2008 Guitar Week Classes

BOSSA NOVA GUITAR I (Pat Kirtley)
The unique pop music of Brazil, including bossa nova, samba, and other related styles, exploded on the worldwide music scene in the early 60’s almost overnight. The sophisticated rhythms and chord structures were irresistible to jazz musicians, and after a few years bossa nova had gone “mainstream”, with its rhythms and changes assimilated into the melting pot of jazz standards. Too bad – for it diluted an eloquent musical style which has little to do with jazz, and after 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, and intermediate to advanced players will learn the elements of the style from its foundations. It’s a perfect genre for solo guitar, because that’s where it was born. Pat will teach the essential rhythms, chords, and some great tunes from the world of bossa nova and samba.

BOSSA NOVA GUITAR II (Pat Kirtley)
Bossa nova, samba and beyond, for the more advanced player. This class will move at a faster pace than the introductory class, with more challenging material. It’s just right for returning students from last year’s class, and also for players who are already familiar with this genre. More emphasis will be placed on learning fairly challenging tunes, while covering unique bossa nova/samba chord progressions and further explorations into the rhythmic side of the music.

THUMBSTYLE GUITAR (Pat Kirtley)
Thumbpicking champ Pat Kirtley comes from Kentucky, and so does the elemental 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 you will have covered the basics, and be learning some great tunes from 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 find out.

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 flowing, fluid sound. Chord progressions, harmony and picking in alternate tunings will also be discussed.

WRITING TUNES 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 will also be discussed. For intermediate players.

ARRANGING TRADITIONAL TUNES FOR SOLO GUITAR (Doug Smith)
In this class for intermediates, we’ll work on taking familiar, well-loved melodies, and creating solo guitar arrangements, focusing on trying to bring something fresh and compelling to pieces we’ve heard a zillion times. Variations, key changes, and short original counter-melodies will be discussed, culminating in taking a tune or two and arranging them as a group. Tab of a couple of Doug’s arrangements will be provided.

FINDING YOUR OWN MUSICAL LANGUAGE (Peter Finger)
In this workshop Peter will demonstrate and talk about composing for acoustic guitar, how to work out ideas in a personal way and how to find your own musical language. He will be demonstrating and explaining compositions and different guitar techniques in two different tunings, EBEGAD and DAEGAD, and we will discuss ways to develop a composition.

PRACTICING AND DAILY EXERCISES (Peter Finger)
This workshop will focus on guitar techniques like single-line playing for fingerstyle guitarists, how to improve right- and left-hand dexterity, how to get better coordination and how to maintain concentration while practicing. We will work with a variety of different exercises in different tunings.

INTERPRETATION AND TONE(Peter Finger)
How can you make your piece more interesting and keep the attention of the listener? This workshop will focus on expression, dynamics, tone and ornamention. We will learn techniques that will make your music more enjoyable and give your piece the final polish.

PIEDMONT MASTERS(Mary Flower)
In this class for intermediate/advanced players, Mary will bring some great blues and ragtime gems to the plate from the recordings of Rev. Gary Davis, Willie McTell, Memphis Minnie and others. All tunes will require basic fingerpicking skills (no flatpicks, please!) where syncopation abounds and the thumb rules. Students will learn pieces in different keys and in some cases, different tunings. Recording devices are encouraged and tab handouts will be available.

GUITAR ODDS & ENDS (Mary Flower)
This class that will attempt to address some of the loose ends of guitar playing. Mary will present a mixed bag that will require students’ input, including how to play well with other guitar players, how to arrange a song from start to finish, how to dress up your own songs, how to get invited back to the jam session and much more. Mary will address all the questions you have but were afraid to ask. Never fear, bring your own songs and guitar-related issues to this class and we will work through them!

FAVORITE FINGERPICKING ARRANGEMENTS (Mary Flower)
Mary will share her favorite tunes with the class, including some originals and some standards. Requests will be considered (special orders sometimes don’t upset us!) Sometimes, it’s all about the guitar arrangements: how the melody plays out in different keys, how the bass lines connect the chord changes, how to keep the rhythm going during the solo, etc. Mary will present a number of tunes that will teach your fingers how to be responsible members of the band. Recording devices encouraged and tab handouts available.

ARRANGING POPULAR TUNES FOR SOLO GUITAR (Michael Chapdelaine)
Any tune or idea that you ever thought of or heard can be played on solo guitar. It’s like solving a puzzle. Knowing what to leave in and what to leave out is the key. We will work on issues of a) Melody: which part is the melody and where should we put it in the texture and on the fingerboard so that it can sing out and we (player and listeners) can be moved by it; b) Harmony: how to discover and voice the chords in a way that will support, and not conflict with, the melody; c) Orchestration: none of the notes are equal, so we’ll talk about how do we deal with that on a technical level; d) Technique: we will look at some of the tricks (there are a lot of these to talk about) that lead to making the music work on our instrument.

COMPOSING FOR SOLO GUITAR (Michael Chapdelaine)
If you know 4 chords or more, it’s time for you to write your own music. We will talk about how melody and harmony are derived from and absolutely dependent upon each other in writing music, and also how, if you have one, you can easily create the other. Form, texture and rhythm will be brought into the picture to make composing no more intimidating than playing chess.

GETTING STRONG & ACCURATE (Michael Chapdelaine)
Playing guitar is, to your body, an athletic activity. If we can think and train like a great athlete, our level of playing goes waaay up. The techniques of gaining maximum control and efficiency over the guitar are well known and defined, and we will look at those and also examine the training aspects of becoming a better guitar athlete: what things we can do, and how often, in order to get strong. As our strength increases so does our accuracy, and that means playing better and making more people smile better.

BEGINNING FINGERSTYLE GUITAR (Rolly Brown)
For beginner and intermediate players: explore the nuts and bolts of solo guitar playing by learning about constant alternating bass, arpeggiation, and other rhythm techniques, and combining them with melodies and chords. Students need only know these chords: C, F, G, Am, Dm, Em.

GYPSY JAZZ (Rolly Brown)
For intermediate to advanced players: Django Reinhardt knew everything he needed to know about making music with virtually no traditional “theory” training. His music was based on his ear and his familiarity with the fingerboard. We’re not all this gifted, and some basic theory can go a long way in helping to understand Gypsy jazz, but it’s not a bad idea to consider a non-intellectual approach as well. We’ll look at both methods, and look at the “pompe” rhythm style, an arpeggiated approach to melody, and some other conventions unique to gypsy jazz, as well as the mysteries of right-hand plectrum technique.

ALL THE THINGS THERE ARE (Rolly Brown)
In this class for advanced players we’ll take one great jazz standard, and spend a week dissecting it from all angles: melody, improv, chord movement, fingerstyle solo, et al. In doing so, you’ll learn about jazz composition, soloing from several viewpoints, comp chords and rhythm playing in general, and you’ll all be jammin’ by the end of the week!

CELTIC ORNAMENTS IN DADGAD (Al Petteway)
There aren’t many things that are more satisfying than writing your own music and playing it for an audience. We’ll go after the essence of what it takes to compose a tune that is interesting and listenable. Students will write short pieces, perform them and then benefit from constructive criticism from Al and the other members of the class. We promise, nobody’s feelings will get hurt. It’s all about sharing original ideas and improving our music composition skills. It should be great fun and fascinating too. All styles and tunings are welcome.

FAMILIAR TUNES IN UNFAMILIAR TUNINGS (Vicki Genfan)
Open your ears as we explore open tunings on the guitar while playing familiar songs. In this class for advanced beginners and above, we’ll play through pop/folk songs from the last 5 decades – in a number of alternate/open tunings. We’ll also play tunes together using the open tunings in combo with standard tuning, creating new sonic possibilities in arrangements. Familiarity with tablature is a plus, but not a necessity. No prior open tuning experience needed, but bring a tuner and capo! You should be comfortable using both.

SLAP TAP HAPPY: PERCUSSIVE TECHNIQUES
FOR STEEL-STRING GUITAR (Vicki Genfan)
This class for advanced intermediate to advanced players will focus on three specific techniques: Tapping harmonics (one-handed and two-handed), Thumb Slapping, and Body Percussion (the guitar’s body, not yours!). We will start in one or more open tunings and work towards integrating all three techniques by the end of the week. Those who are able will learn excerpts from various original compositions of Vicki’s. Handouts will be in tab. (To hear and see these techniques in action go to www.youtube.com/vickigenfan and www.lunaguitars.com then follow to the Artist Pages.)

RHYTHM FOR LIFE – AND FOR GUITARISTS! (Vicki Genfan)
This class is for all levels, no experience necessary, and guitars are not required! Drawing from eastern and western traditions, we will 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, with a sense of spontaneity, flow and FUN!

SONG ACCOMPANIMENT LAB: 10 MINUTE GUITAR FIXES (Scott Ainslie)
The problem with most guitar instruction is that you have to learn on the instructor’s territory. This course forces the teacher to come play in your yard. Have a guitar accompaniment that you think could sound better? Feel stuck in what you know? Bring a song you’re working out (or have played forever) and we’ll listen to your accompaniment and dress it up, expanding your technique and musical thinking in the process. We’ll look at guitar alternatives in the accompaniment you already have established: chord forms, altered tunings, strategic use of the capo, bass runs, use of dynamics, delivering on the lyric emotions with both guitar and vocal style. Most of us get through building one accompaniment, heave a sigh of relief and turn to the next song. Our goal is to take the next step, and to strengthen the piece musically, using all the tools at your disposal. The beauty of this course is that these are ten minute fixes: concrete guitar instruction that will rest on what you already know. You’ll learn as much by watching and listening as we puzzle out someone else’s accompaniment as you do when it’s your turn. Typically, six to eight people will present songs in each class period. Everyone learns from everyone else’s time in the circle. The goal of each class is to take you a few steps further down the road that you are already walking, not transplant you. You can learn and grow right where you are.

BEGINNING SLIDE GUITAR (Scott Ainslie)
When you apply a slide to a guitar string, you’ve basically lost control of the instrument. This can be like turning six angry Dobermans off the leash, and learning to control those puppies is what this course is about. Both right- and left- hand muting allow you to shape the sound as you make it. Though it seems a bit counterintuitive, when it comes to slide guitar playing, the sound you stop is actually a lot more important than the sound you make. There are four or five basic techniques that are the keys to this kingdom, and we will visit them all in sequence in this course, building one upon the other. We’ll cover the basics and practice these new techniques by looking at slide accompaniments and licks in several open tunings, as well as in standard tuning. You will go home with a new set of techniques that will become skills in short order and allow you to get the sounds you want. We’ll welcome players who are new to the slide, and those who have an inkling that their slide playing could be better.

INTERMEDIATE/ADVANCED SLIDE GUITAR (Scott Ainslie)
This class will be built on the same rudiments described in the beginning slide class but will cover more repertoire in standard and open tunings, drawing on song accompaniments by Robert Johnson, Muddy Waters, and Honeyboy Edwards.

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.

CLAWHAMMER BANJO & GUITAR (Steve Baughman)
Clawhammer is a simple, though counterintuitive picking pattern that allows you to play groove and melody at the same time. In this class for both banjo and guitar, we will spend much time drilling the basic pattern and its drop-thumb variation into our blood. Once we have internalized these, we will learn to apply them to some standard tunes, like “Shady Grove” and “Cluck Old Hen.” This is a hand-on class and we will spend most of our time in class playing. The material will be geared towards beginning clawhammer players. However, eager students with some clawhammer experience should speak to the instructor before the first class to see if their needs can be accommodated. We’ll probably be able to work it out.

ORKNEY IMMERSION FOR SINGER/ SONGWRITERS (Steve Baughman)
Un-cliché your guitar accompaniment by tuning to Orkney, (CGDGCD) and gain access to new textures and sounds that you can use to support your singing. This multi-genre tuning is simple and accessible to those with limited open tuning experience. This class will be a solid week of Orkney immersion. We will start by familiarizing ourselves with basic major and minor chords (charts will be provided), then explore partial (aka “non-committal”) chords and textural riffs. By the end of the first day we will be jamming on some simple folk songs. There will also be a performance aspect to this class and each day several students will be asked to share their Orkney explorations and discoveries with the group. This is a more-rock-less-talk, hands-on class and we will spend a lot of time playing. As long as you can easily change chords, you qualify for the class. Come join us and be the first kid on your block to accompany yourself in Orkney.

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, Steve 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.

FOLK & BLUEGRASS IMPROVISING (Scott Nygaard)
In this class we’ll learn to silence our inner critic and improvise on the simple modal and diatonic chord progressions commonly found in acoustic music. We’ll work on learning the entire fingerboard, dealing with any theory issues that arise, but the emphasis will be on creating melodies on the fly and interacting with the musicians you’re playing with.

ADVANCED FLATPICKING (Scott Nygaard)
In this class, we’ll use tunes from Sweden, Kentucky, Ireland, Brazil, and North Carolina (or like environs) to explore the gamut of flatpicking techniques, with an emphasis on the three “Ts”: Tone, Timing, and Tunefulness.

PAN-AFRICAN BAND (Scott Nygaard)
The simple interlocking parts played by guitar bands from South, East, and West Africa are great fun to play as a group and a nice respite from the intense focus of theory and technique-related classes. We’ll take apart a few groove-oriented tunes and play them till the cowries come home. Open to all levels of groove-minded guitarists.

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!

CELTIC FINGERSTYLE GUITAR I (Robin Bullock)
This class will explore the world of possibilities presented by traditional Irish, Scottish and Breton repertoire arranged for solo fingerstyle guitar. We’ll start with basic settings of relatively simple tunes and proceed from 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 we’ll also discuss fingerstyle playing technique and how to get the fullest, richest tone with the minimum of physical effort. A good time will be had by all. Recording device recommended.

CELTIC FINGERSTYLE GUITAR II (Robin Bullock)
This class will delve deeper into 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. Recording device 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 A Midnight Clear, this intermediate-and-up level class 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. Recording device recommended; Santa hats optional.

MANDOLIN I (Ashley Broder)
This class for beginning to intermediate players will cover melody and rhythm/harmony playing through technical exercises for the left and right hands. By learning how to practice effectively and efficiently, we’ll learn how to play cleanly without the distraction of “pick clack” or accidentally hitting open strings. We’ll befriend the ominous metronome through unique exercises. We’ll also investigate various chord shapes and learn to accompany others in ensembles. Students in this class should know how to tune their mandolins and be able to play at least a couple of basic chords and scales.

MANDOLIN II (Ashley Broder)
This class for intermediate to advanced players will cover much of the same ground as Mandolin I, but at a more advanced level. Students in this class should know their way around the mandolin well and have experience playing with others.

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!

BALLADS & BLUES FOR DOBRO-STYLE SLIDE GUITAR
IN OPEN D TUNING (DADF#AD) (Sally Van Meter)
“From the Soulful to the Blazing.” As a player who does both ballads and blues slide, I can say there is nothing more connecting than finding your emotional side and bringing it into your playing. The perfect music for this is easily found in ballads and blues songs. In this class we’ll work on a couple of classic songs and bring your spirit into them. We’ll learn standard blues licks and sweet, soul-filled licks, which also contain melody, and we’ll learn how to put your heart into them. 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. Bring your yearning desires to fill your playing with 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. We will learn at least one or two standard bluegrass songs each day (all new for ’08), 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. I will have a portable CD player available during the week. If there is a particular bluegrass song that you’ve wanted to learn, please bring a recorded version of the song and we’ll learn it together. 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 recording devices to class.

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 ’08). 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 recording devices 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 three of the finest luthiers in America on hand displaying some of their instruments: Gerald Sheppard, www.sheppardguitars.com, Michael Bashkin, www.bashkinguitars.com, and John Slobod, www.circaguitars.com, and Kathy Wingert, www.wingertguitars.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.