Roll call: Players of 5ths tuning

It seems my vigorous strumming approach that I use on the gcea ukes is not working well on the cgda concert. I found a lot of resources for learning the cgda chords so focus on the left hand. But now I also wonder about suitable right-hand techniques to make the 5th concert sing. Do you have any suggestions?

That is a good question. I use my uke in fifths tuning for playing chord-melody stuff, which doesn't involve any vigorous strumming (mostly jazz standards). I can see where strumming might sound unbalanced with such a wide range of notes being covered. I think some of the tenor banjo books out there cover the right hand, but that's for a banjo and I don't know if it's even applicable to a ukulele. Are you using your fingers to strum, or a pick?

John boy said:

That is a good question. I use my uke in fifths tuning for playing chord-melody stuff, which doesn't involve any vigorous strumming (mostly jazz standards). I can see where strumming might sound unbalanced with such a wide range of notes being covered. I think some of the tenor banjo books out there cover the right hand, but that's for a banjo and I don't know if it's even applicable to a ukulele. Are you using your fingers to strum, or a pick?

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I use picks for my steel string guitars, but really enjoy using fingers on the ukes and I tend to mix picking and strumming (which oddly I seem to do mainly with the middle finger). Do you have examples how you play chord-melody?

Well, I don't have any recordings (I actually don't have any recording equipment, except I suppose I could use my cell phone). But to try to describe it, in a typical song that I would play, I use my fingers, no picks or fingerpicks. I play chords often on beat 1 of each measure or phrase, and here and there within phrases, so it's a pattern of single notes being punctuated or anchored here and there by chords.

When I play a chord, I don't strum it. I finger-pluck each string at the same time (or sometimes one by one in "arpeggio" style), so it's a softer sound than a strum. An advantage of finger-picking the chords instead of strumming is that if you want to emphasize the bass note more than the other notes in the chord, or emphasize the top note more than the other notes, you can do it, simply by plucking that particular string harder and plucking the other three strings a bit softer. So it gives you more flexibility. Sorry if that's complicated to follow. It's easier to show than to write.

John boy said:

Sorry if that's complicated to follow. It's easier to show than to write.

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Thanks your description is very encouraging, as it sounds like what I lean toward too. Part of the learning curve is that with CGDA in addition to basic chords many of the shapes are also easily movable, so it takes a bit of planning and trial and error to find a good fit position to match chord to melody.

Right, that is one of the challenges and also advantages of fifths tuning. You can play a three-string chord on the top three strings on frets 1 through 3, or play the exact same chord shape on the bottom three strings on frets 8 through 10, so you need to shift around and experiment to find what works best. Finding the right location is the challenge. The advantage is the fingering patterns, or shapes, stay the same up and down the fingerboard, regardless of which strings you're on. Good brain exercise, as well as good ear training. Good luck with it.

I love the symmetry of fifths tuning on my mando but also love the close harmonies of my regularly tuned ukes/guitars. They each do different things better and each has their challenges.

Agreed, bunnyf. There's no best way -- just options to choose from.

This combination on a soprano "mandolin tuning" has a comfortable feel, and has reasonable tension.
The Aquila 30U set was way too tight!

G .028w D'addario D .0318 D'addario A .024 D'addario E .016 LaBella (or Savarez .0157*)

I've had the .016 on 2 sopranos since mid-February. After considerable abuse, the .016 has proven to be very durable. I haven't broken one yet.

Initial testing of Savarez .0157 is also good. All are available from JustStrings.com or Stringsbymail.com

-Wiggy

Update 21 Nov, 2019: *The .016 has proven to be far more durable than the .0157 for high E. The .0157 will break; most often when it is not being played.

Correction: : The .016 is a LaBella Rectified Nylon, not a D'Addario, as I originally stated.

I play chord melody much like John boy does. I finger pick the melody and intersperse with chords or usually partial chords where appropriate (first beat or long held notes). I do just strum the chords tho, generally and make sure that the chords inversion I use puts the melody note on top. I’m pretty much playing it just like my mandolin.