Fiddle & Mandolin Camps North 2011

 

Note that several of the teachers will be offering classes in both Camps.  Students in either Camp may benefit from the cross-fertilization (that means attendees may take classes in either Camp)

 

JESSE BROCK

Mandolin

1.        Rhythm Chops - We will focus on the tone of your chops, attack, and shuffling styles of rhythm.

2.        Timing – Using a metronome to show advantages of capturing the elusive "front-edge", "middle", and "back-side" of the beat.

3.        Practice structure - Slow, medium, & fast exercises, album jams at home and other practice routines.

4.        Equipment (picks, strings, tuners, metronome, etc.) - Choosing and using equipment for road and home use.

5.        Technique Enhancement: Speed and Tone - Pick placement in hand, thicknesses of picks, and how they can work for you, not against you.

6.        Styles (Monroe, McReynolds, Brock, etc.) - Down-strokes (slow & fast), cross-picking variations, and personal tricks and likes.

KIMBERLEY FRASER

Fiddle

1.        Cape Breton Fiddle  We will be working on building our Cape Breton repertoire in fiddle friendly keys like A, D, and G. Over the course of the weekend, we will build a short medley of tunes in the same way it would be done in Cape Breton. In addition to learning tunes, we will take a close look at the structure of tunes to help you internalize them. (Adv Beg, three sessions)

2.         Cape Breton Fiddle In the intermediate class we will build a medley of traditional Cape Breton tunes and take a more in depth look of bowings and ornaments commonly heard in the Cape Breton style. (Int, three sessions)

3.        Cape Breton Bowing and Ornamentation Using common repertoire, we’ll focus on two areas of technique that really contribute to the Cape Breton fiddle sound – bowing and ornamentation.  The goal is to improve your knowledge of where and how to apply these techniques to traditional Cape Breton tunes. (Int-Adv)

DAVID HARVEY

Mandolin

1.        Beginner Basic Techniques & Psychology - Right/Left hand coordination, scales, & exercises. (B-AB)

2.        Instrument Care & Feeding - Includes inspection of instrument and set up recommendations with a discussion on construction. (Demo)

3.        Mandolin Rhythm - What you will do most of the time! - Perfect your chop and visit passing chords.  Listening and backing soloists and vocalists.  (I)

4.        Two Approches to Soloing – Should you construct solos based on the melody, or the chordal harmonies of a tune? Here’s an exploration of both approaches. With Midkiff (I-A)

5.        Harmony Mandolin (all levels) What could be better than one mandolin?  Two mandolins, played by two Daves. They’ll demonstrate creative and exciting harmony playing for bluegrass, oldtime, Western Swing, and other styles, and will slow down and show you their trade secrets for harmony playing. With Reiner (I)

Fiddle

1.        Constructing a Bluegrass Fiddle Break (I)

2.        Tricks of the Trade for Bluegrass Fiddle (B-I)

SKIP GORMAN

Fiddle

1.        Cross Tunings - Cross-tuning your fiddle can add a special old time nuance and flavor to your playing that can transport you back to a time before bluegrass, jazz, and swing. It's the seminal, rural sound that drags you back to earth. I'll show you three or four useful 'cross tunings'  and a tune or two in each one. (AB-I)

Mandolin

1.        Bill's Waltzes - Double stops, tremolo, and sliding in waltzes like BillMonroe's Waltzes in G and C: Roxanna's  Waltz and others. (I-A).

2.        Old Time Melodies - They stand the test of time for a reason! We'll run through some simple and pretty melodies that will stay with you over time. Tunes that you can actually walk away humming. (B-I)

3.        Fiddle Numbers on the  Mandolin in A - The key of A has a special feel in the Bluegrass. Using the little finger, we'll work on tunes like Sally Goodin’, Grey Eagle, and get them close to the way Bill played them. (A)

4.        Bluegrass Breakdown - We'll work on learning (close) his 1940's recorded version and then some of HIS later additions.( B-A)

5.        Fiddle Tunes on the Mandolin in the Key of C - a great key for ragtime numbers. ( I-A)

6.        Dusty Miller - Bill recorded it with two parts and then started playing three later on. (I-A)

RICHIE BROWN

Mandolin

1.        Introduction to Bill Monroe - learn to play "Lonesome Road Blues" and "I'm going back to Old Kentucky.” Both of these tunes contain elements of Monroe's mandolin style and give some insight into his approach. (AB-A)

2.        Any Song, Any Key... Almost! - Explore stategies for negotiating through less commonly used keys such as : Bb, Eb, F, and B. Knowledge of chords is essential. (I-A)

3.        Introduction to Chord Shapes and Patterns Commonly Used in Bluegrass - Explore chords and patterns commonly used in bluegrass playing. We will also cover begining rhythm playing. (B-AB)

4.        Playing Harmony by Ear - In this presentation we will examine some simple theories of harmony and some strategies for playing harmony with another player. (presented with two players) (Presentation)

5.        Play Tasteful Backup - Learn to play with others. Discuss what not to do in jam sessions as well as exploring ways to "do the right things" when others are singing or soloing. (AB-I)

6.        Easy Turn-arounds for Beginners - the turnaround is a I-V-I intro that is used in hundreds of songs. We will go over 2 or 3 common turnarounds and show you how and where to use them in your playing. (B-I)

SHARON GILCHRIST

Mandolin

1.        Intros, fills and endings - We'll learn how to convincingly start off and end solos and how to fill in between phrases on verses and choruses of songs. (I)

2.        Old-time tunes - Old-time music is infectious. Why? Because of the groove. We'll learn a tune or two and find ways to get that feel into our playing. Whether you play old-time or not, bringing that feel into your right hand can one's playing relax and can offer another rhythmic feel to whatever other style one does play. (AB-I)

3.        Beyond I-IV-V - We'll look at songs that have chords progressions outside of the standard I-IV-V chord progression and look at arpeggiation of those progressions and learn to better hear these chord changes. (I)

4.        Improv Basics - We’ll discuss how to use three magic tones that comprise the most basic chord structure in Western music to create lead lines, double stops, improv and more. We'll also see how they can help open up knowledge of the fretboard by looking at how to practice them up and down the neck. (B-I)

5.        Double Stops - Learning how to play double stops up and down the neck. Taking the Improv Basics class prior to this class would be helpful, but is certainly not necessary. (AB-I)

6.        Beyond Chopping: Chord Inversions and other options - This is a look into back-up methods including moving chord inversions, open strings, and varying chord tones to provide counterpoint lines to one's accompaniment. We'll also look at chord voicings that work well for accompanying a solo performance. (I-A)

MARTIN GROSSWENDT

Mandolin

1.        Shape Up! - Here’s a primer in mandolin fretboard geography that will explore the shapes within shapes—the familiar two-note intervals that make up larger chords—designed to get you navigating the neck. (AB-I)

2.        Intro to Blues Soloing - Johnny Young, Yank Rachell and Rich del Grosso have all used mandolin brilliantly as lead instrument in amplified, modern-style blues bands.  In this workshop we’ll think about ways to approach the mandolin as a vehicle for single-line soloing in that genre, and what you need to know about the fingerboard.  (I)

3.        Big Chord Blues - Come learn some big, open-chord voicings and riffs that are a great place to start on that country-blues mando sound. (AB-I)

4.        Black Mandolin Classics - An introduction to some of the great mandolin pieces recorded by African-American artists in the1920’s.  These classic instrumentals combine blues, ragtime and other influences to create some of the most fun-to play mandolin ever captured on disk. (I)

5.        Easy Swing Chords for Mandolin - We’ll take a look at some simple, moveable chord shapes you can use on mandolin to get fundamental jazz voicings, as well as left- and right-hand technique to get your rhythm swinging. (AB-I)

LORRAINE HAMMOND

Mandolin, Voice

1.        Beginners’ Track - Here’s the chance to make music on your mandolin for the first time, or dust off the case that was at the back of the closet, take out that lonely mando, and start fresh. All the basics – holding and using the pick, simple melodies, simple chords, simple strategies for playing and loving it!

2.        Two Finger Wonder Chords! - These little slant shapes open up the entire mandolin fingerboard to beginners.  Come see how it works.

3.        Singing for the Confidence Impaired - Come have fun vocal warm-ups, with simple songs, and easy techniques that will help you find and focus your voice.

DAVE HOWARD

Mandolin, Guitar

1.        Woody’s Rag - Step up to the plate and learn to play the lead on your first mandolin tune. (B-AB)

2.        Crosspicking 101 - A hands on exploration of Jesse McReynolds’ original style of mandolin playing focusing on both technique and concepts. (I-A)

3.        Shoot your capo! - How to avoid fumbling with that capo and be able to play great rhythm guitar in almost any key. (I-A)

  1. Getting the Most from a Fake Book - Review of chord symbols. Demystification of "nasty" chords. Reducing tunes to groups of tonalities. Making your own charts. With Midkiff (I)
  2. Jazz Standards for Mandolin - An introduction to playing jazz and pop standards on the mandolin. We’ll talk about melodies, scales, using two notes to “suggest” a more complex chord, and demonstrate all these points in the context of some well- and lesser-known tunes. With Walach (I)

ALAN JABBOUR

Fiddle

1.        Henry Reed Tunes fom the VA-WV Border, Part 1 The tunes of Henry Reed of Glen Lyn, VA, have become a key element in oldtime fiddling today. Reed (1884-1968) had an enormous repertory of oldtime tunes from Virginia and West Virginia and a musical style that resides in his bowing patterns ("longbow" style) and fingering practices. The class will learn tunes using some of his characteristic bowing and fingering. (Adv Beg – Int)

2.        Henry Reed Tunes from the VA-WV Border, Part 2 This is the second of two classes devoted to the tunes and style of Henry Reed.  Attendance at the first class is not required to enjoy this one. (Adv Beg – Int)

3.        Virginia Tunes from Gray Craig (and Posey Rorer) Gray Craig of Henry County, VA, had a rollicking lyrical style similar to his mentor, Posey Rorer of Charlie Poole's North Carolina Ramblers. Several of the tunes he called "cotillions," by which he meant dance tunes that change key from one strain to the other. This class will learn some cotillion tunes and the stylistic elements that give them their special flavor. (Adv Beg – Int)

4.        Crosskey Tunings from the Hammons Family Alan learned fiddle tunes from Burl Hammons and Sherman Hammons of Pocahontas County, WV, in the 1970s. Then in the 1980s, when a cache of disc recordings was discovered of their uncle, Edden Hammons, the legendary fiddler of the previous generation. Many tunes in the family repertory call for retuning the fiddle's strings to create different fingering patterns and different overtones. In this class we'll learn a couple of Hammons Family tunes that use crosskey tunings. (Adv Beg – Int)

5.        Blue Ridge Tunes from Taylor Kimble. Taylor had a big repertory of oldtime tunes, including some unique versions of tunes played elsewhere along the Blue Ridge. His bowings were in a liquid, intricate longbow style. He also made simpler melodies more "notey" by lifting and replacing his finger rapidly, alternating between the note and the open string. We'll learn a couple of Kimble's tunes -- and his stylistic tricks in the bargain. (Adv Beg – Int)

6.        Giving Waltzes Lift in Oldtime Style Waltzes are a dance genre in 3/4 time. But a fiddler can give waltzes a special lift by using certain rhythmic bowing patterns. We'll learn a waltz using these bowing patterns -- particularly the syncopated pattern known as hemiola, which divides the six eighth notes of a waltz-time bar into groups of three instead of two. We'll also learn the typical pickups and phrase-endings for waltzes, including the "Scotch snap" pickup. (Adv Beg – Int)

7.        Appalachian Syncopation: A Participatory Demonstration Bring your fiddles as usual, but in this class we won't learn whole tunes. Instead, we'll focus on the varieties of syncopation that are common in Appalachian fiddling. Some are simple offbeat fiddling, but that includes slurred bowing patterns that are offbeat by stretching over more than a beat, like the 2-4-2 bowing patterns. Most syncopated patterns are in 4/4 and divide up the groups of eight "fast notes" (two foot beats) into 3-3-2 groupings instead of pairs and fours ("foursquare"). There are many variants of this fundamental syncopated pattern in Appalachian fiddling, as well as melodic syncopations that use notes, not bowings, to spell out the pattern. Anticipations and delays form another category of syncopation. Finally, there is the hemiola syncopation of waltz time. (Adv Beg – Int)

ALAN KAUFMAN

Fiddle

1.        Old-Time Fiddle – See the schedule for specifics

Mandolin

1.        Beginners’ Track - Make music on your mandolin for the first time, or start fresh. All the basics – holding and using the pick, simple melodies, simple chords, simple strategies for playing and loving it!

2.        Intro to klezmer mandolin

JEFF MIDKIFF

Fiddle

1.        Swinging Like Grappelli - Exploration of Stephane Grappelli's style with emphasis on tunes, licks, rhythm, patterns and life beyond first position!(A)

2.        Basics of Jazz Violin - An introduction of jazz melodic and rhythmic "vocabulary" by focusing on a few standard tunes. (I)

Mandolin

1.        Two Approaches to Soloing - Should you construct solos based on the melody, or the chordal harmonies of a tune? Here’s an exploration of both approaches. (I-A)

2.        What would Django Play? - A look into Django's style, licks, tunes and dynamic approach to soloing using some of his familiar songs as well as some he never played. (A)

3.        Improve the Improv - Soloing over any type of chord. Chord substitutions. Linear activities for well known tunes in several styles: swing, grass, fiddle tunes. (I)

4.        Getting the Most from a Fake Book - Review of chord symbols. Demystification of "nasty" chords. Reducing tunes to groups of tonalities. Making your own charts. With Howard (I)

5.        Play what you hear - Decoding those solos you've always wanted to learn. It's more about your ears than fingers!

BEN PEARCE

Mandolin

1.        Learning the Numbers: I, IV, V - a look the most common bluegrass and folk progressions and the mandolin as a great medium for playing rhythm along with them, and we’ll unlock a fundamental secret to navigating the mandolin fingerboard (B-I)

2.        Major and Minor Chords and Scales - a look at the differences (and some similarities) between major and minor keys, their scales, and the chords that derive from them. Why do some chords just sound better together than others?  Why do some scales not sound good over chords? We will look at a fiddle tune that contains both modes, and use it compare and contrast the emotive qualities of each. (I-A)

3.        Know Thy Mandolin – the construction and constituent parts of the mandolin, how each contributes to the functionality of the mandolin as a whole, as well as setup tweaks that you can do yourself to improve playability. This class looks at how to take care of your instrument as well as how to identify when things are amiss. (All)

4.        Dissecting Doublestops - understanding doublestops in terms of scales as well as partial chords, how to effectively use doublestops in both lead and backup playing. This approach helps underscore the harmonic underpinnings of commonly used doublestops and their place in the chords over which they are played. (I)

5.        Bluegrass Mando Licks in Closed Positions - so, you know the "Bluegrass Grip"... and maybe a few other chords, but want to move to the world of improvisation.  Take this common chord shape and solidify its relation to some of the most bluegrass licks known to man(dolin)! (I)

ANDY REINER

Fiddle

1.        Southern Oldtime Fiddle Within the simplicity of oldtime Appalachian music lies vast musical depth and staying power that has brought these tunes through the generations.  Explore rhythmic elements of oldtime tunes – accents and pulses alongside shuffles and bow rocking – and strategies to spruce up your oldtime fiddling. Using common tunes as examples, Andy will break down and slow down the idiosyncratic characteristics of bowing and double stops that make these tunes sound authentic. (Adv Beg)

2.        New England Fiddle Here in the heart of New England, Andy will teach traditional reels and jigs, and will reveal classic New England fiddling and bowing techniques that will gladden the heart and lift the feet of any contra dancer. (Adv Beg)

3.        Irish Fiddle  Learn an Irish tune or two! Andy will demystify the ornaments and stylistic elements that make a fiddle sing with a beautiful Celtic accent. (Adv Beg)

4.        Bluegrass FiddleWhat are the elements of beginning bluegrass fiddle?  Andy will cover how to play fiddle in a bluegrass band or jamming situation, including both songs and bluegrass fiddle tunes.  From essential beginning techniques to listening skills to bluegrass etiquette. (Adv Beg)

5.        Bluegrass FiddleWhere does that bluegrass fiddle sound come from?  Andy will cover how to play fiddle in a bluegrass band or jamming situation, including both songs and bluegrass fiddle tunes.  From intermediate fiddle techniques to listening skills to bluegrass etiquette. (Int)

6.        Chop Bowing Workshop  Learn the new rhythmic language sweeping the fiddle world - Chopping - combining elements of drums and funk guitar to revolutionize the way you approach your fiddle rhythmically. (Beg-Adv)

7.        Twin Fiddle Session (with Dave Reiner) How do you play together with another fiddler (or other lead player)?  Dave and Andy have been playing together for 20 years, and will demonstrate and teach key techniques (including harmony, counterpoint, simple backup, and chopping) for twin fiddling in traditional styles. (Beg-Int)

DAVE REINER
Fiddle

1.        Bowing Patterns that Make Your Fiddling Come Alive The rhythmic drive, flow of notes, and liveliness of a fiddle tune owe much to the often intricate patterns of the bow. Southern oldtime, New England, Irish, and bluegrass styles. (Int-Adv)

2.        Chord Theory for Fiddlers Understanding chords will help you to play the right double stops, to tastefully back up singers and instrumentalists, and to create harmonies to other lead instruments.  (Beg-Int)

3.        Twin Fiddle Session  (with Andy Reiner) How do you play together with another fiddler? We will demonstrate and teach key techniques (including harmony, counterpoint, simple backup, and chopping) for twin fiddling in traditional styles. (Beg-Int)

4.        Harmony Mandolin What could be better than one mandolin?  The two Daves will demonstrate harmony playing for bluegrass, oldtime, Western Swing,etc, and will slow down and show you their trade secrets for harmony playing. (with Harvey) (All)

MIKE RIVERS

Sound, Guitar

1.        Getting the Most From Your Hand-held Recorder - These recorders are now in their fourth generation, so it's definitely time to get one or upgrade your old one. We'll look at a range of sizes, shapes, and capabilities, discuss some fundamentals of recording, trade tips for making better recordings, and using and managing your recordings. (Demo)

2.        Guitar Backup for Fiddle Tunes - Learning the chords and knowing when to change chords, using runs to move between chords and in lieu of chords, faking it without sounding like you don't know the tune or the chords, and why what's appropriate to play with a band may not be appropriate for playing in a jam. (Demo)

3.        Working with a PA System –Can’t play a gig these days without a sound system, your own or one at the venue. We'll discuss individual components, powered mixers, powered speakers and how they're connected, and what all of those knobs and buttons do. Tips on setup, microphone choices, positioning, and techniques, and keeping the stage neat and organized (Demo)

4.        Everything Audio - Everybody has questions about sound and recording so here's your chance to get answers. Ask me anything, and share your woes and solutions. (All)

JOHN ROSSBACH

Mandolin, Guitar

1.        Bluegrass Chord Forms - Essential major, minor and “modal” chord forms for a firm foundation in a bluegrass band. (B-I)

2.        Old-Time Chord Forms - This class will focus on the essential major, minor and “modal” chord forms for old timey mandolin accompaniment in an ensemble gathering. (B-I)

3.        Mandolin Geography: Shifting Positions Using Double-Stops - Shifting multiple notes simultaneously through double-stops can form the basis of a style that effectively gets you from one place to another. (I)

4.        Remedial Redemption for Mandolin Players - Most intermediate players don’t even know their technique needs an overhaul before they can get off the plateau and ascend to higher peaks.

5.        Guitar Backup for Fiddle and Mandolin Players - 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 for you!

DAVID SURETTE

Mandolin

1.        Blues for mandolin - Blues forms, chord voicings, soloing, and repertoire. (I-A)

2.        Classic rock songs - The Dead, the Band, Beatles, Allman Brothers, you get the drift. (I-A)

3.        Irish tunes - jigs, reels, jigs, reels; also some suggestions on ornamentation and accompaniment. (I-A)

4.        Song accompaniment - How to accompany yourself, and how to play backup to a singer/guitarist (I-A)

5.        Old-time tunes and songs - Repertoire and style; fiddle tunes, folk and blues songs (I-A)

6.        Open chord strumming - lots of nifty one and two finger shapes, using drones and moving lines; easy to play. (B-I)

BILL WALACH

Mandolin

1.        Common dance and party tunes from late 60's and 70's in New England - This is a chance for some newer players to play and learn some of the simpler tunes old timers take for granted. (I-A)

2.        Tone and Picking Styles - We’ll talk about various aspects of tone, including where you pick the string, finding the “sweet spot” on your instrument and the different types of pick you can use to find the tone that’s “just right.” (AB-I)

3.        Jazz Standards for Mandolin - An introduction to playing jazz and pop standards on the mandolin. Melodies, scales, using two notes to “suggest” a more complex chord, and demonstrate all these points in the context of  tunes. With Howard (I)

4.        Jigs:  Playing with Power in 6/8 - Learn to play in 6/8 to develop the facility and strength of your right hand, on the upstroke as well as the down. (I-A)

5.        Writing Your Own Tunes For Mandolin -  An introduction to writing tunes on the mandolin that express your own influences and ideas. (I-A)

  1. Contemporary Musical Influences on the Mandolin - incorporating the mandolin into contemporary music. Share ideas about using the mandolin in Jam/Groove bands, Jazz, Rap, or other contemporary Folk or Pop environments. (I-A)

STAFF

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 etiquette, arranging, rehearsing, etc. (B-A)