Ukulele

There are some tips to find the notes and intervals on the neck fast. 
The bass ukulele can use the information of the bass guitar

There is a quick way to learn all the notes on soprano-, concert-, and tenor ukulele and banjolele. Therefore we work with the root notes of the g-string and c-string. These can be divided into three groups:

The groups are based on the dots, the circles in the diagram. These dots will be (almost) always at the same place for each ukulele and may occur both at the front and at the side of the neck as dots, rectangles or other decorative element. There are ukeleles with an additional dot on the third fret; this is not in the diagrams.

The notes of group 1 are situated on the first two dots. These notes are the cdf and g.
The note b is always located one semitone lower - one square to the left, in the direction of the head - than the note c. The note e is always located one semitone lower - one square to the left, in the direction of the head - than the note f. When you can find the notes and f, you can also find the notes b and e.
The note f is also located at the last separate dot; group 2. When you can find this note f, you can also find the note eAround the last separate dot on the second string, the c-string, the notes a and b are located.
The notes of group 3 really have no recognition point, but these are only two notes.

The tuning of the baritone ukulele differs from the other ukuleles. The lowest string is the d-string, then the g-string follows, then b-string and the e-string is the highest string. This is also the tuning of the four highest string of the guitar.

Here you can also make groups, based on the dots. 

The notes of group 1 are situated on the first two dots. These notes are the gac and d.
The notes of group 2 are situated on the last separate dot. The note b is always located one semitone lower - one square to the left, in the direction of the head - than the note c. The note e is always located one semitone lower - one square to the left, in the direction of the head - than the note f. When you can find the notes and f, you can also find the notes b and e. When you an find the notes c and f, than you can find the notes b and e (both in group 2 and group 1).
The notes of group 3 really have no recognition point, but these are only two notes.

When you know the natural notes on the two lowest strings you can octave up to find the notes on the two highest strings. For that you slide three squares to the right (in the direction of the body), and two strings upward (in the direction of the a-string).
Example:


You can also octave down. For that you slide three squares to the left (in the direction of the head), and two strings downward (in the direction of the g-string).
Example:

 On the twelfth fret a double dot is drawn. The notes in these squares are the same notes as the loose strings. If you look further you see - depending on the amount of frets on your bass - again a number of dots. These dots are on the same spot as the first part of the bass guitar. Thus the neck starts again from the twelfth fret.

This chapter explains that you can lower and raise notes and intervals through respectively the flat symbol (b) and the sharp symbol (#). In addition to the illustrated lowered and raised notes and intervals, there are other, less common lowered and raised intervals.
This way you can raise the note b to the note b#, increase the note e to the note e#, lower the note c to the note cb and lower note f to the note fb. These sound enharmonically the same as respectively the notes cfb and e.
You can raise the interval 3 to the interval #3, raise the interval 7 to the interval #7, lower the interval 4 to b4 and lower the interval 1 to the interval b1. These sound enharmonically the same as respectively the intervals 413 and 7.
Additionally, you can also double raise and double lower notes. This is explained in chapter 0.4.

To octave works the same for intervals. Again you can both octave up and down. 
It's recommended to also learn the intervals 'under' the 1, because melodies are not only played above the root note (1). 

When you play the intervals 123456 and 7 in succession you hear the (pure) major scale, the Ionian scale. This scale probably sounds familiar. When you remember how you play this scale, you can find all natural numbers (on at least one place); this way only the lowering and rising remain.

Basically, you can play all scales and other melodic music theory when you know all intervals and notes in one place. However, it's better for the overlooking of the neck if you know the notes and intervals in as many places as possible. Later, this allows you to quickly switch between different scales and thereby play faster and all across the neck.