so with
dance music like rockabilly - the folks who are dancing want a steady groove
to join in with!
Watch this video for an example of how to practice with the three
step practice process outlined above - and how to use the
metronome:
https://youtu.be/DT4ZDWIsj3c
SPOTLIGHT ON BACKBEAT
Now, for the icing on the cake - backbeat! This is what makes the music of
blues, jazz, funk, & soul make you wanna dance.
The full expression of the strums in this chapter is to hold down this bouncy,
uneven 8th note feel and accent beats 2 and 4. In other words, play beats 2
& 4 louder than all the other parts of the strum. This is the part of the
rhythm that makes you want to clap along - often the snare drum will be on
beats 2 & 4.
By making these two beats stronger, your ukulele strum will sound more like
a drummer who is locked in. Try out the Shuffle and Straight Eighths strums
with this back beat feel on beats 2 & 4 and you’ll instantly notice an extra
hip-ness in your playing…no matter if it’s a fast or slow song.

TIP: Note that making the accents pop out of the strum texture is also
about playing everything else softer.
Watch this video for an example of how to practice backbeat rhythm:

https://youtu.be/3ef6Z-U7etU
2. “Straight 8ths” note rock n roll strum
This strum is essentially the same as the previous shuffle beat strum but
WITHOUT the triplet feel. It’s not “bouncy” like the shuffle feel.
This rock-steady strum has backbeat accents on beats 2 & 4 - it is the

rhythm you hear in ”Johnny B Goode”, “I Saw Her Standing There”, The
Rolling Stones’ “Brown Sugar”…countless tunes!
To be able to switch between the shuffle and straight 8th feel is an essential
skill that is not so hard - but one must listen to lots of examples of each
rhythm to really get the sound of it into one’s ears…and strum!
Watch this video for an example comparing the straight 8th

note strum to shuffle feel:
https://youtu.be/2y29YHPZWmQ
3. FAST SHUFFLE STRUM

This strum is essentially the same as the previous strum, but with only one
single strum at the beginning of each pattern. When playing a fast song this
break in the rhythm can make the groove much clearer. It will also give
your strumming hand a much-needed pause when keeping up with an up-
tempo song.
Below is this fast shuffle strum - notated on an A7 chord:
NOTE: This groove also has the “uneven/swing 8th note feel” to it. Practice
this groove with the same procedure as outlined above…this way you’ll get it

faster than you think! When you’re ready, add the backbeat accents on
beats 2 & 4 for the full effect.
Watch this video for an example of the fast shuffle strum:

https://youtu.be/qa4ZR8H0brU
4. “DOWN DOWN UP, UP DOWN” (as a Rock n Roll

Strum)
This is a familiar pattern that nearly every ukulele player goes to… almost by
default. This is not to say it is a bad thing - in fact, it's a very good thing to
have a strum pattern that feels so natural. If the player changes the way
this ubiquitous “DDU, UD” strum is articulated, the groove changes from a
Hawaiian island vibe to more of a rock n roll feel.
Say & Play: “Down, Down Up, Up Down…”
The difference between playing this strum with an island vibe and a rock n
roll sound is a subtle difference and can’t really be shown in written
notation. However, it can be learned by listening and mimicking the two
feels. Again, both of which use the same exact strum pattern but they are
articulated slightly differently.
Watch this video for an example of the two feels of the

DDU UD strum
https://youtu.be/i6cOv9CrxsY
5.RHUMBA/LATIN STRUM (The Bo Diddley Beat)

Along with DDU UD, this is one of the most versatile rhythms in all of
popular music. Rockabilly has elements of Caribbean and Latin music to it -
some songs use this rhythm a lot! You’ll hear it in the rockabilly classics like
“Who Do You Love?”, “Not Fade Away”, “20th Flight Rock” as well as Calypso
songs like “Jamaica Farewell”, soul ballads like “Under the Boardwalk”, Latin
music and more.

The best thing about the Bo Diddley beat is the fact that this strum is
more familiar than you may realize. Now that you’ve become even more
familiar with the ubiquitous ukulele rhythm of “DOWN, DOWN, UP…UP,
DOWN” you’re more than halfway there.
To play the Rhumba strum, we simply play the DDU, UD strum and change
the way we accent the strums. There are three strong accents each bar.
Below is the “Bo Diddley Beat”: Say it & you’ll be able to play it - accent the
bold face strums:
DU,DU,DU,DU, DU,DU,DU,DU, DU,DU,DU,DU, etc…

The three accents pop out of a steady down & up strum pattern of 8th
notes - sometimes called a “scratch pattern”. Be sure to make all
the unaccented strums softer so the accents can “pop out” of the
texture.
Watch this video for an example of the Rhumba/Latin Strum

https://youtu.be/E3v5L7X2-Js
Now for the important part:

applying these strums to songs!
The relationship between strum & song are by no means set in stone!
Feel free to try a different feel for different strums and explore new
sounds.
This is the really fun part: you get to be your own music researcher
and explore songs and artists and try to identify which rhythms are
being used where.

NOW: Do your “homework” by looking up song charts for the tunes
listed below on the internet and strumming these songs with the
accompanying strums. It’ll be the best homework ever assigned!
(go ahead and find more songs than listed here).
TUNES FOR SHUFFLE STRUMS (FAST & MEDIUM TEMPO)
School Days (Chuck Berry)

Tutti Fruiti (Little Richard)
Maybeline (Chuck Berry)
Rock this Town (Stray Cats)
TUNES FOR STRIGHT 8th NOTE ROCK N ROLL
Johnny B. Goode (Chuck Berry)

Good Golly Miss Molly (Little Richard)
Carol (Chuck Berry)
I Saw Her Standing There (Beatles)
TUNES FOR THE RHUMBA/BO DIDDLEY BEAT
Who do you Love? (Bo Diddley)

20th Flight Rock (Eddie Cochrane)
Not Fade Away (Buddy Holly)
HAVE FUN JAMMING ON THESE SONGS - NOW LET’S

WORK ON EMBELLISHING THEM WITH SOME STYLISTIC
ELEMENTS OF ROCKABILLY TO MAKE YOUR SOUND
EVEN COOLER!

Chapter Two:
Boogie Strums - Adding Melody Notes to your
strumming
So, what is a Boogie Strum?
Now that we’ve explored the basic strums used in rockabilly music, let’s add
some characteristic sounds of the style, beginning with what I call “Boogie
Strums”. A boogie strum is a way to add excitement and harmonic
movement by adding melodic notes to a strummed chord progression.
This technique is used all over rockabilly guitar playing, and any ukulele
player can use this effect to create more drive and interest to a strum
pattern. This effect is called a “Boogie Strum” because it originates from the
left-hand of a boogie-woogie piano player. If you listen to boogie-woogie
stylings from the early 20th century you'll notice that rock n roll artists such
as Fats Domino and Jerry Lee Lewis use this all the time. You can hear Jerry
Lee Lewis play this in his classic song “Whole Lotta Shakin’ Goin’ On”… right
there at the beginning of the song you'll hear the low notes of the piano
making an interesting rhythmic melody.
Compared to a piano, strumming on a ukulele (or guitar) is a little bit limited

when employing the boogie-woogie effect. This is because the notes on a
guitar or ukulele fretboard are not laid out in the same way as a piano. That
said, there are plenty of ways to achieve the “boogie-woogie effect” when
strumming.
So, how do we create this rhythmic effect? Simply by adding one or two
extra notes to the chord in a specific order. At first this will challenge you to
develop more finger independence…but that’s a good thing!
One point needs to be made perfectly clear:
Rockabilly music can be played on the ukulele without this boogie-woogie

strum technique. However, by adding this special effect, your ukulele
sounds closer to the rockabilly rhythm guitar - and you’ll also learn a very
valuable skill in decorating chord progressions with extra colored notes - and
this skill will serve all styles and music that you want to play.
So, go ahead and try out these decorated chords. I think you'll find that
with a little bit of practice they will become very natural to you. Remember
to go slow and keep your left-hand soft as you stretch to reach the extra
notes. Practice like a turtle - slow and steady will you reach your goals in
less time than rushing through the material.

Before we Boogie…the Standard 12 Bar Blues
Progression Explained
Below is the 12 bar template for a blues progression…lots of rock n roll
songs follow this pattern! Roman Numerals are commonly used when
explaining music theory.
While you could play the blues progression with simple major triads
like the above example it’s generally played with all dominant 7th
chords.
The numbers I, IV and V come from a musical relationship called harmony.

It may not sound very “rock n roll”, but music theory is largely based on a
mathematical system of relationships.
HOW DO I FIND THE 1- 4 -5 CHORDS?
The purpose behind this book is to learn to play rock n roll - not study rocket
science! Therefore, in order to jump into playing as quickly as possible
without the confusion of learning a lot music theory, I’ve included the
following chart of the I IV and V chords from many common keys below.

1 - 4 - 5 chords in common keys
KEY I IV V
C C F G
D D G A
E E A B
F F Bb C
G G C D
A A D E
B B E F#
Professional Musicians will often read off of “box notation” where each box
contains the number of beats in the music being played. In this case,
each box contains four beats.
I I I I
IV IV I I
V IV I V
Using the key chart above, you can translate the 12 bar progression to any
key. Here is the 12 bar blues progression in the key of C. Notice how the
placement of the 1, 4 and 5 chords is the same as the pattern above.
C C C C
F F C C
G F C C

ROCK N’ ROLL HOMEWORK: Below are a few blank 12 bar box diagrams
for you to construct your own 12 bar blues progressions in other keys. By
making your own you’ll be able to memorize the progression easier.
Try it in the Key of G: (or any key you’d like)
Try it in the Key of A:
12 Bar Blues Boogie Strums in Common

Ukulele Keys
Below I have outlined the extra notes added to the “1-4-5 chords” that make
up so many of the blues-based music found in so many contemporary styles
of songwriting. The “boogie notes” in each chord are the 5th, 6th &
b7th of each chord.
For the examples below, I have played the boogie strum patterns over a 12
bar blues progression. There are many variations of a 12 bar blues
progression - for simplicity’s sake I have used the one we studied above.
Some chords have three melodic boogie notes added - some just two. You
can use either two of three boogie notes when you use them in your
rhythmic strumming.
The boogie notes are the grey (not solid) dots added to the chord
diagram. As you read from left to right, the first note will already be a part
of the original chord - then you’ll add the extra notes with the fingers
indicated below.

Experiment with using a ukulele tuned with either a low or a high G
string.
The chords that follow will be for the keys of C, A, and F - three very
common keys on the ukulele. Be sure to check out the video
examples - they will help you decipher the fingerings and the sound of
each boogie strum. Please watch and enjoy them all!
Each video will show the chords as individual units AND apply them to
a 12 bar blues progression.
At the end of the chapter this same boogie strum pattern will be
applied to a three-chord song that does NOT follow the 12 bar blues
pattern.
Enjoy adding this boogie-woogie sound into your strumming!

BOOGIE NOTES IN THE KEY OF C:
(Left hand fingerings are below the chord diagrams)
Boogie notes added to the C chord (I)
0 0 0 3 2 0 0 3 3 0 0 3
Boogie notes added to the F chord (IV)
2 0 1 0 2 2 1 0 2 3 1 0
Boogie notes added to the G chord (V)
0 2 3 2 0 4 3 2 0 4 3 2
Watch this video example below to hear a 12 bar blues boogie

strum in the key of C:
https://youtu.be/rOg6wT3nR_A
BOOGIE NOTES IN THE KEY OF A
Boogie notes added to the A chord (I)
2 1 0 0 2 1 2 0 2 1 3 0
Boogie notes added to the D chord (IV)
2 2 2 0 2 2 2 2 2 2 2 3
Boogie notes added to the E7 chord (V)
1 2 0 2 1 2 0 4
Watch this video example below to hear a 12 bar blues boogie

strum in the key of A:
https://youtu.be/I9ebZiyO9tA

BOOGIE NOTES IN THE KEY OF F
Boogie notes added to the F chord (I)
2 0 1 0 2 2 1 0 2 3 1 0
Boogie notes added to the Bb chord (IV)
1 2 1 1 1 2 3 1 1 2 4 1
Boogie notes added to the C chord (V)
0 0 0 3 2 0 0 3 3 0 0 3
Watch this video example below to hear a 12 bar blues boogie strum
in the key of F:
https://youtu.be/vu0qtFnoe8g

NOTE: The addition of extra notes to a chord can be and is used in many
other styles of music as well - this technique is definitely NOT solely for rock
n roll/rockabilly music, so go ahead and explore adding these extra “boogie”
notes to other songs you play!
Applying Boogie Notes To Song Forms Other Than

12 Bar Blues
Let’s take a look at Chuck Berry’s classic song “Rock n Roll Music”. By
studying this song we will learn and apply several skills at once including:
• Applying 1-4-5 music theory to play a song form

• Applying boogie strums technique to our strumming
• Understanding song forms with contrasting sections (chorus & verse)
• Using different strum rhythms for the contrasting sections (advanced)
And lest we forget - we will also rock the house!
The Beatles made this song famous with their raucous version in the key of
A major. After some set up, they launch into the tune - keep in mind they
had a VERY POOR SOUND SYSTEM…to keep the song together when you
cannot hear well is the sign of a real pro. Yep, the Fab Four were the real
deal.
We will follow in their footsteps and play in same key as well.
You can see the Fab Four playing live in Munich Germany at the
Circus Krone here:
https://www.youtube.com/watch?v=fYPqjqaTqVo
On a personal note, I had the opportunity to perform a

concert in this very same concert hall in Munich in 2016
The room has a magic energy to it. And…it also smells

vaguely of circus animals…
it IS home to a circus after all!

“Rock And Roll Music”:
Rock n roll Boogie Strums & The Song Form
The Song “Rock And Roll Music” begins with the chorus section, which is
essentially a 12 bar blues with a few extra bars added to it for a total of 14
bars of 4/4 time. Listen for the break at the end of the form on the last bar.
A “break” is a pause in the music which gives some space to a song’s
arrangement.
The Chorus (14 Bars w/ a stop on last bar)

I I I I
IV IV I I
V V V I
V I
The verse is a classic “middle eight” section - 8 bars w a stop at the end:
The Verse (8 Bars w/ a stop on last bar)

V V I I
IV IV V V
These two sections alternate back & forth…listen to recordings & follow along with
lyric sheets to get the feel of it (yes, I’m kind of forcing you to do your own
research, but it will serve your learning process well!)
Now, let’s fill in the box diagrams with the I IV and V chords from the Key of A:
The Chorus (14 Bars w/ a stop on last bar)

A A A A
D D A A
E7 E7 E7 A
E7 A
The Verse (8 Bars w/ a stop on last bar)

E7 E7 A A
D D E7 E7

So, now that we have the chords, we have two contrasting sections, you can
practice strumming through this song with the STRAIGHT 8th NOTE
STRUM from the previous chapter. As you get more comfortable with the
song, please sing along - at least with the very catchy choruses!
Next, strum with the straight 8th note strum and add boogie notes to the
strum. You can experiment with different combinations of two and three
boogie notes - some songs sound best with two, some with three. There are
no rules - just what sounds good to you.
In some songs the number of boogie notes can be heard clearly, but you
have a lot of freedom…remember: “It’s rock n roll - not rocket science”.
Finally, for those who are up for a bit of a challenge, you can play two
different strums for each section. This will highlight the contrast and adds
some nice variety to your playing…and will sound simply great.
If you listen closely to Chuck Berry’s recording you’ll hear that the verse
switch to the “Rhumba/Bo Diddley Beat”.
Try this strum roadmap while playing through “Rock And Roll
Music”
Chorus: Straight 8th note strum and add boogie notes
Verse: Rhumba/Bo Diddley Beat without boogie notes
Watch this video example below to hear “Rock n Roll Music”

played with boogie strums…and with two feels:
https://youtu.be/oGsqp7rML8o

Chapter Three: Boogie Licks (single note melodies)
So, we have been working with rhythms and strumming techniques to create
more rhythmic drive and harmonic interest to our songs. Hopefully by now you
can see how applying the strums, backbeat feel and boogie notes to your music is
sounding a lot more like classic rock n roll!
Now we’ll turn our attention to the single-note melodic lines, or “boogie
licks”. These are not only great to accompany a song with, but are also the
building blocks of learning how to take a solo.
Volume two of this “Uke-a-billy” method will explore soloing in much greater
depth. For now, learning the licks in this chapter will give you a very solid
foundation from which to build upon. Practice these carefully and you’ll be richly
rewarded with improved flexibility in your picking and fretting hand, a deeper
melodic and rhythmic sensibility, and some great building blocks for taking solos!
I call these melodic riffs “boogie licks” because, like the boogie strum patterns,
these add color and harmonic drive to the songs you’re playing. Many of these will
outline a 12 bar blues progression, but you can use each lick in any context.
I highly recommend that you try playing these licks with a friend, or with
a jam track - record yourself playing the strum & play the lick on top of it.
With a friend, have one person can strum the chords found above the tablature,
while the other plays the lead line. You will learn SO MUCH from doing this!
You can of course play the lead line together, or you can get your whole ukulele
club to play it! I love receiving videos from people who apply these tablature licks
on a large scale, so if you end up making a video of you and some friends playing
some of this Uke-a-billy music, please contact me here: https://
www.stufuchs.com/contact
Suggestions for practicing the Boogie Licks

• Watch the accompanying videos for a reference on how they should sound.
• Make sure each note is sounding clearly.
• Play them slowly at first…keep your fretting hand soft and relaxed (focus on the
thumb being soft & the entire hand will follow).
• If possible, use your thumb to pick each note. However, if that’s not
comfortable, then you can use your index & middle fingers or a plastic guitar
pick.

Boogie Lick #1: Chicago Blues Style in C
By now it should be clear that there is a strong connection between blues music
and rockabilly & rock n roll music. No one would dispute that fact. Therefore, it
serves us well to begin our study of melodic licks with a famous lick from Chicago
blues styles.
This lick can also serve as a bass line (and often does!) and is meant to be played
with shuffle rhythm - so the triplet feel is in effect. If you play this with a friend,
have them accompany you by strumming the chords above the tablature using the
shuffle strum. Then, of course, strum the chords for them while they take a turn
as the lead lick!
The final two bars are a classic blues turnaround that is a “must-
know lick” for your blues & soloing vocabulary!
Watch this video for an example of this Chicago blues lick:

https://youtu.be/gdkxitnEC2U

Boogie Lick #2: Straight 8th Notes in C
Now we turn our attention to a lick that uses the straight 8th note feel. Revisiting the
chapter on strumming & watching those videos will be a big help in getting the rock-
steady sound of this lick down.
Follow the left-hand fingerings below the tablature carefully so this flows with ease. You’ll
play this lick twice, on the second ending there is another great turnaround. This
turnaround uses a B natural, which implies the C major scale. What this means is that
we’ll end on a brighter note…not that this lick is a bummer!
Take turns playing this with a friend who holds down the rock steady chords for you (with
or without a boogie strum). This is the kind of riff that Keith Richards eats for breakfast!
Watch this video for an example of this straight 8ths rock n roll lick:
https://youtu.be/IFV_rGySS2Q
Boogie Lick #3: “Good Golly Miss Molly”
Here’s another great boogie lick in the key of G. This a note-for-note
transcriptions of the guitar line played at the top of Little Richard’s “Good Golly
Miss Molly”. (Click that underlined text to hear it!)
The lick for “Good Golly Miss Molly” is played with a straight 8th note feel. After
you play it once the lead vocal starts…this lick can be used for any rock n roll song
in the key of G.
It’s nearly impossible to sit still to Little Richard’s recording - if you haven’t heard
it in years, check out the passion he puts into it!
Let your inner rocker out and sing along…have fun playing this one with a friend or
your entire ukulele club.
This riff sounds best with a low G tuning, but don't let that stop you if you have a
high G string on your ukulele.
Watch this video for an example of the lick from “Good Golly Miss Molly”:
https://youtu.be/tvIRx6XTaMY

Boogie Lick #4: “Kansas City” (The Beatles)
Now we’re going to raise the bar a bit with this introduction from another classic
rock n roll tune. The Beatles recorded this on their 1964 LP “Beatles for Sale” -
they based their version on Little Richard’s recording of “Hey Hey Hey Hey (Goin’
back to Birmingham)”.
This riff is a bit of a chord melody in the key of G. It has a heavy shuffle feel with
a lot of triplet strums in it! Be sure to follow the left-hand fingerings found below
the tablature. These fingerings for the single notes will set up the hand for the
chords that follow.
Now, you can play this riff and then launch into the song!
Watch this video for an example of the intro to “Kansas City (Hey Hey Hey
Hey!)”:
https://youtu.be/lu6ltPl38rw

Boogie Lick #5: Rhumba Riff in A
So far the riffs we've been learning have been in either shuffle feel for the straight
eighth note rock-steady feel. For this final riff of the chapter, we’ll learn one that
works with the Rhumba or “Bo Diddley” beat.
This riff is for a 12 bar blues in the key of A and unlike the early riffs has a
somewhat asymmetrical structure to it. By this I mean it follows a two bar pattern
instead of the rest repeating every bar. There is also an interesting turnaround in
the last bar - the dissonant double stops create a bit of tension that is…well, very
rock n roll.
When playing this riff with a friend, be sure to have them strum the Rhumba/Bo
Diddley Beat. Take note that there are TWO BARS of E7 (that’s not a type-o) for
bars 9 & 10. This is simply a different form of the 12 bar blues.
This riff sounds most like a electric guitar with a low G tuning, but don't let that
stop you if you have a high G string on your ukulele.
Watch this video for an example of the Rhumba Riff:

https://youtu.be/XMvi6P8y-uE

Chapter Four: Fingerpicking accompaniment in
Rockabilly (Intro to “Travis Picking”)
The focus of this book so far has been learning how to accompany in a rockabilly
style with different strums, rhythms, and melodic embellishments - both within the
chord and as a single-note melody.
For this final chapter we will turn our attention to a finger style accompaniment
called “Travis Picking”. Travis Picking, named after Merle Travis, involves playing
a steady bass pattern with the thumb and filling out some syncopated rhythms
with the fingers of the right hand (assuming a right-handed guitarist). It is a great
accompaniment style for folk, blues, ragtime, country and rock-n-roll too.
This chapter will attempt to transfer this guitar picking style to the ukulele. When
played on a guitar, Travis picking creates a baseline that sounds independent of
the melody being played. Guitar masters like Chet Atkins and Tommy Emmanuel
have taken this technique to unbelievable levels of wizardry and expression.
Without bass strings on our uke, we have to modify things a bit. Having a
low G tuning on your ukulele will help this style to be realized on your instrument.
The essence of the Travis pattern is the steady bass against the syncopated figure
played with the fingers. The use of the term "syncopated" is perhaps stretching it
a bit. This term refers to a rhythm that is "off-beat" with reference to the basic
pulse. In this case the overall rhythm of the Travis pattern is not syncopated,
however when you break the pattern down into its two elements, one part (played
with the thumb) is on the beat, and the other part (played with the fingers) is
sometimes in between the beat, hence the term syncopated. It is important to
understand however, that when both thumb and finger are working together this
should not produce an off-beat jerky rhythm but instead a lively yet comfortable-
feeling groove with a steady pulse.
Travis picking is found all over rockabilly music both as accompaniment and
for soloing. Check out Elvis Presley’s early recordings to hear lead guitarist Scotty
Moore soloing over Elvis’s rhythm guitar using Travis picking.
The following pages will offer you several progressive exercises for
developing this technique. This is by no means a complete method of Travis
Picking, but these exercises will give you a very solid foundation for applying these
finger style grooves to your ukulele! GO CAT GO!

Travis Training Wheels - The “Outside Inside ”
Pattern
This first pattern is named for the order in which the strings are played. As the
name suggests, you play the outside strings first followed by the inside strings.
While holding down the chord progression below, follow this pattern:
• Thumb picks the G string

• Middle finger picks the A string
• Thumb picks the C string
• Index finger picks the E string
The rhythmic feel is more like a shuffle than straight eighth notes, giving it a
country style swing. You can also play them “straight” for a folk music feel.
Try this over any chord progression and voila! You’re playing one of the most
versatile accompaniment patterns in fingerstyle.
Your fingerpicking has an alternating base line that continually switches between
the G and the C string. This will provide the foundation for the more-complex
Travis patterns that will follow.
Be sure to watch the video so you have all the technical details on how to use your
hand in the most ergonomic manner
Watch this video for an example of the outside/inside pattern:

https://www.youtube.com/watch?v=fM_s8oL9820

Travis Training Wheels Part 2
Filling out The “Outside Inside ” Pattern
For these next patterns we will expand upon the “outside inside” pattern a bit.
These patterns will sound great with many styles of music including folk, blues,
ragtime, and of course - rock n roll.
The rhythmic feel is more like a shuffle than straight eighth notes, giving it a
country-style swing. You can also play them “straight” for a folk music feel.
Pattern One: This is a swinging 8th note groove - notated below over an F chord,
but can be applied to any chord you like. To play it, follow this pattern:
• Pinch the G and A string with thumb and middle finger

• Pick the E string with your index finger
• Play the rest of the pattern “inside/outside”, with your thumb, index and middle
fingers playing the next three beats.
Pattern Two: This groove combines quarter notes and 8th notes - notated below
over a C chord, but can be applied to any chord you like. To play it, follow this
pattern:
• Pinch the G and A string with thumb and middle finger

• Play the rest of the pattern “inside/outside”, with your thumb, index and middle
fingers playing the next two beats.
• Pick the C string with your thumb

Advanced Travis Training Patterns for
accompaniment
These next four patterns may challenge you but you will be richly rewarded for your
perseverance!
They are all notated over an A major chord, but can be used over any chord progression
you like. Try using these and the previous patterns while paying any song - whether a
rock n roll tune or a folk ballad. You see that the finger style accompaniment patterns
add a richness to your sound.
Follow the fingerings below for your picking hand:
P=Thumb, I=Index, M=Middle
Watch this video for a full explanation of these four advanced Travis picking
patterns:
https://www.youtube.com/watch?v=ufbieE9s7Rs

Videos Examples for Guidance & practice
Below you’ll find a list of the YouTube videos mentioned throughout the book.
Here they are in one list, in order of appearance.
The videos are all available in one single playlist:
CLICK HERE TO SEE THE INSTRUCTIONAL VIDEOS IN ONE
PLAYLIST…ENJOY & I HOPE THEY SERVE YOU WELL!!
Chapter One: Rockabilly Strum pattern
1. Shuffle beat strum: https://youtu.be/nr-TERuqCWQ
2. Three step practice process: https://youtu.be/DT4ZDWIsj3c
3 Backbeat rhythm: https://youtu.be/3ef6Z-U7etU
4. Straight 8th note strum (rock steady): https://youtu.be/2y29YHPZWmQ
5. Fast shuffle strum: https://youtu.be/qa4ZR8H0brU
6. DDU UD as a rock n roll strum: https://youtu.be/i6cOv9CrxsY
7. Rhumba/Bo Diddley Strum: https://youtu.be/E3v5L7X2-Js
Chapter Two: Rockabilly Boogie Strums

1. 12 bar blues boogie strum in the key of C: https://youtu.be/rOg6wT3nR_A
2. 12 bar blues boogie strum in the key of A: https://youtu.be/I9ebZiyO9tA
3. 12 bar blues boogie strum in the key of F: https://youtu.be/vu0qtFnoe8g
4. Chuck Berry’s “Rock n Roll Music” played with boogie strums…and with two feels:
https://youtu.be/oGsqp7rML8o
Chapter Three: Boogie Licks (single note melodies)

1. Chicago blues lick: https://youtu.be/gdkxitnEC2U
2. Straight 8ths Rock n roll lick: https://youtu.be/IFV_rGySS2Q
3. Intro lick from Little Richard’s “Good Golly Miss Molly”: https://youtu.be/tvIRx6XTaMY
4. Intro lick from the Beatles’ “Kansas City (Hey Hey Hey Hey!)”: https://youtu.be/
lu6ltPl38rw
5. The Rhumba Riff: https://youtu.be/XMvi6P8y-uE
Chapter Four: Fingerpicking accompaniment (Intro to

“Travis Picking”)
1. The outside/inside pattern: https://www.youtube.com/watch?v=fM_s8oL9820
2. Four advanced Travis picking patterns: https://www.youtube.com/watch?

v=ufbieE9s7Rs

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Rockabilly for Uke: “Uke-a-billy”

Volume 1: Classic Rock n Roll Rhythm Styles for Ukulele

Copyright 2017 Stukulele Music www.stufuchs.com

I want to outline a few important things before you dive in:

Firstly: This first volume of “Rockabilly for Uke” is NOT a songbook - it is a

Enjoy the journey & thanks again

Copyright 2017 Stukulele Music www.stufuchs.com

Rockabilly or "classic" rock and roll is one of the earliest styles of

As a musical style genre it blends the sound of American roots styles

Defining features of the rockabilly sound included strong backbeat

The influence and success of the style waned in the 1960s;

Perhaps YOU will become the next link in the chain of

Little Richard (born December 5, 1932), Pianist an influential figure in

Check out: “Mona”, “Who Do You Love”, “I’m a Man”

Eddie Cochran (October 3, 1938 – April 17, 1960) was an American

Check out: "Twenty Flight Rock", "Summertime Blues", "C'mon Everybody",

Deke Dickerson (June 3, 1968 in St. Louis, Missouri) is an American singer,

1. SHUFFLE BEAT STRUM

Below is this shuffle beat strum -notated on an A7 chord

Watch this video for an example of the shuffle beat:

Lessons, E-Books, Music, Press kit @ www.stufuchs.com

1. Say the rhythm out loud

WITH A STEADY TEMPO YOU SAY ALOUD (Three different ways):

“1 and a, 2 and a, 3 and a, 4 and a”

Think of your metronome as your “drumming buddy” - always keeping

Lessons, E-Books, Music, Press kit @ www.stufuchs.com

Watch this video for an example of how to practice backbeat rhythm:

2. “Straight 8ths” note rock n roll strum

This rock-steady strum has backbeat accents on beats 2 & 4 - it is the

Watch this video for an example comparing the straight 8th

3. FAST SHUFFLE STRUM

Below is this fast shuffle strum - notated on an A7 chord:

Lessons, E-Books, Music, Press kit @ www.stufuchs.com

Watch this video for an example of the fast shuffle strum:

4. “DOWN DOWN UP, UP DOWN” (as a Rock n Roll

Say & Play: “Down, Down Up, Up Down…”

Watch this video for an example of the two feels of the

5.RHUMBA/LATIN STRUM (The Bo Diddley Beat)

Lessons, E-Books, Music, Press kit @ www.stufuchs.com

DU,DU,DU,DU, DU,DU,DU,DU, DU,DU,DU,DU, etc…

Watch this video for an example of the Rhumba/Latin Strum

Now for the important part:

Lessons, E-Books, Music, Press kit @ www.stufuchs.com

(go ahead and find more songs than listed here).

TUNES FOR SHUFFLE STRUMS (FAST & MEDIUM TEMPO)

School Days (Chuck Berry)

TUNES FOR STRIGHT 8th NOTE ROCK N ROLL

Johnny B. Goode (Chuck Berry)

TUNES FOR THE RHUMBA/BO DIDDLEY BEAT

Who do you Love? (Bo Diddley)

HAVE FUN JAMMING ON THESE SONGS - NOW LET’S

Lessons, E-Books, Music, Press kit @ www.stufuchs.com

Compared to a piano, strumming on a ukulele (or guitar) is a little bit limited

One point needs to be made perfectly clear:

Rockabilly music can be played on the ukulele without this boogie-woogie

Lessons, E-Books, Music, Press kit @ www.stufuchs.com

The numbers I, IV and V come from a musical relationship called harmony.

HOW DO I FIND THE 1- 4 -5 CHORDS?

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Lessons, E-Books, Music, Press kit @ www.stufuchs.com

Try it in the Key of G: (or any key you’d like)

Try it in the Key of A:

12 Bar Blues Boogie Strums in Common