CLASS INFORMATION

Te workshops take place at various sites around the Warren Wilson

campus and environs, (contact: admit@warren-wilson.edu or 1-800-934-3536
for college admission information) including classrooms, Kittredge Teatre, our
Bryson Gym dancehall and campus Pavilion, the campus gardens and patios,
and our own jam session tents. Each year we ofer over 150 classes. Students
are fee to create their own curriculum fom any of the classes in any programs
ofered for each week. Students may list a class choice and an alternate for each
of our scheduled class periods, but concentration on a few classes is strongly
recommended, and class selections are required for registration. We ask that
you be thoughtful in making your selections, since we will consider them to be
binding choices for which we will reserve you space. Afer the frst class meeting,
students have until 6pm on Monday of that week to switch into another open
class if they fnd they have made an inappropriate choice, and are then expected
to remain in those classes. We discourage dropping in and out of classes during
the week. Unless indicated in the class descriptions, classes have a maximum of 15
students, and when those limits are reached, classes will be closed and additional
students waitlisted. Registration is on a frst-come, frst-served basis. Look for
updates and any corrections to this catalog at our website.
Each week commences with supper, an orientation session, and
jam sessions and socializing on the Sunday before classes begin. Most classes
will meet for morning or afernoon sessions, Monday through Friday. Friday
evenings activities will conclude the week. Some classes may also meet in the
evenings for performance critiques, rehearsals, or jam sessions. In addition to
the scheduled classes and instructor staf, we will have various potluck sessions,
guest instructors, and adjunct staf to call dances and lead picking sessions
and slow jams, or tune-learning sessions. Check the program descriptions for
details. Several of our programs also feature staf members in concerts open
to the public. See the Concerts page at our website for details. We will also
have several vendors on hand, including Michael Ginsburg (865-984-3803
or ginseng45@hotmail.com), ofering recordings and other staf items, and
Acoustic Corner (828-669-5162 or www.acoustic-corner.com), offering
instruments, rentals, accessories, books, and musical supplies. Tose wishing
to rent instruments or special order items should contact Acoustic Corner in
advance. Te Gathering has grown steadily since its inception, and we expect
growth to continue this year. Please note that although there is no deadline for
registrations, both class size and total enrollment are limited for each calendar
week, so early registration is encouraged. Our mountain campus is beautiful
but hilly, and those with health problems may fnd it challenging. Before reg-
istering, students should give reasonable consideration to their ability to get
participate in the program without assistance. Although we help where we can,
we dont have the resources, personnel or expertise to provide assistance to those
with prohibitive health issues.
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JULY 6 - AUGUST 9, 2014 AT WARREN WILSON COLLEGE, ASHEVILLE, NC
Te Swannanoa Gathering
Warren Wilson College, PO Box 9000, Asheville, NC 28815-9000
phone/fax: (828) 298-3434
email: gathering@warren-wilson.edu website: www.swangathering.com
shipping address: Te Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778
For college admission information contact: admit@warren-wilson.edu or 1-800-934-3536
WARREN WILSON COLLEGE
President Dr. Steven L. Solnick
Vice President and Dean of the College Dr. Paula Garrett
Vice President for Administration and Finance Alan Russell
Vice President for Advancement & Dean of Admissions Richard Blomgren
Dean of Student Life Paul Perrine
Dean of Service Learning Cathy Kramer
Dean of Work Ian Robertson
THE SWANNANOA GATHERING

Founder and President Emeritus Dr. Douglas M. Orr, Jr.
Director Jim Magill
Of ce Manager Ruth Ingram
Logistics Coordinator Julia Weatherford
Housing Coordinator Sarah Donnelly
Dorm Host Amy McCuin
Coordinator, Traditional Song Week Julee Glaub
Coordinator, Celtic Week Jim Magill
Coordinator, Old-Time Music & Dance Week Phil Jamison
Coordinator, Guitar Week Al Petteway
Coordinator, Contemporary Folk Week David Roth
Coordinator, Fiddle Week Julia Weatherford
Coordinator, Mando & Banjo Week Jim Magill
Coordinator, Childrens Programs Melissa Hyman
Sound Technician Weogo Reed
ADVISORY BOARD
David Holt, artist Tom Paxton, artist
Fiona Ritchie, Te Tistle & Shamrock Dougie MacLean, artist
Art Menius, Executive Director, Te ArtsCenter Tommy Sands, artist
David Wilcox, artist Si Kahn, artist
John McCutcheon, artist Billy Edd Wheeler, artist
Barry Poss, Sugar Hill Records Mick Moloney, artist
Jennifer Pickering, LEAF Festival Director
MASTER MUSIC MAKER AWARDS
Ralph Blizard 1996 Samus Connolly 2002
Tom Paxton 1996 Mike Seeger 2003
Margaret Bennett 1998 Billy Jackson 2004
Fiona Ritchie 2000 Stranger Malone 2005
David Holt 2001 Phil Jamison 2008
Jean Ritchie 2001 Alice Gerrard 2010
John McCutcheon 2001 Al Petteway 2013
Our programs open format, which encourages students to take
several courses a day, allows a breadth of understanding of our folk traditions
seldom found in workshops of this type. For example, a fddler may take a class
in her instrument in the morning, then, afer lunch, a dance class that uses
tunes from her fddle class, and a folklore class in the afernoon describing the
cultural context in which both tunes and dances developed. Tis may then
contribute to a more complete grasp of the nuances of the style during her
practice time, and a more authentic fddle sound. We encourage all students
to come to Swannanoa with an open mind and a willingness to try something
new.
Students enrolled for instrumental instruction are expected to pro-
vide their own instruments, and most of our instructors encourage the use of
small recording devices like tape- or digital recorders as a classroom memory
aid. Students wishing to record video of their classes will be required to obtain
the permission of the instructor prior to the frst class meeting, and must sign a
release form stating that no commercial use will be made of any recorded materi-
als, nor will they be posted to any internet website. Te Swannanoa Gathering
reserves the right to cancel, add, and/or substitute classes and personnel where
necessary. Call our of ce or visit our website for the latest program updates or
corrections.
SKILL LEVELS
Our students come from all backgrounds and skill levels, from
complete beginners to serious hobbyists to professional musicians, and from
countries as varied as France, Colombia, Japan and Australia, as well as Canada
and all 50 states. Some class descriptions defne required skills in detail, but
when the following terms appear, Beginner refers to those with no experience
at all, or those who play some but are not yet comfortable with the basics.
Intermediate students should have mastered basic skills, and be able to tune
their instruments, keep time, play the principal chords and scales cleanly, and
know how to play a few tunes with confdence (dancers should know basic steps
and fgures, and how to lead and/or follow). Advanced students should be very
comfortable with their instruments and able to focus on style, arrangement and
ornamentation. Roman numerals afer a class title indicate a diference in focus
or skill level of the same subject, while capital letters denote diferent sections
of the same class. Many classes may include musical notation, tablature or other
handouts, though in general, we emphasize learning by ear. Our classes have
no age restrictions, but we require that all students, especially minors, be
sincerely interested in the class subject and not a distraction to others.

TUITION
Tuition is $500 per week, which includes a deposit of $100 required
for registration. Full payment is required by June 6 to guarantee your class
choices. Afer that date, your class reservations will be unconfrmed until we
receive your balance. If we are holding a space for you in a class that is full,
and your balance is unpaid afer June 6, we may release that space to another
student. If possible, full payment with your registration is helpful and appreci-
ated. Registrations afer June 6 for any remaining spaces must be accompanied
by full payment. Some classes may require materials- or other fees as specifed
in the course descriptions and should be paid directly to the instructor upon
arrival. Tuition for the Childrens Program during Traditional Song, Celtic,
and Old-Time Weeks is $175 per child per week (includes evening childcare
for ages 3-12), with a $25 deposit required. Te Childrens Program also has
an additional materials fee of $30 payable to the coordinator on arrival.
HOUSING & MEALS
If youre considering joining us and are wondering what kind of
environment you can expect, just remember that the Swannanoa Gathering
is not a conference center or resort, but a music camp held on a college campus.
Remember camp? Remember college? Housing is available for students and
staf of the Swannanoa Gathering in the college dormitories. Rooms are double-
occupancy with communal bath facilities. Small deposits for dorm keys and
meal cards will be required on arrival. Linens are provided, but students may
wish to bring extra items that will be listed in the Welcome Letter mailed to
registrants in May. Smoking is not permitted in or near any campus buildings.
No pets, please. Motor homes are not permitted on campus. Te housing fee
of $395 includes a double occupancy room for six nights, supper on Sunday,
three bufet-style meals a day at the college cafeteria in Gladfelter Student
Center, and breakfast on Saturday at the end of the week. A limited number of
single rooms are available at an additional fee of $155 for a total of $550. Te
College is catered by Sodexo (828-298-1041), and low-sodium and vegetarian
meals are available. Tose wishing to stay over on the Saturday night at weeks
end may do so if space is available for a fee of $75 per person. Tis does not
include the cost of meals. No Saturday stayover on August 9. We cannot house
those wishing to arrive a day early. Adults staying of-campus may purchase a
meal ticket for $124, and meal tickets for children under 12 may be purchased
for $82. Meals may also be purchased individually.
CONTENTS
Program Information .......................................................... Inside front cover
Traditional Song Week ................................................................................... 3
Celtic Week ................................................................................................... 10
Old-Time Music & Dance Week .................................................................. 20
Guitar Week .................................................................................................. 28
Contemporary Folk Week ............................................................................ 36
Fiddle Week ................................................................................................... 42
Mando & Banjo Week ................................................................................... 49
Registration form ................................................................. Inside back cover
As long as space permits, we will continue to allow a non-student
living outside the Asheville area to accompany an enrolled student and be
housed with them in student dorms for payment of the $395 housing fee and
an activity fee of $135, which allows admission to all events except classes.
Tere is a $50 deposit required to register as a non-student. Since many of the
social activities that foster the sense of community we are striving for take place
outside of class at mealtimes, in the evenings, at jam sessions and dances, all
participants are encouraged to be in residence on campus during the week
if at all possible. Tose with special needs should include a detailed, written
description of those needs with their registration materials.
CANCELLATIONS AND REFUNDS
Te deposits required for registration are processing fees credited
toward tuition and not student funds held in escrow, and are thus non-
refundable and non-transferrable. Should an enrolled student need to cancel,
we can refund all monies collected, other than the deposits, if notifed four weeks
before his/her program begins. No refunds other than the cost of meals ($124
for adults, $82 for children) can be made within four weeks of the event.
1
2
YOUTH SCHOLARSHIPS & ENDOWMENTS
Each year, we award Youth Scholarships for the cost of tuition and
housing in any of our programs to a number of promising young musicians and
dancers. Tese scholarships are funded entirely by donations from our partici-
pants. Several of these scholarships are memorial scholarships awarded during
Celtic Week in memory of Tony Cufe and Regis Malady, during Old-Time
Week in memory of Ralph Blizard, and during Contemporary Folk, Fiddle
or Traditional Song Weeks in memory of Freyda Epstein, our dear friends
and long-time staf members. Several additional scholarships are sponsored
by individuals as well as the Charlotte Folk Society, Tosco Music Parties,
Austin Friends of Traditional Music, Wilkes Acoustic Folk Society, Dream
Guitars, the Blue Ridge Irish Music School and a group of regular attendees
calling themselves Te Shepard Posse. Other individuals and organizations
are also welcome to sponsor Youth Scholars. Contact our of ce for details.
Applicants should be under the age of 22 during the week they are applying
for, and should submit by April 1 a completed application (available from the
Youth Scholarship page at our website), a self-written letter of request for the
specifc week desired, giving background and contact information, including the
applicants age, prior musical experience and stating why (s)he should receive a
scholarship, plus a letter of recommendation from a mentor or other individual
knowledgeable in the applicants area of folk music or dance. Please do not send
recordings. Priority will be given to those who have not received a scholarship
before. An application fee is not required. Scholarships are merit-based, limited
and competitive.
Te Doug & Darcy Orr Music Fund is an endowment fund estab-
lished to provide long-term fnancial support for the work of the Swannanoa
Gathering now, and for decades to come. Originally established with a generous
gif from one of our workshop participants, interest from the fund provides
fnancial support for the program where it is most needed.
Interest from our Youth Scholarship Endowment directly funds
youth scholars.
Our Greatest Needs Fund is the restricted account that receives the
interest from the endowments. Tax-free contributions to the Doug & Darcy
Orr Music Fund, the Youth Scholarship Endowment, and/or the Greatest
Needs Fund are welcomed and may be included on the registration form.
SOCIAL EVENTS
In addition to scheduled classes, each weeks activities may include
concerts by staf instructors, evening dances, song swaps, slow jam sessions,
open mikes and informal pickin parties. Some concerts and dances may be
open to the public. Te Colleges facilities include a gymnasium, weight room,
aquatic center and tennis courts, as well as a pond, nature trails, and a working
farm. Tere are also a number of nearby scenic attractions, including historic
Asheville and Black Mountain, the Biltmore Estate, the Blue Ridge Parkway,
Folk Art Center, Pisgah National Forest, Great Smokies National Park and
Mount Mitchell, the tallest peak in the eastern U.S.

CHILDRENS PROGRAMS
We encourage those bringing children aged 6-12 during our Tradi-
tional Song, Celtic, and Old-Time Weeks to take advantage of the Childrens
Programs described in the catalog, but remember, space is limited. Children
must have turned 6 by July 1st to participate. No exceptions, please. Program
activities are scheduled during class periods, and parents are responsible for their
children at all other times. Evening childcare will be provided for ages 3-12 at no
additional cost. Tose bringing children should indicate so on their registration
form. Children under 12 may stay in a room with two adults, at least one of
whom is a registered student, at no charge, other than the cost of meals. Our
rooms contain no more than two beds, so the accompanying adult must provide
each childs bedding (cot, air mattress, etc.), and both adults must request the
arrangement. In the case of a single adult with child(ren), they will be housed
together and charged an additional single-room fee of $155 for the week as
long as space permits.
COURSE CREDIT
Te North Carolina Department of Public Instruction has allowed
three hours of Teaching Certifcate Renewal Credit for each week of the Swan-
nanoa Gathering. Interested teachers should contact their local school board
for prior approval.
AIRPORT SHUTTLE
For those travelling by air, we can ofer free airport shuttle service
only at the following times:
SUN. shuttle departs the Asheville airport for the College at noon, 3 pm and 5 pm.
SAT. shuttle departs the College for the Asheville airport at 9 am and noon.
Shuttle space is limited and available on a frst-come, frst-served basis. Other com-
mercial transport to and from the College is available at the Asheville Regional
Airport (AVL). Drive time between the College and the Asheville Airport is
approximately 30 minutes. Please make your travel plans accordingly, and note
your fight info and desired shuttle times on your registration form, or contact us
so we know who to expect on each shuttle run. Tose staying over on Saturday
may make arrangements to ride out to the airport on the Sunday shuttles.
HOW TO GET HERE
Te Asheville-Swannanoa area is easily reached by car from the east
and west by I- 40, and from the north and south by I- 26. From I- 40, take exit
55, and go north a quarter mile to Hwy 70. Go east approximately 1.6 miles to
the next stoplight. Turn lef onto Warren Wilson Rd. and go 1.4 miles to the
College. US Airways, Continental, Delta, AirTran and United provide daily
service to the Asheville Regional Airport, located just south of Asheville.
For those wishing to fnd or share a ride to the Swannanoa Gather-
ing, please visit the Rideshare page at our website. Its a great way to meet new
friends.
3
PETER YARROW
Were part of a long train ride, is the way Peter Yarrow
describes the events that have highlighted a career span-
ning more than four decades, frst with seminal folk artists
Peter, Paul & Mary, then as a solo performer. As a member
of the renowned musical trio, he has earned many gold
and platinum albums, and numerous Grammys. With
characteristic care, Yarrow places the success hes had
within a greater context, seeing his accomplishments
as part of a tradition, to be credited and carried on. His
gif for songwriting produced some of the most moving
songs Peter, Paul & Mary recorded, including Puf, the Magic Dragon, Day is Done,
Light One Candle, and Te Great Mandala, and his talents are frequently directed at
using music to convey a message of humanity and caring, illustrated by his involvement
with numerous projects, including the Civil Rights Movement, which brought Peter,
Paul & Mary to Washington in 1963 to sing for the historic march led by Dr. Martin
Luther King, Jr., the Selma-Montgomery march in 1965, numerous events for the Peace/
anti-Vietnam War movement, including festivals at Madison Square Garden and Shea
Stadium, and more recently, the Hospice Movement, and Operation Respect: Dont
Laugh At Me, to build safer and more respectful school environments for children.
Nurturing and validating the talent of new songwriters is something to which Peter has
been committed throughout his career. In 1962, he became a founding board member
of the Newport Folk Festival, and in that context conceived of and hosted a special
New Folk Concert dedicated to emerging folk performers and songwriters. In 1970,
building on this concept, Peter conceived of and co-organized the New Folks Concert,
which became the signature event of the Kerrville (Texas) Folk Festival, now considered,
arguably, the most respected platform in America for launching new singer/songwriters.
We are honored to have Peter joining us this summer. www. peteryarrow.net
LEN GRAHAM
County Antrims Len Graham has been a full-time professional
traditional singer since 1982. Afer he won the All-Ireland Tra-
ditional Singing competion in 1971, his passion for the songs of
his native Ulster began to grow with his reputation. Len sought
out and recorded older singers, and published a book, Here I
Am Amongst You, on the songs, dance music and traditions of
Joe Holmes. He was a founding member of the group Skylark,
with whom he toured extensively for ten years and recorded four
albums. In 1993, he released his book and feld recording collec-
tion, Its Of My Rambles. Over the years, Len has collaborated and worked with numerous
musicians, poets and storytellers. His association with the late John Campbell brought
storytelling and song to a world audience, and their work together over twenty years
made a signifcant contribution toward creating a deeper cross-community understand-
ing of shared cultural traditions during many years of confict in the north of Ireland.
Len has recorded numerous albums, performed at many Irish and international folk,
literary and storytelling festivals, and appeared on many radio and television programs.
In 1992, he received the Sen OBoyle Cultural Traditions Award in recognition of his
work in Ireland as a song collector and singer. In 2002, he was honoured as the frst
recipient of the Irish television TG4 National Music Award for Traditional Singer Of
the Year. In 2008, he was awarded Keeper of the Tradition from the Tommy Makem
Festival of Traditional Song and the US Irish Music Award in the Sean-Ns Singing
category, and in 2011 he was awarded the Gradam na mBard CC (CC Bardic Award)
at the All-Ireland Fleadh Cheoil na hireann. www.storyandsong.com
ELIZABETH LAPRELLE
(See bio in Old-Time Week page 21)
Traditional Song Week realizes a dream of a comprehensive program completely devoted to traditional styles of singing. Unlike programs where
singing takes a back seat to the instrumentalists, it is the entire focus of this week, which aims to help restore the power of songs within the larger traditional
music scene. Here, fnally, is a place where you can develop and grow in confdence about your singing, and have lots of fun with other folks devoted to their
own song journeys. Come gather with us to explore various traditional song genres under the guidance of experienced, top-notch instructors. When singers
gather together, magical moments are bound to happen!
For our seventh year, Traditional Song Week is proud to present a gathering of highly infuential singers and musicians who have remained devoted
over the years to preserving and promoting traditional song. Tis year will introduce several new programs into the week. In celebration of Peter Yarrows visit
and afer the success of last years featured Song Contest, we will host the frst Best Sixties Folk Song Contest on Tuesday evening. Students will have an
opportunity to share their best versions of songs from an era which marked history. Extra points will be given for crazy costumes! Our Community Gathering
time each day afords us the opportunity to experience together as a group diverse topics concerning our shared love of traditional song. Tis years spotlight
will shine on Peter Yarrow, a true icon of American music, as we continue to celebrate Peter, Paul, and Marys 50th Anniversary (2013). Peter will share his
music and stories during one of the Community Gatherings as well as joining in on a staf concert night. Other special guests will include NC ballad treasure
Bobby McMillon and his Anthology Project of rare songs, Doug and Darcy Orr on the eve of the publication of their new book project (with co-author,
Fiona Ritchie) Wayfaring Strangers, and, back by popular demand, the dynamic duo Rev. Robert Jones and Matt Watroba presenting songs from the 1840s
up to present day. We will also learn from behind the scenes about one of our states fnest resources for traditional singers, the Backporch Music radio series
from National Public Radio af liate WUNC, out of the Triangle area. Very special guest, radio host Freddy Jenkins, will join us for an insightful program on
the evolution of traditional song. As requested by students, this year, we will feature classes in singing with instruments (guitar, fddle, mandolin and banjo)
and song arrangement as we welcome back Dith Sproule (guitarist for Irish super-group Altan), the talented Nicole and Brian Christianson from Nashville
(Brian performs weekly on the Grand Ole Opry with the Mike Snider Band), camp favorite Mark Weems to teach a new class of Banjo Songs and Josh Goforth
to teach Music Teory. A special welcome to new staf Tim May, multi-instrumentalist and bluegrass singer, who was selected by the Nashville Scene as Best
Instrumentalist in their 2012 Readers Choice poll. Well also feature classes in blues and gospel (taught by the Rev. Robert Jones from Detroit), cowboy songs
and songs of the frontier (taught by the fnest yodeler on the Grand Ole Opry, Riders in the Skys Ranger Doug), songs from Ireland (Dith Sproule and song
collector Len Graham), Scotland (Brian McNeill), England, North Carolina mountain ballads (with National Heritage Award winner, Sheila Kay Adams),
Virginia ballads (Elizabeth LaPrelle), songwriting in the tradition, fnding your voice and choosing your songs, shape-note, duet harmony, community singing,
childrens songs, camp meeting songs and more! Te week will also feature nightly concerts and singing sessions, the Old Farmers Ball dance, a wonderful
Childrens Program, ample opportunities to mix with other singers, and mid-day Community Gathering times.
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4
RANGER DOUG
Guitarist Ranger Doug, Governor of the Great
State of Rhythm and Idol of American Youth is
best known as the lead singer with Riders in the Sky,
the multiple Grammy-winning cowboy quartet and
members of the Grand Ole Opry, the Western Music
Associations Hall of Fame, the Country Music Foun-
dations Walkway of Stars, and the Walk of Western
Stars. While remaining true to the integrity of Western
music, they have themselves become modern-day icons
by branding the genre with their own legendary wacky humor and way-out Western wit,
and all along encouraging buckaroos and buckarettes to live life Te Cowboy Way!
A yodeler of breathtaking technique, Ranger Doug is also an award-winning Western
music songwriter in his own right and a distinguished music historian whose 2002
Vanderbilt University Press book, Singing in the Saddle, was the frst comprehensive
look at the singing cowboy phenomenon that swept the country in the 1930s. In 2006,
Ranger Dougs Classic Cowboy Corral debuted on XM Satellite Radio, still heard weekly
on SiriusXM Channel 56. During thirty-six years with the Riders, he has chalked up
over 6600 concert appearances in all 50 states and 10 countries, appearing in venues
everywhere from the Nashville National Guard Armory to Carnegie Hall, and from
the White House and county fairs to the Hollywood Bowl. www.ridersinthesky.com
TIM MAY
Flatpicking guitarist Tim May has been working in the Nash-
ville area for over 20 years as a sideman, session player, band
member and performer. He has toured with Patty Loveless
and John Cowan, and regularly performs with Mike Snider
on the Grand Ole Opry. Tim was the solo guitarist on Charlie
Daniels recording of Ill Fly Away, which was nominated for
the Best Country Instrumental Performance Grammy in 2005,
the same year he was session leader on the critically acclaimed
recording that featured bluegrass treatments of the music of the Moody Blues, entitled
Moody Bluegrass. He later played on the followup recording Moody Bluegrass II, as well.
Te Nashville Scene selected Tim in the Best Instrumentalist category in their 2012
Readers Choice Poll. He is co-author of the eight-volume book/CD course, Flatpicking
Essentials, Te Flatpickers Guide to Old-Time Music and Te Flatpickers Guide to Irish
Music. www.timmaymusic.net
MARK WEEMS
Mark Weems is a multi-instrumental music teacher and
professional performer of traditional music. He hails from
Alabama, but currently lives in Durham, N.C. A well-known
fgure on the North Carolina traditional country and old-
time scene, he has been singing and studying the nuances of
all types of country music for twenty-fve years as a veteran
of the Te Stillhouse Bottom Band, and his own honky-tonk
band, the Cave Dwellers. Sing Out! magazine recently called
him an exceptionally talented interpreter of old-time vocal and instrumental tunes
and a gifed composer of timeless music. Since 2005, he has toured with his wife, Julee
Glaub, as the duo Little Windows, which performs a mix of Irish, Old-Time, Country,
and Gospel. In 2009, he created the North Carolina School of Traditional Music, which
facilitates the local dissemination of the Celtic, Piedmont, and Appalachian musical
traditions of the state. In 2013, he co-founded the Old Jonny Booker Band which re-
creates Early American music popular between 1820 and 1865 on period instruments
and in period dress. His music has been heard at Merlefest and highlighted on NPRs Te
Tistle & Shamrock, and Te State of Tings. He has performed with former Bluegrass Boy
Tony Ellis, Daithi Sproule (Altan), Pete Sutherland (Metamora), Alice Gerrard (Hazel
and Alice), and Ranger Doug (Riders in the Sky). www.littlewindows.net
BRIAN MCNEILL
(See bio in Celtic Week page 10)
JULEE GLAUB WEEMS
Julee Glaub, the Coordinator of Traditional Song Week,
is a North Carolina native who studied literature and
music at Wake Forest University before following her
longstanding interest in Irish culture to work with the
poor in Dublin. For nearly seven years, she continued
her work in Dublin while sitting at the feet of master
players and singers, absorbing all she could. She credits
the combination of material from older singers and from
the Traditional Music Archive, and her experiences in
working with poor and working people in Dublin as the
major inspirations for her ballad singing. Upon returning home, she became involved
in the Irish music scene here in the states and has become recognized as a leading inter-
preter of Irish songs in America. She lived in the northeast for seven years in order to be
closer to the heartbeat of Irish music in America in the major Irish-American enclaves
in Boston and New York, and performed with the band Sad (Brian Conway, Brendan
Dolan, and Jerry OSullivan) with whom she still performs from time to time, as well
as with Pete Sutherland, Dith Sproule, and Tony Ellis. Her latest solo release, Blue
Waltz, explores her interest in the connections between Irish and Appalachian song and
has been featured on NPRs Tistle and Shamrock. Now based in Durham, NC, she and
her husband, Mark Weems, tour as a duo called Little Windows, which blends Irish,
Appalachian, and old-time gospel with a focus on tight harmonies in unaccompanied
singing. Julee has been on staf at the Irish Arts Week in N.Y., Alaska Fiddle Camp,
Schloss Mittersill Arts Conference in Austria, the Swannanoa Gatherings Celtic Week,
Camp Little Windows and various camps and festivals throughout the US. Julees
approach to music goes beyond its entertainment aspect to focus on the spiritual and
emotional wealth that traditional music has to ofer to the world. For her, Traditional
Song Week is a long-awaited dream come true. www.juleeglaub.com
JOSH GOFORTH
Josh learned to play fddle from legendary fddlers Gordon and
Arvil Freeman in his native Madison County, NC. A highly ac-
complished oldtime, bluegrass, and swing musician, he attended
East Tennessee State University to study music education, and
to be a part of ETSUs famous Bluegrass & Country Music Pro-
gram. His fddling was featured in the movie Songcatcher, both
onscreen and on the soundtrack, and he has toured extensively
with a variety of ensembles, including the ETSU bluegrass band,
with David Holt and Laura Boosinger, and with several bluegrass bands including
Appalachian Trail, the Josh Goforth Trio, and Josh Goforth and the New Direction.
He has shared stages with Ricky Skaggs, Bryan Sutton, Te Yonder Mountain String
Band, Open Road, and Te Steep Canyon Rangers, performed throughout the US,
Europe, and in Japan. In 2000, 2003, and 2005, he was named Fiddler of the Festival at
Fiddlers Grove and, afer winning his third title, was designated Master Fiddler and
retired from that competition. He was nominated for a Grammy for his 2009 release
with David Holt, entitled Cutting Loose.
REV. ROBERT JONES
Robert B. Jones has more than twenty years of experience as a
performer, musician, storyteller, radio producer/host and music
educator. He has opened for and played with some of the fnest
musicians in the world, including BB King, Bonnie Raitt, Pinetop
Perkins, Willie Dixon, John Hammond, Keb Mo, Jorma Kaukonen,
Howard Armstrong, Chris Smither, Guy Davis and many more.
Born in Detroit of a father from West Pointe, Mississippi and a
mother from Conecuh County, Alabama, Robert grew up in a very Southern house-
hold. By age 17, he had already amassed a record collection of early blues and begun
to teach himself guitar and harmonica, and by his mid-twenties Robert was hosting an
award-winning radio show on WDET-FM, Detroit called Blues From Te Lowlands.
Infuenced by legendary bluesman Willie Dixon, Robert developed an educational
program called, Blues For Schools, which took him into classrooms all over the country,
5
and for the next 15 years Robert polished his craf as a performer and a music educator.
Answering a call to the ministry, Robert began to study under Rev. James Robinson,
Sr. at the Sweet Kingdom Missionary Baptist Church in Detroit, and upon Robinsons
death, Robert was called by the church to become its next pastor. He reshaped his Blues
For Schools program into American Roots Music In Education (ARMIE), a program that
could encompass a wider variety of music, including spirituals, gospel and folk songs,
and returned to performing in 2006. Especially infuenced by sacred musicians such as
Rev. Gary Davis, Blind Willie Johnson, Rev. Dan Smith, Joshua White, Blind Connie
Williams and Rev. Robert Wilkins, Rev. Jones now performs solo, with his good friend
Matt Watroba, or with his wife of twenty years, Sister Bernice Jones, presenting Holy
Blues to new audiences. Rev. Jones has also returned to radio as the host and producer
of Deep River, a program of spirituals and gospel, which airs Sundays on WDET in
Detroit. www. revrobertjones.com
BRIAN CHRISTIANSON
Brian started fddling at age eight in a family band and won many
fddle contests across his native Minnesota. In 2000, he moved to
Nashville, Tennessee to work as a luthier and musician, and has had
the opportunity to work with many great artists, including Ricky
Skaggs, Del McCoury, Russ Barenberg, Tim OBrien, Roland
White, Cathy Chiavola, and Mike Snider. Brian has also played on
many recordings including his own self-titled album, Brian Christianson and Friends.
In 2011, Brian and his wife Nicole opened a string shop in Nashville called Te Fiddle
House. Te shop provides all the services of a violin shop and also hosts weekly jam
sessions, house concerts and workshops. Brian, the Alabama State Old-Time Fiddle
champion, plays the fddle with Te Mike Snider String Band on the Grand Ole Opry,
Te Roland White Band, Te Russ Barenberg Trio as well as many other great fddlers
and acoustic musicians that frequent Te Fiddle House. www.thefddlehouse.com
DOUG & DARCY ORR
Doug and Darcy Orr have been performing music
together for over 25 years, through their previous
Celtic/Appalachian band, Maggies Fancy, and during
subsequent years at Warren Wilson College, where Doug
served as president from 1991 to 2006. He founded
the Swannanoa Gathering in 1992 and it has become
one of the nations premier traditional music camps.
He also is founder, host and emcee each winter of the
annual Swannanoa Solstice holiday program of music, dance and storytelling at Diana
Wortham Teatre in Asheville. Upon his retirement, Doug was recognized by North
Carolinas governor with the Order of the Long Leaf Pine, the states highest civilian
honor. Doug plays guitar and Darcy performs on the mountain dulcimer and concertina.
She is a previous blue ribbon award winner in the mountain dulcimer competition at
the annual Fiddlers Grove music festival. Both are vocalists. Doug is currently writing a
book with Fiona Ritchie, host of NPRs Te Tistle & Shamrock, about the connection
between the musical traditions of the Scots/Scots-Irish and the Appalachians. Darcy, a
watercolor and oil painter, is the art editor. Doug helped launch Te Tistle & Shamrock
in 1981 at WFAE in Charlotte while serving as vice chancellor at the University of
North Carolina at Charlotte.
DITH SPROULE
Dith Sproule is a native of Derry in the north of Ireland, a
renowned traditional singer in both Irish and English, and
one of the worlds premier guitarists in the Irish tradition.
Hes widely credited with pioneering the use of DADGAD
tuning in the accompaniment of Irish music, a style now used
around the world. Hes worked with many of the greats in
Irish music, and is a member of the famed Donegal group,
Altan, as well as the U.S.-based trios, Fingal and Trian. He also also performs with Liz
Carroll, Maighread N Dhomhnaill, James Kelly, and several Minnesota-based musicians
including Laura MacKenzie, Paddy OBrien, Peter Ostroushko, Jode and Kate Dowling,
and Dean Magraw. Te Rough Guide to Irish Music called him a seminal fgure in Irish
music. Dith has also taught Old Irish, Celtic mythology and Irish music at several
universities and is the author of a volume of short stories in Irish and several academic
articles on early Irish poetry and legend. www.daithisproule.com
NICOLE CHRISTIANSON
Nicole started singing in her churchs adult choir when she
was twelve years old, which is where her love for singing be-
gan. She sang in choirs throughout high school and college
and discovered a passion for the world of roots music. Nicole
and her future husband, Brian, were members of a bluegrass
band, Te Minnesota Vikings, that toured the southeast, and
since moving to Nashville, Nicole has sung on many proj-
ects, backed up artists and has sung on many demos. She has taught singing at the
Musical Heritage Center of Middle Tennessee, and recently she and her husband
opened Te Fiddle House, that promotes their love for acoustic music. Currently,
she is in an Appalachian\Irish band, Grandpas Hat, where she sings and plays fddle.
MATT WATROBA
Tere are few that can boast a frst-name-basis relationship
with almost all of the major folk musicians on the North
American continent, as well as a comprehensive grasp of
the folk music genre both past and present. One who can
is teacher, writer and performer, Matt Watroba. His love of
folk, roots and traditional music led him to his position as the
host of the Folks Like Us program on Detroit Public Radio, a
position he has held for over 22 years. In 2007, he partnered with Sing Out! magazine
to create the Sing Out! Radio Magazine, an hour-long syndicated radio show heard
across the country and on XM Satellite Radio. He was awarded Best Overall Folk
Performer by the Detroit Music Awards for the year 2000, and his long list of credits
include the prestigious Ann Arbor Folk Festival, Te Old Songs Festival, the New Jer-
sey Folk Weekend, Louisvilles Kentucky Music Weekend, Te Fox Valley Festival and
hundreds of school and community presentations throughout the Great Lakes Region.
He has interviewed and performed with hundreds of performers including Pete Seeger,
Odetta, Charlie Louvin, and Jean Ritchie. In addition, Matts musical partnership with
the Rev. Robert Jones has created one of the most sought-afer and unique educational
experiences available in the country today. Matt is currently a full-time producer and
host at folkalley.com www.folkslikeus.org
BOBBY MCMILLON
Bobby McMillon was raised in western NC and as a boy learned
many of the folk tales and songs handed down among the people
of the Tennessee and Carolina mountains. Upon encouragement
from ballad scholar and historian Cratis Williams, Bobby presents
a collection of songs, tales and family recollections which he began
performing for the public almost forty years ago at festivals and
classes at UNC-Chapel Hill and Duke University, among others. It
was at this time he developed friendships with Janette Carter of the famous Carter Family
and many of her kinfolk. Dr. Daniel Patterson of UNC-Chapel Hill was instrumental in
encouraging Bobbys involvement with folklife programs, and with the help of George
Holt, frst director of the Folklife Of ce at the NC Arts Council, he participated for
nearly ten years in the Visiting Artists Program as a ballad singer and storyteller. Te
youngest recipient of the North Carolina Folk Heritage Award, Bobby has performed
at the Smithsonian Folklife Festival, the A. P. Carter Memorial Festival, and the Na-
tional Storytelling Festival, and his ballad singing was featured in the flm, Songcatcher.
SHEILA KAY ADAMS
(See bio in Celtic Week page 21)
6
SHAPE NOTE SINGING ( Josh Goforth)
Western North Carolina has a long history of shape note singing. From the
haunting melodies of William Walkers Christian Harmony to the complex,
moing parts of Stamps-Baxter Conventional Hymn Books, this class will
be an exploration of the evolution of Shape Note. You will be able to hear
the diferences through group singing. We will discuss a variety of singing
styles that are most efective for each hymn and above all, have fun! Gospel
harmony has always been an important part of traditional singing and
youll get the chance to hear where Josh, along with many others, got their
start in music. We will begin by learning the shapes, so no prior experience
is required. Get ready to have lots of fun hearing some amazing harmony
and experiencing it with a full group in four parts. (No class limit)

MUSIC THEORY ( Josh Goforth)
Ever hear a song and wonder why its so pleasing to your ear? Have you
always wanted to be able to sing in harmony without approaching it like a
math problem? Have you tried to learn theory before and just didnt fnd
it interesting in the least or just way too dif cult? Perhaps you are think-
ing, Why do I need music theory as a traditional singer, shouldnt it just
come naturally? Well, this class is for you! We will explore the advantages
of visual and aural learning in traditional music. No experience or formal
music training necessary! Tis is a good way to get pleasantly thrown into
the deep end of music theory and ear training basics.
COMMUNITY SINGING:
FOR THE SAKE OF THE SONG (Matt Watroba)
Tis class will be all about the singing and the song. Tis will be an oppor-
tunity for you to learn what you need to know to unleash the power of song
in your community. Matt will share his experience as a song leader and
community performer by teaching and leading a wide variety of songs in
a wide variety of styles. Afer learning song leading and Community Sing
organizational techniques, participants will be encouraged to bring in songs
and try out their song-leading talents on the class. You will sing everyday
and leave on Friday inspired to take what youve learned back into your
community. (No class limit)
SONGS OF THE SINGING COWBOY (Ranger Doug)
An overview of the history of the music of the singing cowboy era in flm
and on record, fom the 1930s through the 1950s. Tere will be audio and
video illustrations, and there will be a classic singing cowboy song learned
each day. (No class limit)
SONGS OF THE FRONTIER (Ranger Doug)
An overview of the history of the music of and about the west fom the 1830s
to the dawn of the singing cowboy era. Tere will be plenty of aural material
to be heard, and there will be a classic song learned each day. (No class limit)
CHOICES: HOW TO GET THE MOST
OUT OF THE SONGS YOU SING (Matt Watroba)
Bringing traditional songs alive is all about choices. In this interactive class,
Matt Watroba will show you the choices great singers make to get the most
out of a song. Participants will then be encouraged to apply what theyve
learned to the songs they choose to sing. Tis workshop promises to be a safe,
fiendly place where beginners and professionals alike will beneft fom the
wisdom of the instructor and the group. Phrasing, style and performance
techniques are just a few of the areas this class will explore on the way to
wowing any audience with the power of traditional music.
ULSTER SONGS (Len Graham)
Tis class will deal with the rich Ulster song tradition in the English language.
Te workshop will include early classic ballads, broadside ballads, songs of
loe, childhood, politics, humour, emigration and more. Each song will be
put in context, giving historical and social background. As an oral tradition
these songs will be taught by repetition and ear with lyrics provided. Par-
ticipants are encouraged to bring an audio recording device. (No class limit)
MR. SHARP, I PRESUME? (Len Graham)
When the English folk song collector Cecil Sharp visited the Southern Ap-
palachians between 1916 and 1918 he reported that for the frst time in his
life he found himself in a community in which singing was as common and
almost as universal a practice as speaking. Had he come to Ireland he would
have found a similar environment for song. In this class, Len introduces
and teaches some of the many Irish versions of these songs and ballads that
he has encountered during a lifetime of singing and collecting. As an oral
tradition, these songs and ballads will be taught by repetition and ear with
lyrics provided. Participants are encouraged to bring an audio recording
device. (No class limit)

BLUEGRASS HARMONY (Tim May)
Harmonies in bluegrass are rooted in the gospel music that Bill Monroe,
Ralph Stanley and others grew up with. Bluegrass sounds earthy with a touch
of old-time, but the harmonies are very tight with very little unison or notes
that are not in perfect harmony. Well look at how harmonies are created in
bluegrass and how great bluegrass harmony singers use simple chord exten-
sions to create interest. Some basic theory ofered, but we will spend most of
our time fnding harmony parts and singing standard bluegrass classics..
MELISSA HYMAN
Childrens Program coordinator Melissa Hyman has been
involved with kids and music throughout her working
life. She traveled for years with bands on the folk circuit,
working full-time as a touring and recording artist, cellist,
singer and songwriter. When not on the road she teaches
music on the pediatric unit at Mission Hospital as the
Music Fellow for Arts for Life (www.afnc.org), a non-
proft that provides art and music activities to patients at
North Carolinas childrens hospitals. She has taught music at Evergreen Community
Charter School in Asheville and coordinated childrens programming at the Southeast
Regional Folk Alliance (SERFA) conference in Montreat, NC. Her introduction to
the Gathering came just three summers ago, when she served as the music teacher for
the Childrens Program. It was love at frst Gathering, and Melissa could not be more
honored or excited to be welcomed into the Gathering family as our new Childrens
Program Coordinator this year. She looks forward to many unforgettable summers of
messy games, silly songs, amazing crafs and fast friendships.
t|:ss.s
(Unless otherwise indicated, all classes have a limit of 15)
7
MAYBELLE CARTERSTYLE GUITAR (Tim May)
Maybelle combined rhythm and lead (solo) playing into a powerful style that
remains one of the best ways to play ocal songs and is a great starting place
for anyone wanting to move fom rhythm playing into lead. Te catalog of
songs that the Carter Family gave us and the way Maybelle played them has
been a huge infuence on almost every music form in America. Well learn
the lead ocals to some Carter Family songs, but will spend most of our time
working on Maybelles guitar parts. Maybelle played with a thumbpick
and fngerpick, but her style can be played with a fatpick as well, so both
fngerstyle and fatpick-style players are welcome.
SINGING THE BLUES (Rev. Robert Jones)
Blues great Brownie McGhee used to say, Everybody gets the blues, however,
the question is: How do you sing em and how do you make em sound like
the blues? Tis is a course designed to answer both of those questions. Rev.
Robert Jones will take you into his background as a self-taught blues singer
and guitarist. He will share information on such subjects as the blues aes-
thetic, the blues scale, improvisation, phrasing, Piedmont, Delta and urban
blues styles, blues songwriting, history and more. If American popular music
could be thought of as a tree, the blues would surely be the trunk. Everyone
is welcome to explore this seminal form of American and World Music.
SPIRITUALS, PRAISE HYMNS & GOSPEL (Rev. Robert Jones)
Te Black Spiritual was folk musics frst uniquely American music style.
Gospel is a contemporary music style that came out of Americas cities in the
1930s. In between these seminal styles came a sacred form called Prayer
and Praise Hymns. Tese folk songs had their origin roughly between the
years 1885 and 1925, and these were the songs that pioneering musicians
mixed with blues to produce gospel. In this class Robert will explain the dif-
ferences between Spirituals, Prayer & Praise Hymns and Gospel and explore
characteristics of all three. Te class will cover the Gospel aesthetic, history,
harmony singing, improvisation, accompaniment and how to modify songs
to ft various situations and musical capabilities. Anyone that is interested
in sacred singing fom an Afican American perspective is encouraged to
participate in this class. (No class limit)
BANJO SONGS (Mark Weems)
In the current old-time scene, banjos are most ofen used to accompany a
fddle in a string band. But there also exists a tradition of the solo banjo
song, and a body of songs that were written either on the banjo, or expressly
for it. Tese songs usually refect and well represent the unique rhythmic and
drone-like qualities of the instrument. We will examine and learn, with the
use of tablature, to play and sing some of these songs, starting fom 1840
with one of the songs of J.W. Sweeny (popularizer of the 5 string banjo),
passing through a Stephen Foster song or two and moving forward into the
repertoire of Clarence Ashley and others, and what we now call old-time
banjo music. Tis is not a class in learning how to play the banjo, so a basic
working knowledge of clawhammer or fnger-style banjo is recommended.
You are also welcome if you dont play banjo but are interested in the banjo
song tradition.
SCOTTISH SONG (Brian McNeill)
Tis class will deal with Scots language song of all types, including ballads,
loe songs, work songs, story songs, political songs, humorous songs, child-
rens songs and songs of the Scottish music hall era. Scottish songs relation
to other traditions - the Gaelic, English, Irish and American in particular,
will be discussed, with practical examples. Te aim of the class will be for
students to learn at least four Scots traditional songs through the week, with
access to many more the goal being to produce two of these songs as sing-
able group entities by the weeks end. Te class will be taught on a master/
apprentice basis, orally, but printed versions of words will be available.
Modern interpretations of traditional song will be covered, including the use
of harmony, and regional variations will be discussed. Pronunciation will
be covered, as will the lowland Scots context of the songs, historical, social
and thematic. Scottish songs relation to various instrumental traditions,
and also to myth and story, will also be covered. Te social and musical
wellsprings of many important Scottish traditional singers will be discussed
in depth, and also, the work of songwriters who are now regarded as to all
intents and purposes traditional, such as Mary Brooksbank, Lady Nairne
and Hamish Henderson. Students should bring a small audio (not video)
recorder and a big heart, and should remember that the ethos of the class
will be that no student shall be lef behind. (Class limit: 30)
SONGWRITING IN THE TRADITION (Brian McNeill)
Tis class will explore all aspects of writing songs based on the models the
various English language-based traditions have already established, using
examples fom the best of modern songwriting. It will explore form, metre
and rhyme. It will deal with the reasons for writing, the mechanics of writing,
the conjunction of lyrics and melody and the oice the writer uses. It will
deal with characterisation, the use of personal experience, the summarisation
of historical events and processes, and the expression of political views and
controversial standpoints in song. It will also deal with the practical issues
of method, of starting up fom an idea or a phrase, of collaborative efort
between melody writer and lyricist, and of the tensions between creating
ones own work and performing it. Above all, this class will deal with the
subject of honesty in songwriting. Te aim will be for putative songwriters
to better their existing skills and acquire new ones, and the goal will be for
the students, working together with the tutor as a team, to bring to fuition
one complete new song by the end of the week. Students will be expected and
encouraged to criticize each others work and participate as both listeners
and advisors. As well as group classes, they will be ofered individual one-
on-one seminars with the tutor. Students should bring a small audio (not
video) recorder, a big heart and no prejudices, and should remember that the
ethos of the class will be that no student shall be lef behind. (Class limit: 30)
DUET HARMONY SINGING (Mark & Julee Glaub Weems)
Learn some of the specifc techniques and nuances of duet singing. We will
work towards choosing keys, fnding parts, exploring diferent types of
harmony, building harmony mathematically, blending oices, feeling and
phrasing, learning to sing with diferent partners and developing listening
skills. We will learn how to adapt harmonies to diferent songs and various
genres such as Appalachian, Irish, gospel, and country. Te initial classes
will focus on singing with instruments, to hear the chord structures of the
harmonies, consider how they afect the overall harmonic sound, and discuss
the creation of tasteful arrangements. As the week progresses, we will work
towards feedom fom chordal structure in order to encourage experimenta-
tion with more diverse kinds of harmony. It is not necessary to read music,
as we will be learning by ear. Bring a partner or fnd one in the class! Note:
students should come to this class with some experience in singing melody.
(Class limit: 14)
SONGCATCHING: SINGING TRADITIONAL
APPALACHIAN BALLADS (Sheila Kay Adams)
I started learning what my family called them old love songs as a fve-year-
old. No one said I had to learn them, or pressured me to listen to and sing
back, one at a time, twenty-seven verses. First, as a child I loved the stories of
knights and ladies riding on snow-white steeds, or what all could take place
in her fathers great hall, or why a bird perched in a willow tree would
speak to a woman who had just murdered your own true love. I could go
on and on but the stories were fantastic, mysterious, believable and I heard
them every day. Te people I learned fom were born in the 1890s and early
1900s and had learned them fom their parents and grandparents genera-
tion afer generation afer generation had learned them and passed them
Traditional Song Week, July 6-12, 2014
7:30-8:30 Breakfast
8:30- 8:50 Vocal warm-ups (Elizabeth LaPrelle)
9:00-10:15
Music
Theory
(Goforth)
Singing
the Blues
(Jones)
Maybelle Carter-
Style Guitar
(May)
Songs of the
Frontier
(Ranger Doug)
Scottish Song
(McNeill)
Community Singing:
For the Sake of the Song
(Watroba)
Mr. Sharp, I
Presume?
(Graham)
Childrens
Songs
(LaPrelle)
10:15-10:45 Coffee/Tea Break
10:45-12:00
Arranging Traditional
Songs For Guitarists
and Groups
(Sproule)
Ulster
Songs
(Graham)
Songwriting in
the Tradition
(McNeill)
Old Meeting-
House Songs
(Adams)
Duet Harmony
Singing
(Weems)
Fiddle & Song
(Christiansons)
Virginia
Ballads
(LaPrelle)
Songs of the
Singing Cowboy
(Ranger Doug)
12:00-1:00 Lunch
1:15-2:30
Community Gathering & Special Events
Monday Tuesday Wednesday Thursday Friday
Two Rivers, One Stream
(Rev. Robert Jones & Matt
Watroba)
Traditional Song
Then & Now
(Freddy Jenkins)
The Bobby McMillon
Anthology Project
(Bobby McMillon)
Songs & Stories
w/ Peter Yarrow
(Peter Yarrow, Matt Watroba)
Wayfaring Strangers: Scotland
to Appalachia Part 1
(Doug & Darcy Orr)
2:45-4:00
Bluegrass
Harmony
(May)
Shape Note
Singing
(Goforth)
Mandolin
Accompaniment
(Christiansons)
Choices: How to Get
the Most Out of the
Songs You Sing
(Watroba)
Irish Traditional
Songs &
Their Relatives!
(Sproule)
Banjo
Songs
(Weems)
Songcatching:
Singing Traditional
Appalachian Ballads
(Adams)
Spirituals, Praise
Hymns & Gospel
(Jones)
4:00-5:00 Free Time
5:00-6:30 Supper
6:15-7:15
Singing Sessions by Genre (Monday: Shape Note & Camp Meeting songs; Tuesday: Lullabies;
Wednesday: Ballad Singing Session; Thursday: Country Western, Bluegrass & Honky-Tonk; Friday: Gospel, Blues & Roots)
7:30-? Evening Events (concerts, dances, jam sessions, etc.)
8
VIRGINIA BALLADS (Elizabeth LaPrelle)
Afer the turn of the 20th century, Virginia was swept with a ballad-collecting
craze. Avid song-lovers made it their mission to collect songs fom every
single county in the Commonwealth and succeeded! A few decades later
the tape recorders came, letting us hear just how the songs were sung. With
this wealth of material we can not only learn many lovely versions of ballads
fom the British tradition, we can also get some tantalizing glimpses of who
the singers were and what they were like. Songs will be learned by ear (no
reading music) and words will be provided.
CHILDRENS SONGS (Elizabeth LaPrelle)
Camp songs, sing-alongs, game songs, chants, lullabies theyre not JUST
for kids. If you work with children or sometimes feel like one yourself, come
sing with us! Tis will be a mix of antiques and less-traditional songs.
Well try to resurrect a few that have been sitting in books for too long, and
youre welcome to bring one of your own to share or teach.
ARRANGING TRADITIONAL SONGS
FOR GUITARISTS AND GROUPS (Dith Sproule)
Tis class is for guitarists and other instrumentalists who would like some
guidance on arranging songs fom all the traditions, not just Irish. Dith will
share his life-long experience as a song and tune arranger in the solo setting
and in groups such as Altan, Skara Brae, Bowhand, and Trian. Diths hints
and insights will help you to notch up the quality of your performance, also
give you a wide variety of options. You are welcome to bring in songs and tunes
on. Te words arent a problem. Teyre written down in more collections
than you can shake a stick at. But, if the story was the initial reason my
mind chose to learn, it was the way they sang that took my heart over ffy
years ago: the odd phrasing, the choice of words and the way they put those
words together. Tis is what I hope to share with you in this class. I promise
you, the songs are wonderful, but what will keep you singing is the way Im
going to teach you to do it. Ill provide you with the words; the rest Ill help
you with, and those that really get it by the end of the week will help me
carry this beautiful, ancient tradition a bit further down the road.
OLD MEETINGHOUSE SONGS (Sheila Kay Adams)
Tis class is all about singing the many meeting-house gospel songs mostly
by ear and full-voiced, of-the-porch-strong as Aunt Inez would say that
I grew up hearing in the churches in and around Sodom, NC. You might be
familiar with most of em, ones like Ill Fly Away, Where the Soul Never
Dies, and Build Me A Cabin, to name a few. Well also work together
on some shape-note songs, but the majority can be found in Te Baptist
Hymnal. Please bring a copy if you have your own, but handouts will be
provided as needed. And dont go worrying about harmonies; trust me,
youll fnd the one that works for you. Tese old hymns really do rock right
along, and theres a power to them thatll grab your heart and spirit fom the
get-go... no collection plate needed. But dont expect to sit or even stand in
one place as these old hymns will, quite literally, move you. (No class limit)
you would like to arrange, and Dith will guide you through the process and
steps to producing an arrangement that is just that little bit better and more
efective. For guitarists, Dith will show how to explore options picking,
strumming the use of various tunings, particularly DADGAD, G- and
standard tunings. Experience working with students has confrmed Dith
in the belief that ofen a little change of focus in the right-hand guitar work
or in the view of chord options can transform a persons playing, making it
much more enjoyable both for player and listener! You will fnd a relaxed,
encouraging atmosphere, but some hard info!
IRISH TRADITIONAL SONGS
AND THEIR RELATIVES! (Dith Sproule)
Explore the lyricism and melodic beauty of Irish traditional song with an eye
to versions fom other regions such as England, Scotland and North America.
Dith will share songs of love, history, local lore, and the Otherworld fom
his wide repertoire, provide simple helpful guidelines to their performance,
and play rare recordings of some of the great source singers. Diths back-
ground in Celtic lore and language, as well as his lifetime of stories and
travels with musicians and singers, will fll in the fascinating background
of the songs. Dith believes that everyone can and should sing, and if youre
going to sing, why not sing the most beautiful songs you can fnd? Tis class
will feature both unaccompanied and accompanied song, and some songs
in the Irish Gaelic language. Bring a recording device.
FIDDLE & SONG(Brian & Nicole Christianson)
Most think of the fddle as a solo instrument, but have you ever thought of
accompanying a singer with a fddle? Tis class will explore the power of
the fddle backing up a singer. Diferent bowing techniques, rhythms and
double-stops will be covered as well as discussing how to tastefully improvise
behind a singer. Te main focus of the class will be centered around the fddle,
however, you need not play the fddle to join this class. Strong ocal techniques
will also be taught throughout a wide variety of musical styles. Tere will
be plenty of songs covered and well have a great time of just singing with a
fddle! Most songs will be taught by ear, but sheet music will be provided for
those that are more comfortable learning by note. We are excited to explore
the simple, beautiful oicing of a fddle and a song.
MANDOLIN
ACCOMPANIMENT (Brian & Nicole Christianson)
Tis class will explore the diferent ways of backing up a singer with a man-
dolin. We will discuss and learn basic chord patterns and rhythms to best
accompany a singer in diferent styles of music. Tis class will help you break
away fom just playing the melody and will give you the basic tools to add
to and be a valuable member to any group jam session. A basic knowledge
of playing mandolin is required. Tis class will be primarily focused on the
role of a mandolin accompanying a singer, however, strong ocal technique
will be taught as we pick our way through it. Most songs will be taught by
ear, but sheet music and tablature will be provided for those that are more
comfortable learning by note.
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Note: A highlight of the days schedule is when we gather together each
day afer lunch for these special events. No advance registration necessary.
TWO RIVERS, ONE STREAM
Tis is Rev. Jones and Matt Watrobas assembly program, designed to
showcase the relationship between Americas folk music and its historic and
social changes. Te program begins with early spirituals set in the 1840s and
Revolution, early blues and its ofshoots: country, jazz, bluegrass, gospel
and R&B, and continues this journey into rap and hip-hop. Tis program
shows us why it is vital that Americans celebrate racial and cultural diversity
instead of just tolerating it.
TRADITIONAL SONG THEN & NOW
WUNCs Freddy Jenkins leads us through a look (and listen) to the evolution
of some traditional songs and how they have been interpreted and presented
over the years. Well explore ballads, bluegrass, blues and folk with an eye
on how this music is featured, connected and presented on the program,
Back Porch Music.
THE BOBBY MCMILLON ANTHOLOGY PROJECT
A North Carolina ballad treasure will tell about his life of collecting songs
for over ffy years. Bobby began learning songs at age twelve fom his family
in Northwestern NC, started a folklore club in high school in Lenoir, and
collected songs fom Southeastern NC, Upper Eastern TN, and Southwest
VA. Bobbys rare collection of songs have seldom been sung or even been
known about. Tis will kick-of a long awaited CD project that we welcome
with open arms.
SONGS & STORIES WITH PETER YARROW
Spend an hour sharing songs and stories with a true icon of American music,
in celebration of Peter, Paul, and Marys 50th Anniversary in 2013.
WAYFARING STRANGERS:
SCOTLAND TO APPALACHIA, PART I
Drawing upon the forthcoming book Wayfaring Strangers co-authored by
Doug Orr and Fiona Ritchie, this presentation is the story of the musical
diaspora fom Scotland to Ulster to the Southern Appalachians. Darcy Orr is
book art editor and will share some of the books illustrations that highlight
this epic migration and its enduring legacy in American music.
t|||1|.ss +|.|:m
We ofer a full-day program, taught by Melissa Hyman, for children ages
6-12. Children must have turned 6 by July 1st to participate. No exceptions
please. Evening childcare for ages 3-12 will be provided at no additional cost.
Who hasnt ever dreamed of running away to the CIRCUS? Tis is a
very special summer for the Childrens Program, as we are welcoming our
brand-new coordinator Melissa Hyman. Come one, come all and explore the
fantastical world of circus arts, crafs and music, fom silly songs to popcorn-
eating contests to face painting. Run away with us and we may even meet
guest teachers wholl show us how to juggle, tumble and ride elephants with
the best of em. Well be having an unforgettable summer of water balloon
fghts, circus-themed crafs, songs and stories fom every corner of the world
so jump on the train and join us! Well create our own circus band with the
help of a very talented music teacher, culminating in our big performance
at the student showcase on Saturday. As a special treat, we will be visited
throughout the week by wandering musicians and artists (Gathering staf)
who will perform just for our kids. We will, of course, continue our long-loved
traditions of shaving cream hairdos day, movie night, super-messy games
and the Gathering Scavenger Hunt. Each busy day will close with fee swim
time in the college pool. Non-swimmers must be accompanied by a parent to
swim. Get ready for a week of magic and mayhem under the big top with us!!
Tere will be a $30 art/craf materials fee for this class, payable to Melissa,
the Childrens Program coordinator, on arrival.
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MARTIN HAYES
Martin Hayes, from East County Clare, began playing the
fddle at the age of seven and went on to win six All-Ireland
fddle championships before the age of nineteen. He is the
recipient of numerous awards including Folk Instrumen-
talist of the Year from BBC Radio, Man of the Year from
the American Irish Historical Society and Musician of the
Year from TG4, the Irish language television station. Mar-
tin has contributed music, both original and traditional, to
modern dance performance, theatre, flm and television. He
is the artistic director of Masters of Tradition, an annual festival in Bantry, County Cork
and functions in the same capacity for the touring production of the festival featuring
other Irish music masters, including the guitarist Dennis Cahill, with whom Martin
has toured the world for the last eighteen years. Teir adventurous, soulful interpreta-
tions of traditional tunes are recognized the world over for their exquisite musicality
and irresistible rhythm. Martin also plays in the trio Triur, with Peadar O Riada and
Caoimhin O Raghallaigh, the trio Te Teetotallers, with Kevin Crawford and John
Doyle, and the band, Te Gloaming. www.martinhayes.com
LIZ CARROLL
Since she was 18, when she astounded the Celtic music world
by winning the Senior All-Ireland Fiddle Championship, Liz
Carroll has been amazing audiences around the globe. She
has been called a virtuoso (Te Irish Times), a celebrated
torchbearer (Lexington Herald-Leader), and a master of
Irish traditional music (NPRs The Thistle & Shamrock).
She is a NEA National Heritage Fellow, a 2009 Grammy
nominee (Best Traditional World Album, Double Play with
John Doyle), and the frst American-born recipient of the TG4 Gradam Cheoil for
Cumadoir/Composer Irelands most signifcant music prize. Her newest album, and
frst solo album since 2002s Lake Efect, is On the Of eat, produced by Solas founder
and bandleader Seamus Egan. Te twelve-track recording is a transcontinental afair,
recorded in Philadelphia, Glasgow, and Boston. Its a lush collection of her new original
compositions arranged and performed by Carroll, Egan, and stellar musicians Sean Og
Graham (guitar, Beoga,) Trevor Hutchinson (bass, Lunasa,) Catriona McKay (harp,
Fiddlers Bid) Natalie Haas (cello, Alasdair Fraser & Natalie Haas,) and Winifred Horan
(fddle, Solas.) Lizs recordings are in the majority her own compositions, and they have
given her a stature equal to that of her playing. She is celebrated for invigorating the
traditional styles of Irish music, and her compositions have entered into the repertoire
of Irish and Celtic performers throughout the world. Liz is delighted to be back for this
years Celtic Week! www.lizcarroll.com
BRIAN MCNEILL
Our Scottish fddle instructor from our very frst Gather-
ing twenty-two years ago, Brian McNeill celebrates the
43rd year of a career that has established him as one of
the most acclaimed forces in Scottish music. Described as
Scotlands most meaningful contemporary songwriter
by Te Scotsman, his work and infuence as performer,
composer, producer, teacher, musical director, band leader,
novelist and interpreter of Scotlands past, present and
future describe a man who has never stood still. He has
been a member of several of Scotlands most infuential
bands, including Clan Alba and Battlefeld Band, which he founded in 1969, and with
whom he has performed around the globe. Brian plays fddle, octave fddle, guitar,
mandocello, bouzouki, viola, mandolin, cittern, concertina, bass and hurdy gurdy, and
his many songs about Scotlands past and future, such as Te Yew Tree, Te Lads O
Te Fair, Te Snows of France and Holland, to name a few, have established him as
one of Scotlands leading songwriters. His frst novel, Te Busker, was published in 1989,
and a year later he lef Battlefeld Band to concentrate more on writing and solo projects.
Another novel, To Answer Te Peacock, followed, but he has by no means slackened of
on his musical career, touring with Dick Gaughan, Clan Alba, Kavana, McNeill, Lynch
and Lupari, Martin Hayes, Natalie MacMaster and Feast of Fiddles. His audio-visual
shows, Te Back O Te North Wind, about Scottish emigration to America, and the
sequel, with accompanying CD, Te Baltic Tae Byzantium, which explores the infuence
of the Scots in Europe, have won wide critical acclaim. For six years he was Head of
Scottish Music at the Royal Scottish Academy of Music and Drama. His latest novel
is In Te Grass, and his new novel, No Easy Eden (the third in the Busker series) is due
out this year. www.brianmcneill.co.uk
LEN GRAHAM
(See bio in traditional Song Week, page 3
The musical traditions of Scotland and Ireland, possessing separate, distinctive personalities, nonetheless share a common heritage. Many of western
North Carolinas early white settlers were either Highlanders or Ulster Scots the Scots-Irish. Our Celtic Week acknowledges that varied heritage with a
program that features some of the best from those traditions.
Tis years lineup features present or former members of the supergroups Lnasa, Dan, Ossian, Solas, Battlefeld Band, Te House Band, Skylark,
and Cherish the Ladies, several other exciting new faces, and the return of some old friends. New this year are a class on how to make playing in sessions more
enjoyable, and the return of the Button Accordion class! Both are taught by master Irish musician John Whelan. Te week will feature classes, potluck sessions,
concerts, jams, dances and a Food Songs Night, with delicious fare provided by the Seasonal School of Culinary Arts (www.schoolofculinaryarts.org). For
those taking any of the style classes for fddle, it is recommended that students should play at an Intermediate level: students should have mastered beginning
skills, be able to tune their instruments, keep time, play the principal scales cleanly, and know how to play a few tunes with confdence. Fiddle classes are
double-length, and students may take either intermediate or advanced classes, but not both. Te uilleann pipes class is also double-length. Fiddlers who plan on
taking both Irish and Scottish fddle should consider their stamina and the available practice time before registering for two daily 2 hour classes. For novices,
Fiddle for Complete Beginners will cover the basics, two sections of Fiddle Technique will address technical problems for players of all levels, and Intro to
Celtic Fiddling will provide beginners with a repertoire of simple tunes, while Tinwhistle for Complete Beginners will provide whistle players with a similar
repertoire. For those students bringing their families, we also ofer a program for kids, but space is limited. Our Childrens Program for ages 6-12 features kids
activities scheduled during all daytime class sessions, and evening childcare for ages 3-12 is provided at no additional cost.
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NUALA KENNEDY
Nuala Kennedy hails from Co. Louth in the northeast
of Ireland. She sings traditional songs in English and
Gaelic, plays the fute and low whistle, and is a song-
writer and tunesmith. Kennedys roots are frst and
foremost in Irish traditional music, and last year, she
released Noble Stranger, her third solo recording. In
addition to her own music, Nuala currently performs in
Oirialla, with Gerry (fddle) OConnor, Breton guitarist
Gilles Le Bigot and accordionist Martin uinn. Te band play music from the ancient
kingdom of Oriel (Southeast Ulster): older musical gems researched, rediscovered and
brought back to life. Oirialla recently recorded an eponymously titled album of this
material. A few years ago Nuala also recorded Enthralled, an album of original duets for
fddle and fute with the late great Canadian composer Oliver Schroer, which was released
on Borealis Records in 2012. Whatever she is doing, Kennedy always comes back to her
traditional Irish roots. Her 2007 debut solo album, Te New Shoes, was voted Album of
the Week in the Irish Times, was featured in Hotpress Top Ten Folk Albums of the year,
and named BBC Radio Scotlands Traditional Album of the Year in 2008. She has
received numerous awards and accolades, including several international invited residen-
cies and collaborations, and holds a Master Degree in Music from Newcastle University,
a BA (Hons) in Design from Edinburgh College of Art, a Post-Graduate Certifcate in
Education with distinction, the Curse Comais in Gaidhlig. www.nualakennedy.com
KIERAN OHARE
Kieran OHare is a highly respected and sought-afer per-
former of Irish music on the uilleann pipes, concert fute,
and tinwhistle. Te frst American-born player of Irish music
invited to perform in the annual Ace and Deuce of Piping
concert, held in Irelands National Concert Hall, Kieran has
since performed at countless festivals and concerts across
North America, Europe and Asia, with such artists as Liz
Carroll, Mick Moloney, Jerry Holland, Bonnie Raitt, the Paul Winter Consort, Josh
Groban and Don Henley. Kieran has worked extensively in designing music for the
stage, and is in great demand as a session musician and as a teacher of Irish music. He
has appeared in the flm Road to Perdition, the Broadway musical Te Pirate ueen,
the PBS special presentation Celtic Origins with the Irish choral group Anna, and at
Carnegie Hall with the New York Pops Orchestra. Most recently, Kieran and his wife
Liz Knowles toured the world for over four years as musical director, contractor, and
performer with the France-based show Celtic Legends and now the two perform with
Pat Broaders as Open the Door for Tree. Kieran serves on the Board of Directors of
N Pobair Uilleann in Dublin, Ireland, an organization dedicated to the preservation
and promotion of uilleann piping worldwide. www.openthedoorforthree.com/
COLIN FARRELL
Born in Manchester, England, into a very musical family
to parents from Co. Galway and Co.Cavan, Colin started
playing the fddle and tinwhistle from an early age and won
numerous Fleadh Cheoils and awards in the next few years.
He began playing with St. Malachys Ceili Band when he
was 12 years old, and later helped form the band Ceile with
some friends in Manchester, with whom he recorded the
album Mancunian Way. Since then, has made a name for
himself performing and recording with an array of great musicians in Europe and the
US, including such groups as Flook, Grada, E2K, Te Liam OConnor band, Lnasa
and Te Michael McGoldrick Band. Colin has also played and recorded with numerous
dance shows such as Spirit of Ireland, Dance of Desire and Magical Rhythms of Ireland.
Colin is also a composer whose tunes have been played and recorded by numerous bands
and musicians such as Lunasa, Flook, Sharon Shannon. In 2005, Colin was awarded a
Masters Degree in Music from Limerick University, and in 2010, he released his frst
solo recording, On Te Move. www.colinfarrellmusic.com
JOHN DOYLE
John Doyle is one of Irelands most talented and innovative
musicians. Originally from Dublin, and now a resident of
Asheville, John is an accomplished singer and songwriter, and
an extraordinary master of the Irish guitar whose hard-driving
style has infuenced a generation of players. A founding mem-
ber of the acclaimed group Solas, his powerful guitar playing
provided the signature rhythmic backbone for the band, and
his delicate and emotional fnger-style playing and creative
vocal harmonies can be heard on all four of Solas recordings
for Shanachie Records. John regularly performs solo, and
has toured the world with the likes of Liz Carroll, Eileen Ivers, Tim OBrien, Michael
McGoldrick and John McCusker, Alison Brown, Joan Baez, Linda Tompson, Mick
Moloney, Kate Rusby and a host of other world class performers. John has been featured
on over 100 recordings of traditional and contemporary Irish, folk and Americana
music, including his most recent, Shadow and Light, a solo recording of all original
compositions, and Helping Hands, a collaboration with the late Cape Breton fddle great
and former Gathering stafer, Jerry Holland. He is a great lover of traditional song, an
encouraging and enthusiastic teacher, and his nearly non-stop touring, producing and
recording schedule attests to his high standing in the world of traditional Irish music.
Were pleased to welcome John back for his eighth Gathering. www.johndoylemusic.com
ALISTAIR MCCULLOCH
Alistair McCulloch hails from Ayr in the southwest of
Scotland and is one of the countrys best known fiddle
teachers, composers and performers. Past winner of many
fddle championships, Alistair is fddle instructor at the
Royal Conservatoire of Scotland and has tutored many of
the new generation of rising stars. He regularly tours with
Te Alistair McCulloch Trio, featuring Aaron Jones of Old
Blind Dogs, and former Capercaillie whistle wizard Marc
Duf, and is also a long standing member of the band, Coila. He has performed in
over twenty countries, including Australia, New Zealand, China, Kazakhstan, Qatar,
Nigeria, Venezuela, Canada, USA and throughout Europe. He has released three solo
albums, most recently, Four Seasons in One Day , about which Te Scotsman wrote, As
the mountain of fddle CDs rises even higher, this one can climb straight to the summit
ridge. His tunebook, Te Alistair McCulloch Collection was recently reprinted and he is
currently working on a new collection featuring a number of commissioned tunes. His
playing style is driving and precise, described by Te Living Tradition as fresh, fery and
full of fun. Alistair is an enthusiastic and inspirational teacher having recently taught at
the Boston Harbor Fiddle School and the Southern Hemisphere International School
of Scottish Fiddling in New Zealand. He is delighted to be tutoring at the Swanannoa
Gathering for the frst time. www.alistairmcculloch.com
CILLIAN VALLELY
At age seven, Cillian Vallely began learning the whistle and pipes
from his parents, Brian and Eithne at the Armagh Pipers Club, a
group that has fostered the revival of traditional music in the north
of Ireland for over four decades. Since leaving college, he has played
professionally and toured all over North America, Europe, Japan,
Hong Kong and Australia. He has recorded on over ffy albums
including guest spots with Bruce Springsteen, Natalie Merchant,
Alan Simons Excalibur project with Fairport Convention and
the Moody Blues, GAIA with the Prague Philharmonic and Karan Casey. He has also
performed and toured with Riverdance, Tim OBrien & Mary Chapin Carpenter in Te
Crossing, Whirligig, and the Celtic Jazz Collective. He has recently recorded on two
movie soundtracks, Irish Jam, and Chatham, and played pipes on the BBCs Flight of
the Earls soundtrack. Since 1999, he has been a member of the band, Lnasa, one of
the worlds premier Irish bands, with whom he has recorded seven albums and played
at many major festivals and venues including WOMAD, the Edmonton Folk Festival
and Te Hollywood Bowl. www.cillianvallely.com
ALAN REID
Born in Glasgow, Alan Reid has been taking Scottish folk mu-
sic all over the world since 1975. Invited to join the fedgling
Battlefeld Band in 1969 by Brian McNeill, he recorded almost
30 albums with this hard-working and enduring band, garner-
ing a respected reputation for his original keyboard work and
his singing. With encouragement from band mates, he began
writing in the 1980s, and from 1990 was the bands principal
songwriter, writing songs ofen noted for their storytelling element while being grounded
in Scots history. His frst songbook, Martyrs, Rogues and Worthies, was published in
2001, and in 2009 he was nominated as Composer of the Year at the Scots Traditional
Music Awards. Alan also contributed to Linn Records mammoth CD series recording
the complete songs of Robert Burns. In 2010 Alan lef the Batties, to concentrate on
his duo with guitarist/singer Rob van Sante. He wrote all the music for the duos most
recent album, Te Adventures of John Paul Jones, a dramatic presentation of which was
performed at the 2012 Dumfries and Galloway Arts Festival (near Jones birth place)
and at the 2013 Edinburgh Festival. More recently, the duo has developed a show for
children and adults that tells Jones story through narration,songs and a slide show.
CATHIE RYAN
Cathie Ryan is one of Celtic musics most emulated
singers. Her 25 year career is distinguished by an unerr-
ing taste in song, critically acclaimed songwriting, and a
history of excellence in recording and performance. She
has released fve CDs, is featured on over 50 compilations
of Celtic music, and tours internationally with her band,
headlining at performing arts centers, festivals, and guest
starring with symphony orchestras. Born in Detroit to
Irish parents from Kerry and Tipperary, she grew up in
a home steeped in song and storytelling and continues
to research the myths and excavate and sing the old
songs. Cathie has taught workshops on Irish traditional singing, and myth and folklore
throughout North America and Ireland, both in conjunction with and separate from
her concert appearances, including several years at the Gathering. www.cathieryan.com
BILLY JACKSON
Billy Jackson has been a major fgure in tradition-
al Scottish music for over thirty-fve years, and
was a founding member of the infuential folk
group, Ossian, whose outstanding recordings re-
main a benchmark for Scottish music. Acclaimed
for his musicality on the Celtic harp, he is also a
renowned composer whose work is inspired by
the history and landscape of Scotland. In 1999,
his song, Land of Light was selected as the
winner of Te Glasgow Heralds year-long Song
For Scotland competition, coinciding with the
restoration of the Scottish Parliament, to select a
new anthem for a new era in Scotland. As a solo performer, he has toured extensively
throughout Europe and North America, and has taught harp at many festivals, including
the Edinburgh International Harp Festival, Somerset Folk Harp Festival, Ohio Scottish
Arts School (Oberlin) and the Rio International Harp Festival. Billy is also a trained
music therapist, and in 2004, he received our Master Music Maker Award for lifetime
achievement. As part of his work combining traditional and classical music, Billy has
performed with, and composed for, a variety of orchestras including Te Scottish
Chamber Orchestra, Asheville Symphony and Cape Cod Symphony. Billy headed the
music therapy program at Mission Hospital in Asheville for 10 years, and he now works
part-time in music therapy in Sligo, Ireland. www.wjharp.com
GRINNE HAMBLY
Grinne Hambly comes from County Mayo in the west of
Ireland. She started to play Irish music on the tin whistle at
an early age, before moving on to the concertina and later the
harp. She lived in Belfast for six years, where she completed
a Masters Degree in Musicology at ueens University. Her
main research topic concerned folk music collections and the
harp in 18th-century Ireland. In 1994, she was awarded frst
prize in the senior All-Ireland Fleadh Cheoil competitions for
harp and concertina. As well as being an established performer
touring extensively throughout Europe and North America,
she is also a qualifed teacher of traditional Irish music and is
in great demand at summer schools and festivals both in Ireland and abroad. Grinne
was awarded the T.T.C.T. (a certifcate for teaching traditional Irish music at advanced
level, credited by Comhaltas Ceoltir ireann and the Irish Department of Education),
and has also received her Graduate Diploma in Education (Music) from the University
of Limerick. She has released three widely-acclaimed solo harp CDs and a collabora-
tive CD with William Jackson, as well as appearing on a number of other recordings.
www.grainne.harp.net
JOHN WHELAN
Born in London, in his youth John was blessed to play with some
of great names in an older generation of players, such as Lucy Farr,
Brian Rooney and Bobby Casey, to name but a few. Afer winning
his frst three All-Ireland button accordion competitions, he was
approached to record his frst LP, Te Pride of Wexford, at the age
of fourteen and an EP with Christine Considine, produced by the
legendary Finbarr Dwyer. He made several appearances on RTE
and British television before moving to the US in 1980 where he
teamed up with Eileen Ivers for a few years, culminating in the recording, Fresh Takes
with Mark Simos on guitar. In 1990, he released a solo CD, From Te Heart, and in 1996,
he signed a record deal with Narada Records and went on to write, record and produce
seven CDs bringing him into the Top Ten on the Billboard World Music Charts with
sales in excess of one million. Since coming to the US, John has helped no less than four
students claim the All-Ireland championship in the button accordion category. Two of
those students became professional players, Buddy Connolly (Eileen Ivers & Immigrant
Soul) and John McGroary (Blackthorn). Teaching has always been a passion for John
and he was not limited to button accordion. He also taught the great Karen Tweed,
fve time All-Ireland piano accordion player from England. John has also appeared in
two flms, Ride with Devil, directed by Ang Lee and Gods & Generals, directed by Ron
Maxwell and has performed on the Conan OBrien show. www.johnwhelanmusic.com
KIMBERLEY FRASER
Kimberley Fraser was born on Cape Breton Island and
nurtured within its rich musical heritage. She frst im-
pressed audiences at the age of three with her step-dancing
talents, and soon thereafer took up both the fddle and the
piano. She has performed around the world, from touring
Sweden with Cherish the Ladies, to performing at the
Celtic Connections festival in Scotland and entertaining
NATO troops in Afghanistan. Kimberley holds an hon-
ours degree in Celtic Studies and a minor in Jazz from St.
Francis Xavier University in Nova Scotia, and is also a graduate of the Berklee College
of Music. An advocate for the importance of traditional music education, she has been
a long-time instructor at Cape Bretons Gaelic College and Ceilidh Trail Music School
as well as teaching at the Valley of the Moon Fiddle Camp, the American Festival of
Fiddle Tunes, and the North Atlantic Fiddle Convention in Aberdeen, Scotland. Fol-
lowing the success of her award-winning recording, Falling on New Ground, Kimberley
is currently working on her third album. www.kimberleyfraser.com
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DNAL CLANCY
Dnal was born in 1975 and spent most of his early child-
hood in Canada and the U.S. before his family settled back
in An Rinn, Co. Waterford, Ireland, in 1983. He grew up
in a household and community rich in music and started to
play the guitar at the age of eight. In 1995, he co-founded
the group Dan, but departed soon afer to tour with his
father, the famed Liam Clancy, and his cousin, Robbie
OConnell. Since then, Dnal has performed with many
other top names in Irish music, including Solas, Te Eileen
Ivers Band and Te Chiefains, and appears on dozens of recordings. In 2003, Dnal
rejoined his friends in Dan, and the band was awarded the prize for Best Group at
the 2004 BBC 2 Folk Awards. 2006 saw the release of Dnals critically-acclaimed solo
debut, Close To Home, which Te Boston Globe declared to be a sweet masterpiece of
melodic grace and riveting groove. www.donalclancy.com
ED MILLER
From the folk clubs of Scotland in the 1960s and 70s to the
festivals, cofeehouses and music camps of America, Ed Miller
has steadily established himself as one of the fnest Scottish
singers of both contemporary and traditional songs. He has
been a regular staf member of Swannanoas Celtic Week for
more than two decades, where his love and knowledge of
Scots song, paired with a droll sense of humor, made him an
excellent and popular teacher. Originally from Edinburgh,
Ed has been based in Austin, TX for many years, where he received a PhD in Folklore
from the University of Texas, but over the past 20 years he has gradually moved from
academia to full-time performing. He also hosts a folk music show on KUT-FM in
Austin, leads folk music tours to Scotland each summer, and has released nine CDs of
traditional and contemporary Scottish song, including his most recent, Come Awa Wi
Me. www.songsofscotland.com
EAMON OLEARY
While growing up in Dublin, Eamon developed an interest
in Irish music through his friendship with the Mayock family,
noted traditional musicians originally from County Mayo.
When he moved to New York City in 1992, he met guitarist
John Doyle and fddle player Patrick Ourceau, among others,
and has since become a fxture in the citys thriving Irish music
scene. Eamon has toured extensively throughout Europe and
North America, performing with many of Irish musics great
players, including Paddy Keenan, Mick Moloney, Tommy
Peoples, and James Keane, and has recorded with singer Susan McKeown and fute
player Emer Mayock. In addition to his performance schedule, Eamon has taught at
numerous music programs including the Augusta Heritage Center, the Catskills Irish
Arts Week, the Alaska Irish Music Camp and several years at the Gathering. In 2012,
Eamon released a recording of traditional songs, Te Murphy Beds, with Jeferson
Hamer. www.eamonoleary.com
ROBIN BULLOCK
Called a Celtic guitar god by the Baltimore City Paper,
Robin Bullocks virtuosity on guitar, cittern and mandolin
blends the ancient melodies of the Celtic lands, their vigor-
ous Appalachian descendants, and the timeless masterworks
of the Baroque and Renaissance eras into one powerful musi-
cal vision. Robin is a winner of Editors Pick and Players
Choice Awards from Acoustic Guitar magazine, the Asso-
ciation for Independent Musics prestigious INDIE Award
(with the world-music trio Helicon), multiple Washington Area Music Association
WAMMIE Awards, a Governors Award from the Maryland State Arts Council, and a
bronze medal at the National Mandolin Championships in Winfeld, Kansas. His twelve
solo and collaborative recordings include Celtic Guitar Summit, with fellow Guitar Week
stafer Steve Baughman, named one of the top CDs of 2003 by Acoustic Guitar; Rosewood
Castle, featuring duets with guitar legends Alex de Grassi, Tony McManus, John Doyle,
Al Petteway and Steve Baughman; and his latest, Majesty and Magic: Music of Bach, Dow-
land and Carolan for Solo Guitar. In addition to his solo work, Robin also tours inter-
nationally with Grammy-winning folk legend Tom Paxton, including Toms 2010, 2012
and 2014 Together at Last tours with Janis Ian. Tis is Robins nineteenth Gathering.
www.robinbullock.com
ANDREW FINN MAGILL
Finn is a two-time fnalist at the All-Ireland Championships and
has performed with many Irish luminaries, including John Doyle,
Liz Carroll, Altan, Aidan ORourke, Flook, Martin Hayes &
Dennis Cahill, Liz Knowles, Kieran OHare and Daithi Sproule.
At age 17, he released his frst CD of Irish fddle music, Drive &
Lif, featuring fellow SG stafers John Doyle and John Skelton,
that Sing Out! magazine called a stunning debut... the perfect
balance of precision and intensity. Cuts from that CD have been
featured several times on NPRs Tistle & Shamrock. In 2009, he
was awarded a Fulbright-MtvU fellowship to develop a concept album about the human
story of AIDS in Malawi, southern Africa. Working with Malawian musical icon Peter
Mawanga, their recording, Mau a Malawi: Stories of AIDS, was released in October
2011 in the United States and Africa. Sales from the CD are invested in programs to
keep vulnerable Malawian children in school and empower them through the arts. Finn
has served as an instructor in Irish fddle at the Swannanoa Gathering for fve years. He
performs in Europe with the Celtic Legends music and dance revue, the Paul McKenna
Band (2009 Scots Trad Music winners of Best Up & Coming Band), and many artists
around the New York City area where he resides. www.andrewfnnmagill.com
ROSE FLANAGAN
Rose Flanagan is a traditional Irish fddle teacher from Rock-
land County in New York who originally began music lessons
as a child with Martin Mulvilhill while growing up in the
Bronx. She further developed her Sligo-style of playing with
the help of Martin Wynne and her older brother, Brian Con-
way. She currently has a large fddle school in her hometown
of Pearl River, NY, where she is hard at work preparing the
next generation of great fddle players, which already includes
several All-Ireland champions and medalists. Rose has been
an instructor at the Catskills Irish Arts Week, Alaska Fiddle Camp, Irish Dance Camp
in Harrison Hot Springs, BC, the OFlaherty Retreat in Texas, Banjo Burke Festival,
MAD week in Maryland and the Fiddle and Pick camp in Tennessee. She has taught
weekend workshops in New York, New Jersey and Massachusetts. She also runs various
seisuns and plays with her group, the Green Gates Ceili band in the tri-state area. Were
pleased to welcome her back for her third Gathering.
JOHN SKELTON
London-born fute and whistle player John Skelton
is probably best known to American audiences from
his work with Te House Band, with whom he
recorded eight albums on the Green Linnet label.
He has also released a solo album, One At a Time,
and Double Barrelled, a highly regarded album of
fute duets with Kieran OHare, as well as a series
of tune collection books, A Few Tunes, A Few More Tunes, Yet More Tunes and Some
Breton Tunes. John has performed at most of the major folk festivals in North America
Europe and Australia. He is an experienced teacher, and has taught at summer schools
in the United States, Europe and Africa, and sixteen previous years at the Gathering.
Council. He performs solo on guitar, cittern, mandolin and vocals, and with his wife
Beth (fute) and son Andrew Finn (fddle) as the Celtic trio, Te Magills. With numer-
ous album and performance credits, including appearances with Emmy Lou Harris and
Tom Paxton, Jims original songs have been covered by such artists as Mike Cross, Te
Smith Sisters, Cucanandy and the Shaw Brothers, and have been featured on NPRs
Tistle & Shamrock. In the world of graphic arts, his cover designs for the Gatherings
catalogs have won ten design awards, hes twice been a fnalist for Photoshop Worlds
Guru Awards, and he has served as a consultant on website design for several luthiers.
www.jim-magill.com
MARLA FIBISH
A San Francisco native, Marla is an unapologetic pro-
ponent of the mandolin in Irish music. She brings a
musicality and excitement to the tradition that is not
ofen heard on the mandolin. Her dynamic playing is
featured both on her CD with Tree Mile Stone, and
on Te Morning Star, a duo CD with Jimmy Crowley,
an all-instrumental project which features Irish music
on an array of mandolin-family instruments mandolin,
mandola, mandocello, bouzouki, and dordan. In addition
to the mandolin, Marla plays mandola, tenor guitar and
button accordion. She sings and writes music, and is known for her musical settings of
works from a variety of poets. Tis work is featured in her current duo project Noct-
ambule, with guitarist and husband Bruce Victor. An experienced and sought-afer
teacher, Marla teaches private students, and has been a staf instructor at many music
camps, including Te Mandolin Symposium, OFlaherty Irish Music Retreat, California
Coast Music Camp, Lark Camp and Portal Irish Music Week. www.marlafbish.com
MALDON MEEHAN
Maldon Meehan is a performer and teacher of Irish
sean-ns and set dance. She holds a BA in Irish Stud-
ies from Te Evergreen State College and a MA in
Ethnochoreology from the University of Limerick,
Ireland. She has been teaching since 1994, and in
2008 received a Regional Arts and Cultures grant. In
2005, she released an instructional DVD of sean-ns
dance with Ronan Regan. Maldon has performed
and/or taught at the Milwaukee Irish Festival, the
Bof n (Ireland) Arts Festival, the Friday Harbor
Irish Music Camp in Washington, Sean-ns Milwau-
kee, and, in Massachusetts, the Irish Connections
Festival, and Brian ODonovans Christmas Celtic
Sojourn. She currently lives in Portland, Oregon
where she holds regular classes at her own Maldon
Meehan Dance Studio. www.maldonmeehan.com
MELISSA HYMAN
(see bio in Traditional Song Week, page 6)
In addition to his background in Irish music, John is also well-schooled in the music of
Brittany. He visits there regularly, and is a highly-regarded player of the Breton bom-
barde, a double-reed folk shawm. NPRs Tistle & Shamrock described him as the fnest
bombarde player outside of Brittany. He also plays the Piston (Low Bombarde), the
Veuze (the bagpipe of eastern Brittany) and the Gaita Gallega (Galician pipes). John
serves as the Host of Celtic Week.
KATHLEEN CONNEELY
Born in Bedford, England to a father from Errislannan,
Co. Galway, and a mother from Newtown Forbes,
Co. Longford, Kathleen first took lessons in her
hometown at an early age from from Clare musician
Brendan Mulkere, a well-regarded teacher in and
around London. She was also heavily infuenced by
her father, Michael, a well-known fddle, accordion
and tinwhistle player. Te Conneely home was ofen
flled with music from records, tapes and live sessions
with many visiting musicians. In 1991, she appeared
with her father, Mick Sr., brother, Mick Jr., fddle and
banjo player John Carty and futist Roger Sherlock
on RTEs Te Pure Drop. Kathleen has lived, played and taught music in several cities,
such as Birmingham, London, Dublin, Chicago and Boston. She has been privileged
to have played with many great musicians over the years and has taught for Comhaltas
Ceoltir ireann (parent organization of the All-Ireland Championships) in Dublin
and Boston, at the Boston College Irish Studies Program, the Irish Arts Week in the
Catskills. and nine years at the Gathering.
MATTHEW OLWELL
Our bodhran instructor Matthew Olwell has been performing
and teaching as a dancer and musician at festivals and theaters
across North America and Europe since 1996. He grew up
in a family of instrument-makers, immersed in a world of
music, dance, and theatre, and toured for nine years with
the Maryland-based Footworks Percussive Dance Ensemble,
with whom he performed in Riverdance. His teachers include
Dianne Walker, Baakari Wilder, Donny Golden, Eileen Car-
son, and Te Fiddle Puppet Dancers. A co-founder of Good
Foot Dance Company, director of THE BEAT RETREAT, a
percussive dancers co-op and professional development session in Charlottesville, VA,
and co-coordinator of Te Augusta Heritage Centers American Vernacular Dance
Week, Matthew is a multimedia artist who embraces to his grandfathers defnition
of a dilettante: one who delights in many things. www.mattolwell.wordpress.com
JIM MAGILL
Te Coordinator of Celtic Week is an award-winning songwriter
and instrumentalist and a three-time fnalist for College Enter-
tainer of the Year. He is the founding Director of the Swannanoa
Gathering Folk Arts Workshops of Warren Wilson College,
directs the Celtic Series of Mainstage Concerts at Ashevilles
Diana Wortham Teatre, and was awarded the frst Fellowship
in Songwriting and Composition from the North Carolina Arts
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15
as an aid to memory. Printed versions will be given at the end of the class
if students want them. As composition is an ongoing feature of the Scottish
fddle tradition, the class will cover both traditional tunes and Brians own
compositions. Composition by students during the week will be encouraged,
as will student input on arrangement the goal being to produce at least
one complex and varied set of performable tunes by weeks end, plus one or
more single tunes that can be put into any other sets the students might want
to create. Regional variations in style will be considered, as will the use of
harmonies and chords. Modern use of the fddle as a backing instrument will
be discussed, as will playing with other instruments, particularly bagpipes and
accordion. All types of tunes: marches, strathspeys, jigs, reels and airs, will be
considered. Te history of Scottish music, both in its totality and with special
emphasis on the fddle, will be referred to throughout, as will the context of
Scottish music in Scotlands social history. Students should bring a small
audio (not video) recorder and a big heart, and should remember that the
ethos of the class will be that no student shall be lef behind. (Class limit: 30)
INTRO TO CELTIC FIDDLE (Andrew Finn Magill)
Whats the diference between a jig and a reel? What makes it sound
Irish vs. Scottish? How do you do a roll? If you fnd yourself asking these
questions, this might be the class for you. We will learn the basics of the
musical styles which constitute Celtic fddle (Irish, Scottish, Breton, etc).
Tis class for intermediate players new to the style will prioritize listening
as well as playing. Afer all, the only way to play better is to listen better.
Te pace will be determined by the class, but Ill give you plenty of sheet
music, recording recommendations, and materials to take home and work
on. Te goal of this class (besides having fun) is to make you more confdent
playing Celtic music and to teach you how to sound authentic. An audio
recorder is recommended.
CAPE BRETON FIDDLE A & B (Kimberley Fraser)
Tis class for intermediate to advanced fddlers is ofered once in the morning
and repeated in the afernoon. Well look at what makes Cape Breton music
diferent fom other music. Well talk a lot about bowing and how this gives
the fddle style its accent, as well as common fngered embellishments that
youll hear in the style. Listening to recordings will also be a part of the class.
Well use this as part of our ear training to identify common stylistic features
and apply them in our own music. Te class will be taught mostly by ear
and well talk about ways to improve your ear training. Sheet music will be
provided as reference. Well learn jigs and reels and march, strathspey and
reel sets, as the class desires. (Class limit: 25)
FIDDLE FOR COMPLETE BEGINNERS (Rose Flanagan)
Learn the fddle fom scratch in a week! Tis class ofers an introduction to
playing Irish traditional music on the fddle for complete beginners. You will
learn how to hold the fddle, good bow-hold, lef-hand position, notation
and the basic scales. We will learn some simple tunes by note, or by ear if you
are up for the challenge! Please bring along a recording device.
FIDDLE TECHNIUE A (Andrew Finn Magill)
Tis class is focused more on the nuts and bolts of Irish music: Whats that
bowing? What fnger do you use? When do you ornament? Each student
is encouraged to bring a tune theyd like to explore fom an ornamentation
standpoint and we will discuss appropriate ornamentation and stylistic
interpretation. Good technique is important for playing any genre and
we will discuss the most comfortable and least physically harmful ways to
play the fddle in the context of Irish music. We will discuss how to practice
traditional Irish music and how to maximize ones practice time. Tis class
3|11|.
INTERMEDIATE IRISH FIDDLE A (Liz Knowles)
In this course for intermediate players we will cover basic violin/fddle
technique for tone, agility in the lef hand, and intonation, as well as the
basics of Irish fddle technique: bowings, ornamentation and style. Well
discuss a how-to-practice method, how to approach session playing, and
how to learn tunes fom recorded media. We will learn a few tunes, but the
emphasis will be on establishing foundations for you to take home and apply
throughout your own learning as well as answering any questions you may
have. Sheet music will be provided for those who need it but mostly at the
end of the class. Please bring a recording device. Once you have registered
for the class, contact me at lizknowlesmusic@gmail.com (indicate which
week you are participating in) and I will send you a tune or two via email at
least two weeks before the class. Even if you already know the tune or have
heard it before, LISTEN to it as much as you can. DO NOT TRY AND
LEARN IT. Just listen! (Class limit: 30)
INTERMEDIATE IRISH FIDDLE B (Colin Farrell)
In this class for intermediate players we will cover the basics of Irish fddle
technique: bowing, ornamentation and tempo, rhythm and tone. We will
be learning new tunes, taught simply, phrase by phrase before demonstrat-
ing how to incorporate various techniques into the tune. We will also take
some standard session tunes and look at adding variations and diferent
ornamentaions. We will also be listening to recordings of fddle players
and studying the diferent styles and techniques. Tunes will be taught by
ear but sheet music will be provided for those who need it. (Class limit: 30)
ADVANCED IRISH FIDDLE A (Martin Hayes)
Tis class for advanced players will explore Irish tunes fom the inside-out,
and focus on the possibilities for variation and improvisation that exist within
the tradition, as a means to our own personal expression and interpretation.
Tere will be particular emphasis on bowing, rhythm and the creation of
variations. Students are encouraged to record the classes. (Class limit: 30)
ADVANCED IRISH FIDDLE B (Liz Carroll)
Te advanced fddle class will work on good bowing and ornamentation,
and well tackle interesting and challenging tunes. Well learn some new
tunes and brush up on some old ones, and well even learn a Liz tune or
two. (Class limit: 30)
INTERMEDIATE SCOTTISH FIDDLE (Alistair McCulloch)
Tis class will explore the main traditional Scottish idioms, covering marches,
strathspeys, jigs, hornpipes, reels and airs. Tunes will mostly be taught by ear
and much of the focus will be on the expressive and stylistic elements of fddle
music, particularly bowing patterns, phrasing and character. Ornamentation
will be integral to all tunes and will be discussed and illustrated in detail,
especially in more naturally ornamented styles such as bagpipe music. We
will explore the main regional Scottish fddle styles; Northeast, West coast
and Shetland, together with a look at contemporary developments. We will
listen to a selection of recordings of infuential players. Over the course of the
week some of the material will evolve into larger arrangements and it is hoped
that this will encourage students to develop the use of chords, harmony and
accompaniment. Some sheet music may be used to aid this process. Please
bring a small recording device and lets have some fun! (Class limit: 30)
ADVANCED SCOTTISH FIDDLE (Brian McNeill)
Tis class will deal with bowing, phrasing and ornamentation of tunes
ranging across the full spectrum of dif culty of Scottish music, and will be
taught on a master/apprentice basis, which means that the tunes will be
learned orally, and, where possible, by the students learning to sing the tunes
t|:ss.s
(Unless otherwise indicated, all classes have a limit of 15)
Celtic Week, July 13-19, 2014
7:30-
8:30
Breakfast
9:00-
10:15
Intro to
Celtic
Harp
(Jackson,
Hambly)
Int.
Scottish
Fiddle
(McCulloch)
Adv.
Scottish
Fiddle
(McNeill)
Irish
Myth &
Folklore
(Ryan)
Scot-
land in
Song
(Miller)
More
Songs
from
Ulster
(Graham)
Button
Accordion
(Whelan)
Session
Guitar
Accomp.
I
(Clancy)
Fiddle for
Complete
Beginners
(Flanagan)
Bodhran
I
(Olwell)
Intro
to Irish
Whistle
A
(Conneely)
Intro
to Irish
Whistle
B
(Skelton)
Int./Adv.
Flute
B
(Kennedy)
Mandolin
I
(Fibish)
10:15-
10:45
Coffee/Tea Break
10:45-
12:00
Irish
Set
Dancing
(Meehan)
Int. Scottish
Fiddle
(contd)
Adv.
Scottish
Fiddle
(contd)
Irish
Trad.
Song
(Ryan)
Cape
Breton
Fiddle
A
(Fraser)
Social
Study
of Scots
Songs
(Reid)
Tinwhistle
for
Complete
Beginners
(Jackson)
Fiddle
Technique
A
(Magill)
Fiddle
Technique
B
(Flanagan)
DADGAD
Guitar
(OLeary)
Int./Adv.
Whistle
A
(Conneely)
Int./Adv.
Whistle
B
(Skelton)
Celtic
Bouzouki
(Bullock)
Mandolin
II
(Fibish)
12:00-
1:00
Lunch
1:15-
2:30
Int./Adv.
Celtic
Harp
(Jackson,
Hambly)
Intro to
Celtic
Fiddle
(Magill)
Int.
Irish
Fiddle
A
(Knowles)
Int.
Irish
Fiddle
B
(Farrell)
Adv.
Irish
Fiddle
A
(Hayes)
Adv.
Irish
Fiddle
B
(Carroll)
Scots Song
of the
Modern
Era
(Reid)
Session
Guitar
Accomp.
II
(Doyle)
Cape
Breton
Fiddle
B
(Fraser)
Flat-
picking
Celtic
Guitar
(Clancy)
Playing in
Sessions
(Whelan)
Intro to
Irish Flute
(OHare)
Trad. Songs
in English
& Irish
(Kennedy)
Uilleann
Pipes
(Vallely)
2:45-
4:00
Irish
Sean Ns
Dance
(Meehan)
Singing
Scottish
Songs
(Miller)
Int.
Irish
Fiddle
A
(contd)
Int.
Irish
Fiddle
B
(contd)
Adv.
Irish
Fiddle
A
(contd)
Adv.
Irish
Fiddle
B
(contd)
Bodhran
II
(Olwell)
Anglo
Concertina
(Hambly)
Tenor
Banjo
(OLeary)
Meeting
Child on
the Road
(Graham)
Celtic
Fingerstyle
Guitar
(Bullock)
Int./Adv.
Flute A
(OHare)
Favourite
Ballads of
Ireland &
England
(Doyle)
Uilleann
Pipes
(contd)
4:15-
5:15
Potluck Sessions & free time
5:00-
6:00
Supper
6:00-
7:00
Slow Jams/Song Swaps
7:30-? Evening Events (concerts, dances, jam sessions, etc.)
is best suited for fddlers who have facility with the instrument and who are
willing to be challenged, rather than for beginners. Classes will be taught
by ear. (Class limit: 20)
FIDDLE TECHNIUE B (Rose Flanagan)
Tis class is for those who already play the fddle but wish to improve their
skills. We will concentrate on ornamentation, bowing and phrasing. Please
note that this class is not for beginners. We will learn a few tunes throughout
the week. Classes will be taught by ear, but notation will be available to all
students on request at end of the workshop. Students should have a good
knowledge of the fddle and be able to play tunes at or close to speed. Please
bring a recording device and feel fee to ask as many questions as you wish!
(Class limit: 20)
3|at. & |sv||st|.
INTRO TO IRISH FLUTE (Kieran OHare)
Tis class ofers an introduction to playing traditional Irish music on the
fute for students who already have some experience with the basics of the
instrument and can play some tunes at a slow pace with little or no orna-
mentation. Well discuss a how-to-practice method and how to approach
session playing. Well learn a few tunes but the emphasis will be on estab-
lishing foundations for you to take home and apply throughout your own
learning as well as answering any questions you may have. Students will
learn how to ornament tunes with rolls, cuts and tongueing. Tunes will be
taught by ear so bring a D fute and a recording device. ABC notation will
be provided for those who need it.
INTERMEDIATE/ADVANCED FLUTE A (Kieran OHare)
Tis class is for students who are skilled enough to play tunes in a variety of
rhythms (jigs, reels, etc.), with good technique and at a reasonable tempo.
Tis course will expand on the skills and topics introduced in the beginners
class, with more attention given to ornamentation, breathing, style and
repertoire, while continuing to emphasize rhythm and phrasing in the music.
Tunes will be taught by ear so bring a D fute and a recording device. ABC
notation will be provided for those who need it.
INTERMEDIATE/ADVANCED FLUTE B (Nuala Kennedy)
Nuala grew up playing traditional Irish music in Dundalk, Co.Louth and
has also spent many years living and playing music in Edinburgh, Scotland.
She is also strongly infuenced by the music of Cape Breton Island, Nova
Scotia. In this class, she will explore some of the repertoire fom these three
places, looking at a variety of tune types including marches and strathspeys.
We will also play in a range of keys. Tis class is for students who are skilled
enough to play tunes in a variety of rhythms, and is suitable for those who
wish to learn by ear. Music notation can also be provided aferwards for
students who would like it.
16
17
INTRO TO IRISH
TINWHISTLE A & B (Kathleen Conneely, John Skelton)
Tis class is for students who already have some experience with the basics
of the instrument, and can play some tunes at a slow pace with little or no
ornamentation. Beginners will learn how to ornament tunes with rolls, cuts
and tongueing. Emphasis will be placed on rhythm and phrasing. Tunes will
be taught aurally, so bring a D whistle and a recording device. Sheet music
will be provided for those who need it.
INTERMEDIATE/ADVANCED IRISH
TINWHISTLE A & B (Kathleen Conneely, John Skelton)
Tis class is for students who are skilled enough to play tunes in a variety of
rhythms (jigs, reels, etc), with good technique and at a reasonable tempo.
Tis course will expand on the skills and topics introduced in the beginners
class, with more attention given to ornamentation, breathing, style and
repertoire, while continuing to emphasize rhythm and phrasing in the music.
Tunes will be taught aurally, so bring a D whistle and recording device. Sheet
music will be provided for those who need it.
TINWHISTLE FOR
COMPLETE BEGINNERS (Billy Jackson)
Tis class is for students with no prior experience of the tinwhistle. Instruc-
tion will start with the most fundamental techniques and a few very simple
tunes. By the end of the week, youll be well on your way to playing. Please
bring along a recording device and a tinwhistle in the key of D.
:|
INTRO TO CELTIC HARP (Billy Jackson & Grinne Hambly)
Te beginning student will be introduced to the fundamentals of this grand
and ancient instrument, including basic harp technique (e.g. hand position,
posture, exercises). Arrangements of simple Scottish and Irish melodies
will be taught by ear, with written music provided as back-up. Billy and
Grinne will each lead the class at various times during the week. In order
for classes to commence on time, students are kindly requested to be tuned
and prepared well in advance, and to ensure their instruments are in good
working order. Students are also encouraged to bring a recording device,
music stand, and spare strings.
INTERMEDIATE/ADVANCED
CELTIC HARP (Billy Jackson & Grinne Hambly)
Class topics will include arranging, ornamentation, and accompanying
oice and other instruments. A selection of Scottish and Irish material will
be taught at a more advanced level and individual interests of participants
will be taken into account. Billy and Grinne will each lead the class at
various times during the week. In order for classes to commence on time,
students are kindly requested to be tuned and prepared well in advance,
and to ensure their instruments are in good working order. Students are
also encouraged to bring a recording device, music stand, and spare strings.
3|.tt.1 1sst|am.sts
CELTIC FINGERSTYLE GUITAR (Robin Bullock)
Tis class will explore the world of possibilities presented by traditional Irish,
Scottish and Breton repertoire arranged for solo fngerstyle guitar. Some
tablature will be ofered, but students will also create their own individual
settings of airs, jigs, reels and the 18th-century harp music of Turlough
OCarolan, sharing arrangement ideas in an informal, hands-on environ-
ment. Alternate tunings such DADGAD, CGCGCD and Werewolf tuning
(CGDGAD) will be used extensively to open up the instruments full sonic
potential. A good time will be had by all. An audio recorder is recommended.

SESSION GUITAR
ACCOMPANIMENT I (Donal Clancy)
Te student will learn chord shapes for dropped-D tuning, chord inversions
and progressions for efective accompaniment as well as essential rhythm
techniques. Well look at several diferent approaches for accompanying each
tune, so the student will have the tools necessary to be creative in a session.
SESSION GUITAR
ACCOMPANIMENT II ( John Doyle)
In this class for advanced students, players will further master diferent
strumming techniques to a variety of types of tunes, add dynamics to their
playing through syncopation and emphasis, confdent chord substitutions,
fngerpicking techniques, tips and tricks for playing in sessions, how to work
out the right chords for tunes and alternate tunings for the guitar. Students
should be familiar and comfortable with strumming, have a good working
knowledge of Irish music and of music theory. Chord sheets in dropped-D
tuning will be provided. Students should bring a capo.
DADGAD GUITAR (Eamon OLeary)
Tis class will explore approaches to the accompaniment of Irish music both
instrumental and ocal with the unique DADGAD tuning. Focus will
be placed on rhythm, chord selection, phrasing, and right- and lef-hand
techniques. No experience with this tuning is necessary. Chord charts will
be provided.
FLATPICKING CELTIC GUITAR (Donal Clancy)
Tis intermediate-level class will focus on making traditional Celtic tunes
come to life, fatpicked on steel-string guitar. Well discuss technique, lif,
ornamentation, and other facets of making the tunes sound authentic.
Sheet music and tab will be available if required. An audio recorder is
recommended.
CELTIC BOUZOUKI (Robin Bullock)
Te Irish bouzouki, or cittern, has gained a prominent role in Celtic music
over the last forty years. Te world of this instrument is made rich and
strange by the fact that there is no standard tuning, only a number of
distinctive alternate tunings on four, fve or even six pairs of strings. Tis
class will cover techniques of both melody and accompaniment, as well as
how to choose a bouzouki, instrument setup, string types, pick types and
amplifcation methods. Players of both 8- and 10-string instruments are
welcome. An audio recorder is recommended.
MANDOLIN I (Marla Fibish)
Tis class will focus on getting the feel, pulse and fow of Irish music on the
mandolin. Well work on maximizing sustain and tone production on your
instrument to get a fowing melodic sound, looking at both right-hand and
lef-hand technique, pick selection and grip. Ten well cover getting the
rhythm and pulse of Irish music into your playing. Tis is about understand-
ing the music and focusing on the right hand: learning and practicing pick-
ing patterns for various tune types (jigs, reels, polkas, etc.) as well as using
the wrist (and the rest of your body) to create a full and rhythmic sound.
Well do exercises and learn tunes together (by ear) and use those tunes to
demonstrate, drill and practice what we learn. Bring a recording device!
MANDOLIN II (Marla Fibish)
Tis class will review and then build on the basics (see Mandolin I class
description above), focusing on both technique and musicality. Well look
at phrasing and ornamentation, as well as using dynamics and variation
to best apply the unique qualities of the mandolin to Irish music, respecting
the core of the tradition on this newcomer of an instrument. Well learn
tunes together (by ear) and explore diferent ways to give those tunes life
and lif, applying the concepts and techniques that we learn in class. Bring
a recording device!
TENOR BANJO (Eamon OLeary)
In this course for banjoists of all levels, Eamon will cover right- and lef-hand
technique, ornamentation, tune settings, and diferent banjo styles. Tunes
that are particularly well-suited to the banjo will also be incorporated into
the class. Students are advised to bring a recording device.
1..1s
UILLEANN PIPES (Cillian Vallely)
Tis class will focus on tunes fom the standard piping repertoire and their
associated piping techniques. Trough the teaching of new tunes, we will
examine standard piping elements such as rolls, crans and triplets, and also
look at how to get the best sound fom the instrument in terms of tone and
tuning. We will spend some time looking at the various styles of playing and
how to develop the music fom the basic melody through the use of ornamen-
tation and melodic and rhythmic variation. We will also look at regulator
accompaniment for those with full sets and we will try to cover the various
tune types associated with traditional music. A device to record the classes
will be essential as the class will be taught by ear and it is expected that a lot
of what you learn at the class will be of use between classes. For those who
require it, musical notation can be made available at the end to take home.
Intermediate and advanced players will beneft the most fom this class.
BUTTON ACCORDION ( John Whelan)
In this class you will learn fngering techniques, bellows control, rhythm &
phrasing and how to play stress-fee with your accordion. You will learn to
understand better how the accordion works with your physiology and how
to relax so you can bring out the best in your playing. You will learn tunes
that ft well with the accordion and bring out the essence of Irish music. You
will learn proper practice methods and how to improve your playing going
forward. You will learn that hard work and dedication will not be wasted
with the things you learn because its not the length of time you practice but
the discipline you have doing it.
PLAYING IN SESSIONS ( John Whelan)
Have you ever wondered why your session is so sparse, or the playing is too
fast or too slow? Or how to manage your session with beginners, intermediate
and advanced players? What do you do when you have twenty-fve people
or more? Tis class for all instruments will help you with all these questions
and more, including: What session tunes to play. Which tunes you need to
learn. Understanding how your session is efected by social, economic and
demographic locations. Whether you have two or twenty people, you can have
a wonderful session if you approach it in the right way. Remember that Irish
music is inclusive not exclusive. Now go build your session!
ANGLO CONCERTINA (Grinne Hambly)
Tis class is intended for students playing Anglo C/G concertinas, and
is open to all levels, fom beginners with some basic playing experience up-
wards. It is not suitable for complete beginners, however, and all participants
should be familiar with their instrument (location of the notes, etc). Basics
of technique and style (e.g. bellows control, phrasing, alternative fngerings)
will be covered, as well as ornamentation in the context of Irish traditional
dance tunes. Participants are encouraged to bring an audio recorder. Written
music will also be provided.
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IRISH TRADITIONAL SONG (Cathie Ryan)
Tis course will feature songs in both Irish and English that Cathie has col-
lected through the years and new ones she has recently discovered, including
loe songs, newly-composed songs written in the old style, childrens songs,
humorous songs, historic ballads, sing-a-longs, and more. We will focus on
the oral tradition of sean ns (old style) singing and utilize those rudiments
to deepen and develop our own individual singing styles. Please bring audio
recorders with you to class. (No class limit)
IRISH MYTH AND FOLKLORE (Cathie Ryan)
Te stories and characters in Irish myth and folklore are endlessly fascinating,
and Cathie adds a further dimension to them by using a modern psychologi-
cal perspective. In past courses, Cathie has led workshops on the Celtic Year,
Celtic Fire Festivals, tales fom Te Tin and Gods and Fighting Men, as
well as Irish folk tales and fairylore. Tis year her subject is the importance
of the mythic journey in the literature. Using a selection of tales and poetry
fom varied sources, she will focus on journeys to the Otherworld and its
parallels to addiction, Iomramh (voyaging over Sea) and the necessary over
and back between the unconscious and conscious, and those transformative
journeys we do not choose to make, but must. Te course will discuss the
desire and restlessness that ofen fuels our decision to embark on our own
journeys, the pitfalls and lures we encounter on the way and how they can
propel us or render us stuck, and what the spiritual and personal rewards
of coming home to ourselves can be. We will also look at the tricky question
of whether we can return to the community we lef behind. (No class limit)
FAVOURITE BALLADS
OF IRELAND & ENGLAND (John Doyle)
In this class, John will share a collection of favourite songs learned fom a
lifetime of playing with the best in folk music. Having studied and learned
songs for almost 20 years, he has amassed a great repertoire of Irish and
English ballads learned fom many sources, including his father, Sean Doyle,
a lovely singer fom Co. Sligo. Students will listen to examples of the best of
Irish and English styles of singing, listen to how certain songs have changed
in their moves back and forth between these countries, and, of course, learn
songs in the process. Students will learn by repetition and ear and would
beneft by bringing along a recording device. (No class limit)
SINGING SCOTTISH SONGS (Ed Miller)
Each class period will focus on two or three songs, learning them by hear-
ing and singing them over several times. Well also listen to recordings by
a variety of singers to hear how they present, express and decorate a song.
Songbooks and sampler CDs will be available and the language and social
context of the songs will be explained. However, the emphasis will be on
learning a selection of traditional and more recent songs aurally and orally
by repetition. (No class limit)
SCOTLAND IN SONG (Ed Miller)
Te songs of the Scottish folk revival of the past 50 years cover everything
fom politics and social change to urban renewal and personal experience. In
this class, well listen to, talk about and SING serious and humorous songs
by Adam McNaughtan, Ewan MacColl, Hamish Henderson, Robin Laing,
Andy M. Stewart, Dougie MacLean and others, all of whom are keeping
the Scottish song repertoire refeshed, vibrant and relevant. Songbooks will
be available. (No class limit)
MORE SONGS FROM
THE ULSTER TRADITION (Len Graham)
Len will open another bag of songs and ballads fom his extensive collection.
Temes covered will be classic ballads, broadside ballads, local songs, come-
all-yes, lyric folk songs, music hall pieces; songs of love, politics, emigration
and much more. Each song will be put in context, giving historical and social
background. As an oral tradition these songs will be taught by repetion and
ear with song lyrics provided. Participants are encouraged to bring an audio
recording device. (No class limit)
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MEETING CHILD ON THE ROAD (Len Graham)
Harvard professor Francis James Child had a deep love for traditional
balladry. His fve olume collection, Te English and Scottish Popular Bal-
lads, which appeared between 1882 and 1898, could have been extended
somewhat had he visited Ireland. In this class, Len Graham introduces and
teaches some of the fne versions of early ballads he encountered during his
travels throughout Ireland. As an oral tradition these ballads will be taught
by repetition and ear with lyrics provided. Participants are encouraged to
bring an audio recording device (No class limit)
TRADITIONAL SONGS
IN ENGLISH & IRISH (Nuala Kennedy)
Much of Nualas repertoire consists of Irish songs in the English language
she learned fom her mentor and fiend, Cathal McConnell of the Boys of
the Lough. In this class we will learn a variety of songs fom that repertoire
as well as other songs which Nuala has picked up over several years perform-
ing and singing. We will try to learn some songs by ear, (old-style!) as well
as fom songsheets. Some basic phrases in Irish will be taught as well as a
couple of simple Irish language songs. No previous knowledge of Irish is
required. A relaxed and informal class, this is a good way to broaden your
repertoire as well as share some of your own songs and singing experience
with the group. Please come ready to share at least one song that you enjoy,
and bring a recording device. (No class limit)
A SOCIAL STUDY OF SCOTS SONGS (Alan Reid)
A kaleidoscope of Scots song seen through geography and history. Tis class
will look at the diverse culture of Lowland Scotland by discussing, studying
and singing Scots song fom the various regions. Looking at the songs of the
people, well pinpoint the subtle diferences that characterise each area and
aim to demystify the more obscure ocabulary of the Scots tongue (student
questioning and participation is encouraged). Along the way well sing songs
of work, war, love and other things that have touched the lives of ordinary
people. Lyric sheets will be available as well as some recordings. Songs will be
taught by ear and repetition. Recording devices will be helpful. (No class limit)
SCOTS SONG OF THE MODERN ERA (Alan Reid)
Te advent of the folk revival in the 1960s and the emergence of the profes-
sional folk performer has seen a blossoming of folksong writing and Scotland
has its fair share of exponents. Tis class will study and sing songs fom the
early part of the last century up to the present day, seeking out gems fom
well known and not so well known writers as well as touching on the ofen
political or irreverent parodies emerging fom the grass roots. Lyrics and
some recordings will be provided and songs taught by ear in a fiendly relaxed
atmosphere. Recording devices are helpful. (No class limit)
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BODHRAN I (Matthew Olwell)
Tis class will address the fundamentals of playing the bodhran, including
basic care and feeding of the instrument, good hand and body position, and
techniques for reels and jigs. Te class will emphasize playing by ear, musical
sensitivity, and fnding the rhythms hidden within the tunes. We will examine
the similarities and diferences between percussion in Irish music and other
styles, with a focus on intuitive listening and ear development. Beginners
are welcome, as are players who want to brush up on the basics or re-evaluate
their technique. Audio recording devices are encouraged. (Class limit: 25)
BODHRAN II (Matthew Olwell)
Tis class is designed for players with a solid foundation of technique, who
are ready to sharpen their skills. Class time will be devoted to playing as a
group, as well as individually. We will talk about how to accentuate rhythmic
elements in diferent types of tunes, how to make smooth and interesting
transitions within sets, and how to work with other rhythm players. Stu-
dents should be comfortable with both jigs and reels and be able to play with
consistent timing. Audio recording devices are encouraged. (Class limit: 25)
IRISH SEAN NS DANCE (Maldon Meehan)
Sean-ns dance, not to be confused with sean-ns singing, comes primarily
fom Connemara and is generally danced to reels and jigs. Sean-ns, literally
meaning old-style is a highly improvisational, low to the ground, rhythmic
dance form. In sean-ns dance, the dancer is tied closely with the musician
and the music. Te dancer interprets the music. Tis class is for all levels.
Bring smooth-leather hard-soled shoes, comfortable clothes, a water bottle,
a notebook and a recording device. (No class limit)
IRISH SET DANCING (Maldon Meehan)
Irish sets are danced all over Ireland and America at cil dances. Sets are
danced in square formation, and are comprised of various sections called
fgures. Tese fgures can range in number anywhere fom two to nine. A
particular tune type, generally a reel, jig, slide, polka or hornpipe accom-
panies each fgure. Tis class is for all levels and will cover regional sets and
battering footwork. Bring smooth-leather hard-soled shoes, comfortable
clothes, a water bottle, a notebook and a recording device. (No class limit)
Ot|.| cv.sts
POTLUCK SESSIONS
In addition to the regular class sessions, in the afernoons we ofer Potluck
Sessions serving up a diferent menu of one-hour workshops each day.
FOOD SONGS NIGHT
On one of the evenings during the week, the Seasonal School of Culinary
Arts www.schoolofculinaryarts.org will ofer up some of their delicious fare
to the accompaniment of songs about food provided by our staf and students.
t|||1|.ss +|.|:m
We ofer a full-day program, taught by Melissa Hyman, for children ages
6-12. Children must have turned 6 by July 1st to participate. No exceptions
please. Evening childcare for ages 3-12 will be provided at no additional cost.
Who hasnt ever dreamed of running away to the CIRCUS? Tis is a
very special summer for the Childrens Program, as we are welcoming our
brand-new coordinator Melissa Hyman. Come one, come all and explore the
fantastical world of circus arts, crafs and music, fom silly songs to popcorn-
eating contests to face painting. Run away with us and we may even meet
guest teachers wholl show us how to juggle, tumble and ride elephants with
the best of em. Well be having an unforgettable summer of water balloon
fghts, circus-themed crafs, songs and stories fom every corner of the world
so jump on the train and join us! Well create our own circus band with the
help of a very talented music teacher, culminating in our big performance
at the student showcase on Saturday. As a special treat, we will be visited
throughout the week by wandering musicians and artists (Gathering staf)
who will perform just for our kids. We will, of course, continue our long-loved
traditions of shaving cream hairdos day, movie night, super-messy games
and the Gathering Scavenger Hunt. Each busy day will close with fee swim
time in the college pool. Non-swimmers must be accompanied by a parent to
swim. Get ready for a week of magic and mayhem under the big top with us!!
Tere will be a $30 art/craf materials fee for this class, payable to Melissa,
the Childrens Program coordinator, on arrival.
O|1|m. Aas|. & J:s.. W..|
MAC BENFORD
Mac Benford has been a leading fgure in the preservation
and performance of traditional Appalachian string band
music for nearly half a century, most notably as a leading
member of the now-legendary Highwoods Stringband.
In the 1960s, he had direct contact with many of the
old-time masters, including Wade Ward, Tommy Jarrell,
Rocoe Holcomb, Kyle Creed, Ola Belle Reed, and Tom
Ashley, and he has been instrumental in introducing a
whole generation to the power and excitement of old-
time music. He has fronted several successful and highly-acclaimed bands, including
Te Backwoods Band, Te Uncles, and Te Woodshed All-Stars, and he has appeared
at countless music venues, from the street corners of Berkeley to major folk festivals
and Carnegie Hall. Now primarily a solo performer, his prize-winning banjo picking,
coupled with his unique, heartfelt singing style and warm stage presence, have made him
an audience favorite the world over. As a master of many traditional banjo styles, he is a
much sought afer instructor at banjo camps across the country. www.macbenford.com
PHIL JAMISON
Founding coordinator of Old-Time Music & Dance Week,
Phil is nationally-known as a dance caller, musician, and
fatfoot dancer. Since the early 1970s he has been calling
dances and performing and teaching at music festivals and
dance events throughout the U.S. and overseas, includ-
ing thirty years as a member of the Green Grass Cloggers.
His fatfoot dancing was featured in the flm, Songcatcher,
for which he also served as Traditional Dance consultant.
From 1982 through 2004, he toured and played guitar with Ralph Blizard and the
New Southern Ramblers, but he also plays fddle and banjo. He has done extensive
research in the area of Appalachian dance, and has published many articles on tra-
ditional dance in Te Old-Time Herald. Phil teaches mathematics and Appalachian
music at Warren Wilson College, where, in 2004, he founded Dare To Be Square!,
a weekend workshop for square dance callers. In 2008, Phil became the twelfth
recipient of the Gatherings Master Music Maker Award for lifetime achievement.
www.philjamison.com
JOHN HERRMANN
John has been traveling the world playing old-time music for
over forty years. He plays fddle with the New Southern Ram-
blers, but he has performed with many bands including the
Henrie Brothers (1st place Galax, 1976), Critton Hollow, the
Wandering Ramblers, One-Eyed Dog and the Rockinghams.
Equally adept on banjo, fddle, mandolin, guitar, and bass, he is
known as the Father of Old-Time Music in Japan(!), and the
originator of the slow jam. John has been on staf at numerous
music camps from coast to coast. He lives in Madison Co., NC.
GERRY MILNES
Musician, flmmaker, and author, Gerry Milnes has been im-
mersed in the traditional folk music and culture of West Virginia
for many years. He has learned from Melvin Wine and other
master musicians of the older generation, and he is adept on
the fddle, banjo, and guitar. Over the last sixteen years, he has
performed with West Virginia old-time band, Gandydancer,
and he has won frst-place banjo at the Appalachian Stringband
Music Festival at Clif op. Recently retired from twenty-fve
years as Folk Arts Coordinator at the Augusta Heritage Center in Elkins, West Virginia,
Gerry has produced over thirty audio and video recordings and flms of West Virginia
traditional music and folklife, and he is the author of Play of a Fiddle: West Virginia
Traditional Music, Dance and Folklore (University Press of Kentucky) and other books.
Gerry has taught at Augusta and the Festival of American Fiddle Tunes, and he has
performed at such venues as the Chicago Folk Festival, the Brandywine Festival, the
Kennedy Center, the Library of Congress, the Philadelphia Folk Festival, Old Songs,
the California Traditional Music Society and the Washington Folklore Society.
ALICE GERRARD
Singer/songwriter/musician Alice Gerrard has performed on
more than twenty recordings. She has produced or written liner
notes for a dozen more, and she has co-produced and appeared
in two documentary flms about Appalachian music. Her nu-
merous honors include a Virginia Arts Commission Award, the
North Carolina Folklore Societys Tommy Jarrell Award, and
an Indie Award. In 1987, Alice founded the Old-Time Music
Group, a non-proft organization which oversees publication of the Old-Time Herald
magazine. Known for her groundbreaking collaboration with Appalachian singer Hazel
Dickens during the 1960s and 70s, this duo produced four classic LPs and was a major
infuence and inspiration for scores of young women singers. Her solo CDs, Calling
Me Home and Pieces of My Heart received critical acclaim, and she recently released a
CD, Road to Agate Hill, in connection with Lee Smiths book, On Agate Hill. In 2010,
Alice was awarded the Gatherings Master Music Maker Award for lifetime achievement.
www.alicegerrard.com
RAYNA GELLERT
Rayna Gellert grew up in a musical family, and she has spent
most of her life immersed in the sounds of rural stringband
music. Afer honing her fddle skills at jam sessions and square
dances, Rayna fell into a life of traveling and performing. While
her work as a professional musician has found her collaborating
with a wide range of artists, her fddle style has always remained
grounded in traditional music, and her albums are favorites
in the old-time community. She delights in the opportunity
to share the music she loves, and to connect students with her favorite dead guys. In
addition to performing her own music, Rayna also tours with renowned songwriter
Scott Miller. www.raynagellert.com
Old-Time Music & Dance Week at the Swannanoa Gathering explores the rich music, dance, and singing traditions of the southern Appalachian
region through a wide variety of classes taught by an experienced and supportive staf. Te many diverse oferings enable students to explore new areas; fddlers
sing, singers dance, and dancers learn to play instruments. Students enroll in as many as three regular classes during the week, and each afernoon a variety of
short workshop topics are ofered during the Potluck Sessions. Te daily Communal Gathering features master musicians, singers, and dancers from across the
Appalachian region. Evening activities include jam sessions, singing, square dances, clogging, concerts, and the popular Late-Night Honky-Tonk Dance! To
accommodate families, we ofer a class specifcally for teenagers, Te Teen Gathering, as well as a Childrens Program for ages 6-12 with kids activities scheduled
during all the daytime class sessions. Space, however, is limited. Evening childcare for ages 3-12 is provided at no additional cost.
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GORDY HINNERS
A veteran of the old-time music and dance scene, Gordy is
known for his distinctive clawhammer style on the fretless
banjo and his masterful rhythmic footwork as a clogger and
buckdancer. He plays banjo with the New Southern Ramblers
and for many years was a mainstay of the Green Grass Clog-
gers. Gordy has taught at workshops throughout the country,
and has been a part of the Gathering since its inception. He
lives in western NC, and teaches Spanish at Mars Hill College.
JEFF KEITH
Over the years, Jef Keith has played countless tunes on guitar
and mandolin around the globe with a wide assortment of musi-
cians, from Pike County, Kentucky, with old-time fddler Paul
David Smith, to the Tierra Caliente, with Mexican fddler Juan
Reynoso. A native of Kentucky, Jef is a member of the old-time
stringband, the Red State Ramblers, with whom he has recorded
and has performed for the U.S. State Department in Kyrgyzstan
and Ecuador. He has also played banjo on recordings with Ben Sollee, Daniel Martin
Moore, and Goldenrod (a psychedelic funk band), and one British reviewer celebrated
his soaring electric guitar work on Rayna Gellerts recent album Old Light. Jef teaches
Appalachian studies, history, and music at Warren Wilson College, and when he is not
playing music, he studies things and spends time with his little bitty dog Napoleon.
JOSEPH DECOSIMO
Joseph Decosimo grew up in Chattanooga and has been inter-
ested in the fddle and banjo traditions of his local area since
frst encountering the banjo in seventh grade. He has spent
much of his energy exploring the music of the Cumberland
Plateau, southeast Tennessee, and western North Carolina, and
for several years during high school and college, he performed
with Charlie Acuf. He has won a number of blue ribbons for his fddling, including
First Place at Clif op in 2010, and the National Old-Time Banjo Championship,
and his band, the Bucking Mules took frst place in the stringband competition at
Clif op in 2012. Joseph recently completed an MA in Folklore at the University of
North Carolina, studying fddling traditions in Tennessee and north Georgia, and he
has taught and performed at a number of music camps throughout the country. He
served on the faculty at East Tennessee State Universitys Bluegrass, Old-Time, and
Country Music program where he taught old-time fddle and banjo, and now lives in
Durham, North Carolina where he plays music, teaches lesson, and works as a folklorist.
www. josephdecosimomusic.virb.com
SHEILA KAY ADAMS
Ballad singer, banjo player, writer and storyteller, Sheila comes
from a small mountain community in Madison County, North
Carolina. For seven generations, her family has maintained the
tradition of passing down the English, Scottish and Irish ballads
that came over with her ancestors in the late 1700s. She learned
the ballads from her relatives, primarily from her great-aunt
Dellie Chandler Norton. A perennial favorite at Ashevilles
Mountain Dance and Folk Festival, Sheila has performed and taught at many major
festivals and workshops throughout the country, the UK, and in 2011, performed at
the Celtic Colors International Festival in Nova Scotia. In 2013, she was awarded a
National Heritage Fellowship the nations highest honor in the folk and traditional
arts. She has been a featured performer in the Southern Arts Federations Sisters of the
South tour, the National Folk Festival, the North Carolina Folklife Festival, the Kent
State Folk Festival, the San Diego Folk Heritage Festival, and the Folkmasters series
on National Public Radio. She served as the ballad-singing coach for the feature flm,
Songcatcher, and her novel, My Old True Love, published in 2004 by Algonquin Books
was a fnalist for the Southeastern Booksellers Associations Book of the Year Award.
JOHN HOLLANDSWORTH
A native of Christiansburg in southwest Virginia, John grew
up listening to friends and relatives play stringed instruments,
and he developed his own autoharp style incorporating both
chromatic and diatonic techniques. John has performed
and led workshops at the Mountain Laurel Autoharp
Gathering, the Willamette Valley Autoharp Gathering, Sore
Fingers Summer School, Augusta, the John C. Campbell
Folk School, and elsewhere. He has served as editor of the
Interaction Lesson feature in Autoharp uarterly magazine, and in 1991, he became
the frst champion of the prestigious Mountain Laurel Autoharp Gathering Competi-
tion. He has been named the Best All-Around Performer of the Galax Old Fiddlers
Convention three times, the only autoharp player ever to win this recognition. In 2010,
John was inducted into the Autoharp Hall of Fame. www.blueridgeautoharps.com
ANNA ROBERTS-GEVALT
Anna Roberts-Gevalt is a New Englander who moved south to
immerse herself in Appalachian music. She has studied with master
Kentucky fddlers Burce Greene, John Harrod, and Paul David
Smith, as well as banjo players Lee Sexton and Earl Tomas. Anna
did research through Berea College into the lives of female fddlers
in Kentucky, and she works closely with ballad singer Elizabeth
LaPrelle, performing songs and ballads with crankies, locally and
nationally, and producing a monthly radio variety hour in Floyd, Virginia. She recently
produced a compilation album of young traditional musicians, Te New Young Fogies,
with Joseph DeJarnete, and is coordinator of Te Cowan Creek Mountain Music School
in Whitesburg, Kentucky. www.annaandelizabeth.com
JOHN HOFFMAN
John Hofmann has been involved in the old time music world
since the late 1970s. Starting out as a banjo player in Ithaca,
New York, he was a founding member of the Tompkins County
Horsefies (later the Horsefies). He moved on to the fddle in
the early 1980s. John has played in various old-time bands in
Ithaca, teaming up with Mac Benford, with whom he has been
playing and performing music for over 25 years. Together, they
have recorded a CD, Its About Time. John also plays in the band, Long John and the
Tights. Over the years, John has garnered a number of awards for his banjo and fddle
playing at Mt. Airy, Galax, Clif op, and the Wheatland Music Festival.
ELIZABETH LAPRELLE
Elizabeth LaPrelle is a young ballad singer and banjo player
from Rural Retreat, Virginia, whose heartfelt and powerful
singing has won her prizes at regional fddlers conventions
since the age of eleven. She has sung for audiences across the
country and has taught Appalachian ballads and unaccompa-
nied singing at music camps and workshops, where she shares
her knowledge of songs and singers past. Her work on Te New
Young Fogies CD brought her to the attention of Noah Adams, who featured her in an
episode of NPRs Weekend Edition. www.elizabethlaprelle.com
ELLIE GRACE
Ellie was born into a deep musical tradition and began her life-
long love afair with Appalachian clogging at the ripe old age of
fve. She has spent her life performing professionally as a singer,
multi-instrumentalist, songwriter, and dancer, frst as a young
member of her family band and now as an independent artist.
She has toured internationally with her sister duo (Leela & Ellie
Grace), the Dirk Powell Band, the all-female old-time trio Blue Eyed Girl, and several
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Northampton, Massachusetts. As a teaching fellow, she is busily infecting the undergrads
with her ridiculous love of rhythm and shocking the academic dance world with the
revelation that is clogging. www.leelaandelliegrace.com
RODNEY SUTTON
Tis year marks forty-one years since Rodney frst danced with
the Green Grass Cloggers and forty-two years since he was told
he would never make a clogger! Over the years, he has shared
his love of clogging by teaching workshops for beginners at camps
around the country, so that no one else will be told, or led to be-
lieve, that they cannot make a clogger. He is a traditional dancer,
caller, musician, storyteller, a veteran of the early days of the Green
Grass Cloggers, and co-founder of the Fiddle Puppets (now known as Footworks).
Over the years, he has traveled all across the US and in the British Isles, performing
and teaching clogging, and calling square and contra dances. As a member of North
Carolinas Visiting Artist Program, he taught traditional dance in schools throughout
western NC. Rodney has been instrumental in helping the Regional Junior Appalachian
Musicians ( JAM) program become a certifed non-proft group that oversees JAM
programs throughout mountain communities, and along with his daughter Kelsey, he
teaches clogging for the Madison County JAM.
RON PEN
Ron is a performer and scholar of the music of the Appalachian
region. A founding member of the Appalachian Association
of Sacred Harp Singers, with whom he performed on NPRs A
Prairie Home Companion, Ron is also Professor of Music and
Director of the John Jacob Niles Center for American Music at
the University of Kentucky. He is the author of I Wonder As I Wander, a biography of
folk icon John Jacob Niles. Ron started fddling thirty years ago in Rockbridge County,
Virginia and has since participated in various workshops and festivals across the region
including Hindman Settlement Schools Folk Week, Augustas Old-Time and Singing
weeks, Bereas Christmas Dance School, and many times at Swannanoa. He has recently
performed music in China, Kyrgyzstan and Ecuador with the Red State Ramblers.
DON PEDI
A spectacular mountain dulcimer player who can match the fddle
note-for-note on tunes, Don has been collecting, preserving and
performing Appalachian music for more than four decades. He has
spent most of his life working, playing music and living alongside
old-time musicians in North Carolina, Kentucky, Tennessee, and
Virginia, and he has developed a playing style that translates the older style fddle and
banjo tunes, ballads, and songs to the dulcimer, while maintaining traditional rhythms
and stylistic sensibilities. Hes performed at many festivals across the country, including
the Smithsonian Folklife Festival in Washington, DC, and he played music and appeared
in the flm, Songcatcher. www.donpedi.com
WAYNE ERBSEN
Wayne has been teaching people to play stringed instruments
for over forty-fve years. Since his frst book, Clawhammer
Banjo for the Complete Ignoramus!, Wayne has written thirty-
one instruction and songbooks on Southern Appalachian
music, folklore, and humor, and since 1988 he has recorded
eighteen solo CDs. In addition to teaching Appalachian music
at Warren Wilson College and at the Log Cabin Cooking & Music Center, Wayne
runs a publishing company and old-time record label, Native Ground Books & Music.
www.nativeground.com
EDDIE BOND
A native of Grayson County, VA, Eddie Bond has been performing
old-time music since he was a child. Growing up with music on
both sides of his family, he was steeped in the musical traditions
of the Blue Ridge at an early age. All four of his great-grandfathers
were old-time banjo players, and he was raised by his grandmother,
who was a singer and guitar player. Eddie is now one of the regions
most respected old-time fddlers, and he has won frst place on
fddle, banjo, and autoharp at the Galax Old-Time Fiddlers Convention. Since 2001,
he has been the fddler and lead singer for the New Ballards Branch Bogtrotters, one
of Virginias best-known old-time string bands, and he has performed at the Smithso-
nian Folklife Festival, the National Folk Festival, the Kennedy Center, the Library of
Congress, the Montana Folk Festival, the Berkeley Old Time Music Festival and the
Gainsborough (England) Old-Time Festival, among others.
PAUL KOVAC
Singer, multi-instrumentalist, and scholar of American country
music, Paul Kovac has been playing old-time and bluegrass music
on guitar, mandolin, and banjo since he was a teen. Over the years,
he has performed with a long list of musicians, including old-time
with Dirk Powell and Rick Good, and bluegrass with Bill Monroe
and Hazel Dickens. He has accompanied fddlers Chubby Wise,
Art Stamper, and Vassar Clements, and played dance music with
Critton Hollow String Band and the Fiddle Puppets. In 1993, Paul wrote and produced
the instructional DVD, Learn to Play Guitar with Roy Clark and Paul Kovac. He has
been on staf at numerous music and dance camps, and he coordinated the Bluegrass
Week at the Augusta Heritage Center from 1996 to 2007. www.paulkovac.com
CAROL ELIZABETH JONES
Carol Elizabeth Jones has made her mark as a singer of traditional
mountain music, a guitar player, and as a writer of new songs in
the traditional style. She has many albums to her credit including
two with Jones & Leva on the Rounder Label, two albums of
country and bluegrass duets with Laurel Bliss, and most recently,
her solo project called Cataloochee. Rounder Records has featured
Carol Elizabeth on several anthologies including the bestselling
O Sister Women In Bluegrass collection. She has been a member O Sister Women In Bluegrass O Sister Women In Bluegrass
of the Hopeful Gospel uartet with Garrison Keillor and Robin & Linda Williams
on A Prairie Home Companion. She has toured Africa and Southeast Asia as cultural
ambassador for the U.S. Information Agency and has performed and taught at festivals
throughout North America. Originally from Berea, Kentucky, Carol Elizabeth now lives
in Lexington, Virginia where she is the Childrens Librarian at the Public Library. Dave
Higgs of Bluegrass Breakdown says Carol Elizabeth has one of the most haunting and
honest voices in acoustic music.
JOSH ELLIS
Josh Ellis discovered old-time music when he moved from his home
in Bluefeld, WV to Galax, VA many years ago. (Prior to that time, he
was playing rock and roll guitar in a punk band in Bluefeld.) Upon
moving to Galax, he learned from many local banjo players including
Ray Chatfeld, Peco Watson, Kirk Sutphin, and Enoch Rutherford,
however, his playing is also infuenced by Tommy Jarrell, Fred Cockerham, Kyle Creed
and Wade Ward. Josh credits some of his playing style to a comment made by Ray
Chatfeld, who told him that the two most important parts of playing the banjo are to
keep time for the dancers and to try to play what the fddle is playing without losing
the rhythm. Today, Ellis is an award-winning clawhammer banjo player and a member
of the renowned old-time band, the New Ballards Branch Bogtrotters.
KEVIN KEHRBERG
23
ELMER RICH
West Virginia fddler Elmer Rich was born into a musical family
in 1919, and he has been playing music for most of the 94 years
since. Starting out on mandolin and guitar with his family square
dance band, he took up the fddle at around age ffeen. Within a
year or so, he was good enough to have a 2nd Place ribbon pinned
on him by Eleanor Roosevelt at a fddle contest in Arthurdale, WV.
Around that same time, he and his family were recorded by pioneering ethnomusicolo-
gist Charles Seeger. Tose recordings are now at the Library of Congress. Elmer contin-
ued to play dances for many decades, and he is still playing and winning fddle contests
today, including the 2013 Vandalia Gathering at the WV state capitol. He regularly
appears as a featured performer at events around the state and elsewhere in the country.
THOMAS MAUPIN, &
DANIEL ROCKWELL
Tomas Maupin describes himself as a self-taught
buckdancer with a fatfoot style. Growing up
in central Tennessee, he was exposed to dance
at an early age at Saturday night hoedowns and
barn dances. He has won First Place in the senior
fatfooting competition at the Appalachian String
Band Festival at Clif op, West Virginia, as well as the Silver Stars talent contest at
the Ryman Auditorium in Nashville. A recipient of a Tennessee Folklife Heritage
Award, Tomas was featured in a recent documentary flm, Let Your Feet Do the
Talkin and in 2013, he was inducted into American Clogging Hall of Fame at Mag-
gie Valley, NC. Joining Tomas is his grandson, Daniel Rothwell, who plays banjo,
sings, and tells stories. Te two have been dancing and playing together since Roth-
well was small, and they have performed at the Grand Ole Opry, the Museum of
Appalachias Fall Homecoming, Uncle Dave Macon Days in Tennessee, the Berkeley
Old Time Music Convention, and the Richmond Folk Festival.
LEE SEXTON
Lee Sexton was born in 1928 in Linefork, Kentucky. He and his
wife, Opal, still live in Linefork about one hundred yards from
his homeplace. He started playing banjo as soon as he was old
enough to hold the instrument, and quit school afer the eighth
grade in order to earn his own way, frst playing music and then
working in the coal mines. His playing was featured in the square
dance scene in Coal Miners Daughter. Lee Sexton is one of the fnest traditional old-
time banjo players in the country. David Holt.
ROAN MOUNTAIN
HILLTOPPERS
From Carter County, Tennessee, the Roan Mountain
Hilltoppers have performed old-time music, the real
old-time way, since 1974. Te original lineup included
brothers Joe and Creed Birchfeld on fddle and banjo,
and in the early 1980s, the band was featured in a hip-
hop video made by Malcolm McLaren (manager of Boy
George and the Sex Pistols). Today, Joes son, Bill is the main Hilltopper man, and he
carries on the family musical tradition with his wife, Janice. Bill plays fddle, guitar (lef-
handed, upside-down and backwards), banjo, and autoharp, Janice plays the washtub
bass, and Terry Tester, of Hampton, Tennessee plays guitar and banjo. Over the past
forty years, the Hilltoppers have received numerous awards and recognitions, and they
have performed at many venues including the Smithsonian Folklife Festival, the Country
Music Hall of Fame in Nashville, and the 1982 Worlds Fair in Knoxville, Tennessee.
BOBBY MCMILLON
(See bio in Traditional Song Week, pg. 5)
Qa.st A:st.| |t|sts
t|:ss.s
In keeping with the tradition and nature of Appalachian music, learning by ear is encouraged. Classes will not generally be taught using tablature
or written music, though some instructors may provide tablature and other handouts as memory aids. Hand-held audio (not video) recorders are highly
recommended for all instrumental and singing classes. Unless otherwise indicated, all classes have a limit of 15. Fiddle classes during Old-Time Week are
ofered at four diferent levels: 0 Beginner; I Advanced-Beginner; II Intermediate; III Advanced (see defnitions on pg. 1). Please consider your level
of skill carefully when registering for classes.
3|11|.
OLDTIME FIDDLE 0 ( John Herrmann)
Tis class for complete beginners will start with the basics of tuning, bowing,
and fnding the notes on the fngerboard. By the end of the week students
will have learned cross-tuning, a few simple bowing patterns, how to learn
tunes by ear, and be able to play a few standard old-time tunes. Please bring
a working fddle and bow. No prior experience necessary.
OLDTIME FIDDLE I A ( John Hofman)
In this class for advanced-beginner fddlers, we will focus on phrasing,
bowing, timing, and rhythm, all essential elements of old time fddling. By
learning one, maybe two, fddle tunes during each class meeting we will focus
on diferent approaches for learning tunes that will allow you to continue the
process independently by weeks end. Well learn a mix of tunes in a couple of
fddle tunings fom diferent parts of the South. Well also work on playing
together and improving abilities while participating in jams. Tunes will be
taught by ear so bring an audio recorder.
OLDTIME FIDDLE I B (Anna Roberts-Gevalt)
Tis class is for advanced-beginner fddlers who know a few tunes and are
ready for more. Incorporating basic bowing techniques and noting patterns
commonly used by southern Appalachian fddlers, students will learn several
tunes in the keys of A, D and G. Well learn some standards, and spend time
with a few unusual and beautiful tunes fom eastern Kentucky.
OLDTIME FIDDLE II A (Gerry Milnes)
Tis class for intermediate fddlers will concentrate on old-time tunes mostly
fom the West Virginia repertoire, and break down the bowing using a back
and forth, play and response, format. Tis will allow students to grasp a
basic bowing concept, and then to build on that by fne-tuning nuances
used in the various tunes to make them unique. While some patterns will
be learned, many West Virginia melodies overshadow the bowing patterns,
and this will be a major goal of the week.
OLDTIME FIDDLE II B ( John Hofman)
In this class for intermediate fddlers, we will explore old time fddling styles
drawn fom North Carolina, southwestern Virginia, West Virginia, and
Kentucky. Well learn one to two tunes per class while we focus on hearing
the layered parts of a phrase melody, bowing, double stops, beat place-
ment, etc. Well also spend some time on the intricacies of bowing, rocking
the bow, pulsing, etc. Tese exercises will help us understand and assimilate
the source of a particular region or fddler. Bring a recording device since
all tunes will be learned by ear.
OLDTIME FIDDLE II C (Rayna Gellert)
Tis is an intermediate level class appropriate for folks who already know
their way around a fddle and have at least a few old-time tunes under their
belt. Well learn traditional tunes in a variety of tunings, with a focus on
getting your bow arm to be versatile, rhythmic, and tonally rich. Bring an
audio recorder, musical curiosity, and plenty of gameness.
OLDTIME FIDDLE II D ( Joseph Decosimo)
In this class for intermediate fddlers, we will explore some fun tunes and
tunings common to old-time music, focusing on the ways we can use the bow
in order to create the right kind of rhythm and feel for old-time music. Well
learn some breakdowns (and possibly a waltz or slower piece) in G, D, A,
and maybe C and work on developing as listeners capable of feshing out the
tunes we hear. We will also discuss approaches to learning new tunes. Much
of our time will be devoted to fguring out how to get our bows to make the
sounds and rhythms that we want to hear. Te tunes will include those fom
western North Carolina, Tennessee, and Cumberland Plateau repertoires.
OLDTIME FIDDLE III A (Rayna Gellert)
Tis is an advanced class for folks who are very comfortable with the fddle
and with learning by ear. Well learn traditional tunes in a variety of tunings
that allow us to dig into the nuances of rhythmic bowing and melodic orna-
ments. Bring an audio recorder, musical curiosity, and plenty of gameness.
OLDTIME FIDDLE III B Eddie Bond
Tis class is for intermediate/advanced fddlers, we will focus on learning
tunes fom Grayson and Carroll Counties in southwest Virginia. Emphasis
will be placed on bowing and expanding your repertoire. We will try to
learn at least two tunes a day if possible. Students are encouraged to bring
recording devices to this class. Come prepared to have a good time as well!
We will talk about diferent regional styles of southern Appalachia, and the
diferent infuences they have had on my personal style.
OLDTIME FIDDLE III C (Gerry Milnes)
In this class for intermediate/advanced fddlers, we will draw fom the
repertoire I have learned fom many stalwarts of the old-time music scene
in West Virginia. Tis includes Melvin Wine, Ward Jarvis, Ernie Carpenter,
Sarah Singleton, Frank George, and many others who I have performed
with and recorded through the years. Well strive to achieve the distinctive
styles in which these fddlers played, while at the same time claiming these
tunes for ourselves when that adds to the performance. Some varied tunings
will be introduced.
FIDDLE & BANJO GALAX STYLE Eddie Bond & Josh Ellis
Focusing on the old-time repertoire fom the region surrounding Galax,
VA, this class for intermediate and advanced players will focus on the tight
interplay between the fddle and banjo. Tese two instruments formed the
basis of southern Appalachian dance music for the better part of a century,
and they remain the core of the old-time band sound today. We will learn
tunes fom the Galax repertoire and explore the rhythmic connection between
the fddle and banjo, the relationship of melody to chords/drones, the abil-
ity to adapt to one another, in short, utilizing the complementary nature
of these two instruments to create as much sound and rhythm as possible.
(Class limit: 12 fddles, 12 banjos).
J:s(.
OLDTIME BANJO I (Elizabeth LaPrelle)
In this class for the total beginner, students will learn the basics of claw-
hammer banjo technique. By the end of the week, students will be able to
play a handful of old-time tunes, and will have learned some of the tricks
of playing back-up on the banjo.
OLDTIME BANJO II A (Gordy Hinners)
For advanced-beginner/intermediate clawhammer banjo players, who know
some tunes in the clawhammer style, this class will focus on the rhythm of
Southern clawhammer playing and explore tunes and licks in several
banjo tunings. Te use of a recording device is highly recommended, as all
tunes will be taught by ear.
OLDTIME BANJO II B ( Joseph Decosimo)
In this class, we will work on intermediate old-time banjo repertoire and
techniques that will be useful for solo playing, playing with a fddle, and
playing with stringbands. We will pay close attention to the right hand as the
engine that drives clawhammer banjo. By rooting ourselves in some delightful
tunes that utilize several tunings and techniques, well work on developing
our ear, our ability to fesh out tunes, and our sense of where the banjo fts
in when playing with others. Ultimately, well work towards being better
listeners and more confdent players, capable of learning and working tunes
into our own repertoires. If time and interest permit, we may spend a day
discussing the rudiments of some old-time up-picking styles. Plan to have fun.
OLDTIME BANJO II C ( Josh Ellis)
In this class for advanced beginner/intermediate players, we will concentrate
on learning Galax/Round Peak-style clawhammer banjo, phrase by phrase.
Diferent skill levels are welcome, so dont worry about what level you think
you may be, just come prepared to learn and have fun! Recording devices
welcome and encouraged, but a CD of the tunes with slowed-down and full
speed versions will also be available.
OLDTIME BANJO III A (Mac Benford)
Marcus Martin, a fddler fom the Swannanoa, who recorded for the Library
of Congress in the 1930s, played in a beautiful, archaic style. To capture his
expressive phrasing on the 5-string requires some techniques not common
in the Round Peak style. Tis class will use the tunes recorded by Martin to
introduce these techniques and explore how they can be used to expand the
melodic and rhythmic possibilities of your clawhammer playing.
OLDTIME BANJO III B FINGERSTYLE (Mac Benford)
Recordings of old-time music made in the 1920s and 30s reveal that claw-
hammer was one of several styles of traditional banjo playing. Afer many
years of clawhammer dominance, fnger-picking styles are regaining their
popularity among todays old-time players. Tis class will be an instruction
in these fnger-styles, including two-fnger, three-fnger, thumb-lead, and
fnger-lead, using the music of Dock Boggs, Morgan Sexton, Roscoe Holcomb,
Pete Steele, and B.F. Shelton.
Qa|t:| & A:s1.||s
FLATPICKING GUITAR (Paul Kovac)
Making the jump fom playing chords, to Maybelle-style leads, to fatpick-
ing fddle tunes in eighth-note style, requires good fundamental right-hand
rhythm, comfort with a fat pick, some knowledge of the fngerboard, and a
good ear for melody. In this class, well use a few common fddle tunes/songs
to cover such topics as making the leap fom quarter-notes to eighth-notes,
pick direction and accenting (playing with a pulse), lef-hand positions
that put your fngers in the right spots, playing out of chord positions, using
double stops to create leads, breaks and turnarounds, and good practice
24
25
habits and exercises. If you can play Wildwood Flower, can kind of hear
fddle tunes in your head, and just need the skills to get to the next level,
this is the class for you.
OLDTIME GUITAR I (Carol Elizabeth Jones)
Tis class is for novice guitar players (advanced beginners), who know the
basic guitar chords (G, C, D, F, E, A, Am, Em) but want to learn to play
with other people. Well play backup for songs and learn to parse fddle tunes
on-the-fy. Tis class will help you play solid rhythm with your right hand
and understand how to hear chord changes when learning new material
for the frst time.
OLDTIME
GUITAR II A & B ( John Herrmann, Jef Keith)
If you know a handful of basic chords, and can hold on to a fatpick, youre
ready for this class. Learn back-up guitar for stringband tunes and songs.
Topics will include: the boom-chuck rhythm, chord choices, bass notes and
runs, keeping time, tuning, learning to listen, and putting it all together
into a duet, trio, or band. Guitar students may get together with fddle and
banjo students during the week.
CARTERSTYLE GUITAR (Alice Gerrard)
We will learn Maybelle Carter style guitar which is played mostly of C
position, so students will especially need to know how to make C, G, and F
chords. Students should feel comfortable with a basic bass/strum lick and
with changing chords. We will learn the basic Carter lick and the breaks to
some of the familiar Carter Family songs as well as some of the more unusual
ones. Since most of the Carter Family repertoire is built around songs, we
will learn to sing them as well (hopefully) although singing will not be the
primary focus of the class. We will spend a short time in each class listening
to the Carter Family. Please bring a recording device.
OLDTIME MANDOLIN I (Wayne Erbsen)
Old-time mandolin for beginners. In this fun class, well play lead and
backup to your favorite old-time songs and tunes, learn to create your own
licks and flls, and discover many of the tricks of improvising.
OLDTIME MANDOLIN II ( Jef Keith)
Tis intermediate-level mandolin class will focus on tunes. Well work to
understand lead mandolin playing and its place in old time music, and
well explore ways to creatively accompany lead instruments in jam sessions
and in band settings. Tis class will raise student confdence through new
skills and an expanded repertoire. A good tuner is essential, and a recording
device is recommended. Much fun will be had.
Ot|.| 1sst|am.sts
OLDTIME BAND 101 (Wayne Erbsen)
Tis is the right place for novice old-time musicians who can play several
tunes and know some basic chords but want the thrill of bonding and playing
with other musicians in a no-stress fun string band. Bring your list of tunes
and songs and well learn to play and sing together. All stringed instruments
and singers welcome! (No class limit)
OLDTIME BAND LAB (Gordy Hinners & Kevin Kehrberg)
Students in this class will form string bands and with a little coaching,
learn how to play together and achieve a cohesive band sound. We will
consider each individuals responsibility in a band, how to start and end
tunes, tempo, rhythm, lead, back-up, chord choices, singing, band dynam-
ics, and playing for dances or concerts. Bands will have the opportunity to
perform at a student showcase or play for a dance at the end of the week. It
is expected that students already know how to play their instrument, and
that lead instrument players know a few tunes and/or songs in several keys
with the accompanying chords. (No class limit)
INTERMEDIATE BASS (Kevin Kehrberg)
Tis class will cover intermediate principles of bass performance and accom-
paniment applicable to old-time music and related styles. Students should
possess fundamental technical skills applicable to this music and know some
basic scales. Tis includes knowing how to play in basic keys (G, D, A, and
C) for tunes, songs, and waltzes. We will work on repertoire and discuss
nuances of bass line construction, chord progressions, timing, and feel. If
time permits, we will explore other techniques (slap, bowing, soloing) and
styles of music as well.
MOUNTAIN DULCIMER I (Don Pedi)
Easy and fun! Tis class is for absolute beginners or those interested in building
a solid foundation for playing mountain dulcimer in old-time music. Class
will include dulcimer history, as well as playing techniques for developing
the old-time sound. Traditional songs, tunes, and hymns will be taught by
ear, but tablature will be provided. Bring a recorder.
MOUNTAIN DULCIMER II (Don Pedi)
Tis class for intermediate players and above will focus on playing techniques
for old-time music on the mountain dulcimer. We will learn traditional tunes,
songs, hymns, playing by ear, various noting techniques, diferent modes,
dulcimer history, and more. Te class will be taught by ear, but tablature
will be provided. Bring a recorder.
AUTOHARP I John Hollandsworth)
Te autoharp has been a part of mountain culture since the early 1900s and
since then has played a prominent role in old-time and early country music
with the original Carter Family, Pop Stoneman, Kilby Snow, and others.
Drawing on tunes fom the old-time repertoire, topics in this beginner-level
class will include right- and lef-hand techniques, fnger memory, tuning,
timing, playing in 3/4 and 4/4 rhythms, basic chord progressions, playing
in major and minor keys, harp setup, and playing scales that will lead you
into melody playing. Ability to read music or tablature is not necessary, but
handouts on the tunes and techniques covered will be provided. Students
must have an autoharp in good playing condition, one thumb pick, and two
fnger picks. A music stand might also be helpful.
AUTOHARP II John Hollandsworth)
During the past twenty years the autoharp has had a huge revival, with some
major performers and landmark recordings. Tis class will provide insight
into what top players are doing and how to expand the role of the autoharp
as a melody instrument. Drawing on tunes fom the Appalachian tradi-
tion, we will cover both chromatic and diatonic playing, rhythm changes,
syncopation, chord substitutions, playing in 3/4 and 4/4 time, arranging,
alternate tunings, and how to interact with other instruments in a group
situation. Students will refne their playing skills and gain a good under-
standing of clean melody playing on the autoharp. Some basic knowledge
of melody playing would be helpful, but ability to read music or tablature
is not required, and handouts on the tunes and techniques covered will be
provided. Students must have an autoharp in good playing condition, one
thumb pick, and two fngerpicks.
Old-Time Music & Dance Week, July 20-26, 2014
7:30-8:30
Breakfast, Tai Chi warmup (7:30-8:00)
9:00-10:15
OT
Fiddle
I A
(Hoffman)
OT
Fiddle
II A
(Milnes)
OT
Fiddle
III A
(Gellert)
OT
Fiddle
III B
(Bond)
OT
Banjo
II A
(Hinners)
OT
Banjo
III A
(Benford)
OT
Guitar
I
(Jones)
OT
Guitar
II A
(Herrmann)
Flat-
picking
Guitar
(Kovac)
OT
Mandolin
I
(Erbsen)
Autoharp
II
(Hollands-
worth)
Ballads &
Crankies
(LaPrelle,
Roberts-
Gevalt)
Shape-
Note
Singing
(Pen)
Clogging
I
(Sutton)
10:15-10:45
Coffee/Tea Break
10:45-12:00
OT
Fiddle
0
(Herrmann)
OT
Fiddle
II B
(Hoffman)
OT
Fiddle
II C
(Gellert)
OT
Fiddle
III C
(Milnes)
OT
Banjo
II B
(Decosimo)
OT
Banjo
III B
Finger-
style
(Benford)
Fiddle &
Banjo Galax
Style
(Bond, Ellis)
OT
Guitar
II B
(Keith)
Intermed.
Bass
(Kehrberg)
Mtn.
Dulcimer
I
(Pedi)
Getting
the Most
Out of
A Song
(Gerrard)
Old
Meeting
House
Songs
(Adams)
History
of OT
Music
(Pen)
Clogging
II
(Grace)
12:00-1:00
Lunch
1:15-2:15
Communal Gathering (Guest Master Artists, announcements)
2:30-3:45
OT
Fiddle
I B
(Roberts-
Gevalt)
OT
Fiddle
II D
(Decosimo)
OT
Banjo
I
(LaPrelle)
OT
Banjo
II C
(Ellis)
Carter-
Style
Guitar
(Gerrard)
OT
Mandolin
II
(Keith)
Autoharp
I
(Hollands-
worth)
OT
Band
101
(Erbsen)
OT
Band Lab
(Hinners,
Kehrberg)
Mtn.
Dulcimer
II
(Pedi)
Unaccom-
panied
Singing
(Adams)
Everly
Bros.
(Jones,
Kovac)
Square
Dance &
Calling
(Jamison)
Teen
Gather-
ing
(Grace)
4:00-5:00
Potluck Sessions (M,T,W,F)
5:00-6:30
Supper
6:15-7:15
Slow Jams & Singing
7:30-?
Evening Events (concerts, dances, jam sessions, etc.) Student Showcase (Fri.)
S.s & 3.|||.|.
SHAPENOTE SINGING (Ron Pen)
We will engage in musical and social harmony through the recreation of a
rural nineteenth-century singing school. Singing fom the Sacred Harp tune
book (1991 edition), which features intoxicating harmonizations written
in a unique four-shape notation of triangles, squares, circles, and diamonds
makes learning to read music easy and enjoyable. Te class will also include
background historical and social context. Songs fom other tune book
traditions will be explored, including the Southern Harmony, Christian
Harmony, and the Kentucky Harmony. Te class will accommodate both
total beginners and veteran singers. Books will be available to borrow for class
use. At the end of the week, members of the class are invited and encouraged
to participate in the eighth annual Swannanoa Singing with dinner on the
grounds. Tis will be held on Saturday, July 26 fom 10:00 AM-3:00 PM
at the Warren Wilson College Pavilion. (No class limit)
BALLADS & CRANKIES
(Anna Roberts-Gevalt & Elizabeth LaPrelle)
A crankie, also known as a scrolling panorama, or crank box, is a box
containing a length of paper or fabric rolled around two posts, which is then
pulled across the font, much like the flm in an old camera, illustrating a
story or song. In this class, well learn songs and ballads by making crankies
to illustrate them, working with fabric, cut paper silhouettes, shadow pup-
pets, paints and ink. Non-artists are encouraged to give it a whirl you
may be surprised with what you come up with! Making pictures of the songs
is sure to spark discussion about the stories and their meanings. Ten we
get to perform our eforts to each other, and to the rest of the camp. (To see
videos of crankies, visit: http://annaandelizabeth.com/watch.html) Tere
will be a $10 materials fee for this class, payable to the instructors on the
frst day of class. (Class limit: 20)
UNACCOMPANIED SINGING (Sheila Kay Adams)
Tis class will cover the unaccompanied singing style of Appalachian songs
and versions of ballads brought fom the British Isles to western North
Carolina in the 18th and 19th centuries. Handouts will be provided and
there will be plenty of class participation. (Class limit: 20)
GETTING THE MOST OUT OF A SONG (Alice Gerrard)
In this singing class, we will focus on style and repertoire in traditional
country singing, with a look at the classic repertoire of Hazel and Alice as
well as other singers. We will explore ways to become a stronger singer by
fnding and using your natural oice to get that country sound. We will
also explore harmony, but that wont be the main focus of the class. Bring
recorders and oices. (Class limit: 20)
HISTORY OF OLDTIME MUSIC (Ron Pen)
What IS old-time music? How is bluegrass diferent fom old-time? What
do terms such as authenticity and revivalism really mean? What are
drop-thumb, failing, clawhammer, two-fnger, and rapping? Where are
Galax, Clif op, and Mount Airy? Can you dance a Tobacco Hill? What is a
crooked fddle tune? Te answers to these and other such mysteries will all be
revealed here. Focused presentations on Bonapartes Retreat, the Georgia
Fiddle Contest of 1924, Afrilachia, moonshining, and Marion Sumner will
provide windows on the style and culture. Discussion, recordings, videos,
and guest presentations will nurture an overview of the history and context
of old-time ballads, fddle tunes, hillbilly music, and string bands fom the
Skillet Lickers to Uncle Earl. (No class limit)
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OLD MEETING HOUSE SONGS (Sheila Kay Adams)
Tese are the unaccompanied songs that I grew up singing in the many dif-
ferent Baptist churches in Sodom, North Carolina. Youll recognize many
of them Ill Fly Away, Build Me a Cabin, Where the Soul Never
Dies, Farther Along, and Palms of Victory are but a few. Tis class will
ROCK! You can sing melody or fnd a harmony. Ill provide the words and
music, but well sing them without accompaniment. Tats how I learned
them because we couldnt aford a piano. Come to this class ready to sing
and sing some more! (Class limit: 20)
THE EVERLY BROTHERS
& THEIR INFLUENCES (Carol Elizabeth Jones & Paul Kovac)
Te Everly Brothers were hugely popular in the late 1950s and early 60s
with a rock n roll style that featured singable, memorable melodies and
close two-part harmonies. As the Everly Brothers had a profound infuence
on groups to come, (the Beatles, Simon and Garfunkel, etc.) they, too, owed
much to the musicians and repertoire that came before them. In this class
we will learn traditional repertoire fom the Everly Brothers Kentucky
upbringing as well as songs fom the Blue Sky Boys, the Delmore Brothers,
and the Louvin Brothers. Participants in this class should be able to hold a
melody and hear when a harmony is present. (Class limit: 20)
J:s..
SOUTHERN APPALACHIAN
SUARE DANCE & DANCE CALLING (Phil Jamison)
Tis class, open to dancers as well as dance callers, of all levels, will focus on
the traditional square dances of the southern Appalachian region. No prior
experience is required. We will learn about, and dance four-couple squares
as well as Southern big circle dances, and students will have the opportunity
to try their hand (or oice) at calling out the dance fgures. Dance callers of
all levels will have the opportunity to expand their repertoire and receive
feedback to improve their calling skills. Mainly though, we will have fun
dancing and learning about the traditions of southern Appalachian square
dances. (No class limit)
CLOGGING I (Rodney Sutton)
Let Rodney prove to you that everyone can learn Appalachain clogging steps.
Tis class covers beginning southern Appalachian clogging and buckdanc-
ing fom step one. Learn the basic steps and how to put them to use with
live old-time music. Wear smooth-soled shoes leather is best, and no taps.
(No class limit)
CLOGGING II (Ellie Grace)
Are you ready to crank your dancing up a notch? If you have already taken
beginning clogging or have previous percussive dance experience, this class
for intermediate/advanced dancers is for you. Te driving rhythms and
beautiful style of Appalachian fatfooting will be explored, and you will
learn specifc techniques for making a clean, crisp sound and connecting
with the music. Te dancing will still be highly approachable, but we are
going to have a grand time forging ahead towards clogging greatness! Tap
shoes are welcomed and recommended, but not required. (Class limit: 25)
TEEN GATHERING (Ellie Grace)
Tis class is for teens only! Its a time for all of you to come together and make
plans to take over Swannanoa and possibly the world with music, dance, and
other creations. Some adventures may include a young old-time fash mob,
arranging country songs and practicing two-stepping for the Honky Tonk,
creating our own square dances, big group harmony singing, old-timeifying
pop songs, and a little clogging for good measure. Games and mischief
abound. All proposals for fun activities will be considered! (Class limit: 20)
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TAI CHI (Don Pedi)
Start the day with a smile with these ancient, gentle, easy to learn rejuve-
nation exercises. Reduce stress. Focus on breathing, balance, and gentle
stretching. Includes: Tai Chi, Chi Kung, Standing Meditation, Eight
Pieces of Brocade, and more. No experience necessary and no registration
required. (No class limit)
POTLUCK SESSIONS
In addition to the regular class sessions, Potluck Sessions are ofered most
afernoons. Tese one-hour mini-classes give students access to the entire
teaching staf, and provide a wide variety of class oferings to choose fom.
No advance registration is necessary.
SLOW JAMS & SINGING
Afer supper each night, students have the opportunity to participate in slow
jams and singing sessions. At the slow jams, common tunes are played at a
speed that is accessible even to beginners. Te singing sessions are a chance
to share your oice and songs.
YOUNG OLDTIME
Each evening, afer supper, teenaged musicians get together for the Young
Old-Time Band, a staf-guided jam for young players, and on Wednesday
night, following the staf concert, this group will have the opportunity to
play for the post-concert square dance. Tis year, Young Old-Time will be
led by Ben Nelson. Ben has taught old-time music for a number of years to
young people in western North Carolina through the Junior Appalachian
Musicians (JAM) program.
EVENING DANCES
Evening dances will be held throughout the week, providing plenty of chances
to dance a variety of traditional Southern Appalachian squares and circles.
Tursday night features our valleys long-standing weekly dance, the Old
Farmers Ball.
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We ofer a full-day program, taught by Melissa Hyman, for children ages
6-12. Children must have turned 6 by July 1st to participate. No exceptions
please. Evening childcare for ages 3-12 will be provided at no additional cost.
Who hasnt ever dreamed of running away to the CIRCUS? Tis is a
very special summer for the Childrens Program, as we are welcoming our
brand-new coordinator Melissa Hyman. Come one, come all and explore the
fantastical world of circus arts, crafs and music, fom silly songs to popcorn-
eating contests to face painting. Run away with us and we may even meet
guest teachers wholl show us how to juggle, tumble and ride elephants with
the best of em. Well be having an unforgettable summer of water balloon
fghts, circus-themed crafs, songs and stories fom every corner of the world
so jump on the train and join us! Well create our own circus band with the
help of a very talented music teacher, culminating in our big performance
at the student showcase on Saturday. As a special treat, we will be visited
throughout the week by wandering musicians and artists (Gathering staf)
who will perform just for our kids. We will, of course, continue our long-loved
traditions of shaving cream hairdos day, movie night, super-messy games
and the Gathering Scavenger Hunt. Each busy day will close with fee swim
time in the college pool. Non-swimmers must be accompanied by a parent to
swim. Get ready for a week of magic and mayhem under the big top with us!!
Tere will be a $30 art/craf materials fee for this class, payable to Melissa,
the Childrens Program coordinator, on arrival.
Guitar Week has become one of the fnest programs of its kind anywhere, stafed by some of the worlds best players and instructors. We have been
awarded both the Bronze Medal and Silver Medal Players Choice Award for music camps by the readers of Acoustic Guitar magazine, and this high standard
of quality is what keeps guitarists from across the globe coming back year afer year.
For 2014, weve recruited some exciting new instructors, including Beppe Gambetta, Gerald Ross, Tim Tompson and Toby Walker. Tis year well
see the long-overdue return of Stephen Bennett and Grammy-winner Pat Donohue. Many of our all-time favorite instructors, Muriel Anderson, Robin Bullock,
Vicki Genfan, Pat Kirtley, Ed Dodson, Steve Baughman and Scott Ainslie will be with us in 2014 and relative newcomers Greg Ruby, Sean McGowan and
David Jacobs-Strain are all back on staf as well. We will be ofering more classes than ever before in fatpicking and fngerstyle acoustic guitar (and ukulele!) in
all styles for all levels from beginning to advanced. Our seventeen world-class instructors, including several Grammy-winning guitarists, will be ofering classes
in a wide variety of styles ranging from Celtic and bossa nova to jazz and blues. We will ofer a variety of beginning level classes to accommodate those students
who arent quite ready for the intermediate-to-advanced classes, as well as classes suggested for more advanced players, so please read the descriptions carefully
before you decide where you belong; we want everyone to get the most out of the week. For most of our classes it is recommended that students should play at
an intermediate level: students should have mastered beginning skills, be able to tune their instruments, keep time, play scales cleanly, and know how to play
a few tunes with confdence. Guitar Week runs concurrently with our Contemporary Folk Week, and students may take classes from either program. One of
the countrys top repairmen, Randy Hughes, will be available for consultations throughout the week. Ed Dodson will again lead slow jams afer lunch each
day, and our Luthiers Exhibit will feature some amazing guitars from some of the worlds most respected builders David Berkowitz, John Slobod and Gerald
Sheppard, as well as a selection of instruments from the inventory of the renowned Dream Guitars.
STEPHEN BENNETT
Since his 1987 win at the National Flatpicking Cham-
pionships in Winfeld, Kansas, Stephen Bennett has
become known as an extraordinary musician, an
acknowledged master of the harp guitar, a challenging
teacher, a gifed composer, and a performer of great sen-
sitivity. Stephen has regularly performed around the US
and abroad and shared the stage with some of the fnest
guitarists in the world. His latest of many recordings is
his version of Tchaikovskys entire Nutcracker ballet score
arranged for guitar orchestra. Stephen Bennett onstage,
cradling the harp guitar he inherited from his great-grandfather is an image that tends
to linger. He has created an enduring repertoire and a signifcant body of recorded
work for this instrument, and in 2003, he organized and hosted the worlds frst annual
harp guitar convention, the Harp Guitar Gathering, which celebrates these wonderful
instruments by bringing players, luthiers, scholars and fans together for a weekend of
performances, workshops and camaraderie. His accomplishments on the harp guitar
make it sometimes easy to overlook his brilliance on the six-string version, but whatever
guitar he happens to be playing, Stephen Bennett is a musician to experience. In live
performance and on record, his life-long love afair with the sound of guitar strings is
apparent. www.harpguitar.com
DAVID JACOBS-STRAIN
David Jacobs-Strain is a virtuosic slide guitar player and
a storyteller who brilliantly brings the rich roots of slide
guitar to the millennials generation with an eclectic
styling that melds blues, folk, rock and indie pop into
a tasty Americana brew infected with accents of funk
and reggae. Hes a six-foot-two Jewish blues singer from
Oregon, a Stanford drop-out in a trucker hat, and a Lef
Coast poet; one part Leo Kottke, one part Ken Kesey, and
one part Robert Johnson. Hes recorded seven albums,
including his latest, Live From the Lef Coast, a collaboration with harmonica legend Bob
Beach. David has performed at the Newport Folk Festival, MerleFest, the Strawberry
Music Festival, the Montreal International Jazz Fest, and toured with artists as diverse
as Lucinda Williams, Etta James, Bob Weir, and Boz Scaggs. He also performs with
his amplifed string band, Te Crunk Mountain Boys. www.davidjacobs-strain.com
BEPPE GAMBETTA
From his unique background as an Italian musician in love
with both American roots music as well as the music of his
native country, Beppe Gambetta has travelled the world,
even behind the Iron Curtain, to dazzle and charm music
enthusiasts everywhere. Afer eleven CDs, DVDs, teaching
books and collaborations with many other top-flight
musicians, Gambetta is increasingly known as one of the true master innovators of the
acoustic guitar. His reputation in the U.S. and Canada is reinforced by his participation
in prestigious festivals like the Walnut Valley Festival in Winfeld, Kansas, Merlefest in
North Carolina, the Four Corners Festival in Colorado and Canadian Folk Festivals in
Winnipeg and Edmonton, as well as the radio shows All Tings Considered and E-Town.
Beppe has performed in such prestigious venues as the Ryman Auditorium in Nashville,
Tennessee and the Metropolitan Museum of Art in New York. He has performed with
some of the great fgures of the folk scene like David Grisman, Gene Parsons, Doc
Watson, and Norman Blake. Gambettas playing and singing are noteworthy for their
high level of technical excellence, but also for the ideas of a brilliant, playful mind that
is always exploring and innovating. With America in his heart and his roots in the sun
and the olive trees of the Mediterranean, he naturally and seamlessly bridges the shores
of the two continents, creating a musical koin (fusion) where American root music
and Ligurian tradition, emigration songs and folk ballads, steel string guitars and vintage
harp guitars not only co-exist but interact, in a deep dialog. www.beppegambetta.com
VICKI GENFAN
Guitar Player Magazines 2008 Guitar Superstar,
Vicki Genfan defies categorization. A unique and
fercely original musical talent, she has been called the
Jimi Hendrix of acoustic guitar. While others make
noise with tapping stylings, Genfan understands the
power of melody and instead makes music. Kirk
Albrecht, www.minor7th.com. Drawing from folk,
jazz, pop, soul and world music, Vicki has a distinc-
tive style that pushes the boundaries of the singer/
songwriter genre. An international phenomena, Vicki
has lit up stages in venues as diverse as the International Montreal Jazz Festival, Ger-
manys Open String Festival, Italys Soave Guitar Festival and Festival Across Styles in
the Czech Republic. She has four CDs to her credit and four instructional DVDs, and
in 2009 Luna Guitars unveiled the Vicki Genfan Signature Guitar built by Luthier
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Gray Burchette.Vicki has enjoyed teaching privately and in groups for over 25 years
and brings her warmth, humor and inspiration to all who have experienced her many
workshops, clinics and classes. And... shes thrilled to be back at Swannanoa for the 2014
season! If I could play like Vicki, I would stay home and entertain myself Steve Vai
www.vickigenfan.com
SEAN MCGOWAN
Sean McGowan is a fngerstyle jazz guitarist who combines
many diverse musical influences with unconventional
techniques to create a broad palette of textures within
his compositions and arrangements for solo guitar. His
frst recording, River Cofee, won the Best Independent
Release of the Year Award (2002) from Acoustic Guitar
magazine and music from the recording has been pub-
lished in Japans Acoustic Guitar magazine and Mel Bays
Master Anthology of Fingerstyle Guitar, Vol. 3 (2005). His
subsequent recordings, Indigo, (2008) and Sphere: the Music of Telonious Monk (2011)
ofer compelling portraits of jazz standards performed on solo electric archtop guitar.
Sphere was named one of Acoustic Guitar magazines Essential Albums of 2011, and
Sean was featured on the Summer 2012 cover of Fingerstyle 360 magazine. His latest
book/DVD, Fingerstyle Jazz Guitar Essentials will be available winter 2013 As a solo-
ist, Sean has performed at several festivals including the Novi Sad International Jazz
Festival in Serbia, the Healdsburg Guitar Festival, in Napa Valley, Copper Mountain
Guitar Town, the Newport Guitar Festival, and the Classic American Guitar Show
in New York. He has also collaborated with several dance and improv companies, as
well as with jazz and acoustic musicians throughout the Rocky Mountain region. Sean
earned a DMA in Guitar Performance from the University of Southern California and
currently serves as Assistant Professor of Music and the Guitar Program Director at the
University of Colorado, Denver. As a strong advocate for injury prevention and health
education for musicians, his workshops incorporate a holistic approach to playing. He
is also a contributing editor and educational advisor for Acoustic Guitar magazine, and
the author of the instructional projects, Fingerstyle Jazz Guitar Essentials and Holiday
Songs for Fingerstyle. www.seanmcgowanguitar.com
MURIEL ANDERSON
One of the worlds foremost fngerstyle guitarists and harp-
guitarists, Muriel Anderson is the frst woman to have won
the National Fingerstyle Guitar Championship. An engag-
ing performer, her obvious joy of music, humor, and facility
across musical genres is revered by guitarists worldwide. She
has recorded with country legend Chet Atkins, performed
in New York with Les Paul, at Chicagos Orchestra Hall
with the Chicago Symphony and in Tennessee with the
Nashville Chamber Orchestra. She is host and founder
of the All-Star Guitar Night and the Music for Life Alliance charity. She is a prolifc
composer of music on guitar and harp guitar, and tours year round in North America,
Europe and the Far East. Her new double CD, Nightlight Daylight is a culmination of
her vision and is getting great attention as the frst ever with an animated fber optics
cover. www.murielanderson.com
GREG RUBY
Composer and guitarist Greg Ruby is a distinctive voice in
the Hot Club jazz tradition. His 2010 CD, Look Both Ways,
celebrated the 100th birthday of gypsy jazz guitarist Django
Reinhardt with 12 original compositions, and reached #1
on the Roots Music Reviews jazz chart. As a member of the
esteemed group, Pearl Django, Greg spent fve years per-
forming and touring throughout the United States, Canada
and Europe and appeared with the group at the prestigious
Django Reinhardt Festival in Samois sur Seine, France. As founding member of the
hot jazz string band, Hot Club Sandwich, Greg can be heard on all four of the bands
recordings and produced their most recent album, And If Only, featuring legendary
vocalist Dan Hicks. Currently, he leads his own group, Te Greg Ruby uartet and
collaborates with New York and New Orleans musicians on a project called Te Rhythm
Runners. A perpetual student and educator, Greg has published the Pearl Django Play-
Along Book Vol.1 through Djangobooks.com and is currently completing a play-along
CD/book on the swing guitar mastery of Oscar Aleman. From private guitar lessons,
to workshops and the school classroom, Greg is adept at multiple teaching styles. He
has led the Gypsy Jazz Guitar Workshop at the State University of New York, Oswego,
Seattle Jazz Guitar Society, Swannanoa Gathering Guitar Week, Wintergrass Music
Festival, DjangoFest, the Dusty String Music School and Te Mandolin Symposium.
www.gregrubyguitar.com
AL PETTEWAY
Our Guitar Week Coordinator, Al Petteway is a Grammy and
Indie Award-winning guitarist who has performed, toured and
recorded with many of the best-known artists in folk and Celtic
music. Tough his primary instrument is the guitar, he also
studied lute, string bass, percussion and music composition.
Als compositions and arrangements for acoustic fngerstyle
guitar are strongly infuenced by his love of Celtic, Folk, Rock
and Blues styles. His playing and music is featured on dozens of
CDs, six instructional DVDs and the soundtracks of six documentaries by flmmaker Ken
Burns, most notably the Emmy-winning PBS series, Te National Parks-Americas Best
Idea. Al was voted one of the Top Fify Acoustic Guitarists of all Time by the readers
of Acoustic Guitar magazine where he also won Silver and Bronze medals for Celtic and
Fingerstyle guitar in the magazines Players Choice Awards. Als CD Caledon Wood was
an Editors Pick as one of the Essential Albums of the Past Twenty Years in Acoustic
Guitars 20th Anniversary issue and his most recent CD, Its Only Te Blues was listed as
one of the Top Ten Essential albums of 2012 by two of the magazines editors. In 2013,
Al recieved the Gatherings Master Music Maker award in celebration of a lifetime of
musicianship and teaching.Al performs with his wife Amy White, and as a soloist for
various guitar festivals throughout North America. Tey live in nearby Weaverville on
the top of a mountain with two dogs, three cats, occasional stray sheep, coyotes, bears,
bobcats and other assorted wild creatures. www.alandamy.com
TOBY WALKER
Toby Walker has been hailed as an internationally
acclaimed roots music fingerstyle guitar wizard who
has toured the US, England, Wales, France, Germany,
Belgium and Holland. He has been featured in the New
York Times, the London Sunday Times, the London BBC,
Sirius-XM radio and was the 1st Place recipient of the
International Blues Challenge Award (Solo division)
awarded by the Blues Foundation in Memphis TN.
Walker blends the styles of blues, ragtime, country, bluegrass, rock and old time jazz into
his own unique style. Jorma Kaukonen of Hot Tuna and the Jeferson Airplane says Flat
out... you have to hear this great musician... Im blown away, and has employed Walker
to teach at his famous Fur Peace Ranch Guitar Camp for six years. In 2010, Walker won
the NY Music Award for Best Instrumental CD, sharing honors with other winners
Mariah Carey, Rufus Wainwright Judy Collins and more. Walker has recently released
three instructional guitar DVDs for Homespun Tapes to rave reviews, and his latest
CD, What You See Is What You Get, has been hailed as a shining success in the genre
of traditional blues recordings. Carnegie Hall acknowledged his talents by hiring him
to augment and teach in their American Roots program aimed at honor-level middle
school students. His passion for blues, rags, folk, and other traditional American music
drove him to leave an apartment crammed full of recordings, books and instruments
for the Mississippi Delta, Virginia and the Carolinas where he tracked down some of
the more obscure but immensely talented music makers of an earlier era. He learned
directly from Eugene Powell, James Son Tomas, Etta Baker, and R.L Burnside, among
others. www.littletobywalker.com
ROBIN BULLOCK
(See bio in Celtic Week, page 13)
TIM THOMPSON
Tim Tompson is a Nashville-based session player and sing-
er/songwriter. Tough his fngerstyle virtuosity won him the
title of International Champion in 2008, the demands of the
studio world have taken his playing into areas such as jazz,
country and rock. His music has been featured in Caspers
Haunted Christmas and in the Flip Video Camera sofware.
Tim has been featured in both Fingerstyle Guitar magazine
and Taylor Guitars Wood & Steel magazine. In seminars
throughout the country he enjoys sharing the techniques,
concepts and musicianship that has placed him among the best players in the world.
Tim has appeared with such artists as Spyro Gyra, Tommy Emmanuel, Crystal Gayle,
Don Williams and Hwy 101. He has recorded ten CDs and two DVDs and tours with
his duo Tim and Myles Tompson, which performed as featured artists at the 2013
Walnut Valley Festival. Te duo is also a regular at the annual CAAS convention each
July in Nashville and was recently featured on Te Guitar Show with Andy Ellis. Myles
is a burning nineteen-year-old fddle and mandolin player who will perform with Tim
at this years event. www.timthompsonguitar.com
GERALD ROSS
Gerald Ross earliest claim to fame is a television commercial
he made with a friend for Detroits Kazoozie Kazoos. Te
spot ran for two months during the Captain Kangaroo
show. While his talent on kazoo may have kick-started his
musical career, he also played bass in a high school rock
band, electric guitar with a Western swing band, acoustic
guitar with a bluegrass band and fnally graduating to Te
Lost World String Band where he played guitar, bottleneck
National guitar and Cajun accordion. Te band made several appearances on NPRs A
Prairie Home Companion. Today, Gerald is known more for his work with the ukulele
and Hawaiian lap steel. He has recorded six solo CDs, and has performed with Bonnie
Raitt, Arlo Guthrie, Doc Watson, Johnny Gimble and many others. Hes been featured
at the Ukulele Festival of Great Britain (headliner), Te Puget Sound Guitar Workshop,
Wine Country Uke Fest, Lone Star Uke Fest, Portland Ukefest, Sevilla (Spain) Uke Fest,
Augusta Heritage Swing Week, Ashokan Western Swing Week and many other Roots
music festivals. Its no wonder Gerald Ross has been called an entire music-camp-and-
festival in one. www.geraldross.com
STEVE BAUGHMAN
One of digitaldreamdoor.coms Top 100 Acoustic Guitarists,
Steve is a Rounder Records recording artist and a pioneering
Celtic and old-time fngerstyle guitarist and banjo player. Steve
produced and plays on the landmark Banjo Gathering double
CD, which was recently described by Bluegrass Unlimited as a
momentous undertaking and a must addition to any serious
collection of old-time music. He is the author of fve guitar
books by Mel Bay Publications and a DVD on clawhammer technique called Te Power
of Claw. Steve lives on a boat in San Francisco Bay. His most recent project is a DVD
called Zen Banjo., produced with Rev. Heng Sure, Director of the Berkeley Buddhist
Monastery, with whom Steve will co-teach a meditation class. www.celticguitar.com
PAT DONOHUE
Pat Donohue has earned prominent recognition for his mastery
of acoustic fngerstyle guitar, which he exhibits weekly as the
guitarist for the Guys All-Star Shoe Band on Garrison Keillors
radio program, A Prairie Home Companion. Chet Atkins called
him one of the greatest fngerpickers in the world today and
Leo Kottke has called his playing haunting. Although he con-
siders himself frst and foremost a folk guitarist, Pat manages to blend jazz and blues
with folk, and the mix is seamless. Over the years he has captivated audiences with his
original compositions, dazzling instrumentals and humorous song parodies, including
Sushi-Yucky and Would You Like to Play the Guitar? His honors include several
Minnesota Music Awards, the 1983 National Finger Picking Guitar Championship,
and a Grammy for his contribution to Pink Guitar, a compilation of Henry Mancini
guitar arrangements that was 2005s Best Pop Instrumental. His original tunes have been
recorded by such artists as Chet Atkins, Suzy Bogguss and Kenny Rogers, and he has
also been a featured performer at many major music festivals including the Newport,
Telluride, Philadelphia and Winfeld Folk Festivals. He was also featured in the Robert
Altman/Garrision Keillor flm, A Prairie Home Companion. www.patdonohue.com
SCOTT AINSLIE
Scott Ainslie is a traditional acoustic blues singer, guitarist,
historian and songwriter with personal roots in the Civil Rights
era and a great afection for cross-cultural exchange. A musician
all his life, Ainslie took up guitar at age 15 about fve weeks afer
hearing Virginia bluesman John Jackson play a couple of songs in
the middle of one of Mike Seegers concerts in Alexandria, VA in
1967. A Phi Beta Kappa and honors graduate of Washington &
Lee University, Ainslie also studied with elder musicians on both sides of the color line
in the old-time southern Appalachian fddle and banjo traditions, as well as with black
gospel and blues musicians. He transcribed the original recordings and published a book
on Delta Blues legend Robert Johnson, Robert Johnson/At Te Crossroads (Hal Leonard,
1992), and has an instructional DVD on Johnsons guitar work, Robert Johnsons Guitar
Techniques (Hal Leonard, 1997) and fve solo CDs to his name. Ainslie maintains an
active recording, performing, and teaching schedule that carries him around the country,
to Canada, and to Europe. He has received numerous awards and grants for his work
documenting and presenting traditional music, including grants from the National
Endowment for the Arts and the Folklife Section of the North Carolina Arts Council.
www.cattailmusic.com
PAT KIRTLEY
Pat Kirtley is a US National Fingerstyle Champion and
National Tumbpicking champion who was named one
of Te Next Generation: Hot New Acoustic Acts for
the Millenium by Acoustic Guitar magazine. Pat is also a
respected educator, traveling thousands of miles each year
giving musician workshops as an international clinician. He
is a veteran of festivals and summer music camps, having
been a featured performer and instructor at major events
across the country and abroad. As a class instructor, Pat is known for his patience,
encyclopedic knowledge of guitar, clear explanations of dif cult ideas, and taking the
time to address the individual needs of each student one-on-one. Pat has produced
instructional videos for Guitar Workshop and books for Mel Bay, including a 2-volume
double-DVD instructional set called Pickin Like Chet Vintage Chet Atkins Classics
from Guitar Workshop. Pat has released six albums which have become staples of the
acoustic guitar world, and he appears on Narada Records quarter-million-selling CD
project Guitar Fingerstyle, as well as Masters of Acoustic Guitar and Guitar Fingerstyle 2.
His music is also featured on NPRs Morning Edition, All Tings Considered, Lifetimes
Te Wire, and is heard 24/7 on Pandora Radio.
ED DODSON
Ed is the lead guitarist and singer for Wood & Steel, a bluegrass
band based in the Piedmont region of North Carolina. Bluegrass
Unlimited called their 2007 release, Poor Boy, a masterpiece
of hard-driving bluegrass. Tony Rice calls their music, Blue-
grass, in one of its most pure, unfltered forms; played by good
musicians. Wood & Steels music was featured nationally in
Home & Garden Televisions 2002 special, Barns Revisited,
and Ed has recorded two albums with mandolin player/builder Skip Kelley, including
their 2010 release, Hopped Tat Train and Gone. Ed is an accomplished songwriter,
and a powerful rhythm and lead player with a deep abiding love of traditional music.
www.woodandsteelband.com
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APPALACHIAN FINGERSTYLE
IN DADGAD (Al Petteway)
DADGAD tuning is perfect for Appalachian music due, in part, to its
similarity to Mountain Modal or Sawmill tuning on the banjo. Its also
perfect for the kind of bluesy playing made popular by North Carolinas
own Doc Watson and Etta Baker. Intermediate students will learn how
to play some of the more popular traditional tunes fom the Appalachian
region in a few diferent keys and styles. Tab will be made available but you
wont be required to read it and we wont be using it in class all that much.
Tis class will cover material that wasnt covered the last time it was taught.
Capos are an essential item to bring to class.
CLAWHAMMER GUITAR (Steve Baughman)
Tis class is about all things Clawhammer for guitar. We will begin with the
basic pattern and spend some time internalizing it. Ten we will move on to
the various pyro-picking techniques that Steve demonstrates in his YouTube
video lesson, Wasilla Weed. Tis class is for fairly advanced players and it
is recommended that participants spend some time working on the YouTube
lesson before camp starts. Class is gonna be rigorous, and fun!
ORKNEY TUNING (Steve Baughman)
Do you feel stuck in a musical rut? Does your guitar playing sound to you
clichd, predictable and dull? Tune to Orkney (CGDGCD) and instantly
experience a new lease on your musical life. In this total-immersion class we
will learn chord shapes, rifs, textures, ocal accompaniment tools and maybe
an instrumental tune. Tere will also be a chance for students to share their
explorations and discoveries with the class. Great for singer/songwriters as
well as instrumentalists.
MUSIC, MEDITATION &
PERFORMANCE (Steve Baughman & Rev. Heng Sure)
In this class we will explore ways to reliably ground our guitar playing in
a sense of calm, joyful connection to our instrument, to our audience and
to the moment. Rev. Heng Sure will teach a variety of contemplative tools
useful to musicians, including breathing and mindfulness techniques.
Participants will put these techniques to use as Steve Baughman leads the
class in a variety of rhythmic and musical exercises. Along with exploring
the meditation aspect of this class, there will be hands-on-strings grooving
as a group and exercises to improve our listening skills. We will also discuss
performance tools and encourage each student to perform for the class at
least once daily ( for 30 seconds!)
50 RIGHTHAND &
3 LEFTHAND TECHNIUES (Muriel Anderson)
Based on Muriels DVD, 50 Right-Hand Techniques You MUST Know,
this course reaches into lef-hand techniques as well. It can help you to fnd
more ef cient technique and introduces some lesser-known techniques to
express your music in a variety of ways.
DANDELIONS:
COMPOSING & PERFORMING (Muriel Anderson)
Tis intermediate/advanced class will be a full exploration of the composing,
performing and expressive process of a selected number of tunes.
THE COMPONENTS OF MUSIC (Muriel Anderson)
All levels welcome, No homework in this class. From jamming to discussion,
this is an open-ended class that explores the emotional and spiritual as well
as the technical and physical components of music.
INTRO TO FLATPICKING (Beppe Gambetta)
Tis class for beginning & intermediate players is a journey through the
mechanisms of the traditional fatpicking technique, a program dedicated
to fatpicking beginners and to players of other techniques who like to get an
idea of the style and understand its potential. Te goal is to leave the student
with a nice plan to learn melodies, accompaniment and back-up, arranging
ideas and basic concepts to approach improvisation, with a balanced plan
to practice and a good vision of the artistic possibilities of the style. Beppe
will lead students fom the beautiful styles of the fathers of the music and
progress through diferent technical aspects: basic exercises, scales and fn-
ger gymnastics, continuing with accompaniment and backup through the
universe of the strumming patterns, the joy of learning fddle tunes, licks,
the Carter Style, the embellishments, and crosspicking.
FLATPICKING GLOBALIZATION (Beppe Gambetta)
Tis intermediate class is a fascinating journey in the creative potentials
of the fatpicking technique as viewed fom the broad perspective of Beppe
Gambetta, who lives on the road 250 days out of the year and gets his main
musical inspiration fom his travelling life. While his style is deeply rooted
in American traditional fatpicking, he has also done extensive research
into the old musical forms of Europe as the basis for his compositions. In
this workshop, Beppe will explain the most creative parts of his multifaceted
repertoire, using both regular and open tunings, and moving fom tradi-
tional techniques to the most intricate crosspicking forms, down-down-up
techniques, Celtic and Mediterranean embellishments and rhythms, con-
trolled strummings, tremolos, and more. He will explore the mechanisms
of adapting diferent elements to open the door of creativity and generate
new sounds in composing and arranging.
FLATPICKING ARRANGED
FOR GROUPS (Beppe Gambetta)
A popular activity for traditional acoustic music lovers comes fom jam ses-
sion groups and gatherings and fom groups of acoustic players that organize
ensemble music for diferent purposes and communities. Tis class for all
levels will examine the diferent ways to organize and enjoy all of these group-
playing situations. A good amount of the work will be focused on learning
diferent fatpicking ensemble arrangements for instrumentals and also
for songs. Te topics will be harmony parts, rhythm patterns and grooves,
counterpoints, vamps for solos and more, and some time will be dedicated
to learning how to organize and conduct a nice jam session.
RANDY HUGHES
Randy Hughes has earned a reputation throughout the
southeast as the kind of instrument repairman to whom
you could entrust your priceless vintage guitar without a
second thought. A superb luthier with a thriving repair busi-
ness, Randy frst came to Guitar Week in 2001 to inspect
and adjust students instruments and share his vast store of
maintenance tips. He is also an exceptional guitarist and taught fngerstyle jazz at
the Gathering for two years. Randy will be here afer lunch several days during the
week to examine and evaluate the playing condition of participants instruments.
www.randyhughesguitars.com
t|:ss.s
(Unless otherwise indicated, all classes have a limit of 15)
BOSSA NOVA GUITAR (Pat Kirtley)
Te unique pop music of Brazil, including bossa nova, samba, and other
related styles, exploded on the worldwide music scene in the early 60s almost
overnight. Te sophisticated rhythms and chord structures were irresistible
to jazz musicians, and afer a few years bossa nova had gone mainstream,
with its rhythms and changes assimilated into the melting pot of jazz stan-
dards. Too bad for it diluted an eloquent musical style which has little to
do with jazz, and afer a few more years, the unique identity of the genre was
nearly lost. Now there is a rediscovery of this music by a new generation of
performers who want to get back to the roots. In this class, intermediate to
advanced players will learn the elements of the style fom its foundations.
Its a perfect genre for solo guitar, because thats where it was born. Pat will
teach the essential rhythms, chords, and some great tunes fom the world
of bossa nova and samba.
THUMBSTYLE GUITAR (Pat Kirtley)
Tumbpicking champ Pat Kirtley comes fom Kentucky, and so does the iconic
guitar style made famous by Merle Travis, Chet Atkins, Mose Rager, and
other legendary players. In this class for intermediate players and advanced
players who would like to acquire a new style, students will learn right-hand
techniques, including the boom chick rhythm with a thumbpick, signature
licks, and some cool chord forms unique to this style. By the end of the week
we will have covered the basics and will be learning some great tunes fom
this amazing musical genre. Will you be able to reach the ultimate goal of
sounding like two guitar players at once? If your thumb already knows how
to keep independent rhythm, come to the class and fnd out.
GETTING YOUR CELTIC GROOVE ON (Pat Kirtley)
Tis class lays a foundation for intermediate fngerstyle players who want
to explore the Celtic genre. In this class you will learn how to feel and dif-
ferentiate these rhythms, the Celtic Grooves jig, reel, slip jig, hornpipe,
march, etc. by learning a great tune in each style. Understanding and re-
membering these rhythms is something with which those new to Celtic music
have dif culty. In that sense, it is a beginner class, but the tunes themselves
are not for beginners, so this class is ofered as intermediate-to-advanced
level. Each day well explore a new tune with a diferent rhythm, with tab
provided and a special emphasis on learning the rhythms. Te tunes well
learn are primarily in DADGAD tuning, and we will also learn the stylistic
touches which make these beautiful tunes come alive. You will ease into
Celtic fngerstyle in a way thats challenging and fun. An audio recording
device is recommended.
SLIDE GUITAR 101 (David Jacobs-Strain)
In this hands-on class for intermediates, well focus on creating a musical
tone, developing accurate intonation, and exploring right-hand techniques
that can make the slide come alive. Te slide can be an incredible tool for
emotional expression, and well build our foundation on both mechanics and
feel. Well dig into a few of the classic blues archetypes as the week progresses,
using a call and response approach to train our ears as well as our hands.
BEYOND THE BLUES (David Jacobs-Strain)
Tis intermediate/advanced slide class will look at the blues as a way of emot-
ing, and dig deep into both right- and lef-hand techniques and concepts.
Going beyond the basic alternate tunings, well use a range of slide guitar
and percussive right-hand ideas to stretch out what the blues can be. In this
class, well be exploring more complete songs and covering more advanced
exercises than in the slide class. Tis class is very hands-on; expect to learn
new ideas and form solid habits by playing for much of each class. Some
fngerpicking experience is necessary.
INTRO TO RECORDING (David Jacobs-Strain)
Te process of recording is a great way to refne your musical skills. Tese
recording and mentoring sessions are a chance to capture a bit of the magic
of Swannanoa. Each participant (or duo or trio) will work directly with the
instructor to arrange and record one or two songs. Te emphasis will be on
capturing a performance. No prior technical experience is necessary, though
perspectives on engineering will be ofered. Each session, though limited in
time, will be tailored to the interests and abilities of the students. Please
bring a song or two that you are ready to share; it can be especially fun to
record a tune with folks that you may only see once a year.
ART OF RHYTHM GUITAR (Tim Tompson)
Playing rhythm guitar is an overlooked, subtle art. In this class for all levels,
we will examine song examples and identify whats going on in the groove.
You will learn the basics of rhythm as it is applied to popular music and
how to think like a drummer. Well explore strumming and fngerpicking
techniques, how to dissect a measure and experiment with diferent accents,
how to sing a groove, how changing a groove afects the way you sing a song,
how Drop D tuning can create a bigger sound, and more.
NASHVILLE NUMBER SYSTEM (Tim Tompson)
Tis class will cover the Nashville Number System: Why it is used, the origin
of the system, how its application is diferent fom the standard uses of a
major scale, and how it can help you with songwriting, arranging your songs,
improvising, and navigating your instrument. Whether you are preparing
for a demo session or a live performance, or just documenting your tunes, it
is a very simple but powerful tool in communicating your musical ideas to
other players and songwriters. We will look at prewritten charts as well as
write a chart or two fom scratch.
MUSIC THEORY FOR GUITAR (Tim Tompson)
Tis class covers the nuts and bolts of basic music theory, but is illustrated
on the neck of the guitar instead of on a music staf or tablature. Each
student will receive handouts that include scale and chord diagrams that
coer the entire neck. Discussion will include basic triads, 4-note chords,
9th, 11th, and 13th chords, and inversions. We will talk about the major
scale and how to build and name chords as well as how to apply them in a
song. Completion of this class should give students the basic building blocks
to develop even further on their own.
INTRO TO PERCUSSIVE TECHNIUES
FOR GUITAR (Vicki Genfan)
Tis intermediate class is for any player who would like to learn some of
the percussive techniques used by Vicki and players like Michael Hedges,
Don Ross, Kaki King, Jon Gomm, Andy McKee, and many others. Well
coer fnding the drum sounds on your guitar, playing simple strum-drum
patterns, harmonics, thumb slapping, and growing your rhythm chops.
RHYTHM FOR GUITARISTS
AND EVERYONE ELSE! (Vicki Genfan)
Tis class is for all levels, no experience necessary, and guitars are not
required! Drawing fom eastern and western traditions, well sharpen our
rhythmic awareness and expand our rhythmic ocabularies by combining
inner (meditative) work with outer (walking, chanting, moving) rhythm
exercises. Trough group rhythm circles, well explore pulsation, syncopation,
beat, of-beats, sub-division and more all with a sense of spontaneity, fow
(and Boom Whackers of course!) and FUN!!
PERCUSSIVE TECHNIUES, OPEN TUNINGS,
NOW WHAT? (Vicki Genfan)
Tis class is for those intermediate/advanced players who have been working
with percussive techniques and open tunings, and now want to apply them
to actual song composition and arranging. We will start with the techniques
explored in Vickis DVD, 3D Acoustic Guitar, including bass note slapping,
harmonic tapping and body percussion, and will move quickly into the realm
of composition and arrangements using these techniques (and others that
you may already be working with). Focus will be divided into two major
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areas: solidifying your technique and using these techniques in arranging
and composing original or cover tunes. Bring a song to work on or an
idea for a new composition. In order to get the most out of this class, plan
on performing something and being open to feedback.
STEALIN FROM CHET (Pat Donohue)
In this class for intermediate to advanced players, well study the irresistible
style of the most infuential guitar player of our time Chet Atkins. Learn
about his tunes, alternating and rotating bass, the right-hand roll, and a
multitude of licks fom the masters bag of tricks.
FINGERSTYLE JAZZ BACKUP (Pat Donohue)
Advanced players will learn arranging and accompaniment techniques for
fngerstyle jazz guitar. Well study tunes, chord progressions, sequences,
turnarounds and even some melodic soloing ideas that will spice up your
fngerstyle jazz repertoire. Delve into the styles of Joe Pass, Lenny Breau,
Wes Montgomery and other greats and use them to enrich your own playing.
GUITAR MOVES (Pat Donohue)
A class for intermediate to advanced students featuring, common chord
progressions, turnarounds, one-, two- and three-note scales, bass lines,
and those cool chord and fll moves that are part of the pro guitarists bag
of tricks, and great tools for arranging on guitar.
SOLO FINGERSTYLE JAZZ GUITAR (Sean McGowan)
In this class, well take a look at and work through the nuts and bolts of solo
fngerstyle jazz guitar. Topics of discussion and practice will include practical
chord oicings and substitutions, walking basslines, piano-style concepts,
playing multiple parts, rhythm and phrasing, and ideas for improvisation.
Well also take a look at a few extended fetting techniques to add color to
arrangements of jazz standards and other songs. Tis class will be of interest
to fngerstyle players who want to add some jazz elements to their arrange-
ments, and also to jazz guitarists who primarily play with a pick, but would
like to explore some fngerstyle techniques.
THE ART OF PRACTICE (Sean McGowan)
Getting Ahead in the Shed. Many guitarists ofen feel fustrated when they
enter the practice room (afectionately known as the shed) Some of us feel
overwhelmed and daunted by seemingly endless material to work on, or
we never seem to notice any progress, or maybe were not quite sure how to
approach learning new concepts, playing with more technical facility, or
better tone; the list goes on and on. Tis class for all levels will explore and
ofer ideas to make the most of your practice time especially if that time
is limited! We will demystify some notions of how to improve and learn,
discuss efective ways to practice fom mental and physical perspectives, and
also work through a variety of routines to take home and apply. Tis class is
open to players of all styles and levels.
COMPOSITION & ARRANGING
FOR FINGERSTYLE GUITAR (Sean McGowan)
Tis intermediate class will be based on material fom a traditional theory
& composition course, but adapted to suit contemporary fngerstyle guitarists
who are looking for new concepts to apply to their writing and arranging.
Some basic theory will be covered, but will be presented in a way that does
not inhibit an organic, creative approach to writing. Te idea is to strive for
a balance between intuition, spontaneity, structure, texture and form, and
Guitar Week, July 27-August 2, 2014
7:30-
8:30
Breakfast
9:00-
10:15
Ukulele
From
Scratch
(Ross)
Appalachian
Fingerstyle in
DADGAD
(Petteway)
Guitar
Orchestra
(Bennett)
Blues
Creativity
(Walker)
The Art of
Practice
(McGowan)
Thumb-
style
Guitar
(Kirtley)
Beyond
the Blues
(Jacobs-
Strain)
Nashville
Number
System
(Thompson)
Music,
Meditation &
Performance
(Baughman,
Heng Sure)
Blue-
grass
Songbook
(Dodson)
Celtic
Finger-
style
(Bullock)
Intro to
Basic Slide
Technique
(Ainslie)
Stealin
From Chet
(Donohue)
10:15-
10:45
Coffee/Tea Break
10:45-
12:00
Intro to
Swing
Ukulele
(Ross)
Intro to
Celtic
Flatpicking
(Bullock)
Intro to
Percussive
Techniques
(Genfan)
Flatpicking
Arranged for
Groups
(Gambetta)
Fingerstyle
Jazz Backup
(Donohue)
Composition &
Arranging for
Fingerstyle
(McGowan)
Music of
Mississippi
John Hurt
(Ainslie)
Gypsy
Jazz:
Basics
(Ruby)
Guitar for
Beginners
(Dodson)
Dandelions:
Composing &
Performing
(Anderson)
Intro to
Recording
(Jacobs-
Strain)
Beginning
Blues &
Beyond
(Walker)
12:00-
1:00
Lunch
1:00-
2:15
Guitar Maintenance & Repair, Luthiers Exhibit, Slow Jam (with Ed Dodson)
2:15-
3:30
Chord/
Melody for
Solo Uke
(Ross)
Music Theory
for Guitar
(Thompson)
Claw-
hammer
Guitar
(Baughman)
Slide
Guitar
101
(Jacobs-
Strain)
Get Your
Celtic
Groove
On
(Kirtley)
Gypsy
Jazz:
Rhythm
Guitar
(Ruby)
Deep
Bluegrass
Guitar
(Dodson)
Rhythm for
Guitarists &
Everyone Else
(Genfan)
Arranging for
Fingerstyle
Guitar
(Bennett)
Robert Johnson
in Standard &
Dropped-D
(Ainslie)
Components
of Music
(Anderson)
Flat-
picking
Globaliza-
tion
(Gambetta)
3:45-
5:00
Intro to
Flatpicking
(Gambetta)
Art of
Rhythm
Guitar
(Thompson)
Orkney
Tuning
(Baughman)
Gypsy
Jazz: Lead
Guitar
(Ruby)
Bossa
Nova
Guitar
(Kirtley)
Chord/
Melody
for Blues
& Ragtime
(Walker)
Percussive
Techniques:
Now What?
(Genfan)
Solo
Fingerstyle
Jazz
(McGowan)
Guitar
Moves
(Donohue)
Music of
Turlough
OCarolan
(Bullock)
50 Right-Hand
& 3 Left-Hand
Techniques
(Anderson)
Beatles for
Fingerstyle
(Bennett)
5:00-
6:30
Supper
7:30-? Evening Events (concerts, dances, jam sessions, etc.)
the material will refect traditional approaches to line writing and harmony,
as well as guitaristic approaches that incorporate alternate tunings, modal
drones, and percussive elements.
BEGINNING BLUES & BEYOND (Toby Walker)
Level: Beginning to Intermediate. Student needs to have knowledge of basic
open chords. Want to learn to play the blues, alone or with others? Tis is
the course for you. Youll be playing the blues in diferent keys, adding in
turnarounds, intros, endings and even improvising! Ill also show you how
to sit in on any blues jam session and hold your own. Youll be able to play
along with a number of songs strictly by ear, and get a great feel for what is
happening in the song. Itll be a lot easier than you think! Youll learn some
of the classics fom Muddy Waters, Robert Johnson and others.
CHORD MELODY
FOR BLUES & RAGTIME GUITARISTS (Toby Walker)
Level: Intermediate to Advanced. Student should know how to fngerpick
a basic alternating bass while playing a melody on top. In this course youll
learn the CAGED system. Youll be able to creatively apply it in order to
bring out the melody in a song. Well study how Reverend Gary Davis used
this technique so youll have a great fame of reference. Ten Ill show you
how to apply this to many, many more songs. Tis is an exciting way to add
fair and originality to your playing. Youll fnish this course with a new
perspective and be excited to use your new skills whenever you play!
BLUES CREATIVITY (Toby Walker)
Level: Intermediate to Advanced. Break out of the tyranny of tab for the
fngerpicking blues guitartist! Students should know how to fngerpick a
basic alternating bass while playing a melody on top. It would also help if the
student already has a few fngerpicking blues songs under their belt. Feeling
stuck in fngerpicking the blues, and want to be more creative? Ill show you
how to add a variety of chord inversions, hot licks, bass runs, double stops
and a whole bunch of exciting tricks to your current repertoire. You will
fnd that you wont be a slave to TAB anymore and that youve discovered
the secrets to creativity! Youll learn how to expand on any song and in the
process make it sound like YOUR own arrangement.
GYPSY JAZZ GUITAR BASICS (Greg Ruby)
Gypsy jazz is fun and accessible. Tis hands-on class is intended for either
a beginning guitar player or a player new to Gypsy jazz. We will use tunes
fom the repertoire to learn the basics of chord oicings, rhythm guitar, pick
technique, melodies and using licks to build a solo. Plan to be jamming over
your favorite tunes by the weeks end.
GYPSY JAZZ: RHYTHM GUITAR (Greg Ruby)
Tis workshop will expand your understanding of Gypsy jazz rhythm guitar
by focusing on the essential elements that drive an ensemble. Using repertoire
common to the genre, participants learn la pompe, four to the bar, Gypsy
bossa, and swing waltz rhythms. Launch into chord inversions to expand
your chordal ocabulary.
GYPSY JAZZ: LEAD GUITAR (Greg Ruby)
Tis workshop will focus on the key elements to efective lead guitar playing
in the Gypsy jazz realm. Using a variety of tunes, we will investigate melody
interpretation, improvising, and adding chordal elements into your solos.
We will also look at ways to learn and add Gypsy jazz licks and ideas to
your ocabulary.
MUSIC OF MISSISSIPPI JOHN HURT (Scott Ainslie)
Even before John Hurt was re-discovered in 1963 at the age of 71, his record-
ings had infuenced a small coterie of guitar afcionados. His introduction to
a wide audience at the height of the folk music revival allowed him to play
a pivotal role in establishing fundamental fngerpicking techniques that
have marked the music of everyone fom Doc Watson to Beck; Bob Dylan to
Bruce Cockburn and Jerry Garcia. In this class well explore Hurts repertoire
while focusing on his right- and lef-hand techniques with a special eye to
establishing the right/picking hand muscle patterns necessary to maintain
a steady alternating bass while developing independence on the high strings
to play melodies.
INTRO TO BASIC SLIDE TECHNIUE(Scott Ainslie)
Afer teaching slide guitar classes for over twenty years, I have recently re-
INTRO TO BASIC SLIDE TECHNIUE INTRO TO BASIC SLIDE TECHNIUE
versed the order in which I teach the skill sets necessary to control the slide
and have had terrifc results getting entire rooms full of guitarists to make
the magnifcent emotional sounds the slide can deliver. In this class well look
at slide in standard tuning frst and encounter all the muting techniques
necessary to a clean, controlled slide sound, then well move to open tunings.
When were done, youll understand and possess the keys to the kingdom of
slide guitar. Hand and guitar posture, controlled slide movement, limiting
string noise, getting a decent tone, and developing several types of vibrato
will all be covered. Te music of Muddy Waters, Robert Johnson, Mississippi
John Hurt as well as some of my arrangements will be featured, as neces-
sary or requested. Bring a slide that fts snuggly on your little fnger. For
notes on choosing a slide see:
choosing-a-slide.htm
Tis intermediate level class will explore the world of possibilities presented
by traditional Irish, Scottish and Breton repertoire arranged for solo fn-
gerstyle guitar. Well start with basic settings of relatively simple tunes and
proceed fom there, using alternate tunings such as DADGAD, CGCGCD
and Werewolf tuning (CGDGAD), which will not only make playing this
music easier, but open up magical sounds that you never knew your guitar
had. Along the way well also discuss fngerstyle playing technique and how
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Note: Tere is no advance registration necessary for the following events.
GUITAR MAINTENANCE & REPAIR(Randy Hughes)
Come have your instrument checked out and pick up a few care & feeding tips.
LUTHIERS EXHIBIT
Troughout the week we will have three of the fnest luthiers in America on
hand displaying some of their instruments: Gerald Sheppard, www.shep-
pardguitars.com, David Berkowitz, pardguitars.com pardguitars.com www.berkowitzguitars.com, and John www.berkowitzguitars.com www.berkowitzguitars.com
Slobod, www.circaguitars.com, as well as a display of some of the amazing www.circaguitars.com www.circaguitars.com
inentory fom Dream Guitars, www.dreamguitars.com, an award-winning www.dreamguitars.com www.dreamguitars.com
local shop specializing in the worlds fnest high-end instruments.
SLOW JAMS (Ed Dodson)
Each day, afer lunch, Ed will lead jam sessions of common tunes at a tempo
slow enough for folks to learn the tunes as they play.
DISORIENTATION DINNER
On Friday, come experience Happy Hour and a special fnal dinner to end
Guitar Week.
MUSIC OF TURLOUGH OCAROLAN(Robin Bullock)
Te blind harper Turlough OCarolan (1670-1738) was the greatest of
the Irish bards, whose 200-plus surviving melodies, a unique and beautiful
blend of Celtic and Baroque infuences, have become an integral part of the
traditional Irish repertoire and are perfect for fngerstyle guitar. In this
intermediate-and-above class well learn several of Carolans pieces and
discuss the art of arranging them for guitar, in the process exploring how
altered tunings and harp-style melody playing can evoke the otherworldly
sound of the ancient brass-strung Irish harp. Audio recorders recommended.
INTRO TO CELTIC FLATPICKING
Tis intermediate level class will focus on bringing traditional Irish, Scot-
tish and Breton tunes to life, fatpicked on steel-string guitar. Well explore
technique, lif, ornamentation, and other facets of making the tunes sound
analyzing where the melody fts within the shapes of the accompanying
chord progression. We will then look for spaces within the melody line where
one could insert some hot licks to create an interesting solo. Tis class will
build upon the techniques covered in previous years and as presented in my
Deep Bluegrass Guitar.
GUITAR FOR BEGINNERS (Ed Dodson)
Tis class will cover the very basics of playing and enjoying guitar. Topics
coered will include: tuning your guitar, basic chord shapes and patterns,
basic rhythm patterns, simple right-hand technique (both fatpick and
fngerpick), care and feeding of your guitar, and practice tips. By the end of
the week, we will work in a tune or two for you to work on back at home.
Knowledge of guitar tablature is helpful, but not required. Students are
encouraged to bring audio recorders to class.
UKULELE FROM SCRATCH(Gerald Ross)
Te ukulele is experiencing a world-wide resurgence in popularity. Why?
Because its the one of the easiest fetted instruments to learn. Everybody
sounds good on it very quickly. Its perfect for accompanying ocals. Its easy
- guaranteed! By the end of the week you will be able to sing and accompany
yourself on basic folk, country and pop tunes. Any sized uke tuned GCEA
will work. No previous musical or stringed instrument experience required.
Please contact me with any questions: gerald@geraldross.com
INTRO TO SWING UKULELE(Gerald Ross)
Te 1930s and 40s were a magical time in the history of popular music.
Swing was mainstream. Te ukulele was made for swing music! Any uke
song can swing and sound jazzy. Its easy to make your instrumental ac-
companiment more interesting through chord substitutions, syncopation,
strumming patterns and single note lead work. Te material covered in this
intermediate class is not exclusive to the jazz/swing world it can be used
for all styles of music. No music theory needed. no music reading required.
No knuckle-busting chord shapes to learn. Just fun! A concert or tenor sized
uke tuned GCEA is recommended. Please contact me with any questions:
CHORD/MELODY FOR SOLO UKULELE(Gerald Ross)
Chord Melody is a solo approach to fetted instrument playing where both the
chord and melody line are played at the same time. Tis is a very popular style
in the guitar world where many virtuoso players exist look no further than
the Swannanoa faculty for excellent examples. Can this solo style of playing
be achieved on the tiny ukulele with its four strings and very short scale? Yes
it can! Have no fear this class should actually be titled Four strings are
plenty enough! Tis fngerstyle technique will use chord substitutions and
single-note lines to craf complete, stand-alone arrangements. Songs fom
the Swing Era will be used as tools to learn this very rewarding technique.
Well start with easy melodies and progress as the week goes on. A concert
or tenor sized uke tuned GCEA is recommended. Some basic right-hand
fngerpicking skills under your belt will speed you along as well. No music
theory needed. no music reading required. No knuckle-busting chord shapes
Please contact me with any questions: gerald@geraldross.com
KATHY MATTEA
Twice named Female Vocalist of the Year by the
Country Music Association, Kathy Mattea estab-
lished herself in the late 1980s and 1990s as an artist
at ease both with country tradition and free-ranging
innovation, with a penchant for songcatching. In
1990, the West Virginia native won the frst of
her two Grammy Awards, earning the Best Female
Country Vocal Performance award for her moving
Whereve You Been, co-written by husband Jon
Vezner. She is among the most successful women
in the genres history, yet her creative spirit has led
her to explore musical territory extending well
beyond its confnes. Her recent recordings have
intertwined Celtic, gospel and bluegrass infuences
with the folk and acoustic music that have always served as her artistic anchor. Increas-
ingly in demand as a public speaker, Kathy regularly presents educational programs,
both separately and in conjunction with concert appearances, at colleges and civic
venues across the country. Tese range from vocal and songwriting workshops for
Berklee College of Music, North House Folk School, and the Swannanoa Gathering,
to topical and motivational talks about the arts, climate change, and Finding Your
Path, to her multi-media presentation My Coal Journey, a discussion of musics role
in social change, featuring live musical performances and a powerpoint slideshow. An
early spokesperson and advocate for AIDS awareness and research, Kathys long history
of activism has led her to bring public attention to several current environmental issues,
including climate change and the controversial mining practice called mountaintop
removal in her native Appalachia. www.mattea.com
JIM LAUDERDALE
Jim Lauderdale is a Grammy-winning musician and
one of the most respected artists working in the
bluegrass, country and Americana music communities
today. One of Nashvilles A-list songwriters, his songs
have been recorded by such artists as Patty Loveless,
Shelby Lynne, Solomon Burke, Te Dixie Chicks and
George Strait. His music has been featured recently
on the ABC hit show, Nashville, and he had several
cuts on the soundtrack of the successful flm, Pure
Country. Jim is also in high demand as a player, tour-
ing with the likes of Elvis Costello, Lucinda Williams,
Mary Chapin Carpenter and Rhonda Vincent. Jim
frequently collaborates with legends such as Ralph
Stanley, Elvis Costello, Grateful Dead lyricist Robert
Hunter and long time friend Buddy Miller as the duo, Buddy & Jim. Te duo also host
the radio shows, Te Buddy & Jim Show, with performances and in-depth interviews
with a wide variety of artists and friends, and Music City Roots, with concerts each week
from the Loveless Barn in Nashville. Since winning Artist of the Year and Song of the
Year at the frst Honors and Awards Show held by the Americana Music Association
in 2002, he has also subsequently hosted the show each year. Jim is the subject of Te
King Of Broken Hearts, a new documentary by Australian flmmaker Jeremy Dylan,
which tells of Jims unconventional and prolifc story from his North Carolina roots,
being immersed in the country music scenes in both New York City and Los Angeles,
to breaking through in Nashville as a songwriter. www.jimlauderdale.com
Contemporary Folk Week celebrates this 23rd Gathering with another group of great artist/instructors ofering a wide variety of classes designed
to put music back where it belongs in your hands. Whether youre trying out material at a local open mike, a performer with some experience, a working
musician looking for some help in reaching your next goal, or someone who would simply like to feel more confdent pulling your guitar out at a gathering, were
here to help, and youll have more fun and inspiration than you can imagine in the process. Our top-notch staf of experienced professionals, knowledgeable in
the various aspects of both the art and business of the contemporary folk world can help you achieve your goals. In addition, our limited enrollment and small
campus encourage community-building at its best frequent and informal interaction between students and staf with whom youll have much to share, all
doing our utmost to ensure that you go home energized and empowered to make the most of your music.
We are pleased to welcome frst-time Gathering instructors Don Henry, Jim Lauderdale, Amy Malkof, and Amy Speace, along with a number of
your (and our) favorites from previous years. Choose from a wide variety of songwriting, performance, vocal and creativity classes which all stress supportive
interaction among staf and students and individual attention to students needs. Each days schedule will address both artistic and commercial questions and
concerns, while also providing time for sharing music on an informal basis, and social activities will include open mikes, concerts, song circles, special events,
and spontaneous music-making. Contemporary Folk Week runs concurrently with Guitar Week using the same schedule, so its easy to take classes in either
program. Please do note, however, that the open mikes are open only to those who have declared themselves to be Contemporary Folk Week students and are
taking at least two classes in the Contemporary Folk Week program.
t.st.m.|:|g 3.|| W..|
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37
and the folk superstar band Cry, Cry, Cry (Dar Williams, Richard Shindell, Lucy
Kaplansky). A consummate performer, Clif engages the audience with funny but
true stories tinged with irony, accompanied by an unparalleled guitar style. Clif
has been an acclaimed instructor at many song writing camps, colleges, schools, and
workshops, and is currently fulflling one of his dreams writing music for the theater.
Never one to start small, he was asked to write all of the songs for, and perform in,
the Folger Shakespeare Librarys production of Te Taming of the Shrew, in Wash-
ington, DC. Were pleased to welcome him back for his sixth Swannanoa Gathering.
www.clifeberhardt.net
JON VEZNER
Grammy award-winning songwriter Jon Vezner is a
tunesmith of rare sensitivity and dry wit. With a degree
in music theory and education, in 1983, he made his
frst trip to Nashville to attend the Nashville Songwrit-
ers Association (NSAI) spring symposium, where he
soon developed a relationship with music publishing
company, Wrensong Music. He moved to Nashville in
January of 1986, and within that frst year he had songs
recorded by Reba McEntire and Ronnie Milsap, followed
by Lorrie Morgans frst single in 1987, Train Wreck
of Emotion, which he co-wrote with Alan Rhody. In
1989, Vezner co-wrote Whereve You Been with fel-
low singer/songwriter Don Henry, recorded by Jons
wife, Kathy Mattea, a true story of Vezners grandparents that earned him Song of the
Year honors with both the Country Music Association (CMA) and the Academy of
Country Music (ACM) for 1990. Te song was honored with a Grammy Award for
Best Country Song and the Nashville Songwriters Association Song of the Year.
Vezner was subsequently named Songwriter of the Year by the NSAI. Jons songs
have been recorded by a varied list of artists such as Martina McBride, Janis Ian, John
Mellencamp, Nancy Grif th, Faith Hill, Clay Walker, Diamond Rio and Steve Wariner.
Vezner also has quite a list of production credits, including projects for Danny OKeefe,
Victoria Shaw, singing legend Patti Page and Jef Gilkinson. Jon and long-time friend
Don Henry have recently reunited to create a new CD project as the Don Juans. In
the last two years, Jon received Distinguished Alumni awards from both North Hen-
nepin Community College and Southwest Minnesota State University. Jon also leads
songwriting workshops all across the country. www.jonvezner.com
AMY SPEACE
Although Amy began her creative career in the the-
ater, acting with Te National Shakepeare Company
and various other classical repertory theaters, she long
ago lef behind the stage to pursue music full time.
Cutting her teeth playing regular gigs at Te Living
Room and Te Bitter End in NYC, she was discov-
ered by legend Judy Collins in 2005 and signed to
Collins imprint, Wildfower Records, releasing two
critically-acclaimed albums, Songs For Bright Street
(2006) and Te Killer In Me (2009). Judy Collins herself recorded Amys song, Te
Weight of the World, calling it one of the best political folk songs Ive ever heard.
NYCs top AAA station, WFUV, named that song #4 in DJ John Platts Top 10 Songs
of the Decade. Amy has also been a songwriting and performance teacher at Te Rocky
Mountain Folks Festival Song School, Te Kerrville Folk Festival Song Camp, Te Sis-
ters Americana Song Academy and has been the host of American Songwriters online
LIVINGSTON TAYLOR
Livingston Taylor picked up his frst guitar at the age of
thirteen, beginning a forty-year career that has encom-
passed performance, songwriting and teaching. Born
in Boston and raised in North Carolina, Livingston is
the fourth child in a very musical family that includes
Alex, James, Kate and Hugh. Livingston recorded his
first record at eighteen and has continued to create
well-crafed, introspective and original songs that have
earned him listeners worldwide. From Top-40 hits I
Will Be in Love with You and Ill Come Running, to
I Can Dream of You and Boatman both recorded by
his brother James, Livingstons creative output has continued unabated. He is equally
at home with a range of musical genres and has toured with major artists such as Linda
Ronstadt, Jimmy Bufett and Jethro Tull. A natural performer, his shows are peppered
with personal stories, anecdotes and inefable warmth and a depth of musical knowledge
that allows him to slip easily from folk to classic Gershwin or something from the best
of Broadway. As a full professor at Berklee College of Music since 1989, Livingstons
Stage Performance classes are some of the most popular at the College, and provided
him with the material for his book, Stage Performance. Livingston is at work on a new
album expected to be released in the spring of 2014. www.livtaylor.com
DON HENRY
Grammy-winner Don Henry has written songs recorded
by legends Ray Charles, Patti Page, Conway Twitty, Gene
Watson, and B.J. Tomas, as well as by young hit makers
Blake Shelton, Lonestar, and Miranda Lambert. Dons
played with performers as diverse as Joey Ramone at
New Yorks famous Bottom Line and Keith Urban at
Nashvilles legendary Bluebird Cafe. Te wit and wisdom
of Dons songs are widely renowned, from campfre favor-
ites, the hilarious B.F.D. and biker lullaby, Harley, to
the wonderfully poignant tribute to Martin Luther King,
Beautiful Fool. Kathy Matteas version of the Grammy Award winning Whereve
You Been, also won Don and co-writer Jon Vezner, Song of the Year honors from the
ACM, the CMA, and the Nashville Songwriters Association International, the frst
song in country music history to be awarded all four honors in the same year! Miranda
Lambert had a big hit in 2013 with Don and Phillip Colemans song, All Kinds Of
Kinds, with Don singing background vocals. Don tours extensively as a solo performer,
and hes also a member of Te Waymores with Tom Kimmel and Sally Barris, as well as
performing in duos with Sally, Craig Carothers, and Jon Vezner. www.donhenry.com
CLIFF EBERHARDT
Red House recording artist Cliff Eberhardt knew
by age seven that he was going to be a singer and
songwriter. As a child, Clif taught himself to play
guitar, piano, bass and drums. In his teens, Eber-
hardt was fortunate enough to live close to the Main
Point (one of the best folk clubs on the East Coast),
where he received an early and impressive tutorial in
acoustic music from such artists as James Taylor, Joni
Mitchell, Bruce Springsteen, Howlin Wolf, Muddy
Waters, Bonnie Raitt, and Mississippi John Hurt. A driving force of the Greenwich
Village New Folk movement and well-known among his peers, Clifs songs have
been covered by the likes of Richie Havens, Bufy St. Marie, Erasure, Lucy Kaplansky
songwriting critiques feature. She is a former actress with Te National Shakespeare
Conservatory and was the Artistic Director of Five Points Teater Company in NYC,
working as a director/actress/playwright in the lower east side fringe theater scene in
the late 90s. www.amyspeace.com
ELLIS
If you look up the defnition of wholehearted, you
just might fnd a photo of Ellis. An award-winning
songwriter and performer, she has a way of leaving audi-
ences better than she fnds them, with sofened edges &
opened hearts. Audiences at Falcon Ridge Folk Festival,
Sisters Folk Festival, and Moab Folk Festival have all
voted her the Most Wanted to Return when she frst
performed on their stages. A Texan at heart, Ellis grew
up outside of Houston until her family relocated to
Minnesota at age 16. She quickly joined a rock band,
and then started her own record label while in college. Since then, she has recorded
and self-released eight recordings including the recent live CD, Wherever You Are. She
has been a repeat guest on A Prairie Home Companion, and her song Red Light was
featured in the major motion picture, Te Roommate. Ellis latest studio release, Right
On Time has won her several songwriting honors. She has been a resident instructor at
the Rocky Mountain Song School for the past seven years, and twice has been a guest
instructor at the Sisters Americana Songwriting Academy. Tis is Ellis second Gather-
ing www.ellis-music.com
AMY MALKOFF
Amy Malkof is a singer/songwriter and founding member
of the groups All About Buford and Deadline Poet, and she
has appeared on stage and in the studio with such luminar-
ies as Wayne Brady, Jonathan Brooke, Te Persuasions, Ellis
Paul, Vance Gilbert, GrooveLily, Patty Griffin, and Dar
Williams. She has a degree in music from Kenyon College,
with music studies at Youngstown State University and
masters-level coursework at the New England Conservatory
of Music. She is a frequent clinician/teacher and a cappella competition judge (ofen
for Varsity Vocals, the organization on which the movie Pitch Perfect was based). Her
music has appeared on both the Rounder Records and Hear Music/Starbucks labels.
www.amymalkofmusic.com
DAVID ROTH
Contemporary Folk Week Coordinator David Roth is a
singer, songwriter, recording artist, and enthusiastic instruc-
tor who has taken his songs, experience, and expertise to a
wide variety of venues in this and other countries full-time
over the last twenty-six years. His work has found its way to
Carnegie Hall, the United Nations, several Chicken Soup for
the Soul books, the Kennedy Center, Peter, Paul, & Mary and
Kingston Trio concerts, the Kerrville and Falcon Ridge Folk Festivals (top honors at both
Emerging Artist competitions), NASAs Goddard Space Center (his song Rocket
Science few on the space shuttle Atlantis in 2009), the Rise Up Singing and Rise Again
(sequel) songbooks, and twelve CDs on the Wind River and Stockfsch (Germany) la-
bels. Winner of four Positive Music Awards (celebrating the best in empowering original
music), David has also been on many of Christine Lavins seminal Rounder Records
compilations, and now on her Just One Angel (new holiday songs) CD from Yellowtail
Records. Te former artist-in-residence at New Yorks Omega Institute has also been a
songwriting judge at Kerrville, Napa Valley, Tumbleweed, Eventide Arts, and the South
Florida Folk Festivals. Hes taught singing, songwriting, and performance at the Augusta
Heritage workshops, Common Ground on the Hill, the Woods Dance & Music Camp,
WUMBs Summer Acoustic Music Week, Moab Folk Camp, Rowe Center, Pendle Hill,
Puget Sound Guitar Workshop, Lambs Retreat, the National Wellness Institute, and
for many other songwriting groups and associations around the country. David is also
Director of the Cape Cod Songwriters Retreat and host of the Capes Full Moon Open
Mic which for the past 8 years has provided a forum for musicians to connect and be
heard while at the same time collecting donations for local non-profts and neighbors
in need. www.davidrothmusic.com
RAY CHESNA
An accomplished guitarist and songwriter, Ray is fluent
in a wide range of styles including western swing, folk,
blues, country and bluegrass, and has been a long-time
fixture at Contemporary Folk Week, as the sideman of
choice for open mikes and concerts. A private music
teacher since 1971, Ray has also been on staf at the Au-
gusta Heritage Center in Elkins, WV, the Guitar Intensive
at Bar Harbor, ME, Club Passim in Cambridge, MA, and has led workshops for
the South East Bluegrass Association in Atlanta, GA. He continues to teach pri-
vately at his home studio in Asheville, NC, where he also maintains a guitar repair
business. Ray records for Echo Lake Records and is the author of Guitar Tools, a
guitar theory manual, featuring his unique method of understanding the guitar.
www.raychesna.com
SIOBHN QUINN
A profoundly versatile vocalist and teacher, Siobhn writes
and performs songs in folk, blues and adult contemporary
pop styles. She is known as a dynamic singer of Chicago &
New Orleans style electric blues and has performed many
other styles from jazz and big band to r&b and rock; early
song to renaissance music, and medieval madrigals in fve
languages. Truly one of the most popular vocal instructors
around, she tours internationally, and is accompanied at
Swannanoa by her music partner and husband, songwriter Michael Bowers. Her careful
attention to each individual is renowned, and students ofen return to her workshops,
learning new tools each year. She has taught at such programs as WUMB Summer
Acoustic Music Week, Kerrville Folk Festival, Rocky Mountain Folks Festival Song
School, NERFA, Great American Masters Music Industry Workshop, and coached voice
at the Summersongs & Wintersongs songwriting retreats. When at home in Alexandria,
VA, Siobhn teaches individuals, and coaches vocal performance for recordings. She
consistently updates her own credentials through such programs as the international
British Voice Association Conference master classes in performance/otolaryngology, and
CCM at Shenandoah Conservatory. Awarded a WAMMIE for Best Traditional Folk
Vocalist, Siobhn has also been a top-fve songwriting fnalist in the prestigious Boston
Folk Festival Songwriting and (with Michael Bowers) Kerrville New Folk Competitions
and Emerging Artist at Falcon Ridge Folk Festival. www.dreamersloversandoutlaws.com
38
Contemporary Folk Week, July 27-August 2, 2014
7:30- 8:30 Breakfast
9:00- 10:15
Songwriting 101
(Roth)
Guitar Tools:
String Theory A
(Chesna)
Exploring Your
Songwriting A
(Lauderdale)
Your Best Voice
(Malkoff)
Intentional Performance
(Ellis)
10:15- 10:45 Coffee/Tea Break
10:45- 12:00
Sing What You Mean,
Mean What You Sing
(Speace)
Guitar Tools:
String Theory B
(Chesna)
Exploring Your
Songwriting B
(Lauderdale)
Harmony: Your
New Best Friend
(Malkoff)
Song Critiques
(Vezner)
Vocal Clinic
(Quinn)
12:00- 1:00 Lunch
1:00- 2:15 Free Time
2:15- 3:30
Stage Fright, Stage
Strength A
(Taylor)
Finding Your Path
(Mattea)
Co-Writing
(Vezner)
The Muse Loves to
See You at Work
(Henry)
Song Editing &
Arranging
(Eberhardt)
Its All About
the Song
(Quinn)
3:45- 5:00
Stage Fright, Stage
Strength B
(Taylor)
Vocal
Master Class
(Mattea)
Time & Tools
(Ellis)
Dont Drop the Ball,
Tear Down the Wall
(Henry)
Writing Melodies
(Eberhardt)
What Writers Block?
Lets Get Unstuck
(Speace)
5:00- 6:30 Supper
7:30- ? Evening Events (open mikes, concerts, dances, jam sessions, etc.)
39
S.sv||t|s
SONG EDITING & ARRANGING (Clif Eberhardt)
In this class we will explore how to arrange songs to put them in a concise
form ready for performance and or recording. As a group, we will look at
every part of the song fom lyrics to melody, including solos, intros and
endings. We will discuss production values, what instruments we hear that
will enhance the overall sound of the song. We will work on the arrangement
of the instrument that you play with your song. Please bring at least two
printed copies of your lyrics and bring a song that you are willing to work
on not one that has already been recorded.
WRITING MELODIES (Clif Eberhardt)
Well start with a brief history of melodic writing and then show how to
incorporate a melodic ocabulary into your songs, including what to look
for to get out of melodic repetition. Bring in songs that are incomplete or
songs that you feel need improvement, not songs that you are married to or
have already recorded. Youll be asked to start with just a verse and a chorus
to work on, no complete songs until later in the week. Well talk about how
to insert diferent chords and use diferent intervals of your existing songs
to improve your melodies, how to make the songs have more memorable
melodies, and how to insert intros, bridges and endings. By the end of the
week we will try to reconstruct your work into a complete beautiful song.
Usually during the week most students start to get it and add their own sug-
gestions. Tats when I get to take cat naps. Te point is, Ive never taught
this class where the students didnt have a great time.
SONGWRITING 101 (David Roth)
Lets roll up our sleeves together and start at the beginning. Tis all-levels
class is geared especially towards those who are new to the craf but also
to those who simply might like to strip down their own process a bit by
looking at songwriting through a diferent lens. Well write every day (Im
lyric-driven I usually start with words and see where they lead me),
brainstorm compelling individual themes worth writing about, examine
the diferent elements that make a song, and engage in lively dialogue/
t|:ss.s
(Unless otherwise indicated, all classes have a limit of 15)
40
WHAT WRITERS BLOCK?
LETS GET UNSTUCK (Amy Speace)
When I feel Ive got writers block or Im in that place where I feel like Ive
either got no new ideas or Im just plain stuck either stuck plagarizing
my last 3 songs, stuck in a groove rut, a lyric or a musical rut, thats when
its time for the Amusement Park of Songwriting. In this class, well be
writing songs fom Games to Get You Unstuck. Some of the fun well have:
the 20 minute song (yes, you can write a fully-formed song in 20 minutes, I
know you can, and youd be surprised at how deep you go when youre not
thinking so hard about it); Te 20 Word Limit Song; the everyone gets the
same hook line song; Songs fom Improvisation; partnering and swapping
stories for songs, etc. Well also talk about techniques for writing exercises to
try when youre already writing a song and are stuck, how to access deeper
writing and story to bring to that lyric, and well look at your own songs
where you may be stuck and try to unstick them
1..:|
VOCAL MASTER CLASS (Kathy Mattea)
In this class well do individual singing in font of the group, and play
with techniques including phrasing, presence in the lyric, technical tips for
breathing, relaxing, and getting out of our own way. Tis class is for anyone
who wants to inhabit their own songs more comfortably. We work to create
a safe environment to explore and take risks. Really fun!
YOUR BEST VOICE (Amy Malkof)
Practical singing techniques for singer/songwriters. Te oice is the origi-
nal instrument, but its also the only instrument that is wholly unique to
each person, and that means that each oice needs to be taken care of and
used in an individualized way. Well talk about breathing and posture
for instrumentalists (who sing and play), developing good mic technique
(making the mic work for you), practical and easy warmups and exercises,
and maintaining good ocal health. Well also work on phrasing, breathing
and singing in ways that best convey the emotion and intent of your song.
HARMONY: YOUR NEW BEST FRIEND (Amy Malkof)
Harmony is ofen the red-headed stepchild of folk, simply tacked on, but as a
redhead myself, its my goal to make harmony as important a component of
your music as any other! Stepping out of the linear, thirds-focused harmonic
lines were used to, well create harmonies that enrich and add dimension
to the song, and countermelodies that weave throughout the melody. Well
learn how to create out-of-the-box harmonies that serve the song and the
melody, and that includes knowing when to lay out. Well focus on learn-
ing to listen and follow your fellow musicians, and may try some a cappella
stuf as a group.
ITS ALL ABOUT THE SONG (Siobhn uinn)
Tis is intended as a next step for prior students of the Vocal Clinic class, but
also available to those with a bit of ocal experience. Well spend the frst
day on basics, getting everyone on the same page, then immediately focusing
on tools to capture your best performance in songs of your choice. Tere will
be individual work/performance and interactive ocal warm-ups each day.
Everyone will learn crucial ocal and performance skills for translating
technical singing skills into excellent ocal performance of songs whether
humorous, sensitive, deep, dark songs, or the wailing blues. Siobhn may even
use video to record and show you exactly whats happening when you sing.
exercises/demonstrations on topics like sculpting inspiration, developing
universal truths fom personal stories, the marriage of lyrics and music,
tackling tough subject matter, and being honest. Well also have fun in a
safe, playful, supportive, permissive, and powerful environment and with
any luck (luck: the intersection of opportunity and persistence), and as time
allows, well get to hear some of these new creations during the week. Well
also use one session to do a group co-write of a custom-made song for a sick
child and his/her family for the Songs of Love Foundation in New York...
very meaningful and powerful.
THE MUSE LOVES TO SEE YOU AT WORK (Don Henry)
Its a beautiful moment when a wave of inspiration hits you. However, if
youre like most of us, it can be a long time between those moments. Fortu-
nately, the Muse is kind to those who are busy at work! Inspiration never
travels without the companion of crafsmanship, and were going to use the
whole toolbox: hard and sof rhymes, cadences and chord changes, cut and
paste, puns and juxtapositions. In the process well conquer three challenges
during the week: assignment writing, writing lyrics without an instrument,
and putting music to a co-writers lyrics. Come explore how creativity can
blossom fom boundaries.
DONT DROP THE BALL,
TEAR DOWN THE WALL (Don Henry)
Tired of writing yourself into a corner? How ofen have you found yourself up
against the wall of writers block? Have no fear, theres always a way through,
and were gonna fnd it together. In the process, youll acquire some tools
that can help you overcome future writers block. Bring a problem song, 16
copies of the lyrics, and together well tame that sucker!
EXPLORING YOUR
SONGWRITING A & B ( Jim Lauderdale)
(Note: Tis class is ofered twice. Each section covers the same material)
We will examine the songwriting process and look for ways to improve it to
consistently produce better songs. We will explore such topics as writing alone,
co-writing, performing, writing for other artists, the business of music, and
helpful hints for the writer. Te class will have a certain fexibility built-in,
so that topics of interest to the class and individual student needs can be
explored in some detail.
SONG CRITIUES ( Jon Vezner)
Songs chosen for critique each day will be drawn fom a hat. Attendees
will be encouraged to attend all sessions for it will be benefcial to be a part
of the process whether your song has been chosen or not. Critiques will be
very in-depth, and well hope to cover two to three songs per 75 minute ses-
sion. We will address song form and structure, prosody, storyline, melody,
arrangement and last but not least, commercial potential.
COWRITING (Jon Vezner)
Te class will explore the benefts and advantages of co-writing, how to
choose a co-writer, discussion of the co-writing process, and the division of
copyright. Students will be paired up with someone to be their co-writer for
the week in the frst class session. Co-writers will then work on their songs
on their own time. Class time will be set aside each day to discuss progress,
problems etc., and the songs (complete or incomplete) will be performed
during the last day of class.
41
VOCAL CLINIC (Siobhn uinn)
Tis class is for road-weary, occasional and even never before singers,
especially guitarists! Everyone has a unique sound fom the physical make-
up of their ocal cords/resonance chambers; learning ocal technique will
help you claim your songs with your oice! Siobhn uses classical/modern
technique as a foundation for ocal fexibility while helping you to maintain
individual ocal personality. Well work individually to explore and enhance
your oice and you will develop a personal basic regimen to maintain skills
you learn in the workshop. Siobhn is an encouraging teacher who will help
you to bring out the best parts of your oice within each song you sing. Be
prepared to work on two songs one you love to sing, and one you really
want to sing. Tey do not have to be your own and a capella is just fne. We
will cover 1) ocal/breath warm-ups leading up to advanced workouts, 2)
physiology of the oice, how to use each part knowledge crucial to getting
the most out of your instrument, including ocal health issues, 3) specifc
issues and exercises for songwriters/guitarists, such as posture with instru-
ment, lack of breath, singing fexibly within your range, positioning and
strengthening exercises to shake out the unsteady parts of your oice. Well
work toward songs in the second half of the week, and how to translate the
emotional intention of a song efectively.
+.|(.|m:s..
STAGE FRIGHT, STAGE STRENGTH AND
EVERYTHING IN BETWEEN A & B (Livingston Taylor)
(Note: Tis class is ofered twice; once in the morning, then repeated in
the afernoon) Walking on a stage and facing an audience is an act of bold,
courageous presumption. Te notion that we have the right (and the need)
to ask that our vision be seen and heard is a daunting request of strangers.
No wonder people are terrifed to go on stage. Lets fgure out why we want
to do this, why its OK (even essential) to ask that our light be seen, and then
DO this for one another. To allow ourselves to fall into the mosh-pit of an
audience (a metaphor only, I wont be teaching that technique), to accept
their verdict about us (good or bad) with the grace that this is our vision
and that we need them a great deal more than they need us is our goal. It is
wonderful to be fear-fee on stage.

INTENTIONAL PERFORMANCE (Ellis)
Connect To Your Audience By Fully Embracing Who You Are. Every concert
is diferent, but every audience wants the same thing: to feel moved and con-
nected to the music you are making! Magic happens naturally when there is
ease, joy, and a shared sense of a real connection between an audience and
a performer. It can happen in the unexpected imperfect moments and there
are practices you can use to strengthen your sense of balance and play in
your performances. You are the only you in the whole wide world. So how
do you allow yourself to be as full and bright as you can be and as the world
needs? In this class, we will examine how to identify and use your music
mission and we will explore how to prepare mentally and musically so you
can fully show up at every show!
SING WHAT YOU MEAN,
MEAN WHAT YOU SING (Amy Speace)
Tis is a comprehensive performance workshop. Looking at the song through
the lens of performance, we illuminate where we disconnect with our own
song and fnd ways into a more authentic, genuine and, most importantly,
connected performance. Looking at singing as a natural extension of speaking,
well put our songs and the singing of them under a microscope, illuminat-
ing the dramatic questions already written into the song and how to have
a strong, connected performance without overacting. In the end, this will
reinforce that we are singing what we mean, meaning what we sing, and
fnding new ways to allow the natural oice to express the lyric and bump
your performance (and your writing) up to a new level. Along the way, we
will deal with all aspects of the performance, fom intros and banter to basic
stagecraf to overcoming stage fight.
Qa|t:| & t|.:t|v|tg
FINDING YOUR PATH (Kathy Mattea)
Tis will be a workshop about looking at where music fts in with your life.
Its based loosely on my own story, which is used mainly as a catalyst for
discussing principles including: decision-making processes, understanding
your personal relationship with music, listening for your Inner Compass,
defning success, seeking balance, and lots more spontaneous stuf that comes
up during the week! Te idea is to learn fom each other and share support
around our mutual ongoing relationship with music and the creative process.
TIME AND TOOLS OF A SONGWRITER (Ellis)
Right-Brained Approaches To Time Management & Te Creative Process.
Setting aside songwriting time has always been challenging for me amidst
a busy touring schedule, being a mom to a toddler, and doing all those mu-
sic business-y things on my to-do list. About two years ago I was of cially
diagnosed with ADD. Tis new understanding of my awesomely powerful
creative right brain and not so powerful executive functioning helped to me
understand why traditional lef-brained time management and organizing
skills havent worked for me. In this workshop I will bring inspiring ideas,
stories, as well as easy daily practices that will help you be more open and
creative. I will also be ofering fiendly tools for time management that are
designed for us wandering creative minded songwriter types who want out
of the box! I have found that structure is feedom and I cant wait to show
you these tools.
GUITAR TOOLS: STRING THEORY
FOR GUITARISTS A & B (Ray Chesna)
(Note: Tis class is ofered twice; once in the morning, then repeated in
the afernoon.) Ray ties it all together and breaks it all down. Be it your
own personal style, your songwriting, blues, bluegrass, new age, Celtic, pop,
jazz; the one thing that they all have in common is THEORY. Tis fun
and involving course will explore melody (scales) and harmony (chords) in
understandable terms and with simple concepts. Te insightful, practical
instruction will enable the student to easily apply the concepts to the guitar.
Tis has been a popular course for several years now, and, of course, Ray has
some new tricks up his sleeve. Tis year we will be spending more time on
chords, chord progressions and deconstructing classic songs. Clear, helpful
handouts will allow the student to bring this information home for continued
study. Repeat ofenders always welcome.
42
3|11|. W..|
Since the invention of the violin, the music of its unschooled alter-ego, the fddle, has excited people to dance, evoked the devil and the spiritual,
echoed the human voice and heart. It is an instrument that has made its way into the core of many diferent traditions and it speaks a language understood
worldwide. Fiddle Week at the Swannanoa Gathering celebrates that universality with classes in traditional and contemporary styles ranging from Irish to
Mexican, from Cajun to blues. Te week also includes classes in guitar, focusing on accompaniment in various styles, and there are related oferings for the
fddles bigger siblings, the cello and bass. Te class schedule has been structured in such a way as to allow students to explore a rich variety of fddle styles each
day. Each instructor teaches diferent levels in their area of expertise, and students are asked to place themselves in the appropriate level. Most classes are taught
at the intermediate or advanced level, but we continue to ofer a few introductory classes for students who want to gain confdence in learning and playing by
ear, and for those who are newer to the instrument. Intermediate classes are also appropriate for advanced players who would like to explore a style that is new to
them, or for experienced players who need to get more fuent playing by ear. Te advanced classes are designed to build on previous experience in the style. Te
Fiddle from Scratch class is designed to help brand-new fddlers get of to a good start, and Joe Cravens Blues and Improvisation classes are open to all levels.
During the last hour of the day, there will be a special class time for students of any skill level to form bands, along with students from Mando & Banjo Week.
With the guidance of instructors, band members arrange and rehearse with the option of performing at the student showcase on Friday evening. Fiddle Week
runs concurrently with Mando & Banjo Week, (see page 49 for details), and students may take classes in either program. Tis years Luthiers Exhibit features
several instrument builders including Northfeld Mandolins and Jonathan Cooper, the highly respected Maine violinmaker, who will be building a violin during
the week and will also have fnished instruments on hand to sample. Lynn Dudenbostel will once again be on hand to ofer repair services.
DAROL ANGER
One of the most infuential fddlers alive, Darol Anger is an
innovative and popular clinician who works with teachers
and students of all ages in school, university, camp and fes-
tival settings across the United States, evangelizing interest
in contemporary improvising and vernacular strings. As an
Associate Professor at Berklee College Of Music, through
his online Fiddle School at ArtistWorks.com, and work
with the American String Teachers Association, the Turtle Island String uartet, and
his current performing group, Te Republic of Strings, he brings almost 30 years of
experience to teaching and residencies in jazz, blues, fddle, chamber and orchestra
settings. He has a passion for intergenerational education and performance as a way
to bridge imaginary borders of age and culture. He envisions a great nation of string
players, embodied by Te Republic of Strings: a foating intergenerational orchestra
that plays music scooped from backyards, garages and kitchens in every continent.
Darol is committed to promoting appreciation of musical diversity and the evolution
of personal musical styles based on strong cultural roots, throughout the world. He has
released a new recording of bluegrassy standards and originals on Adventure Music,
entitled E-anda. www.darolanger.com
MICHAEL DOUCET
Michael Doucet and his band, Beausoleil, have been
the premier ambassadors of the Cajun sound for more
than three decades, ofering music that is usually
melodic and harmonically interesting, in addition to
its riveting rhythmic drive. He grew up on his fathers
farm about fve miles west of Lafayette, Louisiana,
and by 1974, Doucet was playing in local hangouts, when a French promoter asked
him and his band to come to France for two weeks to play at a folk festival. It was
the turning point of my life, he says, when he realized the correlations between old
French songs from the Middle Ages and modern Cajun music. In 1975, he received
a grant from the National Endowment for the Arts to study the music styles of such
living Cajun music legends as Dennis McGee. Most of his time has been spent with
multiple Grammy-winners Beausoleil, and the group has toured throughout the
states, Europe and the Middle East and recorded more than twenty albums. Te band
composed and recorded the sound track for the movie, Belizaire the Cajun, and the
title song for the romantic thriller, Te Big Easy. Doucet has collaborated with Richard
Tompson, and the band has made several appearances on Garrison Keillors radio show
A Prairie Home Companion, and at former President Jimmy Carters inaugural gala.
Keith Richards asked Doucet to play on his solo release, Talk is Cheap, and in 1990,
Beausoleil celebrated Mardi Gras with the Grateful Dead for 17,000 fans at Oakland
Coliseum. In 2005, Doucet was awarded a National Heritage Fellowship from the
National Endowment for the Arts.
JOE CRAVEN
Creativity educator, former museum curator, visual
artist, actor/storyteller, a coast to coast music festival
emcee and recipient of the 2009 Folk Alliance Far-West
Performer of the Year, Joe has made music with many
folks ranging from jazz violinist Stephane Grappelli to
Grateful Dead guitarist Jerry Garcia, and from Te Per-
suasions to Te Horsefies. Always looking for the next
expression and object to make music with, he is a musical
madman with anything that has strings attached; violin,
mandolin, tin can, bedpan, cookie tin, tenor guitar/banjo, mouth bow, canjoe, cuatro,
berimbau, balalaika, boot n lace and double-necked whatever. Joe has created music
and sound efects for commercials, soundtracks, computer games and contributions to
several Grammy-nominated projects. He has presented at numerous schools, universi-
ties and the American String Teachers Association, is Co-Director of Te Wintergrass
Youth Academy in Seattle and is the Executive Director of RiverTunes Roots Music &
Creativity Camp in California. No matter who hes connecting with; a community
workshop in Costa Rica, a university lecture demonstration in Washington, or on stage
in front of thousands of school kids in Scotland, hes at home and loving every minute.
Everything Joe touches turns to music, says mandolinist David Grisman, with whom
Joe played for almost 17 years. www.joecraven.com
43
ANDY STEIN
Andy Stein calls himself a musician with a checkered past
which is as good a way as any to describe an amazingly eclectic
career that includes recording, performing, producing, com-
posing, and arranging music for radio, television, symphonies,
Broadway and flm. He entered the popular music feld as a
founding member of Commander Cody and his Lost Planet
Airmen, where his distinctive style on violin and saxophone
added a swing element to this beloved rock & roll band of the
early 70s. A brief list of his credits includes work with Asleep at the Wheel, Emmylou
Harris, Bob Dylan, Dr. John, Willie Nelson, Aerosmith, Billy Joel, Madonna, Mariah
Carey, Smashing Pumpkins, Dionne Warwick, Ray Charles, B. B. King, Eric Clapton,
Whitney Houston, Tony Bennett, Carole King, James Taylor and Michael Jackson.
Andy won a Grammy award for Best Country Instrumental in 1978, and he has
recorded with Itzhak Perlman and Placido Domingo and composed for Joshua Bell,
Nadja Salerno-Sonnenberg, and the symphonies of Dallas, Baltimore, Boston, New York,
Munich, London, and the National Symphony in Washington. In the jazz feld, he has
been a featured soloist with Wynton Marsalis and the Lincoln Center Jazz Orchestra,
Paquito DRivera, Manhattan Transfer, Dick Hyman, Jon Hendricks, Eddie Daniels,
Turtle Island String uartet, Vince Giordanos Nighthawks, John & Bucky Pizzarelli
and many others. Since the 1980s, Stein has been known for his recreations of the early
work of Joe Venuti, considered the frst jazz violinist of the 1920s, whose recordings
inspired the careers of Stephane Grappelli and many others. He has been featured on
Late Night with David Letterman, Saturday Night Live, Great Performances, and for
thirteen years performed in the house band of NPRs A Prairie Home Companion, where
he continues to be a frequent special guest. www.andysteinmusic.com.
BRUCE MOLSKY
One of the most respected old-time fddlers of his genera-
tion, Bruce Molsky plays southern roots and blues music
on fddle, banjo, guitar, and song with a great depth of
spirit. Known for his collaborations with musicians of other
cultures, his wide-angled approach to traditional folk music
has infuenced a generation of players and listeners. Bruce
is a member of Andy Irvine & Dnal Lunnys acclaimed
Mozaik, and he tours frequently with Aly Bain & Ale Mller.
His band, Fiddlers 4, with Darol Anger & Michael Doucet
was a Grammy Nominee. He is also a faculty member at Berklee College of Music in
Boston, and frequent instructor at colleges and camps in the US and Europe. Bruces
solo concerts and many CDs have become staples for fans of American and world music
everywhere. www.brucemolsky.com
JEREMY KITTEL
Jeremy Kittel has earned a reputation as one of the most excep-
tional fddlers/violinists of his generation. With tremendous
musicality; a rare and deep mastery of styles as diverse as jazz,
Scottish and Irish fddle, bluegrass, classical music, and more; a
unique compositional voice, and an exhilarating stage presence
(Strings magazine), Kittel inspires listeners and fans worldwide
through his solo work and collaborations. He performs with his
own Jeremy Kittel Band, in intimate duo and trio formats, as a
soloist with orchestras and he recently completed a fve-year full time position with the
Grammy-winning Turtle Island String uartet. He has recorded and performed with
musical giants Mark OConnor, My Morning Jacket, Jars of Clay, Abigail Washburn,
Camera Obscura, Bela Fleck, Laura Veirs, Aoife ODonovan, Paquito DRivera, Stefon
Harris, and many more. His most recent solo recording, Chasing Sparks, features his
original compositions with a stellar cast of musicians including special guests Edgar
Meyer, Chris Tile, and Mike Marshall, and has garnered rave reviews among acoustic
music circles worldwide. Committed to nurturing future generations of musicians,
he is a passionate clinician and educator and regularly teaches at programs such as
Belmont Strings Crossings, International Music Academy of Pilsen, Mark OConnor
Strings Conference, the Swannanoa Gathering, and schools and universities worldwide.
www.jeremykittel.com
ANNE LEDERMAN
Fiddler, singer, multi-instrumentalist (piano, tenor guitar,
mandolin), composer, songwriter and storyteller, Anne is
known for her explorations into Canadian and world tradi-
tions, especially the Mtis and First Nations fddling of her
home province, Manitoba. In 1986, she produced the frst
collection of music from this tradition on a 4-album set, Old Native and Mtis Fiddling
in Manitoba, and her storytelling play about the players she met, Spirit of the Narrows,
has been performed in dozens of venues over the past 15 years. Anne performs as a solo
artist and has been a member of bands Muddy York, Te Flying Bulgar Klezmer Band,
Siykha, LOKA, Njacko Backo and Eh?!, among others. She has released four CDs of
her own and over 50 with other artists. Anne is also the founding Artistic Director of
Worlds of Music Toronto and currently teaches in the World Music Centre of the Royal
Conservatory in Toronto. www.annelederman.com
MICHAEL ISMERIO
Michael Ismerio began playing old-time music in 1997 in Port-
land, Oregon, a tiny music scene at the time that would evolve
into one of the most active in the country. He was a member
of two prominent west coast stringbands, Te Dickel Broth-
ers, and Te Government Issue Orchestra, and founder of the
Portland Old-Time Music Gathering. Since 2000, he has made
yearly pilgrimages to the southern Appalachian mountains to
visit and learn from older fddlers such as Clyde Davenport, Joe
Tompson, and Charlie Acuf. In 2010, he moved to Indiana to study with Brad Lef-
wich, a master fddler and teacher who greatly informed his teaching and led Michael to
develop a unique bowing-centric teaching style that is resonating with many new players.
Michael has taught, performed, and called square dances all over the country including
four years at Te Festival of American Fiddle Tunes, Port Townsend, Wa, Te Nimble
Fingers Bluegrass and Old Time Workshop, Sorrento, BC, Te Appalachian Stringband
Festival, Clif op, WV, and the Dare To Be Square dance callers gatherings. He has
performed internationally in Mexico, Canada, Te Netherlands, Ireland, and China.
www.michaelismerio.com
WOODY PAUL
Woody Paul, King of the Cowboy Fiddlers, is best known
for his fiddle playing and tenor vocals with two-time
Grammy Award-winning Riders In Te Sky. Prior to join-
ing the Riders, he gained early experience in country &
western music by hanging out with the likes of Roy Acuf,
Sam McGee and others at the Grand Ole Opry. When
not dazzling Riders fans with his fddle, hes thrilling them
with intricate rope tricks and his extensive knowledge of
theoretical plasma physics, a feld in which he has a Ph.D.
from MIT. Really. And to top it all of, Woody was inducted
into the National Fiddler Hall of fame in the Spring of 2012!
www.woodypaul.com
44
BARBARA LAMB
Barbara Lamb has spent the past 20 years living and working in
Nashville, TN. A fddler, composer, songwriter, singer and perfor-
mance artist, Barbara has performed and/or recorded with Asleep
at the Wheel, Te John Cowan Band, Te Laura Love Band,
Ranch Romance, Te Sweethearts of the Rodeo, Lyle Lovett,
Riders in the Sky, Peter Rowan, Trisha Yearwood, Tony Trischka,
even author Robert Fulghum. Although adept at many styles of
fddling, she has taught bluegrass fddling from traditional to progressive since she was
in her teens. Te tricky part is knowing what to do when its not your time to play a
solo. says Barbara. Over the past two years she has traveled to Russia, China, Malaysia,
Vanuatu, Papua New Guinea, Sweden and Canada for the US State Dept. performing
and giving workshops. www.barbaralamb.com
JUAN RIVERA
Juan Rivera was born in Aguililla, Michoacn, Mexico. Both
he and his brother developed an interest in music early on
and went to Mexico City to pursue their studies at Casa de la
Msica Mexicana, where Juan later became an instructor. Juan
studied the huasteco style of violin with Rolando uecho
Hernndez and soon began recording with the group Son del
Pueblo including two European tours with the dance troupe
Compaia Nacional de Danza Folclrica de Mxico. In 2001,
Juan relocated to Chicago where he played with mariachi
and son jarocho groups for several years. Afer a year-long stint in California, where
Juan had an opportunity to study violin with Salvador Don Chavita Torres (a fddler
with Mariachi Vargas de Tecalitln for nineteen years), Juan returned to Chicago in
the spring of 2005 to join Sones de Mxico Ensemble and to continue his formal musi-
cal training at Wright College. Today, when he is not performing with the Ensemble,
he continues to sit in with area mariachi bands and teaches private music lessons.
www.sonesdemexico.com
LISA GUTKIN
Lisa Gutkin is most known as a Grammy-winning member
of the Klezmatics, the outft that has taken Jewish klezmer
music to previously unimaginable places. But her fascination
with intricate fddle styles has made her a musical wanderer.
She was a founding member of the Celtic group Whirligig,
and a long standing member of the Fast Folk house band. She
plays with Te Demolition String Band in their Ola Belle Reed
project, old-time American music with Steve Arkin and the
uasiModal Stringband, 1920s jazz with David Zimbalists Speakeasy String uartet,
blues with Mark Scanga, and has teamed with artists such as Susan McKeown, Arlo
Guthrie, Natalie Merchant, Elizabeth Swados, Richard Shindell, Irish artists Tommy
Sands, John Whelan and Cathie Ryan, and Jewish greats Teodore Bickel and Pete Rush-
efsky. Lisa began writing fddle tunes in her late teens, then larger instrumental pieces,
and most recently, songs. Her composing projects include a full symphonic rendition,
orchestrated by John Marino, of her piece Waiting Still, performed by Te Klezmatics
with several symphonies, music for Mabou Mines Song for New York, a multi-ethnic folk
opera, and pieces for several episodes of the fnal season of HBOs Sex & Te City. Lisas
on-screen appearances include documentaries aired on European and American Public
Television, Te Conan OBrien Show, Sex & Te City (where the Klezmatics were the
band for Charlottes wedding), and the documentary, Te Klezmatics: On Holy Ground.
She is a MacDowell Fellow and recently released a Klezmer violin instructional DVD
on Homespun Tapes. www.lisagutkin.com
KEVIN KEHRBERG
As a bassist in both jazz and traditional music, Kevin Kehrberg
has toured the United States, Canada, and Japan. In 2012, he
completed tours to Kyrgyzstan and Ecuador through the U.S.
State Department, performing American traditional music in
concerts, collaborations, and workshops. He has performed
with Jean Ritchie, Curly Seckler, Lee Sexton, Art Stamper,
Slide Hampton, and Roger Humphries, and his album credits
include recordings by the Kentucky Jazz Repertory Orchestra, David Long, Rayna Gel-
lert, Chris Sharp, and the Red State Ramblers. He previously served as bass instructor
in the Music and Jazz Studies programs at Transylvania University and Morehead State
University. Kevin is also active as a rhythm guitarist. Currently, he is a member of the
music faculty at Warren Wilson College, where he teaches courses and ensembles in
American music and world music in addition to applied bass and guitar.
TONY MARCUS
Since frst realizing at age 16 that people could make music them-
selves, Tony Marcus has pursued that goal with joy and abandon.
He has been a professional musician for forty years, playing a
number of stringed instruments, but with a particular emphasis on
swing guitar styles. He has played bluegrass with mandolin legend
Frank Wakefeld, jug band music and blues with Geof Muldaur,
string swing with Cats & Jammers, big band jazz with the Royal
Society Jazz Orchestra, weird old Hawaiian and hokum with R.
Crumb and the Cheap Suit Serenaders and honky-tonk country
with Rose Maddox Hes performed from Japan to Ireland, and from Alaska to Florida.
He has written articles for Acoustic Guitar magazine and has taught at the Puget Sound
Guitar Workshop, International Guitar Seminars, California Coast Music Camp and
Augusta Heritage Workshops. www.tuxedorecords.com
JULIA WEATHERFORD
Fiddle Week Coordinator Julia Weatherford has been a full time
artist/musician for more than 25 years. She played cello for 13
seasons with the Asheville Symphony, while moonlighting as a
square dance fddler. Julia has toured internationally as a dance
musician, and performs regionally with the Akira Satake Band,
Far Horizons, and Fly by Night. Among her performance and
teaching venues are the LEAF festival, the Black Mountain
Festival, Berea Country Dance School, Pinewoods, Folkmoot International, and the
Biltmore Estate. Julia teaches both cello and fddle and has worked extensively as a cellist
on recordings by various artists. She was the Artistic Director of the legendary Black
Mountain Festival for many years, and as a textile artist, Julia is a long-time member
of the Southern Highlands Crafs Guild. Julia has also been the Swannanoa Gathering
Logistics Coordinator since 2005. www.juliaweatherford.com
LIZ KNOWLES
Liz Knowles has brought her distinctive sound the
fre and fnesse of Irish fddle music combined with the
tonal richness of the classical violin to concert stages
and festivals across the world. Her auspicious beginnings
as the fiddler for Riverdance, and as soloist on the
soundtrack for the flm, Michael Collins established her
as a virtuosic and versatile performer, and she has since
performed as soloist with the New York Pops and the
Cincinnati Pops. Liz was a member of the renowned
45
INTERMEDIATE BLUEGRASS FIDDLE (Barbara Lamb)
In this class for intermediate players, well learn a few new tunes while
exploring such topics as the role of the fddle in a bluegrass band, backing
up a ocalist, crafing dynamic solos and jamming.
ADVANCED BLUEGRASS FIDDLE (Barbara Lamb)
Tis class is for the fddler who already knows many tunes well, but may need
instruction on how to do the right thing in a band. Well cover harmony
(twin) fddling, getting better at playing really fast, keeping the ocalist fom
glaring at you, showmanship, and backing up the other instruments, (you
do diferent things depending on whether a banjo or a mandolin is soloing).
Time permitting, well learn some classic bluegrass solos that every bluegrass
fddler needs in their repertoire.
INTERMEDIATE ROOTS GROOVE TOUR (Darol Anger)
In this class for intermediate players, we will explore the eclectic and groovy
world of fddling using some of my favorite, really spectacular tunes which
come fom all over the world including blues, bluegrass, Brazilian choro,
and Scandinavian polska. Te wide-ranging topics will include: Rhythm
and Chop We will analyze the technique, get it under control, look at some
diferent grooves to try, and talk about when to and when NOT to do it.
Fiddle Backup Te ins and outs of playing behind a singer or other soloist.
Te Layers of Interest in any music rhythmic content, melodic/harmonic
content, the players attitude, and their phrasing, and tone. Leveraging
Practice Strategies Some ideas about what to practice, and how. We all
have limited time and energy to improve: How can we make the most of
what we have?
ADVANCED ROOTS GROOVE TOUR (Darol Anger)
Tis class will cover the same topics as Darols Intermediate class but at a
pace and level of detail more suitable for advanced players.
INTERMEDIATE COWBOY SWING FIDDLE (Woody Paul)
We will learn several tunes fom the classic cowboy, swing and country rep-
ertoires, including some original material. Well also touch on music theory
that is the basis for improving, including chords, and scales, as well as a few
simple techniques for backup fddling. Bring with you a recording device, a
heavy practice mute, and ideas for about 3 or 4 tunes you are eager to learn.
ADVANCED COWBOY SWING FIDDLE (Woody Paul)
In this class for advanced players, we focus on each player developing his/her
own style. We will learn a few classic tunes so we have a common repertoire,
but the focus of the class will be fnding your own oice and making a tune
your own. We will cover music theory that is the basis for improvising, in-
cluding chords, and scales, and delve into the nuances of fddling behind a
singer or soloist. Bring with you a recording device, a heavy practice mute,
and a tune you know that you would like to take to the next level.
SWING FIDDLE FOR READERS (Andy Stein)
Tis class for those who read music will address the problems of creating a
swing feel on an instrument that is most ofen taught with square clas-
sical rhythms and with emphasis on long singing tone. We will learn the
importance of short notes in jazz improvisation, with syncopation and a
good attack on most notes, imitating our fiends in the brass section. Chances
are, well be able to move faster than the non-readers toward our goal of
learning to swing on the violin, however, for some of us, reading can be a
set-back, as it might have been used in the past as a crutch and a handicap
to spontaneity. Well also be doing some important listening. Afer all, thats
what all those cats we admire used to do: listen to each others records, listen-
ing with structure, listening with how could I do that in mind.
SWING FIDDLE FOR NONREADERS (Andy Stein)
Tis class will address the problems of creating a swing feel (uneven 8th notes,
for instance) with a bow that naturally takes just about as much time to go
one direction as tother. It also needs to be just in the right spot (both along
the bow and along the string) to get the clean sound and nice attack, like
our fiends in the brass section. Well also be doing some important listening.
Well get that Sound and that Feel in our ear, and then well try to use it in
fnding our own improvising style. Well also deal with theory on a need-to
know basis, including listening for structure or any other parameters that
we decide are important for a particular piece.
INTRO TO OLDTIME FIDDLE (Michael Ismerio)
Tis class will focus on identifying, naming, slowing down and playing the
exciting rhythms, pulses, and drones that give old-time fddling its distinctive
sound. Tere will be a heavy emphasis on pointing out and demystifying the
half of old-time fddling that ofen gets neglected: the bowing hand. I will
group Cherish the Ladies, played on Broadway with Te Pirate Queen, and traveled
the world for over four years as Music Director and performer with the wildly popular
Celtic Legends music and dance review. Today she performs with another all-star
female super-group, the highly acclaimed String Sisters, and her new trio, Open
the Door for Tree, with Kieran OHare and Pat Broaders. www.lizknowles.com
NATALYA WEINSTEIN
Natalya Weinstein grew up in western Massachusetts and hails
from a long line of musicians; her father is a gifed jazz pianist and
her grandfather was a professional klezmer musician. Natalya was
classically trained on the violin, but discovered folk and bluegrass
music during her college years, eventually relocating to Asheville,
NC to immerse herself in traditional southern music. Now an
award-winning bluegrass, country and old-time fddler, she has studied and shared the
stage with many master players including Jim Shumate, Riley Baugus, Arvil Freeman,
Alice Gerrard and Nicky Sanders. Natalya has performed with diverse projects over
the years, including Girl Howdy, Polecat Creek and Lo-Fi Breakdown. Currently, she
fddles, sings and composes in the acclaimed acoustic Americana trio, Red June, with
her husband, John Cloyd Miller, and Will Straughan. Red June is set to release their
third album on Organic Records this year. Natalya has performed all across the coun-
try at prestigious events such as the 25th anniversary MerleFest, Grey Fox, Suwannee
SpringFest, Bristol Rhythm & Roots, and Music City Roots in Nashville. She is a highly
sought- afer instructor and a co-founder of Te Sound Post, a traditional music school
in Asheville, and is presently working towards a masters degree in Appalachian Studies
with a concentration in music. www.natalyaweinstein.com
t|:ss.s
(Unless otherwise indicated, all classes have a limit of 15)
46
break down each of the bowing movements or rhythms that I use, teach the
group to replicate them and then play them in the context of a melody. Once
the group has a handle on the rhythm then we shif the focus to think about
how you would teach those rhythms to others, thus creating a community of
teachers. Its part learning, part teaching, and part having fun. Basically, its
the class I wish I had taken when I frst started fddling. Tis class is taught
by ear and uses mostly your bow hand to get your muscle memory used to
playing the rhythms. Its appropriate for all levels of fddlers, beginner or
advanced, young or old, and anyone who is interested in teaching techniques.
Bring a recording device.
INTERMEDIATE OLDTIME FIDDLE A (Michael Ismerio)
Focusing on bowing frst, melody second, well build your familiarity with
old-time music by learning the importance that bowing rhythms play
in southern Appalachian fddle music. Each tune will be taught by frst
breaking down the various rhythms that would be played in that tune and
playing those rhythms in order to build your muscle memory. Once you have
the bowing then we move onto joining those rhythms with the melody. Te
class will also delve into the subtleties and complexities of jamming with
others; How do we attract other musicians rather than scare them away?
How can you more easily ft into a jam session? Tis class is taught by ear.
Bring a recording device.
INTERMEDIATE OLDTIME FIDDLE B (Bruce Molsky)
In this class, well survey regional styles, fom Texas to North Carolina to
Georgia and the Midwest, making stops along the way to dig into some
tunes in detail. Emphasis will be on using the bow to make rhythm, on
proper phrasing, and just making the fddle speak. Well spend some time
learning to grab a tune fom the air (the aural tradition) and put it on the
instrument. If enough folks are interested, well also do a session on singing
with the fddle.
ADVANCED OLDTIME FIDDLE (Bruce Molsky)
In this class for advanced fddlers, well take a deep look and listen to some
classic old fddle recordings. Te goal is to discover what makes the perfor-
mances so powerful, and to learn and play those tunes together. Well identify
and develop the things that make old-time music so strong and unique:
ornamentation, intonation, pulse, and language. We may also have a session
on harmonizing and accompanying songs with the fddle.
INTERMEDIATE CANADIAN FIDDLE (Anne Lederman)
Focussing on French-Canadian and Mtis (mixed Aboriginal/French)
traditions, we will explore basic rhythms and tunes, including foot-clogging
accompaniment. Many tunes in this tradition are vigorous and ofen crooked.
We will learn by ear (with sheet music available for take-home) by singing,
mapping out the tunes, then putting them onto the fddle. Come and
explore the unique old traditions of Canada.
ADVANCED CANADIAN FIDDLE (Anne Lederman)
Advanced Canadian Fiddle: For more advanced players, we will explore the
alternate tunings of the French-Canadian and Mtis traditions in Canada
as well as foot rhythms and lots of great, crooked tunes. Tunes are taught
by ear (with sheet music available for take-home). By the end of the week,
youll be able to tell the devil I sent you.
INTERMEDIATE IRISH FIDDLE (Liz Knowles)
You should have a basic understanding of where all of the notes are in frst
position, basic bowing patterns, and basic sound production. You may or
may not have had specifc instruction in Irish fddling before but hopefully
you have heard it before and maybe even play a couple of Irish tunes already.
I will cover basics for learning by ear, some technique as it applies to Irish
music, practice techniques for ornamentation and bowing in the Irish style
and we will learn as many tunes as the general class level allows. I will hap-
pily provide sheet music for tunes and anything else we cover in the class.
Please come with a recorder of some kind (*most important*), a pencil and
your questions. I will send you a tune or two via email at least two weeks
before the class. Even if you already know the tune or have heard it before,
LISTEN to it as much as you can (in the car, while washing dishes, reading
a book, etc). I know it will be hard for some of you but do NOT try and learn
it! Just listen. All will become clear in the class!
ADVANCED IRISH FIDDLE (Liz Knowles)
For this class, we will use tunes you already know (as well as new tunes that
I will teach in the class) to explore variations, ornamentation, style, and
bowings. You should have more than two years of experience in learning
by ear and should have a list of at least 3 Irish fddle players that you have
listened to regularly. We will not cover much basic technique in this class
but might touch on specifc topics like learning harmony and theory through
Irish music, dealing with the issues that arise fom learning dif cult tunes
and some good practice techniques applicable to all styles of fddling. We will
learn at least one tune in a fat key and I will provide some sheet music for
specifc topics. Please come with a recorder of some kind (*most important*),
a pencil and your questions. I will send you a tune or two via email at least
two weeks before the class. Even if you already know the tune or have heard
it before, LISTEN to it as much as you can (in the car, while washing dishes,
reading a book, etc). I know it will be hard for some of you but do NOT try
and learn it! Just listen. All will become clear in the class!
INTERMEDIATE HUASTECO FIDDLE ( Juan Rivera)
Tis class is for intermediate players who want an introduction to Mexican
fddle music. Huapango Huasteco is a style fom the Huasteca region of
Mexico and is distinguished by its virtuosic fddle playing, canorous falsetto
singing, and poetic improvisation. Well learn together some simple songs
fom the Huasteco style by ear, which is the traditional way of learning this
music, but sheet music for some pieces will also be provided.
ADVANCED HUASTECO FIDDLE ( Juan Rivera)
Tis class is for advanced fddle players who want to explore Mexican
fddle music beyond Mariachi. Huapango Huasteco is a music style fom
the Huasteca region of Mexico and is distinguished by its virtuosic fddle
playing, canorous falsetto singing, and poetic improvisation. Well learn
together some of the most important Huasteco tunes by ear which is the
traditional way of learning this music but sheet music for some pieces will
also be provided. Te class will start with simple songs and move quickly
into more complex pieces.
INTERMEDIATE SCOTTISH FIDDLE (Jeremy Kittel)
Tis course will delve deeply into the spirit and stylistic nuances of Scot-
tish fddling. If rhythmic drive and groove are at the heart of Scottish folk
music, then the soaring and joyous melodies are the soul of this amazing
style of music. Well work on ornamentation and bowing, phrasing and
expression, melodic variations, and of course well jam! Technique and
theory topics tone, practice methods, simple chord theory, playing with
speed and precision will be included as appropriate. All tunes, includ-
ing strathspeys, reels, jigs, marches, and slow airs, will be taught by ear.
Students are encouraged to bring a small audio recorder to record musical
examples and repertoire. (Class limit: 20)
ADVANCED SCOTTISH FIDDLE (Jeremy Kittel)
In this advanced version of the Scottish fddle class, the format will be similar
to the intermediate (see above), but tune and technique learning will occur
at a faster rate, and well also explore fascinating practices such as arranging,
accompaniment techniques, syncopation, harmony, tune composition, and
more. Additionally, well creatively arrange our favorite tunes of the week
to perform as a band. As a reminder, all tunes will be taught by ear, and
students are encouraged to bring a small audio recorder to record musical
examples and repertoire. (Class limit: 20)
Fiddle Week, August 3-9, 2014
7:30-8:30 Breakfast
9:00-10:15
Advanced
Roots Groove
Tour
(Anger)
Intermediate Cajun
& Creole Fiddle
(Doucet)
Advanced
Old-Time Fiddle
(Molsky)
Advanced
Scottish Fiddle
(Kittel)
Swing Fiddle
For Non-Readers
(Stein)
Improvisation
(Craven)
Intermediate
Old-Time Fiddle A
(Ismerio)
10:15-10:45 Coffee/Tea Break
10:45-12:00
Intermediate
Roots Groove
Tour
(Anger)
Advanced
Cajun & Creole
Fiddle
(Doucet)
Intermediate
Old-Time
Fiddle B
(Molsky)
Intermediate
Scottish
Fiddle
(Kittel)
Swing Fiddle
For Readers
(Stein)
Feelin the
Blues
(Craven)
Intro to
Old-Time Fiddle
(Ismerio)
Cello, Part I
(Weatherford)
12:00-1:00 Lunch
1:15-2:30
Intermediate
Cowboy
Swing
(Paul)
Advanced
Huasteco
Fiddle
(Rivera)
Intermediate
Bluegrass
Fiddle
(Lamb)
Advanced
Irish
Fiddle
(Knowles)
Fiddle From
Scratch
(Weinstein)
Intermediate
Canadian
Fiddle
(Lederman)
Advanced
Klezmer
Fiddle
(Gutkin)
Intermediate
Swing
Guitar
(Marcus)
Cello, Part II
(Weatherford)
2:45-4:00
Advanced
Cowboy
Swing
(Paul)
Intermediate
Huasteco
Fiddle
(Rivera)
Advanced
Bluegrass
Fiddle
(Lamb)
Intermediate
Irish Fiddle
(Knowles)
Advanced
Canadian
Fiddle
(Lederman)
Intermediate
Klezmer
Fiddle
(Gutkin)
Backup
Fiddle
(Weinstein)
Advanced
Swing
Guitar
(Marcus)
Intermediate
Bass
(Kehrberg)
4:15-5:15 Band Sessions
5:00-6:30 Supper
7:30- ? Evening Events (open mikes, concerts, dances, jam sessions, etc.)
47
INTERMEDIATE CAJUN
& CREOLE FIDDLE (Michael Doucet)
In this class we will make our way through the history of Cajun fddling and
culture fom 1929 to the present. We will cover the spectrum of Cajun and
creole fddle styles highlighting fddlers such as Dennis McGhee, Canray
Fontenot, Doc Guidry, Will and Dewey Balfa. We will delve into stylistic
variations throughout southwestern Louisiana, such as Texas infuence on
players like Harry Choats. We will learn aspects of the style including double
stops, fddling as an integral part of song, bowing and rhythm. Tis class
will proceed at an appropriate pace for intermediate fddle players, and be
directed by student interests and experience.
ADVANCED CAJUN & CREOLE FIDDLE (Michael Doucet)
Tis class will cover essentially the same material as the intermediate section
above, but at a pace more appropriate for advanced players, and once again,
the class will be directed by student interests and experience.
IMPROVISATION:
IN THE MOMENT, WITHOUT A NET ( Joe Craven)
How do you make better music in the moment, jam confdently with folks
youve never met, and/or say something diferent every time you take a
solo? Tis class for ALL instruments will help deepen ones connection to
spontaneity and fow through organized sound. Joe teaches musical impro-
visation more fom a theater model rather than the requisite model of jazz.
Terefore, this is not an ability-based class. If youre an advanced player
seeking a theory & technique-oriented foray into improvisation fom a jazz
architecture, this class may not be for you. Joe connects improvisation to what
you already do and moves you forward fom there. Well focus on ways to
think diferently about sound, embrace fearlessness, and address the connec-
tion between spoken-word language and the language of music. Showing up
empty-handed, mimicry, mistakes & metaphor, sending/receiving and the
value of losing control are just some what well apply to our music making
in class. Lots of exercises and opportunity to play with others in new ways.
Te class will stretch you and may well change some of your perceptions of
what music is. Its a fun and enlightening romp!
FEELIN THE BLUES ( Joe Craven)
Te blues are truly a foundation and inspiration for most traditional and
contemporary vernacular American music. Tis adventure is open to all
bowed instruments. Well listen to historical references fom early recordings
to the present. Well play basic forms (the 8, 12 and 16 bar and grill). Well
feel the grooves ( fom ballads to stomps, rumbas to shuf es, hand jive to
swing). Well reference the melodic guidepost of the human oice, bending
long and short tones and learn some tunes/songs that refect them. Well
also tackle how to translate the feel of the grease, the groan and the growl
of the blues to your instrument, and importantly, well address taking your
time sayin a bunch (without playin a bunch) of notes. Playin the blues
suggests the technique of clarity over correctness of intuition, release and
expression of your personal emotion. Surrender to the feeling and youll do
it! Well have a great time!
INTERMEDIATE KLEZMER FIDDLE (Lisa Gutkin)
Klezmer has become a secular music, used for dancing, concerts and celebra-
tions of all sorts. But it is impossible to study it without acknowledging its
origins in the religious rituals of Jewish life. In this week of study we will
use archival recordings to trace the history of the ornaments and embel-
lishments in their ocal and instrumental forms, and marvel at how they
have maintained their integrity through the ages. We will spend some time
48
on techniques for learning by ear, some time analyzing basic harmony and
comparing it to other styles, a tiny amount of time watching the dance
steps, and the rest learning tunes. Ten we will learn to replicate and use
the ornaments tastefully within the modern Klezmer repertoire, add the
rhythms that have become popular in the music, and by the end of the week
you will be able to sing a nign (song without words fom the Hasidic tradi-
tion), play Klezmer tunes with basic ornaments, add harmonies, and play
an accompaniment role as well. All tunes will be taught by ear, so bring a
recording device. Sheet music will be handed out at the end.
ADVANCED KLEZMER FIDDLE(Lisa Gutkin)
Te advanced class will cover the same material as the intermediate, but
most likely more tunes and ornaments will be covered.
BACKUP FIDDLE: SERVING THE SONG(Natalya Weinstein)
Many students have asked me over the years, What should you play on the
fddle when someone is singing or taking a solo? A fddle can be conversational
with the singer, as well as the glue that ties the instruments together. In this
class for intermediate and advanced players we will explore several options
for fddle backup, such as flls, chords and chops, using common country and
bluegrass songs. Audio recorders are recommended.
FIDDLE FROM SCRATCH(Natalya Weinstein)
Start strong! Te fddle is one of the most exciting and versatile instruments
in traditional music, and having a solid foundation is essential for any genre
you choose to pursue. In this class we will focus on setting up an efective
bow hold and lef-hand position and developing a good tone. We will learn
basic scales and 3 to 4 simple fddle tunes by ear. Please come with a fddle,
a tuner, a recording device and a desire to learn!
CELLO: PART I ( Julia Weatherford)
For this intermediate/advanced combined class students should have a solid
background in technique, be comfortable playing in positions and know
basic scales. Te class will be taught by ear and will run two class periods.
In the frst half we will focus on cello as an accompanying instrument for
tunes or songs in various folk genres, fom Scottish to old-time to blues. We
will cover appropriate techniques for diferent styles of music and how to
fnd your role in a jam or band. Te class will cover chord formation, com-
mon chord progressions, rhythmic bow techniques, (including chopping)
pizzicato techniques, bass lines, melody and harmony lines. We will learn a
few tunes and songs and use them to explore various accompanying grooves,
harmonies and arrangements.
CELLO: PART II ( Julia Weatherford)
Te second class period will concentrate on fddle tunes that ft on the cello in
the original key, tricks to make them work, fngerings to minimize shifing,
learning tunes by ear and getting the right feel and sound. By the end of the
week you should have a bagful of fun tunes fom various traditions. Afer
all, the cello is simply a fddle that got lef on the vine too long!
BLUEGRASS GUITAR ACCOMPANIMENT(Ed Dodson)
Tis class focuses on how to play powerful bluegrass rhythm guitar. We will
work on alternating-bass styles of playing as well as using bass runs and
other motion within the chords to accent your ocals or the instrumentalists
youre playing with. In addition to these basic building-block techniques,
we will learn the rhythm accompaniment part to one bluegrass song or tune
each day. Te class will present songs/tunes that allow you to see the rhythm
patterns that work efectively in most of the frst position chord families. We
will also discuss how to use a capo to get the song in a key to ft your oice.
All levels of participants are welcome. Familiarity with guitar chords and
knowledge of guitar tablature is helpful, but not required. Participants
participate in the Bluegrass Jam that Ed will lead every afernoon, as a way
to reinforce the techniques learned in class as well as learn additional songs/
tunes. (Find this class in the Mando & Banjo Week Schedule on page 55)
ADVANCED BLUEGRASS GUITAR
ACCOMPANIMENT(Ed Dodson)
Tis course will delve into more advanced forms of bluegrass guitar rhythm
playing. In addition to learning our way around the standard boom-chuck
bass note and strum patterns that form the foundation of bluegrass rhythm
guitar, we will explore more advanced moving bass lines, substitute chords
and inversions, and even some basic three-note swing rhythm patterns to
put some extra sock into your playing. Along the way, well highlight the
concepts of harmonic theory and how to select chords and chord patterns to
strengthen the guitars support of the ocalist and instrumentalist. Famil-
iarity with fatpicking and guitar chords, along with knowledge of guitar
tablature is highly recommended. While tablature will be provided for most
techniques and songs covered in class, participants are strongly encouraged
to bring recording devices to class as a memory aid, as we will be covering
some fairly challenging material. (Find this class in the Mando & Banjo
Week Schedule on page 55)
INTERMEDIATE SWING GUITAR(Tony Marcus)
Tis class will teach the use of moveable four-note chord oicings, with a
fairly small number of shapes that will allow students to accompany jazz/
swing standards. Well also work on right-hand strumming to lock into the
propulsive 4/4 swing feel. You can expect to come away fom the class with
enough information to play almost any song in any key. Terell be lots of
playing in class!
ADVANCED SWING GUITAR(Tony Marcus)
Tis class moves beyond the most common moveable chord shapes, expands
the chord ocabulary and also gives an introduction into chord-melody
playing. If you already have a good repertoire of three- or four-note chord
forms, this can move you to the next level. We may also talk a bit about single
note soloing, though this is primarily a chord class.
INTERMEDIATE BASS (Kevin Kehrberg)
Tis class will cover intermediate principles of bass performance and accom-
paniment applicable to various musical settings including jazz, swing, and
traditional music styles. Topics include bass line construction, following chord
progressions, timing and feel, and ear training. Concepts of bass soloing and
improvisation will also be introduced. Te class will mainly use pizzicato
technique, although other techniques may be discussed if applicable (e.g.,
slap technique, bowing). Students should possess fundamental technical
skills and know basic scales.
Ot|.| cv.sts
DAILY BLUEGRASS JAM(Ed Dodson)
In the last hour before supper, Ed will lead a non-threatening bluegrass jam
for all levels and instruments. Come have fun channeling your inner Bill
Monroe! (No class limit)
BAND SESSIONS (staf)
During the last hour of the day, there will be a special class time for students
of any skill level to form bands, along with students fom Fiddle Week. With
the guidance of instructors, band members arrange and rehearse with the
option of performing at the student showcase on Friday evening. (Sign up for
band sessions at frst band meeting time, no advanced registration required.)
MIKE MARSHALL
Mike Marshall is one of the worlds most accom-
plished and versatile string instrumentalists whose
musical tastes are as wide-ranging as music itself.
A master of mandolin, guitar, mandocello and
violin, he has created some of the most adventur-
ous and interesting instrumental music imaginable
on recordings and in concerts around the globe.
Whether playing bluegrass or jazz with Edgar Meyer,
Bela Fleck or Chris Tile, Brazilian choro music
with Hamilton de Holanda or Baroque classical
music with German mandolinist Caterina Lich-
tenberg, Mike is able to swing gracefully between
all of these musical styles with a unique blend of
virtuosity, depth and musical integrity that is rare
in the cross-cultural musical world of today. He
grew up in central Florida, cutting his teeth on traditional American music, and at age
19, moved to the San Francisco Bay Area to join the ground-breaking David Grisman
uintet, which set a new standard for American stringband music. Hes been pushing
the boundaries of acoustic music ever since on hundreds of recordings as a composer,
featured artist, sideman and producer. He founded Windham Hills Montreux Band with
Darol Anger and Michael Manring, and the classical ensemble, Te Modern Mandolin
uartet, which redefned the mandolin family in a classical music setting with many
newly-created works for this format. His love afair with the choro music of Brazil has
led to recordings and concerts with some of Brazils fnest musicians, including Her-
meto Pascoal and Proveta, and his group, Choro Famoso, has helped spearhead a wave
of popularity in the U.S. for this infectious style. His own label, Adventure Music, has
released over thirty CDs to date of the music of Brazil. You can fnd him on concert
tours with everyone from the Swedish group Vsen, Grammy-winning jazz ensemble,
Te Turtle Island String uartet, or with his progressive bluegrass group, Psychograss,
with Darol Anger, Tony Trischka, Todd Phillips and David Grier. Hes also a dedicated
teacher and founded the famous Mandolin Symposium with his long-time pal David
Grisman. Trough the video-exchange lessons company, ArtistWorks, Mike has created
one of the most successful online teaching environments, Te Mike Marshall School of
Mandolin. Already known as one of the best chefs amongst his musical buddies, he ofen
trades guitar lessons for cooking lessons with Michael Peternell, head chef at Berkeleys
famed Chez Panise Restaurant. www.mikemarshall.net
TONY TRISCHKA
Tony Trischka is perhaps the most infuential banjo
player in the roots music world. In his 40-plus years as
a consummate banjo artist, his stylings have inspired
generations of bluegrass and acoustic musicians. His
technical and conceptual advances opened the way for
such players as Bela Fleck and Alison Brown and his
recordings with them and others from Earl Scruggs,
Ralph Stanley and Pete Seeger are part of every banjo-
lovers musical reference. A native of Syracuse, NY,
Trischkas interest in banjo was sparked in 1963 by the
Kingston Trios hit, Charlie and the MTA. Over the
next decade and a half, he was a member of a number of
infuential groups including the Down City Ramblers,
Country Cooking, Country Granola, and Breakfast Special. Tese last three comprised
his food band period. Afer his second solo album, Banjoland, was released in 1976,
he became the musical leader for the Broadway show, Te Robber Bridegroom. In the
early 1980s, he formed a new group, Skyline, with whom he recorded four albums, and
in 1984, he performed in his frst feature flm, Foxfre. Tree years later, he worked on
the soundtrack for Driving Miss Daisy. He has also appeared on Garrison Keillors A
Prairie Home Companion, Mountain Stage, From Our Front Porch, and other radio shows,
and recently produced Steve Martins Grammy-nominated Rare Bird Alert (Rounder),
which features performances by Paul McCartney and the Dixie Chicks. His 2007 release,
Double Banjo Bluegrass Spectacular, featured appearances by Steve Martin, Earl Scruggs,
Bela Fleck, Alison Brown and more, was nominated for a Grammy and won three IBMA
awards including Banjo Player of the Year for Tony. His recent recording, Territory, was
named Best Americana Album at the Independent Music Awards. Tony is the musical
director and associate producer of the documentary, Give Me the Banjo, which aired
on PBS and has been released on DVD. He has created numerous instructional books,
DVDs, CDs and the groundbreaking Tony Trischka School of Banjo, that is the online
banjo home for students from around the world. Tony was also recently one of 50 recipi-
ents to receive a fellowship from United States Artists, a privately endowed organization
that annually awards grants to participants in all of the arts, including music, dance,
visual artists, and literature. His new album, Great Big World, featuring Steve Martin,
John Goodman, Ramblin Jack Elliott, Noam Pikelny and many others, was released
on Rounder Records this past February. www.tonytrischka.com
A:s1. & J:s(. W..|
Mando & Banjo Week features classes in two of the instruments that are at the core of several of the most popular folk genres, including bluegrass,
old-time, Irish and Scottish, as well as some of the more adventurous blendings of traditional and jazz favors known variously as newgrass or new acoustic
music. For the mandolin students, we also ofer classes in classical mandolin, improvisation, traditional swing/jazz, and new classes on fddle tunes and playing
lyrically, while the banjo students can sample a variety of classes in three-fnger plucked or clawhammer styles including a new class on using the banjo in
meditation. Mando & Banjo Week has been paired with our Fiddle Week, ofering classes in similar styles, to encourage students from both programs to jam
with each other, and with guitar classes in both programs to provide rhythm players, the possibilities for impromptu bands and jam sessions are rich, indeed.
Tere will be concerts throughout the week featuring our world-class staf, and the optional student showcase at weeks end will be an opportunity for students
to show what they have learned. Most classes are taught at the intermediate or advanced level, but we continue to ofer a few introductory classes for students
who want to gain confdence in learning and playing by ear, and for those who are newer to the instrument. For the intermediate classes, it is recommended that
students have mastered beginning skills, be able to tune their instruments, keep time, play the principal scales cleanly, and know how to play a few tunes with
confdence. Tis level is also appropriate for advanced players who would like to explore a style that is new to them, or for experienced players who need to get
more fuent playing by ear. Te advanced classes are designed to build on previous experience in the style. Advanced students should be able to easily learn by
ear, have a basic repertoire in the style, and be comfortable playing in more dif cult keys. During the last hour before supper, there will be a special class time
for students of any skill level to form bands, along with students from Fiddle Week, or participate in the Daily Bluegrass Jam, or visit our new Luthiers Exhibit
with instruments by Northfeld Mandolins and violin maker Jonathan Cooper. Mando & Banjo Week runs concurrently with Fiddle Week, (see page 42 for
details), and students are free to take classes in either program.
49
NED LUBERECKI
A 25-year professional whos noted for his dazzling tech-
nique, originality and broad sense of humor, Ned Luberecki
has played for over a decade with Chris Jones & Te Night
Drivers. His resume includes stints with Paul Adkins &
Te Borderline Band; Gary Ferguson; Radio Flyer and the
Rarely Herd, frequent winners of SPBGMAs Entertaining
Band Of Te Year award. Hes a popular banjo instructor
at some of the most renowned instructional camps in the
US, Canada and Europe and also ofers private lessons at
his studio in Nashville and online via webcam. Ned is also a
broadcaster on SiriusXMs Bluegrass Junction, where he hosts
the regular newgrass show, Derailed, and the popular Sunday Banjo Lesson. Ned has
guested on a variety of recordings and appearances, including tours with Larry Cordle
& Lonesome Standard Time and as the other banjo player on Tony Trischkas Double
Banjo Bluegrass Spectacular. In 2007, he released a popular solo project, Nedski, which
included duets with friends like Te Infamous Stringdusters Chris Pandolf and Punch
Brothers Noam Pikelny, featuring such comic favorites as Cabin Of Death. In 2010,
he teamed up with the Sam Bush Bands Stephen Mougin as Nedski & Mojo, releasing
the acclaimed project, Nothing More. www.nedski.com
EMORY LESTER
Emory Lester is one of todays foremost exponents of the acoustic
mandolin. Te power and attack of his playing is infectious and
his landmark mandolin recordings have placed him among the
elite mandolinists of our time. His latest solo recording, At Dusk
showcases Emorys musical creativity and skill as a mandolinist
and multi-instrumentalist. Emory has undeniably inspired and
infuenced many of todays players with his clean, clear, fast and
ef cient mandolin technique. Emory performs with Wayne Taylor
and Appaloosa, doing shows across the U.S., Canada, Europe and
the U.K. His fourteen-year friendship and musical collaboration with noted clawgrass
banjoist Mark Johnson has yielded four creative recording projects. Mark and Emory
have toured all across the U.S., and have been featured on several performances with
Steve Martin, most notably on Late Night with David Letterman. Emory also will be
performing with his partner Jill Jones in the new Emory Lester & Jill Jones Band, at
upcoming concerts and festivals. A Virginia native now living in Ontario, Canada,
Emory has taught master series workshops at events such as the Steve Kaufman Kamp,
the Mandolin Symposium, Transatlantic Bluegrass School in Wales, U.K., the Goderich
Celtic College, the Alaska Guitar Camp, and many other prestigious schools and work-
shops far and wide. www.emorylester.com
MARK JOHNSON
Mark Johnson has revolutionized the art of clawhammer
banjo by adapting its techniques and rhythms to the de-
mands of playing in a bluegrass ensemble in a banjo style he
calls Clawgrass. He has performed and recorded with many
bluegrass and acoustic luminaries and is also a gifed teacher
and songwriter. His second recording, Acoustic Rising, a duo
CD with Emory Lester, released on the Crossroads/Mt.
Home Record Label was nominated by the International
Bluegrass Music Association (IBMA) in 2007 as Instru-
mental Album of the Year. Marks music was used in a
2012 Dodge Grand Caravan television commercial, and in September of 2012, he was
named as the third annual winner of the prestigious Steve Martin Prize for Excellence
in Banjo and Bluegrass Music, and has performed his clawgrass banjo style on Te Late
Show with David Letterman. Mark has conducted countless clawhammer workshops
at bluegrass and acoustic music festivals across the country, and he continues to host
an annual clawhammer banjo workshop as part of the IBMA Fanfest in Nashville,
Tennessee. www.clawgrass.com
JOHN REISCHMAN
John Reischman is one of the premier mandolinists of his
generation, capable of swinging between re-inventions of tra-
ditional old-time tunes, deconstructions from the bluegrass
repertoire, and compelling original tunes, many of which
have become standards. Hes the kind of master crafsman
whose music is virtuosic without ever being fashy, and who
is renowned for his impeccable taste and tone as an artist. A
Juno-nominated and Grammy-award winning artist, John
Reischman is known today for his work with his band, the
Jaybirds, and his acclaimed solo albums, but he got his start in the late 1970s as an
original member of the Tony Rice Unit with whom he helped defne the new acoustic
music movement in bluegrass thanks to their high profle albums on Rounder Records.
Infuenced by Bill Monroe, but also by such adventurous players as Sam Bush, David
Grisman, and jazz mandolinist Jethro Burns, Reischman performed during the 1980s
with the seminal bluegrass band, Te Good Ol Persons, and, afer a move to Vancouver
in the 90s, his own band, the Jaybirds, one of the top bluegrass ensembles, but he never
stopped his musical explorations. In 1996, he won a Grammy as part of Todd Phillips
all-star tribute album to Bill Monroe, and hes collaborated with a remarkably wide range
of artists, such as bluegrass singer Kathy Kallick, to guitarist Scott Nygaard, banjo wiz
Tony Furtado, Chinese Music ensemble Red Chamber, Brazilian multi-instrumentalist
Celso Machado, singer songwriter Susan Crowe, and more. Long inspired by Latin
American roots music, from Puerto Rican cuatro to Brazilian choro music, Johns been
exploring this music, and forging new compositions from these inspirations in his duo
with Seattle master acoustic guitarist John Miller. In 2013, John Reischman released
his third solo album, Walk Along John. Consisting of traditional and original tunes, the
album is a celebration of Reischmans long career, featuring guest spots from old friends
like old-time fddler Bruce Molsky, banjo genius Tony Trischka, Te Punch Brothers
Chris Tile, bluegrass guitarist Kenny Smith, and members of the Jaybirds, plus new
friends such as guitarist Eli West, of Te Deadly Gentlemen. www.johnreischman.com
DON STIERNBERG
While still in his teens, Don Stiernberg learned to play the
mandolin from the innovative and infuential virtuoso Jethro
Burns. Jethro referred to Don as his graduate student,
hired him to play in his band, and guided him to a career
as a professional musician which has already lasted forty
years. A leading exponent of jazz mandolin style, Don has
eight recording projects of his own and appears on many
others by a variety of artists in all styles.Te most recent
of these is Mandoboppin! , a jazz quintet CD featuring his
original tunes. Also released in 2013 is Jazz Mandolin Appetizers, a long-awaited Mel
Bay method book for improvising mandolinists. In addition to touring coast to coast
and abroad, Don stays busy around his native Chicago with performing and recording
work. He also contributes a regular column to Mandolin Magazine, and has been an
instructor at mandolin events such as Te Mandolin Symposium, Swannanoa Gather-
ing, Mandolin Camp North, River of the West Mandolin Camp, Cape Cod Mandolin
Camp, Steve Kaufman Acoustic Kamp, Ashokan Swing Week, Accademia Internacionale
di Mandolino(Italy), European Mandoline Akademy(Germany) and Momento Rio
Bandolim(Brazil) www.donstiernberg.com
ALAN MUNDE
Alan Munde needs no introduction to long-time
bluegrass music fans. From his early creative work with
Sam Bush in Poor Richards Almanac to his traditional
bluegrass apprenticeship with Jimmy Martin and the
Sunny Mountain Boys to his 21- year stint anchoring
the landmark Country Gazette, Alan has blazed a trail
as one of the most innovative and infuential banjo
players of all time. Along the way, he has also recorded and contributed to numerous
instrumental recordings, including the 2001 IBMA Instrumental Album of the Year,
Knee Deep in Bluegrass. Alan has supplemented his recorded work with several instruc-
tional publications for the banjo, and, from 1986 - 2007, Alan taught in the Creative
50
Arts Department at South Plains College in Levelland, Texas, a program which has
produced many professional musicians nationwide. In recent years, he has performed and
recorded as a duo with his South Plains faculty colleague, and former Gazette-mate, Joe
Carr. Alans extensive body of recorded work, his instructional materials, and his work at
the college has solidifed his status as one of the true gurus of the 5-string banjo. Alan
currently appears in Ranch Road 12, a bluegrass trio with Elliott and Janis Rogers, and
his most recent recording, Dapple Patti, is a live recording with long-time friend and
picking partner Adam Granger of St. Paul, Minnesota. Alans current work-in-progress
is an instrumental duo recording of a few traditional pieces and many original tunes
with mandolinist Billy Bright, formerly with Tony Rice and Pete Rowan, due for release
in mid-2014 www.almundesbanjocollege.com
CATERINA LICHTENBERG
Caterina Lichtenberg is one of the worlds premier classi-
cal mandolinists. A graduate of the Cologne Academy of
Music, in 2007 she was awarded the position of Professor
of Mandolin at that same conservatory. Tis is perhaps
the only position of its kind in the world for advanced
classical mandolin technique and pedagogy. She is the
winner of numerous national and international music
competitions and was a scholarship holder at the Richard
Wagner Foundation. For ffeen years she has performing
and recorded with guitarist Mirko Schrader as Duetto Giocondo, Tey have recorded
fve CDs together which have set a new standard of classical mandolin playing and the
two have toured most of Europe, the U.S., Canada, Japan and South America. Caterina
has been invited to perform as a soloist with many major orchestras in Europe includ-
ing the Dresden Symphony Orchestra, the Aachen Chamber Orchestra, the Leipzig
Gewandhaus Orchestra, the Ensemble Recherche, the Radio Symphony Orchestra of
Berlin and the Bavarian Radio Symphony Orchestra). In 2010, she recorded a CD with
Mike Marshall of many musical styles from classical to bluegrass and Bulgarian to Brazil-
ian. and has been touring the U.S. and Europe with him extensively. Teir second CD,
featuring Johann Sebastian Bachs music arranged for mandolin and mandocello is due
in 2014, and Caterina will also be releasing a solo mandolin CD as well. As a scholar Mrs.
Lichtenberg has produced several educational books and DVDs for mandolin playing
and is a sought-afer artist and lecturer at national and international festivals and master
classes including the International Mandolin Festival in Kobe, Japan, Te Mandolin
Symposium in Santa Cruz, California, Te Swannanoa Gathering in Asheville, NC,
the International Mandolin Convention in Washington and Minneapolis (USA), and
at the Domaine Forget Music and Dance Academy in Canada. She has performed in
concert with the European Plucked String Orchestra, the Guitar Festival in Nrtingen,
the Carmel Bach Festival, the Grand Targhee and Rockygrass Bluegrass festivals and
the Savannah Music Festival, and Caterina is regularly invited as a juror to national and
international music competitions. www.caterinalichtenberg.de
ADAM TANNER
Adam grew up in northern California, and was exposed to old-
time and bluegrass music in his early teens. Profcient on fddle,
mandolin and guitar, he spent countless hours slowing down
records trying to pick out every detail of the traditional music
he loved. Adams approach to playing refects the diversity of
styles heard on the early 78rpm discs and feld recordings from
which he draws his greatest inspiration. Over the last twelve
years, Adam has toured in both the US and Europe as a member of Te Crooked Jades,
Te Hunger Mountain Boys and Te Twilite Broadcasters. As a staf member of Te
Swannanoa Gathering, Adam has taught at Old-Time, Fiddle and Mandolin & Banjo
Weeks. Adam makes his home in Weaverville NC, and teaches private lessons in old-time
fddle, mandolin and guitar, and he is currently on staf at East Tennessee State Univer-
sitys, Bluegrass, Old-Time and Country Music program. www.adamtannermusic.com
ED DODSON
(See bio in Guitar Week section, pg. 30)
MATT FLINNER
Multi-instrumentalist Matt Flinner has made a career out of
playing acoustic music in new ways. Starting out as a banjo
prodigy who was playing bluegrass festivals before he entered
his teens, Flinner won the National Banjo Championship at
Winfeld Kansas in 1990, and won the mandolin prize there
the following year. Since then, he has become recognized as
one of the premiere mandolinists as well as one of the fnest
new acoustic/roots music composers today. He has toured
and recorded with a wide variety of bluegrass, new acoustic,
classical and jazz artists, including Tim OBrien, Frank
Vignola, Steve Martin, Darrell Scott, the Modern Mandolin uartet, Dave Douglas,
Lefover Salmon, Alison Brown, Te Ying uartet, Tony Trischka, Darol Anger, and
the Nashville Chamber Orchestra. He has also recorded two CDs for Compass Records
and toured as part of Phillips, Grier and Flinner with bassist Todd Phillips and guitar-
ist David Grier. His two solo CDs, Te View fom Here and Latitude, are now widely
considered classics in the new acoustic/modern bluegrass style. His current group, the
Matt Flinner Trio (with guitarist Ross Martin and bassist Eric Torin), has forged new
pathways in acoustic string band music with their two ground-breaking CDs, Music du
Jour and Winter Harvest. www.mattfinner.com
BOB CARLIN
Banjoist Bob Carlin has been ofering performances,
lectures and workshops for over forty years. Carlin had
largely lef the solo arena when he was invited in the
mid-1990s to join the band of legendary songwriter John
Hartford with whom he toured throughout the United
States and Canada until Hartfords death in 2001. Since
then, Bob has returned to solo performing, teaching and
appearances with other musicians. With fve Grammy
nominations and three banjo models bearing his name,
Bob Carlin is truly one of the best known clawhammer
banjo masters. He is the author of six method books and three instructional CDs, and
has taught at many camps including the American Banjo Camp, Midwest Banjo Camp,
Suwannee Banjo Camp, Banjo Camp North, Maryland Banjo Academy, Tennessee
Banjo Institute, Festival of American Fiddle Tunes, Blue Ridge Old-Time Music Week,
Augusta Heritage Center, Sore Fingers Summer School in England. bobcarlinmusic.com
DAVID SURETTE
One of New Englands premiere instrumentalists, David
Surette is highly regarded for his work on the guitar (both
fatpicked and fngerstyle), mandolin and bouzouki in a
wide variety of settings. As a soloist, he is nationally-known
as a top player of Celtic fngerstyle guitar, yet his diverse
repertoire also includes original compositions, blues and
ragtime, traditional American roots music, and folk music
from a variety of traditions, all played with fnesse, taste,
and virtuosity. He has performed as a duo with his wife,
singer Susie Burke, for 20 years, recording several albums and
building a reputation as one of New Englands top folk duos.
Surette was a founding member of the Airdance band with fddler Rodney Miller, with
whom he recorded four albums and toured nationally. He has also released fve solo
recordings his most recent is Return to Kemper, a collection of original and traditional
solo guitar pieces from 1990-2011. David is an accomplished and gifed teacher who
has taught at workshops and camps throughout the U.S., and the U.K. He is folk music
coordinator at the Concord (NH) Community Music School, and artistic director of
their March Mandolin Festival. He has authored a book of Celtic fngerstyle guitar
arrangements for Mel Bay Publications, and is a regular contributor to Acoustic Guitar
and Strings magazines. www.burkesurette.com
STEVE BAUGHMAN
(See bio in Guitar Week section, pg. 30)
51
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early bluegrass practitioners like Everett Lilly and Pee Wee Lambert. Well
also discuss basic technique, with emphasis on tone production. Prerequisites:
students should know all the standard bluegrass closed chop chords, and
know some fddle tunes and be able to play them at a reasonable tempo.
Students are encouraged to bring a recording device.
FIDDLE TUNES FOR MANDOLIN (Matt Flinner)
In this course well look at the myriad styles of American fddle tunes and
look at ways of creating your own solos on them. Changing octaves, using
chord tones, adding some new melodic ideas will be the focus, along with
some theory and ear training. Tunes will range fom old-time to slightly
swingy, and creation of variations will range fom fairly basic to fairly
advanced. Well also integrate chords and inversions of chords into how you
play both lead and backup.
THE ART OF LYRICAL MANDOLIN (Emory Lester)
Tis class focuses on the art of recognizing and acquiring oice-like qualities
to the sound of your mandolin playing and the development of skills in order
to do so. Take melody playing a few steps further and shape your technique
and advance your skills and musicianship to this next level. Te class will
focus on the subtleties of presentation of melody, which includes the shap-
ing of notes, fnishing phrases, note choices and thought process, as well as
in-depth right- and lef-hand techniques to achieve efective syncopation,
sound textures, sustain, and any nuance the human oice creates in a ocal
performance. Make your mandolin playing sing with classic melodies,
creative counter-melodies, and the ever-fun anti-melodies. Tis class will
help any player turn good solos into great solos. A collection of classic and
modern bluegrass songs, as well as songs fom other genres, will be studied
and played by the class. Handouts will be provided.
INTERMEDIATE
SWING/JAZZ MANDOLIN (Don Stiernberg)
Chords, Progressions, & Tunes for Fun and Proft Tese sessions will focus
on chord oicings containing color tones and oice movements in the context
of the progressions and tunes favored by swing and jazz players. Learning the
fetboard and how progressions work should help you spice up your rhythm
part in any style of music. Well use tunes fom western swing, gypsy jazz,
and swing standards, such as Exactly Like You and Paper Moon, more
inolved tunes like Afer Youve Gone and Cherokee, various Django
originals, and well learn how to jazzify a blues progression. Well learn
drills for changing chords smoothly and how to reduce tunes with tons of
chords to a few basic tonalities, making them easier to memorize. Tere will
be handouts for reference. In addition to your mandolin and pick, bring a
recording device. Familiarity with the harmonized scale and its resulting
numbering of chord functions(I-IV-V, ii-V-I, etc.) will be helpful.
ADVANCED
SWING/JAZZ MANDOLIN (Don Stiernberg)
Improvisation Workshop When its your time for a break, do you feel like
youre actually improvising or playing the same things all the time? Well
broaden our soloing ocabulary by looking at phrases, patterns, and licks
that ft with various harmonic situations, emphasizing color tones, connecting
chords, substitutions, and alterations helpful for players of all styles. Well
A:s1.||s
THE ART OF THE MELODY (Mike Marshall)
We will explore the art of interpreting beautiful melodies. Whether its a
simple fddle tune, a Bluegrass classic, a jazz standard or a Brazilian choro,
we will work through a variety of musical styles over the course of our week.
From developing a beautiful tremolo on a folk ballad to creating variations
on fddle tunes and improvising on some classic bluegrass barn burners, we
will dive into some jazz standards, and of course a healthy dose of Brazilian
choro classics along our way.
THE ART OF THE GROOVE (Mike Marshall)
From the simplest of folk strums to the bluegrass chop, we will artfully slip
into some basic swing syncopations, pop and funk rhythms and the ever-
contageous Brazilian choro grooves. Also, I will present you with my own
fool-proof way of understanding chord theory on the mandolin and explore
how to fnd almost every chord fom three simple chord shapes.
INTERMEDIATE
BLUEGRASS MANDOLIN A (Emory Lester)
Tis class will focus on many subjects designed to improve the clarity and
precision of your mandolin playing, including technique (both lef- and
right-hand), tone, playing with clarity and confdence, crosspicking ideas,
playing up the neck, rhythms and rhythm playing at speed, chord inver-
sions, and rehearsal strategy and thoughts for practicing. Handouts will be
provided, and tablature will be used in the handouts and in the teaching of
this class. Bring your audio or video recording devices if you wish, and lots
of questions are always useful and welcome, and ofen provide interesting
and informative topic exploration.
INTERMEDIATE
BLUEGRASS MANDOLIN B (John Reischman)
In this class we will learn some fddle tunes and single-note soloing approaches
to Bluegrass songs, and the proper right hand picking patterns. Double stops
in open and closed positions will be covered as well. We will also look at the
bluesy style of Bill Monroe, and a few modern players. Keys of F, Bb, and
B will be explored. Troughout the class we will keep the focus on Tone,
Timing, and good Technique- the Tree Ts. Oh wait, there are also Taste,
Tuning, and Tremolo. dang, I cant keep all of these Ts straight. Okay,
we will cover all the Ts!
ADVANCED BLUEGRASS MANDOLIN (Matt Flinner)
Tis class will focus on some advanced techniques in bluegrass mandolin.
Well look at some standard bluegrass songs and start by playing them us-
ing chord positions and double stops, and then gradually branch out into
some other more modern approaches. Te overall focus will be on giving
students various options when they take solos and helping them branch out
and improvise more efectively.
OLDTIME/EARLY BLUEGRASS
MANDOLIN (John Reischman)
In this class, the emphasis will be on learning to keep the basics in mind, i.e.,
playing a songs melody cleanly with good tone and timing. We will learn
some fddle tunes and songs fom the old-time repertoire. Te fddle tunes
will show the proper right-hand picking patterns. Te songs will incorporate
double stops. We will also look at the bluesy style of Bill Monroe and other
t|:ss.s
(Unless otherwise indicated, all classes have a limit of 15)
53
discuss melodic and harmonic approaches to soloing, how to get a swing feel-
ing, and drills for playing fowing lines over lengthy chord changes. Well play
for each other and discuss which things sound good and why. Tere will be
handouts including sample solos. Well also demystify nasty-looking chords
and progressions as seen in fakebooks where it looks like someone wrote G
and then their phone number afer it (G7#11b13, Gm7b 13, Gm7 13, Gm7 5, etc). No need to
be an advanced improviser, but you should know the fetboard and be a bit
familiar with numbered progressions. Bring your mandolin, your favorite
jam tunes, and questions about where youre having trouble or looking for
other options. Most importantly, bring your willingness to go for it were
all going make mistakes, but in this laboratory no one gets hurt!
INTERMEDIATE/ADVANCED
OLDTIME MANDOLIN(Adam Tanner)
Prerequisites: Students should be able to play a few simple fddle tunes on
the mandolin in the keys of G, A, D and C, and the student should feel
comfortable picking up new musical information by ear. Tis class will start
with a brief review of fundamental techniques that will enable you to be
most comfortable with your instrument and help you to employ ergonomic
strategies to best transfer what you hear in your head onto your mandolin.
Te focus will be on playing the southern Appalachian fddle repertoire,
including tips for approaching melodies in settings in which the fddle is
tuned open (AEAE and other tunings), as well as borrowing sounds and
styles fom various old-time fddle bowing techniques and ornaments.
Other topics will include chording and melody ideas for participation in
an old-time string band ensemble, with side trips into ragtime/blues styles
and the mandolin of the early country music duets. Very simple tablature for
several of the tunes will be provided. A digital video and/or audio recorder
are strongly recommended.
CLASSICAL MANDOLIN BASICS (Caterina Lichtenberg)
Tis class will bridge the gap between the folk mandolin and the early Ba-
roque and Classical mandolin composers. We will begin by working on the
fundamentals of sound production, then move on to some basic mandolin
techniques that include cross-picking, some nice exercises and some wonderful
melodies. Lastly, we will work on coordination and speed, but well keep the
focus on having fun. Te ability to read music will really help in this class.
ADVANCED CLASSICAL MANDOLIN
In this class we will focus on the Romantic and Contemporary periods, and
the great Italian masters who pushed the mandolin art form to such a high
level. We will focus on developing a good tremolo and then move on to Duo
Style, where you play two parts at the same time. Ten we will break down
the art of playing harp arpeggios (cross-picking) techniques fom these
periods. Te ability to read music will really help in this class.
INTERMEDIATE BLUEGRASS BANJO A(Alan Munde)
In this class for intermediate players, well analyze the solos of Earl Scruggs
on Blue Ridge Cabin Home, Your Love is Like a Flower, and Little
Darlin Pal of Mine. Well also learn how to play backup, by combining
chord shapes, rolls, licks, and runs to produce quality bluegrass banjo ac-
companiment, and learn to combine the rolls and melodies in a stylized
fashion that produces bluegrass banjo solos. Tab will be provided, and use
Class limit: 20)
Alan Munde)
Tis class for advanced players will cover fetboard stratagems, or How Do
I Know Where to Put My Fingers? by learning the names of the notes and
where they are, diatonic chord systems, intervals, and much more. Well learn
how to play in keys other than G without a capo, how to create beautiful
and interesting back-up and chord solos for slow songs, the melodic style of
playing fddle tunes (and the diferent way of viewing the fngerboard needed
to perform them), and well take a look at some of Alans original tunes
including Peaches and Cream, Molly Bloom, Uncle Cooney Played the
Banjo, and others. Tab will be provided, and use of a small audio recorder
is encouraged. (Class limit: 20)
INTERMEDIATE BLUEGRASS BANJO B(Ned Luberecki)
Tis class will focus on learning by ear and creating banjo solos to songs,
beginning with the melody, then adding rolls and common banjo licks to
keep the melody prominent while creating a solo of your own. Ten well
moe on to Jam Session Survival where well work on tips and tricks to
faking it and playing solos to songs youve never played before. Te class
54
will also work on Te Tree Ts timing, tone and taste in order to make
what you already know how to play sound better. Tab will be provided and
audio recording is welcome. (Class limit: 20)
ADVANCED BLUEGRASS BANJO B (Ned Luberecki)
In this class we will work on combining Scruggs, single-string and melodic
styles to add fair to your solos without losing the drive or melody. We will
work on improving timing and tone with exercises designed to work on both.
Well explore playing in keys other than G without a capo (with an emphasis
on C, D, E, F and even Bb). Te class will also focus on improvising and
unlocking the fngerboard by looking at chord and scale positions all over the
neck. Tab will be provided and audio recording is welcome. (Class limit: 20)
INTERMEDIATE BANJO TECHNIUES (Tony Trischka)
In this class, Tony will discuss the all-important concept of playing the syl-
lables of a tune. Tis is a Scruggs concept that allows you to play the real
melody of a tune. In the process you learn how to play solos up the neck and in
diferent keys without a capo. Te class will also cover tools for improvisation,
the melodic style and the single-string style. Tab will be provided. Please
bring an audio or video recording device. (Class limit: 20)
ADVANCED BANJO TECHNIUES (Tony Trischka)
Tis class will examine composition, so that you can fully explore your own
creative potential. Te class will also cover advanced backup techniques as
played by Earl Scruggs and JD Crowe. Advanced improvisatory techniques
such as those used by Trischka, Fleck, etc., will also be covered. Tab will be
provided and an audio or video recording device is recommended. (Class
limit: 20)
CLAWHAMMER BASICS (Bob Carlin)
In this class for those new to the style, learn everything you need to know
to get started with the down-stroking clawhammer style of banjo playing.
Well start with choosing an instrument appropriate for you and for the
clawhammer style, how to set up and adjust it and hold the instrument.
Well then go on to learn the basic right-hand strums and lef-hand fngerings
and chords. Each day, well tackle simple tunes and techniques to keep you
moing forward in your playing. Whether you are a novice, a bluegrasser
that wants to add some clawhammer to their skill set or an old-time player
that wants to touch up their technique, this class is for you.
BANJO STYLES & STYLISTS (Bob Carlin)
The banjo has a vibrant tradition, and this class for intermediate to
advanced players explores and celebrates the richness and diversity of
old-time clawhammer banjo. Each day we will learn tunes of a diferent
region fom a particular stylist. Day One will highlight Lee Hammonds
of West Virginia. Day Two will cover the playing of Wade Ward fom the
mountains of Virginia. Afican-American clawhammer fom the Tompson
Family of the Triangle area of Piedmont North Carolina will be covered on
Day Tree, and the clawhammer of Fulton and Sidna Myers on Day Four.
Finally, well investigate my own playing and learn arrangements fom my
recording and performing.
INTERMEDIATE CLAWGRASS BANJO (Mark Johnson)
In this class for intermediate clawhammer banjo players, we will explore the
melodies of Angeline Te Baker in Double D tuning and Old Joe Clark
using the Clawgrass roll patterns. We will begin with a quick review of
basic clawhammer right-hand techniques (building blocks) of basic failing:
note, brush, thumb, drop-thumb, and then combine them into the Clawgrass
right-hand roll patterns. Well also learn how to play more dynamically using
clawhammer techniques in a group/ensemble using back-up clawhammer
methods in support of other instruments. Tese back-up methods include
using chord shapes, percussion (clawhammer/mando chop) and harmony/
counter melodies. Tab and handouts will be provided. Bring a capo, and
the use of a small audio recorder and/or smart phone camera is encouraged.
(Class limit: 20)
ADVANCED CLAWGRASS BANJO (Mark Johnson)
In this class, well learn banjo techniques to play more dynamically. We
will explore the tunes Clinch Mountain Backstep in an A-modal tuning
and Hard Times in the key of D. For Clinch Mountain Backstep, well
learn how to play the melody in lead and back-up form in a hard-driving
Clawgrass banjo style and also learn to play backup using counter-melody. For
Hard Times, well learn to play the melody more dynamically, at a medium
tempo, using chord shapes in the lead and counter-melodies in the backup.
Tab and handouts will be provided. Bring a capo, and the use of a small
audio recorder and/or smart phone camera is encouraged. (Class limit: 20)
CONTEMPLATIVE CLAWHAMMER (Steve Baughman)
Clawhammer banjo is ofen loud and fast, so it is easy to forget that there
is a contemplative side of the instrument. Tat is what we will explore in
this class. We will spend some time immersing ourselves in a tuning called
trance tuning and use it to play a new piece or two. We will also take
more standard tunes (and tunings) like Brushy Fork at Johns Creek and
slow them down to make them more meditative, but without losing the
clawhammer groove. Tis will be both a repertoire class and a class that
exposes people to the sensitive solo side of fve-string banjo.
CLAWHAMMER BELLS & WHISTLES (Steve Baughman)
In this intermediate to advanced class we will cover tricks like the Galax
lick, the California roll and triplets and learn how to apply them tastefully
to our repertoire. We will explore playing in odd times, taking something
like say, Angeline the Baker, and putting it in 7/8 time. We will also learn
a few unusual tunes in some exotic tunings.
Qa|t:|
INTERMEDIATE SWING GUITAR (Tony Marcus)
Tis class will teach the use of moveable four-note chord oicings, with a
fairly small number of shapes that will allow students to accompany jazz/
swing standards. Well also work on right-hand strumming to lock into the
propulsive 4/4 swing feel. You can expect to come away fom the class with
enough information to play almost any song in any key. Terell be lots of
playing in class! (Find this class in the Fiddle Week Schedule on page 47)
ADVANCED SWING GUITAR (Tony Marcus)
Tis class moves beyond the most common moveable chord shapes, expands
the chord ocabulary and also gives an introduction into chord-melody play-
ing. If you already have a good repertoire of three- or four-note chord forms,
this can move you to the next level. We may also talk a bit about single note
soloing, though this is primarily a chord class. (Find this class in the Fiddle
Week Schedule on page 47)
Mando & Banjo Week, August 3-9, 2014
7:30-8:30 Breakfast
9:00-10:15
The Art of
the Melody
(Marshall)
Intermediate
Banjo
Technique
(Trischka)
Intermediate
Bluegrass
Mandolin A
(Lester)
Advanced
Bluegrass
Banjo A
(Munde)
Fiddle Tunes
for Mandolin
(Flinner)
Intermediate
Clawgrass Banjo
(Johnson)
Contemplative
Clawhammer
(Baughman)
Bluegrass Guitar
Accompaniment
(Dodson)
10:15-10:45 Coffee/Tea Break
10:45-12:00
The Art of the
Groove
(Marshall)
Advanced
Banjo
Technique
(Trischka)
The Art of
Lyrical Mandolin
(Lester)
Intermediate
Bluegrass
Mandolin B
(Reischman)
Intermediate
Bluegrass Banjo B
(Luberecki)
Clawhammer
Bells & Whistles
(Baughman)
Advanced
Bluegrass Guitar
Accompaniment
(Dodson)
12:00-1:00 Lunch
1:15-2:30
Advanced
Swing/Jazz
Mandolin
(Stiernberg)
Intermediate
Irish Mandolin/
Tenor Banjo
(Surette)
Mandolin for
the Complete
Beginner
(Tanner)
Intermediate
Bluegrass
Banjo A
(Munde)
Old-Time/
Early Bluegrass
Mandolin
(Reischman)
Classical
Mandolin Basics
(Lichtenberg)
Advanced
Bluegrass
Banjo B
(Luberecki)
Clawhammer
Basics
(Carlin)
2:45-4:00
Intermediate
Swing/Jazz
Mandolin
(Stiernberg)
Advanced
Irish Mandolin/
Tenor Banjo
(Surette)
Advanced
Bluegrass
Mandolin
(Flinner)
Intermediate/
Advanced
Old-Time Mandolin
(Tanner)
Advanced
Classical Mandolin
Techniques
(Lichtenberg)
Advanced
Clawgrass Banjo
(Johnson)
Banjo Styles &
Stylists
(Carlin)
4:15-5:15 Luthiers Exhibit, Band Sessions & Daily Bluegrass Jam (Dodson)
5:00-6:30 Supper
7:30- ? Evening Events (open mikes, concerts, dances, jam sessions, etc.)
BLUEGRASS GUITAR ACCOMPANIMENT (Ed Dodson)
Tis class focuses on how to play powerful bluegrass rhythm guitar. We will
work on alternating-bass styles of playing as well as using bass runs and other
motion within the chords to accent your ocals or the instrumentalists youre
playing with. In addition to these basic building-block techniques, we will
learn the rhythm accompaniment part to one bluegrass song or tune each day.
Te class will present songs/tunes that allow you to see the rhythm patterns
that work efectively in most of the frst position chord families. We will also
discuss how to use a capo to get the song in a key to ft your oice. All levels
of participants are welcome. Familiarity with guitar chords and knowledge
of guitar tablature is helpful, but not required. Participants are encouraged
to bring recording devices to class and also encouraged to participate in the
Bluegrass Jam that Ed will lead every afernoon, as a way to reinforce the
techniques learned in class as well as learn additional songs/tunes.
ADVANCED BLUEGRASS GUITAR
ACCOMPANIMENT (Ed Dodson)
Tis course will delve into more advanced forms of bluegrass guitar rhythm
playing. In addition to learning our way around the standard boom-chuck
bass note and strum patterns that form the foundation of bluegrass rhythm
guitar, we will explore more advanced moving bass lines, substitute chords
and inversions, and even some basic three-note swing rhythm patterns to
put some extra sock into your playing. Along the way, well highlight the
concepts of harmonic theory and how to select chords and chord patterns to
strengthen the guitars support of the ocalist and instrumentalist. Famil-
iarity with fatpicking and guitar chords, along with knowledge of guitar
tablature is highly recommended. While tablature will be provided for most
techniques and songs covered in class, participants are strongly encouraged
to bring recording devices to class as a memory aid, as we will be covering
some fairly challenging material.
Ot|.| cv.sts
DAILY BLUEGRASS JAM (Ed Dodson)
In the last hour before supper, Ed will lead a non-threatening bluegrass jam
for all levels and instruments. Come have fun channeling your inner Bill
Monroe! (No class limit)
LUTHIERS EXHIBIT
Troughout the week we will feature several fne luthiers displaying instru-
ments, including Northfeld Mandolins northfeldinstruments.com, and
violin maker Jonathan Cooper jcooperviolinmaker.com.
BAND SESSIONS (staf)
During the last hour before supper, there will be a special class time for students
of any skill level to form bands, along with students fom Fiddle Week. With
the guidance of instructors, band members arrange and rehearse with the
option of performing at the student showcase on Friday evening. (Sign up for
band sessions at frst band meeting time, no advanced registration required.)
55
56
.v t. 1.|st.|
1. Stop and think about what classes you wish to take. Do you really want to take a class in every period? Although our open format allows students to take as many
classes as the schedule will allow, many students fnd that one or two classes give them plenty to work on, and use the free periods for practice. Remember, also, that
class size is limited to 15 unless indicated otherwise in the course descriptions, so out of consideration for others, take all you want, but want all you take.
2. You may register online by visiting our website and clicking on the Register link. Tis is the fastest way to register, and since many of our classes fll up in a relatively
short period of time, we recommend this method as giving you the best chance to get into the classes you want. Online registration goes live at 5pm, EST on Friday,
March 7.
3. If you choose to use the print registration form, fnd the schedule for your week printed elsewhere in this catalog.
4. Referring to the schedule to avoid time conficts, make your class selections and write them in the spaces provided under Class Choices on the Registration form.
5. In the event that one or more of the classes you select are full, you may select Alternate classes, again using the schedule to avoid conficts, and write them in the Alternate
spaces on the form. If you list Alternates for classes that are full, we will process your registration assigning you to your Alternate choices.
6. If one or more of your class selections is full, and you wish to have no Alternates, check the box indicated and we will notify you of the situation and await your
instructions before we process your registration.
7. Cut out or photocopy the completed form, attach your payment, and mail or fax it to us at the address indicated. When your registration is processed, you will be
notifed of the amount received, any balance due, and the classes for which you are registered. Registrants will receive an information packet later in the spring. Classes
will be assigned on a frst-come, frst-served basis. If you wish to make changes in your class choices, please notify us immediately. Students may switch afer the frst
class meeting into another open class if they fnd they have made an inappropriate choice. Te add/drop period ends at 6pm on Monday of each program week. Afer
this settling-in period, we expect students to remain in those classes, and we discourage dropping in and out of classes during the week.
3..s .t.
Tuition is $500 per week. Tis includes a deposit of $100 which is required for each weeks registration. Full payment is required by June 6 to guarantee your class
choices. Afer that date, your class reservations will be unconfrmed until we receive your balance. If we are holding a space for you in a class that is full, and your
balance is unpaid afer June 6, we may release that space to another student. Tere is no deadline for class registrations. Registrations afer June 6 for any remaining
spaces must be accompanied by full payment. Some classes may require materials- or other fees as specifed in the course descriptions and can be paid directly to the
instructor upon arrival. Tuition for the Childrens Program for ages 6-12 during Traditional Song, Celtic, and Old-Time Weeks, is $175 per child per week (includes
evening childcare), with a $25 deposit required. Te Childrens Program also has an additional materials fee of $30 payable to the coordinator on arrival. Children
must have turned 6 by July 1st to participate. No exceptions, please.
Housing is $395 per week, and includes double occupancy accommodations for six nights, supper on Sunday, three bufet-style meals a day at the Gladfelter Student
Center, and breakfast on Saturday at the end of the week. A limited number of single rooms are available at an additional fee of $155 for a total of $550. Te
college is catered by Sodexo (828-298-1041), and low-sodium and vegetarian meals are available. Tose wishing to stay over on the Saturday night at weeks end may
do so, space permittting, for a fee of $75. Tis does not include the cost of meals. No Saturday stayover on August 9. We cannot house those wishing to arrive a day
early. Adults staying of-campus may purchase a meal ticket for $124, and meal tickets for children under 12 may be purchased for $82. Meals may also be purchased
individually. See the Childrens Programs section on page 2 of this catalog for our policy regarding childrens housing. Some may fnd our hilly campus challenging,
and students should give reasonable consideration to their ability to get around without assistance. Although we help where we can, we dont have the resources
to provide mobility assistance to all that require it. Tose with special needs should include a detailed, written description of those needs with their registration.
As long as space permits, a non-student may accompany an enrolled student and be housed with them in student dorms for payment of the $395 housing fee and an
activities fee of $135, which allows admission to all events except classes. Tere is a $50 deposit required to register as a non-student. If possible, full payment with
your registration is helpful and appreciated.
t:s..||:t|.ss :s1 1.(as1s
Te deposits are processing fees credited toward tuition and not student funds held in escrow, and are thus non-refundable and non-transferrable. Should an enrolled
student need to cancel, we can refund all monies collected other than the deposits, if notifed four weeks before the students program begins. No refunds other than
the cost of meals ($124 for adults, $82 for children) can be made for cancellations within four weeks of the event.
PLEASE PRINT!
Name________________________________________________ Sex_____
Address_______________________________________________________
City__________________ State/Prov._______ Zip/Post Code____________
Country (if outside US) __________________________________________
Primary Phone____________________ Secondary Phone____________________
Email_________________________________________________________
Emergency contact (name & phone number):
______________________________________________________________
I prefer future communication by email only.
I will be bringing a vehicle (no motor homes please).
I am eligible for a special parking permit due to mobility impairment
NOTE: All attendees receive a list, with the home city, state and email (not phone), of
program participants so that they might pursue friendships made at the Gathering. If
you would prefer NOT to be included on this list, please check this box:
Please initial here to indicate that you have read and understand our policy on
Cancellations and Refunds printed on pages 1 and 56: ___________
+|.|:ms
I would like to register for:
Traditional Song Week, July 6-12
Celtic Week, July 13-19
Old-Time Mu sic & Dance Week, July 20-26
Guitar Week, July 27-August 2
Contemporary Folk Week, July 27-August 2
Fiddle Week, August 3-9
Mando & Banjo Week, August 3-9
I am a non-student accompanying the following registered student:
(students name)__________________________________________
CLASS CHOICES:
Period 1.______________________________________________________
Period 2.______________________________________________________
Period 3.______________________________________________________
Period 4 .(if applicable) ___________________________________________
No Alternates. Please notify me of full classes before processing my
registration.
ALTERNATES:
Period 1.______________________________________________________
Period 2.______________________________________________________
Period 3.______________________________________________________
Period 4 .(if applicable) ___________________________________________
Sv:ss:s.: Q:t|.||s 1.|st|:t|.s 3.|m
Te Swannanoa Gathering
Warren Wilson College
PO Box 9000
Asheville, NC 28815-9000
Phone/Fax: 828-298-3434
Email: gathering@warren-wilson.edu
Website: www.swangathering.com
.as|s
I will require housing/meals. I will require a meal ticket only.
I prefer to room with (name): _________________________________________.
I prefer a single room, if available (additional fee of $155)
I have special medical needs (please attach description)
My age:
List age if under 21 _______ 21-30 31-45 46-65 above 65
I am a smoker non-smoker early bird night owl
I am registering (#)______ children in the Childrens Program (for ages 6-12)
(NOTE: programs for children in Trad. Song, Celtic & Old-Time weeks only)
Childrens names & ages _____________________________________________
I am bringing (#)________ additional children under the age of 12 not enrolled in the
Childrens Program.
Childrens names & ages _____________________________________________
Im arriving by air; sign me up for the airport shuttle at noon 3pm 5pm
My fight #s, arrival & departure times are: ________________________________
________________________________________________________________
3..s
Amount previously paid: (deposit, etc.) $________
Tuition - $500 per week (required deposit $100): $________
Housing/meals - $395 (double occupancy, no deposit required): $________
Housing/meals - $550 (single room, no deposit required): $________
Non-student Activity Fee - $135 per week (required deposit $50): $________
Childrens Program total - $175 per week (required deposit $25): $________
Meal ticket only - $124 adult; $82 per child per week: $________
Other amount for __________________________: $________
Tax-free donations to Te Swannanoa Gathering:
Doug & Darcy Orr Endowment Youth Scholarship Endowment $________
Greatest Needs Fund TOTAL enclosed $________
I am paying by Check (preferred) #: _________, or Money Order.
or
VISA MasterCard American Express
Name as it appears on card: ___________________________________________
Card #: _________ - _________ - _________ - _________ Exp. date:____/____
Security code (last 3 digits on reverse of card, or AmEx: last 4 digits on front): ____________
Tuition is $500 per week. Housing with meals is $395 per week. Non-students
accompanying students pay the Housing fee and a $135 Activities Fee. Te deposits
are required for registration and are non-refundable and non-transferable.
Full payment required by June 6 to guarantee class choices. No deadline for
registrations. Registrations afer June 6 for any remaining spaces must be accompanied
by full payment. Childrens Program is $175 per child per week. Please make checks
payable to: Te Swannanoa Gathering, and mail with this form to:

For information on admission to Warren Wilson College,
contact: admit@warren-wilson.edu or 1-800-934-3536