2008 Old-Time Music & Dance Week Classes

In the tradition of Appalachian music, learning by ear is encouraged. Most classes will not 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. Fiddle classes during Old-Time Week are offered at four different levels: 0 – Beginner; I – Advanced-Beginner; II – Intermediate; III – Advanced (see definitions). Please consider your level of skill carefully when registering for classes.

OLD-TIME FIDDLE 0 (Meredith McIntosh)
This class for beginners will start with the basics of tuning, bowing, and finding the notes on the fingerboard. 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 fiddle, bow, and an audio recorder. No prior experience necessary.

OLD-TIME FIDDLE I A (Rayna Gellert)
This class is for advanced-beginner fiddlers who know at least a few tunes, want to expand their repertoire, and learn more about bowing technique. Students will work on a basic repertoire of familiar old-time southern fiddle tunes. Tunes will be taught by ear, so be sure to bring an audio recorder.

OLD-TIME FIDDLE I B (Trevor Stuart)
This class is for advanced-beginner fiddlers who know a few tunes and want to improve and expand their skills. While learning new tunes we will work on bowing, intonation, phrasing, and rhythm, as well as double-stops and ways to work them into the tunes. Fiddle tunes will be in the keys of A, C, D, and G. Bring an audio recorder, since this class will be taught by ear.

OLD-TIME FIDDLE II A (Erynn Marshall)
Ever wonder what makes one fiddle style differ from another? We will learn a variety of old tunes from West Virginia, Kentucky, and North Carolina and discuss some of the regional characteristics and eclectic bowing/noting styles of individual fiddlers as well. This intermediate level class will also cover aspects of playing technique (tone, rhythm, ornamentation, and playing with ease), strategies for picking up new tunes on the fly, and playing with others in jams. Students are encouraged to ask questions and to bring recording devices. Fiddlers should be comfortable learning tunes slowly by ear. Erynn will provide recordings of the tunes we learn at normal and reduced speeds at the end of the week. Be prepared for a fun week of fiddling!

OLD-TIME FIDDLE II B (Rayna Gellert)
This class is for intermediate players who want to expand their old-time repertoire and get some new ideas about bowing. We’ll concentrate on traditional southern dance tunes. Tunes will be taught by ear, so be sure to bring an audio recorder.

OLD-TIME FIDDLE II C (Bruce Greene)
This class for intermediate fiddlers will concentrate on a repertoire of fairly accessible tunes from Kentucky and western North Carolina. We will work on some basic bowing techniques, how to use two strings at a time effectively, and ways to make a tune sound “old-time.” Bruce will also give background information on the tunes and their sources. You should be ready to learn tunes in different keys and try out different tunings. Tunes will be taught by ear, so bring a tape recorder and accessories.

OLD-TIME FIDDLE III A (Kirk Sutphin)
This class is for intermediate/advanced fiddlers who want to expand their traditional repertoire and learn more about bowing. Students will work on tunes in a number of tunings from the repertoires of some of the great southern fiddlers, using a variety of traditional bowing licks and patterns. We’ll work on variations in your bowing and arranging your bowing to suit new tunes. We’ll also be paying close attention to the rhythm of old-time fiddling and explore ways to improve the musicality of your playing, in particular by rocking the bow and its relation to the concept of swing.

OLD-TIME FIDDLE III B (Bruce Greene)
This class for intermediate/advanced fiddlers will concentrate on a repertoire of older tunes from Kentucky and western North Carolina. We will work in depth on bowing techniques, playing on two strings, and phrasing that give tunes a more archaic sound, and we will explore different tunings and what gives them their distinct feel. Bruce will also give background information on the tunes and their sources. You should come with experience playing in different keys and tunings, and in learning fairly difficult tunes. We will learn tunes by ear, so bring a tape recorder and all the accessories you need.

OLD-TIME FIDDLE III C (Erynn Marshall)
This class is for intermediate/advanced fiddlers who wish to expand their repertoire and explore a variety of archaic fiddle styles primarily from West Virginia. We will delve into left-hand ornamentation, blue notes, alternate tunings, and the intricacies of bowing (rocks, pulses, and dwells), and other nuances typical of traditional southern fiddling. Recording devices are welcomed but students will also receive a CD of the tunes taught (at the end of the week) played at normal and reduced speeds. Fiddlers should be comfortable playing by ear, have good facility on their instrument, and an appreciation for beautiful old tunes.

OLD-TIME BANJO I (Travis Stuart)
This banjo class for the total beginner will cover basic techniques for clawhammer-style banjo. We will work on developing basic left- and right-hand techniques, and we will cover basic music theory, learning by ear, with a strong emphasis on rhythm.

OLD-TIME BANJO II A (Gordy Hinners)
For the advanced-beginner/intermediate clawhammer banjo player who knows 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. The use of a recording device is highly recommended, as all tunes will be taught by ear in the traditional manner.

OLD-TIME BANJO II B (Travis Stuart)
This class for advanced-beginner/intermediate banjo players will cover clawhammer technique as well as two- and three-fingered southern mountain styles. We will explore solo banjo tunes in several odd tunings, as well as common tunings in G, C, and D, playing along with a fiddle with a strong emphasis on rhythm, and techniques for a distinct mountain banjo sound. We will also work on ways to get better tone and learn extensive chord theory for accompanying songs and waltzes. The use of a recording device is highly recommended, as all tunes will be taught by ear in the traditional manner.

OLD-TIME BANJO III A (John Herrmann)
This class for intermediate/advanced banjo players will focus on playing banjo with a fiddle. Emphasis will be placed on the rhythmic connection between the two, the relationship of melody to chords and drones, and the tight interplay between these two instruments, which are the core of the old-time band. This is not a tune-oriented class. We will mainly cover technique and theory, and there will be tips on how to play tunes you don’t already know.

OLD-TIME BANJO III B (Kirk Sutphin)
This class for intermediate/advanced clawhammer banjo players will take a close look at the playing styles of northwest North Carolina and southwest Virginia – especially the exciting Round Peak banjo playing from Surry County, NC. We’ll learn a couple of new tunes every day and discuss the musical elements that make traditional styles sound so distinctively “old-time.” You should already have command of the basic clawhammer (or frailing) right-hand technique, as well the drop-thumb lick and hammer-ons, pull-offs, and slides. You should also have the ability to learn short phrases by ear, and have enough experience to keep up easily playing along with others. Be sure to bring a banjo that can be tuned up to standard pitch (G or double C) and a capo if you use one, extra sets of strings (we’ll do a fair amount of retuning), and a recording device with plenty of extra batteries. I encourage you to learn by ear, so I don’t use tablature, but if you’re absolutely addicted to it be sure to bring paper and pencil so you can write it out for yourself.

FINGERSTYLE BANJO (Kinney Rorrer)
This class for intermediate and advanced banjo players will focus on the finger-style banjo used by Charlie Poole, Buster Carter, Red Patterson, and other Piedmont old-time banjo players. Tunings, back-up style, and lead playing will be covered. Recommended listening: anything by Charlie Poole – especially recommended is the You Ain’t Talking to Me CD set. At the end of the week, we will have a “Poole” Party!

OLD-TIME FINGERSTYLE GUITAR (Jeremy Stephens)
In this class for intermediate guitar players, we will take an in-depth look at the roll patterns, fingering, chord positions, and bass runs popularized by old-time West Virginia guitarist Roy Harvey, who played with Charlie Poole and the North Carolina Ramblers in the late 1920s and early 30s. Finger picks for the thumb, index, middle, and ring fingers are recommended. Picks will be available for purchase at the Gathering.

OLD-TIME GUITAR I (Susie Goehring)
In this class for beginners we will work on using a flat pick, smooth changes between chords, the basic “boom-chuck” strum, simple bass runs, use of a capo, and basic music theory for the learn-by-ear musician. We will work on learning to hear chord changes to familiar tunes and songs and developing a strong back-up support for old-time fiddle tunes.

OLD-TIME GUITAR II A & B (Jeremy Stephens, Beverly Smith)
If you know a handful of basic chords, and can hold on to a flatpick, you’re 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 fiddle and banjo students during the week.

CARTER-STYLE GUITAR (Susie Goehring)
In this class we will focus on Maybelle Carter’s style of song accompaniment and guitar breaks. Students should be able to play with a flatpick or thumb pick, use a capo, and be comfortable making smooth chord changes, particularly in the C position. We will be listening closely to original Carter Family recordings and learning to hear and play the guitar breaks, including songs with the occasional asymmetrical structure. While a strong singing voice is not required, be prepared to sing the songs we will be learning to accompany. Words, chords, and recordings will be provided.

BASS BASICS (Meredith McIntosh)
This class will cover the basics of old-time bass technique, including tuning, noting, listening, finding chord changes on tunes, songs and waltzes and most importantly, playing in the old-time groove. We will also talk about good body mechanics. Even though we have a few basses to share, it is strongly suggested that you bring your own. Please investigate the possibilities of borrowing or renting one for the week. No experience necessary.

OLD-TIME STRING BAND I (John Herrmann)
This class is for novice old-time musicians who are ready for a group playing experience but want the experience (and FUN!) of playing with other musicians in a no-stress stringband. Bring your tunes and songs and we’ll learn to play and sing together. All stringed instruments and singers welcome! (No class limit)

OLD-TIME STRING BAND II (Gordy Hinners & Trevor Stuart)
Students in this class will form string bands and learn, with a little coaching, how to play together and achieve a cohesive band sound. We will consider each individual’s responsibility in a band, how to start and end tunes, tempo, rhythm, lead, back-up, chord choices, singing, band dynamics, 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)

OLD-TIME MANDOLIN I (Carl Jones)
In this beginning class you will learn basic chords and strums and practice backing up both tunes and songs. You will learn to play melody/lead on an old-time tune or two and look at some practical music theory. This class will explore the driving rhythms and clear melodies you can create on the old-time mandolin and will give you the tools you need to get there!

OLD-TIME MANDOLIN II (Paul Kovac)
In this intermediate-level class, we will start with an overview of the fundamentals: the simple things that hold players back from more challenging music. We’ll address playing chords and soloing with rhythm, improving tone, accompanying singing, kick-offs, fills, tremolo, and practicing. We’ll explore how to inject more life into fiddle tunes and different ways to approach playing the mandolin in an old-time tune session, and we’ll spend some time unlocking the double-stop mystery. Students will learn a number of two-note chord positions that move and connect all over the fingerboard. This approach is where the mandolin really shines. It will have you playing in new keys, finding new voices for your instrument, and will give you some tools to create your own solos on old-time songs.

MOUNTAIN DULCIMER (Don Pedi)
Old-time music on the mountain dulcimer. Learn traditional tunes and songs as well as the methods of playing them, including natural strumming, rhythm and timing, three-finger rolls, hammer-ons, pull-offs, and other noting techniques, tuning in different modes, playing all the notes, playing by ear, and more. Dulcimer tablature and music notation will be available. Audio recorders recommended. All levels are welcome.

AUTOHARP I (John Hollandsworth)
The 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 from the old-time repertoire, topics in this beginner-level class will include right and left hand techniques, finger 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 finger picks. A music stand and audio recorder 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. This 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 from the Appalachian tradition, 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 refine their playing skills and gain a good understanding 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 fingerpicks.

SHAPE-NOTE SINGING (Ron Pen)
We will recreate a rural nineteenth-century singing school by singing from the Sacred Harp (1991 edition). This book features intoxicating harmonizations of colonial psalmody, camp meeting songs, and white spirituals written in a unique notation of triangles, squares, circles, and diamonds that makes learning to read music easy and enjoyable. The class will include some background history and social context for the music. We will also explore songs from other tune book traditions including the Southern Harmony, Christian Harmony, and the Colored Sacred Harp. The 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 second annual Swannanoa Singing with dinner on the grounds. This will be held on Saturday, July 26 from 10:00 AM-3:00 PM at the Warren Wilson College Chapel. (No class limit)

UNACCOMPANIED SINGING (Sheila Kay Adams)
This class will cover the unaccompanied singing style of Appalachian songs and versions of ballads brought from 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)

EARLY COUNTRY DUET SINGING (Beverly Smith & Carl Jones)
In this class we will focus on early duets that were mostly recorded from the 20s into the early 40s. Using songs from the Blue Sky Boys, the Carter Family, the Louvin Brothers, the Delmore Brothers, the Monroe Brothers, and others, we’ll learn to find cool harmony parts, and more importantly, how to sing with another person and get that great, tight, old-time duet sound. No partner necessary to sign up. Come prepared to have fun! (Class limit: 20)

COUNTRY HARMONY (Paul Kovac & Carol Elizabeth Jones)
Learn different styles of country harmony using parallels, open fifths, and counterpoint, with songs from such country greats as the Carter Family, Delmore Brothers, Louvin Brothers, Stanley Brothers, and more. Students will do plenty of singing in class and will have the opportunity to sing harmony in small and large groups. Prior experience with harmony singing isn’t necessary, but students should be able to sing and maintain a melody. (Class limit: 20)

STORYTELLING (Sheila Kay Adams)
This class will focus on the Appalachian tradition of storytelling and how to tell your own personal story. During the week, students will develop a family story to share. There will be lots of class participation. (Class limit: 20)

SINGING WITH A BAND (Carol Elizabeth Jones)
This class will teach you how to hold your own in singing with a band. We’ll learn repertoire, talk about when to sing, when to let the band play through, how to find your key, how to sing with volume, and how to be an asset to any configuration. Repertoire will consist of songs that work well in a stringband or acoustic format. All skill levels are welcome. (Class limit: 20)

THE SONGS OF CHARLIE POOLE (Kinney Rorrer)
This class, open to all instrumentalists and singers, will cover the key songs of Charlie Poole’s repertoire including “Milwaukee Blues,” “Leaving Home,” and “Baltimore Fire.” If the class is a rowdy group, we might even learn “Take Your Leg Off Mine.” Instruments and a sense of humor are required. (Class limit: 20)

HISTORY OF OLD-TIME MUSIC (Ron Pen)
What IS old-time music? How is bluegrass different from old-time? Who are the Kentucky Corn Crackers? What is dropthumb, frailing, clawhammer, two-finger, and rapping? Where are Galax, Clifftop, and Mount Airy? Can you dance a Tobacco Hill? What is Round Peak-style? Why are accordions seldom welcome at old-time jam sessions? What is a crooked fiddle tune? The answers to these and other burning questions will be revealed in the History of Old-Time Music class. Through discussion, recordings, video, and guest presentations, participants will gain an overview of the history and context of old-time ballads, fiddle tunes, hillbilly music, and string bands from the Skillet Lickers to Uncle Earl. (No class limit)

CLOGGING & BUCKDANCE (Rodney Sutton)
Let Rodney show you that you can get ‘more satisfaction’ by learning to clog! Begin southern Appalachian clogging and buckdancing from ‘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 please. (No class limit)

FLATFOOTING (Ira Bernstein)
This class will focus on intermediate and advanced Appalachian flatfooting step repertoire with attention to clarity, musicality, and style. We will explore how to use steps as starting points for variation and improvisation with an emphasis on developing techniques for free-styling. Wear smooth-soled shoes – preferably leather and no taps please. This class is best for intermediate level dancers. (Class limit: 20)

TALKING FEET (Ira Bernstein)
This class for intermediate and advanced dancers will examine a selection of steps from some of the traditional Appalachian dancers seen on the documentary film, Talking Feet. Different styles of flatfooting and buckdancing will be presented, and we will focus on how to incorporate these steps and styles into one’s own dancing. Wear smooth-soled shoes – preferably leather and no taps please. (Class limit: 20)

SOUTHERN APPALACHIAN SQUARE DANCE & DANCE CALLING (Phil Jamison)
This 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 ring and circle dances, and students will have the opportunity to try their hand (or voice) at calling out the dance figures. 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)

OTHER ACTIVITIES

T'AI CHI (Don Pedi)
Start the day with a smile with these ancient, gentle, easy to learn rejuvenation exercises. Reduce stress. Focus on breathing, balance, and gentle stretching. Includes: T’ai Chi, Chi Kung, Standing Meditation, Eight Pieces of Brocade, and more. No experience necessary. (No class limit)

POTLUCK SESSIONS
In addition to the regular class sessions, Potluck Sessions are offered most afternoons. These one-hour mini-classes give students access to the entire teaching staff, and provide a wide variety of class offerings to choose from. No advance registration is necessary.

SLOW JAMS & SINGING
After 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. The singing sessions are a chance to share your voice and songs.

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. Thursday night features our valley’s long-standing weekly dance, the Old Farmer’s Ball.

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.

Ahoy Mates! All hands on deck as we set sail for a summer of fun. The Children’s Program will embark on a swash-buckling adventure on the high seas (otherwise known as the Appalachian Mountains) this year. Well, shiver me timbers and blow me down... with pirates and lost treasure as our theme, we will spend the week making cool crafts (like treasure chests with jewels & pirate flags), playing wacky games (can you follow a treasure map to find the loot?) and singing silly songs (yo ho ho ho... a pirate’s life for me!). Everyone will have the chance to become part of a Kid’s Rhythm Band, when Sue Ford (singer, songwriter, percussionist) comes each day. And, as a special treat, we will be visited throughout the week by wandering musicians and artists (Gathering staff) who will perform just for our kids. Can you say “ARRRRR?” Sailors and pirates with enough bravery and courage will participate in our annual traditions of a watermelon-eating contest and will venture out to complete the Old-Time Week Scavenger Hunt. To prevent anyone from becoming a landlubber we will close each busy day with free swim time in the deep ocean of our travels (also known as the college pool). Non-swimmers must be accompanied by a parent to swim. So join the crew, me hearties, and prepare to say “AYE AYE Cap’n!” There will be a $25 art/craft materials fee for this class, payable to the coordinator on arrival.