Sway aka Quién será? is best known to me for Dean Martin’s version. Although it seems like Michael Bublé’s is the most popular these days. Since Cris mentioned Dean Martin, it’s that version I worked from. Also, it’s the superior version.

Intro: This is by far the hardest part of the song. There are a few runs, the most rapid of which comes in bar 7.

Since it’s an intro, you have a lot of leeway to change things. The easiest option is to follow Buble’s version and create a variation of bars 13 – 16.

Verse: Things get a lot simpler in the verse. It’s just switching between A7 and Dm with the melody sticking to the first three frets.

Chorus: There’s a bit more going on in the chorus. More chords and a small journey up the neck. But nothing too challenging.

Solo: The solo is based on the guitar solo in the Martin version. It’s very simple. Just the verse melody harmonised.

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I had to do a tribute to Dolly. Since I’ve already done Jolene and I Will Always Love You, 9 to 5 seemed like the obvious next choice.

Intro: Give this part a little bit of palm muting (i.e. resting the underside of your strumming hand gently on the strings).

Verse: I’m using strums here to give the melody plenty of propulsion. That means you have to mute the strings not being played. I use my thumb to mute the g-string. Then any finger I’m not using for fretting to mute the others.

Chorus: The chorus moves up the neck. Which can make for some tricky fretting. The hardest part being the stretch up to the 12th fret in bar 20.

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I decided to fulfil two requests at once since these two are the same song in my head. In the End is originally in Eb minor and Bring Me to Life is in Em. And they’re about 10 bpm apart. So it’s not a big challenge to combine them.

Intro (In the End): A very simple riff to kick things off. But also very effective at setting up the harmony and vibe of the song. You can make your life easier by sliding up to the final note in bar 4 so your ring finger is free to play the following E note.

Verse (Bring Me to Life): It’s hard to transfer rapping to the ukulele effectively. So I opted for the much more melodic verse from Bring Me to Life. The most challenging bits here are the quick notes at the start of bars 14 and 16. These mimic the chugging guitar in that section. But you can replace these with more relaxed chords if you prefer.

Choruses: Exactly the same chords in both choruses. In the End‘s chorus is lower than Bring Me to Life, so I put that one first to create a build-up.

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Verses: You Really Got Me is a straightforward basher. The biggest challenge is stamina. You’re doing heavy strumming through almost the whole thing. The only respite you get is the G chord at the end of the verses.

The other challenge is making sure only the notes you want ring out when you’re strumming. That means muting the g-string with your thumb and the other strings with any fingers you have free.

Solo: The solo is played by fingerpicking. It’s massively cut down from the original. You could expand it back into a full solo. But you’d need to find a way to beef it up.

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This one is short but very tricky. Even after slowing the tempo way down.

A Section: This section has a big stretch in bar 2 and some quick alternate picking. But the biggest challenge is at the start of bar 3. You need a very quick change from your pinkie on the A-string in bar 2 to your middle finger at the start of bar 3.

B Section: This starts with a fast run in bar 13, which is repeated in bar 14. The second time around, it’s played more quietly. I think of it as an echo. The next three bars are fiddly as they’re played high up the neck. This section ends with a chromatic descending line set against a D note.

C Section: After the first two bars, this section is mercifully easy. There’s a lot of hopping up and down the neck. But there’s plenty of time to make those transitions.

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This one is very simple. It’s all beginner chords and nothing higher than the first position.

Intro: This uses palm muting on the strings. Just rest the underside of your picking hand on the bridge just enough to mute the strings. Then strum right at the bridge while the strings are muted by the fretting hand.

If you don’t fancy this bit, you can go straight into the verse. You can also skip the same section in bars 27 and 28.

Verse: This is almost all played with one-finger-per-string picking. There are just a few strums thrown in. Which is the case for the rest of the song.

Pre-Chorus: This introduces some melody notes on the g-string in bars 11, 12 and 13.

Chorus: A little trickier than the other sections, as it has overlapping vocals. Rather than do anything fancy, the arrangement just switches to the new vocal line when it comes in.

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Intro: This is the trickiest part of the song. You’ve got the thumb providing a descending bass line on the C-string. Meanwhile, the E and A-strings play the melody (plus one note on the g-string in bar 3).

The guitar line that finishes the intro (bars 7-8) doesn’t fit well on the ukulele. So this arrangement is more in keeping with the vibe rather than the actual notes. Even so, it’s a bit of a stretch to play.

Verse: Things ease off in the verse. Just use some alternating picking with your index and middle fingers on the A-string to get the notes up to speed.

Chorus: This returns to the descending bass line idea from the intro. For the second chorus, I threw in a bit of the vocal harmony at the end of bar 41.

Outro: A big jump up the neck to mimic the high harmonies.

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• Colin
• DanD
• Dennis Boutsikaris
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• Eric Sweet
• Ivo
• Jeff K
• Jon Kenniston
• Kelby Green
• Leia-lee Doran
• Margit Stadlmann
• Mary
• michael tabor
• Noah
• Pat Weikle
• Pauline LeBlanc
• Rick Wurster
• Robert
• Steven Pituch

There are some tricky sections to get to grips with here. The verses in particular have a few oddities that I hadn’t even noticed before trying to play the song.

Intro: A great little riff in the intro. Well worth learning even if you’re not attempting the whole song.

Verse: This is where you’ll find the oddities. In most of the verse, the Am7 chord lasts two bars. But in the opening verse, the first Am7 chord lasts only one bar.

The second verse (bar 52) is even stranger. The first Am7 is just one bar. But the following F is extended to two bars. Then the second Am7 is also shortened to one bar.

Chorus: The chorus is much more regular. Even so, the second set of “Is this love?”s is slightly different to the first.

Bridge: Nothing too challenging here. Just be sure to keep the strummed Dm chords tight rather than letting them ring out.

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