CARY BLACK is a bassist, vocalist, producer, and teacher from the Pacific Northwest. In addition to his work with such diverse artists as Ernestine Anderson, The Kingston Trio, Nokie Edwards (The Ventures), Ernie Watts, Mollie O'Brien, Kay Starr, and Laurie Lewis, he has taught at an array of music camps and performed across North America, Europe, and in Asia.
Upright Bass Fundamentals (level 1–2) Learn how to listen for the best-sounding bass notes, and where to find them on the instrument. We will develop techniques for playing comfortably, dynamically, and in tune, with accurate timing.
Blues Bass (level 3–4) Using classic 12-bar and 8-bar forms, we’ll study the methods of various styles of blues bass playing, including country blues, rhythm & blues, and jump blues. Riffs, turnarounds, walking patterns, syncopation, and a variety of grooves and progressions will be featured.
Born in Jimmie Rodger’s hometown (Meridian, MS), Mike Compton has lived in Nashville since 1977. An acclaimed mandolinist, Mike played with the Nashville Bluegrass Band from 1985–1988 and again from 2000 to the present. His work includes the Grammy-winning recordings O Brother, Where Art Thou?, Cold Mountain, and numerous recordings with David Grier, John Hartford, and Dr. Ralph Stanley.
Black Mandolin Culture and Repertoire (level 3) Get familiar with how the mandolin was used in black American culture during the early to mid-1900s. In addition to learning tunes (by ear, standard notation, and tablature), we’ll uncover a bit of history about the players.
Monroe-Style Mandolin (level 3–4) A repertoire class that delves into Bill Monroe’s bluegrass mandolin style. We’ll cover material from the earliest Monroe string band through the last days of his career, as well as some examples of his influences. Ability to read standard notation or tab is recommended.
Mike Dowling was the guitarist in the late, great Vassar Clement’s first touring band. Clements called Mike “One of the finest guitarists there is, anywhere.” Grammy-winner Mike is a popular blues, slide, and swing instructor at music camps and workshops throughout the world, including his own Greater Yellowstone Music Camp for acoustic blues and swing.
Fingerstyle Blues (level 3) Broaden your repertoire while finding your own voice using simple arranging techniques. Learn right-hand patterns using alternating thumb, dead thumb, muting for 8- and 12-bar blues, along with time-honored licks, rhythms, turnarounds, and new chord shapes.
Riffs, Rags, and Boogies (level 4–5) This fast-paced, hands-on class for flatpickers and fingerpickers will teach techniques for being a better ensemble player. We’ll focus on melody, rhythms, and holding it all together as you learn songs from artists as diverse as the Delmore Bros, Louis Jordan, Duke Ellington—and Mike Dowling.
Mark Graham is a widely known and respected songwriter and harmonica player. He’s played old-time music on the Marine Band harmonica for over 30 years, and performed with many of the luminaries of Southern old-time and bluegrass music including Tim O’Brien, Laurie Lewis, Dirk Powell, The Horseflies, The Chicken Chokers, Tom Sauber, Pete Sutherland, Bad Livers, and Hurricane Ridgerunners. His songs have been performed and recorded by The Austin Lounge Lizards, Bryan Bowers, Bad Livers, and The Limelighters.
Southern Old-Time Harmonica (all levels) Learn techniques and theory for playing the dance tunes,breakdowns, songs, and solo harmonica pieces found in the southern old-time repertoire. You’ll be playing rip-roaring ,hell-raising, soulful old-time music with banjos and fiddles or by yourself in some lonesome holler.
Songwriting: Your Heart Wants to Sing and Your Brain Wants to Help (all levels) Create striking imagery, moving metaphors, and characters with credible voices. We’ll discuss scansion; punchy, ingenious rhyming and alliteration; humor that gets a laugh; and melodies that evoke the right mood, from lonesome terror to surreal hilarity, and then bundle it all into songs that will make you the envy of your songwriting community.
Ginny Hawker grew up singing with her father and 51 cousins in southern Virginia. The powerful unaccompanied singing of her grandfather's church was the first music she heard. Later her father taught her the harmonies of early bluegrass and country music. For the past 20 years Ginny has performed in concerts, festivals, and workshops throughout the US, Canada, and the British Isles.
Finding Your Unaccompanied Voice (all levels) Ginny comes from deep within a strong music culture that she relates clearly and with pride, as she guides students deeper into a song than the mere words and notes. When commitment to a song is inside the singer, geography plays no part.
The Songs of Kitty Wells (all levels) Kitty Wells started singing professionally at age 14, and today, in her eighties, continues to make appearances. She was the first female country singer to top the country charts and received the Grammy Lifetime Achievement Award. Her clear, soulful voice caused many people to turn to country music who never cared for it before. Students will hear about her life and learn 6 to 8 of her songs in authentic country style.
Wayne Henderson is well known for his fast guitar picking of fiddle tunes. He’s played at Carnegie Hall and all over the world. The Wayne C. Henderson Guitar Competition and Music Festival is held at the Grayson Highlands State Park on the third Saturday of June each year. Proceeds from the festival go to promote the musical arts and provides scholarship money. His hand-built instruments are on display at the Smithsonian Institution.(Yes, he finally finished Eric Clapton’s guitar.)
Bluegrass Flatpick (level 3) Learn some standard fiddle tunes played in the Blue Ridge Mountain area. “Pinch picking” is an unusual technique (fingerpicks on the thumb and forefinger), but fingerpicks or flatpicks are fine. We will be playing by ear, so bring a recording device. We’ll go over the tunes until you get them.
Advanced Bluegrass Flatpick (level 4) Play fiddle tunes from Doc Watson and other pickers from western Virginia. We’ll work on endings and three-finger chord shapes that can be played up the neck. Bring a recording device.
Sylvia Herold has been singing and playing nonstop for 30 years. She was a member of the swing trio Cats and Jammers, and played in the Django-inspired Hot Club of San Francisco. Sylvia currently performs with the Celtic Grateful Dead band Wake the Dead, and her own folk quartet, Euphonia. She has recorded three albums of folk songs.
Intro to Swing Guitar (level 3) Four-note jazz chord shapes are easy to learn and can be used all over the neck. You'll learn some of the handiest chord shapes and apply them to fun jazz standards and Western swing classics. Increase your chord vocabulary and learn some fantastic songs to sing and play! Bring a music stand and a selection of flatpicks.
Weird and Wonderful Pop Songs (level 3) We’ll learn pop songs of the ’50s, ’60s and ’70s that inspire and enchant us (or make us squirm). From the tawdry to the transcendental, American pop music has it all. In the process, you’ll learn some nifty chords on the guitar. Bring a music stand and a selection of flatpicks.
Putting the “eh" in “ukulele" since he was but a wee keiki, James Hill is considered a “rare peer” of Hawaii’s premier `ukulelists with a “world-class command of the instrument” (John Berger, Honolulu Star-Bulletin). His music is a “tour de force” mix of jazz, classical, and folk influences (Yvonne Zacharias, The Vancouver Sun).
Warning: Ukulele May Be Habit-Forming (level 1–2) Ever noticed that people always look happy when they’re playing ukulele? Find out why in this beginner-level class. Discover the simple joys of this four-stringed wonder in a fun, hands-on setting. Learn a bunch of songs and, along the way, take in a few things about picking, strumming, vocal accompaniment, and harmony.
Hooked On Uke? We Can Help (level 3–4) Want to go beyond three chords and a double strum? Want to inspire your friends (and make new ones) with a little razzle-dazzle? Spice up your ukulele playing with new strums, songs, chords, fills, and more galore. Hey, you paid good money for that fingerboard so start using frets 5 to 12. Lots of tunes, lots of fun.
A strong and extremely imaginative player, Peter Langston (Instigator) appears to play every instrument in every style and is equally adept at hot improvisation and supportive backup. His performing credits include work with such diverse artists as Doc Watson, Chill Wills, Bill Keith, and Reverend Gary Davis. Peter is active in recording (as artist, composer, and producer) and is a frequent instructor at the Puget Sound Guitar Workshop.
Frannie Leopold is an ethnically diverse guitarist and vocalist, grounded in good old-time string band and harmony singing. For the last 10 years, she has also delved into Mexican music and performed with Cynthia Llano. Her work with Jeanie McLerie as the Delta Sisters has included a healthy dose of Cajun. Frannie also performs with Hank Bradley and Cathie Whitesides as the Balkan Cafe Orchestra. She has been an instructor for 20 years.
Guitar Pulse: Rhythm and Runs (level 2) We’ll listen to some of the black string band repertoire (Mississippi Sheiks, Memphis Jug Band) to help us get a feel for punchy flatpick rhythms and quirky runs, but at a bluesy, slower, more accessible tempo. Latin rhythms and runs also if requested. Bring a notebook and a recording device.
Latin Songs with Guitar Backup (level 2–3) Enjoy songs from the Mexican and Cuban traditions. Lyrics, translation, and pronunciation will be provided. Guitarists can also learn accompaniment rhythm and runs (cumbia, bolero, ranchera, and polka).
Tony Marcus (Instrumentalist) loves to play music. His first band (The Arkansas Sheiks) played mostly old-time music. He has since performed with R. Crumb and the Cheap Suit Serenaders, Cats and Jammers, Geoff Muldaur and many others. He has also worked in “guitar theatre” playing onstage, most recently in Lost Highway in Walnut Creek and Fire on the Mountain in Little Rock. Currently, he sings with Patrice Haan in the duo Leftover Dreams and is working on a CD of original songs.
Band in the Blue Ridge (level 3) What is a band? More specifically, what is a band playing southern mountain music? What is often called “old-time music” is many things: a blend of fiddle tunes and ballads brought over from the British Isles, Victorian-era songs filtered through the folk tradition, ragtime, and blues. We’ll look at how to make a collection of people playing some portion of this music sound like a band. All stringed instruments welcome (harmonicas too!). Because this isn’t specifically an instrumental instruction class, you should have some familiarity with your instrument.
MARY McCASLIN represents a link between traditional folksingers and today’s “new folk” singer-songwriters. A pioneer of open guitar tunings, with a distinctive vocal style, Mary is known for her haunting renditions of pop standards and rock classics. Her influence can be heard in many younger folk performers. Her songs have been recorded by Tom Russell, Bill Staines, Chris Williamson, Kate Wolf, Stan Rogers, and others.
Intro to Folk Fingerstyle Guitar (level 2) Begin with simple three-finger picking patterns and then move on to more complex patterns. On the last day Mary will give a brief overview of the alternative tunings used throughout her career. Handouts will be given for all picking patterns and tunings discussed in this class.
Folk Repertoire (level 2–4) As you develop your fingerstyle guitar skills, learn some of the cover songs Mary performed over the years, along with other more well known songs. Lyric handouts with chords will be given.
CAROL McCOMB is a vocalist, songwriter, and multi-instrumentalist with 40 years of performing, recording, and teaching experience. She has authored a best-selling guitar instruction book, taught thousands of people to play guitar, and is a frequent contributor to Acoustic Guitar magazine. When Carol isn’t teaching, she tours as one half of the duo Kathy and Carol, with her band, and occasionally with Linda Ronstadt. Carol is a founding member of CCMC and has taught at several other music camps around the country.
Beyond Boom Chuck (level 2–3) Bored with the same old strums? Put some pizzazz into your playing! Learn how to vary your rhythm within a song with lots of new strums, right-hand patterns, runs, and fills. We’ll have fun with rhythm exercises in class and arrange songs in a variety of styles. Good for both flatpickers and fingerstyle players.
Mother Maybelle’s Guitar Style (level 3) Maybelle Carter’s distinctive guitar lead style is surprisingly easy and very satisfying to play. We’ll learn at least a dozen Carter Family songs with lead breaks, starting out with easy leads and then making them more complex by varying the rhythm and adding more melodic movement.
Seattle guitarist Ron Peters has played professionally for more than 30 years. He has toured internationally and has been heard on many radio and TV commercials. His performance credits include The Manhattan Transfer, Chevy Chase, and Pearl Django. He has studied with Joe Pass, Ted Greene, and Gene Bertoncini, and is an alumnus of Berklee College of Music in Boston. Ron is a frequent instructor at numerous camps and workshops in the U.S. and Canada.
“Swiss Army” Rhythm Guitar (level 3) You’re at a big jam playing all the classic old favorites, but you’re not sure how to make it sound right. In this class we’ll learn a new rhythm guitar style each day: pop, R&B, rock, blues, swing, reggae, and more. We’ll look at chord shapes, strum/picking patterns, and other subtleties that define the style. Increase your confidence and stand out at your next jam!
Swing/Jazz Improvisation: (level 4–5) Playing a new melody in real time is what improvisation is all about. In this class we will look at various techniques to build melodies over common chord progressions including: scales, arpeggios, neighbor/approach tones, motifs, rhythmic variation, and phrasing. With these ideas we will build “lines” that really reflect the chord changes and turn heads. Some theory will be discussed, but you’ll get the concepts under your fingers.
Eric Schoenberg has taught since 1963. He’s written a book, Fingerpicking Beatles; released two solo albums on Rounder Records; and contributed to several anthologies. As the proprietor of Eric Schoenberg Guitars in Tiburon, CA, he’s produced a line of high-end classic steel-string guitars.
Slow Melodies as an Introduction to Fingerstyle (level 2–3) Instead of the more standard chord/pattern method, this class uses a melody-centric approach. We’ll learn several beautiful slow melodies as we develop the all-important ability to hear and reproduce tunes smoothly on the guitar. Once the melody is in place, we’ll add the other parts of the arrangement, finding chords (harmony) and then adding the bass (accompaniment).
Techniques for Advanced Fingerstyle Arranging (level 4–5) Learn how to develop and play full arrangements capable of standing alone as solo guitar pieces. Melody in the treble, bass lines, harmonies, subtle and not-so-subtle techniques and ideas that make a piece interesting to hear and fun to play. A variety of topics will be touched on such as melody/bass separation and independence, fingerboard theory, counterpoint.
Jennifer Scott is considered one of the most important jazz artists working, recording, and teaching in Canada and the U.S. Her vibrant voice and solid piano playing have been featured on many CBC and NPR shows, including “JazzBeat.” Jennifer sings and plays piano with Novo Tempo, a Brazilian group based in the San Francisco area. She has several solo albums and has performed with jazz greats including Clark Terry, Tommy Banks, Rufus Reid, Paul Horn, and Don Thompson.
Intro to Voice (all levels) An exploration into what makes the singing voice work in a healthy, practical way. Breathing techniques, warm-ups, alternative scale practice, and varied practical repertoire will be the focus for the first three days. On the last two days, we’ll apply what we learned and address individual needs and concerns. Free your voice in a safe, fun environment! No prior singing experience necessary.
Voice Lab (level 3–4) We’ll focus on troubleshooting, alternative vocal techniques, and honing your skills as a versatile singer, as we explore various song styles and interpretation. Some musicianship for singers and fun ear-training exercises will be worked with as well. A great class for singers looking to take it to the next level!
Helen White is a much-lauded old-time fiddler and folk singer. She’s received numerous recognitions and many top-five finishes at regional contests. She performs widely with Wayne Henderson, old-time bands, and a swing trio, the Hy-Tone Hepcats. Helen has been fiddle instructor at Blue Ridge Old Time Music Week, Fiddlekids, Puget Sound Guitar Workshop, Festival of American Fiddle Tunes, and Palestine Old-Time Music and Dulcimer Festival. She is also a composer, board member of the Wayne Henderson Festival, and founder of the Junior Appalachian Musicians program.
Beginning Guitar (1) An introduction to the wonderful world of guitar. We’ll learn basic chords for backing up songs and tunes and touch on some user friendly music theory to understand what the hotshots are doing when they call out numbers to each other.
Appalachian Fiddle (level 2–3) This class will feature tunes common in southwest Virginia in both standard and crossed tunings (EAEA). We will pass through basic fiddling fundamentals, spend time applying some basic bow patterns to select tunes and, explore strategies for getting into jams, and learning tunes on the fly. The class will be taught by ear so a recording device is highly recommended!
Radim Zenkl (Instrumentalist), mandolin player, composer, and instructor, plays many musical styles including bluegrass, folk, flamenco, jazz, and classical. He has recorded five solo CDs and has appeared on numerous others. This U.S. National Champion is at the cutting edge of the mandolin’s future, performing solo concerts worldwide, collaborating with leading artists of the acoustic music scene, and inventing new playing techniques.
Beginning Mandolin (level 1–2) No experience necessary. We’ll focus on tuning, right-hand techniques for picking and strumming, left-hand positions, tremolo, chords and backup rhythms, and basic improvising. You should be able to join a jam in a couple of days.
