Guitar Week Classes - July 28-August 3, 2013
APPALACHIAN BLUES IN DADGAD (Al Petteway)
DADGAD tuning is perfect for Appalachian music and for blues, and I’ve found that there is a lot of crossover. In this intermediate level class, we’ll look at styles made popular by folks like Doc Watson and Etta Baker and we’ll learn a “shape-note” hymn with a blues twist. Finally we’ll work on some music that is often played as bluegrass, but it could just as easily be considered Appalachian blues. Most of all, we’ll have us some real down-home fun.
CLAWHAMMER GUITAR (Steve Baughman)
This class is about all things Clawhammer for guitar. We will begin with the basic pattern and spend some time internalizing it. Then we will move on to the various pyro-picking techniques that Steve demonstrates in his YouTube video lesson, “Wasilla Weed.” This class is for fairly advanced players and it is recommended that participants spend some time working on the YouTube lesson before camp starts. Class is gonna be rigorous, and fun!
HYMNS FOR FINGERSTYLE GUITAR (Steve Baughman)
In this class we will learn to play several old hymns that Steve has arranged and tabbed out for guitar. We will also talk about what makes a good arrangement of a hymn and we will experiment as a class with arranging a hymn or two. Individuals will be encouraged to present their own hymn arrangements to the group. This is an advanced-intermediate to advanced class. Students enrolled in this class are encouraged to familiarize themselves in advance with Steve’s YouTube videos of “Nearer My God to Thee” and “Great is Thy Faithfulness.”
MUSIC, MEDITATION &
PERFORMANCE (Steve Baughman & Rev. Heng Sure)
In this class we will explore ways to achieve a sense of groundedness and calmness while playing the guitar. Heng Sure will guide the class in breathing and will teach a variety of contemplative tools useful to musicians. Participants will put these techniques to use as Steve leads the class in a variety of rhythmic and musical exercises. Despite the meditation aspect of this class, there will be a good amount of hands-on grooving as a group. We will also discuss performance tools and encourage each student to perform at least once for the class.
FINGERSTYLE GUITAR (Muriel Anderson)
Fingerstyle guitar arrangements are comprised of a melody, a bass line, some chords and a rhythmic structure. Sounds simple, but how do you come up with an arrangement that is original and compelling enough that listeners will be drawn in and want to hear it over and over again? Muriel will take this class for intermediate/advanced players step by step through her thought processes as she breaks down some of her arrangements of well-known melodies, giving students a unique glimpse into the creative process. This class takes her groundbreaking “Arranging in the Key of D” one step further. It moves quickly and also provides individualized work to accommodate intermediate and advanced students.
51 RIGHT-HAND TECHNIQUES (Muriel Anderson)
Based on Muriel’s course, “50 Right-Hand Techniques You MUST Know,” it covers material in the course and then some. Truly for all levels of players, it presents the most efficient use of the right hand as well as some interesting ways to bring expression into your music and to help you find fresh and exciting accompaniments, solos and compositions. This workshop will range from fingerstyle to classical to flatpicking techniques, and even some that Muriel has discovered herself.
1-2-3 FINGERSTYLE (Muriel Anderson)
Based on Muriel’s new course of the same name, 1-2-3 Fingerstyle Guitar is designed for players who are ready to throw down that pick for a while to finally get a handle on fingerstyle. This workshop presents a way to get at the heart of the music, without being bogged down working through a ton of remedial instruction. You’ll find the left-hand side of things very familiar and accessible. You’ll dive right into developing that finger/thumb independence on the right-hand, and to get going playing cool and authentic sounding fingerstyle tunes and riffs.
REV. GARY DAVIS REDUX (Rolly Brown)
This intermediate to advanced class is designed to meet the needs of students new to the style, and also to continue the process for students who did last year’s class. This year, we’ll review one of last year’s tunes, add one new tune, and work on “speaking Gary Davis-ese”, i.e., using the conventions of the Reverend’s playing in your own arrangements. Recording devices are highly encouraged.
IMPROVISATION 101 (Rolly Brown)
The goal of this class is to help students of all levels overcome their inhibitions about improvising. Along the way we’ll deconstruct the art of improvisation, beginning at the most basic level. Topics will include a beginning approach to phrasing with emotional content and simple note choices, beg./int. use of scales, arpeggios, and patterning, and just a touch of advanced discussion about “inside” vs. “outside” sounds and playing it safe vs. going for broke. Recording devices highly encouraged.
FLATPICKING FIDDLE TUNES (Rolly Brown)
We’ll start by examining the mechanics of the right hand, responsible for producing that difficult combination of precision, speed, and volume which makes for great flatpicking. Then we’ll talk about how to understand and learn tunes by breaking them down to basics, how to develop variations, wherein you play around the tune without ever losing the tune. Also, how to play good rhythm, understand jam etiquette, and more. All levels welcome. Bring a recording device!
BOSSA NOVA GUITAR (Pat Kirtley)
The unique pop music of Brazil, including bossa nova, samba, and other related styles, exploded on the worldwide music scene in the early ‘60s almost overnight. The sophisticated rhythms and chord structures were irresistible to jazz musicians, and after a few years bossa nova had gone “mainstream,” with its rhythms and changes assimilated into the melting pot of jazz standards. Too bad - for it diluted an eloquent musical style which has little to do with jazz, and after a few more years, the unique identity of the genre was nearly lost. Now there is a rediscovery of this music by a new generation of performers who want to get back to the roots. In this class, intermediate to advanced players will learn the elements of the style from its foundations. It’s a perfect genre for solo guitar, because that’s where it was born. Pat will teach the essential rhythms, chords, and some great tunes from the world of bossa nova and samba.
THUMBSTYLE GUITAR (Pat Kirtley)
Thumbpicking champ Pat Kirtley comes from Kentucky, and so does the iconic guitar style made famous by Merle Travis, Chet Atkins, Mose Rager, and other legendary players. In this class for intermediate players and advanced players who would like to acquire a new style, students will learn right-hand techniques, including the “boom chick” rhythm with a thumbpick, signature licks, and some cool chord forms unique to this style. By the end of the week we will have covered the basics and will be learning some great tunes from this amazing musical genre. Will you be able to reach the ultimate goal of ‘sounding like two guitar players at once?’ If your thumb already knows how to keep independent rhythm, come to the class and find out.
ALTERNATE TUNINGS THAT WORK (Pat Kirtley)
Alternate tunings you can really use! This class will jog your creativity with a new tuning each day – five days, five tunings – each one fully explained and documented with a handout sheet and its own chord chart, along with a complete tune to learn. The class is for those who like the challenge of new sounds, flavors, and patterns, and for singer-songwriters and composers looking for tonal ideas and inspiration. The tunings are presented as part of a “system” that relates everything back to standard tuning – a great help in understanding. Each of the tunings is a proven winner with great possibilities. Okay, let’s break some strings!
SLIDE GUITAR 101 (David Jacobs-Strain)
In this hands-on class we’ll start with the fundamentals of slide guitar playing; creating a musical tone, developing accurate intonation, and exploring right-hand techniques that can make the slide come alive. The slide can be an incredible tool for emotional expression, and we’ll build our foundation on both mechanics and feel. We’ll dig into a few of the classic blues archetypes as the week progresses, using a call and response approach to train our ears as well as our hands. No prior experience with the slide or alternate tunings is necessary. If you’ve wondered where to begin with the slide or how to go from buzzes and clanks to a sound that really sings, this class if for you!
BEYOND THE BLUES (David Jacobs-Strain)
We’ll look at the blues as a way of emoting, and dig deep into both right- and left-hand techniques and concepts. Going beyond the basic alternate tunings, we’ll use a range of slide guitar and percussive right-hand ideas to stretch out what the blues can be. This class will be a bit more advanced than the Slide Guitar 101 class; we will break down each idea to the fundamentals, but we’ll be exploring more complete songs and covering more advanced exercises. This class is very hands-on; expect to learn new ideas and form solid habits by playing for much of each class.
WORDS AND MUSIC (David Jacobs-Strain)
In this class we’ll dig into what makes a song move you! You don’t have to be an accomplished writer; just bring a few tunes that you love to play, your own or covers, and we’ll workshop ways of making each one come to life. What makes a song great? We’ll be thinking in terms of rhetorical strategy, melodic and rhythmic content, and performance ideas. The aim is to deepen the way we create and perform; and to find a connection between words and music, emotion, and intellect. Plan on sharing music that you love as well as being open to giving and receiving performance and writing ideas from other participants!
FLATPICKING I (Jim Hurst)
The fundamentals of flatpicking are necessary formative ingredients that even some of the most experienced flatpickers neglect to spend enough time with or utilize. In this class for advanced beginners & intermediates, there will be minimal tablature, but we will work through many vital foundational aspects of what can make flatpickers better players. We will work on right-hand techniques of single- and multiple-string picking, and bluegrass rhythm patterns along with left-hand position and chord voicing. We’ll also work on the importance of scales, the CAGED idea, the importance of melodies, and practice information. It’ll be a challenge but good for you. Audio recording is encouraged, but for personal use only.
FLATPICKING II (Jim Hurst)
In this intermediate/advanced class we’ll touch on scales and chord shapes and voicing, before moving into melody ideas and solo building. With minimal tab in this class, the focus will be on utilizing ear training, your voice, and instinct to create your musical expression. We’ll also look at finding second and third (more?) positions to play melodies and improvisation, and tying them together for more options, CAGED theory and vocal perspective. It’s a challenging class with emphasis on learning for growth in the future. Audio recording is encouraged, but for personal use only.
FINGERSTYLE (OF SORTS) (Jim Hurst)
Another fingerstyle class? Well, yeah. As a ‘hybrid’ player – meaning I play both flatpick and fingerstyle techniques – my fingerstyle is slightly unorthodox in that I approach my playing with some single lines and slightly altered ideas. This class will use tab of one of my compositions so we can learn the song, but we will also learn it by ear and play it bit by bit to discover what aspects of the song will offer growth in your own playing. It will be a fun song to play melodically and expressively, especially the percussive, dynamic, and ‘not so obvious’ techniques. Having the ability to separate thumb from fingers fluently will help. Audio recording is encouraged, but for personal use only.
FOR SINGER/SONGWRITERS (Adam Rafferty)
This class is for singer/songwriters, but, of course, guitarists and beginners are welcome too! Easily learn how to add new grooves, fingerpicking patterns, strums, harmonics and percussion to your guitar playing. Adam will show you slowly and clearly in a patient step-by-step manner how to learn, practice and add a whole new “palette of color” to your guitar accompaniment skills.
HARMONY FOR FINGERSTYLE GUITARISTS (Adam Rafferty)
This course is intended for intermediate/advanced guitarists who can already play some fingerstyle guitar pieces and have a fairly good working knowledge of the notes on the fingerboard. Knowledge of basic open and barre chord shapes is required, but reading standard notation is not. If you are more of a singer looking to improve your guitar skills see Adam’s Guitar Accompaniment for Singer/Songwriters class.
GETTING “GROOVE” INTO YOUR SOLO GUITAR ARRANGEMENTS (Adam Rafferty)
Want to add more “pop,” “snap,” “percussion” and “groove” into your solo arrangements? In this class for intermediate/advanced players, you’ll learn how get the groove inside you onto the guitar and how to play grooves that will get your family and friends tapping their toes. Topics covered will include: finding rhythm on your own, playing hand drums, making guitar fingering choices that fall in line with your rhythmic concepts and more.
RHYTHM FOR GUITARISTS –AND EVERYONE ELSE! (Vicki Genfan)
This class is for all levels, no experience necessary, and guitars are not required! Drawing from eastern and western traditions, we’ll sharpen our rhythmic awareness and expand our rhythmic vocabularies by combining inner (meditative) work with outer (walking, chanting, moving) rhythm exercises. Through group rhythm circles, we’ll explore pulsation, syncopation, beat, off-beats, sub-division and more – all with a sense of spontaneity, flow (and of course, Boom Whackers!) and FUN!!
PERCUSSIVE TECHNIQUES, OPEN TUNINGS, NOW WHAT? (Vicki Genfan)
This class is for those intermediate/advanced players who have been working with percussive techniques and open tunings, and now want to apply them to actual song composition and arranging. We will start with the techniques explored in Vicki’s DVD, 3D Acoustic Guitar, including bass note slapping, harmonic tapping and body percussion, and will move quickly into the realm of composition and arrangements using these techniques (and others that you may already be working with). Focus will be divided into two major areas: solidifying your technique and using these techniques in arranging and composing original or cover tunes. Bring a song to work on – or an idea for a new composition. In order to get the most out of this class, plan on performing something and being open to feedback.
CHORD PROGRESSIONS EVERY SINGER/SONGWRITER SHOULD KNOW (Vicki Genfan)
In today’s contemporary folk/pop/rock music there are certain chord progressions that are commonly used to create ‘hit’ songs. This intermediate class takes us through many of those chord progressions and explores a multitude of techniques that you can use to play and embellish them on guitar to create arrangements that really stand out with YOUR unique signature. We’ll also look at how to use these progressions in the songwriting process, to create a verse, chorus or bridge, as well as stepping a bit ‘outside’ the standard progressions to find some new harmonic twists. Some of the techniques we’ll work with are: strumming patterns, finger picking patterns/arpeggiating chords, finding new voicings, changing time signatures, adding ‘color’ tones (9, sus 4, 13, etc.), using ‘walking’ bass lines to connect chords, percussive techniques (using the body of the guitar), melodic and rhythmic fills, using capos (regular, partial, harmonic capo) and using alternate tunings. Warning: lots of fun and ‘aha’ moments are common in this class!
BUILDING A JAZZ GUITAR ARRANGEMENT
FROM THE GROUND UP (Sean McGowan)
This intermediate/advanced class will focus on developing solo guitar arrangements of jazz standards in varying styles, using both pick and finger-style techniques. We will explore one classic jazz standard and bring it to life through the use of melodic/rhythmic approaches, walking basslines, chord substitutions, and basic strategies for solo guitar improvisation. Students will create an original arrangement of the tune and present it to the class on Friday.
BEBOP & WESTERN SWING (Sean McGowan)
This intermediate/advanced class will explore two classic American musical styles: bebop and western swing. These musical first cousins from the 1940s share several commonalities including many great (albeit lesser known) guitar players. The class will work through Texas- and swing rhythm styles, developing solid picking technique, and essential soloing vocabulary of guitarists from West 52nd Street to West Texas. Specifically, we’ll play through works by Christian, DeArango, Shamblin, Kessel, Wyble, Ellis and Garland.
FOR FINGERSTYLE GUITAR (Sean McGowan)
This intermediate/advanced class will explore some of the best-loved Thanksgiving/Christmas songs arranged for solo fingerstyle guitar in notation and tab. We’ll work through arrangements in standard and alternate tunings, and along the way analyze and discuss different approaches to harmony, fingerstyle techniques, and arranging for solo guitar. The holidays are truly right around the corner!
MUSIC OF TURLOUGH O’CAROLAN (Robin Bullock)
The blind harper Turlough O’Carolan (1670-1738) was the greatest of the Irish bards, whose 200-plus surviving melodies, a unique and beautiful blend of Celtic and Baroque influences, have become an integral part of the traditional Irish repertoire – and are perfect for fingerstyle guitar. In this intermediate-and-above class we’ll learn several of Carolan’s pieces and discuss the art of arranging them for guitar, in the process exploring how altered tunings and “harp-style” melody playing can evoke the otherworldly sound of the ancient brass-strung Irish harp. Audio recorders recommended.
CELTIC FINGERSTYLE (Robin Bullock)
This intermediate level class will explore the world of possibilities presented by traditional Irish, Scottish and Breton repertoire arranged for solo fingerstyle guitar. We’ll start with basic settings of relatively simple tunes and proceed from there, using alternate tunings such as DADGAD, CGCGCD and “Werewolf” tuning (CGDGAD), which will not only make playing this music easier, but open up magical sounds that you never knew your guitar had. Along the way we’ll also discuss fingerstyle playing technique and how to get the fullest, richest tone with the minimum of physical effort. A good time will be had by all. Audio recorders recommended.
MUSIC OF JOHN FAHEY (Robin Bullock)
John Fahey (1939-2001) was one of the 20th century’s most important acoustic guitarists. As a pioneer of solo instrumental steel-string fingerpicking and composition (in a style he called “American Primitive”), the founder of two hugely influential record labels, a folklorist who rediscovered blues greats Skip James and Bukka White, and an outrageous character and self-mythologizer, he inspired musicians as varied as Leo Kottke, George Winston and Sonic Youth and laid the groundwork for most contemporary fingerstyle guitar. This intermediate-and-above class will explore Fahey’s musical legacy, focusing mainly on his 1960s and ’70s work. We’ll learn several of his pieces, examine his techniques and tunings, and, as time allows, listen to recordings and watch performance footage of Fahey in action. Audio recorders recommended.
FINGERSTYLE BLUES (Paul Asbell)
This class offers intermediate level fingerstyle blues instruction in the styles of Mississippi John Hurt, Lightnin’ Hopkins, Robert Johnson, Blind Blake, Merle Travis, Dave Van Ronk, and others. Topics will include right-hand fundamentals, such as alternating-bass patterns, Delta-style drones, palm muting, and exercises to create effortless dexterity, syncopations and strong grooves. Left-hand issues range from basic chord concepts to sophisticated jazz and ragtime chord substitutions, moving bass lines, “guide tones”, etc. There will be added emphasis on creating your own licks, turnarounds and variations within the style. All levels welcome, but many ideas will be geared to the evolved player. We’ll have worksheets with exercises, TAB transcriptions, chord fingerings, etc… enough to keep you busy for many months afterwards!
SWING/JAZZ GUITAR STYLES (Paul Asbell)
Jazz has its own language... and for most guitarists, it’s a foreign language. This intermediate/advanced workshop explores the skills you need to play swing jazz in an ensemble, or solo. This overview will cover chord progressions and rhythm skills, technique-building exercises for soloing, chord-melody approaches, bass-line comping, jazz harmony and terminology, and basic theory concepts that enable you to apply these skills to jazz standards. All levels are welcomed, but some experience with jazz will be necessary, as advanced topics will be covered. Many hand-out sheets will be provided, so you’ll have plenty of material to work on for years to come!
WHAT DO I NEED THEORY FOR? (Paul Asbell)
Even before John Hurt was re-discovered in 1963 at the age of 71, his recordings had influenced a small coterie of guitar aficionados. His introduction to a wide audience at the height of the folk music revival allowed him to play a pivotal role in establishing fundamental finger picking techniques that have marked the music of everyone from Doc Watson to Beck; Bob Dylan to Bruce Cockburn and Jerry Garcia. In this intermediate class we’ll explore Hurt’s repertoire while focusing on his right- and left-hand techniques with special attention to establishing the right/picking hand muscle patterns necessary to maintain a steady alternating bass while developing independence on the high strings to play melodies.
CELTIC FLATPICKING (Tony McManus)
Advanced intermediate players who already have some flatpicking facility can find some techniques to make jigs and reels work in this style of guitar. How does “Celtic” flatpicking differ from bluegrass? What rhythms are typical to Celtic music? We’ll look at jigs/reels/slip jigs etc. What ornaments can we steal from, say, fiddlers to make the guitar more idiomatic? How might we accompany jigs and reels? Come to this class and find out!
FINGERSTYLE GUITAR IN CELTIC MUSIC (Tony McManus)
We’ll look at the meaning of the term “Celtic Music” and how the guitar fits into it. We’ll look at music from Scotland, Ireland, Spain, Brittany and the different rhythms and grooves in these tunes and look at some altered tunings (DADGAD, CGCGCD, DAAEAE) as well as standard to make these tunes come alive for fingerstyle guitar.
INTRO TO CELTIC GUITAR (Tony McManus)
For those new to Celtic music, I have found some really beautiful tunes over the years that make ideal entry-level guitar pieces. Come and explore airs, strathspeys, marches etc. We’ll cover some basic ideas in DADGAD and dropped-D tunings – basic enough that they can be used by those who first picked up a guitar two weeks ago, but useful enough to make some beautiful arrangements.
GUITAR FOR BEGINNERS (Ed Dodson)
This class will cover the very basics of playing and enjoying guitar. Topics covered will include: tuning your guitar, basic chord shapes and patterns, basic rhythm patterns, simple right-hand technique (both flatpick and fingerpick), care and feeding of your guitar, and practice tips. By the end of the week, we will work in a tune or two for you to work on back at home. Knowledge of guitar tablature is helpful, but not required. Students are encouraged to bring audio recorders to class.
BLUEGRASS SONGBOOK (Ed Dodson)
This class focuses on how to play powerful bluegrass rhythm guitar. We will work on ‘alternating bass’ styles of playing as well as using bass runs and other motion within the chords to accent your vocals or the instrumentalists you’re playing with. In addition to these basic building-block techniques, we will learn one bluegrass song each day (all new for 2013). Lyrics will also be provided, so you can learn the words and add these songs to your jam sessions at home. The class will present songs that allow you to see the rhythm patterns conducive to most of the first position chord shapes. We will also discuss how to use a capo to get the song in a key to fit your voice. All levels of participants are welcome. Familiarity with guitar chords and knowledge of guitar tablature is helpful, but not required. Students are encouraged to bring audio recorders to class and also encouraged to participate in the Slow Jam that Ed leads every afternoon, following lunch, as a way to reinforce the techniques learned in class as well as learn additional songs/tunes.
DEEP BLUEGRASS GUITAR (Ed Dodson)
This course (as the name implies) is for the intermediate to advanced player who really wants to take it to the next level. During the week, we will cover a variety of techniques, including flatpicking leads and playing creative accompaniment behind singers and pickers, using the concept of playing licks around chord shapes, and building effective solos for bluegrass songs. These techniques will be learned using a specific bluegrass song or fiddle tune each day (all new for 2011). This year, we will emphasize learning multiple licks in the primary bluegrass keys/positions of G, C and D (including “dropped D” tuning). This class will build upon the techniques covered in previous years and as presented in my instructional book, Deep Bluegrass Guitar, but will be open and accessible for new participants, as well. Familiarity with guitar chords and knowledge of guitar tablature is highly recommended, but not absolutely required. Students are strongly encouraged to bring recording devices to class as a memory aid, as we will be covering some fairly challenging material.
GYPSY JAZZ GUITAR BASICS (Greg Ruby)
Gypsy jazz is fun and accessible. This hands-on class is intended for either a beginning guitar player or a player new to Gypsy jazz. We will use tunes from the repertoire to learn the basics of chord voicings, rhythm guitar, pick technique, melodies and using licks to build a solo. Plan to be jamming over your favorite tunes by the week’s end.
GYPSY JAZZ: RHYTHM GUITAR (Greg Ruby)
This workshop will expand your understanding of Gypsy jazz rhythm guitar by focusing on the essential elements that drive an ensemble. Using repertoire common to the genre, participants learn ‘la pompe’, ‘four to the bar’, Gypsy bossa, and swing waltz rhythms. Launch into chord inversions to expand your chordal vocabulary.
GYPSY JAZZ: LEAD GUITAR (Greg Ruby)
This workshop will focus on the key elements to effective lead guitar playing in the Gypsy jazz realm. Using a variety of tunes, we will investigate melody interpretation, improvising, and adding chordal elements into your solos. We will also look at ways to learn and add Gypsy jazz licks and ideas to your vocabulary.
BLUES/ROOTS GUITAR TOOLBOX (Steve James)
This class will be for the very beginner, focusing on technique and how to develop the slack key sound. We will primarily work on the open-G tuning (Taro Patch Tuning). We will touch on slack key scales, vamps and licks, which will lead to a song!
BLUES/ROOTS FINGERSTYLE BASICS (Steve James)
These hands-on sessions will provide a beginner/intermediate level overview of tunes, techniques and tunings commonly employed in playing “country blues”, bluesy country and related guitar styles. Also included will be some anecdotal history of these songs and styles, and the remarkable musicians who created and popularized them. Some handouts supplied. Bring a guitar and accessories, pencil and paper. Q&A encouraged. Sound recording by prior arrangement.
BOTTLENECK SLIDE GUITAR (Steve James)
The intermediate guitar arrangements and techniques detailed here will involve using a slide to play those strange and evocative notes found “between the frets”, incorporating them into melodic motifs, and super-imposing these over fingerpicked rhythms (along with some tapping, slapping, chiming and cross-stringing). The tunes will include bluesy classics from past masters along with some of Steve’s original ideas. Some handouts supplied. Bring a guitar and accessories, pencil and paper. Q&A encouraged. Sound recording by prior arrangement.
BEGINNING UKULELE (Marcy Marxer)
Beginning players will get off to a joyous and eclectic start with tuning, chords and easy melodies. No previous experience necessary. We’ll play and sing traditional, jazz, Hawaiian, pop, Elvis, Beatles, Iz songs and more. Students will need a ukulele and an audio recording device or app. For class related or ukulele questions email Marcy directly at email@example.com after February 1, 2013.
INTERMEDIATE UKULELE (Marcy Marxer)
Welcome to the Tiki Lounge where any hour of the day feels like Happy Hour. We’ll dive into chords and expand our knowledge of the ukulele fingerboard while building a common songbook. This class requires knowledge of some basic chords. Students will need an audio recording device or phone app.
ADVANCED UKULELE (Marcy Marxer)
We’re in the deep end now! The Advanced Ukulele class will play and learn one beautiful instrumental ukulele arrangement each day. Students will need an audio recording device and a pencil with an eraser.
Note: There is no advance registration necessary for the following events.
GUITAR MAINTENANCE & REPAIR (Randy Hughes)
Come have your instrument checked out and pick up a few ‘care & feeding’ tips.
Throughout the week we will have three of the finest luthiers in America on hand displaying some of their instruments: Gerald Sheppard, www. sheppardguitars.com, Michael Bashkin, www.bashkinguitars.com, and John Slobod, www.circaguitars.com, as well as a display of some of the amazing inventory from Dream Guitars, www.dreamguitars.com, an award-winning local shop specializing in the world’s finest high-end instruments.
SLOW JAMS (Ed Dodson)
Each day, after lunch, Ed will lead jam sessions of common tunes at a tempo slow enough for folks to learn the tunes as they play.