Saturday July 22 Friday July 28
Ray Bierl (Oakland, CA) Instigator Kevin Carr (Mountain View, CA) Camp Instrumentalist Erin Corday (Seattle, WA) Percussive Techniques for Guitar (3-4) Learn how African and Latin polyrhythms, harmonics, mutes, hammer-ons, pull-offs, slaps, and strums can make your guitar imitate everything from bass and drums to koto, mbira, and kalimba. Open-minded Tunings (3) How do you turn standard chord progressions into stunning guitar arrangements or make DADGAD sound like many different tunings? Use paradigm-shifting theory to improve your guitar playing not to mention your life! Judy Fjell (Yountville, CA) Rounds Singing (2-4) The primary purpose of this class is to learn approximately twenty rounds which contain a variety of subject matter, sounds, and skill levels. A book of transcriptions of the rounds will be provided as a reference text. Sol-Fa Singing (1-4) This method of sol-fa singing teaches you to use your ear and a "Moveable Do" to sightsing music. You will also learn how the voice works and how to care for it with enjoyable warmups and daily practice. All levels of singers are welcome. Ray Frank (Sebastopol, CA) Beginning Guitar (1) This class is for people who are trying to figure out which end of the guitar you blow in; it is a beginning class with an emphasis on left-hand skills and good habits. Where Do Folk Songs Come From? (2-3) We will sing folk songs, serious to silly, sensitive to sarcastic, and learn accompaniments used in many flavors of folk music. This class will include lots of information on where to go for the primary sources of all kinds of folk music. Kent Hillman Intro to Fingerstyle/Classical Technique (2-3) Examine your own technique and solve performance problems using simple, common-sense principles for developing your own playing style. Scale Theory That Helps (3-4) This course examines the practical application of major and common minor scales in analyzing and soloing on standard tunes. Reading music not required. Bring your own examples to work with in class. Ed Johnson (Palo Alto, CA) Fundamental Jazz Improv (4) Gain the tools necessary for spontaneous, creative playing over chord changes. The class will be very interactive as we spur one another on to new heights! Students should have a knowledge of movable scale patterns and 7th, 9th, and 13th chords. Jazz and Swing Vocal Harmony (3-4) Experience the thrill of singing 3 and 4 part arrangements that feature luscious chords. The repertoire includes songs from Ellington, Gershwin, Cole Porter, and others. Lorraine Lee-Hammond (Brookline, MA) Beginning Mountain Dulcimer (1) Special Section Discover and express your own musical voice with this distinctive traditional instrument. Learn an essential vocabulary for the complete beginner. Wild Mountain Dulcimer (2-3) Special Section Discover Appalachian dulcimer with a difference. Learn tradition-expanding techniques from a master bowed dulcimer, slide dulcimer, blues dulcimer, even hammered mountain dulcimer! Virginia Lopez (Portland, OR) Afro-Cuban Percussion (1-4) Learn the fundamentals of the conga drum, claves, bells, and maracas as well as skills that are helpful in playing with others. Some drums will be provided, but if you have any Afro-Cuban drums, please bring them to camp. (Offered twice this session.) Carol McComb (Palo Alto, CA) Beginning Fingerpicking with Easy Arrangements (2) Learn simple ways to put pizzazz in your arrangements new strums, arpeggios and chords, a Travis picking pattern, bass runs and hammer-ons, and combining rhythms. The many songs in class will make it all meaningful and fun. Beyond I-IV-V (3) Learn how scales and chords are constructed, what I-IV-V means, how to create more interesting chord arrangements to songs, what all those numbers after chords mean and how to use, recognize, and play them in any key, and how style is influenced by the kinds of chords you choose. John Miller (Seattle, WA) A Good Song (2-4) We will listen to, discuss, and analyze great songs from a variety of musical genres to see how they address issues that confront all songwriters: achieving narrative flow, deciding who is speaking and being spoken to, and making the step from personal statement to shared experience. Making Up Tunes (2-4) Learn tools, techniques, and principles to use in developing your own musical ideas. We will work in pre-existing forms (12-bar blues, 32-bar AABA) to help guide your ideas and give them coherence. You will write tunes! The ability to read/write music is not required. Jim Nunally (Crockett, CA) Bluegrass Lead (3-4) This is a class for the player who wonders "is there life after my style of guitar playing?" We will cover improvisation, cross-picking, technique, speed, clarity, tone, timing, and jam etiquette. We will get into some tunes as well. Bluegrass Rhythm for Non-Bluegrass Players (2-3) This is a good class for students who want to learn that distinctive bluegrass sound created using a flatpick. Timing, tone, bass runs, strum patterns, chord ideas, and chord progressions for bluegrass guitar will be covered. Recommended for the fingerpicker who wants to get a grasp on that pick thing. Eddie Pennington (Princeton, KY) Intro to Travis Style Thumbpicking (3) Learn the things that are different in Travis style picking from other styles of fingerpicking. Work on developing a strong thumb lick, use of thumb-over-the-neck chords, and different types of rolls and drags. Merle Travis Style Thumbpicking (4) This class is similar to the introductory class, but is more advanced and will include more rolls, more drags, more thumb-over-the-neck chords, and more elaborate arrangements. Del Rey (Davenport, CA) Blues (2-3) This class will work on one song all week, learning ways to play together and alone, drawing on the fingerpicking duet style of Memphis Minnie & Kansas Joe McCoy. Blues (3-4) A song a day will be the goal, working in standard, open G, and open D tunings. We will learn fingerpick arrangements of songs from Bo Carter, Memphis Minnie, and the Hokum Boys, among others. Kim Scanlon (Seattle, WA) Song Study and Practice (4) Special Section Learn exercises that arouse curiosity about the details of a song. Explore the elements singers often overlook: repeated notes, inhales, vowel pitch, little words, diphthongs... The aim is to develop an interpretation based on intimate knowledge of a song. Investigating Vowel Pitch (2-4) Say "tick tock." It has a melody: "o" is deeper than "i." Each vowel has inherent pitch; this makes singing tricky and beautiful. Understanding vowel pitch helps singers to sing on key, blend with other voices, and make shapelier phrases. Richard Scholtz (Bellingham, WA) Instigator Alan Senauke (Berkeley, CA) Beginning Flatpicking (2-3) We will listen to classic models of simple flatpicking and learn to play straightforward but elegant solos to country songs in different keys. We will work by ear and emphasize timing, tone, and building on the melody. Country and Bluegrass Repertoire (2-4) There is an incredible treasure trove of country and bluegrass songs. We will learn four or five songs a day - some standards, but mostly lesser known gems (tape and lyrics provided). We will also explore harmony parts and a sense of style and interpretation. Daniel Steinberg (Mountain View, CA) World Beat Band (1-4) Borrowing from African and Latin musical sources, we will build complex instrumental & vocal pieces from simple, repetitive parts. Besides having a lot of fun, you will learn to focus on playing in a rhythmic groove, holding your own part together while listening to the whole. All instruments and ability levels welcome! Body Polyrhythms (1-4) Rhythm concepts and patterns will be explored using an assortment of hand claps, body slaps, footsteps, and vocalizations. This workshop includes clapping games, kejâk (Balinese monkey chant), and hambonic dance moves. No experience nor extraordinary physical coordination required. Ray Wood (Retsil, WA) Swing Comping (3-4) This class will explore the use of passing chords, chord substitutions, and moving bass lines in swing accompaniment. We will learn how to make simple tunes more complex and complicated tunes simple. Intro to Swing (3) Make the transition from "open-string" chords to 4-note movable chord forms. This class will provide the theoretical background and technical tools to create a solid swing rhythm. There will be a heavy emphasis on playing in class.
(psl@acm.org )