2025

Don Fraser

Flatpicking Solos in Songs: Level 3
We’ll concentrate on learning the basic melody of a couple of songs and then turn that melody into a solo using melodic tools such as hammer-ons, pull-offs, double stops, parts of scales and arpeggios. You should be familiar with basic chords and be able to change easily between them, and have some familiarity with single notes (playing some bass runs between chords, for example).

Jazz Comping: Level 3
In this class we’ll focus on learning shell voicings—they are relatively easy to play. You’ll go home with a handful of chord shapes that will get you through most jazz standards. We’ll learn how to get through a jazz blues concentrating on leading and supporting the soloist or vocalist. For this class, you’ll need to know basic chords and be comfortable changing between them.

Emily Villavicencio

Drones and Dissonance—Singing: All Levels
We’ll learn some simple songs from Eastern Europe and the Balkans that allow us to quickly jump into the experience of dissonance and drone singing in these traditions. We’ll explore the vocal quality and ornamentation of these satisfying singing styles. We’ll take turns singing melodies, harmonies, and holding down a drone part, feeling how one note can feel so different in the body depending on what else is going on around it. If singers are interested, those who want to may try some duet or small group singing as the songs become more familiar. No experience necessary, no class limit.

Vocal Improv: All Levels
The voice is an instrument, so let’s play! Through exercises, games, and songs, we’ll explore some of the endless possibilities of vocal improv in a safe and fun space. We’ll take on different roles like melody, harmony, bass and percussion. Our bodies will get involved, and maybe you’ll take a turn at leading the group. We’ll learn some of the symbol vocabulary of the “Sound Painting” live composing approach. Last year’s class was a barrel of fun, laughs, and beautiful music! No experience necessary, no limit.

Neil Fraser

A Field Of Wild Chords: Level 2-3
In this class we will explore the shifting of some common open chord shapes up and down the neck, while still retaining some open strings contained in the original position of the chord. We will move the C, A, G, E and D open chord shapes, and also some triad and diad shapes to different positions on the neck. This combination of open strings and fretted notes is very fertile ground and yields some very unique and beautiful sounds.

Improvised Instrumental Story Telling: Level 3-4
Lets look at some ideas to use in crafting an instrumental solo. We will use the major scale, the natural minor scale and the mixolydian mode, played over some simple chord progressions, so, knowledge of these three scales in several positions would be an asset. The use of phrasing, dynamics, leaving space, tension and release, consonance and dissonance, passing tones, repetition of melodic and rhythmic motifs and developing musical ideas without a definite plan. Lots of hands on playing in this class.

Ali Romano

A Waltz, A Jig and a Reel walk into a barn dance… Level 2-3
Three classic fiddle tune forms, we’ll learn (at least) one of each and how to really dig into what makes them groove. Fun on the Fiddle, Mandolin & guitar (other instruments welcome). We’ll also be looking at some basic accompaniment tricks for getting people dancing!

Welcome to Western Swing: Level 2-3
Western Swing is a rich and complex genre that intersects Country, Blues, Jazz, & folk traditions. Repertoire can range from simple two chord songs to full Big Band-esque arrangements. This is a great genre to explore and open up the world of movable chord shapes, harmonized instrumentals and get people dancing. (Primarily Guitar focused, but open to other interested instruments, e.g. Ukulele, Mando, Fiddle, accordion).

Shelley Stevens

Songwriting from the Bottom Up! Level 1 to 3.
This class will take you through various song structures including what is a chorus, bridge, intro/outro, etc. We’ll talk about story, title, and hook lines as well as inspiration and getting started. We’ll explore these ideas through lots of writing exercises. Previous songwriting experience is not necessary – bring your instrument, pen and paper, and an open mind.

Country Blues guitar—Where it all began: Level 2 to 3.
Most of the popular music we listen to today came from the country blues of the early 20th century. We’ll talk a bit about the history, definitions, and various song structures. We’ll cover fingerpicking, some basic techniques/riffs, and apply these ideas to a handful of songs. Students will need to be a skill level where they can play a 3 chord song without slowing down.

We’ll do lots of singing, grab iconic riffs and musical ideas from recordings, and go home with a whole range of new and old repertoire full of the universal themes of travel and adventure that resonate across cultures and generations.

Paul Silveria

Claw-hammer Banjo: Level 2+
Clawhammer is a rhythmic and organic banjo style. We’ll start with basic right hand and left hand techniques. Beginners will learn the essentials and intermediate players will improve their execution. Then we’ll learn tunes! Starting with a “skeleton” version for all players, we’ll add variations for intermediate players to try out.

Old Time Songs: All Levels
Bring your instrument and your voice to explore songs in the old-time tradition and learn how they show up in a jam. We’ll learn about ballads, songs with choruses, floating verses, and even improvising lyrics! Chords and lyrics will be provided.

Matt Smith

Group Vocals: All Levels
In this class, you’ll have the opportunity to experience the joy and challenge of group singing in a supportive and fun environment. Through singing some simple yet satisfying arrangements of songs chosen from a variety of genres, we’ll explore the fundamentals of singing in harmony and learn some strategies for successfully making your way through a vocal part. We’ll also discuss ways to sing more expressively and meaningfully, exploring concepts like tuning, blend, and balance. While notated music will be provided, we’ll be learning by ear– note-reading is not required. This class is open to singers at any level of experience.

Finding Your Voice – Solo Vocal Techniques: All Levels
In this class we’ll discuss a variety of strategies and techniques that can add depth, confidence and creativity to your vocal performances and can help you use your singing voice to its full potential. We’ll listen to examples from well-known songs and discuss techniques used by some of the great singers from a variety of genres. You can expect plenty of participation as we experiment with some of these techniques together, and there will be opportunities to ask questions about any particular challenges you may be facing in your journey as a solo vocalist.

Some of the topics that will be covered include:

• understanding and expanding your vocal range
• using dynamics (volume) effectively
• using natural phrasing and expression to help ‘tell the story’ of your song
• developing good vocal tone
• singing well with other musicians

Kathy Francis

Ukulele Adornments: Level 2-3
Is it time to add a little spice to both your left and right hand on the uke? Subtle additions like sus chords, Major 7 to 6, maybe adding a diminished or additional passing chord can create interest for both the player and the listener. How about changing up what’s going on in your right hand? Perhaps a little finger picking or emphasis on the up stroke vs the down? So many possibilities! You will come away from this class with some fun new songs and ideas that can be applied to others. You will also get recordings of what we have done to help with future practice. Get ready to experience the joy that a few little nuances can bring!

Barry Truter

Ensemble Delight – Creative Collaboration: Level 2-4
Calling all minstrels! Bring your talents, curiousity, and a spirit of playfulness, and be prepared to contribute to the creative process. We’ll form a “band”, choose a song, conjure up an arrangement, test run it, invite feedback, and refine until we arrive at a notion of “good enough” and maybe even “damn fine”. We’ll take risks and discover the difference between “ensemble delight” and “ensemble train wreck”. In the process, we’ll learn how to collaborate musically, proving that the sum is greater than its parts. See you there!