Something (feat. Vince Gill and Amy Grant): Ukulele

This arrangement captures what makes Shimabukuro's interpretations so engaging: he respects the songwriting while pushing the ukulele into unexpected territory. Students get to hear a beloved pop standard reimagined on an instrument they're learning, which builds confidence that the ukulele belongs in any musical conversation.

Intimate and conversational. The arrangement unfolds with the warmth of a fingerstyle performance, moving through moments of rhythmic energy and passages that feel almost like a private performance. There's a sense of discovery in hearing a familiar melody reveal itself across the fretboard.

Intermediate to advanced ukulele students ready to tackle ensemble arrangements and solo interpretations of recognizable songs. This works equally well for teachers building a concert program that features ukulele as a legitimate solo voice rather than accompaniment.

• Anchor the harmonic foundation first. Work out the chord voicings and their voice leading before adding any ornamentation or rhythmic variations.
• Study the dynamics across the two pages. The arrangement relies on subtle shifts in texture and dynamics rather than volume changes to maintain interest.
• Let the melody breathe. Resist the urge to rush through passages; this song's strength lies in its emotional phrasing, not technical display.
• Balance percussive elements with melodic clarity. When the arrangement incorporates percussive strumming or tapping, ensure it supports rather than muddles the harmonic movement.

Place this in a concert where you're highlighting ukulele as a solo instrument rather than grouping it only with Hawaiian or novelty selections. It pairs naturally with other contemporary pop or standards arrangements, demonstrating the instrument's versatility to an audience that might otherwise pigeonhole it.

• Complex chord voicings and voice leading on ukulele
• Translating fingerpicking patterns across different strings and positions
• Balancing melody, harmony, and rhythmic texture in solo arrangements
• Phrasing and dynamic control without ensemble support
• Reading and interpreting an arranger's use of texture and variation