ZoukFest 2011 Classes
NOTE: Classes and descriptions are subject to change. This page shows the current information!
Classes listed with a “I” are Beginning level. “II” denotes an Intermediate class, and “III” is Advanced. Note that you can share or send this page via the “Share” button at the bottom!
Click on class to jump to description! For schedule, click here.
1. Intermediate to Advanced Irish Fiddle Randal Bays
2. Irish DADGAD Guitar Accompaniment Randal Bays
3. Irish Fiddle Master Class Randal Bays
4. Intermediate Irish Flute Blayne Chastain
5. Irish Tin Whistle I Blayne Chastain
6. Irish Tin Whistle II Blayne Chastain
7. Alec Finn Irish Bouzouki Alec Finn
8. Introduction to Irish Fiddling Laura Flanagan
9. Rhythmning* Douglas Goodhart
10. Long-Bow Fiddling of West Virginia Douglas Goodhart
11. French Traditional Music Douglas Goodhart
12. Advanced Irish Flute III Eliot Grasso
13. Variation in Irish Traditional Music Eliot Grasso
14. Irish Uilleann Pipes Eliot Grasso
15. Feist Breizh: Breton Music Ensemble Stanley Greenthal
16. Arranging Songs with Bouzouki & Guitar Accompaniment
Stanley Greenthal
17. Yoga for MusiciansAna Guia
18. Irish Mandolin Roger Landes
19. Jump Start Bouzouki: Fundamentals & Technique
Roger Landes
20. Balkan EnsemblePaddy League
21. Balkan Fiddle StylesPaddy League
22. Irish Piano AccompanimentBrian McGrath
23. Irish Tenor BanjoBrian McGrath
24. Irish Bouzouki Accompaniment Luke Plumb
25. Arranging for Celtic BandLuke Plumb
26. Anglo-Celtic SongMoira Smiley
27. Balkan VoiceMoira Smiley
28. Americana MandolinSteve Smith
29. Americana GuitarSteve Smith
30. Basic Music Theory for Traditional Music Steve Smith
Intermediate to Advanced 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: rsb@randalbays.com.
Irish Guitar Accompaniment: DADGAD
Randal Bays
Learn about tasteful accompaniment of Irish dance tunes in DADGAD tuning, using a flat pick. We’ll work on understanding the rhythmic and harmonic nuances of Irish traditional music, always with an eye to supporting the melody. There will be some handouts with basic DADGAD chord shapes, and we’ll spend a lot of time working on the various rhythms and picking patterns. Questions? Email Randal: rsb@randalbays.com [return to top]
Irish Fiddle Master Class
Randal Bays
Irish Fiddle Master Class Int./Adv. – Getting deep into Irish fiddling? Feeling a bit frustrated (like all fiddlers)? In this “master class” students will play for and take advice from Randal, while the rest of the class observes. It’s valuable not just for the players but also for the observers, as we get down to the fundamental task of making great music come out of those f-holes. We’ll need at least a few students willing to be the players, working with Randal on one or two pieces during the week, so please let me know if you’re interested. Open to intermediate to advanced fiddlers. I’ll be as tough on you as I am on myself… well, close to it anyway. Questions? Email Randal: rsb@randalbays.com [return to top]
Intermediate Irish Flute
Blayne Chastain
Coming initially from a non-woodwind background myself (guitar and piano), I know the struggle it can be to get a priper sound out of the flute! In this course we’ll focus on the foundational techniques and concepts key to success with a continued emphasis on TONE! While we progress from foundational techniques such as grip, posture, fingering, scales, breathing, articulation, etc., to learning a handful of nice tunes incorporating ornamentation. Don’t forget to bring a recording device! [return to top]
Irish Tin Whistle I
Blayne Chastain
In spite of its apparent simplicity there is a lifetime of learning and enjoyment to be had with this 6-holed pipe we call the tin whistle! As with any instrument a proper foundation is key to success and that is what we’ll seek to lay down during this course, starting with the basics—figering, scales, octave transitions, breathing, simple tunes, etc.—and progressing to the incorporation of ornamentation into our growing traditional Irish tune repertoire. Don’t forget to bring a recording device! [return to top]
Irish Tin Whistle II
Blayne Chastain
How do we take our playing to the next level? Have you been playing a while and feel as though you’re stuck in a rut, or are you one of those quick studies who is itching to go deeper? This course will use tunes as the primary vehicle in which to work on thoughtful phrasing, breathing, tone, ornamentation, variation, etc.
More advance ornamentation will be covered such as cranns, double cuts, bounces, strikes, etc. Music theory as it applies to advancing whistle players will also be discussed in relation to incorporating variation into our playing. A recurring emphasis on playing the 10 tunes you know well vs. playing 100 tunes poorly and striking a balance—the difference between mass tune acquisition and making a tune your own.
Tunes will be taught by ear. Sheet music will be provided to take home. Don’t forget to bring a recording device! [return to top]
Alec Finn Irish Bouzouki
Alec Finn
Alec Finn + Bouzouki. ‘Nuff Said. [return to top]
Introduction to Irish Fiddling
Laura Flanagan
This class is for students who have not been playing Irish fiddle for more than a few years, or those who have some fundamentals that they need to work on. We’ll learn what makes the Irish fiddle style so unique, particularly its rhythmic characteristics and work on getting the “feel” right. We’ll cover the basics such as bowing; left and right hand ornamentation; different tune types and how to identify them. We’ll learn tunes “by ear” (without sheet music) and discuss strategies for continuing to learn this way at home. This class is appropriate for folks who have a familiarity with the instrument, but who know fewer than 50 Irish session tunes they can play from memory and at tempo. Students who are unsure if they are ready for Randal Bays’ Intermediate/Advanced Irish Fiddle class are encouraged to take this class and audit Randal’s class.
Rhythmning*
Douglas Goodhart
Melody players require a heightened sense of rhythmic precision in order to do their job, and accompanists need the same in order to enhance melody playing. We’ll learn to think and play in multiple rhythms simultaneously as a path to rhythmic fluency. This approach frees musicians in unexpected ways: solidifying our internal sense of rhythm; enhancing our perception of the world of sound; improving our ensemble playing skills; allowing us to engage with some of the world’s most attractive and complex music. With this awareness we’ll discover how to support one another in our ensembles and bring new rhythmic energy to the fore.
This course is for everyone from beginning to advanced musicians; everyone will be engaged and challenged.
(*“Rhythmning” is borrowed from the title of one of Thelonius Monk’s tunes. Thanks, Monk!) [return to top]
Long-Bow Fiddling of West Virginia
Douglas Goodhart
One of the many fiddle styles of the upper South, West Virginia 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 are 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 top]
French Traditional Music
Douglas Goodhart
Open to all instruments this ensemble class will focus on French bourees from the regions of Limousin, Berry, le Bourbonnais, and Auvergne. We will learn bourees in triple and duple time and play them as they might be played at a dance, or bal folk. These simple melodies are infectious, as well as being quite challenging rhythmically. There is an “unevenness” to the rhythm of bourees in triple time of certain regions and so we will learn the rhythmic style and feel associated with those regions. Those of you with bagpipes, fiddle, flute, whistle, bouzouki, mandolin, guitar, accordion or hurdy-gurdy are welcome to enroll. [return to top]
Advanced Irish Flute III
Eliot Grasso
This course offers nuances of style and repertoire associated with Irish traditional dance music played on the flute. The repertoire taught here 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. [return to top]
Variation in Irish Traditional Music
Eliot Grasso
Proficient practitioners of Irish traditional music deploy alterations to a basic and understood foundational tune over successive repetitions 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 at a comfort level comparable to the spoken word, 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. [return to top]
Irish Uilleann Pipes
Eliot Grasso
This course offers nuances of style and repertoire associated with Irish traditional dance music played on the uilleann pipes. The repertoire taught here will be used as a point of departure to introduce new techniques and improve upon such that are already familiar. [return to top]
Fest Breizh: Breton Music Ensemble
Stanley Greenthal
Learn to play the haunting melodies and 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. In this class the goal is to create an ensemble using the instruments students contribute to capture this hypnotic sound. While bouzouki and guitar provide the musical thread, players of all other instruments are very encouraged to attend. Topics will include techniques for accompaniment and melody playing, and how to compose solo and ensemble arrangements. All skill levels are welcome. For guitar and bouzouki players, a capo is required, and students are encouraged to bring an audio or video 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 (GDAD) and guitar (DADGAD) chord sheets will be provided. Depending upon participants’ interests, there will be an opportunity for an ensemble performance at the end of the week. < [return to top]
Arranging Songs with Bouzouki and Guitar
Stanley Greenthal
A song can be great, but finding the right arrangement to communicate its essence can be challenging. In this class, we will take as examples some current favorite traditional and original songs from Ireland, Scotland and North America to cover a range of accompaniment techniques and arrangement possibilities for bouzouki and guitar. Depending upon student interest, topics may also include songwriting and composing, and arranging with other instruments. Students will be encouraged to develop their own personal accompaniment style, and to bring songs they are working on. All skill levels are welcome. A capo is required, and an audio or video recording device is recommended, as the class will be taught by ear. Song lyric sheets with bouzouki (GDAD) and guitar (DADGAD) chords will be provided. Students will come away with several great songs to sing and develop further at their own pace. [return to top]
Yoga for Musicians
Ana Guia
This morning yoga class will focus on postures (asanas) and breathing techniques designed to address issues specific to singers and instrumentalists. After the Indian fashion, emphasis will be given to finding the proper poses and sequences for each individual’s needs – whether one simply desires a gentle morning warm-up or has a particular discomfort to address. The goal of the class will be to impart the tools for each student to develop their own tailor-made yoga routine to practice at home, contributing to mental and physical wellness and working towards eliminating discomfort from the experience of playing music. [return to top]
Irish Mandolin
Roger Landes
In this course we’ll focus on technique for reproducing Irish traditional music on the mandolin borrowing concepts (cuts, taps, trebles, triplets, rolls, cranns, etc.) from the core melody instruments in the tradition (fiddle, flute, tin whistle, uilleann pipes). We’ll learn several tunes that will stretch our playing and dig into some old favorites with new ideas for rhythm, ornamentation, and variation. Tunes will be posted for download (to Box.net by May 1st) for learning before we meet in class. [return to top]
Jump Start Bouzouki: Fundamentals & Technique
Roger Landes
This course is an excellent choice for those who are new to the bouzouki and want a firm grounding in the fundamentals, but it has also been popular with experienced players who want to strengthen the foundations of their playing. We’ll focus on posture, right and left hand positions, picking & strumming patterns, tone production, tunings, technical exercises, chords, picks, capos, choosing an instrument, instrument care, etc. [return to top]
Balkan Ensemble
Paddy League
This ensemble class, open to all instruments (and vocalists too!), will explore the incredibly rich musical traditions of the Balkan peninsula. Drawing on urban and village repertoire from Greece, Turkey, Bulgaria, Albania, and Macedonia, we will become acquainted with the rhythms, modal systems, and aesthetic shared by the musical cultures of the Near East. No previous experience with Balkan music necessary—all are welcome! [return to top]
Balkan Fiddle Styles –
Paddy League
This class will explore the violin music of Greece and the Balkan peninsula. We will learn dance tunes from the Greek islands, Turkey, and Macedonia, applying the phrasing and ornamentation that constitute the recognizable Near Eastern sound, and introducing ourselves to the modal or makam system that governs the popular and classical music of the Eastern Mediterranean. Some experience playing any style of music on the violin is required. [return to top]
Irish Piano Accompaniment
Brian McGrath
Brian McGrath is widely considered one of the very best piano accompanists for traditional Irish music. In this course he will cover: style, rhythm, chordal shapes, sequences, patterns, etc.; all the essential elements for accompanying Irish traditional tunes on the piano. Students should bring a portable electronic keyboard with either an external speaker or headphones. [return to top]
Irish Tenor Banjo
Brian McGrath
In this course Brian will cover technique, ornamentation, tune settings, banjo styles, regional styles, the old recordings, styles, tune settings etc of the earlier banjoists. [return to top]
Irish Bouzouki Accompaniment
Luke Plumb
This class will focus on interesting ways to accompany traditional music in the context of a session. We will be developing ears to hear tunes with and ways to respond in our accompaniment. No formal music training is necessary, but knowing your way around the bouzouki would be advised. Recorders welcome. [return to top]
Arranging for Celtic Band
Luke Plumb
In this class we will look at tune choice, accompaniment and groove in arranging traditional music within the context of a band. All instruments welcome though intermediate level advised. Recorders welcome. [return to top]
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 top]
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 top]
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 top]
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 top]
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 top]