Abstract
To date, despite its rising popularity, no academic research has been undertaken on the classical
ukulele style. That is to say there is no academic context or foundation for the techniques and
repertoires that define the classical ukulele. Thus, while the overall purpose of this research inquiry
was forward looking in its aim of creating new works, it was also backward looking in its desire to
better understand and draw on the instrument’s European heritage. The research outcomes presented
in this portfolio are, therefore, both practical (scores and recordings) and theoretical (papers and
articles).
The practical outcomes are contained in portfolio folders B (Scores) and C (Recordings) and
meet the primary aim of the research inquiry to create new, idiomatic works for classical ukulele in
order to help establish a contemporary classical repertoire for the instrument. The new works
include original pieces, arrangements and commissioned pieces. A number of didactic works are
also included as evidence of my continued engagement with the ukulele community and ongoing
commitment to promote classical ukulele. The publication of my The Classical Ukulele Method in
2019 was in fact the first ukulele method to offer a systematic approach to learning the techniques
associated with the classical ukulele style.
The COVID-19 pandemic and resulting lockdowns affected my research in unexpected, and
surprisingly positive, ways. With all live events and face-to-face teaching cancelled, new
opportunities arose through social media and online platforms such as Zoom. During this period of
isolation and restriction my engagement with the broader ukulele community increased. Despite the
many frustrations of unstable internet connections and latency issues, which made playing together
impossible, many workshops and performances were held online. In 2020 I created a Patreon
channel offering pre-recorded tutorials and live workshops on classical ukulele techniques and
repertoire. Connecting with many aspiring classical ukulele players across the globe (USA, Canada,
Australia, Japan, EU and UK) highlighted the importance of developing a robust curriculum for the
classical ukulele. Details of all events are contained in Folder D (Extra Material).
The thesis is in two sections. The first section explores ‘The Classical Ukulele in Theory’
and the second ‘The Classical Ukulele in Practice’. The theoretical material includes research into
the Madeiran machete, one of the direct forerunners of the ukulele. The culmination of this research
was an article, commissioned and published by Revista Portuguesa de Educação Artística (2022),
which contributed new insights into the musical career of Clara Phelps, a student of the nineteenth
century Madeiran composer and machete player Candido Drummond. Prior to writing the article I
was commissioned by the Associação Regional de Educação Artística, Madeira to record the first
full CD of pieces for machete and guitar by Candido Drummond (The Music of Candido
Drummond de Vasconcelos, 2019).
The second part of ‘The Classical Ukulele in Theory’ contains a detailed discussion of the
classical ukulele style and looks at the historical use of guitar techniques on the ukulele. This
discussion provides a background and a context for Section 2 ‘The Classical Ukulele in Practice’.
This section then explores the different techniques used in the new works for classical ukulele and
illustrates how many of these techniques were adapted from the classical guitar, the four course
Renaissance guitar and the five course Baroque guitar. The full texts of the theoretical papers and
articles which are not included in the body of the thesis are contained in Folder A (Published Papers
and Presentations).
Although classical ukulele is often regarded as a new and more formal approach to the
ukulele and one that is largely driven by players with a background in classical guitar, my research
findings demonstrate how many of the earliest players also approached the ukulele from a guitar
perspective. In this context the current classical ukulele movement is perhaps best viewed as a
reawakening, revitalising and reimagining of old techniques, methods and repertoires, driven by a
vision to create contemporary classical works for the instrument.