“Tiptoe Through the Tulips” | Learn a Jazzy Ukulele Arrangement

BY EDDIE SCHER | FROM THE SPRING 2025 ISSUE OF UKULELE MAGAZINE

“Tiptoe Through the Tulips” is one of the most iconic ukulele tunes, thanks in no small part to Tiny Tim’s 1968 hit recording and his memorable late-night TV appearances. But before Tiny Tim gave it his trademark twist, Nick Lucas introduced the song, penned by Al Dubin and Joe Burke, in 1929. Lucas’ version became the No. 1 song in America, spending ten weeks on the charts. His high, cutting tenor—a hallmark of the pre-microphone era when singers had to fill crowded rooms without amplification—captured audiences with its sweet yet commanding tone.

Decades later, Tiny Tim’s parody-like rendition brought renewed attention to the song, albeit with some baggage. Still, beneath the eccentric performance lies a beautiful tune that has stood the test of time. To my ear, Lucas’ thoroughly modern take aligns with the jazz innovations of the late 1920s. Fats Waller’s “Ain’t Misbehavin’,” also introduced in 1929, is a prime example, showcasing the era’s use of chromatic progressions that remain sharp and exciting nearly a century later.

This arrangement is loosely inspired by Lucas’ version of “Tiptoe Through the Tulips,” transposed up from the original key of G major to C. The blocky chords of the introduction create a ragtime-inspired feel, nodding to earlier decades, before the verse takes off with modern chromatic movement and an infectious swing. A quick note about chromaticism: it’s simply a sequence of notes in order, like A–A#–B or D–Db––C. 

Here, chromatic motion modifies the song’s original I–V–ii–V progression (C–A7–Dm–G7, as heard in bars 18–19 and elsewhere). A #i diminished chord (C#dim7) substitutes for A7, while a biii diminished chord (Ebdim7) takes the place of G7. Notice how the roots of the chords in this new progression create a smooth ascending line: C to C# to D to Eb.

The trick to mastering this movement is finding chord voicings that require minimal finger adjustments—think of it as a physical exercise as much as a musical one. Look for the smallest jumps, often just one or two fingers shifting a fret or two, as you move between shapes. This arrangement offers one possible path, but the search for alternative voicings is a lifelong pursuit. There’s always another way to navigate the fretboard, and it’s in these choices that your personal style takes shape.

So, consider this a starting point. Explore the arrangement, experiment with new voicings, and let the song guide you to a sound that feels uniquely yours.