The ZoukFest 2010 Daily Class Schedule is here. (opens in separate window) You can now sign up for classes on the registration form, too.
Classes listed with a “I” are Beginning level. “II” denotes an Intermediate class, and “III” is Advanced. Classes are subject to change.
Click on class to jump to description or just scroll down!
1. Whistle/Flute II Blayne Chastain
2. Whistle/Flute III Blayne Chastain
3. Bodhran I Dain Forsythe
4. Bodhran II Dain Forsythe
5. Rhythmning Douglas Goodhart
6. West Virginia Longbow Fiddle Douglas Goodhart
7. Arranging songs for Bouzouki/Guitar Stanley Greenthal
8. Fest Breizh/Breton Ensemble Stanley Greenthal
9. Irish Fiddle I Will Harmon
10. Whistle/Flute I Will Harmon
11. Fiddle II Martin Hayes
12. Fiddle III Martin Hayes
13. Andy Irvine Bouzouki Andy Irvine
14. Jump Start Bouzouki Roger Landes
15. Irish Bouzouki Accompaniment Roger Landes
16. DADGAD Guitar Paddy League
17. Balkan Fiddle Styles Paddy League
18. 16 Strings, Part 3 / Planxty Luke Plumb
19. Celtic Mandolin Luke Plumb
20. Tenor Banjo Luke Plumb
21. Anglo-Celtic Song Moira Smiley
22. Balkan Song Moira Smiley
23. Playin’ in the Band Chris Smith
24. Playin’ for the Sets Chris Smith
25. Americana Mandolin Steve Smith
26. Americana Guitar Steve Smith
27. Music Theory Steve Smith
Whistle/Flute II – (Intermediate)
Blayne Chastain
After playing playing traditional Irish music for a bit, it’s easy to be overwhelmed at the sheer amount of tunes there are to learn, but have no fear! What we need is a renewed perspective to play WHAT we play – WELL. The by-ear learning of tunes will provide the context for us to look the following techniques and concepts:
• Grip, Posture & Tone (Brief Review)*
• Breathing Considerations
• Tonguing / Glottal Stopping (Brief Review)*
• Learning by Ear vs. Sheet Music – On the last day we will all learn a tune that we all don’t know (even myself) using slow down software.
• Rhythm & “Lift”
• Forming Better Practice Habits
• Cuts, Taps & Rolls
• Vibrato – Both Finger & Diaphram
• Resources for Learning
*Even though I’ll be reviewing over some beginning level content, it will be more brief as this course is intended for intermediate level players.
If you’d like a head start, I’m offering all ZoukFest students a free 30 day trial to my online training library for the flute and whistle. Contact me at me[at]blaynechastain.com for more info.
Tunes will be taught by ear. Sheet music “dots” will be provided to take home in both “bare bones” and ornamented versions. Don’t forget to bring a recording device!
Whistle/Flute III – (Advanced)
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’s itching to go deeper? This course will use tunes as the primary vehicle in which we work on thoughtful phrasing, breathing, tone, ornamentation, variation, etc.
More advanced ornamentation will be covered such as cranns, double cuts, bounces, strikes, etc… Music theory as it applies to us as advancing whistle and flute 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 the balance and difference between mass-tune-acquisition and making a tune your own.
On the last day we will learn a tune (advanced) that we all don’t know using slow down software ( The Amazing Slow Downer ).
If you’d like a head start, I’m offering all ZoukFest students a free 30 day trial to my online training library for the flute and whistle. Contact me at me[at]blaynechastain.com for more info.
Bodhran I – (Beginning/Intermediate)
Dain Forsythe
Covers fundamental techniques for the Irish frame drum; accompanying marches, reels, and jigs; cultural context, history, maintenance, melodic awareness (the tunes!), session etiquette, and distinctions between Irish Traditional Music and American music will be woven into the physical skill development process. This course is for those who have no prior experience or wish to bolster their fundamental skills. Pizza boxes will be available for those who do not own a drum.
Bodhran II – (Intermediate/Advanced)
Dain Forsythe
Bringing together rhythm hand and pitch hand techniques along with tune structures and melody line movements. Rhythmic phrases for reels, and jigs – in depth exploration of each rhythm, its skill set, and representative tunes. The bodhrán in context: triplets with pitch variations, , micro-pulse awareness and execution, syncopation, listening skills, discussion and exposition of session and stage performance differences, cultural context, history, melodic and rhythmic differences within Irish Traditional Music.
This course is for those who own a bodhrán and have at least a year or more of experience playing on a weekly to daily basis. The complexity of course material and introduction of additional rhythm types will be based on the skills of those in attendance.
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!)
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!
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.
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.
Irish Fiddle I – (Beginning)
Will Harmon
Get nyah! Spend a week “living inside” a few good tunes and learn to play them with “nyah”—the irresistible pulse and lift that defines Irish traditional music. We’ll dig deep into bowing, phrasing, and timing, and also learn all the essential twiddly bits: cuts, rolls, bowed triplets, smears, and more. This class promises to be fun, yet will give you very focused, in-depth time pulling all of these elements together to advance your playing to the next level.
Irish Whistle/Flute I – (Beginning)
Will Harmon
Breathe life and lift into your flute and whistle playing! Learn how to create and control a powerful, efficient airstream to give your playing pulse and lift. We’ll also walk step-by-step through cuts, rolls, glottal stops, and more to give your jigs and reels an authentic Irish feel and sense of phrasing. This class will give you a solid understanding of all the fundamentals you need to build a repertoire of tunes and play whistle and flute at any session.
Irish Fiddle II – (Intermediate)
Irish Fiddle III – (Advanced)
Martin Hayes
The Intermediate and Advanced Fiddle classes will follow the same general curriculum. The difference between the two classes will be the number of tunes taught. Martin will teach melodies every day to each class.
Over the week at ZoukFest, Martin will cover the following material:
Day One: Bowing/Rhythm/Tone
Day Two: Ornamentation
Day Three: Interpreting Irish Tunes
Day Four: Variations/Improvisation
Day Five: Finding your own voice in Irish Music.
Andy Irvine Bouzouki
Andy Irvine
One of the original Irish bouzouki innovators, Andy Irvine’s name has been synonymous with the instrument since its introduction into Irish folk and traditional music. His work in the groups Sweeney’s Men, Planxty, Patrick Street, and Mozaik, set a very high standard for the instrument. Andy will be sharing his approach to playing the bouzouki in song and tune arrangements on Wednesday through Friday. (On Monday and Tuesday Roger Landes and Luke Plumb will teach the class.)
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., etc.
Irish Bouzouki Accompaniment: A Modal Approach
Roger Landes
Developing a fluid approach to improvising accompaniment for Irish tunes is a challenge that requires a small amount of music theory, much trial and error, and a lot of experience playing in sessions. In order to shorten that process we’ll discuss a little of the theory (Roger has some materials he will email in advance to those taking the class), try some examples, and take turns accompanying in class. We’ll work on ways to “see” the different modes on the bouzouki, identify their characteristics by ear, and strategies for accompanying representative tunes in each of the modes. We’ll also work on rhythms and picking/strumming patterns.
Irish Guitar Accompaniment: DADGAD
Paddy League
In this class, we will learn about the popular DADGAD tuning as applied to accompanying traditional Irish and other Celtic music. Using movable chord shapes and drones, we will come up with simple chord progressions to play behind tunes and songs, and gradually explore more sophisticated substitutions and harmonic ideas. We will also discuss strumming and fingerpicking techniques and patterns for various dance rhythms and song forms. Come with open ears and a willingness to experience the guitar, and Celtic music, in a different way!
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.
Planxty, Part 3: The Sound of 16 Strings Continues
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!
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.
Tenor Banjo
Luke Plumb
Luke will cover the tenor banjo in (mostly) Irish traditional music. Use of picking patterns, ornaments and rhythmic effects will be employed to highlight these variations. Sound recorders welcome.
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).
Balkan Song
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.
Playin’ in the Band: Making It Happen as a Working Ensemble
Chris Smith
Practical procedures for creating group sound and arrangements within various vernacular styles, focusing upon roots musics in Anglo-Celtic & African-American traditions. Includes presentation, information, commentary upon, and practical applications of, concepts for arranging, improvisation, repertoire, rehearsal technique, group vision & expectations, “listening”, harmony, contrapuntal ideas, composition, singing, etc. Calibrated to the specific interests/profiles/instruments of students registering, and with an emphasis upon “listening” music (especially songs). Those registering in advance will have the opportunity to suggest specific areas of repertoire for consideration; contact Chris Smith at chris@coyotebanjo.com. Opportunities for a group “showcase” performance will be explored.
Playin’ for the Sets: Functioning as a Dance Musician in Irish Traditional Music
Chris Smith
The core purpose for the performance of Irish traditional tunes, in a vast majority of settings, is to provide music for dancing: particularly, the “sets” (figure dances for 4-couple “eightsomes”) which derived from native and imported dances including the Lancers, quadrilles, minuets, hornpipes, jigs, reels, polkas, and slides. This course provides a practical workshop into the organization and priorities of “playing for the sets”. This experience is absolutely central for the traditional musician: whether or not s/he intends to continuing playing for dancing, one hears*the tunes entirely differently when they are performed with the dancing which is their other, visual half. Includes presentation, information, commentary, and practical applications of repertoire, common sets and their constituent “figures”, tempos, articulation, phrasing, “lift”, and other crucial considerations. Recognizing the invaluable presence of Clare fiddler Martin Hayes at ZF10, the “Sets” class will focus upon the classic dance repertoires of the Tulla Ceili Band. Opportunities for an informal, week-end ceili dance with live music will be explored.
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.
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.
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.
