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lsoltero1@ucol.

mil 15 Apr 2020

The Little Book of Carulli


arranged for Ukulele by Samantha Muir
Book 1 Revised Edition
Allegretto • Waltz • Waltz •Etude • Simple Etude •Allegretto

With tab & notation, study notes, left hand fingering & separate right hand fingering map.

“Beautifully produced and covering such a delightful area of music


both to stimulate guitar teachers discovering the ukulele as a serious
instrument and to give students a thorough and careful introduction
to techniques.”
! ! Colin Tribe

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Table of Contents

Cover Photo by Josie Elias

Table of Contents! ! ! ! ! ! ! ! 2

Biography! ! ! ! ! ! ! ! ! 3

Explanation of Terms! ! ! ! ! ! ! ! 7

Allegretto in G Major! ! ! ! ! ! ! ! 8

Right Hand Fingering for Allegretto! ! ! ! ! ! 9

Waltz in G Major! ! ! ! ! ! ! ! 11

Right Hand Fingering for Waltz!! ! ! ! ! ! 13

Waltz in C Major! ! ! ! ! ! ! ! 14

Right Hand Fingering for Waltz!! ! ! ! ! ! 16

Etude in D Minor! ! ! ! ! ! ! ! 19

Right Hand Fingering for Etude!! ! ! ! ! ! 21

Simple Etude in D minor! ! ! ! ! ! ! 22

Right Hand Fingering for Simple Etude!! ! ! ! ! 24

Allegretto in A Major! ! ! ! ! ! ! ! 26

Right Hand Fingering for Allegretto! ! ! ! ! ! 29

Websites and Links! ! ! ! ! ! ! ! 31

Special thanks to Josie Elias, not only for taking the photos, but for all her help and support.

A lot of time and effort has gone into arranging these pieces and putting them into this booklet. I have
tried to keep the cost to a minimum so please avoid making illegal photocopies.

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About Me
SAMANTHA MUIR ARCM

I came to the ukulele from a classical guitar background. My initial interest sparked by a stu-
dent keen to join in with the school ukulele ensemble. Could I help? The mention of a ukulele
triggered images of a tall, pasty faced guy with long, straggly hair strumming away on a ridicu-
lously small instrument while singing in a falsetto voice. The words went something like, Tip
toe, through the tulips... How could any serious classical guitar student want to do that? De-
spite my misgivings I found myself saying, yes. Immediately followed by a little voice in my
head saying, well, that was stupid. What do you know about the ukulele?

First Steps...

I went to the local music shop. Just to look. Just so I could say I had looked into it. Perhaps
there was a teach yourself chord book I could recommend? I really didn’t want to be wasting
time teaching one of my best classical guitar students how to strum a ukulele. Half an hour
later I walk out of the music shop with a Tanglewood Soprano Ukulele slung over one shoul-
der and a big smile on my face. And that’s the magic of the uke. It makes you smile. All you
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need to do is show someone a uke and they smile. The uke has the same cuteness factor as a
kitten, a puppy, a lamb, a foal or a duckling. The uke is a baby guitar.

Hallelujah...

Now I had this happy little instrument. But what to do with it? I wasn’t really sure how to play
it or what to play on it. So, naturally, I Googled it. The result was quite surprising. There was
so much! There are literally dozens of websites dedicated to the mighty Uke. Everything from
how to play House of the Rising Sun, to how to re-string your Uke, to where to buy a thong for
your uke. (A thong is another name for a strap which clips onto the sound hole.) I didn’t want
to strum so I played the chords for Leonard Cohen’s Hallelujah as an arpeggio. I was so
pleased with my arpeggio I I played it to all my friends just to show them how “cool” I was be-
coming in my old age. Most of them thought I was going mad.

After a week or so of Hallelujah the novelty wore off. I was sure there must be something more
to the uke but I was busy with guitar stuff and didn’t have time to look into it. I decided the
uke would have to wait until the summer holidays.

Of Etudes, Fleas and Spanish Omelettes...

Summer came I found myself in Spain. Now I had time to to do some more searching on the
internet. One website said the Hawaiian word ukulele translates as something like, jumping
flea. Although this definition is disputed by some experts I rather like to think of the uke as a
dancing flea.

I started looking at the available repertoire and immediately came across The Baroque Uku-
lele, a book and CD by Tony Mizen. At last I had plenty of music to work on. But my fingers
were clumsy and I couldn’t quite work out how to position my right hand. The uke felt awk-
ward. A bit like a slippery fish and I was making a lot of twanging noises. A purely classical
guitar technique wasn’t working so I tried resting my little finger on the top of the uke - a bit
like playing the lute. This position makes the hand very side on and I found that using the
flesh of my thumb, rather than the nail, produced a better sound. I wanted to find a way to
make the sound “bloom” rather than twang and using the flesh and nail of the fingers worked.

It was while experimenting with this right hand position that I started playing through some
very simple guitar studies by Carcassi, Guiliani, Sor, Tarrega and Carulli. These are pieces I
have used with beginner guitarists for many years and I was delighted that they worked so well
on the uke. Playing these easy, but fun, pieces enabled me to focus on my right hand position
and sound. My uke playing improved rapidly. I wanted to be able to share my ideas with other

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uke players so I downloaded Sibelius Music Software and started arranging the pieces in easy
to read tab.

Fernando Carulli...

I decided to begin with a collection of six simple pieces by the nineteenth century Italian
composer Fernando Carulli. Carulli wrote over four hundred works for the guitar including
solos, chamber works and concertos. As well as a performer Carulli was also a dedicated
teacher who wrote a Method on how to play the guitar. There are numerous short pieces writ-
ten specifically to aid the technical development of students. While some of these pieces have
a simple harmonic structure it is important to remember that as a gifted performer Carulli
fully appreciated how important it is to do the simple things well. We are fortunate to be able
to draw on Carulli’s understanding and knowledge of the guitar and apply it to the uke.

About the arrangements...

Each piece is written in musical notation and easy to read tab. Left hand fingering is added to
the notation version. Each piece also has a separate tab for the right hand fingering. This en-
ables the player to concentrate on the right hand without the distraction on worrying about
what the left hand should be doing. At first it may sound a bit strange because you are not
hearing the notes you expect but stick with it. Focus totally on what your right hand fingers
are doing. Play very, very slowly and only build up the speed when you feel comfortable and
confident. Aim to memorise the right hand fingerings. If you find a passage that feels awkward
or clumsy go over it until it flows. If something really doesn’t work for you then feel free to
change the fingering. But always write in what you are doing and stick to it. I have written in
the fingering that feels right for my hand but everyone is different and right hand fingering is a
bit of a movable feast. Some people prefer to lead with i and some prefer m. Some play scale
passages i m and some play i a and some even use p i (like lutenists). I’m not trying to bam-
boozle you I am just trying to demonstrate that there is often more than one solution to a right
hand fingering problem. The main idea of this book is to show you how important in is have a
plan. The plan has to be worked out logically. Then, through practise and repetition it be-
comes a pattern.

Making a map...

The general rule is to find logical patterns which enable the fingers to flow. Avoid using the
same finger consecutively. A line of i i i i’s will make you claw at the string. This will lead to the
dreaded twang! Fingering is like a map for the fingers. If you are driving from London to Ed-

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inburgh there are many different ways to get there but you need to plan your route before you
set off otherwise you might end up in Paris!

Sock it to ‘em...

Quite often I practise with a sock under the strings near the bridge to dampen the sound. It’s
good to do this if you want to practise late at night and don’t want to upset your neighbours.
The sock method is a very effective practise tool. I don’t know why but after practising with
the sock for half an hour my hands are very relaxed and sure. Try it!

Nabokov...

The Russian writer Vladimir Nabokov believed it was important to pay attention to detail. Al-
though it may seem fastidious to write out all the right hand fingering I believe it is this atten-
tion to detail that will help students develop good right hand technique. Memorising the right
hand fingering is just as important as memorising the left hand fingering. The aim is to im-
prove sound, projection and fluidity. You will be able to play faster and you will be more con-
fident with your playing. For me the most important thing is the sound. I want to make my uke
sing. I want the notes to dance. If you share these goals then I believe this little collection will
benefit your uke playing and help you progress to more complicated pieces.

Soprano ukulele by Liam Kirby photo copyright ©Josie Elias 2014

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Explanation of Terms
!

p! Comes from the Spanish work pulgar which means thumb

! i! Comes from the Spanish word indices which means index finger

! m! Comes from the Spanish word medio which means middle finger

! a! Comes from the Spanish word anular which means ring finger

! Apoyando! Means rest stroke. Rest stroke is a way of plucking the string ! !
! ! ! so that the finger comes to rest on the next string.

! Tirando! Means free stroke. A way of plucking the string without coming to !
! ! ! rest on the next string. Arpeggios are played tirando and all the ! !
! ! ! pieces in this book are intended to be played tirando.

! Pianissino! very soft

! Piano! ! soft

! Mezzopiano! moderately soft

! Forte! ! loud

! Fortissimo! very loud

! Crescendo! gradually getting louder

! Decrescendo! gradually getting softer

! Ritardando! gradually getting slower

! Rallentando! gradually getting slower

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Allegretto in G
Originally in D
F.Carulli
q = 62

3 2 3 1 3 3 2 3 1 3 2 3
0 0 1 2 0 1
° #6
& 8 œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
‰ ‚ J J J J J J
p i m i p i p i m i p i p i m i p i p i m i p i etc...
6 323 3 323 3 202 2 202 2 232 2 232 2
¢⁄ 8 0 2
0
2 2 2 2 2 2 2 2 2

4 3 2 3 1 3 1 3 1 2 1 0 4 0 0 0
0 0 0
° #
& œ œ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ J J ‰ J J ‰ J J
2 2 2 2 3 3
3 3 3 3 3 3 1 1 1 1 1 1 0 0 0 0 0 0
2 2 2 2 0 0
¢⁄ 0 0 0 0 0 0

7 1 2 0 0 2 1 2 3 2 1 0 2 0 1 2 0
° #
& œ œ œ œ œ œ œ œ œ œ œ œ œœ ™œ œ œ œ œ œœ ™œ œ œ œ œ œœ œ œ œ œ œ œœ™œ œ œ œ œ
J J ‰ ™
m m
„ m m m m m m
0 0
p i 2
i 2
i p i 2
i 2
i p i 0
i 0
i p i 0
i 0
i
2 2 2 2 2 2 3 3 3 3 3 3 3 3 3 2 2 2
2 2 2 2 4 0 2
¢⁄ 0

10 0 2 1 2 0 2 3 2 1 2 3 2 0 2 0 2 0 2 1 2 0 2 1 2 0 3 2 3 1 3 0
° #
& œ œ œ œ œJ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰‰
„ J J J ‰ J ‰
‰ m
p i 2 i p i ... 2 0 0 2
3 3 3 3 3 3 3 3 3 2 2 2 3 3 3 ‰
4 4 0 0 2 2 2
¢⁄ 0 0 0 0

Copyright © Samantha Muir 2017


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Allegretto
Right Hand Fingering Map

p i m i p i p i m i p i p i m i p i p i m i p i
6 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
8 0 0 0 0 0 0
⁄ 0 0

3
etc...
0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0
⁄ 0 0

5
0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0
⁄ 0 0 0 0

7
p i m i m i p i m i m i
0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0
⁄ 0

9
p i m i m i p i m i m i p i m i p i ...
0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0
⁄ 0 0

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0 0 0
0 0 0 0 0 0 0 0 0 ‰
0 0 0 0 0
⁄ 0 0

Copyright © Samantha Muir 2017


lsoltero1@ucol.mil 15 Apr 2020

Study Notes for Allegretto

This flowing arpeggio should be played at a moderate tempo. The semi-quavers might look a bit intimidating at first
but the rhythm is quite straight forward. Each bar can be divided into two groups of six. The correct way to count
this is : 1 + 2 + 3 + 4 + 5 + 6 +. The emphasis falls on the first beat and the forth beat so the pulse is in two. The re-
peated pattern of p i m i p i should be comfortable for the right hand. The only change comes in bars 7 and 8 where
the pattern is p i m i m i p i m i m i.

Right Hand:

Repeated arpeggio patterns can be found in all types of music - classical, jazz, blues, rock, and pop - so building up
a good selection of arpeggio patterns will benefit all areas of your uke playing. At first aim for balance and evenness
but as your confidence builds increase the tempo. Try practising in front of a mirror. See what happens to your hand
when you play as fast as possible. Does your little finger stick out? Does your hand look tense? Speed is a catch 22
situation: you can only play fast and fluently when your hand is relaxed but inevitably increasing the tempo also in-
creases the stress factor. This is why it is very important to practise slowly - always allowing your hand return to a
relaxed position. So, play it fast, then play it slow etc.

Once you have mastered this pattern try playing it p a m a p m p a m a p m. Bars 7 and 8 will become p m a m a m p m
a m a m.

copyright ©Josie Elias 2014

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Study Notes for Waltz

This waltz should be slow and elegant. Being a waltz the first beat should have slightly more emphasis. Note the
upbeat which means the piece begins on the 3rd beat. So, from the beginning the counting would be:

3, 1 + 2 3, 1 2 3, 1 + 2 3, 1 2 3, 1 + 2 3, 1 + 2 3, 1 + 2 + 3 +,1

This piece is slightly more complicated than the Allegretto making use of p i m and a. The only tricky parts are
bars 7 and 24 so take particular care when practising these bars. Try the sock method!

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Study Notes for Waltz

Easier than the previous waltz. Try rolling the p i m a chords in bars 24 and 32. The D.C. al Fine in bar 32 means go back
to the beginning and play to the word Fine in bar 16 but don’t play the repeats.

Make sure the opening double notes sound as one. In bars 2, 3 and 4 note that the thumb plays on the third beat of the
bar. The thumb naturally creates a heavier stroke so be careful not to make this note too strong. An alternative fingering
for these bars could be: i mi ma i p mi

copyright © Josie Elias 2014

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Study Notes for Etude:

Always a favourite with guitar students I thought this sounded pretty good on the Uke. Of course, you should
only play it moderately fast but something about this piece makes you want to put your foot to the floor and go
flat out. I would recommend holding back until you have mastered the fingering and then....vroom, vroom...go
for it!

The right hand fingering is quite erratic in this piece so be careful not to trip yourself up!

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Study Notes for Simple Etude:

If the previous Etude had a subtitle it would be The Hare and so this Etude would have to be The Tortoise. I
added the marking Lento. That means S-L-O-W-L-Y. Okay, I think you’ve got the idea. This is a very beautiful
piece in D minor and I love playing it to demonstrate the uke’s melancholy side. Let your uke sing.

For the right hand the simple repeated pattern shouldn’t pose too many problems. So, here is the chance to
work on the musical aspects of your playing. Aim for a rounded, full sound. Work on rubato. Imagine the
tempo is an elastic band and you are gently stretching it and then slowly releasing it. Imagine waves rushing
onto a beach and then falling away. Also work on the dynamics. Start piano (soft) and gradually crescendo to
mezzoforte (moderately loud) and then diminuendo back to piano. Let the music rise and fall in gentle waves.

copyright ©Josie Elias 2014

Copyright © Samantha Muir 2014 25


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Copyright © Samantha Muir 2014 29


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Study Notes for Allegretto:

If this piece had a subtitle I would call it, Flea in a Tea Cup. This was my favourite guitar piece when I was eleven
years old. I have fond memories of my mum and granddad dancing around the kitchen while I played this. It’s
such a fun and lively piece I just had to play it on the uke! Although the 6/8 rhythm looks complicated the open-
ing rhythm can be thought of as long - short - long - short - long etc. The form of this piece is Rondo, ie, A B A C
AD

In regard to the right hand fingering make sure the chords are crisp and sound as one. In the second part (at bar
8) be careful of the repeated second string notes which, if played too strongly, will swamp your melody notes on
the top string. The arpeggio section at Bar 33 sounds particularly good on the uke with the open A string pedal.
Aim for a lively tempo.

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Websites and Links...

! I have recorded all the pieces in this book and they are available to watch !
! on my YouTube Ukulele channel which is called 4Uke.

! Strings I use are Martin Clear Fluorocarbon; Worth Strings;

! Aquila Nylgut.

! My website: ! http://www.samanthamuir.com

! My YouTube Channels: username: Samantha Muir

! ! ! ! username: 4Uke

! Colin Tribe: http://www.the-musical-ukulele.com

! VCM Ukulele Exams: http://www.vcmexams.co.uk

! John King: http://www.nalu-music.com

! Flea Market Music: https://www.fleamarketmusic.com/Default.asp

! Josie Elias Photography: http://www.josieelias.com

! Strings by Mail: http://www.stringsbymail.com/store/ukulele-strings-684/

! Liam Kirby: http://www.wunderkammerinstruments.co.uk

! The Ukulele Orchestra of Great Britain:

! http://www.ukuleleorchestra.com/main/home.aspx

! Wilfried Welti: http://www.ukulele-arts.com/?lang=en

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