ZoukFest 2008 Classes
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1. Introduction to Irish Fiddle Randal Bays
2. Intermediate Irish Fiddle Randal Bays
3. Irish Guitar Accompaniment (DADGAD) Randal Bays
4. Fingerstyle Guitar in Open Tunings Mason Brown
5. Irish Tenor Banjo: Tunes & Techniques Dave Cory
6. Irish Guitar: Standard Tuning Dave Cory
7. Balkan & Middle Eastern Percussion I Polly Tapia Ferber
8. Balkan & Middle Eastern Percussion II Polly Tapia Ferber
9. Exploring Turkish & Greek Music: A Multi-Faceted Approach Kaila Flexer
10. Structured Improvisation Kaila Flexer
11. Rhythm Challenge Douglas Goodhart
12. Long-Bow Fiddling of West Virginia Douglas Goodhart
13. Cajun Ensemble Douglas Goodhart
14. Irish Flute/Whistle Eliot Grasso
15. Variation in Irish Traditional Music Eliot Grasso
16. Fest Breizh: Music of Brittany Stanley Greenthal
17. Kafana: Music of the Balkans & Beyond Stanley Greenthal
18. Jump Start Bouzouki Roger Landes
19. Bodhran Roger Landes
20. Early English Song Angela Mariani
21. Introduction to Medieval Music Angela Mariani
22. Folk Song/Vocal Ensemble Workshop Steve Paxton
23. Celtic Mandolin Luke Plumb
24. Planxty II: More of the Sound of 16 Strings Luke Plumb with Roger Landes
25. Andy Irvine Bouzouki Seminar Luke Plumb
26. Getting Your Music past the Fear Performance Workshop Don Richmond
27. Songwriting Workshop Don Richmond
28. Anglo-Celtic Song Moira Smiley
29. Balkan Voice Moira Smiley
30. Voice Seminar Moira Smiley
31. Celtic Back-Up for All Instrumentalists I Chris Smith
32. Celtic Back-Up for All Instrumentalists II Chris Smith
33. Americana Mandolin Steve Smith
34. Americana Guitar Steve Smith
35. Basic Music theory for Traditional Music Steve Smith
36. Jump Start Mandolin Chipper Thompson
37. Introduction to Blues Guitar Chipper Thompson
38. Audio Production for Acoustic Music Instructor TBA
2008 Schedule
Classes run from Monday, June 9th, through Friday, June 13th, and this schedule is subject to change. Click on the image to see a larger version. You can also download a PDF version here>>
Class Descriptions
1. Introduction to Irish Fiddle
Randal Bays
This class is intended for players with experience on the instrument but not much experience in Irish traditional music. The focus is on bowing, rhythm and ornamentation, but also covers more general subjects like repertoire building, how to take part in a session, etc. Tunes will be taught by ear and music will be handed out for reference. Feel free to email Randal with any questions about the classes: randalbays@whidbey.com. [return to list]
2. Intermediate Irish Fiddle
Randal Bays
For players who’ve been playing Irish fiddle for a while and who want to take their music to a higher level of expression and musicality. It’s a “nuts and bolts” workshop, dealing with the mechanics of bowing, ornamentation, left-hand technique, and especially rhythm. I’ll teach one or two tunes by ear and then use those as vehicles for demonstration. The main thrust of the workshop is learning to control the bow and use it to create the sounds that you want your listeners to hear. I’ll hand out music to the tunes learned in class, and also specific exercises and ideas for further exploration. Feel free to email Randal with any questions about the classes: randalbays@whidbey.com. [return to list]
3. Irish Guitar Accompaniment DADGAD
Randal Bays
As the title states, this class will be limited to the accompaniment of Irish dance tunes in DADGAD tuning, using a flat pick. Participants should be familiar with at least the basic chords in DADGAD, and be comfortable using a flat pick. The main focus will be on understanding the rhythmic and harmonic nuances of Irish music and examining ways to provide support for the melody. There will be some handouts with chord charts for individual exploration and a brief overview of basic music theory and chord relationships. [return to list]
4. Fingerstyle Guitar in Open Tunings
Mason Brown
This class will cover five tunings and how to approach them from tune arrangement to song accompaniment, with discussion of two, three and four-finger picking techniques, chord shapes and transference among tunings, and the use of the guitar as a clawhammer banjo with percussive guitar “frailing.” [return to list]
5. Irish Tenor Banjo: Tunes & Techniques
Dave Cory
This class will be separated into two subjects: “Repertoire/Playing Styles”, and “Techniques, Ornaments/Tricky Stuff”. For Repertoire/Playing Styles, I’ll break down and teach tunes from unique and representative Irish banjo recordings. We’ll set aside some time to focus on “Techniques, Ornaments/Tricky Stuff” – i.e., ornamentation and advanced techniques. [return to list]
6. Irish Guitar: Standard Tuning
Dave Cory
The guitar is an excellent instrument for playing Irish melodies, as well as being a standard choice for rhythmic accompaniment. I will again divide the class into two subjects, this time into flat-picking and rhythm. I will teach mostly in standard tuning, but can also put some focus on drop-d tuning if there is interest. [return to list]
7. Balkan & Middle Eastern Percussion I
Polly Tapia Ferber
This class will familiarize you with the technique, time signatures, and rhythm patterns commonly used in percussion of the Middle East and the Balkans. You are welcome to participate in these classes using any of these different types of hand drums: Doumbek or Darabuka – an hour-glass shaped drum, Riqq – tambourine (not played in the western style), Bendir or Tar – frame drum. Lessons focus on rhythm notation, rhythm patterns, developing a good rhythm sense, timing, and cultural information. [return to list]
8. Balkan & Middle Eastern Percussion II
Polly Tapia Ferber
This class will explore advanced techniques and rhythms in Middle Eastern and Balkan percussion, including playing in multiple parts. Participants are welcome to play dumbeq or darabuka, riqq, and frame drum. Please provide your own instrument(s). [return to list]
9. Exploring Turkish and Greek Music: A Multi-Faceted Approach
Kaila Flexer
We’ll listen to a wide variety of music, learn some of this repertoire, work with transcribing tools such as The Amazing SlowDowner, discuss makam, improvisation and stylistic idiosyncrasies of this incredible music. [return to list]
10. Structured Improvisation
Kaila Flexer
There are as many ways to improvise as there are styles of music in the world. Improvising doesn’t have to mean negotiating a bebop chord progression with a chord on each beat! The act of improvising can be exhilarating and gratifying — a way of expressing ideas, emotion, humor and your inner quirkiness. Through simple improvisational exercises, call and response and simple forms such as working with drones, blues progressions and simple folk songs, students will be improvising with confidence by the end of this workshop. [return to list]
11. Rhythm Challenge
Douglas Goodhart
This course is for advanced musicians through beginners; everyone will be kept busy and challenged. Using a myriad of rhythmic patterns, students will learn to play and think in multiple rhythms simultaneously and begin the process of rhythmic fluency.
Melody players require a heightened sense of rhythmic precision in order to do their job. Accompaniment players need the same in order to match and enhance melody players. In class, we will then use our new awareness to discover how we might support each other in our ensembles and bring new rhythmic energy to the foreground.
We typically speak of rhythmic placement of beats as lilt or groove. For example, we say…a little before the beat or a little after the beat. We say more dotted or less dotted when describing how we want our music to unfold rhythmically. But these are very general, non-specific ways of talking about the very specific role of melody as a rhythmic element. What if we could put a hypothetical “rhythm meter” on our playing to find out just where our beats really lie? We would know each beat’s “street address.” For ensemble playing we would know the street address of our neighbors, as well.
We typically divide a 4/4 measure into 4, then 8, then 16 notes, etc. What if we simultaneously divide the same measure into 3, 6, 9 and 12? What if we can keep both of these sets of divisions in our heads at the same time?? All of a sudden we have a complex overlay of beats that relate to each other and define each other. We find that what we were describing as a “feel” is actually the rhythmic “street address” of each and every beat we play, as well as the addresses of the silences in between.
This approach frees musicians in unexpected ways: solidifying our internal sense of rhythm; enhancing our perception of the natural world of sound; improving our ensemble playing skills; allowing us to engage with some of the world’s most attractive and complex music. [return to list]
12. Long-Bow Fiddling of West Virginia
Douglas Goodhart
This course will teach one of the most unique fiddle styles of North America, West Virginia long-bow fiddling. One of the many fiddle styles of the upper South, long-bow style has features that set it apart: bowings that are often grouped in 3, 4, or 5 notes per bow (as opposed to 1, 2, and 3 notes per bow in most styles; bizarre string crossings not found in other regions of Appalachia; ornaments such as rolls and mordents; the tunes themselves are unique and often have no other source in the U.S. outside of their region of West Virginia.
Students will learn several interesting tunes and their bowings. Several bowings will be presented for a given phrase, along with other key elements of the style. Tune sources will come from Edden Hammons, Henry Reed, Alan Jabbour, among others.
It is thought that some elements of older Irish fiddling are contained in this isolated, regional style. If you’re into Irish music, you’ll love these wild, elegant tunes–and the connections! [return to list]
13. Cajun Ensemble
Douglas Goodhart
We’ll form our own Cajun dance band with Cajun accordion (one row button accordion in D or C), fiddle, guitar and voice; Fiddlers will learn the lead melody for two Cajun waltzes and two Cajun two-steps, as well as the appropriate double-stop accompaniment for each piece. Guitarists will learn the chordal accompaniment for the same waltzes and two-steps. Singers will learn a verse or two of each song in Cajun French.
The style we will be learning is a prairie Cajun style of southwest Louisiana. Since we are learning dance music we’ll also learn to dance the Cajun waltz and Cajun two-step, which are stylistically different from other waltzes and two-steps. Don’t worry, it’s easy. We will also touch on the history of the region, the songs and the musicians who made the music we are playing.
The triangle is not as popular as it once was, but is a great sound. If there are those interested I can show you how it works and we can add it to the ensemble.
[Accordion players, please email me in advance of ZoukFest as to your skill level and accordion key (tonal center)] [return to list]
14. Irish Flute/Whistle
Eliot Grasso
This course will offer ornamentation and repertoire generally associated with Irish traditional flute and whistle. Repertoire will be used as a point of departure to introduce new techniques and improve upon such that are already familiar. Other points of focus will include breathing and tone production in an effort to explore the sound-producing potential of your specific instrument. To get the most from this course, please bring a recording device, blank music manuscript paper, and a pencil. [return to list]
15. Variation in Irish Traditional Music
Eliot Grasso
In its most advanced form Irish Traditional music manifests slight alterations to a basic and understood foundational tune in order to enhance the performing and listening experience for both the musician and the audience. For many masters of Irish style, these types of variations are natural and assimilated to the level of speech, however there are varying types and degrees of potential variation in a given tune that often go unexplained or unnoticed. This course will deconstruct and explain in simple terms the process for practical application of assorted types of variations in Irish Traditional music.
The ability to read music and knowledge of basic musical theory is not required to appreciate the complete offering presented in this course, but any prior knowledge will expedite the process. To get the most from this course, please bring a recording device, blank music manuscript paper, and a pencil. [return to list]
16. Fest Breizh: Music of Brittany
Stanley Greenthal
In this class, we’ll learn to play the haunting melodies and hypnotic dance tunes that accompany the ancient traditional circle and line dances, still practiced today in Brittany, a unique region that lies in the northwest of France. With the bouzouki as a musical thread, topics will include techniques for accompaniment and melody playing, and how to create solo and ensemble arrangements. Some knowledge of the bouzouki tuned GDAD is recommended, though all skill levels are welcome, as are players of both 8 and 10 string instruments. A capo is required, and students are encouraged to bring a recording device, as the class will be taught by ear. Students will come away with a number of beautiful tunes to work on at home for future musical exploration. Bouzouki chord sheets will be provided. While the bouzouki is the focus, players of all other instruments are very welcome and invited to attend. Depending upon participants’ interests, there will be an opportunity for an ensemble performance Saturday afternoon at the end of the week. [return to list]
17. Kafana: Music of the Balkans & Beyond
Stanley Greenthal
Welcome to the Balkan kafana, where we will follow an eastward course through Macedonia, Greece, Crete, Bulgaria, and Asia Minor, learning beautiful pieces from these timeless folk traditions. Again, the bouzouki will be the musical link, and topics will include accompaniment techniques, solo and ensemble arrangements, and learning melodies in familiar and less familiar time signatures (4/4, 6/8, 5/16, 7/16, 9/16 and more). While the bouzouki is the featured instrument, players of all other instruments are very welcome and invited to attend. Depending upon participants’ interests, there will be an opportunity for an ensemble performance Saturday afternoon at the end of the week. [return to list]
18. Jump Start Bouzouki: Fundamentals & Technique
Roger Landes
A course for those who are new to the bouzouki or any who want a firm grounding in the fundamentals, we’ll focus on right and left hand position, posture, picking & strumming patterns, tone production, tunings, chords, capos, choosing an instrument, instrument care, etc., etc. [return to list]
19. Bodhran
Roger Landes
Basic techniques for the Irish frame drum; accompanying Reels, Jigs, Hornpipes, Polkas, Marches. (Drums will not be provided, but beginners might be surprised how far they can get playing a pizza box!) [return to list]
20. Early English Song 1
Angela Mariani
This course will explore examples of early English language song, drawing on medieval Middle English lyric, Elizabethan lute songs, broadside ballads, and traditional English-language ballads of the British Isles and Ireland. This is primarily a singing course, but participants are welcome to bring their instruments for accompaniment purposes. We’ll learn the songs primarily by ear, but notated music and written lyrics will also be available for you to take home. Note: Be prepared to grapple with early English lyrics and pronunciation, which will be fun! [return to list]
21. Introduction to Medieval Music
Angela Mariani
What did medieval song sound like? How was it performed? How much do we know about medieval instrumental music, and how was it used? We’ll address these questions through an exploration of several specific medieval songs and dances from Europe and the British Isles, and discuss approaches to mode, lyrics, rhythms, and performance arrangements. The class will include both singing and playing, so singers and instrumentalists are all welcome. It’s not necessary to be able to read early notation (although we may look at some examples just for fun), and it’s not necessary to have a “historical” instrument, although it’s fine if you do! [return to list]
22. Folk Song/Vocal Ensemble Workshop
Steve Paxton
Over the decades (especially in the 20th century), major classical music composers have created choral works based on folk music of their own and other cultures. In a workshop/ensemble setting, we will rehearse such works by Bela Bartok, Benjamin Britten, Igor Stravinsky, and others, as well as original works composed or arranged by class members and other ZoukFest participants. (Singers, composers and arrangers are encouraged to enroll; music reading ability required.) [return to list]
23. Celtic Mandolin
Luke Plumb
Luke will explore the stylistic variations between Irish, Scottish and Asturian traditional tunes. Use of picking patterns, ornaments and rhythmic effects will be employed to highlight these variations. Sound recorders welcome. [return to list]
24. Planxty II: More of the Sound of 16 Strings
Luke Plumb with Roger Landes
Luke will examine the sound of twin bouzoukis (and bouzouki w/mandolin or mandola) as pioneered by Andy Irvine and Dónal Lunny in the seminal Irish folk group Planxty. Covered in the workshop will be the contrasting approaches to accompaniment of tunes and songs, how the two styles complement each other and the ideas that each player employs. Sound recorders welcome and notes will be provided! [return to list]
25. Andy Irvine Bouzouki Style
Luke Plumb
A detailed analysis of Irish bouzouki pioneer’s style. Monday and Tuesday we’ll have an overview of Andy’s work since the days of Sweeney’s Men, through Planxty, Patrick Street and Mozaik. Wednesday through Friday Andy himself will participate in the class. [return to list]
26. Getting Your Music past the Fear Performance Workshop
Don Richmond
Getting Your Music Past the Fear Performance Workshop is an exploration of what works in live performance, what gets in the way, and how to get past it. Instructor Don Richmond will draw from his 35+ years of performing experience, his 20 years of recording engineering and producing, and from the material in his book “Getting Your Music Past the Fear” to explore the unique realm of musical performance. The class will consist of about 25% discussion and 75% performance, with further discussion and exploration of what is brought up by the performances. Don will also bring in guest instructors to share their perceptions of performance and what works for them. [return to list]
27. Songwriting Workshop
Don Richmond
Full description soon! [return to list]
28. Anglo-Celtic Song
Moira Smiley
Irish Sean Nós; Scottish and English Child Ballads and Airs; Appalachian songs. We’ll learn some of each and really dig into the differences in timbre and performance style. We’ll focus on both solo and harmony singing (include Shape-Note Hymns). [return to list]
29. Balkan Voice
Moira Smiley
We’ll learn basic dance-song repertoire, explore contrasts of solo/group song, village/urban, mountain/plains, vocal techniques and what makes up the quintessential sounds of the various south Slavic voice-styles. [return to list]
30. Voice Seminar
Moira Smiley
Five topics in five days:
A Wildly Versatile Voice - How to truly use all the colors in your voice. Get the gritty, technical, sensual sense of how the voice can draw powerfully on vocal wisdom from traditional Irish to Bulgarian solo song, South African choral improvisation to opera recitative. Learn - by singing - how timbres, ornaments and language can expand your own sound and pull you in new directions.
Voices As Instruments - What if you have just your voice and your body to make melody and rhythm with? Creating vocal parts that defy the tried and true is an exciting way to discover new roles for your voice (and your bandmates’ voices). Avoiding the cliché pitfalls of the “a cappella” use of voices-as-band-instruments, we extend the voice to be rhythm, loop, bass, harmony and high flying improvisation instrument
Vocal Harmony - Drawing on some of the traditions that inspire, but may be unfamiliar to us (folk Eastern Europe, Ireland, Inuit, S. Africa, medieval Europe and others that you bring to the table…), we break down vocal harmonies across cultural bounds. Then we see how we can bring some harmonic surprises into our own songs.
Physical Theatre of Song - Many of us don’t use our physicality as much, or how we want when we perform. By doing playful, physical exercises and games that make us think about the power of our gaze, the flexibility of our core, our legs, our arms and the ability of our bodies to be instruments as much as our voices, guitars and keyboards. Body percussion, commedia del arte and physical theatre elements will be brought into the fun.
Vocal Improvisation - From a simple break (solo) in a song, to an extended, emotional improv to an incredible dialogue with other singers and musicians - here are some super fun, illuminating games and exercises and just plain supportive space for vocal improvisation. [return to list]
31. Celtic Back-Up for All Instrumentalists I
Chris Smith
The most crucial function of a chordal instrument in a Celtic session is to provide tasteful, imaginative, and supportive accompaniment. This class provides a jump-start into the world of improvised accompaniment and contains information on the theory, conception, stylistic considerations, procedures and resources for accompaniment - particularly in an improvisational setting. [return to list]
32. Celtic Back-Up for All Instrumentalists II
Chris Smith
An advanced course in the improvised counterpoint in the style of Andy Irvine, Alec Finn, Donal Lunny, John Doyle, and other greats. Prerequisite is “Celtic Backup for All Instrumentalists I”. [return to list]
33. Americana Mandolin
Steve Smith
We’ll approach mandolin rooted in Old Time traditions from fiddle tunes to hard driving Bluegrass and modern mandolin styles. Developing tools for rhythm and soloing are always at the forefront of musical growth and we’ll to learn to use scales to explore the fingerboard, play through changes, change textures, positional playing techniques for playing in any key and transposition and moving chord voices to add or change color in backup. Right hand development, a most important part of mandolin playing, will be emphasized as will ear training. Handouts of chords, scales, and tunes will be included in standard notation and tab. Recorders are encouraged. [return to list]
34. Americana Guitar
Steve Smith
Using Old Time, Bluegrass and Americana style tunes as a vehicle, we’ll look at how to develop solos using scales and patterns in the left hand, developing rhythm patterns and groves, including straight strums, alternating bass and bass lines, and how they relate to different styles. (How many ways might we be able to play the same tune)? We’ll also look at how to drive the rhythm with those patterns and how to put air and space into the grove. Right hand development for soloing and rhythm playing is essential often over looked and will be addressed including straight and cross picking. Handouts will include chords, scales and tunes and presented in standard notation and tab. Recorders are welcome. [return to list]
35. Basic Music theory for Traditional Music
Steve Smith
This course will explore chords and scales, from tonal and modal to major and minor and their basic functions in traditional music. How and why chords work together and are constructed and what types of scales to use with them. We’ll also search for ways to alter chords and chord progressions to change the tone or color of a song. Handouts included. [return to list]
36. Jump Start Mandolin
Chipper Thompson
An entry-level class for aspiring mandolin players in any musical genre. We’ll take a broad approach to learning, with time spent on body-to-instrument relationship, tuning, finger exercises, picking patterns, chord structures, scales, tunes, and song accompaniment. Time and interest will dictate specific musical styles we’ll explore, but some possibilities include Old Time, Bluegrass, pan-Celtic, Blues, and Singer-songwriter. Recording devices are welcome in class and students are encouraged to arrive with specific goals and/or questions. [return to list]
37. Introduction to Blues Guitar
Chipper Thompson
We’ll learn all the basics, from tuning up and finger exercises, through basic pick manipulation and Blues rhythm patterns in a variety of typical keys, to the beginnings of Blues soloing and some work with open tunings and bottleneck slide styles. Recording devices are welcome in class, and students are encouraged to show up with specific Blues heroes they’d like to emulate. Not that we’ll get to everything, of course… part of understanding the blues is learning to take the time to smell the frying catfish! [return to list]
38. Audio Production for Acoustic Music
Instructor TBA
This course will explore recording acoustic instruments for record production. Topics will include microphone types and placement, “pop” production styles and techniques, and live ensemble recording. Students will have the opportunity to both perform and engineer on recording sessions. Please come with material prepared to record for a short student CD compilation. [return to list]
