-=[ From the 1996 brochure... ]=-

SESSION 3
Monday August 5 Sunday August 11

· Cary Black (Olympia, WA)

Beginning Upright Bass (1) Special Section Topics covered in this class include getting a good sound with minimum stress, finding the notes on the fingerboard, playing in tune, keeping good time, and playing appropriately (and having fun) in a variety of musical settings.
Blues Bass (2-3) Special Section We will study the role of the bass in the blues. Styles will include country, swing, and urban blues. Special attention will be given to improvised walking bass lines, riff patterns, and syncopation.

· Bob Brozman (Ben Lomond, CA)

Chord Variations and Hot Guitar (3-4) Bridge the gap between "folk" and "swing" using black fingerpicking, ragtime, and early jazz styles. We will learn many new versions of chords and study syncopated picking techniques.
Deep, Dark, Delta Blues (3) We will explore the mysteries of Mississippi Delta blues in standard and open tunings concentrating on the repertoire of the earliest and heaviest artists (mostly before Robert Johnson) like Charlie Patton and Son House. We will do a lot of playing in this class.

· John Cephas (Woodford, VA)

East Coast Blues (3-4) The Piedmont style of blues is primarily a solo style and involves coordinating the fingers of the right hand with a steady, alternating-thumb bass. Some of the influences are Blind Boy Fuller, Gary Davis, and Blind Blake.
Delta Blues (4) This class will include single string improvisation, chord progressions up the neck with melodic runs to hold them together, and different tunings. Many of the tunes are ones played by Skip James.

· Erin Corday (Bellingham, WA)

Songwriter's Workshop: Musical Imagery (1-4) Play that arpeggio like a spider skittering across its web. Now play it like a herd of elephants. We will be creating music that works with lyrics to evoke powerful, precise imagery.
Conjuring with the Percussive Guitar (3-4) Mbira, bass, and drum kit - these are just a few of the sounds you can suggest with your guitar. Transcend the instrument using rhythmic phrasing, hammer-ons and pull-offs, slaps and strums, polyrhythms, mutes, and your own relentless creativity.

· Thomas Corlett (Seattle, WA)

Beginning Fingerstyle Blues (2-3) We will develop a rock solid bass line, lay a melodic line on top, add a little syncopation and have fun with some easy blues.
Intermediate Fingerstyle Blues (3) Blues players with previous experience in fingerpicking will find new challenges moving up the neck, snapping strings, hammering on and off, and doing the "rake" while learning tunes like "Big Road Blues," "Mississippi Blues," and "Police Dog Blues."

· Nova Devonie (Seattle, WA)

Camp Instrumentalist

· Michael Dunn

African Guitar Band (2-4) We will explore an African approach to guitar playing creating the layered music that characterizes High-Life, Palm Wine Guitar, Ju-Ju, etc. This is an interesting and fun approach to group playing with all instruments welcome.
Django-Style Rhythm (3-4) Learn to play accompaniment using Hot Club-style rhythm featuring Djangoesque "shots," turnarounds, and endings. Get that 1930s Paris feel and sound.

· Marie Eaton (Bellingham, WA)

Instigator

· Kathleen Fallon (Beavercreek, OR)

Beginning Song Writing (1-2) Songwriting is a craft you can learn. This class will start with some simple exercises that explore rhythm, rhyme, repetition, and melody as the songwriter's tools. You will have the opportunity to write songs and examine the process.
Beginning Guitar (1) Find the music that has been hiding in your fingertips! In this class we will start from the beginning (how do you hold this thing?!?) and learn how to play enough basic chords to accompany some great songs.

· Hilary Field (Seattle, WA)

Scale Theory That Helps (3-4) Understand why certain combinations of notes sound the way they do. Learn how scales and chords relate to each other for use in composing, improvising, arranging, and interpreting music.
Classical Technique (4) Reduce the effort of playing the guitar in order to put more energy into your music. Learn new techniques to add color and variety to your playing and to accommodate your own personal style (folk, jazz, classical, or any finger style guitar).

· Sylvia Herold (Alameda, CA)

Swing Song Repertoire (2-4) Most of our class time will be spent singing together or in song swapping. We will talk a little about the content of the songs and our favorite singers. We will also share tips on getting your songs across, singing naturally, finding your key, and singing in a band.
Intro to Swing Guitar (3) We will start by learning a few of the most useful chord shapes and we will use them in some easy songs. We will work on changing chords and making it swing. Be prepared for lots of in-class playing.

· Lani Herrmann (Richmond, CA)

Fun Songs to Sing with Your Family (2-3) These repertoire sessions will feature singing for mutual enjoyment. Our focus will be on songs with choruses, with a special emphasis on songs for the memory-challenged.
A Round a Day Keeps the Blues Away! (2-4) Unless, of course, it is a bluesy round... Disguised as an innocuous pastime, round-singing in fact encourages some of the best habits singers can develop, including Timing, Clear Pronunciation, and, most important, Listening. Further, it is fun!

· Kent Hillman (New Westminster, BC)

Introduction to Fingerstyle Technique (2) For beginners who want to explore fingerstyle technique, this course will introduce the basics of finger picking using solid general principles that can later apply to classical, folk, country or jazz.
Expanding Chord Horizons (3) Learn the basics of where chords come from, how they are built, and where they go. This course explains the simple relationship between chords in common tunes that go beyond I-IV-V.

· Ed Johnson (Palo Alto, CA)

Jazz and Swing Vocal Harmony (3-4) Experience the thrill of singing three and four part arrangements that feature luscious chords. The repertoire includes songs from Ellington, Gershwin, Cole Porter, and others.
Tools for Jazz Improvisation (4) Learn the findamental skills that are indispensable for creative, spontaneous playing over chord changes. We will approach several tunes from three perspectives: scales & chords, rhythmic motifs, and building confidence in developing ideas.

· Joel Kasserman (Boise, ID)

Flatpick Rhythm Guitar (2-4) Put your guitar in its place. We will talk about the role of the guitar in ensemble playing, the where, when, and why of capo use, and ways of playing to fit the mood and instrumentation of a song.
Flatpick Lead Guitar (3) Welcome to the world of flatpicking lead guitar, aka the 8th note penitentiary. We will talk about right hand and left hand technique, useful scales, string bending, harmonics, and stealing licks from other players. Bring a song that needs a new flatpick guitar lead.

· David Keenan (Seattle, WA)

Flatpicking - From the Top (2) Create good habits from the beginning or correct bad habits as you learn the basics. No prior pick experience is necessary because you will get plenty in this class.
Flatpicking Stunts (3-4) We will learn a basic set of "hot licks" and then find ways to apply them in (almost) any tune. You can expect to play a lot in class.

· Jennifer Scott

Beginning Vocal Technique (1) Get started singing effortlessly, in a natural and healthy way. New vocal techniques will be demonstrated using a variety of song styles.
Intermediate Vocal Stylings (2-3) Style and technique will be the focus in this class. You can build your song lists and expand your repertoire with examples of new vocal styles.

· Christian Swenson (Seattle, WA)

Human Jazz (1-4) What is it? It is acting like music; it is deeply playful jamming with our original instruments - body and voice; it is nomadic world scat; it is intercultural dansing; it is a communal wilderness experience; it is a bit too much fun. (Offered twice this session.)

· Joe Weihe (Seattle, WA)

Instigator

· Phil Wiggins (Takoma Park, MD)

Blues Harmonica (1-2) Special Section No prior experience is necessary in this class for beginners. We will learn the basic techniques of fifth-position blues harp, placing special emphasis on tone production.
Blues Harmonica (3-4) Special Section Study riffs as raw material for improvisation, and as jumping-off points for creating other riffs. We may also delve into first-position and third-position playing. graphic by P. Langston