(Unless otherwise indicated, all classes have a limit of 15)
SONGWRITING 101: STORYTELLING (Nora Jane Struthers)
Stories help us understand and process the world we live in. A story set to music possesses an added power to penetrate hearts and minds. In this class for all levels we will work on honing the craft of telling a story though song. Whether you seek to write a modern-day folk-hero classic, magnify a fragment of forgotten history, paint a picture of your hometown, or immortalize a series of events from your family history or your own life, this class will give you the tools to craft something memorable and meaningful.
DISTILLATION (Nora Jane Struthers)
As writers, we all attempt to find and convey truths. When we sit down to work on a song, the first question we should ask ourselves is ‘What am I trying to say?” The second question is “How can I best say it?” In this class we will work first on distilling our intentions down to their essence and then on our delivery of those intentions, through lyrics, melody, and performance. Bring a song or a piece of a song that you feel has promise but lacks focus. We will create a safe space to generate, hone, and share our work together.
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.
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 in the first class session to be their co-writer for the week. 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 I LEARNED FROM PETE & WOODY (Tom Paxton)
This class will include songs by Pete Seeger, Woody Guthrie and others and how they shaped Tom’s songwriting. We will write songs right from the news of the day. Bring 15 copies of anything of this kind you have written.
WRITING A TRADITIONAL SONG (Tom Paxton)
This is a songwriting class on traditional styles. Come explore what traditional songs have to teach us in the 21st century. We will write new verses for traditional songs, which will give us a new appreciation for this priceless heritage.
WORKS IN PROGRESS (John Gorka)
My favorite place to be is in the middle of a song. I hope this class will find us all in the middle of a new one. Our purpose will be to write new songs and to a lesser degree, complete promising, unfinished pieces. The first day I will talk a little bit about what has worked for me as a performing songwriter. Then we will quickly shift the focus to the individual student’s areas of interest or concern. Most of the week will be spent on actually cultivating new songs. I hope to create a positive atmosphere where writing a new song is not only possible but inevitable.
EVERYBODY HAS A STORY (John Gorka)
The purpose of this course is to develop new songs and provide tips on how to perform them. We will start new songs from scratch or work on songs newly begun in other classes or at home. Then we will focus on ways for you to connect with audiences in a live performance setting. You can benefit from my experience and decades of mistakes to find ways of crafting a set, telling your story, presenting you and your songs. Providing lyric sheets printed or with neat handwriting is encouraged!
THE MUSE LOVES TO SEE YOU AT WORK (Don Henry)
It’s a beautiful moment when a wave of inspiration hits you. However, if you’re like most of us, it can be a long time between those moments. Fortunately, the Muse is kind to those who are busy at work! Inspiration never travels without the companion of craftsmanship, and we’re going to use the whole toolbox: hard and soft rhymes, cadences and chord changes, cut and paste, puns and juxtapositions. In the process we’ll conquer three challenges during the week: assignment writing, writing lyrics without an instrument, and putting music to a co-writer’s lyrics. Come explore how creativity can blossom from boundaries.
DONT DROP THE BALL, TEAR DOWN THE WALL (Don Henry)
Tired of writing yourself into a corner? How often have you found yourself up against the wall of writer’s block? Have no fear, there’s always a way through, and we’re gonna find it together. In the process, you’ll acquire some tools that can help you overcome future writer’s block. Bring a problem song, 16 copies of the lyrics, and together we’ll tame that sucker!
WRITING MELODIES (Cliff Eberhardt)
We’ll start with a brief history of melodic writing and then show how to incorporate a melodic vocabulary into your songs, including what to look for to get out of melodic repetition. Bring in songs that are incomplete or songs that you feel need improvement, not songs that you are married to or have already recorded. You’ll be asked to start with just a verse and a chorus to work on, no complete songs until later in the week. We’ll talk about how to insert different chords and use different intervals of your existing songs to improve your melodies, how to make the songs have more memorable melodies, and how to insert intros, bridges and endings. By the end of the week we will try to reconstruct your work into a complete beautiful song. Usually during the week most students start to get it and add their own suggestions. That’s when I get to take cat naps. The point is, I’ve never taught this class where the students didn’t have a great time.
RELATABLE SONGS (Cliff Eberhardt)
This class is about making your song more accessible to more people. We all want to share our feelings in song with the world. Most want to hear a song that we can identify with. I want everyone to bring in a song (with lyrics) and we will explore the message of your song and discuss different ways to approach redirecting your message so that everyone can relate to your story. We will consider irony and juxtaposition to make your work more interesting and concise.
DIGGING DEEPER (David Wilcox)
Bring your unfinished songs to class – maybe just a piece of something – and we will imagine that there’s more to uncover, like fragments of dinosaur bone from an archaeology site. Unearthing a song requires asking the kinds of questions that will help you imagine it complete. It’s a step-by-step process. Let’s start by closely examining the existing evidence. You have just a piece of a song, but not the whole story. What character might speak these lines? What’s the situation? What trace of intent or feeling is in the music? Who might be speaking to whom, and why? There are so many possibilities, but once you can fully imagine the life that this fragment came from – how it walked – you can fill in the missing pieces and bring the song to life.
SIMPLE SKILLS (David Wilcox)
I still love practicing the simple skills that make up the craft of songwriting. When we do them together, we can make them fun. It’s a confidence builder to remember that our complex craft is made up of simple skills that can be practiced one at a time. For example, we will all take 15 minutes to write our own little melody to the 2 lines of lyrics up there on the blackboard, and then we will all be welcome to share and talk about how we did it. What clues did the words give us? How did we discern the rhythm? All the different possibilities open our imaginations. Then, for the next exercise, I give everyone the same short piece of melody on your phone and we each take 15 minutes to write words that fit it. The rise and fall of the melody determines what syllables are accented, so it’s really just a word puzzle. We don’t feel self-conscious because this isn’t a song, it’s just a game of finding words that have a particular pattern of accent and rhythm. You could start with some nonsense combinations of words. There are no wrong answers. The momentum and freedom we feel from simple exercises gives us confidence to be more playful with our writing.
VOCAL MASTER CLASS (Kathy Mattea)
In this class we’ll do individual singing in front of the group, and play with techniques including phrasing, presence in the lyric, technical tips for breathing, relaxing, and getting out of our own way. This class is for anyone who wants to inhabit their own songs more comfortably. We work to create a safe environment to explore and take risks. Really fun!
THE AUTHENTIC, BELIEVABLE SINGER I (Laurie MacAllister)
This class is for those who have a small to moderate amount of experience singing in public. It covers foundation-level work on increasing the authenticity and believability of your singing to have a greater impact on your listeners. There are lots of different ways to go about becoming a better singer; this class will focus on one highly effective approach: increasing the believability of your voice. Genuine honest singing, from the heart, has the power to captivate listeners and leave them wanting more; the very best performances are ones that move a listener emotionally. In this class, we’ll explore a wide variety of things that will allow you to achieve greater authenticity in your vocals, including: ways to connect more deeply with your audience by fully inhabiting the meaning of a song, choosing the right key, grounding yourself in the present, using body language to reinforce connection, holding notes, using wordless vocalizations, using vocal dynamics, etc. We’ll consider big-picture concepts to improve your singing, such as fun, gratitude, vulnerability, etc. and how to remove barriers to powerful, connected singing, allowing your voice to shine. We’ll examine vocal technique as it relates to delivering emotionally-authentic performances, including vocal health, vocal warmups, enunciation of lyrics, etc. We’ll review inspiring examples of authentic believable singing by my musical heroes and ask the class to share examples, as well. This class will be experiential, allowing you to try out new things right in class, and learn from other students as they try out new things. The environment will be warm and supportive, judgement-free, and focussed on improvement and growth. On the first day of class, please be prepared to sing 1-2 minutes of a song for the group (such as the first 1-2 minutes of a song, or one verse and one chorus, etc.). Also, please bring water, your favorite notebook, and your favorite pen/pencil. We’ll have a guitar (and tuner and capo and picks) available for you to use, or you can bring your own. You’ll leave this class a better singer than when you started it!
THE AUTHENTIC, BELIEVABLE SINGER II (Laurie MacAllister)
This class dives more deeply into the material covered in the Level I class above. It’s for those who have a lot of experience singing in public, who have a good understanding of and confidence in their voice, but want to learn more and/or address specific singing challenges.
BASIC HARMONY BUILDING (Camela Widad)
We will start with the building blocks of harmony. Each day, after we break down the harmonic structure we will apply our work by singing folk songs. This class will teach: the Solfege through ear training games and show you how to apply that to learning intervals; strength training; singing with others; and staying on your part. We will do basic warm-ups each day but will not dive into the technique of singing, except regarding resonance and the value of matching when singing with small groups and duets. Although there will be some classroom learning this will mostly be an experiential learning space for picking up harmonies so that you can create the building blocks of muscle memory for singing harmony. Bring water to drink during class and a notebook if you like to take notes.
CONTEMPORARY VOCAL MASTERY (Camela Widad)
Are you in some vocal patterns that you need to break free from? Has tension set in along your vocal range? Are you stretching past your comfort zone during your exercises? Are you stuck using only chest voice? Head voice? Do you work in “the mix?” After all of the songs, all of the shows, all of the vocal work, where does your natural voice like to sit? This class will send you off with a toolbox of tried-and-true exercises rooted in contemporary vocal technique, that will allow you to develop the strength and flexibility to sing the songs you love to sing. Finding that sweet spot in your range may even amp up how you write your own songs. I will share exercises for the beginner and advanced singers. We will briefly cover how to care for your voice including recovery tips after voice loss or fatigue from repeated shows. Each participant will get individual attention and feedback. Bring 16-32 measures of a song to share. Bring water to drink during class and a notebook if you like to take notes. Students are welcome to record audio of the class warm-ups and specific exercises.
PERFORMANCE & SONGWRITING (Vance Gilbert)
Vance’s dicta is that songwriting and performance are inextricable entities, so his classes will focus more on one or the other aspect, depending on individual need. All of this is done in a supportive atmosphere as if it were an ‘instructive open mike,’ – Vance working with one student as the others watch. Then it’s YOUR turn! In these practical classes Vance gets ‘under the hood’ of what you do and want to do in a supportive and very entertaining way. This stage/song bootcamp is a class you don’t want to miss.
ADVANCED VANCE (Vance Gilbert)
This offering is for any of you ‘graduates’ who want to go further in performance and songwriting with one of the best. Got the basics? Then here’s an opportunity to dig into the performance/songwriting connection a little bit deeper. Patter, pacing, and constructing a set, are among the advanced performance points you can review in this class. It’s a great opportunity to tweak and hone skills previously acquired in a ‘Vance’ class, or heck, sure, if you missed the first one, c’mon in – there’s plenty for you to do here too.
INTRODUCING THE BEST YOU ON STAGE A & B (Ellis Paul)
(NOTE: This class is offered twice. Each section covers the same material) Would it be surprising to find out that 90 percent of the impact of a communication was visual? Your clothing, hair, posture, poise impacts the story you tell through your songs. We will address the visual aspect of performing as well as the dynamics of the presentation sonically as well – a checklist of what you are bringing on stage, stories, songs, and the visual – as well as what the venue provides – lights, sound, environment. This class will teach you how to get the most out of your performances, find the soul of your songs, and make the most out of the venues you play!
Guitar & Creativity
FINDING YOUR PATH (Kathy Mattea)
This is a class to share experiences, struggles and victories around the place that music sits in our lives. I realized a few years ago that there were some pivotal moments in my own journey with music, and when I looked closer at those moments, I discovered that there were some iconic questions that led me to the right answer in that moment. I have come to believe that we all have our own answers, floating around inside us, about life, music, and the conversation that art opens up between us, and the communities it creates. But, for me, there is a skill in hanging out with the question, and sitting in the uncomfortable open-ended-ness of it long enough so that the answer reveals itself. I’m interested in supporting each other as we ask these deeper questions, and explore where music is leading each of us in our lives, and what it has to teach us about ourselves, being human, and creating community. And about the larger conversation with ourselves, with that quiet voice within that guides us, and with each other. My experience is that the group is a rich place to learn from each other, and it’s enlightening and inspiring to spend five days immersed in this conversation with others who are also finding their way.
BE YOUR OWN ARTISTIC PRODUCER (Joe Craven)
Explore the value of twisting, tweaking, building up and stripping down content and how it enhances and flexes intention in musical stories. Mix & match musical styles to a composition. See how packaging changes the way we connect to the content of a song or tune – yours or other people’s. Bring material you’d like to explore. Joe will provide song examples as well. We’ll all be surprised at the results. From detailing with tiny paint brushes to bold strokes with a paint roller – with or without a drop-cloth – it’s all about fearless possibility in creativity. Re-framing words, rhythms and melodies reminds us of the long, historical love affair between tradition and innovation. Everyone has a place and space to create anew from the old, the borrowed and the blue. Let’s liberate ourselves from the tyranny of common sense while exploring our Home on the (Free) Range of Contemporary Folk.
SONG-ETRY: FROM 5 MIN. POEM TO SONG (Joe Craven)
Join us for an e-ticket ride upon the pursuit of possibility. You’ll be asked to write a series of poems to share throughout the week with only 5 minutes to construct each one. You won’t be able to prepare for what will happen, so just get ready to have fun and be surprised and impressed with your and your friends’ ideas created under pressure. “Song-etry” connects something that just about everyone has already done (writing poems) to the newer art of writing songs. Joe will guide you with the approach of story first and then the music to serve the written word. This class is geared towards entry level songwriting, but anyone can benefit from the process. Bring a spiral ring notebook, a pen or pencil, and (importantly) a recording device. Bring an instrument, too if you want, although it’s not required.
MASTER CLASS IN ARTISTRY (Janis Ian)
This will be a traditional Master Class, normally offered on the university level and to colleagues in the arts, focusing on the role of and history of the artist through the ages and up to the modern world. We will be covering history – from the Cro-Magnon and Neanderthal to the ancient Greeks and those ugly Romans, the Dark Ages, the medieval troubadours and their role in spreading the news, the Renaissance, and why syphilis gave rise to the “artist as lunatic” perception. We’ll pay attention to fear and its effect on us as creative persons, the poetry and consciousness of wood, what to do when the well runs dry, the importance of both craft and talent, and the impossibility of living up to your ideals. There will be quotes and song illustrations as well. Students will be asked to read 3-4 short stories about artists before class begins. If you haven’t received the short stories three weeks before classes begin, please email me at email@example.com for copies of these. (No class limit)
CONVERSATIONS: BEYOND THE FOURTH WALL (Janis Ian)
There are things in “the arts” that no one talks about – bring them here! My Master Class will have a very defined fourth wall; it is an instruction class, not a discussion. Conversely, the afternoon class will be a guided free-for-all. Participants are encouraged to bring any and all questions and thoughts about art and business; discussions are expected. There may be a few guest interviews of select instructors and students, conducted by me and covering everything from “How political are the Grammys?” to “What do performers do when there’s no bathroom available?” to “How can I age gracefully in a youth-skewed market” and “Why do I even bother?!” to “How can I convince my family to give me my college money and let me spend it making a CD instead?” Both classes will take advantage of the fact that I’ve been doing this since I was 12 years old. I am 68, so I must have learned something by now. Chiefly, I no longer have anything to lose by telling the unvarnished truth. Bring questions you don’t think anyone else will answer. Bring your doubts, bring your confusions, bring your anger and pain. We will sort through as much of it as we can, and become stronger in the making. (No class limit)