JULY 6 - AUGUST 9, 2014 AT wARRen wILSOn COLLeGe, ASHeVILLe, nC Th e Swannanoa Gathering Warren Wilson College, PO Box 9000, Asheville, NC 28815-9000 phone/fax: (828) 298-3434 email: [email protected]  website: www.swangathering.com shipping address: Th e Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778 For college admission information contact: [email protected] or 1-800-934-3536 Program Information

wARRen wILSOn COLLeGe CLASS InFORmATIOn President Dr. Steven L. Solnick Th e workshops take place at various sites around the Warren Wilson Vice President and Dean of the College Dr. Paula Garrett campus and environs, (contact: [email protected] or 1-800-934-3536 Vice President for Administration and Finance Alan Russell for college admission information) including classrooms, Kittredge Th eatre, our Vice President for Advancement & Dean of Admissions Richard Blomgren Bryson Gym dancehall and campus Pavilion, the campus gardens and patios, Dean of Student Life Paul Perrine and our own jam session tents. Each year we off er over 150 classes.Students Dean of Service Learning Cathy Kramer are fr ee to create their own curriculum fr om any of the classes in any programs Dean of Work Ian Robertson off ered for each week. Students may list a class choice and an alternate for each of our scheduled class periods, but concentration on a few classes is strongly THe SwAnnAnOA GATHeRInG recommended, and class selections are required for registration. We ask that Founder and President Emeritus Dr. Douglas M. Orr, Jr. you be thoughtful in making your selections, since we will consider them to be Director Jim Magill binding choices for which we will reserve you space. Aft er the fi rst class meeting, Offi ce Manager Ruth Ingram students have until 6pm on Monday of that week to switch into another open Logistics Coordinator Julia Weatherford class if they fi nd they have made an inappropriate choice, and are then expected Housing Coordinator Sarah Donnelly to remain in those classes. We discourage dropping in and out of classes during Dorm Host Amy McCuin the week. Unless indicated in the class descriptions, classes have a maximum of 15 Coordinator, Traditional Song Week Julee Glaub students, and when those limits are reached, classes will be closed and additional Coordinator, Celtic Week Jim Magill students waitlisted. Registration is on a fi rst-come, fi rst-served basis. Look for Coordinator, Old-Time Music & Dance Week Phil Jamison updates and any corrections to this catalog at our website. Coordinator, Guitar Week Al Petteway Each week commences with supper, an orientation session, and Coordinator, Contemporary Folk Week David Roth jam sessions and socializing on the Sunday before classes begin. Most classes Coordinator, Fiddle Week Julia Weatherford will meet for morning or aft ernoon sessions, Monday through Friday. Friday Coordinator, Mando & Banjo Week Jim Magill evening’s activities will conclude the week. Some classes may also meet in the Coordinator, Children’s Programs Melissa Hyman evenings for performance critiques, rehearsals, or jam sessions. In addition to Sound Technician Weogo Reed the scheduled classes and instructor staff , we will have various ‘potluck sessions’, guest instructors, and adjunct staff to call dances and lead picking sessions and AdVISORY BOARd ‘slow jams’, or tune-learning sessions. Check the program descriptions for details. All of our programs include concerts featuring our instructor staff , some of David Holt, artist Tom Paxton, artist which are open to the public. See the ‘Concerts’ page at our website for details. Fiona Ritchie, Th e Th istle & Shamrock Dougie MacLean, artist We will also have several vendors on hand, including Michael Ginsburg (865- Art Menius, Executive Director, Th e ArtsCenter Tommy Sands, artist 984-3803 or [email protected]), off ering recordings and other staff David Wilcox, artist Si Kahn, artist items, and Acoustic Corner (828-669-5162 or www.acoustic-corner.com), John McCutcheon, artist Billy Edd Wheeler, artist off ering instruments, rentals, accessories, books, and musical supplies. Th ose Barry Poss, Sugar Hill Records Mick Moloney, artist Jennifer Pickering, LEAF Festival Director wishing to rent instruments or special order items should contact Acoustic Corner in advance. Th e Gathering has grown steadily since its inception, and we expect growth to continue this year. Please note that although there is no mASTeR mUSIC mAKeR AwARdS deadline for registrations, both class size and total enrollment are limited for each calendar week, so early registration is encouraged. Our mountain campus Ralph Blizard — 1996 Séamus Connolly — 2002 is beautiful but hilly, and those with health problems may fi nd it challenging. Tom Paxton — 1996 Mike Seeger — 2003 Before registering, students should give reasonable consideration to their ability Margaret Bennett — 1998 Billy Jackson — 2004 to get participate in the program without assistance. Although we help where Fiona Ritchie — 2000 Stranger Malone — 2005 David Holt — 2001 Phil Jamison — 2008 we can, we don’t have the resources, personnel or expertise to provide assistance to Jean Ritchie — 2001 Alice Gerrard — 2010 those with prohibitive health issues. John McCutcheon — 2001 Al Petteway — 2013

Cover design: Jim Magill 1

HOUSInG & meALS Our program’s ‘open’ format, which encourages students to take If you’re considering joining us and are wondering what kind of several courses a day, allows a breadth of understanding of our folk traditions environment you can expect, just remember that the Swannanoa Gathering seldom found in workshops of this type. For example, a fi ddler may take a class is not a conference center or resort, but a music camp held on a college campus. in her instrument in the morning, then, aft er lunch, a dance class that uses Remember camp? Remember college? Housing is available for students and tunes from her fi ddle class, and a folklore class in the aft ernoon describing the staff of the Swannanoa Gathering in the college dormitories. Rooms are double- cultural context in which both tunes and dances developed. Th is may then occupancy with communal bath facilities. Small deposits for dorm keys and contribute to a more complete grasp of the nuances of the style during her meal cards will be required on arrival. Linens are provided, but students may practice time, and a more authentic fi ddle sound. We encourage all students wish to bring extra items that will be listed in the Welcome Letter mailed to to come to Swannanoa with an open mind and a willingness to try something registrants in May. Smoking is not permitted in or near any campus buildings. new. No pets, please. Motor homes are not permitted on campus. Th e housing fee Students enrolled for instrumental instruction are expected to pro- of $395 includes a double occupancy room for six nights, supper on Sunday, vide their own instruments, and most of our instructors encourage the use of three buff et-style meals a day at the college cafeteria in Gladfelter Student small recording devices like tape- or digital recorders as a classroom memory Center, and breakfast on Saturday at the end of the week. A limited number of aid. Students wishing to record video of their classes will be required to obtain single rooms are available at an additional fee of $155 for a total of $550. Th e the permission of the instructor prior to the fi rst class meeting, and must sign a College is catered by Sodexo (828-298-1041), and low-sodium and vegetarian release form stating that no commercial use will be made of any recorded materi- meals are available. Th ose wishing to stay over on the Saturday night at week’s als, nor will they be posted to any internet website. Th e Swannanoa Gathering end may do so if space is available for a fee of $75 per person. Th is does not reserves the right to cancel, add, and/or substitute classes and personnel where include the cost of meals. No Saturday stayover on August 9. We cannot house necessary. Call our offi ce or visit our website for the latest program updates or those wishing to arrive a day early. Adults staying off -campus may purchase a corrections. meal ticket for $124, and meal tickets for children under 12 may be purchased for $82. Meals may also be purchased individually. SKILL LeVeLS Our students come from all backgrounds and skill levels, from COnTenTS complete beginners to serious hobbyists to professional musicians, and from Program Information ...... Inside front cover countries as varied as France, Colombia, Japan and Australia, as well as Canada Traditional Song Week ...... 3 and all 50 states. Some class descriptions defi ne required skills in detail, but Celtic Week ...... 10 when the following terms appear, Beginner refers to those with no experience Old-Time Music & Dance Week ...... 20 at all, or those who play some but are not yet comfortable with the basics. Guitar Week ...... 28 Intermediate students should have mastered basic skills, and be able to tune their instruments, keep time, play the principal chords and scales cleanly, and Contemporary Folk Week ...... 36 know how to play a few tunes with confi dence (dancers should know basic steps Fiddle Week ...... 42 and fi gures, and how to lead and/or follow). Advanced students should be very Mando & Banjo Week ...... 49 comfortable with their instruments and able to focus on style, arrangement and Registration form ...... Inside back cover ornamentation. Roman numerals aft er a class title indicate a diff erence in focus or skill level of the same subject, while capital letters denote diff erent sections of the same class. Many classes may include musical notation, tablature or other handouts, though in general, we emphasize learning by ear. Our classes have As long as space permits, we will continue to allow a non-student no age restrictions, but we require that all students, especially minors, be living outside the Asheville area to accompany an enrolled student and be sincerely interested in the class subject and not a distraction to others. housed with them in student dorms for payment of the $395 housing fee and an activity fee of $135, which allows admission to all events except classes. TUITIOn Th ere is a $50 deposit required to register as a non-student. Since many of the social activities that foster the sense of community we are striving for take place Tuition is $500 per week, which includes a deposit of $100 required outside of class – at mealtimes, in the evenings, at jam sessions and dances, all for registration. Full payment is required by June 6 to guarantee your class participants are encouraged to be in residence on campus during the week choices. Aft er that date, your class reservations will be unconfi rmed until we if at all possible. Th ose with special needs should include a detailed, written receive your balance. If we are holding a space for you in a class that is full, description of those needs with their registration materials. and your balance is unpaid aft er June 6, we may release that space to another student. If possible, full payment with your registration is helpful and appreci- CAnCeLLATIOnS And ReFUndS ated. Registrations aft er June 6 for any remaining spaces must be accompanied by full payment. Some classes may require materials- or other fees as specifi ed Th e deposits required for registration are processing fees credited in the course descriptions and should be paid directly to the instructor upon toward tuition and not student funds held in escrow, and are thus non- arrival. Tuition for the Children’s Program during Traditional Song, Celtic, refundable and non-transferrable. Should an enrolled student need to cancel, and Old-Time Weeks is $175 per child per week (includes evening childcare we can refund all monies collected, other than the deposits, if notifi ed four weeks for ages 3-12), with a $25 deposit required. Th e Children’s Program also has before his/her program begins. No refunds other than the cost of meals ($124 an additional materials fee of $30 payable to the coordinator on arrival. for adults, $82 for children) can be made within four weeks of the event. 2

YOUTH SCHOLARSHIPS & endowments CHILDREN’S PROGRAMS Each year, we award Youth Scholarships for the cost of tuition and We encourage those bringing children aged 6-12 during our Tradi- housing in any of our programs to a number of promising young musicians and tional Song, Celtic, and Old-Time Weeks to take advantage of the Children’s dancers. These scholarships are funded entirely by donations from our partici- Programs described in the catalog, but remember, space is limited. Children pants. Several of these scholarships are memorial scholarships awarded during must have turned 6 by July 1st to participate. No exceptions, please. Program Celtic Week in memory of Tony Cuffe and Regis Malady, during Old-Time activities are scheduled during class periods, and parents are responsible for their Week in memory of Ralph Blizard, and during Contemporary Folk, Fiddle children at all other times. Evening childcare will be provided for ages 3-12 at no or Traditional Song Weeks in memory of Freyda Epstein, our dear friends additional cost. Those bringing children should indicate so on their registration and long-time staff members. Several additional scholarships are sponsored form. Children under 12 may stay in a room with two adults, at least one of by individuals as well as the Charlotte Folk Society, Tosco Music Parties, whom is a registered student, at no charge, other than the cost of meals. Our Austin Friends of Traditional Music, Wilkes Acoustic Folk Society, Dream rooms contain no more than two beds, so the accompanying adult must provide Guitars, the Blue Ridge Irish Music School and a group of regular attendees each child’s bedding (cot, air mattress, etc.), and both adults must request the calling themselves “The Shepard Posse.” Other individuals and organizations arrangement. In the case of a single adult with child(ren), they will be housed are also welcome to sponsor Youth Scholars. Contact our office for details. together and charged an additional single-room fee of $155 for the week as Applicants should be under the age of 22 during the week they are applying long as space permits. for, and should submit by April 1 a completed application (available from the Youth Scholarship page at our website), a self-written letter of request for the COURSE CREDIT specific week desired, giving background and contact information, including the The North Carolina Department of Public Instruction has allowed applicant’s age, prior musical experience and stating why (s)he should receive a three hours of Teaching Certificate Renewal Credit for each week of the Swan- scholarship, plus a letter of recommendation from a mentor or other individual nanoa Gathering. Interested teachers should contact their local school board knowledgeable in the applicant’s area of folk music or dance. Please do not send for prior approval. recordings. Priority will be given to those who have not received a scholarship before. An application fee is not required. Scholarships are merit-based, limited and competitive. AIRPORT SHUTTLE The Doug & Darcy Orr Music Endowment is an endowment fund For those travelling by air, we can offer free airport shuttle service established to provide long-term financial support for the work of the Swan- only at the following times: nanoa Gathering now, and for decades to come. Originally established with a SUN. shuttle departs the Asheville airport for the College at noon, 3 pm and 5 pm. generous gift from one of our workshop participants, interest from the fund SAT. shuttle departs the College for the Asheville airport at 9 am and noon. provides financial support for the program where it is most needed. Shuttle space is limited and available on a first-come, first-served basis. Other com- Interest from our Youth Scholarship Endowment directly funds mercial transport to and from the College is available at the Asheville Regional youth scholars. Airport (AVL). Drive time between the College and the Asheville Airport is Our Greatest Needs Fund is the restricted account that receives the approximately 30 minutes. Please make your travel plans accordingly, and note interest from the endowments. Tax-free contributions to the Doug & Darcy your flight info and desired shuttle times on your registration form, or contact us Orr Music Fund, the Youth Scholarship Endowment, and/or the Greatest so we know who to expect on each shuttle run. Those staying over on Saturday Needs Fund are welcomed and may be included on the registration form. may make arrangements to ride out to the airport on the Sunday shuttles.

SOCIAL EVENTS HOW TO GET HERE In addition to scheduled classes, each week’s activities may include The Asheville-Swannanoa area is easily reached by car from the east concerts by staff instructors, evening dances, song swaps, ‘slow jam’ sessions, and west by I- 40, and from the north and south by I- 26. From I- 40, take exit open mikes and informal pickin’ parties. Some concerts and dances may be 55, and go north a quarter mile to Hwy 70. Go east approximately 1.6 miles to open to the public. The College’s facilities include a gymnasium, weight room, the next stoplight. Turn left onto Warren Wilson Rd. and go 1.4 miles to the aquatic center and tennis courts, as well as a pond, nature trails, and a working College. US Airways, Continental, Delta, AirTran and United provide daily farm. There are also a number of nearby scenic attractions, including historic service to the Asheville Regional Airport, located just south of Asheville. Asheville and Black Mountain, the Biltmore Estate, the Blue Ridge Parkway, For those wishing to find or share a ride to the Swannanoa Gather- Folk Art Center, Pisgah National Forest, Great Smokies National Park and ing, please visit the ‘Rideshare’ page at our website. It’s a great way to meet new Mount Mitchell, the tallest peak in the eastern U.S. friends. 3 raditional Song eek uly 

Traditional Song Week realizes a dream of a comprehensive program completely devoted to traditional styles of singing. Unlike programs where singing takes a back seat to the instrumentalists, it is the entire focus of this week, which aims to help restore the power of songs within the larger traditional music scene. Here, fi nally, is a place where you can develop and grow in confi dence about your singing, and have lots of fun with other folks devoted to their own song journeys. Come gather with us to explore various traditional song genres under the guidance of experienced, top-notch instructors. When singers gather together, magical moments are bound to happen! For our seventh year, Traditional Song Week is proud to present a gathering of highly infl uential singers and musicians who have remained devoted over the years to preserving and promoting traditional song. Th is year will introduce several new programs into the week. In celebration of Peter Yarrow’s visit and aft er the success of last year’s featured Song Contest, we will host the fi rst “Best Sixties Folk Song Contest” on Tuesday evening. Students will have an opportunity to share their best versions of songs from an era which marked history. Extra points will be given for crazy costumes! Our Community Gathering time each day aff ords us the opportunity to experience together as a group diverse topics concerning our shared love of traditional song. Th is year’s spotlight will shine on Peter Yarrow, a true icon of American music, as we continue to celebrate Peter, Paul, and Mary’s 50th Anniversary (2013). Peter will share his music and stories during one of the Community Gatherings as well as joining in on a staff concert night. Other special guests will include NC ballad treasure Bobby McMillon and his Anthology Project of rare songs, Doug and Darcy Orr on the eve of the publication of their new book project (with co-author, Fiona Ritchie) Wayfaring Strangers, and, back by popular demand, the dynamic duo Rev. Robert Jones and Matt Watroba presenting songs from the 1840’s up to present day. We will also learn from behind the scenes about one of our state’s fi nest resources for traditional singers, theBackporch Music radio series from National Public Radio affi liate WUNC, out of the Triangle area. Very special guest, radio host Freddy Jenkins, will join us for an insightful program on the evolution of traditional song. As requested by students, this year, we will feature classes in singing with instruments (guitar, fi ddle, mandolin and banjo) and song arrangement as we welcome back Dáithí Sproule (guitarist for Irish super-group Altan), the talented Nicole and Brian Christianson from Nashville (Brian performs weekly on the Grand Ole Opry with the Mike Snider Band), camp favorite Mark Weems to teach a new class of Banjo Songs and Josh Goforth to teach Music Th eory. A special welcome to new staff Tim May, multi-instrumentalist and bluegrass singer, who was selected by theNashville Scene as “Best Instrumentalist” in their 2012 Reader’s Choice poll. We’ll also feature classes in blues and gospel (taught by the Rev. Robert Jones from Detroit), cowboy songs and songs of the frontier (taught by the fi nest yodeler on the Grand Ole Opry, Riders in the Sky’s Ranger Doug), songs from Ireland (Dáithí Sproule and song collector Len Graham), Scotland (Brian McNeill), England, North Carolina mountain ballads (with National Heritage Award winner, Sheila Kay Adams), Virginia ballads (Elizabeth LaPrelle), songwriting in the tradition, fi nding your voice and choosing your songs, shape-note, duet harmony, community singing, children’s songs, camp meeting songs and more! Th e week will also feature nightly concerts and singing sessions, the Old Farmers Ball dance, a wonderful Children’s Program, ample opportunities to mix with other singers, and mid-day Community Gathering times.

PeTeR YARROw Len GRAHAm “We’re part of a long train ride,” is the way Peter Yarrow County Antrim’s Len Graham has been a full-time professional describes the events that have highlighted a career span- traditional singer since 1982. Aft er he won the All-Ireland Tra- ning more than four decades, fi rst with seminal folk artists ditional Singing competion in 1971, his passion for the songs of Peter, Paul & Mary, then as a solo performer. As a member his native Ulster began to grow with his reputation. Len sought of the renowned musical trio, he has earned many gold out and recorded older singers, and published a book, Here I and platinum albums, and numerous Grammys. With Am Amongst You, on the songs, dance music and traditions of characteristic care, Yarrow places the success he’s had Joe Holmes. He was a founding member of the group Skylark, within a greater context, seeing his accomplishments with whom he toured extensively for ten years and recorded four as part of a tradition, to be credited and carried on. His albums. In 1993, he released his book and fi eld recording collec- gift for songwriting produced some of the most moving tion, It’s Of My Rambles. Over the years, Len has collaborated and worked with numerous songs Peter, Paul & Mary recorded, including “Puff , the Magic Dragon,” “Day is Done,” musicians, poets and storytellers. His association with the late John Campbell brought “Light One Candle,” and “Th e Great Mandala,” and his talents are frequently directed at storytelling and song to a world audience, and their work together over twenty years using music to convey a message of humanity and caring, illustrated by his involvement made a signifi cant contribution toward creating a deeper cross-community understand- with numerous projects, including the Civil Rights Movement, which brought Peter, ing of shared cultural traditions during many years of confl ict in the north of Ireland. Paul & Mary to Washington in 1963 to sing for the historic march led by Dr. Martin Len has recorded numerous albums, performed at many Irish and international folk, Luther King, Jr., the Selma-Montgomery march in 1965, numerous events for the Peace/ literary and storytelling festivals, and appeared on many radio and television programs. anti-Vietnam War movement, including festivals at Madison Square Garden and Shea In 1992, he received the Seán O’Boyle Cultural Traditions Award in recognition of his Stadium, and more recently, the Hospice Movement, and Operation Respect: “Don’t work in Ireland as a song collector and singer. In 2002, he was honoured as the fi rst Laugh At Me,” to build safer and more respectful school environments for children. recipient of the Irish television TG4 National Music Award for “Traditional Singer Of Nurturing and validating the talent of new songwriters is something to which Peter has the Year.” In 2008, he was awarded “Keeper of the Tradition” from the Tommy Makem been committed throughout his career. In 1962, he became a founding board member Festival of Traditional Song and the US Irish Music Award in the “Sean-Nós Singing” of the Newport Folk Festival, and in that context conceived of and hosted a special category, and in 2011 he was awarded the Gradam na mBard CCÉ (CCÉ Bardic Award) New Folk Concert dedicated to emerging folk performers and songwriters. In 1970, at the All-Ireland Fleadh Cheoil na hÉireann. www.storyandsong.com building on this concept, Peter conceived of and co-organized the New Folks Concert, which became the signature event of the Kerrville (Texas) Folk Festival, now considered, arguably, the most respected platform in America for launching new singer/songwriters. eLIZABeTH LAPReLLe We are honored to have Peter joining us this summer. www. peteryarrow.net (See bio in Old-Time Week page 21) 4

RAnGeR dOUG JULee GLAUB weemS Guitarist Ranger Doug, “Governor of the Great Julee Glaub, the Coordinator of Traditional Song Week, State of Rhythm” and “Idol of American Youth” is is a North Carolina native who studied literature and best known as the lead singer with Riders in the Sky, music at Wake Forest University before following her the multiple Grammy-winning cowboy quartet and longstanding interest in Irish culture to work with the members of the Grand Ole Opry, the Western Music poor in Dublin. For nearly seven years, she continued Association’s Hall of Fame, the Country Music Foun- her work in Dublin while sitting at the feet of master dation’s Walkway of Stars, and the Walk of Western players and singers, absorbing all she could. She credits Stars. While remaining true to the integrity of Western the combination of material from older singers and from music, they have themselves become modern-day icons the Traditional Music Archive, and her experiences in by branding the genre with their own legendary wacky humor and way-out Western wit, working with poor and working people in Dublin as the and all along encouraging buckaroos and buckarettes to live life “Th e Cowboy Way!” major inspirations for her ballad singing. Upon returning home, she became involved A yodeler of breathtaking technique, Ranger Doug is also an award-winning Western in the Irish music scene here in the states and has become recognized as a leading inter- music songwriter in his own right – and a distinguished music historian whose 2002 preter of Irish songs in America. She lived in the northeast for seven years in order to be Vanderbilt University Press book, Singing in the Saddle, was the fi rst comprehensive closer to the heartbeat of Irish music in America in the major Irish-American enclaves look at the singing cowboy phenomenon that swept the country in the 1930s. In 2006, in Boston and New York, and performed with the band Séad (Brian Conway, Brendan Ranger Doug’s Classic Cowboy Corral debuted on XM Satellite Radio, still heard weekly Dolan, and Jerry O’Sullivan) with whom she still performs from time to time, as well on SiriusXM Channel 56. During thirty-six years with the Riders, he has chalked up as with Pete Sutherland, Dáithí Sproule, and Tony Ellis. Her latest solo release, Blue over 6600 concert appearances in all 50 states and 10 countries, appearing in venues Waltz, explores her interest in the connections between Irish and Appalachian song and everywhere from the Nashville National Guard Armory to Carnegie Hall, and from has been featured on NPR’s Th istle and Shamrock. Now based in Durham, NC, she and the White House and county fairs to the Hollywood Bowl. www.ridersinthesky.com her husband, Mark Weems, tour as a duo called Little Windows, which blends Irish, Appalachian, and old-time gospel with a focus on tight harmonies in unaccompanied singing. Julee has been on staff at the Irish Arts Week in N.Y., Alaska Fiddle Camp, TIm mAY Schloss Mittersill Arts Conference in Austria, the Swannanoa Gathering’s Celtic Week, Flatpicking guitarist Tim May has been working in the Nash- Camp Little Windows and various camps and festivals throughout the US. Julee’s ville area for over 20 years as a sideman, session player, band approach to music goes beyond its entertainment aspect to focus on the spiritual and member and performer. He has toured with Patty Loveless emotional wealth that traditional music has to off er to the world. For her, Traditional and John Cowan, and regularly performs with Mike Snider Song Week is a long-awaited dream come true. www.juleeglaub.com on the Grand Ole Opry. Tim was the solo guitarist on Charlie Daniels’ recording of “I’ll Fly Away,” which was nominated for the Best Country Instrumental Performance Grammy in 2005, JOSH GOFORTH the same year he was session leader on the critically acclaimed Josh learned to play fi ddle from legendary fi ddlers Gordon and recording that featured bluegrass treatments of the music of the Moody Blues, entitled Arvil Freeman in his native Madison County, NC. A highly ac- Moody Bluegrass. He later played on the followup recording Moody Bluegrass II, as well. complished oldtime, bluegrass, and swing musician, he attended Th e Nashville Scene selected Tim in the Best Instrumentalist category in their 2012 East Tennessee State University to study music education, and Reader’s Choice Poll. He is co-author of the eight-volume book/CD course, Flatpicking to be a part of ETSU’s famous Bluegrass & Country Music Pro- Essentials, Th e Flatpicker’s Guide to Old-Time Music and Th e Flatpicker’s Guide to Irish gram. His fi ddling was featured in the movieSongcatcher , both Music. www.timmaymusic.net onscreen and on the soundtrack, and he has toured extensively with a variety of ensembles, including the ETSU bluegrass band, with David Holt and Laura Boosinger, and with several bluegrass bands including mARK weemS Appalachian Trail, the Josh Goforth Trio, and Josh Goforth and the New Direction. Mark Weems is a multi-instrumental music teacher and He has shared stages with Ricky Skaggs, Bryan Sutton, Th e Yonder Mountain String professional performer of traditional music. He hails from Band, Open Road, and Th e Steep Canyon Rangers, performed throughout the US, Alabama, but currently lives in Durham, N.C. A well-known Europe, and in Japan. In 2000, 2003, and 2005, he was named Fiddler of the Festival at fi gure on the North Carolina traditional country and old- Fiddler’s Grove and, aft er winning his third title, was designated “Master Fiddler” and time scene, he has been singing and studying the nuances of retired from that competition. He was nominated for a Grammy for his 2009 release all types of country music for twenty-fi ve years as a veteran with David Holt, entitled Cutting Loose. of the Th e Stillhouse Bottom Band, and his own honky-tonk band, the Cave Dwellers. Sing Out! magazine recently called him “an exceptionally talented interpreter of old-time vocal and instrumental tunes” ReV. ROBeRT JOneS and “a gift ed composer of timeless music.” Since 2005, he has toured with his wife, Julee Robert B. Jones has more than twenty years of experience as a Glaub, as the duo Little Windows, which performs a mix of Irish, Old-Time, Country, performer, musician, storyteller, radio producer/host and music and Gospel. In 2009, he created the North Carolina School of Traditional Music, which educator. He has opened for and played with some of the fi nest facilitates the local dissemination of the Celtic, Piedmont, and Appalachian musical musicians in the world, including BB King, Bonnie Raitt, Pinetop traditions of the state. In 2013, he co-founded the Old Jonny Booker Band which re- Perkins, Willie Dixon, John Hammond, Keb Mo’, Jorma Kaukonen, creates Early American music popular between 1820 and 1865 on period instruments Howard Armstrong, Chris Smither, Guy Davis and many more. and in period dress. His music has been heard at Merlefest and highlighted on NPR’s Th e Born in Detroit of a father from West Pointe, Mississippi and a Th istle & Shamrock, and Th e State of Th ings. He has performed with former Bluegrass Boy mother from Conecuh County, Alabama, Robert grew up in a very Southern house- Tony Ellis, Daithi Sproule (Altan), Pete Sutherland (Metamora), Alice Gerrard (Hazel hold. By age 17, he had already amassed a record collection of early blues and begun and Alice), and Ranger Doug (Riders in the Sky). www.littlewindows.net to teach himself guitar and harmonica, and by his mid-twenties Robert was hosting an award-winning radio show on WDET-FM, Detroit called Blues From Th e Lowlands. Infl uenced by legendary bluesman Willie Dixon, Robert developed an educational C BRIAn m neILL program called, Blues For Schools, which took him into classrooms all over the country, (See bio in Celtic Week page 10) 5

and for the next 15 years Robert polished his craft as a performer and a music educator. including Laura MacKenzie, Paddy O’Brien, Peter Ostroushko, Jode and Kate Dowling, Answering a call to the ministry, Robert began to study under Rev. James Robinson, and Dean Magraw. Th e Rough Guide to Irish Music called him “a seminal fi gure in Irish Sr. at the Sweet Kingdom Missionary Baptist Church in Detroit, and upon Robinson’s music.” Dáithí has also taught Old Irish, Celtic mythology and Irish music at several death, Robert was called by the church to become its next pastor. He reshaped his Blues universities and is the author of a volume of short stories in Irish and several academic For Schools program into American Roots Music In Education (ARMIE), a program that articles on early Irish poetry and legend. www.daithisproule.com could encompass a wider variety of music, including spirituals, gospel and folk songs, and returned to performing in 2006. Especially infl uenced by sacred musicians such as Rev. Gary Davis, Blind Willie Johnson, Rev. Dan Smith, Joshua White, Blind Connie nICOLe CHRISTIAnSOn Williams and Rev. Robert Wilkins, Rev. Jones now performs solo, with his good friend Nicole started singing in her church’s adult choir when she Matt Watroba, or with his wife of twenty years, Sister Bernice Jones, presenting “Holy was twelve years old, which is where her love for singing be- Blues” to new audiences. Rev. Jones has also returned to radio as the host and producer gan. She sang in choirs throughout high school and college of Deep River, a program of spirituals and gospel, which airs Sundays on WDET in and discovered a passion for the world of roots music. Nicole Detroit. www. revrobertjones.com and her future husband, Brian, were members of a bluegrass band, Th e Minnesota Vikings, that toured the southeast, and since moving to Nashville, Nicole has sung on many proj- BRIAn CHRISTIAnSOn ects, backed up artists and has sung on many demos. She has taught singing at the Brian started fi ddling at age eight in a family band and won many Musical Heritage Center of Middle Tennessee, and recently she and her husband fi ddle contests across his native Minnesota. In 2000, he moved to opened Th e Fiddle House, that promotes their love for acoustic music. Currently, Nashville, Tennessee to work as a luthier and musician, and has had she is in an Appalachian\Irish band, Grandpa’s Hat, where she sings and plays fi ddle. the opportunity to work with many great artists, including Ricky Skaggs, Del McCoury, Russ Barenberg, Tim O’Brien, Roland White, Cathy Chiavola, and Mike Snider. Brian has also played on mATT wATROBA many recordings including his own self-titled album, Brian Christianson and Friends. Th ere are few that can boast a fi rst-name-basis relationship In 2011, Brian and his wife Nicole opened a string shop in Nashville called Th e Fiddle with almost all of the major folk musicians on the North House. Th e shop provides all the services of a violin shop and also hosts weekly jam American continent, as well as a comprehensive grasp of sessions, house concerts and workshops. Brian, the Alabama State Old-Time Fiddle the folk music genre both past and present. One who can champion, plays the fi ddle with Th e Mike Snider String Band on the Grand Ole Opry, is teacher, writer and performer, Matt Watroba. His love of Th e Roland White Band, Th e Russ Barenberg Trio as well as many other great fi ddlers folk, roots and traditional music led him to his position as the and acoustic musicians that frequent Th e Fiddle House. www.thefi ddlehouse.com host of the Folks Like Us program on Detroit Public Radio, a position he has held for over 22 years. In 2007, he partnered with Sing Out! magazine to create the Sing Out! Radio Magazine, an hour-long syndicated radio show heard dOUG & dARCY ORR across the country and on XM Satellite Radio. He was awarded “Best Overall Folk Doug and Darcy Orr have been performing music Performer” by the Detroit Music Awards for the year 2000, and his long list of credits together for over 25 years, through their previous include the prestigious Ann Arbor Folk Festival, Th e Old Songs Festival, the New Jer- Celtic/Appalachian band, Maggie’s Fancy, and during sey Folk Weekend, Louisville’s Kentucky Music Weekend, Th e Fox Valley Festival and subsequent years at Warren Wilson College, where Doug hundreds of school and community presentations throughout the Great Lakes Region. served as president from 1991 to 2006. He founded He has interviewed and performed with hundreds of performers including Pete Seeger, the Swannanoa Gathering in 1992 and it has become Odetta, Charlie Louvin, and Jean Ritchie. In addition, Matt’s musical partnership with one of the nation’s premier traditional music camps. the Rev. Robert Jones has created one of the most sought-aft er and unique educational He also is founder, host and emcee each winter of the experiences available in the country today. Matt is currently a full-time producer and annual Swannanoa Solstice holiday program of music, dance and storytelling at Diana host at folkalley.com www.folkslikeus.org Wortham Th eatre in Asheville. Upon his retirement, Doug was recognized by North Carolina’s governor with the Order of the Long Leaf Pine, the state’s highest civilian honor. Doug plays guitar and Darcy performs on the mountain dulcimer and concertina. BOBBY mCmILLOn She is a previous blue ribbon award winner in the mountain dulcimer competition at Bobby McMillon was raised in western NC and as a boy learned the annual Fiddler’s Grove music festival. Both are vocalists. Doug is currently writing a many of the folk tales and songs handed down among the people book with Fiona Ritchie, host of NPR’s Th e Th istle & Shamrock, about the connection of the Tennessee and Carolina mountains. Upon encouragement between the musical traditions of the Scots/Scots-Irish and the Appalachians. Darcy, a from ballad scholar and historian Cratis Williams, Bobby presents watercolor and oil painter, is the art editor. Doug helped launch Th e Th istle & Shamrock a collection of songs, tales and family recollections which he began in 1981 at WFAE in Charlotte while serving as vice chancellor at the University of performing for the public almost forty years ago at festivals and North Carolina at Charlotte. classes at UNC-Chapel Hill and Duke University, among others. It was at this time he developed friendships with Janette Carter of the famous Carter Family and many of her kinfolk. Dr. Daniel Patterson of UNC-Chapel Hill was instrumental in dÁITHÍ SPROULe encouraging Bobby’s involvement with folklife programs, and with the help of George Dáithí Sproule is a native of Derry in the north of Ireland, a Holt, fi rst director of the Folklife Offi ce at the NC Arts Council, he participated for renowned traditional singer in both Irish and English, and nearly ten years in the Visiting Artists Program as a ballad singer and storyteller. Th e one of the world’s premier guitarists in the Irish tradition. youngest recipient of the North Carolina Folk Heritage Award, Bobby has performed He’s widely credited with pioneering the use of DADGAD at the Smithsonian Folklife Festival, the A. P. Carter Memorial Festival, and the Na- tuning in the accompaniment of Irish music, a style now used tional Storytelling Festival, and his ballad singing was featured in the fi lm,Songcatcher . around the world. He’s worked with many of the greats in Irish music, and is a member of the famed Donegal group, Altan, as well as the U.S.-based trios, Fingal and Trian. He also also performs with Liz SHeILA KAY AdAmS Carroll, Maighread Ní Dhomhnaill, James Kelly, and several Minnesota-based musicians (See bio in Celtic Week page 21) 6

meLISSA HYmAn Children’s Program coordinator Melissa Hyman has been North Carolina’s children’s hospitals. She has taught music at Evergreen Community involved with kids and music throughout her working Charter School in Asheville and coordinated children’s programming at the Southeast life. She traveled for years with bands on the folk circuit, Regional Folk Alliance (SERFA) conference in Montreat, NC. Her introduction to working full-time as a touring and recording artist, cellist, the Gathering came just three summers ago, when she served as the music teacher for singer and songwriter. When not on the road she teaches the Children’s Program. It was love at fi rst Gathering, and Melissa could not be more music on the pediatric unit at Mission Hospital as the honored or excited to be welcomed into the Gathering family as our new Children’s Music Fellow for Arts for Life (www.afl nc.org), a non- Program Coordinator this year. She looks forward to many unforgettable summers of profi t that provides art and music activities to patients at messy games, silly songs, amazing craft s and fast friendships.

lasses (Unless otherwise indicated, all classes have a limit of 15)

SHAPE NOTE SINGING (Josh Goforth) SONGS OF THE FRONTIER (Ranger Doug) Western North Carolina has a long history of shape note singing. From the An overview of the history of the music of and about the west fr om the 1830s haunting melodies of William Walker’s Christian Harmony to the complex, to the dawn of the singing cowboy era. Th ere will be plenty of aural material moving parts of Stamps-Baxter Conventional Hymn Books, this class will to be heard, and there will be a classic song learned each day. (No class limit) be an exploration of the evolution of Shape Note. You will be able to hear the diff erences through group singing. We will discuss a variety of singing CHOICES: HOW TO GET THE MOST styles that are most eff ective for each hymn and above all, have fun! Gospel OUT OF THE SONGS YOU SING (Matt Watroba) harmony has always been an important part of traditional singing and Bringing traditional songs alive is all about choices. In this interactive class, you’ll get the chance to hear where Josh, along with many others, got their Matt Watroba will show you the choices great singers make to get the most start in music. We will begin by learning the shapes, so no prior experience out of a song. Participants will then be encouraged to apply what they’ve is required. Get ready to have lots of fun hearing some amazing harmony learned to the songs they choose to sing. Th is workshop promises to be a safe, and experiencing it with a full group in four parts. (No class limit) fr iendly place where beginners and professionals alike will benefi t fr om the wisdom of the instructor and the group. Phrasing, style and performance MUSIC THEORY (Josh Goforth) techniques are just a few of the areas this class will explore on the way to Ever hear a song and wonder why it’s so pleasing to your ear? Have you wowing any audience with the power of traditional music. always wanted to be able to sing in harmony without approaching it like a math problem? Have you tried to learn theory before and just didn’t fi nd ULSTER SONGS (Len Graham) it interesting in the least or just way too diffi cult? Perhaps you are think- Th is class will deal with the rich Ulster song tradition in the English language. ing, “Why do I need music theory as a traditional singer, shouldn’t it just Th e workshop will include early classic ballads, broadside ballads, songs of come naturally?” Well, this class is for you! We will explore the advantages love, childhood, politics, humour, emigration and more. Each song will be of visual and aural learning in traditional music. No experience or formal put in context, giving historical and social background. As an oral tradition music training necessary! Th is is a good way to get pleasantly thrown into these songs will be taught by repetition and ear with lyrics provided. Par- the deep end of music theory and ear training basics. ticipants are encouraged to bring an audio recording device. (No class limit)

COMMUNITY SINGING: MR. SHARP, I PRESUME? (Len Graham) FOR THE SAkE OF THE SONG (Matt Watroba) When the English folk song collector Cecil Sharp visited the Southern Ap- Th is class will be all about the singing and the song. Th is will be an oppor- palachians between 1916 and 1918 he reported that for the fi rst time in his tunity for you to learn what you need to know to unleash the power of song life he found himself in a community in which singing was as common and in your community. Matt will share his experience as a song leader and almost as universal a practice as speaking. Had he come to Ireland he would community performer by teaching and leading a wide variety of songs in have found a similar environment for song. In this class, Len introduces a wide variety of styles. Aft er learning song leading and Community Sing and teaches some of the many Irish versions of these songs and ballads that organizational techniques, participants will be encouraged to bring in songs he has encountered during a lifetime of singing and collecting. As an oral and try out their song-leading talents on the class. You will sing everyday tradition, these songs and ballads will be taught by repetition and ear with and leave on Friday inspired to take what you’ve learned back into your lyrics provided. Participants are encouraged to bring an audio recording community. (No class limit) device. (No class limit)

SONGS OF THE SINGING COWBOY (Ranger Doug) BLUEGRASS HARMONY (Tim May) An overview of the history of the music of the singing cowboy era in fi lm Harmonies in bluegrass are rooted in the gospel music that Bill Monroe, and on record, fr om the 1930s through the 1950s. Th ere will be audio and Ralph Stanley and others grew up with. Bluegrass sounds earthy with a touch video illustrations, and there will be a classic singing cowboy song learned of old-time, but the harmonies are very tight with very little unison or notes each day. (No class limit) that are not in perfect harmony. We’ll look at how harmonies are created in bluegrass and how great bluegrass harmony singers use simple chord exten- sions to create interest. Some basic theory off ered, but we will spend most of our time fi nding harmony parts and singing standard bluegrass classics.. 7

MAYBELLE CARTER-STYLE GUITAR (Tim May) Maybelle combined rhythm and lead (solo) playing into a powerful style that of harmony, and regional variations will be discussed. Pronunciation will remains one of the best ways to play vocal songs and is a great starting place be covered, as will the lowland Scots context of the songs, historical, social for anyone wanting to move from rhythm playing into lead. The catalog of and thematic. Scottish song’s relation to various instrumental traditions, songs that the Carter Family gave us and the way Maybelle played them has and also to myth and story, will also be covered. The social and musical been a huge influence on almost every music form in America. We’ll learn wellsprings of many important Scottish traditional singers will be discussed the lead vocals to some Carter Family songs, but will spend most of our time in depth, and also, the work of songwriters who are now regarded as to all working on Maybelle’s guitar parts. Maybelle played with a thumbpick intents and purposes traditional, such as Mary Brooksbank, Lady Nairne and fingerpick, but her style can be played with a flatpick as well, so both and Hamish Henderson. Students should bring a small audio (not video) fingerstyle and flatpick-style players are welcome. recorder and a big heart, and should remember that the ethos of the class will be that no student shall be left behind. (Class limit: 30) SINGING THE BLUES (Rev. Robert Jones) Blues great Brownie McGhee used to say, “Everybody gets the blues,” however, SONGWRITING IN THE TRADITION (Brian McNeill) the question is: “How do you sing ’em and how do you make ’em sound like This class will explore all aspects of writing songs based on the models the the blues?” This is a course designed to answer both of those questions. Rev. various English language-based traditions have already established, using Robert Jones will take you into his background as a self-taught blues singer examples from the best of modern songwriting. It will explore form, metre and guitarist. He will share information on such subjects as the blues aes- and rhyme. It will deal with the reasons for writing, the mechanics of writing, thetic, the blues scale, improvisation, phrasing, Piedmont, Delta and urban the conjunction of lyrics and melody and the voice the writer uses. It will blues styles, blues songwriting, history and more. If American popular music deal with characterisation, the use of personal experience, the summarisation could be thought of as a tree, the blues would surely be the trunk. Everyone of historical events and processes, and the expression of political views and is welcome to explore this seminal form of American and World Music. controversial standpoints in song. It will also deal with the practical issues of method, of starting up from an idea or a phrase, of collaborative effort SPIRITUALS, PRAISE HYMNS & GOSPEL (Rev. Robert Jones) between melody writer and lyricist, and of the tensions between creating The Black Spiritual was folk music’s first uniquely American music style. one’s own work and performing it. Above all, this class will deal with the Gospel is a contemporary music style that came out of America’s cities in the subject of honesty in songwriting. The aim will be for putative songwriters 1930’s. In between these seminal styles came a sacred form called “Prayer to better their existing skills and acquire new ones, and the goal will be for and Praise Hymns”. These folk songs had their origin roughly between the the students, working together with the tutor as a team, to bring to fruition years 1885 and 1925, and these were the songs that pioneering musicians one complete new song by the end of the week. Students will be expected and mixed with blues to produce gospel. In this class Robert will explain the dif- encouraged to criticize each other’s work and participate as both listeners ferences between Spirituals, Prayer & Praise Hymns and Gospel and explore and advisors. As well as group classes, they will be offered individual one- characteristics of all three. The class will cover the Gospel aesthetic, history, on-one seminars with the tutor. Students should bring a small audio (not harmony singing, improvisation, accompaniment and how to modify songs video) recorder, a big heart and no prejudices, and should remember that the to fit various situations and musical capabilities. Anyone that is interested ethos of the class will be that no student shall be left behind. (Class limit: 30) in sacred singing from an African American perspective is encouraged to participate in this class. (No class limit) DUET HARMONY SINGING (Mark & Julee Glaub Weems) Learn some of the specific techniques and nuances of duet singing. We will BANJO SONGS (Mark Weems) work towards choosing keys, finding parts, exploring different types of In the current old-time scene, banjos are most often used to accompany a harmony, building harmony mathematically, blending voices, feeling and fiddle in a string band. But there also exists a tradition of the solo banjo phrasing, learning to sing with different partners and developing listening song, and a body of songs that were written either on the banjo, or expressly skills. We will learn how to adapt harmonies to different songs and various for it. These songs usually reflect and well represent the unique rhythmic and genres such as Appalachian, Irish, gospel, and country. The initial classes drone-like qualities of the instrument. We will examine and learn, with the will focus on singing with instruments, to hear the chord structures of the use of tablature, to play and sing some of these songs, starting from 1840 harmonies, consider how they affect the overall harmonic sound, and discuss with one of the songs of J.W. Sweeny (popularizer of the 5 string banjo), the creation of tasteful arrangements. As the week progresses, we will work passing through a Stephen Foster song or two and moving forward into the towards freedom from chordal structure in order to encourage experimenta- repertoire of Clarence Ashley and others, and what we now call old-time tion with more diverse kinds of harmony. It is not necessary to read music, banjo music. This is not a class in learning how to play the banjo, so a basic as we will be learning by ear. Bring a partner or find one in the class! Note: working knowledge of clawhammer or finger-style banjo is recommended. students should come to this class with some experience in singing melody. You are also welcome if you don’t play banjo but are interested in the banjo (Class limit: 14) song tradition. SoNGCATCHING: SINGING TRADITIONAL SCOTTISH SONG (Brian McNeill) APPALACHIAN BALLADS (Sheila Kay Adams) This class will deal with Scots language song of all types, including ballads, I started learning what my family called ‘them old love songs’ as a five-year- love songs, work songs, story songs, political songs, humorous songs, child- old. No one said I had to learn them, or pressured me to listen to and sing rens’ songs and songs of the Scottish music hall era. Scottish song’s relation back, one at a time, twenty-seven verses. First, as a child I loved the stories of to other traditions - the Gaelic, English, Irish and American in particular, knights and ladies riding on snow-white steeds, or what all could take place will be discussed, with practical examples. The aim of the class will be for in “her father’s great hall,” or why a bird perched in a willow tree would students to learn at least four Scots traditional songs through the week, with speak to a woman who had “just murdered your own true love.” I could go access to many more – the goal being to produce two of these songs as sing- on and on but the stories were fantastic, mysterious, believable and I heard able group entities by the week’s end. The class will be taught on a master/ them every day. The people I learned from were born in the 1890s and early apprentice basis, orally, but printed versions of words will be available. 1900s and had learned them from their parents and grandparents – genera- Modern interpretations of traditional song will be covered, including the use tion after generation after generation had learned them and passed them 8 Traditional Song week, July 6-12, 2014 7:30-8:30 Breakfast 8:30- 8:50 Vocal warm-ups (Elizabeth LaPrelle) music Singing maybelle Carter- Songs of the Community Singing: mr. Sharp, I Children’s Scottish Song 9:00-10:15 Presume? Theory the Blues Style Guitar Frontier (McNeill) For the Sake of the Song Songs (Goforth) (Jones) (May) (Ranger Doug) (Watroba) (Graham) (LaPrelle) 10:15-10:45 Coffee/Tea Break Arranging Traditional Ulster Songwriting in Old meeting- duet Harmony Virginia Songs of the Songs For Guitarists Fiddle & Song 10:45-12:00 Songs the Tradition House Songs Singing (Christiansons) Ballads Singing Cowboy and Groups (Graham) (McNeill) (Adams) (Weems) (LaPrelle) (Ranger Doug) (Sproule) 12:00-1:00 Lunch Community Gathering & Special events monday Tuesday wednesday Thursday Friday 1:15-2:30 Two Rivers, One Stream Traditional Song – The Bobby mcmillon Songs & Stories wayfaring Strangers: Scotland (Rev. Robert Jones & Matt Then & now Anthology Project w/ Peter Yarrow to Appalachia Part 1 Watroba) (Freddy Jenkins) (Bobby McMillon) (Peter Yarrow, Matt Watroba) (Doug & Darcy Orr)

Choices: How to Get Irish Traditional Songcatching: Bluegrass Shape note mandolin Banjo Spirituals, Praise the most Out of the Songs – & Singing Traditional 2:45-4:00 Harmony Singing Accompaniment Songs Hymns & Gospel Songs You Sing Their Relatives! Appalachian Ballads (May) (Goforth) (Christiansons) (Weems) (Jones) (Watroba) (Sproule) (Adams) 4:00-5:00 Free Time 5:00-6:30 Supper

6:15-7:15 Singing Sessions by Genre (Monday: Shape Note & Camp Meeting songs; Tuesday: Lullabies; Wednesday: Ballad Singing Session; Thursday: Country Western, Bluegrass & Honky-Tonk; Friday: Gospel, Blues & Roots)

7:30-? evening events (concerts, dances, jam sessions, etc.)

VIRGINIA BALLADS (Elizabeth LaPrelle) on. Th e words aren’t a problem. Th ey’re written down in more collections Aft er the turn of the 20th century, Virginia was swept with a ballad-collecting than you can shake a stick at. But, if the story was the initial reason my craze. Avid song-lovers made it their mission to collect songs fr om every mind chose to learn, it was the way they sang that took my heart over fi ft y single county in the Commonwealth – and succeeded! A few decades later years ago: the odd phrasing, the choice of words and the way they put those the tape recorders came, letting us hear just how the songs were sung. With words together. Th is is what I hope to share with you in this class. I promise this wealth of material we can not only learn many lovely versions of ballads you, the songs are wonderful, but what will keep you singing is the way I’m fr om the British tradition, we can also get some tantalizing glimpses of who going to teach you to do it. I’ll provide you with the words; the rest I’ll help the singers were and what they were like. Songs will be learned by ear (no you with, and those that really “get it” by the end of the week will help me reading music) and words will be provided. carry this beautiful, ancient tradition a bit further down the road. CHILDREN’S SONGS (Elizabeth LaPrelle) OLD MEETING-HOUSE SONGS (Sheila Kay Adams) Camp songs, sing-alongs, game songs, chants, lullabies – they’re not JUST Th is class is all about singing the many “meeting-house” gospel songs – mostly for kids. If you work with children or sometimes feel like one yourself, come by ear and full-voiced, “off -the-porch-strong” as Aunt Inez would say – that sing with us! Th is will be a mix of “antiques” and less-traditional songs. I grew up hearing in the churches in and around Sodom, NC. You might be We’ll try to resurrect a few that have been sitting in books for too long, and familiar with most of ’em, ones like “I’ll Fly Away,” “Where the Soul Never you’re welcome to bring one of your own to share or teach. Dies,” and “Build Me A Cabin,” to name a few. We’ll also work together on some shape-note songs, but the majority can be found in Th e Baptist ARRANGING TRADITIONAL SONGS Hymnal. Please bring a copy if you have your own, but handouts will be FOR GUITARISTS AND GROUPS (Dáithí Sproule) provided as needed. And don’t go worrying about harmonies; trust me, Th is class is for guitarists and other instrumentalists who would like some you’ll fi nd the one that works for you. Th ese old hymns really do rock right guidance on arranging songs fr om all the traditions, not just Irish. Dáithí will along, and there’s a power to them that’ll grab your heart and spirit fr om the share his life-long experience as a song and tune arranger in the solo setting get-go... no collection plate needed. But don’t expect to sit or even stand in and in groups such as Altan, Skara Brae, Bowhand, and Trian. Dáithí’s hints one place as these old hymns will, quite literally, move you. (No class limit) and insights will help you to notch up the quality of your performance, also give you a wide variety of options. You are welcome to bring in songs and tunes 9 you would like to arrange, and Dáithí will guide you through the process and Revolution, early blues and its off shoots: country, jazz, bluegrass, gospel steps to producing an arrangement that is just that little bit better and more and R&B, and continues this journey into rap and hip-hop. Th is program eff ective. For guitarists, Dáithí will show how to explore options – picking, shows us why it is vital that Americans celebrate racial and cultural diversity strumming – the use of various tunings, particularly DADGAD, G- and instead of just tolerating it. standard tunings. Experience working with students has confi rmed Dáithí in the belief that oft en a little change of focus in the right-hand guitar work TRADITIONAL SONG THEN & NOW or in the view of chord options can transform a person’s playing, making it WUNC’s Freddy Jenkins leads us through a look (and listen) to the evolution much more enjoyable both for player and listener! You will fi nd a relaxed, of some traditional songs and how they have been interpreted and presented encouraging atmosphere, but some hard info! over the years. We’ll explore ballads, bluegrass, blues and folk with an eye on how this music is featured, connected and presented on the program, IRISH TRADITIONAL SONGS – Back Porch Music. AND THEIR RELATIVES! (Dáithí Sproule) Explore the lyricism and melodic beauty of Irish traditional song with an eye THE BOBBY MCMILLON ANTHOLOGY PROJECT to versions fr om other regions such as England, Scotland and North America. A North Carolina ballad treasure will tell about his life of collecting songs Dáithí will share songs of love, history, local lore, and the ‘Otherworld’ fr om for over fi ft y years. Bobby began learning songs at age twelve fr om his family his wide repertoire, provide simple helpful guidelines to their performance, in Northwestern NC, started a folklore club in high school in Lenoir, and and play rare recordings of some of the great source singers. Dáithí’s back- collected songs fr om Southeastern NC, Upper Eastern TN, and Southwest ground in Celtic lore and language, as well as his lifetime of stories and VA. Bobby’s rare collection of songs have seldom been sung or even been travels with musicians and singers, will fi ll in the fascinating background known about. Th is will kick-off a long awaited CD project that we welcome of the songs. Dáithí believes that everyone can and should sing, and if you’re with open arms. going to sing, why not sing the most beautiful songs you can fi nd? Th is class will feature both unaccompanied and accompanied song, and some songs SONGS & STORIES WITH PETER YARROW in the Irish Gaelic language. Bring a recording device. Spend an hour sharing songs and stories with a true icon of American music, in celebration of Peter, Paul, and Mary’s 50th Anniversary in 2013. FIDDLE & SONG (Brian & Nicole Christianson) Most think of the fi ddle as a solo instrument, but have you ever thought of WAYFARING STRANGERS: accompanying a singer with a fi ddle? Th is class will explore the power of SCOTLAND TO APPALACHIA, PART I the fi ddle backing up a singer. Diff erent bowing techniques, rhythms and Drawing upon the forthcoming book Wayfaring Strangers co-authored by double-stops will be covered as well as discussing how to tastefully improvise Doug Orr and Fiona Ritchie, this presentation is the story of the musical behind a singer. Th e main focus of the class will be centered around the fi ddle, diaspora fr om Scotland to Ulster to the Southern Appalachians. Darcy Orr is however, you need not play the fi ddle to join this class. Strong vocal techniques book art editor and will share some of the book’s illustrations that highlight will also be taught throughout a wide variety of musical styles. Th ere will this epic migration and its enduring legacy in American music. be plenty of songs covered and we’ll have a great time of just singing with a fi ddle! Most songs will be taught by ear, but sheet music will be provided for those that are more comfortable learning by note. We are excited to explore the simple, beautiful voicing of a fi ddle and a song. hildrens Program MANDOLIN We off er a full-day program, taught by Melissa Hyman, for children ages ACCOMPANIMENT (Brian & Nicole Christianson) 6-12. Children must have turned 6 by July 1st to participate. No exceptions Th is class will explore the diff erent ways of backing up a singer with a man- please. Evening childcare for ages 3-12 will be provided at no additional cost. dolin. We will discuss and learn basic chord patterns and rhythms to best accompany a singer in diff erent styles of music. Th is class will help you break Who hasn’t ever dreamed of running away to the CIRCUS? Th is is a away fr om just playing the melody and will give you the basic tools to add very special summer for the Children’s Program, as we are welcoming our to and be a valuable member to any group jam session. A basic knowledge brand-new coordinator Melissa Hyman. Come one, come all and explore the of playing mandolin is required. Th is class will be primarily focused on the fantastical world of circus arts, craft s and music, fr om silly songs to popcorn- role of a mandolin accompanying a singer, however, strong vocal technique eating contests to face painting. Run away with us and we may even meet will be taught as we pick our way through it. Most songs will be taught by guest teachers who’ll show us how to juggle, tumble and ride elephants with ear, but sheet music and tablature will be provided for those that are more the best of ’em. We’ll be having an unforgettable summer of water balloon comfortable learning by note. fi ghts, circus-themed craft s, songs and stories fr om every corner of the world – so jump on the train and join us! We’ll create our own circus band with the help of a very talented music teacher, culminating in our big performance at the student showcase on Saturday. As a special treat, we will be visited ommunity Gathering ime throughout the week by wandering musicians and artists (Gathering staff ) who will perform just for our kids. We will, of course, continue our long-loved Note: A highlight of the day’s schedule is when we gather together each traditions of shaving cream hairdos day, movie night, super-messy games day aft er lunch for these special events. No advance registration necessary. and the Gathering Scavenger Hunt. Each busy day will close with fr ee swim time in the college pool. Non-swimmers must be accompanied by a parent to TWO RIVERS, ONE STREAM swim. Get ready for a week of magic and mayhem under the big top with us!! Th is is Rev. Jones and Matt’ Watroba’s assembly program, designed to Th ere will be a $30 art/craft materials fee for this class, payable to Melissa, showcase the relationship between America’s folk music and its historic and the Children’s Program coordinator, on arrival. social changes. Th e program begins with early spirituals set in the 1840s and progresses through the songs of the Underground Railroad, the Industrial 10 eltic eek uly 

The musical traditions of Scotland and Ireland, possessing separate, distinctive personalities, nonetheless share a common heritage. Many of western North Carolina’s early white settlers were either Highlanders or ‘Ulster Scots’ – the Scots-Irish. Our Celtic Week acknowledges that varied heritage with a program that features some of the best from those traditions. Th is year’s lineup features present or former members of the supergroups Lúnasa, Danú, Ossian, Solas, Battlefi eld Band, Th e House Band, Skylark, and Cherish the Ladies, several other exciting new faces, and the return of some old friends. New this year are a class on how to make playing in sessions more enjoyable, and the return of the Button Accordion class! Both are taught by master Irish musician John Whelan. Th e week will feature classes, potluck sessions, concerts, jams, dances and a ‘Food Songs Night,’ with delicious fare provided by the Seasonal School of Culinary Arts (www.schoolofculinaryarts.org). For those taking any of the style classes for fi ddle, it is recommended that students should play at an Intermediate level: students should have mastered beginning skills, be able to tune their instruments, keep time, play the principal scales cleanly, and know how to play a few tunes with confi dence. Fiddle classes are double-length, and students may take either intermediate or advanced classes, but not both. Th e uilleann pipes class is also double-length. Fiddlers who plan on taking both Irish and Scottish fi ddle should consider their stamina and the available practice time before registering for two daily 2 ½ hour classes. For novices, “Fiddle for Complete Beginners” will cover the basics, two sections of “Fiddle Technique” will address technical problems for players of all levels, and “Intro to Celtic Fiddling” will provide beginners with a repertoire of simple tunes, while “Tinwhistle for Complete Beginners” will provide whistle players with a similar repertoire. For those students bringing their families, we also off er a program for kids, but space is limited. Our Children’s Program for ages 6-12 features kids’ activities scheduled during all daytime class sessions, and evening childcare for ages 3-12 is provided at no additional cost.

mARTIn HAYeS Martin Hayes, from East County Clare, began playing the given her a stature equal to that of her playing. She is celebrated for invigorating the fi ddle at the age of seven and went on to win six All-Ireland traditional styles of Irish music, and her compositions have entered into the repertoire fi ddle championships before the age of nineteen. He is the of Irish and Celtic performers throughout the world. Liz is delighted to be back for this recipient of numerous awards including “Folk Instrumen- year’s Celtic Week! www.lizcarroll.com talist of the Year” from BBC Radio, “Man of the Year” from the American Irish Historical Society and “Musician of the Year” from TG4, the Irish language television station. Mar- BRIAn mCneILL tin has contributed music, both original and traditional, to Our Scottish fi ddle instructor from our very fi rst Gather- modern dance performance, theatre, fi lm and television. He ing twenty-two years ago, Brian McNeill celebrates the is the artistic director of Masters of Tradition, an annual festival in Bantry, County Cork 43rd year of a career that has established him as one of and functions in the same capacity for the touring production of the festival featuring the most acclaimed forces in Scottish music. Described as other Irish music masters, including the guitarist Dennis Cahill, with whom Martin “Scotland’s most meaningful contemporary songwriter” has toured the world for the last eighteen years. Th eir adventurous, soulful interpreta- by Th e Scotsman, his work and infl uence as performer, tions of traditional tunes are recognized the world over for their exquisite musicality composer, producer, teacher, musical director, band leader, and irresistible rhythm. Martin also plays in the trio Triur, with Peadar O Riada and novelist and interpreter of Scotland’s past, present and Caoimhin O Raghallaigh, the trio Th e Teetotallers, with Kevin Crawford and John future describe a man who has never stood still. He has Doyle, and the band, Th e Gloaming. www.martinhayes.com been a member of several of Scotland’s most infl uential bands, including Clan Alba and Battlefi eld Band, which he founded in 1969, and with whom he has performed around the globe. Brian plays fi ddle, octave fi ddle, guitar, LIZ CARROLL mandocello, bouzouki, viola, mandolin, cittern, concertina, bass and hurdy gurdy, and Since she was 18, when she astounded the Celtic music world his many songs about Scotland’s past and future, such as “Th e Yew Tree,” “Th e Lads O’ by winning the Senior All-Ireland Fiddle Championship, Liz Th e Fair,” “Th e Snows of France and Holland,” to name a few, have established him as Carroll has been amazing audiences around the globe. She one of Scotland’s leading songwriters. His fi rst novel,Th e Busker, was published in 1989, has been called a “virtuoso” (Th e Irish Times), a “celebrated and a year later he left Battlefi eld Band to concentrate more on writing and solo projects. torchbearer” (Lexington Herald-Leader), and a “master of Another novel, To Answer Th e Peacock, followed, but he has by no means slackened off Irish traditional music” (NPR’s The Thistle & Shamrock). on his musical career, touring with Dick Gaughan, Clan Alba, Kavana, McNeill, Lynch She is a NEA National Heritage Fellow, a 2009 Grammy and Lupari, Martin Hayes, Natalie MacMaster and Feast of Fiddles. His audio-visual nominee (“Best Traditional World Album,” Double Play with shows, Th e Back O’ Th e North Wind, about Scottish emigration to America, and the John Doyle), and the fi rst American-born recipient of the TG4 Gradam Cheoil for sequel, with accompanying CD, Th e Baltic Tae Byzantium, which explores the infl uence Cumadoir/Composer – Ireland’s most signifi cant music prize. Her newest album, and of the Scots in Europe, have won wide critical acclaim. For six years he was Head of fi rst solo album since 2002’sLake Eff ect, is On the Offb eat, produced by Solas founder Scottish Music at the Royal Scottish Academy of Music and Drama. His latest novel and bandleader Seamus Egan. Th e twelve-track recording is a transcontinental aff air, is In Th e Grass, and his new novel, No Easy Eden (the third in the Busker series) is due recorded in Philadelphia, Glasgow, and Boston. It’s a lush collection of her new original out this year. www.brianmcneill.co.uk compositions arranged and performed by Carroll, Egan, and stellar musicians Sean Og Graham (guitar, Beoga,) Trevor Hutchinson (bass, Lunasa,) Catriona McKay (harp, Fiddler’s Bid) Natalie Haas (cello, Alasdair Fraser & Natalie Haas,) and Winifred Horan Len GRAHAm (fi ddle, Solas.) Liz’s recordings are in the majority her own compositions, and they have (See bio in traditional Song Week, page 3 11

nUALA KennedY JOHn dOYLe Nuala Kennedy hails from Co. Louth in the northeast John Doyle is one of Ireland’s most talented and innovative of Ireland. She sings traditional songs in English and musicians. Originally from Dublin, and now a resident of Gaelic, plays the fl ute and low whistle, and is a song- Asheville, John is an accomplished singer and songwriter, and writer and tunesmith. Kennedy’s roots are fi rst and an extraordinary master of the Irish guitar whose hard-driving foremost in Irish traditional music, and last year, she style has infl uenced a generation of players. A founding mem- released Noble Stranger, her third solo recording. In ber of the acclaimed group Solas, his powerful guitar playing addition to her own music, Nuala currently performs in provided the signature rhythmic backbone for the band, and Oirialla, with Gerry (fi ddle) O’Connor, Breton guitarist his delicate and emotional fi nger-style playing and creative Gilles Le Bigot and accordionist Martin Quinn. Th e band play music from the ancient vocal harmonies can be heard on all four of Solas’ recordings kingdom of Oriel (Southeast Ulster): older musical gems researched, rediscovered and for Shanachie Records. John regularly performs solo, and brought back to life. Oirialla recently recorded an eponymously titled album of this has toured the world with the likes of Liz Carroll, Eileen Ivers, Tim O’Brien, Michael material. A few years ago Nuala also recorded Enthralled, an album of original duets for McGoldrick and John McCusker, Alison Brown, Joan Baez, Linda Th ompson, Mick fi ddle and fl ute with the late great Canadian composer Oliver Schroer, which was released Moloney, Kate Rusby and a host of other world class performers. John has been featured on Borealis Records in 2012. Whatever she is doing, Kennedy always comes back to her on over 100 recordings of traditional and contemporary Irish, folk and Americana traditional Irish roots. Her 2007 debut solo album, Th e New Shoes, was voted Album of music, including his most recent, Shadow and Light, a solo recording of all original the Week in the Irish Times, was featured in Hotpress’ Top Ten Folk Albums of the year, compositions, and Helping Hands, a collaboration with the late Cape Breton fi ddle great and named BBC Radio Scotland’s “Traditional Album of the Year” in 2008. She has and former Gathering staff er, Jerry Holland. He is a great lover of traditional song, an received numerous awards and accolades, including several international invited residen- encouraging and enthusiastic teacher, and his nearly non-stop touring, producing and cies and collaborations, and holds a Master Degree in Music from Newcastle University, recording schedule attests to his high standing in the world of traditional Irish music. a BA (Hons) in Design from Edinburgh College of Art, a Post-Graduate Certifi cate in We’re pleased to welcome John back for his eighth Gathering. www.johndoylemusic.com Education with distinction, the Curse Comais in Gaidhlig. www.nualakennedy.com

ALISTAIR mCCULLOCH KIeRAn O’HARe Alistair McCulloch hails from Ayr in the southwest of Kieran O’Hare is a highly respected and sought-aft er per- Scotland and is one of the country’s best known fiddle former of Irish music on the uilleann pipes, concert fl ute, teachers, composers and performers. Past winner of many and tinwhistle. Th e fi rst American-born player of Irish music fi ddle championships, Alistair is fi ddle instructor at the invited to perform in the annual ‘Ace and Deuce of Piping’ Royal Conservatoire of Scotland and has tutored many of concert, held in Ireland’s National Concert Hall, Kieran has the new generation of rising stars. He regularly tours with since performed at countless festivals and concerts across Th e Alistair McCulloch Trio, featuring Aaron Jones of Old North America, Europe and Asia, with such artists as Liz Blind Dogs, and former Capercaillie whistle wizard Marc Carroll, Mick Moloney, Jerry Holland, Bonnie Raitt, the Paul Winter Consort, Josh Duff , and is also a long standing member of the band, Coila. He has performed in Groban and Don Henley. Kieran has worked extensively in designing music for the over twenty countries, including Australia, New Zealand, China, Kazakhstan, Qatar, stage, and is in great demand as a session musician and as a teacher of Irish music. He Nigeria, Venezuela, Canada, USA and throughout Europe. He has released three solo has appeared in the fi lm Road to Perdition, the Broadway musical Th e Pirate Queen, albums, most recently, Four Seasons in One Day , about which Th e Scotsman wrote, “As the PBS special presentation Celtic Origins with the Irish choral group Anúna, and at the mountain of fi ddle CDs rises even higher, this one can climb straight to the summit Carnegie Hall with the New York Pops Orchestra. Most recently, Kieran and his wife ridge”. His tunebook, Th e Alistair McCulloch Collection was recently reprinted and he is Liz Knowles toured the world for over four years as musical director, contractor, and currently working on a new collection featuring a number of commissioned tunes. His performer with the France-based show Celtic Legends and now the two perform with playing style is driving and precise, described by Th e Living Tradition as “fresh, fi ery and Pat Broaders as Open the Door for Th ree. Kieran serves on the Board of Directors of full of fun”. Alistair is an enthusiastic and inspirational teacher having recently taught at Ná Píobairí Uilleann in Dublin, Ireland, an organization dedicated to the preservation the Boston Harbor Fiddle School and the Southern Hemisphere International School and promotion of uilleann piping worldwide. www.openthedoorforthree.com/ of Scottish Fiddling in New Zealand. He is delighted to be tutoring at the Swanannoa Gathering for the fi rst time. www.alistairmcculloch.com COLIn FARReLL Born in Manchester, England, into a very musical family CILLIAn VALLeLY to parents from Co. Galway and Co.Cavan, Colin started At age seven, Cillian Vallely began learning the whistle and pipes playing the fi ddle and tinwhistle from an early age and won from his parents, Brian and Eithne at the Armagh Pipers Club, a numerous Fleadh Cheoils and awards in the next few years. group that has fostered the revival of traditional music in the north He began playing with St. Malachy’s Ceili Band when he of Ireland for over four decades. Since leaving college, he has played was 12 years old, and later helped form the band Ceile with professionally and toured all over North America, Europe, Japan, some friends in Manchester, with whom he recorded the Hong Kong and Australia. He has recorded on over fi ft y albums album Mancunian Way. Since then, has made a name for including guest spots with Bruce Springsteen, Natalie Merchant, himself performing and recording with an array of great musicians in Europe and the Alan Simon’s Excalibur project with Fairport Convention and US, including such groups as Flook, Grada, E2K, Th e Liam O’Connor band, Lúnasa the Moody Blues, GAIA with the Prague Philharmonic and Karan Casey. He has also and Th e Michael McGoldrick Band. Colin has also played and recorded with numerous performed and toured with Riverdance, Tim O’Brien & Mary Chapin Carpenter in Th e dance shows such as Spirit of Ireland, Dance of Desire and Magical Rhythms of Ireland. Crossing, Whirligig, and the Celtic Jazz Collective. He has recently recorded on two Colin is also a composer whose tunes have been played and recorded by numerous bands movie soundtracks, Irish Jam, and Chatham, and played pipes on the BBC’s Flight of and musicians such as Lunasa, Flook, Sharon Shannon. In 2005, Colin was awarded a the Earls soundtrack. Since 1999, he has been a member of the band, Lúnasa, one of Masters Degree in Music from Limerick University, and in 2010, he released his fi rst the world’s premier Irish bands, with whom he has recorded seven albums and played solo recording, On Th e Move. www.colinfarrellmusic.com at many major festivals and venues including WOMAD, the Edmonton Folk Festival and Th e Hollywood Bowl. www.cillianvallely.com 12

ALAn ReId GRÁInne HAmBLY Born in Glasgow, Alan Reid has been taking Scottish folk mu- Gráinne Hambly comes from County Mayo in the west of sic all over the world since 1975. Invited to join the fl edgling Ireland. She started to play Irish music on the tin whistle at Battlefi eld Band in 1969 by Brian McNeill, he recorded almost an early age, before moving on to the concertina and later the 30 albums with this hard-working and enduring band, garner- harp. She lived in Belfast for six years, where she completed ing a respected reputation for his original keyboard work and a Master’s Degree in Musicology at Queen’s University. Her his singing. With encouragement from band mates, he began main research topic concerned folk music collections and the writing in the 1980s, and from 1990 was the band’s principal harp in 18th-century Ireland. In 1994, she was awarded fi rst songwriter, writing songs oft en noted for their storytelling element while being grounded prize in the senior All-Ireland Fleadh Cheoil competitions for in Scots history. His fi rst songbook,Martyrs, Rogues and Worthies, was published in harp and concertina. As well as being an established performer 2001, and in 2009 he was nominated as Composer of the Year at the Scots Traditional touring extensively throughout Europe and North America, Music Awards. Alan also contributed to Linn Records’ mammoth CD series recording she is also a qualifi ed teacher of traditional Irish music and is the complete songs of Robert Burns. In 2010 Alan left the ‘Batties,’ to concentrate on in great demand at summer schools and festivals both in Ireland and abroad. Gráinne his duo with guitarist/singer Rob van Sante. He wrote all the music for the duo’s most was awarded the T.T.C.T. (a certifi cate for teaching traditional Irish music at advanced recent album, Th e Adventures of John Paul Jones, a dramatic presentation of which was level, credited by Comhaltas Ceoltóirí Éireann and the Irish Department of Education), performed at the 2012 Dumfries and Galloway Arts Festival (near Jones’ birth place) and has also received her Graduate Diploma in Education (Music) from the University and at the 2013 Edinburgh Festival. More recently, the duo has developed a show for of Limerick. She has released three widely-acclaimed solo harp CDs and a collabora- children and adults that tells Jones’ story through narration,songs and a slide show. tive CD with William Jackson, as well as appearing on a number of other recordings. www.grainne.harp.net CATHIe RYAn Cathie Ryan is one of Celtic music’s most emulated JOHn wHeLAn singers. Her 25 year career is distinguished by an unerr- Born in London, in his youth John was blessed to play with some ing taste in song, critically acclaimed songwriting, and a of great names in an older generation of players, such as Lucy Farr, history of excellence in recording and performance. She Brian Rooney and Bobby Casey, to name but a few. Aft er winning has released fi ve CDs, is featured on over 50 compilations his fi rst three All-Ireland button accordion competitions, he was of Celtic music, and tours internationally with her band, approached to record his fi rst LP,Th e Pride of Wexford, at the age headlining at performing arts centers, festivals, and guest of fourteen and an EP with Christine Considine, produced by the starring with symphony orchestras. Born in Detroit to legendary Finbarr Dwyer. He made several appearances on RTE Irish parents from Kerry and Tipperary, she grew up in and British television before moving to the US in 1980 where he a home steeped in song and storytelling and continues teamed up with Eileen Ivers for a few years, culminating in the recording, Fresh Takes to research the myths and excavate and sing the old with Mark Simos on guitar. In 1990, he released a solo CD, From Th e Heart, and in 1996, songs. Cathie has taught workshops on Irish traditional singing, and myth and folklore he signed a record deal with Narada Records and went on to write, record and produce throughout North America and Ireland, both in conjunction with and separate from seven CDs bringing him into the Top Ten on the Billboard World Music Charts with her concert appearances, including several years at the Gathering. www.cathieryan.com sales in excess of one million. Since coming to the US, John has helped no less than four students claim the All-Ireland championship in the button accordion category. Two of those students became professional players, Buddy Connolly (Eileen Ivers & Immigrant BILLY JACKSOn Soul) and John McGroary (Blackthorn). Teaching has always been a passion for John Billy Jackson has been a major fi gure in tradition- and he was not limited to button accordion. He also taught the great Karen Tweed, al Scottish music for over thirty-fi ve years, and fi ve time All-Ireland piano accordion player from England. John has also appeared in was a founding member of the infl uential folk two fi lms,Ride with Devil, directed by Ang Lee and Gods & Generals, directed by Ron group, Ossian, whose outstanding recordings re- Maxwell and has performed on the Conan O’Brien show. www.johnwhelanmusic.com main a benchmark for Scottish music. Acclaimed for his musicality on the Celtic harp, he is also a renowned composer whose work is inspired by KImBeRLeY FRASeR the history and landscape of Scotland. In 1999, Kimberley Fraser was born on Cape Breton Island and his song, “Land of Light” was selected as the nurtured within its rich musical heritage. She fi rst im- winner of Th e Glasgow Herald’s year-long Song pressed audiences at the age of three with her step-dancing For Scotland competition, coinciding with the talents, and soon thereaft er took up both the fi ddle and the restoration of the Scottish Parliament, to select a piano. She has performed around the world, from touring “new anthem for a new era in Scotland.” As a solo performer, he has toured extensively Sweden with Cherish the Ladies, to performing at the throughout Europe and North America, and has taught harp at many festivals, including Celtic Connections festival in Scotland and entertaining the Edinburgh International Harp Festival, Somerset Folk Harp Festival, Ohio Scottish NATO troops in Afghanistan. Kimberley holds an hon- Arts School (Oberlin) and the Rio International Harp Festival. Billy is also a trained ours degree in Celtic Studies and a minor in Jazz from St. music therapist, and in 2004, he received our Master Music Maker Award for lifetime Francis Xavier University in Nova Scotia, and is also a graduate of the Berklee College achievement. As part of his work combining traditional and classical music, Billy has of Music. An advocate for the importance of traditional music education, she has been performed with, and composed for, a variety of orchestras including Th e Scottish a long-time instructor at Cape Breton’s Gaelic College and Ceilidh Trail Music School Chamber Orchestra, Asheville Symphony and Cape Cod Symphony. Billy headed the as well as teaching at the Valley of the Moon Fiddle Camp, the American Festival of music therapy program at Mission Hospital in Asheville for 10 years, and he now works Fiddle Tunes, and the North Atlantic Fiddle Convention in Aberdeen, Scotland. Fol- part-time in music therapy in Sligo, Ireland. www.wjharp.com lowing the success of her award-winning recording, Falling on New Ground, Kimberley is currently working on her third album. www.kimberleyfraser.com 13

dÓnAL CLAnCY Dónal was born in 1975 and spent most of his early child- bronze medal at the National Mandolin Championships in Winfi eld, Kansas. His twelve hood in Canada and the U.S. before his family settled back solo and collaborative recordings include Celtic Guitar Summit, with fellow Guitar Week in An Rinn, Co. Waterford, Ireland, in 1983. He grew up staff er Steve Baughman, named one of the top CDs of 2003 byAcoustic Guitar; Rosewood in a household and community rich in music and started to Castle, featuring duets with guitar legends Alex de Grassi, Tony McManus, John Doyle, play the guitar at the age of eight. In 1995, he co-founded Al Petteway and Steve Baughman; and his latest, Majesty and Magic: Music of Bach, Dow- the group Danú, but departed soon aft er to tour with his land and Carolan for Solo Guitar. In addition to his solo work, Robin also tours inter- father, the famed Liam Clancy, and his cousin, Robbie nationally with Grammy-winning folk legend Tom Paxton, including Tom’s 2010, 2012 O’Connell. Since then, Dónal has performed with many and 2014 “Together at Last” tours with Janis Ian. Th is is Robin’s nineteenth Gathering. other top names in Irish music, including Solas, Th e Eileen www.robinbullock.com Ivers Band and Th e Chieft ains, and appears on dozens of recordings. In 2003, Dónal rejoined his friends in Danú, and the band was awarded the prize for “Best Group” at the 2004 BBC 2 Folk Awards. 2006 saw the release of Dónal’s critically-acclaimed solo AndRew FInn mAGILL debut, Close To Home, which Th e Boston Globe declared to be “a sweet masterpiece of Finn is a two-time fi nalist at the All-Ireland Championships and melodic grace and riveting groove.” www.donalclancy.com has performed with many Irish luminaries, including John Doyle, Liz Carroll, Altan, Aidan O’Rourke, Flook, Martin Hayes & Dennis Cahill, Liz Knowles, Kieran O’Hare and Daithi Sproule. ed mILLeR At age 17, he released his fi rst CD of Irish fi ddle music,Drive & From the folk clubs of Scotland in the 1960s and 70s to the L i ft , featuring fellow SG staff ers John Doyle and John Skelton, festivals, coff eehouses and music camps of America, Ed Miller that Sing Out! magazine called “a stunning debut... the perfect has steadily established himself as one of the fi nest Scottish balance of precision and intensity.” Cuts from that CD have been singers of both contemporary and traditional songs. He has featured several times on NPR’s Th istle & Shamrock. In 2009, he been a regular staff member of Swannanoa’s Celtic Week for was awarded a Fulbright-MtvU fellowship to develop a concept album about the human more than two decades, where his love and knowledge of story of AIDS in Malawi, southern Africa. Working with Malawian musical icon Peter Scots song, paired with a droll sense of humor, made him an Mawanga, their recording, Mau a Malawi: Stories of AIDS, was released in October excellent and popular teacher. Originally from Edinburgh, 2011 in the United States and Africa. Sales from the CD are invested in programs to Ed has been based in Austin, TX for many years, where he received a PhD in Folklore keep vulnerable Malawian children in school and empower them through the arts. Finn from the University of Texas, but over the past 20 years he has gradually moved from has served as an instructor in Irish fi ddle at the Swannanoa Gathering for fi ve years. He academia to full-time performing. He also hosts a folk music show on KUT-FM in performs in Europe with the Celtic Legends music and dance revue, the Paul McKenna Austin, leads folk music tours to Scotland each summer, and has released nine CDs of Band (2009 Scots Trad Music winners of “Best Up & Coming Band”), and many artists traditional and contemporary Scottish song, including his most recent, Come Awa’ Wi’ around the New York City area where he resides. www.andrewfi nnmagill.com Me. www.songsofscotland.com ROSe FLAnAGAn eAmOn O’LeARY Rose Flanagan is a traditional Irish fi ddle teacher from Rock- While growing up in Dublin, Eamon developed an interest land County in New York who originally began music lessons in Irish music through his friendship with the Mayock family, as a child with Martin Mulvilhill while growing up in the noted traditional musicians originally from County Mayo. Bronx. She further developed her Sligo-style of playing with When he moved to New York City in 1992, he met guitarist the help of Martin Wynne and her older brother, Brian Con- John Doyle and fi ddle player Patrick Ourceau, among others, way. She currently has a large fi ddle school in her hometown and has since become a fi xture in the city’s thriving Irish music of Pearl River, NY, where she is hard at work preparing the scene. Eamon has toured extensively throughout Europe and next generation of great fi ddle players, which already includes North America, performing with many of Irish music’s great several All-Ireland champions and medalists. Rose has been players, including Paddy Keenan, Mick Moloney, Tommy an instructor at the Catskills Irish Arts Week, Alaska Fiddle Camp, Irish Dance Camp Peoples, and James Keane, and has recorded with singer Susan McKeown and fl ute in Harrison Hot Springs, BC, the O’Flaherty Retreat in Texas, Banjo Burke Festival, player Emer Mayock. In addition to his performance schedule, Eamon has taught at MAD week in Maryland and the Fiddle and Pick camp in Tennessee. She has taught numerous music programs including the Augusta Heritage Center, the Catskills Irish weekend workshops in New York, New Jersey and Massachusetts. She also runs various Arts Week, the Alaska Irish Music Camp and several years at the Gathering. In 2012, seisuns and plays with her group, the Green Gates Ceili band in the tri-state area. We’re Eamon released a recording of traditional songs, Th e Murphy Beds, with Jeff erson pleased to welcome her back for her third Gathering. Hamer. www.eamonoleary.com JOHn SKeLTOn ROBIn BULLOCK London-born fl ute and whistle player John Skelton Called a “Celtic guitar god” by the Baltimore City Paper, is probably best known to American audiences from Robin Bullock’s virtuosity on guitar, cittern and mandolin his work with Th e House Band, with whom he blends the ancient melodies of the Celtic lands, their vigor- recorded eight albums on the Green Linnet label. ous Appalachian descendants, and the timeless masterworks He has also released a solo album, One At a Time, of the Baroque and Renaissance eras into one powerful musi- and Double Barrelled, a highly regarded album of cal vision. Robin is a winner of “Editor’s Pick” and “Player’s fl ute duets with Kieran O’Hare, as well as a series Choice” Awards from Acoustic Guitar magazine, the Asso- of tune collection books, A Few Tunes, A Few More Tunes, Yet More Tunes and Some ciation for Independent Music’s prestigious INDIE Award Breton Tunes. John has performed at most of the major folk festivals in North America (with the world-music trio Helicon), multiple Washington Area Music Association Europe and Australia. He is an experienced teacher, and has taught at summer schools WAMMIE Awards, a Governor’s Award from the Maryland State Arts Council, and a in the United States, Europe and Africa, and sixteen previous years at the Gathering. 14

In addition to his background in Irish music, John is also well-schooled in the music of Council. He performs solo on guitar, cittern, mandolin and vocals, and with his wife Brittany. He visits there regularly, and is a highly-regarded player of the Breton bom- Beth (fl ute) and son Andrew Finn (fi ddle) as the Celtic trio, Th e Magills. With numer- barde, a double-reed folk shawm. NPR’s Th istle & Shamrock described him as “the fi nest ous album and performance credits, including appearances with Emmy Lou Harris and bombarde player outside of Brittany.” He also plays the ‘Piston’ (Low Bombarde), the Tom Paxton, Jim’s original songs have been covered by such artists as Mike Cross, Th e ‘Veuze’ (the bagpipe of eastern Brittany) and the ‘Gaita Gallega’ (Galician pipes). John Smith Sisters, Cucanandy and the Shaw Brothers, and have been featured on NPR’s serves as the ‘Host’ of Celtic Week. Th istle & Shamrock. In the world of graphic arts, his cover designs for the Gathering’s catalogs have won ten design awards, he’s twice been a fi nalist for Photoshop World’s Guru Awards, and he has served as a consultant on website design for several luthiers. KATHLeen COnneeLY www.jim-magill.com Born in Bedford, England to a father from Errislannan, Co. Galway, and a mother from Newtown Forbes, Co. Longford, Kathleen first took lessons in her mARLA FIBISH hometown at an early age from from Clare musician A San Francisco native, Marla is an unapologetic pro- Brendan Mulkere, a well-regarded teacher in and ponent of the mandolin in Irish music. She brings a around London. She was also heavily infl uenced by musicality and excitement to the tradition that is not her father, Michael, a well-known fi ddle, accordion oft en heard on the mandolin. Her dynamic playing is and tinwhistle player. Th e Conneely home was oft en featured both on her CD with Th ree Mile Stone, and fi lled with music from records, tapes and live sessions on Th e Morning Star, a duo CD with Jimmy Crowley, with many visiting musicians. In 1991, she appeared an all-instrumental project which features Irish music with her father, Mick Sr., brother, Mick Jr., fi ddle and on an array of mandolin-family instruments – mandolin, banjo player John Carty and fl utist Roger Sherlock mandola, mandocello, bouzouki, and dordan. In addition on RTE’s Th e Pure Drop. Kathleen has lived, played and taught music in several cities, to the mandolin, Marla plays mandola, tenor guitar and such as Birmingham, London, Dublin, Chicago and Boston. She has been privileged button accordion. She sings and writes music, and is known for her musical settings of to have played with many great musicians over the years and has taught for Comhaltas works from a variety of poets. Th is work is featured in her current duo projectNoct- Ceoltóirí Éireann (parent organization of the All-Ireland Championships) in Dublin ambule, with guitarist and husband Bruce Victor. An experienced and sought-aft er and Boston, at the Boston College Irish Studies Program, the Irish Arts Week in the teacher, Marla teaches private students, and has been a staff instructor at many music Catskills. and nine years at the Gathering. camps, including Th e Mandolin Symposium, O’Flaherty Irish Music Retreat, California Coast Music Camp, Lark Camp and Portal Irish Music Week. www.marlafi bish.com mATTHew OLweLL Our bodhran instructor Matthew Olwell has been performing mALdOn meeHAn and teaching as a dancer and musician at festivals and theaters Maldon Meehan is a performer and teacher of Irish across North America and Europe since 1996. He grew up sean-nós and set dance. She holds a BA in Irish Stud- in a family of instrument-makers, immersed in a world of ies from Th e Evergreen State College and a MA in music, dance, and theatre, and toured for nine years with Ethnochoreology from the University of Limerick, the Maryland-based Footworks Percussive Dance Ensemble, Ireland. She has been teaching since 1994, and in with whom he performed in Riverdance. His teachers include 2008 received a Regional Arts and Cultures grant. In Dianne Walker, Baakari Wilder, Donny Golden, Eileen Car- 2005, she released an instructional DVD of sean-nós son, and Th e Fiddle Puppet Dancers. A co-founder of Good dance with Ronan Regan. Maldon has performed Foot Dance Company, director of THE BEAT RETREAT, a and/or taught at the Milwaukee Irish Festival, the percussive dancers co-op and professional development session in Charlottesville, VA, Boffi n (Ireland) Arts Festival, the Friday Harbor and co-coordinator of Th e Augusta Heritage Center’s American Vernacular Dance Irish Music Camp in Washington, Sean-nós Milwau- Week, Matthew is a multimedia artist who embraces to his grandfather’s defi nition kee, and, in Massachusetts, the Irish Connections of a dilettante: “one who delights in many things.” www.mattolwell.wordpress.com Festival, and Brian O’Donovan’s Christmas Celtic Sojourn. She currently lives in Portland, Oregon where she holds regular classes at her own Maldon JIm mAGILL Meehan Dance Studio. www.maldonmeehan.com Th e Coordinator of Celtic Week is an award-winning songwriter and instrumentalist and a three-time fi nalist for College Enter- tainer of the Year. He is the founding Director of the Swannanoa meLISSA HYmAn Gathering Folk Arts Workshops of Warren Wilson College, (see bio in Traditional Song Week, page 6) directs the Celtic Series of Mainstage Concerts at Asheville’s Diana Wortham Th eatre, and was awarded the fi rst Fellowship in Songwriting and Composition from the North Carolina Arts 15 lasses (Unless otherwise indicated, all classes have a limit of 15) Fiddle

INTERMEDIATE IRISH FIDDLE A (Liz Knowles) In this course for intermediate players we will cover basic violin/fi ddle as an aid to memory. Printed versions will be given at the end of the class technique for tone, agility in the left hand, and intonation, as well as the if students want them. As composition is an ongoing feature of the Scottish basics of Irish fi ddle technique: bowings, ornamentation and style. We’ll fi ddle tradition, the class will cover both traditional tunes and Brian’s own discuss a “how-to-practice” method, how to approach session playing, and compositions. Composition by students during the week will be encouraged, how to learn tunes fr om recorded media. We will learn a few tunes, but the as will student input on arrangement – the goal being to produce at least emphasis will be on establishing foundations for you to take home and apply one complex and varied set of performable tunes by week’s end, plus one or throughout your own learning as well as answering any questions you may more single tunes that can be put into any other sets the students might want have. Sheet music will be provided for those who need it but mostly at the to create. Regional variations in style will be considered, as will the use of end of the class. Please bring a recording device. Once you have registered harmonies and chords. Modern use of the fi ddle as a backing instrument will for the class, contact me at [email protected] (indicate which be discussed, as will playing with other instruments, particularly bagpipes and week you are participating in) and I will send you a tune or two via email at accordion. All types of tunes: marches, strathspeys, jigs, reels and airs, will be least two weeks before the class. Even if you already know the tune or have considered. Th e history of Scottish music, both in its totality and with special heard it before, LISTEN to it as much as you can. DO NOT TRY AND emphasis on the fi ddle, will be referred to throughout, as will the context of LEARN IT. Just listen! (Class limit: 30) Scottish music in Scotland’s social history. Students should bring a small audio (not video) recorder and a big heart, and should remember that the INTERMEDIATE IRISH FIDDLE B (Colin Farrell) ethos of the class will be that no student shall be left behind. (Class limit: 30) In this class for intermediate players we will cover the basics of Irish fi ddle technique: bowing, ornamentation and tempo, rhythm and tone. We will INTRO TO CELTIC FIDDLE (Andrew Finn Magill) be learning new tunes, taught simply, phrase by phrase before demonstrat- “What’s the diff erence between a jig and a reel?” “What makes it sound ing how to incorporate various techniques into the tune. We will also take Irish vs. Scottish?” “How do you do a roll?” If you fi nd yourself asking these some standard session tunes and look at adding variations and diff erent questions, this might be the class for you. We will learn the basics of the ornamentaions. We will also be listening to recordings of fi ddle players musical styles which constitute “Celtic” fi ddle (Irish, Scottish, Breton, etc). and studying the diff erent styles and techniques. Tunes will be taught by Th is class for intermediate players new to the style will prioritize listening ear but sheet music will be provided for those who need it. (Class limit: 30) as well as playing. Aft er all, the only way to play better is to listen better. Th e pace will be determined by the class, but I’ll give you plenty of sheet ADVANCED IRISH FIDDLE A (Martin Hayes) music, recording recommendations, and materials to take home and work Th is class for advanced players will explore Irish tunes fr om the ‘inside-out,’ on. Th e goal of this class (besides having fun) is to make you more confi dent and focus on the possibilities for variation and improvisation that exist within playing Celtic music and to teach you how to sound authentic. An audio the tradition, as a means to our own personal expression and interpretation. recorder is recommended. Th ere will be particular emphasis on bowing, rhythm and the creation of variations. Students are encouraged to record the classes. (Class limit: 30) CAPE BRETON FIDDLE A & B (Kimberley Fraser) Th is class for intermediate to advanced fi ddlers is off ered once in the morning ADVANCED IRISH FIDDLE B (Liz Carroll) and repeated in the aft ernoon. We’ll look at what makes Cape Breton music Th e advanced fi ddle class will work on good bowing and ornamentation, diff erent fr om other music. We’ll talk a lot about bowing and how this gives and we’ll tackle interesting and challenging tunes. We’ll learn some new the fi ddle style its ‘accent,’ as well as common fi ngered embellishments that tunes and brush up on some old ones, and we’ll even learn a Liz tune or you’ll hear in the style. Listening to recordings will also be a part of the class. two. (Class limit: 30) We’ll use this as part of our ear training to identify common stylistic features and apply them in our own music. Th e class will be taught mostly by ear INTERMEDIATE SCOTTISH FIDDLE (Alistair McCulloch) and we’ll talk about ways to improve your ear training. Sheet music will be Th is class will explore the main traditional Scottish idioms, covering marches, provided as reference. We’ll learn jigs and reels and march, strathspey and strathspeys, jigs, hornpipes, reels and airs. Tunes will mostly be taught by ear reel sets, as the class desires. (Class limit: 25) and much of the focus will be on the expressive and stylistic elements of fi ddle music, particularly bowing patterns, phrasing and character. Ornamentation FIDDLE FOR COMPLETE BEGINNERS (Rose Flanagan) will be integral to all tunes and will be discussed and illustrated in detail, Learn the fi ddle fr om scratch in a week! Th is class off ers an introduction to especially in more naturally ornamented styles such as bagpipe music. We playing Irish traditional music on the fi ddle for complete beginners. You will will explore the main regional Scottish fi ddle styles; Northeast, West coast learn how to hold the fi ddle, good bow-hold, left -hand position, notation and Shetland, together with a look at contemporary developments. We will and the basic scales. We will learn some simple tunes by note, or by ear if you listen to a selection of recordings of infl uential players. Over the course of the are up for the challenge! Please bring along a recording device. week some of the material will evolve into larger arrangements and it is hoped that this will encourage students to develop the use of chords, harmony and FIDDLE TECHNIqUE A (Andrew Finn Magill) accompaniment. Some sheet music may be used to aid this process. Please Th is class is focused more on the nuts and bolts of Irish music: What’s that bring a small recording device and lets have some fun! (Class limit: 30) bowing? What fi nger do you use? When do you ornament? Each student is encouraged to bring a tune they’d like to explore fr om an ornamentation ADVANCED SCOTTISH FIDDLE (Brian McNeill) standpoint and we will discuss appropriate ornamentation and stylistic Th is class will deal with bowing, phrasing and ornamentation of tunes interpretation. Good technique is important for playing any genre and ranging across the full spectrum of diffi culty of Scottish music, and will be we will discuss the most comfortable and least physically harmful ways to taught on a master/apprentice basis, which means that the tunes will be play the fi ddle in the context of Irish music. We will discuss how to practice learned orally, and, where possible, by the students learning to sing the tunes traditional Irish music and how to maximize one’s practice time. Th is class 16 Celtic week, July 13-19, 2014 7:30- 8:30 Breakfast Intro to more Session Intro Intro Int. Adv. Irish Scot- Fiddle for Int./Adv. Celtic Songs Button Guitar Bodhran to Irish to Irish mandolin 9:00- Scottish Scottish myth & land in Complete Flute Harp from Accordion Accomp. I whistle whistle I Fiddle Fiddle Folklore Song Beginners B 10:15 (Jackson, Ulster (Whelan) I (Olwell) A B (Fibish) (McCulloch) (McNeill) (Ryan) (Miller) (Flanagan) (Kennedy) Hambly) (Graham) (Clancy) (Conneely) (Skelton) 10:15- 10:45 Coffee/Tea Break Cape Social Tinwhistle Irish Adv. Irish Fiddle Fiddle Int./Adv. Int./Adv. Celtic Int. Scottish Breton Study for dAdGAd mandolin 10:45- Set Scottish Trad. Technique Technique whistle whistle Bouzouki Fiddle Fiddle of Scots Complete Guitar II dancing Fiddle Song A B A B (Bullock) 12:00 (cont’d) A Songs Beginners (O’Leary) (Fibish) (Meehan) (cont’d) (Ryan) (Magill) (Flanagan) (Conneely) (Skelton) (Fraser) (Reid) (Jackson) 12:00- 1:00 Lunch Int./Adv. Int. Int. Adv. Adv. Scots Song Session Cape Flat- Intro to Trad. Songs Celtic Irish Irish Irish Irish of the Guitar Breton picking Playing in Intro to Uilleann 1:15- Celtic in english Harp Fiddle Fiddle Fiddle Fiddle modern Accomp. Fiddle Celtic Sessions Irish Flute Pipes Fiddle & Irish 2:30 (Jackson, A B A B era II B Guitar (Whelan) (O’Hare) (Vallely) (Magill) (Kennedy) Hambly) (Knowles) (Farrell) (Hayes) (Carroll) (Reid) (Doyle) (Fraser) (Clancy)

Int. Int. Adv. Adv. Favourite Irish Singing meeting Celtic Irish Irish Irish Irish Bodhran Anglo Tenor Int./Adv. Ballads of Uilleann 2:45- Sean nós Scottish Child on Fingerstyle Fiddle Fiddle Fiddle Fiddle II Concertina Banjo Flute A Ireland & Pipes dance Songs the Road Guitar 4:00 A B A (Olwell) (Hambly) (O’Leary) (O’Hare) england (cont’d) (Meehan) (Miller) B (Graham) (Bullock) (cont’d) (cont’d) (cont’d) (cont’d) (Doyle) 4:15- 5:15 Potluck Sessions & free time 5:00- 6:00 Supper 6:00- 7:00 Slow Jams/Song Swaps 7:30-? evening events (concerts, dances, jam sessions, etc.)

is best suited for fi ddlers who have facility with the instrument and who are learning as well as answering any questions you may have. Students will willing to be challenged, rather than for beginners. Classes will be taught learn how to ornament tunes with rolls, cuts and tongueing. Tunes will be by ear. (Class limit: 20) taught by ear so bring a D fl ute and a recording device. ABC notation will be provided for those who need it. FIDDLE TECHNIqUE B (Rose Flanagan) Th is class is for those who already play the fi ddle but wish to improve their INTERMEDIATE/ADVANCED FLUTE A (Kieran O’Hare) skills. We will concentrate on ornamentation, bowing and phrasing. Please Th is class is for students who are skilled enough to play tunes in a variety of note that this class is not for beginners. We will learn a few tunes throughout rhythms (jigs, reels, etc.), with good technique and at a reasonable tempo. the week. Classes will be taught by ear, but notation will be available to all Th is course will expand on the skills and topics introduced in the beginners students on request at end of the workshop. Students should have a good class, with more attention given to ornamentation, breathing, style and knowledge of the fi ddle and be able to play tunes at or close to speed. Please repertoire, while continuing to emphasize rhythm and phrasing in the music. bring a recording device and feel fr ee to ask as many questions as you wish! Tunes will be taught by ear so bring a D fl ute and a recording device. ABC (Class limit: 20) notation will be provided for those who need it.

INTERMEDIATE/ADVANCED FLUTE B (Nuala Kennedy) Flute & inhistle Nuala grew up playing traditional Irish music in Dundalk, Co.Louth and has also spent many years living and playing music in Edinburgh, Scotland. INTRO TO IRISH FLUTE (Kieran O’Hare) She is also strongly infl uenced by the music of Cape Breton Island, Nova Th is class off ers an introduction to playing traditional Irish music on the Scotia. In this class, she will explore some of the repertoire fr om these three fl ute for students who already have some experience with the basics of the places, looking at a variety of tune types including marches and strathspeys. instrument and can play some tunes at a slow pace with little or no orna- We will also play in a range of keys. Th is class is for students who are skilled mentation. We’ll discuss a ‘how-to-practice’ method and how to approach enough to play tunes in a variety of rhythms, and is suitable for those who session playing. We’ll learn a few tunes but the emphasis will be on estab- wish to learn by ear. Music notation can also be provided aft erwards for lishing foundations for you to take home and apply throughout your own students who would like it. 17

INTRO TO Irish SESSION GUITAR TINWHISTLE A & B (Kathleen Conneely, John Skelton) ACCOMPANIMENT I (Donal Clancy) This class is for students who already have some experience with the basics The student will learn chord shapes for dropped-D tuning, chord inversions of the instrument, and can play some tunes at a slow pace with little or no and progressions for effective accompaniment as well as essential rhythm ornamentation. Beginners will learn how to ornament tunes with rolls, cuts techniques. We’ll look at several different approaches for accompanying each and tongueing. Emphasis will be placed on rhythm and phrasing. Tunes will tune, so the student will have the tools necessary to be creative in a session. be taught aurally, so bring a D whistle and a recording device. Sheet music will be provided for those who need it. SESSION GUITAR ACCOMPANIMENT II (John Doyle) INTERMEDIATE/ADVANCED irish In this class for advanced students, players will further master different TINWHISTLE A & B (Kathleen Conneely, John Skelton) strumming techniques to a variety of types of tunes, add dynamics to their This class is for students who are skilled enough to play tunes in a variety of playing through syncopation and emphasis, confident chord substitutions, rhythms (jigs, reels, etc), with good technique and at a reasonable tempo. fingerpicking techniques, tips and tricks for playing in sessions, how to work This course will expand on the skills and topics introduced in the beginners out the right chords for tunes and alternate tunings for the guitar. Students class, with more attention given to ornamentation, breathing, style and should be familiar and comfortable with strumming, have a good working repertoire, while continuing to emphasize rhythm and phrasing in the music. knowledge of Irish music and of music theory. Chord sheets in dropped-D Tunes will be taught aurally, so bring a D whistle and recording device. Sheet tuning will be provided. Students should bring a capo. music will be provided for those who need it. DADGAD GUITAR (Eamon O’Leary) TINWHISTLE for This class will explore approaches to the accompaniment of Irish music – both complete beginners (Billy Jackson) instrumental and vocal – with the unique DADGAD tuning. Focus will This class is for students with no prior experience of the tinwhistle. Instruc- be placed on rhythm, chord selection, phrasing, and right- and left-hand tion will start with the most fundamental techniques and a few very simple techniques. No experience with this tuning is necessary. Chord charts will tunes. By the end of the week, you’ll be well on your way to playing. Please be provided. bring along a recording device and a tinwhistle in the key of D. flatpicking celtic GUITAR (Donal Clancy) This intermediate-level class will focus on making traditional Celtic tunes Harp come to life, flatpicked on steel-string guitar. We’ll discuss technique, lift, ornamentation, and other facets of making the tunes sound authentic. INTRO TO CELTIC HARP (Billy Jackson & Gráinne Hambly) Sheet music and tab will be available if required. An audio recorder is The beginning student will be introduced to the fundamentals of this grand recommended. and ancient instrument, including basic harp technique (e.g. hand position, posture, exercises). Arrangements of simple Scottish and Irish melodies CELTIC BOUZOUKI (Robin Bullock) will be taught by ear, with written music provided as back-up. Billy and The Irish bouzouki, or cittern, has gained a prominent role in Celtic music Gráinne will each lead the class at various times during the week. In order over the last forty years. The world of this instrument is made rich and for classes to commence on time, students are kindly requested to be tuned strange by the fact that there is no standard tuning, only a number of and prepared well in advance, and to ensure their instruments are in good distinctive alternate tunings on four, five or even six pairs of strings. This working order. Students are also encouraged to bring a recording device, class will cover techniques of both melody and accompaniment, as well as music stand, and spare strings. how to choose a bouzouki, instrument setup, string types, pick types and amplification methods. Players of both 8- and 10-string instruments are INTERMEDIATE/ADVANCED welcome. An audio recorder is recommended. CELTIC HARP (Billy Jackson & Gráinne Hambly) Class topics will include arranging, ornamentation, and accompanying MANDOLIN I (Marla Fibish) voice and other instruments. A selection of Scottish and Irish material will This class will focus on getting the feel, pulse and flow of Irish music on the be taught at a more advanced level and individual interests of participants mandolin. We’ll work on maximizing sustain and tone production on your will be taken into account. Billy and Gráinne will each lead the class at instrument to get a flowing melodic sound, looking at both right-hand and various times during the week. In order for classes to commence on time, left-hand technique, pick selection and grip. Then we’ll cover getting the students are kindly requested to be tuned and prepared well in advance, rhythm and pulse of Irish music into your playing. This is about understand- and to ensure their instruments are in good working order. Students are ing the music and focusing on the right hand: learning and practicing pick- also encouraged to bring a recording device, music stand, and spare strings. ing patterns for various tune types (jigs, reels, polkas, etc.) as well as using the wrist (and the rest of your body) to create a full and rhythmic sound. We’ll do exercises and learn tunes together (by ear) and use those tunes to Fretted Instruments demonstrate, drill and practice what we learn. Bring a recording device!

CELTIC FINGERSTYLE GUITAR (Robin Bullock) MANDOLIN II (Marla Fibish) This class will explore the world of possibilities presented by traditional Irish, This class will review and then build on the basics (see Mandolin I class Scottish and Breton repertoire arranged for solo fingerstyle guitar. Some description above), focusing on both technique and musicality. We’ll look tablature will be offered, but students will also create their own individual at phrasing and ornamentation, as well as using dynamics and variation settings of airs, jigs, reels and the 18th-century harp music of Turlough to best apply the unique qualities of the mandolin to Irish music, respecting O’Carolan, sharing arrangement ideas in an informal, hands-on environ- the core of the tradition on this ‘newcomer’ of an instrument. We’ll learn ment. Alternate tunings such DADGAD, CGCGCD and “Werewolf” tuning tunes together (by ear) and explore different ways to give those tunes life (CGDGAD) will be used extensively to open up the instrument’s full sonic and lift, applying the concepts and techniques that we learn in class. Bring potential. A good time will be had by all. An audio recorder is recommended. a recording device!

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TENOR BANJO (Eamon O’Leary) In this course for banjoists of all levels, Eamon will cover right- and left-hand humorous songs, historic ballads, sing-a-longs, and more. We will focus on technique, ornamentation, tune settings, and different banjo styles. Tunes the oral tradition of sean nós (old style) singing and utilize those rudiments that are particularly well-suited to the banjo will also be incorporated into to deepen and develop our own individual singing styles. Please bring audio the class. Students are advised to bring a recording device. recorders with you to class. (No class limit) irish MYTH AND FOLKLORE (Cathie Ryan) Reeds The stories and characters in Irish myth and folklore are endlessly fascinating, and Cathie adds a further dimension to them by using a modern psychologi- UILLEANN PIPES (Cillian Vallely) cal perspective. In past courses, Cathie has led workshops on the Celtic Year, This class will focus on tunes from the standard piping repertoire and their Celtic Fire Festivals, tales from The Táin and Gods and Fighting Men, as associated piping techniques. Through the teaching of new tunes, we will well as Irish folk tales and fairylore. This year her subject is the importance examine standard piping elements such as rolls, crans and triplets, and also of the mythic journey in the literature. Using a selection of tales and poetry look at how to get the best sound from the instrument in terms of tone and from varied sources, she will focus on journeys to the Otherworld and its tuning. We will spend some time looking at the various styles of playing and parallels to addiction, Iomramh (voyaging over Sea) and the necessary over how to develop the music from the basic melody through the use of ornamen- and back between the unconscious and conscious, and those transformative tation and melodic and rhythmic variation. We will also look at regulator journeys we do not choose to make, but must. The course will discuss the accompaniment for those with full sets and we will try to cover the various desire and restlessness that often fuels our decision to embark on our own tune types associated with traditional music. A device to record the classes journeys, the pitfalls and lures we encounter on the way and how they can will be essential as the class will be taught by ear and it is expected that a lot propel us or render us stuck, and what the spiritual and personal rewards of what you learn at the class will be of use between classes. For those who of coming home to ourselves can be. We will also look at the tricky question require it, musical notation can be made available at the end to take home. of whether we can return to the community we left behind. (No class limit) Intermediate and advanced players will benefit the most from this class. FAVOUR ITE BALLADS Button Accordion (John Whelan) OF IRELAND & ENGLAND (John Doyle) In this class you will learn fingering techniques, bellows control, rhythm & In this class, John will share a collection of favourite songs learned from a phrasing and how to play stress-free with your accordion. You will learn to lifetime of playing with the best in folk music. Having studied and learned understand better how the accordion works with your physiology and how songs for almost 20 years, he has amassed a great repertoire of Irish and to relax so you can bring out the best in your playing. You will learn tunes English ballads learned from many sources, including his father, Sean Doyle, that fit well with the accordion and bring out the essence of Irish music. You a lovely singer from Co. Sligo. Students will listen to examples of the best of will learn proper practice methods and how to improve your playing going Irish and English styles of singing, listen to how certain songs have changed forward. You will learn that hard work and dedication will not be wasted in their moves back and forth between these countries, and, of course, learn with the things you learn because it’s not the length of time you practice but songs in the process. Students will learn by repetition and ear and would the discipline you have doing it. benefit by bringing along a recording device. (No class limit)

Playing in Sessions (John Whelan) SINGING SCOTTISH SONGS (Ed Miller) Have you ever wondered why your session is so sparse, or the playing is too Each class period will focus on two or three songs, learning them by hear- fast or too slow? Or how to manage your session with beginners, intermediate ing and singing them over several times. We’ll also listen to recordings by and advanced players? What do you do when you have twenty-five people a variety of singers to hear how they present, express and decorate a song. or more? This class for all instruments will help you with all these questions Songbooks and sampler CDs will be available and the language and social and more, including: What session tunes to play. Which tunes you need to context of the songs will be explained. However, the emphasis will be on learn. Understanding how your session is effected by social, economic and learning a selection of traditional and more recent songs aurally and orally demographic locations. Whether you have two or twenty people, you can have by repetition. (No class limit) a wonderful session if you approach it in the right way. Remember that Irish music is inclusive not exclusive. Now go build your session! SCOTLAND IN SONG (Ed Miller) The songs of the Scottish folk revival of the past 50 years cover everything anglo concertina (Gráinne Hambly) from politics and social change to urban renewal and personal experience. In This class is intended for students playing Anglo C/G concertinas, and this class, we’ll listen to, talk about and SING serious and humorous songs is open to all levels, from beginners with some basic playing experience up- by Adam McNaughtan, Ewan MacColl, Hamish Henderson, Robin Laing, wards. It is not suitable for complete beginners, however, and all participants Andy M. Stewart, Dougie MacLean and others, all of whom are keeping should be familiar with their instrument (location of the notes, etc). Basics the Scottish song repertoire refreshed, vibrant and relevant. Songbooks will of technique and style (e.g. bellows control, phrasing, alternative fingerings) be available. (No class limit) will be covered, as well as ornamentation in the context of Irish traditional dance tunes. Participants are encouraged to bring an audio recorder. Written MORE SONGS FROM music will also be provided. THE ULSTER TRADITION (Len Graham) Len will open another bag of songs and ballads from his extensive collection. Themes covered will be classic ballads, broadside ballads, local songs, come- Song & Folklore all-ye’s, lyric folk songs, music hall pieces; songs of love, politics, emigration and much more. Each song will be put in context, giving historical and social Irish TRADITIONAL SONG (Cathie Ryan) background. As an oral tradition these songs will be taught by repetion and This course will feature songs in both Irish and English that Cathie has col- ear with song lyrics provided. Participants are encouraged to bring an audio lected through the years and new ones she has recently discovered, including recording device. (No class limit) love songs, newly-composed songs written in the old style, children’s songs, 19

MEETING CHILD ON THE ROAD (Len Graham) Harvard professor Francis James Child had a deep love for traditional transitions within sets, and how to work with other rhythm players. Stu- balladry. His five volume collection, The English and Scottish Popular Bal- dents should be comfortable with both jigs and reels and be able to play with lads, which appeared between 1882 and 1898, could have been extended consistent timing. Audio recording devices are encouraged. (Class limit: 25) somewhat had he visited Ireland. In this class, Len Graham introduces and teaches some of the fine versions of early ballads he encountered during his IRISH SEAN NÓS DANCE (Maldon Meehan) travels throughout Ireland. As an oral tradition these ballads will be taught Sean-nós dance, not to be confused with sean-nós singing, comes primarily by repetition and ear with lyrics provided. Participants are encouraged to from Connemara and is generally danced to reels and jigs. Sean-nós, literally bring an audio recording device (No class limit) meaning ‘old-style’ is a highly improvisational, low to the ground, rhythmic dance form. In sean-nós dance, the dancer is tied closely with the musician TRADITIONAL SONGS and the music. The dancer interprets the music. This class is for all levels. IN ENGLISH & IRISH (Nuala Kennedy) Bring smooth-leather hard-soled shoes, comfortable clothes, a water bottle, Much of Nuala’s repertoire consists of Irish songs in the English language a notebook and a recording device. (No class limit) she learned from her mentor and friend, Cathal McConnell of the Boys of the Lough. In this class we will learn a variety of songs from that repertoire IRISH SET DANCING (Maldon Meehan) as well as other songs which Nuala has picked up over several years perform- Irish sets are danced all over Ireland and America at céilí dances. Sets are ing and singing. We will try to learn some songs by ear, (old-style!) as well danced in square formation, and are comprised of various sections called as from songsheets. Some basic phrases in Irish will be taught as well as a figures. These figures can range in number anywhere from two to nine. A couple of simple Irish language songs. No previous knowledge of Irish is particular tune type, generally a reel, jig, slide, polka or hornpipe accom- required. A relaxed and informal class, this is a good way to broaden your panies each figure. This class is for all levels and will cover regional sets and repertoire as well as share some of your own songs and singing experience battering footwork. Bring smooth-leather hard-soled shoes, comfortable with the group. Please come ready to share at least one song that you enjoy, clothes, a water bottle, a notebook and a recording device. (No class limit) and bring a recording device. (No class limit) A SOCIAL STUDY OF SCOTS SONGs (Alan Reid) Other Events A kaleidoscope of Scots song seen through geography and history. This class will look at the diverse culture of Lowland Scotland by discussing, studying POTLUCK SESSIONS and singing Scots song from the various regions. Looking at the songs of the In addition to the regular class sessions, in the afternoons we offer Potluck people, we’ll pinpoint the subtle differences that characterise each area and Sessions serving up a different menu of one-hour workshops each day. aim to demystify the more obscure vocabulary of the Scots tongue (student questioning and participation is encouraged). Along the way we’ll sing songs FOOD SONGS NIGHT of work, war, love and other things that have touched the lives of ordinary On one of the evenings during the week, the Seasonal School of Culinary people. Lyric sheets will be available as well as some recordings. Songs will be Arts www.schoolofculinaryarts.org will offer up some of their delicious fare taught by ear and repetition. Recording devices will be helpful. (No class limit) to the accompaniment of songs about food provided by our staff and students. SCOTS SONG OF THE MODERN ERA (Alan Reid) The advent of the folk revival in the 1960s and the emergence of the profes- sional folk performer has seen a blossoming of folksong writing and Scotland has its fair share of exponents. This class will study and sing songs from the  early part of the last century up to the present day, seeking out gems from well known and not so well known writers as well as touching on the often We offer a full-day program, taught by Melissa Hyman, for children ages political or irreverent parodies emerging from the grass roots. Lyrics and 6-12. Children must have turned 6 by July 1st to participate. No exceptions some recordings will be provided and songs taught by ear in a friendly relaxed please. Evening childcare for ages 3-12 will be provided at no additional cost. atmosphere. Recording devices are helpful. (No class limit) Who hasn’t ever dreamed of running away to the CIRCUS? This is a very special summer for the Children’s Program, as we are welcoming our Percussion & Dance brand-new coordinator Melissa Hyman. Come one, come all and explore the fantastical world of circus arts, crafts and music, from silly songs to popcorn- BODHRAN I (Matthew Olwell) eating contests to face painting. Run away with us and we may even meet This class will address the fundamentals of playing the bodhran, including guest teachers who’ll show us how to juggle, tumble and ride elephants with basic care and feeding of the instrument, good hand and body position, and the best of ’em. We’ll be having an unforgettable summer of water balloon techniques for reels and jigs. The class will emphasize playing by ear, musical fights, circus-themed crafts, songs and stories from every corner of the world sensitivity, and finding the rhythms hidden within the tunes. We will examine – so jump on the train and join us! We’ll create our own circus band with the the similarities and differences between percussion in Irish music and other help of a very talented music teacher, culminating in our big performance styles, with a focus on intuitive listening and “ear development.” Beginners at the student showcase on Saturday. As a special treat, we will be visited are welcome, as are players who want to brush up on the basics or re-evaluate throughout the week by wandering musicians and artists (Gathering staff) their technique. Audio recording devices are encouraged. (Class limit: 25) who will perform just for our kids. We will, of course, continue our long-loved traditions of shaving cream hairdos day, movie night, super-messy games BODHRAN II (Matthew Olwell) and the Gathering Scavenger Hunt. Each busy day will close with free swim This class is designed for players with a solid foundation of technique, who time in the college pool. Non-swimmers must be accompanied by a parent to are ready to sharpen their skills. Class time will be devoted to playing as a swim. Get ready for a week of magic and mayhem under the big top with us!! group, as well as individually. We will talk about how to accentuate rhythmic There will be a $30 art/craft materials fee for this class, payable to Melissa, elements in different types of tunes, how to make smooth and interesting the Children’s Program coordinator, on arrival. 20 Oldime Music & Dance eek uly 

Old-Time Music & Dance Week at the Swannanoa Gathering explores the rich music, dance, and singing traditions of the southern Appalachian region through a wide variety of classes taught by an experienced and supportive staff . Th e many diverse off erings enable students to explore new areas; fi ddlers sing, singers dance, and dancers learn to play instruments. Students enroll in as many as three regular classes during the week, and each aft ernoon a variety of short workshop topics are off ered during the Potluck Sessions. Th e daily Communal Gathering features master musicians, singers, and dancers from across the Appalachian region. Evening activities include jam sessions, singing, square dances, clogging, concerts, and the popular Late-Night Honky-Tonk Dance! To accommodate families, we off er a class specifi cally for teenagers, Th e Teen Gathering, as well as a Children’s Program for ages 6-12 with kids’ activities scheduled during all the daytime class sessions. Space, however, is limited. Evening childcare for ages 3-12 is provided at no additional cost.

mAC BenFORd GeRRY mILneS Mac Benford has been a leading fi gure in the preservation Musician, fi lmmaker, and author, Gerry Milnes has been im- and performance of traditional Appalachian string band mersed in the traditional folk music and culture of West Virginia music for nearly half a century, most notably as a leading for many years. He has learned from Melvin Wine and other member of the now-legendary Highwoods Stringband. master musicians of the older generation, and he is adept on In the 1960s, he had direct contact with many of the the fi ddle, banjo, and guitar. Over the last sixteen years, he has old-time masters, including Wade Ward, Tommy Jarrell, performed with West Virginia old-time band, Gandydancer, Rocoe Holcomb, Kyle Creed, Ola Belle Reed, and Tom and he has won fi rst-place banjo at the Appalachian Stringband Ashley, and he has been instrumental in introducing a Music Festival at Cliff op. Recently retired from twenty-fi ve whole generation to the power and excitement of old- years as Folk Arts Coordinator at the Augusta Heritage Center in Elkins, West Virginia, time music. He has fronted several successful and highly-acclaimed bands, including Gerry has produced over thirty audio and video recordings and fi lms of West Virginia Th e Backwoods Band, Th e Uncles, and Th e Woodshed All-Stars, and he has appeared traditional music and folklife, and he is the author of Play of a Fiddle: West Virginia at countless music venues, from the street corners of Berkeley to major folk festivals Traditional Music, Dance and Folklore (University Press of Kentucky) and other books. and Carnegie Hall. Now primarily a solo performer, his prize-winning banjo picking, Gerry has taught at Augusta and the Festival of American Fiddle Tunes, and he has coupled with his unique, heartfelt singing style and warm stage presence, have made him performed at such venues as the Chicago Folk Festival, the Brandywine Festival, the an audience favorite the world over. As a master of many traditional banjo styles, he is a Kennedy Center, the Library of Congress, the Philadelphia Folk Festival, Old Songs, much sought aft er instructor at banjo camps across the country. www.macbenford.com the California Traditional Music Society and the Washington Folklore Society.

PHIL JAmISOn ALICe GeRRARd Founding coordinator of Old-Time Music & Dance Week, Singer/songwriter/musician Alice Gerrard has performed on Phil is nationally-known as a dance caller, musician, and more than twenty recordings. She has produced or written liner fl atfoot dancer. Since the early 1970s he has been calling notes for a dozen more, and she has co-produced and appeared dances and performing and teaching at music festivals and in two documentary fi lms about Appalachian music. Her nu- dance events throughout the U.S. and overseas, includ- merous honors include a Virginia Arts Commission Award, the ing thirty years as a member of the Green Grass Cloggers. North Carolina Folklore Society’s Tommy Jarrell Award, and His fl atfoot dancing was featured in the fi lm,Songcatcher , an Indie Award. In 1987, Alice founded the Old-Time Music for which he also served as Traditional Dance consultant. Group, a non-profi t organization which oversees publication of theOld-Time Herald From 1982 through 2004, he toured and played guitar with Ralph Blizard and the magazine. Known for her groundbreaking collaboration with Appalachian singer Hazel New Southern Ramblers, but he also plays fi ddle and banjo. He has done extensive Dickens during the 1960s and 70s, this duo produced four classic LPs and was a major research in the area of Appalachian dance, and has published many articles on tra- infl uence and inspiration for scores of young women singers. Her solo CDs,Calling ditional dance in Th e Old-Time Herald. Phil teaches mathematics and Appalachian Me Home and Pieces of My Heart received critical acclaim, and she recently released a music at Warren Wilson College, where, in 2004, he founded Dare To Be Square!, CD, Road to Agate Hill, in connection with Lee Smith’s book, On Agate Hill. In 2010, a weekend workshop for square dance callers. In 2008, Phil became the twelfth Alice was awarded the Gathering’s Master Music Maker Award for lifetime achievement. recipient of the Gathering’s Master Music Maker Award for lifetime achievement. www.alicegerrard.com www.philjamison.com RAYnA GeLLeRT JOHn HeRRmAnn Rayna Gellert grew up in a musical family, and she has spent John has been traveling the world playing old-time music for most of her life immersed in the sounds of rural stringband over forty years. He plays fi ddle with the New Southern Ram- music. Aft er honing her fi ddle skills at jam sessions and square blers, but he has performed with many bands including the dances, Rayna fell into a life of traveling and performing. While Henrie Brothers (1st place Galax, 1976), Critton Hollow, the her work as a professional musician has found her collaborating Wandering Ramblers, One-Eyed Dog and the Rockinghams. with a wide range of artists, her fi ddle style has always remained Equally adept on banjo, fi ddle, mandolin, guitar, and bass, he is grounded in traditional music, and her albums are favorites known as the “Father of Old-Time Music” in Japan(!), and the in the old-time community. She delights in the opportunity originator of the ‘slow jam.’ John has been on staff at numerous to share the music she loves, and to connect students with her “favorite dead guys.” In music camps from coast to coast. He lives in Madison Co., NC. addition to performing her own music, Rayna also tours with renowned songwriter Scott Miller. www.raynagellert.com 21 GORdY HInneRS JOHn HOLLAndSwORTH A veteran of the old-time music and dance scene, Gordy is A native of Christiansburg in southwest Virginia, John grew known for his distinctive clawhammer style on the fretless up listening to friends and relatives play stringed instruments, banjo and his masterful rhythmic footwork as a clogger and and he developed his own autoharp style incorporating both buckdancer. He plays banjo with the New Southern Ramblers chromatic and diatonic techniques. John has performed and for many years was a mainstay of the Green Grass Clog- and led workshops at the Mountain Laurel Autoharp gers. Gordy has taught at workshops throughout the country, Gathering, the Willamette Valley Autoharp Gathering, Sore and has been a part of the Gathering since its inception. He Fingers Summer School, Augusta, the John C. Campbell lives in western NC, and teaches Spanish at Mars Hill College. Folk School, and elsewhere. He has served as editor of the “Interaction Lesson” feature in Autoharp Quarterly magazine, and in 1991, he became the fi rst champion of the prestigious Mountain Laurel Autoharp Gathering Competi- JeFF KeITH tion. He has been named the “Best All-Around Performer” of the Galax Old Fiddlers’ Over the years, Jeff Keith has played countless tunes on guitar Convention three times, the only autoharp player ever to win this recognition. In 2010, and mandolin around the globe with a wide assortment of musi- John was inducted into the Autoharp Hall of Fame. www.blueridgeautoharps.com cians, from Pike County, Kentucky, with old-time fi ddler Paul David Smith, to the Tierra Caliente, with Mexican fi ddler Juan Reynoso. A native of Kentucky, Jeff is a member of the old-time AnnA ROBeRTS-GeVALT stringband, the Red State Ramblers, with whom he has recorded Anna Roberts-Gevalt is a New Englander who moved south to and has performed for the U.S. State Department in Kyrgyzstan immerse herself in Appalachian music. She has studied with master and Ecuador. He has also played banjo on recordings with Ben Sollee, Daniel Martin Kentucky fi ddlers Burce Greene, John Harrod, and Paul David Moore, and Goldenrod (a psychedelic funk band), and one British reviewer celebrated Smith, as well as banjo players Lee Sexton and Earl Th omas. Anna his “soaring” electric guitar work on Rayna Gellert’s recent album Old Light. Jeff teaches did research through Berea College into the lives of female fi ddlers Appalachian studies, history, and music at Warren Wilson College, and when he is not in Kentucky, and she works closely with ballad singer Elizabeth playing music, he studies things and spends time with his little bitty dog Napoleon. LaPrelle, performing songs and ballads with ‘crankies,’ locally and nationally, and producing a monthly radio variety hour in Floyd, Virginia. She recently produced a compilation album of young traditional musicians, Th e New Young Fogies, JOSePH deCOSImO with Joseph DeJarnete, and is coordinator of Th e Cowan Creek Mountain Music School Joseph Decosimo grew up in Chattanooga and has been inter- in Whitesburg, Kentucky. www.annaandelizabeth.com ested in the fi ddle and banjo traditions of his local area since fi rst encountering the banjo in seventh grade. He has spent much of his energy exploring the music of the Cumberland JOHn HOFFmAn Plateau, southeast Tennessee, and western North Carolina, and John Hoff mann has been involved in the old time music world for several years during high school and college, he performed since the late 1970s. Starting out as a banjo player in Ithaca, with Charlie Acuff . He has won a number of blue ribbons for his fi ddling, including New York, he was a founding member of the Tompkins County First Place at Cliff op in 2010, and the National Old-Time Banjo Championship, Horsefl ies (later the Horsefl ies). He moved on to the fi ddle in and his band, the Bucking Mules took fi rst place in the stringband competition at the early 1980s. John has played in various old-time bands in Cliff op in 2012. Joseph recently completed an MA in Folklore at the University of Ithaca, teaming up with Mac Benford, with whom he has been North Carolina, studying fi ddling traditions in Tennessee and north Georgia, and he playing and performing music for over 25 years. Together, they has taught and performed at a number of music camps throughout the country. He have recorded a CD, It’s About Time. John also plays in the band, Long John and the served on the faculty at East Tennessee State University’s Bluegrass, Old-Time, and Tights. Over the years, John has garnered a number of awards for his banjo and fi ddle Country Music program where he taught old-time fi ddle and banjo, and now lives in playing at Mt. Airy, Galax, Cliff op, and the Wheatland Music Festival. Durham, North Carolina where he plays music, teaches lesson, and works as a folklorist. www. josephdecosimomusic.virb.com eLIZABeTH LAPReLLe Elizabeth LaPrelle is a young ballad singer and banjo player SHeILA KAY AdAmS from Rural Retreat, Virginia, whose heartfelt and powerful Ballad singer, banjo player, writer and storyteller, Sheila comes singing has won her prizes at regional fi ddlers’ conventions from a small mountain community in Madison County, North since the age of eleven. She has sung for audiences across the Carolina. For seven generations, her family has maintained the country and has taught Appalachian ballads and unaccompa- tradition of passing down the English, Scottish and Irish ballads nied singing at music camps and workshops, where she shares that came over with her ancestors in the late 1700s. She learned her knowledge of songs and singers past. Her work on Th e New the ballads from her relatives, primarily from her great-aunt Young Fogies CD brought her to the attention of Noah Adams, who featured her in an Dellie Chandler Norton. A perennial favorite at Asheville’s episode of NPR’s Weekend Edition. www.elizabethlaprelle.com Mountain Dance and Folk Festival, Sheila has performed and taught at many major festivals and workshops throughout the country, the UK, and in 2011, performed at the Celtic Colors International Festival in Nova Scotia. In 2013, she was awarded a eLLIe GRACe National Heritage Fellowship – the nation’s highest honor in the folk and traditional Ellie was born into a deep musical tradition and began her life- arts. She has been a featured performer in the Southern Arts Federation’s Sisters of the long love aff air with Appalachian clogging at the ripe old age of South tour, the National Folk Festival, the North Carolina Folklife Festival, the Kent fi ve. She has spent her life performing professionally as a singer, State Folk Festival, the San Diego Folk Heritage Festival, and the Folkmasters series multi-instrumentalist, songwriter, and dancer, fi rst as a young on National Public Radio. She served as the ballad-singing coach for the feature fi lm, member of her family band and now as an independent artist. Songcatcher, and her novel, My Old True Love, published in 2004 by Algonquin Books She has toured internationally with her sister duo (Leela & Ellie was a fi nalist for the Southeastern Booksellers Association’s Book of the Year Award. Grace), the Dirk Powell Band, the all-female old-time trio Blue Eyed Girl, and several percussive dance companies. Ellie is an experienced and dynamic teacher, having taught at camps, schools, and festivals across the country for well over twenty years. In 2013, Ellie was one of only four accepted into the MFA in Dance program at Smith College in 22 eddIe BOnd Northampton, Massachusetts. As a teaching fellow, she is busily infecting the undergrads A native of Grayson County, VA, Eddie Bond has been performing with her ridiculous love of rhythm and shocking the academic dance world with the old-time music since he was a child. Growing up with music on revelation that is clogging. www.leelaandelliegrace.com both sides of his family, he was steeped in the musical traditions of the Blue Ridge at an early age. All four of his great-grandfathers were old-time banjo players, and he was raised by his grandmother, ROdneY SUTTOn who was a singer and guitar player. Eddie is now one of the region’s Th is year marks forty-one years since Rodney fi rst danced with most respected old-time fi ddlers, and he has won fi rst place on the Green Grass Cloggers and forty-two years since he was told fi ddle, banjo, and autoharp at the Galax Old-Time Fiddlers Convention. Since 2001, he would “never make a clogger”! Over the years, he has shared he has been the fi ddler and lead singer for the New Ballard’s Branch Bogtrotters, one his love of clogging by teaching workshops for beginners at camps of Virginia’s best-known old-time string bands, and he has performed at the Smithso- around the country, so that no one else will be told, or led to be- nian Folklife Festival, the National Folk Festival, the Kennedy Center, the Library of lieve, that they cannot “make a clogger.” He is a traditional dancer, Congress, the Montana Folk Festival, the Berkeley Old Time Music Festival and the caller, musician, storyteller, a veteran of the early days of the Green Gainsborough (England) Old-Time Festival, among others. Grass Cloggers, and co-founder of the Fiddle Puppets (now known as Footworks). Over the years, he has traveled all across the US and in the British Isles, performing and teaching clogging, and calling square and contra dances. As a member of North PAUL KOVAC Carolina’s Visiting Artist Program, he taught traditional dance in schools throughout Singer, multi-instrumentalist, and scholar of American country western NC. Rodney has been instrumental in helping the Regional Junior Appalachian music, Paul Kovac has been playing old-time and bluegrass music Musicians (JAM) program become a certifi ed non-profi t group that oversees JAM on guitar, mandolin, and banjo since he was a teen. Over the years, programs throughout mountain communities, and along with his daughter Kelsey, he he has performed with a long list of musicians, including old-time teaches clogging for the Madison County JAM. with Dirk Powell and Rick Good, and bluegrass with Bill Monroe and Hazel Dickens. He has accompanied fi ddlers Chubby Wise, Art Stamper, and Vassar Clements, and played dance music with ROn Pen Critton Hollow String Band and the Fiddle Puppets. In 1993, Paul wrote and produced Ron is a performer and scholar of the music of the Appalachian the instructional DVD, Learn to Play Guitar with Roy Clark and Paul Kovac. He has region. A founding member of the Appalachian Association been on staff at numerous music and dance camps, and he coordinated the Bluegrass of Sacred Harp Singers, with whom he performed on NPR’s A Week at the Augusta Heritage Center from 1996 to 2007. www.paulkovac.com Prairie Home Companion, Ron is also Professor of Music and Director of the John Jacob Niles Center for American Music at the University of Kentucky. He is the author of I Wonder As I Wander, a biography of CAROL eLIZABeTH JOneS folk icon John Jacob Niles. Ron started fi ddling thirty years ago in Rockbridge County, Carol Elizabeth Jones has made her mark as a singer of traditional Virginia and has since participated in various workshops and festivals across the region mountain music, a guitar player, and as a writer of new songs in including Hindman Settlement School’s Folk Week, Augusta’s Old-Time and Singing the traditional style. She has many albums to her credit including weeks, Berea’s Christmas Dance School, and many times at Swannanoa. He has recently two with Jones & Leva on the Rounder Label, two albums of performed music in China, Kyrgyzstan and Ecuador with the Red State Ramblers. country and bluegrass duets with Laurel Bliss, and most recently, her solo project called Cataloochee. Rounder Records has featured Carol Elizabeth on several anthologies including the bestselling dOn PedI O Sister – Women In Bluegrass collection. She has been a member A spectacular mountain dulcimer player who can match the fi ddle of the Hopeful Gospel Quartet with Garrison Keillor and Robin & Linda Williams note-for-note on tunes, Don has been collecting, preserving and on A Prairie Home Companion. She has toured Africa and Southeast Asia as cultural performing Appalachian music for more than four decades. He has ambassador for the U.S. Information Agency and has performed and taught at festivals spent most of his life working, playing music and living alongside throughout North America. Originally from Berea, Kentucky, Carol Elizabeth now lives old-time musicians in North Carolina, Kentucky, Tennessee, and in Lexington, Virginia where she is the Children’s Librarian at the Public Library. Dave Virginia, and he has developed a playing style that translates the older style fi ddle and Higgs of Bluegrass Breakdown says “…Carol Elizabeth has one of the most haunting and banjo tunes, ballads, and songs to the dulcimer, while maintaining traditional rhythms honest voices in acoustic music.” and stylistic sensibilities. He’s performed at many festivals across the country, including the Smithsonian Folklife Festival in Washington, DC, and he played music and appeared in the fi lm,Songcatcher . www.donpedi.com JOSH eLLIS Josh Ellis discovered old-time music when he moved from his home in Bluefi eld, WV to Galax, VA many years ago. (Prior to that time, he wAYne eRBSen was playing rock and roll guitar in a “punk” band in Bluefi eld.) Upon Wayne has been teaching people to play stringed instruments moving to Galax, he learned from many local banjo players including for over forty-fi ve years. Since his fi rst book, Clawhammer Ray Chatfi eld, Peco Watson, Kirk Sutphin, and Enoch Rutherford, Banjo for the Complete Ignoramus!, Wayne has written thirty- however, his playing is also infl uenced by Tommy Jarrell, Fred Cockerham, Kyle Creed one instruction and songbooks on Southern Appalachian and Wade Ward. Josh credits some of his playing style to a comment made by Ray music, folklore, and humor, and since 1988 he has recorded Chatfi eld, who told him that the two most important parts of playing the banjo are to eighteen solo CDs. In addition to teaching Appalachian music keep time for the dancers and to try to play what the fi ddle is playing without losing at Warren Wilson College and at the Log Cabin Cooking & Music Center, Wayne the rhythm. Today, Ellis is an award-winning clawhammer banjo player and a member runs a publishing company and old-time record label, Native Ground Books & Music. of the renowned old-time band, the New Ballard’s Branch Bogtrotters. www.nativeground.com KeVIn KeHRBeRG meLISSA HYmAn (see bio in Fiddle Week, page 44) (see bio in Traditional Song Week, page 6) 23 Guest Master rtists

eLmeR RICH Lee SeXTOn West Virginia fi ddler Elmer Rich was born into a musical family Lee Sexton was born in 1928 in Linefork, Kentucky. He and his in 1919, and he has been playing music for most of the 94 years wife, Opal, still live in Linefork about one hundred yards from since. Starting out on mandolin and guitar with his family square his homeplace. He started playing banjo as soon as he was old dance band, he took up the fi ddle at around age fi ft een. Within a enough to hold the instrument, and quit school aft er the eighth year or so, he was good enough to have a 2nd Place ribbon pinned grade in order to earn his own way, fi rst playing music and then on him by Eleanor Roosevelt at a fi ddle contest in Arthurdale, WV. working in the coal mines. His playing was featured in the square Around that same time, he and his family were recorded by pioneering ethnomusicolo- dance scene in Coal Miner’s Daughter. “Lee Sexton is one of the fi nest traditional old- gist Charles Seeger. Th ose recordings are now at the Library of Congress. Elmer contin- time banjo players in the country.”– David Holt. ued to play dances for many decades, and he is still playing and winning fi ddle contests today, including the 2013 Vandalia Gathering at the WV state capitol. He regularly appears as a featured performer at events around the state and elsewhere in the country. ROAn mOUnTAIn HILLTOPPeRS THOmAS mAUPIn, & From Carter County, Tennessee, the Roan Mountain Hilltoppers have performed old-time music, the “real dAnIeL ROCKweLL old-time” way, since 1974. Th e original lineup included Th omas Maupin describes himself as a “self-taught brothers Joe and Creed Birchfi eld on fi ddle and banjo, buckdancer with a fl atfoot style.” Growing up and in the early 1980s, the band was featured in a hip- in central Tennessee, he was exposed to dance hop video made by Malcolm McLaren (manager of Boy at an early age at Saturday night hoedowns and George and the Sex Pistols). Today, Joe’s son, Bill is “the main Hilltopper man,” and he barn dances. He has won First Place in the senior carries on the family musical tradition with his wife, Janice. Bill plays fi ddle, guitar (left - fl atfooting competition at the Appalachian String handed, upside-down and backwards), banjo, and autoharp, Janice plays the washtub Band Festival at Cliff op, West Virginia, as well as the Silver Stars talent contest at bass, and Terry Tester, of Hampton, Tennessee plays guitar and banjo. Over the past the Ryman Auditorium in Nashville. A recipient of a Tennessee Folklife Heritage forty years, the Hilltoppers have received numerous awards and recognitions, and they Award, Th omas was featured in a recent documentary fi lm,Let Your Feet Do the have performed at many venues including the Smithsonian Folklife Festival, the Country Talkin’ and in 2013, he was inducted into American Clogging Hall of Fame at Mag- Music Hall of Fame in Nashville, and the 1982 World’s Fair in Knoxville, Tennessee. gie Valley, NC. Joining Th omas is his grandson, Daniel Rothwell, who plays banjo, sings, and tells stories. Th e two have been dancing and playing together since Roth- well was small, and they have performed at the Grand Ole Opry, the Museum of C Appalachia’s Fall Homecoming, Uncle Dave Macon Days in Tennessee, the Berkeley BOBBY m mILLOn Old Time Music Convention, and the Richmond Folk Festival. (See bio in Traditional Song Week, pg. 5)

lasses In keeping with the tradition and nature of Appalachian music, learning by ear is encouraged. Classes will not generally be taught using tablature or written music, though some instructors may provide tablature and other handouts as memory aids. Hand-held audio (not video) recorders are highly recommended for all instrumental and singing classes. Unless otherwise indicated, all classes have a limit of 15. Fiddle classes during Old-Time Week are off ered at four diff erent levels: 0 – Beginner; I – Advanced-Beginner; II – Intermediate; III – Advanced (see defi nitions on pg. 1). Please consider your level of skill carefully when registering for classes. Fiddle

OLD-TIME FIDDLE 0 (John Herrmann) OLD-TIME FIDDLE I B (Anna Roberts-Gevalt) Th is class for complete beginners will start with the basics of tuning, bowing, Th is class is for advanced-beginner fi ddlers who know a few tunes and are and fi nding the notes on the fi ngerboard. By the end of the week students ready for more. Incorporating basic bowing techniques and noting patterns will have learned cross-tuning, a few simple bowing patterns, how to learn commonly used by southern Appalachian fi ddlers, students will learn several tunes by ear, and be able to play a few standard old-time tunes. Please bring tunes in the keys of A, D and G. We’ll learn some standards, and spend time a working fi ddle and bow. No prior experience necessary. with a few unusual and beautiful tunes fr om eastern Kentucky.

OLD-TIME FIDDLE I A (John Hoff man) OLD-TIME FIDDLE II A (Gerry Milnes) In this class for advanced-beginner fi ddlers, we will focus on phrasing, Th is class for intermediate fi ddlers will concentrate on old-time tunes mostly bowing, timing, and rhythm, all essential elements of old time fi ddling. By fr om the West Virginia repertoire, and break down the bowing using a back learning one, maybe two, fi ddle tunes during each class meeting we will focus and forth, play and response, format. Th is will allow students to grasp a on diff erent approaches for learning tunes that will allow you to continue the basic bowing concept, and then to build on that by fi ne-tuning nuances process independently by week’s end. We’ll learn a mix of tunes in a couple of used in the various tunes to make them unique. While some patterns will fi ddle tunings fr om diff erent parts of the South. We’ll also work on playing be learned, many West Virginia melodies overshadow the bowing patterns, together and improving abilities while participating in jams. Tunes will be and this will be a major goal of the week. taught by ear so bring an audio recorder. 24 Banjo

OLD-TIME FIDDLE II B (John Hoffman) OLD-TIME BANJO I (Elizabeth LaPrelle) In this class for intermediate fiddlers, we will explore old time fiddling styles In this class for the total beginner, students will learn the basics of claw- drawn from North Carolina, southwestern Virginia, West Virginia, and hammer banjo technique. By the end of the week, students will be able to Kentucky. We’ll learn one to two tunes per class while we focus on hearing play a handful of old-time tunes, and will have learned some of the tricks the layered parts of a phrase – melody, bowing, double stops, beat place- of playing back-up on the banjo. ment, etc. We’ll also spend some time on the intricacies of bowing, rocking the bow, pulsing, etc. These exercises will help us understand and assimilate OLD-TIME BANJO II A (Gordy Hinners) the “source” of a particular region or fiddler. Bring a recording device since For advanced-beginner/intermediate clawhammer banjo players, who know all tunes will be learned by ear. some tunes in the clawhammer style, this class will focus on the rhythm of Southern clawhammer playing and explore tunes and “licks” in several OLD-TIME FIDDLE II C (Rayna Gellert) banjo tunings. The use of a recording device is highly recommended, as all This is an intermediate level class appropriate for folks who already know tunes will be taught by ear. their way around a fiddle and have at least a few old-time tunes under their belt. We’ll learn traditional tunes in a variety of tunings, with a focus on OLD-TIME BANJO II B (Joseph Decosimo) getting your bow arm to be versatile, rhythmic, and tonally rich. Bring an In this class, we will work on intermediate old-time banjo repertoire and audio recorder, musical curiosity, and plenty of gameness. techniques that will be useful for solo playing, playing with a fiddle, and playing with stringbands. We will pay close attention to the right hand as the OLD-TIME FIDDLE II D (Joseph Decosimo) engine that drives clawhammer banjo. By rooting ourselves in some delightful In this class for intermediate fiddlers, we will explore some fun tunes and tunes that utilize several tunings and techniques, we’ll work on developing tunings common to old-time music, focusing on the ways we can use the bow our ear, our ability to flesh out tunes, and our sense of where the banjo fits in order to create the right kind of rhythm and feel for old-time music. We’ll in when playing with others. Ultimately, we’ll work towards being better learn some breakdowns (and possibly a waltz or slower piece) in G, D, A, listeners and more confident players, capable of learning and working tunes and maybe C and work on developing as listeners capable of fleshing out the into our own repertoires. If time and interest permit, we may spend a day tunes we hear. We will also discuss approaches to learning new tunes. Much discussing the rudiments of some old-time up-picking styles. Plan to have fun. of our time will be devoted to figuring out how to get our bows to make the sounds and rhythms that we want to hear. The tunes will include those from OLD-TIME BANJO II C (Josh Ellis) western North Carolina, Tennessee, and Cumberland Plateau repertoires. In this class for advanced beginner/intermediate players, we will concentrate on learning Galax/Round Peak-style clawhammer banjo, phrase by phrase. OLD-TIME FIDDLE III A (Rayna Gellert) Different skill levels are welcome, so don’t worry about what level you think This is an advanced class for folks who are very comfortable with the fiddle you may be, just come prepared to learn and have fun! Recording devices and with learning by ear. We’ll learn traditional tunes in a variety of tunings welcome and encouraged, but a CD of the tunes with slowed-down and full that allow us to dig into the nuances of rhythmic bowing and melodic orna- speed versions will also be available. ments. Bring an audio recorder, musical curiosity, and plenty of gameness. OLD-TIME BANJO III A (Mac Benford) OLD-TIME FIDDLE III B (Eddie Bond) Marcus Martin, a fiddler from the Swannanoa, who recorded for the Library This class is for intermediate/advanced fiddlers, we will focus on learning of Congress in the 1930’s, played in a beautiful, archaic style. To capture his tunes from Grayson and Carroll Counties in southwest Virginia. Emphasis expressive phrasing on the 5-string requires some techniques not common will be placed on bowing and expanding your repertoire. We will try to in the Round Peak style. This class will use the tunes recorded by Martin to learn at least two tunes a day if possible. Students are encouraged to bring introduce these techniques and explore how they can be used to expand the recording devices to this class. Come prepared to have a good time as well! melodic and rhythmic possibilities of your clawhammer playing. We will talk about different regional styles of southern Appalachia, and the different influences they have had on my personal style. OLD-TIME BANJO III B – FINGERSTYLE (Mac Benford) Recordings of old-time music made in the 1920s and 30s reveal that claw- OLD-TIME FIDDLE III C (Gerry Milnes) hammer was one of several styles of traditional banjo playing. After many In this class for intermediate/advanced fiddlers, we will draw from the years of clawhammer dominance, finger-picking styles are regaining their repertoire I have learned from many stalwarts of the old-time music scene popularity among today’s old-time players. This class will be an instruction in West Virginia. This includes Melvin Wine, Ward Jarvis, Ernie Carpenter, in these finger-styles, including two-finger, three-finger, thumb-lead, and Sarah Singleton, Frank George, and many others who I have performed finger-lead, using the music of Dock Boggs, Morgan Sexton, Roscoe Holcomb, with and recorded through the years. We’ll strive to achieve the distinctive Pete Steele, and B.F. Shelton. styles in which these fiddlers played, while at the same time claiming these tunes for ourselves when that adds to the performance. Some varied tunings will be introduced. Guitar & Mandolin

FIDDLE & BANJO – GALAX STYLE (Eddie Bond & Josh Ellis) FLATPICKING GUITAR (Paul Kovac) Focusing on the old-time repertoire from the region surrounding Galax, Making the jump from playing chords, to “Maybelle”-style leads, to flatpick- VA, this class for intermediate and advanced players will focus on the tight ing fiddle tunes in eighth-note style, requires good fundamental right-hand interplay between the fiddle and banjo. These two instruments formed the rhythm, comfort with a flat pick, some knowledge of the fingerboard, and a basis of southern Appalachian dance music for the better part of a century, good ear for melody. In this class, we’ll use a few common fiddle tunes/songs and they remain the core of the old-time band sound today. We will learn to cover such topics as making the leap from quarter-notes to eighth-notes, tunes from the Galax repertoire and explore the rhythmic connection between pick direction and accenting (playing with a pulse), left-hand positions the fiddle and banjo, the relationship of melody to chords/drones, the abil- that put your fingers in the right spots, playing out of chord positions, using ity to adapt to one another, in short, utilizing the complementary nature double stops to create leads, breaks and turnarounds, and good practice of these two instruments to create as much sound and rhythm as possible. (Class limit: 12 fiddles, 12 banjos). 25

habits and exercises. If you can play “Wildwood Flower,” can kind of hear ics, and playing for dances or concerts. Bands will have the opportunity to fiddle tunes in your head, and just need the skills to get to the next level, perform at a student showcase or play for a dance at the end of the week. It this is the class for you. is expected that students already know how to play their instrument, and that lead instrument players know a few tunes and/or songs in several keys OLD-TIME GUITAR I (Carol Elizabeth Jones) with the accompanying chords. (No class limit) This class is for novice guitar players (advanced beginners), who know the basic guitar chords (G, C, D, F, E, A, Am, Em) but want to learn to play INTERMEDIATE BASS (Kevin Kehrberg) with other people. We’ll play backup for songs and learn to parse fiddle tunes This class will cover intermediate principles of bass performance and accom- on-the-fly. This class will help you play solid rhythm with your right hand paniment applicable to old-time music and related styles. Students should and understand how to hear chord changes when learning new material possess fundamental technical skills applicable to this music and know some for the first time. basic scales. This includes knowing how to play in basic keys (G, D, A, and C) for tunes, songs, and waltzes. We will work on repertoire and discuss OLD-TIME nuances of bass line construction, chord progressions, timing, and feel. If GUITAR II A & B (John Herrmann, Jeff Keith) time permits, we will explore other techniques (slap, bowing, soloing) and If you know a handful of basic chords, and can hold on to a flatpick, you’re styles of music as well. ready for this class. Learn back-up guitar for stringband tunes and songs. Topics will include: the boom-chuck rhythm, chord choices, bass notes and MOUNTAIN DULCIMER I (Don Pedi) runs, keeping time, tuning, learning to listen, and putting it all together Easy and fun! This class is for absolute beginners or those interested in building into a duet, trio, or band. Guitar students may get together with fiddle and a solid foundation for playing mountain dulcimer in old-time music. Class banjo students during the week. will include dulcimer history, as well as playing techniques for developing the old-time sound. Traditional songs, tunes, and hymns will be taught by CARTER-STYLE GUITAR (Alice Gerrard) ear, but tablature will be provided. Bring a recorder. We will learn Maybelle Carter style guitar which is played mostly of C position, so students will especially need to know how to make C, G, and F MOUNTAIN DULCIMER II (Don Pedi) chords. Students should feel comfortable with a basic bass/strum lick and This class for intermediate players and above will focus on playing techniques with changing chords. We will learn the basic Carter lick and the breaks to for old-time music on the mountain dulcimer. We will learn traditional tunes, some of the familiar Carter Family songs as well as some of the more unusual songs, hymns, playing by ear, various noting techniques, different modes, ones. Since most of the Carter Family repertoire is built around songs, we dulcimer history, and more. The class will be taught by ear, but tablature will learn to sing them as well (hopefully) although singing will not be the will be provided. Bring a recorder. primary focus of the class. We will spend a short time in each class listening to the Carter Family. Please bring a recording device. AUTOHARP I (John Hollandsworth) The autoharp has been a part of mountain culture since the early 1900s and OLD-TIME MANDOLIN I (Wayne Erbsen) since then has played a prominent role in old-time and early country music Old-time mandolin for beginners. In this fun class, we’ll play lead and with the original Carter Family, Pop Stoneman, Kilby Snow, and others. backup to your favorite old-time songs and tunes, learn to create your own Drawing on tunes from the old-time repertoire, topics in this beginner-level licks and fills, and discover many of the tricks of improvising. class will include right- and left-hand techniques, finger memory, tuning, timing, playing in 3/4 and 4/4 rhythms, basic chord progressions, playing OLD-TIME MANDOLIN II (Jeff Keith) in major and minor keys, harp setup, and playing scales that will lead you This intermediate-level mandolin class will focus on tunes. We’ll work to into melody playing. Ability to read music or tablature is not necessary, but understand lead mandolin playing and its place in old time music, and handouts on the tunes and techniques covered will be provided. Students we’ll explore ways to creatively accompany lead instruments in jam sessions must have an autoharp in good playing condition, one thumb pick, and two and in band settings. This class will raise student confidence through new finger picks. A music stand might also be helpful. skills and an expanded repertoire. A good tuner is essential, and a recording device is recommended. Much fun will be had. AUTOHARP II (John Hollandsworth) During the past twenty years the autoharp has had a huge revival, with some major performers and landmark recordings. This class will provide insight Other Instruments into what top players are doing and how to expand the role of the autoharp as a melody instrument. Drawing on tunes from the Appalachian tradi- OLD-TIME BAND 101 (Wayne Erbsen) tion, we will cover both chromatic and diatonic playing, rhythm changes, This is the right place for novice old-time musicians who can play several syncopation, chord substitutions, playing in 3/4 and 4/4 time, arranging, tunes and know some basic chords but want the thrill of bonding and playing alternate tunings, and how to interact with other instruments in a group with other musicians in a no-stress fun string band. Bring your list of tunes situation. Students will refine their playing skills and gain a good under- and songs and we’ll learn to play and sing together. All stringed instruments standing of clean melody playing on the autoharp. Some basic knowledge and singers welcome! (No class limit) of melody playing would be helpful, but ability to read music or tablature is not required, and handouts on the tunes and techniques covered will be OLD-TIME BAND LAB provided. Students must have an autoharp in good playing condition, one (Gordy Hinners & Kevin Kehrberg) thumb pick, and two fingerpicks. Students in this class will form string bands and with a little coaching, learn how to play together and achieve a cohesive band sound. We will consider each individual’s responsibility in a band, how to start and end tunes, tempo, rhythm, lead, back-up, chord choices, singing, band dynam- 26 Old-Time music & dance week, July 20-26, 2014 7:30-8:30 Breakfast, Tai Chi warmup (7:30-8:00)

Ballads & OT OT OT OT OT OT OT OT Flat- OT Autoharp Shape- Crankies Clogging Fiddle Fiddle Fiddle Fiddle Banjo Banjo Guitar Guitar picking mandolin II note 9:00-10:15 (LaPrelle, I I A II A III A III B II A III A I II A Guitar I (Hollands- Singing Roberts- (Sutton) (Hoffman) (Milnes) (Gellert) (Bond) (Hinners) (Benford) (Jones) (Herrmann) (Kovac) (Erbsen) worth) (Pen) Gevalt) 10:15-10:45 Coffee/Tea Break

OT Getting Old OT OT OT OT OT Banjo Fiddle & OT mtn. History Intermed. the most meeting Clogging Fiddle Fiddle Fiddle Fiddle Banjo III B Banjo Galax Guitar dulcimer of OT 10:45-12:00 Bass Out of House II 0 II B II C III C II B Finger- Style II B I music (Kehrberg) A Song Songs (Grace) (Herrmann) (Hoffman) (Gellert) (Milnes) (Decosimo) style (Bond, Ellis) (Keith) (Pedi) (Pen) (Gerrard) (Adams) (Benford) 12:00-1:00 Lunch 1:15-2:15 Communal Gathering (Guest Master Artists, announcements) OT OT OT OT Carter- OT Autoharp OT OT mtn. Unaccom- everly Teen Fiddle Square Fiddle Banjo Banjo Style mandolin I Band Band Lab dulcimer panied Bros. Gather- 2:30-3:45 I B dance & II d I II C Guitar II (Hollands- 101 (Hinners, II Singing (Jones, ing (Roberts- Calling (Decosimo) (LaPrelle) (Ellis) (Gerrard) (Keith) worth) (Erbsen) Kehrberg) (Pedi) (Adams) Kovac) (Grace) Gevalt) (Jamison) 4:00-5:00 Potluck Sessions (M,T,W,F) 5:00-6:30 Supper 6:15-7:15 Slow Jams & Singing 7:30-? evening events (concerts, dances, jam sessions, etc.) Student Showcase (Fri.)

Song & Folklore

SHAPE-NOTE SINGING (Ron Pen) UNACCOMPANIED SINGING (Sheila Kay Adams) We will engage in musical and social harmony through the recreation of a Th is class will cover the unaccompanied singing style of Appalachian songs rural nineteenth-century singing school. Singing fr om the Sacred Harp tune and versions of ballads brought fr om the British Isles to western North book (1991 edition), which features intoxicating harmonizations written Carolina in the 18th and 19th centuries. Handouts will be provided and in a unique four-shape notation of triangles, squares, circles, and diamonds there will be plenty of class participation. (Class limit: 20) makes learning to read music easy and enjoyable. Th e class will also include background historical and social context. Songs fr om other tune book GETTING THE MOST OUT OF A SONG (Alice Gerrard) traditions will be explored, including the Southern Harmony, Christian In this singing class, we will focus on style and repertoire in traditional Harmony, and the kentucky Harmony. Th e class will accommodate both country singing, with a look at the classic repertoire of Hazel and Alice as total beginners and veteran singers. Books will be available to borrow for class well as other singers. We will explore ways to become a stronger singer by use. At the end of the week, members of the class are invited and encouraged fi nding and using your natural voice to get that country sound. We will to participate in the eighth annual Swannanoa Singing with dinner on the also explore harmony, but that won’t be the main focus of the class. Bring grounds. Th is will be held on Saturday, July 26 fr om 10:00 AM-3:00 PM recorders and voices. (Class limit: 20) at the Warren Wilson College Pavilion. (No class limit) HISTORY OF OLD-TIME MUSIC (Ron Pen) BALLADS & CRANkIES What IS old-time music? How is bluegrass diff erent fr om old-time? What (Anna Roberts-Gevalt & Elizabeth LaPrelle) do terms such as “authenticity” and “revivalism” really mean? What are A ‘crankie,’ also known as a scrolling panorama, or crank box, is a box drop-thumb, fr ailing, clawhammer, two-fi nger, and rapping? Where are containing a length of paper or fabric rolled around two posts, which is then Galax, Clifft op, and Mount Airy? Can you dance a Tobacco Hill? What is a pulled across the fr ont, much like the fi lm in an old camera, illustrating a crooked fi ddle tune? Th e answers to these and other such mysteries will all be story or song. In this class, we’ll learn songs and ballads by making crankies revealed here. Focused presentations on “Bonaparte’s Retreat,” the Georgia to illustrate them, working with fabric, cut paper silhouettes, shadow pup- Fiddle Contest of 1924, ‘Aff rilachia,’ moonshining, and Marion Sumner will pets, paints and ink. ‘Non-artists’ are encouraged to give it a whirl – you provide windows on the style and culture. Discussion, recordings, videos, may be surprised with what you come up with! Making pictures of the songs and guest presentations will nurture an overview of the history and context is sure to spark discussion about the stories and their meanings. Th en we of old-time ballads, fi ddle tunes, hillbilly music, and string bands fr om the get to perform our eff orts to each other, and to the rest of the camp. (To see Skillet Lickers to Uncle Earl. (No class limit) videos of crankies, visit: http://annaandelizabeth.com/watch.html) Th ere will be a $10 materials fee for this class, payable to the instructors on the fi rst day of class. (Class limit: 20) 27

OLD MEETING HOUSE SONGS (Sheila Kay Adams) SpecialEvents These are the unaccompanied songs that I grew up singing in the many dif- ferent Baptist churches in Sodom, North Carolina. You’ll recognize many T’ai chi (Don Pedi) of them – “I’ll Fly Away,” “Build Me a Cabin,” “Where the Soul Never Start the day with a smile with these ancient, gentle, easy to learn rejuve- Dies,” “Farther Along,” and “Palms of Victory” are but a few. This class will nation exercises. Reduce stress. Focus on breathing, balance, and gentle ROCK! You can sing melody or find a harmony. I’ll provide the words and stretching. Includes: T’ai Chi, Chi Kung, Standing Meditation, Eight music, but we’ll sing them without accompaniment. That’s how I learned Pieces of Brocade, and more. No experience necessary and no registration them because we couldn’t afford a piano. Come to this class ready to sing required. (No class limit) and sing some more! (Class limit: 20) POTLUCK SESSIONS The EVERLY BROTHERS- In addition to the regular class sessions, Potluck Sessions are offered most & THEIR INFLUENCEs (Carol Elizabeth Jones & Paul Kovac) afternoons. These one-hour mini-classes give students access to the entire The Everly Brothers were hugely popular in the late 1950s and early 60s teaching staff, and provide a wide variety of class offerings to choose from. with a rock ‘n’ roll style that featured singable, memorable melodies and No advance registration is necessary. close two-part harmonies. As the Everly Brothers had a profound influence on groups to come, (the Beatles, Simon and Garfunkel, etc.) they, too, owed SLOW JAMS & SINGING much to the musicians and repertoire that came before them. In this class After supper each night, students have the opportunity to participate in slow we will learn traditional repertoire from the Everly Brothers’ Kentucky jams and singing sessions. At the slow jams, common tunes are played at a upbringing as well as songs from the Blue Sky Boys, the Delmore Brothers, speed that is accessible even to beginners. The singing sessions are a chance and the Louvin Brothers. Participants in this class should be able to hold a to share your voice and songs. melody and hear when a harmony is present. (Class limit: 20) YOUNG OLD-TIME Each evening, after supper, teenaged musicians get together for the Young Dance Old-Time Band, a staff-guided jam for young players, and on Wednesday night, following the staff concert, this group will have the opportunity to southern appalachian play for the post-concert square dance. This year, Young Old-Time will be square dance & Dance callinG (Phil Jamison) led by Ben Nelson. Ben has taught old-time music for a number of years to This class, open to dancers as well as dance callers, of all levels, will focus on young people in western North Carolina through the Junior Appalachian the traditional square dances of the southern Appalachian region. No prior Musicians (JAM) program. experience is required. We will learn about, and dance four-couple squares as well as Southern big circle dances, and students will have the opportunity EVENING DANCES to try their hand (or voice) at calling out the dance figures. Dance callers of Evening dances will be held throughout the week, providing plenty of chances all levels will have the opportunity to expand their repertoire and receive to dance a variety of traditional Southern Appalachian squares and circles. feedback to improve their calling skills. Mainly though, we will have fun Thursday night features our valley’s long-standing weekly dance, the Old dancing and learning about the traditions of southern Appalachian square Farmers Ball. dances. (No class limit)

CLOGGING I (Rodney Sutton)  Let Rodney prove to you that everyone can learn Appalachain clogging steps. This class covers beginning southern Appalachian clogging and buckdanc- We offer a full-day program, taught by Melissa Hyman, for children ages ing from “step one.” Learn the basic steps and how to put them to use with 6-12. Children must have turned 6 by July 1st to participate. No exceptions live old-time music. Wear smooth-soled shoes – leather is best, and no taps. please. Evening childcare for ages 3-12 will be provided at no additional cost. (No class limit) Who hasn’t ever dreamed of running away to the CIRCUS? This is a CLOGGING II (Ellie Grace) very special summer for the Children’s Program, as we are welcoming our brand-new coordinator Melissa Hyman. Come one, come all and explore the Are you ready to crank your dancing up a notch? If you have already taken fantastical world of circus arts, crafts and music, from silly songs to popcorn- beginning clogging or have previous percussive dance experience, this class eating contests to face painting. Run away with us and we may even meet for intermediate/advanced dancers is for you. The driving rhythms and guest teachers who’ll show us how to juggle, tumble and ride elephants with beautiful style of Appalachian flatfooting will be explored, and you will the best of ’em. We’ll be having an unforgettable summer of water balloon learn specific techniques for making a clean, crisp sound and connecting fights, circus-themed crafts, songs and stories from every corner of the world with the music. The dancing will still be highly approachable, but we are – so jump on the train and join us! We’ll create our own circus band with the going to have a grand time forging ahead towards clogging greatness! Tap help of a very talented music teacher, culminating in our big performance shoes are welcomed and recommended, but not required. (Class limit: 25) at the student showcase on Saturday. As a special treat, we will be visited throughout the week by wandering musicians and artists (Gathering staff) TEEN GATHERING (Ellie Grace) who will perform just for our kids. We will, of course, continue our long-loved This class is for teens only! It’s a time for all of you to come together and make traditions of shaving cream hairdos day, movie night, super-messy games plans to take over Swannanoa and possibly the world with music, dance, and and the Gathering Scavenger Hunt. Each busy day will close with free swim other creations. Some adventures may include a young old-time flash mob, time in the college pool. Non-swimmers must be accompanied by a parent to arranging country songs and practicing two-stepping for the Honky Tonk, swim. Get ready for a week of magic and mayhem under the big top with us!! creating our own square dances, big group harmony singing, old-timeifying There will be a $30 art/craft materials fee for this class, payable to Melissa, pop songs, and a little clogging for good measure. Games and mischief the Children’s Program coordinator, on arrival. abound. All proposals for fun activities will be considered! (Class limit: 20) 28 Guitar eek uly ugust 

Guitar Week has become one of the fi nest programs of its kind anywhere, staff ed by some of the world’s best players and instructors. We have been awarded both the Bronze Medal and Silver Medal Player’s Choice Award for music camps by the readers of Acoustic Guitar magazine, and this high standard of quality is what keeps guitarists from across the globe coming back year aft er year. For 2014, we’ve recruited some exciting new instructors, including Beppe Gambetta, Gerald Ross, Tim Th ompson and Toby Walker. Th is year we’ll see the long-overdue return of Stephen Bennett and Grammy-winner Pat Donohue. Many of our all-time favorite instructors, Muriel Anderson, Robin Bullock, Vicki Genfan, Pat Kirtley, Ed Dodson, Steve Baughman and Scott Ainslie will be with us in 2014 and relative newcomers Greg Ruby, Sean McGowan and David Jacobs-Strain are all back on staff as well. We will be off ering more classes than ever before in fl atpicking and fi ngerstyle acoustic guitar (and ukulele!) in all styles for all levels from beginning to advanced. Our seventeen world-class instructors, including several Grammy-winning guitarists, will be off ering classes in a wide variety of styles ranging from Celtic and bossa nova to jazz and blues. We will off er a variety of beginning level classes to accommodate those students who aren’t quite ready for the intermediate-to-advanced classes, as well as classes suggested for more advanced players, so please read the descriptions carefully before you decide where you belong; we want everyone to get the most out of the week. For most of our classes it is recommended that students should play at an intermediate level: students should have mastered beginning skills, be able to tune their instruments, keep time, play scales cleanly, and know how to play a few tunes with confi dence. Guitar Week runs concurrently with our Contemporary Folk Week, and students may take classes from either program. One of the country’s top repairmen, Randy Hughes, will be available for consultations throughout the week. Ed Dodson will again lead slow jams aft er lunch each day, and our Luthiers Exhibit will feature some amazing guitars from some of the world’s most respected builders – David Berkowitz, John Slobod and Gerald Sheppard, as well as a selection of instruments from the inventory of the renowned Dream Guitars.

STePHen BenneTT BePPe GAmBeTTA Since his 1987 win at the National Flatpicking Cham- From his unique background as an Italian musician in love pionships in Winfi eld, Kansas, Stephen Bennett has with both American roots music as well as the music of his become known as an extraordinary musician, an native country, Beppe Gambetta has travelled the world, acknowledged master of the harp guitar, a challenging even behind the Iron Curtain, to dazzle and charm music teacher, a gift ed composer, and a performer of great sen- enthusiasts everywhere. Aft er eleven CDs, DVDs, teaching sitivity. Stephen has regularly performed around the US books and collaborations with many other top-flight and abroad and shared the stage with some of the fi nest musicians, Gambetta is increasingly known as one of the true master innovators of the guitarists in the world. His latest of many recordings is acoustic guitar. His reputation in the U.S. and Canada is reinforced by his participation his version of Tchaikovsky’s entire Nutcracker ballet score in prestigious festivals like the Walnut Valley Festival in Winfi eld, Kansas, Merlefest in arranged for guitar orchestra. Stephen Bennett onstage, North Carolina, the Four Corners Festival in Colorado and Canadian Folk Festivals in cradling the harp guitar he inherited from his great-grandfather is an image that tends Winnipeg and Edmonton, as well as the radio shows All Th ings Considered and E-Town. to linger. He has created an enduring repertoire and a signifi cant body of recorded Beppe has performed in such prestigious venues as the Ryman Auditorium in Nashville, work for this instrument, and in 2003, he organized and hosted the world’s fi rst annual Tennessee and the Metropolitan Museum of Art in New York. He has performed with harp guitar convention, the Harp Guitar Gathering, which celebrates these wonderful some of the great fi gures of the folk scene like David Grisman, Gene Parsons, Doc instruments by bringing players, luthiers, scholars and fans together for a weekend of Watson, and Norman Blake. Gambetta’s playing and singing are noteworthy for their performances, workshops and camaraderie. His accomplishments on the harp guitar high level of technical excellence, but also for the ideas of a brilliant, playful mind that make it sometimes easy to overlook his brilliance on the six-string version, but whatever is always exploring and innovating. With America in his heart and his roots in the sun guitar he happens to be playing, Stephen Bennett is a musician to experience. In live and the olive trees of the Mediterranean, he naturally and seamlessly bridges the shores performance and on record, his life-long love aff air with the sound of guitar strings is of the two continents, creating a musical “koiné” (fusion) where American root music apparent. www.harpguitar.com and Ligurian tradition, emigration songs and folk ballads, steel string guitars and vintage harp guitars not only co-exist but interact, in a deep dialog. www.beppegambetta.com dAVId JACOBS-STRAIn David Jacobs-Strain is a virtuosic slide guitar player and VICKI GenFAn a storyteller who brilliantly brings the rich roots of slide Guitar Player Magazine’s 2008 “Guitar Superstar,” guitar to the millennials generation with an eclectic Vicki Genfan defies categorization. A unique and styling that melds blues, folk, rock and indie pop into fi ercely original musical talent, she has been called the a tasty Americana brew infl ected with accents of funk ‘Jimi Hendrix of acoustic guitar.’ “While others make and reggae. He’s a six-foot-two Jewish blues singer from noise with tapping stylings, Genfan understands the Oregon, a Stanford drop-out in a trucker hat, and a Left power of melody and instead makes music.” – Kirk Coast poet; one part Leo Kottke, one part Ken Kesey, and Albrecht, www.minor7th.com. Drawing from folk, one part Robert Johnson. He’s recorded seven albums, jazz, pop, soul and world music, Vicki has a distinc- including his latest, Live From the Left Coast, a collaboration with harmonica legend Bob tive style that pushes the boundaries of the singer/ Beach. David has performed at the Newport Folk Festival, MerleFest, the Strawberry songwriter genre. An international phenomena, Vicki Music Festival, the Montreal International Jazz Fest, and toured with artists as diverse has lit up stages in venues as diverse as the International Montreal Jazz Festival, Ger- as Lucinda Williams, Etta James, Bob Weir, and Boz Scaggs. He also performs with many’s Open String Festival, Italy’s Soave Guitar Festival and Festival Across Styles in his amplifi ed string band, Th e Crunk Mountain Boys. www.davidjacobs-strain.com the Czech Republic. She has four CDs to her credit and four instructional DVDs, and in 2009 Luna Guitars unveiled the Vicki Genfan Signature Guitar built by Luthier 29

Gray Burchette.Vicki has enjoyed teaching privately and in groups for over 25 years recordings and produced their most recent album, And If Only, featuring legendary and brings her warmth, humor and inspiration to all who have experienced her many vocalist Dan Hicks. Currently, he leads his own group, Th e Greg Ruby Quartet and workshops, clinics and classes. And... she’s thrilled to be back at Swannanoa for the 2014 collaborates with New York and New Orleans musicians on a project called Th e Rhythm season! “If I could play like Vicki, I would stay home and entertain myself ” – Steve Vai Runners. A perpetual student and educator, Greg has published the Pearl Django Play- www.vickigenfan.com Along Book Vol.1 through Djangobooks.com and is currently completing a play-along CD/book on the swing guitar mastery of Oscar Aleman. From private guitar lessons, to workshops and the school classroom, Greg is adept at multiple teaching styles. He SeAn mCGOwAn has led the Gypsy Jazz Guitar Workshop at the State University of New York, Oswego, Sean McGowan is a fi ngerstyle jazz guitarist who combines Seattle Jazz Guitar Society, Swannanoa Gathering Guitar Week, Wintergrass Music many diverse musical influences with unconventional Festival, DjangoFest, the Dusty String Music School and Th e Mandolin Symposium. techniques to create a broad palette of textures within www.gregrubyguitar.com his compositions and arrangements for solo guitar. His fi rst recording, River Coff ee, won the Best Independent Release of the Year Award (2002) from Acoustic Guitar AL PeTTewAY magazine and music from the recording has been pub- Our Guitar Week Coordinator, Al Petteway is a Grammy and lished in Japan’s Acoustic Guitar magazine and Mel Bay’s Indie Award-winning guitarist who has performed, toured and Master Anthology of Fingerstyle Guitar, Vol. 3 (2005). His recorded with many of the best-known artists in folk and Celtic subsequent recordings, Indigo, (2008) and Sphere: the Music of Th elonious Monk (2011) music. Th ough his primary instrument is the guitar, he also off er compelling portraits of jazz standards performed on solo electric archtop guitar. studied lute, string bass, percussion and music composition. Sphere was named one of Acoustic Guitar magazine’s “Essential Albums of 2011”, and Al’s compositions and arrangements for acoustic fi ngerstyle Sean was featured on the Summer 2012 cover of Fingerstyle 360 magazine. His latest guitar are strongly infl uenced by his love of Celtic, Folk, Rock book/DVD, Fingerstyle Jazz Guitar Essentials will be available winter 2013 As a solo- and Blues styles. His playing and music is featured on dozens of ist, Sean has performed at several festivals including the Novi Sad International Jazz CDs, six instructional DVDs and the soundtracks of six documentaries by fi lmmaker Ken Festival in Serbia, the Healdsburg Guitar Festival, in Napa Valley, Copper Mountain Burns, most notably the Emmy-winning PBS series, Th e National Parks-America’s Best Guitar Town, the Newport Guitar Festival, and the Classic American Guitar Show Idea. Al was voted one of the “Top Fift y Acoustic Guitarists of all Time” by the readers in New York. He has also collaborated with several dance and improv companies, as of Acoustic Guitar magazine where he also won Silver and Bronze medals for Celtic and well as with jazz and acoustic musicians throughout the Rocky Mountain region. Sean Fingerstyle guitar in the magazine’s Player’s Choice Awards. Al’s CD Caledon Wood was earned a DMA in Guitar Performance from the University of Southern California and an “Editors’ Pick” as one of the “Essential Albums of the Past Twenty Years” in Acoustic currently serves as Assistant Professor of Music and the Guitar Program Director at the Guitar’s 20th Anniversary issue and his most recent CD, It’s Only Th e Blues was listed as University of Colorado, Denver. As a strong advocate for injury prevention and health one of the Top Ten Essential albums of 2012 by two of the magazine’s editors. In 2013, education for musicians, his workshops incorporate a holistic approach to playing. He Al recieved the Gathering’s Master Music Maker award “in celebration of a lifetime of is also a contributing editor and educational advisor for Acoustic Guitar magazine, and musicianship and teaching.”Al performs with his wife Amy White, and as a soloist for the author of the instructional projects, Fingerstyle Jazz Guitar Essentials and Holiday various guitar festivals throughout North America. Th ey live in nearby Weaverville on Songs for Fingerstyle. www.seanmcgowanguitar.com the top of a mountain with two dogs, three cats, occasional stray sheep, coyotes, bears, bobcats and other assorted wild creatures. www.alandamy.com mURIeL AndeRSOn One of the world’s foremost fi ngerstyle guitarists and harp- TOBY wALKeR guitarists, Muriel Anderson is the fi rst woman to have won Toby Walker has been hailed as an internationally the National Fingerstyle Guitar Championship. An engag- acclaimed roots music fingerstyle guitar wizard who ing performer, her obvious joy of music, humor, and facility has toured the US, England, Wales, France, Germany, across musical genres is revered by guitarists worldwide. She Belgium and Holland. He has been featured in the New has recorded with country legend Chet Atkins, performed York Times, the London Sunday Times, the London BBC, in New York with Les Paul, at Chicago’s Orchestra Hall Sirius-XM radio and was the 1st Place recipient of the with the Chicago Symphony and in Tennessee with the International Blues Challenge Award (Solo division) Nashville Chamber Orchestra. She is host and founder awarded by the Blues Foundation in Memphis TN. of the All-Star Guitar Night and the Music for Life Alliance charity. She is a prolifi c Walker blends the styles of blues, ragtime, country, bluegrass, rock and old time jazz into composer of music on guitar and harp guitar, and tours year round in North America, his own unique style. Jorma Kaukonen of Hot Tuna and the Jeff erson Airplane says “Flat Europe and the Far East. Her new double CD, Nightlight Daylight is a culmination of out... you have to hear this great musician... I’m blown away,” and has employed Walker her vision and is getting great attention as the fi rst ever with an animated fi ber optics to teach at his famous Fur Peace Ranch Guitar Camp for six years. In 2010, Walker won cover. www.murielanderson.com the NY Music Award for ‘Best Instrumental CD,’ sharing honors with other winners Mariah Carey, Rufus Wainwright Judy Collins and more. Walker has recently released three instructional guitar DVD’s for Homespun Tapes to rave reviews, and his latest GReG RUBY CD, What You See Is What You Get, has been hailed as a shining success in the genre Composer and guitarist Greg Ruby is a distinctive voice in of traditional blues recordings. Carnegie Hall acknowledged his talents by hiring him the Hot Club jazz tradition. His 2010 CD, Look Both Ways, to augment and teach in their “American Roots” program aimed at honor-level middle celebrated the 100th birthday of gypsy jazz guitarist Django school students. His passion for blues, rags, folk, and other traditional American music Reinhardt with 12 original compositions, and reached #1 drove him to leave an apartment crammed full of recordings, books and instruments on the Roots Music Review’s jazz chart. As a member of the for the Mississippi Delta, Virginia and the Carolinas where he tracked down some of esteemed group, Pearl Django, Greg spent fi ve years per- the more obscure but immensely talented music makers of an earlier era. He learned forming and touring throughout the United States, Canada directly from Eugene Powell, James “Son” Th omas, Etta Baker, and R.L Burnside, among and Europe and appeared with the group at the prestigious others. www.littletobywalker.com Django Reinhardt Festival in Samois sur Seine, France. As founding member of the hot jazz string band, Hot Club Sandwich, Greg can be heard on all four of the band’s ROBIn BULLOCK (See bio in Celtic Week, page 13) 30

TIm THOmPSOn “Sushi-Yucky” and “Would You Like to Play the Guitar?” His honors include several Tim Th ompson is a Nashville-based session player and sing- Minnesota Music Awards, the 1983 National Finger Picking Guitar Championship, er/songwriter. Th ough his fi ngerstyle virtuosity won him the and a Grammy for his contribution to Pink Guitar, a compilation of Henry Mancini title of International Champion in 2008, the demands of the guitar arrangements that was 2005’s Best Pop Instrumental. His original tunes have been studio world have taken his playing into areas such as jazz, recorded by such artists as Chet Atkins, Suzy Bogguss and Kenny Rogers, and he has country and rock. His music has been featured in Casper’s also been a featured performer at many major music festivals including the Newport, Haunted Christmas and in the Flip Video Camera soft ware. Telluride, Philadelphia and Winfi eld Folk Festivals. He was also featured in the Robert Tim has been featured in both Fingerstyle Guitar magazine Altman/Garrision Keillor fi lm,A Prairie Home Companion. www.patdonohue.com and Taylor Guitar’s Wood & Steel magazine. In seminars throughout the country he enjoys sharing the techniques, concepts and musicianship that has placed him among the best players in the world. SCOTT AInSLIe Tim has appeared with such artists as Spyro Gyra, Tommy Emmanuel, Crystal Gayle, Scott Ainslie is a traditional acoustic blues singer, guitarist, Don Williams and Hwy 101. He has recorded ten CDs and two DVDs and tours with historian and songwriter with personal roots in the Civil Rights his duo ‘Tim and Myles Th ompson,’ which performed as featured artists at the 2013 era and a great aff ection for cross-cultural exchange. A musician Walnut Valley Festival. Th e duo is also a regular at the annual CAAS convention each all his life, Ainslie took up guitar at age 15 about fi ve weeks aft er July in Nashville and was recently featured on Th e Guitar Show with Andy Ellis. Myles hearing Virginia bluesman John Jackson play a couple of songs in is a burning nineteen-year-old fi ddle and mandolin player who will perform with Tim the middle of one of Mike Seeger’s concerts in Alexandria, VA in at this year’s event. www.timthompsonguitar.com 1967. A Phi Beta Kappa and honors graduate of Washington & Lee University, Ainslie also studied with elder musicians on both sides of the color line – in the old-time southern Appalachian fi ddle and banjo traditions, as well as with black GeRALd ROSS gospel and blues musicians. He transcribed the original recordings and published a book Gerald Ross’ earliest claim to fame is a television commercial on Delta Blues legend Robert Johnson, Robert Johnson/At Th e Crossroads (Hal Leonard, he made with a friend for Detroit’s Kazoozie Kazoos. Th e 1992), and has an instructional DVD on Johnson’s guitar work, Robert Johnson’s Guitar spot ran for two months during the Captain Kangaroo Techniques (Hal Leonard, 1997) and fi ve solo CDs to his name. Ainslie maintains an show. While his talent on kazoo may have kick-started his active recording, performing, and teaching schedule that carries him around the country, musical career, he also played bass in a high school rock to Canada, and to Europe. He has received numerous awards and grants for his work band, electric guitar with a Western swing band, acoustic documenting and presenting traditional music, including grants from the National guitar with a bluegrass band and fi nally graduating to Th e Endowment for the Arts and the Folklife Section of the North Carolina Arts Council. Lost World String Band where he played guitar, bottleneck www.cattailmusic.com National guitar and Cajun accordion. Th e band made several appearances on NPR’sA Prairie Home Companion. Today, Gerald is known more for his work with the ukulele and Hawaiian lap steel. He has recorded six solo CDs, and has performed with Bonnie PAT KIRTLeY Raitt, Arlo Guthrie, Doc Watson, Johnny Gimble and many others. He’s been featured Pat Kirtley is a US National Fingerstyle Champion and at the Ukulele Festival of Great Britain (headliner), Th e Puget Sound Guitar Workshop, National Th umbpicking champion who was named one Wine Country Uke Fest, Lone Star Uke Fest, Portland Ukefest, Sevilla (Spain) Uke Fest, of “Th e Next Generation: Hot New Acoustic Acts for Augusta Heritage Swing Week, Ashokan Western Swing Week and many other Roots the Millenium” by Acoustic Guitar magazine. Pat is also a music festivals. It’s no wonder Gerald Ross has been called an entire music-camp-and- respected educator, traveling thousands of miles each year festival in one. www.geraldross.com giving musician workshops as an international clinician. He is a veteran of festivals and summer music camps, having been a featured performer and instructor at major events STeVe BAUGHmAn across the country and abroad. As a class instructor, Pat is known for his patience, One of digitaldreamdoor.com’s Top 100 Acoustic Guitarists, encyclopedic knowledge of guitar, clear explanations of diffi cult ideas, and taking the Steve is a Rounder Records recording artist and a pioneering time to address the individual needs of each student one-on-one. Pat has produced Celtic and old-time fi ngerstyle guitarist and banjo player. Steve instructional videos for Guitar Workshop and books for Mel Bay, including a 2-volume produced and plays on the landmark Banjo Gathering double double-DVD instructional set called Pickin’ Like Chet – Vintage Chet Atkins Classics CD, which was recently described by Bluegrass Unlimited as “a from Guitar Workshop. Pat has released six albums which have become staples of the momentous undertaking and a ‘must’ addition to any serious acoustic guitar world, and he appears on Narada Records’ quarter-million-selling CD collection of old-time music.” He is the author of fi ve guitar project Guitar Fingerstyle, as well as Masters of Acoustic Guitar and Guitar Fingerstyle 2. books by Mel Bay Publications and a DVD on clawhammer technique called Th e Power His music is also featured on NPR’s Morning Edition, All Th ings Considered, Lifetime’s of Claw. Steve lives on a boat in San Francisco Bay. His most recent project is a DVD Th e Wire, and is heard 24/7 on Pandora Radio. called Zen Banjo., produced with Rev. Heng Sure, Director of the Berkeley Buddhist Monastery, with whom Steve will co-teach a meditation class. www.celticguitar.com ed dOdSOn Ed is the lead guitarist and singer for Wood & Steel, a bluegrass PAT dOnOHUe band based in the Piedmont region of North Carolina. Bluegrass Pat Donohue has earned prominent recognition for his mastery Unlimited called their 2007 release, Poor Boy, “a masterpiece of acoustic fi ngerstyle guitar, which he exhibits weekly as the of hard-driving bluegrass.” Tony Rice calls their music, “Blue- guitarist for the Guy’s All-Star Shoe Band on Garrison Keillor’s grass, in one of its most pure, unfi ltered forms; played by good radio program, A Prairie Home Companion. Chet Atkins called musicians.” Wood & Steel’s music was featured nationally in him “one of the greatest fi ngerpickers in the world today” and Home & Garden Television’s 2002 special, Barns Revisited, Leo Kottke has called his playing “haunting.” Although he con- and Ed has recorded two albums with mandolin player/builder Skip Kelley, including siders himself fi rst and foremost a folk guitarist, Pat manages to blend jazz and blues their 2010 release, Hopped Th at Train and… Gone. Ed is an accomplished songwriter, with folk, and the mix is seamless. Over the years he has captivated audiences with his and a powerful rhythm and lead player with a deep abiding love of traditional music. original compositions, dazzling instrumentals and humorous song parodies, including www.woodandsteelband.com 31

RAndY HUGHeS Randy Hughes has earned a reputation throughout the maintenance tips. He is also an exceptional guitarist and taught fi ngerstyle jazz at southeast as the kind of instrument repairman to whom the Gathering for two years. Randy will be here aft er lunch several days during the you could entrust your priceless vintage guitar without a week to examine and evaluate the playing condition of participants’ instruments. second thought. A superb luthier with a thriving repair busi- www.randyhughesguitars.com ness, Randy fi rst came to Guitar Week in 2001 to inspect and adjust students’ instruments and share his vast store of

lasses (Unless otherwise indicated, all classes have a limit of 15)

APPALACHIAN FINGERSTYLE DANDELIONS: IN DADGAD (Al Petteway) COMPOSING & PERFORMING (Muriel Anderson) DADGAD tuning is perfect for Appalachian music due, in part, to its Th is intermediate/advanced class will be a full exploration of the composing, similarity to “Mountain Modal” or “Sawmill” tuning on the banjo. It’s also performing and expressive process of a selected number of tunes. perfect for the kind of “bluesy” playing made popular by North Carolina’s own Doc Watson and Etta Baker. Intermediate students will learn how THE COMPONENTS OF MUSIC (Muriel Anderson) to play some of the more popular traditional tunes fr om the Appalachian All levels welcome, No homework in this class. From jamming to discussion, region in a few diff erent keys and styles. Tab will be made available but you this is an open-ended class that explores the emotional and spiritual as well won’t be required to read it and we won’t be using it in class all that much. as the technical and physical components of music. Th is class will cover material that wasn’t covered the last time it was taught. Capos are an essential item to bring to class. INTRO TO FLATPICkING (Beppe Gambetta) Th is class for beginning & intermediate players is a journey through the CLAWHAMMER GUITAR (Steve Baughman) mechanisms of the traditional fl atpicking technique, a program dedicated Th is class is about all things Clawhammer for guitar. We will begin with the to fl atpicking beginners and to players of other techniques who like to get an basic pattern and spend some time internalizing it. Th en we will move on to idea of the style and understand its potential. Th e goal is to leave the student the various pyro-picking techniques that Steve demonstrates in his YouTube with a nice plan to learn melodies, accompaniment and back-up, arranging video lesson, “Wasilla Weed.” Th is class is for fairly advanced players and it ideas and basic concepts to approach improvisation, with a balanced plan is recommended that participants spend some time working on the YouTube to practice and a good vision of the artistic possibilities of the style. Beppe lesson before camp starts. Class is gonna be rigorous, and fun! will lead students fr om the beautiful styles of the fathers of the music and progress through diff erent technical aspects: basic exercises, scales and fi n- ORkNEY TUNING (Steve Baughman) ger gymnastics, continuing with accompaniment and backup through the Do you feel stuck in a musical rut? Does your guitar playing sound to you universe of the strumming patterns, the joy of learning fi ddle tunes, licks, clichéd, predictable and dull? Tune to Orkney (CGDGCD) and instantly the Carter Style, the embellishments, and crosspicking. experience a new lease on your musical life. In this total-immersion class we will learn chord shapes, riff s, textures, vocal accompaniment tools and maybe FLATPICkING GLOBALIZATION (Beppe Gambetta) an instrumental tune. Th ere will also be a chance for students to share their Th is intermediate class is a fascinating journey in the creative potentials explorations and discoveries with the class. Great for singer/songwriters as of the fl atpicking technique as viewed fr om the broad perspective of Beppe well as instrumentalists. Gambetta, who lives on the road 250 days out of the year and gets his main musical inspiration fr om his travelling life. While his style is deeply rooted MUSIC, MEDITATION & in American traditional fl atpicking, he has also done extensive research PERFORMANCE into the old musical forms of Europe as the basis for his compositions. In (Steve Baughman & Rev. Heng Sure) this workshop, Beppe will explain the most creative parts of his multifaceted In this class we will explore ways to reliably ground our guitar playing in repertoire, using both regular and open tunings, and moving fr om tradi- a sense of calm, joyful connection to our instrument, to our audience and tional techniques to the most intricate crosspicking forms, down-down-up to the moment. Rev. Heng Sure will teach a variety of contemplative tools techniques, Celtic and Mediterranean embellishments and rhythms, con- useful to musicians, including breathing and mindfulness techniques. trolled strummings, tremolos, and more. He will explore the mechanisms Participants will put these techniques to use as Steve Baughman leads the of adapting diff erent elements to open the door of creativity and generate class in a variety of rhythmic and musical exercises. Along with exploring new sounds in composing and arranging. the meditation aspect of this class, there will be hands-on-strings grooving as a group and exercises to improve our listening skills. We will also discuss FLATPICkING ARRANGED performance tools and encourage each student to perform for the class at least once daily (for 30 seconds!) FOR GROUPS (Beppe Gambetta) A popular activity for traditional acoustic music lovers comes fr om jam ses- 50 RIGHT-HAND & sion groups and gatherings and fr om groups of acoustic players that organize ensemble music for diff erent purposes and communities. Th is class for all 3 LEFT-HAND TECHNIqUES (Muriel Anderson) levels will examine the diff erent ways to organize and enjoy all of these group- Based on Muriel’s DVD, “50 Right-Hand Techniques You MUST Know,” playing situations. A good amount of the work will be focused on learning this course reaches into left -hand techniques as well. It can help you to fi nd diff erent fl atpicking ensemble arrangements for instrumentals and also more effi cient technique and introduces some lesser-known techniques to for songs. Th e topics will be harmony parts, rhythm patterns and grooves, express your music in a variety of ways. counterpoints, vamps for solos and more, and some time will be dedicated to learning how to organize and conduct a nice jam session. 32

BOSSA NOVA GUITAR (Pat Kirtley) The unique pop music of Brazil, including bossa nova, samba, and other instructor to arrange and record one or two songs. The emphasis will be on related styles, exploded on the worldwide music scene in the early ‘60s almost capturing a performance. No prior technical experience is necessary, though overnight. The sophisticated rhythms and chord structures were irresistible perspectives on engineering will be offered. Each session, though limited in to jazz musicians, and after a few years bossa nova had gone “mainstream,” time, will be tailored to the interests and abilities of the students. Please with its rhythms and changes assimilated into the melting pot of jazz stan- bring a song or two that you are ready to share; it can be especially fun to dards. Too bad – for it diluted an eloquent musical style which has little to record a tune with folks that you may only see once a year. do with jazz, and after a few more years, the unique identity of the genre was nearly lost. Now there is a rediscovery of this music by a new generation of ART OF RHYTHM GUITAR (Tim Thompson) performers who want to get back to the roots. In this class, intermediate to Playing rhythm guitar is an overlooked, subtle art. In this class for all levels, advanced players will learn the elements of the style from its foundations. we will examine song examples and identify what’s going on in the groove. It’s a perfect genre for solo guitar, because that’s where it was born. Pat will You will learn the basics of rhythm as it is applied to popular music and teach the essential rhythms, chords, and some great tunes from the world how to think like a drummer. We’ll explore strumming and fingerpicking of bossa nova and samba. techniques, how to dissect a measure and experiment with different accents, how to sing a groove, how changing a groove affects the way you sing a song, THUMBSTYLE GUITAR (Pat Kirtley) how Drop D tuning can create a bigger sound, and more. Thumbpicking champ Pat Kirtley comes from Kentucky, and so does the iconic guitar style made famous by Merle Travis, Chet Atkins, Mose Rager, and NASHVILLE NUMBER SYSTEM (Tim Thompson) other legendary players. In this class for intermediate players and advanced This class will cover the Nashville Number System: Why it is used, the origin players who would like to acquire a new style, students will learn right-hand of the system, how its application is different from the standard uses of a techniques, including the “boom chick” rhythm with a thumbpick, signature major scale, and how it can help you with songwriting, arranging your songs, licks, and some cool chord forms unique to this style. By the end of the week improvising, and navigating your instrument. Whether you are preparing we will have covered the basics and will be learning some great tunes from for a demo session or a live performance, or just documenting your tunes, it this amazing musical genre. Will you be able to reach the ultimate goal of is a very simple but powerful tool in communicating your musical ideas to ‘sounding like two guitar players at once?’ If your thumb already knows how other players and songwriters. We will look at prewritten charts as well as to keep independent rhythm, come to the class and find out. write a chart or two from scratch.

GETTING YOUR CELTIC GROOVE ON (Pat Kirtley) MUSIC THEORY FOR GUITAR (Tim Thompson) This class lays a foundation for intermediate fingerstyle players who want This class covers the nuts and bolts of basic music theory, but is illustrated to explore the Celtic genre. In this class you will learn how to “feel” and dif- on the neck of the guitar instead of on a music staff or tablature. Each ferentiate these rhythms, the “Celtic Grooves” – jig, reel, slip jig, hornpipe, student will receive handouts that include scale and chord diagrams that march, etc. by learning a great tune in each style. Understanding and re- cover the entire neck. Discussion will include basic triads, 4-note chords, membering these rhythms is something with which those new to Celtic music 9th, 11th, and 13th chords, and inversions. We will talk about the major have difficulty. In that sense, it is a beginner class, but the tunes themselves scale and how to build and name chords as well as how to apply them in a are not for beginners, so this class is offered as intermediate-to-advanced song. Completion of this class should give students the basic building blocks level. Each day we’ll explore a new tune with a different rhythm, with tab to develop even further on their own. provided and a special emphasis on learning the rhythms. The tunes we’ll learn are primarily in DADGAD tuning, and we will also learn the stylistic INTRO TO PERCUSSIVE TECHNIQUES touches which make these beautiful tunes “come alive.” You will ease into FOR GUITAR (Vicki Genfan) Celtic fingerstyle in a way that’s challenging and fun. An audio recording This intermediate class is for any player who would like to learn some of device is recommended. the percussive techniques used by Vicki and players like Michael Hedges, Don Ross, Kaki King, Jon Gomm, Andy McKee, and many others. We’ll SLIDE GUITAR 101 (David Jacobs-Strain) cover finding the drum sounds on your guitar, playing simple strum-drum In this hands-on class for intermediates, we’ll focus on creating a musical patterns, harmonics, thumb slapping, and growing your ‘rhythm chops’. tone, developing accurate intonation, and exploring right-hand techniques that can make the slide come alive. The slide can be an incredible tool for RHYTHM FOR GUITARISTS – emotional expression, and we’ll build our foundation on both mechanics and AND EVeRYONE ELSE! (Vicki Genfan) feel. We’ll dig into a few of the classic blues archetypes as the week progresses, This class is for all levels, no experience necessary, and guitars are not using a call and response approach to train our ears as well as our hands. required! Drawing from eastern and western traditions, we’ll sharpen our rhythmic awareness and expand our rhythmic vocabularies by combining BEYOND THE BLUES (David Jacobs-Strain) inner (meditative) work with outer (walking, chanting, moving) rhythm This intermediate/advanced slide class will look at the blues as a way of emot- exercises. Through group rhythm circles, we’ll explore pulsation, syncopation, ing, and dig deep into both right- and left-hand techniques and concepts. beat, off-beats, sub-division and more – all with a sense of spontaneity, flow Going beyond the basic alternate tunings, we’ll use a range of slide guitar (and Boom Whackers of course!) and FUN!! and percussive right-hand ideas to stretch out what the blues can be. In this class, we’ll be exploring more complete songs and covering more advanced PERCUSSIVE TECHNIQUES, open tunings, exercises than in the slide class. This class is very hands-on; expect to learn now what? (Vicki Genfan) new ideas and form solid habits by playing for much of each class. Some This class is for those intermediate/advanced players who have been working fingerpicking experience is necessary. with percussive techniques and open tunings, and now want to apply them to actual song composition and arranging. We will start with the techniques INTRO TO RECORDING (David Jacobs-Strain) explored in Vicki’s DVD, 3D Acoustic Guitar, including bass note slapping, The process of recording is a great way to refine your musical skills. These harmonic tapping and body percussion, and will move quickly into the realm recording and mentoring sessions are a chance to capture a bit of the magic of composition and arrangements using these techniques (and others that of Swannanoa. Each participant (or duo or trio) will work directly with the you may already be working with). Focus will be divided into two major 33 Guitar week, July 27-August 2, 2014 7:30- 8:30 Breakfast

music, Ukulele Appalachian Thumb- Beyond nashville Blue- Celtic Intro to Guitar Blues The Art of meditation & Stealin’ 9:00- From Fingerstyle in style the Blues number grass Finger- Basic Slide Orchestra Creativity Practice Performance From Chet Scratch dAdGAd Guitar (Jacobs- System Songbook style Technique 10:15 (Bennett) (Walker) (McGowan) (Baughman, (Donohue) (Ross) (Petteway) (Kirtley) Strain) (Thompson) (Dodson) (Bullock) (Ainslie) Heng Sure) 10:15- 10:45 Coffee/Tea Break

Intro to Intro to Intro to Flatpicking Composition & music of Gypsy dandelions: Intro to Beginning Fingerstyle Guitar for 10:45- Swing Celtic Percussive Arranged for Arranging for mississippi Jazz: Composing & Recording Blues & Jazz Backup Beginners Ukulele Flatpicking Techniques Groups Fingerstyle John Hurt Basics Performing (Jacobs- Beyond 12:00 (Donohue) (Dodson) (Ross) (Bullock) (Genfan) (Gambetta) (McGowan) (Ainslie) (Ruby) (Anderson) Strain) (Walker) 12:00- 1:00 Lunch 1:00- 2:15 Guitar maintenance & Repair, Luthier’s exhibit, Slow Jam (with Ed Dodson)

Slide Get Your Gypsy Flat- Chord/ Claw- deep Rhythm for Arranging for Robert Johnson music Theory Guitar Celtic Jazz: Components picking 2:15- melody for hammer Bluegrass Guitarists & Fingerstyle in Standard & for Guitar 101 Groove Rhythm of music Globaliza- 3:30 Solo Uke Guitar Guitar everyone else Guitar dropped-d (Thompson) (Jacobs- On Guitar (Anderson) tion (Ross) (Baughman) (Dodson) (Genfan) (Bennett) (Ainslie) Strain) (Kirtley) (Ruby) (Gambetta) Chord/ Art of Gypsy Bossa Percussive Solo music of 50 Right-Hand Intro to Orkney melody Guitar Beatles for 3:45- Rhythm Jazz: Lead nova Techniques: Fingerstyle Turlough & 3 Left-Hand Flatpicking Tuning for Blues moves Fingerstyle 5:00 Guitar Guitar Guitar now what? Jazz O’Carolan Techniques (Gambetta) (Baughman) & Ragtime (Donohue) (Bennett) (Thompson) (Ruby) (Kirtley) (Genfan) (McGowan) (Bullock) (Anderson) (Walker) 5:00- 6:30 Supper 7:30-? evening events (concerts, dances, jam sessions, etc.)

areas: solidifying your technique and using these techniques in arranging playing multiple parts, rhythm and phrasing, and ideas for improvisation. and composing original or cover tunes. Bring a song to work on – or an We’ll also take a look at a few extended fr etting techniques to add color to idea for a new composition. In order to get the most out of this class, plan arrangements of jazz standards and other songs. Th is class will be of interest on performing something and being open to feedback. to fi ngerstyle players who want to add some jazz elements to their arrange- ments, and also to jazz guitarists who primarily play with a pick, but would STEALIN’ FROM CHET (Pat Donohue) like to explore some fi ngerstyle techniques. In this class for intermediate to advanced players, we’ll study the irresistible style of the most infl uential guitar player of our time – Chet Atkins. Learn THE ART OF PRACTICE (Sean McGowan) about his tunes, alternating and rotating bass, the right-hand roll, and a Getting Ahead in the Shed. Many guitarists oft en feel fr ustrated when they multitude of licks fr om the master’s bag of tricks. enter the practice room (aff ectionately known as ‘the shed’) Some of us feel overwhelmed and daunted by seemingly endless material to work on, or FINGERSTYLE JAZZ BACkUP (Pat Donohue) we never seem to notice any progress, or maybe we’re not quite sure how to Advanced players will learn arranging and accompaniment techniques for approach learning new concepts, playing with more technical facility, or fi ngerstyle jazz guitar. We’ll study tunes, chord progressions, sequences, better tone; the list goes on and on. Th is class for all levels will explore and turnarounds and even some melodic soloing ideas that will spice up your off er ideas to make the most of your practice time – especially if that time fi ngerstyle jazz repertoire. Delve into the styles of Joe Pass, Lenny Breau, is limited! We will demystify some notions of how to improve and learn, Wes Montgomery and other greats and use them to enrich your own playing. discuss eff ective ways to practice fr om mental and physical perspectives, and also work through a variety of routines to take home and apply. Th is class is GUITAR MOVES (Pat Donohue) open to players of all styles and levels. A class for intermediate to advanced students featuring, common chord progressions, turnarounds, one-, two- and three-note scales, bass lines, COMPOSITION & ARRANGING and those cool chord and fi ll moves that are part of the pro guitarist’s bag FOR FINGERSTYLE GUITAR (Sean McGowan) of tricks, and great tools for arranging on guitar. Th is intermediate class will be based on material fr om a traditional theory & composition course, but adapted to suit contemporary fi ngerstyle guitarists SOLO FINGERSTYLE JAZZ GUITAR (Sean McGowan) who are looking for new concepts to apply to their writing and arranging. In this class, we’ll take a look at and work through the nuts and bolts of solo Some basic theory will be covered, but will be presented in a way that does fi ngerstyle jazz guitar. Topics of discussion and practice will include practical not inhibit an organic, creative approach to writing. Th e idea is to strive for chord voicings and substitutions, walking basslines, ‘piano-style’ concepts, a balance between intuition, spontaneity, structure, texture and form, and 34

the material will refl ect traditional approaches to line writing and harmony, have marked the music of everyone fr om Doc Watson to Beck; Bob Dylan to as well as ‘guitaristic’ approaches that incorporate alternate tunings, modal Bruce Cockburn and Jerry Garcia. In this class we’ll explore Hurt’s repertoire drones, and percussive elements. while focusing on his right- and left -hand techniques with a special eye to establishing the right/picking hand muscle patterns necessary to maintain BEGINNING BLUES & BEYOND (Toby Walker) a steady alternating bass while developing independence on the high strings Level: Beginning to Intermediate. Student needs to have knowledge of basic to play melodies. open chords. Want to learn to play the blues, alone or with others? Th is is the course for you. You’ll be playing the blues in diff erent keys, adding in INTRO TO BASIC SLIDE TECHNIqUE (Scott Ainslie) turnarounds, intros, endings and even improvising! I’ll also show you how Aft er teaching slide guitar classes for over twenty years, I have recently re- to sit in on any blues jam session and hold your own. You’ll be able to play versed the order in which I teach the skill sets necessary to control the slide along with a number of songs strictly by ear, and get a great feel for what is and have had terrifi c results getting entire rooms full of guitarists to make happening in the song. It’ll be a lot easier than you think! You’ll learn some the magnifi cent emotional sounds the slide can deliver. In this class we’ll look of the classics fr om Muddy Waters, Robert Johnson and others. at slide in standard tuning fi rst and encounter all the muting techniques necessary to a clean, controlled slide sound, then we’ll move to open tunings. CHORD MELODY When we’re done, you’ll understand and possess the keys to the kingdom of FOR BLUES & RAGTIME GUITARISTS (Toby Walker) slide guitar. Hand and guitar posture, controlled slide movement, limiting Level: Intermediate to Advanced. Student should know how to fi ngerpick string noise, getting a decent tone, and developing several types of vibrato a basic alternating bass while playing a melody on top. In this course you’ll will all be covered. Th e music of Muddy Waters, Robert Johnson, Mississippi learn the CAGED system. You’ll be able to creatively apply it in order to John Hurt as well as some of my arrangements will be featured, as neces- bring out the melody in a song. We’ll study how Reverend Gary Davis used sary or requested. Bring a slide that fi ts snuggly on your little fi nger. For this technique so you’ll have a great fr ame of reference. Th en I’ll show you notes on choosing a slide see: http://cattailmusic.com/ForGuitarPlayers/ how to apply this to many, many more songs. Th is is an exciting way to add choosing-a-slide.htm fl air and originality to your playing. You’ll fi nish this course with a new perspective and be excited to use your new skills whenever you play! ROBERT JOHNSON IN STANDARD & DROPPED-D TUNINGS (Scott Ainslie) BLUES CREATIVITY (Toby Walker) In this class, we’ll take a look at how to play and understand chords in Level: Intermediate to Advanced. Break out of the tyranny of tab for the several diff erent positions on the neck in the context of learning a couple of fi ngerpicking blues guitartist! Students should know how to fi ngerpick a Johnson’s songs. Of the 29 songs that Johnson recorded, thirteen (including basic alternating bass while playing a melody on top. It would also help if the Kind Hearted Woman, Me and the Devil, Th e Phonograph Blues) recycle student already has a few fi ngerpicking blues songs under their belt. Feeling the same A-chord forms, common throughout the solo blues repertoire. stuck in fi ngerpicking the blues, and want to be more creative? I’ll show you Johnson’s Dropped-D work follows on the recorded work of Lonnie John- how to add a variety of chord inversions, hot licks, bass runs, double stops son and Tommy Johnson (and he sometimes billed himself as “one of those and a whole bunch of exciting tricks to your current repertoire. You will Johnson boys”). Th is will be a concise fl y-over of solo blues playing strategies fi nd that you won’t be a slave to TAB anymore and that you’ve discovered in standard tuning. the secrets to creativity! You’ll learn how to expand on any song and in the process make it sound like YOUR own arrangement. BEATLES FOR FINGERSTYLE GUITAR (Stephen Bennett) We’ll learn as many solo arrangements of Beatles tunes as you can absorb. GYPSY JAZZ GUITAR BASICS (Greg Ruby) If there’s a Beatles song you’d particularly like an arrangement of, and Gypsy jazz is fun and accessible. Th is hands-on class is intended for either I don’t have one already, we’ll work it up together. For intermediate to a beginning guitar player or a player new to Gypsy jazz. We will use tunes advanced students. fr om the repertoire to learn the basics of chord voicings, rhythm guitar, pick technique, melodies and using licks to build a solo. Plan to be jamming over ARRANGING FOR your favorite tunes by the week’s end. FINGERSTYLE GUITAR (Stephen Bennett) We’ll painstakingly go through the process of creating an arrangement for GYPSY JAZZ: RHYTHM GUITAR (Greg Ruby) solo guitar. Students should have a couple of ideas for tunes in mind. For Th is workshop will expand your understanding of Gypsy jazz rhythm guitar intermediate to advanced students. by focusing on the essential elements that drive an ensemble. Using repertoire common to the genre, participants learn ‘la pompe’, ‘four to the bar’, Gypsy GUITAR ORCHESTRA (Stephen Bennett) bossa, and swing waltz rhythms. Launch into chord inversions to expand Th e class will create ensemble arrangements of a few mutually agreed upon your chordal vocabulary. pieces of music. If we are successful, we’ll play them for the rest of the camp. Open to all skill levels. GYPSY JAZZ: LEAD GUITAR (Greg Ruby) Th is workshop will focus on the key elements to eff ective lead guitar playing CELTIC FINGERSTYLE (Robin Bullock) in the Gypsy jazz realm. Using a variety of tunes, we will investigate melody Th is intermediate level class will explore the world of possibilities presented interpretation, improvising, and adding chordal elements into your solos. by traditional Irish, Scottish and Breton repertoire arranged for solo fi n- We will also look at ways to learn and add Gypsy jazz licks and ideas to gerstyle guitar. We’ll start with basic settings of relatively simple tunes and your vocabulary. proceed fr om there, using alternate tunings such as DADGAD, CGCGCD and “Werewolf” tuning (CGDGAD), which will not only make playing this MUSIC OF MISSISSIPPI JOHN HURT (Scott Ainslie) music easier, but open up magical sounds that you never knew your guitar Even before John Hurt was re-discovered in 1963 at the age of 71, his record- had. Along the way we’ll also discuss fi ngerstyle playing technique and how ings had infl uenced a small coterie of guitar afi cionados. His introduction to to get the fullest, richest tone with the minimum of physical eff ort. A good a wide audience at the height of the folk music revival allowed him to play time will be had by all. Audio recorders recommended. a pivotal role in establishing fundamental fi ngerpicking techniques that 35

MUSIC OF TURLOUGH O’CAROLAN (Robin Bullock) Th e blind harper Turlough O’Carolan (1670-1738) was the greatest of - guaranteed! By the end of the week you will be able to sing and accompany the Irish bards, whose 200-plus surviving melodies, a unique and beautiful yourself on basic folk, country and pop tunes. Any sized uke tuned GCEA blend of Celtic and Baroque infl uences, have become an integral part of the will work. No previous musical or stringed instrument experience required. traditional Irish repertoire – and are perfect for fi ngerstyle guitar. In this Please contact me with any questions: [email protected] intermediate-and-above class we’ll learn several of Carolan’s pieces and discuss the art of arranging them for guitar, in the process exploring how INTRO TO SWING UkULELE (Gerald Ross) altered tunings and “harp-style” melody playing can evoke the otherworldly Th e 1930s and 40s were a magical time in the history of popular music. sound of the ancient brass-strung Irish harp. Audio recorders recommended. Swing was mainstream. Th e ukulele was made for swing music! Any uke song can swing and sound jazzy. Its easy to make your instrumental ac- INTRO TO CELTIC FLATPICkING (Robin Bullock) companiment more interesting through chord substitutions, syncopation, Th is intermediate level class will focus on bringing traditional Irish, Scot- strumming patterns and single note lead work. Th e material covered in this tish and Breton tunes to life, fl atpicked on steel-string guitar. We’ll explore intermediate class is not exclusive to the jazz/swing world – it can be used technique, lift , ornamentation, and other facets of making the tunes sound for all styles of music. No music theory needed. no music reading required. authentic, and discuss how to pick up tunes by ear on the fl y, the fi ne art of No knuckle-busting chord shapes to learn. Just fun! A concert or tenor sized Celtic guitar accompaniment, and what makes Celtic fl atpicking diff erent uke tuned GCEA is recommended. Please contact me with any questions: fr om bluegrass and other fl atpicked guitar styles. It’ll be a journey into an [email protected] ancient, fascinating musical world in which the guitar is still a relative newcomer. Audio recorders recommended. CHORD/MELODY FOR SOLO UkULELE (Gerald Ross) Chord Melody is a solo approach to fr etted instrument playing where both the BLUEGRASS SONGBOOk (Ed Dodson) chord and melody line are played at the same time. Th is is a very popular style Th is class focuses on how to play powerful bluegrass rhythm guitar. We will in the guitar world where many virtuoso players exist – look no further than work on ‘alternating bass’ styles of playing as well as using bass runs and the Swannanoa faculty for excellent examples. Can this solo style of playing other motion within the chords to accent your vocals or the instrumentalists be achieved on the tiny ukulele with its four strings and very short scale? Yes you’re playing with. In addition to these basic building-block techniques, we it can! Have no fear – this class should actually be titled “Four strings are will learn one bluegrass song each day (all new for 2014). Lyrics will also plenty enough!” Th is fi ngerstyle technique will use chord substitutions and be provided, so you can learn the words and add these songs to your jam single-note lines to craft complete, stand-alone arrangements. Songs fr om sessions at home. Th e class will present songs that allow you to see the rhythm the Swing Era will be used as tools to learn this very rewarding technique. patterns conducive to most of the fi rst position chord shapes. We will also We’ll start with easy melodies and progress as the week goes on. A concert discuss how to use a capo to get the song in a key to fi t your voice. All levels or tenor sized uke tuned GCEA is recommended. Some basic right-hand of participants are welcome. Familiarity with guitar chords and knowledge fi ngerpicking skills under your belt will speed you along as well. No music of guitar tablature is helpful, but not required. Students are encouraged to theory needed. no music reading required. No knuckle-busting chord shapes bring audio recorders to class and also encouraged to participate in the Slow to learn. Please contact me with any questions: [email protected] Jam that Ed leads every aft ernoon, following lunch, as a way to reinforce the techniques learned in class as well as learn additional songs/tunes.

DEEP BLUEGRASS GUITAR (Ed Dodson) Th is course (as the name implies) is for the intermediate to advanced player who really wants to take it to the next level. During the week, we will cover a variety of techniques, including fl atpicking leads and playing creative Special Events accompaniment behind singers and pickers, using the concept of playing licks around chord shapes, and building eff ective solos for bluegrass songs. Note: Th ere is no advance registration necessary for the following events. Th is year, we will emphasize picking-out the basic melody of a song, then analyzing where the melody fi ts within the shapes of the accompanying GUITAR MAINTENANCE & REPAIR (Randy Hughes) chord progression. We will then look for spaces within the melody line where Come have your instrument checked out and pick up a few ‘care & feeding’ tips. one could insert some hot licks to create an interesting solo. Th is class will build upon the techniques covered in previous years and as presented in my LUTHIERS EXHIBIT instructional book, Deep Bluegrass Guitar. Th roughout the week we will have three of the fi nest luthiers in America on hand displaying some of their instruments: Gerald Sheppard, www.shep- GUITAR FOR BEGINNERS (Ed Dodson) pardguitars.com, David Berkowitz, www.berkowitzguitars.com, and John Th is class will cover the very basics of playing and enjoying guitar. Topics Slobod, www.circaguitars.com, as well as a display of some of the amazing covered will include: tuning your guitar, basic chord shapes and patterns, inventory fr om Dream Guitars,www.dreamguitars.com , an award-winning basic rhythm patterns, simple right-hand technique (both fl atpick and local shop specializing in the world’s fi nest high-end instruments. fi ngerpick), care and feeding of your guitar, and practice tips. By the end of the week, we will work in a tune or two for you to work on back at home. SLOW JAMS (Ed Dodson) Knowledge of guitar tablature is helpful, but not required. Students are Each day, aft er lunch, Ed will lead jam sessions of common tunes at a tempo encouraged to bring audio recorders to class. slow enough for folks to learn the tunes as they play. UkULELE FROM SCRATCH (Gerald Ross) DIS-ORIENTATION DINNER Th e ukulele is experiencing a world-wide resurgence in popularity. Why? On Friday, come experience Happy Hour and a special fi nal dinner to end Because it’s the one of the easiest fr etted instruments to learn. Everybody Guitar Week. sounds good on it very quickly. It’s perfect for accompanying vocals. It’s easy to travel with and simply... very cool! We will start with basic chords and strumming patterns. You will be playing a song by the close of the fi rst class 36

ontemporary Folk eek uly ugust  Contemporary Folk Week celebrates this 23rd Gathering with another group of great artist/instructors off ering a wide variety of classes designed to put music back where it belongs – in your hands. Whether you’re trying out material at a local ‘open mike’, a performer with some experience, a working musician looking for some help in reaching your next goal, or someone who would simply like to feel more confi dent pulling your guitar out at a gathering, we’re here to help, and you’ll have more fun and inspiration than you can imagine in the process. Our top-notch staff of experienced professionals, knowledgeable in the various aspects of both the art and business of the contemporary folk world can help you achieve your goals. In addition, our limited enrollment and small campus encourage community-building at its best – frequent and informal interaction between students and staff with whom you’ll have much to share, all doing our utmost to ensure that you go home energized and empowered to make the most of your music. We are pleased to welcome fi rst-time Gathering instructors Don Henry, Jim Lauderdale, Amy Malkoff , and Amy Speace, along with a number of your (and our) favorites from previous years. Choose from a wide variety of songwriting, performance, vocal and creativity classes which all stress supportive interaction among staff and students and individual attention to students’ needs. Each day’s schedule will address both artistic and commercial questions and concerns, while also providing time for sharing music on an informal basis, and social activities will include open mikes, concerts, song circles, special events, and spontaneous music-making. Contemporary Folk Week runs concurrently with Guitar Week using the same schedule, so it’s easy to take classes in either program. Please do note, however, that the open mikes are open only to those who have declared themselves to be Contemporary Folk Week students and are taking at least two classes in the Contemporary Folk Week program.

KATHY mATTeA JIm LAUdeRdALe Twice named Female Vocalist of the Year by the Jim Lauderdale is a Grammy-winning musician and Country Music Association, Kathy Mattea estab- one of the most respected artists working in the lished herself in the late 1980s and 1990s as an artist bluegrass, country and Americana music communities at ease both with country tradition and free-ranging today. One of Nashville’s A-list songwriters, his songs innovation, with a penchant for songcatching. In have been recorded by such artists as Patty Loveless, 1990, the West Virginia native won the fi rst of Shelby Lynne, Solomon Burke, Th e Dixie Chicks and her two Grammy Awards, earning the Best Female George Strait. His music has been featured recently Country Vocal Performance award for her moving on the ABC hit show, Nashville, and he had several “Where’ve You Been,” co-written by husband Jon cuts on the soundtrack of the successful fi lm,Pure Vezner. She is among the most successful women Country. Jim is also in high demand as a player, tour- in the genre’s history, yet her creative spirit has led ing with the likes of Elvis Costello, Lucinda Williams, her to explore musical territory extending well Mary Chapin Carpenter and Rhonda Vincent. Jim beyond its confi nes. Her recent recordings have frequently collaborates with legends such as Ralph intertwined Celtic, gospel and bluegrass infl uences Stanley, Elvis Costello, Grateful Dead lyricist Robert with the folk and acoustic music that have always served as her artistic anchor. Increas- Hunter and long time friend Buddy Miller as the duo, Buddy & Jim. Th e duo also host ingly in demand as a public speaker, Kathy regularly presents educational programs, the radio shows, Th e Buddy & Jim Show, with performances and in-depth interviews both separately and in conjunction with concert appearances, at colleges and civic with a wide variety of artists and friends, and Music City Roots, with concerts each week venues across the country. Th ese range from vocal and songwriting workshops for from the Loveless Barn in Nashville. Since winning “Artist of the Year” and “Song of the Berklee College of Music, North House Folk School, and the Swannanoa Gathering, Year” at the fi rst “Honors and Awards Show” held by the Americana Music Association to topical and motivational talks about the arts, climate change, and “Finding Your in 2002, he has also subsequently hosted the show each year. Jim is the subject of Th e Path,” to her multi-media presentation “My Coal Journey,” a discussion of music’s role King Of Broken Hearts, a new documentary by Australian fi lmmaker Jeremy Dylan, in social change, featuring live musical performances and a powerpoint slideshow. An which tells of Jim’s unconventional and prolifi c story from his North Carolina roots, early spokesperson and advocate for AIDS awareness and research, Kathy’s long history being immersed in the country music scenes in both New York City and Los Angeles, of activism has led her to bring public attention to several current environmental issues, to breaking through in Nashville as a songwriter. www.jimlauderdale.com including climate change and the controversial mining practice called “mountaintop removal” in her native Appalachia. www.mattea.com 37

LIVInGSTOn TAYLOR Livingston Taylor picked up his fi rst guitar at the age of and the folk superstar band “Cry, Cry, Cry” (Dar Williams, Richard Shindell, Lucy thirteen, beginning a forty-year career that has encom- Kaplansky). A consummate performer, Cliff engages the audience with funny but passed performance, songwriting and teaching. Born true stories tinged with irony, accompanied by an unparalleled guitar style. Cliff in Boston and raised in North Carolina, Livingston is has been an acclaimed instructor at many song writing camps, colleges, schools, and the fourth child in a very musical family that includes workshops, and is currently fulfi lling one of his dreams – writing music for the theater. Alex, James, Kate and Hugh. Livingston recorded his Never one to start small, he was asked to write all of the songs for, and perform in, first record at eighteen and has continued to create the Folger Shakespeare Library’s production of Th e Taming of the Shrew, in Wash- well-craft ed, introspective and original songs that have ington, DC. We’re pleased to welcome him back for his sixth Swannanoa Gathering. earned him listeners worldwide. From Top-40 hits “I www.cliff eberhardt.net Will Be in Love with You” and “I’ll Come Running,” to “I Can Dream of You” and “Boatman” both recorded by his brother James, Livingston’s creative output has continued unabated. He is equally JOn VeZneR at home with a range of musical genres and has toured with major artists such as Linda Grammy award-winning songwriter Jon Vezner is a Ronstadt, Jimmy Buff ett and Jethro Tull. A natural performer, his shows are peppered tunesmith of rare sensitivity and dry wit. With a degree with personal stories, anecdotes and ineff able warmth and a depth of musical knowledge in music theory and education, in 1983, he made his that allows him to slip easily from folk to classic Gershwin or something from the best fi rst trip to Nashville to attend the Nashville Songwrit- of Broadway. As a full professor at Berklee College of Music since 1989, Livingston’s ers Association (NSAI) spring symposium, where he Stage Performance classes are some of the most popular at the College, and provided soon developed a relationship with music publishing him with the material for his book, Stage Performance. Livingston is at work on a new company, Wrensong Music. He moved to Nashville in album expected to be released in the spring of 2014. www.livtaylor.com January of 1986, and within that fi rst year he had songs recorded by Reba McEntire and Ronnie Milsap, followed by Lorrie Morgan’s fi rst single in 1987, “Train Wreck dOn HenRY of Emotion,” which he co-wrote with Alan Rhody. In Grammy-winner Don Henry has written songs recorded 1989, Vezner co-wrote “Where’ve You Been” with fel- by legends Ray Charles, Patti Page, Conway Twitty, Gene low singer/songwriter Don Henry, recorded by Jon’s Watson, and B.J. Th omas, as well as by young hit makers wife, Kathy Mattea, a true story of Vezner’s grandparents that earned him “Song of the Blake Shelton, Lonestar, and Miranda Lambert. Don’s Year” honors with both the Country Music Association (CMA) and the Academy of played with performers as diverse as Joey Ramone at Country Music (ACM) for 1990. Th e song was honored with a Grammy Award for New York’s famous Bottom Line and Keith Urban at “Best Country Song” and the Nashville Songwriters Association “Song of the Year.” Nashville’s legendary Bluebird Cafe. Th e wit and wisdom Vezner was subsequently named “Songwriter of the Year” by the NSAI. Jon’s songs of Don’s songs are widely renowned, from campfi re favor- have been recorded by a varied list of artists such as Martina McBride, Janis Ian, John ites, the hilarious “B.F.D.” and biker lullaby, “Harley,” to Mellencamp, Nancy Griffi th, Faith Hill, Clay Walker, Diamond Rio and Steve Wariner. the wonderfully poignant tribute to Martin Luther King, Vezner also has quite a list of production credits, including projects for Danny O’Keefe, “Beautiful Fool.” Kathy Mattea’s version of the Grammy Award winning “Where’ve Victoria Shaw, singing legend Patti Page and Jeff Gilkinson. Jon and long-time friend You Been,” also won Don and co-writer Jon Vezner, Song of the Year honors from the Don Henry have recently reunited to create a new CD project as the “Don Juans.” In ACM, the CMA, and the Nashville Songwriters Association International, the fi rst the last two years, Jon received Distinguished Alumni awards from both North Hen- song in country music history to be awarded all four honors in the same year! Miranda nepin Community College and Southwest Minnesota State University. Jon also leads Lambert had a big hit in 2013 with Don and Phillip Coleman’s song, “All Kinds Of songwriting workshops all across the country. www.jonvezner.com Kinds,” with Don singing background vocals. Don tours extensively as a solo performer, and he’s also a member of Th e Waymores with Tom Kimmel and Sally Barris, as well as performing in duos with Sally, Craig Carothers, and Jon Vezner. www.donhenry.com AmY SPeACe Although Amy began her creative career in the the- ater, acting with Th e National Shakepeare Company CLIFF eBeRHARdT and various other classical repertory theaters, she long Red House recording artist Cliff Eberhardt knew ago left behind the stage to pursue music full time. by age seven that he was going to be a singer and Cutting her teeth playing regular gigs at Th e Living songwriter. As a child, Cliff taught himself to play Room and Th e Bitter End in NYC, she was discov- guitar, piano, bass and drums. In his teens, Eber- ered by legend Judy Collins in 2005 and signed to hardt was fortunate enough to live close to the Main Collins’ imprint, Wildfl ower Records, releasing two Point (one of the best folk clubs on the East Coast), critically-acclaimed albums, Songs For Bright Street where he received an early and impressive tutorial in (2006) and Th e Killer In Me (2009). Judy Collins herself recorded Amy’s song, “Th e acoustic music from such artists as James Taylor, Joni Weight of the World,” calling it “one of the best political folk songs I’ve ever heard.” Mitchell, Bruce Springsteen, Howlin’ Wolf, Muddy NYC’s top AAA station, WFUV, named that song #4 in DJ John Platt’s Top 10 Songs Waters, Bonnie Raitt, and Mississippi John Hurt. A driving force of the Greenwich of the Decade. Amy has also been a songwriting and performance teacher at Th e Rocky Village New Folk movement and well-known among his peers, Cliff ’s songs have Mountain Folks Festival Song School, Th e Kerrville Folk Festival Song Camp, Th e Sis- been covered by the likes of Richie Havens, Buff y St. Marie, Erasure, Lucy Kaplansky ters Americana Song Academy and has been the host of American Songwriter’s online 38

songwriting critiques feature. She is a former actress with Th e National Shakespeare Records. Th e former artist-in-residence at New York’s Omega Institute has also been a Conservatory and was the Artistic Director of Five Points Th eater Company in NYC, songwriting judge at Kerrville, Napa Valley, Tumbleweed, Eventide Arts, and the South working as a director/actress/playwright in the lower east side fringe theater scene in Florida Folk Festivals. He’s taught singing, songwriting, and performance at the Augusta the late 90’s. www.amyspeace.com Heritage workshops, Common Ground on the Hill, the Woods Dance & Music Camp, WUMB’s Summer Acoustic Music Week, Moab Folk Camp, Rowe Center, Pendle Hill, Puget Sound Guitar Workshop, Lamb’s Retreat, the National Wellness Institute, and eLLIS for many other songwriting groups and associations around the country. David is also If you look up the defi nition of “wholehearted,” you Director of the Cape Cod Songwriters Retreat and host of the Cape’s “Full Moon Open just might fi nd a photo of Ellis. An award-winning Mic” which for the past 8 years has provided a forum for musicians to connect and be songwriter and performer, she has a way of leaving audi- heard while at the same time collecting donations for local non-profi ts and neighbors ences better than she fi nds them, with soft ened edges & in need. www.davidrothmusic.com opened hearts. Audiences at Falcon Ridge Folk Festival, Sisters Folk Festival, and Moab Folk Festival have all voted her the “Most Wanted to Return” when she fi rst RAY CHeSnA performed on their stages. A Texan at heart, Ellis grew An accomplished guitarist and songwriter, Ray is fluent up outside of Houston until her family relocated to in a wide range of styles including western swing, folk, Minnesota at age 16. She quickly joined a rock band, blues, country and bluegrass, and has been a long-time and then started her own record label while in college. Since then, she has recorded fixture at Contemporary Folk Week, as the sideman of and self-released eight recordings including the recent live CD, Wherever You Are. She choice for open mikes and concerts. A private music has been a repeat guest on A Prairie Home Companion, and her song “Red Light” was teacher since 1971, Ray has also been on staff at the Au- featured in the major motion picture, Th e Roommate. Ellis’ latest studio release, Right gusta Heritage Center in Elkins, WV, the Guitar Intensive On Time has won her several songwriting honors. She has been a resident instructor at at Bar Harbor, ME, Club Passim in Cambridge, MA, and has led workshops for the Rocky Mountain Song School for the past seven years, and twice has been a guest the South East Bluegrass Association in Atlanta, GA. He continues to teach pri- instructor at the Sisters Americana Songwriting Academy. Th is is Ellis’ second Gather- vately at his home studio in Asheville, NC, where he also maintains a guitar repair ing www.ellis-music.com business. Ray records for Echo Lake Records and is the author of Guitar Tools, a guitar theory manual, featuring his unique method of understanding the guitar. AmY mALKOFF www.raychesna.com Amy Malkoff is a singer/songwriter and founding member of the groups All About Buford and Deadline Poet, and she SIOBHÁn QUInn has appeared on stage and in the studio with such luminar- A profoundly versatile vocalist and teacher, Siobhán writes ies as Wayne Brady, Jonathan Brooke, Th e Persuasions, Ellis and performs songs in folk, blues and adult contemporary Paul, Vance Gilbert, GrooveLily, Patty Griffin, and Dar pop styles. She is known as a dynamic singer of Chicago & Williams. She has a degree in music from Kenyon College, New Orleans style electric blues and has performed many with music studies at Youngstown State University and other styles from jazz and big band to r&b and rock; early master’s-level coursework at the New England Conservatory song to renaissance music, and medieval madrigals in fi ve of Music. She is a frequent clinician/teacher and a cappella competition judge (oft en languages. Truly one of the most popular vocal instructors for Varsity Vocals, the organization on which the movie Pitch Perfect was based). Her around, she tours internationally, and is accompanied at music has appeared on both the Rounder Records and Hear Music/Starbucks labels. Swannanoa by her music partner and husband, songwriter Michael Bowers. Her careful www.amymalkoff music.com attention to each individual is renowned, and students oft en return to her workshops, learning new tools each year. She has taught at such programs as WUMB Summer Acoustic Music Week, Kerrville Folk Festival, Rocky Mountain Folks Festival Song dAVId ROTH School, NERFA, Great American Masters Music Industry Workshop, and coached voice Contemporary Folk Week Coordinator David Roth is a at the Summersongs & Wintersongs songwriting retreats. When at home in Alexandria, singer, songwriter, recording artist, and enthusiastic instruc- VA, Siobhán teaches individuals, and coaches vocal performance for recordings. She tor who has taken his songs, experience, and expertise to a consistently updates her own credentials through such programs as the international wide variety of venues in this and other countries full-time British Voice Association Conference master classes in performance/otolaryngology, and over the last twenty-six years. His work has found it’s way to CCM at Shenandoah Conservatory. Awarded a WAMMIE for Best Traditional Folk Carnegie Hall, the United Nations, several Chicken Soup for Vocalist, Siobhán has also been a top-fi ve songwriting fi nalist in the prestigious Boston the Soul books, the Kennedy Center, Peter, Paul, & Mary and Folk Festival Songwriting and (with Michael Bowers) Kerrville New Folk Competitions Kingston Trio concerts, the Kerrville and Falcon Ridge Folk Festivals (top honors at both and Emerging Artist at Falcon Ridge Folk Festival. www.dreamersloversandoutlaws.com “Emerging Artist” competitions), NASA’s Goddard Space Center (his song “Rocket Science” fl ew on the space shuttle Atlantis in 2009), theRise Up Singing and Rise Again (sequel) songbooks, and twelve CDs on the Wind River and Stockfi sch (Germany) la- bels. Winner of four Positive Music Awards (celebrating the best in empowering original music), David has also been on many of Christine Lavin’s seminal Rounder Records compilations, and now on her Just One Angel (new holiday songs) CD from Yellowtail 39

Contemporary Folk week, July 27-August 2, 2014 7:30- 8:30 Breakfast Guitar Tools: exploring Your Songwriting 101 Your Best Voice Intentional Performance 9:00- 10:15 String Theory A Songwriting A (Roth) (Malkoff) (Ellis) (Chesna) (Lauderdale)

10:15- 10:45 Coffee/Tea Break Sing what You mean, Guitar Tools: exploring Your Harmony: Your Song Critiques Vocal Clinic 10:45- 12:00 mean what You Sing String Theory B Songwriting B new Best Friend (Vezner) (Quinn) (Speace) (Chesna) (Lauderdale) (Malkoff) 12:00- 1:00 Lunch 1:00- 2:15 Free Time Stage Fright, Stage The muse Loves to Song editing & It’s All About Finding Your Path Co-writing 2:15- 3:30 Strength A See You at work Arranging the Song (Mattea) (Vezner) (Taylor) (Henry) (Eberhardt) (Quinn)

Stage Fright, Stage Vocal don’t drop the Ball, what writer’s Block? Time & Tools writing melodies 3:45- 5:00 Strength B master Class Tear down the wall Let’s Get Unstuck (Ellis) (Eberhardt) (Taylor) (Mattea) (Henry) (Speace) 5:00- 6:30 Supper 7:30- ? evening events (open mikes, concerts, dances, jam sessions, etc.)

lasses (Unless otherwise indicated, all classes have a limit of 15)

Songriting

SONG EDITING & ARRANGING (Cliff Eberhardt) In this class we will explore how to arrange songs to put them in a concise to insert diff erent chords and use diff erent intervals of your existing songs form ready for performance and or recording. As a group, we will look at to improve your melodies, how to make the songs have more memorable every part of the song fr om lyrics to melody, including solos, intros and melodies, and how to insert intros, bridges and endings. By the end of the endings. We will discuss production values, what instruments we hear that week we will try to reconstruct your work into a complete beautiful song. will enhance the overall sound of the song. We will work on the arrangement Usually during the week most students start to get it and add their own sug- of the instrument that you play with your song. Please bring at least two gestions. Th at’s when I get to take cat naps. Th e point is, I’ve never taught printed copies of your lyrics and bring a song that you are willing to work this class where the students didn’t have a great time. on – not one that has already been recorded. SONGWRITING 101 (David Roth) WRITING MELODIES (Cliff Eberhardt) Let’s roll up our sleeves together and start at the beginning. Th is all-levels We’ll start with a brief history of melodic writing and then show how to class is geared especially towards those who are new to the craft but also incorporate a melodic vocabulary into your songs, including what to look to those who simply might like to strip down their own process a bit by for to get out of melodic repetition. Bring in songs that are incomplete or looking at songwriting through a diff erent lens. We’ll write every day (I’m songs that you feel need improvement, not songs that you are married to or lyric-driven – I usually start with words and see where they lead me), have already recorded. You’ll be asked to start with just a verse and a chorus brainstorm compelling individual themes worth writing about, examine to work on, no complete songs until later in the week. We’ll talk about how the diff erent elements that make a song, and engage in lively dialogue/ 40

WHAT WRITER’S BLOCK? LET’S GET UNSTUCK (Amy Speace) exercises/demonstrations on topics like sculpting inspiration, developing When I feel I’ve got writer’s block or I’m in that place where I feel like I’ve universal truths from personal stories, the marriage of lyrics and music, either got no new ideas or I’m just plain “stuck” – either stuck plagarizing tackling tough subject matter, and being honest. We’ll also have fun in a my last 3 songs, stuck in a groove rut, a lyric or a musical rut, that’s when safe, playful, supportive, permissive, and powerful environment and with it’s time for the Amusement Park of Songwriting. In this class, we’ll be any luck (luck: the intersection of opportunity and persistence), and as time writing songs from Games to Get You Unstuck. Some of the fun we’ll have: allows, we’ll get to hear some of these new creations during the week. We’ll the 20 minute song (yes, you can write a fully-formed song in 20 minutes, I also use one session to do a group co-write of a custom-made song for a sick know you can, and you’d be surprised at how deep you go when you’re not child and his/her family for the Songs of Love Foundation in New York... thinking so hard about it); The 20 Word Limit Song; the ‘everyone gets the very meaningful and powerful. same hook line’ song; Songs from Improvisation; partnering and swapping stories for songs, etc. We’ll also talk about techniques for writing exercises to THE MUSE LOVES TO SEE YOU AT WORK (Don Henry) try when you’re already writing a song and are stuck, how to access deeper It’s a beautiful moment when a wave of inspiration hits you. However, if writing and story to bring to that lyric, and we’ll look at your own songs you’re like most of us, it can be a long time between those moments. Fortu- where you may be stuck and try to unstick them nately, the Muse is kind to those who are busy at work! Inspiration never travels without the companion of craftsmanship, and we’re going to use the whole toolbox: hard and soft rhymes, cadences and chord changes, cut and Vocal paste, puns and juxtapositions. In the process we’ll conquer three challenges during the week: assignment writing, writing lyrics without an instrument, VOCAL MASTER CLASS (Kathy Mattea) and putting music to a co-writer’s lyrics. Come explore how creativity can In this class we’ll do individual singing in front of the group, and play blossom from boundaries. with techniques including phrasing, presence in the lyric, technical tips for breathing, relaxing, and getting out of our own way. This class is for anyone DONT DROP THE BALL, who wants to inhabit their own songs more comfortably. We work to create TEAR DOWN THE WALL (Don Henry) a safe environment to explore and take risks. Really fun! Tired of writing yourself into a corner? How often have you found yourself up against the wall of writer’s block? Have no fear, there’s always a way through, YOUR BEST VOICE (Amy Malkoff ) and we’re gonna find it together. In the process, you’ll acquire some tools Practical singing techniques for singer/songwriters. The voice is the origi- that can help you overcome future writer’s block. Bring a problem song, 16 nal instrument, but it’s also the only instrument that is wholly unique to copies of the lyrics, and together we’ll tame that sucker! each person, and that means that each voice needs to be taken care of and used in an individualized way. We’ll talk about breathing and posture EXPLORING YOUR for instrumentalists (who sing and play), developing good mic technique SONGWRITING A & B (Jim Lauderdale) (making the mic work for you), practical and easy warmups and exercises, (Note: This class is offered twice. Each section covers the same material) and maintaining good vocal health. We’ll also work on phrasing, breathing We will examine the songwriting process and look for ways to improve it to and singing in ways that best convey the emotion and intent of your song. consistently produce better songs. We will explore such topics as writing alone, co-writing, performing, writing for other artists, the business of music, and HARMONY: YOUR NEW BEST FRIEND (Amy Malkoff ) helpful hints for the writer. The class will have a certain flexibility built-in, Harmony is often the red-headed stepchild of folk, simply tacked on, but as a so that topics of interest to the class and individual student needs can be redhead myself, it’s my goal to make harmony as important a component of explored in some detail. your music as any other! Stepping out of the linear, thirds-focused harmonic lines we’re used to, we’ll create harmonies that enrich and add dimension SONG CRITIQUES (Jon Vezner) to the song, and countermelodies that weave throughout the melody. We’ll Songs chosen for critique each day will be drawn from a “hat.” Attendees learn how to create out-of-the-box harmonies that serve the song and the will be encouraged to attend all sessions for it will be beneficial to be a part melody, and that includes knowing when to lay out. We’ll focus on learn- of the process whether your song has been chosen or not. Critiques will be ing to listen and follow your fellow musicians, and may try some a cappella very in-depth, and we’ll hope to cover two to three songs per 75 minute ses- stuff as a group. sion. We will address song form and structure, prosody, storyline, melody, arrangement and last but not least, commercial potential. IT’S ALL ABOUT THE SONG (Siobhán Quinn) This is intended as a next step for prior students of the Vocal Clinic class, but CO-WRITING (Jon Vezner) also available to those with a bit of vocal experience. We’ll spend the first The class will explore the benefits and advantages of co-writing, how to day on basics, getting everyone on the same page, then immediately focusing choose a co-writer, discussion of the co-writing process, and the division of on tools to capture your best performance in songs of your choice. There will copyright. Students will be paired up with someone to be their co-writer for be individual work/performance and interactive vocal warm-ups each day. the week in the first class session. Co-writers will then work on their songs Everyone will learn crucial vocal and performance skills for translating on their own time. Class time will be set aside each day to discuss progress, technical singing skills into excellent vocal performance of songs – whether problems etc., and the songs (complete or incomplete) will be performed humorous, sensitive, deep, dark songs, or the wailing blues. Siobhán may even during the last day of class. use video to record and show you exactly what’s happening when you sing. 41

VOCAL clinic (Siobhán Quinn) This class is for road-weary, occasional and even “never before” singers, connected performance. Looking at singing as a natural extension of speaking, especially guitarists! Everyone has a unique sound from the physical make- we’ll put our songs and the “singing of them” under a microscope, illuminat- up of their vocal cords/resonance chambers; learning vocal technique will ing the dramatic questions already written into the song and how to have help you claim your songs with your voice! Siobhán uses classical/modern a strong, connected performance without overacting. In the end, this will technique as a foundation for vocal flexibility while helping you to maintain reinforce that we are singing what we mean, meaning what we sing, and individual vocal personality. We’ll work individually to explore and enhance finding new ways to allow the natural voice to express the lyric and bump your voice and you will develop a personal basic regimen to maintain skills your performance (and your writing) up to a new level. Along the way, we you learn in the workshop. Siobhán is an encouraging teacher who will help will deal with all aspects of the performance, from intros and banter to basic you to bring out the best parts of your voice within each song you sing. Be stagecraft to overcoming stage fright. prepared to work on two songs – one you love to sing, and one you really want to sing. They do not have to be your own and a capella is just fine. We will cover 1) vocal/breath warm-ups leading up to advanced workouts, 2) Guitar & Creativity physiology of the voice, how to use each part – knowledge crucial to getting the most out of your instrument, including vocal health issues, 3) specific FINDING YOUR PATH (Kathy Mattea) issues and exercises for songwriters/guitarists, such as posture with instru- This will be a workshop about looking at where music fits in with your life. ment, lack of breath, singing flexibly within your range, positioning and It’s based loosely on my own story, which is used mainly as a catalyst for strengthening exercises to shake out the unsteady parts of your voice. We’ll discussing principles including: decision-making processes, understanding work toward songs in the second half of the week, and how to translate the your personal relationship with music, listening for your Inner Compass, emotional intention of a song effectively. defining “success”, seeking balance, and lots more spontaneous stuff that comes up during the week! The idea is to learn from each other and share support around our mutual ongoing relationship with music and the creative process. Performance TIME AND TOOLS OF A SONGWRITER (Ellis) STAGE FRIGHT, STAGE STRENGTH (AND Right-Brained Approaches To Time Management & The Creative Process. EVERYTHING IN BETWEEN) A & B (Livingston Taylor) Setting aside songwriting time has always been challenging for me amidst (Note: This class is offered twice each afternoon; once at 2:15, then a busy touring schedule, being a mom to a toddler, and doing all those mu- again at 3:45) Walking on a stage and facing an audience is an act of bold, sic business-y things on my to-do list. About two years ago I was officially courageous presumption. The notion that we have the right (and the need) diagnosed with ADD. This new understanding of my awesomely powerful to ask that our vision be seen and heard is a daunting request of strangers. creative right brain and not so powerful executive functioning helped to me No wonder people are terrified to go on stage. Let’s figure out why we want understand why traditional left-brained time management and organizing to do this, why it’s OK (even essential) to ask that our light be seen, and then skills haven’t worked for me. In this workshop I will bring inspiring ideas, DO this for one another. To allow ourselves to fall into the “mosh-pit” of an stories, as well as easy daily practices that will help you be more open and audience (a metaphor only, I won’t be teaching that technique), to accept creative. I will also be offering friendly tools for time management that are their verdict about us (good or bad) with the grace that this is our vision designed for us wandering creative minded songwriter types who want out and that we need them a great deal more than they need us is our goal. It is of the box! I have found that structure is freedom and I can’t wait to show wonderful to be fear-free on stage. you these tools.

INTENTIONAL PERFORMANCE (Ellis) GUITAR TOOLS: STRING THEORY Connect To Your Audience By Fully Embracing Who You Are. Every concert for GUITARists A & B (Ray Chesna) is different, but every audience wants the same thing: to feel moved and con- (Note: This class is offered twice; once in the morning, then repeated in nected to the music you are making! Magic happens naturally when there is the afternoon.)Ray ties it all together and breaks it all down. Be it your ease, joy, and a shared sense of a real connection between an audience and own personal style, your songwriting, blues, bluegrass, new age, Celtic, pop, a performer. It can happen in the unexpected imperfect moments and there jazz; the one thing that they all have in common is THEORY. This fun are practices you can use to strengthen your sense of balance and “play” in and involving course will explore melody (scales) and harmony (chords) in your performances. You are the only you in the whole wide world. So how understandable terms and with simple concepts. The insightful, practical do you allow yourself to be as full and bright as you can be and as the world instruction will enable the student to easily apply the concepts to the guitar. needs? In this class, we will examine how to identify and use your music This has been a popular course for several years now, and, of course, Ray has mission and we will explore how to prepare mentally and musically so you some new tricks up his sleeve. This year we will be spending more time on can fully ‘show up’ at every show! chords, chord progressions and deconstructing classic songs. Clear, helpful handouts will allow the student to bring this information home for continued SING WHAT YOU MEAN, study. Repeat offenders always welcome. MEAN WHAT YOU SING (Amy Speace) This is a comprehensive performance workshop. Looking at the song through the lens of performance, we illuminate where we disconnect with our own song and find ways into a more authentic, genuine and, most importantly, 42 Fiddle eek ugust 

Since the invention of the violin, the music of its unschooled alter-ego, the fi ddle, has excited people to dance, evoked the devil and the spiritual, echoed the human voice and heart. It is an instrument that has made its way into the core of many diff erent traditions and it speaks a language understood worldwide. Fiddle Week at the Swannanoa Gathering celebrates that universality with classes in traditional and contemporary styles ranging from Irish to Mexican, from Cajun to blues. Th e week also includes classes in guitar, focusing on accompaniment in various styles, and there are related off erings for the fi ddle’s bigger siblings, the cello and bass. Th e class schedule has been structured in such a way as to allow students to explore a rich variety of fi ddle styles each day. Each instructor teaches diff erent levels in their area of expertise, and students are asked to place themselves in the appropriate level. Most classes are taught at the intermediate or advanced level, but we continue to off er a few introductory classes for students who want to gain confi dence in learning and playing by ear, and for those who are newer to the instrument. Intermediate classes are also appropriate for advanced players who would like to explore a style that is new to them, or for experienced players who need to get more fl uent playing by ear. Th e advanced classes are designed to build on previous experience in the style. Th e Fiddle from Scratch class is designed to help brand-new fi ddlers get off to a good start, and Joe Craven’s Blues and Improvisation classes are open to all levels. During the last hour of the day, there will be a special class time for students of any skill level to form bands, along with students from Mando & Banjo Week. With the guidance of instructors, band members arrange and rehearse with the option of performing at the student showcase on Friday evening. Fiddle Week runs concurrently with Mando & Banjo Week, (see page 49 for details), and students may take classes in either program. Th is year’s Luthier’s Exhibit features several instrument builders including Northfi eld Mandolins and Jonathan Cooper, the highly respected Maine violinmaker, who will be building a violin during the week and will also have fi nished instruments on hand to sample. Lynn Dudenbostel will once again be on hand to off er repair services.

dAROL AnGeR One of the most infl uential fi ddlers alive, Darol Anger is an states, Europe and the Middle East and recorded more than twenty albums. Th e band innovative and popular clinician who works with teachers composed and recorded the sound track for the movie, Belizaire the Cajun, and the and students of all ages in school, university, camp and fes- title song for the romantic thriller, Th e Big Easy. Doucet has collaborated with Richard tival settings across the United States, evangelizing interest Th ompson, and the band has made several appearances on Garrison Keillor’s radio show in contemporary improvising and vernacular strings. As an A Prairie Home Companion, and at former President Jimmy Carter’s inaugural gala. Associate Professor at Berklee College Of Music, through Keith Richards asked Doucet to play on his solo release, Talk is Cheap, and in 1990, his online Fiddle School at ArtistWorks.com, and work Beausoleil celebrated Mardi Gras with the Grateful Dead for 17,000 fans at Oakland with the American String Teachers Association, the Turtle Island String Quartet, and Coliseum. In 2005, Doucet was awarded a National Heritage Fellowship from the his current performing group, Th e Republic of Strings, he brings almost 30 years of National Endowment for the Arts. experience to teaching and residencies in jazz, blues, fi ddle, chamber and orchestra settings. He has a passion for intergenerational education and performance as a way to bridge imaginary borders of age and culture. He envisions a great nation of string JOe CRAVen players, embodied by Th e Republic of Strings: a fl oating intergenerational orchestra Creativity educator, former museum curator, visual that plays music scooped from backyards, garages and kitchens in every continent. artist, actor/storyteller, a coast to coast music festival Darol is committed to promoting appreciation of musical diversity and the evolution emcee and recipient of the 2009 Folk Alliance Far-West of personal musical styles based on strong cultural roots, throughout the world. He has Performer of the Year, Joe has made music with many released a new recording of bluegrassy standards and originals on Adventure Music, folks ranging from jazz violinist Stephane Grappelli to entitled E-and’a. www.darolanger.com Grateful Dead guitarist Jerry Garcia, and from Th e Per- suasions to Th e Horsefl ies. Always looking for the next expression and object to make music with, he is a musical mICHAeL dOUCeT madman with anything that has strings attached; violin, Michael Doucet and his band, Beausoleil, have been mandolin, tin can, bedpan, cookie tin, tenor guitar/banjo, mouth bow, canjoe, cuatro, the premier ambassadors of the Cajun sound for more berimbau, balalaika, boot ‘n lace and double-necked whatever. Joe has created music than three decades, off ering music that is usually and sound eff ects for commercials, soundtracks, computer games and contributions to melodic and harmonically interesting, in addition to several Grammy-nominated projects. He has presented at numerous schools, universi- its riveting rhythmic drive. He grew up on his father’s ties and the American String Teacher’s Association, is Co-Director of Th e Wintergrass farm about fi ve miles west of Lafayette, Louisiana, Youth Academy in Seattle and is the Executive Director of RiverTunes Roots Music & and by 1974, Doucet was playing in local hangouts, when a French promoter asked Creativity Camp in California. No matter who he’s connecting with; a community him and his band to come to France for two weeks to play at a folk festival. “It was workshop in Costa Rica, a university lecture demonstration in Washington, or on stage the turning point of my life,” he says, when he realized the correlations between old in front of thousands of school kids in Scotland, he’s at home and loving every minute. French songs from the Middle Ages and modern Cajun music. In 1975, he received ‘Everything Joe touches turns to music,’ says mandolinist David Grisman, with whom a grant from the National Endowment for the Arts to study the music styles of such Joe played for almost 17 years. www.joecraven.com living Cajun music legends as Dennis McGee. Most of his time has been spent with multiple Grammy-winners Beausoleil, and the group has toured throughout the 43

AndY STeIn Andy Stein calls himself “a musician with a checkered past” music circles worldwide. Committed to nurturing future generations of musicians, which is as good a way as any to describe an amazingly eclectic he is a passionate clinician and educator and regularly teaches at programs such as career that includes recording, performing, producing, com- Belmont Strings Crossings, International Music Academy of Pilsen, Mark O’Connor posing, and arranging music for radio, television, symphonies, Strings Conference, the Swannanoa Gathering, and schools and universities worldwide. Broadway and fi lm. He entered the popular music fi eld as a www.jeremykittel.com founding member of Commander Cody and his Lost Planet Airmen, where his distinctive style on violin and saxophone added a swing element to this beloved rock & roll band of the Anne LedeRmAn early 70s. A brief list of his credits includes work with Asleep at the Wheel, Emmylou Fiddler, singer, multi-instrumentalist (piano, tenor guitar, Harris, Bob Dylan, Dr. John, Willie Nelson, Aerosmith, Billy Joel, Madonna, Mariah mandolin), composer, songwriter and storyteller, Anne is Carey, Smashing Pumpkins, Dionne Warwick, Ray Charles, B. B. King, Eric Clapton, known for her explorations into Canadian and world tradi- Whitney Houston, Tony Bennett, Carole King, James Taylor and Michael Jackson. tions, especially the Métis and First Nations fi ddling of her Andy won a Grammy award for “Best Country Instrumental” in 1978, and he has home province, Manitoba. In 1986, she produced the fi rst recorded with Itzhak Perlman and Placido Domingo and composed for Joshua Bell, collection of music from this tradition on a 4-album set, Old Native and Métis Fiddling Nadja Salerno-Sonnenberg, and the symphonies of Dallas, Baltimore, Boston, New York, in Manitoba, and her storytelling play about the players she met, Spirit of the Narrows, Munich, London, and the National Symphony in Washington. In the jazz fi eld, he has has been performed in dozens of venues over the past 15 years. Anne performs as a solo been a featured soloist with Wynton Marsalis and the Lincoln Center Jazz Orchestra, artist and has been a member of bands Muddy York, Th e Flying Bulgar Klezmer Band, Paquito D’Rivera, Manhattan Transfer, Dick Hyman, Jon Hendricks, Eddie Daniels, Siykha, LOKA, Njacko Backo and Eh?!, among others. She has released four CDs of Turtle Island String Quartet, Vince Giordano’s Nighthawks, John & Bucky Pizzarelli her own and over 50 with other artists. Anne is also the founding Artistic Director of and many others. Since the 1980s, Stein has been known for his recreations of the early Worlds of Music Toronto and currently teaches in the World Music Centre of the Royal work of Joe Venuti, considered the fi rst jazz violinist of the 1920s, whose recordings Conservatory in Toronto. www.annelederman.com inspired the careers of Stephane Grappelli and many others. He has been featured on Late Night with David Letterman, Saturday Night Live, Great Performances, and for thirteen years performed in the ‘house band’ of NPR’s A Prairie Home Companion, where mICHAeL ISmeRIO he continues to be a frequent special guest. www.andysteinmusic.com. Michael Ismerio began playing old-time music in 1997 in Port- land, Oregon, a tiny music scene at the time that would evolve into one of the most active in the country. He was a member BRUCe mOLSKY of two prominent west coast stringbands, Th e Dickel Broth- One of the most respected old-time fi ddlers of his genera- ers, and Th e Government Issue Orchestra, and founder of the tion, Bruce Molsky plays southern roots and blues music Portland Old-Time Music Gathering. Since 2000, he has made on fi ddle, banjo, guitar, and song with a great depth of yearly pilgrimages to the southern Appalachian mountains to spirit. Known for his collaborations with musicians of other visit and learn from older fi ddlers such as Clyde Davenport, Joe cultures, his wide-angled approach to traditional folk music Th ompson, and Charlie Acuff . In 2010, he moved to Indiana to study with Brad Left - has infl uenced a generation of players and listeners. Bruce wich, a master fi ddler and teacher who greatly informed his teaching and led Michael to is a member of Andy Irvine & Dónal Lunny’s acclaimed develop a unique bowing-centric teaching style that is resonating with many new players. Mozaik, and he tours frequently with Aly Bain & Ale Möller. Michael has taught, performed, and called square dances all over the country including His band, Fiddlers 4, with Darol Anger & Michael Doucet four years at Th e Festival of American Fiddle Tunes, Port Townsend, Wa, Th e Nimble was a Grammy Nominee. He is also a faculty member at Berklee College of Music in Fingers Bluegrass and Old Time Workshop, Sorrento, BC, Th e Appalachian Stringband Boston, and frequent instructor at colleges and camps in the US and Europe. Bruce’s Festival, Cliff op, WV, and the Dare To Be Square dance callers gatherings. He has solo concerts and many CDs have become staples for fans of American and world music performed internationally in Mexico, Canada, Th e Netherlands, Ireland, and China. everywhere. www.brucemolsky.com www.michaelismerio.com

JeRemY KITTeL wOOdY PAUL Jeremy Kittel has earned a reputation as one of the most excep- Woody Paul, “King of the Cowboy Fiddlers,” is best known tional fi ddlers/violinists of his generation. With tremendous for his fiddle playing and tenor vocals with two-time musicality; a rare and deep mastery of styles as diverse as jazz, Grammy Award-winning Riders In Th e Sky. Prior to join- Scottish and Irish fi ddle, bluegrass, classical music, and more; a ing the Riders, he gained early experience in country & unique compositional voice, and an “exhilarating stage presence” western music by hanging out with the likes of Roy Acuff , (Strings magazine), Kittel inspires listeners and fans worldwide Sam McGee and others at the Grand Ole Opry. When through his solo work and collaborations. He performs with his not dazzling Riders fans with his fi ddle, he’s thrilling them own Jeremy Kittel Band, in intimate duo and trio formats, as a with intricate rope tricks and his extensive knowledge of soloist with orchestras and he recently completed a fi ve-year full time position with the theoretical plasma physics, a fi eld in which he has a Ph.D. Grammy-winning Turtle Island String Quartet. He has recorded and performed with from MIT. Really. And to top it all off , Woody was inducted musical giants Mark O’Connor, My Morning Jacket, Jars of Clay, Abigail Washburn, into the National Fiddler Hall of fame in the Spring of 2012! Camera Obscura, Bela Fleck, Laura Veirs, Aoife O’Donovan, Paquito D’Rivera, Stefon www.woodypaul.com Harris, and many more. His most recent solo recording, Chasing Sparks, features his original compositions with a stellar cast of musicians including special guests Edgar Meyer, Chris Th ile, and Mike Marshall, and has garnered rave reviews among acoustic 44

BARBARA LAmB KeVIn KeHRBeRG Barbara Lamb has spent the past 20 years living and working in As a bassist in both jazz and traditional music, Kevin Kehrberg Nashville, TN. A fi ddler, composer, songwriter, singer and perfor- has toured the United States, Canada, and Japan. In 2012, he mance artist, Barbara has performed and/or recorded with Asleep completed tours to Kyrgyzstan and Ecuador through the U.S. at the Wheel, Th e John Cowan Band, Th e Laura Love Band, State Department, performing American traditional music in Ranch Romance, Th e Sweethearts of the Rodeo, Lyle Lovett, concerts, collaborations, and workshops. He has performed Riders in the Sky, Peter Rowan, Trisha Yearwood, Tony Trischka, with Jean Ritchie, Curly Seckler, Lee Sexton, Art Stamper, even author Robert Fulghum. Although adept at many styles of Slide Hampton, and Roger Humphries, and his album credits fi ddling, she has taught bluegrass fi ddling from traditional to progressive since she was include recordings by the Kentucky Jazz Repertory Orchestra, David Long, Rayna Gel- in her teens. “Th e tricky part is knowing what to do when it’s not your time to play a lert, Chris Sharp, and the Red State Ramblers. He previously served as bass instructor solo.” says Barbara. Over the past two years she has traveled to Russia, China, Malaysia, in the Music and Jazz Studies programs at Transylvania University and Morehead State Vanuatu, Papua New Guinea, Sweden and Canada for the US State Dept. performing University. Kevin is also active as a rhythm guitarist. Currently, he is a member of the and giving workshops. www.barbaralamb.com music faculty at Warren Wilson College, where he teaches courses and ensembles in American music and world music in addition to applied bass and guitar. JUAn RIVeRA Juan Rivera was born in Aguililla, Michoacán, Mexico. Both TOnY mARCUS he and his brother developed an interest in music early on Since fi rst realizing at age 16 that people could make music them- and went to Mexico City to pursue their studies at Casa de la selves, Tony Marcus has pursued that goal with joy and abandon. Música Mexicana, where Juan later became an instructor. Juan He has been a professional musician for forty years, playing a studied the “huasteco” style of violin with Rolando “Quecho” number of stringed instruments, but with a particular emphasis on Hernández and soon began recording with the group Son del swing guitar styles. He has played bluegrass with mandolin legend Pueblo including two European tours with the dance troupe Frank Wakefi eld, jug band music and blues with Geoff Muldaur, Compañia Nacional de Danza Folclórica de México. In 2001, string swing with Cats & Jammers, big band jazz with the Royal Juan relocated to Chicago where he played with mariachi Society Jazz Orchestra, weird old Hawaiian and hokum with R. and son jarocho groups for several years. Aft er a year-long stint in California, where Crumb and the Cheap Suit Serenaders and honky-tonk country Juan had an opportunity to study violin with Salvador “Don Chavita” Torres (a fi ddler with Rose Maddox He’s performed from Japan to Ireland, and from Alaska to Florida. with Mariachi Vargas de Tecalitlán for nineteen years), Juan returned to Chicago in He has written articles for Acoustic Guitar magazine and has taught at the Puget Sound the spring of 2005 to join Sones de México Ensemble and to continue his formal musi- Guitar Workshop, International Guitar Seminars, California Coast Music Camp and cal training at Wright College. Today, when he is not performing with the Ensemble, Augusta Heritage Workshops. www.tuxedorecords.com he continues to sit in with area mariachi bands and teaches private music lessons. www.sonesdemexico.com JULIA weATHeRFORd Fiddle Week Coordinator Julia Weatherford has been a full time LISA GUTKIn artist/musician for more than 25 years. She played cello for 13 Lisa Gutkin is most known as a Grammy-winning member seasons with the Asheville Symphony, while moonlighting as a of the Klezmatics, the outfi t that has taken Jewish klezmer square dance fi ddler. Julia has toured internationally as a dance music to previously unimaginable places. But her fascination musician, and performs regionally with the Akira Satake Band, with intricate fi ddle styles has made her a musical wanderer. Far Horizons, and Fly by Night. Among her performance and She was a founding member of the Celtic group Whirligig, teaching venues are the LEAF festival, the Black Mountain and a long standing member of the Fast Folk house band. She Festival, Berea Country Dance School, Pinewoods, Folkmoot International, and the plays with Th e Demolition String Band in their Ola Belle Reed Biltmore Estate. Julia teaches both cello and fi ddle and has worked extensively as a cellist project, old-time American music with Steve Arkin and the on recordings by various artists. She was the Artistic Director of the legendary Black QuasiModal Stringband, 1920’s jazz with David Zimbalist’s Speakeasy String Quartet, Mountain Festival for many years, and as a textile artist, Julia is a long-time member blues with Mark Scanga, and has teamed with artists such as Susan McKeown, Arlo of the Southern Highlands Craft s Guild. Julia has also been the Swannanoa Gathering Guthrie, Natalie Merchant, Elizabeth Swados, Richard Shindell, Irish artists Tommy Logistics Coordinator since 2005. www.juliaweatherford.com Sands, John Whelan and Cathie Ryan, and Jewish greats Th eodore Bickel and Pete Rush- efsky. Lisa began writing fi ddle tunes in her late teens, then larger instrumental pieces, and most recently, songs. Her composing projects include a full symphonic rendition, LIZ KnOwLeS orchestrated by John Marino, of her piece Waiting Still, performed by Th e Klezmatics Liz Knowles has brought her distinctive sound – the with several symphonies, music for Mabou Mines’ Song for New York, a multi-ethnic folk fi re and fi nesse of Irish fi ddle music combined with the opera, and pieces for several episodes of the fi nal season of HBO’sSex & Th e City. Lisa’s tonal richness of the classical violin – to concert stages on-screen appearances include documentaries aired on European and American Public and festivals across the world. Her auspicious beginnings Television, Th e Conan O’Brien Show, Sex & Th e City (where the Klezmatics were the as the fiddler for Riverdance, and as soloist on the band for Charlotte’s wedding), and the documentary, Th eKlezmatics: On Holy Ground. soundtrack for the fi lm,Michael Collins established her She is a MacDowell Fellow and recently released a Klezmer violin instructional DVD as a virtuosic and versatile performer, and she has since on Homespun Tapes. www.lisagutkin.com performed as soloist with the New York Pops and the Cincinnati Pops. Liz was a member of the renowned 45

group Cherish the Ladies, played on Broadway with Th e Pirate Queen, and traveled award-winning bluegrass, country and old-time fi ddler, she has studied and shared the the world for over four years as Music Director and performer with the wildly popular stage with many master players including Jim Shumate, Riley Baugus, Arvil Freeman, Celtic Legends music and dance review. Today she performs with another all-star Alice Gerrard and Nicky Sanders. Natalya has performed with diverse projects over female super-group, the highly acclaimed String Sisters, and her new trio, Open the years, including Girl Howdy, Polecat Creek and Lo-Fi Breakdown. Currently, she the Door for Th ree, with Kieran O’Hare and Pat Broaders. www.lizknowles.com fi ddles, sings and composes in the acclaimed acoustic Americana trio, Red June, with her husband, John Cloyd Miller, and Will Straughan. Red June is set to release their third album on Organic Records this year. Natalya has performed all across the coun- nATALYA weInSTeIn try at prestigious events such as the 25th anniversary MerleFest, Grey Fox, Suwannee Natalya Weinstein grew up in western Massachusetts and hails SpringFest, Bristol Rhythm & Roots, and Music City Roots in Nashville. She is a highly from a long line of musicians; her father is a gift ed jazz pianist and sought- aft er instructor and a co-founder of Th e Sound Post, a traditional music school her grandfather was a professional klezmer musician. Natalya was in Asheville, and is presently working towards a master’s degree in Appalachian Studies classically trained on the violin, but discovered folk and bluegrass with a concentration in music. www.natalyaweinstein.com music during her college years, eventually relocating to Asheville, NC to immerse herself in traditional southern music. Now an

lasses (Unless otherwise indicated, all classes have a limit of 15)

INTERMEDIATE BLUEGRASS FIDDLE (Barbara Lamb) ADVANCED COWBOY SWING FIDDLE (Woody Paul) In this class for intermediate players, we’ll learn a few new tunes while In this class for advanced players, we focus on each player developing his/her exploring such topics as the role of the fi ddle in a bluegrass band, backing own style. We will learn a few classic tunes so we have a common repertoire, up a vocalist, craft ing dynamic solos and jamming. but the focus of the class will be fi nding your own voice and making a tune your own. We will cover music theory that is the basis for improvising, in- ADVANCED BLUEGRASS FIDDLE (Barbara Lamb) cluding chords, and scales, and delve into the nuances of fi ddling behind a Th is class is for the fi ddler who already knows many tunes well, but may need singer or soloist. Bring with you a recording device, a heavy practice mute, instruction on how to “do the right thing” in a band. We’ll cover harmony and a tune you know that you would like to take to the next level. (twin) fi ddling, getting better at playing really fast, keeping the vocalist fr om glaring at you, showmanship, and backing up the other instruments, (you SWING FIDDLE FOR READERS (Andy Stein) do diff erent things depending on whether a banjo or a mandolin is soloing). Th is class for those who read music will address the problems of creating a Time permitting, we’ll learn some classic bluegrass solos that every bluegrass swing feel on an instrument that is most oft en taught with “square” clas- fi ddler needs in their repertoire. sical rhythms and with emphasis on long “singing” tone. We will learn the importance of short notes in jazz improvisation, with syncopation and a INTERMEDIATE ROOTS GROOVE TOUR (Darol Anger) good attack on most notes, imitating our fr iends in the brass section. Chances In this class for intermediate players, we will explore the eclectic and groovy are, we’ll be able to move faster than the “non-readers” toward our goal of world of fi ddling using some of my favorite, really spectacular tunes which learning to swing on the violin, however, for some of us, reading can be a come fr om all over the world including blues, bluegrass, Brazilian choro, set-back, as it might have been used in the past as a crutch and a handicap and Scandinavian polska. Th e wide-ranging topics will include: Rhythm to spontaneity. We’ll also be doing some important listening. Aft er all, that’s and Chop – We will analyze the technique, get it under control, look at some what all those cats we admire used to do: listen to each other’s records, listen- diff erent grooves to try, and talk about when to and when NOT to do it. ing with structure, listening with “how could I do that” in mind. Fiddle Backup – Th e ins and outs of playing behind a singer or other soloist. Th e Layers of Interest in any music– rhythmic content, melodic/harmonic SWING FIDDLE FOR NON-READERS (Andy Stein) content, the players’ attitude, and their phrasing, and tone. Leveraging Th is class will address the problems of creating a swing feel (uneven 8th notes, Practice Strategies – Some ideas about what to practice, and how. We all for instance) with a bow that naturally takes just about as much time to go have limited time and energy to improve: How can we make the most of one direction as ‘tother. It also needs to be just in the right spot (both along what we have? the bow and along the string) to get the clean sound and nice attack, like our fr iends in the brass section. We’ll also be doing some important listening. ADVANCED ROOTS GROOVE TOUR (Darol Anger) We’ll get that Sound and that Feel in our ear, and then we’ll try to use it in Th is class will cover the same topics as Darol’s Intermediate class but at a fi nding our own improvising style. We’ll also deal with theory on a need-to pace and level of detail more suitable for advanced players. know basis, including listening for structure or any other parameters that we decide are important for a particular piece. INTERMEDIATE COWBOY SWING FIDDLE (Woody Paul) We will learn several tunes fr om the classic cowboy, swing and country rep- INTRO TO OLD-TIME FIDDLE (Michael Ismerio) ertoires, including some original material. We’ll also touch on music theory Th is class will focus on identifying, naming, slowing down and playing the that is the basis for improving, including chords, and scales, as well as a few exciting rhythms, pulses, and drones that give old-time fi ddling its distinctive simple techniques for backup fi ddling. Bring with you a recording device, a sound. Th ere will be a heavy emphasis on pointing out and demystifying the heavy practice mute, and ideas for about 3 or 4 tunes you are eager to learn. half of old-time fi ddling that oft en gets neglected: the bowing hand. I will 46

break down each of the bowing movements or rhythms that I use, teach the pily provide sheet music for tunes and anything else we cover in the class. group to replicate them and then play them in the context of a melody. Once Please come with a recorder of some kind (*most important*), a pencil and the group has a handle on the rhythm then we shift the focus to think about your questions. I will send you a tune or two via email at least two weeks how you would teach those rhythms to others, thus creating a community of before the class. Even if you already know the tune or have heard it before, teachers. It’s part learning, part teaching, and part having fun. Basically, it’s LISTEN to it as much as you can (in the car, while washing dishes, reading the class I wish I had taken when I first started fiddling. This class is taught a book, etc). I know it will be hard for some of you but do NOT try and learn by ear and uses mostly your bow hand to get your muscle memory used to it! Just listen. All will become clear in the class! playing the rhythms. It’s appropriate for all levels of fiddlers, beginner or advanced, young or old, and anyone who is interested in teaching techniques. Advanced IRISH FIDDLE (Liz Knowles) Bring a recording device. For this class, we will use tunes you already know (as well as new tunes that I will teach in the class) to explore variations, ornamentation, style, and INTERMEDIATE old-time fiddle A (Michael Ismerio) bowings. You should have more than two years of experience in learning Focusing on bowing first, melody second, we’ll build your familiarity with by ear and should have a list of at least 3 Irish fiddle players that you have old-time music by learning the importance that bowing rhythms play listened to regularly. We will not cover much basic technique in this class in southern Appalachian fiddle music. Each tune will be taught by first but might touch on specific topics like learning harmony and theory through breaking down the various rhythms that would be played in that tune and Irish music, dealing with the issues that arise from learning difficult tunes playing those rhythms in order to build your muscle memory. Once you have and some good practice techniques applicable to all styles of fiddling. We will the bowing then we move onto joining those rhythms with the melody. The learn at least one tune in a flat key and I will provide some sheet music for class will also delve into the subtleties and complexities of jamming with specific topics. Please come with a recorder of some kind (*most important*), others; How do we attract other musicians rather than scare them away? a pencil and your questions. I will send you a tune or two via email at least How can you more easily fit into a jam session? This class is taught by ear. two weeks before the class. Even if you already know the tune or have heard Bring a recording device. it before, LISTEN to it as much as you can (in the car, while washing dishes, reading a book, etc). I know it will be hard for some of you but do NOT try intermediate old-time fiddle B (Bruce Molsky) and learn it! Just listen. All will become clear in the class! In this class, we’ll survey regional styles, from Texas to North Carolina to Georgia and the Midwest, making stops along the way to dig into some intermediate HUASTECO FIDDLE (Juan Rivera) tunes in detail. Emphasis will be on using the bow to make rhythm, on This class is for intermediate players who want an introduction to Mexican proper phrasing, and just making the fiddle ‘speak.’ We’ll spend some time fiddle music. Huapango Huasteco is a style from the Huasteca region of learning to grab a tune from the air (the aural tradition) and put it on the Mexico and is distinguished by its virtuosic fiddle playing, canorous falsetto instrument. If enough folks are interested, we’ll also do a session on singing singing, and poetic improvisation. We’ll learn together some simple songs with the fiddle. from the Huasteco style by ear, which is the traditional way of learning this music, but sheet music for some pieces will also be provided. advanced old-time fiddle (Bruce Molsky) In this class for advanced fiddlers, we’ll take a deep look and listen to some ADVANCED HUASTECO FIDDLE (Juan Rivera) classic old fiddle recordings. The goal is to discover what makes the perfor- This class is for advanced fiddle players who want to explore Mexican mances so powerful, and to learn and play those tunes together. We’ll identify fiddle music beyond Mariachi. Huapango Huasteco is a music style from and develop the things that make old-time music so strong and unique: the Huasteca region of Mexico and is distinguished by its virtuosic fiddle ornamentation, intonation, pulse, and language. We may also have a session playing, canorous falsetto singing, and poetic improvisation. We’ll learn on harmonizing and accompanying songs with the fiddle. together some of the most important Huasteco tunes by ear which is the traditional way of learning this music but sheet music for some pieces will INTERMEDIATE CANADIAN FIDDLE (Anne Lederman) also be provided. The class will start with simple songs and move quickly Focussing on French-Canadian and Métis (mixed Aboriginal/French) into more complex pieces. traditions, we will explore basic rhythms and tunes, including foot-clogging accompaniment. Many tunes in this tradition are vigorous and often crooked. INTERMEDIATE SCOTTISH FIDDLE (Jeremy Kittel) We will learn by ear (with sheet music available for take-home) by singing, This course will delve deeply into the spirit and stylistic nuances of Scot- “mapping out” the tunes, then putting them onto the fiddle. Come and tish fiddling. If rhythmic drive and groove are at the heart of Scottish folk explore the unique old traditions of Canada. music, then the soaring and joyous melodies are the soul of this amazing style of music. We’ll work on ornamentation and bowing, phrasing and ADVANCED CANADIAN FIDDLE (Anne Lederman) expression, melodic variations, and of course – we’ll jam! Technique and Advanced Canadian Fiddle: For more advanced players, we will explore the theory topics – tone, practice methods, simple chord theory, playing with alternate tunings of the French-Canadian and Métis traditions in Canada speed and precision – will be included as appropriate. All tunes, includ- as well as foot rhythms and lots of great, crooked tunes. Tunes are taught ing strathspeys, reels, jigs, marches, and slow airs, will be taught by ear. by ear (with sheet music available for take-home). By the end of the week, Students are encouraged to bring a small audio recorder to record musical (Class limit: 20) you’ll be able to tell the devil I sent you. examples and repertoire.

INTERMEDIATE IRISH FIDDLE (Liz Knowles) ADVANCED SCOTTISH FIDDLE (Jeremy Kittel) You should have a basic understanding of where all of the notes are in first In this advanced version of the Scottish fiddle class, the format will be similar position, basic bowing patterns, and basic sound production. You may or to the intermediate (see above), but tune and technique learning will occur may not have had specific instruction in Irish fiddling before but hopefully at a faster rate, and we’ll also explore fascinating practices such as arranging, you have heard it before and maybe even play a couple of Irish tunes already. accompaniment techniques, syncopation, harmony, tune composition, and I will cover basics for learning by ear, some technique as it applies to Irish more. Additionally, we’ll creatively arrange our favorite tunes of the week music, practice techniques for ornamentation and bowing in the Irish style to perform as a band. As a reminder, all tunes will be taught by ear, and and we will learn as many tunes as the general class level allows. I will hap- students are encouraged to bring a small audio recorder to record musical examples and repertoire. (Class limit: 20) 47

Fiddle week, August 3-9, 2014 7:30-8:30 Breakfast Advanced Intermediate Cajun Advanced Advanced Swing Fiddle Intermediate Roots Groove Improvisation 9:00-10:15 & Creole Fiddle Old-Time Fiddle Scottish Fiddle For non-Readers Old-Time Fiddle A Tour (Craven) (Doucet) (Molsky) (Kittel) (Stein) (Ismerio) (Anger) 10:15-10:45 Coffee/Tea Break

Intermediate Advanced Intermediate Intermediate Swing Fiddle Feelin’ the Intro to Roots Groove Cajun & Creole Old-Time Scottish Cello, Part I 10:45-12:00 For Readers Blues Old-Time Fiddle Tour Fiddle Fiddle B Fiddle (Weatherford) (Stein) (Craven) (Ismerio) (Anger) (Doucet) (Molsky) (Kittel) 12:00-1:00 Lunch

Intermediate Advanced Intermediate Advanced Intermediate Advanced Intermediate Fiddle From Cowboy Huasteco Bluegrass Irish Canadian Klezmer Swing Cello, Part II 1:15-2:30 Scratch Swing Fiddle Fiddle Fiddle Fiddle Fiddle Guitar (Weatherford) (Weinstein) (Paul) (Rivera) (Lamb) (Knowles) (Lederman) (Gutkin) (Marcus) Advanced Intermediate Advanced Advanced Intermediate Advanced Intermediate Backup Intermediate Cowboy Huasteco Bluegrass Canadian Klezmer Swing 2:45-4:00 Irish Fiddle Fiddle Bass Swing Fiddle Fiddle Fiddle Fiddle Guitar (Knowles) (Weinstein) (Kehrberg) (Paul) (Rivera) (Lamb) (Lederman) (Gutkin) (Marcus) 4:15-5:15 Band Sessions 5:00-6:30 Supper 7:30- ? evening events (open mikes, concerts, dances, jam sessions, etc.)

INTERMEDIATE CAJUN & CREOLE FIDDLE (Michael Doucet) In this class we will make our way through the history of Cajun fi ddling and empty-handed, mimicry, mistakes & metaphor, sending/receiving and the culture fr om 1929 to the present. We will cover the spectrum of Cajun and value of losing control are just some what we’ll apply to our music making creole fi ddle styles highlighting fi ddlers such as Dennis McGhee, Canray in class. Lots of exercises and opportunity to play with others in new ways. Fontenot, Doc Guidry, Will and Dewey Balfa. We will delve into stylistic Th e class will stretch you and may well change some of your perceptions of variations throughout southwestern Louisiana, such as Texas infl uence on what music is. It’s a fun and enlightening romp! players like Harry Choats. We will learn aspects of the style including double stops, fi ddling as an integral part of song, bowing and rhythm. Th is class FEELIN’ THE BLUES ( Joe Craven) will proceed at an appropriate pace for intermediate fi ddle players, and be Th e blues are truly a foundation and inspiration for most traditional and directed by student interests and experience. contemporary vernacular American music. Th is adventure is open toall bowed instruments. We’ll listen to historical references fr om early recordings ADVANCED CAJUN & CREOLE FIDDLE (Michael Doucet) to the present. We’ll play basic forms (the 8, 12 and 16 bar and grill). We’ll Th is class will cover essentially the same material as the intermediate section feel the grooves (fr om ballads to stomps, rumbas to shuffl es, hand jive to above, but at a pace more appropriate for advanced players, and once again, swing). We’ll reference the melodic guidepost of the human voice, bending the class will be directed by student interests and experience. long and short tones and learn some tunes/songs that refl ect them. We’ll also tackle how to translate the “feel” of the grease, the groan and the growl IMPROVISATION: of the blues to your instrument, and importantly, we’ll address taking your IN THE MOMENT, WITHOUT A NET ( Joe Craven) time sayin’ a bunch (without playin’ a bunch) of notes. Playin’ the blues How do you make better music in the moment, jam confi dently with folks suggests the “technique” of clarity over correctness – of intuition, release and you’ve never met, and/or say something diff erent every time you take a expression of your personal emotion. Surrender to the feeling and you’ll do solo? Th is class for ALL instruments will help deepen one’s connection to it! We’ll have a great time! spontaneity and fl ow through organized sound. Joe teaches musical impro- visation more fr om a theater model rather than the requisite model of jazz. INTERMEDIATE kLEZMER FIDDLE (Lisa Gutkin) Th erefore, this is not an ability-based class. If you’re an advanced player Klezmer has become a secular music, used for dancing, concerts and celebra- seeking a ‘theory & technique’-oriented foray into improvisation fr om a jazz tions of all sorts. But it is impossible to study it without acknowledging its architecture, this class may not be for you. Joe connects improvisation to what origins in the religious rituals of Jewish life. In this week of study we will you already do and moves you forward fr om there. We’ll focus on ways to use archival recordings to trace the history of the ornaments and embel- think diff erently about sound, embrace fearlessness, and address the connec- lishments in their vocal and instrumental forms, and marvel at how they tion between spoken-word language and the language of music. Showing up have maintained their integrity through the ages. We will spend some time 48

on techniques for learning by ear, some time analyzing basic harmony and participate in the Bluegrass Jam that Ed will lead every aft ernoon, as a way comparing it to other styles, a tiny amount of time watching the dance to reinforce the techniques learned in class as well as learn additional songs/ steps, and the rest learning tunes. Th en we will learn to replicate and use tunes. (Find this class in the Mando & Banjo Week Schedule on page 55) the ornaments tastefully within the modern Klezmer repertoire, add the rhythms that have become popular in the music, and by the end of the week ADVANCED BLUEGRASS GUITAR you will be able to sing a nign (song without words fr om the Hasidic tradi- ACCOMPANIMENT (Ed Dodson) tion), play Klezmer tunes with basic ornaments, add harmonies, and play Th is course will delve into more advanced forms of bluegrass guitar rhythm an accompaniment role as well. All tunes will be taught by ear, so bring a playing. In addition to learning our way around the standard “boom-chuck” recording device. Sheet music will be handed out at the end. bass note and strum patterns that form the foundation of bluegrass rhythm guitar, we will explore more advanced moving bass lines, substitute chords ADVANCED kLEZMER FIDDLE (Lisa Gutkin) and inversions, and even some basic three-note swing rhythm patterns to Th e advanced class will cover the same material as the intermediate, but put some extra “sock” into your playing. Along the way, we’ll highlight the most likely more tunes and ornaments will be covered. concepts of harmonic theory and how to select chords and chord patterns to strengthen the guitar’s support of the vocalist and instrumentalist. Famil- BACkUP FIDDLE: SERVING THE SONG (Natalya Weinstein) iarity with fl atpicking and guitar chords, along with knowledge of guitar Many students have asked me over the years, “What should you play on the tablature is highly recommended. While tablature will be provided for most fi ddle when someone is singing or taking a solo?” A fi ddle can be conversational techniques and songs covered in class, participants are strongly encouraged with the singer, as well as the glue that ties the instruments together. In this to bring recording devices to class as a memory aid, as we will be covering class for intermediate and advanced players we will explore several options some fairly challenging material. (Find this class in the Mando & Banjo for fi ddle backup, such as fi lls, chords and chops, using common country and Week Schedule on page 55) bluegrass songs. Audio recorders are recommended. INTERMEDIATE SWING GUITAR (Tony Marcus) FIDDLE FROM SCRATCH (Natalya Weinstein) Th is class will teach the use of moveable four-note chord voicings, with a Start strong! Th e fi ddle is one of the most exciting and versatile instruments fairly small number of shapes that will allow students to accompany jazz/ in traditional music, and having a solid foundation is essential for any genre swing standards. We’ll also work on right-hand strumming to lock into the you choose to pursue. In this class we will focus on setting up an eff ective propulsive 4/4 swing feel. You can expect to come away fr om the class with bow hold and left -hand position and developing a good tone. We will learn enough information to play almost any song in any key. Th ere’ll be lots of basic scales and 3 to 4 simple fi ddle tunes by ear. Please come with a fi ddle, playing in class! a tuner, a recording device and a desire to learn! ADVANCED S W I NG GU I TA R (Tony Marcus) CELLO: PART I (Julia Weatherford) Th is class moves beyond the most common moveable chord shapes, expands For this intermediate/advanced combined class students should have a solid the chord vocabulary and also gives an introduction into chord-melody background in technique, be comfortable playing in positions and know playing. If you already have a good repertoire of three- or four-note chord basic scales. Th e class will be taught by ear and will run two class periods. forms, this can move you to the next level. We may also talk a bit about single In the fi rst half we will focus on cello as an accompanying instrument for note soloing, though this is primarily a chord class. tunes or songs in various folk genres, fr om Scottish to old-time to blues. We will cover appropriate techniques for diff erent styles of music and how to INTERMEDIATE BASS (Kevin Kehrberg) fi nd your role in a jam or band. Th e class will cover chord formation, com- Th is class will cover intermediate principles of bass performance and accom- mon chord progressions, rhythmic bow techniques, (including chopping) paniment applicable to various musical settings including jazz, swing, and pizzicato techniques, bass lines, melody and harmony lines. We will learn a traditional music styles. Topics include bass line construction, following chord few tunes and songs and use them to explore various accompanying grooves, progressions, timing and feel, and ear training. Concepts of bass soloing and harmonies and arrangements. improvisation will also be introduced. Th e class will mainly use pizzicato technique, although other techniques may be discussed if applicable (e.g., CELLO: PART II (Julia Weatherford) slap technique, bowing). Students should possess fundamental technical Th e second class period will concentrate on fi ddle tunes that fi t on the cello in skills and know basic scales. the original key, tricks to make them work, fi ngerings to minimize shift ing, learning tunes by ear and getting the right feel and sound. By the end of the week you should have a bagful of fun tunes fr om various traditions. Aft er Other Events all, the cello is simply a fi ddle that got left on the vine too long! DAILY BLUEGRASS JAM (Ed Dodson) BLUEGRASS GUITAR ACCOMPANIMENT (Ed Dodson) In the last hour before supper, Ed will lead a non-threatening bluegrass jam Th is class focuses on how to play powerful bluegrass rhythm guitar. We will for all levels and instruments. Come have fun channeling your inner Bill work on alternating-bass styles of playing as well as using bass runs and Monroe! (No class limit) other motion within the chords to accent your vocals or the instrumentalists you’re playing with. In addition to these basic building-block techniques, BAND SESSIONS (staff ) we will learn the rhythm accompaniment part to one bluegrass song or tune During the last hour of the day, there will be a special class time for students each day. Th e class will present songs/tunes that allow you to see the rhythm of any skill level to form bands, along with students fr om Fiddle Week. With patterns that work eff ectively in most of the fi rst position chord families. We the guidance of instructors, band members arrange and rehearse with the will also discuss how to use a capo to get the song in a key to fi t your voice. option of performing at the student showcase on Friday evening. (Sign up for All levels of participants are welcome. Familiarity with guitar chords and band sessions at fi rst band meeting time, no advanced registration required.) knowledge of guitar tablature is helpful, but not required. Participants are encouraged to bring recording devices to class and also encouraged to 49 Mando & Banjo eek ugust 

Mando & Banjo Week features classes in two of the instruments that are at the core of several of the most popular folk genres, including bluegrass, old-time, Irish and Scottish, as well as some of the more adventurous blendings of traditional and jazz fl avors known variously as ‘newgrass’ or ‘new acoustic’ music. For the mandolin students, we also off er classes in classical mandolin, improvisation, traditional swing/jazz, and new classes on fi ddle tunes and playing lyrically, while the banjo students can sample a variety of classes in three-fi nger plucked or clawhammer styles including a new class on using the banjo in meditation. Mando & Banjo Week has been paired with our Fiddle Week, off ering classes in similar styles, to encourage students from both programs to jam with each other, and with guitar classes in both programs to provide rhythm players, the possibilities for impromptu bands and jam sessions are rich, indeed. Th ere will be concerts throughout the week featuring our world-class staff , and the optional student showcase at week’s end will be an opportunity for students to show what they have learned. Most classes are taught at the intermediate or advanced level, but we continue to off er a few introductory classes for students who want to gain confi dence in learning and playing by ear, and for those who are newer to the instrument. For the intermediate classes, it is recommended that students have mastered beginning skills, be able to tune their instruments, keep time, play the principal scales cleanly, and know how to play a few tunes with confi dence. Th is level is also appropriate for advanced players who would like to explore a style that is new to them, or for experienced players who need to get more fl uent playing by ear. Th e advanced classes are designed to build on previous experience in the style. Advanced students should be able to easily learn by ear, have a basic repertoire in the style, and be comfortable playing in more diffi cult keys. During the last hour before supper, there will be a special class time for students of any skill level to form bands, along with students from Fiddle Week, or participate in the Daily Bluegrass Jam, or visit our new Luthiers Exhibit with instruments by Northfi eld Mandolins and violin maker Jonathan Cooper. Mando & Banjo Week runs concurrently with Fiddle Week, (see page 42 for details), and students are free to take classes in either program.

mIKe mARSHALL TOnY TRISCHKA Mike Marshall is one of the world’s most accom- Tony Trischka is perhaps the most infl uential banjo plished and versatile string instrumentalists whose player in the roots music world. In his 40-plus years as musical tastes are as wide-ranging as music itself. a consummate banjo artist, his stylings have inspired A master of mandolin, guitar, mandocello and generations of bluegrass and acoustic musicians. His violin, he has created some of the most adventur- technical and conceptual advances opened the way for ous and interesting instrumental music imaginable such players as Bela Fleck and Alison Brown and his on recordings and in concerts around the globe. recordings with them and others from Earl Scruggs, Whether playing bluegrass or jazz with Edgar Meyer, Ralph Stanley and Pete Seeger are part of every banjo- Bela Fleck or Chris Th ile, Brazilian choro music lovers musical reference. A native of Syracuse, NY, with Hamilton de Holanda or Baroque classical Trischka’s interest in banjo was sparked in 1963 by the music with German mandolinist Caterina Lich- Kingston Trio’s hit, “Charlie and the MTA.” Over the tenberg, Mike is able to swing gracefully between next decade and a half, he was a member of a number of all of these musical styles with a unique blend of infl uential groups including the Down City Ramblers, virtuosity, depth and musical integrity that is rare Country Cooking, Country Granola, and Breakfast Special. Th ese last three comprised in the cross-cultural musical world of today. He his “food band” period. Aft er his second solo album,Banjoland , was released in 1976, grew up in central Florida, cutting his teeth on traditional American music, and at age he became the musical leader for the Broadway show, Th e Robber Bridegroom. In the 19, moved to the San Francisco Bay Area to join the ground-breaking David Grisman early 1980s, he formed a new group, Skyline, with whom he recorded four albums, and Quintet, which set a new standard for American stringband music. He’s been pushing in 1984, he performed in his fi rst feature fi lm,F o x fi r e . Th ree years later, he worked on the boundaries of acoustic music ever since on hundreds of recordings as a composer, the soundtrack for Driving Miss Daisy. He has also appeared on Garrison Keillor’s A featured artist, sideman and producer. He founded Windham Hill’s Montreux Band with Prairie Home Companion, Mountain Stage, From Our Front Porch, and other radio shows, Darol Anger and Michael Manring, and the classical ensemble, Th e Modern Mandolin and recently produced Steve Martin’s Grammy-nominated Rare Bird Alert (Rounder), Quartet, which redefi ned the mandolin family in a classical music setting with many which features performances by Paul McCartney and the Dixie Chicks. His 2007 release, newly-created works for this format. His love aff air with the choro music of Brazil has Double Banjo Bluegrass Spectacular, featured appearances by Steve Martin, Earl Scruggs, led to recordings and concerts with some of Brazil’s fi nest musicians, including Her- Bela Fleck, Alison Brown and more, was nominated for a Grammy and won three IBMA meto Pascoal and Proveta, and his group, Choro Famoso, has helped spearhead a wave awards including Banjo Player of the Year for Tony. His recent recording, Territory, was of popularity in the U.S. for this infectious style. His own label, Adventure Music, has named Best Americana Album at the Independent Music Awards. Tony is the musical released over thirty CDs to date of the music of Brazil. You can fi nd him on concert director and associate producer of the documentary, Give Me the Banjo, which aired tours with everyone from the Swedish group Väsen, Grammy-winning jazz ensemble, on PBS and has been released on DVD. He has created numerous instructional books, Th e Turtle Island String Quartet, or with his progressive bluegrass group, Psychograss, DVDs, CDs and the groundbreaking Tony Trischka School of Banjo, that is the online with Darol Anger, Tony Trischka, Todd Phillips and David Grier. He’s also a dedicated banjo home for students from around the world. Tony was also recently one of 50 recipi- teacher and founded the famous Mandolin Symposium with his long-time pal David ents to receive a fellowship from United States Artists, a privately endowed organization Grisman. Th rough the video-exchange lessons company, ArtistWorks, Mike has created that annually awards grants to participants in all of the arts, including music, dance, one of the most successful online teaching environments, Th e Mike Marshall School of visual artists, and literature. His new album, Great Big World, featuring Steve Martin, Mandolin. Already known as one of the best chefs amongst his musical buddies, he oft en John Goodman, Ramblin’ Jack Elliott, Noam Pikelny and many others, was released trades guitar lessons for cooking lessons with Michael Peternell, head chef at Berkeley’s on Rounder Records this past February. www.tonytrischka.com famed Chez Panise Restaurant. www.mikemarshall.net 50 ned LUBeReCKI JOHn ReISCHmAn A 25-year professional who’s noted for his dazzling tech- John Reischman is one of the premier mandolinists of his nique, originality and broad sense of humor, Ned Luberecki generation, capable of swinging between re-inventions of tra- has played for over a decade with Chris Jones & Th e Night ditional old-time tunes, deconstructions from the bluegrass Drivers. His resume includes stints with Paul Adkins & repertoire, and compelling original tunes, many of which Th e Borderline Band; Gary Ferguson; Radio Flyer and the have become standards. He’s the kind of master craft sman Rarely Herd, frequent winners of SPBGMA’s Entertaining whose music is virtuosic without ever being fl ashy, and who Band Of Th e Year award. He’s a popular banjo instructor is renowned for his impeccable taste and tone as an artist. A at some of the most renowned instructional camps in the Juno-nominated and Grammy-award winning artist, John US, Canada and Europe and also off ers private lessons at Reischman is known today for his work with his band, the his studio in Nashville and online via webcam. Ned is also a Jaybirds, and his acclaimed solo albums, but he got his start in the late 1970s as an broadcaster on SiriusXM’s Bluegrass Junction, where he hosts original member of the Tony Rice Unit with whom he helped defi ne the “new acoustic the regular newgrass show, Derailed, and the popular Sunday Banjo Lesson. Ned has music” movement in bluegrass thanks to their high profi le albums on Rounder Records. guested on a variety of recordings and appearances, including tours with Larry Cordle Infl uenced by Bill Monroe, but also by such adventurous players as Sam Bush, David & Lonesome Standard Time and as the “other” banjo player on Tony Trischka’s Double Grisman, and jazz mandolinist Jethro Burns, Reischman performed during the 1980s Banjo Bluegrass Spectacular. In 2007, he released a popular solo project, Nedski, which with the seminal bluegrass band, Th e Good Ol’ Persons, and, aft er a move to Vancouver included duets with friends like Th e Infamous Stringdusters’ Chris Pandolfi and Punch in the ’90s, his own band, the Jaybirds, one of the top bluegrass ensembles, but he never Brothers’ Noam Pikelny, featuring such comic favorites as “Cabin Of Death.” In 2010, stopped his musical explorations. In 1996, he won a Grammy as part of Todd Phillips’ he teamed up with the Sam Bush Band’s Stephen Mougin as Nedski & Mojo, releasing all-star tribute album to Bill Monroe, and he’s collaborated with a remarkably wide range the acclaimed project, Nothing More. www.nedski.com of artists, such as bluegrass singer Kathy Kallick, to guitarist Scott Nygaard, banjo wiz Tony Furtado, Chinese Music ensemble Red Chamber, Brazilian multi-instrumentalist Celso Machado, singer songwriter Susan Crowe, and more. Long inspired by Latin emORY LeSTeR American roots music, from Puerto Rican cuatro to Brazilian choro music, John’s been Emory Lester is one of today’s foremost exponents of the acoustic exploring this music, and forging new compositions from these inspirations in his duo mandolin. Th e power and attack of his playing is infectious and with Seattle master acoustic guitarist John Miller. In 2013, John Reischman released his landmark mandolin recordings have placed him among the his third solo album, Walk Along John. Consisting of traditional and original tunes, the elite mandolinists of our time. His latest solo recording, At Dusk album is a celebration of Reischman’s long career, featuring guest spots from old friends showcases Emory’s musical creativity and skill as a mandolinist like old-time fi ddler Bruce Molsky, banjo genius Tony Trischka, Th e Punch Brothers’ and multi-instrumentalist. Emory has undeniably inspired and Chris Th ile, bluegrass guitarist Kenny Smith, and members of the Jaybirds, plus new infl uenced many of today’s players with his clean, clear, fast and friends such as guitarist Eli West, of Th e Deadly Gentlemen. www.johnreischman.com effi cient mandolin technique. Emory performs with Wayne Taylor and Appaloosa, doing shows across the U.S., Canada, Europe and the U.K. His fourteen-year friendship and musical collaboration with noted ‘clawgrass’ dOn STIeRnBeRG banjoist Mark Johnson has yielded four creative recording projects. Mark and Emory While still in his teens, Don Stiernberg learned to play the have toured all across the U.S., and have been featured on several performances with mandolin from the innovative and infl uential virtuoso Jethro Steve Martin, most notably on Late Night with David Letterman. Emory also will be Burns. Jethro referred to Don as his “graduate student”, performing with his partner Jill Jones in the new ‘Emory Lester & Jill Jones Band’, at hired him to play in his band, and guided him to a career upcoming concerts and festivals. A Virginia native now living in Ontario, Canada, as a professional musician which has already lasted forty Emory has taught master series workshops at events such as the Steve Kaufman Kamp, years. A leading exponent of jazz mandolin style, Don has the Mandolin Symposium, Transatlantic Bluegrass School in Wales, U.K., the Goderich eight recording projects of his own and appears on many Celtic College, the Alaska Guitar Camp, and many other prestigious schools and work- others by a variety of artists in all styles.Th e most recent shops far and wide. www.emorylester.com of these is Mandoboppin’! , a jazz quintet CD featuring his original tunes. Also released in 2013 is Jazz Mandolin Appetizers, a long-awaited Mel Bay method book for improvising mandolinists. In addition to touring coast to coast mARK JOHnSOn and abroad, Don stays busy around his native Chicago with performing and recording Mark Johnson has revolutionized the art of clawhammer work. He also contributes a regular column to Mandolin Magazine, and has been an banjo by adapting its techniques and rhythms to the de- instructor at mandolin events such as Th e Mandolin Symposium, Swannanoa Gather- mands of playing in a bluegrass ensemble in a banjo style he ing, Mandolin Camp North, River of the West Mandolin Camp, Cape Cod Mandolin calls ‘Clawgrass’. He has performed and recorded with many Camp, Steve Kaufman Acoustic Kamp, Ashokan Swing Week, Accademia Internacionale bluegrass and acoustic luminaries and is also a gift ed teacher di Mandolino(Italy), European Mandoline Akademy(Germany) and Momento Rio and songwriter. His second recording, Acoustic Rising, a duo Bandolim(Brazil) www.donstiernberg.com CD with Emory Lester, released on the Crossroads/Mt. Home Record Label was nominated by the International Bluegrass Music Association (IBMA) in 2007 as “Instru- ALAn mUnde mental Album of the Year.” Mark’s music was used in a Alan Munde needs no introduction to long-time 2012 Dodge Grand Caravan television commercial, and in September of 2012, he was bluegrass music fans. From his early creative work with named as the third annual winner of the prestigious Steve Martin Prize for Excellence Sam Bush in Poor Richard’s Almanac to his traditional in Banjo and Bluegrass Music, and has performed his clawgrass banjo style on Th e Late bluegrass apprenticeship with Jimmy Martin and the Show with David Letterman. Mark has conducted countless clawhammer workshops Sunny Mountain Boys to his 21- year stint anchoring at bluegrass and acoustic music festivals across the country, and he continues to host the landmark Country Gazette, Alan has blazed a trail an annual clawhammer banjo workshop as part of the IBMA Fanfest in Nashville, as one of the most innovative and infl uential banjo Tennessee. www.clawgrass.com players of all time. Along the way, he has also recorded and contributed to numerous instrumental recordings, including the 2001 IBMA Instrumental Album of the Year, Knee Deep in Bluegrass. Alan has supplemented his recorded work with several instruc- tional publications for the banjo, and, from 1986 - 2007, Alan taught in the Creative 51 mATT FLInneR Arts Department at South Plains College in Levelland, Texas, a program which has Multi-instrumentalist Matt Flinner has made a career out of produced many professional musicians nationwide. In recent years, he has performed and playing acoustic music in new ways. Starting out as a banjo recorded as a duo with his South Plains faculty colleague, and former Gazette-mate, Joe prodigy who was playing bluegrass festivals before he entered Carr. Alan’s extensive body of recorded work, his instructional materials, and his work at his teens, Flinner won the National Banjo Championship at the college has solidifi ed his status as one of the true “gurus” of the 5-string banjo. Alan Winfi eld Kansas in 1990, and won the mandolin prize there currently appears in Ranch Road 12, a bluegrass trio with Elliott and Janis Rogers, and the following year. Since then, he has become recognized as his most recent recording, Dapple Patti, is a live recording with long-time friend and one of the premiere mandolinists as well as one of the fi nest picking partner Adam Granger of St. Paul, Minnesota. Alan’s current work-in-progress new acoustic/roots music composers today. He has toured is an instrumental duo recording of a few traditional pieces and many original tunes and recorded with a wide variety of bluegrass, new acoustic, with mandolinist Billy Bright, formerly with Tony Rice and Pete Rowan, due for release classical and jazz artists, including Tim O’Brien, Frank in mid-2014 www.almundesbanjocollege.com Vignola, Steve Martin, Darrell Scott, the Modern Mandolin Quartet, Dave Douglas, Left over Salmon, Alison Brown, Th e Ying Quartet, Tony Trischka, Darol Anger, and the Nashville Chamber Orchestra. He has also recorded two CDs for Compass Records CATeRInA LICHTenBeRG and toured as part of Phillips, Grier and Flinner with bassist Todd Phillips and guitar- Caterina Lichtenberg is one of the world’s premier classi- ist David Grier. His two solo CDs, Th e View fr om Here and Latitude, are now widely cal mandolinists. A graduate of the Cologne Academy of considered classics in the new acoustic/modern bluegrass style. His current group, the Music, in 2007 she was awarded the position of Professor Matt Flinner Trio (with guitarist Ross Martin and bassist Eric Th orin), has forged new of Mandolin at that same conservatory. Th is is perhaps pathways in acoustic string band music with their two ground-breaking CDs, Music du the only position of its kind in the world for advanced Jour and Winter Harvest. www.mattfl inner.com classical mandolin technique and pedagogy. She is the winner of numerous national and international music competitions and was a scholarship holder at the Richard BOB CARLIn Wagner Foundation. For fi ft een years she has performing Banjoist Bob Carlin has been off ering performances, and recorded with guitarist Mirko Schrader as Duetto Giocondo, Th ey have recorded lectures and workshops for over forty years. Carlin had fi ve CDs together which have set a new standard of classical mandolin playing and the largely left the solo arena when he was invited in the two have toured most of Europe, the U.S., Canada, Japan and South America. Caterina mid-1990s to join the band of legendary songwriter John has been invited to perform as a soloist with many major orchestras in Europe includ- Hartford with whom he toured throughout the United ing the Dresden Symphony Orchestra, the Aachen Chamber Orchestra, the Leipzig States and Canada until Hartford’s death in 2001. Since Gewandhaus Orchestra, the Ensemble Recherche, the Radio Symphony Orchestra of then, Bob has returned to solo performing, teaching and Berlin and the Bavarian Radio Symphony Orchestra). In 2010, she recorded a CD with appearances with other musicians. With fi ve Grammy Mike Marshall of many musical styles from classical to bluegrass and Bulgarian to Brazil- nominations and three banjo models bearing his name, ian. and has been touring the U.S. and Europe with him extensively. Th eir second CD, Bob Carlin is truly one of the best known clawhammer featuring Johann Sebastian Bach’s music arranged for mandolin and mandocello is due banjo masters. He is the author of six method books and three instructional CDs, and in 2014, and Caterina will also be releasing a solo mandolin CD as well. As a scholar Mrs. has taught at many camps including the American Banjo Camp, Midwest Banjo Camp, Lichtenberg has produced several educational books and DVDs for mandolin playing Suwannee Banjo Camp, Banjo Camp North, Maryland Banjo Academy, Tennessee and is a sought-aft er artist and lecturer at national and international festivals and master Banjo Institute, Festival of American Fiddle Tunes, Blue Ridge Old-Time Music Week, classes including the International Mandolin Festival in Kobe, Japan, Th e Mandolin Augusta Heritage Center, Sore Fingers Summer School in England. bobcarlinmusic.com Symposium in Santa Cruz, California, Th e Swannanoa Gathering in Asheville, NC, the International Mandolin Convention in Washington and Minneapolis (USA), and at the Domaine Forget Music and Dance Academy in Canada. She has performed in dAVId SUReTTe concert with the European Plucked String Orchestra, the Guitar Festival in Nürtingen, One of New England’s premiere instrumentalists, David the Carmel Bach Festival, the Grand Targhee and Rockygrass Bluegrass festivals and Surette is highly regarded for his work on the guitar (both the Savannah Music Festival, and Caterina is regularly invited as a juror to national and fl atpicked and fi ngerstyle), mandolin and bouzouki in a international music competitions. www.caterinalichtenberg.de wide variety of settings. As a soloist, he is nationally-known as a top player of Celtic fi ngerstyle guitar, yet his diverse repertoire also includes original compositions, blues and AdAm TAnneR ragtime, traditional American roots music, and folk music Adam grew up in northern California, and was exposed to old- from a variety of traditions, all played with fi nesse, taste, time and bluegrass music in his early teens. Profi cient on fi ddle, and virtuosity. He has performed as a duo with his wife, mandolin and guitar, he spent countless hours slowing down singer Susie Burke, for 20 years, recording several albums and records trying to pick out every detail of the traditional music building a reputation as one of New England’s top folk duos. he loved. Adam’s approach to playing refl ects the diversity of Surette was a founding member of the Airdance band with fi ddler Rodney Miller, with styles heard on the early 78rpm discs and fi eld recordings from whom he recorded four albums and toured nationally. He has also released fi ve solo which he draws his greatest inspiration. Over the last twelve recordings – his most recent is Return to Kemper, a collection of original and traditional years, Adam has toured in both the US and Europe as a member of Th e Crooked Jades, solo guitar pieces from 1990-2011. David is an accomplished and gift ed teacher who Th e Hunger Mountain Boys and Th e Twilite Broadcasters. As a staff member of Th e has taught at workshops and camps throughout the U.S., and the U.K. He is folk music Swannanoa Gathering, Adam has taught at Old-Time, Fiddle and Mandolin & Banjo coordinator at the Concord (NH) Community Music School, and artistic director of Weeks. Adam makes his home in Weaverville NC, and teaches private lessons in old-time their March Mandolin Festival. He has authored a book of Celtic fi ngerstyle guitar fi ddle, mandolin and guitar, and he is currently on staff at East Tennessee State Univer- arrangements for Mel Bay Publications, and is a regular contributor to Acoustic Guitar sity’s, Bluegrass, Old-Time and Country Music program. www.adamtannermusic.com and Strings magazines. www.burkesurette.com

ed dOdSOn STeVe BAUGHmAn (See bio in Guitar Week section, pg. 30) (See bio in Guitar Week section, pg. 30) 52 lasses (Unless otherwise indicated, all classes have a limit of 15) Mandolin

THE ART OF THE MELODY (Mike Marshall) We will explore the art of interpreting beautiful melodies. Whether it’s a early bluegrass practitioners like Everett Lilly and Pee Wee Lambert. We’ll simple fi ddle tune, a Bluegrass classic, a jazz standard or a Brazilian choro, also discuss basic technique, with emphasis on tone production. Prerequisites: we will work through a variety of musical styles over the course of our week. students should know all the standard bluegrass closed chop chords, and From developing a beautiful tremolo on a folk ballad to creating variations know some fi ddle tunes and be able to play them at a reasonable tempo. on fi ddle tunes and improvising on some classic bluegrass barn burners, we Students are encouraged to bring a recording device. will dive into some jazz standards, and of course a healthy dose of Brazilian choro classics along our way. FIDDLE TUNES FOR MANDOLIN (Matt Flinner) In this course we’ll look at the myriad styles of American fi ddle tunes and THE ART OF THE GROOVE (Mike Marshall) look at ways of creating your own solos on them. Changing octaves, using From the simplest of folk strums to the bluegrass chop, we will artfully slip chord tones, adding some new melodic ideas will be the focus, along with into some basic swing syncopations, pop and funk rhythms and the ever- some theory and ear training. Tunes will range fr om old-time to slightly contageous Brazilian choro grooves. Also, I will present you with my own swingy, and creation of variations will range fr om fairly basic to fairly fool-proof way of understanding chord theory on the mandolin and explore advanced. We’ll also integrate chords and inversions of chords into how you how to fi nd almost every chord fr om three simple chord shapes. play both lead and backup. INTERMEDIATE THE ART OF LYRICAL MANDOLIN (Emory Lester) BLUEGRASS MANDOLIN A (Emory Lester) Th is class focuses on the art of recognizing and acquiring voice-like qualities Th is class will focus on many subjects designed to improve the clarity and to the sound of your mandolin playing and the development of skills in order precision of your mandolin playing, including technique (both left - and to do so. Take melody playing a few steps further and shape your technique right-hand), tone, playing with clarity and confi dence, crosspicking ideas, and advance your skills and musicianship to this next level. Th e class will playing up the neck, rhythms and rhythm playing at speed, chord inver- focus on the subtleties of presentation of melody, which includes the shap- sions, and rehearsal strategy and thoughts for practicing. Handouts will be ing of notes, fi nishing phrases, note choices and thought process, as well as provided, and tablature will be used in the handouts and in the teaching of in-depth right- and left -hand techniques to achieve eff ective syncopation, this class. Bring your audio or video recording devices if you wish, and lots sound textures, sustain, and any nuance the human voice creates in a vocal of questions are always useful and welcome, and oft en provide interesting performance. Make your mandolin playing sing – with classic ‘melodies’, and informative topic exploration. creative ‘counter-melodies’, and the ever-fun ‘anti-melodies’. Th is class will help any player turn good solos into great solos. A collection of classic and INTERMEDIATE modern bluegrass songs, as well as songs fr om other genres, will be studied BLUEGRASS MANDOLIN B (John Reischman) and played by the class. Handouts will be provided. In this class we will learn some fi ddle tunes and single-note soloing approaches to Bluegrass songs, and the proper right hand picking patterns. Double stops INTERMEDIATE in open and closed positions will be covered as well. We will also look at the SWING/JAZZ MANDOLIN (Don Stiernberg) bluesy style of Bill Monroe, and a few modern players. Keys of F, Bb, and “Chords, Progressions, & Tunes for Fun and Profi t” Th ese sessions will focus B will be explored. Th roughout the class we will keep the focus on Tone, on chord voicings containing color tones and voice movements in the context Timing, and good Technique- the Th ree Ts. Oh wait, there are also Taste, of the progressions and tunes favored by swing and jazz players. Learning the Tuning, and Tremolo…. dang, I can’t keep all of these T’s straight. Okay, fr etboard and how progressions work should help you spice up your rhythm we will cover all the Ts! part in any style of music. We’ll use tunes fr om western swing, gypsy jazz, and swing standards, such as “Exactly Like You” and “Paper Moon”, more ADVANCED BLUEGRASS MANDOLIN (Matt Flinner) involved tunes like “Aft er You’ve Gone” and “Cherokee,” various Django Th is class will focus on some advanced techniques in bluegrass mandolin. originals, and we’ll learn how to jazzify a blues progression. We’ll learn We’ll look at some standard bluegrass songs and start by playing them us- drills for changing chords smoothly and how to reduce tunes with tons of ing chord positions and double stops, and then gradually branch out into chords to a few basic tonalities, making them easier to memorize. Th ere will some other more modern approaches. Th e overall focus will be on giving be handouts for reference. In addition to your mandolin and pick, bring a students various options when they take solos and helping them branch out recording device. Familiarity with the harmonized scale and its resulting and improvise more eff ectively. numbering of chord functions(I-IV-V, ii-V-I, etc.) will be helpful. OLD-TIME/EARLY BLUEGRASS ADVANCED MANDOLIN (John Reischman) SWING/JAZZ MANDOLIN (Don Stiernberg) In this class, the emphasis will be on learning to keep the basics in mind, i.e., “Improvisation Workshop” When it’s your time for a break, do you feel like playing a song’s melody cleanly with good tone and timing. We will learn you’re actually improvising or playing the same things all the time? We’ll some fi ddle tunes and songs fr om the old-time repertoire. Th e fi ddle tunes broaden our soloing vocabulary by looking at phrases, patterns, and licks will show the proper right-hand picking patterns. Th e songs will incorporate that fi t with various harmonic situations, emphasizing color tones, connecting double stops. We will also look at the bluesy style of Bill Monroe and other chords, substitutions, and alterations helpful for players of all styles. We’ll 53

discuss melodic and harmonic approaches to soloing, how to get a swing feel- styles fr om various old-time fi ddle bowing techniques and ornaments. ing, and drills for playing fl owing lines over lengthy chord changes. We’ll play Other topics will include chording and melody ideas for participation in for each other and discuss which things sound good and why. Th ere will be an old-time string band ensemble, with side trips into ragtime/blues styles handouts including sample solos. We’ll also demystify nasty-looking chords and the mandolin of the early country music duets. Very simple tablature for and progressions as seen in fakebooks where “it looks like someone wrote G several of the tunes will be provided. A digital video and/or audio recorder and then their phone number aft er it” (G7#11b13, Gm7b5, etc). No need to are strongly recommended. be an advanced improviser, but you should know the fr etboard and be a bit familiar with numbered progressions. Bring your mandolin, your favorite CLASSICAL MANDOLIN BASICS (Caterina Lichtenberg) jam tunes, and questions about where you’re having trouble or looking for Th is class will bridge the gap between the folk mandolin and the early Ba- other options. Most importantly, bring your willingness to go for it – we’re roque and Classical mandolin composers. We will begin by working on the all going make mistakes, but in this laboratory no one gets hurt! fundamentals of sound production, then move on to some basic mandolin techniques that include cross-picking, some nice exercises and some wonderful INTERMEDIATE IRISH MANDOLIN & melodies. Lastly, we will work on coordination and speed, but we’ll keep the TENOR BANJO (David Surette) focus on having fun. Th e ability to read music will really help in this class. As a mando/banjo player in the world of Irish music, we are somewhere in that middle ground between melody and accompaniment. In this class we ADVANCED CLASSICAL MANDOLIN will address both roles, and the techniques needed to produce good results. TECHNIqUES (Caterina Lichtenberg) Topics include rhythmic grooves, chord voicings, unison playing, and tra- In this class we will focus on the Romantic and Contemporary periods, and ditional ornamentation. Repertoire will focus on tunes, but will include a the great Italian masters who pushed the mandolin art form to such a high song or two. Classes will be taught mainly by ear. Students are encouraged level. We will focus on developing a good tremolo and then move on to ‘Duo to bring an audio recorder, pen and notebook. Note: Tenor banjos should Style,’ where you play two parts at the same time. Th en we will break down be prepared for “Irish” tuning (GDAE), an octave below the mandolin. Th e the art of playing ‘harp arpeggios’ (cross-picking) techniques fr om these technical elements will be similar for both instruments. periods. Th e ability to read music will really help in this class. ADVANCED IRISH MANDOLIN & TENOR BANJO (David Surette) Th is class will focus primarily on melodic playing, ornamentation, and Banjo interpretation. Topics include traditional ornamentation styles, droning and self-accompaniment, improvisation, and arranging. Repertoire will focus on tunes, but will include a song or two. Classes will be taught INTERMEDIATE BLUEGRASS BANJO A (Alan Munde) mainly by ear. Students are encouraged to bring an audio recorder, pen In this class for intermediate players, we’ll analyze the solos of Earl Scruggs and notebook. Note: Tenor banjos should be prepared for “Irish” tuning on “Blue Ridge Cabin Home,” “Your Love is Like a Flower,” and “Little (GDAE), an octave below the mandolin. Th e technical elements will be Darlin’ Pal of Mine.” We’ll also learn how to play backup, by combining similar for both instruments. chord shapes, rolls, licks, and runs to produce quality bluegrass banjo ac- companiment, and learn to combine the rolls and melodies in a stylized MANDOLIN FOR THE fashion that produces bluegrass banjo solos. Tab will be provided, and use COMPLETE BEGINNER (Adam Tanner) of a small audio recorder is encouraged. (Class limit: 20) Th is class is for the fi rst-time mandolin player. Th e focus will be on learning proper right- and left -hand techniques to make the best sounds possible fr om ADVANCED BLUEGRASS BANJO A (Alan Munde) the mandolin while learning some simple fi ddle tunes and chords. Other Th is class for advanced players will cover fr etboard stratagems, or “How Do topics covered will be the importance of solid timing, expressing the feel of I Know Where to Put My Fingers?” by learning the names of the notes and a tune with rhythm, and how to seamlessly blend into a jam session even if where they are, diatonic chord systems, intervals, and much more. We’ll learn you don’t know the tunes. Tablature will be provided. A digital video and/ how to play in keys other than G without a capo, how to create beautiful or audio recording device is recommended. and interesting back-up and chord solos for slow songs, the melodic style of playing fi ddle tunes (and the diff erent way of viewing the fi ngerboard needed INTERMEDIATE/ADVANCED to perform them), and we’ll take a look at some of Alan’s original tunes OLD-TIME MANDOLIN (Adam Tanner) including “Peaches and Cream,” “Molly Bloom,” “Uncle Cooney Played the Prerequisites: Students should be able to play a few simple fi ddle tunes on Banjo,” and others. Tab will be provided, and use of a small audio recorder the mandolin in the keys of G, A, D and C, and the student should feel is encouraged. (Class limit: 20) comfortable picking up new musical information by ear. Th is class will start with a brief review of fundamental techniques that will enable you to be INTERMEDIATE BLUEGRASS BANJO B (Ned Luberecki) most comfortable with your instrument and help you to employ ergonomic Th is class will focus on learning by ear and creating banjo solos to songs, strategies to best transfer what you hear in your head onto your mandolin. beginning with the melody, then adding rolls and common banjo licks to Th e focus will be on playing the southern Appalachian fi ddle repertoire, keep the melody prominent while creating a solo of your own. Th en we’ll including tips for approaching melodies in settings in which the fi ddle is move on to “Jam Session Survival” where we’ll work on tips and tricks to tuned open (AEAE and other tunings), as well as borrowing sounds and “faking it” and playing solos to songs you’ve never played before. Th e class 54

will also work on “The Three T’s” timing, tone and taste in order to make note, brush, thumb, drop-thumb, and then combine them into the Clawgrass what you already know how to play sound better. Tab will be provided and right-hand roll patterns. We’ll also learn how to play more dynamically using audio recording is welcome. (Class limit: 20) clawhammer techniques in a group/ensemble using back-up clawhammer methods in support of other instruments. These back-up methods include advanced BLUEGRASS BANJO B (Ned Luberecki) using chord shapes, percussion (clawhammer/mando chop) and harmony/ In this class we will work on combining Scruggs, single-string and melodic counter melodies. Tab and handouts will be provided. Bring a capo, and styles to add flair to your solos without losing the drive or melody. We will the use of a small audio recorder and/or smart phone camera is encouraged. work on improving timing and tone with exercises designed to work on both. (Class limit: 20) We’ll explore playing in keys other than G without a capo (with an emphasis on C, D, E, F and even Bb). The class will also focus on improvising and advanced CLAWGRASS BANJO (Mark Johnson) unlocking the fingerboard by looking at chord and scale positions all over the In this class, we’ll learn banjo techniques to play more dynamically. We neck. Tab will be provided and audio recording is welcome. (Class limit: 20) will explore the tunes “Clinch Mountain Backstep” in an A-modal tuning and “Hard Times” in the key of D. For “Clinch Mountain Backstep,” we’ll INTERMEDIATE BANJO TECHNIQUES (Tony Trischka) learn how to play the melody in “lead and back-up form” in a hard-driving In this class, Tony will discuss the all-important concept of playing the ‘syl- Clawgrass banjo style and also learn to play backup using counter-melody. For lables’ of a tune. This is a Scruggs concept that allows you to play the real “Hard Times,” we’ll learn to play the melody more dynamically, at a medium melody of a tune. In the process you learn how to play solos up the neck and in tempo, using chord shapes in the “lead” and counter-melodies in the backup. different keys without a capo. The class will also cover tools for improvisation, Tab and handouts will be provided. Bring a capo, and the use of a small the ‘melodic’ style and the ‘single-string’ style. Tab will be provided. Please audio recorder and/or smart phone camera is encouraged. (Class limit: 20) bring an audio or video recording device. (Class limit: 20) CONTEMPLATIVE CLAWHAMMER (Steve Baughman) advanced BANJO TECHNIQUES (Tony Trischka) Clawhammer banjo is often loud and fast, so it is easy to forget that there This class will examine composition, so that you can fully explore your own is a contemplative side of the instrument. That is what we will explore in creative potential. The class will also cover advanced backup techniques as this class. We will spend some time immersing ourselves in a tuning called played by Earl Scruggs and JD Crowe. Advanced improvisatory techniques “trance tuning” and use it to play a new piece or two. We will also take such as those used by Trischka, Fleck, etc., will also be covered. Tab will be more standard tunes (and tunings) like “Brushy Fork at John’s Creek” and provided and an audio or video recording device is recommended. (Class slow them down to make them more meditative, but without losing the limit: 20) clawhammer groove. This will be both a repertoire class and a class that exposes people to the sensitive solo side of five-string banjo. CLAWHAMMER BASICS (Bob Carlin) In this class for those new to the style, learn everything you need to know CLAWHAMMER BELLS & WHISTLES (Steve Baughman) to get started with the down-stroking clawhammer style of banjo playing. In this intermediate to advanced class we will cover tricks like the Galax We’ll start with choosing an instrument appropriate for you and for the lick, the California roll and triplets and learn how to apply them tastefully clawhammer style, how to set up and adjust it and hold the instrument. to our repertoire. We will explore playing in odd times, taking something We’ll then go on to learn the basic right-hand strums and left-hand fingerings like say, Angeline the Baker, and putting it in 7/8 time. We will also learn and chords. Each day, we’ll tackle simple tunes and techniques to keep you a few unusual tunes in some exotic tunings. moving forward in your playing. Whether you are a novice, a bluegrasser that wants to add some clawhammer to their skill set or an old-time player that wants to touch up their technique, this class is for you. Guitar BANJO STYLES & STYLISTS (Bob Carlin) The banjo has a vibrant tradition, and this class for intermediate to intermediate SWING GUITAR (Tony Marcus) advanced players explores and celebrates the richness and diversity of This class will teach the use of moveable four-note chord voicings, with a old-time clawhammer banjo. Each day we will learn tunes of a different fairly small number of shapes that will allow students to accompany jazz/ region from a particular stylist. Day One will highlight Lee Hammonds swing standards. We’ll also work on right-hand strumming to lock into the of West Virginia. Day Two will cover the playing of Wade Ward from the propulsive 4/4 swing feel. You can expect to come away from the class with mountains of Virginia. African-American clawhammer from the Thompson enough information to play almost any song in any key. There’ll be lots of Family of the Triangle area of Piedmont North Carolina will be covered on playing in class! (Find this class in the Fiddle Week Schedule on page 47) Day Three, and the clawhammer of Fulton and Sidna Myers on Day Four. Finally, we’ll investigate my own playing and learn arrangements from my ADVANCED S W I NG GU I TA R (Tony Marcus) recording and performing. This class moves beyond the most common moveable chord shapes, expands the chord vocabulary and also gives an introduction into chord-melody play- INTERMEDIATE CLAWGRASS BANJO (Mark Johnson) ing. If you already have a good repertoire of three- or four-note chord forms, In this class for intermediate clawhammer banjo players, we will explore the this can move you to the next level. We may also talk a bit about single note melodies of “Angeline The Baker” in Double D tuning and “Old Joe Clark” soloing, though this is primarily a chord class. (Find this class in the Fiddle using the Clawgrass “roll patterns.” We will begin with a quick review of Week Schedule on page 47) basic clawhammer right-hand techniques (building blocks) of basic frailing: 55

mando & Banjo week, August 3-9, 2014

7:30-8:30 Breakfast Intermediate Intermediate Advanced The Art of Fiddle Tunes Intermediate Contemplative Bluegrass Guitar Banjo Bluegrass Bluegrass 9:00-10:15 the melody for mandolin Clawgrass Banjo Clawhammer Accompaniment Technique mandolin A Banjo A (Marshall) (Flinner) (Johnson) (Baughman) (Dodson) (Trischka) (Lester) (Munde) 10:15-10:45 Coffee/Tea Break

Advanced Intermediate Advanced The Art of the The Art of Intermediate Clawhammer Banjo Bluegrass Bluegrass Guitar 10:45-12:00 Groove Lyrical mandolin Bluegrass Banjo B Bells & whistles Technique mandolin B Accompaniment (Marshall) (Lester) (Luberecki) (Baughman) (Trischka) (Reischman) (Dodson) 12:00-1:00 Lunch

Advanced Intermediate mandolin for Intermediate Old-Time/ Advanced Classical Clawhammer Swing/Jazz Irish mandolin/ the Complete Bluegrass early Bluegrass Bluegrass 1:15-2:30 mandolin Basics Basics mandolin Tenor Banjo Beginner Banjo A mandolin Banjo B (Lichtenberg) (Carlin) (Stiernberg) (Surette) (Tanner) (Munde) (Reischman) (Luberecki)

Intermediate Advanced Advanced Intermediate/ Advanced Advanced Banjo Styles & Swing/Jazz Irish mandolin/ Bluegrass Advanced Classical mandolin 2:45-4:00 Clawgrass Banjo Stylists mandolin Tenor Banjo mandolin Old-Time mandolin Techniques (Johnson) (Carlin) (Stiernberg) (Surette) (Flinner) (Tanner) (Lichtenberg)

4:15-5:15 Luthiers exhibit, Band Sessions & Daily Bluegrass Jam (Dodson)

5:00-6:30 Supper

7:30- ? evening events (open mikes, concerts, dances, jam sessions, etc.)

BLUEGRASS GUITAR ACCOMPANIMENT (Ed Dodson) Th is class focuses on how to play powerful bluegrass rhythm guitar. We will iarity with fl atpicking and guitar chords, along with knowledge of guitar work on alternating-bass styles of playing as well as using bass runs and other tablature is highly recommended. While tablature will be provided for most motion within the chords to accent your vocals or the instrumentalists you’re techniques and songs covered in class, participants are strongly encouraged playing with. In addition to these basic building-block techniques, we will to bring recording devices to class as a memory aid, as we will be covering learn the rhythm accompaniment part to one bluegrass song or tune each day. some fairly challenging material. Th e class will present songs/tunes that allow you to see the rhythm patterns that work eff ectively in most of the fi rst position chord families. We will also discuss how to use a capo to get the song in a key to fi t your voice. All levels Other Events of participants are welcome. Familiarity with guitar chords and knowledge of guitar tablature is helpful, but not required. Participants are encouraged DAILY BLUEGRASS JAM (Ed Dodson) to bring recording devices to class and also encouraged to participate in the In the last hour before supper, Ed will lead a non-threatening bluegrass jam Bluegrass Jam that Ed will lead every aft ernoon, as a way to reinforce the for all levels and instruments. Come have fun channeling your inner Bill techniques learned in class as well as learn additional songs/tunes. Monroe! (No class limit) ADVANCED BLUEGRASS GUITAR LUTHIER’S EXHIBIT ACCOMPANIMENT (Ed Dodson) Th roughout the week we will feature several fi ne luthiers displaying instru- Th is course will delve into more advanced forms of bluegrass guitar rhythm ments, including Northfi eld Mandolins northfi eldinstruments.com, and playing. In addition to learning our way around the standard “boom-chuck” violin maker Jonathan Cooper jcooperviolinmaker.com. bass note and strum patterns that form the foundation of bluegrass rhythm guitar, we will explore more advanced moving bass lines, substitute chords BAND SESSIONS (staff ) and inversions, and even some basic three-note swing rhythm patterns to During the last hour before supper, there will be a special class time for students put some extra “sock” into your playing. Along the way, we’ll highlight the of any skill level to form bands, along with students fr om Fiddle Week. With concepts of harmonic theory and how to select chords and chord patterns to the guidance of instructors, band members arrange and rehearse with the strengthen the guitar’s support of the vocalist and instrumentalist. Famil- option of performing at the student showcase on Friday evening. (Sign up for band sessions at fi rst band meeting time, no advanced registration required.) 56

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1. Stop and think about what classes you wish to take. Do you really want to take a class in every period? Although our ‘open format’ allows students to take as many classes as the schedule will allow, many students find that one or two classes give them plenty to work on, and use the free periods for practice. Remember, also, that class size is limited to 15 unless indicated otherwise in the course descriptions, so out of consideration for others, “take all you want, but want all you take.” 2. You may register online by visiting our website and clicking on the ‘Register’ link. This is the fastest way to register, and since many of our classes fill up in a relatively short period of time, we recommend this method as giving you the best chance to get into the classes you want. Online registration goes live at 5pm, EST on Friday, March 7. 3. If you choose to use the print registration form, find the schedule for your week printed elsewhere in this catalog. 4. Referring to the schedule to avoid time conflicts, make your class selections and write them in the spaces provided under ‘Class Choices’ on the Registration form. 5. In the event that one or more of the classes you select are full, you may select Alternate classes, again using the schedule to avoid conflicts, and write them in the ‘Alternate’ spaces on the form. If you list Alternates for classes that are full, we will process your registration assigning you to your Alternate choices. 6. If one or more of your class selections is full, and you wish to have no Alternates, check the box indicated and we will notify you of the situation and await your instructions before we process your registration. 7. Cut out or photocopy the completed form, attach your payment, and mail or fax it to us at the address indicated. When your registration is processed, you will be notified of the amount received, any balance due, and the classes for which you are registered. Registrants will receive an information packet later in the spring. Classes will be assigned on a first-come, first-served basis. If you wish to make changes in your class choices, please notify us immediately. Students may switch after the first class meeting into another open class if they find they have made an inappropriate choice. The add/drop period ends at 6pm on Monday of each program week. After this ‘settling-in’ period, we expect students to remain in those classes, and we discourage dropping in and out of classes during the week.

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Tuition is $500 per week. This includes a deposit of $100 which is required for each week’s registration. Full payment is required by June 6 to guarantee your class choices. After that date, your class reservations will be unconfirmed until we receive your balance.If we are holding a space for you in a class that is full, and your balance is unpaid after June 6, we may release that space to another student. There is no deadline for class registrations. Registrations after June 6 for any remaining spaces must be accompanied by full payment. Some classes may require materials- or other fees as specified in the course descriptions and can be paid directly to the instructor upon arrival. Tuition for the Children’s Program for ages 6-12 during Traditional Song, Celtic, and Old-Time Weeks, is $175 per child per week (includes evening childcare), with a $25 deposit required. The Children’s Program also has an additional materials fee of $30 payable to the coordinator on arrival. Children must have turned 6 by July 1st to participate. No exceptions, please. Housing is $395 per week, and includes double occupancy accommodations for six nights, supper on Sunday, three buffet-style meals a day at the Gladfelter Student Center, and breakfast on Saturday at the end of the week. A limited number of single rooms are available at an additional fee of $155 for a total of $550. The college is catered by Sodexo (828-298-1041), and low-sodium and vegetarian meals are available. Those wishing to stay over on the Saturday night at week’s end may do so, space permittting, for a fee of $75. This does not include the cost of meals. No Saturday stayover on August 9. We cannot house those wishing to arrive a day early. Adults staying off-campus may purchase a meal ticket for$124 , and meal tickets for children under 12 may be purchased for $82. Meals may also be purchased individually. See the ‘Children’s Programs’ section on page 2 of this catalog for our policy regarding children’s housing. Some may find our hilly campus challenging, and students should give reasonable consideration to their ability to get around without assistance. Although we help where we can, we don’t have the resources to provide mobility assistance to all that require it. Those with special needs should include a detailed, written description of those needs with their registration. As long as space permits, a non-student may accompany an enrolled student and be housed with them in student dorms for payment of the $395 housing fee and an activities fee of $135, which allows admission to all events except classes. There is a $50 deposit required to register as a non-student. If possible, full payment with your registration is helpful and appreciated.

Cancellations and Refunds

The deposits are processing fees credited toward tuition and not student funds held in escrow, and are thus non-refundable and non-transferrable. Should an enrolled student need to cancel, we can refund all monies collected other than the deposits, if notified four weeks before the student’s program begins. No refunds other than the cost of meals ($124 for adults, $82 for children) can be made for cancellations within four weeks of the event. Sannanoa Gathering Registration Form PLEASE PRINT! Housing Name______Sex_____  I will require housing/meals.  I will require a meal ticket only. Address______I prefer to room with (name): ______.  I prefer a single room, if available (additional fee of $155) City______State/Prov.______Zip/Post Code______ I have special medical needs (please attach description) Country (if outside US) ______My age: List age if under 21 ______ 21-30  31-45  46-65  above 65 Primary Phone______Secondary Phone______Email______I am a  smoker  non-smoker  early bird  night owl Emergency contact (name & phone number): ______I am registering (#)______children in the Children’s Program (for ages 6-12) (NOTE: programs for children in Trad. Song, Celtic & Old-Time weeks only)  I prefer future communication by email only. Children’s names & ages ______ I will be bringing a vehicle (no motor homes please).  I am eligible for a special parking permit due to mobility impairment I am bringing (#)______additional children under the age of 12 not enrolled in the Children’s Program. Children’s names & ages ______NOTE: All attendees receive a list, with the home city, state and email (not phone), of program participants so that they might pursue friendships made at the Gathering. If I’m arriving by air; sign me up for the airport shuttle at  noon  3pm  5pm  you would prefer NOT to be included on this list, please check this box: My fl ight #s, arrival & departure times are: ______Please initial here to indicate that you have read and understand our policy on Cancellations and Refunds printed on pages 1 and 56: ______Fees Programs Amount previously paid: (deposit, etc.) $______

I would like to register for: Tuition - $500 per week (required deposit $100): $______Housing/meals - $395 (double occupancy, no deposit required): $______ Traditional Song Week, July 6-12 Housing/meals - $550 (single room, no deposit required): $______ Celtic Week, July 13-19 Non-student Activity Fee - $135 per week (required deposit $50): $______ Old-Time Music & Dance Week, July 20-26 Children’s Program total - $175 per week (required deposit $25): $______ Guitar Week, July 27-August 2 Meal ticket only - $124 adult; $82 per child per week: $______ Contemporary Folk Week, July 27-August 2 Other amount for ______: $______ Fiddle Week, August 3-9 Tax-free donations to Th e Swannanoa Gathering:  Mando & Banjo Week, August 3-9  Doug & Darcy Orr Endowment  Youth Scholarship Endowment $______ I am a non-student accompanying the following registered student: (student’s name)______ Greatest Needs Fund TOTAL enclosed $______ I am paying by Check (preferred) #: ______, or Money Order. CLASS CHOICES: or Period 1.______ VISA  MasterCard  American Express Period 2.______Name as it appears on card: ______Period 3.______Card #: ______- ______- ______- ______Exp. date:____/____ Period 4 .(if applicable) ______Security code (last 3 digits on reverse of card, or AmEx: last 4 digits on front): ______ No Alternates. Please notify me of full classes before processing my Tuition is $500 per week. Housing with meals is $395 per week. Non-students registration. accompanying students pay the Housing fee and a $135 Activities Fee. Th e deposits ALTERNATES: are required for registration and are non-refundable and non-transferable. Period 1.______Full payment required by June 6 to guarantee class choices. No deadline for registrations. Registrations aft er June 6 for any remaining spaces must be accompanied Period 2.______by full payment. Children’s Program is $175 per child per week. Please make checks Period 3.______payable to: “Th e Swannanoa Gathering”, and mail with this form to: Period 4 .(if applicable) ______Th e Swannanoa Gathering Phone/Fax: 828-298-3434 Warren Wilson College Email: [email protected] For information on admission to Warren Wilson College, PO Box 9000 Website: www.swangathering.com contact: [email protected] or 1-800-934-3536 Asheville, NC 28815-9000