2010 Fiddle Week Classes

INTERMEDIATE IRISH FIDDLE (Liz Knowles)
You should have a basic understanding of where all of the notes are in 1st position, basic bowing patterns, and basic sound production. You may or may not have had specific instruction in Irish fiddling 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, 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 happily provide sheet music at the end of the week for tunes and anything else we cover in the class. Please come with an audio recorder of some kind (*most important*), a pencil and your questions.

ADVANCED IRISH FIDDLE (Liz Knowles)
For this class, we will use tunes you may already know (as well as new tunes that I will teach in the class) to explore variations, ornamentation, style, and bowings. You should have experience in learning by ear and should have at least two favorite Irish fiddle players that you have listened to regularly. We will not cover much basic technique in this class but might touch on specific ornamentation and bowing techniques and some good practice techniques applicable to all styles of fiddling. We will learn at least one tune in a flat key. Please come with an audio recorder of some kind (*most important*), a pencil and your questions.

BEGINNER/INTERMEDIATE FIDDLE TECHNIQUE (Jamie Laval)
If you start out right, you’ll have a much easier and enjoyable experience playing the fiddle. Jamie teaches a sensible, ergonomic manner of holding the violin that will keep you free of pain, with movements that are precise, relaxed, and consistent every time. He teaches how to play well in tune (a life-long ambition), how to develop your ear for good intonation, how to gain speed for rapid tempos without straining, and how to practice efficiently. With these principles, you will be able to approach any musical style. This class will be a constructive, interactive learning environment and no one will be singled out. Audio recorders welcome.

ADVANCED FIDDLE TECHNIQUE (Jamie Laval)
Attaining good violin or fiddle technique is really the study of movement. The most fluid, efficient movements of the bow, fingers, and arms will always produce the sweetest, most facile sounds. Playing with good pitch is essential, and we’ll delve deeply into how to develop good intonation. We’ll introduce the principle called “blocking”, which enables a fiddler to play with good pitch, improved dexterity for the 4th finger, livelier dance tempos, and quick fingering for ornaments. We’ll also study different bowing patterns that produce a good groove or “feel.” We’ll work on incorporating natural body movement and rhythm and learn how to make friends with a metronome! We’ll always use efficient practice methods that produce the quickest results. The class will be taught primarily by ear, but sheet music of tunes and bowing styles will be given out for home study. We will encourage a fun, supportive learning environment in which no one will be singled out. Audio recorders welcome.

INTERMEDIATE SWING FIDDLE (Matt Glaser)
This class will examine the playing of great swing fiddlers including Stephane Grappelli, Stuff Smith, Svend Asmussen, Joe Venuti, and Claude Williams. We will analyze transcriptions of these masters playing on standard tunes, and then learn the same standard tunes and apply principles extracted from the solos. We will also work on articulation and rhythm issues, with some time spent on solving the problem of creating a horn-like attack on the violin. All jazz studies must at some point include basic harmony and the transposition of commonly occurring lines to twelve keys. We will also work on harmony through the arpeggiation of 7th, 9th, 11th, and 13th chords, as well as common jazz devices including chromatic and diatonic approach tones, and upper structure triads. For the more intuitive (less intellectual) students, as much of this work as possible will be done in a call-and-response setting in which Matt plays a phrase and you play it back by ear. Students should spend as much time as possible listening to the swing greats and should be able to play several standards and have a basic understanding of chords and scales.

ADVANCED SWING FIDDLE (Matt Glaser)
This class will examine the playing of great swing fiddlers including Stephane Grappelli, Stuff Smith, Svend Asmussen, Joe Venuti, and Claude Williams. We will analyze transcriptions of these masters playing on standard tunes, and then learn the same standard tunes and apply principles extracted from the solos. We will also work on articulation and rhythm issues, with some time spent on solving the problem of creating a horn-like attack on the violin. All jazz studies must at some point include basic harmony and the transposition of commonly occurring lines to twelve keys. We will also work on harmony through the arpeggiation of 7th, 9th, 11th, and 13th chords, as well as common jazz devices including chromatic and diatonic approach tones, and upper structure triads. For the more intuitive (less intellectual) students, as much of this work as possible will be done in a call-and-response setting in which Matt plays a phrase and you play it back by ear. Students should have invested extensive hours in listening to swing greats and know at least 5 standard tunes, (melody, chord changes and structure).

BEGINNER/INTERMEDIATE BLUES FIDDLE (Suzy Thompson)
Pre-war blues fiddling isn’t as technique-driven as some styles, so it’s fairly easy to get up to speed enough to play with others even if you are a beginner. We’ll work on some simple blues tunes, and you’ll learn easy ways to play blues fiddle in a jam or band context. We’ll listen to source recordings so you can hear this material in context. I will teach everything by ear; audio recorders are strongly recommended. Note: this class is meant for folks who are in the early stages of fiddling; if you are already at the intermediate level with some other style, please check out the Intermediate/Advanced Blues class.

INTERMEDIATE/ADVANCED BLUES FIDDLE (Suzy Thompson)
We’ll concentrate on pre-war blues fiddle repertoire, from blues artists like Eddie Anthony, the Memphis Jug Band, the Mississippi Sheiks and others. We may touch on hillbilly and/or Cajun-creole blues too. I’ll bring source material so you can hear the material in context. We’ll explore blues scales and intonation, ornamentation, backing up vocals, accompanying other instruments, and playing solos. Be prepared to play some notes that would make a classical violin player cringe! I will teach everything by ear, please bring an audio recorder if you wish.

INTERMEDIATE CANADIAN FIDDLE STYLES (April Verch)
In this class you will receive an overview (through discussion and demonstration) of the various regional styles of fiddling in Canada including Ottawa Valley, Western Canadian, Métis, Maritime, Cape Breton and French Canadian. We will learn to play tunes from various regions and we will focus on learning the basic bowing patterns and ornamentation techniques that correspond to fiddle styles in Canada. We will also learn how to take a tune and build it from the basic melody into your own version of the tune by implementing the various techniques we learn. We’ll spend lots of time learning how to make the various types of tunes “groove” by working on bowing and rhythms and being mindful of the dance traditions they come from. Tunes will be taught “by ear” and handouts provided occasionally as a “guide”. Please feel free to bring your recording device and lots of questions, as the class will be tailored to suit your needs and requests. We will be mindful of keeping with the roots of this tradition – getting together to make music and have a great time in a relaxed, social environment!

ADVANCED CANADIAN FIDDLE STYLES (April Verch)
There are several different regional styles of fiddling in Canada from coast to coast, including Ottawa Valley, Western Canadian, Metis, Maritime, Cape Breton and French Canadian. This class will provide an overview of these different styles and explore what makes each of them unique. We will learn to play at least one tune distinctive to each style and apply the bowing patterns, phrasings, and ornamentation techniques that correspond to each region of fiddling in Canada. All of these regional styles are based on some type of dance tradition, and we will learn a variety of different types of tunes that are common in most Canadian fiddle traditions, including jigs, reels, two-steps, polkas, waltzes, airs, etc. We will discuss the development of your own fiddle style and how the various Canadian fiddle style techniques might be used more broadly. Tunes will be taught “by ear” and handouts provided occasionally as a “guide”. Please feel free to bring your recording device and lots of questions, as the class will be tailored to suit your needs and requests. We will be mindful of keeping with the roots of this tradition – getting together to make music and have a great time in a relaxed, social environment!

INTERMEDIATE BLUEGRASS FIDDLE (Casey Driessen)
Students should be able to learn by ear and have a few fiddle tunes under their belt. This class will focus on increasing students’ bluegrass fiddle vocabulary by adding common/must-know tunes to their repertoire. Those new tunes will then become stepping stones for our explorations on planet Double-Stop and planet Backup & Accompaniment (percussive fiddle chopping included). Audio recorders, notebooks, manuscript paper and rosin encouraged. Caution, fun will be had.

ADVANCED BLUEGRASS FIDDLE (Casey Driessen)
Students should be comfortable learning by ear, have some knowledge of music theory, and have a repertoire of fiddle tunes they like to jam on. Using common tunes (and a few oddball numbers I’ll throw in), this class will explore the Sea of Solo Development, the Desert of Double Stops, and the Backcountry of Backup & Accompaniment (percussive fiddle chopping included). Audio recorders, notebooks, manuscript paper and rosin encouraged. Caution, fun will be had.

IMPROVISATION: IN THE MOMENT & WITHOUT A NET (Joe Craven)
How do you make better music in the moment and/or say something different every time you take a solo? This class is to help deepen one’s connection to spontaneity and flow through organized sound that deepens the self-expression we all seek. We’ll focus on ways to think differently about sound and fearlessness, and Joe will address the connection between spoken-word language and the sound language of music. The significance of rhythmic phrasing will be explored, along with heightened listening, observation, imitation, disassociation and metaphor in innovative music making.

WALK YOUR TALK, GATHER STUFF, CATCH A FISH, MAKE A SANDWICH (Joe Craven)
This fun class will focus on process and creative problem-solving in your music with both old and new ideas. We’ll be reminded of the love affair between tradition and innovation by music “recycling,” through the innovative uses of objects and through new ideas, by reframing words, rhythms and pitches (new music from old music). This session is open to all instruments and all folks wishing to deepen their connection to their own creative voice. Come with tunes, songs and objects that you wish to musically alter. Think Outside Your Box… Then Play on It!!

BEGINNER/INTERMEDIATE OLD-TIME FIDDLE (Adam Tanner)
This class will focus on old-time music with emphasis on breaking down and learning the essential elements of good dance fiddling. Over the course of the week students will learn tunings, bowing, phrasing and ornamentation for four different southern Appalachian dance tunes. This class is recommended to those with the ability to tune their fiddles, learn by ear and play some tunes in the keys of A, D and G. Students should also be ready to explore alternate tunings. A companion CD with tunes played at half speed and bow narration will be provided. An audio recorder and extra fiddle strings are recommended.

INTERMEDIATE OLD-TIME FIDDLE (Emily Schaad)
Are you looking to get that rhythmic old-time fiddle sound and increase your repertoire at the same time? If you can play some tunes in time and in tune, have basic facility with the bow, and can tune your instrument, you’re ready for this class. We’ll apply bowing patterns to tunes in the fundamental old-time keys of A, D, G, and C. We’ll learn tunes by ear, breaking things way down and discussing bowings in depth. Some tunes will be in standard tuning but we’ll also explore a couple of the most common fiddle tunings. There will be discussion of fiddle/violin technique as appropriate. Please bring an audio recorder, an electronic tuner, and some extra strings!

ADVANCED OLD-TIME FIDDLE (Emily Schaad)
If you’ve been playing old-time fiddle for a while or have some fiddle/violin technique and find old-time fiddling compelling, come explore the rhythmic old-time style through tunes in a variety of keys and tunings. Learn to move beyond playing in time to making time with your bow! We’ll learn by ear, breaking down the bowings and other nuances, and discuss regional differences in Southern Appalachian styles and repertoire. Please bring an audio recorder, an electronic tuner, and some extra strings!

EASTERN EUROPEAN FIDDLING (Eden MacAdam-Somer)
In this class for advanced players we will explore tunes from different cultures and regions in eastern Europe which are challenging both technically and rhythmically. We will work on bowing styles, ornamentation, improvisation, and getting around your instruments in a comfortable manner. Please bring an audio recorder – all tunes will be taught by ear.

CONTRA DANCE FIDDLE (Eden MacAdam-Somer)
Playing for contras can be fun, exciting, and challenging all at once. In this class for intermediate players, we’ll work with both familiar and new tunes, practice creating harmonies and cool rhythmic ideas on the fly, improvising, backing up others, and playing as a band. We’ll also work on technical issues that can come up when playing for dances, getting around tricky tunes with ease, and playing tunes in a way that is thrilling for both you and the dancers. Bring an audio recorder, and maybe a pencil and paper to jot down new ideas. Open to all instrumentalists, not just fiddlers.

SUG, SVIKT & SAMSPEL (Andrea Hoag)
In this class for intermediate players, we’ll delve right into Swedish style and Swedish ways of thinking about the fiddle. Focusing on repertoire from one small area, we’ll taste the breadth of the tradition, from walking tunes and ceremonial marches to the vast trove of dance music: polskas, hambos, waltzes, schottisches, and more. Starting with beautiful, accessible melodies, we’ll add harmony parts (a distinctive part of the tradition) and take a look at how to create them. Unique rhythms, tonalities, and ornamentation characterize Swedish style, so the focus will be on learning by ear, though transcriptions will be provided afterwards. No experience with Scandinavian fiddling is assumed, and everything will be broken down thoroughly.

MORE WAYS TO COUNT TO 3 (Andrea Hoag)
The polska is the delectable, defining form of Swedish fiddling: lyrical, rugged, luscious, transporting. With its many variations on 3/4 rhythm, polska bends the mind and steals the heart. In this class for advanced players, we’ll explore regional and local styles, working with harmonies as well as melodies. You don’t need to have any experience with Scandinavian fiddling, but should be comfortable with trying new bowing patterns and scales, and thinking outside the box.

FIDDLE FOR THE TOTAL BEGINNER (Adam Tanner)
This class is designed for the person who owns a well-set-up fiddle and bow and has the desire to learn to play. The first two days in class will focus on overcoming the physical challenges of holding the fiddle and bow with the goal of achieving a relaxed and confident posture in order to produce pleasing sounds. The rest of the week will be devoted to learning two simple American tunes by ear. A recording device is recommended.

INTERMEDIATE CELLO (Ben Sollee)
For the cellist proficient in bowing and comfortable shifting, the class will explore techniques and concepts that will allow you to jam with other musicians and accompany yourself. Come ready to loosen up that bow arm and learn to create unique rhythms that can drive fiddle tunes or provide movement for a vocalist. Most of the instruction will be aural and, yes, there will some singing.

ADVANCED CELLO (Ben Sollee)
For the cellist who has gained significant skills in bowing and pizzicato, this class turns over a new leaf in the approach to the cello. The class will open up the pallette of pizzicato with three-finger techniques and chords, use the bow to create “chop” rhythms, and explore melodic improvisation with an ear towards songwriting and accompaniment. Instruction will be aural as well as notated.

BEGINNER/INTERMEDIATE MANDOLIN (Sam Bartlett)
This class will zero in on the quality that really distinguishes the mandolinist: rhythm. Through the lens of traditional old-time, Irish, and Cape Breton tunes we will unlock the techniques and practices that make your mandolin melodic and metronomic. We will explore the essentials of the picking hand, tremolo and triplet ornamentation and get inside the two- and three-finger chords that make the mando fun. This will be a fun and funny class. Be prepared to learn by ear, sing along with your instrument (no matter how badly!) and kiss bad habits goodbye. Bring an audio recorder, and an assortment of picks.

ADVANCED MANDOLIN (Sam Bartlett)
This will be a fun and challenging class in which students will learn to play the unthinkable. We will do comprehensive exploration of the right- and left-hand techniques that make you dominate on the mandolin. We will do daily chord change, rhythm, and picking exercises, and learn tunes from the Irish, Klezmer, and other Continental traditions. The class will tighten itself into a precision mando ensemble and may even attempt to take over Fiddle Week itself. There will be Stuntology, to say the least.

COUNTRY & WESTERN SWING GUITAR (Roger Bellow)
This class will study the guitar accompaniment and soloing techniques on recordings by Bob Wills, Spade Cooley, Merle Travis, Chet Atkins, Hank Garland, and Jimmy Bryant. We will analyze the distinctive styles of each artist and how they use repeating patterns, syncopation, and harmony to construct a swinging solo and to accompany a singer. Recordings and chord charts of the songs will be provided.

SWING GUITAR (Roger Bellow)
This class for intermediates will analyze the structure of ten standard songs in different keys and tempos. Moveable, closed chords and chord inversions will be explored, and sheet music, chord charts, and recordings of the ten songs will be provided. The class will also explore rhythmic accompaniment techniques for playing in a swinging ensemble.

INTERMEDIATE GUITAR: ACCOMPANIMENT (Larry Unger)
There are lots of ways to back up fiddle tunes and songs and this class will go through many different styles. We’ll cover finding the right chord by ear, bass runs, swing backup, drone chords (DADGAD style in standard tuning), and how to find alternatives to barre chords. Attention will be paid to what is appropriate for various styles of music.

ADVANCED GUITAR: PIEDMONT BLUES (Larry Unger)
Larry spent quite a bit of time hanging out with the great Piedmont guitarists Etta Baker and John Jackson, and will teach tunes learned from them as well as some from blues masters such as Big Bill Broonzy and Blind Boy Fuller. We’ll cover their arrangements, plus improvisation, proper right hand thumb technique and perhaps some slide guitar.

BASS (Cody Walters)
This class is intended for beginning to intermediate players. It will cover topics such as right- and left-hand technique (how to hold the instrument), how to pull a good tone from your instrument, some basic music theory, the Nashville number system, basic setup for your bass, and some basic slapping technique. The styles of music covered will be determined by the interests and abilities of the class, but may include bluegrass, swing, old-time, and blues (traditionally acoustic styles).

BAND SESSIONS (staff)
During the final hour before supper, students will have the opportunityto play in informal bands under the guidance of various staff members. These bands will be given priority in performing at the Friday night student showcase. (Sign up for band sessions at Orientation, no advanced registration required.)

CHILDREN"S PROGRAM
We offer a full-day program, taught by Denisa Rullmoss 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.

It’s going to be a real CREATURE FEATURE this summer at the Swannanoa Gathering Children’s Program. Lions, tigers and bears....OH MY! Animals, animals everywhere. Creatures both big and small, slimy and furry, sweet and scary, IMAGINED and REAL, will be celebrated. We will have fun with everything from soft kittens and slithering snakes to fuzzy Muppet monsters and one-eyed, one-horned, flying purple people eaters! A grooooowling great time will be had each day, as we make crazy crafts, (like “wild thing” horns, paper maché dragons, and strange animal puppets ), sing critter songs, and play animal games. All creatures great and small will have the chance to make noise as they become part of a Kid’s Rhythm Band, taught by Sue Ford (singer, songwriter, percussionist). And for extra excitement we will have visitors throughout the week, tamed and untamed! A few of them will be musicians and artists from the Gathering staff who will perform just for our kids. Our “beastly” traditions will continue as usual: The Gathering Scavenger Quest, shaving cream hair-dos, peanut butter/cereal faces, jelly bean joke jar and water balloon fights. We will close each busy day with free swim time in the college pool. So find your inner “Wild Thing” and join us for week of barks, howls, roars and maybe a few squeaks.... Non-swimmers must be accompanied by a parent to swim. There will be a $25 art/craft materials fee for this class, payable to the coordinator on arrival.