Israel Kamakawiwo’ole, known widely as Bruddah Iz, was a Hawaiian singer, songwriter, and ukulele player whose relaxed baritone and gentle ukulele work turned a simple medley into a global touchstone; born May 20, 1959, he released the album Facing Future in 1993 and recorded the now-famous medley “Somewhere Over the Rainbow/What a Wonderful World” the same year, a recording that later reached millions through film placements and online sharing.
How Iz’s ukulele recordings spread Hawaiian music worldwide
Iz recorded sparsely arranged, ukulele-led tracks that made Hawaiian melodies feel immediate and intimate rather than exotic or staged.
The medley cut across film, television, and advertising—placements in films and commercials introduced his sound to global audiences and pushed Hawaiian ukulele into mainstream playlists.
Musicians and listeners credit those recordings with a modern Hawaiian ukulele revival: tenor ukes and low-G setups gained attention because they matched Iz’s warm, deep tone.
Anatomy of Iz’s signature ukulele sound: tone, tuning, and arrangement
Iz favored a tenor ukulele often strung with a low-G string or a warm standard GCEA setup to get a full low end and breathy midrange.
He used nylon or fluorocarbon strings at moderate tension for roundness, kept tempos relaxed, and arranged parts with sparse accompaniment so the voice and ukulele shared the spotlight.
Vocally, the blend is a breathy baritone over minimal chord accents; doubled vocal lines and small bass movements on the uke create a feeling of spaciousness and closeness at once.
Learn the medley: chord map and essential progressions
Common working key: C major. Core chord set you’ll use: C, G, Am, F, Em, Dm7, G7, and color versions Cmaj7 and Am7 for smoother voice-leading.
GCEA (standard) shapes work the same if you use low-G tuning; low-G simply adds a deeper bass option on open strings and suits the medley’s warmth.
Beginner substitutions: use C instead of Cmaj7, Am instead of Am7, and G instead of G7; these keep harmony correct and ease transitions.
Structure to memorize: intro motif → verse (C → G → Am → F) → bridge/chorus with small podium turns using Em → Dm7 → G7 → C, and a recurring turnaround that walks the bass from C to B (play C → C/B → Am) for that signature moving feel.
Capo is optional; place a capo at fret 1 or 2 to match your vocal range while keeping the same finger shapes.
Intro riff and voicings: play-along for the opening motif
Start with a C-based arpeggio: pick 3rd string (open C), 2nd string (open E), 1st string (open G), then 4th string (open A or low-G if tuned). That arpeggio creates the shimmering base.
Add a simple single-note melodic embellishment by fretting the 2nd string at fret 1 (C) and then fret 3 (D) to outline a passing tone over the C chord.
Voicing recommendation: use Cmaj7 (0002 with low-G) or plain C (0003 on high-G) for breadth; use Am7 (0000) as a soft, open companion chord.
Left-hand tip: keep fingers relaxed and use minimal motion—lift just enough to change frets. Right-hand pattern: thumb → index → middle across the strings in the order 4-3-2 for gentle arpeggios.
Strumming and fingerstyle patterns that recreate Iz’s rhythmic feel
Two practical approaches: (1) a gentle downstroke tambour strum focusing on beats 1 and 3 with light ghost strokes on 2 and 4, and (2) a sparse Travis-style fingerpicking pattern that alternates bass on beat 1 and melody on beats 2–4.
Pattern example for fingerstyle: thumb on 4 (bass), index on 3, middle on 2, then thumb returns—repeat; slow and consistent wins here.
Control dynamics by using softer thumb pressure and ghosting off-beat strokes so choruses breathe and verses remain intimate; emphasize the off-beat occasionally to create that relaxed syncopation Iz used.
Vocal approach and phrasing tips to sing like Iz while playing uke
Match breath to phrase: take short, deep breaths so you can hold long, legato lines without pushing; sing into the vowel and keep consonants soft.
Iz’s delivery is conversational and unforced—aim for soft projection rather than volume, and let the ukulele carry rhythmic detail while your voice shapes melody.
Pronunciation note: the apostrophe in Kamakawiwo’ole marks an okina, a glottal stop; treat Hawaiian vowels as full sounds and give each syllable room—this shows respect and clarity when you sing.
Arrangement variations: simple and richer covers
Beginner arrangement: stick to a four-chord loop C → G → Am → F, use one repeated arpeggio for the intro, and sing the melody plainly—comfortable and effective for live cafés.
Intermediate/advanced ideas: swap in Cmaj7 and Am7, add passing bass notes (C → C/B → Am), build counter-melodies on the A or E strings, or layer doubled vocal harmonies with a loop pedal for a fuller sound.
Gear and recording tips to capture Iz’s warmth at home or on stage
Ukulele choice: tenor or baritone with a low-G string closely matches Iz’s deep, warm sonic profile; concert and soprano can work but expect a brighter sound.
Strings: choose quality nylon or fluorocarbon for rounded treble and warm mids; avoid bright steel-like materials that thin the tone.
Recording: mic the uke and voice separately if possible—condenser mic 6–12 inches from the soundhole angled at 45 degrees captures body without boom; keep a short, warm reverb and a gentle high-shelf cut around 8–12 kHz to reduce harshness.
Technical exercises to master Iz-style fingerpicking and chord transitions
Daily drills: 10 minutes of metronome arpeggios (start at 60 BPM), 10 minutes of thumb independence (alternate open bass on beats 1 and 3), and 10 minutes of chord-change cycles focusing on C → G7 → Am → F until smooth at 72 BPM.
Targeted nuance work: practice ghost strokes, light palm muting, and sliding into chord notes to reproduce the slight slurs and breathy attack Iz used.
Performance and arrangement etiquette: singing a respectful tribute live
Always credit the composer and the artist by name on set lists and introductions; acknowledge Hawaiian roots aloud before you play to show respect and context.
Keep the medley intimate in performance—position uke and mic close to preserve balance, and pace your set so the medley doesn’t feel like a mimicry but an offering.
Copyright, covers, and monetization essentials
For recorded covers you plan to distribute, secure a mechanical license for audio releases; for use in film, videos, or commercial placements you will need sync rights from the copyright holder or their representative.
On platforms like YouTube, Content ID can flag uploads; if you want to monetize a cover publicly, obtain the proper licenses or use a platform service that handles licensing and royalty payouts.
Best practice: credit the songwriters and the estate in descriptions and metadata, report sales correctly, and keep correspondence records when securing permissions.
Cultural context and sensitivity: honoring Hawaiian language, history, and community
Learn and respect Hawaiian pronunciation and the cultural meaning behind songs; the okina and kahakō (macron) change meaning and should be used correctly.
Support Hawaiian artists and causes by buying official recordings, sending donations to Hawaiian cultural organizations, and promoting local musicians when you perform Iz’s work.
Practice plan to master the medley in 30 days
Week 1 (20–30 min/day): master basic chords and voicings, build clean chord changes, and work on tempo control with a metronome.
Week 2 (25–35 min/day): focus on the intro arpeggio and simple melodic embellishments; integrate right-hand patterns and thumb independence drills.
Week 3 (30–40 min/day): layer fingerpicking with singing, polish phrase breathing, and record short takes to spot timing or balance issues.
Week 4 (30–60 min/day): finalize arrangement choices, practice full run-throughs with dynamics, and rehearse mic technique for live or recorded performance.
Creative spin-offs and modern reinterpretations
Try reharmonization with jazz colors (Cmaj9, Em7b5) for a modern twist, or slow it further into ambient textures with reverb and sparse loops for an atmospheric cover.
Use a loop pedal to build vocal harmonies and counter-melodies live—but keep the original melody clear so listeners still feel the connection to the source.
Suggested listening: essential Iz tracks and influences
Start with Israel Kamakawiwo’ole’s signature medley “Somewhere Over the Rainbow/What a Wonderful World,” then hear his other intimate tracks such as “Hawai’i ’78,” “White Sandy Beach,” and “Kaulana ‘O Wailana.”
Compare tone and technique with contemporary ukulele masters: Jake Shimabukuro for technical fireworks, Ledward Kaapana for slack-key influence, and Makana for modern virtuosity rooted in Hawaiian tradition.
Use these references to shape tone, phrasing, and arrangement choices while keeping respect for Iz’s musical and cultural legacy.
