Running Up That Hill: Ukulele

Kate Bush's songs translate beautifully to ukulele, and this arrangement captures the intricate melodic and harmonic content her writing is known for without losing the emotional directness that makes the tune so singable. Students at intermediate levels find genuine joy performing material this strong, and the seven pages give enough substance to feel like a real achievement.

Propulsive yet introspective, the arrangement captures the song's anxious momentum and emotional yearning. The ukulele carries both the memorable hook and the understated sophistication of Bush's harmonic language, creating an experience that feels both familiar and freshly realized.

Ukulele students comfortable reading standard notation and handling songs with varied harmonic movement and non-standard phrases. Equally suited for ensemble or solo performance, it works well for students wanting to explore contemporary art pop on their instrument.

• Pay attention to the vocal phrasing marked in the notation. Bush's melodies dance around the beat rather than landing squarely on it; honor those subtle placements for authenticity.
• Sustain the harmonic movement underneath the melody by letting chord changes ring through cleanly. The ukulele's natural resonance works in your favor here.
• Approach dynamic shifts gradually rather than abruptly. Bush's songs often build intensity through layering and incremental changes, not sudden jumps.
• Record yourself and listen back specifically for rhythmic consistency through sections marked with similar textural patterns. Repetition can mask small timing slips.

Feature this in a contemporary music showcase or a program highlighting singer-songwriters who shaped alternative pop. It also serves beautifully as a solo performance piece for a student wanting something with real artistic depth and cultural relevance.

• Reading and performing extended harmonic progressions
• Interpreting rhythmic displacement and syncopation in melodic lines
• Sustaining tone quality across dynamic changes
• Recognizing and executing song structure beyond verse-chorus-bridge conventions
• Balancing melody and accompaniment on a single instrument