Bob Altschuler
1. Beginner’s Track, Beginning Bluegrass Banjo - Bob presents his comprehensive introduction to BG banjo playing in five concentrated sessions, spaced throughout the weekend so you will have time to take other classes too. You will receive extensive handouts for each session, which include additional material to work on when you get home. (N-B)
I. Getting Started- Part 1: foundations of playing bluegrass banjo, including banjo anatomy, tuning, using picks, playing position, hand positions, reading tablature, basic chords and rolls and a slide.
II. Getting Started- Part 2: review of Part 1, additional basic rolls, important left-hand techniques featuring slides, hammer-ons and pull-offs, a basic two chord song and practice exercises.
III. Review of the Foundations of Bluegrass Picking- Putting It All Together: review of Parts 1 and 2 plus additional playing techniques, timing, practice exercises, a three chord song and an overview of bluegrass banjo styles.
IV. Bluegrass Rolls and Left-Hand Techniques for Beginners: explore the most useful rolls and left-hand techniques that create licks. Bob will guide you in playing slides, hammer-ons and pull-offs added to basic rolls to create the licks and patterns that form the basis of Scruggs-style playing.
V. Basic Backup and Chord Shapes: foundation and theory of backup, from simple techniques using barre chords and basic rolls to an overview of moveable "F" and "D" chord shapes, vamping, hand position and tone. This session will provide the tools to start playing basic backup right away.
2. What Can I Play When I Don't Know the Song? From playing basic rolls with chords to incrementally adding interchangeable licks and phrases plus melody notes, Bob will guide you through a layered approach to playing along with any song. This skill is invaluable for playing with others and in jams. The class will also help you put into practice the licks, rolls and techniques you already know. (B-I)
Geoff Bartley
Generally speaking, I encourage people who are learning an instrument to 1) Pick up the instrument 2) Tune and 3) Play. I encourage students to exercise restraint in asking questions. Instead 1) Pick up the instrument 2) Tune and 3) Play. I encourage students to exercise restraint in processing the learning experience through the brain. Instead 1) Pick up the instrument 2) Tune and 3) Play. I encourage students to exercise restraint in imposing intellectual information from the outside. Instead 1) Pick up the instrument 2) Tune and 3) Play.
1. Finger-style Guitar #1 - A steady right thumb is the most important element in playing good folk and blues guitar (B.)
2. Finger-style Guitar #2 - Tone and pattern (AB-I)
3. Flatpicking Guitar - A steady right hand is the most important element in playing good old-time guitar Tone and pattern (B-AB)
4. Songwriting - Lyric and melody, publishing and performing (All)
Riley Baugus
1. Round Peak Style - What is it and how does it work? Information about where Round Peak Style comes from, how it differs from other styles of Clawhammer, and some of the main techniques which define the style. With Brown (I-A)
2. Southern Repertoire - Overview of tunes in a few styles from the Southern Appalachians. This class will look at some banjo tunes that come from Tommy Jarrell, Fred Cockerham, Wade Ward, Matokie Slaughter, Dock Boggs and other Banjo players from the Southern Appalachians. (I-A)
3. Alternative Tuning Workshop- Various tunings for playing Clawhammer banjo other than the Standard G, A Double D or Double C, including examples of tunes for each of the tunings. With Benford (I-A)
4. Southern Clawhammer Technique - Techniques that assist in learning from recordings and other banjo players. If you have ever listened to a recording or another banjo player and thought, "What are they doing to get that sound?" or "How do I do that?" This workshop will deal with techniques that help in learning tunes from listening. Not only physical technique, but what to look for in tunes that can help you pick them up on the fly. (I-A)
5. The Art of the Fiddle-Banjo Duet - This series explores the art of duet-playing with fiddle and banjo, pairing oldtime fiddle with various banjo artists, from oldtime through two-finger picking to bluegrass style. See the kinds of artistic balance fiddle and banjo can achieve, ranging from melody-on-melody meshing to various forms of featuring one instrument in interaction with the other. Jabbour, Kropp, Reiner (I-A)
6. Banjo Blues - Old Time and Bluegrass - Building a bluesy banjo vocabulary With Trischka and Brown (I-A)
Mac Benford
1. Double-Thumbing: Breaking the drop-thumb barrier - getting started with this key technique - (B-I)
2. The fiddle tunes of Edden Hammons for clawhammer banjo - (A)
3. Easy mountain songs with banjo accompaniment - (I)
4. Alternative Tuning Workshop- Various tunings for playing Clawhammer banjo other than the Standard G, A Double D or Double C including examples of tunes for each of the tunings. with Baugus (I-A)
5. The repertoire of Henry Reed with Alan Jabbour (Demo)
6. Last Chance - the Tune and the Tuning - (I)
Dick Bowden
1. Ralph Stanley Banjo Style: Instrumentals, Songs and solos including some, not all, of the following -Clinch Mountain Backstep, Hard Times, Shout Little Luly, Big Tilda, Bully of the Town, Cluck Old Hen, Steel Guitar Rag (Earl’s and Ralph’s), Back Up Licks behind fiddle tunes; How Mountain Gals Can Love, Hear a Choo Choo Coming, Pig In a Pen, Say Won't You Be Mine, Stone Walls and Steel Bars, Bound to Ride (3 finger and clawhammer) Back Up Licks behind songs in straight time, behind songs in waltz time, Earl derivatives, two unique Ralph licks (I-A)
2. Earl Scruggs 3-finger gospel guitar style - Classic Earl Scruggs solos: So Happy I'll Be, God Loves His Children, Gone Home, Jimmy Brown the Newsboy (not 3 finger, but another important aspect of Earl's guitar), Paul & Silas, You Are My Flower (Earl's and Mother Maybelle's), It Won't Be Long, Who Will Sing For Me, Georgia Buck, I'm On My Way to Canaan's Land (A/Demo)
3. Bear Tracks - An exploration of J. D. Crowe’s unique bluegrass instrumental in “Open C” tuning. This will be a hands-on workshop. Bring your own banjo with D-tuners, or borrow one that has ‘em. (A)
4. Bluegrass Band Development - A bluegrass band is as intricate as a classical chamber ensemble. Add vocals to that and the challenges increase exponentially! Veteran players will explore and demonstrate the complexities of bluegrass band performance. Among the topics: dynamics, vocal harmonies, lead and backup ettiquette, PA setup, arranging, hiring and firing. (All)
Paul Brown
1. Become an Old Time Fingerpicker in One Hour! The fail-safe introduction that will unlock secrets of the universe. (AB-I)
2. The Banjo Legacy of Tommy Jarrell. An exploration of the remarkable multi-voiced style of this celebrated fiddler, who was also a spectacular but under-appreciated clawhammer banjo player. You'll learn tunes, and Paul will play both banjo and fiddle to help you deepen your understanding. (I-A)
3. John Brown's Dream, a banjo masterpiece. Dig into versions by Tommy Jarrell, Fred Cockerham, Kyle Creed, Hobart Smith. (A)
4. Round Peak Style - What is it and how does it work? Information about where Round Peak Style comes from, how it differs from other styles of Clawhammer, and some of the main techniques which define the style. With Baugus (I-A)
5. Banjo Blues - Old Time and Bluegrass - Building a bluesy banjo vocabulary With Baugus and Trischka (I-A)
6. Mentor Class: Play Banjo Solo with Old Time Fiddle. This is an opportunity to play one-on-one in the group to Paul Brown's fiddle. We'll listen, consider, praise, make suggestions. Paul will demonstrate on banjo and fiddle and help you increase your understanding. Great ground rules keep this workshop a safe and supporting place. If you want to bring your banjo playing with fiddle up a real notch, here's a rare and wonderful chance. (I-A)
Howie Bursen
1. BLUECLAW: Bluegrass meets clawhammer - banjo instrumental and vocal tune duets with Weissberg (Demo)
2. Avant-garde Clawhammer – examples of modern cutting-edge clawhammer techniques (I-A)
3. Melodic Clawhammer: Getting All the Notes, Clawhammering Your Way up the Melodic Path - Once you can double thumb, the whole tune is there - if you want it. We’ll take a close look at an easy tune or two. (I-A)
4. Ghost Fingers: Getting the Most Expression from the Fewest Notes - A Great Wise Man once said “If you play too many notes, each one is worth less.” We’ll look at situations where less is more. Being musical is our aim. (I-A)
5. Banjos and Ballads - Before that pesky Appalachian dulcimer came on the scene, we have evidence that the banjo was a ballad accompaniment instrument of choice in the Southern Mountains. For many of us it is still the instrument of choice. With Hammond (Demo)
Greg Cahill
1. Creating Solos to Songs – With Munde (I-A)
2. Playing in All Keys - Discussion of basic chord theory; learn how to play scales in any key; apply theory to playing in major and minor keys. (I-A)
3. Improvisation and Ensemble Playing - Learn how to interchange licks and passages from tunes and songs with similar chord progressions; learn how to transpose solos to different keys and positions. (AI-A)
4. Principles of Playing Backup - Study how to make transitions from solo to backup/backup to solo playing and how to play backup behind the common bluegrass instruments and vocal selections. (I)
5. Basic Principles of Melodic and Single String Styles - Presentation of basic melodic and single string playing techniques; learn common melodic and “chromatic” licks and how to play in closed positions. (I)
6. Bluegrass Band Development - A bluegrass band is as intricate as a classical chamber ensemble. Add vocals to that and the challenges increase exponentially! Veteran players will explore and demonstrate the complexities of bluegrass band performance. Among the topics: dynamics, vocal harmonies, lead and backup ettiquette, PA setup, arranging, hiring and firing. (All)
Janet Davis
1. Introduction to 3-Finger Melodic Style Bluegrass for fiddle tunes - How anyone can play a song in the melodic style using scale patterns (B)
2. Surviving a Bluegrass Jam – The skills you need to feel comfortable playing in a bluegrass jam are very different from the skills you use when learning a tune from tab: how to hear chord changes, playing in all keys using the capo, how to use vamping, roll patterns and the “In The Mood” licks to create great sounding backup and how to fake a solo on a song you don’t know. with Evans (All)
3. Up The Neck Back Up - with Evans (I-A)
4. Scruggs Style Back Up for Beginniners (B)
5. The Great Bluegrass Lick Lexicon Returns Again! The great signature licks used for fills and tags will be presented. Learn the right way to play them a la Earl, J.D., Sonny, et al. Here’s your chance to learn the licks of the pros. With Nelson (I)
6. Finding the Melody Notes the Easy Way (AB-I)
Greg Deering
1. Folk Banjo Styles, Pete Seeger and Beyond - This class will demonstrate and teach the essential folk styles fostered by Pete Seeger and other giants of the Folk Era of the 1950’s and 1960’s. Demonstration of the long neck Pete Seeger banjo and the various landmark styles from Pete’s book will be taught. Up-picking, double thumbing, and various strums will be shown. If you have the “How to Play the Five String Banjo” book by Pete Seeger, bring it with you! With Weissberg, Kropp (All)
2. Banjo Take-apart - Founder & owner of the Deering Banjo Company will demonstrate the complete dismantling and reassembly of a modern banjo with the aim of setting it up for maximum playability and sound. Follow up question and answer period plus extra time in the evening and at a Help Desk session the next morning set aside for anyone with additional questions or special requests. (Demo)
3. The Banjo in the Kingston Trio – with Gordon Stone
Bill Evans
1. Playing in the Key of D - Keep up with the fiddlers and mandolin players at your next jam by learning your way around the key of D without using a capo; half dozen practical ideas that you can put to immediate use and several arrangements of tunes in this key, including playable versions of “Soldier’s Joy” and “Whiskey Before Breakfast.” With Stockwell (AB-I)
2. Up The Neck Back Up - with Davis (I-A)
3. Surviving a Bluegrass Jam – The skills you need to feel comfortable playing in a bluegrass jam are very different from the skills you use when learning a tune from tab: how to hear chord changes, playing in all keys using the capo, how to use vamping, roll patterns and the “In The Mood” licks to create great sounding backup and how to fake a solo on a song you don’t know. with Davis (All)
4. J. D. Crowe’s ‘Your Love Is Like A Flower’: From Start To Finish - We’ll listen closely to J. D. Crowe’sBluegrass Album Band recording of this Flatt and Scruggs classic, reviewing the various lead and back-up techniques he uses over the course of the entire cut. We’ll pay special attention to transitions and when and where he uses different lead and backup techniques and take an inventory of all of the various techniques used from beginning to the end of this classic performance (AI-A)
5. Single-String Essentials: Reno-inspired licks and Getting Into 6/8 Time - . Explore the world of single-string, covering right hand techniques (thumb-index alternation and how to use the middle finger in single-string playing), left hand positions (open and closed positions using different left hand fingers). Also tunes that open the door to Reno-style licks, Irish playing and enable you to work up your own tunes and solos using this technique. With Trischka (I-A)
6. Practice Strategies for Adult Learners - Many adult learners face a similar set of obstacles when learning to play or progressing beyond a certain level once they’ve been playing a few years. Based on his experiences teaching hundreds of adult students, Bill will discuss such topics as how to more quickly coordinate the movement of the left and right hands, learning by tab vs. learning by ear, the essentials needed to play with others, how to increase speed and other useful topics. (All)
Ira Gitlin
1. Faking It—I Mean, REALLY Faking It - Even if you don’t know the chords or the melody to a song you can still take a convincing solo! We’ll look at multi-purpose licks and how to deploy them to create useful, musical phrases. (B-I)
2. Chord Anatomy - What makes chords majors, minors, or 7ths? How can you find them all over the neck? And what’s the deal with 9ths, 11ths, and 13ths, anyway? We’ll mix theory with practice. (B-I)
3. In The Mood - This class will look at a single two-measure right-hand pattern—the “In The Mood” roll. We’ll explore its uses as a many-splendored backup technique, then go down the neck to see how Allen Shelton and others have used it to create catchy, syncopated lead licks. (B-I)
4. Getting The Most From Your - “Foggy Mountain” Rolls The “Foggy Mountain” roll has many more uses than just starting off the breakdown that gives it its name. We’ll look at how the IMTMTIMT pattern and a couple of its close relatives can be used to fake solos or to nail the melody of a song with surprising subtlety and variety. (B-I)
5. Introduction to pedal steel and Tele-style string bending – Country pedal-steel and Telecaster players know that if you really want to tug at the heartstrings, bend the guitar strings. Well, banjos can do it, too! We’ll look at licks—and the principles behind them—that can take slow (and not-so-slow) songs to a whole other level. (I-A)
Martin Grosswendt
1. Beginner/fresh start track - Here’s the chance to play old-time banjo for the first time, or dust off the case that was at the back of the closet, take out that lonely banjo, and start fresh. We’ll be frailing in no time and moving on to chords and melodies.
Lorraine Hammond
1. Beginner/fresh start track - Here’s the chance to play old-time banjo for the first time, or dust off the case that was at the back of the closet, take out that lonely banjo, and start fresh. We’ll be frailing in no time and moving on to chords and melodies.
2. Banjos and Ballads - Before that pesky Appalachian dulcimer came on the scene, we have evidence that the banjo was a ballad accompaniment instrument of choice in the Southern Mountains. For many of us it is still the instrument of choice. With Bursen (demo)
Alan Jabbour
1. Appalachian syncopation on the fiddle - A presentation on the specific techniques of syncopation that are characteristic of the older Appalachian style, from the early 19th century through the rise of country rags in the later 19th century. Each syncopated pattern will be broken down and demonstrated in precise detail, from the Scotch snap to the 3-3-2 syncopated pattern to waltz-time hemiola. (I-A)
2. Retuning the fiddle in Appalachian tradition - This class will demonstrate some of the classic retunings of the fiddle in the older Appalachian tradition and discuss the origin of these retunings. Tunings will be carefully demonstrated and examples of tunes will be performed to illustrate the special features of each tuning. Tunings will include not only standard key-oriented tunings but certain special-effect tunings like the so-called "Bonaparte's Retreat" and "Black Mountain Rag" tunings. (I-A)
3. The Art of the Fiddle-Banjo Duet - This series explores the art of duet-playing with fiddle and banjo, pairing oldtime fiddle with various banjo artists, from oldtime through two-finger picking to bluegrass style. See the kinds of artistic balance fiddle and banjo can achieve, ranging from melody-on-melody meshing to various forms of featuring one instrument in interaction with the other. With Baugus, Kropp, Reiner (I-A)
4. Old Time Tunes on Fiddle, Appalachian Style - Learn a tune or two in each class of this series. The learning will include instruction on specific bowing and fingering techniques that make a fiddle performance sound in the oldtime Appalachian tradition. Each class will introduce new tunes and new stylistic issues, but attendance will not require having been at the previous classes. (I-A)
5. The repertoire of Henry Reed with Mac Benford (Demo)
Dave Kiphuth
1. How to artfully backup a singer - the ins and outs of fitting in with and complementing the singer. With Linda Schrade (I-A)
2. Making the transition from Bluegrass to Old Time - tunes and songs in both genres to illustrate the difference. With Kropp (I-A)
3. Spinning – The art of rolling 3-finger backup behind vocals and other instruments (AB-I)
4. Interpreting Fiddle Tunes in pre-melodic style (I-A)
5. Patterns up and down the neck - neck-theory workshop (AB-A)
Mike Kropp
1. The Tunes and Style of Doug Dillard - Doug Dillard was a profoundly influential banjoist during the 1960’s and 70’s while he performed and recorded with The Dillards. Tunes will be presented from Doug Dillard’s repertoire of original compositions. Many of Doug’s tunes have become benchmark standards for bluegrass banjo and lightening fast playing. Discussion of Doug’s style with demonstrations, as well as tablatures for some of his signature tunes and licks will be taught (I-A)
2. Folk Banjo Styles, Pete Seeger and Beyond - This class will demonstrate and teach the essential folk styles fostered by Pete Seeger and other giants of the Folk Era of the 1950’s and 1960’s. Demonstration of the long neck Pete Seeger banjo and the various landmark styles from Pete’s book will be taught. Up-picking, double thumbing, and various strums will be shown. If you have the “How to Play the Five String Banjo” book by Pete Seeger, bring it with you! With Weissberg, Deering (All)
3. The Art of the Fiddle-Banjo Duet - This series explores the art of duet-playing with fiddle and banjo, pairing oldtime fiddle with various banjo artists, from oldtime through two-finger picking to bluegrass style. See the kinds of artistic balance fiddle and banjo can achieve, ranging from melody-on-melody meshing to various forms of featuring one instrument in interaction with the other. With Baugus, Jabbour, Reiner (I-A)
4. New Dimensions in Bluegrass Banjo – Eric Weissberg’s contributions to the current popularity of the five-string banjo are enormous. His New Dimensions in Bluegrass Banjo album (Elektra, 1963) introduced many budding players to new realms of playing. In this class, we’ll examine several of his signature tunes, including Pony Express, No Title Yet Blues, and Eighth of January. The use of non-traditional tunings and inventive melodic-based instrumentals will also be explored. With Weissberg (All)
5. Making the transition from Bluegrass to Old Time - tunes and songs in both genres to illustrate the difference. With Kiphuth (I-A)
Alan Munde
1. The Melodic Style – fiddle tunes (I-A)
2. Creating Solos to Songs – With Cahill (I-A)
3. Breaking Out of I, IV, V - 3rds and 6ths and how they are used (All)
4. Playing in keys other than G without a capo - (I-A)
5. Anaylsis of Classic Bluegrass Solos - A new look at solos of Earl Scruggs on “Blue Ridge Cabin Home,” “Your Love is Like a Flower,” and “Little Darling Pal of Mine.” (All)
6. Munde’s Tunes – a look at “Peaches and Cream,” “Molly Bloom,” “Uncle Clooney Played the Banjo,” and others. (I-A)
Glenn Nelson
1. Banjo Care and feeding: How to get the most out of Your banjo - We will discuss banjo setup, maintenance and modifiable factors that affect its tone and playability. Bring your banjo! (All)
2. The Great Bluegrass Lick Lexicon Returns Again! The great signature licks used for fills and tags will be presented. Learn the right way to play them a la Earl, J.D., Sonny, et al. Here’s your chance to learn the licks of the pros. With Davis (I)
3. Beginning Chord Studies: Arpeggios and Re-naming Chords - A look at the all-important chord! How to use it, abuse it, substitute it and rename it! Use more chords/arpeggios to increase your knowledge of the fretboard and more importantly, create better music. Tri-tones, Altered chords, Dominant chords will be discussed as will great sounding and more importantly, easy to remember substitute chords. Add some spice to your playing! These concepts will be discussed within the context of familiar tunes (I-A)
Dave Reiner
1. A Bluegrass Fiddler’s Bag of Tricks - What I wish I had known when I started out... (B-AB)
2. Chords for Old Time and Bluegrass Fiddlers - Backup, doublestops, harmony, breaks — demystifying theory (B-I)
3. Old Time and Bluegrass Fiddle Bowing Workshop - Patterns and accents to make tunes come alive (B-I)
4. Bluegrass Band Development - A bluegrass band is as intricate as a classical chamber ensemble. Add vocals to that and the challenges increase exponentially! Veteran players will explore and demonstrate the complexities of bluegrass band performance. Among the topics: dynamics, vocal harmonies, lead and backup ettiquette, PA setup, arranging, hiring and firing. (All)
5. The Art of the Fiddle-Banjo Duet - This series explores the art of duet-playing with fiddle and banjo, pairing oldtime fiddle with various banjo artists, from oldtime through two-finger picking to bluegrass style. See the kinds of artistic balance fiddle and banjo can achieve, ranging from melody-on-melody meshing to various forms of featuring one instrument in interaction with the other. With Baugus, Kropp, Jabbour (I-A)
Mike Rivers
1. Getting the Most Out of Your Hand-held Recorder - These things are in their third or fourth generation so it’s already time to buy a new one. Some smaller than ever, some bolt on to your iPod, some record video, some are really more music workstations than just recorders, and some are really excellent recorders. In this workshop we’ll discuss some fundamentals of recording as well as some of the useful and wacky features available today that you might not expect. (All)
2. Making Your PA Work for You and the Audience - Part 2, or maybe Part 1 of Microphone Options. We’ll review microphone types and pickup patterns, talk about various PA system configurations (separated parts, powered mixers, powered speakers) and how they’re connected, and what all of those knobs and buttons do. (All)
John Rossbach
1. Banjo Picker’s Field Guide To Guitar Chord Shapes and Guitar Backup - Learn to follow the bandleader or guitarist in a jam by recognizing and transposing the guitar chord forms to the banjo. Understanding the commonality and differences between banjo G tuning and guitar standard tuning. If your goals are to learn more about how to keep good time, complement the sound of your fellow musicians, and earn the respect of new musical comrades-- then this is the class foryou! You will become a better banjo player if you know how play guitar backup. (B-I)