2010 Guitar Week Classes

ARRANGING TRADITIONAL TUNES FOR SOLO GUITAR (Harvey Reid)
Learn some of Harvey’s tips and techniques for making old tunes into solo guitar pieces. We will explore how you can use picks, fingers, tunings, capos, slides etc. to make a melody come alive on a guitar.

INTRO TO THE PARTIAL CAPO (Harvey Reid)
Pickers, singers and songwriters can all start exploring a whole new world of chords and tuning-like sounds that are hiding in every guitar. In this class we will start slowly and learn how to play simplified fingerings, simulate the sound of some common open tunings, and get comfortable with this technique. An acoustic guitar and at least a universal partial capo such as the Third Hand is needed, and there will be no need to read TAB or music. Some handouts with TAB will be provided, and audio and video recorders are encouraged.

ADVANCED PARTIAL CAPO TECHNIQUES (Harvey Reid)
For players who have experience using some of the partial capo configurations, prepare to have your minds expanded and learn some startling new ways to find new chords, voicing and sounds in your guitar. We will use multiple capos, combine a partial capo with different tunings, and start prying the lid off the treasure chest of new sounds that can be pulled out of your guitar. Songwriters and pickers are welcome, and we will look at all the different kinds of partial capos out there. Reading music will help but is not necessary. Some handouts with TAB will be provided, and audio and video recorders are encouraged.

INTERMEDIATE FINGERSTYLE GUITAR (Doug Smith)
Take control of your picking hand! Doug will introduce more advanced fingerstyle concepts, including bass and melodic runs, Travis picking, counterpoint, and getting a fluid sound. Chord progressions, harmony and picking in alternate tunings will also be discussed. This is a hands-on playing class, with tab provided.

ARRANGING HYMNS FOR SOLO FINGERSTYLE GUITAR (Doug Smith)
The melodies and harmonies of traditional hymns sound beautiful on solo fingerstyle guitar. Whether you just love the melody of a particular hymn, or want an arrangement for church, or want to use a hymn to enhance an original song (think Paul Simon’s “American Tune”), we’ll journey from hymnal to fretboard, utilizing different fingerstyle patterns and chord theory. Tab will be provided, and we’ll use class suggestions to “start from scratch.”

COMPOSING FOR FINGERSTYLE GUITAR (Doug Smith)
If you’ve got some melodic ideas bouncing around your head, we’ll work on putting them into a cohesive piece of music. Doug will demonstrate concepts behind his popular tunes such as “Renewal” and “Order of Magnitude.” Chord progressions and substitutions, “vertical” and “linear” thinking and organizing ideas into compositions will also be discussed. For intermediate players.

ROOTS & BLUES FINGERSTYLE GUITAR (Steve James)
In the context of compact, melodic song arrangements, Steve will demonstrate basic picking techniques, useful chord inversions and some handy “lickology” in standard tuning. Guitarists wanting to add more “drive,” syncopated rhythm and bluesy phrasing to their musical vocabulary will get hands-on experience with a new piece each day. Bring a guitar and accessories, a notebook and pencil. Some tab and handouts supplied. Audio recorders OK.

OPEN TUNINGS & BOTTLENECK SLIDE GUITAR (Steve James)
Working out of “Spanish” (open G) and “Vastopol” (open D) tunings and employing bluesy song motifs, these sessions for intermediate players will explore various chord shapes and picking techniques, from simple alternating bass fingerstyle to the use of muting and harmonics. Steve will also offer “touch & tone” workouts to help in getting the best sound out of that slide. Bring a (steel string) guitar and your slide of choice. (Steve will have some of his.) A notebook, pencil and sound recorder all suggested. Some tab and handouts supplied.

BLUES MANDOLIN BASICS (Steve James)
We’ll use familiar song melodies such as “Corrina” and “Sitting On Top Of The World” as vehicles for adaptable, transposable blues licks, and effective chord vamps. Picking techniques, including tremolo, will also be demonstrated, along with a few string secrets Steve picked up from past masters like Howard Armstrong. Bring a mandolin and pick; also a notebook and recording device if you like. Some tab supplied.

INT./ADV. CELTIC FLATPICKING (Tony McManus)
Players already possessing some flatpicking facility will learn some techniques to make jigs and reels work in this style of guitar. How does “Celtic” flatpicking differ from bluegrass? What ornaments can we steal from, say, fiddlers to make the guitar more idiomatic? Come to this class and find out!

BEGINNING CELTIC GUITAR (Tony McManus)
I have found some really beautiful tunes over the years that make ideal entry-level guitar pieces. Come and explore airs, strathspeys, marches etc. We’ll cover some basic ideas in DADGAD and Dropped D tunings – basic enough that they can be used by those who first picked up a guitar two weeks ago, but useful enough to make some beautiful arrangements.

GUITAR IN CELTIC MUSIC (Tony McManus)
We’ll look at the meaning of the term “Celtic Music” and how the guitar fits into it. We’ll look at music from Scotland, Ireland, Spain, Brittany and explore some altered tunings (DADGAD, CGCGCD, DAAEAE) as well as standard tuning to make these tunes come alive for fingerstyle guitar.

CLAWHAMMER GUITAR & BANJO (Steve Baughman)
Clawhammer is a simple, though counterintuitive picking pattern (for banjo AND guitar) that allows you to play groove and melody at the same time. In this class we will spend much time drilling the basic pattern and the drop-thumb variation into our blood. Once we have internalized these, we will learn to apply them to some standard tunes, like “Cripple Creek” and “Cluck Old Hen.” This is a hands-on class and we will spend most of our class time playing. The material will be geared towards beginning clawhammer players.

RIGHT-HAND CURES FOR THE FRUSTRATED
INTERMEDIATE PLAYER (Steve Baughman)
The left hand is what you learn, the right hand is what you are, and few things undermine our enthusiasm for the guitar more than a right-hand rut. In this class I will take you through basic right-hand strumming and picking patterns, including the Carter Family strum, the Travis pick, the Calypso pick, and basic 3/4 and 4/4 right-hand fingerpicking patterns. We will spend most of our time just grooving on the assigned patterns. My goal is to have you emerge on Friday with a solid right hand that can play comfortably each of these common rhythms.

FINGERPICKING BRETON TUNES (Steve Baughman)
The music of the French province of Brittany is something that we don’t hear enough in the United States, but it’s haunting and beautiful, and very Celtic. It also tends to be easier to play on the guitar than jigs and reels. As such, it makes a great training ground for folks who would like to learn to fingerpick ancient fiddle and pipe tunes but are intimidated by the technical requirements imposed by most Celtic dance tunes. In this class we shoot for learning a tune a day. We will also focus on getting a melody to dance from our fingers while we play bass lines and rhythm underneath. You may well find yourself to be the only kid on your block playing Breton tunes on the guitar.

3D ACOUSTIC GUITAR: PERCUSSIVE & RHYTHMIC TECHNIQUES (Vicki Genfan)
Based on Vicki’s new instructional DVD, 3D Acoustic Guitar, this class for intermediate to advanced players will present the techniques that have become Vicki’s signature sounds – harmonic tapping, thumb slapping and body percussion (the guitar’s body - not yours!). Breaking things down into small, bite-sized pieces, you’ll get an opportunity to see, hear and understand many new approaches to making sound on the guitar and you’ll get plenty of exercises to help you practice them and make them your own! (Preview the DVD ahead of time to get a jump start at: www.vickigenfan.com)

3D ACOUSTIC GUITAR: EXPLORING ALTERNATE TUNINGS (Vicki Genfan)
Based on ‘Part 2’ of Vicki’s new instructional DVD, this class for intermediates and above will really dive into the creative realm of alternate tunings. The focus is on opening your ears and giving yourself permission to discover new sounds, new harmonic combinations, new melodic and rhythmic possibilities. (Don’t worry - you’ll be guided every step of the way!) Using Vicki’s ‘Open Tuning Reference Chart,’ you’ll see how easy it is to find common chord progressions and play familiar songs in ‘unfamiliar’ tunings. Bring a tuner, a capo and some extra strings!

RHYTHM FOR LIFE – AND GUITARISTS! (Vicki Genfan)
This class is for all levels, no experience necessary, and guitars are not required! Drawing from eastern and western traditions, we’ll sharpen our rhythmic awareness and expand our rhythmic vocabularies by combining inner (meditative) work with outer (walking, chanting, moving) rhythm exercises. Through group rhythm circles, we’ll explore pulsation, syncopation, beat, off-beats, sub-division and more - all with a sense of spontaneity, flow and FUN!!

STANDARD TUNING AS AN OPEN TUNING (Al Petteway)
Many guitarists believe that one has to be in DADGAD or some other alternate tuning in order to achieve those beautiful suspended chords that tear at your heartstrings. In this class we will examine a new approach to standard tuning that will allow students to use open strings and suspensions that will make them sound like they are using an alternate tuning without the hassle of having to retune. This is a perfect class for those composers or singer/songwriters who are looking to spice up their standard tuning chords and make them sound more compelling. Capos are a plus.

BLUE UKE (Del Rey)
Students should be intermediate players who are familiar with basic chords and are able to keep good time. We’ll learn to fingerpick melodies and accompaniment on blues repertoire suitable for the ukulele. We’ll cover an introduction to right-hand fingerpicking, what makes a melody “blue” and songs from 1920s guitar greats like Charlie Jordan and Barbecue Bob, as well as Lemon Nash of Louisiana and Rabbit Muse of Virginia, who were African American ukulele players and showmen with distinctive styles on traditional and standard jazz material. We’ll listen to some of their recordings, talk about their lives and learn a song (by ear- no tab) from each in class. Bring your uke, notebook and pencil. Audio recorders OK if unobtrusive.

MEMPHIS MINNIE SONGBOOK (Del Rey)
Intermediate to advanced players will learn the guitar vocabulary needed to figure out most any Memphis Minnie song you might want to learn. This class is organized by keys- G, C, E, D. We’ll listen to a selection of Memphis Minnie originals in each key in class and learn how to figure them out. We’ll also learn ways to make duet guitar parts work on solo guitar (Minnie often worked with a partner). Students should be able to maintain an alternating bass with the thumb and be comfortable with first position chords. Audio recorders OK if unobtrusive.

SINGING WHILE PLAYING (Del Rey)
This class is for intermediate to advanced players who want to synchronize their singing and guitar playing. We’ll cover breathing, time and phrasing, how your guitar part can help you remember the lyrics and better ways to practice. Be prepared to sing and play in class.

RIGHT HAND BLUES FINGERPICKING TECHNIQUES (Scott Ainslie)
While the fretting hand often monopolizes our attention, without a strong and sure grounding in right/picking hand techniques all those fancy runs and chord changes fall short. In this class, we’ll be examining and working through basic fingerpicking techniques from John Hurt to Robert Johnson that enliven and anchor acoustic blues grooves. Think of this as calisthenics for your right hand and wear your sweats. Your thumb, and your listeners will thank you.

BEGINNER/INTERMEDIATE SLIDE GUITAR (Scott Ainslie)
This is an introduction to basic slide techniques in standard and open tunings. The idea is not to turn you into a solo blues slide player, but to allow you to open the door to being the slide guitar player in settings where you are not necessarily ‘leading the parade.’ We will focus on perfecting basic slide techniques, hand postures, muting with both right and left hands, while developing an understanding of how to begin using the slide as an accompanist in different keys in standard and in open tunings.

INTERMEDIATE CLAWHAMMER BANJO (Scott Ainslie)
A follow-up on last year’s clawhammer class (which focused heavily on the basic picking techniques), this class will focus more on tunes. The old-time world is full of better clawhammer banjo players than me, and if I have anything special to offer, that is directly due to the time I was blessed to have spent with the Hammons Family of Marlinton, WV. In this class, we’ll have a look at some common tunes in the three most common tunings for the banjo. And we’ll spend time on some of Lee and Sherman Hammons banjo tunes and tunings, which lay somewhat off the beaten path and have a singular beauty because of it.

FINGERSTYLE JAZZ (Pat Donohue)
Advanced players will learn arranging and accompaniment techniques for fingerstyle jazz guitar. We’ll study tunes, chord progressions, sequences, turnarounds and even some melodic soloing ideas that will spice up your fingerstyle jazz repertoire. Delve into the styles of Joe Pass, Lenny Breau, Wes Montgomery and other greats and use them to enrich your own playing.

TROUBLESHOOTING GUITAR ARRANGEMENTS (Pat Donohue)
This class is for all levels, but not for the faint of heart. If you’re in a rut or there are holes in your arrangements where the ends don’t quite meet, here’s a chance to fix them. Students will play from their own repertoire for the class and we’ll find ways to fix the wobbly parts and enhance the good stuff on an individual basis. Check your ego at the door (except me) and this will be a good chance to develop the beautiful essence that you personally bring to the music.

STEALIN' FROM CHET (Pat Donohue)
In this class for intermediate to advanced players, we’ll study the irresistible style of the most influential guitar player of our time – Chet Atkins. Learn about his tunes, alternating and rotating bass, the right-hand roll, and a multitude of licks from the master’s bag of tricks.

ARRANGING POPULAR TUNES FOR FINGERSTYLE GUITAR (Adam Rafferty)
Intermediates will learn how to take popular tunes such as Stevie Wonder’s “Superstition” and Michael Jackson’s “Billie Jean” and perform them on solo guitar. Topics covered will be - how to reduce a full band concept onto a single guitar and how to play bass lines and melodies on the guitar at the same time.

ADVANCED HARMONY FOR FINGERSTYLE GUITARISTS (Adam Rafferty)
Do you find yourself wanting to understand the “inner workings” of music more clearly? In this step by step approach, you’ll learn how to understand harmony from the bottom up and come up with music in a creative way that you may never have thought of! See how great songwriters and composers think. Topics will include building chords, voice leading, finding multiple ways to harmonize a melody and more. This course is intended for guitarists who can already play some fingerstyle guitar pieces and have a good working knowledge of the notes on the fingerboard. Knowledge of basic open and barre chord shapes is required, but reading standard notation is not.

GETTING “GROOVE” INTO YOUR SOLO GUITAR ARRANGEMENTS (Adam Rafferty)
Want to add more “pop,” “snap,” “percussion” and “groove” into your solo arrangements? In this class for intermediates, you’ll learn how get the groove inside you onto the guitar and how to play grooves that will get your family and friends tapping their toes. Topics covered will include: finding rhythm on your own, playing hand drums, making guitar fingering choices that fall in line with your rhythmic concepts and more.

BEYOND BLUEGRASS MANDOLIN (Akira Otsuka)
This class for intermediate to advanced players will provide intros to jazz/swing with diminished chords, augmented chords & swing chops; rock mandolin with power chords, major and minor pentatonic scales and damping with the left fingers; and Jesse McReynold’s cross picking style. We’ll discuss improvisation, harmonization, creating your own style, amplification, and electric mandolin. We’ll use “Minor Swing” in Dm and “Salty Dog Blues” in G as examples. Tablature will be provided. Audio recorders are welcome but not required.

BLUEGRASS MANDOLIN I (Akira Otsuka)
Beginners will start with tuning and holding a pick and learn simple open chords and later some closed position chords(A, D & E). We’ll learn how to fret and which fingers to use, and how to play single-note melodies. We’ll also study basic music theory like triads and chord progressions. Students will learn two tunes: “Salt Creek” in A and “Angelina Baker” in D. If time allows, we will also learn “Golden Slippers” in A. Tablature will be provided. Audio recorders are welcome but not required.

BLUEGRASS MANDOLIN II (Akira Otsuka)
Intermediate to advanced players will learn to pick up speed using precise picking with left-and right-hand coordination and planning ahead. We will learn double stops, 6th and 7th chords, practice scales, harmonization and triplets. We’ll also apply what we’ve learned to two tunes, “Golden Slippers” in A and “Turkey In The Straw” in G. If time allows we will learn “Minor Swing” in Dm. Tablature will be provided. Audio recorders are welcome but not required.

THE SINGER/SONGWRITER AS GUITARIST (Peter Mulvey)
This will be similar to Peter’s songwriting class, but with more of an emphasis on the guitar as a machine to be put into service supporting songs. Beginning with his own works, Peter will demonstrate various guitar mechanics by taking the compositions apart, and then delve into the students’ work. Single-string theory, the fundamentals of rhythm, alternate tunings, and simplicity will be explored in the context of performing a song. Intermediate to advanced guitar players will benefit the most from this class, and Guitar Week students are welcome.

BEGINNING SLACK KEY GUITAR (Patrick Landeza)
This class will be for the very beginner, focusing on technique and how to develop the slack key sound. We will primarily work on the open-G tuning (Taro Patch Tuning). We will touch on slack key scales, vamps and licks, which will lead to a song!

INT./ADV. SLACK KEY GUITAR (Patrick Landeza)
In this class we will primarily work on slack key songs and techniques. We will review the styles of the great slack key masters and teach a song from each style. We will be using the G tuning, Drop-G tuning, C tuning and possibly others. For all my past students, this is a perfect time to come back and learn more!

HAWAIIAN SONGS & SLACK KEY GUITAR (Patrick Landeza)
Ever wanted to sing in Hawaiian while playing the sweet sounds of slack key? Well then, this is the class for you! There will be no “Tiny Bubbles” or “Little Grass Shack” here; instead we will learn several traditional Hawaiian songs, their origins, and, of course, how to accompany yourself playing slack key. Videos will be shown about Hawaiian music and different artists to get the feel of the rich tradition of this unique island style. Just bring your guitar and lots of aloha!

ADVANCED FLATPICKING (Robin Bullock)
This class for advanced players will dive deep into the mysteries of flatpicking fiddle tunes, bluegrass and related repertoire, exploring interpretation, phrasing and improvisation, and always focusing on the three Ts (tone, timing and taste). Students will have ample opportunity to stretch their wings trying out concepts discussed. Audio recorders recommended.

ADVANCED CELTIC FINGERSTYLE (Robin Bullock)
This class for advanced players will explore traditional Irish, Scottish and Breton music for solo fingerstyle guitar. Some tablature will be offered, but students will also create their own individual settings of airs, jigs, reels and the 18th-century harp music of Turlough O’Carolan, sharing arrangement ideas in an informal, hands-on environment. Alternate tunings such as DADGAD, CGCGCD and “Werewolf” tuning (CGDGAD) and more advanced techniques such as “harp-style” melody playing will be used extensively to open up the instrument’s full sonic potential. Audio recorders recommended.

CHRISTMAS IN JULY (Robin Bullock)
By popular request, this is a class dedicated to arranging Christmas carols for solo fingerstyle guitar. Drawing from Robin’s popular holiday CDs A Guitar for Christmas and Christmas Eve is Here, this class for intermediates and above will feature a different Christmas piece each day, incorporating altered tunings, harmonics and harp-style melody playing to bring out the guitar’s full potential as a voice for seasonal repertoire. Audio recorders recommended; Santa hats optional.

BEGINNING DOBRO-STYLE SLIDE GUITAR IN GBDGBD TUNING (Sally Van Meter)
“How to Find Your Way Around It.” Do you like to jam, but only know how to play around just the chord positions? Well, this class can help you find the shapes that make up so many good fills, licks, and amazingly enough, the melody! We will work with three basic keys (G, C & D) and learn how to connect them to each other and then translate it into the other keys uncommonly used. You need a resophonic slide guitar or a guitar set up with lap-style height, a good tone bar, fingerpicks (yes, I know they hurt) and your own desires to demystify the fingerboard! We will also cover basic technique for the right and left hands and scale positions. An audio-only recording device is highly recommended.

INTERMEDIATE DOBRO-STYLE SLIDE GUITAR IN GBDGBD TUNING (Sally Van Meter)
“The Trials and Tribulations of Scales, Rolls, Tone, Timing & Phrasing.” For those of you already somewhat familiar with how to find the melody, we’ll work on more advanced technique. This includes scales beyond the first positions, learning how to play eighth-note rolls, how to incorporate melody into rolls, creating solid tone, and the trickiest part of all: how to create attitude and emotion within phrasing. You need a resophonic guitar or an acoustic guitar set up for lap-style height, a tone bar, and your picks. An audio-only taping device is highly recommended. PS: Bring a list of burning questions related to the slide guitar!

NOTHING IS PRETTIER THAN A WALTZ (Sally Van Meter)
The waltz has so much to offer: tone production and lyrical phrasing top the grand list of what this instrument is all about! In this class, Sally will be teaching two waltzes, the first an easy ‘classic’ waltz, and the second a more advanced waltz called the “Great Season Waltz,” a tune that makes you use your entire fingerboard, harmonics, and modulation into different keys. Through these elements, you will learn more about improvisation– kind of “away with the old melody, in with a new melody”. Sally will provide the tab for both waltzes, while the students provide the enthusiasm for the challenge! You will need a resonator guitar, or a guitar set up for playing lap slide, a good quality tone bar, finger picks, the ability to recognize chord progressions, and most of all, a passion to learn what the waltz offers to the heart.

BLUEGRASS SONGBOOK (Ed Dodson)
The pickin’ circle is found at the core of bluegrass. In most pickin’ circles there are leaders and followers. If you’re ready to learn some songs and start leading in your local pickin’ circle, then this is the class that will help you start building your repertoire and will focus on strengthening your rhythm playing abilities in the most commonly used keys. We will learn one bluegrass song each day (all new for ’10), including the lyrics. Along the way, we will work on the basics of bluegrass rhythm styles to accompany each song presented. We will also discuss how to use a capo to get the song in a key to fit your voice. All levels of students are welcome. Familiarity with guitar chords and knowledge of guitar tablature is helpful, but not required. Students are encouraged to bring audio recorders to class and also encouraged to participate in the Slow Jam that Ed leads every afternoon, following lunch, as a way to reinforce the techniques learned in class as well as learn additional songs/tunes.

DEEP BLUEGRASS GUITAR (Ed Dodson)
This course (as the name implies) is for the intermediate to advanced player who really wants to take it to the next level. During the week, we will cover a variety of techniques, including flatpicking leads and playing creative accompaniment behind singers and pickers, using the concept of playing licks around chord shapes, and building effective solos for bluegrass songs. These techniques will be learned using a specific bluegrass song or fiddle tune each day (all new for ’10). The class will build upon the techniques covered in previous years and as presented in my instructional book, Deep Bluegrass Guitar, but will be open and accessible for new participants, as well. Familiarity with guitar chords and knowledge of guitar tablature is highly recommended, but not absolutely required. Students are strongly encouraged to bring recording devices to class.

GUITAR FOR BEGINNERS (Ed Dodson)
This class will cover the very basics of playing and enjoying guitar. Topics covered will include: tuning your guitar, basic chord shapes and patterns, basic rhythm patterns, basic right-hand technique (both flatpick and fingerpick), care and feeding of your guitar, and practice tips. Knowledge of guitar tablature is helpful, but not required. Students are encouraged to bring audio recorders to class.

SPECIAL EVENTS

GUITAR MAINTENANCE & REPAIR (Randy Hughes)
Come have your instrument checked out on Monday, Tuesday or Thursday and pick up a few ‘care & feeding’ tips.

LUTHIER'S EXHIBIT
Throughout the week we will have four of the finest luthiers in America on hand displaying some of their instruments: Gerald Sheppard, www.sheppardguitars.com, Michael Bashkin, www.bashkinguitars.com, John Slobod, www.circaguitars.com, and Bill Tippin, www.tippinguitars.com, as well as a display of some of the amazing inventory from Dream Guitars, www.dreamguitars.com, a local shop specializing in the finest high-end instruments.

SLOW JAMS (Ed Dodson)
Each day, after lunch, Ed will lead jam sessions of common tunes at a tempo slow enough for folks to learn the tunes as they play.

GUITAR WEEK LUAU
On Friday, come experience the spirit of aloha at the Guitar Week luau, catered by our own Hawaiian cultural ambassador, Patrick Landeza.