1. education
2. graduate school
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HOUSING & MEALS
july 8 - August 11, 2012 at warren wilson college, ASHEVILLE, nc
The 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: The Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778
For college admission information contact: [email protected] or 1-800-934-3536
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Warren Wilson College
President Vice President and Dean of the College
Vice President for Administration and Finance
Vice President for Advancement & Dean of Admissions Dean of Student Life Dean of Service Learning
Dean of Work
CLASS INFORMATION
Dr. William S. Pfeiffer
Dr. Paula Garrett
Jonathan D. Ehrlich
Richard Blomgren
Deborah Myers
Cathy Kramer
Ian Robertson
the swannanoa gathering
Founder and President Emeritus Director Office Manager & Registrar
Logistics Coordinator
Housing Coordinator
Dorm Host
Coordinator, Traditional Song Week
Coordinator, Celtic Week
Coordinator, Old-Time Music & Dance Week
Coordinator, Guitar Week
Coordinator, Contemporary Folk Week
Coordinator, Fiddle Week
Coordinator, Mando & Banjo Week
Coordinator, Children’s Programs
Dr. Douglas M. Orr, Jr.
Jim Magill
Nicole Veilleux
Julia Weatherford
Stephanie Wallace
Amy McCuin
Julee Glaub
Jim Magill
Phil Jamison
Al Petteway
David Roth
Julia Weatherford
Jim Magill
Denisa Rullmoss
ADVISORY BOARD
David Holt, artist Fiona Ritchie, The Thistle & Shamrock
Art Menius, Common Ground on the Hill
David Wilcox, artist John McCutcheon, artist Barry Poss, Sugar Hill Records Jennifer Pickering, LEAF Festival Director
Tom Paxton, artist Dougie MacLean, artist
Tommy Sands, artist
Si Kahn, artist
Billy Edd Wheeler, artist Mick Moloney, artist MASTER MUSIC MAKER AWARDS
Ralph Blizard — 1996
Tom Paxton — 1996 Margaret Bennett — 1998
Fiona Ritchie — 2000
David Holt — 2001 Jean Ritchie — 2001 John McCutcheon — 2001
Séamus Connolly — 2002
Mike Seeger — 2003
Billy Jackson — 2004
Stranger Malone — 2005
Phil Jamison — 2008
Alice Gerrard — 2010
Cover design: Jim Magill from photos by Arlin Geyer.
The workshops take place at various sites around the Warren Wilson
campus and environs, (contact: [email protected] or 1-800-934-3536
for college admission information) including classrooms, Kittredge Theatre, our
Bryson Gym dancehall and campus Pavilion, the campus gardens and patios,
and our own jam session tents. Each year we offer over 150 classes. Students
are free to create their own curriculum from any of the classes in any programs
offered 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
recommended, and class selections are required for registration. We ask that
you be thoughtful in making your selections, since we will consider them to be
binding choices for which we will reserve you space. After the first class meeting, students may switch into another open class if they find they have made
an inappropriate choice, and are then expected to remain in those classes. We
discourage dropping in and out of classes during the week. Unless indicated in
the class descriptions, classes have a maximum of 15 students, and when those limits
are reached, classes will be closed and additional students waitlisted. Registration
is on a first-come, first-served basis. Look for updates and any corrections to
this catalog at our website.
Each week commences with supper, an orientation session, and
jam sessions and socializing on the Sunday before classes begin. Most classes
will meet for morning or afternoon sessions, Monday through Friday. Friday
evening’s activities will conclude the week. Some classes may also meet in the
evenings for performance critiques, rehearsals, or jam sessions. In addition to
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 ‘slow jams’, or tune-learning sessions. Check the program descriptions for
details. Several of our programs also feature staff members in concerts open
to the public. See the ‘Concerts’ page at our website for details. We will also
have several vendors on hand, including Michael Ginsburg (865-984-3803
or [email protected]), offering recordings and other staff items,
and Acoustic Corner (828-669-5162 or www.acoustic-corner.com), offering
instruments, rentals, accessories, books, and musical supplies. Those wishing
to rent instruments or special order items should contact Acoustic Corner in
advance. The Gathering has grown steadily since its inception, and we expect
growth to continue this year. Please note that although there is no deadline for
registrations, both class size and total enrollment are limited for each calendar
week, so early registration is encouraged. Our mountain campus is beautiful
but hilly, and those with physical problems may find it challenging. Before
registering, 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.
Our program’s ‘open’ format, which encourages students to take
several courses a day, allows a breadth of understanding of our folk traditions
seldom found in workshops of this type. For example, a fiddler may take a class
in her instrument in the morning, then, after lunch, a dance class that uses
tunes from her fiddle class, and a folklore class in the afternoon describing the
cultural context in which both tunes and dances developed. This may then
contribute to a more complete grasp of the nuances of the style during her
practice time, and a more authentic fiddle sound. We encourage all students
to come to Swannanoa with an open mind and a willingness to try something
new.
Students enrolled for instrumental instruction should provide their
own instruments, and most of our instructors encourage the use of small recording devices like tape- or digital recorders as a classroom memory aid. Students
wishing to record video of their classes will be required to obtain the permission
of the instructor prior to the first class meeting, and must sign a release form
stating that no commercial use will be made of any recorded materials, nor will
they be posted to any internet website. The Swannanoa Gathering reserves the
right to cancel, add, and/or substitute classes and personnel where necessary.
Call our office or visit our website for the latest program updates or corrections.
SKILL LEVELS
Our students come from all backgrounds and skill levels, from
complete beginners to serious hobbyists to professional musicians, and from
countries as varied as France, Colombia, Japan and Australia, as well as Canada
and all 50 states. Some class descriptions define required skills in detail, but
when the following terms appear, Beginner refers to those with no experience
at all, or those who play some but are not yet comfortable with the basics.
Intermediate students should have mastered basic skills, and be able to tune
their instruments, keep time, play the principal chords and scales cleanly, and
know how to play a few tunes with confidence (dancers should know basic steps
and figures, and how to lead and/or follow). Advanced students should be very
comfortable with their instruments and able to focus on style, arrangement and
ornamentation. Roman numerals after a class title indicate a difference in focus
or skill level of the same subject, while capital letters denote different 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
no age restrictions, but we require that all students, especially minors, be
sincerely interested in the subject and not a distraction to others.
TUITION
Tuition is $475 per week, which includes a deposit of $100 required
for registration. Full payment is required by June 8 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 8, we may release that space to another
student. If possible, full payment with your registration is helpful and appreciated. Registrations after June 8 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 should be paid directly to the instructor upon
arrival. Tuition for the Children’s Program during Traditional Song, Celtic,
and Old-Time Weeks is $170 per child per week (includes evening childcare
for ages 3-12), with a $25 deposit required. The Children’s Program also has
an additional materials fee of $30 payable to the coordinator on arrival.
If you’re considering joining us and are wondering what kind of
environment you can expect, just remember that the Swannanoa Gathering
is not a conference center or resort, but a music camp held on a college campus.
Remember camp? Remember college? Housing is available for students and
staff of the Swannanoa Gathering in the college dormitories. Rooms are doubleoccupancy with communal bath facilities. Small deposits for dorm keys and
meal cards will be required on arrival. Linens are provided, but students may
wish to bring extra items that will be listed in the Welcome Letter mailed to
registrants in May. Smoking is not permitted in or near any campus buildings.
No pets, please. Motor homes are not permitted on campus. The housing fee of
$370 includes a double occupancy room for six nights, supper on Sunday, three
buffet-style meals a day at the college cafeteria in 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 $150 for a total of $520. 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 if space is available for a fee of $75 per person. This does not include
the cost of meals. No Saturday stayover on August 11. We cannot house those
wishing to arrive a day early. Adults staying off-campus may purchase a meal
ticket for $119, and meal tickets for children under 12 may be purchased for
$77. Meals may also be purchased individually.
CONTENTS
Program Information .......................................................... Inside front cover
Traditional Song Week ................................................................................... 3
Celtic Week ................................................................................................... 10
Old-Time Music & Dance Week .................................................................. 20
Guitar Week .................................................................................................. 28
Contemporary Folk Week ............................................................................ 36
Fiddle Week ................................................................................................... 42
Mando & Banjo Week ................................................................................... 49
Registration form ................................................................. Inside back cover
As long as space permits, we will continue to allow non-students living
outside the Asheville area to accompany enrolled students and be housed with
them in student dorms for payment of the $370 housing fee and an activity
fee of $130, which allows admission to all events except classes. There 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 outside of
class – at mealtimes, in the evenings, at jam sessions and dances, all participants
are encouraged to be in residence on campus during the week if at all possible.
Those with special needs should include a detailed, written description of those
needs with their registration materials.
CANCELLATIONS AND REFUNDS
The deposits required for registration are processing fees credited
toward tuition and not student funds held in escrow, and are thus nonrefundable 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 his/her classes begin. No refunds other than the cost of meals ($119 for
adults, $77 for children) can be made within four weeks of the event.
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YOUTH SCHOLARSHIPS & endowments
CHILDREN’S PROGRAMS
Each year, we award Youth Scholarships for the cost of tuition and
housing in any of our programs to a number of promising young musicians and
dancers. These scholarships are funded entirely by donations from our participants. Several of these scholarships are memorial scholarships awarded during
Celtic Week in memory of Tony Cuffe and Regis Malady, during Old-Time
Week in memory of Ralph Blizard and during Contemporary Folk, Fiddle
or Traditional Song Weeks in memory of Freyda Epstein, our dear friends
and long-time staff members. Several additional scholarships are sponsored
by the Charlotte Folk Society, Tosco Music Parties and the Kerrville Folk Festival. Other individuals and organizations are also welcome to sponsor Youth
Scholars. Contact our office for details. Applicants should be under the age of
22 during the week they are applying for, and should submit by April 1 a selfwritten letter of request for the specific week desired, giving background and
contact information, including the applicant’s age, prior musical experience and
stating why (s)he should receive a scholarship, plus a letter of recommendation
from a mentor or other individual knowledgeable in the applicant’s area of folk
music or dance. Please do not send 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.
The Doug & Darcy Orr Music Fund is an endowment fund established to provide long-term financial support for the work of the Swannanoa
Gathering now, and for decades to come. Originally established with a generous
gift from one of our workshop participants, interest from the fund provides
financial support for the program where it is most needed. Tax-free contributions to the Doug & Darcy Orr Music Fund and/or for our Youth Scholarship
fund are welcomed and may be included on the registration form.
We encourage those bringing children aged 6-12 during our Traditional Song, Celtic, and Old-Time Weeks to take advantage of the Children’s
Programs described in the catalog, but remember, space is limited. Children
must have turned 6 by July 1st to participate. No exceptions, please. Program
activities are scheduled during class periods, and parents are responsible for their
children at all other times. Evening childcare will be provided for ages 3-12 at no
additional cost. Those bringing children should indicate so on their registration
form. Children under 12 may stay in a room with two adults, at least one of
whom is a registered student, at no charge, other than the cost of meals. Our
rooms contain no more than two beds, so the accompanying adult must provide
each child’s bedding (cot, air mattress, etc.), and both adults must request the
arrangement. In the case of a single adult with child(ren), they will be housed
together and charged an additional $150 for the week as long as space permits.
SERFA
The Swannanoa Gathering is a member of Folk Alliance International,
www.folk.org, and its regional affiliate, the Southeast Regional Folk Alliance
(SERFA), whose mission is to “preserve, promote, develop and celebrate the
diverse heritage of roots and indigenous music, dance, storytelling and related
arts of the southeastern US.” By special arrangement with SERFA, one of our
attendees in each week of the Gathering will win a free registration for two to
the annual SERFA conference in May of 2013. Visit SERFA’s website to learn
more about this great organization: www.serfa.org.
SOCIAL EVENTS
In addition to scheduled classes, each week’s activities may include
concerts by staff instructors, evening dances, song swaps, ‘slow jam’ sessions,
open mikes and informal pickin’ parties. Some concerts and dances will be
open to the public. The College’s facilities include a gymnasium, weight room,
aquatic center and tennis courts, as well as a pond, nature trails, and a working
farm. There are also a number of nearby scenic attractions, including historic
Asheville and Black Mountain, the Biltmore Estate, the Blue Ridge Parkway,
Folk Art Center, Pisgah National Forest, Great Smokies National Park and
Mount Mitchell, the tallest peak in the eastern U.S.
COURSE CREDIT
The North Carolina Department of Public Instruction has allowed
three hours of Teaching Certificate Renewal Credit for each week of the Swannanoa Gathering. Interested teachers should contact their local school board
for prior approval.
AIRPORT SHUTTLE
For those travelling by air, we can offer free airport shuttle service
only at the following times:
SUN. shuttle departs the Asheville airport for the College at noon, 3 pm and 5 pm.
SAT. shuttle departs the College for the Asheville airport at 9 am and noon.
Shuttle space is limited and available on a first-come, first-served basis. Other
commercial transport to and from the College is available at the Asheville
Regional Airport. Drive time between the College and the Asheville Airport is
approximately 30 minutes. Please make your travel plans accordingly, and note
your flight info and desired shuttle times on your registration form, or contact us
so we know who to expect on each shuttle run. Those staying over on Saturday
may make arrangements to ride out to the airport on the Sunday shuttles.
HOW TO GET HERE
The Asheville-Swannanoa area is easily reached by car from the east
and west by I- 40, and from the north and south by I- 26. From I- 40, take exit
55, and go north a quarter mile to Hwy 70. Go east approximately 1.6 miles to
the next stoplight. Turn left onto Warren Wilson Rd. and go 1.4 miles to the
College. US Airways, Continental, Delta, AirTran and United provide daily
service to the Asheville Regional Airport, located just south of Asheville.
For those wishing to find or share a ride to the Swannanoa Gathering, please visit the ‘Rideshare’ page at our website. It’s a great way to meet new
friends.
TraditionalSong
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raditional 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, finally, is a place where you can develop and grow in confidence 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 fifth year, Traditional Song Week is proud to present a gathering of highly influential singers and musicians who have remained devoted over
the years to preserving and promoting traditional song. We welcome for the first time to the Gathering, all the way from Scotland, Jean Redpath, who joins
us as she celebrates her 50th anniversary year in performing traditional songs. The Community Gathering time each day will highlight a special presentation
by several legends of our day including Jean Redpath, bluegrass pioneer Dr. Ralph Stanley, Bobby Horton (the musical mastermind behind many of the Ken
Burns’ films), our treasured North Carolina ballad singer and dulcimer player Betty Smith, as well as collector, singer, author and voice from Ireland, Aidan
O’Hara, who has collected the largest group of traditional songs from Newfoundland. This year, Bobby Horton, one of our country’s most honored collectors
of Civil War songs, will present a special evening concert of songs and stories from the Civil War, dressed as a soldier and playing his banjo. We’ll also feature
classes in bluegrass (taught by six-time IBMA Female Vocalist of the Year, Dale Ann Bradley), American roots, gospel, cowboy songs and yodeling (taught by
the finest yodeler on the Grand Ole Opry, Ranger Doug), songs from Ontario and Newfoundland, Ireland, Scotland and England, North Carolina mountain
ballads, songs from the Ozarks, music theory and ear training, finding your voice and choosing your songs, shape-note singing, duet harmony, community
singing, songs from Robert Burns and Stephen Foster, singing with the guitar and the dulcimer and more! The week will also feature afternoon workshops in
connecting song and dance as well as children’s songs, nightly concerts and singing sessions, the Old Farmers Ball dance, a Country & Western song and dance
night, a children’s program, ample opportunities to mix with other singers, and midday Community Gathering times.
RANGER DOUG
Guitarist Ranger Doug, “Governor of the Great
State of Rhythm” and “Idol of American Youth” is
best known as the lead singer with Riders in the Sky,
the multiple Grammy-winning cowboy quartet and
members of the Grand Ol’ Opry, the Western Music
Association’s Hall of Fame, the Country Music Foundation’s Walkway of Stars, and the Walk of Western
Stars. While remaining true to the integrity of Western music, they have themselves become modern-day
icons by branding the genre with their own legendary
wacky humor and way-out Western wit, and all along encouraging buckaroos and buckarettes to live life “The Cowboy Way!” A yodeler of breathtaking technique, Ranger
Doug is also an award-winning Western music songwriter in his own right – and a
distinguished music historian whose 2002 Vanderbilt University Press book, Singing
in the Saddle, was the first comprehensive look at the singing cowboy phenomenon that
swept the country in the 1930s. In 2006, Ranger Doug’s Classic Cowboy Corral debuted
on XM Satellite Radio, still heard weekly on SiriusXM Channel 56. During more than
thirty years with the Riders, he has chalked up over 6100 concert appearances in all 50
states and 10 countries, appearing in venues everywhere from the Nashville National
Guard Armory to Carnegie Hall, and from the White House and county fairs to the
Hollywood Bowl. www.ridersinthesky.com
ED MILLER
From the folk clubs of Scotland in the 1960s and 70s to the
festivals, coffeehouses and music camps of America, Ed Miller
has steadily established himself as one of the finest Scottish
singers of both contemporary and traditional songs. He has
been a regular staff member of Swannanoa’s Celtic Week for
more than a decade, where his love and knowledge of Scots
song, paired with a droll sense of humor, made him an excellent and popular teacher. Originally from Edinburgh, Ed has
been based in Austin, TX for many years, where he received a PhD in Folklore from the
University of Texas, but over the past 20 years he has gradually moved from academia
to full-time performing. He also hosts a folk music show on KUT-FM in Austin, leads
folk music tours to Scotland each summer, and has released eight CDs of traditional
and contemporary Scottish song, including his most recent, Lyrics of Gold, a collection
of Robert Burns songs. www.songsofscotland.com
KIM & REGGIE HARRIS
Born and raised in Philadelphia, a city rich in
cultural and musical heritage, Kim & Reggie were
both exposed from an early age to a wide range of
musical styles, and developed a love for music that
was nurtured in the home and reinforced in their
churches and schools. They began performing
together while in college, got married and began
a musical life that, for nearly thirty years, has kept
them on the move, playing nearly 200 dates a year at colleges, universities and large
& small venues throughout the world. Their eleven albums and various compilations
showcase their efforts to blend artistic excellence with an extraordinary commitment
to issues of peace, justice and equality. They have composed and arranged for TV,
radio, and multimedia projects, and are featured artists for The World of Music, an
educational music series published by Silver Burdett/Ginn. They are also featured
presenters for the Kennedy Center for the Performing Arts Workshop Program,
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providing teacher-training workshops and arts events encouraging the use of the arts
and music as teaching tools in the classroom. The Harris’ most recent release, Get On
Board: Underground Railroad and Civil Rights Freedom Songs, Vol. 2, is a follow-up to
their heralded 1997 release, Steal Away. Using the timeless theme of music as a tool of
freedom, Get On Board! traces the African American path to equality with the help of
a number of special musical guests, including Bernice Johnson Reagon, Danny Glover,
Guy Davis, Cathy Fink & Marcy Marxer and Peter Yarrow. www.kimandreggie.com
DALE ANN BRADLEY
Dale Ann Bradley is a four-time winner of the International Bluegrass Music Association’s (IBMA)
Female Vocalist of the Year award, and has been
hailed by Alison Krauss and Ricky Skaggs as one of
the greatest vocalists in country and bluegrass music.
“Loretta Lynn had it easy compared to how I grew
up,” reflects Dale Ann on her rustic origins in the hills
of east Kentucky as the daughter of a coal miner and
Primitive Baptist preacher who allowed no musical
instruments in his services. She grew up in a self-described “backwoods holler” down
a rural road where electricity and running water weren’t available until she was in high
school – something she has more in common with the first generation of bluegrass than
her contemporaries in today’s scene. A former New Coon Creek Girl and mainstay at
Kentucky’s Renfro Valley Barn Dance, she is known for her distinctive, gentle vocal
phrasing and roots-music style covers of popular songs by artists such as U2, Gordon
Lightfoot, Jim Croce, and Stealer’s Wheel, as well as classic bluegrass songs. Her solo
debut, East Kentucky Morning, was chosen as an Editor’s Pick at Billboard, and in the
eight solo CDs that followed, her mountain soprano has been called “shimmering”
(The Washington Post), “angelic” (Billboard), and “exceptional” (Bluegrass Unlimited). www.daleann.com
julee glaub Weems
Julee Glaub, the Coordinator of Traditional Song Week,
is a North Carolina native who studied literature and
music at Wake Forest University before following her
longstanding interest in Irish culture to work with the
poor in Dublin. For nearly seven years, she continued
her work in Dublin while sitting at the feet of master
players and singers, absorbing all she could. She credits
the combination of material from older singers and from
the Traditional Music Archive, and her experiences in
working with poor and working people in Dublin as the
major inspirations for her ballad singing. Upon returning
home, she became involved in the Irish music scene here in the states and has become
recognized as a leading interpreter of Irish songs in America. She lived in the Northeast
for seven years in order to be closer to the heartbeat of Irish music in America in the
major Irish-American enclaves in Boston and New York, and performed with the band
Séad (Brian Conway, Brendan Dolan, and Jerry O’Sullivan) with whom she still performs
from time to time, as well as with Pete Sutherland, Dáithí Sproule, and Tony Ellis. Her
latest solo release, Blue Waltz, explores her interest in the connections between Irish
and Appalachian song and has been featured on NPR’s Thistle and Shamrock, hosted
by Fiona Ritchie. Now based in Durham, NC, she and 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, Schloss Mittersill Arts Conference
in Austria, the Swannanoa Gathering’s Celtic Week, Camp Little Windows and various camps and festivals throughout the US. Julee’s approach to music goes beyond its
entertainment aspect to focus on the spiritual and emotional wealth that traditional
music has to offer to the world. For her, Traditional Song Week is a long-awaited dream
come true. www.juleeglaub.com
Brían Ó hAirt
Born in St. Louis to parents from rural southern Indiana,
Brían Ó hAirt grew up well-exposed to the older dance music
and ballads of the Ozark Plateau and Ohio River Basin as well
as those further east in Appalachia. Inspired by the ballad
singing of Almeda Riddle, Buell Kazee, ‘Tom’ Clarence Ashley
and Lotus Dickey, Brían was later drawn into the deeper ballad
traditions of Ireland and Scotland. His university career took
him to Ireland, where he earned postgraduate degrees from
the University of Limerick and the National University of Ireland in Galway. While
there, he also studied Irish Gaelic through immersion in the Irish-speaking communities
of southern Connemara and Muskerry at the borders of counties Kerry and Cork, where
he honed his skills at singing in the sean-nós style. While in Ireland he was also exposed
to Scots Gaelic singing and quickly became adept at the singing style of the Western
Isles. These sister traditions encompass a host of work songs, love songs, night visiting
songs, laments, lullabies and more, dating from the medieval bardic traditions to the
lay poets and songsmiths of recent history. Brían currently tours with his band, Bua,
an Irish traditional music quartet based in Chicago, and with his well-known singing
partner, Len Graham from Co. Antrim. He has taught extensively in North America and
Ireland for various festivals and music camps including the Catskills Irish Arts Week,
the Milwaukee Irish Festival Summer School, the Grand Canyon Celtic Arts Academy,
Old Songs Festival, BLAS International Summer School of Irish Traditional Music &
Dance, the Goderich Celtic Roots festival, and last year at Swannanoa.
mark weems
Mark Weems hails from North Carolina and plays guitar,
old-time banjo, fiddle, and piano, but is best known as a singer
and composer. A well-known figure on the North Carolina
traditional country and old-time scene for nearly ten years,
he has been singing and studying the nuances of all types of
country music for over twenty years as a veteran of the Stillhouse Bottom Band, the Weems-Gerrard 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” and “a gifted composer of timeless music.” He
now tours internationally with his wife, Julee Glaub, as the duo Little Windows, which
performs a mix of Irish, Appalachian, old-time Country and Gospel, and traditionally
based originals. Mark’s music has been highlighted on NPR’s The Thistle & Shamrock,
and The State of Things, and he has recorded and/or performed with Joe Adams (Johnny
Paycheck), Tony Ellis (Bill Monroe), Carl Jones (Norman Blake), Daithi Sproule (Altan),
Pete Sutherland (Metamora), and Alice Gerrard (Hazel and Alice). In 2009, he and
Julee created the North Carolina School of Traditional Music. Located in Durham,
the school facilitates the local dissemination of the Celtic and Appalachian musical
traditions of our state by means of private and group lessons, camps, workshops, and
a House Concert Series. Mark has taught master classes at the Irish Arts week in New
York, at the Alaska Traditional Music Camp, and at his and Julee’s own camp – Camp
Little Windows. www.littlewindows.net
MATT WATROBA
There are few that can boast a first-name-basis relationship
with almost all of the major folk musicians in the North
American continent, as well as a comprehensive grasp of
the folk music genre both past and present. One who can
is teacher, writer and performer, Matt Watroba. His love
of folk, roots and traditional music led him to his position
as the 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 across the country and on XM Satellite Radio. He was awarded “Best Overall
Folk Performer” by the Detroit Music Awards for the year 2000, and his long list of
credits include the prestigious Ann Arbor Folk Festival, The Old Songs Festival, the New
Jersey Folk Weekend, Louisville’s Kentucky Music Weekend, The Fox Valley Festival and
hundreds of school and community presentations throughout the Great Lakes Region.
He has interviewed and performed with hundreds of performers including Pete Seeger,
Odetta, Charlie Louvin, and Jean Ritchie. In addition, Matt’s musical partnership with
the Rev. Robert Jones has created one of the most sought-after and unique educational
experiences available in the country today. Matt is currently a full-time producer and
host at folkalley.com www.folkslikeus.org
RALPH STANLEY
Now 81 years old, Stanley has been performing professionally since he and his older brother, Carter, formed
a band in their native southwestern Virginia in 1946.
Between that date and 1966, when Carter died, the
Stanley Brothers and the Clinch Mountain Boys became one of the most celebrated bluegrass groups in the
world, rivaling in popularity such titans as Bill Monroe
and Flatt & Scruggs. After Carter’s death, Stanley
shifted the band’s musical emphasis from hard-driving
bluegrass to an older, sadder, less adorned mountain
style. As a bandleader, he nourished such young and promising talents as Ricky Skaggs,
Keith Whitley, Larry Sparks and Charlie Sizemore, all of whom eventually graduated to
distinguished solo careers. In 2003, he shared with his friend Jim Lauderdale a Grammy
for “Best Bluegrass Album.” The year before that, he won Grammys for “Best Country
Male Vocalist Performance” and “Album of the Year” for his part in the O Brother,
Where Art Thou? collection. In 2001, he was the subject of an admiring profile in the
New Yorker, written by novelist David Gates, who traveled with Stanley for months
gathering material. He is the central figure in the D. A. Pennebaker/Chris Hegedus
2000 documentary, Down From The Mountain. www.drralphstanley.com
MATT WOJCIK
Matt Wojcik has been singing and leading Sacred
Harp and shape-note music for over fifteen years. A
dynamic and engaging teacher, he has led beginning
and advanced workshops, as well as traditional Sacred
Harp singing schools across the U.S. and in England.
Matt has a particular skill at introducing new singers to
this vibrant, thrilling musical tradition, which has its
roots in colonial New England and a living tradition
across the South. He’s an active participant at Sacred
Harp singings, has toured with the renowned group, Northern Harmony, in Europe
and across the US, and was a frequent director at Village Harmony’s singing summer
camp for teens. For several years, he has led the shape-note workshops at the Old Songs
Festival. Matt has also sung in Tony Trischka’s Christmas show, Glory Shown Around,
as part of Northampton Harmony.
AIDAN O’HARA
Born in County Donegal in the northeast of Ireland, broadcaster and writer Aidan O’Hara, has worked as a presenter and
producer for over 45 years with RTÉ (Irish national broadcasting) and CBC (Canadian national broadcasting), and now
lives in County Longford. His programs and documentaries
in English and Gaelic include many on the traditional music
of Ireland and Newfoundland, Canada. His biography of the ‘come-all-ye’ singer and
song collector, Delia Murphy, I’ll Live ‘Til I Die, was published 1997. His story of the
Irish in Newfoundland, Na Gaeil i dTalamh an Éisc, won the Oireachtas ‘97 literary
award for a work in prose, and was nominated for The Irish Times Literature Prize in
1999. He is currently writing a book on the Irish in the era of the American Civil War,
and is a contributor to another book marking the Irish involvement in that war; it will
be published next year by the Irish Academic Press. He writes for Irish Music magazine,
and contributes to journals and publications on subjects that include traditional music
and history. Aidan served as Vice-President of the Newfoundland Folk Arts Council
in the mid-1970s, and was co-founder of the Newfoundland Folk Festival (1977) and
its director for the first two years. He and his wife, Joyce, have been singing together –
mainly for fun – for 49 years.
SHIRLEY SMITH
Shirley Smith’s love for music was quite evident at an early age, and
she was only three years old when her parents invested in her love
for the piano. Basic piano lessons evolved into an elaborate study of
music and theory, and eventually, she could skillfully sing, and play
the piano, organ, violin, and even the harp. Shirley was the original
music director for T.J. Hemphill’s gospel stage play, Perilous Times,
and has played extensively for Pastor William H. Murphy, III and The
Dream Center Church, Atlanta, Georgia. She has taught at the Augusta Blues Festival
in Elkins, WV, the Country Blues Festival for Centrum in Port Townsend, WA, and
in 2008 performed at the Blues to Bop Music Festival in Lugano, Switzerland. Her
debut CD, entitled In Hymn We Trust, received favorable reviews abroad as well as in
the premier jazz magazine, Downbeat. She served as the Assistant Vocal Liaison on the
planning board of the 2011 Gospel Heritage Praise & Worship Conference, and serves
as the Minister of Music at The Potter’s House Christian Fellowship in Jacksonville,
FL, where she also gives private instruction in vocal coaching and keyboard lessons at
her own music school. Now based in Detroit, she offers vocal coaching when she is in
town, and travels the world training worship teams.
ANNE LOUGH
Anne Lough is a nationally-known traditional musician,
equally at home on the autoharp, guitar, and mountain
and hammered dulcimers. Anne holds a Music Education degree from Murray State University, and a Master’s
of Music Education from Western Carolina University.
Dedicated to the preservation of traditional music, stories
and folklore, she has, for the past twenty years, devoted
herself to festivals, workshops, Road Scholar programs,
performances and school residencies. She has been a
regular instructor for the past twenty-one years at the prestigious John C. Campbell
Folk School and has taught at the Augusta Heritage Dulcimer Week, the Gathering’s
Dulcimer Week, Western Carolina Dulcimer Week, and numerous other festivals and
workshops throughout the country. Anne has several recordings and over ten books of
dulcimer arrangements to her credit, including Old Time Hymns and Gospel Songs for
the Mountain Dulcimer published by Mel Bay. www.annelough.com
BETTY SMITH
Betty Smith has performed, taught, and shared the
traditional music of the South on mountain dulcimer
and psaltery for over forty years in classrooms, concert
halls, workshops, and festivals. She has been honored
by the Appalachian Writers Association, the North
Carolina Folklore Society, and received the Bascom
Lamar Lunsford Award for “significant contributions
to Appalachian music”. Her book, Jane Hicks Gentry:
A Singer Among Singers (University Press of Kentucky) was awarded the Willie
Parker Peace History Book Award by the North Carolina Society of Historians. www.bettysmithballads.com
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JOSH GOFORTH
Josh learned to play fiddle from legendary fiddlers Gordon and
Arvil Freeman in his native Madison County, NC. A highly accomplished oldtime, bluegrass, and swing musician, he attended
East Tennessee State University to study music education, and
to be a part of ETSU’s famous Bluegrass and Country Music
Program. His fiddling was featured in the movie Songcatcher, both
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
Appalachian Trail, the Josh Goforth Trio, and Josh Goforth and the New Direction.
He has shared stages with Ricky Skaggs, Bryan Sutton, The Yonder Mountain String
Band, Open Road, and The Steep Canyon Rangers, performed throughout the US,
Europe, and in Japan. In 2000, 2003, and 2005, he was named Fiddler of the Festival at
Fiddler’s Grove and, after winning the third title, was designated “Master Fiddler” and
retired from that competition. He was nominated for a Grammy for his 2009 release
with David Holt, entitled Cutting Loose.
BOBBY HORTON
Bobby Horton was born and raised in Birmingham, Alabama, and his life-long passion for music and history began
at an early age. Most of the men in his young life were World
War II veterans, and as he listened to their war stories he
soon made the connection between these stories and the
content of his school history books. When he was nine years
old the United States celebrated the Centennial of the Civil
War, which brought the Civil War to the forefront of his interest and his love of history
became deeply rooted. In 1984, Horton was asked to produce the score for a feature film
set in 1863 in Southern Indiana. While researching music from the mid 19th century,
he uncovered literally thousands of tunes from that period. Combining his passion for
music and Civil War history, he began recording what has now become fourteen volumes
of authentic Civil War tunes, playing all of the period-era instruments and singing all
the parts himself. This led to a career in film scoring and a live presentation of these
songs with the stories that accompany them. Multi-instrumentalist, composer, producer,
performer and music historian, Bobby is widely recognized as one of the country’s leading
authorities of music from the Civil War period. He has produced and performed music
scores for ten PBS films by Ken Burns including The Civil War, and Baseball, two films
for The A&E Network, and sixteen films for The National Park Service.
DENISA RULLMOSS
Denisa (“Queen D” to kids everywhere) will once
again bring her high-spirited, creative energies to the
Swannanoa Gathering. She is a multi-talented and innovative organizer who has managed to retain a child’s
viewpoint on the world. Just ask any kid Denisa’s real
age and you will be told “she’s 8 years old of course...
because of the magic spell cast upon her!” Denisa is the
Director (and creator) of the LEAFlet Kids Village at
the Lake Eden Arts Festival (LEAF) and the Owner/
Director of Owls Nest - After School Care. Puppet
theatres, costume tents, instrument petting zoos, and booking kid/family bands are all
in a day’s work, along with pie fights, leading parades, parachutes, bubbles, squirt guns
and a humongous collection of silly and traditional camp songs! She provides wild &
wacky games and activities for families and kids everywhere. As a children’s arts & games
specialist, Denisa is thrilled to bring her zany songs, awesome crafts and good times to
the Gathering for the 19th year, as she teaches and coordinates the Children’s Program
during Traditional Song, Celtic and Old-Time Weeks.
Scotland’s National Bard wrote twice as many songs as poems and dedicated
the last nine years of his short life to the music and song of Scotland. He collected, cobbled, re-wrote and created well over 300 songs, and in this course
we’ll sing a few of his familiar ones and offer a selection of the gems that are
seldom heard. In the course of the week we’ll see the documentary film, Tree of
Liberty, which was made of the late Serge Hovey and his mammoth project
to research and record all of the songs and melodies of Burns. The scope of
this material is vast and covers everything from eight-line fragments to the
big ballads. Texts will be provided.
SCOTTISH BALLADS (Ed Miller)
Why you sing them is more important than how you sing them. The appeal of
a good story is ageless and the emotions are universal. Many of these stories
are alive and well in Appalachia, some never left their place of origin, but
somewhere in the course of the week you will find the tunes you can’t forget,
and the story lines you have to sing. The emphasis is on oral transmission,
but sources will be noted, and texts provided when requested. A tape recorder
is recommended. Whether you are looking to use the material in formal
performance, or sing them for your own pleasure, this is the ideal place to
give voice to the tale. If you can talk, you can sing, songs are easy to carry
with you, and if we don’t sing them, who will?
A HISTORY OF WESTERN MUSIC (Ranger Doug)
This class will look at the entire span of what we call western (or cowboy)
music, from the songs of the 1820s and 1840s through the early cowboy songs
of the 1880s then on through the first recordings of the 1920s, through the
glamorous movie era of the 1930s and 1940s on through the Marty Robbins
revival of the late 1950s and the Riders In The Sky revival of the 1980s to
present. There will be plenty of audio and visual examples, but students
will be expected to select and learn songs from all eras as well as listen to
them. (No class limit)
CLASSIC WESTERN SONGS,
OLD AND NEW (Ranger Doug)
This class will explore the folk songs which preceded the singing cowboy era,
and the classic songs of Bob Nolan, Tim Spencer, Stan Jones, and Andy Parker
(and others) which will be discussed and dissected, and, of course, learned.
What makes those songs great and timeless? We’ll study them carefully and
take them apart and try to see what makes them different from other folk
styles. Modern songs may be included, for the tradition continues, but the
emphasis will be on learning from “Tumbling Tumbleweeds” and other
classics of the genre. And yes, learning to yodel will be encouraged!
BLUEGRASS HARMONY SINGING (Dale Ann Bradley)
Bluegrass harmony singing is one of the characteristics that sets this genre
apart. Phrasing with other singers is very important, including inflections
with vocal movements within the chord to provide heartfelt, hair-raising
tones and emotion. We’ll break into groups to match ranges and tones and
use different vocal ‘stacks’ such as traditional lead, baritone and tenor, or
high lead, high baritone and low tenor. Combining male and female voices
will provide some interesting harmonies.
BLUEGRASS LEAD SINGING (Dale Ann Bradley)

ROBERT BURNS:
WHAT HE DIDN’T KNOW ABOUT SCOTTISH SONG
WASN’T WORTH KNOWING (Ed Miller)
by GIA Publications, as well as compositions and arrangements from Kim
and Reggie’s performing repertoire. It will be an empowering, inclusive,
joyful experience for all. (No class limit)
SING TO FREEDOM: THE SONGS OF THE
UNDERGROUND RAILROAD (Kim and Reggie Harris)
The music of the Underground Railroad is one of the most fascinating chapters
of American history, and the songs that evolved from that period inspire
people today as much as they provided opportunities for freedom in the 1800s.
Join renowned musicians Kim and Reggie Harris in a vibrant song-filled
exploration of that great network of passengers, conductors, shepherds and
stationmasters on the Freedom Train. We will sing the spirituals like “Wade
in the Water,” “Get on Board,” “Steal Away” and many others as Kim and
Reggie share information, stories and context of these inspirational songs
of faith and freedom. “Get on board... Children, Children... There’s room
for many a more!” (No class limit)
WELCOME TABLE: SONGS OF HOPE
IN THE CHORAL TRADITION (Kim and Reggie Harris)
Kim and Reggie Harris lead this workshop for singers and would-be singers
with songs both secular and sacred in the choral tradition. From spirituals,
chants and hymns to songs in the world music canon... to contemporary
songs with an “old soul”, this course will be an experience of collaboration
in a safe singing environment. Using written music sources and also teaching by ear, we will raise our voices in harmony to create a week-long vocal
celebration, singing together in the spirit of community. As one of the features
of the week, we will be singing sections from Kim’s Welcome Table Mass of
Spirituals (the foundation of her PhD) that was recently chosen for release
Good lead singing is a must for successful bands of any genre. Bluegrass lead
singing must set the foundation for trio/duet settings, and the lead singer
needs good pitch, phrasing, tone and a keen sensitivity for the song. Some
of the key lead singers we’ll examine from bluegrass history will be Carter
Stanley, Charlie Waller, and Russell Moore, and we’ll dissect their styles in
class, using a performance-then-Q&A approach.
UNIQUE BACK-UP GUITAR FOR
THE TRADITIONAL SINGER (Josh Goforth)
come naturally?” Well, this class is for you! We will explore the advantages
of visual and aural learning in traditional music. No experience or formal
music training necessary! This is a good way to get pleasantly thrown into
the deep end of music theory and ear training basics.
CHOICES: HOW TO GET THE MOST
OUT OF THE SONGS YOU SING (Matt Watroba)
Bringing traditional songs alive is all about choices. In this interactive class,
Matt Watroba will show you the choices great singers make to get the most
out of a song. Participants will then be encouraged to apply what they’ve
learned to the songs they choose to sing. This workshop promises to be a safe,
friendly place where beginners and professionals alike will benefit from the
wisdom of the instructor and the group. Phrasing, style and performance
techniques are just a few of the areas this class will explore on the way to
wowing any audience with the power of traditional music.
COMMUNITY SINGING:
FOR THE SAKE OF THE SONG (Matt Watroba)
This class will be all about the singing and the song. This will be an opportunity for you to learn what you need to know to unleash the power of song
in your community. Matt will share his experience as a song leader and
community performer by teaching and leading a wide variety of songs in
a wide variety of styles. After learning song leading and Community Sing
organizational techniques, participants will be encouraged to bring in songs
and try out their song leading talents on the class. You will sing everyday
and leave on Friday inspired to take what you’ve learned back into your
community. (No class limit)
FASOLA: SINGING SCHOOLS, SHAPE-NOTES,
AND THE SACRED HARP (Matt Wojcik)
Fasola (fa-so-la) music, as typified by The Sacred Harp songbook, can be
seen as a study in contradictions. Composed in three- or four-part harmony
for publication, the songs often draw on folk melodies and oral tradition.
Originally meant to improve congregational singing, 18th-century singing
schools instead often birthed elite choirs, eager for ever-more intricate songs.
Employing vivid religious texts, it has, from the first, been sung more often
in social settings than church services. Repeatedly maligned by academics
over the last 2 1/2 centuries for violating “rules of composition,” many singers
have called it the most satisfying and powerful music they’ve ever sung. If
you’ve sung fasola before, you’ll need no convincing to come and join in. If
you haven’t, you’re in for a delightful discovery. In this class, we’ll learn the
traditional practice of “singing the notes” as we sing old favorites, lesser-known
songs, and recent compositions in the style. (No class limit)
Are you tired of playing the same old chords for every song? Have your songs
become bland and are in desperate need of a little spice? Are you looking to
get off the plateau you’ve been stuck on with your music? Well, this class is the
jumpstart you need to get the creativity flowing. We will learn to take simple
progressions and liven them up with chord substitutions that you can use
in any song. We will also explore different strumming patterns to tastefully
transform a song and provide the best support for your (or someone else’s)
voice. Learning to listen is the ultimate goal of this class. Whether it’s getting
to the soul of a song or finding the best chord progression that fits the voice,
our ears and hearts will guide the way. Don’t be scared; as long as you know
some basic chords and sing a little, you should be just fine! Please bring a
recording device and a list of songs you would like to “fix up.”
ENGLISH TRADITIONAL SONG (Matt Wojcik)
MUSIC THEORY (Josh Goforth)
Stephen Foster (1826-1864), the most famous songwriter of the 19th century,
and the “father of American music”, was also our nation’s first professional
songwriter. His beloved compositions such as: “Oh! Susanna,” “Camptown
Races,” “Old Folks at Home (Swanee River),” “Hard Times Come Again No
More,” “My Old Kentucky Home,” “Jeanie with the Light Brown Hair,” and
“Beautiful Dreamer,” remain popular almost 150 years after his death. In
Ever hear a song and wonder why it’s so pleasing to your ear? Have you
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 find
it interesting in the least or just way too difficult? Perhaps you are thinking, “Why do I need music theory as a traditional singer, shouldn’t it just
Come share a sampling of the broad range of English folk songs, including
ballads, pub songs, working songs, shanties, and carols. We’ll draw especially
on the repertoire of the Copper family of Sussex in the south of England,
and of the Watersons from Yorkshire in the north. The lyrics touch on every
aspect of life, particularly of the rural laborer. Many songs feature rousing
choruses, easy to learn and join in with. Melodies will be taught by ear, and
most harmonies improvised. There will be the option of written music for
some of the more intricate pieces. Co-teaching this class will be Matt’s wife
Rosie, a native of Sussex, who spent much of her childhood tagging along
with her father’s Morris team and joining in the singing in the pub.
SONGS OF STEPHEN FOSTER (Mark Weems)
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Traditional Song Week, July 8-14, 2012
7:30-8:30
Breakfast
8:30- 8:50
Vocal warm-ups (Shirley Smith)
9:00-10:15
Community
Singing: For the
Sake of the Song
(Watroba)
Welcome Table: Songs
of Hope in the Choral
Tradition
(Harris)
Finding Your Voice:
Songs & Singin’ for
A History
Soprano, Alto or
Sessions, Sprees, Ceilidhs of Western
Tenor?
& Kitchen Rackets
Music
(Shirley Smith)
(Ranger Doug)
Our Songs,
English
Our Roots, Traditional
Our Heritage
Song
(Lough)
(Wojcik)
Coffee/Tea Break
10:15-10:45
10:45-12:00
(O’Hara)
SINGING WITH
THE MOUNTAIN DULCIMER (Anne Lough)
Scottish
Ballads
(Miller)
Bluegrass
Lead
Singing
(Bradley)
The Song
Traditions
of Ireland
(Ó hAirt)
Singing with
the Mountain
Dulcimer
Unique Backup
Guitar for the
Trad. Singer
(Lough)
(Goforth)
Sing to Freedom:
Songs of the
Underground Railroad
(Harris)
Duet
Harmony
Singing
(Weems)
Fasola: Singing
Schools, Shape-Notes
and the Sacred Harp
(Wojcik)
Lunch
12:00-1:00
Community Gathering & Special Events
1:15-2:30
2:45-4:00
Monday
Tuesday
Wednesday
Thursday
Friday
TBA
A Visit with
Dr. Ralph Stanley
Making A Living in Music
for 33 Years
For My Friends
of Song
Intriguing Tales of a Collector
& Broadcaster
(Stanley & Watroba)
(Horton & O’Hara)
(Betty Smith)
Music
Theory
(Goforth)
Robert
Songs of
Classic
Bluegrass
Song Traditions of
Burns… Stephen Foster Western Songs Harmony Singing the Ozark Plateau
(Miller)
(Weems)
(Ranger Doug)
(Bradley)
(Ó hAirt)
Traditional
Gospel Singing
(Shirley Smith)
(O’Hara)
Choices: How to Get
the Most Out of the
Songs You Sing
(Watroba)
4:15-5:15
Bonus Sessions: Dance With Your Mouth, Sing With Your Feet (Mon. Weds. Thurs., Ó hAirt);
5:15-6:30
Supper
6:15-7:15
Singing Sessions by Genre (Monday: Shape Note; Tuesday: Gospel & Bluegrass; Wednesday: Ballad Singing Session;
Thursday: Country Western & Honky-Tonk; Friday: Community Sing/Roots Music)
7:30-?
Joy of Music, Song & Dance for Kids (Tues., Joyce O’Hara)
Evening Events (concerts, dances, jam sessions, etc.)
The gentle sound of the mountain dulcimer is a perfect and beautiful blend
for complementing the voice raised in song. Using traditional Appalachian
and Celtic songs, we’ll explore how to creatively accompany the voice with
chord accompaniments and harmonies.
OUR SONGS, OUR ROOTS,
OUR HERITAGE (Anne Lough)
Take a singing journey through our country’s history by way of our national
body of folk song. Discover the treasure and significance of our folk songs as
we travel through Colonial Days, the Revolutionary War, days of exploration, seafaring, railroading, logging, mining, cowboys and the Civil War.
Bring any accompanying instruments.
DUET HARMONY SINGING (Mark Weems & Julee Glaub)
Learn some of the specific techniques and nuances of duet singing. We will
work towards choosing keys, finding parts, exploring different types of
harmony, building harmony mathematically, blending voices, feeling and
phrasing, learning to sing with different partners and developing listening
skills. We will learn how to adapt harmonies to different songs and various
genres such as Appalachian, Irish, gospel, and country. The initial classes
will focus on singing with instruments, to hear the chord structures of the
harmonies, consider how they affect the overall harmonic sound, and discuss
the creation of tasteful arrangements. As the week progresses, we will work
towards freedom from chordal structure in order to encourage experimentation with more diverse kinds of harmony. It is not necessary to read music,
as we will be learning by ear. Bring a partner or find one in the class! Note:
students should come to this class with some experience in singing melody.
(Class limit: 14)
SONGS AND SINGIN’ FOR SESSIONS, SPREES,
CEILIDHS, AND KITCHEN RACKETS (Aidan O’Hara)
Aidan has spent lifetime collecting and singing in Ontario, Ireland, and
Newfoundland. In telling his story Aidan will focus on the performance
of song, and the function of song types in the group and in the community.
Students will learn a variety of songs that he recorded from people he met
on his travels, including, ‘Aunt’ Carrie Brennan and John Joe English from
Newfoundland’s Cape Shore, both born in the early 1890s; logger and
deckhand Tom Brandon, from Peterboro’, Ontario; and Delia Murphy
from County Mayo, about whom the great Liam Clancy said, “(Her) main
contribution was that she made us feel that we could respectably sing our
own songs.” The themes will include humorous songs, work songs, leaving
and loving songs, and children’s songs. Handouts will be provided with
background notes and song words. No one is under any pressure to participate and join in the singing, but Aidan encourages joining in. It’ll be fun.
And if anyone is particularly interested in songs in Gaelic (Irish or Scots)
he’ll do his best for you!
THE SONG TRADITIONS OF IRELAND (Brían Ó hAirt)
The singing traditions of Ireland are varied and many. From the ballad
forms of the English/Scottish tradition to the lyrical forms of the Gaelic past,
any one singer can boast a variety of styles and repertoires that illustrate
the Irish experience at home and abroad. Come learn about the singers and
collectors who have shaped the understanding of song in Ireland into the
mutli-form art it is today. Students will listen to extensive archival recordings while trying their hand at a variety of song types mostly in the English
language. Lilting pieces and songs in strict dance tempo will also be covered.
THE SONG TRADITIONS
OF THE OZARK PLATEAU (Brían Ó hAirt)
This class will explore the most extensive collection of songs ever gathered
from the Ozark Plateau. The Max Hunter Collection was recorded between
1956 and 1976 by a traveling salesman from Springfield, MO who took
his reel-to-reel recorder into the hills and backwoods of the Ozarks – a
mountainous region spanning the border of Arkansas and Missouri – and
recorded almost 1600 songs from its inhabitants. These songs include versions
of Child ballads, songs of the cowboy and western plains, religious hymns,
and unique songs of place and occupation.
SINGING SESSIONS BY GENRE
After supper each night, students have the opportunity to participate in
themed singing sessions led by various staff members. We will vary the
format each night from community sings to a focus on individual voices
within a community context and a particular style/genre. It is a great time
to share and collect songs, build vocal confidence, develop listening skills,
and experiment with harmony and the nuances of both community singing
and individual voices. (See schedule, page 8 for details)
DANCE WITH YOUR MOUTH,
SING WITH YOUR FEET (Brían Ó hAirt)
FINDING YOUR VOICE:
SOPRANO, ALTO, OR TENOR? (Shirley Smith)
In this three-part workshop, Monday’s session will teach mouth music from
Scotland and Ireland in its various forms including lilting, puirt-à-beul and
other lighthearted songs in dance tempo. Wednesday will focus on a style
of interpretive percussive dance called sean-nós (not to be confused with its
singing counterpart) by building a common repertoire of basic steps and
routines focused on the jig, reel and hornpipe, and on Thursday, attendees
from the previous two workshops will collaborate and pair up for impromptu
performances with the instructor and other faculty members. This is a great
opportunity to think differently about pairing dance with song!
TRADITIONAL GOSPEL SINGING (Shirley Smith)
THE JOY OF MUSIC, SONG
& DANCE FOR KIDS (Joyce O’Hara)
This class is for the person who has had trouble in the past knowing for sure
what part they sing. In this class we will use different types of gospel music
to help you choose which range fits you best. You will love the light-hearted
approach, disarming you of your inhibitions, to be the best singer you can
be. We will also spend time learning to breathe correctly to maximize our
capacity to hold air to sing beautifully.
Gospel is closely related to the sound of the blues. We will learn and sing songs
that bring exuberance and joy, and songs that will provoke serious thoughts
of how awesome God is. During our time together we will develop a gospel
choir from the class. The gospel choir will perform some of the songs we’ll
learn this week. If you love to sing and want to be a part of an awesome time
of camaraderie and singing, this class is for you. (No class limit)
Community Gathering Time
this class, we will learn a variety of Foster’s songs, discuss his role in the rise
of American popular culture, and touch on some of the history which helped
to frame his compositions.
Bonus Sessions
Note: A highlight of the day’s schedule is when we gather together each
day after lunch for these special events. No advance registration necessary.
CELEBRATING 50 YEARS ON THE ROAD
In this interview with Aidan O’Hara, Jean Redpath will share the trials and
triumphs of living out of a suitcase for half a century. Questions are encouraged.
A VISIT WITH DR. RALPH STANLEY
This interview with Matt Watroba is your chance to experience significant
oral history in the making. Don’t miss this opportunity to hear the stories
and bask in the charm of a true American music pioneer.
MAKING A LIVING IN MUSIC FOR 33 YEARS
Multi-instrumentalist, composer, producer and music historian Bobby
Horton, interviewed by Aidan O’Hara, will share tales of life with his band,
Three on a String and behind-the-scene film scoring for Ken Burns’ fims.
FOR MY FRIENDS OF SONG
Betty Smith, in a voice clear as a mountain stream will sing ballads, folk
songs, play the dulcimer, and tell magical stories from Appalachia.
INTRIGUING TALES OF
A COLLECTOR & BROADCASTER
This session will be about some interesting people met in Aidan O’Hara’s
travels as a collector and broadcaster in Ireland and North America, and
he will show a short extract or two from some of his film documentaries.
Joined by his wife Joyce, they will also sing some songs from their journeys.
Canadian-born Joyce O’Hara lives in Ireland with her husband Aidan. A
long-time music teacher, for many years she taught music to children and
student teachers at St. Nicholas Montessori College, Dún Laoghaire, County
Dublin. She has produced several educational CDs for children, popular
throughout Ireland. In this Tuesday session, Joyce and Aidan will cover
songs, dance/movement and simple note-reading, all presented in a fun way.
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We offer a full-day program, taught by Denisa Rullmoss, for children ages
6-12. Children must have turned 6 by July 1st to participate. No exceptions
please. Evening childcare for ages 3-12 will be provided at no additional cost.
BEWARE....there will be MONSTERS at the Gathering this year! Furry
and funny, scaly and slippery, fuzzy and ferocious monsters of all shapes and
sizes. The Children’s Program will befriend many beasties this summer as
we sing about, laugh about and growwwwwl about the mysterious mayhem
of the creatures we call monsters. What do monsters eat?? We will cook up
the answer. Do monsters smell?? We will sniff out the answer. We will create
monster puppets and pillows, monster headware (some may have horns!)
AND monster feet....(stomp, stomp, stomp). Goliath giggles will happen as
we play in the mouth of a GIANT monster OR perhaps hide in his smelly
foot. And most importantly we will make MONSTER MUSICIANS out of
all the kids! Our band will be led by Sue Ford (singer, songwriter, percussionist). As a special treat, we will be visited throughout the week by wandering
musicians and artists (Gathering staff ) who will perform just for our kids.
We will continue our long-loved traditions of shaving cream hairdos day,
movie night (with Muppet Monsters of course), pie-eating contests and
challenge everyone to complete the Gathering Scavenger Hunt. Each busy
day will close with free swim time in the college pool. Non-swimmers must
be accompanied by a parent to swim. So get your “arrrrrs, yowwls, growwls”
ready. There’s some Swannanoa Gathering monsters on the loose. No worries
as the monstrous good time will be appropriate for ALL ages (6 and up).
There will be a $30 art/craft materials fee for this class, payable to Denisa,
the Children’s Program coordinator, on arrival.
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15-21
T
he 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.
This year’s lineup features present or former members of the supergroups Lúnasa, Danú, Ossian, Solas, Battlefield Band, Turtle Island String Quartet,
The House Band, and Cherish the Ladies, several other exciting new faces, and the return of some old friends, as well as three fiddle instructors named ‘Liz’!
The 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 fiddle, 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 confidence. Fiddle classes are double-length, and students may take either intermediate or advanced classes, but not both. The uilleann pipes class is also
double-length. Fiddlers who plan on taking both Irish and Scottish fiddle 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 offer 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 fiddle at the age of seven and went on to win six AllIreland fiddle championships before the age of nineteen.
He is the recipient of numerous awards including “Folk
Instrumentalist 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. Martin has contributed music, both original
and traditional, to modern dance performance, theatre, film
and television. He is the artistic director of Masters of Tradition, an annual festival in
Bantry, County Cork and functions in the same capacity for the touring production of
the festival featuring other Irish music masters, including the guitarist Dennis Cahill,
with whom Martin has toured the world for the last eighteen years. Their adventurous, soulful interpretations of traditional tunes are recognized the world over for their
exquisite musicality and irresistible rhythm. www.martinhayes.com
LIZ CARROLL
So far, Liz Carroll has had a remarkable century. Her
two solo albums, Lake Effect and Lost in the Loop used
Liz’s hometown of Chicago as the influence for an
extraordinary outpouring of new compositions. The
latter recordsing led the Irish Echo to proclaim her their
Traditional Musician of the Year. Her first duet album
with John Doyle, In Play, caused Sing Out! magazine’s
Rob Weir to exclaim, “Liz Carroll recordings induce
joy and admiration that exhaust this reviewer’s feeble
descriptors,” and her 2009 recording with Doyle, Double Play, was nominated for a
Grammy, making her the first American-born artist nominated for playing Irish music
– ever! On St. Patrick’s Day of that year, Liz travelled to Washington, D.C., to play for
fellow Chicagoan, President Obama, at the annual St. Patrick’s Day luncheon. In 2005,
she became a member of String Sisters, a sextet of fiddlers from America, Ireland, the
Shetland Islands and Norway, and their 2009 Live album was shortlisted for a Grammy.
Prior to these 21st century accolades, Liz won the 1975 All-Ireland Senior Fiddle
Championship, was honored when Mayor Daley proclaimed September 18, 1999 as
“Liz Carroll Day” in Chicago, and received a National Heritage Award Fellowship in
1994, which honored her as a “Master Traditional Artist who has contributed to the
shaping of our artistic traditions and to preserving the cultural diversity of the United
States.” 2010 saw the publication of Liz’s first book of compositions, Collected, and just
this year she was awarded Ireland’s most revered traditional music prize, the Cumadóir
TG4 (Composer of the Year). www.lizcarroll.com
Nuala Kennedy
Recently signed to Nashville’s Compass Records, Nuala
Kennedy hails from Co. Louth in the northeast of Ireland.
She sings traditional songs in English and Gaelic, plays the
flute and low whistle, and is a songwriter and tunesmith.
Kennedy’s roots are first and foremost in Irish traditional
music, and she is to release her third solo recording this year.
In addition to her own music, Nuala currently performs with
Gerry (fiddle) O’Connor, Breton guitarist Gilles Le Bigot and accordionist Martin
Quinn in Oirialla, a band playing music from the ancient kingdom of Oriel (Southeast
Ulster): older musical gems researched, rediscovered and brought back to life. In 2008,
Nuala also recorded Enthralled, an album of original duets for fiddle and flute with the
late cutting-edge Canadian composer Oliver Schroer, which is being released on Borealis
Records in 2012. Whatever she is doing, Kennedy always comes back to her traditional
Irish roots. Her 2007 debut solo album, The New Shoes, was voted album of the week
in the Irish Times, was featured in Hotpress’ Top Ten Folk Albums of the year, and
named BBC Radio Scotland’s Traditional Album of the Year in 2008. She has received
numerous awards and accolades, including several international invited residencies
and collaborations, and holds a Master Degree in Music from Newcastle University, a
BA (Hons) in Design from Edinburgh College of Art, a Post-Graduate Certificate in
Education with distinction, the Curse Comais in Gaidhlig. www.nualakennedy.com
kevin crawford
Born in Birmingham, England, Kevin Crawford’s early
life was one long journey into Irish music and Co. Clare,
to where he eventually moved while in his 20’s. He was a
founding member of Moving Cloud, the Clare-based band
who recorded such critically-acclaimed albums as Moving
Cloud and Foxglove, and he has also recorded with Grianin,
Raise the Rafters, Joe Derrane, Natalie Merchant, Susan
McKeown and Sean Tyrrell. Kevin appears on the 1992 recording, The Maiden Voyage,
recorded live at Peppers Bar, Feakle, Co. Clare, and appears on the 1994 recording, The
Sanctuary Sessions, recorded live in Cruise’s Bar, Ennis, Co. Clare. Kevin now tours the
world with Ireland’s cutting-edge traditional band, Lúnasa, called by some the “Bothy
Band of the 21st Century,”with eight ground-breaking albums to their credit: Lúnasa,
Otherworld, The Merry Sisters of Fate, Redwood, The Kinnity Sessions, Sé, The Story So
Far and La Nua. His latest project is the Teetotallers, a supergroup trio that also features
Martin Hayes and John Doyle. A virtuoso flute player, Kevin has also recorded several
solo albums including The ‘D’ Flute Album, In Good Company, On Common Ground,
a duo recording with Lúnasa’s piper, Cillian Vallely, and his most recent, Carrying the
Tune., scheduled for release in January of 2012. www.lunasa.ie
Brian McNeill
Our Scottish fiddle instructor from our very first Gathering twenty-one years ago, Brian McNeill celebrates the
41st year of a career that has established him as one of
the most acclaimed forces in Scottish music. Described as
“Scotland’s most meaningful contemporary songwriter”
by The Scotsman, his work and influence as performer,
composer, producer, teacher, musical director, band leader,
novelist and interpreter of Scotland’s past, present and future describe a man who has never stood still. He has been
a member of several of Scotland’s most influential bands,
including Clan Alba and Battlefield Band, which he founded in 1969, and with whom
he has performed around the globe. Brian plays fiddle, octave fiddle, guitar, mandocello,
bouzouki, viola, mandolin, cittern, concertina, bass and hurdy gurdy, and his many songs
about Scotland’s past and future, such as “The Yew Tree,” “The Lads O’ The Fair,” “The
Snows of France and Holland,” to name a few, have established him as one of Scotland’s
leading songwriters. His first novel, The Busker, was published in 1989, and a year later
he left Battlefield Band to concentrate more on writing and solo projects. Another novel,
To Answer The Peacock, followed, but he has by no means slackened off on his musical
career, touring with Dick Gaughan, Clan Alba, Kavana, McNeill, Lynch and Lupari,
Martin Hayes, Natalie MacMaster and Feast of Fiddles. His audio visual shows, The
Back O’ The North Wind, about Scottish emigration to America, and the sequel, with
accompanying CD, The Baltic Tae Byzantium, which explores the influence of the Scots
in Europe, have won wide critical acclaim. For six years he was Head of Scottish Music
at the Royal Scottish Academy of Music and Drama. His new novel, In The Grass, was
published in January. www.brianmcneill.co.uk
YVONNE
& LIZ KANE
From north Connemara, in Co.
Galway, The Kane Sisters, Liz and
Yvonne, are highly respected musicians and educators with the finely
tuned, empathetic musical sensibility
one might expect from siblings. Born
in Letterfrack, they were educated
at the Kylemore Abbey School, and
learned to play the fiddle from their
grandfather, Jimmy Mullen, and Mary Finn, a Co. Sligo musician and teacher. Later
they spent three years touring with accordion player Sharon Shannon as part of her
band, The Woodchoppers. In addition to a well-deserved reputation as outstanding
performers, they also have a thriving teaching practice with nearly 200 students, and
they regularly travel all over the west coast of Ireland teaching music. During the summer months they tour the US and Canada teaching and performing at festivals such
as Catskills Irish Arts Festival, Augusta’s Irish Week, Goderich Celtic Festival, Fiddle
Tunes at Centrum and Friday Harbour Irish Week. In 2002 they released their first
album, The Well Tempered Bow, to critical acclaim and followed it with a second album
entitled, Under the Diamond in 2004. Their third album, Side By Side was released in
July 2010. Folkroots called them “fiddle players of an extraordinary caliber…” and last
winter, they were featured on the cover of Fiddler magazine. www.thekanesisters.com
John Doyle
John Doyle is one of Ireland’s most talented and innovative
musicians. Originally from Dublin, and now a resident of
Asheville, John is an accomplished singer and songwriter, and
an extraordinary master of the Irish guitar whose hard-driving
style has influenced a generation of players. A founding member of the acclaimed group Solas, his powerful guitar playing
provided the signature rhythmic backbone for the band, and
his delicate and emotional finger-style playing and creative
vocal harmonies can be heard on all four of Solas’ recordings
for Shanachie Records. John regularly performs in a stellar
duo with fiddler Liz Caroll, and has toured the world with the likes of Eileen Ivers, Tim
O’Brien, Michael McGoldrick and John McCusker, Alison Brown, Joan Baez, Linda
Thompson, Mick Moloney, Kate Rusby and a host of other world class performers. John
has been featured on over 100 recordings of traditional and contemporary Irish, folk
and Americana music, including his most recent, Exiles Return, a duo recording with
Karan Casey, and Helping Hands, a collaboration with the late Cape Breton fiddle great
and former Gathering staffer, Jerry Holland. He is a great lover of traditional song, an
encouraging and enthusiastic teacher, and his nearly non-stop touring, producing and
recording schedule attests to his high standing in the world of traditional Irish music.
We’re pleased to welcome John back for his sixth Gathering. www.johndoylemusic.com
LIZ KNOWLES
Liz Knowles is one of the few classical violinists to
become adept at playing in an authentic Irish fiddling
style. Liz completed a music degree at SUNY-Stony
Brook, then moved to New York City where she
performed everywhere from underground clubs to
Lincoln Center. Her career as a fiddler has included
a solo spot on the soundtrack of Neil Jordan’s film,
Michael Collins, a two-year run as the soloist with the
international touring company of Riverdance, performing as a member of the String Sisters, as a guest soloist with the New York Pops, and
in the Broadway show, The Pirate Queen. She has performed and/or recorded with
Tim O’Brien, Don Henley, Rachel Barton Pine, Marcus Roberts, and Paula Cole.
For the last three years, she has been the musical director (and fiddler) for the Irish
music and dance show, Celtic Legends, which tours worldwide. www.lizknowles.com
JEREMY KITTEL
Jeremy Kittel is one of the foremost of a new breed of
violinist/fiddlers who easily navigate between a multitude
of musical styles and traditions. Currently a full-time
member of the Grammy-winning Turtle Island String
Quartet, Kittel also leads his namesake group, the Jeremy
Kittel Band, into exciting new acoustic music territory. He
has toured and recorded with such musical giants as Edgar
Meyer, Chris Thile, Mark O’Connor, Bela Fleck, Paquito
D’Rivera, the Assad Brothers, and Darol Anger, appeared
on the NPR radio show, A Prairie Home Companion, been
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a guest performer with multiple symphony orchestras, and has performed at venues as
diverse as Carnegie Hall, the Kennedy Center, Bonnaroo, and the Telluride Bluegrass
Festival. His most recent solo recording, Chasing Sparks, on Compass Records, clearly
establishes Jeremy as a formidable composer and arranger as well as a violinist of the
highest technical and musical sensibilities. Jeremy has a master’s degree in jazz violin
from the Manhattan School of Music, and he is the recipient of the 2010 Emerging
Artist Award from his alma mater, the University of Michigan. He is also a US National
Scottish Fiddle Champion and continues to pursue his first love of traditional fiddle
music. Jeremy also enjoys collaborating with singers and lyricists from many genres,
and he has arranged and recorded orchestral-style strings for Abigail Washburn’s “City
of Refuge,” and, in collaboration with lead singer Jim James, on My Morning Jacket’s
“Circuital.” www.jeremykittel.com
Damien Connolly
Damien began learning the accordion from his father
Martin when he was 11 years old, and at age 16, took up
the fiddle under the tutelage of his step-mother Maureen
Glynn. He competed in the Fleadhanna (Irish Music Competitions) throughout his teenage years, and in 1997, won
the Under-18 All Ireland Championship on both accordion
and melodeon. His first accordion and melodeon CD, Tippin’ Away, was generously praised by renowned accordion
players Joe Burke, Joe Derrane and Bobby Gardiner. Damien
now resides in Fairfield, CT, where he enjoys the company
and musicianship of his uncle Seamus, Director of Irish
Music at Boston College, and one of the Gathering’s Master Music Makers. Damien has
performed at prestigious venues such as Carnegie Hall, NYU and Boston College, and is
the founder/leader of the Open Intermediate Session in Fairfield, which gives musicians
an opportunity to play at a more comfortable pace. He gives private fiddle and accordion
lessons from his home and has led music workshops at a number of Irish music festivals.
In 2008, Damien published The Irish Accordion Tutor, Vol. I, Intermediate-Advanced,
with an accompanying DVD, which was immediately recognized as one of the finest
Irish button accordion tutors available. He is currently in the process of recording his
second CD. www.damienconnolly.com
CHRISTINA STEWART
Christina Stewart is from Inverness, the capital of the Scottish Highlands, so she grew up in an environment where
the Gaelic and Scots traditions of Scotland meet. Over
the last 20 years, with infectious enthusiasm, extensive
knowledge and a commitment to appreciating songs within
their cultural contexts, she has developed a reputation as
not just a singer and tutor, but an exponent of song within
the wider oral and folk tradition of Scotland. Her latest
album, Haunting, is a celebration of songs alongside the
stories associated with them. She recently toured heritage
centres and abandoned settlements with storyteller and folklorist, Bob Pegg, recreating
a sense of the culture of the crofters who had once lived there before the ‘Clearances’
sent them to the New World. Singing at ceilidhs, concerts and in competitions from an
early age, Christina pursued her interest studying traditional song as part of her Honours
degree at Edinburgh University and the School of Scottish Studies. She recorded with
Talitha MacKenzie on the first groundbreaking Mouth Music album before forming the
Feisty Besoms singing group for their recording, Auld Flames. Motherhood inspired
Christina to begin a crusade for traditional lullabies resulting in the Kist o Dreams and
Learning with Lullabies projects and two solo albums, and she has a long-standing
involvement with the burgeoning fèis (traditional music tuition festival) movement in
Scotland. www.kistodreams.org
CATHIE RYAN
This year Cathie Ryan celebrates 25 years in Irish music.
In the fifteen years since her groundbreaking work as the
original lead singer of Cherish the Ladies, Cathie has
established herself as one of Irish music’s most respected
and emulated singers. She tours internationally with her
band, headlining at performing arts centers, festivals,
and guest starring with symphony orchestras. She has
released five critically-acclaimed CDs and is featured on
over 50 compilations of Irish music. Her crystalline voice, a singing style that incorporates
the ‘sean nos’ music she grew up with, an unerring sense of taste, and her songwriting
are all the result of a deep and abiding love of traditional Irish song. Born in Detroit to
Irish parents from Kerry and Tipperary, she grew up in a home steeped in singing and
storytelling and she still searches out and sings the old songs. She has taught workshops
on Irish traditional singing throughout North America and in Ireland, including several
years at the Gathering. www.cathieryan.com
Kimberley Fraser
Kimberley Fraser was born on Cape Breton Island and nurtured within its rich musical heritage. She first impressed
audiences at the age of three with her step-dancing talents,
and soon thereafter took up both the fiddle and the piano.
Still in her 20s, Kimberley’s career is already distinguished.
She has performed around the world, from touring Sweden with Cherish the Ladies, to performing at the Celtic
Connections festival in Scotland and entertaining NATO
troops in Afghanistan. With two recordings to her credit,
she has shared the stage with such notables as Alasdair
Fraser, Lúnasa and Danú. Kimberley holds an honours degree in Celtic Studies and a
minor in Jazz from St. Francis Xavier University in Nova Scotia, and is also a graduate
of the Berklee College of Music. An advocate for the importance of traditional music
education, she has been a long-time instructor at Cape Breton’s Gaelic College and
Ceilidh Trail Music School as well as teaching at the Valley of the Moon Fiddle Camp,
the American Festival of Fiddle Tunes, and the North Atlantic Fiddle Convention in Aberdeen, Scotland. Following the success of her award-winning recording, Falling on New
Ground, Kimberley is currently working on her third album. www.kimberleyfraser.com
GRÁINNE HAMBLY
Gráinne Hambly comes from County Mayo in the west of
Ireland. She started to play Irish music on the tin whistle at
an early age, before moving on to the concertina and later the
harp. She lived in Belfast for six years, where she completed
a Master’s Degree in Musicology at Queen’s University. Her
main research topic concerned folk music collections and the
harp in 18th-century Ireland. In 1994, she was awarded first
prize in the senior All-Ireland Fleadh Cheoil competitions for
harp and concertina. As well as being an established performer
touring extensively throughout Europe and North America,
she is also a qualified teacher of traditional Irish music and is
in great demand at summer schools and festivals both in Ireland and abroad. Gráinne
was awarded the T.T.C.T. (a certificate for teaching traditional Irish music at advanced
level, credited by Comhaltas Ceoltóirí Éireann and the Irish Department of Education),
and has also received her Graduate Diploma in Education (Music) from the University
of Limerick. She has released three widely-acclaimed solo harp CDs and a collaborative CD with William Jackson, as well as appearing on a number of other recordings. www.grainne.harp.net
CILLIAN VALLELY
At age seven, Cillian Vallely began learning the whistle and pipes
from his parents, Brian and Eithne at the Armagh Pipers Club,
a group that has fostered the revival of traditional music in the
north of Ireland for over three decades. Since leaving college, he
has played professionally and toured all over North America, Europe, Japan, Hong Kong and Australia. He has also performed and
toured with Riverdance, Tim O’Brien’s The Crossing, New Yorkbased Whirligig, and the Celtic Jazz Collective. He has recorded
on over forty albums including Callanbridge, with his brother Niall, and various guest
spots with Natalie Merchant, Alan Simon’s Excalibur project with Fairport Convention and the Moody Blues, GAIA with the Prague Philharmonic and Karan Casey. He
has recently recorded on two movie soundtracks, Irish Jam, and Chatham, and played
pipes on the BBC’s Flight of the Earls soundtrack. Since 1999, he has been a member of
the band, Lúnasa, one of the world’s premier Irish bands, with whom he has recorded
five albums and played at many major festivals and venues including WOMAD, the
Edmonton Folk Festival and The Hollywood Bowl. www.cillianvallely.com
DÓNAL CLANCY
Dónal was born in 1975 and spent most of his early childhood in Canada and the U.S. before his family settled back
in An Rinn, Co. Waterford, Ireland, in 1983. He grew up
in a household and community rich in music and started to
play the guitar at the age of eight. In 1995, he co-founded
the group Danú, but departed soon after to tour with his
father, the famed Liam Clancy, and his cousin, Robbie
O’Connell. Since then, Dónal has performed with many
other top names in Irish music, including Solas, The Eileen
Ivers Band and The Chieftains, 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
debut, Close To Home, which The Boston Globe declared to be “a sweet masterpiece of
melodic grace and riveting groove.” www.donalclancy.com
BILLY JACKSON
Billy Jackson has been a major figure in traditional
Scottish music for over thirty-five years, and was
a founding member of the influential folk group,
Ossian, whose outstanding recordings remain a
benchmark for Scottish music. Acclaimed for his
musicality on the Celtic harp, he is also a renowned
composer whose work is inspired by the history and
landscape of Scotland. In 1999, his song, “Land of
Light” was selected as the winner of The Glasgow
Herald’s year-long Song For Scotland competition,
coinciding with the restoration of the Scottish Parliament, to select a “new anthem for a new era in Scotland.” As a solo performer, he has
toured extensively throughout Europe and North America, and has taught harp at many
festivals, including the Edinburgh International Harp Festival, Somerset Folk Harp
Festival, Ohio Scottish Arts School (Oberlin) and the Rio International Harp Festival.
Billy is also a trained music therapist, and in 2004, he received our Master Music Maker
Award for lifetime achievement. As part of his work combining traditional and classical
music, Billy has performed with, and composed for, a variety of orchestras including
The Scottish Chamber Orchestra, Asheville Symphony and Cape Cod Symphony. Billy
headed the music therapy program at Mission Hospital in Asheville for 10 years, and he
now works part-time in music therapy in Sligo, Ireland. www.wjharp.com
PIO RYAN
Tipperary-born and bred Pio Ryan has been playing the NYC
Irish traditional circuit for over six years now. His deep-rooted
traditional style mixed with blues and bluegrass influences
creates a unique twist with a sound that is both driving and
refreshing. Pio learned his trade from his father John Ryan,
a renowned whistle player from North Tipperary. Early on,
Pio earned the title “Musician of the Year” at Portumna
Community School. After years of dedication and many live
performances on both television and radio, Pio furthered his
studies at the Ballyfermot College of Music in Dublin earning a degree in Professional
Irish Music Performance. Pio officially transplanted to the US in 2005, finding a home at
New York City’s Irish Arts Center. There, he originated the Irish Tenor Banjo program,
whose strong following continues to grow. When he’s not teaching, Pio remains very
active on the Irish traditional scene in the tri-state area and beyond. He’s performed at
many clubs and festivals, including Webster Hall in NYC, John D. McGurk’s music bar in
St. Louis and the Kansas City Irish Music Festival alongside such well-known musicians
as Gerry O’Connor, The Chieftains, Ivan Goff of Riverdance, Larry Nugent and others.
ED MILLER
From the folk clubs of Scotland in the 1960s and 70s to the
festivals, coffeehouses and music camps of America, Ed Miller
has steadily established himself as one of the finest Scottish
singers of both contemporary and traditional songs. He has
been a regular staff member of Swannanoa’s Celtic Week for
more than a decade, where his love and knowledge of Scots
song, paired with a droll sense of humor, made him an excellent
and popular teacher. Originally from Edinburgh, Ed has been
based in Austin, TX for many years, where he received a PhD in
Folklore from the University of Texas, but over the past 20 years he has gradually moved
from academia to full-time performing. He also hosts a folk music show on KUT-FM in
Austin, leads folk music tours to Scotland each summer, and has released eight CDs of
traditional and contemporary Scottish song, including his most recent, Lyrics of Gold,
a collection of Robert Burns songs. www.songsofscotland.com
Andrew FINN Magill
Andrew is a four-time gold medalist at the New York Fleadh
Cheoil, and has twice competed on fiddle and low whistle at
the All-Ireland Championships. He has performed with many
Irish and Scottish luminaries including John Doyle, Liz Carroll,
Altan, Aidan O’Rourke, Flook, Martin Hayes & Dennis Cahill,
Liz Knowles, Kieran O’Hare and Daithi Sproule. At age 17, he
released his first CD of Irish fiddle music, Drive & Lift, featuring
fellow SG staffers John Doyle and John Skelton, that Sing Out!
magazine called “a stunning debut....the perfect balance of precision and intensity.”
Cuts from that CD have been featured on several compilation CDs as well as on NPR’s
Thistle & Shamrock. A recent honors graduate from UNC-Chapel Hill with a major in
ethnomusicology, he was awarded a Fulbright-MtvU fellowship to develop a multimedia
fundraising project to benefit AIDS patients and their families in Malawi, southern
Africa. Working with noted Malawian musician Peter Mawanga, their CD, Mau a
Malawi: Stories of AIDS, was released in October. Sales from the CD will be invested in
programs to keep vulnerable Malawian children in school and empower them through
the arts. Andrew has served as an instructor in Irish fiddle at the Swannanoa Gathering
for three years, performs in Europe with the Celtic Legends music and dance revue, with
the power-folk band Rev. Bevel Summers, and with the Paul McKenna Band, the 2009
Scots Trad Music winners of “Best Up & Coming Band”. www.andrewfinnmagill.com
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JOHN SKELTON
London-born flute and whistle player John Skelton
is probably best known to American audiences from
his work with The House Band, with whom he
recorded eight albums on the Green Linnet label.
He has also released a solo album, One At a Time,
and Double Barrelled, a highly regarded album of
flute duets with Kieran O’Hare, as well as a series
of tune collection books, A Few Tunes, A Few More Tunes, Yet More Tunes and Some
Breton Tunes. John has performed at most of the major folk festivals in North America
Europe and Australia. He is an experienced teacher, and has taught at summer schools
in the United States, Europe and Africa, and fourteen previous years at the Gathering.
In addition to his background in Irish music, John is also well-schooled in the music of
Brittany. He visits there regularly, and is a highly-regarded player of the Breton bombarde,
a double-reed folk shawm. NPR’s Thistle and Shamrock described him as “the finest
bombarde player outside of Brittany.” He also plays the ‘Piston’ (Low Bombarde), the
‘Veuze’ (the bagpipe of eastern Brittany) and the ‘Gaita Gallega’ (Galician pipes). John
acts as the ‘Host’ of Celtic Week.
Eamon O’leary
While growing up in Dublin, Eamon developed an interest in Irish music through his friendship with the Mayock
family, noted traditional musicians originally from County
Mayo. When he moved to New York City in 1992, he met
guitarist John Doyle and fiddle player Patrick Ourceau,
among others, and has since become a fixture in the city’s
thriving Irish music scene. Eamon has toured extensively
throughout Europe and North America, performing with
many of Irish music’s great players, including Paddy Keenan,
Mick Moloney, Tommy Peoples, and James Keane, and has
recorded with singer Susan McKeown and flute player Emer Mayock. In addition to
his performance schedule, Eamon has taught at numerous music programs including
the Augusta Heritage Center, the Catskills Irish Arts Week, and the Alaska Irish Music
Camp. In 2004, he and Patrick Ourceau released a live recording, Live at Mona’s, documenting their many years hosting a Monday night session on New York’s Lower East Side.
KATHLEEN CONNEELY
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 hometown
at an early age from from Clare musician Brendan
Mulkere, a well-regarded teacher in and around London.
She was also heavily influenced by her father, Michael, a
well-known fiddle, accordion and tinwhistle player. The
Conneely home was often filled with music from records,
tapes and live sessions with many visiting musicians. In
1991, she appeared with her father, Mick Sr., brother,
Mick Jr., fiddle and banjo player John Carty and flutist
Roger Sherlock on RTE’s, The Pure Drop. Kathleen has lived, played and taught music
in several cities, such as Birmingham, London, Dublin, Chicago and Boston. She has
been privileged to have played with many great musicians over the years and has taught
for Comhaltas Ceoltóirí Éireann (parent organization of the All-Ireland Championships) in Dublin and Boston, at the Boston College Irish Studies Program, the Irish
Arts Week in the Catskills. and seven years at the Gathering.

MATTHEW OLWELL
Matthew has been performing and teaching as a percussionist
and dancer since 1996. He began attending festivals and music
events at an early age with his father’s flute business, and in
2005, released an album with his brother Aaron Olwell and
their band, Hell on the Nine Mile. While partly self-taught,
Matthew studied percussion with Myron Bretholtz, Benoit
Bourque and Steve Bloom, and with some of the finest teachers
in percussive dance, including Donny Golden, Eileen Carson,
and The Fiddle Puppets. He danced for nine years with the
Maryland-based Footworks Percussive Dance Ensemble,
traveling across North America and Europe, and appearing in Riverdance, and in 2006
he co-founded Good Foot Dance Company. Matthew has performed with James Leva,
John Skelton, Lúnasa, Eileen Ivers, Matapat, Uncle Earl, Liz Carroll, Tim O’Brien,
and Bassekou Kouyate. He has taught at the Augusta Heritage workshops, Pinewoods,
Timber Ridge, and Ogontz, and is excited to be returning to Swannanoa in 2012!
ERIN DUFFY MARTORANO
Erin Duffy Martorano was first introduced to Irish dance 20
years ago and never looked back. She has danced competitively
at the regional, national, and world levels, and is recognized by
An Coimisiun le Rinci Gaelacha (Irish Dance Commission)
as a Teagascóir Choimisiúin le Rinci Gaelacha (CommissionCertified Irish Dance Teacher). She founded Scoil Rince Ni
Dubhthaigh (The Duffy School of Irish Dance) in 2007 in
Maryland, and her school is steadily growing and gaining recognition in the world
of Irish dance. Erin believes deeply in sharing her love of Irish dance and culture, and
is excited to again be a part of the Swannanoa Gathering. www.duffyirishdance.com
JIM MAGILL
The Coordinator of Celtic Week is an award-winning songwriter
and instrumentalist and a three-time finalist for College Entertainer of the Year. He is the founding Director of the Swannanoa
Gathering Folk Arts Workshops at Warren Wilson College, directs the Celtic Series of Mainstage Concerts at Asheville’s Diana
Wortham Theatre, and in 1994, was awarded the first Fellowship
in Songwriting and Composition from the North Carolina Arts
Council. He performs solo on guitar, cittern, bodhran and vocals, and with his wife
Beth (flute) and son Andrew (fiddle) as the Celtic trio, The Magills. With numerous
album and performance credits, including appearances with Emmy Lou Harris and Tom
Paxton, Jim’s original songs have been covered by such artists as Mike Cross, The Smith
Sisters, Cucanandy and the Shaw Brothers, and have been featured on NPR’s Thistle &
Shamrock. His cover designs for the Gathering’s catalogs have won eight design awards,
he’s twice been a finalist for Photoshop World’s Guru Awards, and he has served as a
consultant on website design for several luthiers. www.magills.net
ROBIN BULLOCK
(See bio in Guitar Week, page 30)
dENISA RULLMOSS
(see bio in Traditional Song Week, page 6)
Fiddle
INTERMEDIATE IRISH FIDDLE A (Liz Knowles)
In this course for intermediate players we will cover basic violin/fiddle
technique for tone, agility in the left hand, and intonation, as well as the
basics of Irish fiddle technique: bowings, ornamentation and style. We’ll
discuss a “how-to-practice” method, how to approach session playing, and
how to learn tunes from recorded media. We will learn a few tunes, but the
emphasis will be on establishing foundations for you to take home and apply
throughout your own learning as well as answering any questions you may
have. Sheet music will be provided for those who need it but mostly at the
end of the class. Please bring a recording device. Once you have registered
for the class, contact me at <[email protected]> and
I will send you a tune or two via email at least two weeks before the class.
Even if you already know the tune or have heard it before, LISTEN to it as
much as you can (in the car, while washing dishes, reading a book, etc). DO
NOT TRY AND LEARN IT-I know it will be hard for some of you. Just
listen! All will become clear in the class! (Class limit: 30)
INTERMEDIATE IRISH FIDDLE B (Liz Kane)
This class will focus on the basic technical aspects of playing Irish traditional
music on the fiddle. Students should already have an understanding of basic
technique on the fiddle and a reasonably developed sense of rhythm and
intonation. The tunes that will be taught will act as examples to analyze
and improve tone, bowing/phrasing, and ornamental techniques. Students
will be encouraged to learn tunes by ear. I will play recordings and emphasize the importance of listening and developing confidence. Please bring a
recording device! Sheet music will also be available at the end of the week.
(Class limit: 30)
ADVANCED IRISH FIDDLE A (Martin Hayes)
This class for advanced players will explore Irish tunes from the ‘inside-out,’
and focus on the possibilities for variation and improvisation that exist within
the tradition, as a means to our own personal expression and interpretation.
There will be particular emphasis on bowing, rhythm and the creation of
variations. Students are encouraged to record the classes. (Class limit: 30)
ADVANCED IRISH FIDDLE B (Liz Carroll)
In this class for advanced fiddlers we’ll mostly explore dance tunes, although
the odd slow piece may find its way in. From driving kinds of reels and jigs
to more elegant examples, we’ll add variations (and create an arsenal of
variations to choose from), learn new tunes, and pursue our niche within
the great tradition of Irish fiddle playing. Be prepared to play a lot and be
prepared to learn by ear (although sheet music will find its way to you as we go
along.) It’ll be fun (or it won’t...) Just kidding- it’ll be fun! (Class limit: 30)
INTERMEDIATE SCOTTISH FIDDLE (Jeremy Kittel)
This course explores the stylistic nuances of Scottish fiddling. We’ll work
on ornamentation and bowing, phrasing and expression, playing ‘in the
groove’, improvising melodic variations, and using accents to create rhythmic
excitement. We’ll also discuss Scotland’s regional fiddle styles and listen to
recordings of players from each style. Technique and theory topics – tone,
practice methods, simple chord theory, playing with speed and precision –
will be included as appropriate. All tunes, including strathspeys, reels, jigs,
marches, and slow airs, will be taught by ear. Students are encouraged to
bring a small audio recorder to record musical examples and repertoire.
(Class limit: 30)
ADVANCED SCOTTISH FIDDLE (Brian McNeill)
This class will deal with bowing, phrasing and ornamentation of tunes
ranging across the full spectrum of difficulty of Scottish music, and will be
taught on a master / apprentice basis, which means that the tunes will be
learned orally, without printed music, and where possible by the students
learning to sing the tunes as an aid to memory. As composition is an ongoing
feature of the Scottish fiddle tradition, the class will cover both traditional
tunes and Brian’s own compositions. Composition by students during the
week will be encouraged, as will student input on arrangement – the goal
being to produce at least one complex and varied set of performable tunes by
week’s end. Regional variations in style will be considered, as will the use of
harmonies and chords. Modern use of the fiddle as a backing instrument will
be discussed, as will playing with other instruments, particularly bagpipes and
accordion. All types of tunes: marches, strathspeys, jigs, reels and airs, will be
considered. The history of Scottish music, both in its totality and with special
emphasis on the fiddle, will be referred to throughout, as will the context of
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
ethos of the class will be that no student shall be left behind. (Class limit: 30)
INTRO TO CELTIC FIDDLE (Andrew Finn Magill)
“What’s the difference between a jig and a reel?” “What makes it sound
Irish vs. Scottish?” “How do you do a roll?” If you find yourself asking these
questions, this might be the class for you. We will learn the basics of the
musical styles which constitute “Celtic” fiddle (Irish, Scottish, Breton, etc).
This class for intermediate fiddlers new to the style will prioritize listening
as well as playing. After all, the only way to play better is to listen better.
We will learn several tunes throughout the week and I’ll give you plenty of
stuff to take home and work on. The goal of this class (besides having fun)
is to make you more confident playing Celtic music and to teach you how to
sound authentic. An audio recorder is recommended.
CAPE BRETON FIDDLE A & B (Kimberley Fraser)
This class for intermediate to advanced fiddlers is offered once in the morning
and repeated in the afternoon. We’ll look at what makes Cape Breton music
different from other music. We’ll talk a lot about bowing and how this gives
the fiddle style its ‘accent,’ as well as common fingered embellishments that
you’ll hear in the style. Listening to recordings will also be a part of the class.
We’ll use this as part of our ear training to identify common stylistic features
and apply them in our own music. The class will be taught mostly by ear
and we’ll talk about ways to improve your ear training. Sheet music will be
provided as reference. We’ll learn jigs and reels and march, strathspey and
reel sets, as the class desires. (Class limit: 25)
FIDDLE FOR COMPLETE BEGINNERS (Yvonne Kane)
Learn the fiddle from scratch in a week! This class offers an introduction to
playing Irish traditional music on the fiddle for complete beginners. You will
learn how to hold the fiddle, good bow-hold, left-hand position, notation
and the basic scales. We will learn some simple tunes by ABC format, or by
ear if you are up for the challenge! Please bring along a recording device.
FIDDLE TECHNIQUE A (Yvonne Kane)
This class is for those who already play the fiddle but wish to improve their
technique. We will concentrate on ornamentation, bowing and phrasing.
We will learn a few tunes throughout the week. Classes will be taught by
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17
Celtic Week, July 15-21, 2012
Breakfast
7:30-8:30
9:00-10:15
INTERMEDIATE/ADVANCED irish
TINWHISTLE A & B (Kathleen Conneely, John Skelton)
Beg.
Int.
Celtic
Scottish
Harp
Fiddle
(Jackson,
(Kittel)
Hambly)
Adv.
Irish Myth
Scottish
& Folklore
Fiddle
(C. Ryan)
(McNeill)
Song in
Scottish
Oral
Tradition
(Stewart)
Session
Button
Guitar
Accordion
Accomp. I
(Connolly)
(Clancy)
Fiddle for
Beg.
Beg.
Irish
Bodhran
Mandolin
Complete
Whistle Whistle Songs in
I
II
Beginners
A
B
English
(Olwell)
(P. Ryan)
(Y. Kane)
(Conneely) (Skelton) (Kennedy)
Coffee/Tea Break
10:15-10:45
Irish
Tinwhistle
Ceili
Int.
Adv.
Cape Singing
Fiddle
Fiddle
Int./Adv. Int./Adv. Tenor Mandolin
for
DADGAD
Trad.
Dancing Scottish Scottish
Breton Scottish
Technique Technique
Whistle Whistle Banjo
I
Guitar
10:45-12:00 (Duffy Fiddle Fiddle Song Fiddle A Songs Complete
A
B
A
B
(P.
(Bullock)
(C.
Beginners
(O’Leary)
M.)
(cont’d) (cont’d)
(Fraser) (Miller)
(Y. Kane) (Connolly)
(Conneely) (Skelton) Ryan)
Ryan)
(Jackson)
Lunch
12:00-1:00
1:15-2:30
Int./Adv.
Celtic
Harp
(Jackson,
Hambly)
2:45-4:00
Scottish
Int.
Int.
Irish Step
Gaelic
Irish
Irish
Dancing
Song
Fiddle A Fiddle B
(Duffy M.)
(Stewart) (cont’d) (cont’d)
Intro to
Int.
Int.
Adv.
Celtic Irish Fiddle Irish
Irish
Fiddle
A
Fiddle B Fiddle A
(Magill) (Knowles) (L. Kane) (Hayes)
Adv.
Irish
Fiddle A
(cont’d)
Adv.
Session
Cape
Scotland
Irish
Guitar
Breton
in Song
Fiddle B
Accomp. II Fiddle B
(Miller)
(Carroll)
(Doyle)
(Fraser)
Irish
Uilleann
Beg. Flute
Gaelic
Pipes
(Crawford)
Song
(Vallely)
(Kennedy)
Favourite
Adv.
Celtic
Bodhran
Anglo
Celtic
Int./Adv.
Ballads
of
Irish
Finger-style
II
Concertina Bouzouki
Flute
Ireland &
Guitar
Fiddle B (Olwell) (Hambly) (O’Leary)
(Crawford) England
(Bullock)
(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-?
Flatpicking
Celtic
Guitar
(Clancy)
Uilleann
Pipes
(cont’d)
Evening Events (concerts, dances, jam sessions, etc.)
ear but ABC notation will be available to all students on request at end of
the workshop. Please bring a recording device and feel free to ask as many
questions as you wish! (Class limit: 20)
FIDDLE TECHNIQUE B (Damien Connolly)
Each day, a specific tune will be assigned to the class, which will be learned
by ear. Students are encouraged to bring audio recorders, pen and paper, and
to ask as many questions as possible. Videotaping is not permitted. Students
will also be encouraged to showcase their progress to their classmates. Attention will be paid to learning specific bowing styles/patterns, correcting
bowing patterns which do not reflect the Irish tradition, learning/perfecting
various musical ornaments (grace notes, triplets, rolls), phrasing, and the
“internalizing” of a tune. This class is best suited for fiddlers who have facility
with the instrument and who are willing to be challenged, rather than for
beginners. Classes will be taught by ear. (Class limit: 20)
Flute & Tinwhistle
BEGINNING FLUTE (Kevin Crawford)
This class offers an introduction to playing traditional Irish music on the
flute for students who already have some experience with the basics of the
instrument and can play some tunes at a slow pace with little or no ornamentation. We’ll discuss a ‘how-to-practice’ method and how to approach
session playing. We’ll learn a few tunes but the emphasis will be on establishing foundations for you to take home and apply throughout your own
learning as well as answering any questions you may have. Students will
learn how to ornament tunes with rolls, cuts and tongueing. Tunes will be
taught by ear so bring a D flute and a recording device. ABC notation will
be provided for those who need it.
INTERMEDIATE/ADVANCED FLUTE (Kevin Crawford)
This class is for students who are skilled enough to play tunes in a variety of
rhythms (jigs, reels, etc.), with good technique and at a reasonable tempo.
This course will expand on the skills and topics introduced in the beginners
class, with more attention given to ornamentation, breathing, style and
repertoire, while continuing to emphasize rhythm and phrasing in the music.
Tunes will be taught by ear so bring a D flute and a recording device. ABC
notation will be provided for those who need it.
BEGINNING Irish
TINWHISTLE A & B (Kathleen Conneely, John Skelton)
This class is for students who already have some experience with the basics
of the instrument, and can play some tunes at a slow pace with little or no
ornamentation. Beginners will learn how to ornament tunes with rolls, cuts
and tongueing. Emphasis will be placed on rhythm and phrasing. Tunes will
be taught aurally, so bring a D whistle and a recording device. Sheet music
will be provided for those who need it.
This class is for students who are skilled enough to play tunes in a variety of
rhythms (jigs, reels, etc), with good technique and at a reasonable tempo.
This course will expand on the skills and topics introduced in the beginners
class, with more attention given to ornamentation, breathing, style and
repertoire, while continuing to emphasize rhythm and phrasing in the music.
Tunes will be taught aurally, so bring a D whistle and recording device. Sheet
music will be provided for those who need it.
TINWHISTLE for
complete beginners (Billy Jackson)
This class is for students with no prior experience of the tinwhistle. Instruction will start with the most fundamental techniques and a few very simple
tunes. By the end of the week, you’ll be well on your way to playing. Please
bring along a recording device and a tinwhistle in the key of D.
Harp
BEGINNING
CELTIC HARP (Billy Jackson & Gráinne Hambly)
The beginning student will be introduced to the fundamentals of this grand
and ancient instrument, including basic harp technique (e.g. hand position,
posture, exercises). Arrangements of simple Scottish and Irish melodies
will be taught by ear, with written music provided as back-up. Billy and
Gráinne will each lead the class at various times during the week. In order
for classes to commence on time, students are kindly requested to be tuned
and prepared well in advance, and to ensure their instruments are in good
working order. Students are also encouraged to bring a recording device,
music stand, and spare strings.
INTERMEDIATE/ADVANCED
CELTIC HARP (Billy Jackson & Gráinne Hambly)
Class topics will include arranging, ornamentation, and accompanying
voice and other instruments. A selection of Scottish and Irish material will
be taught at a more advanced level and individual interests of participants
will be taken into account. Billy and Gráinne will each lead the class at
various times during the week. In order for classes to commence on time,
students are kindly requested to be tuned and prepared well in advance,
and to ensure their instruments are in good working order. Students are
also encouraged to bring a recording device, music stand, and spare strings.
Fretted Instruments
DADGAD GUITAR (Eamon O’Leary)
This class will explore approaches to the accompaniment of Irish music – both
instrumental and vocal – with the unique DADGAD tuning. Focus will
be placed on rhythm, chord selection, phrasing, and right- and left-hand
techniques. No experience with this tuning is necessary. Chord charts will
be provided.
SESSION GUITAR
ACCOMPANIMENT I (Donal Clancy)
This class will cover the basic skills essential to providing good session guitar
accompaniment. While the class will be conducted in standard tuning, a
number of the concepts could also be applied to other tunings. The student
will learn basic chord shapes, modal chords, chord inversions and progressions
for effective accompaniment in the principal keys used in Irish music. We
will focus on jigs and reels, with detours for slip jigs, hornpipes, and polkas.
Classes will be taught mainly by ear. Students are encouraged to bring an
audio recorder, pen and notebook.
SESSION GUITAR
ACCOMPANIMENT II (John Doyle)
In this class for intermediates and above, students will learn different
strumming techniques to a variety of types of tunes, add dynamics to their
playing through syncopation and emphasis, chord substitution, fingerpicking techniques, tips and tricks for playing in sessions, how to work out the
right chords for tunes and alternate tunings for the guitar. Students should
be comfortable with basic chords, strumming, and have some knowledge of
Irish music and of music theory. Chord sheets in dropped-D tuning will be
provided. Students should bring a capo.
CELTIC FINGERSTYLE GUITAR (Robin Bullock)
This class will explore the world of possibilities presented by traditional Irish,
Scottish and Breton repertoire arranged for solo fingerstyle guitar. Some
tablature will be offered, but students will also create their own individual
settings of airs, jigs, reels and the 18th-century harp music of Turlough
O’Carolan, sharing arrangement ideas in an informal, hands-on environment. Alternate tunings such DADGAD, CGCGCD and “Werewolf” tuning
(CGDGAD) will be used extensively to open up the instrument’s full sonic
potential. A good time will be had by all. An audio recorder is recommended.
flatpicking celtic GUITAR (Donal Clancy)
This intermediate-level class will focus on making traditional Celtic tunes
come to life, flatpicked on steel-string guitar. We’ll discuss technique, lift,
ornamentation, and other facets of making the tunes sound authentic.
Sheet music and tab will be available if required. An audio recorder is
recommended.
CELTIC BOUZOUKI (Eamon O’Leary)
The Irish bouzouki, or cittern, has gained a prominent role in Celtic music
over the last thirty years. This class will cover techniques of chordal and
melodic accompaniment for both instrumental and vocal pieces. Players
of both 8- and 10-string instruments are welcome. An audio recorder is
recommended.
TENOR BANJO (Pio Ryan)
In this course for banjoists of all levels, Pio will cover right- and left-hand
technique, ornamentation, tune settings and different banjo styles. Basic
banjo setup will also be discussed in order to get the best sound from the
tenor banjo. Tunes that are particularly well-suited to the banjo will also be
incorporated into the class. Students are advised to bring a recording device.
MANDOLIN I (Robin Bullock)
This class will focus on developing solid mandolin technique, using standard
tunes that will enable students to participate in sessions right away. We’ll
discuss lift, ornamentation, and other facets of making Irish and Scottish
music sound authentic on mandolin, and demystify the art of picking up
tunes by ear. Along the way, advice on pick choice, string types and instrument
setup will also be offered. An audio recorder is recommended.
MANDOLIN II (Pio Ryan)
This class will expand the repertoire of techniques for more advanced players. The lessons will focus on ornamentation, including cuts, trebles and
triplets, etc., within the traditional idiom. Example tunes will be selected
to best illustrate said embellishments. Music originating from all areas of
Ireland will be taught but we will concentrate mainly on tunes from north
Tipperary. Students are encouraged to bring a recording device.
18
19
Reeds
UILLEANN PIPES (Cillian Vallely)
This class will focus on tunes from the standard piping repertoire and their
associated piping techniques. Through the teaching of new tunes, we will
examine standard piping elements such as rolls, crans and triplets, and also
look at how to get the best sound from the instrument in terms of tone and
tuning. We will spend some time looking at the various styles of playing and
how to develop the music from the basic melody through the use of ornamentation and melodic and rhythmic variation. We will also look at regulator
accompaniment for those with full sets and we will try to cover the various
tune types associated with traditional music. A device to record the classes
will be essential as the class will be taught by ear and it is expected that a lot
of what you learn at the class will be of use between classes. For those who
require it, musical notation can be made available at the end to take home.
Intermediate and advanced players will benefit the most from this class.
BUTTON ACCORDION (Damien Connolly)
In this class for B/C accordion, a specific tune will be assigned to the class
each day, and learned by ear. Attention will be paid to posture in general,
fingering technique, hand position, air button control, the understanding/
internalizing of a tune, phrasing and ornamentation. Different playing styles
shall be demonstrated and discussed, along with listening recommendations
for representative box-players. Students will also be encouraged to showcase
their progress to their classmates. Classes will be taught by ear. Students are
encouraged to bring audio recorders, pen and paper, and to ask as many
questions as possible. Videotaping is not permitted.
anglo concertina (Gráinne Hambly)
This class is intended for students playing Anglo C/G concertinas, and
is open to all levels, from beginners with some basic playing experience upwards. It is not suitable for complete beginners, however, and all participants
should be familiar with their instrument (location of the notes, etc). Basics
of technique and style (e.g. bellows control, phrasing, alternative fingerings)
will be covered, as well as ornamentation in the context of Irish traditional
dance tunes. Participants are encouraged to bring an audio recorder. Written
music will also be provided.
Song & Folklore
irish MYTH AND FOLKLORE (Cathie Ryan)
Before the history of Ireland was written down, there existed an Ireland
known to us only through legend and myth. The myths from this period are
deep and dark and endlessly fascinating, peopled by gods and goddesses
who lived alongside mortals. The characters and stories are archetypal and
hold great psychological relevance to us today. We will use this perspective to
explore tales from the national epic of Ireland, The Táin Bó Cuailnge (The
Cattle Raid of Cooley), Lady Gregory’s Gods and Fighting Men and other
extant texts. We will also delve into some of the folktales and fairy-lore of
Ireland that still resonate in the Irish countryside. To honor the oral tradition, Cathie will tell the stories before they are discussed. (No class limit)
Irish TRADITIONAL SONG (Cathie Ryan)
The depth and breadth of the Irish singing tradition is endless. This course
will feature a collection of new songs I’ve drawn from the well, including
holiday songs, some newly composed songs written in the old style, children’s
songs, humorous songs, love songs, and more. We will focus on the oral tradition of sean nós (old style) singing and utilize those rudiments to deepen
and develop our own individual singing styles. We will discuss the historical
importance of song for the Irish, and experience the joy of exploring and
singing some great traditional songs. Please bring audio recorders with you
to class. (No class limit)
FAVOURITE BALLADS
OF IRELAND & ENGLAND (John Doyle)
In this class, John will share a collection of favourite songs learned from a
lifetime of playing with the best in folk music. Having studied and learned
songs for almost 20 years, he has amassed a great repertoire of Irish and
English ballads learned from many sources, including his father, Sean Doyle,
a lovely singer from Co. Sligo. Students will listen to examples of the best of
Irish and English styles of singing, listen to how certain songs have changed
in their moves back and forth between these countries, and, of course, learn
songs in the process. Students will learn by repetition and ear and would
benefit by bringing along a recording device. (No class limit)
SCOTTISH GAELIC SONG TRADITION (Christina Stewart)
Beginning with simple, repetitive and unthreatening songs learned by ear and
moving on to more elaborate songs with lyric sheets, this class will introduce
a number of songs suited to the participants’ level of ability, examining how
each song fits into the tradition and its links with story, custom and belief.
Many Scottish Gaelic songs express only the stream of conciousness of one
character in a tale and it is important to know the story into which the song
fits. Knowledge of the broader tradition enriches knowledge of the songs
themselves. A range of song types will be covered, including love songs, lullabies, worksongs and ‘mouth music’. Participants will have the opportunity
to add songs to their repertiore, develop their own use of ornamentation and
recreate a traditional waulking (cloth fulling) with tweed. No experience
is necessary and pronunciations will be offered by ear with phonetics available on request. Participants are encouraged to bring an audio recording
device. (No class limit)
SONG IN SCOTTISH
ORAL TRADITION (Christina Stewart)
Focusing on songs in their context, this class will examine songs in Scots,
the dialect of English Robert Burns (and others) often wrote in, as well as
Scottish Gaelic. In addition to songs ranging from centuries-old to relatively
modern, we will be looking at the social and cultural environments which
gave rise to them and specific stories, events and traditions associated with
specific songs. Class participants will gain an insight into the role of songs
in everyday Scottish life, and how they carry the experiences and beliefs of
the singers. Songs, melodies and stories will be taught orally, but lyric sheets
will be provided. No prior knowledge of Gaelic or Scots is necessary and
participants are encouraged to bring audio recording devices and take notes.
This is an informal and relaxed class with the opportunity to sing, but no
pressure will be put on anyone to perform! (No class limit)
IRISH GAELIC SONGS (Nuala Kennedy)
This class focusses on traditional songs in the Irish language. We will learn a
selection of songs by ear, and also learn a few basic phrases in Irish. We will
listen to examples of different Irish language singers and also learn a couple
of Scottish Gaelic songs as well. Words and translations will be available but
the focus of the class will be on learning the songs and phrases by memory.
Please bring a notebook and recorder. (No class limit)
IRISH SONGS IN ENGLISH & MORE (Nuala Kennedy)
A lot of Nuala’s repertoire consists of Irish songs in the English language 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 as
well as other songs which Nuala has picked up over several years performing
and singing. We will try to learn some songs by ear, (old-style!) as well as from
songsheets. A relaxed and informal class, this is a good way to broaden your
repertoire as well as share some of your own songs and singing experience
with the group. Please bring a recording device. (No class limit)
SINGING SCOTTISH SONGs (Ed Miller)
Each class period will focus on two or three songs, learning them by hearing and singing them over several times. We’ll also listen to recordings by
a variety of singers to hear how they present, express and decorate a song.
Songbooks and sampler CDs will be available and the language and social
context of the songs will be explained. However, the emphasis will be on
learning a selection of traditional and more recent songs aurally and orally
by repetition. (No class limit)
SCOTLAND IN SONG (Ed Miller)
The songs of the Scottish folk revival of the past 50 years cover everything from
politics and social change to urban renewal and personal experience. In this
class, we’ll listen to, talk about and SING serious and humorous songs by
Adam McNaughtan, Ewan MacColl, Hamish Henderson, Brian McNeill,
Andy M. Stewart, Dougie MacLean and others, all of whom are keeping
the Scottish song repertoire refreshed, vibrant and relevant. Songbooks will
be available. (No class limit)
soft-shoe and hard-shoe steps. We’ll also discuss the music and traditional
instruments that accompany Irish dance. Bring soft-soled shoes and comfortable clothes. (No class limit)
CEILI DANCING (Erin Duffy Martorano)
In Ireland, a ceili refers to a social gathering with live music and dancing.
This class provides the opportunity to learn traditional Irish ceili dancing,
with its intricate figures and social atmosphere. Students will learn the basic
foot movement, including sevens, threes, and the rise-and-grind step. The
class includes learning several progressive and long ceili dances (“The Waves
of Tory,” “The Siege of Ennis,” and “The Haymaker’s Jig”), and several fourand eight-hand competitive figure dances (“The Four Hand Reel,” “The
Sweets of May,” and “High Cauled Cap”). Come to learn, socialize, and
be merry! Wear comfortable clothes and either soft-soled shoes or sneakers.
(No class limit)
Other Events
POTLUCK SESSIONS
In addition to the regular class sessions, in the afternoons we offer Potluck
Sessions serving up a different menu of one-hour workshops each day.
FOOD SONGS NIGHT
On one of the evenings during the week, the Seasonal Scool of Culinary Arts
<www.schoolofculinaryarts.org> will offer up some of their delicious fare to
the accompaniment of songs about food provided by our staff and students.
Percussion & Dance
BODHRAN I (Matthew Olwell)
This class will address the fundamentals of playing the bodhran, including
basic care and feeding of the instrument, good hand and body position, and
techniques for reels and jigs. The class will emphasize playing by ear, musical
sensitivity, and finding the rhythms hidden within the tunes. We will examine
the similarities and differences between percussion in Irish music and other
styles, with a focus on intuitive listening and “ear development.” Beginners
are welcome, as are players who want to brush up on the basics or re-evaluate
their technique. Audio recording devices are encouraged. (Class limit: 25)
BODHRAN II (Matthew Olwell)
This class is designed for players with a solid foundation of technique, who
are ready to sharpen their skills. Class time will be devoted to playing as a
group, as well as individually. We will talk about how to accentuate rhythmic
elements in different types of tunes, how to make smooth and interesting
transitions within sets, and how to work with other rhythm players. Students should be comfortable with both jigs and reels and be able to play with
consistent timing. Audio recording devices are encouraged. (Class limit: 25)
IRISH STEP DANCING (Erin Duffy Martorano)
This class is open to anyone interested in Irish step dancing. During the
course of the week, students will be introduced to dance basics, including
form, technique and the history of Irish step dance in the United States
and Ireland, beginning with the basic foundations of Irish dance. We’ll
learn soft-shoe dances such as the Irish reel, light jig, and slip jig. The more
experienced students will have the opportunity to learn more advanced
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We offer a full-day program, taught by Denisa Rullmoss, for children ages
6-12. Children must have turned 6 by July 1st to participate. No exceptions
please. Evening childcare for ages 3-12 will be provided at no additional cost.
BEWARE....there will be MONSTERS at the Gathering this year! Furry
and funny, scaly and slippery, fuzzy and ferocious monsters of all shapes and
sizes. The Children’s Program will befriend many beasties this summer as
we sing about, laugh about and growwwwwl about the mysterious mayhem
of the creatures we call monsters. What do monsters eat?? We will cook up
the answer. Do monsters smell?? We will sniff out the answer. We will create
monster puppets and pillows, monster headware (some may have horns!)
AND monster feet....(stomp, stomp, stomp). Goliath giggles will happen as
we play in the mouth of a GIANT monster OR perhaps hide in his smelly
foot. And most importantly we will make MONSTER MUSICIANS out of
all the kids! Our band will be led by Sue Ford (singer, songwriter, percussionist). As a special treat, we will be visited throughout the week by wandering
musicians and artists (Gathering staff ) who will perform just for our kids.
We will continue our long-loved traditions of shaving cream hairdos day,
movie night (with Muppet Monsters of course), pie-eating contests and
challenge everyone to complete the Gathering Scavenger Hunt. Each busy
day will close with free swim time in the college pool. Non-swimmers must
be accompanied by a parent to swim. So get your “arrrrrs, yowwls, growwls”
ready. There’s some Swannanoa Gathering monsters on the loose. No worries
as the monstrous good time will be appropriate for ALL ages (6 and up).
There will be a $30 art/craft materials fee for this class, payable to Denisa,
the Children’s Program coordinator, on arrival.
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ld-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. The many diverse offerings enable students to explore new areas; fiddlers
sing, singers dance, and dancers learn to play instruments. Students enroll in as many as three regular classes during the week, and each afternoon a variety of
short workshop topics are offered during the Potluck Sessions. The 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!
For those students bringing their families, we also offer a program for kids, but space is limited. Our Children’s Program for ages 6-12 features kids’ activities
scheduled during all the daytime class sessions, and evening childcare for ages 3-12 is provided at no additional cost.
bruce MOLSKY
One of the most respected old-time fiddlers of his generation,
Bruce Molsky plays southern roots and blues music on fiddle,
banjo, guitar, and song with a great depth of spirit. Known for his
collaborations with musicians of other cultures, his wide-angled
approach to traditional folk music has influenced a generation of
players and listeners. Bruce is a member of Andy Irvine & Dónal
Lunny’s acclaimed Mozaik, and he tours frequently with Aly Bain
& Ale Möller. His band, Fiddlers 4, with Darol Anger & Michael
Doucet was a Grammy Nominee. He is also a faculty member at Berklee College of
Music in Boston, and frequent instructor at colleges and camps in the US and Europe.
Bruce’s solo concerts and many CDs have become staples for fans of American and
world music everywhere. www.brucemolsky.com
PHIL JAMISON
Founding coordinator of Old-Time Music & Dance Week,
Phil is nationally-known as a dance caller, musician, and
flatfoot dancer. Since the early 1970s he has been calling
dances and performing and teaching at music festivals and
dance events throughout the U.S. and overseas, including
thirty years as a member of the Green Grass Cloggers.
His flatfoot dancing was featured in the film, Songcatcher,
for which he also served as Traditional Dance consultant.
From 1982 through 2004, he toured and played guitar with Ralph Blizard and the
New Southern Ramblers. He also plays fiddle and banjo. He has done extensive
research in the area of Appalachian dance, and has published many articles on traditional dance in The Old-Time Herald. Phil teaches mathematics and Appalachian
music at Warren Wilson College, where he has also hosted Dare To Be Square!,
a weekend workshop for square dance callers. In 2008, Phil became the twelfth
recipient of the Gathering’s Master Music Maker Award for lifetime achievement. www.myspace.com/newsouthernramblers
WAYNE MARTIN
Wayne Martin spent his early childhood in Dunwoody,
Georgia where he heard family members sing shape-note
hymns and play country music. While attending high school
in Raleigh, North Carolina, he was introduced to fiddle and
banjo music by friends. In college he began to visit old-time
fiddlers and eventually learned from musicians in the mountains, piedmont and coastal regions of North Carolina. He is
also well-versed in the styles and repertoires of fiddlers from
his native state of Georgia and of the master Cherokee fiddler Manco Sneed. Wayne
has recorded with Etta Baker, A.C. Overton, Lauchlin Shaw, and Smith McInnis and is
featured on the CD, Birdie, with his wife, Margaret and friend Craig Johnson. In addition
to performing music, he has produced numerous recordings of traditional musicians
including Etta Baker, Bascom Lamar Lunsford, Marcus Martin, Doug & Jack Wallin,
Joe & Odell Thompson, and Lauchlin Shaw & A.C. Overton.
ALICE GERRARD
Singer/songwriter/musician Alice Gerrard has performed on
more than twenty recordings. She has produced or written liner
notes for a dozen more, and she has co-produced and appeared
in two documentary films about Appalachian music. Her numerous honors include a Virginia Arts Commission Award, the
North Carolina Folklore Society’s Tommy Jarrell Award, and
an Indie Award. In 1987, Alice founded the Old-Time Music
Group, a non-profit organization which oversees publication of the Old-Time Herald
magazine. Known for her groundbreaking collaboration with Appalachian singer Hazel
Dickens during the 1960s and 70s, this duo produced four classic LPs and was a major
influence and inspiration for scores of young women singers. Her solo CDs, Calling
Me Home and Pieces of My Heart received critical acclaim, and she recently released a
CD, Road to Agate Hill, in connection with Lee Smith’s book, On Agate Hill. In 2010,
Alice was awarded the Gathering’s Master Music Maker Award for lifetime achievement. www.alicegerrard.com
MIKE BRYANT
Mike began playing the fiddle over thirty years ago after hearing it when he was a dancer on a clogging team. For more than
twenty years he played fiddle with the New Dixie Entertainers,
an old-time string band based in Knoxville, Tennessee, winning
numerous blue ribbons at competitions in the southeast, including First Place several times in the traditional band competition at the Appalachian String Band Festival in Clifftop, West
Virginia. Mike teaches fiddle in the Knoxville area, and he specializes in old-time dance
tunes, country blues, and rags.
JOSEPH DECOSIMO
Joseph Decosimo grew up in Chattanooga and has been
interested in the fiddle and banjo traditions of his local area
since first encountering the banjo in seventh grade, especially
the music of the Cumberland Plateau, southeast Tennessee,
and western North Carolina. For several years during high
school and college, he performed with Charlie Acuff, and
more recently, in bands with Tennessee fiddlers Bob Townsend and Mike Bryant. He has
won a number of blue ribbons for his fiddling, including First Place at Clifftop in 2010,
and the National Old-Time Banjo Championship. Joseph has taught and performed
at the Augusta Heritage Center, the Berkeley Old Time Music Convention, and the
Festival of American Fiddle Tunes in Port Townsend, WA. He is currently completing
an MA in Folklore at the University of North Carolina, studying fiddling traditions in
Tennessee and north Georgia.
JOHN HERRMANN
John has been traveling the world playing old-time music for
over forty years. He plays fiddle with the New Southern Ramblers, but he has performed with many bands including the
Henrie Brothers (1st place Galax, 1976), Critton Hollow, the
Wandering Ramblers, One-Eyed Dog and the Rockinghams.
Equally adept on banjo, fiddle, mandolin, guitar, and bass, he
is known as the “Father of Old-Time Music” in Japan(!), and
the originator of the ‘slow jam.’ John has been on staff at numerous music camps from
coast to coast. He lives in Asheville, NC. www.myspace.com/newsouthernramblers
LIGHTNIN’ WELLS
Lightnin’ Wells breathes new life into the vintage tunes of
the 1920s and depression-era America employing a dynamic
style which he has developed over thirty years of performing
experience. Raised in eastern North Carolina, he learned to
play harmonica as a young child and later taught himself the
guitar as he developed an interest in traditional blues and folk
music. Since then, he has presented his brand of acoustic blues
throughout North Carolina, the United States, and Europe.
Lightnin’ has traveled and performed extensively with North Carolina blues legends
Big Boy Henry, Algia Mae Hinton and George Higgs, and he is a life-long student
and devotee of the pioneering performers in the Carolina Piedmont blues tradition,
including artists such as Blind Boy Fuller, Rev. Gary Davis and Elizabeth Cotton. He’s
taught blues guitar at blues weeks around the country, and also plays the harmonica,
ukulele, mandolin, and banjo. He is included in the North Carolina Arts Council’s
Touring Artist Roster as well as the American Traditions National Roster through the
Southern Arts Federation. www.lightninwells.com
JIM COLLIER
Jim Collier has been playing old-time banjo, fiddle, guitar and
mandolin since his high school days in Raleigh, NC. Influenced
early on by visits with Roscoe Holcomb, Virgil Anderson, Clyde
& Ralph Troxel, and Gaither Carlton, he developed an interest
in a variety of non-commercial old-time music. While living in
Boone, NC, Jim had the good fortune to spend time during his
formative years with Arnold Watson, experiencing the rich musical
legacy of the Watson family. Best known for his old-time fiddling,
Jim has spent most of the last twelve years renewing his love for early bluegrass music
on mandolin, singing, and most recently, regional two- and three-finger banjo styles
as well as old-time up-picking. Jim was a founding member the Tar Heel Hot Shots
and Big Medicine and actively plays bluegrass mandolin with the Rye Mountain Boys. www.ryemountainboys.com
carol elizabeth jones
Carol Elizabeth Jones has made her mark as a singer of traditional mountain music, a guitar player, and as a writer of
new songs in the traditional style. She has several albums to
her credit including two with Jones & Leva on the Rounder
Label, two albums of 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 O Sister! The Women’s Bluegrass Collection. A
member of the Hopeful Gospel Quartet with Garrison Keillor and Robin and Linda
Williams on A Prairie Home Companion, she has toured Africa and Southeast Asia as
a cultural ambassador for the U.S. Information Agency and has performed and taught
at festivals throughout North America. Originally from Berea, Kentucky, she now lives
in Lexington, Virginia where she is the Children’s Librarian at the local public library.
Dave Higgs of Bluegrass Breakdown says “…Carol Elizabeth has one of the most haunting
and honest voices in acoustic music.”
Paul Brown
Paul Brown has been hooked on traditional southern music since
early childhood, when he started picking up songs his mother
had learned as a kid in piedmont Virginia. Paul took up banjo
at age ten, and fiddle a bit later. His playing bears influences of
the North Carolina and Virginia masters he sought out as a
young adult, and he loves to share what he learned from these
memorable players. He also loves dancing and playing fiddle
and banjo for square dances. Paul has appeared at camps and festivals around the U.S.
since the early 1970s. He’s recorded and produced highly-regarded traditional music
albums, and won numerous banjo and fiddle contests. He currently plays with The
Mostly Mountain Boys. www.brownpaul.net
DAVID WINSTON
David first heard a banjo when, as an infant, he was placed beside
Pete Seeger, who was playing a house concert. He grew up listening to Seeger’s ten-inch LP, Birds Bugs and Bigger Fishes, that
his parents had purchased at that party, and an interest in folk
music was born. He took up the guitar, leading to an exploration
of rural southern blues. In 1971, a friend presented him with an
old SS Stewart banjo found in his attic. As a freshman at Oberlin
College he befriended Brad Leftwich, who was just taking up the fiddle and needed a
playing partner. During summers and breaks they traveled to the vibrant old-time scene
centered in Lexington, Virginia, and from there they started visiting older musicians, in
particular, Tommy Jarrell, who became a close friend and musical mentor. Known for
his powerful driving style, David has been a member of The Correctone Stringband,
Ace Weems and the Fat Meat Boys, and The Hellbenders. He has recorded with fiddlers
Andy Williams, Peter Honig, James Leva, Chad Crum, and Bruce Molsky, and he has
garnered honors in many contests over the years.
MIKE FENTON
From Worcestershire, England, Mike was inspired to take
up the autoharp after meeting Mother Maybelle Carter in
Birmingham, England, in 1968. In 1986 he quit his job as
a school principal to play autoharp professionally, and in
1987, won the International Autoharp Championship in
Winfield, Kansas. He is also a three-time winner of the blue
ribbon for Autoharp at the Galax Old Fiddlers’ Convention
in Virginia. He has led workshops at many festivals including
the Autoharp Jamboree in Mountain View, Arkansas, the
Mountain Laurel Autoharp Gathering in Pennsylvania, the
Willamette Valley Autoharp Gathering in Oregon, and Winfield. In 1997, Mike was
inducted into the Autoharp Hall of Fame for contributions to the autoharp community.
Known for the clarity and variety of his styles on the instrument, he has a particular
interest in its place in the old-time setting. He is a respected teacher and jam session
leader, well-known for his ability to teach large multi-level groups. Also skilled on guitar,
dobro, mountain dulcimer, and jew’s harp, his ability to play fast fiddle tunes on the
autoharp is legendary. www.harperscraft.com
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RODNEY SUTTON
Rodney prides himself on his ability to share his love of traditional Appalachian step-dancing with everyone – even those
who are not sure that they can learn to dance! He is a traditional
dancer, caller, musician, storyteller, a veteran of the early days of
the Green 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 Carolina’s Visiting Artist Program, he taught traditional dance in schools
throughout western NC. Rodney serves on Asheville’s Folk Heritage Committee,
which produces Shindig on the Green and the Mountain Music and Dance Festival,
and he has been instrumental in organizing the Regional Junior Appalachian Musicians
(JAM) program into a certified non-profit group that oversees JAM programs here in
our mountain communities.
RON PEN
Ron is a performer and scholar of the music of the Appalachian
region. A founding member of the Appalachian Association
of Sacred Harp Singers, with whom he performed on NPR’s A
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
folk icon John Jacob Niles. Ron started fiddling thirty years ago in Rockbridge County,
Virginia and has since participated in various workshops and festivals across the region
including Hindman Settlement School’s Folk Week, Augusta’s old time and singing
weeks, Berea’s Christmas Dance School, and many times at Swannanoa.
PAUL KOVAC
Singer, multi-instrumentalist, and scholar of American country
music, Paul Kovac has been playing old-time and bluegrass music
on guitar, mandolin, and banjo since he was a teen. Over the years,
he has performed with a long list of musicians, including old-time
with Dirk Powell and Rick Good, and bluegrass with Bill Monroe
and Hazel Dickens. He has accompanied fiddlers Chubby Wise,
Art Stamper, and Vassar Clements, and played dance music with Critton Hollow String
Band and the Fiddle Puppets. In 1993, Paul wrote and produced the instructional DVD,
Learn to Play Guitar with Roy Clark and Paul Kovac. He has been on staff at numerous
music and dance camps, and he coordinated the Bluegrass Week at the Augusta Heritage
Center from 1996 to 2007. www.paulkovac.com
ELLIE GRACE
Ellie Grace was strapping on her first tiny clogging shoes at the
ripe old age of five. From her early start in percussive dance,
Ellie went on to spend her childhood traveling as a singer, multiinstrumentalist, and dancer in her family band. Ellie is also an experienced and dynamic teacher, having taught at camps, schools,
studios, and festivals across the country for well over twenty years.
Since her arrival in the southern mountains in 2006, Ellie has taught percussive dance
at the University of North Carolina at Asheville, led Twistycuffs (a Cape Breton step
dance troupe), and continued to tour and teach nationally and internationally with
multiple bands (Leela and Ellie Grace, Dirk Powell Band, Blue Eyed Girl) and dance
companies. Whether she is performing for an audience of thousands or teaching one on
one, it is apparent the joy she takes in sharing her love of music and dance with people
of all ages! www.leelaandelliegrace.com
KEVIN KEHRBERG
(see bio in Fiddle Week, page 44)
Wayne Erbsen
Wayne has been teaching people to play stringed instruments
for over forty-five years. Since his first book, Clawhammer
Banjo for the Complete Ignoramus!, Wayne has written thirtyone instruction and songbooks on Southern Appalachian
music, folklore, and humor, and since 1988 he has recorded
eighteen solo CDs. In addition to teaching Appalachian music
at Warren Wilson College and at the Log Cabin Cooking &
Music Center, Wayne runs a publishing company and old-time record label, Native
Ground Books & Music. www.nativeground.com
GINNY HAWKER
& TRACY SCHWARZ
Whether in close harmony or soul-stirring solos, Ginny
and Tracy know how to create a sound that is authentic
to the time and place from which their music springs.
Ginny grew up in southern Virginia and has been singing
gospel harmony, early bluegrass and the unaccompanied hymns of the Primitive Baptist
Church all her life. Tracy has been a traditional music legend for over forty years as a
dedicated Cajun musician and as a member of the seminal old-time stringband, The
New Lost City Ramblers. Together their singing is strong and energetic and goes straight
to the heart of southern Appalachian music and culture. www.ginnyandtracy.com
LEE SEXTON
Lee Sexton was born in 1928 in Linefork, Kentucky. He and his
wife, Opal, still live in Linefork about one hundred yards from his
homeplace. He started playing banjo as soon as he was old enough
to hold the instrument, and quit school after the eighth grade in
order to earn his own way, first playing music and then working in
the coal mines. His playing was featured in the square dance scene
in Coal Miner’s Daughter. “Lee Sexton is one of the finest traditional old-time banjo
players in the country.”- David Holt.
film, Let Your Feet Do the Talkin’. Joining Thomas is his grandson, Daniel Rothwell, who
plays banjo, sings, and tells stories, and dancer Jay Bland, the 2008 National Champion
buckdancer. Thomas, Daniel, and Jay have performed at the Museum of Appalachia’s
Fall Homecoming, Uncle Dave Macon Days in Tennessee, and the Berkeley Old Time
Music Convention.
ANNA ROBERTS-GEVALT
& ELIZABETH LAPRELLE
The Whitetop Mountain Band is a traditional
old-time band from Mouth of Wilson in southwestern Virginia. They play material from many
sources: old-time, country, bluegrass, gospel, and
more. Influenced by the music of Albert Hash,
G.B. Grayson, Arthur Smith, the Carter Family,
the Louvin Brothers, Molly O’Day, Coon Creek
Girls, Hank Williams, Cousin Emmy, the Stanleys, and others, they have been described as a
cross between the Maddox Brothers & Rose and
the Skillet Lickers: “Hard core old-time, but open-minded.” They have played for dances
throughout southwestern Virginia and every Friday night at the Allegheny Jamboree in
Sparta, NC. Band members include: Thornton Spencer, fiddle; Emily Spencer, banjo;
Martha Spencer, guitar, fiddle, clawhammer banjo; Jackson Cunningham, mandolin,
guitar; and Debbie Bramer, bass. whitetopmountainband.com
Elizabeth LaPrelle is a young ballad singer and
banjo player from Rural Retreat, Virginia, whose
heartfelt and powerful singing has won her prizes
at regional fiddlers conventions since the age of
eleven. Anna Roberts-Gevalt is a young old-time musician, who recently completed
an Appalachian Music Fellowship at Berea College and now lives in Floyd, Virginia.
Together, they perform fiddle and banjo duets, vocal duets, and Appalachian ballads
illustrated by beautiful hand-made picture scrolls called “crankies.”
Thomas Maupin,
DANIEL ROCKWELL
& JAY BLAND
GORDY HINNERS
A veteran of the old-time music and dance scene, Gordy is
known for his distinctive clawhammer style on the fretless
banjo and his masterful rhythmic footwork as a clogger and
buckdancer. He plays banjo with the New Southern Ramblers
and for many years was a mainstay of the Green Grass Cloggers.
Gordy has taught at workshops throughout the country, and has
been a part of the Gathering since its inception. He currently
lives in Weaverville, NC, and teaches Spanish at Mars Hill College. www.myspace.com/newsouthernramblers
WHITETOP
MOUNTAIN BAND
Thomas Maupin describes himself as a “selftaught buckdancer with a flatfoot style.” Growing up in central Tennessee, he was exposed to
dance at an early age at Saturday night hoedowns
and barn dances. He has won First Place in the senior flatfooting competition at the Appalachian
String Band Festival at Clifftop, West Virginia, as well as the Silver Stars talent contest
at the Ryman Auditorium in Nashville, and he was featured in a recent documentary
CHARLIE McCarroll
Son of Roane County Ramblers fiddler Jimmy McCarroll, Charlie
approaches the fiddle with the same wild, blues-inflected approach
heard on his father’s 1928 and ‘29 Columbia recordings. Charlie
spent much of his fiddling career playing bluegrass fiddle, but in
recent years, he has returned to his family’s repertoire, injecting new
life into the older tunes. Charlie will be accompanied by folklorist
Bob Fulcher and possibly another playing partner.
DON PEDI
A spectacular mountain dulcimer player who can match
the fiddle note-for-note on tunes, Don’s playing is a welcome addition at dances, concerts, and jam sessions, and
he has won numerous awards for his innovative playing.
Don has performed at many festivals across the country,
including the 2003 Smithsonian Folklife Festival in Washington, DC, and he played music and appeared in the film, Songcatcher.
www.donpedi.com
MEREDITH McINTOSH
With a degree in music education and a great love for old-time
music, Meredith is known as a patient and enthusiastic teacher.
She plays fiddle, guitar, bass, flute and piano. Over the years she
has performed with Ida Red, the Heartbeats, Balfa Toujours,
The Rockinghams and the New Southern Ramblers. She lives
in Asheville, NC where she is a certified massage therapist and teacher of the Alexander
Technique. www.myspace.com/newsouthernramblers
dENISA RULLMOSS
(see bio in Traditional Song Week, page 6)

I
n 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. Fiddle classes during Old-Time Week are offered at four different levels: 0 – Beginner; I – AdvancedBeginner; II – Intermediate; III – Advanced (see definitions on pg. 1). Please consider your level of skill carefully when registering for classes.
Fiddle
OLD-TIME FIDDLE 0 (John Herrmann)
This class for complete beginners will start with the basics of tuning, bowing,
and finding the notes on the fingerboard. By the end of the week students
will have learned cross-tuning, a few simple bowing patterns, how to learn
tunes by ear, and be able to play a few standard old-time tunes. Please bring
a working fiddle and bow. No prior experience necessary.
OLD-TIME FIDDLE I A (Wayne Martin)
This class is for advanced-beginner fiddlers who can play a few tunes and
want to learn more. Incorporating basic bowing techniques and noting pat-
terns commonly used by Appalachian and Piedmont fiddlers from North
Carolina, students will work on tunes in the keys of G and D. Expect mostly
breakdowns, with a waltz or two added for variety.
OLD-TIME FIDDLE I B (Alice Gerrard)
This class is for advanced-beginner fiddlers who know a few tunes and are
ready for more. Incorporating basic bowing and noting patterns commonly
used by southern Appalachian fiddlers, students will learn several tunes in
the keys of A, D, and G. Expect mostly breakdowns, but perhaps also a few
waltzes and slower tunes.
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OLD-TIME FIDDLE II A (Joseph Decosimo)
For intermediate players, we will explore some fun tunes and different fiddle
tunings common to old-time music, focusing on the ways we can use the
bow in order to create the right kind of rhythm and feel for old-time music.
Learning some breakdowns (and maybe a waltz or slower piece) in G, D,
A and maybe C, we’ll work on becoming better listeners capable of fleshing
tunes out. We will also discuss approaches to learning new tunes. Much 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. Most of the tunes will be from
western North Carolina, Tennessee, and Cumberland Plateau repertoires.
OLD-TIME FIDDLE II B (Wayne Martin)
This class is for intermediate fiddlers who want to add to their old-time
repertoire and learn more about bowing. Using cross-tunings as well as
standard tuning, students will learn old-time fiddle tunes drawn from
the repertoires of North Carolina master fiddlers such as Marcus Martin,
Gaither Carlton, and Lauchlin Shaw. Students will learn bowing patterns,
how the fiddle bow can be used to produce different rhythmic effects, and
how to use drones and double stops effectively.
OLD-TIME FIDDLE II C (Bruce Molsky)
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
tunes in detail. Emphasis will be on using the bow to make rhythm, on
proper phrasing, and just making the fiddle ‘speak.’ We’ll spend some time
learning to grab a tune from the air (the aural tradition) and put it on the
instrument. If enough folks are interested, we’ll also do a session on singing
with the fiddle.
OLD-TIME FIDDLE II D (Mike Bryant)
This class for intermediate fiddlers will focus on learning some new tunes
with some attention to bowing. We will be concentrating on the fun of using
cross-tuning and other alternate tunings.
OLD-TIME FIDDLE III A (Paul Brown)
This class is for intermediate/advanced fiddlers who are ready to expand
their old-time repertoire and improve their playing skills. Concentrating
on traditional southern dance tunes in the main keys of A, D, G, and C,
and using various tunings, students will learn more about the subtleties
of bowing technique as used in old-time fiddling: playing on two strings,
bowing patterns, bow pressure, rocking and pulses, how to produce a strong,
danceable rhythm, syncopation, and phrasing to give a tune a more driving
or archaic sound.
OLD-TIME FIDDLE III B (Bruce Molsky)
In this class for intermediate and advanced fiddlers, we’ll take a deep look
and listen to some classic old fiddle recordings. The goal is to discover what
makes the performances so powerful, and to learn and play those tunes
together. We’ll identify and develop the things that make old-time music
strong and unique: ornamentation, intonation, pulse, and language. We may
also have a session on harmonizing and accompanying songs with the fiddle.
OLD-TIME FIDDLE III C (Mike Bryant)
In this class for intermediate and advanced fiddlers, students will learn some
new tunes from the repertoires of a variety of old-time fiddlers with attention
to solo pieces. We will also work on bowing, double stops, and variations. If
time permits, we’ll work on some of the bluesy sounding tunes.
SONG-FIDDLE (Tracy Schwarz)
How do you accompany singing on your fiddle? If you’re interested in augmenting your dance fiddle skills with southern song-fiddle techniques in
standard tuning, this is the class for you. With over forty years of fiddling
experience, Tracy will concentrate on both back-up and instrumental leads
in country and bluegrass song styles. It’s recommended that students come
to class acquainted with some original recordings in at least one of these
musical styles and have reached an intermediate or higher level of fiddling
in the keys of G, A, C, D, and E.
Banjo
OLD-TIME FINGERSTYLE BANJO (Jim Collier)
This class is for intermediate players that want to explore old-time styles
other than clawhammer. The focus will be on up-picking styles from the
Cumberland Plateau, two-finger with finger lead from North Carolina and
eastern Kentucky, as well as old-time three-finger styles. We will explore the
styles of Clyde Troxel, Wade Mainer, Arnold Watson, Hayes Sheppard, and
Dock Boggs. Technique and right-hand fingerpicking patterns will be taught
to support learning selections from these artists. The material will introduce
several tunings and will introduce playing in other than first position. It is
recommended that students bring a thumb pick and two finger picks to class
to prevent blisters for those new to fingerpicking.
OLD-TIME BANJO I (Wayne Erbsen)
In this class for the total beginner, students will learn the basics of clawhammer banjo technique. By the end of the week, you will be able to play
a handful of old-time tunes, and you’ll learn some of the tricks of playing
back-up on the banjo.
OLD-TIME BANJO II A (David Winston)
OLD-TIME BANJO III B (Paul Brown)
This is a style class for more advanced players. We’ll explore three different
playing styles: down-picking clawhammer, up-picking, and two-finger
picking. We’ll listen to some commercial recordings and field recordings of
some of the great players, past and present, and we’ll examine and compare
the playing of Kyle Creed, Wade Ward, Fred Cockerham, Roscoe Holcomb,
and others. We’ll concentrate on techniques and tunings and listening for
fiddle accompaniment, but also how to play solo. We may attempt some
back-up to songs as well.
Guitar & Mandolin
OLD-TIME GUITAR I (Meredith McIntosh)
Want to learn how to play the guitar? This is the class for you. Beginners
will learn some basic chords in a couple of keys and use them to accompany
familiar songs and tunes. Bring a guitar and a medium weight flatpick.
(You can get a pick at the Gathering.)
OLD-TIME
GUITAR II A & B (Kevin Kehrberg, Lightnin’ Wells)
If you know a handful of basic chords, and can hold on to a flatpick, you’re
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
runs, keeping time, tuning, learning to listen, and putting it all together
into a duet, trio, or band. Guitar students may get together with fiddle and
banjo students during the week.
This class is directed toward clawhammer style players who can currently
play tunes keeping a good beat but would like to learn some techniques to
make their playing more “banjo-y”. We will explore some of the bag of tricks
in this style of playing which highlight the unique character of the instrument
and transform playing from generic to nuanced. We will explore rolls, slides,
syncopation and phrasing, and focus upon listening to and playing with
other instruments, so that our playing makes folks want to get up and dance.
PIEDMONT BLUES GUITAR (Lightnin’ Wells)
OLD-TIME BANJO II B (Joseph Decosimo)
FLATPICKING GUITAR (Paul Kovac)
We’ll work on intermediate old-time banjo repertoire and 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 engine that
drives clawhammer banjo. By rooting ourselves in some delightful tunes that
utilize several tunings and techniques, we’ll work on developing our ear,
our ability to flesh tunes out, and our sense of where the banjo fits in when
playing with others. Ultimately, we’ll work towards being better listeners
and more confident players, capable of learning and working tunes into our
own repertoires. If time and interest permit, we may spend a day discussing
the rudiments of some old-time up-picking styles. Plan to have fun.
OLD-TIME BANJO II C (John Herrmann)
This finger-picking guitar class is an introduction to piedmont-style blues
guitar. The class will explore blues tunes in the keys of C, G, A, and D, as
well as dropped-D. Students will learn tunes from the repertoires of legendary piedmont blues artists such as Blind Boy Fuller, Gary Davis, Sylvester
Weaver, Elizabeth Cotton, and William Moore. Students should have some
familiarity with finger-picking guitar techniques.
Making the jump from playing chords, to “Maybelle”-style leads, to flatpicking fiddle tunes in eighth-note style, requires good fundamental right-hand
rhythm, comfort with a flat pick, some knowledge of the fingerboard, and a
good ear for melody. In this class, we’ll use a few common fiddle tunes/songs
to cover such topics as making the leap from quarter-notes to eighth-notes,
pick direction and accenting (playing with a pulse), left-hand positions
that put your fingers in the right spots, playing out of chord positions, using
double stops to create leads, breaks and turnarounds, and good practice
habits and exercises. If you can play “Wildwood Flower,” can kind of hear
fiddle tunes in your head, and just need the skills to get to the next level,
this is the class for you.
For the advanced-beginner/intermediate player, this class will concentrate
on clawhammer banjo used mainly as an accompaniment to the fiddle, with
emphasis on the techniques of the Round Peak style, rather than repertoire.
Topics covered will include learning and playing tunes by ear, right-hand
technique, how to get that rhythmic drive in your playing, and how to vary
the melody line to adjust to different fiddlers.
OLD-TIME MANDOLIN I (Ellie Grace)
OLD-TIME BANJO III A (Gordy Hinners)
OLD-TIME MANDOLIN II (Jim Collier)
This class for intermediate/advanced players will focus on clawhammer
technique as accompaniment to the fiddle or singing, but also for solo banjo
tunes. Topics will include the rhythmic connection between the fiddle and
banjo, the relationship of melody to chords and drones, the use of alternate
tunings, music theory for the banjo, and tips on how to play tunes you don’t
already know.
In this beginning class you will learn basic chords and strums and practice
backing up both tunes and songs. You will learn to play melody/lead on an
old-time tune or two and look at some practical music theory. This class will
explore the driving rhythms and clear melodies you can create on the old-time
mandolin and will give you the tools you need to get there!
This is an intermediate/advanced level class that focuses on fundamentals
and techniques to build a foundation for exploring more advanced music.
Using the tremolo style, the class will explore the use of double stops in
various positions as an accompaniment for fiddle tunes. Material will be
selected with an emphasis on proper right- and left-hand techniques to help
players develop good fundamentals. We will study the relationships of the
various double stops as we learn to move up and down the fingerboard. We
will learn basic improvisation for instrumental ‘breaks’ and fills as well
as the use of double stops and chords to back up vocals as well as learn to
accompany songs in various keys.
Other Instruments
MOUNTAIN DULCIMER I (Don Pedi)
Easy and fun! This class is for absolute beginners or those interested in building
a solid foundation for playing mountain dulcimer in old-time music. Class
will include dulcimer history, as well as playing techniques for developing
the old-time sound. Traditional songs, tunes, and hymns will be taught by
ear, but tablature will be provided. Bring a recorder.
MOUNTAIN DULCIMER II (Don Pedi)
This class for intermediate players and above will focus on playing techniques
for old-time music on the mountain dulcimer. We will learn traditional tunes,
songs, hymns, playing by ear, various noting techniques, different modes,
dulcimer history, and more. The class will be taught by ear, but tablature
will be provided. Bring a recorder.
OLD-TIME BAND 101 (Wayne Erbsen)
Here is a “home” for novice old-time musicians who can play several tunes
and know basic chords but want the experience (and FUN!) of bonding and
playing with other musicians in a no-stress stringband. Bring your tunes
and songs and we’ll learn to play and sing together. All stringed instruments
and singers welcome! (No class limit)
OLD-TIME BAND LAB (David Winston & Kevin Kehrberg)
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 dynamics, and playing for dances or concerts. Bands will have the opportunity to
perform at a student showcase or play for a dance at the end of the week. It
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
with the accompanying chords. (No class limit)
BASS BASICS (Meredith McIntosh)
This class will cover the basics of old-time bass technique, including tuning,
noting, listening, finding chord changes on tunes, songs and waltzes and
most importantly, playing in the old-time groove. We will also talk about
good body mechanics. It is strongly suggested that you bring your own instrument. If you don’t own one, please investigate the possibilities of borrowing
or renting one for the week. No experience necessary.
AUTOHARP I (Mike Fenton)
This class will focus on the place of the autoharp in old-time music in a vocal
context, adapting songs from a wide range of sources - the Carter Family,
Delmore Brothers, Kelly Harrell, Charlie Poole, the Dixon Brothers, Pop
Stoneman, and Estil Ball. Chromatic or diatonic autoharps may be used.
We will use the keys of C, G, D, and F. The emphasis will be primarily on
appropriate accompaniment techniques and melodic work will be fairly basic.
AUTOHARP II (Mike Fenton)
This class will deal entirely with instrumental work and will focus on an
approach to adapting the melodies of fiddle and dance tunes in the keys of
G, C, D, and A to the autoharp with an awareness of the part an autoharp
can play in a string band situation. Come with bags of attitude as well as
some basic melodic technique! .
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guitar, although it’s not absolutely essential. We will aim to make the class
challenging but not threatening or stressful. Expect songs to be wrapped in
background stories and occasional jokes. Printed lyrics will be provided.
Students may want to bring an audio recording device. (Class limit: 20)
Old-Time Music & Dance Week, July 22-28, 2012
Breakfast, Tai Chi warmup (7:30-8:00)
7:30-8:30
9:00-10:15
OT
OT
OT
OT
OT
OT
OT
OT
FlatOT
Southern
Bass
Fiddle
Fiddle
Fiddle Fiddle Banjo
Banjo
Banjo
Guitar
picking Mandolin
Gospel
Basics
IA
II A
III A
III B
I
II A
III A
II A
Guitar
I
Singing
(McIntosh)
(Martin) (Decosimo) (Brown) (Molsky) (Erbsen) (Winston) (Hinners) (Kehrberg) (Kovac) (Grace)
(Jones)
OT
OT
OT
OT
OT
OT
OT
OT Fiddle
Banjo
Banjo
Banjo Guitar
Fiddle
Fiddle
Fiddle
10:45-12:00
IB
II B
II C
III B
II B
II B
II C
III C
(Gerrard)
(Martin) (Molsky) (Bryant) (Decosimo) (Herrmann) (Brown) (Wells)
Mtn.
OT
Dul- AutoMandocimer harp II
lin II
I
(Fenton)
(Collier)
(Pedi)
Singing
History with a
of OT Band
Music (Jones,
(Pen) Kovac)
Southern
FlatHarmony
footing
(Hawker,
(Hinners)
Schwarz)
Lunch
12:00-1:00
Communal Gathering (Guest Master Artists, announcements)
1:15-2:15
OT
OT
Fiddle
Fiddle
0
II D
(Herrmann) (Bryant)
Finger- Piedmont
OT
OT
Song
AutoOT
Style
Blues
Band Band Lab
Fiddle
harp I
Guitar I
Banjo
Guitar
101
(Winston,
(Schwarz) (McIntosh)
(Fenton)
(Collier) (Wells)
(Erbsen) Kehrberg)
Mtn.
Dulcimer
II
(Pedi)
How Unaccom- Square
to Sing
panied Dance & Clog II
a Song
Singing
Calling (Grace)
(Gerrard) (Hawker) (Jamison)
Potluck Sessions (M,T,W,F)
Supper (Pond Picnic-Th)
Slow Jams & Singing, Young Old-Time
4:00-5:00
5:00-6:30
6:15-7:15
7:30-?
Clog I
(Sutton)
Coffee/Tea Break
10:15-10:45
2:30-3:45
ShapeNote
Singing
(Pen)
Evening Events (concerts, dances, jam sessions, etc.) Student Showcase (Fri.)
Song & Folklore
HISTORY OF OLD-TIME MUSIC (Ron Pen)
What IS old-time music? How is bluegrass different from old-time? What
do terms such as “authenticity” and “revivalism” really mean? What are
drop-thumb, frailing, clawhammer, two-finger, and rapping? Where are
Galax, Clifftop, and Mount Airy? Can you dance a Tobacco Hill? What is
a crooked fiddle tune? The answers to these and other such mysteries will all
be revealed in the History of Old-Time Music class. Focused presentations
on “Bonaparte’s Retreat,” the Georgia Fiddle Contest of 1924, Affrilachia,
moonshining, and Marion Sumner will provide windows on the style and
culture. Discussion, recordings, videos, and guest presentations will nurture
an overview of the history and context of old-time ballads, fiddle tunes,
hillbilly music, and string bands from the Skillet Lickers to Uncle Earl.
(No class limit)
SHAPE-NOTE SINGING (Ron Pen)
We will engage in musical and social harmony through the recreation of a
rural nineteenth-century singing school. Singing from the Sacred Harp tune
book (1991 edition), which features intoxicating harmonizations written
in a unique four-shape notation of triangles, squares, circles, and diamonds
makes learning to read music easy and enjoyable. The class will also include
background historical and social context. Songs from other tune book
traditions will be explored, including the Southern Harmony, Christian
Harmony, and the Colored Sacred Harp. The class will accommodate both
total beginners and veteran singers. Books will be available to borrow for class
use. At the end of the week, members of the class are invited and encouraged
to participate in the sixth annual Swannanoa Singing with dinner on the
grounds. This will be held on Saturday, July 28 from 10:00 AM-3:00 PM
at the Warren Wilson College Pavilion. (No class limit)
UNACCOMPANIED SINGING (Ginny Hawker)
With a strong conviction that singers sing better with an instrument after
they have been able to sing unaccompanied comfortably, this class will aim
for that comfort. We will join in the old Primitive Baptist hymns of Ginny’s
father, Ben Hawker, and move on into secular songs that tell a story and
move the heart. We’ll try to discover why some singers touch us more than
others when they sing and why singing a song is so much more fulfilling for
singer and audience than performing a song. Students can expect to hear
stories that set a song in context and learn why the stories are as important
as the song. Printed lyrics will be provided and students may bring an audio
recording device. (Class limit: 20)
SOUTHERN GOSPEL singing (Carol Elizabeth Jones)
Gospel music has some of the best songs for learning harmony and singing
in groups. Songs from the gospel tradition are standards in the Southern
singing repertoire, and a big part of Southern culture. We will learn old
favorites and lesser-known songs as well as the harmonies to go with them.
If you want a class where singing is the primary activity, then this class is
perfect for you. The Southern Gospel class is open to singers of all levels, but
participants need to be able to carry a tune. (Class limit: 20)
SOUTHERN HARMONY (Ginny Hawker & Tracy Schwarz)
Using familiar gospel and classic country songs, students in this class will
learn to sing the typical close harmony that marks the southern Appalachian
mountain sound. We will use guided listening of important recordings, clear
explanations with demonstrations and time for questions, singing of the
parts in large groups, and monitored small group duets and trios. It would
be helpful if students come to class with some background in either piano or
singing WITH A BAND (Carol Elizabeth Jones & Paul Kovac)
The goal of this class is to help you feel comfortable with jumping into a jam
session or singing with a band on stage. You’ll participate in class challenges
that will boost your confidence and develop your skills, such as how to communicate with a band, choose the right key for a song, choose songs that work
for you, etc. This is not a repertoire class, so participants should arrive with
at least three or four songs they can sing without a lyric sheet. Song styles
won’t be limited to country or old-time. (Class limit: 20)
HOW TO sING A SONG: FINDING YOUR VOICE
IN THE TRADITION (Alice Gerrard)
What are the elements that go into Southeastern traditional singing? We
will explore styles, improvisation, backup choices, feeling, etc., making a
song your own without losing the style – getting that sound – with a focus
on learning to listen and hear. We will be singing both unaccompanied and
accompanied songs, and we will spend a little time in each class listening
to recordings of singers. Please bring a recording device. (Class limit: 20)
Dance
southern appalachian
square dance & Dance callinG (Phil Jamison)
This class, open to dancers as well as dance callers, of all levels, will focus on
the traditional square dances of the southern Appalachian region. No prior
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
to try their hand (or voice) at calling out the dance figures. Dance callers of
all levels will have the opportunity to expand their repertoire and receive
feedback to improve their calling skills. Mainly though, we will have fun
dancing and learning about the traditions of southern Appalachian square
dances. (No class limit)
FLATFOOTING (Gordy Hinners)
This class will focus on traditional flatfooting, buckdancing, and clogging
techniques, for intermediate-level dancers, with an emphasis on using the
feet as a musical instrument involving intricate rhythms, ‘dancing out the
tune,’ improvising rhythms and steps and free-styling. Wear smooth-soled
shoes – preferably leather and no taps please. (Class limit: 25)
CLOGGING I (Rodney Sutton)
Let Rodney prove to you that everyone can learn Appalachain clogging steps.
This class covers beginning southern Appalachian clogging and buckdancing from “step one.” Learn the basic steps and how to put them to use with
live old-time music. Wear smooth-soled shoes – leather is best, and no taps.
(No class limit)
CLOGGING II (Ellie Grace)
Are you ready to crank your clogging up a notch? If you have already taken
beginning clogging or have previous percussive dance experience, this class
for intermediate or advanced dancers is the class for you. New steps will be
taught and familiar steps will be refined and brought up to speed. Learn
techniques for making a clean, crisp sound and connecting with the music.
The dancing will still be highly approachable, but we are going to have a
grand time forging ahead towards clogging greatness! Tap shoes are welcomed
and recommended, but not required. (Class limit: 25)
SpecialEvents
T’ai chi (Don Pedi)
Start the day with a smile with these ancient, gentle, easy to learn rejuvenation exercises. Reduce stress. Focus on breathing, balance, and gentle
stretching. Includes: T’ai Chi, Chi Kung, Standing Meditation, Eight
Pieces of Brocade, and more. No experience necessary and no registration
required. (No class limit)
POTLUCK SESSIONS
In addition to the regular class sessions, Potluck Sessions are offered most
afternoons. These one-hour mini-classes give students access to the entire
teaching staff, and provide a wide variety of class offerings to choose from.
No advance registration is necessary.
SLOW JAMS & SINGING
After supper each night, students have the opportunity to participate in slow
jams and singing sessions. At the slow jams, common tunes are played at a
speed that is accessible even to beginners. The singing sessions are a chance
to share your voice and songs.
YOUNG OLD-TIME
Each evening, after supper, teenaged musicians get together for Young
Old-Time, a staff-guided jam for young players, and on Wednesday night,
following the staff concert, this group will have the opportunity to play for
the post-concert square dance.
EVENING DANCES
Evening dances will be held throughout the week, providing plenty of
chances to dance a variety of traditional Southern Appalachian squares and
circles. Thursday night features our valley’s long-standing weekly dance, the
Old Farmers Ball.

We offer a full-day program, taught by Denisa Rullmoss, for children ages
6-12. Children must have turned 6 by July 1st to participate. No exceptions
please. Evening childcare for ages 3-12 will be provided at no additional cost.
BEWARE....there will be MONSTERS at the Gathering this year! Furry
and funny, scaly and slippery, fuzzy and ferocious monsters of all shapes and
sizes. The Children’s Program will befriend many beasties this summer as
we sing about, laugh about and growwwwwl about the mysterious mayhem
of the creatures we call monsters. What do monsters eat?? We will cook up
the answer. Do monsters smell?? We will sniff out the answer. We will create
monster puppets and pillows, monster headware (some may have horns!)
AND monster feet....(stomp, stomp, stomp). Goliath giggles will happen as
we play in the mouth of a GIANT monster OR perhaps hide in his smelly
foot. And most importantly we will make MONSTER MUSICIANS out of
all the kids! Our band will be led by Sue Ford (singer, songwriter, percussionist). As a special treat, we will be visited throughout the week by wandering
musicians and artists (Gathering staff ) who will perform just for our kids.
We will continue our long-loved traditions of shaving cream hairdos day,
movie night (with Muppet Monsters of course), pie-eating contests and
challenge everyone to complete the Gathering Scavenger Hunt. Each busy
day will close with free swim time in the college pool. Non-swimmers must
be accompanied by a parent to swim. So get your “arrrrrs, yowwls, growwls”
ready. There’s some Swannanoa Gathering monsters on the loose. No worries
as the monstrous good time will be appropriate for ALL ages (6 and up).
There will be a $30 art/craft materials fee for this class, payable to Denisa,
the Children’s Program coordinator, on arrival.
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GREG RUBY
29-August 4
G
uitar Week has become one of the finest programs of its kind anywhere, staffed by some of the world’s best players and instructors. In 2004, we were
awarded a Bronze Medal Player’s Choice Award for music camps by the readers of Acoustic Guitar magazine, and in 2008, we took the Silver medal. Guitarists
from across the globe keep coming back year after year.
For 2012, we modify our ‘all guitar, all of the time’ format to include ukulele, and clawhammer-style – for guitar! We’ve recruited some exciting new
instructors, and several popular staff members from previous years will be returning. We will be offering more classes than ever before in flatpicking and fingerstyle
acoustic guitar in all styles for all levels from Beginning to Advanced. Our seventeen world-class instructors, including five Grammy-winning guitarists, will
be offering classes in a wide variety of styles ranging from Celtic to jazz and blues; and from contemporary fingerstyle to bluegrass flatpicking. We bring back
ukelele classes, this time taught by Marcy Marxer, and traditional Hawaiian Slack Key taught by Patrick Landeza who will once again host his now-legendary
Luau at the week’s end. We will offer a variety of Beginning level classes to accommodate those students who aren’t quite ready for the Intermediate to Advanced
classes, and we will be offering classes suggested for Advanced players only, 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 confidence. Guitar Week
runs concurrently with our Contemporary Folk Week, and students may take classes from either program, and this year we are offering even more guitar classes
designed for singer/songwriters. One of the country’s top repairmen, Randy Hughes, will be available for consultations throughout the week. Ed Dodson will
again lead slow jams after lunch each day, and our Luthier’s Exhibit will feature some amazing guitars from four of the world’s most respected builders - Michael
Bashkin, Bill Tippin, John Slobod, and Bill Tippin, as well as a selection of instruments from the inventory of Dream Guitars.
Composer and guitarist Greg Ruby is a distinctive voice
in the Hot Club jazz tradition. His most recent CD,
Look Both Ways, celebrates the 100th birthday of gypsy
jazz guitarist Django Reinhardt with 12 original compositions, and reached #1 on the Roots Music Review’s
jazz chart. As a member of the esteemed group, Pearl
Django, Greg spent five years performing and touring
throughout the United States, Canada and Europe
and appeared with the group at the prestigious 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 recordings and produced their most recent album, And If Only, featuring legendary vocalist
Dan Hicks. Currently, he leads his own group, The Greg Ruby Quartet. A perpetual
student and educator, Greg has published the Pearl Django Play-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 has led the Gypsy
Jazz Guitar Workshop at the State University of New York, Oswego, Seattle Jazz Guitar
Society, Wintergrass Music Festival, DjangoFest, the Dusty String Music School and
The Mandolin Symposium. www.gregrubyguitar.com
ADAM RAFFERTY
TONY McMANUS
To find a unique voice on so ubiquitous an instrument
as the acoustic guitar is quite an achievement: to do so
within a centuries-old idiom where the instrument has no
real history is truly remarkable. In little over ten years as
a professional musician, Tony McManus has come to be
recognised throughout the world as a leading guitarist in
Celtic music. In Tony’s hands the complex ornamentation
normally associated with fiddles and pipes are accurately
transferred to guitar in a way that preserves the integrity and emotional impact of the
music. His 2002 recording, Ceol More, was Acoustic Guitar’s “Critic’s Album of the Year”
and named “Album of the Year” by the Live Ireland Awards. He is a regular performer at
the Chet Atkins Festival in Nashville, and has appeared at guitar festivals in Soave and
Pescantina, Italy; Frankston, Australia; Issoudun, France; Kirkmichael, Scotland; Bath
and Kent, England; Bochum and Osnabrueck, Germany and five of Steve Kaufman’s
Acoustic Kamps in Maryville, TN. Born in Scotland with strong Irish roots, he now
lives in Canada and travels the world performing in numerous combinations, including
intimate solo performances and various duos with friends Alain Genty, Bruce Molsky,
and Alasdair Fraser, to the quartet, Men of Steel, with fellow guitarists Dan Crary, Beppe
Gambetta and Don Ross. www.tonymcmanus.com
VICKI GENFAN
Guitar Player Magazine’s 2008 “Guitar Superstar,” Vicki
Genfan defies categorization. A unique and fiercely
original musical talent, she has been called the ‘Jimi
Hendrix of acoustic guitar.’ “While others make noise
with tapping stylings, Genfan understands the power of
melody and instead makes music.” - Kirk Albrecht, www.
minor7th.com. Drawing from folk, jazz, pop, soul and
world music, Vicki has a distinctive style that pushes the
boundaries of the singer/songwriter genre. An international phenomena, Vicki is lighting up stages in venues
as diverse as the International Montreal Jazz Festival,
Germany’s Open String Festival, Italy’s Soave Guitar Festival and Festival Across Styles
in the Czech Republic. She has four CDs to her credit and two instructional DVDs,
and in 2009 Luna Guitars unveiled the Vicki Genfan Signature Guitar built by Luthier
Gray Burchette.Vicki has enjoyed teaching privately and in groups for over 20 years
and brings her warmth, humor and inspiration to all who have experienced her many
workshops, clinics and classes. And... she’s thrilled to be back at Swannanoa for the 2012
season! “If I could play like Vicki, I would stay home and entertain myself ” – Steve Vai
SEAN McGOWAN
Sean McGowan is a fingerstyle jazz guitarist who combines many diverse musical influences with unconventional techniques to create a broad palette of textures within
his compositions and arrangements for solo guitar. His
first recording, River Coffee, won the Best Independent
Release of the Year Award (2002) from Acoustic Guitar
magazine and music from the recording has been featured
on BBC’s Great Guitars radio program, Maine Public
Radio, and has been published in Japan’s Acoustic Guitar
magazine and Mel Bay’s Master Anthology of Fingerstyle
Guitar, Vol. 3 (2005). His most recent releases, Indigo,
(2008) and Sphere: the Music of Thelonious Monk (2011)
offer compelling portraits of jazz standards performed on solo electric archtop guitar.
Sean has performed at several festivals including the Novi Sad International Jazz Festival
in Serbia, the Healdsburg Guitar Festival, Copper Mountain Guitar Town, the Newport
Guitar Festival, and the Classic American Guitar Show in New York. He has also collaborated with several dance and improv companies, as well as with jazz and acoustic
musicians throughout the Rocky Mountain region. Sean is an assistant professor of
music at the University of Colorado, Denver, and has conducted jazz guitar workshops
at Berklee College, Bowdoin College, USC, University of Maine, University of Oregon,
McNally Smith College, String Letter Music School in San Anselmo, and for the Seattle
Jazz Guitar Society and Cheyenne Guitar Society. He is also a contributing editor
and educational advisor for Acoustic Guitar magazine. www.seanmcgowanguitar.com
Adam Rafferty says the first time he heard the guitar he was
“still in my mother’s womb.” By the age of 19, he was playing
guitar professionally, from the New York City subways, and
street corners to the most upscale music rooms New York has
to offer such as Birdland and The Jazz Standard. He’s led his
own band through Europe, produced his own albums, and
been a first-call, in-demand guitarist with some of the world’s
greatest musicians. such as The Dizzy Gillespie Big Band, Dr. Lonnie Smith, L.A. Studio
legend Bennie Wallace (who wrote the soundtrack for White Men Can’t Jump), bassist
Bob Cranshaw (from the original Saturday Night Live band), Alvin Queen (drummer
for Oscar Peterson), and Dizzy Gillespie’s pianist Mike Longo. He’s played at countless
music festivals in the US, Europe and Asia, concert halls, and New York City night
clubs, taught workshops, written books and recorded instructional DVDs including his
latest, featuring fingerstyle versions of Stevie Wonder’s most popular songs. Basslines,
horn parts and vocals are replicated on guitar and the groove will make you jump out
of your seat. Among Adam’s musical innovations is the ability to play two simultaneous
melodies on the guitar, while doing hip-hop style “beatbox” percussion with his mouth
at the same time, a feat that simply has to be heard to be believed. After years of playing
electric, Adam has returned to solo acoustic guitar: “Playing acoustic guitar feels like
coming home to me.” www.adamrafferty.com
AL PETTEWAY
Our Grammy-winning Guitar Week Coordinator, Al
Petteway, has performed most types of traditional and
popular music during his long career and has worked with
many of the world’s top acoustic musicians both on stage
and in the studio. His original compositions for fingerstyle
acoustic guitar have been featured in a number of films and
television programs including Ken Burn’s Emmy-winning
series, The National Parks – America’s Best Idea. Before
leaving the Washington, D.C. area for the mountains of
Western North Carolina in 2002, he had been awarded
forty-five “WAMMIES” from the Washington Area Music Association, including the top honors of “Artist of the
Year” and Musician of the Year.” In 2001, Al and his wife and musical partner Amy
White won an Indie Award for their duo guitar project Gratitude and in 2005, Al won
a Grammy for his contribution to the Henry Mancini compilation Pink Guitar. That
same year, readers of Acoustic Guitar magazine voted Al #27 in the “Top Fifty Guitarists
of All Time”. In 2008 Al was awarded two medals in the magazine’s “Player’s Choice
Awards” – the bronze in the Fingerstyle Guitarist category and the Silver in the Celtic
Guitarist category, and in 2010, the magazine selected his CD, Caledon Wood as one of
“The Essential Albums of the Past Twenty Years.” www.alandamy.com
Rolly Brown
A lifelong student of the guitar, Rolly Brown has been a National
Fingerpicking Champion (1980), a Philadelphia Music Award
nominee, a solo performer, teacher, and sideman for many
well-known artists. Over the past 48 years, folk, blues, ragtime,
bluegrass, country, & jazz have each been his passions. Acoustic
Guitar magazine calls Rolly’s guitar sound “an exceptionally
melodic, articulate playing style that takes full advantage of the
acoustic guitar’s beautiful tone.” Wise sage Bennett Hammond says, “He’s the real deal,
the gen-you-wine article, the guitar picker’s guitar picker.” Blues master Andy Cohen
(who IS prone to hyperbole) told Rolly, “Dammit, you are the best that ever was. You
may quote me.” Rolly has several instructional and performance videos available at
youtube.com, and we’re pleased to have him back for his fourth Swannanoa Gathering. www.rollybrown.com
MARCY MARXER
Two-time Grammy-winner Marcy Marxer is a multiinstrumentalist, studio musician, performer, songwriter
and producer with 30 years of experience and a shelf of
impressive awards. She has played acoustic music on Emmy
Award-winning National Geographic specials, platinum Eva
Cassidy CDs and on over 50 recordings and instructional
materials created with her partner, Cathy Fink. Marcy’s
guitar playing spans a variety of styles- swing rhythm and
lead, bluegrass, old time, celtic fingerpicking, folk fingerpicking and some of the most tasteful backup you can hear.
The C.F. Martin Co. has honored Marcy with her very own signature model guitar, the
MC3H, which she helped design. Flatpick Guitar magazine called Marcy “one of the
country’s top Western style guitar players.” She also plays mandolin, bouzouki, hammered
dulcimer, Latin percussion, banjos, pennywhistle and flutes, cello-banjo, and of course,
her beloved ukulele. She directs 3 ukulele orchestras and has also created several online
social networks for female musicians and ukulele players. Marcy is also and experienced
teacher with a large following at top music camps such as Steve Kaufman’s Acoustic
Camp, Mars Hill, Woods Camp, etc. She’s one fun-lovin’ gal with talent in all 10 fingers
and a heart of gold to accompany them! www.cathyandmarcy.com
JACK LAWRENCE
Jack Lawrence grew up in a musical family near Charlotte,
NC. His father was a sound technician at a local music hall,
and Jack was exposed to many genres of music, but it was
bluegrass guitar that intrigued him the most. Jack got his
first professional music job with Carl Story at age sixteen.
Jack was among the first generation of “Newgrass” players in
such bands as The New Deal String Band and The Bluegrass
Alliance in the early ‘70s. He is perhaps best known as Doc
Watson’s musical partner for over 25 years. Jack’s talents are
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featured on many of Doc’s recordings, including the Grammy-winner, On Praying
Ground. He plays his own CF Martin ‘Jack Lawrence Signature model’ D-28, and has
toured nationally and internationally for 40 years. He’s also taught at many music camps,
including Steve Kaufman’s Flatpick Camp, Acoustic Alaska, The Mars Hill Bluegrass
Week and The Sore Fingers Week in England. www.jacklawrence.com
Mike Dowling
When master fiddler Vassar Clements heard Mike Dowling
play guitar back in 1975, he did the sensible thing. He hired
him. Thirty years later Clements called him, “One of the
finest guitar players there is, anywhere.” Before embarking on
a solo performance career, Mike also worked and recorded
with music legends Jethro Burns and jazz violin great Joe
Venuti, and contemporary fiddle masters Buddy Spicher, Paul
Anastasio, and Randy Sabien. Mike has released seven albums of roots-based music,
and three swing guitar instruction DVDs for Homespun Tapes. He’s a popular swing
guitar instructor at music camps and workshops throughout the world, including two
previous years at the Swannanoa Gathering’s Guitar Week and last year at Fiddle Week.
Mike has been a frequent guest on NPR’s A Prairie Home Companion, and his original
songs have been recorded by such artists as the Del McCoury Band, Emmy Lou Harris, Kathy Mattea, Tim O’Brien and the Nashville Bluegrass Band. He recently won a
Grammy for his contribution to the Hanry Mancini tribute compilation, Pink Guitar. www.mikedowling.com
doug smith
Acoustic guitarist Doug Smith won a Grammy Award for his
contributions to Pink Guitar - The Music of Henry Mancini,
and in 2006 became the International Fingerstyle Champion
at Winfield. With instrumental and compositional chops
that Billboard magazine called, “Inviting melodies... stunning
fingerpicking,” his playing has been heard on the big screen in
the recent film, August Rush, and others including Twister and
Moll Flanders, and his original compositions are heard everywhere from Good Morning
America to Turner Classic Movies. In performance, Doug’s dynamic stage presence has
dazzled audiences around the world with popular originals like “Renewal” and “Order
of Magnitude”, and clever arrangements like the “Ave Maria/Can’t Help Falling in Love
Medley”. His latest CD, Guitar Hymnal, is a collection of hymns, with an instructional
DVD with music and tab. His patient and enthusiastic teaching style makes him a
favorite at music camps across the country, including Mark Hanson’s Accent on Music
Guitar Seminar and the Colorado Roots Music Camp. www.dougsmithguitar.com
STEVE BAUGHMAN
Steve is a Rounder Records recording artist and a pioneering Celtic and old-time fingerstyle guitarist and banjo
player. Steve produced and plays on the landmark Banjo
Gathering double CD, which was recently described by
Bluegrass Unlimited as “a momentous undertaking and
a ‘must’ addition to any serious collection of old-time
music.” He is the author of five guitar books by Mel Bay
Publications, and recently released a DVD of Celtic
fingerstyle guitar solos on Solid Air Records. He appears
with Pierre Bensusan and Martin Simpson in the Rounder
Records Celtic guitar series, The Blarney Pilgrim. Steve
was recently included in digitaldreamdoor.com’s Top 100 Acoustic Guitarists. He tours
with Robin Bullock, and their duo album, Celtic Guitar Summit, was a 2003 Editor’s
Pick at Acoustic Guitar magazine. Steve lives in San Francisco where he practices law
and studies philosophy. www.celticguitar.com
ROBIN BULLOCK
Called a “Celtic guitar god” by the Baltimore City Paper, Robin
Bullock is a prolific composer, highly respected instructor, and
virtuoso performer on 6- and 12-string guitars, mandolin,
cittern and piano. A founding member of the INDIE Awardwinning acoustic world-music trio, Helicon, Robin’s solo career
has earned him three Washington Area Music Association
WAMMIE Awards, a Governor’s Award from the Maryland
State Arts Council, and a featured broadcast on NPR’s Thistle & Shamrock. His recorded
work includes eight critically-acclaimed solo CDs and three collaborative projects including Celtic Guitar Summit with fellow Guitar Week staffer Steve Baughman, which
was honored by Acoustic Guitar magazine with an “Editor’s Pick” as one of the top
CDs of 2003. In addition to his solo work, Robin also tours regularly as sideman with
Grammy-winning folk legend, Tom Paxton, and is featured on Tom’s CD/DVD, Live
at Huntingdon Hall. A native of Washington, DC, Robin now lives in Tripleval, France,
and tours and records on both sides of the ocean. This is his seventeenth Gathering. www.robinbullock.com
scott ainslie
An instructor who consistently receives rave reviews regardless
of what he’s teaching, Scott brings a wealth of musical and historical experience with him into the classroom. He is the author
of Robert Johnson/At The Crossroads and video teacher on the
instructional DVD, Robert Johnson: Signature Licks. Acoustic
Guitar magazine featured Scott’s lesson on Robert Johnson’s
music, and the article, with TAB transcription of Johnson’s
“Crossroads Blues,” and sixteen minutes of video instruction
is archived at the magazine’s website. With five solo recordings to his credit, Scott’s
latest, Thunder’s Mouth, has earned strong reviews here and in Europe. Coming of age
during the Civil Rights era and the antiwar protests against the Vietnam War, Scott
continues to have a deep reverence for cross-cultural exchange and commitment to
social justice. He produced Care For All, a benefit CD for the Healthcare Is A Human
Right campaign of the Vermont Workers’ Center that features the work of ten musicians
with deep roots in Vermont, including North Carolina’s Si Kahn, Paul Winter Consort
veteran cellist Eugene Friesen, Anais Mitchell, and The Devil Makes Three. Scott has
also been active with Gulf Aid Acadiana, a local community-based foundation that is
helping the Gulf Coast wetlands and business community recover from the BP Oil Spill. www.cattailmusic.com
MARK HANSON
Fingerstyle guitarist Mark Hanson is a highly regarded
performer, composer, recording artist, and a prolific
author and instructor in the guitar education field. He
contributed two original arrangements to 2005’s
Grammy-winning Henry Mancini - Pink Guitar CD, including a duet with Swannanoa instructor Doug
Smith, and played for the President of the United
States in 2009. Mark’s recordings are heard regularly
on syndicated radio and TV, including American Idol
and Martha Stewart Living. In the ‘80s, Mark was an editor and columnist at Frets
magazine, interviewing such luminaries as James Taylor, Roger McGuinn, Jorma
Kaukonen, and Leo Kottke. He formed his own publishing company, Accent On
Music in 1985, and since then has authored over 30 books and DVDs on many aspects
of guitar playing. His articles appear regularly in Acoustic Guitar magazine. Called by
A Prairie Home Companion’s Pat Donohue “...perhaps the best teacher of fingerstyle
guitar,” Mark travels the country presenting workshops and concerts, and each summer he hosts the Accent On Music Fingerstyle Guitar Seminar in Portland, Oregon. www.accentonmusic.com
ED DODSON
Ed is the lead guitarist and singer for Wood & Steel, a bluegrass
band based in the Piedmont region of North Carolina. Bluegrass
Unlimited called their 2007 release, Poor Boy, “a masterpiece of
hard-driving bluegrass.” Tony Rice calls their music, “Bluegrass,
in one of its most pure, unfiltered forms; played by good musicians.” Wood & Steel’s music was featured nationally in Home
& Garden Television’s 2002 special, Barns Revisited, and Ed
has recorded two albums with mandolin player/builder Skip
Kelley, including their 2008 release, Greetings from the Little Green Valley. Ed is an
accomplished rhythm and lead player with a deep abiding love of traditional music. www.woodandsteelband.com
PATRICK LANDEZA
Musician, songwriter, producer, educator and creator
of the Hawaiian Music Institute, a traveling music
school that features an instructor staff of top Hawaiian
musicians, Patrick Landeza is a leading proponent of
Hawaiian slack key guitar, or ki ho’alu. Considered by
George Winston as “one of the best and most dedicated
of the new generation of slack key players,” Patrick is also
a driving force in the education of the slack key style
world-wide. Born of Hawaiian parents and raised on
the ‘island’ of Berkeley, California, as a teenager, Patrick honed his craft from slack key
masters Raymond Kane, Sonny Chillingworth, Dennis Kamakahi, and George Kuo.
Although a slack key artist for more than a decade, ki ho’alu was more of a passion
than a profession for Patrick, a former middle school vice-principal. He now tours the
country teaching and performing ki ho’alu and when at home, continues weekly slack
key lessons in Berkeley, CA. Patrick has also released a slack key instructional DVD
and has published slack key lessons in Acoustic Guitar magazine as well as other publications. He currently runs Addison Street Records which records slack key and other
major Hawaiian artists, and has released five CDs of his own. www.patricklandeza.com
randy hughes
Over the last three decades Randy Hughes has
earned a reputation throughout western North
Carolina as the kind of instrument repairman to
whom you could entrust your priceless vintage
guitar without a second thought. A superb luthier
with a thriving repair business, Randy first came to
Guitar Week in 2001 to inspect and adjust students’
instruments and share his vast store of maintenance tips. He is also an exceptional
guitarist and taught fingerstyle jazz at the Gathering for two years. Randy will be here
after lunch several days during the week to examine and evaluate the playing condition
of participants’ instruments. www.randyhughesguitars.com

FUNKY BLUES IN DADGAD (Al Petteway)
DADGAD tuning is ideal for playing funky, bluesy guitar riffs since the
tension on the strings is much lower, making it easier to bend them. This
class for intermediates will focus on learning some cool licks and how to
incorporate them into fingerstyle arrangements of traditional and original
tunes. Various approaches to creating a “groove” and soloing will be explored
and practiced in class so that each student can leave at the end of the week
with a solid grasp of the techniques covered. We may even get into some
funky blues jamming before the week is out. Above all, we will have some
serious fun playing guitar.
WEED PICKING (Steve Baughman)
This class is about all things Clawhammer for guitar. We will begin with the
basic pattern and spend some time internalizing it. Then we will move on to
the various pyro-picking techniques that Steve demonstrates in his YouTube
video lesson, “Wasilla Weed.” This class is for fairly advanced players and it
is recommended that participants spend some time working on the YouTube
lesson before camp starts. Class is gonna be rigorous, and fun!
RIGHT-HAND BOOT CAMP (Steve Baughman)
Nothing kills the joy in guitar playing more than being grooveless. In this
class for all levels you will be drilled on basic and intermediate right-hand
patterns that inject life into your playing, including waltz patterns, country strums, Travis-picking and various rhythmic strum patterns. This is a
hands-on class and is for anyone who can change chords easily. Be prepared
for sore fingers.
THE NON-RIVERDANCE CELTS (Steve Baughman)
This is an intermediate/advanced repertoire and technique class on Breton
fingerpicking. We will work on a basic exercise designed to help dance tunes
flow on the guitar and also learn three or four lovely Breton dances. Tab
will be provided for the tunes.
GUITAR DUETS (Doug Smith & Mark Hanson)
In this intermed./advanced class, Mark and Doug will demonstrate how they
develop and play their award-winning fingerstyle duets from their Power of
Two and Solid Air Records CDs, and their live shows. They won a Grammy
for Pink Guitar’s “A Shot in the Dark” duet arrangement (plus their solos!),
and have composed and arranged dozens of duets together. (Class limit: 20)
ARRANGing
FINGERSTYLE GUITAR SOLOS (Mark Hanson)
In this class for intermeditate/advanced players, Mark explains his fromthe-ground-up approach to arranging fingerstyle solos. His recent DVD,
How to Arrange Fingerstyle Guitar Solos, and jazz standards book, Great
American Songbook, are the basis for the class, augmented by new material
that will build in complexity over the week.
Understanding Music
& the Guitar (Mark Hanson)
This is a great class for all levels on learning how music works, and how this
knowledge can improve your guitar playing. Mark explains the rudiments of
music, the physics of sound, how to listen critically, the importance of the bass
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line, playing with listeners’ expectations, and what makes “good” music – all
with the goal of making you and your guitar playing more musical. No music
reading ability required. Handouts include fingerstyle pieces arranged two
ways: 1) beautifully, and 2) with common errors, so that you can compare.
Practiced music readers and musical novices are welcome.
REV. GARY DAVIS (Rolly Brown)
I find myself in a gradually disappearing circle of players who actually met
and learned from the Reverend. My couple of intense days with Rev. Davis
changed the guitar forever for me, and I spent years capitalizing on the tunes
he taught me, and on the others which I “stole” by watching him play. I’ll
pass on what I learned, both from the Rev. and, subsequently, from trading
tunes with many of his other students in an organized fashion. We’ll concentrate on a tune from each of the beginner, intermediate, and advanced
levels. Bring a recording device!
ARRANGING A JAZZ STANDARD (Rolly Brown)
Music is comprised of melody, harmony, and rhythm. You need all of that if
you’re playing solo guitar. In this intermediate/advanced class we’ll start with
the idea of playing the actual melody of a tune over the top of standard basic
jazz chords while establishing a rhythmic groove. Then we’ll begin to modify
and substitute chord positions, and start to explore melodic improvisation.
This is a huge topic, but we’ll go for a simple “nuts & bolts” approach, and
move forward from there as time allows. Bring a recording device!
CREATING LINES IN
FINGERSTYLE BLUES (Rolly Brown)
One of the greatest strengths of the blues genre is the “humanity” and emotion
of its melodic voice. This intermediate class will start with simple blues scale
lines and technical devices which add humanity to those lines. Then we’ll
move into more complex note choices without losing the human element,
also exploring how to use these lines in a solo guitar milieu, concentrating
on 8 bar and 12 bar blues forms. Bring a recording device!
SIMPLE GIFTS: ARRANGING HYMNS
FOR SOLO FINGERSTYLE GUItar (Doug Smith)
The melodies and harmonies of traditional hymns sound beautiful on solo
fingerstyle guitar. Whether you just love the melody of a particular hymn,
or want an arrangement for church, or want to use a hymn to enhance an
original song (think Paul Simon’s “American Tune”), this intermediate
class will journey from hymnal to fretboard, utilizing different fingerstyle
patterns and chord theory. Tab will be provided, and we’ll use class suggestions to “start from scratch.”
COMPOSING FOR
FINGERSTYLE Guitar (Doug Smith)
If you’ve got some melodic ideas bouncing around your head, we’ll work on
putting them into a cohesive piece of music. Doug will demonstrate concepts
behind his popular tunes such as “Renewal” and “Order of Magnitude.” Chord
progressions and substitutions, “vertical” and “linear” thinking and organizing ideas into compositions will also be discussed. For intermediate players.
BOOGIE WOOGIE BOOT CAMP (Mike Dowling)
The fun is as infectious as the music in Mike’s hands-on, guitar band approach to this unique12-bar style. From the hillbilly boogies of the Delmore
Brothers to the hip stylings of Louis Jordan, intermediate/advanced recruits
will learn new tunes with cool licks, bass runs, and single-string soloing
techniques guaranteed to “drill” that eight-to-the-bar boogie bounce into
your music and your repertoire. Handouts provided. Bring enthusiasm and
audio recorders. No video cameras please.
Guitar Week, July 29-August 4, 2012
SWING GUITAR WORKSHOP (Mike Dowling)
Swing’s the thing and rhythm’s where it’s at. Starting with solid four-to-thebar rhythm techniques and jump-style syncopations, we’ll learn the basics
of playing 10th chords, diminished chords, and chord substitutions that
will lay a foundation for improvisation. Mike likes to treat this class like a
guitar ensemble with the more adventuresome players beginning to trade
solos. This is for intermediate to advanced guitar students who feel ready to
play “up the neck”. Tab reading will be helpful. Audio recorders encouraged;
no video cameras please.
bottleneck GUITAR
IN OPEN TUNINGS (Mike Dowling)
Mike will draw from the traditional Piedmont blues songbag as well as his
own lush bottleneck compositions to get you started playing slide in open D
and G tunings. You’ll learn licks, tricks, turnarounds, rhythm grooves and
techniques that will add color and texture to your playing. Very hands-on.
All levels welcome. Handouts provided. Audio recorders encouraged; no
video cameras please.
9:00-10:15
FLATPICKING II (Jack Lawrence)
In this advanced class, we will examine how to build powerful solos. We will
cover playing out of open and closed chord positions and how to transition
from one position to the next. I will show you my open-string technique
utilizing the one “secret” lick that, with variations, allows me to play the
melody to many fiddle tunes. Since this is an advanced class, we’ll devote some
time to just playing tunes so I can offer individual instruction and critique
to improve your playing. I will discuss posture and tips on how to relieve
tension while playing and maybe show you some licks to take home to amaze
all your picking buddies. There will be tab, though we won’t use it in class.
BLUEGRASS RHYTHM (Jack Lawrence)
We all want to be dazzling soloists, but in a bluegrass band, 95% of your
time will be spent playing rhythm. The focus here is timing and dynamics
for intermediate players. I’ll demonstrate rhythm patterns concentrating
first on alternating bass/strum then move on to the embellishments and
the use of transitional runs between chord changes. This all sounds simple
but the fact is no one can become an effective soloist without first learning to
be a strong rhythm player. Bring strings, capos, recording devices and fun.
aRRANGING POPULAR TUNES
FOR FINGERSTYLE GUITAR (Adam Rafferty)
Advanced playerss will learn how to take popular tunes such as Stevie
Wonder’s “Superstition” and Michael Jackson’s “Billie Jean” and perform
them on solo guitar. Topics covered will include: how to reduce a full band
concept onto a single guitar and how to play bass lines and melodies on the
guitar at the same time.
HARMONY
FOR FINGERSTYLE GUITARISTS (Adam Rafferty)
This course is intended for intermediate/advanced guitarists who can already
play some fingerstyle guitar pieces and have a fairly good working knowledge
of the notes on the fingerboard. Knowledge of basic open and barre chord
shapes is required, but reading standard notation is not.
Slide TechHarmony for Int./Adv. Health &
Swing
Ukulele
niques &
Fingerstyle Slack Key Wellness for Guitar
I
Guitarists
Guitar
Guitarists Workshop Repertoire
(Marxer)
(Ainslie)
(Rafferty)
(Landeza) (McGowan) (Dowling)
Rhythm for
Guitarists – &
Everyone Else!
(Genfan)
Percussive
Creating
Beg.
Fingerstyle
Ukulele
Weed
Celtic
Techniques,
Lines in
Slack Key
Jazz Guitar
II
Picking
Flatpicking
Open
Fingerstyle
10:45-12:00
Guitar
Essentials
(Marxer) (Baughman) (McManus)
Tunings
Blues
(Landeza)
(McGowan)
(Genfan)
(Brown)
Gypsy
Jazz
Guitar
Basics
(Ruby)
Bluegrass
Songbook
(Dodson)
Guitar
Duets
(Smith,
Hanson)
Song
FlatAccompaniment Lab picking I
(Lawrence)
(Ainslie)
Lunch
12:00-1:00
Guitar Maintenance & Repair, Luthier’s Exhibit, Slow Jam (with Ed Dodson)
1:00-2:15
2:15-3:30
Bottleneck Gypsy
Christmas Intro to The Non- Music of
Guitar
Jazz
Swing
Riverdance
Mississippi
in July
in Open Rhythm
Celts
John Hurt
(Bullock) Guitar
Tunings
Guitar
(Marxer) (Baughman) (Ainslie)
(Dowling) (Ruby)
3:45-5:00
Bluegrass
Rhythm
(Lawrence)
Arranging
Deep
Arranging
Fingerstyle UnderstandPop Tunes
FlatBluegrass
a Jazz
Guitar in
ing Music &
for Fingerpicking II
Guitar
Standard
Celtic Music the Guitar
style Guitar
(Lawrence)
(Dodson) (Brown)
(McManus)
(Hanson)
(Rafferty)
Simple
Chord
Getting
Gypsy
Arranging
Intro to
Gifts:
Boogie
Funky
Progressions
Essential
Celtic
“Groove”
Right Hand
FingerJazz
Into Your
Celtic
Arranging
Woogie
Blues in Singer/Song- Fretboard
FingerLead
Boot Camp
style
Guitar
Hymns for
Boot Camp DADGAD
writers
Harmony
style II
ArrangeGuitar
(Baughman)
Solos
(McManus) Solo Guitar
(Dowling) (Petteway) Should Know (McGowan)
(Bullock)
ments
(Ruby)
(Hanson)
(Smith)
(Genfan)
(Rafferty)
Supper
5:00-6:30
7:30-?
Composing
Guitar for
Celtic
Rev. Gary
for Fingerstyle Beginners
Fingerstyle I Davis
Guitar
(Dodson)
(Bullock)
(Brown)
(Smith)
Coffee/Tea Break
10:15-10:45
FLATPICKING I (Jack Lawrence)
This intermediate class will focus on rudimentary flatpicking techniques such
as pick grip, right- and left-hand positions and timing. During the week we
will “deconstruct” several familiar fiddle tunes, learning basic, stripped-down
melodies concentrating on playing them by ear. I don’t teach using tablature
but I will have some to hand out for future reference.
Breakfast
7:30-8:30
Evening Events (concerts, dances, jam sessions, etc.)
GETTING “GROOVE” INTO YOUR
SOLO GUITAR ARRANGEMENTS (Adam Rafferty)
Want to add more “pop,” “snap,” “percussion” and “groove” into your solo
arrangements? In this class for intermediate/advanced players, you’ll learn
how get the groove inside you onto the guitar and how to play grooves that
will get your family and friends tapping their toes. Topics covered will include:
finding rhythm on your own, playing hand drums, making guitar fingering
choices that fall in line with your rhythmic concepts and more.
explored in Vicki’s DVD, 3D Acoustic Guitar, including bass note slapping,
harmonic tapping and body percussion, and will move quickly into the realm
of composition and arrangements using these techniques (and others that
you may already be working with). Focus will be divided into two major
areas: solidifying your technique and using these techniques in arranging
and composing original or cover tunes. Bring a song to work on – or an
idea for a new composition. In order to get the most out of this class, plan
on performing something and being open to feedback.
RHYTHM FOR GUITARISTS –
AND EVeRYONE ELSE! (Vicki Genfan)
CHORD PROGRESSIONS EVERY SINGER/
SONGWRITER SHOULD KNOW (Vicki Genfan)
This class is for all levels, no experience necessary, and guitars are not
required! Drawing from eastern and western traditions, we’ll sharpen our
rhythmic awareness and expand our rhythmic vocabularies by combining
inner (meditative) work with outer (walking, chanting, moving) rhythm
exercises. Through group rhythm circles, we’ll explore pulsation, syncopation,
beat, off-beats, sub-division and more – all with a sense of spontaneity, flow
(and of course, Boom Whackers!) and FUN!!
PERCUSSIVE TECHNIQUES, open tunings,
now what do i do??? (Vicki Genfan)
This class is for those intermediate/advanced players who have been working
with percussive techniques and open tunings, and now want to apply them
to actual song composition and arranging. We will start with the techniques
In today’s contemporary folk/pop/rock music there are certain chord progressions that are commonly used to create ‘hit’ songs. This intermediate class
takes us through 12 of those chord progressions and explores a multitude
of techniques that you can use to play and embellish them on guitar to create arrangements that really stand out. We’ll also look at how to use these
progressions in the songwriting process, to create a verse, chorus or bridge,
as well as stepping a bit ‘outside’ the standard progressions to find some new
harmonic twists. Some of the techniques we’ll work with are: strumming
patterns, finger picking patterns/arpeggiating chords, finding new voicings
for familiar chords, adding ‘color’ tones (9, sus 4, 13, etc.), using ‘walking’
bass lines to connect chords, percussive techniques (using the body of the
guitar), melodic and rhythmic fills, using capos (regular, partial, harmonic
capo), using alternate tunings and using effect boxes.
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FINGERSTYLE JAZZ GUITAR
ESSENTIALS (Sean McGowan)
This class will focus on bringing together the various elements of solo fingerstyle jazz guitar arranging and performance. We’ll go over simple and
complex chord voicings, strategies for reharmonization, swing feel, walking
basslines, comping, and playing multiple parts. We’ll also work through
some extended techniques such as right-hand fretting and harmonics. You
don’t need to read music for this class, but a solid foundation in theory and
technique is recommended. This class is perfectly suited for intermediate/
advanced guitarists interested in expanding their harmonic palettes and/
or creating jazz arrangements of standards.
ESSENTIAL FRETBOARD HARMONY (Sean McGowan)
If you’ve ever found the task of reading chord symbols or creating new chord
voicings daunting or wanted to explore harmonic principles and apply some
fresh sounds to your lead/rhythm playing and arrangements, this class is
for you! Intermediate players will explore basic principles of pop/blues/jazz
harmony, and how to apply them on the fretboard. Using songs and chord
progressions as roadmaps, we’ll learn to build essential chord voicings &
scale patterns, read basic charts, and visualize the fretboard.
HEALTH & WELLNESS
FOR GUITARISTS (Sean McGowan)
This class will explore ways to stay healthy as guitarists, cultivate effortless
flow and technique, and also to avoid playing-related injuries such as overuse
syndromes and problems with posture. In addition to physical strategies for
wellness, the class will also discuss performance anxiety and psychological
strategies to create optimal experiences on the stage or in the woodshed! This
class is for guitarists of all levels and styles.
CHRISTMAS IN JULY (Robin Bullock)
By popular request, this is an intermediate/advanced class dedicated to arranging Christmas carols for solo fingerstyle guitar. Drawing from Robin’s
popular holiday CDs, A Guitar for Christmas and Christmas Eve is Here,
this class will feature a different Christmas piece each day, incorporating
altered tunings, harmonics and harp-style melody playing to bring out the
guitar’s full potential as a voice for seasonal repertoire. Audio recorders
recommended; Santa hats optional.
CELTIC FINGERSTYLE I (Robin Bullock)
This intermediate level class will explore the world of possibilities presented
by traditional Irish, Scottish and Breton repertoire arranged for solo fingerstyle guitar. We’ll start with basic settings of relatively simple tunes and
proceed from there, using alternate tunings such as DADGAD, CGCGCD
and “Werewolf ” tuning (CGDGAD), which will not only make playing this
music easier, but open up magical sounds that you never knew your guitar
had. Along the way we’ll also discuss fingerstyle playing technique and how
to get the fullest, richest tone with the minimum of physical effort. A good
time will be had by all. Audio recorders recommended.
CELTIC FINGERSTYLE II (Robin Bullock)
This intermediate/advanced level class will delve deeper into traditional
Irish, Scottish and Breton music for solo fingerstyle guitar. Some tablature
will be offered, but students will also create their own individual settings
of airs, jigs, reels and the 18th-century harp music of Turlough O’Carolan,
sharing arrangement ideas in an informal, hands-on environment. Alternate
tunings such as DADGAD, CGCGCD and “Werewolf” tuning (CGDGAD)
and more advanced techniques such as “harp-style” melody playing will
be used extensively to open up the instrument’s full sonic potential. Audio
recorders recommended.
SONG ACCOMPANIMENT LAB:
QUICK GUITAR FIXES (Scott Ainslie)
The problem with most guitar instruction is that you have to learn on the
instructor’s territory. This popular course for all levels flips that on its head
and takes advantage of the fact that guitar advice offered in the context of
an established accompaniment almost always ‘sticks.’
SLIDE TECHNIQUES & REPERTOIRE
IN STANDARD & OPEN TUNINGS (Scott Ainslie)
This intermediate class reverses the way I’ve been teaching slide guitar for
twenty years. We’ll begin working in standard tuning, one string at a time,
five new skills, learning all the muting techniques necessary to make the
music work without the harmonic support of open tunings. Then, having
established the basics, we’ll move to open tunings. When we’re done, you’ll
understand and possess the keys to the kingdom of slide guitar.
MUSIC OF MISSISSIPPI JOHN HURT (Scott Ainslie)
Even before John Hurt was re-discovered in 1963 at the age of 71, his recordings had influenced a small coterie of guitar aficionados. His introduction to
a wide audience at the height of the folk music revival allowed him to play a
pivotal role in establishing fundamental finger picking techniques that have
marked the music of everyone from Doc Watson to Beck; Bob Dylan to Bruce
Cockburn and Jerry Garcia. In this intermediate class we’ll explore Hurt’s
repertoire while focusing on his right- and left-hand techniques with special
attention to establishing the right/picking hand muscle patterns necessary
to maintain a steady alternating bass while developing independence on
the high strings to play melodies.
CELTIC FLATPICKING (Tony McManus)
Players already possessing some flatpicking facility can find some techniques to
make jigs and reels work for this style of guitar. How does “Celtic” flatpicking
differ from bluegrass? What rhythms are typical to Celtic music? We’ll look
at jigs/reels/slip jigs etc. What ornaments can we steal from, say, fiddlers to
make the guitar more idiomatic? How might we accompany jigs and reels?
Come to this class and find out!
FINGERSTYLE GUITAR
IN CELTIC MUSIC (Tony McManus)
We’ll look at the meaning of the term “Celtic Music” and how the guitar
fits into it. We’ll look at music from Scotland, Ireland, Spain, Brittany and
the different rhythms and grooves in these tunes and look at some altered
tunings (DADGAD, CGCGCD, DAAEAE) as well as standard to make
these tunes come alive for fingerstyle guitar.
INTRO TO CELTICGUITAR (Tony McManus)
I have found some really beautiful tunes over the years that make ideal entry
level guitar pieces. Come and explore airs, strathspeys, marches etc. We’ll
cover some basic ideas in DADGAD and dropped-D tunings- basic enough
that they can be used by those who first picked up a guitar two weeks ago,
but useful enough to make some beautiful arrangements.
GUITAR FOR BEGINNERS (Ed Dodson)
This class will cover the very basics of playing and enjoying guitar. Topics
covered will include: tuning your guitar, basic chord shapes and patterns, basic
rhythm patterns, basic right-hand technique (both flatpick and fingerpick),
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. Knowledge
of guitar tablature is helpful, but not required. Students are encouraged to
bring audio recorders to class.
BLUEGRASS SONGBOOK (Ed Dodson)
This class focuses on how to play powerful bluegrass rhythm guitar. We will
work on ‘alternating bass’ styles of playing as well as using bass runs and
other motion within the chords to accent your vocals or the instrumentalists
you’re playing with. In addition to these basic building-block techniques, we
will learn one bluegrass song each day (all new for 2012). Lyrics will also
be provided, so you can learn the words and add these songs to your jam
sessions at home. The class will present songs that allow you to see the rhythm
patterns conducive to most of the first position chord shapes. We will also
discuss how to use a capo to get the song in a key to fit your voice. All levels
of participants are welcome. Familiarity with guitar chords and knowledge
of guitar tablature is helpful, but not required. Students are encouraged to
bring audio recorders to class and also encouraged to participate in the Slow
Jam that Ed leads every afternoon, following lunch, as a way to reinforce the
techniques learned in class as well as learn additional songs/tunes.
DEEP BLUEGRASS GUITAR (Ed Dodson)
This 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 flatpicking leads and playing creative
accompaniment behind singers and pickers, using the concept of playing
licks around chord shapes, and building effective solos for bluegrass songs.
These techniques will be learned using a specific bluegrass song or fiddle tune
each day (all new for 2011). This year, we will emphasize learning multiple
licks in the primary bluegrass keys/positions of G, C and D. This class will
build upon the techniques covered in previous years and as presented in my
instructional book, Deep Bluegrass Guitar, but will be open and accessible
for new participants, as well. Familiarity with guitar chords and knowledge
of guitar tablature is highly recommended, but not absolutely required.
Students are strongly encouraged to bring recording devices.
GYPSY JAZZ GUITAR BASICS (Greg Ruby)
Gypsy Jazz is fun and accessible. This hands-on class is intended for either
a beginning guitar player or a player new to Gypsy Jazz. We will use tunes
from 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
your favorite tunes by the week’s end.
GYPSY JAZZ: RHYTHM GUITAR (Greg Ruby)
This workshop will expand your understanding of Gypsy jazz rhythm guitar
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
bossa, and swing waltz rhythms. Launch into chord inversions to expand
your chordal vocabulary.
GYPSY JAZZ: LEAD GUITAR (Greg Ruby)
This workshop will focus on the key elements to effective lead guitar playing
in the Gypsy jazz realm. Using a variety of tunes, we will investigate melody
interpretation, improvising, and adding chordal elements into your solos.
We will also look at ways to learn and add Gypsy jazz licks and ideas to
your vocabulary.
INTRO TO SWING GUITAR (Marcy Marxer)
Closed-position chords will rock our world and give us springboards to swing
solos. We’ll play chords, chord phrases, intros, turnarounds, endings and
solos. These progressions are the backbone of swing, jazz, country swing,
rock-a-billy, big band, blues...and we’ll play it all. Bring a recording device
and your sense of adventure.
BEGINNING SLACK KEY GUITAR (Patrick Landeza)
This class will be for the very beginner, focusing on technique and how to
develop the slack key sound. We will primarily work on the open-G tuning
(Taro Patch Tuning). We will touch on slack key scales, vamps and licks,
which will lead to a song!
INT./ADV. SLACK KEY GUITAR (Patrick Landeza)
In this class we will primarily work on slack key songs and techniques. We
will review the styles of the great slack key masters and teach a song from
each style. We will be using the G tuning, Drop-G tuning, C tuning and
possibly others. For all my past students, this is a perfect time to come back
and learn more!
UKULELE I (Marcy Marxer)
The ukulele craze is sweeping the nation! Join the fun. This class will be
about chords, left- and right-hand techniques, history and lots of songs all
with the atmosphere of Happy Hour. Bring a uke and a recording device.
I’ll have a limited number of ukes for loan or sale, so feel free to take the class
even if you dont have a ukulele.
UKULELE II (Marcy Marxer)
This class will focus on chorded melody arrangements and Jazz tunes.
Anyone who thinks this class sounds exciting is welcome. Don’t worry about
prerequisites. We’ll cover two ukulele arrangements that I learned directly
from ukulele master, the great Roy Smeck! Bring a recording device. I’ll
provide all written materials.
SpecialEvents
Note: There is no advance registration necessary for the following events.
GUITAR MAINTENANCE & rEPAIR (Randy Hughes)
Come have your instrument checked out and pick up a few ‘care & feeding’ tips.
Luthier’s Exhibit
Throughout the week we will have four of the finest luthiers in America
on hand displaying some of their instruments: Gerald Sheppard, www.
sheppardguitars.com, Michael Bashkin, www.bashkinguitars.com, John
Slobod, www.circaguitars.com, and Bill Tippin, www.tippinguitars.com,
as well as a display of some of the amazing inventory from Dream Guitars,
www.dreamguitars.com, an award-winning local shop specializing in the
world’s finest high-end instruments.
SLOW JAMS (Ed Dodson)
Each day, after lunch, Ed will lead jam sessions of common tunes at a tempo
slow enough for folks to learn the tunes as they play.
GUitar Week Luau
On Friday, come experience the spirit of aloha at the Guitar Week luau,
catered by our own Hawaiian cultural ambassador, Patrick Landeza.
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
29-August 4
C
ontemporary Folk Week celebrates the beginning of the Gathering’s third decade with another group of great artist/instructors offering a wide
variety of classes designed to put music back where it belongs...in your hands. Whether you’re an aspiring songwriter trying out material at a local ‘open mike’, a
performer with some experience interested in making a career in music, a working musician looking for some help in reaching your next goal, or someone who
would simply like to feel more confident 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 honored to welcome first-time Gathering instructors Cheryl Wheeler, Buddy Mondlock, Sally Barris, and LJ Booth 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, 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
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.
CHERYL WHEELER
It has always seemed as if there were two Cheryl
Wheelers: poet-Cheryl, writer of some of the prettiest,
most alluring and intelligent ballads on the modern
folk scene, and her evil twin, comic-Cheryl, a militant
trend defier and savagely funny social critic. She began
playing the guitar and ukulele as a child, and began
performing in clubs in the Baltimore and Washington,
D.C. areas. In 1976, she moved to Rhode Island, where
she became a protégé of country-folk singer-songwriter Jonathan Edwards, for whom she initially served as
bass player. Her first recording, a four-song EP called
Newport Songs, was released in 1983. Edwards produced her first full-length album, Cheryl Wheeler, and one of the songs on the album,
“Addicted,” was covered by Dan Seals and became a No. 1 country hit in 1988. A dozen
recordings of her own, featuring her beautiful voice and fantastic sense of humor, plus
covers by such artsis as Suzy Bogguss, Bette Midler, Juice Newton, Maura O’Connell,
Linda Thompson and more, are still inadequate preparation for Cheryl’s dazzling live
concerts, which are more like what you would find at a comedy club than a folk music
show. From stories that leave the audience howling with laughter, to songs of heartbreaking beauty and back again, Cheryl Wheeler has to be seen live to be fully appreciated. www.cherylwheeler.com
BUDDY MONDLOCK
Buddy Mondlock began learning guitar as a child, and
by his high school years he was performing in a trio with
his sisters Janice and Maribeth. The October 1985 issue
of Fast Folk Musical Magazine saw Mondlock make his
recording debut with, “Up In The Attic,” the first of
many Mondlock originals to appear on Fast Folk releases
over the ensuing decade. During a Guy Clark-hosted Ballad Tree song session at the 1986 Kerrville Folk Festival,
Clark asked Mondlock for a tape of his songs. Back in
Nashville, Clark passed the tape to Bob Doyle whose publishing company’s earliest
signings were Buddy Mondlock and Garth Brooks. Buddy was a New Folk winner at
Kerrville in 1997, and that same year, he released his debut album, On The Line. He has
collaborated with many great artists with songs appearing on releases by Garth Brooks,
Janis Ian, Nanci Griffith, David Wilcox, Peter, Paul & Mary and Joan Baez. He currently
writes for Major Bob Music in Nashville, and has released four of his own CDs and also
appears on many recordings by others including Guy Clark, Christine Lavin and Art
Garfunkel. www.buddymondlock.com
ELLIS PAUL
Ellis Paul’s folk credentials are unassailable. They are as
genuine as the thirteen Boston Music Awards he has
earned, as indelible as the tattoo of Woody Guthrie
that adorns his arm and as authentic as the musical
roots he draws upon with every note he plays. Ellis
grew up in Maine but got his musical start during
college in Boston while studying to be a social worker.
He started playing open mike nights in the Boston
music scene during a time when Contemporary Folk
was beginning to come onto the mainstream markets.
It was a time and a place that nurtured some of the
country’s top singer/songwriters, including Vance Gilbert, Martin Sexton, Patty Griffin,
Martin Sexton, Jonatha Brooke, Dar Williams and later Mark Erelli, Kris Delmhorst,
Peter Mulvey and more, and Ellis was one of its more memorable exponents. With
eleven CDs, a DVD, a book of poems and short stories to his credit, Ellis’ songs have
been featured on the soundtracks to the Jim Carrey/Renee Zellweger film, Me, Myself
& Irene, the Jack Black/Gwyneth Paltrow film, Shallow Hal, and television’s Ed and
Real World on MTV. He has shared the stage with Pete Seeger, Arlo Guthrie, Richie
Havens, Shawn Colvin and Roger McGuinn, among others, and frequently performs
with long-time colleague VanceGilbert. www.ellispaul.com
LJ BOOTH
Born in the Philippines, most of LJ Booth’s childhood was spent overseas living in northern India
from the age of five to ten. With traveling in his
blood, LJ hitchhiked extensively in the States and
in Europe after leaving home, and worked a variety
of jobs – oil rigs in Wyoming, a lumber yard in Portland, planting trees in Idaho, playing street music in
Germany and Switzerland, and maintenance work
at Crater Lake. In 1987, he released Yarns, a quiet
debut which Sing Out! described as “simply great music,” by “one hell of a yarnspinner
and singer.” In the years following, LJ played clubs from Boston to Austin and festivals
all over the country. He entered three songwriting competitions – Kerrville’s New Folk,
Telluride’s Troubadour, and Falcon Ridge’s Showcase, and won all three. Soon other
performers were eager to include his songs in their sets and recordings, including David
Wilcox, Anne Hills, Chuck Pyle and Carrie Newcomer. In the two studio recordings
and one live compilation that followed, LJ has provoked such comments as, “a crack
songwriter, with a cinematic flair in his lyrics and a keen eye for the small details of
everyday life.” (Dirty Linen), and “this gifted singer-songwriter skillfully connects the
dots between his own past, present and future with succinct, often powerful lyrics, appealing melodies and agile fingerpicking….his keen fascination with life’s journey draws
listeners closer to the memories and revelations that make it worth traveling.” (Acoustic
Guitar). www.ljbooth.com
CLIFF EBERHARDT
Red House recording artist Cliff Eberhardt knew by age
seven that he was going to be a singer and songwriter.
As a child, Cliff taught himself to play guitar, piano,
bass and drums. In his teens, Eberhardt was fortunate
enough to live close to the Main Point (one of the best
folk clubs on the East Coast), where he received an early
and impressive tutorial in acoustic music from such artists as James Taylor, Joni Mitchell, Bruce Springsteen,
Howlin’ Wolf, Muddy Waters, Bonnie Raitt, and Mississippi John Hurt. A driving force of the Greenwich
Village New Folk movement and well-known among his peers, Cliff ’s songs have been
covered by the likes of Richie Havens, Buffy St. Marie, Erasure, Lucy Kaplansky and the
folk superstar band “Cry, Cry, Cry” (Dar Williams, Richard Shindell, Lucy Kaplansky).
A consummate performer, Cliff engages the audience with funny but true stories tinged
with irony, accompanied by an unparalleled guitar style. Cliff has been an acclaimed
instructor at many song writing camps, colleges, schools, and workshops, and is currently
fulfilling one of his dreams – writing music for the theater. Never one to start small, he
was asked to write all of the songs for, and perform in, the Folger Shakespeare Library’s
production of The Taming of the Shrew, running from May 1 – June 10, 2012 in Washington, DC. We’re pleased to welcome him back for his fourth Swannanoa Gathering. www.cliffeberhardt.net
JON VEZNER
Grammy award-winning songwriter Jon Vezner is a
tunesmith of rare sensitivity and dry wit. With a degree
in music theory and education, in 1983, he made his first
trip to Nashville to attend the Nashville Songwriters
Association (NSAI) spring symposium, where he soon
developed a relationship with music publishing company,
Wrensong Music. He moved to Nashville in January of
1986, and within that first year he had songs recorded by
Reba McEntire and Ronnie Milsap, followed by Lorrie
Morgan’s first single in 1987, “Train Wreck of Emotion,”
which he co-wrote with Alan Rhody. In 1989, Vezner
co-wrote “Where’ve You Been” with fellow singer/songwriter Don Henry, recorded
by Kathy Mattea, a true story of Vezner’s grandparents that earned him “Song of the
Year” honors with both the Country Music Association (CMA) and the Academy of
Country Music (ACM) for 1990. The song was honored with a Grammy Award for “Best
Country Song” and the Nashville Songwriters Association “Song of the Year.” Vezner
was subsequently named “Songwriter of the Year” by the NSAI. Jon’s songs have been
recorded by a varied list of artists such as Martina McBride, Janis Ian, John Mellencamp,
Nancy Griffith, Faith Hill, Clay Walker, Diamond Rio and Native American recording
artist, Bill Miller. Vezner also has a growing list of production credits, producing CD
projects for such artists as Danny O’Keefe, Victoria Shaw, and singing legend Patti
Page. www.jonvezner.com
SALLY BARRIS
Sally Barris is a top Nashville songwriter who has had
songs covered by such artists as Kathy Mattea, Martina
McBride, and Lee Ann Womack. Her song “Let The
Wind Chase You”, recorded by Trisha Yearwood and
Keith Urban, received a Grammy nomination for vocal
collaboration in 2009. Film credits include “Honey
Suckle Sweet” from the Miramax film, An Unfinished
Life, and “Liars Lie” featured in the Tim McGraw,
Gwyneth Paltrow film Country Strong. While her writing credits mightily impress, fans and peers are most captivated by her bright spirit and
expressive mountain soprano. Dirty Linen says, “Barris knows how to write lyrics that
are as forthright as a stream of clear water and how to support them with melodies that
share that quality.” Reminiscent of Claire Lynch and Aoife O’Donovan, her current CD,
Restless Soul is a testament to Sally’s love for Celtic music, with both Celtic and English
folk music influences acknowledged in her songs. In the last two years, the Minnesota
native has performed on Mountain Stage, New Bedford Summer Fest, and The Kerrville
Folk Festival. She is also a member of the The Waymores, with Don Henry and Tom
Kimmel. www.sallybarris.com
COSY SHERIDAN
Cosy Sheridan has been called “one of the era’s
finest and most thoughtful singer/songwriters.” A
winner of both the Kerrville Folk Festival NewFolk
Showcase and the Telluride Troubadour Contest,
she has played everywhere from Carnegie Hall and
The Jerry Lewis Telethon to the Philadelphia Folk
Festival. Her songs have appeared in best-selling
author Robert Fulghum’s book, Third Wish and
in the documentary, Lines Across The Sand. She is
a storyteller as well as a songwriter and weaves children’s stories into tales of modern
adulthood (The Little Engine That Could talks with Ferdinand The Bull about achievement verses contentment) and her modern renditions of mythology (we meet Hades The
Biker) have won her fans and praise from the press. The Cornell Folksong Society wrote,
“Sheridan is frank, feisty, sublimely and devilishly funny. She fuses myth with modern
culture, Persephone with Botox.” Cosy is a masterful performer who studied guitar
with Guy Van Duser and Eric Schoenberg, and voice at the Berklee College of Music.
She’s released seven CDs, written a one-woman show entitled The Pomegranate Seed An Exploration of Appetite, Body-Image and Myth in Modern Culture, and co-founded
the Moab Folk Camp with musical partner TR Ritchie. She teaches songwriting and
performance at music camps across the country, among them The Puget Sound Guitar
Workshop in Washington, and Summer Fishtrap in Oregon as well as several previous
years at the Gathering. www.cosysheridan.com
SIOBHÁN QUINN
A profoundly versatile vocalist and teacher, Siobhán writes
and performs songs in folk, blues and adult contemporary
pop styles. She is known as a dynamic singer of Chicago &
New Orleans style electric blues and has performed many
other styles from jazz and big band to r&b and rock; early
song to renaissance music, and medieval madrigals in five
languages. Truly one of the most popular vocal instructors
around, she tours internationally, and is accompanied at
Swannanoa by her music partner and husband, songwriter Michael Bowers. Her careful
attention to each individual is renowned, and students often 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
School, NERFA, Great American Masters Music Industry Workshop, and coached voice
at the Summersongs & Wintersongs songwriting retreats. When at home in Alexandria,
VA, Siobhán teaches individuals, and coaches vocal performance for recordings. She
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Contemporary Folk Week, July 29-August 4, 2012
consistently updates her own credentials through such programs as the international
British Voice Association Conference master classes in performance/otolaryngology, and
CCM at Shenandoah Conservatory. Awarded a WAMMIE for Best Traditional Folk
Vocalist, Siobhán has also been a top-five songwriting finalist in the prestigious Boston
Folk Festival Songwriting and (with Michael Bowers) Kerrville New Folk Competitions
and Emerging Artist at Falcon Ridge Folk Festival. www.dreamersloversandoutlaws.com
ray chesna
An accomplished guitarist and songwriter, Ray is fluent in
a wide range of styles including western swing, folk, blues,
country and bluegrass, and has been a long-time fixture at
Contemporary Folk Week, as the sideman of choice for open
mikes and concerts. A private music teacher since 1971, Ray
has also been on staff at the Augusta Heritage Center in Elkins,
WV, the Guitar Intensive at Bar Harbor, ME, Club Passim
in Cambridge, MA, and has led workshops for the South
East Bluegrass Association in Atlanta, GA. He continues to
teach privately at his home studio in Asheville, NC, where he also maintains a guitar
repair business. Ray records for Echolake Records and is the author of Guitar Tools,
a guitar theory manual, featuring his unique method of understanding the guitar. www.raychesna.com
DAVID ROTH
Contemporary Folk Week Coordinator David Roth, is
a veteran of many Gatherings and a singer, songwriter,
recording artist, and masterfully inclusive instructor who
has earned top honors at premier songwriter competitions
at the Kerrville Festival (TX) and Falcon Ridge (NY),
and taken his music, experience, and expertise to a wide
variety of venues in this and other countries over the last
two decades. His songs have found their way to Carnegie
Hall, the United Nations, several Chicken Soup for the Soul
books, the Kennedy Center, Peter, Paul, & Mary concerts,
the Kingston Trio’s newest CD, NASA’s Goddard Space Center (his song, “Rocket
Science” went up on the space shuttle Atlantis in 2009), and twelve CDs on the Wind
River and Stockfisch (Germany) labels. Featured on many of Christine Lavin’s seminal
Rounder Records compilations, the former artist-in-residence at New York’s Omega
Institute has also been a songwriting judge at Kerrville, Napa Valley, Tumbleweed,
Eventide Arts, and the South Florida Folk Festival. He’s taught singing, songwriting,
and performance at the Augusta Heritage workshops, Puget Sound Guitar Workshop,
Common Ground on the Hill, Rowe Center, Pendle Hill, Lamb’s Retreat, Wisconsin
Stringalongs, the National Wellness Institute, and for many other songwriting groups
and associations around the country. David is again honored to be at the Gathering
with his unique songs, offbeat observations, moving stories, and powerful singing and
subject matter. www.davidrothmusic.com
7:30- 8:30
Danny Ellis
12:00- 1:00
Lunch
1:00- 2:15
Free Time
Born in Dublin, Ireland, Danny learned to play trombone
at the age of 8 in a Dublin orphanage brass band, where
he also sang in the choir. At 16 he was touring Ireland in
Dixieland bands on the richly eclectic Irish dancehall circuit, eventually playing and singing every kind of modern
music imaginable. He was commissioned to write songs by
RTE, (Irish National Radio) for the many song festivals
throughout Europe and three of them reached the Irish
Top Ten. He toured with Graham Parker and the Rumor,
The Foundations, and was a session singer for London’s Abbey Road Studio for four years.
His music paints a complex emotional landscape that elegantly straddles the borders of
his Celtic roots and the rock and pop that buoyed him as a child. In 2009, he was named
Lyricist of the Year by Just Plain Folks, the biggest independent music award organization in the world. His latest recording, 800 Voices, My Life in an Irish Orphanage has
been hailed by Hotpress magazine as “one of the classics of contemporary Irish music,”
and he has turned the material from this CD into a dramatic concert-with-narratives
and performed it in theatres in Ireland, England and the US. In between touring he
produces and records other musicians and leads workshops. His teaching methods are
legendary among pros and beginners alike, with a strong emphasis on accessing the
part of us that truly has something to write and sing about. www.dannyellismusic.com

Songwriting
9:00- 10:15
Breakfast
Guitar Tools:
String Theory A
(Chesna)
Story Songs
(Roth)
Letting the Song Lead
(Booth)
How to Make Your Rotten Life
on the Road Hilarious to People
Who Actually Have Jobs
(Wheeler)
2:15- 3:30
Growing
Your Song
(Ellis)
3:45- 5:00
Guitar Tools:
String Theory B
(Chesna)
Finding Your Best
You On Stage
(Paul)
Song Editing
(Eberhardt)
Let’s Hear Your
Song
(Mondlock)
Living the Dream
(Barris)
best songs are a result of learning when to direct, and when to follow; not
in a passive way, but as a cooperative creation process. As Frost said, “no
surprise for the writer, no surprise for the reader.”
LAYING A MELODY OVER A PROGRESSION (LJ Booth)
We’ve all come up with a really great progression of chords that are “calling” for a melody. But how much time do we put into the interplay of where
that melody is placed within the chords? Right on the beat, a little ahead, a
little behind – these choices can make the difference between a predictable
song, and one that has an unexpected hitch or lope in its stride, that makes
it memorable. Those choices also effect which words get strong emphasis or
end up more like connecting links. Can that melody “stretch” to place some
rhythmic tension where effective? We’ll find out.
SONGWRITING GAMES (Cosy Sheridan)
it simply trying to say? Who is it directed at? Then, we will create an editing
wheel where we examine verses, chorus, tempo, mood, orchestration, bridge
and melody and see how the song’s mission is supported by its parts. The end
result is cleaner writing, more clarity, a better editing job, and a song that
accomplishes all you dreamed for it.
CREATING A MISSION FOR Your SONG (Ellis Paul)
LETTING THE SONG LEAD (LJ Booth)
GROWING YOUR SONG (Danny Ellis)
When a budding song is too “directed,” sometimes it has no room to grow.
We’ll look at the different ways we can let the song have more room to “find
itself,” trusting in some of the more intuitive ways of writing, where the
deductive process gets some time off. We’ll learn to trust that some of the
Sparking
in the Gap
(Mondlock)
Recording on
a Laptop
(Vezner)
Creating a
Mission for
Your Song
(Paul)
Step Up to
the Stage
(Roth)
Songwriting
Games
(Sheridan)
Song
Critiques
(Vezner)
It’s All About
the Song
(Quinn)
Evening Events (open mikes, concerts, dances, jam sessions, etc.)
Staying out of your own way can be one of the biggest challenges for a songwriter. What’s it all about, the songwriter or the song? In this class we’ll
discuss the merits of the path of least resistance vs hard work and discipline
in songwriting. We’ll hear each other’s songs from both camps and compare
the results of both approaches.
The best songs seem to be perfect gems, written with a distinct clarity of
purpose; “Imagine” by John Lennon, “Blowing in The Wind” by Dylan,
“Bridge Over Troubled Water” by Paul Simon. In this class we will discuss
the importance of a song’s mission statement: What is its purpose? What is
Vocal Clinic
(Quinn)
Supper
Everyday we’ll write a new song, and everyday we’ll have a new game. Are
you writing a long-planned song that you are editing this week in another
class? Here’s a chance to open the window for an hour and let a fresh breeze
blow through. What happens when we remove our ego and our critic from
the equation? Maybe we find ‘beginner’s mind,’ and maybe we find a little
kernel to take home at the end of camp. We’ll try song mash-ups, parodies,
maybe a guided meditation or a co-write and some prompts to the deepest,
or most playful part of our psyche.
MAYBE YOUR TENDENCY
IS YOUR GIFT (Cheryl Wheeler)
Writing
Melodies
(Eberhardt)
The Craft & Art Maybe Your Tendency Laying a Melody Enjoying Your
of Being Present
is Your Gift
Over a Progression
Voice
(Sheridan)
(Wheeler)
(Booth)
(Ellis)
5:00- 6:30
7:30- ?
Getting From
Good to Great
(Barris)
Coffee/Tea Break
10:15- 10:45
10:45- 12:00
Co-writing
(Vezner)
Language is so magical that, almost on its own, it can grow a few words into
a compelling story, a rollicking rant, or subtle understanding. It’s almost
as if something inside wants to express itself and will grow no matter what
language seeds we plant. The trick is to support it as you allow it to find its
own shape. In this class we will divide the lesson between collectively writing
a complete song and discussing individual students’ compositions. We’ll take
a look at the “why” of songwriting and see if it can lead us to the “how”:
Why do certain phrases send our hearts fluttering, send shivers down our
spine, or make us go “Aha!”? We all have an amazing power within us called
appreciation; we’ll explore how to turn this passive virtue into an active
one; how to persuade the very power that appreciates art to create it. We
can feel when something is “right” or “wrong” about someone else’s writing
and we’ll look at ways to put that to work within our own creations – a very
important skill, especially if you’re not a collaborator. We’ll look at how to
become aware of how our minds are working as we write; where our ideas
are springing from – the Head, the Heart, the Gut – and how knowing this
can add dimensionality to our writing. Bring a song of yours you’d like the
class to discuss and some lyric phrases that have moved you. For beginners
as well as old sods.
WRITING MELODIES (Cliff Eberhardt)
We’ll start with a brief history of melodic writing and then show how to
incorporate a melodic vocabulary into your songs, including what to look
for to get out of melodic repetition. Bring in songs that are incomplete or
songs that you feel need improvement, not songs that you are married to or
have already recorded. You’ll be asked to start with just a verse and a chorus
to work on, no complete songs until later in the week. We’ll talk about how
to insert different chords and use different intervals of your existing songs
to improve your melodies, how to make the songs have more memorable
melodies, and how to insert intros bridges and endings. By the end of the
week we will try to reconstruct your work into a complete beautiful song.
Usually during the week most students start to get it and add their own suggestions. That’s when I get to take cat naps. The point is, I’ve never taught
this class where the students didn’t have a great time.
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SONG EDITING (Cliff Eberhardt)
Bring in at least two written copies of your songs. We’ll begin with how
to hone your lyrics down into a concise piece of work and how to edit out
unnecessary words and tighten up the song. We’ll work on how to make the
vision of your work clearer. This usually ends up as class participation. We’ll
discuss the tempo of your songs – if they should be sped up, slowed down or
if they should be in a different time signature. We’ll also go over your guitar
arrangements and see if a different part fits better, or if the song calls for
a solo. Then we’ll go over the final form of the song, discussing if the song
needs a intro, an ending or a bridge, and we’ll check to see if the placement
of the verses and the choruses feel right. The goal is to put your song into a
comprehensible form.
wide range of observation – ordinary people doing extraordinary things, dogs
farting underneath massage tables, an elderly couple adopting an HIV+
baby that no one else wanted, the closing of a local bakery, a 100-yard dash
race, fifty men shaving their heads to welcome one of their own returning
home bald from chemo treatments at the hospital, a nun who changed the
lives of many of the kids she taught in school with a simple action – the list
goes on. Bring a story that moves you and we’ll see what we can do to focus,
condense, describe, stimulate, and “songify” it, starting on Day One. We’ll
also use one session to do a group co-write of a custom-made song for a sick
child and his/her family for the Songs of Love Foundation in New York...
very meaningful and powerful.
SPARKING IN THE GAP (Buddy Mondlock)
SONG CRITIQUES (Jon Vezner)
How do songs come to life? And how do we use our tools, skills and especially
heart to make them come to life again so listeners can find themselves inside
your song, actively participating and not just passively taking it in? That’s
our task and we’ll be taking an in-depth look at some particular songs to
bring to light things like layers of meaning, the effective use of imagery and
detail, storytelling, structure and rhyme scheme, the importance of editing
and knowing when not to edit, the integration of music and words, and even
some ideas to get you going again when you feel stuck.
LET’S HEAR YOUR SONG (Buddy Mondlock)
It’s not about tearing down here, it’s about building up. Everyone will get a
chance to play a song for the group and get some feedback and perspective.
Bring in something you’re working on, or just finished, or have had sitting
around forever but aren’t quite sure about (and bring enough lyric sheets
to go around). Are you doing something great you weren’t even aware of?
Are people getting out of your song the same thing you put into it? Is there a
way to get more into your song? Participants are encouraged to come to all
the sessions - that discussion about someone else’s song might shine a light
just where you need it!
co-WRITING (Jon Vezner)
The class will explore the benefits and advantages of co-writing, how to
choose a co-writer, discussion of the co-writing process, and the division of
copyright. Students will be paired up with someone to be their co-writer for
the week in the first class session. Co-writers will then work on their songs
on their own time. Class time will be set aside each day to discuss progress,
problems etc., and the songs (complete or incomplete) will be performed
during the last day of class.
GETTING FROM GOOD TO GREAT (Sally Barris)
This is a class for songwriters who want to take it up a notch. There are songs
and then there are SONGS. What makes a song magic? What gives it the
mojo to transcend time and space? How do you reach a wider audience
and even get to a pro level? Each student will receive in-depth feedback,
a full tool kit of strategies, and new skills that will widely broaden their
songwriting horizons.
STORY SONGS (David Roth)
If a picture’s worth a thousand words, perhaps a song can tell a whole story.
Join us as we examine musical narrative and how to extract key elements
– plot, character, conflict, theme, and setting – from stories that move us,
and blend them together with melody, rhythm, and chord progression into
compelling songs that do the same. I’ve been inspired over the years by a rather
Songs chosen for critique each day will be drawn from a hat. Attendees will
be encouraged to attend all sessions for it will be beneficial to be a part of
the process whether your song has been chosen or not. Critiques will be very
in-depth, and we’ll hope to cover two to three songs per 75 minute session.
We will address song form and structure, prosody, storyline, melody, arrangement and last but not least, commercial potential.
Vocal
ENJOYING YOUR VOICE (Danny Ellis)
Deep down, many people don’t actually like their voices at all. Like a person
who’s in the habit of making an unpleasant face just as they look in the mirror, they are actually magnifying an aspect of their voice that doesn’t please
them. Of course, this causes a negative feedback loop which can perpetuate
itself indefinitely, frustrating and discouraging the singer, maybe even causing them to give up. Your voice is fine! It may need a little tweaking here
and there, so this class will focus on reawakening the simple joy of singing
we had as kids, before someone told us we couldn’t do it. Once we evoke that
enjoyment – ignition, I love to call it – we can use it to improve our voices in
the most fun way (as opposed to feeling bad about it and trying to improve
something you’re actually attacking). If we can get the extraordinary beauty
of your spirit to show up as your own well-being, the beauty of your voice will
naturally follow. Don’t think you have an extraordinary beauty of spirit?
Then this class is for you! This will be very much a hands-on class with lots
of gentle supportive critique and guidance. Bring a song you’d like to enjoy
singing. For beginners and pros.
IT’S ALL ABOUT THE SONG (Siobhán Quinn)
This is intended as a next step for prior students of the Vocal Clinic class, but
also available to those with a bit of vocal experience. We’ll spend the first
day on basics, getting everyone on the same page, then immediately focusing
on tools to capture your best performance in songs of your choice. There will
be individual work/performance and interactive vocal warm-ups each day.
Everyone will learn crucial vocal and performance skills for translating
technical singing skills into excellent vocal performance of songs – whether
humorous, sensitive, deep dark songs, or the wailing blues. Siobhán may even
use video to record and show you exactly what’s happening when you sing.
VOCAL clinic (Siobhán Quinn)
This class is for road-weary, occasional and even “never before” singers,
especially guitarists! Everyone has a unique sound from the physical makeup of their vocal cords/resonance chambers; learning vocal technique will
help you claim your songs with your voice! Siobhán uses classical/modern
technique as a foundation for vocal flexibility while helping you to maintain
individual vocal personality. We’ll work individually to explore and enhance
your voice and you will develop a personal basic regimen to maintain skills
you learn in the workshop. Siobhán is an encouraging teacher who will help
you to bring out the best parts of your voice within each song you sing. Be
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)
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
issues and exercises for songwriters/ guitarists, such as posture with instrument, lack of breath, singing flexibly within your range, positioning and
strengthening exercises to shake out the unsteady parts of your voice. We’ll
work toward songs in the second half of the week, and how to translate the
emotional intention of a song effectively.
Performance
HOW TO MAKE YOUR ROTTEN LIFE
ON THE ROAD HILARIOUS TO PEOPLE
WHO ACTUALLY HAVE JOBS (Cheryl Wheeler)
We all need people like school teachers, nurses and store clerks to show up
and do their jobs everyday. Folksingers have to sign contracts with radius
clauses to work for an hour and a half, and then promise not to come back
for a year. What does this tell us? It isn’t known, but let’s talk about it (and
other funny stuff) anyway. Nothing relaxes you and your audience more
than a good laugh. In this class we’ll talk about how that happens and share
your, my, and anyone else’s funny songs.
THE CRAFT & THE ART
OF BEING PRESENT (Cosy Sheridan)
Performance is a technical skill and a creative art. We need the technical
part: how to enter, where to stand, how to use the microphone. But we also
need to know how to fill a room with our presence – which is a creative act.
We can approach our time on stage as a journey: a process of discovering
what is distinct about ourselves and then distilling it into an essence that
is potent enough to reach across the footlights and touch another person’s
life. If we can see our performance as an act of being in the present moment,
then our performance becomes a spiritual gift to ourselves and our audience. When do we rely on the material and the preparation, and when do
we take a chance and do the unexpected? And, perhaps most importantly:
how do we forgive ourselves for the moments on stage we want to forget?
Compassion for our performing self is a vital tool for anyone who chooses
to get up on stage and bare their heart. This is hands-on: we’ll get everyone
on stage as often as possible.
STEP UP TO THE STAGE (David Roth)
Do your butterflies turn into pterodactyls at the mere thought of stepping
on a stage? Hey, we’re not getting any younger, so let’s get over it right here
and now. This is Performance 101 for beginners and especially for those
most terrified of the spotlight. Please know that I do believe if you’re not
nervous at all when it comes time to perform somewhere, then you might
consider doing something else altogether. Being excited is your body’s way
of telling you this is important and meaningful, and this is a good thing.
Together we can turn fear INTO excitement and have it be our ally, not
our obstacle in working towards being the best performers we can possibly
be. Most importantly, we’ll have fun together and entertain one another in
a safe and supportive environment. Bring a couple of songs you know by
heart, a willing spirit, and a sense of humor.
FINDING YOUR BEST YOU ON STAGE (Ellis Paul)
The best performers always seem to have a combination of comfortable-ness,
sincerity, confidence, and vulnerability on stage. How do you bring all
that into the lights before an audience? A music performance is a visual as
well as auditory experience. How do you maximize all this? We will break
down performance into categories; lights, stage, sound, visuals,and then the
conceptual: sincerity, confidence, believability, and discuss how to make the
most out of what you bring and what the venue provides.
Guitar & Creativity
LIVING THE DREAM (Sally Barris)
So you have a dream but don’t know where to start or how to get there, and
where is “there?” We will take apart the mystery of being a singer/songwriter
and break it down into a tangible, doable goal. Whether your dream is to
sing for millions or you would simply like to play in the cool coffee house
down the street, this class will help you find a path and lay out the day to
day steps to making dreams become reality.
RECORDING ON A LAPTOP (Jon Vezner)
A very popular course last year, studio recording on a laptop computer returns!
From miking to mixing, effects to equalization, it starts with inputting a
voice and a guitar (maybe yours – we’ll hope to “demo” 2-3 student songs
during the week) and adding a track or three in the process to see what’s
possible in fleshing out our music on this very portable recording studio
(that you may already own but didn’t know you did). Jon will be working
on a Mac but he assures us that the software shows up the same way on a PC,
so come prepared to spend a week demystifying the idea that a computer is
merely a computer. A basic knowledge of home recording is helpful (if you’re
starting from scratch, you may be scratching your head from time to time).
GUITAR TOOLS: STRING THEORY
for GUITARists A & B (Ray Chesna)
(Note: This class is offered twice; once in the morning, then repeated in
the afternoon.) Ray ties it all together and breaks it all down. Be it your
own personal style, your songwriting, blues, bluegrass, new age, Celtic, pop,
jazz; the one thing that they all have in common is THEORY. This fun
and involving course will explore melody (scales) and harmony (chords) in
understandable terms and with simple concepts. The insightful, practical
instruction will enable the student to easily apply the concepts to the guitar.
This has been a popular course for several years now, and, of course, Ray has
some new tricks up his sleeve. This year we will be spending more time on
chords, chord progressions and deconstructing classic songs. Clear, helpful
handouts will allow the student to bring this information home for continued
study. Repeat offenders always welcome.
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Fiddle
August 5-11
S
ince the invention of the violin, the music of its unschooled alter-ego, the fiddle, 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 different traditions and it speaks an international language
understood worldwide. Fiddle Week at the Swannanoa Gathering celebrates that universality with classes in traditional and contemporary styles ranging from
Irish to newgrass, from Cajun to blues. The week also includes classes in guitar, focusing on accompaniment in various styles, and there are related offerings for
the fiddle’s bigger siblings, the cello and bass. The class schedule has been structured in such a way as to allow students to explore a rich variety of fiddle styles
each day. Each instructor teaches different 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 offer a few introductory classes for students who want to gain confidence 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 confidence. This 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 fluent playing by ear. The 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 difficult keys. The beginning fiddle class is designed to help brand-new fiddlers get off to a good start. Blues and Improvisation
are open to all levels and all instruments. 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.
BYRON BERLINE
Byron Berline is a three-time National Fiddle Champion who began playing the fiddle at age five. Byron’s
professional career reads like a Who’s Who of the
music business as he has performed with or recorded
with so many notables. As a band member he has
played with Bill Monroe & the Bluegrass Boys, Dillard
& Clark, Dillard Expedition, Country Gazette, Sundance, Berline Crary & Hickman, L. A. Fiddle Band,
California, and the Byron Berline Band. As a session
fiddler, he appears on numerous recordings including
those by The Band, The Byrds, The Eagles, The Rolling
Stones, Bob Dylan, John Denver, Elton John, Linda
Ronstadt, Rod Stewart, Hoyt Axton, Alabama, Susie
Boguss, Mary Chapin Carpenter, Vince Gill, Arlo Guthrie, Emmylou Harris, Kris
Kirstofferson, Willie Nelson, Tammy Wynette, Jethro Burns, John Hartford, Nitty
Gritty Dirt Band, Earl Scruggs, Mason Williams and numerous symphony orchestras.
His movie and commercial sound track credits include work with Henry Mancini, Jerry
Fielding, Johnny Williams and Lalo Schifrin, the score of the film, Stay Hungry, and
appearances in Star Trek, Back To The Future III and Basic Instinct. He has toured the
United States, Europe, China, Japan, Australia, Northern Africa and the South Pacific.
Byron was inducted into Oklahoma’s Musicians Hall of Fame, named Oklahoma’s
Ambassador of Goodwill, been featured artist at the international convention of the
Violin Society of America, and founded the Oklahoma International Bluegrass Festival.
Byron has been touted as one of the most inventive fiddlers ever, and his skill, versatility
and artistry continue to be recognized by his peers, the press and audiences world-wide.
MICHAEL DOUCET
Michael Doucet and his band Beausoleil have been the
premier ambassadors of the Cajun sound for more than
three decades, offering music that is usually melodic
and harmonically interesting, in addition to its riveting
rhythmic drive. He grew up on his father’s farm about five
miles west of Lafayette, Louisiana, and by 1974, Doucet was playing in local hangouts,
where a French promoter asked him and his band to come to France for two weeks to
play at a folk festival. “It was the turning point of my life,” he says, when he realized
the correlations between old French songs from the Middle Ages and modern Cajun
music. In 1975, he received a grant from the National Endowment for the Arts to study
the music styles of such 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 states, Europe and the Middle East and recorded more than twenty
albums. The band composed and recorded the sound track for the movie, Belizaire the
Cajun, and the title song for the romantic thriller, The Big Easy. Doucet has collaborated
with Richard Thompson, and the band has made several appearances on Garrison Keillor’s radio show A Prairie Home Companion, and at former President Jimmy Carter’s
inaugural gala. Keith Richards asked Doucet to play on his solo release, Talk is Cheap,
and in 1990, Beausoleil celebrated Mardi Gras with the Grateful Dead for 17,000 fans
at Oakland Coliseum. In 2005, Doucet was awarded a National Heritage Fellowship
from the National Endowment for the Arts.
JASON ANICK
Jason Anick is a Boston-based performer, composer,
and educator, who is rapidly making a name for
himself in the world of jazz violin and mandolin.
In 2007 he won top honors for improvisation in
the ATSA Alternative Styles competition and
performed with the Robin Nolan Trio at the
Montreal Jazz Festival. In 2008, while still a senior
at the prestigious Hartt Conservatory, Jason began
touring both nationally and internationally with
Grammy award-winning Nashville guitar virtuoso
John Jorgenson. He went on to record on Jorgenson’s latest CD, One Stolen Night, which was named one of the Top 10 albums of 2010
by the LA Times and Acoustic Guitar magazine. His recently released debut solo album,
Sleepless, was cited by jazzmando.com as “...a must have for any jazz violin/mandolin
fans.” Jason’s performances have taken him all over the world to China, Germany, the
UK, and the Netherlands as well as renowned venues such as The Montreal Jazz Festival,
Scullers Jazz Club, Yoshis Jazz Club, Wolf Trap, NPR’s Mountain Stage, and The Ark.
He is also a sought-after teacher and clinician and has taught jazz violin and mandolin at
Christian Howes’ Creative Strings Workshop, Berklee’s Five-Week Summer Performance
Program, Fiddle Hell, Django in June, DjangoFest Northwest, and numerous K-12
string programs throughout the United States. He also regularly contributes columns
on learning Gypsy Jazz to Fiddler magazine. www.jasonanick.com
WINIFRED HORAN
Born of Irish parents, Winifred began playing music at an
early age and participated and competed in many fleadhs
and competitions in the US and Ireland, winning the
US National Dance Championships a record nine years
in a row. She also pursued a path in classical music and
attended Mannes College of Music on scholarship, and
earned a degree in music from the prestigious New England
Conservatory of Music in Boston. This combination of
both classical and traditional backgrounds helps to define
Winifred’s unique style. In demand as a dancer, fiddle player
and studio musician, she has worked with many of the finest musicians on the Irish music
scene, including Cherish the Ladies, Sharon Shannon, Pierce Turner, Richard Shindell,
Eileen Ivers, Pauline Scanlon and Liz Carroll. She has also recently recorded with Roesy,
Damien Dempsey and Declan O’Rourke. As a session musician, she continues to add
her style and musical ideas to many projects in the states and Ireland. Her meeting and
ultimate collaboration with Seamus Egan saw the beginning of the Irish American
band, Solas, which has become one of the world’s top Irish acts, critically acclaimed for
its live performances, timeless recordings and extraordinary musicianship. Winifred
appears on all ten Solas recordings as well as her acclaimed solo releases, Just One Wish,
and The Pleasures of Home. Her 2005 duet album with Solas bandmate Mick McAuley,
titled Serenade, was called one of the Top Five Traditional Releases by the Irish Times. www.solasmusic.com
Lissa Schneckenburger
Raised in a small town in Maine and now living in Vermont,
Lissa began playing fiddle at the age of six, inspired by her
mother’s interest in folk music and a family friend who was a
professional violinist. Soon she was studying with influential
Maine fiddler Greg Boardman and sitting in with the Maine
Country Dance Orchestra. By the time she was in high
school she was playing concerts on her own, specializing
in the sprightly New England dance tunes that combine influences from the British
Isles and Quebec with homegrown twists that have been evolving since Colonial days.
She graduated in 2001 from the New England Conservatory of Music with a degree in
contemporary improvisation, and since then has been performing around the US and
internationally for a growing audience of enthusiastic listeners. She has recorded seven
CDs (four solo and three with various groups), including her latest project, a pair of CDs
dedicated to reintroducing some wonderful but largely forgotten songs and tunes from
New England that she uncovered through archival research at the University of Maine
and elsewhere. Song contains ten timeless ballads that go back as far as the eighteenth
century that she set to carefully-crafted modern arrangements, while Dance features
older fiddle tunes. Whether playing for a folk club audience or a hall full of dancers,
Lissa brings to the stage enthusiasm, energy, and the bright future of New England’s
musical traditions. www.lissafiddle.com
JOE CRAVEN
Creativity educator, former museum curator, visual artist,
actor/storyteller, a coast to coast music festival emcee and
recipient of the 2009 Folk Alliance Far-West Performer of
the Year, Joe has made music with many folks ranging from
jazz violinist Stephane Grappelli to Grateful Dead guitarist
Jerry Garcia, and from The Persuasions to The Horseflies.
Always looking for the next expression and object to make
music with, he is a musical madman with anything that has
strings attached; violin, mandolin, tin can, bedpan, cookie tin, tenor guitar/banjo, mouth
bow, canjoe, cuatro, berimbau, balalaika, boot ‘n lace and double-necked whatever. Joe
has created music and sound effects for commercials, soundtracks, computer games
and contributions to several Grammy-nominated projects. He performed at Carnegie
Hall with Yo-Yo Ma and Mark O’Connor as part of Stephane Grappelli’s 80th birthday
concert. Joe has presented at numerous schools, universities and the American String
Teacher’s Association, is Co-Director of The Wintergrass Youth Academy, Seattle,
WA and is the Executive Director of RiverTunes Roots Music & Creativity Camp in
California. No matter who he’s connecting with; a community workshop in Costa Rica,
a university lecture demonstration in Washington, or on stage in front of thousands of
school kids in Scotland, he’s at home and loving every minute. ‘Everything Joe touches
turns to music,’ says mandolinist David Grisman, who Joe played with for almost 17
years. www.joecraven.com
DUNCAN WICKEL
Violinist, composer and multi-instrumentalist Duncan
Wickel is an accomplished improviser, composer and technician, sought after for his stylistic mastery of jazz, Irish, old-time
and bluegrass music, and the chameleon-like ease in which he
blends and changes styles. Duncan has collaborated onstage
and in the studio with such artists as Celtic music stars John
Doyle, Cara Dillon, Cathie Ryan, and Maeve Gilchrist,
multi-platinum rap artist Wyclef Jean, and singer-songwriter greats such as the Duhks,
Emily Elbert, and Danny Ellis. Duncan has toured throughout the US extensively, and
performed at such venues as the Kennedy Center, the Institute of Contemporary Art
in Boston, the Hardly Strictly Bluegrass Festival, The DC Jazz Festival, Milwaukee
Irish Fest, Festival Internationale de Louisiane, ICONS festival, on Public Radio
International’s Mountain Stage and in legendary jazz clubs such as the Blue Note, Le
Poisson Rouge, and the 55 Bar in New York City. He has also toured in France, and in
the UK where he performed at the Celtic Connections festival in Glasgow, Scotland.
He is a recent graduate of the Berklee College of Music where he was a two- time
recipient of the Fletcher Bright Award in Recognition for Outstanding Musicianship,
an honor that is bestowed once a year to a promising young string player at Berklee. www.duncanwickel.com
TASHINA CLARRIDGE
Raised in the mountains of northern California, Tashina
Clarridge began Suzuki violin lessons at age two and quickly
moved on to study baroque classical violin with Rob Diggins and Texas-style fiddling with Megan Lynch, eventually
landing at the feet of such frighteningly brilliant fiddlers as
Darol Anger, Bruce Molsky, Natalie MacMaster, Matt Glaser,
Alasdair Fraser, and Mark O’Connor at a variety of emerging music camps. Currently a weather-despising resident of
Boston, Tashina enjoys a lively pursuit of bluegrass, and the
fusion of acoustic styles labeled as “New Acoustic” music,
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45
ROGER BELLOW
along with a great love for traditional styles of Irish, Appalachian old-time, and the
closely related “Texas-style fiddling”, passed down by fiddle greats Eck Robertson &
Benny Thomasson. She has performed at Carnegie Hall as part of MacArthur Fellow/
Grammy-winning bassist Edgar Meyer’s Young Artists program, has shared the stage
with Darol Anger, Tony Trischka, Laurie Lewis, and Mike Marshall, and is a Grand
National Fiddle Champion and 11-time National finalist. Tashina currently tours with
her brother Tristan in the eclectic acoustic ensemble, The Bee Eaters, with Tony Trischka’s
Territory, and with singer/guitarist Jefferson Hamer. An instructor at Mark O’Connor’s
Strings Conferences for the past eight years, she and her brother are in demand as music
teachers, and organize the Big Sur & Mt. Shasta Fiddle Camps.
RAYNA GELLERT
Rayna Gellert grew up in a musical family, and has spent
most her life immersed in the sounds of rural stringband
music. After honing her fiddle skills at jam sessions and
square dances, Rayna fell into a life of traveling and
performing. Her fiddle albums are widely celebrated in
the old-time music community, and she has recorded
with a host of musicians in a variety of styles – including
Robyn Hitchcock, Tyler Ramsey, Sara Watkins, Loudon
Wainwright III, John Paul Jones, and Toubab Krewe. From 2003 through 2008, Rayna
was a member of the acclaimed stringband, Uncle Earl, with whom she released two
albums on Rounder Records. In addition to teaching an occasional fiddle workshop,
she currently performs with Abigail Washburn, Scott Miller, and Toubab Krewe. www.raynagellert.com/
TRISTAN CLARRIDGE
A five-time Grand National Fiddle Champion and sought-after
touring cellist, Tristan Clarridge is at the forefront of a cello
revolution, helping to define new places for the instrument
amongst folk music of all sorts. Raised in a tipi in rural northern
California, he began fiddle lessons at age two, and since then has
studied cello and fiddle from many of the greats of bluegrass,
old-time, Scottish, Irish, jazz, Swedish, and new acoustic music.
A member of the folk/bluegrass sensation, Crooked Still, and
the chambergrass group The Bee Eaters (along with his sister Tashina), Tristan has
performed and collaborated with Darol Anger, Mike Marshall, Bruce Molsky, Natalie
MacMaster and the Bill Evans String Summit. A veteran teacher of many years, he has
instructed at Alasdair Fraser’s Scottish Fiddling School and the Mark O’Connor Strings
Conference, and taught hundreds of lessons and workshops.
KEVIN KEHRBERG
As a bassist in both jazz and traditional music, Kevin Kehrberg
has toured the United States, Canada, and Japan. He has performed with Jean Ritchie, Curly Seckler, Lee Sexton, Art Stamper, Slide Hampton, and Roger Humphries, and his album credits
include recordings by the Kentucky Jazz Repertory Orchestra,
David Long, Rayna Gellert, Chris Sharp, and the Wildwood
Valley Boys. He is also active as a rhythm guitarist, helping the
Red State Ramblers to the finals at the 2008 Appalachian String
Band Music Festival Band Contest in Clifftop, West Virginia.
Kevin studies and performs music from other cultures as well, particularly those of
Indonesia, China, and Thailand. He previously served as an adjunct bass instructor in
the Music and Jazz Studies programs at Transylvania University and Morehead State
University. Currently, he is a member of the music faculty at Warren Wilson College,
where he directs the college chorale and teaches courses and ensembles in American
music and world music in addition to applied bass and guitar.
DAVID SURETTE
One of New England’s premiere instrumentalists, David
Surette is highly regarded for his work on the guitar (both
flatpick and fingerstyle), mandolin and bouzouki in a wide
variety of settings. As a soloist, he is nationally-known as a
top player of Celtic fingerstyle guitar, yet his diverse repertoire also includes original compositions, blues and ragtime,
traditional American roots music, and folk music from a variety of traditions, all played
with finesse, taste, and virtuosity. He has performed as a duo with his wife, singer Susie
Burke, for 20 years, recording several albums and building a reputation as one of New
England’s top folk duos. Surette was a founding member of the Airdance band with
fiddler Rodney Miller, with whom he recorded four albums and toured nationally. He
has also released five solo recordings; his most recent is Sun Dog, a collection of original solo guitar pieces. David is an accomplished and gifted teacher who has taught at
workshops and camps throughout the U.S., and the U.K. He is folk music coordinator
at the Concord (NH) Community Music School, and artistic director of their March
Mandolin Festival. He has authored a book of Celtic fingerstyle guitar arrangements
for Mel Bay Publications, and is a regular contributor to Acoustic Guitar and Strings
magazines. www.burkesurette.com
RYAN McKASSON
Ryan McKasson has gained a formidable reputation as a
performer, composer, collaborator, and teacher. In 1996 he
was the youngest ever to win the US National Scottish Fiddle
Championship, and the following year he was awarded a
Merit Scholarship for Viola Performance from the University
of Southern California. In 2004, Ryan and his sister, Cali,
formed a band, The McKassons, that eventually included
Ryan’s wife, Brooke, and her brother, Matt Jerrell. The McKassons released two critically acclaimed albums, Tall Tales and Tripping Maggie, and since 2002, he has also
been fiddler for the renowned contra dance band, The Syncopaths. He has performed
at such venues as the Kennedy Center, the National Gallery, Club Passim, McCabe’s
Guitar Shop and the Metropolitan Museum of Art, and has taught workshops at the
Boston Harbor Scottish Fiddling School, Southern Hemisphere International School
of Scottish Fiddle (New Zealand), Valley of the Moon Scottish Fiddling School and
the Festival of American Fiddle Tunes. Ryan also appears on Hanneke Cassel’s albums,
Silver and For Reasons Unseen, and with Alasdair Fraser and Natalie Haas on their album
Highlander’s Farewell. www.ryanmckasson.com
Emily Schaad
Emily plays fiddle and banjo for contra and square dances around
the Hudson Valley of New York State and in western North Carolina. She performs solo and with several stringbands, including The
Bailers, first-place winners at the Appalachian Stringband Music
Festival in Clifftop, WV. As part of the Appalachian studies program at Appalachian State University, Emily had the opportunity
to learn fiddle and banjo from Clyde Davenport, Benton Flippen, and Joe Thompson.
She is executive director of Stringendo Inc., a non-profit community orchestra school,
and Strawberry Hill Fiddlers, a program that introduces teenage string players to a wide
array of traditional fiddling styles. www.myspace.com/emilyschaad
The sideman of choice for a number of well-known artists,
Roger Bellow is a multi-instrumentalist, recording artist,
educator and performer from South Carolina whom Bluegrass Unlimited describes as “a member of the elite circle of
superlative pickers.” He has taught at a variety of prestigious
workshops, including the Augusta Heritage Center and the
Greater Yellowstone Music Camp, and has recorded and
performed with numerous artists including renowned fiddlers
Kenny Baker, Dale Potter and Paul Anastasio. He has performed throughout the world,
and in 1995, received the South Carolina Folk Heritage Award, that state’s highest honor
for traditional artists. In 2008, Roger released Vamos Cantando, a Spanish- language
instructional songbook and CD.
JULIA WEATHERFORD
Fiddle Week Coordinator Julia Weatherford has been a full time
artist/musician for more than 25 years. She played cello for 13
seasons with the Asheville Symphony, while moonlighting as a
square dance fiddler. Julia has toured internationally as a dance
musician, and performs regionally with the Akira Satake Band,
Far Horizons, and Fly by Night. Among her performance and
teaching venues are the LEAF festival, the Black Mountain
Festival, Berea Country Dance School, Pinewoods, Folkmoot International, and the
Biltmore Estate. Julia teaches both cello and fiddle and has worked extensively as a cellist
on recordings by various artists. She was the Artistic Director of the legendary Black
Mountain Festival for many years, and as a textile artist, Julia is a long-time member
of the Southern Highlands Crafts Guild. Julia has also been the Swannanoa Gathering
Logistics Coordinator since 2005. www.juliaweatherford.com
JOSH GOFORTH
(See bio in Traditional Song Week, page 6)

intermediate bluegrass fiddle (Byron Berline)
This class for intermediate level fiddlers will be taught mostly by ear, the way
all the original bluegrass masters learned to play. We will cover different
ways to bow, doublestops, improvising, and back up techniques. We will learn
traditional bluegrass tunes, and explore writing new tunes.
advanced bluegrass fiddle (Byron Berline)
In this class for advanced fiddlers, we’ll learn mostly by ear, the way all the
original bluegrass masters learned to play. We’ll cover doublestops, improvising, and back-up techniques. as well as different ways to bow. We’ll learn
using traditional bluegrass tunes, and explore writing new tunes.
INTRO TO BLUEGRASS FIDDLE (Josh Goforth)
If you don’t know much about bluegrass but can hold a fiddle and play a
tune or two, then this is the class for you! We will explore a wide variety of
bluegrass fiddlers whose styles can be applied to tunes, solos, and back up. A
huge emphasis will be placed on learning how to listen as well as learning how
to learn. Through ear training that you will develop in this class, it will be
possible for you to pick up any tune or lick you want without sheet music or a
teacher! So, whether you are looking to learn about bluegrass fiddlers, styles,
tunes, double stops, improvisation, ear training, practice, solos, or backup,
there is something in this class for every beginning/intermediate fiddler.
MADISON CO. MOUNTAIN FIDDLING (Josh Goforth)
Madison County, NC has a rich heritage of fiddle players and styles. Whether
you are looking to learn some toe-tapping breakdowns or silky smooth
waltzes, there is something for everyone in this exploration of mountain fiddlin.’ Geared for the intermediate fiddler, this class will introduce old-time
bowing styles and techniques that can be applied to tunes you already play
as well as the ones you learn through the course of the week. You will also
learn how to improvise – that’s right! Sounds crazy for old-time music, but
fiddlers from Madison County were accomplished at coming up with new
versions of the same tune. You can do it too! Along the way, you’ll get to meet
some interesting characters like Gordon Freeman, master of the breakdown
bowing style and Asbury McDevitt, Josh’s fiddling great-great-grandfather
and proud owner of a talking pet crow. Sounds fun, huh? So bring a tape
recorder, fiddle, and a cake of rosin and let’s trek deep into the heart of
Madison County to find some good ole mountain fiddlin’.
INTERMED. NEW ACOUSTIC fiddle (Tashina Clarridge)
Focusing on the styles behind the madness & the beauty of the melded acoustic
sound we call today’s “new acoustic music,” these classes for intermediate
fiddlers will focus on the techniques & improvisation used in this style of
fiddling, with an emphasis on listening to & dissecting recordings, and
exploring the (generally lyrical) role of the fiddle in the modern stringband
world. Though some sheet music will be available, classes will be primarily
taught by ear; students should bring a recorder or photographic memory!
ADVANCED NEW ACOUSTIC fiddle (Tashina Clarridge)
This class will cover essentially the same material as the intermediate section above, but at a pace more appropriate for advanced players, with topics
covered in greater depth and detail.
intermediate old-time fiddle (Emily Schaad)
Are you looking to get that rhythmic old-time fiddle sound and increase your
repertoire at the same time? If you can play some tunes in time and in tune,
have basic facility with the bow, and can tune your instrument, you’re ready
for this class. We’ll apply bowing patterns to tunes in the fundamental oldtime keys of A, D, G, and C. We’ll learn by ear, breaking things way down
and discussing bowings in depth. Some tunes will be in standard tuning but
we’ll also explore a couple of the most common fiddle tunings. There will be
discussion of fiddle/violin technique as appropriate. Please bring an audio
recorder, an electronic tuner, and some extra strings!
advanced old-time fiddle A (Emily Schaad)
If you’ve been playing old-time fiddle for a while or have some fiddle/violin
technique and find old-time music compelling, come explore the rhythmic
old-time style through tunes in a variety of keys and tunings. Learn to move
beyond playing in time to making time with your bow! We’ll learn by ear,
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Fiddle Week, August 5-11, 2012
breaking down the bowings and other nuances, and discuss regional differences in Southern Appalachian styles and repertoire. Please bring an audio
recorder, an electronic tuner, and some extra strings!
ADVanced OLD-TIME FIDDLE B (Rayna Gellert)
This class is for folks who are comfy on their instrument and are ready to delve
into the nuances of old-time bowing. We’ll explore a repertoire of southern
tunes in different tunings, with an emphasis on making danceable music
and learning to listen. (We may also build shrines to dead fiddlers.) Bring
an audio recording device, a tuner, and a curious mind!
INTERMEDIATE swing fiddle (Jason Anick)
For this workshop, we’ll examine standard swing tunes and various licks and
phrases to help you start improvising over the tune. Phrases will be taught
by ear but will be supplemented with sheet music. We’ll also learn various
stylistic approaches (vibrato, bowing, etc.) to help you get that authentic swing
sound achieved by jazz violin greats like Stephane Grappelli and Joe Venuti.
ADVANCED swing fiddle (Jason Anick)
In this workshop we’ll learn more advanced swing tunes and various licks
and phrases to help you improvise over the tune. We will discuss advanced
rhythmic and melodic concepts that will expand your musical vocabulary
and add more depth and color to your solos. Students are recommended to
have previous experience improvising over jazz standards.
INTRO TO IRISH FIDDLE (Duncan Wickel)
This class is for intermediate fiddle players who do not yet have a grasp of
the Irish style or repertoire. Students with experience in other styles, and
an unexplored interest in Irish music will especially enjoy this class. We will
cover some stylistic basics including ornamentation, bowing, and phrasing as
applied to tunes we will learn in class. We will also spend some time listening
to, analyzing, and emulating recordings of the old masters of the tradition.
By the end of the week, students should have a repertoire of fairly common
Irish tunes that can be used to further develop the style, and to share with
others in an intermediate Irish session. Learning by ear is encouraged as
much as possible and tape recorders are recommended.
INTERMEDIATE IRISH FIDDLE (Winifred Horan)
This class for intermediate players will focus on technique, bowing, intonation, tone and a general knowledge of Irish tune repertoire. Winifred gives
very close attention to each student, even in a group setting. The main focus
will be on bringing each student closer to mastering their instrument, or at
least helping in the journey. Each student will hopefully leave the week a
more confident, well rounded and technically more advanced player than
when they came in, with more tunes in their pockets as well!
Advanced IRISH FIDDLE (Winifred Horan)
This class will cover essentially the same material as the intermediate section above, but at a pace more appropriate for advanced players, with topics
covered in greater depth and detail.
intermed. SCOTTISH FIDDLE (Ryan McKasson)
We’ll cover a variety of tunes from various periods in the Scottish fiddle
tradition from 1700 to the present, including a mix of jigs, reels, strathspeys,
airs, Scotch-measures, and marches suited for the intermediate fiddler, all
taught by ear. I prefer to get into the emotion of the music right off and not
let the process be too tedious. We’ll take some time to learn ornamentation,
but as an emotional musical dialect rather than a strict idiomatic technique.
I take special care to teach Scottish bowing patterns. In fact, at some point
I’m gonna shine a little light on certain universal forces at play, both physical
and mental, in effective bowing techniques, since this is perhaps the most
important part of the Scottish (or any) fiddling tradition.
ADVanced SCOTTISH FIDDLE (Ryan McKasson)
We’ll cover a variety of tunes from various periods in the Scottish fiddle tradition from 1700 to the present, including a mix of jigs, reels, strathspeys, airs,
Scotch-measures, and marches suited for the advanced fiddler, all taught by
ear. We’ll spend less time on the basics of bowing technique and ornamentation
and more time on putting those skills to good use, while still giving technical
tricks and tips along the way. Ryan comes from a dance-focused background,
so a lot of time will be spent getting the tunes to lift the listener/dancer off
the floor. We may also spend a little time on writing tunes.
7:30-8:30
9:00-10:15
ADVANCED CAJUN
& CREOLE FIDDLE (Michael Doucet)
This class will cover essentially the same material as the intermediate section
above, but at a pace more appropriate for advanced players, and once again,
the class will be directed by student interests and experience.
FEELIN’ THE BLUES (Joe Craven)
The blues are truly a foundation and inspiration for most traditional and
contemporary vernacular American music. This adventure is open to ALL
instruments. We’ll listen to historical references from early recordings to the
present. And yeah, we’ll learn some technical stuff; basic chord forms, scales
and stompin’ on the groove. We’ll also tackle how to translate the “feel” of
the grease, the groan and the growl of the blues to your instrument, and
importantly, we’ll address learning how to take your time sayin’ a bunch
without playin’ a bunch of notes. After all’s said and done, playin’ the blues
ain’t a math problem and it ain’t rocket science – it’s about intuition and
release of emotion. The more you surrender to the feeling, the better you’ll
do it! We’ll have a great time!
IMPROVISATION:
IN THE MOMENT, WITHOUT A NET (Joe Craven)
How do you make better music in the moment and/or say something different every time you take a solo? This class will help deepen one’s connection
to spontaneity and flow through organized sound. Joe teaches musical improvisation more from a theater model rather than the requisite model of
jazz. Therefore, this is not an ability-based class. He connects improvisation
to what you already do and moves you forward from there. We’ll focus on
Advanced
New Acoustic
Fiddle
(Ta. Clarridge)
Intermediate
Cajun & Creole
Fiddle
(Doucet)
Intermediate
Irish Fiddle
(Horan)
10:15-10:45
10:45-12:00
Madison Co.
Advanced
Mountain Fiddling New England Fiddle
(Goforth)
(Schneckenburger)
Intermediate
Cello
(Tr. Clarridge)
Intermediate
Swing Guitar
(Bellow)
Coffee/Tea Break
Advanced
Advanced
Intermediate New
Cajun & Creole
Irish Fiddle
Acoustic Fiddle
Fiddle
(Horan)
(Ta. Clarridge)
(Doucet)
Advanced
Old-Time
Fiddle A
(Schaad)
12:00-1:00
Dance
Intro to
Advanced
Fiddling
Irish Fiddle
Cello
(Intermediate)
(Wickel)
(Tr. Clarridge)
(Schneckenburger)
Country &
Western Swing
Guitar
(Bellow)
Lunch
1:15-2:30
Intermediate
Bluegrass
Fiddle
(Berline)
2:45-4:00
Advanced
Bluegrass
Fiddle
(Berline)
INTERMEDIATE CAJUN
& CREOLE FIDDLE (Michael Doucet)
In this class we will make our way through the history of Cajun fiddling and
culture from 1929 to the present. We will cover the spectrum of Cajun and
creole fiddle styles highlighting fiddlers such as Dennis McGhee, Canray
Fontenot, Doc Guidry, Will and Dewey Balfa. We will delve into stylistic
variations throughout southwestern Louisiana, such as Texas influence on
players like Harry Choats. We will learn aspects of the style including double
stops, fiddling as an integral part of song, bowing and rhythm. This class
will proceed at an appropriate pace for intermediate fiddle players, and be
directed by student interests and experience.
Breakfast
Intermediate
Scottish
Fiddle
(McKasson)
Advanced
Swing Fiddle
(Anick)
Intermediate
Swing Fiddle
(Anick)
Advanced
Scottish
Fiddle
(McKasson)
Advanced
Old-Time
Fiddle B
(Gellert)
Advanced
Creative Fiddle
Improv.
(Wickel)
Intermediate
Old-Time Fiddle
(Schaad)
Intro to
Feelin’ the
Bluegrass
Blues
Fiddle
(Craven)
(Goforth)
Improvisation
(Craven)
4:15-5:15
Band Sessions & Daily Bluegrass Jam (Joan Wernick)
5:00-6:30
Supper
7:30- ?
Intermediate
Bass
(Kehrberg)
Intermediate
Celtic Guitar
Accompaniment
(Surette)
Advanced
Celtic
Guitar
(Surette)
Evening Events (open mikes, concerts, dances, jam sessions, etc.)
ways to think differently about sound and fearlessness, and Joe will address
the connection between spoken-word language and the language of musical
sound. The significance of rhythmic phrasing will be explored, along with
heightened listening, observation, imitation, disassociation and metaphor
in innovative music making. Oh, and it’s fun!
ADVANCED CREATIVE
FIDDLE IMPROV. (Duncan Wickel)
This class will challenge those who have some experience with improvisation
to develop greater versatility, add to their vocabulary as improvisers, and
discover how new ideas can shape their own musical identity as an artist.
We will learn tunes, scales and scalar patterns, as well as work on melodic,
harmonic, and rhythmic ear training exercises. We will talk about ways to
keep the journey alive at home, and how we can stay inspired to practice
music with intention. Duke Ellington famously said, “there are two kinds
of music: good music, and the other kind,” and in that spirit, this class will
not be limited by genre, although many of the studies concerned with creative
improvisation will be drawn from what may be considered a ‘jazz approach’,
i.e. an unlimited sound palate, so come with open ears and an open mind!
Audio recorder and staff paper are recommended.
INTERMED. cello (Tristan Clarridge)
Cello is an instrument capable of much more stylistic versatility than classical music often gives it credit for. The past decade has seen a massive folk
cello revolution, with cello finding its place in many genres such as bluegrass,
old-time, celtic, jazz, folk and new acoustic music, both as a lead and accompaniment instrument. We’ll use our time in this class to explore music
in general, with the cello as our versatile lens, and as directed by student
interest. We’ll learn traditional and newly composed tunes from bluegrass,
old-time and other traditions, and use them as vehicles to explore groovy
rhythmic accompaniment ideas, improvisation, and technique. We’ll focus
some attention on collaborative playing – i.e. how to make music with others, finding a role for the cello in any stylistic setting. Fiddlers and any other
instrumentalists are welcome to participate, or just listen. All ages are encouraged, and all music will be taught by ear. Bring a recorder, and open ears.
ADVANCED cello (Tristan Clarridge)
This class will function on parallel lines to the intermediate cello class, simply
digging a bit deeper for more advanced musicians. We’ll learn traditional
and newly-composed tunes from bluegrass, old-time and other traditions,
and use them as vehicles to explore groovy rhythmic accompaniment ideas,
technique, soloing, music arranging, and improvisation in general. We’ll
listen to inspiring recordings, and explore concepts to improve our timing,
intonation, bow control, and quicken our musical ears. We’ll focus some
attention on collaborative playing – i.e. how to make music with others,
finding a role for the cello in any stylistic setting. Fiddlers and any other
instrumentalists are welcome to participate, or observe. All ages are encouraged, and all music will be taught by ear. Bring a recorder, and open ears.
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Mando & Banjo
advanced
NEW ENGLAND FIDDLE (Lissa Schneckenburger)
This class for advanced players will start with a brief overview of New England fiddling, its stylistic elements, and its history, with musical examples.
Throughout the week the group will learn tunes by ear from the traditional
repertoire. Each tune will serve as an example of a specific element of the New
England fiddling style. The group will go over ornaments, rhythmic feel, and
chords. All participants should bring a tape recorder or recording equivalent.
DANCE FIDDLING
(intermediate) (Lissa Schneckenburger)
This class will focus specifically on how to play for contra dancing, although
many of the skills practiced will be applicable to other styles as well. We will
spend time discussing what makes a great dance fiddler, how to work with
a caller, how to pick tunes, how to create exciting arrangements, and what
to expect when playing for a dance. We will learn several tunes from the
traditional dance repertoire, and use them as vehicles for practicing groove,
rhythm, and other important aspects of playing for traditional social dancing. All participants should bring a tape recorder or recording equivalent.
BLUEGRASS GUITAR
ACCOMPANIMENT (Jack Lawrence)
In this class we will explore the guitar’s role within a bluegrass band. This
class will focus mainly on rhythm styles, timing and tone. Jack will discuss
and demonstrate examples of rhythm patterns, bass runs, dynamics and
playing backup behind vocalists and instrumentalists. Other topics covered
will include basic right-hand technique, practice tips and guitar set-up.
Students are encouraged to bring audio recording devices. (Find this class
in the Mando & Banjo Week Schedule on page 54)
advanced BLUEGRASS GUITAR
ACCOMPANIMENT (Jack Lawrence)
Here we’ll delve deeper into bluegrass guitar. We will examine syncopated
runs and a few chord substitutions. We will discuss posture, left-hand position
and techniques to facilitate economy of motion and tips to insure a smooth,
relaxed approach to bluegrass guitar. We will also talk about the evolution
of the guitar as a lead instrument in bluegrass. Bring plenty of picks, strings,
capos, audio devices and a sense of humor. After all, fun is the best thing to
have! (Find this class in the Mando & Banjo Week Schedule on page 54)
INTERMED. CELTIC
GUITAR ACCOMPANIMENT (David Surette)
This class will focus on the guitar’s primary role in the world of Celtic-based
fiddle music, which is to provide solid, inventive and inspiring accompaniment. We will cover rhythms, strums, bass lines, drones, modal chords, and
stylistic elements, all while keeping a solid groove. Repertoire will focus on
Irish tunes (jigs, reels, hornpipes, slip jigs, and polkas), with some possible
detours for Breton and old-time tunes. This class will be taught in standard
tuning, but will utilize a number of ideas, sounds and concepts borrowing
heavily from DADGAD tuning. Please bring a notebook, and feel free to
bring an audio recording device.
August5-11
ADVANCED CELTIC Guitar (David Surette)
This class for advanced students will focus on the guitar’s role as a featured
soloist. We will cover some fingerstyle and some flatpicking, depending on
the interests and techniques of the participants. We will certainly cover a few
solo fingerstyle arrangements of traditional tunes, most likely in DADGAD
tuning. We will also focus on ornamentation and decoration, developing
interesting arrangements, improvisation, and using traditional forms and
vocabulary as a launching pad for original compositions. Please bring a
notebook, and feel free to bring an audio recording device.
intermediate SWING GUITAR (Roger Bellow)
This class for intermediates will analyze the structure of ten standard swing
songs in different keys and tempos. Moveable, closed chords and chord inversions will be explored, and sheet music, chord charts, and recordings of the ten
songs will be provided. The class will also explore rhythmic accompaniment
techniques for playing in a swinging ensemble.
T
his year, we introduce our latest program, Mando & Banjo Week, featuring 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 flavors
known variously as ‘newgrass’ or ‘new acoustic’ music. For the mandolin students, we also offer classes in Brazilian choro, classical mandolin, improvisation,
and traditional swing/jazz, while the banjo students can sample a variety of classes in three-finger plucked or clawhammer styles, as well as Irish-style tenor
banjo. Mando & Banjo Week has been paired with our Fiddle Week, offering 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. There
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 offer a few introductory classes for students who
want to gain confidence 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
confidence. This 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 fluent playing by ear. The 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 difficult keys. 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 Fiddle Week. Mando & Banjo Week runs concurrently with Fiddle Week, (see page 42 for
details), and students may take classes in either program.
COUNTRY & WESTERN SWING GUITAR (Roger Bellow)
This advanced class will study the guitar accompaniment and soloing
techniques on recordings by Bob Wills, Spade Cooley, Merle Travis, Chet
Atkins, Hank Garland, and Jimmy Bryant. We will analyze the distinctive
styles of each artist and how they use repeating patterns, syncopation, and
harmony to construct a swinging solo and to accompany a singer. Recordings
and chord charts of the songs will be provided.
intermediate BASS (Kevin Kehrberg)
This class will cover intermediate principles of bass performance and accompaniment applicable to various musical settings including jazz, swing, and
traditional music styles. Topics include bass line construction, following chord
progressions, timing and feel, and ear training. Concepts of bass soloing and
improvisation will also be introduced. The class will mainly use pizzicato
technique, although other techniques may be discussed if applicable (e.g.,
slap technique, bowing). Students should possess fundamental technical
skills and know basic scales.
Other Events
DAILY BLUEGRASS JAM (Joan Wernick)
In the last hour before supper, Joan (see bio, pg 51) will lead a non-threatening
bluegrass jam for all levels and instruments. Come have fun channeling
your inner Bill Monroe!
BAND SESSIONS (staff )
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.
(Sign up for band sessions at Orientation, no advanced registration required.)
TONY TRISCHKA
Tony Trischka is perhaps the most influential banjo player
in the roots music world. For more than 35 years, his stylings have inspired a whole generation of bluegrass and
acoustic musicians, including his best-known student, Bela
Fleck. A native of Syracuse, NY, Trischka’s interest in banjo
was sparked in 1963 by the Kingston Trio’s hit, “Charlie
and the MTA.” Over the next decade and a half, he was
a member of a number of influential groups including
the Down City Ramblers, Country Cooking, Country
Granola, and Breakfast Special. These last three comprised
his “food band” period. After his second solo album,
Banjoland, was released in 1976, he became the musical leader for the Broadway show,
The Robber Bridegroom. In the early 1980s, he formed a new group, Skyline, with whom
he recorded four albums, and in 1984, he performed in his first feature film, Foxfire.
Three years later, he worked on the soundtrack for Driving Miss Daisy. He recorded the
theme song for Books On The Air, a popular NPR radio show, and has also appeared on
Garrison Keillor’s A Prairie Home Companion, Mountain Stage, From Our Front Porch,
and other radio shows. His 2007 release, Double Banjo Bluegrass Spectacular, featured
appearances by Steve Martin, Earl Scruggs, Bela Fleck, Alison Brown and more, was
nominated for a Grammy and won three IBMA awards including Banjo Player of the
Year for Tony. His recent recording, Territory, partners Tony with fellow banjoists Pete
Seeger, Mike Seeger, Bill Evans, Bill Keith, Bruce Molsky, and twelve all-Trischka solo
tracks explore a panorama of tunings, banjo sounds, and traditions tapping the creative
potential of America’s signature musical instrument.
MIKE COMPTON
John Hartford once said that Mike Compton knows
more about Bill Monroe-style mandolin than the Father
of Bluegrass himself. Born in Jimmie Rodger’s hometown
of Meridian, Mississippi, Mike’s great-grandfather was
a fiddler, and he was exposed to old-time music at an
early age. He recorded three albums with the legendary
banjoist Hubert Davis and The Season Travelers, and
in 1985 was recruited by Pat Enright for the Nashville
Bluegrass Band. He appeared on the four albums that
first brought the band to prominence, and also worked
with John Hartford until John’s death in 2001, appearing
on Hartford’s last half-dozen recordings. Mike also toured as a duo with the incomparable David Grier, and their album, Climbing the Walls was nominated for Album of
the Year by the IBMA. In the fall of 2000, Mike was again offered the mandolin slot
with Nashville Bluegrass Band and he didn’t hesitate to rejoin. The group has won two
Grammy Awards, two “Entertainer of the Year” honors from the International Bluegrass
Music Association and four wins as IBMA’s Vocal “Group of the Year.” The NBB was
the first bluegrass group to perform in the People’s Republic of China and has given
concerts throughout the world. Mike also received Grammys for his mandolin work
on Oh Brother Where Art Thou?, (Album of the Year, Best Compilation Soundtrack
Album), and Down From the Mountain (Best Traditional Folk Album), and in 2002,
the Mississippi State Senate honored him with State Resolution No. 45 commending his
accomplishments. The resolution was awarded on the Senate floor and shortly thereafter
followed by renditions of Bill Monroe’s “Old Ebeneezer Scrooge” and “I’ll Fly Away”,
which prompted the senators to sing along. He is a prolific composer and treasures the
memories of his friendship with his mentor, Bill Monroe. www. mikecompton.net
MIKE MARSHALL
Mike Marshall is one of the world’s most accomplished
and versatile string instrumentalists whose musical
tastes are as wide-ranging as music itself. A master
of mandolin, guitar, mandocello and violin, he has
created some of the most adventurous and interesting
instrumental music imaginable on recordings and in
concerts around the globe. Whether playing bluegrass
or jazz with Edgar Meyer, Bela Fleck or Chris Thile,
Brazilian choro music with Hamilton de Holanda
or Baroque classical music with German mandolinist
Caterina Lichtenberg, Mike is able to swing gracefully
between all of these musical styles with a unique blend
of virtuosity, depth and musical integrity that is rare in the cross-cultural musical world
of today. He grew up in central Florida, cutting his teeth on traditional American music,
and at age 19, made his way to the San Francisco Bay Area to join the ground-breaking
David Grisman Quintet, which set a new standard for American stringband music. He’s
been pushing the boundaries of acoustic music ever since on hundreds of recordings
as a composer, featured artist, sideman and producer. He founded Windham Hill’s
Montreux Band, and the classical ensemble, The Modern Mandolin Quartet, which
redefined the mandolin family in a classical music setting with many newly created
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works for this format. His love affair with the choro music of Brazil has led to recordings
and concerts with some of Brazil’s finest musicians, and his group, Choro Famoso, has
helped spearhead a wave in the U.S. for this infectious style. His own label, Adventure
Music, has released over thirty CDs to date of the music of Brazil. You can find him
on concert tours with everyone from the Swedish group Väsen, Grammy-winning jazz
ensemble, The Turtle Island String Quartet, or with his progressive bluegrass group,
Psychograss, with Darol Anger, Tony Trischka, Todd Phillips and David Grier. He’s
also a dedicated teacher and founded the famous Mandolin Symposium with his old pal
David Grisman. Already known as one of the best chefs amongst his musical buddies,
he often trades guitar lessons for cooking lessons with Michael Peternell, head chef at
Berkeley’s famed Chez Panise Restaurant. www.mikemarshall.net
PETE WERNICK
Pete Wernick, AKA “Dr. Banjo”, is renowned worldwide
for his contributions to bluegrass music as the hot-picking
force in several trend-setting bands including Hot Rize and
Country Cooking, a respected author and teacher, and
15-year President of the International Bluegrass Music Association. In a 30-year recording career, Pete has recorded
dozens of original instrumentals and songs, including two
bluegrass chart-topping hits, and is known for his soulful
tradition-based style. Since 1980, Pete has conducted over
100 instructional camps nationwide and overseas, and continues to refine his teaching
methods. His instructional videos and books include bestsellers such as Bluegrass Jamming, Bluegrass Banjo, Branching Out on the Banjo, How to Make a Band Work, and
many others. Pete maintains an extensive web site, DrBanjo.com, and currently performs
with his bluegrass-meets-classic-jazz group, Flexigrass, with his singer/guitarist wife Joan
(“Nondi”) in a bluegrass duet, with Colorado bluegrass band, Long Road Home, and
occasional tours with Hot Rize. www.drbanjo.com
DAVID HOLT
David is a four-time Grammy Award-winning musician,
storyteller, historian, and radio and television host. He
has spent years collecting and performing the songs and
stories of the Blue Ridge Mountains learned directly from
musical greats including Wade Mainer, Tommy Jarrell, Etta
Baker, Doc Watson, Grandpa Jones and Roy Acuff. In
addition to his numerous critically-acclaimed recordings,
David has hosted such popular programs as The Nashville
Network’s Fire on the Mountain and American Music Shop.
Currently, David hosts both Folkways and Great Scenic Railroad Journeys for PBS as well
as Public Radio’s Riverwalk Jazz. David was founder and director of the Appalachian
Music Program at Warren Wilson College from 1975-1981, and he performs solo, with
Doc Watson, as a duo with Josh Goforth, and with his band, the Lightning Bolts. He
was recently inducted into the Blue Ridge Music Hall of Fame and was awarded the
Uncle Dave Macon Heritage Award...and he is just a regular dude. www.davidholt.com
KEN PERLMAN
Perhaps the best-known exponent of the “melodic” clawhammer style, Ken Perlman is known wherever banjos
are played as a master of clawhammer technique and an
expert teacher of clawhammer mechanics. He has been
a Banjo Newsletter columnist for over 25 years, written
several books on clawhammer instruction including the
well-known works, Melodic Clawhammer Banjo and
Clawhammer Style Banjo, and he has recorded several
audio and video banjo instruction series. He directs three
banjo camps of his own – American Banjo Camp, Midwest Banjo Camp, & Suwannee
Banjo Camp – and he has taught at many others including Banjo Camp North, Bath
Banjo Festival, Breaking Up Winter, the Celtic College, the Festival of American Fiddle
Tunes, Maryland Banjo Academy, the Puget Sound Guitar Workshop, Rocky Mountain
Fiddle Camp, Common Ground on the Hill, and the Tennessee Banjo Institute. Also an
independent folklorist, Ken spent over two decades collecting tunes and oral histories
from traditional fiddle players on Prince Edward Island in eastern Canada. He has
published a collection called The Fiddle Music of Prince Edward Island and is now at
work on a website devoted to PEI traditional fiddle music, sponsored by the Canadian
Museum of Civilization. Ken’s most recent recordings include Southern Summits (with
Alan Jabbour) and Northern Banjo, and his most recent book is Everything You Wanted
to Know About Clawhammer Banjo. www.kenperlman.com
DON STIERNBERG
While still in his teens, Don Stiernberg learned to play
the mandolin from the innovative and influential virtuoso
Jethro Burns. Don “graduated,” wound up as a member
of The Jethro Burns Quartet, and has been a professional
musician ever since. Don co-produced and played rhythm
guitar on Jethro’s final recordings, Swing Low, Sweet
Mandolin and Bye Bye Blues for the Acoustic Disc label.
Some 30 years later he still enjoys playing, teaching, and
writing about the mandolin. Don has six CDs of his own
and appears on many others by a variety of artists in all
styles. His current release, Swing 220, on Blue Night Records might be thought of as
a seminar in swing, featuring mandolin, guitar and trio renditions of 14 jam session
favorites. A concert DVD with Tony Williamson, Low Country Jazz, has also just been
released. Besides freelance performing and session work around his native Chicago,
Don tours with his trio or quartet from coast to coast and abroad. He writes the jazz
column in Mandolin Magazine and has been an instructor at such mandolin events as
Steve Kaufman’s Acoustic Camp, The Mandolin Symposium, Mandolin Camp North,
River of the West Mandolin Camp, Accademia Internacionale di Mandolino(Italy), The
European Mandolin Academy(Germany), and many others. These days Don fronts his
own jazz quartet, and recently performed in Carnegie Hall with the Chicago Symphony
Orchestra, and with Momento Rio Bandolim in Brazil. www.donstiernberg.com
CATERINA LICHTENBERG
Caterina Lichtenberg is one of the world’s premier classical mandolinists. A graduate of the Cologne Academy
of Music, she is the winner of numerous national and
international music competitions and was a scholarship
holder at the Richard Wagner Foundation. Apart from
her solo and duo work with Mirko Schrader (Duetto
Giocondo), she also performs in other chamber music
settings, e.g., with Thomas Müller-Pering (guitar; Germany); John Dearman (guitar; USA), Silke Lisko (Duo
Galante), Brigitte Engelhard (cembalo; Austria), Mike Marshall (mandolin; USA),
the Los Angeles Guitar Quartet (USA) and orchestras such as the Dresden Symphony
Orchestra, the Aachen Chamber Orchestra, the Leipzig Gewandhaus Orchestra, the
members of the Ensemble Recherche, the Radio Symphony Orchestra of Berlin and
the Bavarian Radio Symphony Orchestra. She has toured throughout Europe as well as
the US, Canada, Mongolia and Japan, and numerous compositions have been written
for her and for Duetto Giocondo. Caterina is a sought-after artist and lecturer at national and international festivals and master classes, such as the International Mandolin
Festival in Kobe (Japan), the International Mandolin Convention in Washington and
Minneapolis (USA), and at the Domaine Forget Music and Dance Academy (Canada).
She has performed in concert with the European Plucked String Orchestra, the Guitar
Festival in Nürtingen, and the Savannah Music Festival, and she is regularly invited as
a juror to national and international music competitions. She teaches at the Cologne
University of Music, where she currently holds the sole Professorship of Mandolin in
the whole of Europe. www.caterinalichtenberg.de
SEAMUS EGAN
Seamus’ earliest exposure to traditional Irish music came
when he moved, at the age of three, with his parents and
five siblings from the US to Co. Mayo in Ireland. He studied under button accordionist Martin Donaghue, and his
musical interests were expanded after watching a television
show featuring flutists Matt Molloy and James Galway and
listening to a radio program spotlighting banjo player Matt
Moloney. Within a short time, Seamus was playing well
enough to enter and win the All-Ireland competition in
flute and whistle. Two years later, he won All-Ireland awards
in banjo and mandolin. Having relocated to the states, in his teens he began to play
professionally, and recorded a trio album with Mick Moloney and Eugene O’Donnell
as well as his first solo recording. Stints with Green Fields of America and the Chanting
House followed, and in 1994, he founded the group Solas, which has become one of the
world’s top Irish music acts. A highly versatile artist, Seamus has written for the stage
and for film, including the music for The Brothers McMullen and Sarah McLachlin’s #1
hit, “I Will Remember You,” and has recorded with a Who’s Who of Irish musicians, as
well as African percussionist Kimati Dinizulu, and hip-hop with Vernon Reid of Living
Colour. www.solasmusic.com
ALAN MUNDE
Alan Munde needs no introduction to long-time
bluegrass music fans. From his early creative work with
Sam Bush in Poor Richard’s Almanac to his traditional
bluegrass apprenticeship with Jimmy Martin and the
Sunny Mountain Boys to his 21- year stint anchoring
the landmark Country Gazette, Alan has blazed a trail
as one of the most innovative and influential banjo
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 instructional publications for the banjo, and, from 1986 - 2007, Alan taught in the Creative
Arts Department at South Plains College in Levelland, Texas, a program which has
produced many professional musicians nationwide. In recent years, he has performed and
recorded as a duo with his South Plains faculty colleague, and former Gazette-mate, Joe
Carr. Alan’s extensive body of recorded work, his instructional materials, and his work at
the college has solidified his status as one of the true “gurus” of the 5-string banjo. Alan
currently appears in Ranch Road 12, a bluegrass trio with Elliott and Janis Rogers, and
his most recent recording, Dapple Patti, is a live recording with long-time friend and
picking partner Adam Granger of St. Paul, Minnesota. www.alanmundegazette.com
RADIM ZENKL
Radim Zenkl is a mandolin player, composer and instructor. Originally from the Czech Republic, he began playing the mandolin at thirteen, and discovered bluegrass
by listening to records that were smuggled in via those
that had escaped from this communist country. In 1987,
Zenkl won the Czechoslovak Mandolin Championship,
and his bluegrass band, Tyrkys, won the national band
contest. His debut album, Mandolin Parade, featured
him on ten mandolin family instruments. Zenkl escaped
from Czechoslovakia four months before the fall of com-
munism and settled in the San Francisco Bay area. He won the US National Mandolin
Championship in 1992. Radim’s style features progressive original and eastern European
traditional music flavored with bluegrass, jazz, new age, flamenco, rock, classical and
other influences, and he is at the cutting edge of the mandolin’s future, designing new
mandolin family instruments and creating new playing techniques which sound like
two instruments simultaneously. According to David Grisman: “Zenkl has re-invented
the mandolin in several different ways.” Besides collaborating with the top musicians of
the acoustic music scene, Radim has built up an extensive repertoire for solo mandolin,
mandola and Irish bouzouki. He has recorded several solo CDs (released on Acoustic
Disc, Shanachie and Ventana) and has appeared on more than sixty other recordings.
Radim has been teaching at a number of different music camps every year since 1994,
and this is his first appearance at the Swannanoa Gathering. www.zenkl.com
MARLA FIBISH
A San Francisco native, Marla is a long-time feature of the
Bay Area Irish music scene, and currently plays in the trio,
Three Mile Stone with fiddler Erin Shrader and guitar/tenor
banjo player Richard Mandel. She also plays as a duo with the
legendary Irish singer and bouzouki player Jimmy Crowley.
Jimmy and Marla released a new CD, The Morning Star, in
April 2011. This all-instrumental project features Irish music
on an array of mandolin-family instruments – mandolin,
mandola, mandocello, bouzouki, and dordan. In addition to
the mandolin, Marla plays mandola, tenor guitar and button
accordion. She sings and writes music, and is known for her
musical settings of works from a variety of poets. An experienced and sought-after
teacher, Marla teaches private students, and has been a staff instructor at many music
camps, including The Mandolin Symposium, California Coast Music Camp, Lark Camp,
Portal Irish Music Week, and Augusta’s Irish Week. www.marlafibish.com
ADAM TANNER
Adam grew up in northern California, and was exposed to oldtime and bluegrass music in his early teens. Proficient on fiddle,
mandolin and guitar, he spent countless hours slowing down
records trying to pick out every detail of the traditional music
he loved. Adam’s approach to playing reflects the diversity of
styles heard on the early 78rpm discs and field recordings from
which he draws his greatest inspiration. Over the last six years,
Adam has toured in both the US and Europe as a member of
both The Crooked Jades string band and The Hunger Mountain Boys. In 2006, he taught
both mandolin and fiddle during the Gathering’s Old-Time Music & Dance Week. He
currently lives in Weaverville, NC, where he teaches fiddle, mandolin and guitar and
performs with Mark Jackson as the The Twilite Broadcasters, a duo specializing in vintage
country vocal harmonies and fiddle and mandolin tunes. www.adamtannermusic.com
JOAN WERNICK
Joan Wernick, also known to music fans as “Nondi” from
her years with Country Cooking in New York in the 1970s,
has sung and played guitar worldwide with her husband
Pete as a duet, as well as with Pete’s Flexigrass band. She has
performed with various groups in Colorado, and since 1978
she has hosted a bluegrass radio program on KGNU Boulder.
Her natural sparkle and encouragement of students makes
her a favorite teacher at Pete’s Bluegrass Jam Camps. Bluegrass Now magazine says,
“Joan’s singing is guaranteed to bring a smile to the face of any bluegrass traditionalist.”
JACK LAWRENCE
(See bio in Guitar Week section, pg. 29)
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andolin
INTERMEDIATE MONROE-STYLE
BLUEGRASS MANDOLIN (Mike Compton)
This class will focus on learning the mandolin artistry of Bill Monroe. We
will cover basic Monroe music ‘vocabulary’ and learn the techniques used
to reproduce that sound. These will include the preferred right-hand technique and some of the more common right-hand rhythm patterns found in
Monroe’s material. We will also work towards playing with good tone and
changing our tone of voice to suit the material on hand. ‘Chop’ rhythm will
be covered and Mike will furnish the class with some alternatives to the
standard bluegrass chord shapes. Since the traditional bluegrass mandolin
style is built on fiddle playing, we will certainly take a closer look at tremolo.
If we have time, we will cover playing out of chord boxes more thoroughly.
Tablature/ standard notation will be used to teach this class, as will audio
examples. Bring a tape recorder, video camera, or whatever you need. There
will be handouts. Come prepared to play and ask questions. This class is not
meant as a lecture.
ADVANCED MONROE-STYLE
BLUEGRASS MANDOLIN (Mike Compton)
This is primarily a repertoire class of the more advanced Monroe vocabulary.
We will cover tunes and solos to songs from the beginning of Monroe’s career
to the “last days on earth”. We’ll take a closer look at a few Monroe blues
trademarks, the use of slides to insinuate phrases and round off corners,
playing up the neck using chord boxes and rhythm to imply melodic content,
double stops and shifts, tremolo styles and downstrokes. We will also take a
look at playing out of alternate tunings a bit and cover a few examples of how
to back up singers. Tablature/standard notation will be used to teach this
class, as will audio examples. As with the intermediate bluegrass class, bring
a tape recorder, video camera, or whatever you need. There will be handouts.
Come prepared to play and ask questions. This class is not meant as a lecture.
INTERMEDIATE
BLUEGRASS MANDOLIN (Radim Zenkl)
The main topics of this class for intermediate level players will include setup
of the mandolin, a flat-picking technique overview featuring four basic
styles of right-hand picking and two left-hand positions, several chord forms
organized into systems, various strumming patterns, two kinds of tremolo,
cross-picking, tools for developing and maintaining speed, basic scales and
arpeggios, jamming etiquette, ideas for backing-up songs and classic bluegrass
instrumental repertoire. Several handouts will be available.
MODERN MANDOLIN (Radim Zenkl)
In this class for intermediate and advanced level players we will cover
improvisation in blues, bluegrass and jazz, a step by step system on how to
practice improvisation, scales and arpeggios covering the whole fretboard,
‘modern’ chord forms and chord substitutions, open tunings, odd time signatures, slide mandolin technique and usage of the bottleneck slide in open
and standard tunings, chord melody, arranging for solo mandolin and the
‘duo style.’ Several handouts will be available.
INTRO TO
BRAZILIAN CHORO MANDOLIN (Mike Marshall)
We will explore the world of Brazilian mandolin tradition and learn some
tunes by Jacob do Bandolim and Pixinguinha. We will break down the
rhythm section of Brazilian music and help you understand your role as a
mandolinist in this style. This is a chance for players who have never played
Choro music to get some insight into how it works. We will attempt to
de-mystify it for the American mandolinist and get you all swinging to the
samba! Some experience reading music would be helpful, although we will
have tab for all these tunes as well as provide them in advance for players
who wish to work on them before arriving.
THE ARTFUL IMPROVISOR (Mike Marshall)
We will start with fundamentals about technique, and basics about holding the instrument and how the right and left hands are positioned, pick
angle and tone colors. From there we will take a really simple fiddle tune
and explore some variations on it. We will look at the important ‘approach
notes’ of a tune and explore how we can use these as landing points within
an improvisation and still maintain the skeletal structure of the melody.
Then we will look at a freer approach to soloing over the chord changes of a
tune, and examine ways to open up how we look at the entire fingerboard
and bring the melodies that we hear in our head down onto the instrument.
We will use both bluegrass tunes, swing and even some original tunes as
vehicles for these concepts.
CLASSICAL MANDOLIN BASICS (Caterina Lichtenberg)
This class will bridge the gap between the folk mandolin and the early
Baroque and Classical mandolin composers. We will begin by working on
the fundamentals of sound production, then move on to some basic mandolin techniques that include cross-picking, some nice exercises and some
wonderful melodies. Lastly, we will work on coordination and speed, but
we’ll keep the focus on having fun. The ability to read music is helpful, but
it is not neccesary for this class.
ADVANCED CLASSICAL MANDOLIN
TECHNIQUES (Caterina Lichtenberg)
In this class we will focus on the Romantic and Contemporary periods, and
the great Italian masters who pushed the mandolin art form to such a high
level. We will focus on developing a good tremolo and then move on to ‘Duo
Style’ where you play two parts at the same time. Then we will break down the
art of playing ‘harp arpeggios’ (cross-picking) techniques from these periods.
The ability to read music is helpful, but it is not neccesary for this class.
INTERMEDIATE IRISH MANDOLIN (Marla Fibish)
This class will focus on getting the feel, pulse and flow of Irish music on the
mandolin. We’ll work on maximizing sustain and tone production on your
instrument to get a flowing melodic sound, looking at both right hand and left
hand technique, pick selection and grip. Then we’ll cover getting the rhythm
and pulse of Irish music into your playing. This is about understanding
the music and focusing on the right hand: learning and practicing picking
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
learn tunes together (by ear) and use those tunes to demonstrate, drill and
practice what we learn. Bring a recording device!
deal of patience with the (first-time-at-Swannanoa) instructor, bring a
recording device. Familiarity with the harmonized scale and its resulting
numbering of chord functions(I-IV-V, ii-V-I, etc.) will be helpful.
ADVAnced IRISH MANDOLIN (Marla Fibish)
“Improvisation Workshop” When it’s your time for a break, do you feel like
you’re actually improvising or playing the same things all the time? We’ll
broaden our soloing vocabulary by looking at phrases, patterns, and licks
that fit with various harmonic situations, emphasizing color tones, connecting
chords, substitutions, and alterations helpful for players of all styles. We’ll
discuss melodic and harmonic approaches to soloing, how to get a swing
feeling, and drills for playing flowing lines over lengthy chord changes. We’ll
play for each other and discuss which things sound good and why. There
will be handouts including sample solos. We’ll also demystify nasty looking
chords and progressions as seen in fakebooks where “it looks like someone
wrote G and then their phone number after it” (G7#11b13,Gm7b5, etc).
No need to be an advanced improviser, but you should know the fretboard
and be a bit familiar with numbered progressions. Bring your mandolin,
your favorite jam tunes, and questions about where you’re having trouble or
looking for other options. Most importantly, bring your willingness to go for
it – we’re all going make mistakes, but in this laboratory no one gets hurt!
This class will review and then build on the basics (see Intermediate class
description above), focusing on both technique and musicality. We’ll look
at phrasing and ornamentation, as well as using dynamics and variation to
best apply the unique qualities of the mandolin (yes, it’s different from the
banjo!) to Irish music, respecting the core of the tradition on this ‘newcomer’
of an instrument. We’ll learn tunes together (by ear) and explore different
ways to give those tunes life and lift, applying the concepts and techniques
that we learn in class. Bring a recording device!
MANDOLIN FOR THE
COMPLETE BEGINNER (Adam Tanner)
This class is for the first time mandolin player. The focus will be on learning
proper right- and left-hand techniques to make the best sounds possible from
the mandolin while learning some simple fiddle tunes and chords. Other
topics covered will be the importance of solid timing, expressing the feel of
a tune with rhythm, and how to seamlessly blend into a jam session even if
you don’t know the tunes. Tablature will be provided. A digital video and/
or audio recording device is recommended.
INTERMEDIATE/ADVANCED
OLD-TIME MANDOLIN (Adam Tanner)
Prerequisites: Students should be able to play a few simple fiddle tunes on
the mandolin in the keys of G, A, D and C, and the student should feel
comfortable picking up new musical information by ear. This class will start
with a brief review of fundamental techniques that will enable you to be
most comfortable with your instrument and help you to employ ergonomic
strategies to best transfer what you hear in your head onto your mandolin
The focus will be on playing the Southern Appalachian fiddle repertoire,
including tips for approaching melodies in settings in which the fiddle is
tuned open (AEAE and other tunings), as well as borrowing sounds and
styles from various old-time fiddle bowing techniques and ornaments.
Other topics will include chording and melody ideas for participation in
an old-time string band ensemble, with side trips into ragtime/blues styles
and the mandolin of the early country music duets. Very simple tablature for
several of the tunes will be provided. A digital video and/or audio recorder
are strongly recommended.
INTERMEDIATE
SWING/JAZZ MANDOLIN (Don Stiernberg)
“Chords, Progressions, & Tunes for Fun and Profit” These sessions will focus
on chord voicings containing color tones and voice movements in the context
of the progressions and tunes favored by swing and jazz players. Learning
the fretboard and how progressions work should help you spice up your
rhythm part in any style of music. We’ll use tunes from western swing, gypsy
jazz, and swing standards, such as “Lady Be Good” and “Minor Swing,”
more esoteric tunes like “Right or Wrong,” “After You’ve Gone” and “Douce
Ambiance,” and we’ll learn how to jazzify a blues progression. We’ll learn
drills for changing chords smoothly and how to reduce tunes with tons of
chords to a few basic tonalities, making them easier to memorize.There will
be handouts for reference. In addition to your mandolin, pick, and a good
ADVANCED
SWING/JAZZ MANDOLIN (Don Stiernberg)
Banjo
BANJO SONGS FROM
NORTH CAROLINA & TENNESSEE (David Holt)
North Carolina and Tennessee have produced many wonderful singing
banjoists including Doc Watson, Tommy Jarrell, Uncle Dave Macon, Fred
Cockerham, Stringbean, Bascom Lunsford, Frank Proffitt, Byard Ray,
George Peagram, Lee Wallin, Grandpa Jones and Fiddlin’ Arthur Smith,
to name a few. In this class for intermediate level banjo players, we will use
songs from the surrounding area to focus on the style and technique of backing up vocals and creating a solo in the clawhammer style.
NORTH CAROLINA FIDDLE TUNES
FOR CLAWHAMMER BANJO (David Holt)
We’ll concentrate on tunes collected from fiddlers around the state. Some of
the tunes will be unusual (The Duck’s Eye Ball), some well known (Forked
Deer), but all will have a spark that makes them fun to play. We’ll concentrate on versions that work well when accompanying a fiddler but can stand
alone as solo banjo pieces.
BEGINNING BLUEGRASS BANJO (Pete Wernick)
Getting started right means learning to make chords smoothly and surely,
using the easiest chords: G, C, D7, D, and A. A few basic rolls will be taught
to those who don’t know them, and we’ll work on rolling smoothly while
chording, playing easy songs slowly. Finding melodies by ear, building
melody-based solos, faking solos on the fly, and elementary jam skills will
get beginners off to a good start by creating a solid foundation. Left-hand
techniques such as slides, hammer-ons, and pull-offs will be taught. Very
little written material will be used and we’ll learn mostly by ear. At some
point during the week, Pete will swap classes for a day with Alan Munde
so students will benefit from another teacher’s perspective. (Class limit: 20)
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BLUEGRASS JAMMING
FOR ALL INSTRUMENTS (Pete Wernick)
We’ll learn basic jam skills including smooth chord changes, using the easiest
chords: G, C, D, and A, with fiddlers and basses knowing which notes go with
which chords. At slow tempos, we’ll work on: following new songs, leading
songs, finding melodies by ear, faking solos, learning basic jam ground rules
and etiquette, to get beginners off to a good start by creating a solid foundation in comfortable jamming. Experienced jammers are also welcome and
will be challenged by working on more advanced skills (harmony singing,
melody-based soloing, advanced left-hand techniques) in the context of a
slow jam. No written materials will be used other than song lyrics brought
by students. (No class limit)
INTERMEDIATE BLUEGRASS BANJO (Alan Munde)
In this class for intermediate players, we’ll analyze the solos of Earl Scruggs
on “Blue Ridge Cabin Home,” “Your Love is Like a Flower,” and “Little
Darlin’ Pal of Mine.” We’ll also learn how play backup, by combining chord
shapes, rolls, licks, and runs to produce quality bluegrass banjo accompaniment, and learn to combine the rolls and melodies in a stylized fashion that
produces bluegrass banjo solos. Tab will be provided, and use of a small
audio recorder is encouraged. (Class limit: 20)
advanced BLUEGRASS BANJO (Alan Munde)
This class for advanced players will cover fretboard stratagems, or How Do
I Know Where to Put My Fingers, by learning the names of the notes and
where they are, diatonic chord systems, intervals, and much more. We’ll learn
how to play in keys other than G without a capo, how to create beautiful
and interesting back-up and chord solos for slow songs, the melodic style of
playing fiddle tunes (and the different way of viewing the fingerboard needed
to perform them), and we’ll take a look at some of Alan’s original tunes
including “Peaches and Cream,” “Molly Bloom,” “Uncle Cooney Played the
Banjo,” and others. Tab will be provided, and use of a small audio recorder
is encouraged. At some point during the week, Alan will swap classes for
a day with Pete Wernick so students will benefit from another teacher’s
perspective. (Class limit: 20)
INTERMEDIATE BANJO TECHNIQUES (Tony Trischka)
In this class Tony will discuss the all-important concept of playing the ‘syllables’
of a tune. This is a Scruggs concept that allows you to play the real melody
of a tune. In the process you learn how to play solos up the neck and in different keys without a capo. The class will also cover tools for improvisation,
the ‘melodic’ style and the ‘single-string’ style. Tab will be provided. Please
bring an audio or video recording device. (Class limit: 20)
advanced BANJO TECHNIQUES(Tony Trischka)
This class will examine composition, so that you can fully explore your own
creative potential. The class will also cover advanced backup techniques as
played by Earl Scruggs and JD Crowe. Advanced improvisatory techniques
such as those used by Trischka, Fleck, etc., will also be covered. Tab will be
provided and an audio or video recording device is recommended.
(Class limit: 20)
CLAWHAMMER BANJO TECHNIQUE (Ken Perlman)
Prerequisites: about a year’s clawhammer experience. Expand your playing
horizons by focusing on the techniques that go into effective playing. Each day
concentrates on a different aspect of technique. On the first day we’ll devote
the entire session to attaining strong and effortless right-hand technique,
with a special emphasis on being able to use drop-and-double thumbing on
any string and on plucking the strings in any conceivable combination. Next
we’ll examine the left hand – finding the most ergonomically sound method
of holding the neck, how to address the issue of fingering and moving around
the neck, and how to maximize the efficiency of hammer-ons and pull-offs
(including off-string pull-offs). On the third day we’ll look at fool-proof
techniques for playing syncopated melodies and ragtime. Day four covers
techniques and concepts for playing up the neck, and we’ll end the week with
techniques and concepts for playing backup, clawhammer style as exemplified by Ken’s duet recording with fiddler Alan Jabbour, Southern Summits.
MELODIC CLAWHAMMER
REPERTOIRE (Ken Perlman)
Prerequisites: about a year’s clawhammer experience plus a willingness to
think outside the box. “Melodic” clawhammer is the art of playing complete
fiddle tunes and other complex melodies in clawhammer style in a rhymthmically powerful, artistically evocative manner. There’s a system involved
of course, which we’ll explore as students learn melodic arrangements of
southern hoedowns, Celtic jigs and reels, waltzes, and ragtime tunes. It is
strongly recommended that those who take the repertoire class should also
enroll for the clawhammer technique class.
INTERMEDIATE IRISH TENOR BANJO (Seamus Egan)
For this intermediate class we’ll use a selection of tunes, in varying time
signatures and tempos to focus on the proper right- and left-hand technique
for playing Irish music on the tenor banjo. We’ll go through the basics of
picking and work our way up the fundamentals of ornamentation and how
to place them in a tune. We’ll look at phrasing and how it works to give tunes
lilt and rhythm. The class will be taught by ear but not to worry; we’ll go at
a pace that will be comfortable for all.
ADVAnced IRISH TENOR BANJO (Seamus Egan)
This class will cover much of the same as the intermediate but in greater
detail. This class will move a little faster and will cover some more tips and
tricks. We’ll look at the importance of “feel” and how to strike the right
balance of technique and musicality. Again, this class will be taught by ear.
Guitar Classes
GUITAR ACCOMPANIMENT (David Surette)
This class will focus on the guitar’s primary role in the world of Celtic-based
fiddle music, which is to provide solid, inventive and inspiring accompaniment. We will cover rhythms, strums, bass lines, drones, modal chords,
and stylistic elements, all while keeping a solid groove. Repertoire will
focus on Irish tunes (jigs, reels, hornpipes, slip jigs, and polkas), with some
possible detours for Breton and old-time tunes. This class will be taught in
standard tuning, but will utilize a number of ideas, sounds and concepts
borrowing heavily from DADGAD tuning. Please bring a notebook, and
feel free to bring an audio recording device. (Find this class in the Fiddle
Week Schedule on page 48)
ADVANCED CELTIC Guitar (David Surette)
This class for advanced students will focus on the guitar’s role as a featured
soloist. We will cover some fingerstyle and some flatpicking, depending on
the interests and techniques of the participants. We will certainly cover a few
solo fingerstyle arrangements of traditional tunes, most likely in DADGAD
tuning. We will also focus on ornamentation and decoration, developing
interesting arrangements, improvisation, and using traditional forms and
vocabulary as a launching pad for original compositions. Please bring a
notebook, and feel free to bring an audio recording device. (Find this class
in the Fiddle Week Schedule on page 48)
Mando & Banjo Week, August 5-11, 2012
7:30-8:30
9:00-10:15
Breakfast
Intro to
Brazilian Choro
Mandolin
(Marshall)
Beginning
Bluegrass
Banjo
(Wernick)
Intermediate
Monroe-style
Bluegrass Mandolin
(Compton)
10:15-10:45
10:45-12:00
Advanced
Bluegrass
Banjo
(Munde)
Modern
Mandolin
(Zenkl)
Intermediate
Banjo
Techniques
(Trischka)
Clawhammer
Intermediate
Banjo
Irish Tenor Banjo
Technique
(Egan)
(Perlman)
Coffee/Tea Break
The Artful
Improvisor
(Marshall)
Bluegrass
Jamming for All
Instruments
(Wernick)
Advanced
Monroe-style
Bluegrass Mandolin
(Compton)
12:00-1:00
Advanced
Banjo
Techniques
(Trischka)
Classical
Mandolin Basics
(Lichtenberg)
Melodic
Clawhammer
Repertoire
(Perlman)
Advanced
Irish Tenor
Banjo
(Egan)
Lunch
1:15-2:30
Advanced
Swing/Jazz
Mandolin
(Stiernberg)
2:45-4:00
Intermediate
Swing/Jazz
Mandolin
(Stiernberg)
Intermediate
Intermediate
Bluegrass Banjo Irish Mandolin
(Munde)
(Fibish)
Advanced
Irish Mandolin
(Fibish)
Mandolin for the
Complete
Beginner
(Tanner)
Advanced
Classical Mandolin
Techniques
(Lichtenberg)
Intermediate
Bluegrass
Mandolin
(Zenkl)
Banjo Songs Bluegrass Guitar
from NC & TN Accompaniment
(Holt)
(Lawrence)
Intermediate/
NC Fiddle Tunes for
Advanced
Clawhammer Banjo
Old-Time Mandolin
(Holt)
(Tanner)
4:15-5:15
Band Sessions & Daily Bluegrass Jam (Joan Wernick)
5:00-6:30
7:30- ?
Supper
Evening Events (open mikes, concerts, dances, jam sessions, etc.)
intermediate SWING GUITAR (Roger Bellow)
This class for intermediates will analyze the structure of ten standard songs
in different keys and tempos. Moveable, closed chords and chord inversions
will be explored, and sheet music, chord charts, and recordings of the ten
songs will be provided. The class will also explore rhythmic accompaniment
techniques for playing in a swinging ensemble. (Find this class in the Fiddle
Week Schedule on page 48)
INTERMED. CELTIC
COUNTRY & WESTERN SWING GUITAR (Roger Bellow)
This advanced class will study the guitar accompaniment and soloing
techniques on recordings by Bob Wills, Spade Cooley, Merle Travis, Chet
Atkins, Hank Garland, and Jimmy Bryant. We will analyze the distinctive
styles of each artist and how they use repeating patterns, syncopation, and
harmony to construct a swinging solo and to accompany a singer. Recordings
and chord charts of the songs will be provided. (Find this class in the Fiddle
Week Schedule on page 48)
BLUEGRASS GUITAR
ACCOMPANIMENT (Jack Lawrence)
In this class we will explore the guitar’s role within a bluegrass band. This
class will focus mainly on rhythm styles, timing and tone. Jack will discuss
and demonstrate examples of rhythm patterns, bass runs, dynamics and
playing backup behind vocalists and instrumentalists. Other topics covered
will include basic right-hand technique, practice tips and guitar set-up.
Students are encouraged to bring audio recording devices.
Advanced Bluegrass
Guitar Accompaniment
(Lawrence)
advanced BLUEGRASS GUITAR
ACCOMPANIMENT (Jack Lawrence)
Here we’ll delve deeper into bluegrass guitar. We will examine syncopated
runs and a few chord substitutions. We will discuss posture, left-hand position and techniques to facilitate economy of motion and tips to insure a
smooth, relaxed approach to bluegrass guitar. We will also talk about the
evolution of the guitar as a lead instrument in bluegrass. Bring plenty of
picks, strings, capos, audio devices and a sense of humor. After all, fun is
the best thing to have!
Other Events
DAILY BLUEGRASS JAM (Joan Wernick)
In the last hour before supper, Joan will lead a non-threatening bluegrass
jam for all levels and instruments. Come have fun channeling your inner
Bill Monroe! (No class limit)
BAND SESSIONS (staff )
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 Mandolin/Banjo
Week. With the guidance of instructors, band members arrange and rehearse
with the option of performing at the student showcase on Friday evening.
(Sign up for band sessions at Orientation, no advanced registration required.)
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PLEASE PRINT!
Name________________________________________________ Sex_____

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. Find the schedule for your week printed elsewhere in this catalog.
3. 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.
4. 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.
5. 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.
6. 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. 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.

Tuition is $475 per week. This includes a deposit of $100 which is required for each week’s registration. Full payment is required by June 8 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 8, we may release that space to another student. There is no deadline for class registrations. Registrations after June 8 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 $170 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 $370 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 $150 for a total of $520. 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 11. We cannot house those wishing to arrive a day
early. Adults staying off-campus may purchase a meal ticket for $119, and meal tickets for children under 12 may be purchased for $77. 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, non-students may accompany enrolled students and be housed with them in student dorms for payment of the $370 housing fee and an
activities fee of $130, 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 that program begins. No refunds other than the cost of
meals ($119 for adults, $77 for children) can be made for cancellations within four weeks of the event.
Address_______________________________________________________
City__________________ State/Prov._______ Zip/Post Code____________
Country (if outside US) __________________________________________
Day Phone____________________ Cell Phone____________________
(Please circle primary phone)
Email________________________________________________________
o I prefer future communication by email only.
o I will be bringing a vehicle (no motor homes please).
o I am eligible for a special parking permit due to mobility impairment
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
you would prefer NOT to be included on this list, please check this box: o
Please initial here to indicate that you have read and understand our policy on
Cancellations and Refunds printed on pages 1 and 56: ___________


o I will require housing/meals. o I will require a meal ticket only.
I prefer to room with (name): _________________________________________.
o I prefer a single room, if available (additional fee of $150)
o I have special medical needs (please attach description)
My age:
List age if under 21 _______ o 21-30 o 31-45 o 46-65 o above 65
I am a o smoker o non-smoker o early bird o night owl I am registering (#)______ in the Children’s Program (for ages 6-12)
(NOTE: programs for children in Trad. Song, Celtic & Old-Time weeks only) Their names & ages _________________________________________________
I am bringing (#)________ additional children under the age of 12 not enrolled in the
Children’s Program.
Their names & ages _________________________________________________
I’m arriving by air; sign me up for the airport shuttle at o noon o 3pm o 5pm
My flight #s, arrival & departure times are: ________________________________
________________________________________________________________

Amount previously paid: (deposit, etc.)
I would like to register for:
o Traditional Song Week, July 8-14
o Celtic Week, July 15-21
o Old-Time Music & Dance Week, July 22-28
o Guitar Week, July 29-August 4
o Contemporary Folk Week, July 29-August 4
o Fiddle Week, August 5-11
o Mando & Banjo Week, August 5-11
o I am a non-student accompanying the following registered student:
(student’s name)__________________________________________
Class Choices:
Period 1.______________________________________________________
Period 2.______________________________________________________
Period 3.______________________________________________________
Period 4 .(if applicable) ___________________________________________
o No Alternates. Please notify me of full classes before processing my
registration.
Alternates:
Period 1.______________________________________________________
Period 2.______________________________________________________
Period 3.______________________________________________________
Period 4 .(if applicable) ___________________________________________
For information on admission to Warren Wilson College,
contact: [email protected] or 1-800-934-3536
Tuition - $475 per week (required deposit $100):
Housing/meals - $370 (double occupancy, no deposit required): Housing/meals - $520 (single room, no deposit required): Non-student Activity Fee - $130 per week (required deposit $50):
Children’s Program total - $170 per week (required deposit $25): Meal ticket only - $119 adult; $77 per child per week: Other amount for __________________________: Tax-free donations to The Swannanoa Gathering:
$________
$________
$________
$________
$________
$________
$________
$________
o Doug & Darcy Orr Endowment o Youth Scholarship Fund $________
TOTAL enclosed $________
o I am paying by Check (preferred) #: _________, or Money Order.
or
o VISA o MasterCard o Discover o American Express
Name as it appears on card: ___________________________________________
Card #: _________ - _________ - _________ - _________ Exp. date:____/____
Security code (last 3 digits on reverse of card, or AmEx: last 4 digits on front): ____________
Tuition is $475 per week. Housing with meals is $370 per week. Non-students
accompanying students pay the Housing fee and a $130 Activities Fee. The deposits
are required for registration and are non-refundable and non-transferable.
Full payment required by June 8 to guarantee class choices. No deadline for
registrations. Registrations after June 8 for any remaining spaces must be accompanied
by full payment. Children’s Program is $170 per child per week. Please make checks
payable to: “The Swannanoa Gathering”, and mail with this form to:
The Swannanoa Gathering
Warren Wilson College
PO Box 9000
Asheville, NC 28815-9000
Phone/Fax: 828-298-3434
Email: [email protected]
Website: www.swangathering.com