Hi Folks!

In the last year I have stumbled across more campanella secrets I want to share with you. It all has to do with patterns, or SHAPES, using triads.

A triad consists of three notes. You can play chords as triads by using three notes out of that chord. For example: the root, 3rd and 5th notes in the C scale make up a C major chord and in this case, a triad. However, what I want to share with you will be playing the notes of different triads separately, campanella style. Yea! And for sake of keeping it simple, I won’t go into the names or notes of these triads. Let’s just play.

First of all, you might recognize some of these shapes from songs I have previously transcribed and possibly from other secrets I have posted.

These patterns can be moved around and even thought of as a slide rule, whereas you can move the entire sequences to different keys.

Performance Notes: I play these using “three finger” style. I use my thumb exclusively on the 4th, or top, string and I use my index on the 2nd string and ring finger on the 1st. I do not use my pinky, as in the “one finger per string” method. I use this three finger technique in at least 80% of my fingerstyle playing. (Refer to the Folksy Fingerstyle Secret for more on this) It is a common practice for banjo and guitar and, for me, flows nicely and affords ease and speed. That being said, do it however you feel comfortable, but I hope you try it this way. If you stick with it you will see why.

You will also notice I use a triplet feel. This is the easiest way to demonstrate this. Later you can fit this into any rhythmic feel you desire.

This TAB shows some forms in the key of C, first ascending and then descending. As stated before they can be shifted to fit into different keys.

Here is a short video demonstration.

I encourage you to explore and arrange familiar songs using these shapes and patterns. It’s easier than you might think. Just go for it!

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Howdy folks,

I’ve been playing with this technique for a few weeks and thought I would share my progress and let you in on the secret. There is a prerequisite. You really need to be somewhat comfortable with basic claw hammer technique. But as you will see, and I would like some feedback on this, the technique is VERY similar to the mechanics of the common triplet STRUM.

So, my theory is.. if you are good at the triplet strum that is INDEX DOWN, THUMB DOWN, INDEX UP, and not that good at claw hammer, this might be a way to sneak into claw hammer technique. Kind of like a back door. Don’t know if that makes sense or not. But let’s continue

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In the video I demonstrate the technique with a C F G ditty similar to Larry O’Gaff chords with a little A minor thrown in for a Swallowtail feel. I am not trying to play those melodies but just have fun with the progressions. I also use the ‘Pretty Up Your C F G‘ chord forms as an example of potential melody.

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The technique is simple, but may be tricky.

Using the basic claw hammer technique, strike DOWN with the index finger. If you are striking the bottom string you can follow through to the body of the ukulele. In my case I am hitting the head of the banjo uke thus producing a percussion beat.

The thumb follows and lands to rest on the top string at the same time the index is striking. Basic claw hammer.

Next is the thumb pluck DOWN. It is important to leave your index finger where it landed after the first strike.

Now for the triplet finish. Pluck the same string UP with your index finger. And there you have it. The claw hammer triplet.

Getting a little deeper, you can use the index DOWN strike on inside strings as well. It takes a little more precision, meaning a little more practice, but you open up a lot of melodic possibilities. This is especially true when using the ‘Pretty Up Your C F G’ chord forms.

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I have heard of this technique being used with banjo, maybe Celtic banjo. I am curious as to which songs can be learned with this technique. If anyone knows of any banjo or ukulele videos using this technique, please let me know. I am anxious to expand on this and see what others are doing.

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Here’s the viddy..

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Who says a ukulele badass can’t play pretty stuff.. at least once in a while?

Here are some different chord voicings, or inversions, plus some ideas to ‘pretty up’ the basic C F G chord progression, otherwise known as the I IV V (1 4 5) progression in the KEY of C. C is the I chord, F is the IV chord and G is the V chord.

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First some chords, then ideas. BTW, videos are at the bottom of the page.

CHORDS: These chords have a really nice continuity as they all have the C string open. I’ll throw in an Am voicing (VI chord) because it is very close to the F chord. They are played like triads with the open C as the glue between them. Pay close attention to the fret markers.

The left hand fingering for ALL the chords:

1st string – pinky
2nd string – index
3rd string – open
4th string – middle

Playing them this way makes it easier to switch between them.

Experiment and try them in various orders. Below I’ll mention a few songs I mess around with as well as an original I wrote using all these chords. But first…

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BONUS CHORDS: Here we ascend from the original C voicing and head for celestial realms. The Dm7 is the ii chord, the Em6 is the iii chord and here is another F. Again, pay attention to the fret markers.

Honestly, this pattern of triads can continue for as many frets you have.

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IDEAS: We all know there are thousands of songs in the key of C. Here are a few to play with using these voicings.

Romeo and Juliet – Dire Straits
Bad Moon Rising – Creedence Clearwater Revival
Insert yours here…

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Here is the video tutorial so you can hear what it sounds like.

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And here is the original song I wrote a few years ago using these chord forms. The actual chords mentioned in this tutorial begin around the 48 second mark. Also note, if you follow this blog, I am using the Folksy Fingerstyle technique.

I came across this a while back on an Italian blog and it has given me great entertainment once I figured out the secret. It is deceptively simple, and gives the appearance of being simple, but the ears hear a lot more than the eyes see.

This was coined the ‘index and pinky strum’. I hear a triplet in there so I am lumping it in with my triplet strums category. DISCLAIMER: I usually don’t like to put something out there that has already been done but I think my slant might help simplify it some.

Well, how do you do it?

As you see in the video, it really is a triplet. Index down, index up, pinky up. Repeat.

POINTERS: I only strum the top two strings with my index and the bottom two with my pinky. This can vary and by all means, don’t try too hard to do that. It will work itself out. Those are the basic mechanics of the strum.

THE SECRET: Don’t try to be accurate with the index down, index up, pinky up, etc, etc. Instead… be sloppy. The technique or concept I used to get better at this is pretending I spilled hot water on my hand and I’m wringing it furiously in pain and trying to get the water off.

This means the right hand is going up and down in an effortless and RELAXED manner. And fast.

Thanks to Bob Guz for showing me the chord progression I use to demonstrate. He played in the Shorty Long band and said this was the basis for tin pan alley sound. It’s fun, too.

D, B7, E7, A7 — or — 1, Dominant 6, Dominant 2, Dominant 5

Here ya go..