2011 Contemporary Folk Week Classes

Please note that some subjects are offered in both mornings and afternoons. Different sections of the same class subject are given letter designations (A, B, C, etc.), and usually cover identical content. To get the most out of your experience, we suggest that you do not register for more than one section of the same subject. Please make your class selections carefully to avoid time conflicts, and clearly indicate which section you want on your registration form, using the letter designations.

SONGWRITING:

FEEDBACK & CRITIQUE (Sara Hickman)
Songwriters can get stuck. They can need encouragement to feel confident that their thoughts are unique enough to express, and yet, still fluid enough to capture an audience’s attention. Sara’s feedback will help point out the strengths and weaknesses of each individual writer while sharing creative ideas to help songwriters become more aware, more productive and better songwriters all around. Our objective will be to remind class participants that they are truly one-of-a-kind, and that their ideas, motivational skills and thought processes are important to share because they are the only ones who can share these ideas. Through personal and group interaction, Sara uses humor and emotion to ignite enthusiasm not only for the classroom experience, but life experiences for all.

WORKS IN PROGRESS (Jack Williams)
This is a class for those who have written one or more songs and want to do more – much more – and who want to take their skills to another plateau. We’ll have a gentle discussion and critique of students’ songs (new, in progress, problematic, etc) with brief side trips into discussions of melody-writing, lyric-writing, initial ideas, accompaniment, rhythm, and other specific aspects of songwriting. We won’t be entering the tempting realm of “com- mercial songwriting”, that is, we’ll focus on how to write a good song which satisfies you and your listeners, and won’t discuss how to write a “hit” or get songs cut by famous artists (these are two different animals!) Everyone will have a chance to play at least one original song – a recent one, preferably, or a work in progress – and enjoy (or endure) our critique.

INTO THE HEART OF THE SONG (Danny Ellis)
Every good idea for a song (or anything else) springs from one initial germ of truth: an insight or a compelling event. But is there a whole song in there? You bet your writer’s block there is. We’ll look at how to grow that tiny seedling into a full blown song and more importantly, how to remain true to that first spark as we widen its scope. Along the way we’ll learn fun ways of using melody to both support your idea and to suggest subtext. Each day, we’ll look at the different approaches to maintain the original idea’s focus throughout the entire song: 1) Word-smithing; Using language itself to play with the idea. 2) Brainstorming; Using our imagination to stretch the boundaries of the idea; 3) Intuiting; Using our feelings to get behind the words, to get inside the non-verbal aspects of the idea; 4) Implying; Using melody and understatement to express the inexpressible: and finally, 5) we’ll throw all that out the window and have some fun with Free Associating. Bring a song you’ve written, finished or not; by week’s end you’ll have a good idea of how to finish or improve it.

WRITING MELODIES (Abbie Gardner)
Do your songs all sound the same? Do you have great lyrics, but something isn’t clicking and the song feels boring? Can people sing your songs back to you, even if they don’t know the words? It’s the melody that gets people hooked. That’s what they hum as they leave the show. It’s what makes a song memorable and unique. Throughout the week we’ll study the non-lyrical side to songwriting. We’ll look at classic melodies from some of the best songs ever written and figure out why they work so well. With a background in classical music theory, jazz and folk music, Abbie will guide you through the process of analyzing a melody. We’ll learn to write songs that get stuck in people’s heads and help your well-crafted lyrics be heard. Bring in songs that need melodic help and we’ll re-write them. There will be daily in-class practice to get you writing from the melody right away and you’ll go home at the end of the week with a toolbox full of concrete melody-writing techniques.

GETTING UNSTUCK (Abbie Gardner)
At some point, we all get stuck. Songwriting becomes a chore, something intimidating, something we put off like doing our taxes. This class will use fun activities to get you writing again, tap back into the fun of it, unblock those creative channels and think outside the box. When a painter stares at a blank page, there’s a fear and anticipation of making that first mark, very similar to songwriting. This class will help you make that first mark, push through the fear that we all feel, and tap back into that creativity you know you have. When a baby learns to walk, she falls down over and over. She fails more than she succeeds, but keeps trying because it’s not work to her – it’s PLAY. The painter needs to remember that it’s only paper, and the songwriter needs to remember that it’s just a song. And it’s a simple fact that the more you write the better you get at it. No assignments in this class, no homework, no critiques of any kind, but get ready to exercise your creativity, laugh, have fun and PLAY! Together, we’ll get past the “blank page fear” by painting, making rhyme charts, writing stupid songs, laughing, and learning to support our own creativity by using very practical but fun methods. Abbie will bring together her knowledge of songwriting, neuroscience and sensory integration to teach you hands on practical techniques for getting unstuck.

CO-WRITING (Jon Vezner)
The class will explore the benefits and advantages of co-writing, how to choose a co-writer, discussion of the co-writing process, and the division of copyright. Students will be paired up with someone to be their co-writer for the week in the first class session. Co-writers will then work on their songs on their own time. Class time will be set aside each day to discuss progress, problems etc., and the songs (complete or incomplete) will be performed during the last day of class.

WHAT’S YOUR STORY?(Catie Curtis)
Every person has a unique path, and therefore, unique stories to tell. What’s your story? How do you make it compelling to other people? We will look at elements of effective personal songwriting such as: a strong personal voice, a good story, universal themes, and the right musical composition. You will be asked to refer to your favorite personal songs by other writers and we will dissect them to see what makes them work. You will do some in-class writing and sharing in a supportive environment, toward the goal of finding the words and music to turn your own life journey into art.

OOPSY TO ARTSY (Catie Curtis)
Develop your capacity for creativity through the serendipitous juxtaposition of images, words, and events to trigger fresh song ideas. Learn to stumble backwards into creative songwriting by noticing more astutely the signs that you see in front of you. Gradually, we take these ideas and make meaningful songs out of the metaphors they provide, by connecting the images to a central theme. In this class, you will be given brainstorming exercises as a group to generate ideas. You will also be given time to write on your own, returning to the group for feedback. Through unintentional or accidental pairing of images, we can spark the imagination and transcend cliché. The goal is to leave this class with an image-driven song underway that you can’t wait to finish!

SONG CRITIQUES (Jon Vezner)
Songs chosen for critique each day will be drawn from “a hat.” Attendees will be encouraged to attend all sessions for it will be beneficial to be a part of the process whether your song has been chosen or not. Critiques will be very in-depth, and we’ll hope to cover two to three songs per 75 minute session. We will address song form and structure, prosody, storyline, melody, arrangement and last but not least, commercial potential.

SONGWRITING 101 (David Roth)
Let’s roll up our sleeves together and start at the beginning. This all-levels class is geared especially towards those who are new to the craft but also to those who simply might like to strip down their own process a bit by looking at songwriting through a different lens. We’ll write every day (I’m lyric-driven – I usually start with words and see where they lead me), brainstorm compel- ling individual themes worth writing about, examine the different elements that make a song, and engage in lively dialogue/exercises/demonstrations on topics like sculpting inspiration, developing universal truths from personal stories, tackling tough subject matter, and being honest. We’ll also have fun in a safe, playful, supportive, permissive, and powerful environment and with any luck (luck: the intersection of opportunity and persistence) and as time allows we’ll get to hear some of these new creations during the week. We’ll also use one session to do a group co-write of a custom-made song for a sick child and his/her family through the Songs of Love Foundation in New York...very meaningful and powerful.

PERFORMANCE:

PERFORMANCE BASICS – FROM OPEN MIKE TO THE FESTIVAL STAGE (Jack Williams)
You – and everyone in the class – will have an opportunity to play and/ or sing as we explore what makes a performance capture the interest and imagination of an audience. An emphasis will be placed on holding your audience’s interest without resorting to unnecessary or extreme performance measures, debunking the myth that an artist, with excellent music, talk, and stage presence, must use a “gimmick” – a “rubber chicken” – to succeed in performance. We’ll focus on how to plan a performance, how to keep a set “flowing”; how to handle “dead air” which results from tuning or other momentary distractions from the music; and how to make each person in your audience feel “connected” to you and your music. We’ll discuss consider- ations such as song arrangement, patter or story-telling, stage presence and movement, and we’ll explore varying the key and character of the songs in your set-list, to influence the “flow” of your set. We’ll work to accentuate the positive and eliminate the negative in your own musical performance and will seek to increase your confidence for the next time you step before an audience.

PERFORMANCE FOR THE PERFORMING PERSON (Patty Larkin)
There is an old adage that “It’s not how you play, it’s how you look.” There is a bit of truth here, for it is how we present ourselves that helps get the message across, no matter what endeavor we are pursuing. This class is for people who have been had some experience in live performance, and want to hone their skills. While it is not limited to guitarists, Patty’s career is guitar-based, and includes only an occasional appearance strapped to an accordion. We’ll cover the physical, psychological and musical objectives/challenges that come with performance, as well as planning a set, sound reinforcement, and what not tosaywhenyou’renotsinging.Youwillbeaskedtoperformforyourfellow mates in a virtual stage setting. This should be fun.

MASTER CLASS IN ARTISTRY (Janis Ian)
The first class will cover the basics: – history of story-telling from the Nean- derthal or Cro-Magnon point of view, the ancient Greeks versus those ugly Romans, medieval troubadours and their role in spreading the news, the rise of syphilis and how it affected society’s perception of us as artists. Talk will be illustrated with song, and questions are encouraged. The remaining classes will go wherever the first one takes us, with effort made to cover performance basics, why telling the truth doesn’t matter, bad business decisions, what to do when everything goes wrong, who invented writer’s block, and all the mistakes I’ve made just so you can learn to avoid them. (No class limit)

VOCAL:

VOCAL MASTER CLASS (Kathy Mattea)
Individual critiques in a group setting, illustrating techniques for working around problem areas, enhancing phrasing and technical tips for breathing and opening up. Really fun. Don’t be intimidated by the title, this class is for anyone who wants to inhabit their own songs more comfortably.

THE CONNECTED VOICE (Danny Ellis)
One often hears the phrase from singers; “It doesn’t sound like me at all.” Nothing is more devastating for a singer than the suspicion that there is something counterfeit in their voice. Letting the listener know who you really are is one of the most difficult and courageous things one can do as a singer. It’s also one of the most satisfying. The key here is to connect to our feelings and emotional reservoir as we sing: all that we’ve ever experienced, good or bad, if it’s to enter our voice (or songwriting) it must do so through our feel- ings. This is far easier than you think and enormous fun. This connection has the effect of giving authenticity to your voice and, as a byproduct – because it feels and sounds so darned good – helps to alleviate anxiety and doubt. This workshop is for the seasoned pro or the absolute beginner. I’ll divide our time between the technical and non-technical aspects of singing. First, and maybe my favorite, will the non-technical aspects mentioned above. Second, we’ll look at technique: breath, posture, blending registers, pitch, support and projection. As we move into songs, we’ll learn that rhythm is our most primal state of being and how awakening our “inner drummer” can bring genuine vitality to our phrasing. Have ready a song you’re comfortable with and one you’re not.

VOCAL CLINIC (Siobhán Quinn)
This class is for road-weary, occasional and even “never before” singers, especially guitarists! Everyone has a unique sound from the physical make- up of their vocal cords/resonance chambers; learning vocal technique will help you claim your songs with your voice! Siobhán uses classical/modern technique as a foundation for vocal flexibility while helping you to maintain individual vocal personality. We ’ll work individually to explore and enhance your voice and you will develop a personal basic regimen to maintain skills you learn in the workshop. Siobhán is an encouraging teacher who will help you to bring out the best parts of your voice within each song you sing. Be prepared to work on two songs – one you love to sing, and one you really want to sing. They do not have to be your own and a capella is just fine. We will cover 1) vocal/breath warm-ups leading up to advanced workouts, 2) physiology of the voice, how to use each part – knowledge crucial to getting the most out of your instrument, including vocal health issues, 3) specific issues and exercises for songwriters/ guitarists, such as posture with instru- ment, lack of breath, singing flexibly within your range, positioning and strengthening exercises to shake out the unsteady parts of your voice. We’ll work toward songs in the second half of the week, and how to translate the emotional intention of a song effectively.

IT’S ALL ABOUT THE SONG (Siobhán Quinn)
This is intended as a next step for prior students of the Vocal Clinic class, but also available to those with a bit of vocal experience. We’ll spend the first day on basics, getting everyone on the same page, then immediately focusing on tools to capture your best performance in songs of your choice. There will be individual work/performance and interactive vocal warm-ups each day. Everyone will learn crucial vocal and performance skills for translating technical singing skills into excellent vocal performance of songs – whether humorous, sensitive, deep dark songs, or the wailing blues. Siobhán may even use video to record and show you exactly what’s happening when you sing.

GUITAR & CREATIVITY:

FINDING YOUR PATH (Kathy Mattea)
This will be a workshop on finding Primary Purpose in music, and clarifying criteria with which to make career decisions, based on Kathy’s own journey, with general principles illustrated by concrete examples. Subjects include: defining success, decision-making, finding and maintaining balance, sus- taining artistic growth, and the Inner Compass.

THE WORLD ACCORDING TO JANIS (Janis Ian)
“I’ve been a published songwriter for 47 years, a recording artist for 45. I’ve hung out with the likes of Hendrix and Joplin, been praised by Johnny Mercer and Henry Mancini, and Lily Tomlin gave me one of my Grammy awards. Surely I’ve learned something worth passing on! I promise to speak as honestly as possible, about anything and everything possible. This is your chance to speak with someone in the music industry old enough not to care what people think any more. I’ll never have another hit record, so it doesn’t matter if I offend anyone. Bring your ideas, concepts, questions. Bring your hopes and dreams. Bring your honest hearts. There’ll be room for all of that and more.” (No class limit)

RECORDING ON A LAPTOP (Jon Vezner)
In this new offering to Contemporary Folk Week, we’ll explore the world of studio recording on a laptop computer. From miking to mixing, effects to equalization, it starts with inputting a voice and a guitar (maybe yours – we’ll hope to “demo” 2-3 student songs during the week) and adding a track or three in the process to see what’s possible in fleshing out our music on this very portable recording studio (that you may already own but didn’t know you did). Jon (and you) will be working on a Mac but he assures us that the software shows up the same way on a PC, so come prepared to spend a week demystifying the idea that a computer is merely a computer.

GUITAR-INSPIRED SONGWRITING (Patty Larkin)
This is a hands-on workshop for intermediate to advanced guitarist/song- writers interested in exploring songwriting that evolves from the guitar. It’s all about inspiration. For Hemingway it was Paris, women, hunting, booze, Idaho, women, fishing, etc.; for Patty it is the guitar. Her songs emanate from the guitar strings, and her vocalization springs from the desire to remember a guitar lick. The class will be based on Patty’s songs, but will reference the work of other artists. Alternate tunings, right- and left-hand techniques, fingerstyle, pick style, and partial capo techniques will be covered, as well as arranging songs for the guitar, writing songs off of the guitar, instrumental breaks and embellishments. Check out Patty’s DVD on Homespun, Creating Powerful Arrangements, for some examples. Bring a piece to work on, and we’ll incorporate some of these ideas into your existing work. (It might also be a good idea to get a Kyser partial capo – Patty will be using one that opens up the low E string, or one that opens up low E, B and high E)

INTRO TO ALTERNATE TUNINGS FOR SONGWRITERS (David Roth)
As solo singer/songwriter/guitarists we have an orchestra at our finger- tips – six beautiful, bendable, and RETUNE-able strings! We’ll start by changing one at a time and gain instant access to a road well traveled by the likes of Gordon Lightfoot, Joni Mitchell, Cat Stevens, and more. We’ll cover dropped-D, open D, DADGAD, open G, and throw in a variation or two to spice up the sound soup along the way. The good news is you don’t have to be a guitar wizard to take this class, but it IS helpful if you know a few basic chords and play enough guitar to negotiate basic chord changes. What we’ll also discover is that these new sounds coming from our guitars will inspire new lyrical ideas, and we’ll spend some time there too. Importantly, we’ll have fun doing this together, and you’ll love finding fresh voicings to some of the standard chords you’ve been playing up til now. By week’s end you’ll be arranging one of your own songs in an alternate tuning.

GUITAR TOOLS: STRING THEORY for GUITARISTS A & B (Ray Chesna)
(Note: This class is offered twice; once in the morning, then repeated in the afternoon.) Ray ties it all together and breaks it all down. Be it your own personal style, your songwriting, blues, bluegrass, new age, Celtic, pop, jazz; the one thing that they all have in common is THEORY. This fun and involving course will explore melody (scales) and harmony (chords) in understandable terms and with simple concepts. The insightful, practical instruction will enable the student to easily apply the concepts to the guitar. This has been a popular course for several years now, and, of course, Ray has some new tricks up his sleeve. This year we will be spending more time on chords, chord progressions and deconstructing classic songs. Clear, helpful handouts will allow the student to bring this information home for continued study. Repeat offenders always welcome.

LIVING LIFE CREATIVELY (Sara Hickman)
Are you wanting to be a more creative person but not sure where to begin? Let creative elf/musician/artist/producer/mom Sara Hickman teach you how to form new habits and ways of thinking creatively. Sara will take you on a journey to release your spark of insight with different methods of living creatively. Weave storytelling, songwriting, art and the gospel of making something out of nothing into your daily routine via writing, drawing, dancing, talking, listening, noticing and games. Turn your life, your home and your community into a wonderland of non-stop creative ka-pow!

SPECIAL EVENTS:

FOLK MASTERS – TOM PAXTON
Our legendary friend and folk icon Tom Paxton has become a voice of his generation, addressing issues of injustice and inhumanity, laying bare the absurdities of modern culture and celebrating the tenderest bonds of family, friends, and community. In describing Tom’s influence, Pete Seeger said: “In a small village near Calcutta, in 1998, a villager who could not speak English sang me Tom’s “What Did You Learn In School Today?” in Bengali! Tom Paxton’s songs are reaching around the world more than he, or any of us could have realized.” In this very special session, Tom will sing (accompanied by Robin Bullock and perhaps another special guest or two) and speak about his remarkable career. Don’t miss it!”