Here Comes the Sun on ukulele sits comfortably in A major on the original recording and rewards open-voiced playing, bright arpeggios, and light syncopated strumming; you can play the recording key by using a capo at the 2nd fret and simple G‑shapes, or play without a capo using fuller, movable voicings.
Quick chord roadmap for nailing Here Comes the Sun on ukulele
The core chord set you should learn first: G, D, Em, C, Am for the capo-2 approach that matches the recording pitch; A, E, F#m, D, Bm, C#m for an original-key, no‑capo approach.
Which shapes cover verses, chorus, and bridge: verses lean on G → D → Em and quick D/F# transitions; the chorus opens to C → G → D → Em for lift; the bridge uses more minor and movable shapes (F#m and C#m) for color.
Two playability options: Option 1 (matching the record): place a capo on fret 2 and use open G shapes (G, D, Em, C, Am) — fastest route for clean singing and simple fingerings. Option 2 (original-key accuracy without a capo): use A, E, F#m, D, Bm, C#m — gives authentic voicings but requires partial barre or movable shapes.
Tuning reminder: standard ukulele tuning is G‑C‑E‑A (GCEA). Most ukuleles use a re‑entrant G (high G) and that changes voicing because the top string often carries melody tones; on low‑G ukes the bass lines sound fuller. Use re‑entrant G for the bright, chimey sound that suits this song.
Verse chord shapes and smooth transition tips for the melody line
Exact, reliable open shapes for the capo-2 approach: G = 0232, D = 2220, Em = 0432, C = 0003, Am = 2000; those cover almost every verse change with minimal fretting complexity.
If you play without capo, common original-key shapes: A = 2100, E = 1402 (or full barre 4442), F#m = 2120, D = 2220, Bm = 4222, C#m = 1444; use the partial shapes (E = 1402, F#m = 2120) to avoid full-barres where possible.
Finger placement tips: press close to the fret wire, curl fingers so fingertips land perpendicular to the fretboard, and keep the thumb behind the neck for leverage — that prevents buzzing and dead strings.
Economy-of-motion transitions: pivot from G to D by keeping the index finger anchored (G index often sits on the C string) and move the other fingers; for D→Em, release the ring and middle together, drop the index to the low fret quickly. Practice slow, deliberate changes for 60 seconds per transition and then speed up.
Melodic passing notes: add light hammer-ons on the A string from 0→2 during sustained chords (for example on C → G) and use single-note slides 0→2 on the E string to mimic the vocal lift; play them softly so rhythm remains steady.
Chorus voicings that lift the song — rhythm and harmonic color
Preferred voicings for a fuller chorus on soprano, concert, and tenor: use open C (0003) for warmth, G (0232) for brightness, and D (2220) voiced high to keep the top-end sparkle; add Em (0432) under sustained lyrics for color.
Rhythmic accent points: emphasize the downbeat of the lyric “Here comes the sun” with a slightly louder strum on beat 1 and a muted ghost-strum on the “&” of 2 to create lift; that single accent gives the chorus forward motion.
Two‑finger embellishments: add the 3rd (E) on the high A string with your ring finger while holding a G or C chord to thicken the sound without cluttering the harmony; use them sparingly to preserve clarity.
Chorus sub-section: simple voicing swap to preserve vocal range
How to swap to capo/transposed shapes: move the capo up or down to match the singer, then keep the same fingerings; for example capo 2 + G shapes = original A major; capo 1 + G shapes = A♭/G#.
Quick mapping chart: play G shapes with capo 2 to sound in A (G→A, D→E, Em→F#m, C→D, Am→Bm). To lower the key for a lower voice, move capo to 1 (G shapes → A♭) or remove capo and transpose down a whole step in shapes.
The signature intro riff and melodic fills — tab-friendly breakdown (no jargon)
Start simple: hear the motif as a repeated arpeggio that sits above the G→D→Em progression; isolate the pattern by muting the strings and plucking the strings that carry the melody first (A and E strings usually carry the top notes).
Step-by-step approach: 1) Play the G chord and pick A string open, then E string 2, then C string 0, slowly. 2) Repeat while keeping steady time. 3) Add the D chord and repeat a mirrored shape. Do each step until you can play it without looking.
Where to place melody vs. chord hits: let the melody notes ring on beats 1 and 3, and add chord strums on beats 2 and 4; that spacing keeps the riff sitting above the rhythm instead of clashing with it.
Variations by level: beginner — play melody notes on open strings and keep strums simple; intermediate — add hammer-ons on A string 0→2 inside the riff; advanced — add tasteful slides into the high melody and alternate bass tones on low‑G ukes to simulate the studio bass movement.
Strumming patterns & groove: recreate George Harrison’s rhythmic feel
Two core strumming patterns: Basic pattern — down, down-up, down, down-up (count 1 & 2 & 3 & 4 & with light accents on 1 and the lyric words). Advanced pattern — employ syncopation: mute on the “&” of 2, accent on 1, use ghost downstrokes on the “&” of 3 to push forward.
Muting and ghost strums: rest the palm very lightly against the bridge for a quick muted hit on the offbeat; use ghost strums to imply rhythm without filling every beat with full volume.
Practice method: count aloud while using a metronome at 72–84 bpm; clap the accents first, then transfer to the uke slowly, increasing tempo 5 bpm at a time until you find the sweet spot for your vocal and groove.
Fingerpicking and Travis-style patterns for a delicate arrangement
Simple fingerpicking arpeggio: assign thumb to G and C strings, index to E, middle to A; play thumb on beat 1 (root), then index-middle on beats 2 and 3, then a thumb return on beat 4. That matches the recording’s intimacy.
Travis-style alternating bass pattern: thumb alternates between G and C strings (or low-G and C on low‑G ukes), while index and middle fill melody notes on E and A; use this for verses where you want a steady pulse without heavy strumming.
Dynamics: play verses softer with fingerpicking, then switch to strumming with stronger attack on the chorus; create contrast instead of increasing volume across the entire song.
Capo use and transposition: play the song in any key without barre chords
How to choose a capo position: pick the position that lets the singer use comfortable notes while preserving open shapes; capo 2 gives original pitch with very easy shapes, capo 1 lowers it a half step, capo 3 raises it one step above recording.
Quick transposition method: move chord shapes up/down visually and count semitones — each fret equals one semitone. Cheat sheet: move G shape up 2 frets with capo 2 to sound A; move G up 1 fret to sound A♭/G#.
When to avoid a capo: avoid a capo when you need the exact timbre of the original studio guitar or when the singer demands an awkward capo position that impairs chord voicings; playing original-key movable shapes can preserve tone authenticity.
Simplified 4-chord version for absolute beginners
Four-chord stripped arrangement: use G → D → Em → C across verse and chorus, steady downstroke on each beat or a simple down-down-up-down-up pattern per bar; that captures the song’s harmonic identity with minimal changes.
Where to simplify changes: hold chords for a full bar instead of quick two-bar switches, and cut automatic fills during the first pass until you can coordinate strums and singing comfortably.
Practice milestones: first 30 minutes — learn the four open shapes cleanly and strum slowly in time; first day — link two-chord changes G→D and D→Em; first week — sing through while keeping steady tempo and add one simple riff fill.
Advanced chord voicings, hammer-ons, and melodic embellishments
High-register voicings and partial barre options: use C#m = 1444 and Bm = 4222 to reach higher colors in the bridge; partial barres across two strings let you add 3rd or 5th tones without full barre strain.
Tasteful embellishments: add quick hammer-ons from open→2 on the A or E string during held chords, slide into the 3rd of a chord from a half-step below, and use sus4→3 releases on the final beat of a phrase for resolution.
When to choose spare harmony notes vs full barre chords: pick spare notes for clarity in solo arrangements and full barres for full-band fidelity; match voice density to the ensemble size so the uke doesn’t compete with vocals or other instruments.
Common stumbling blocks and quick fixes for ukulele players
Typical timing traps: rushing the “&” offbeats — fix by practicing with metronome and muting strings so you only feel rhythm; count aloud on every beat until muscle memory forms.
Left-hand finger position errors and muted-string problems: fingers too flat cause muting — rotate fingers and practice fretting each string individually until every open string rings clearly at chord shapes.
Isolate problem spots: slow a single problematic measure to 50% tempo and loop it 20 times, then increase speed by 10% increments; this measurable progression prevents noisy practice.
Gear-check basics: old strings sound dull and fret buzz rises as strings age — change strings every 3–6 months with regular play; check action at the nut and saddle if buzz persists.
Practice roadmap: 2-week plan to go from cluttered to confident
Daily 10–30 minute routine: Warm-up (2 minutes open-string picking), chord change drills (5–10 minutes focusing on the hardest transitions), rhythm practice (5–10 minutes with metronome), intro riff / embellishments (5–10 minutes), cool down by playing through the whole song.
Drills for speed and accuracy: use 4-bar loops at 60 bpm and add 2 bpm each day; practice left-hand anchors where one finger stays constant across changes to minimize movement.
Milestone checklist: End of week 1 — cleanly play verses with capo 2 shapes and basic strum; End of week 2 — integrate intro riff, chorus accents, and at least one fingerpicked verse.
Use of tools: backing tracks and slow-down apps help lock phrasing; loopers let you repeat problem bars and build confidence under performance conditions.
Performance and recording tips to make your ukulele cover shine
Mic, phone, and DI tips: position a small-diaphragm condenser or a good phone mic about 8–12 inches from the bridge, angled slightly toward the soundhole; use a simple USB audio interface for DI capture if you want clean, direct tone with minimal background noise.
Arrangement ideas: solo performance benefits from alternating between fingerpick and strum for dynamics; for small groups add light percussion (brush or cajón) and a bass line to support the low end without overpowering the uke.
Setlist placement: place the song after an intimate slow number to raise energy, or as a mid‑set singalong; finish the phrase and leave a short instrumental tag to transition smoothly to the next tune.
Printable resources, tabs, and where to find trustworthy uke chord charts
Recommended resources: use established chord sites that indicate capo and original key clearly, and prefer charts that include both chord diagrams and simple TAB for the intro riff; look for transcriptions credited to reputable teachers or publishers.
Checklist for evaluating a transcription: accuracy of chord progression, presence of capo indication, clarity between tabbed melody and chord chart, and whether strum patterns or rhythmic notation are provided.
Licensing and covers: for posting covers online, use platforms’ licensed cover tools (where available) or clear performance rights via your distributor; credit the songwriters and list the original key and any capo used in your description.
Printable practice checklist: 1) Capo 2 + G shapes ready, 2) basic strum pattern internalized, 3) intro riff isolated and looped, 4) one chorus with accents, 5) short recording to check balance — use that checklist each practice session to track progress.
