Welcome

THINGS WE’RE DOING INSTEAD of GNUF

possible futures

IN THE BACKGROUND, AS WE ALL FACE THE WORLD’S CHALLENG-ES IN DIFFERENT WAYS, WE’RE DOING THESE THINGS & MORE. CHECK OUR WEBSITE FOR INFO. NORTHERNUKE.COM

FOR THIS FIRST MINI FESTIVAL, WE ARE USING A FACEBOOK EVENT TO HOST AND LINK TO A RANGE OF WORKSHOPS, PERFORMANCES AND ACTIVITIES.

A BIT LIKE OUR FESTIVAL ITSELF, THINGS HAPPEN IN DIFFERENT PLACES AND THERE IS SPACE FOR EVERYONE, BEGINNER TO PRO.

GNUF IN THE COMMUNITY

ONLINE EVENTS

RESEARCH & DEVELOPMENT

WHAT TO EXPECT

At this time of year, we are normally holding our annual festival which sees performers and audience members from all over the world descend upon the yorkshire town of huddersfield. we are a team of volunteers who’ve been freely giving our time, effort and sometimes even more to put on the festival. when everything ground to a halt this year, we struggled like you and so many others. we are working behind the scenes to put together this and other virtual events throughout the summer. We hope to hold a one day mini festival in november and if we can, we’ll make that free too.

we are already looking forward to GNUF 2021 and will soon be announcing dates and a few details for that.we look forward to the day when we can come together and hug one another and

play our ukuleles and sing and laugh with you.

For now we give you this... our first online mini festival. We are thankful to the artists who’ve agreed to take part. we are thankful to our families who support us. And we are thankful that you’ve decided to join us.-team gnuf

RINGO MUSIC BINGORingo: Music Bingo joins in on the online happen-ings of the brilliant GNUF festival. It will be an online delight of music, bingo and laughs

I’m a regular at this festival ‘in real life’ and they are going to do an online festival this weekend, and I’d delighted to be involved in this too.Let’s get Ringo: Music Bingo-ing!!!!!It’s bingo with bands instead of numbers, Ronan gives you clues who the bands are and then the actual names (it’s not a quiz, it’s bingo) - if they are on your sheet, you mark them off!You just need to book a ticket per person who is playing, and I’ll email you the zoom link and the sheets - the sooner you book, the better!

You can(a) print off the sheet(b) copy it out by hand or(3) screenshot it on your phone/tablet and mark it with the photo editor!TRICITY VOGUE

This duo from hampshire are known for their ability to lead participatory jams & events. Mike Krabbers’ song lyrics are the stuff of legend and Caroline’s bass is always just the kind of groove you need in your life. Together, they are The hedge Inspectors. They run the renowned unplugthewood jam nights. They also run other events in the area and are firm favourites at festivals of all shapes and sizes. They’re doing a workshop based on their cd of original songs, “Animals & misfortune”.

http://www.unplugthewood.com/the-hedgeinspectors

THE HEDGE INSPECTORS

“Miss Vogue and her ukulele - it’s cabaret to run down side-streets for. Just get there early.” Time Out London Critic’s Choice

London Cabaret Awards Nominee, 2012 (Best Musical Variety Act) and 2013 (Best Vocal Act)

Tricity vogue is much loved by ukulele players & perform-ers around the world.

You’ll find her workshop handouts at the back of this brochure.

If you would like to download the tracks from Tricity Vogue’s All Girl Swing Band album “Well Swung!”, they are available here on Bandcamp:https://tricityvogue.bandcamp.com/album/well-swung-2

On Friday, June 19th (from mid-night to midnight Pacific Time), Bandcamp are donating 100% of Their share of sales to the NAACP Legal Defense Fund, a racial justice organization with a long history of effectively enacting change through litigation, advo-cacy, and public education.

http://tricityvogue.com/

BREAKFAST WITH THE INKSPOTSDO YOU HAVE THE POWER OF THE INK SPOTS IN YOUR LIFE?

AT THIS TIME OF YEAR I’M USUALLY SHARING THEIR SWEET SOUNDS IN HUDDERSFIELD FOR THE GRAND NORTHERN UKULELE FESTIVAL, BUT SINCE THEY’VE HAD TO GO ONLINE THIS YEAR THEN I’M JOINING THEM!

STARTING THEIR PROCEEDINGS ON SATURDAY, AND PROB-ABLY THAT OF THOSE WHO TUNE IN TOO! JUST TUNE INTO WWW.MIXCLOUD.COM/LIVE/RONANFROMCORK FROM 9.30AM

PROBABLY’S THE WORLD’S MOST SOOTHING BAND, AND ONE OF THE BRAVEST WHEN IT COMES TO FINDING A SONG INTRO THAT SUITS YOU AND *STICKING* TO IT.

VOCAL HARMONIES AND SACCHARINE LYRICS?

MAKE YOUR OWN BREAKFAST AND JOIN RONAN AS HE PLAYS RECORDS FROM THE INK SPOTS... REQUESTS/DEDICATIONS ARE VERY WELCOME AND WILL BE READ OUT.

YOU CAN REQUEST ANY SONG YOU WANT AS LONG AS IT’S BY THE INK SPOTS.

RINGO MUSIC BINGO & BREAKFAST WITH THE INKSPOTS ARE BOTH BROUGHT TO YOU BY RONAN LEANORD. A NATIVE OF CORK, RONAN HAS PERFORMED AT ALMOST ALL GNUFS.

Turning HeadsRustypopsThe Tattooed UkeladyKate and her BaritoneThe MagtonesValerie HayllorMichael AugustCarol JamnejadLylee

Sara ScullyKimm SummerlinNeil CollinsRichard and MaggieEve NelsonCorinne FinnanShortstrawJohn AtherleyChristine Maguire

Nikky and the UkulelePrinterlele Rik ShurmyMark and Marie

Special Appearances by Simon Taylor & Soundman Mark

Folks performing for you

The Sideshow is an Open Mic unlike any other! Many have tried. But it is impossible to capture the magic that happens every year in the LBT court-yard! this year, mim’s brought a bit of that magic to the internet. we asked her to tell us what she thinks makes the sideshow special.

What makes the Sideshow so different? The acts, the loca-tion, the audience, the joy, the music! YOU make the difference!

Mim likes to say it is, “The Stage of the People!”

From first time performers to returning acts; everyone always brings their A-game. And Mim, along with Soundman Mark, love watching the prog-ress that performers make year after year!

Some people work on a set all year. Others busk it and shake off the nerves before hitting the stage. Many GNUF acts have

started on the Sideshow stage!

expect to see mim (the lady in sequins) and mark the sound man in some hilarious clips. stop by for a listen.

Come One, Come All, to the Sideshow!!!

the sideshow is made possible by support from ohana.

Everyone is Welcome!Everyone is Welcome!

MIM’S STAGEMIM’S STAGE

SHANEMCALISTER

PHILDOLEMAN

ANDYEASTWOOD

PERCYCOPLEY

Andy Eastwood belongs to the gen-eration of artists who are bringing variety entertainment into the 21st century.

Andy’s specialities are the ukulele, ukulele-banjo, violin and guitar, and in a high-energy, upbeat stage act, he combines his showmanship and personality with remarkable

Percy performs and teaches blue-grass, country and old time music and songs.And jazz and popular songs of the golden age.

He teaches regularly at camps and workshops such as Sorefingers Summer School in the UK and Guitar Groove in France.

vocal and instrumental artistry.It’s no wonder that Andy has won the acclaim of the public and crit-ics alike, in theatre, cabaret, radio and television.

Andy has performed at gnuf multiple times. in 2018 he also composed and performed the world’s first piece of music for

His first instrument was ukulele, playing old songs from the 20s & 30s. At a young age he played in many places doing George Formby numbers & magic tricks!

He has played in the bands Paris Texas around Paris, The Hillbilly Hiccups based in the UK (Didmar-ton & Laroche festivals), with

ukulele & string quartet with the didsbury string quartet. the piece, “spacescape” was featured in the UK uke magazine and is available on cd. Andy was due to perform at the 2020 GNUF in a collaboration with tricity vogue’s all girl swing band.

andyeastwood.com

American duo Field and Thompson around Europe (France, Germany, Switzerland), and the Flatland Moutaineers based in Holland.

He also returned to the UK twice for two national arena tours of Thomas the Tank Engine Live! as the Fat Controller.

http://percy.free.fr/

Phil’s love of vintage blues, hokum, old-time, and jug band music shines through as he blows the dust off obscure old songs and gives new life to classics with his intricate picking and driving rhythms on ukulele, 5-string banjo and tenor banjo. His original songs blend in seamlessly, with many believing them to be old songs that had passed them by.

“massively entertaining”Blues Matters Magazine

“Genuinely good-time music from ukulele stalwart, who also plays a mean banjo”fRoots Magazine

Phil has traveled all over the UK and to Ireland, France, Germany,

Finland and the US performing and leading workshops at festivals, theatres, and clubs. He has ap-peared on over 20 albums (and a number 2 hit single), performed on BBC radio and TV, taught over 1500 ukulele players, and much more.

phildoleman.co.uk

Usually up front leading a choir of Ukes, like everyone else Shane had to reinvent centre stage.

“I started live streaming from my studio, a 100 yr old train carriage, It helped stay connected with my groups. I’ve got all my bits around me, even my old Tap-shoes”.

He’ll be centre stage, live from the West Coast of NZ.

shane is making his gnuf debut perform-ing live with his puppet.

WORKSHOPHANDOUTS

Don’t Bring Lulu Ray Henderson Arrangement Tricity Vogue

A chord underlined followed by a full stop means stop/stab (eg “A7.”)“%” means play the same chord again. “/” means single strum (eg “D7 /”)

Fast swingIntro: | G | A7 | G D7alt | G. STOP |

Verse 1:| G | % | G Gdim | D7alt |You can bring Pearl, she's a damn fine girl, but don't bring Lulu!| D7alt | % | % | G G7 |You can bring Rose with the turned-up nose, but don't bring Lulu!| C | Cm | G | E7 |Lulu always wants to do what the folks don't want her to.| A7 | % | A7. | D. D7 /./. |When she struts her stuff around, London Bridge is falling down!| G | % | G Gdim | D7alt |You can bring cake or a Porterhouse steak, but don't bring Lulu!| D7alt | % | % | B7 |Lulu gets blue and goes cuckoo like the clock upon the shelf.| Am | Cm | G | E7 |She's the kind of smarty breaks up every party,| G | A7 | G. D7alt.| G D7alt |Hullabaloo loo, don't bring Lulu, she'll come by herself!

Instrumental verse (get your kazoo out!)

Verse 2:| G | % | G Gdim | D7 |You can bring Flo, her dad's got dough but don't bring Lulu!| D7 | % | % | G G7 |You can bring Lil, she's an awful pill, but don't bring Lulu!| C | Cm | G | E7 |Lulu has the reddest hair, auburn here and henna there.| A7 | % | A7. | D. D7 /./. |How can you boys keep your heads? Bulls go wild when they see red.| G | % | G Gdim | D7 |You can bring peas and crackers and cheese, but don't bring Lulu!| D7 | % | % | B7 |When she gets sore and slams the door the plates fly off the shelf.| Am | Cm | G | E7 |She can make a feller wild on sarsaparilla.| G | A7.STOP | (wait for it..!)Hullabaloo loo, don't bring Lulu... |G /. /. D7 /. /. | G | G |G | G. STOP |She'll come by herself!

tricityvogue.com

Sweet Dreams & Tainted LoveLennox/Stewart & Cobb Arrangement Tricity Vogue

A chord underlined followed by a full stop means stop/stab (eg “Cm7.”)“%” means play the same chord again. “/” means single strum (eg “Cm7 /”)

Medium swingIntro: ||: Cm7 | Ab7 G7 :||

Verse:

| Cm7 | Ab7 G7 |Sweet dreams are made of this| Cm7 | Ab7 G7 |Who am I to disagree?| Cm7 | Ab7 G7 |I travel the world and the seven seas| Cm7 | Ab7 G7 |Everybody's looking for something| Cm7 | Ab7 G7 |Some of them want to use you | Cm7 | Ab7 G7 |Some of them want to get used by you| Cm7 | Ab7 G7 |Some of them want to abuse you | Cm7 | Ab7 G7 |Some of them want to be abused

Bridge (scat break):

| Fm | G7 | Cm7 | F7 || Fm | G7. STOP | Cm7 | Ab7 G7 |

A capella section (with stops):

| Cm7. STOP | - |Sweet dreams are made of this| Cm7. STOP | - |Who am I to disagree?| Cm7. STOP | - |I travel the world and the seven seas| Cm7. STOP | - |Everybody's looking for something

Repeat Verse

Repeat Bridge

Segue to Tainted Love (next page)...

tricityvogue.com 1

Verse 1:| Cm7 | Ab7 G7 | Cm7. Cm7. | Ab7 G7 |Sometimes I feel I've got to run away, I've got to| Cm7. Cm7. | Ab7 G7 |Cm7 | Ab7 G7 |

Get away, from the pain you drive into the heart of me| Cm7 | Ab7 G7 | Cm7. Cm7. | Ab7 G7 |The love we share seems to go nowhere, and I've| Cm7 | Ab7 G7 | Cm7 | G7 |Lost my light 'cause I toss and turn I can't sleep at night

Chorus:| C | % | Eb | % |Once I ran to you, Now I run from you| Fm | % | F | % | This tainted love you've given, I give you all a girl could give you| F7 | % | Take my tears and that's not nearly | Cm7 | Ab7 G7 | Cm7. Cm7. | Ab7 G7 |All. Tainted love, oh oh Tainted love

Verse 2:| Cm7 | Ab7 G7 | Cm7. Cm7. | Ab7 G7 |Now I know I've got to run away, I've got to| Cm7. Cm7. | Ab7 G7 |Cm7 | Ab7 G7 |

Get away. You don't really want any more from me| Cm7 | Ab7 G7 | Cm7. Cm7. | Ab7 G7 |To make things right, you need someone to hold you tight| Cm7 | Ab7 G7 | Cm7 | G7 |And you think love is to pray but I'm sorry I don't pray that way

Repeat Chorus

End:| Cm7 | Ab7 G7 | Cm7 | Ab7 G7 |Don't touch me please I cannot stand the way you tease| Cm7 | Ab7 G7 | Cm7 | Ab7 G7 |I love you though you hurt me so, now I'm gonna pack my things and go| Cm7. Cm7. | Ab7 G7 | Cm7. Cm7. | Ab7 G7 |

Kiss me baby, tainted love. Touch me baby, tainted love | Cm7. Cm7. | Ab7 G7 | Cm7. Cm7. | Ab7 G7 |

Tainted love. Tainted love| Cm7 / | Ab7 / G7 / |Sweet dreams are made of this...

tricityvogue.com 2

An Intro to Swing Jazz – Phil Doleman

Rhythm changesThese are the chords to the song “I Got Rhythm”, which have been re-used and recycled thousands of times to make loads of jazz standards (using the chords from one song but adding a new melody/lyrics is called contrafact).

Here’s the ‘A section’ of “I Got Rhythm”

C A7 Dm G7 C A7 Dm G7

C C7 F Fm /F#o7/Ab7 C G7 C

It’s made up of two parts. The first bit is the C, A7, Dm7, G7 (often called the 1,6,2,5 orI, VI, ii, V). Sometimes the A7 is an Am, sometimes the Dm is a D7! If you mess around with those possibilities you’ll find that it sounds like things you’ve played before (the chorus to “I Wanna Be Like You”, for example)

The second bit is the C, C7, F, Fm part, which crops up all over the place. It’s the ‘stop verse’ in “Hot Tamales” and lots of other jug band songs, and a common jazz turnaround.

Songs might copy all of this, or just the first part, or they might mess with the timing, but these changes crop up all through jazz.

The B section, often called the bridgeThere are two bridges so common that they are named after shops! There’s the Sears Roebuck bridge and the Montgomery Ward bridge. These names came about because those shops sold all manner of things, so they were a handy, one in every town, one stop, do-it-all places, just like these bridges. “I Got Rhythm” uses the Sears Roebuck Bridge, which goes like this.

E7 E7 A7 A7

D7 D7 G7 G7

You’ve most likely played this bridge in the song “Five Foot Two”.

A lot of jazz tunes follow the pattern AABA, and if you play our A and B sections in that order, you’ll get the chords to “I Got Rhythm” and all the songs that borrow these chords (like the theme to The Flintstones!)

Another bridge is the Montgomery Ward bridge. This one crops up in “Honeysuckle Rose”

C7 C7 F7 F7

D7 D7 G7 G7

Put the first bit of the A section together with this bridge and you can play Slim Gaillard’s “Flat Foot Floogie”, a Ukulele Orchestra of Great Britain favourite.

Rhythm

Jazz is dance music, and needs a solid beat, but that beat can’t be to ‘robotic’ otherwise people won’t want to dance! We need to abandon the familiar calypso strum, and concentrate on getting a solid downbeat, four downward strums, all on the beat. Try and keep them short and snappy.

1 2 3 4

We can also make the 1 and the 3 a little quieter than the 2 and the 4. Rather than trying to play more softly, try instead to make the strum more of a little ‘bounce’ hitting just the G and C strings (try not to be too careful over this, as long as you hit fewer than all 4 strings it’ll be fine!)

1 2 3 4

So far we haven’t indicated to the listener that this is a swing beat. A swing rhythm has a heartbeat feel, achieved by slightly delaying the ands in between the beats (that we’re currently not playing)

So, rather than this

1 & 2 & 3 & 4

we get

1 & 2 & 3 & 4

The ands are played with an upstroke. Don’t put them all in, all the time, just add one now and again, just to remind the listener they are hearing a swing rhythm.

So far we’ve just played in C, and we’ve just used basic chord positions, but using Percy’s “one finger capo” technique, we can move the whole song up the neck to a new key, or find new chord positions to play in C (or both!)