Celebrating Tradition Retreat Workshops
Morning Sessions
We'll begin each day together, with yoga (optional), breakfast, and Celebrating Tradition. Then we'll have morning workshops, lunch, and afternoon workshops. Some workshops are instrument-specific, while others are open to all. Each day ends with dinner and a jam together. Faculty will be available to facilitate the jam until about 9p.m.
Yoga & Breathing - Theo
Greet the morning with gentle, joyful movement, breathing and meditation. Feel free to bring a blanket or mat along. No experience necessary and all bodies welcome.
Greet the morning with gentle, joyful movement, breathing and meditation. Feel free to bring a blanket or mat along. No experience necessary and all bodies welcome.
Celebrating Tradition - Peggy, Maura & All Celebrating Tradition – Peggy, Maura, & All
Each morning we will come together and make music with each other, creating new arrangements of some core and surprising tunes and songs. Our focus will be playing together and we'll learn by ear. We’ll work on dynamics, rhythm, melodies, and harmonies, drawing from gospel, blues, old-time numbers and lyrical ballads.
Each morning we will come together and make music with each other, creating new arrangements of some core and surprising tunes and songs. Our focus will be playing together and we'll learn by ear. We’ll work on dynamics, rhythm, melodies, and harmonies, drawing from gospel, blues, old-time numbers and lyrical ballads.
Saturday, August 16th
Harmony Fun & Fundamentals (Ellen & Mitzi)
How do we find harmony parts as singers? At folk jams, where the goal is to get everyone singing, it’s ok to just grab a note that feels good. But if you're singing in a duo or trio, it's important to be strategic and choose a part that enhances the song. In this workshop, we’ll take a “behind the music” look at how harmonies work and play with easy ways to find them. You’ll learn how to think about the harmony line as being part of a conversation with the melody and other harmony lines. You’ll discover that you (yes, you!) already feel harmony in your body, and with a little confidence and practice, you’ll be harmonizing like a pro!
How do we find harmony parts as singers? At folk jams, where the goal is to get everyone singing, it’s ok to just grab a note that feels good. But if you're singing in a duo or trio, it's important to be strategic and choose a part that enhances the song. In this workshop, we’ll take a “behind the music” look at how harmonies work and play with easy ways to find them. You’ll learn how to think about the harmony line as being part of a conversation with the melody and other harmony lines. You’ll discover that you (yes, you!) already feel harmony in your body, and with a little confidence and practice, you’ll be harmonizing like a pro!
Dynamics (for the singing, songwriting & spoken word voices) (Sue)
This is a workshop that helps you delve into dynamics as a writer and performer. With these in-class exercises, you can find and expand on all the colors of your writing and performing palette based on volume, emotions, and prose writing. Tap into your physical and metaphysical voices with Sue!
This is a workshop that helps you delve into dynamics as a writer and performer. With these in-class exercises, you can find and expand on all the colors of your writing and performing palette based on volume, emotions, and prose writing. Tap into your physical and metaphysical voices with Sue!
Solid Bass Playing (Amanda)
No matter your level, learn little moves that make a big difference. We’ll cover note length, pitch choice, getting a reliable sound, and using your left hand as an interval to take the guesswork out of shifting. We'll also identify individual growth areas to easily elevate our playing.
No matter your level, learn little moves that make a big difference. We’ll cover note length, pitch choice, getting a reliable sound, and using your left hand as an interval to take the guesswork out of shifting. We'll also identify individual growth areas to easily elevate our playing.
Our Place in the Lineage – “John Greer’s Two Step” (Peggy)
In this workshop, we’ll learn about the great Fleming Brown and his contribution to bringing his sought-out education in old-time music to his teaching at the Old Town School of Folk Music in Chicago. The tune "John Greer’s Two Step" was passed from John Greer to Hobart Smith, who taught it to Fleming Brown who then taught it to Stephen Wade and now it has made its way to our hands. While learning the "John Greer’s Two Step", we’ll discover our own place in that lineage. This workshop will be banjo focused but other instruments are welcome to come learn the tune
In this workshop, we’ll learn about the great Fleming Brown and his contribution to bringing his sought-out education in old-time music to his teaching at the Old Town School of Folk Music in Chicago. The tune "John Greer’s Two Step" was passed from John Greer to Hobart Smith, who taught it to Fleming Brown who then taught it to Stephen Wade and now it has made its way to our hands. While learning the "John Greer’s Two Step", we’ll discover our own place in that lineage. This workshop will be banjo focused but other instruments are welcome to come learn the tune
Flatpicking Rhythm Guitar (Chris)
We’ll explore the playing of solos and rhythm in bluegrass, country, and folk songs. We'll set our focus on two guitars playing in two positions in a duet form: one guitar playing open or capoed in one position and the other guitar capoed in a higher position. This class will give you tools to play guitar more confidently in a variety of ensembles, in a lead and a supporting role.
We’ll explore the playing of solos and rhythm in bluegrass, country, and folk songs. We'll set our focus on two guitars playing in two positions in a duet form: one guitar playing open or capoed in one position and the other guitar capoed in a higher position. This class will give you tools to play guitar more confidently in a variety of ensembles, in a lead and a supporting role.
Waltzing on the Mandolin (Luke)
Waltzes are fun to play on the mandolin and sure do sound pretty with all the tremolo and slides and bouncy little runs, not to mention all the cool chord/rhythm backup possibilities! Learn a few waltzes with Luke in this fun workshop then practice them with everyone each evening so you can bring some new material to share and play back home with you!
Waltzes are fun to play on the mandolin and sure do sound pretty with all the tremolo and slides and bouncy little runs, not to mention all the cool chord/rhythm backup possibilities! Learn a few waltzes with Luke in this fun workshop then practice them with everyone each evening so you can bring some new material to share and play back home with you!
Saturday Afternoon
Songs from John Hartford (Luke)
John Harford (Chet Atkins convinced him to change it to Hartford when he signed to MCA Records) grew up in Kirkwood, Missouri, a suburb of St. Louis. Throughout his illustrious career, from young bluegrass picker to singer-songwriter to television celebrity to Newgrass pioneer to literal one-man band to riverboat song storyteller to old-time fiddler, one common thread wove through them all: he wrote amazing songs! John Hartford songs are the best type of earworms. They never seem to grow old. They’re easy to sing and play. They’re sometimes goofy, never too serious, are full of some of the best one-liners and can give you all the feels! Luke will teach you a few of his favorites in this fun workshop!
John Harford (Chet Atkins convinced him to change it to Hartford when he signed to MCA Records) grew up in Kirkwood, Missouri, a suburb of St. Louis. Throughout his illustrious career, from young bluegrass picker to singer-songwriter to television celebrity to Newgrass pioneer to literal one-man band to riverboat song storyteller to old-time fiddler, one common thread wove through them all: he wrote amazing songs! John Hartford songs are the best type of earworms. They never seem to grow old. They’re easy to sing and play. They’re sometimes goofy, never too serious, are full of some of the best one-liners and can give you all the feels! Luke will teach you a few of his favorites in this fun workshop!
Harmony and Song-Building For The Singer-Songwriter (Sue)
This hands-on class invites students to bring their songs, share them, and then with Sue's specific help, break each song down and rebuild with new tips to expand on the song’s potential. Sue will demystify the harmony building process and invite students to try the ideas on for size one at a time. Some principles discussed will be: breaking tradition, weaving lines, common notes, and melodic themes. This class is specifically helpful to singer-songwriters and bands that are preparing to record.
This hands-on class invites students to bring their songs, share them, and then with Sue's specific help, break each song down and rebuild with new tips to expand on the song’s potential. Sue will demystify the harmony building process and invite students to try the ideas on for size one at a time. Some principles discussed will be: breaking tradition, weaving lines, common notes, and melodic themes. This class is specifically helpful to singer-songwriters and bands that are preparing to record.
The 6 – 2 – 5 – 1 chord progression (Jonas)
Walk Right in and Sit Right down to Alice's Restaurant. The 6 – 2 – 5 – 1 chord progression is easy to recognize but can be intimidating to play if you aren’t comfortable with it. So, let’s get comfortable and expand our repertoire!
Walk Right in and Sit Right down to Alice's Restaurant. The 6 – 2 – 5 – 1 chord progression is easy to recognize but can be intimidating to play if you aren’t comfortable with it. So, let’s get comfortable and expand our repertoire!
3-String Guitar Chords (Maura & Mark (Lou))
Have you been playing guitar for a while but are getting tired of using the same old chord shapes? Adding 3-string chords to your guitar skills is a great way to spice things up. We’ll learn some of the theory associated with these shapes, but most of the workshop will be devoted to trying them out for yourself in a few different songs. The goal of this workshop is to give you the knowledge and confidence to incorporate these shapes in any song you play.
Have you been playing guitar for a while but are getting tired of using the same old chord shapes? Adding 3-string chords to your guitar skills is a great way to spice things up. We’ll learn some of the theory associated with these shapes, but most of the workshop will be devoted to trying them out for yourself in a few different songs. The goal of this workshop is to give you the knowledge and confidence to incorporate these shapes in any song you play.
Scruggs-Style Banjo (Chris)
In this course devoted to bluegrass banjo, Chris approaches both classic Scruggs-style banjo tunes as well as song melodies played Scruggs-style. We place special attention on Earl’s melody and backup work within the first five frets and its relationship to his position-playing higher up the neck.
In this course devoted to bluegrass banjo, Chris approaches both classic Scruggs-style banjo tunes as well as song melodies played Scruggs-style. We place special attention on Earl’s melody and backup work within the first five frets and its relationship to his position-playing higher up the neck.
Harmony Fine Points & Frontiers (Ellen & Mitzi)
Simple close harmony singing is basic to American roots music. But for more advanced harmony singers, there are times to venture away from parallel harmony. Maybe a song has such a big vocal range that the singers can’t comfortably “stay in their lanes.” Or perhaps you just want to spice it up. Here’s the key: arrange the harmony to best serve the uniqueness of the song and its singers. We’ll explore how to do this, drawing from examples such as crossing harmonies, split leads, dissonances, unisons, counterpoint, and varied vocal stacks. Of course, we’ll practice what we learn by singing some great songs!
Simple close harmony singing is basic to American roots music. But for more advanced harmony singers, there are times to venture away from parallel harmony. Maybe a song has such a big vocal range that the singers can’t comfortably “stay in their lanes.” Or perhaps you just want to spice it up. Here’s the key: arrange the harmony to best serve the uniqueness of the song and its singers. We’ll explore how to do this, drawing from examples such as crossing harmonies, split leads, dissonances, unisons, counterpoint, and varied vocal stacks. Of course, we’ll practice what we learn by singing some great songs!
Making a Cover Your Own (Sue & Amanda)
A workshop for singers, we’ll take a little dive into ourselves to identify what comprises our own, unique sound(s). Bring a cover you’re working on. Together, we’ll learn how to inject our songs with thoughtful singing choices that highlight our personality traits, and end with a (supportive!) show-and-tell.
A workshop for singers, we’ll take a little dive into ourselves to identify what comprises our own, unique sound(s). Bring a cover you’re working on. Together, we’ll learn how to inject our songs with thoughtful singing choices that highlight our personality traits, and end with a (supportive!) show-and-tell.
Acoustic Ensemble (Peggy, Maura, Mark (Lou))
We'll learn a simple tune on our instruments and practice taking leads and keeping rhythm for each other. We'll talk about what the “job” of each instrument is when playing the melody and when playing rhythm, do we play on the “one and three” or the “two and four” beats? We'll practice getting a full sound with all three instruments. “The sound is the teacher.” All instruments welcome.
We'll learn a simple tune on our instruments and practice taking leads and keeping rhythm for each other. We'll talk about what the “job” of each instrument is when playing the melody and when playing rhythm, do we play on the “one and three” or the “two and four” beats? We'll practice getting a full sound with all three instruments. “The sound is the teacher.” All instruments welcome.
The Art of the Jam (Jonas)
Learn the core elements that make any social music gathering a success. This is for both jam leaders and participants who want to make the jam experience the best it can be. Topics will include: tune selection, keys, solos, tempos, environment and more.
Learn the core elements that make any social music gathering a success. This is for both jam leaders and participants who want to make the jam experience the best it can be. Topics will include: tune selection, keys, solos, tempos, environment and more.
Small Ensembles
At the end of each workshop day we'll break off into smaller ensemble groups lead by instructors. This will give us a chance to play and sing with other camp participants, working towards a whole sound.
At the end of each workshop day we'll break off into smaller ensemble groups lead by instructors. This will give us a chance to play and sing with other camp participants, working towards a whole sound.
Sunday, August 17th
Joyful Noise: Gospel Choir (Mitzi & Ellen)
Rooted in the African-American tradition, gospel songs and spirituals have a way of touching our souls—regardless of our faith tradition. Get a taste of the exhilaration that comes from singing these powerful songs of survival, love, freedom, and transcendence. We’ll learn simple melodies and harmonies by ear, then join together as one voice to raise the rafters. Get ready to clap, sing, and sway in jubilation!
Rooted in the African-American tradition, gospel songs and spirituals have a way of touching our souls—regardless of our faith tradition. Get a taste of the exhilaration that comes from singing these powerful songs of survival, love, freedom, and transcendence. We’ll learn simple melodies and harmonies by ear, then join together as one voice to raise the rafters. Get ready to clap, sing, and sway in jubilation!
Keep It Moving (Amanda)
Let’s work on “walking” bass. With country music as our muse, we'll find a pace that fits our abilities and work on keeping things moving. We’ll identify “1” (root) and “5” (fifth) notes and learn multiple strategies to move between them during our playing. Then, we’ll practice putting it all together!
Let’s work on “walking” bass. With country music as our muse, we'll find a pace that fits our abilities and work on keeping things moving. We’ll identify “1” (root) and “5” (fifth) notes and learn multiple strategies to move between them during our playing. Then, we’ll practice putting it all together!
Heartworn Highways: The Music of Outlaw Country Legends (Maura & Peggy)
We'll explore some of the music and relationships between creative greats, including Texas and Tennessee singer-songwriters Guy Clark, Townes Van Zandt and Steve Earle. We'll create an ensemble sound, learning by ear, and bringing our versions of the songs to life.
We'll explore some of the music and relationships between creative greats, including Texas and Tennessee singer-songwriters Guy Clark, Townes Van Zandt and Steve Earle. We'll create an ensemble sound, learning by ear, and bringing our versions of the songs to life.
Fiddle: Calico Tuning (Jonas)
Learn this alternate tuning (AEAC#) for playing tunes in the key of A. Participants with learn how to get their fiddle into the tuning and play the song “Jack of Diamonds.”
Learn this alternate tuning (AEAC#) for playing tunes in the key of A. Participants with learn how to get their fiddle into the tuning and play the song “Jack of Diamonds.”
Mandolin In Other Keys (Luke)
Did you know that you can play songs in keys other than G, D and A? You can! In this workshop we’ll explore some patterns and shapes to help unlock them and make playing in other keys less scary. If time permits and we want to get weird, we could possibly try cross-tuning to GDGD too!
Did you know that you can play songs in keys other than G, D and A? You can! In this workshop we’ll explore some patterns and shapes to help unlock them and make playing in other keys less scary. If time permits and we want to get weird, we could possibly try cross-tuning to GDGD too!
Sunday Afternoon
The 15-Minute Songwriting Challenge (Sue)
Work with Sue for a fast-paced series of prompts inspired by Nashville writers, to start a song.
Work with Sue for a fast-paced series of prompts inspired by Nashville writers, to start a song.
Mandolin For Guitarists (Mark (Lou))
If you know how to strum a guitar with a pick, then you're already on your way to playing the mandolin. This workshop will take advantage of that head start to prepare you to play mandolin at the evening jam sessions and in other workshops. If you don't own a mandolin, we will have a few available for the weekend. If you need to borrow a mandolin, email Peggy (pegbrown7@aol.com) so we make sure to bring enough.
If you know how to strum a guitar with a pick, then you're already on your way to playing the mandolin. This workshop will take advantage of that head start to prepare you to play mandolin at the evening jam sessions and in other workshops. If you don't own a mandolin, we will have a few available for the weekend. If you need to borrow a mandolin, email Peggy (pegbrown7@aol.com) so we make sure to bring enough.
The Blues Is The Truth (Peggy & Maura)
Come with guitar in hand to break down the blues riffs, lines and chords of some of the greats we celebrate. We’ll have a guitar focus, but other instruments are welcome.
Come with guitar in hand to break down the blues riffs, lines and chords of some of the greats we celebrate. We’ll have a guitar focus, but other instruments are welcome.
Who’s On Top: Male-Female Vocal Duets (Chris & Ellen)
In traditional country and bluegrass duets, the harmony is sung just above the melody, and it’s the easiest harmony to find. But when men and women (or any low voices and high voices) sing together, that arrangement might not work because of the difference in vocal ranges. If high voice wants to sing melody, then the low voice needs to be flexible enough to find that tricky harmony below. In this workshop we’ll look at duets that have a traditional bent but nontraditional harmonies and vocal stacks including “girls on top” and harmony as a second lead part. Come deepen your understanding of how harmony works and get some great new songs for your repertoire!
In traditional country and bluegrass duets, the harmony is sung just above the melody, and it’s the easiest harmony to find. But when men and women (or any low voices and high voices) sing together, that arrangement might not work because of the difference in vocal ranges. If high voice wants to sing melody, then the low voice needs to be flexible enough to find that tricky harmony below. In this workshop we’ll look at duets that have a traditional bent but nontraditional harmonies and vocal stacks including “girls on top” and harmony as a second lead part. Come deepen your understanding of how harmony works and get some great new songs for your repertoire!
Everything Is Music – Part 1 of 2 (Sue)
Walk, sit quietly and note what we hear all around us at the retreat and in nature. Then we’ll discuss ways to turn that into one’s own mini “Four minutes and 33 seconds” composition. We turn the idea on its head. This is about hearing music in everything, or as Cage said, “Everything is music.” This is a 2-part workshop, participants should plan to attend the second part on Monday as well.
Walk, sit quietly and note what we hear all around us at the retreat and in nature. Then we’ll discuss ways to turn that into one’s own mini “Four minutes and 33 seconds” composition. We turn the idea on its head. This is about hearing music in everything, or as Cage said, “Everything is music.” This is a 2-part workshop, participants should plan to attend the second part on Monday as well.
Irish Slide Ensemble (Mark (Lou))
In this workshop we’ll learn a traditional Irish slide. We’ll start with the melody and then add backing chords and other variations to create an arrangement suitable for an ensemble. This workshop is open to all instruments. No previous experience with Irish music is required, however you should be comfortable with learning melodies by ear.
In this workshop we’ll learn a traditional Irish slide. We’ll start with the melody and then add backing chords and other variations to create an arrangement suitable for an ensemble. This workshop is open to all instruments. No previous experience with Irish music is required, however you should be comfortable with learning melodies by ear.
Feedback Open Mic (Sue & Jonas)
Have a new song or spoken word piece? Looking for a bit of feedback from Sue, Jonas and your fellow troubadours? Join the class, sign up for a slot, perform, get a little loving feedback to help your piece grow AND expand your writing tribe. It’s like a mini workshop focused on you and your fellow songwriters’ work. Closes with a Q & A about your performing questions.
Have a new song or spoken word piece? Looking for a bit of feedback from Sue, Jonas and your fellow troubadours? Join the class, sign up for a slot, perform, get a little loving feedback to help your piece grow AND expand your writing tribe. It’s like a mini workshop focused on you and your fellow songwriters’ work. Closes with a Q & A about your performing questions.
Open Tunings for Fingerstyle Guitar (Chris)
What’s the mystery about open tunings? No mystery, the tunings do the work for you. Come see how open D and open G tunings can open up the guitar’s possibilities. With some easy right-hand picking and some simple chord shapes, it’s like a whole new instrument.
What’s the mystery about open tunings? No mystery, the tunings do the work for you. Come see how open D and open G tunings can open up the guitar’s possibilities. With some easy right-hand picking and some simple chord shapes, it’s like a whole new instrument.
Honky-Tonkin' & Two-Steppin' (Mitzi, Ellen, Amanda)
It’s Saturday night somewhere! Let’s delve into the 1950s-60s honky-tonk era—the cryin’ in your beer, cheatin’, heartache songs of singers like Hank Williams, Kitty Wells, and Buck Owens. We’ll explore the style of the singers, the twang of the melody instruments, and that special two-stepping rhythm. Dancers will learn a basic two-step. Then we’ll put it all together. Whether you want to sing, play, dance—or do all three—you’re sure to have a honky-tonkin’ good time!
It’s Saturday night somewhere! Let’s delve into the 1950s-60s honky-tonk era—the cryin’ in your beer, cheatin’, heartache songs of singers like Hank Williams, Kitty Wells, and Buck Owens. We’ll explore the style of the singers, the twang of the melody instruments, and that special two-stepping rhythm. Dancers will learn a basic two-step. Then we’ll put it all together. Whether you want to sing, play, dance—or do all three—you’re sure to have a honky-tonkin’ good time!
Small Ensembles
At the end of each workshop day we'll break off into smaller ensemble groups lead by instructors. This will give us a chance to play and sing with other camp participants, working towards a whole sound.
At the end of each workshop day we'll break off into smaller ensemble groups lead by instructors. This will give us a chance to play and sing with other camp participants, working towards a whole sound.
Monday, August 18th
Introduction to Alternate Picking for the Mandolin (Mark (Lou))
Learning how to play melodies with a down-up picking technique is essential, benefitting your rhythm and speed as a mandolin player. We'll use some exercises to get started on learning this skill and then move on to applying it to a fiddle tune or two.
Learning how to play melodies with a down-up picking technique is essential, benefitting your rhythm and speed as a mandolin player. We'll use some exercises to get started on learning this skill and then move on to applying it to a fiddle tune or two.
Dream & Dialogue Collecting for Singer-Songwriters & Poets (Sue)
This session will look at how to gather ideas from dreams and cull your own mythical language. You will work with fellow writers in this class to enter into a collective enterprise. You will consider dialogue and its rhythms as song tempo. Sue will guide you through some prompts to help you start a song.
This session will look at how to gather ideas from dreams and cull your own mythical language. You will work with fellow writers in this class to enter into a collective enterprise. You will consider dialogue and its rhythms as song tempo. Sue will guide you through some prompts to help you start a song.
Mississippi John Hurt: It's All In The Thumb (Chris)
If you've been wondering how the great early country blues guitar players sound as good as they did, take a lesson from one of the greatest, Mississippi John Hurt. Mississippi John’s whole style was based on a rocking thumb that was steady as a metronome, while the fingers played syncopated melody lines. In this class you will not only learn some of the great tunes Mississippi John played, but also his approach to the guitar so that you can create your own fingerpicking solos.
If you've been wondering how the great early country blues guitar players sound as good as they did, take a lesson from one of the greatest, Mississippi John Hurt. Mississippi John’s whole style was based on a rocking thumb that was steady as a metronome, while the fingers played syncopated melody lines. In this class you will not only learn some of the great tunes Mississippi John played, but also his approach to the guitar so that you can create your own fingerpicking solos.
Cumberland Gap for Banjos (Luke)
Last year we learned Sandy River Belle in Sandy River Belle tuning. Another name for Sandy River Belle tuning is Cumberland Gap tuning. Can you guess what tune we might learn this year?
Last year we learned Sandy River Belle in Sandy River Belle tuning. Another name for Sandy River Belle tuning is Cumberland Gap tuning. Can you guess what tune we might learn this year?
We Shall Overcome! (Peggy & Maura)
In this workshop we’ll delve into the history of the civil rights song “We Shall Overcome.” We’ll learn its crooked path from Zilphia Horton to Frank Hamilton, from the North Carolina tobacco workers to Pete Seeger, landing at the Highlander Folk Center. Finding its way to the all the churches in the South and at the center of the Civil Right movement. After we learn its history, we’ll take to our instruments and voices and bring the song to life!
In this workshop we’ll delve into the history of the civil rights song “We Shall Overcome.” We’ll learn its crooked path from Zilphia Horton to Frank Hamilton, from the North Carolina tobacco workers to Pete Seeger, landing at the Highlander Folk Center. Finding its way to the all the churches in the South and at the center of the Civil Right movement. After we learn its history, we’ll take to our instruments and voices and bring the song to life!
Monday Afternoon
A Brief Introduction to the Humble Harmonica (Chuck)
The harmonica is one of the most common, and one of the most misunderstood, instruments in the world. How do you know which key of “harp” to use for a given song? Why do you need so many? How do you read harmonica tabs? How do you make train sounds and bend notes? Let’s unlock some of the mysteries of the “Mississippi saxophone” and learn to play a couple simple tunes. Please bring a harp in the key of “C”. Harmonicas like the Hohner Blues Band and Fender Blues Deluxe would be fine for our purposes and cost under 15 bucks.
The harmonica is one of the most common, and one of the most misunderstood, instruments in the world. How do you know which key of “harp” to use for a given song? Why do you need so many? How do you read harmonica tabs? How do you make train sounds and bend notes? Let’s unlock some of the mysteries of the “Mississippi saxophone” and learn to play a couple simple tunes. Please bring a harp in the key of “C”. Harmonicas like the Hohner Blues Band and Fender Blues Deluxe would be fine for our purposes and cost under 15 bucks.
Intro to Arco (Amanda)
The bow is a powerful option in the bassist’s toolkit. Let’s rosin it up and learn how to wield it to get a beautiful sound. We’ll load up on a few moves to pull out at the evening jams.
The bow is a powerful option in the bassist’s toolkit. Let’s rosin it up and learn how to wield it to get a beautiful sound. We’ll load up on a few moves to pull out at the evening jams.
Technique Through Tunes for Clawhammer Banjo (Luke)
Honing your technique might seem boring or abstract or confusing, and most of us aren't too excited about warm-ups and exercises. Learning and practicing tunes can be more fun! In this workshop Luke will teach some tunes where you can apply essential clawhammer techniques and in turn hone your skills, see how and why we use them, and have fun doing it!
Honing your technique might seem boring or abstract or confusing, and most of us aren't too excited about warm-ups and exercises. Learning and practicing tunes can be more fun! In this workshop Luke will teach some tunes where you can apply essential clawhammer techniques and in turn hone your skills, see how and why we use them, and have fun doing it!
Intro to Bass Runs (Maura)
We'll work on getting comfortable with different bass runs and incorporating them into songs. We'll focus on 2- and 3-chord songs, listening for spaces in which to put a bass run to work.
We'll work on getting comfortable with different bass runs and incorporating them into songs. We'll focus on 2- and 3-chord songs, listening for spaces in which to put a bass run to work.
Beyond Bass Runs (Amanda)
Let’s navigate chord changes in new ways. We’ll practice funky walk-ups, bass fills, and subtle signals to support an ensemble. We’ll also learn when and where to use them. Ideal for bassists and rhythm players looking to spice things up.
Let’s navigate chord changes in new ways. We’ll practice funky walk-ups, bass fills, and subtle signals to support an ensemble. We’ll also learn when and where to use them. Ideal for bassists and rhythm players looking to spice things up.
Old-Time Revival (Jonas)
The beautiful sounds of traditional American music are being revived and reinvented by contemporary bands like Uncle Earl, David Rawlings, Gillian Welch, The Be Good Tanyas, Abigail Washburn, Old Crow Medicine Show, the South Memphis String Band, and more. We’ll look at a few of these in an ensemble setting.
The beautiful sounds of traditional American music are being revived and reinvented by contemporary bands like Uncle Earl, David Rawlings, Gillian Welch, The Be Good Tanyas, Abigail Washburn, Old Crow Medicine Show, the South Memphis String Band, and more. We’ll look at a few of these in an ensemble setting.
Coal Miner’s Daughter: Loretta Lynn (Mitzi & Ellen)
Loretta Lynn was born into poverty in a one-room cabin in Kentucky, married at 15, and had four kids by the time she was 20. But by her 30s, she was a country music superstar—the first woman to really make it on her own terms. At a time when women weren’t expected to write songs or speak their minds, Loretta did both. Her songs, like “The Pill” and “Don’t Come Home A-Drinkin’,” were so forthright that some radio stations banned them. But people loved her honesty, her humor, and the way she told real stories about women’s lives. Let’s celebrate Loretta by singing and playing the songs that made her one of the most influential women in American music!
Loretta Lynn was born into poverty in a one-room cabin in Kentucky, married at 15, and had four kids by the time she was 20. But by her 30s, she was a country music superstar—the first woman to really make it on her own terms. At a time when women weren’t expected to write songs or speak their minds, Loretta did both. Her songs, like “The Pill” and “Don’t Come Home A-Drinkin’,” were so forthright that some radio stations banned them. But people loved her honesty, her humor, and the way she told real stories about women’s lives. Let’s celebrate Loretta by singing and playing the songs that made her one of the most influential women in American music!
Start your Flatpicking with Doc Watson (Chris)
If you are trying to get going with flatpicking single note melodies and playing great sounding bluegrass guitar runs, a trip to the doctor will fix you up. Doc Watson had a great flatpicking guitar style because he kept it simple and close to home. This class will not only teach you some great Doc Watson solos but will show you how to use his approach to create your own.
If you are trying to get going with flatpicking single note melodies and playing great sounding bluegrass guitar runs, a trip to the doctor will fix you up. Doc Watson had a great flatpicking guitar style because he kept it simple and close to home. This class will not only teach you some great Doc Watson solos but will show you how to use his approach to create your own.
Everything Is Music – Part 2 of 2 (Sue)
Walk, sit quietly and note what we hear all around us at the retreat and in nature. Then we’ll discuss ways to turn that into one’s own mini “Four minutes and 33 seconds” composition. We turn the idea on its head. This is about hearing music in everything, or as Cage said, “Everything is music.” This is a 2-part workshop, participants should attend the first part on Sunday as well.
Walk, sit quietly and note what we hear all around us at the retreat and in nature. Then we’ll discuss ways to turn that into one’s own mini “Four minutes and 33 seconds” composition. We turn the idea on its head. This is about hearing music in everything, or as Cage said, “Everything is music.” This is a 2-part workshop, participants should attend the first part on Sunday as well.
Let’s Figure This Out! (Luke)
Is there a particular thing that you’re struggling with on guitar, clawhammer banjo or mandolin? In this workshop each participant will have an opportunity to address their issues and we can collectively dive in and help each other out!
Is there a particular thing that you’re struggling with on guitar, clawhammer banjo or mandolin? In this workshop each participant will have an opportunity to address their issues and we can collectively dive in and help each other out!
Small Ensembles
At the end of each workshop day we'll break off into smaller ensemble groups led by instructors. This will give us a chance to play and sing with other camp participants, working towards a whole sound. Ensembles will have a chance to share their work at our Monday night celebration.
At the end of each workshop day we'll break off into smaller ensemble groups led by instructors. This will give us a chance to play and sing with other camp participants, working towards a whole sound. Ensembles will have a chance to share their work at our Monday night celebration.