Comments on “Making a

Ukulele.”

While the Panama-Pacific Inter-national Exposition is almost

always touted as the event which popular-ized the ‘ukulele on the Mainland, theinstrument had in fact already enjoyed sev-eral years of notoriety on the West Coast,particularly in California. “Bird ofParadise,” a hugely successful theatrical

potboiler which featured a quintette ofnative Hawaiians with guitars and ‘ukule-les, opened in Los Angeles in 1911, anddebuted on Broadway the following year,Sears, Roebuck & Co. began selling‘ukuleles in 1914 and no fewer than a half-dozen ‘ukulele method books had beenpublished by the time Jonah Kumalae wasawarded the Gold Medal for his exhibit atthe P.P.I.E. in 1915. So it isn’t surprisingthat John Bangerter, a Los Angeles “man-ual arts” teacher, would be among the first

on the Mainland to publish plans for mak-ing an ‘ukulele.

Written for the secondary–or highschool–shop teacher, and originally pub-lished in The Industrial-Arts Magazine, aMilwaukee, Wisconsin based publication,in December, 1915, the plans are of themost rudimentary kind, more remarkablefor their early appearance than accuratedirections. For instance, the fret placementis poorly measured, and while the resultinginstrument might resemble an ‘ukulele, itsintonation would surely be faulty. Thecopy that this electronic file was madefrom survived precisely because its previ-ous owner was interested in making an‘ukulele: “Making a Ukulele” is boldyinscribed and underlined on the cover. Inthe same large manilla envelope with themagazine were a 1917 catalog from C. F.Martin and several ‘ukulele templates andunused mahogany ‘ukulele “sets.”

-John King©2003 NALU Music

MAKING A UKULELE.

By J. E. Bangerter, Los Angeles, Cal.

DURING the past two years themusical world has received a new

instrument. The bringing of the Ukuleleto the Pacific Coast States has createdmuch interest. It is used in accompanyingthe voice in the native Hawaiian melodiesor in other Popular Airs. It is an instru-ment that can be played with only a littleinstruction. The construction is so simplethat many students in Manual TrainingShops of Southern California have madetheir own instruments.

Being a teacher of Manual Arts Ibecame interested in the making of theUkulele and found that the instrumentwould be a good project for advance gradeor highschool students to make, providedcareful instructions were given. The fol-lowing is the method that I used in theCarroll Park School of Long Beach,California, and found it to be both satis-factory and practical.

Materials Required for the

Ukulele.

1 Pc. Tobasco Mahogany 1 3/4 x 2 1/4 x12˝ (Neck)1 Pc. Tobasco Mahogany Veneer 1/16 fullx 6 1/2 x 20˝ (Top and Bottom)1 Pc. Tobasco Mahogany Veneer 1/16 x 11/2 x 27˝ (Sides)1 Pc. White Pine 1/4 x 6 20˝ (Support,Braces, etc.) 1 Pc. White Pine 1/2 x 2 x 2 1/2˝(Sounding Post)

1 Pc. White Pine 5/8 x 10 x 14˝(Clamping Board) 1 Pc. White Pine 2 1/4 x 10 x 14˝ (Form) 1 Dozen Frets1 Violin A String1 Violin E String

Directions.

The first part to make is the formfor the bending of the sides of the Ukulele.The form will require a piece of wood 21/4 by 10 by 14 inches in size as stated inlumber bill. Lay out the outline of theUkulele body as shown on drawing. Makethe slant required before the form is sawedout. In sawing, be sure to use a saw thathas enough kurf that will be equal to thethickness of the veneer. After this form ismade we are ready for the bending of thesides. Take a piece of string or paper andmeasure the distance around the outside ofthe inside of the form, to find out the exactlength of the strips of veneer that arerequired for the sides. Cut them to thedimensions found and boil in water orsteam for one hour, when they will beready to put in the form. Be careful not tolet any blisters form when clamping. Usetwo bar clamps to hold form together anddo not remove clamps for 24 hours. Thesurplus wood may then be removed andthe clamps taken off being careful to markthe edge that is to join the top of theUkulele, so there will be no mistake whenthe neck and the sides are glued together.

While the sides are drying, theneck, sounding post, supports, braces,keys and bridge may be made according tothe drawing.

The sides are fastened to the neckby making a saw cut just large enough tolet the veneer slip into and then glued.Also glue in the sounding post and leavethe glue set over night. In order to get thesounding post in the center, measure halfthe distance around the side by the use of astring or a strip of paper. The supportswhich are made out of the 1/4" piece ofwhite pine may now be glued in around thesides; their shape being traced from theinside of the form used in forming thesides. After the glue that holds the sup-ports to the sides has set, the braces may bemortised in to the supports by making ahalf lap joint and gluing.

To make the top: Trace from theform the shape of the top and back on thepiece of mahogany 6 by 20 inches andallow about 3/8 inches all around the out-line drawn, as it will be easier to make theexact size after it has been glued on.Cutout the hole and then glue to sides.When gluing on the top, be sure to keepthe center of the neck and the body of theUkulele in a straight line and lying in thesame plane. To do this clamp the instru-ment to a long, flat board. Leave theinstrument set over night and then removeclamps.

We may now proceed with gluingon the back. In order to get the desiredcurve in the back a device for clampingwill have to be made which is as follows:Take the 5/8 inch board and trace the out-line of the body of the Ukulele as shown indrawing. Make another line 1/4 inchinside of this outline which will be therequired line to saw on. This leaves theoutside piece whole. This follow board will

allow the back to rise and help to make agood joint at the same time. Before gluingon back, moisten it with hot water to makeit bend easier, and then clamp on tight.Dry out back by holding over a fire andthen remove clamps. It may now be gluedand clamped again and allowed to dry for48 hours. Wedges may be driven betweenfollow board and back to help make a bet-ter joint.

The frets and bridge may then beglued on after the top and back have beentrimmed even with the sides, and theUkulele sandpapered all over until all themill and tool marks have been removed.

Finishing the Ukulele.

After it has been sandpapered givethe instrument a heavy coat of boiled lin-seed oil, and then put on a coat of pastewood filler. Rub this filler in good with thehands; and then remove the surplus with arag and allow to dry over night. Severalcoats of shellac or varnish may then be puton, rubbing down between coats withpumice stone and finishing with rottenstone. If a flat finish is desired use waterwith pumice stone, or oil, if a polish iscared for.

Note—The word ukulele is pro-nounced u-ku-lay’-lee.