ZoukFest 2005:
See what we did
at Ghost Ranch!
ZoukFest 2005 Classes
Monday, November 7th - Friday, November 11th, 2005
1. Intermediate Irish Fiddle
Randal Bays
This workshop is intended for intermediate players, including those with a background 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. [Want to know more? Email Randal with any questions about the classes: randal@foxgloverecords.com] [Return to class list]
2. Advanced Irish Fiddle
Randal Bays
This workshop is intended for advanced 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, 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: randal@foxgloverecords.com] [Return to class list]
3. Intermediate
Irish Fiddle
4. Advanced
Irish Fiddle
John Carty
These classes are for competent players interested in honing their techniques. We’ll look at the full repertoire of traditional fiddle skills including ornamentation, bowing and melodic variation within the tune structure. The existing style of the individual will be explored and encouraged and emphasis given to adopting fresh approaches. Most of the tunes which will be explored are from the rich North Connaught tradition. The difference between the Intermediate and Advanced levels is pace—gentler for intermediates and a bit more brisk for the advanced. [Return to class list]
5. Irish Tenor Banjo
John Carty
This class will be a general banjo class. We will be looking at plectrum techniques, chord enhancements and most importantly melodic variation. The combination of simplistic playing and complicated syncopations will be explored. Participants will be encouraged to listen to Irish traditional music in general and transpose this onto the medium of the banjo. [Return to class list]
6. Intermediate Irish Flute and Tinwhistle
Shannon Heaton
We'll review the basics of tone and rhythm and by working on a few standard session tunes, we'll hone each player's individual approach and style. Intermediate players should be able to play a few tunes by heart without stopping, even if overall speed is slow and repertoire is limited. [Return to class list]
7. Advanced Irish Flute and Tinwhistle
Shannon Heaton
We'll check in with strong tone, stellar rhythm and clean, basic ornamentation. By focusing on breathing, phrasing and big picture musicality, we'll fine tune our approach to the music. Advanced means you are comfortable playing in sessions and know a reasonable number of standard tunes. [Return to class list]
8. Irish Guitar Accompaniment
Matt Heaton
For intermediate and advancing guitarists who wish to focus on Celtic music backing. Players should be able to strum a steady rhythm and change basic chords. We will cover basic rhythm and harmony choices for reels, jigs and other traditional tunes. All tunings are welcome. [Return to class list]
9. Modal Theory for Irish Music
Matt Heaton
Learn how scalar modes relate to chordal and harmonic choices in Irish music. Music reading is not required, but a basic familiarity with the notes of your instrument will be helpful. We will focus on building harmonic progressions based on the tendencies of tunes, rather than "default" chords. [Return to class list]
10. Intermediate Bodhran
Paddy League
After a brief review of basic technique, this class will focus on expanding our rhythmic and tonal vocabulary on the bodhran, exploring the different types of Irish dance tunes and developing ideas for appropriately accompanying them. Tone production and variation will be explored in depth, and the class will put a particular emphasis on developing the necessary skills for rhythmic improvisation within various metric frameworks. [Return to class list]
11. Celtic Mandolin
Luke Plumb
Description pending, please check back soon! [Return to class list]
12. Mandolin Seminar
Roger Landes, with Sharon Gilchrist, Steve Smith, Luke
Plumb, Chipper Thompson, et al.
Each day a different guest instructor will present their own perspective on the mandolin, Irish, Scottish, Bluegrass, Old Time, and Blues, as well as composition and improvisation. [Return to class list]
13. Modal Bouzouki Accompaniment
Luke Plumb
This workshop will concentrate on counterpoint – an intrinsic part of what is recognized as Celtic bouzouki playing. Over the week we will explore the principles behind counterpoint and how to approach arranging for tunes. Theoretical concepts behind counterpoint will be treated for those who have no understanding of music theory. Players are expected to have basic grasp of their instrument and be comfortable picking melodic lines on the bouzouki. This class will be taught in the tuning GDAD. [Return to class list]
14. Sessioning with the Bouzouki
Luke Plumb
We could call this arranging on the fly! In this class we will explore the use of accompaniment in a session. Players will develop their ear for the shape of a melody and how to sensitively fit around it. We will cover session etiquette and how to play around other accompanists. Players are expected to have a basic grasp of the instrument and be comfortable with chord shapes and simple picking. This class will be taught in the tuning GDAD. [Return to class list]
15. Brittany to the Balkans
16. Brittany
to the Balkans & Beyond
Stanley Greenthal
Beginning with the haunting music of Brittany and Asturias (Spain) in Western Europe, these classes will follow an eastward course through Macedonia, Greece, Bulgaria and Asia Minor. With the bouzouki as a musical thread linking these timeless folk traditions, topics will include accompaniment techniques, solo and ensemble arrangements, and learning melodies in familiar and less familiar time signatures (4/4, 6/8, 3/2, 5/16, 7/16, 9/8 and more). 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. Brittany to the Balkans is an introduction to this music, while Brittany to the Balkans & Beyond will deepen the exploration begun in the first class. Attendees of Stanley's previous "Brittany to the Balkans" classes should know that all the material in both classes is new this year.
Each class will feature different material, and enrollment in Brittany to the Balkans is not required to enroll in Brittany to the Balkans & Beyond. A capo is required, and students are encouraged to bring a cassette or mini-disc recorder, as the classes 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 of both B2B and B2B&B, players of all other instruments are welcome and invited to attend. Depending upon participants’ interests, there will be an opportunity for an ensemble performance at the end of the week. [Return to class list]
17. Rhythmic Techniques
Roger Landes
Rhythm is the one skill that seems to hold so many players back. Indeed this is the most inportant of all fundamental skills. No matter how interesting the notes you play, or how innovative your chord voicings, “it don’t mean a thing, if it ain’t got that swing” (or lilt or groove). We’ll approach the subject of rhythm from a variety of perspectives, working on our perception of rhythm as well as how that perception manifests in our playing. This class will be geared towards bouzouki players but is open to guitarists and mandolinists, or players of any string instrument. [Return to class list]
18. Balkan & Middle Eastern Violin
Beth Bahia Cohen
[Return to class list]
19. Balkan & Middle Eastern Percussion
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 DARABUKAH – 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 class list]
20. An introduction to Middle Eastern Music for Instrumentalists
Gari Hegedus
Explore the sublime quality and texture of music from Turkey, Egypt, North Africa, Greece, and Persia. Participants will learn about the fascinating modal systems and ornamentation of these areas by lecture-demonstration on many instruments, including the Oud, Saz, and Violin. Instrumental pieces from the classical and folk repertoire of these regions will be taught, along with traditional techniques and creative applications for improvisation, also known as Taqsim. Beginners through advanced players are all welcome. [Return to class list]
21. Balkan/Middle Eastern Ensemble
Cohen, Drakulich,
Ferber, Hegedus & League
In this class we will learn songs, melodies, rhythms and accompaniment from Egypt, Turkey and Bulgaria while creating a full ensemble sound. Singers and instrumentalists of all levels are welcome. Enrollment in Eastern European Singing with Vocal Awareness Techniques, An Introduction to Middle Eastern Music for Instrumentalists, Balkan/Middle Eastern Percussion, Balkan/Middle Eastern Violin is not required. This ensemble class provides an opportunity for those who cannot take those classes to still experience this music. But taking this Ensemble class is also encouraged for those who are taking Sonja’s, Gari’s, Beth’s or Polly’s classes in order to further advance skill level and add to their repertoire. Players of any instrument may enroll in Gari’s ensemble class; vocalists may enroll in Sonja’s, violinists and fiddlers in Beth’s, and percussionists in Polly’s. The ensemble will be divided into three sections; vocal instrumental & percussion, for the first three days. All three sections will meet together on the last two days, followed by a performance on Friday evening. [Return to class list]
22. Eastern
European Singing with Vocal Awareness Techniques
Sonja Drakulich
Designed for all levels, from those who are new to singing to the professional singer looking for new techniques. Together we will locate and identify vocal placement and the centering of the voice, creating a range of tonalities and expanding the vocal palette. We will develop breath consciousness in the body, creating a strong foundation for our sound. Our body is our instrument, so we’ll explore posture, stretching and methods for maintaining vocal health. Songs and exercises from Bulgaria will be taught with emphasis on freeing the chest voice. Delicate and powerful ornamentation from Eastern Europe and Persia, which may be utilized as an addition to the individual’s personal expression, will also be explored. [Return to class list]
23. Singing from the Heart: Songs from Scotland, Ireland and Early
America
Connie Dover
The gorgeous palette of songs from the related traditions of Scotland, Ireland and early America offers a unique opportunity for personal expression. By directing our attention to the message within the music, we can tap into the passion and intensity that are the defining qualities of these powerful vocal genres.
We’ll explore the meaning each song holds for us, blending musicianship with self-awareness to acquire tools for creating a transformational singing and listening experience. Learning by ear, we will focus on unaccompanied singing – ballads, love songs, pastoral and recreational pieces – as we look for the historical and emotional context of each song. How do we, as modern singers, breathe life into the words and music of our ancestors?
Part of our daily practice will be to cultivate an interior sanctuary that will provide a stable and enduring power source from which to sing as we address the questions: Where does a song come from? How can our performance survive the personal gauntlets of self-criticism and negativity? As we learn to draw on the strength of our individual connection to a song, we will study ornamentation, note decoration, phrasing and intonation, integrating vocal technique with body and breath awareness to expand and enrich our breadth of interpretation. [Return to class list]
24. Early English Song
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 class list]
25. Singer's Lab
Dover, Mariani, Drakulich, Thompson, et al.
This workshop type class is an opportunity for students to sing - for
each other and for ZoukFest's vocal staff - gaining performance experience
and constructive criticism in a comfortable, non-competitive environment. The
Singer's Lab proved to be an extremely valuable experience for ZoukFest
2002-3 participants, increasing confidence by instilling in students
an awareness of the deep emotional core within each singer that is
the foundation for a relaxed and inspired performance.
[Return to class list]
26. Getting Your Music Past the Fear
Don Richmond
In his first-ever workshop based on his ground-breaking book, singer, songwriter, multi-instrumentalist, engineer and producer Don Richmond will help you get your music past fear in all its guises. In Getting Your Music Past the Fear Don draws on years of experience to sketch the psychological landscape of performance, offering ideas and techniques to help shorten the time necessary to learn to navigate it.
Don writes: "I work with musicians nearly every day either recording them in my studio or playing at various gigs, and I don't know anyone who doesn't have to deal with these issues of fear. Most people who have been doing it awhile have found their own way of working through or around the fear, and these ways may work well or perhaps could be improved. Or perhaps they work well up to a point but the musician feels stuck at a certain level and is unable to move beyond and break through to a better place in their career. And of course there are many more musicians, perhaps just starting out, whose music is not getting out at all because it is blocked behind walls of fear."
The discussion and exercises will help you get your music past the fear in a wide range of areas, including performance, songwriting, recording, business and promotion. [Return to class list]
27. Polyrhythm: the Multidimensional World
Douglas Goodhart
This course is for advanced musicians through beginners; everyone will be kept busy and challenged. Using several polyrhythmic traditions, students will learn to think polyrhythmically and begin the process of polyrhythmic fluency.
Thinking in a polyrhythmic context 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.
We will play music of the Dagbamba people of northern Ghana (Takai, Baamaya), the Ewe people of southern Ghana (Agbekor, Agbadza), and Lucumi music and songs from Cuba (Chango, Yemaya). We will also explore polyrhythmic traditions of Mexico and South America. [Return to class list]
28. 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 class list]
Most staff members are willing to give private lessons, time permitting, on a first-come basis. Fees for these will be set by and paid directly to the Instructor. ZoukFest encourages students to take advantage of this opportunity. [Return to class list]
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