2008 Traditional Song Week Classes

BALLAD SINGING (John Cohen)
This class will excamine specific styles of unaccompanied ballad singers, with a focus on the great singers of Madison County, North Carolina. We’ll begin by viewing the film, The End of an Old Song, featuring Dillard Chandler, as well as selections from Old Love Songs and Ballads, and High Atmosphere. We will go into the relationship between ballad singing, Old Baptist “lining out” , and Sacred Harp singing, and also look at John’s films of traditional British Isles ballad singing- Gypsies Sing Long Ballads, and The Ballad and the Source. We will look into issues of documentation, preservation and interpretation, with the central issue of the class being ways to understand the music, be it called folk or old-time, in its traditional setting, and the life that supports that tradition. We will also look at the important background searches by Frances Child, Cecil Sharp, and Alan Lomax, and address the issue of traditional music within the commercial setting of country music.

THE MUSICAL JOURNEY (John Cohen)
In this class, John will attempt to share his own efforts and approach to traditional song, including record collecting, the role of discography, connections between academic folklore studies, English literature and Hillbilly Music. We will emphasize the ins & outs of field recording and banjo tunings and other involvements that have shaped John’s own pursuits. We will have a session about Harry Smith and the Folkways Anthology of American Folk Music, and look at John’s films, The High Lonesome Sound, Sara & Maybelle (the Carter Family), & Musical Holdouts as points of departure, and as critiques of the folk revival. Hopefully, class participants will develop their own ideas about how to get involved further in this music. This is a class for musicians who wish to expand their horizons, both through performance and research.

TRADITIONAL SONG IN THE IRISH LANGUAGE (Dáithí Sproule)
Many of the most beautiful and deepest Irish songs are in the Gaelic language, and Dáithí sees no reason why even people who don’t know the language cannot learn the songs and savour some of their beauty. He will introduce students to the sounds of the old style singers, explain how the dense poetry of the song poems works (different in many ways from songs in English), and teach a range of songs from his repertoire, filling in as he goes along with information on the poetic tradition and the language. (Students should bring a recording device.)

TRADITIONAL IRISH SONGS IN THE ENGLISH LANGUAGE (Dáithí Sproule)
The emphasis in this class will be to look beyond the kinds of song arrangements we hear on commercial recordings of the last 40 years and to enjoy the songs free of the strait-jacket of rhythmic accompaniment. Dáithí will introduce students to the sounds of the old, unaccompanied singers, but will encourage students to keep the songs alive in the present by developing their own personal, authentic and unaffected style, and enjoying the beauty of the melody and poetry of the songs in their own homes and in their own lives. (Students should bring a recording device.)

FINDING YOUR VOICE IN OLD-TIME SONGS (Jim Watson)
The class will focus on learning to sing with your own sound, using old-time songs, mainly from Charlie Poole and Jimmie Rodgers. There will be some instruction on harmony and basic singing technique, and if you play guitar, basic accompaniment. BE YOURSELF AND STICK TO IT.

SINGING THE CARTER FAMILY (Jim Watson)
This will concentrate on songs of the Original Carter Family, also with a sketch of Maybelle Carter’s signature guitar style. There will be emphasis on using your own voice to recreate the feeling of the sound while remaining true to the original style.

SONG ACCOMPANIMENT AND ARRANGEMENT (Carl Jones)
In this class, Carl will teach some simple concepts that can be used very effectively to provide back-up for songs. He’ll be demonstrating on guitar mainly, however, other instruments are welcome and can be discussed. Pedal tones, descending or ascending bass lines, harmonized scales, drone-y and suspended chords, high or low common tones through chord progressions, and other suggestions will be demonstrated and encouraged. We hope to provide a good foundation that students can “mine” for their own arranging adventures. A recording device is highly recommended and basic music theory knowledge is helpful but not required. Any level student can benefit from this class but the ones with fairly good instrument skills will benefit the most. Handouts will be provided to serve as practice sheets and references at the end of the week. Feel free to bring examples of “works in progress” that we could “tweak” with our panorama of new techniques. Carl looks forward to a relaxed, fun, and informative week.

SONGWRITING IN THE TRADITION (Carl Jones)
For this class, Carl is looking forward to celebrating the amazing, powerful, consoling, journalistic, ever-expanding and always surprising world of songs and the process of creating them. Carl has been writing songs ever since he was ten and feels blessed that he’s still compelled to do so. Discussing and discovering what comprises tradition will be an ongoing theme. Everyone will be encouraged to share their songs and “birth stories,” and to begin to write songs if their pencils are still hovering above the paper awaiting contact. Carl will use the guitar and possibly some other instruments to demonstrate some of his songs, and students are encouraged to bring their instruments of choice if they like, but your voice and thoughts are more than adequate as well. Rambling minds will be encouraged and we’re hopeful that many new songs will germinate and sprout abundantly throughout the week. Carl looks forward to growing and rambling together.

SCOTTISH TRADITIONAL SONGS/SINGING (Ed Miller)
This class will offer a chance to hear, sing and learn the language and contexts of a wide selection of Scots traditional song, from the timeless “big” ballads, broadsides and songs by Robert Burns to the songs of farmworkers, fishermen, miners and weavers. We’ll listen to how older “source” singers like Jeannie Robertson and Willie Scott presented songs, compare their styles and interpretations with those of more recent folk revival singers, then sing them ourselves. We’ll mainly use our ears to learn the songs, but songbooks and recordings will be available. As much of the Appalachian body of song comes from the Scots and Scots-Irish tradition, this class would link well with one on Anglo-American folksong. (No class limit)

THAT SOUNDS LIKE A TRADITIONAL SONG (Ed Miller)
The biggest compliment a Scottish songwriter can receive is to be told that his/her song is traditional. As great and varied as the Scots musical tradition is, it would become stagnant if it was not being continually added to and refreshed by newer songs in traditional style, but with more contemporary topics. From the thousands of songs written over the past 60 years, this class will look at and sing some which appear to be at different stages along the road to being adopted as traditional. For example, Adam McNaughtan’s humorous Glasgow songs; Mary Brooksbank’s Dundee jute mill songs; John Watt’s songs of Fife; Hamish Henderson’s anthems set to bagpipe tunes; Brian McNeill’s historical/political sweeps - these and many others continue to keep the Scots song repertoire vibrant and relevant. Singing the songs and learning about Scotland via these songs are the main themes of this class. Songbooks and recordings will be available. (No class limit)

STORYTELLING (Connie Badgett Steadman)
Come go on a journey back to a place where animals were friends and live and played together. If you are wondering where such a place could be, it’s a place called IMAGINATION! It’s the very thing that keeps that little child in us alive. We hope to awaken yours with the stories that we’ll share. We will learn how to use our minds to go way back to the days when there were no radios, TVs, DVD, etc. and create scenes that will come to life as the stories unfold. You will learn stories that will tickle your funny bone, about animals such as Brer Fox and Brer Rabbit, and how they lived together just like people. These stories were told to Connie by her mother who learned them from her father. (No class limit)

TRAD. GOSPEL SINGING (Connie Badgett Steadman)
Music calms the beast inside your soul and if the whole world could sing, it would solve many of our problems. As far back as Connie can remember, there has always been gospel singing in her home. Her father would not have it any other way. He trained his children to sing gospel music at very young ages and they still do it to this day. The traditional gospel music consisted of just voices blending together to make a beautiful harmony, usually with two or three voices and some time later, in the quartet style. Most of the songs were learned from just listening to others sing and they were simple and easy to learn. Songs known as Negro Spiritual Songs not only were used in churches and religious gatherings, but were used, especially during the slave era, to send messages, as it was one of the means of communication. Gospel music speaks to the soul of man in more ways than one. It stirs up the emotional side of man while giving praise to a higher source. One of the many things you will learn in this class will be how to depend on your own voice to sing your part without any instrument. Then the voices will be placed together to make the harmony. Connie will share with you how she was taught by her father along with other family members, how to listen, how to stand and deliver, how not to be too emotional and how to place your voice to sing the correct part (lead, alto and tenor). Please feel free to bring recorders as you will be required to learn lyrics. When you leave this class, I believe you will be truly amazed at how well you can sing gospel music, how easy it is to sing, and how much joy can come from just making music with your natural voices.

DUET HARMONY SINGING (Mark Weems & Julee Glaub)
Learn some of the specific techniques and nuances of duet singing. We will work towards choosing keys, finding parts, exploring different types of harmony, building harmony mathematically, blending voices, feeling and phrasing, and listening skills. We will learn how to adapt harmonies to different songs and various genres such as Appalachian, Irish, Gospel, and Traditional Country. The initial classes will focus on singing without instruments. This freedom from chordal structure will encourage experimentation with more diverse kinds of harmony. As the week proceeds, we will slowly introduce instruments, consider how they affect the overall harmonic sound, and discuss the creation of tasteful arrangements. It is not necessary to read music as we will be learning by ear. Bring a partner or find one in the class!

MUSIC THEORY FOR SINGERS (Milt Crotts)
Participants should have a basic knowledge of musical notation. The range of the “Star Spangled Banner” is from the tonic to a perfect fifth above the octave. By the end of this session, you’ll be able to find the perfect key for your voice and understand these “mechanical terms” for the FUNdamentals of music and singing. We’ll explore scales and modes; sight-singing by solfeggio, note names, and numbers; harmony, chords, and progressions with an “informed” ear as it relates to traditional song. (No class limit)

OH FREEDOM! AFRICAN AMERICAN
SPIRITUALS & FREEDOM SONGS (Kim & Reggie Harris)
From the days of Harriet Tubman, Frederick Douglass and the Underground Railroad, to the days of the SNCC Freedom Singers, Fannie Lou Hamer and the modern Civil Rights Movement, music has been a vital asset in the fight for freedom. This course will highlight the traditional music from these times of activism and social change. No prior experience necessary! This music is made for group participation, so come ready to sing and bring along songs from your tradition that have served a similar function in times of struggle for freedom. (No class limit)

THE ART & SOUL OF COMMUNITY SINGING (Kim & Reggie Harris)
Have you ever been part of a dynamic community sing? This type of group singing has lifted hearts, forged relationships, raised the rafters, inspired movements for freedom and literally changed lives, communities and nations. In this class we will sing, community style, a la Pete Seeger. We will also reflect on and practice the skills needed to become a great leader of song. How do you lead singing and introduce new songs to a group? What is the etiquette of a community singing gathering, versus a song swap? Is this etiquette the same in all cultures? What about harmony singing in these types of settings? No experience necessary! Just come, ready to sing. (No class limit)

TRADITIONAL COUNTRY AND HONKY-TONK SINGING (Mark Weems)
This class will survey the various country vocal styles that emerged in the South after 1945. We will focus on the distinct styles and learn the songs of Hank Williams, Floyd Tillman, Lefty Frizell, Buck Owens, Merle Haggard, and George Jones. Students will learn from these great vocal masters and then try to incorporate their own unique voicings into the songs. We will discuss the techniques of the breaking yodel, holding and fuzzing notes, throwing your voice, and getting several notes out of one word. Special attention will be paid to phrasing, pitching your voice, ornamentation, and feeling and communicating a song. Guitars and basic knowledge of chords are encouraged. Let’s go honky-tonkin’!

SINGING UNACCOMPANIED (Jeff Warner)
This participatory session will help you get your songs across to any audience. We’ll work on phrasing, control, pitch, style, performance technique and repertoire choice. Using traditional American singers as our guides we’ll explore storytelling through song. The workshop is open to all: beginners to experienced. Bring songs to sing, an open mind and a critical ear, and we’ll provide a forum for making the best choices.

SONGS OF THE NORTHEAST (Jeff Warner)
In this class, we’ll explore sea shanties and fo’c’s’le songs; old- and new-world ballads; 18th century hymns; songs out of the north woods lumbercamps of Ontario, Maine and New York; and popular songs that made their way into the tradition. We’ll learn repertoire, look at style and listen to northern traditional singers, especially those from the Anne and Frank Warner collection from the 1940s and ’50s, to see how they differ from singers of the Appalachians and lowland south.

SHAPE-NOTE AND SACRED HARP (Matt Wojcik)
This quintessentially American music has its roots in the New England of 250 years ago, but it’s very much a living tradition. On any weekend, there are singings from the Sacred Harp song book all across the country, drawing anywhere from a handful to hundreds of participants. The music itself is driving, energetic, and very satisfying to sing, with open harmonies and strong melodies for all four parts. We’ll learn favorites from the southern tradition, less well-known songs from the colonial north, and recent compositions. Experience singing in harmony from written music would be helpful, but no knowledge of the shape-note system is required. (No class limit)

CHORAL TRADITIONS (Matt Wojcik)
In this class, we’ll learn traditional songs arranged for four harmony parts. We’ll draw on a range of styles, including Shaker songs, broadsides, and shape note compositions old and new. Some of the melodies will be old favorites, others new discoveries. A couple of the songs we’ll trace through more than one version, contrasting very different arrangements. These songs are perfect for performing choirs, church groups, or participatory singings, and they’re great fun to sing. (No class limit)

SPECIAL EVENTS

Note: There is no advance registration necessary for the following events.

POTLUCK SESSIONS
In addition to the daily classes, one-hour potluck sessions on various topics selected by instructors will be offered on Monday and Tuesday afternoons, giving students the opportunity to experience the rest of the staff and sample diverse topics related to traditional song.

JEAN RITCHIE & FRIENDS
Her renditions of traditional song helped inspire the folk song revival of the 60’s and set off a wave of enthusiasm for the mountain dulcimer. What could be more appropriate for our inaugural year than to celebrate the legendary Jean Ritchie, a living primary source of traditional songs? On Thursday afternoon, we invite everyone to gather for a rare opportunity to hear Jean, her son Jon, and friends present an afternoon of her songs, stories and musical memories.

FILM: JOHN COHEN
We are honored to present one of the first public showings of the Smithsonian’s new film about the life and work of the New Lost City Ramblin’, Film Makin’, Photo Shootin’, Song and Tune Collectin’ John Cohen! Everyone come meet one of the most influential figures in the preservation of traditional American songs and music. John will be on hand afterwards to field questions.

PANEL DISCUSSION ON TRADITIONAL SONG
Friday we will all gather to culminate the week’s musical journey and hear a panel of selected staff sing and participate in an organic round table discussion about various ballad and song traditions. We will compare and contrast themes and styles from various genres such as Irish, Scottish, English, Northeastern, Southern, Appalachian, Coastal, etc.

COMMUNITY SINGS
In the afternoon, everyone is invited join voices and experience the magical moments of community singing under the direction of a new staff member each day. It will be an opportunity to learn new songs from a variety of song traditions, develop listening skills, experiment with harmony techniques and the nuances of community singing. (See schedule for details)

SINGING SESSIONS BY GENRE
After supper each night, students have the opportunity to participate in themed singing sessions led by various staff members. It is a great time to share and collect songs, build vocal confidence, and focus on individual voices within a community context and a particular style. (See schedule for details)

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 Traditional Song/Fiddle 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.