Blues & Swing Week

Blues & Swing Week

July 13-18, 2014

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Blues and Swing are combined into one week, Blues & Swing Week. You may also want to visit the Blues & Swing Week at Augusta Facebook page, which is a great way to get up-to-the-minute information, request ride sharing, exchange tunes and ideas, and ask questions. All classes (except vocals) are intended for those who can already play their instrument to some extent and are ready to start learning Blues / Swing style, technique, and repertoire.

Students choose four (4) classes for the week, one for each of 4 daily periods (2 morning, 2 afternoon). Click the button below to see the Blues & Swing Class Schedule. Each class builds upon information presented the previous day.  Class sizes are limited.

Blues & Swing Class ScheduleRegisterHousing & Meals InfoFacebook Group

2014 Tuition: $450

Click on any of the names or classes below to open more information. Click again to close.

Blues & Swing Week Coordinator Daryl Davis

Daryl-Davis

Bio

Daryl Davis is an international recording artist, published author, actor and leader of  THE DARYL DAVIS BAND.

Born in the Electric Blues Capital of the world, Chicago Illinois, DARYL absorbed the influences of the South from musicians who traveled North from the Mississippi Delta, Texas, Louisiana, Tennessee, and Missouri to this Blues Mecca. Today, he resides in Maryland, just a few minutes from Washington, DC.

Daryl Davis earned his Bachelor of Music Degree from Howard University in Washington, DC where he was a member of their world famous and renowned Jazz Vocal Ensemble. In addition to being a vocalist, guitarist, and composer, DARYL is a keyboardist extraordinaire. Upon graduation, DARYL went on to work with such artists as Chuck Berry, Elvis Presley’s Jordanaires, Jerry Lee Lewis, The Platters, The Drifters, The Coasters, Bo Diddley, Percy Sledge, and Sam Moore (of Sam & Dave), to name a few.

Both Pinetop Perkins and Johnnie Johnson, considered to be the greatest Blues & Boogie Woogie and Blues and Rock’n’Roll pianists respectively, both have claimed DARYL as their godson. They have both praised his ability to master with authenticity, a style that was popular 20 years before he was born, progressing through the styles of many pioneers including Little Richard, Jerry Lee Lewis, Fats Domino and beyond. It was this ability that landed Daryl in the piano slot for The Legendary Blues Band (which was the Muddy Waters band) and the piano slot for Chuck Berry. Both positions were once held by Perkins and Johnson.

As a recording artist, Daryl Davis was the featured pianist on the Cephas & Wiggins Grammy-nominated album Flip, Flop & Fly. As a composer, in addition to his own hits, I’m a Boogie Man and Broadminded and many other originals, Daryl scored the music to the children’s story, Abigail. His own CDs are titled, American Roots, Alternate Routes and Greatest Hits.

After having been with so many others, helping them to do their thing in nightclubs, concert halls, festivals, recordings, films, radio & television, from the United States to Europe, don’t miss seeing doing his own thing!

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Blues & Swing Week Coordinator Wendi Bourne

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Bio

Wendi Bourne is a swing/jazz singer/guitarist who has been leading bands for swing dancers for many years. She was coordinator of Swing Week from 2006-2012, and co-coordinator of the first Blues & Swing Week in 2013.  Her work is known to the Swing Dance world through bands Big Nite Out, Girls from Mars, and Swing City. “Folkies” and western swing fans know her from her work with The Coyotes and Beat’s Walkin’.

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CLASSES & INSTRUCTORS

Blues & Swing Class Schedule

Click on any of the names or classes below to open more information. Click again to close.

Maria Woodford – Vocal Health & Warm-up & Band Labs

Maria-Woodford

Bio

Maria Woodford is a lifelong musician and songwriter who has seen the world from the most prestigious of stages and the smallest of back room venues. Maria’s sultry vocals, throaty growl, and disarmingly honest approach to songwriting have earned her many honors, including: semi-finalist in the International Blues Challenge (IBC), second round-finalist for best self produced blues album of the year (IBC 2012),  The B.E.A.M. grant for independent music (2001) and Best Independent Album of the Year (NJ Press- 2002). In 2011 Maria was nominated for the “Growing Up Artfully” award for her contributions to the children of inner city Allentown, PA. Maria recently released her 4th full length CD “Bad Dog Blues.

Website

Class Descriptions

Vocal Health & Warm-up - beginning/intermediate

The primary purpose of this class is to increase vocal flexibility, range, control, stamina, and safety.  Students will learn and participate in vocal exercises, stretching, and breathing techniques designed to strengthen and protect the vocal mechanism, specific to styles of singing associated with the blues. Various tricks of the trade to keep in top voice no matter the circumstances will be taught. The primary purpose of this class is to increase vocal flexibility, range, control, stamina, and safety.  This is considered the vocal warm-up for all the vocal classes that follow. It is highly recommended that all vocal students attend this class in preparation for the rest of the day’s vocal classes and to maintain vocal health throughout the week.

Band Labs - all levels

Along with Jake Heck, Maria will help students assemble bands, help them understand how to sound like a polished ensemble, help them choose material, rehearse them, and prepare them for performance.

Sunpie Barnes – Zydeco Accordion & Zydeco Band

Sunpie-Barnes

Bio

Impressive in stature and versatility of sound, Sunpie Barnes combines the musical styles of Blues, Caribbean, Gospel, Funk, Zydeco, and West African rhythms. He calls his music “Bouje Bouje” meaning “to move,” and it’s tailor-made for dancing.  Performances include Houston’s Juneteenth Festival and the New Orleans Jazz & Heritage Festival.  He has worked with such artists as bluesman “Boogie” Bill Webb, vocalist Barbara George, and the New Orleans Blues Department Band, as well as his own band Sunpie Barnes and the Louisiana Sunspots.  A talented piano accordion and harmonica player, Augusta is proud to welcome Sunpie Barnes to our Blues & Swing Week staff.

Class Descriptions

Zydeco/Cajun Accordion & More – intermediate/advanced

Class Description pending

Zydeco Band (all instruments) – intermediate/advanced

Come join the Zydeco Band!  Under the guidance of Sunpie Barnes, Intermediate/Advanced students of all instruments will learn and arrange some great Zydeco tunes.  Maybe you’ll find yourself playing for the dancers one evening!  No Zydeco experience necessary.

Ralph Gordon – Bluesin’ the Bass & Swingin’ the Bass

Ralph-Gordon

Bio

A uniquely versatile musician, bringing 45 years of musical experience to the bass and cello, Ralph Gordon in the genres of Blues, Swing, Jazz, Klezmer, Folk, Bluegrass, Country and many other genres as well as all styles of music for dancers.  Classically trained in music studies at West Virginia University and the Manhattan School of Music, Ralph went on to do a stint with the New Jersey Symphony and tour with Fred Waring & The Pennsylvanians.  When it comes to knowing and holding down the bottom, Ralph is on top!!!

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Class Descriptions

Bluesin’ the Bass – beginning

For those just picking up a bass, students will start with various shuffle Blues and learning with their different turnarounds, students will learn walking through chord changes and how to play apply that to any key.  The minor Blues will be studied along with the Blues scale and the number system will be taught to facilitate transposing keys.

Swingin’ the Bass – intermediate/advanced

This session is for those who have had some basic bass experience and will delve into which are the rhythmic aspects of bass playing that give the different Blues & Swing styles their feel and groove, as well as some music theory.  The students will review and examine some distinctive bass patterns, different turnarounds which will then be combined and applied to “rhythm changes” (I Got Rhythm) and some Blues & Swing/Jazz standards.

Mike (the Girl) & Dan Legenthal – Blues Dancing & Lindy Hop

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Bio

Dan and Mike Legenthal first danced together in 2009, and have been dancing and teaching together at events all over the country.  One of their regular, and favorite, gigs is teaching at the Augusta Heritage Center in Elkins, WV, every summer, working to bridge the gap between musicians and dancers.  Dan is an up-and-coming dance star with several first-place wins under his belt, as well as a degree in classical music performance, while Mike brings an extensive social dance expertise, and a few championships of her own, creating a knowledgeable, musical pairing.

Class Descriptions

Blues Dancing for Everyone - all levels

Whether you’ve never danced a step in your life, or whether you’ve taken some blues dancing classes or courses in the past, we’ll start at the beginning, and quickly get you moving to the music!  We’ll teach you not only basic blues vocabulary, but also teach you something about what it means to dance the blues, and teach you how to add styling and layers that are uniquely you.

Lindy Hop for Everyone - all levels

Whether you want to learn it for the first time, or want to work on your fundamentals (and start to add in some personal style), we’ll have plenty of information and practice for you.  Bring both of your left feet, and feel free to come without a partner- we’ll learn some 6- and 8-count moves, and some principles of rhythm so you can be as expressive with your feet as you are in your music-making!!

Matt Glaser – Swing Fiddle – intermediate & advanced

Matt-Glaser

Bio

Matt Glaser has been chairman of the String Department at the Berklee College of Music in Boston for 18 years. He has performed widely in a variety of idioms with artists such as Stephane Grappelli, David Grisman, Lee Konitz, the Waverly Consort, Fiddle Fever, and most recently with Wayfaring Strangers–a band that fuses jazz and folk music. He has published four books on contemporary violin styles including “Jazz Violin” co-authored with the late Stephane Grappelli, and has written for many music magazines including Strings, Acoustic Musician, and Acoustic Guitar.  Matt has performed at the White House, and at Carnegie Hall with Yo-Yo Ma and Mark O’Connor as part of Stephane Grappelli’s 80th birthday concert.

Class Descriptions

Intermediate Swing Fiddle

This class will examine the playing of great swing fiddlers including Stephane Grappelli, Stuff Smith, Svend Asmussen, Joe Venuti, and Claude Williams. We will analyze transcriptions of these masters playing on standard tunes, and then learn the same standard tunes and apply principles extracted from the solos. We will also work on articulation and rhythm issues, with some time spent on solving the problem of creating a horn-like attack on the violin. All jazz studies must at some point include basic harmony and the transposition of commonly occurring lines to twelve keys. We will also work on harmony through the arpeggiation of 7th, 9th, 11th, and 13th chords, as well as common jazz devices including chromatic and diatonic approach tones, and upper structure triads. For the more intuitive (less intellectual) students, as much of this work as possible will be done in a call-and-response setting in which Matt plays a phrase and you play it back by ear.

Students should spend as much time as possible listening to the swing greats and should be able to play several standards and have a basic understanding of chords and scales, BUT MOSTLY WE WILL TRY AND SWING.

Advanced Swing Fiddle

This class will examine the playing of great swing fiddlers including Stephane Grappelli, Stuff Smith, Svend Asmussen, Joe Venuti, and Claude Williams. We will analyze transcriptions of these masters playing on standard tunes, and then learn the same standard tunes and apply principles extracted from the solos. We will also work on articulation and rhythm issues, with some time spent on solving the problem of creating a horn-like attack on the violin. All jazz studies must at some point include basic harmony and the transposition of commonly occurring lines to twelve keys. We will also work on harmony through the arpeggiation of 7th, 9th, 11th, and 13th chords, as well as common jazz devices including chromatic and diatonic approach tones, and upper structure triads. For the more intuitive (less intellectual) students, as much of this work as possible will be done in a call-and-response setting in which Matt plays a phrase and you play it back by ear.

Students should have invested extensive hours in listening to swing greats and know at least 5 standard tunes, (melody, chord changes and structure).BUT MOSTLY WE WILL TRY AND SWING

Bill Kirchen – Early Rock ‘n Roll and Rockabilly with their Blues and Country Roots

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Bio

Grammy nominated guitarist, singer and songwriter Bill Kirchen is one of the fortunate few who can step onto any stage, play those trademark licks that drove his seminal Commander Cody classic Hot Rod Lincoln into the Top Ten, and elicit instant recognition for a career that has spanned over 40 years and includes guitar work with Nick Lowe, Emmylou Harris, Doug Sahm, Elvis Costello and many more. Named “A Titan of the Telecaster” by Guitar Player Magazine, he celebrates an American musical tradition where rock ‘n’ roll and country music draws upon its origins in blues and bluegrass, Western swing from Texas and California honky-tonk.

Website

Class Descriptions

Early Rock ‘n Roll and Rockabilly with their Blues and Country Roots, session 1 – intermediate/advanced

NOTE: This same class will be offered twice, in two different time slots.

Early Rock ‘n’ Roll and Rockabilly guitar was a beautiful mash-up the country, blues and R ‘n’ B styles dominating the airwaves in the forties and fifties. There’s a direct link from Lonnie Johnson to Louis Jordon’s guitarist Carl Hogan to Chuck Berry to James Burton (with Ricky Nelson and Elvis). We will check out Grady Martin (with Johnny Horton, Johnny Burnette), Micky Baker, Link Wray, Carl Perkins and many more.

I’ll show you some useful rhythm styles, some hot licks, and how to fill in between the vocals. You’ll get the tools to really learn the neck, and I will try to help each one of you fill in whatever gaps in your understanding or technique that might be holding you back. We will be shooting for that Eureka! moment, when you find the missing link and it all falls into place. And we will learn my guitar hook from our 1972 Commander Cody hit Hot Rod Lincoln. Bring an electric guitar, and either a tiny amp or no amp at all. Unplugged electric works well. Almost all that we learn is doable on an acoustic, so if that’s what you have its just fine.

Early Rock ‘n Roll and Rockabilly with their Blues and Country Roots, session 2 – intermediate/advanced

See the description above.

Mary Flower – Blues Guitar & Guitar Styles of Rev. Gary Davis

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Bio

Mary Flower is a world-class guitarist and lap slide player who swings the blues. In the atmosphere where Mary operates, she’s recognized as one of the pre-eminent fingerstyle guitarists who continue in the rich acoustic blues tradition.  Picking a few of her jaw-dropping instrumentals, sliding on her perfectly controlled lap slide, she comes by her music naturally, like a walk in the park.  Add a rich voice to the virtuoso picking and you can step into the present state of ragtime, blues and singular acoustic string music.

With 10 albums to her name and a handful of instructional DVDs, this Yellow Dog Records recording artist has earned rave reviews from critics and audiences alike for her instrumental skill – a mastery of the  Piedmont blues style that takes most players a lifetime to hone – for which Flower is most celebrated.

Her performances around the world include Merlefest, Prairie Home Companion and the Winnipeg Folk Festival to name a few. A seasoned teacher, Mary has been on staff at many guitar workshops including Fur Peace Ranch, Centrum Blues Festival and Swannanoa Gathering.

2000 and 2002 Finalist at National Fingerpicking Guitar Championship
2008 and 2012 Blues Music Award Nominee
2011 Muddy Award Recipient from Cascade Blues Assn. for “Acoustic Guitar”

“A world class fingerstyle guitarist and lap slide player”.  Downbeat Magazine
“There are few musicians in the genre bringing as much creative spark and low-key mojo to this century-old music…”  Acoustic Guitar Magazine
“Marries acoustic blues with touches of ragtime, folk, and jazz… the interplay is always interesting, often provocative, and sometimes breathtaking.”  Living Blues

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Class Descriptions

Blues Guitar: Music of the Women Who Started It All – advanced beginning/intermediate

This will be a guitar and repertoire class from the early country and classic blues women (the Black Pearls) where we’ll pay tribute to the ones who paved the way…Mamie, Minnie, Bessie, Geeshie, Lucille and more. We’ll pass the lyrics around and share the singing, talk a little history, and learn the original guitar accompaniment. They don’t write ‘em like they used to and we’ll delve into this century-old song bag of humor, love gone wrong, and double entendres.

Audio recording is strongly encouraged!

Guitar Styles of Rev. Gary Davis – advanced

This class will explore the ragtime, gospel and blues guitar fingerpicking of the prolific and legendary Gary Davis.  Davis’ challenging rhythms and movable chord voicings (creating melody up the neck) were certainly piano-like and inventive.  We will dig in and learn a song a day from his remarkable repertoire in an attempt to glean wisdom and technique from this master.  Expect “Buck Rag,” “Oh Glory How Happy I Am,” and more.

Advanced players will benefit from this class.  Tab will be available, and audio recording is recommended.

Joan Fenton – Moveable Chords & Blues Fingerstyle & Blues House Party

Joan-Fenton

Bio

Joan Fenton has worked as a musician, folklorist, and business woman. She is the recipient of the WC Handy award for keeping the blues alive in education. She produced traditional music shows for 15 years for various radio stations, and received 2 National Endowment for the Arts grants to record traditional musicians. Her field recordings can be found at the D&E Library and in the Joan Fenton collection at the University of NC at Chapel Hill library. Her work with non-profits includes serving on the executive board of the Folk Alliance.

Class Descriptions

Blues (and Swing!) Moveable Chords – intermediate

In this class, we will work on chord positions that are moveable all the way up the neck of the guitar. By the end of the week you will be able to play in any key without using a capo.  The way I teach this is loosely based on the chording that Rev. Gary Davis used. This is an intermediate level course, geared towards someone who primarily plays in first position and if they do play up the neck, don’t really understand what they are doing (in other words, you might memorize a song,  but can’t figure out how to arrange a song up the neck on your own).  Although this class is taught by a blues guitar instructor using blues music to demonstrate the skills taught, this is a great foundation for swing guitar players as well, because it explains how to find chords and melody up the neck.

Beginning Blues Fingerstyle – beginning

This class is for students who already know how to play basic chords on the guitar. Students should be able to play in first position A B7, C, D E F G and A and be able to change chords with reasonable speed.  We will work on right hand technique, alternating base, keeping the rhythm even and picking out some melody.  Left hand will work on getting the chord changes smoother, and finding some blues and melodic notes.  During the week we will focus on 2-3 songs and exercises that you can take home and work on during the year to improve your skills.

Blues House Party – all levels

Late in the afternoon, when you just feel like hanging out and jamming, this is the place to come

We sit in a circle, take turns leading a song, and give everyone who wants a chance to take a break. And, if you are a little shy, sit in the back and just play along as best you can. I’ll call out the chords and help any way I can. It’s  a great way to try out the new things you’ve learned during the week, or just to share songs you love with the rest of us.

Steve Little – Swing Guitar Rhythm & Chords & Swing Guitar Soloing

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Bio

Known for his versatility on the guitar and melodic singing voice, Steve Little has played for US audiences for more than four decades. With his band Johnny and the Ringers, Steve played hundreds of shows with D.C. celebrity John Harbison. In 1976 he began studies with the author of Mel Bay’s “Guitar Fingerboard Harmony,” and has studied with many wonderful teachers, including Paul Wingo, Rick Whitehead, and Bobby McFerrin. Steve performs 150 solo concerts a year, focusing on The Great American Songbook, and has a solid knowledge of chord theory as applied to swing and big band guitar.  He has made a study of soloing over Swing and Jazz changes, as well as the Freddie Green chordal comping style.

Class Descriptions

Intro to Swing Guitar Rhythm & Chords – intermediate

This class will cover: rhythm and chordal playing for accompaniment of singers and soloists in ensemble playing, discovering the circle of fourths and Fifths, open voice chords a la Freddie Green, closed voice chords, and more.   To get the most out of this class, students should have a knowledge of and ability to play basic guitar chords, e.g. major, minor, 7th and the occasional diminished, however, knowledge of music theory not required.

Intro to Swing Guitar Soloing – intermediate/advanced

This class will cover: expressing yourself through improvisational playing, useful scales and arpeggios for that jazzy feel, soloing over swing or standard chord changes, chord melodies, practice tips, and more!

Tom Mitchell – Swing Guitar Repertoire & 3 Notes & the Truth for Swing Guitar

Tom-Mitchell

Bio

Tom Mitchell has toured with the legendary recording artist Dan Hicks and his Hot Licks  and played guitar on two of his recent CDs. Other recordings include “Double Scotch”  with jazz violinist Kevin Wimmer, “Monday Morning Blues” (The Blue Rhythm Boys) with Jim Stephanson,  and “The Blue Rhythm Boys Live.”   In 2003, a grant given by  Chamber Music Annapolis enabled him to spend a month in Holland studying with master Gypsy guitarist, Fapy Lafertin.  In 2004 Tom began working with  Ann Savoy along with  The Red Stick Ramblers to form Ann Savoy & Her Sleepless Knights.  This venture has produced two recordings and led to a movie soundtrack spot and producer credits for the film, “All the Kings Men.”

Class Descriptions

Swing Guitar Repertoire – intermediate/advanced

We’ll take some of the songs any swing guitarist should know, play through ‘em, have fun with ‘em and learn something, too.  You will leave this class familiar with a bunch of new tunes, and will have a deeper understanding of tunes you already know.

3 Notes & the Truth for Swing Guitarists – intermediate

Have you ever wondered how a jazz guitar player navigated his or her way through what seemed to be a chord change every other beat or worse yet every beat? Well as usual there no substitute for practice and time spent learning how to play your instrument, but….. I think I have something that will be a valuable tool if you aren’t already aware of it.

In this class I will show you how to use 3-note chord shapes to navigate some of the more common chord changes that you will come up against in Jazz,  .

Three note chords, used by countless swing/jazz guitar players from the late 1920s to the present are a vital part of a guitar players arsenal. We will start by getting comfortable with moving one simple shape around to play a minor blues concentrating on getting the whole class to swing together. The next thing we will do is add some more shapes and sounds to make it a little more interesting and soon move in to a major blues.  From there I would like to go on to applying our new found 3-note wonders to some  jazz standards and turn a rounds. The other thing we will work on is analyzing these shapes and sounds so that we can make the best use of them. At this point I will ask you not to let a little music theory (I mean a very little) send you running. The more you know about how these things work the more you will be able to utilize them in your playing.

I consider this class to be at the intermediate level. By that I mean:

  1. The student should be comfortable playing some Swing/Jazz standards using closed chord shapes.  Examples:  a 12 bar blues, Sweet Georgia Brown, I Got Rhythm, Honeysuckle Rose, Lady Be Good.
  1. The student should be able to execute Step 1 while keeping good consistent rhythm using a pick

Jake Heck – Beg. Blues Guitar & Chicago Blues Style Guitar

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Bio

Said to be the best guitar player in Pennsylvania’s Lehigh Valley, Jake Heck continues to expand and mature his musical voice.  He grew up on the recordings of great blues musicians and quickly developed a love for fingerstyle guitar. He has toured with various blues artists and represented the Lehigh Valley at the International Blues Competition in 2006. He is currently playing with Maria Woodford.

Class Descriptions

Blues Guitar Part 1 – Accompaniment  – beginning

Providing the skills necessary to play in a variety of settings, which include different rhythms and progressions, such 8-Bar and 12 Bar Blues.  Different blues styles, chord positions, turnarounds.  The student should know how to make basic chords on the guitar and will be taught to play and recognize the I-IV-V chords in different keys.  The goal this class will achieve is enabling the student to learn the skills needed to play along with, and accompany other musicians and oneself.  It will be required  that the student take this class BEFORE taking Part 2, as the second part will build upon the material learned in Part 1 Blues Guitar – Accompaniment  (Beginner)

Blues Guitar Part 2 – Soloing  – beginning

This class is limited ONLY to those students who are taking Part 1, as this will be a more advanced extension of what is being taught in the first part.  In this class, students will learn how to play melodies and improvise their own simple solos over the rhythms and chord progressions learned in Part 1.  This will enable the guitarist to not only be a background accompanist, but to also be a featured in the limelight front and center on a solo, when someone says, “Take it!!!”

Judy LaPrade – Blues Theory 101 – Playing with the Blues

Judy LaPrade in concert at Augusta

Bio

Judy LaPrade has taught since junior high school, when she directed and accompanied the patient choir at the local state mental hospital.  She never veered from there in her path to build bridges with therapy and the creative arts.  Judy now has thirty years experience teaching in music programs, schools, mental health agencies, and as a consultant.

Judy took your standard classical piano lessons from a young age, but always felt like something was missing.  She longed to put printed music aside and play by ear.  So when she attended her first Blues camp in 1985, she felt she’d come home.  She fell in love with traditional acoustic Blues and early era string band music.  After years of studying Blues and Swing and performing with the Elktones, an eight piece women’s band, she was invited to teach at Centrum.   For ten years now she has been teaching Beginning Blues piano to both people new to piano and current players who want to learn Blues.  A teacher’s teacher, she also loves working with musicians who have mastered other instruments and now want to transition to piano.

Judy feels the process of leaving the printed page and playing by ear can be easier and more fun than she had experienced.  She creates classes that she always wanted but couldn’t find: where you learn basic Blues patterns then use your ear, voice and heart to play and improvise within them.  She gets you ready for the next level as you build a foundation to approach piano wizards with more confidence.  So if you wrestle with fear and doubt about being heard as you leap into something new, rest assured. Judy feels your pain.

Class Description

Blues Theory 101:  Playing with the Blues, for All Instruments and Vocalists – all levels

We will tear down the Blues in both 12-bar and 8-bar progressions and variations.  We will learn some favorite acoustic Blues standards by ear, building single notes and chords into solid bass lines that support Blues melodies and improvisation.  We will “play,” not work, the 1-4-5 and deep rhythms in each songs until it is rooted, a solid base to let improvisation come from a freer place. To build confidence, we will practice close listening to find where a variation on the form is going next.  We will use our bodies, voices, and instruments to mess around and create new and improved performance levels.

Seth Kibel – Gateway to Improvisation & Blues & Swing History

Seth-Kibel

Bio

Woodwind specialist, bandleader, composer and arranger, Seth Kibel has garnered several “Best Jazz Instrumentalist” awards from (WAMA) Washington Area Music Awards.  With degrees in music and history from Cornel University, Seth performs on his saxophone, clarinet, and flute nationwide with Blues, Swing, Jazz and Klezmer bands.  While not performing and recording, he is often teaching courses in music history at Peabody and Johns Hopkins Universities.

Class Descriptions

Gateway to Improvisation – intermediate/advanced

The art of improvisation, or spontaneous composition, is at the heart of many genres of American music, including blues and swing. This workshop will cover various techniques that can be used to accomplish this.  Melodic improvisation, or the art of interpreting and ornamenting a melody to make it one’s own.  Modal improvisation, or the use of a single scale to improvise melodies throughout an entire song (the blues scale being the best example of this).  Chord simplification, or the ability to look at a song with numerous chord changes and recognize just a few important key centers.  And finally, playing actual changes.  This workshop will be open to all instruments and all levels, regardless of whether you’ve never improvised before in your musical life, or if you’re a more advanced player who wants to brush up on their skills and expand their musical horizons. Definitely great for both Blues and Swing players.

Blues & Swing History – all levels

The history and evolution of American blues and swing in the first half of the 20th century shaped much of what still defines these genres today. Through the use of audio and video, these classes will explore the lives, personalities, and careers of some of the primary innovators in these genres.  We will encounter such pivotal figures as Fletcher Henderson, Duke Ellington, Benny Goodman, Robert Johnson, Muddy Waters, and perhaps some lesser known heroes, as well. This class will operate as a lecture class, with a strong group discussion component.

Mark Wenner – Fundamentals of Blues Harmonica & Performing with Harmonica

Mark-Wenner

Bio

I was born in 1948 in Washington, D.C. At around the age of 7, I heard what must have been some really hard rockabilly, like Gene Vincent, on the radio and it stopped me in my tracks. My grandmother bought me Elvis’s “Loving You” LP for my 8th birthday. By the age of 12, I was totally into soul music, visiting the Howard Theater in D.C. almost weekly for the Saturday matinee. At 15, I was a blues fanatic and began fooling with the harmonica, hoping to emulate Jimmy Reed and Slim Harpo.

At 17 I started at Columbia University and found fertile ground on campus for jamming and forming blues-oriented bands. Paul Butterfield played my freshman homecoming dance in October 1966, and that sent me into a very serious study of the harp. New York provided nearly every touring blues act for study, and I met James Cotton and sat in with Slim Harpo. In 1972 I finally finished my English degree and moved home to D.C. to start a working band.

By 1974, I had put together a crack quartet called the Nighthawks that worked the Washington area enough to begin recording and expanding our touring range. In 1976 we started traveling from Boston to Atlanta. In 1978 we played Chicago (where Muddy Waters came to see us and invited us to his home), Denver, Austin (where we played with Delbert McClinton, the Thunderbirds, Stevie Ray Vaughn, W.C. Clark, Marcia Ball and the Cobras) and New Orleans (where we played with the Nevilles, the Radiators, John Mooney and Little Queenie). In 1980, we did Seattle to San Diego opening for Muddy Waters.

In D.C. we were able to open for Muddy Waters and James Cotton. We did a series of concerts called Blue Monday at the Bayou and backed up Carey Bell, Big Walter Horton, Jimmy Rogers, Fenton Robinson, Louis Myers and Otis Rush. We hosted the Thunderbirds, Stevie Ray Vaughn, Powerhouse, Roomful of Blues, the All Stars from Charlottesville, Lamont Cranston, Billy Price, George Thorogood and Robert Cray.
The current lineup of the Nighthawks is Paul Bell on guitar, Johnny Castle on bass, and Mark Stutso on drums.

Class Descriptions

Fundamentals of Blues Harmonica - beginning

This class will cover the fundamentals of blues harmonica, including:

  • Musical structure of the harmonica especially pertaining to, but not limited to, blues chords
  • Using one harmonica in four different keys, and why they work
  • Breathing and rhythm

Students will need one C 10-hole diatonic harmonica of decent quality (Marine Band, Special 20, Blues Harp, Big River or even the Blues Band that they sell at Cracker Barrel for $6.00).

Performing with the Harmonica – advanced

This class will cover performing with the harmonica including:

  • Physical presentation
  • Staging
  • Interaction with other players and the audience
  • Acoustic vs. amplified
  • Easy but effective “tricks”
  • Critique of student performance

Phil Wiggins – Harmonica: Beyond the Blues & Country Blues Harmonica

Phil Wiggins on blues harp in concert

Bio

Phil Wiggins has been playing the harmonica since he was a boy. He joined up with John Cephas in the late 1970s, and the duo, Cephas and Wiggins performed together for over 30 years, becoming America’s premier blues duo. As ambassadors of the Piedmont blues, Cephas and Wiggins took their music all over America as well as all over the world. “John and I have performed on every continent except Antarctica.” Some venues of note include Carnegie Hall, Sydney Opera House, Royal Albert Hall, and the White House. Phil has appeared in numerous films, and has taught at camps and workshops all over the US.

Class Descriptions

Harmonica: Beyond the Blues - intermediate/advanced

In this class, Phil will teach songs he was inspired to learn by listening to and playing with people like Nat Reese, Martin Bogan and Armstrong, and the Mississippi Sheiks. It will include songs by Louis Armstrong, Duke Ellington, Django Reinhardt, Louis Jordon and others. Folks in this class will need a “Melody Maker” tuned Harp in Bb. Lee Oskar makes them, or they can be ordered from Hohner . In both classes we will also be singing.  All harp folks should bring harps in the keys of A,Bb,C,D,F,and G. Some sharps and flats will be good for joining in on the swing jams. Students should be proficient at bending notes. A portable recorder will be useful.

Country Blues Harmonica – intermediate/advanced

In this class we’ll explore some tunes from the Piedmont and Delta regions. Students should bring harps in the keys of A,Bb,C,D,F,and G. Students should be proficient at bending notes. A portable recorder will be useful.

Gary Allegretto – Blues Harmonica from Scratch & Intm./Adv. Harmonica

Allegretto,Gary

Bio

Critics have called his musicianship “world-class,” “masterful,” ‘jaw-dropping,” and “exemplary.”  His songs can be found on film and television productions including the soundtracks of Johnny Depp’s film “Rum Diary” and the national PBS television program “Roadtrip Nation.” He is the 2011 recipient of the Blues Foundation’s prestigious “Keeping the Blues Alive” award. Gary is the founder and director of Harmonikids, a non-profit charitable organization that provides music therapy with harmonicas and lessons to special needs children internationally. Gary’s recordings have received rave reviews, topped the Living Blues and Roots Music radio charts and received multiple Grammy Award nomination considerations including Best Contemporary Blues album.  He has taught extensively throughout the US and internationally.

Class Descriptions

Learn to Play Blues Harmonica Instantly – from scratch

This is Gary’s class that the Blues Foundation recognizes with its “Keeping the Blues Alive Award” in education. Through it Gary has provided outreach teaching tens of thousands worldwide with absolutely no prior experience to successfully learn to play basic Blues harmonica rapidly and accurately. Students will need a harmonica in the key of C.  (Hohner, Marine Band, or Special 20 are suggested.) You’ll be provided everything else you need and the techniques you’ll use to carry your new talent into the future.

Harmonica: Got Love If You Want It - intermediate/advanced

In this class we’ll address techniques and concepts to develop, build and elaborate on the intermediate – advanced harmonica player’s skills. Areas of focus will including embouchures, tone, styles, rhythms, chugging, dynamics, transitions, soloing, chorus forms, song crafting, and performance strengthening tips. It will cover 1st, 2nd, and 3rd positions investigating examples of each. We will also explore equipment, and strategies of playing solo, duo and in a band. Students will need diatonic harmonicas in the keys of A, Bb, C, D, F, and G (chromatics, if you have them).

Dave Davies – Horns

Dave-Davies

Bio

Dave Davies is a talented multi-instrumentalist, singer, arranger, songwriter and teacher from Ithaca, NY.  His work in a multitude of musical styles has brought him to venues all around the USA, Central America and Europe. At home on the trombone, guitar and upright and electric bass, you may also find him playing the tuba, ukelele or drums. He’s been a solid member of the Northeast music scene for 25 years, playing with Jay Ungar and Molly Mason, Lindy Hop Heaven, Djug Django, The Clayfoot Strutters, and others.  He has a BA in music from SUNY Oswego, and studied with Bobby McFerrin at Omega Institute.

Class Description

Horn Section On-the-Spot – intermediate

This class is for intermediate students who can play comfortably in Bb, and who are willing to try playing mostly by ear (I’ll show you how).  A great class for students who are new to swing music, or who are looking to improve their improvising skills while playing simple, rhythmic lines in harmony with others.

This class is the place for players who would like to explore the Wonderful World of playing with others in a situation where there have been no rehearsals.    You will develop some tools for making beautiful, swinging music “on the fly”.   This involves knowing what to listen for, who to listen to, how to get your head out of the music and rely more on your ears.   Students will be given a short list of songs to familiarize themselves with before swing week begins so that you can get the most out of this class.   Towards the end of the week, all horn students will have the opportunity to perform as an ensemble with a swing band consisting of staff musicians at an evening dance.  This is often a highlight for our horn students AND the dancers!

Advanced Blues & Swing Horn Master Class – advanced

This class will focus on furthering skills in reading, improvising, and ensemble playing for advanced horn students who have demonstrated solid knowledge of scales, keys, reading, transposition and tone on their instrument.  We will explore in depth chord changes, soloing, and ear training. Please contact one of the coordinators if you have questions regarding required skill level for this class. (wendibourne@comcast.net or daryl@daryldavis.com).

Wes Crawford – Pizza Box Percussion & Rhythmic Scales

Wes-Crawford

Bio

Wes Crawford played with the extraordinary Jazz / R&B singer Jane L. Powell, for eleven years. The group toured throughout the United States, Canada, and the Caribbean performing at festivals, universities, resorts, nightclubs, and on cruise ships and opened for acts such as Ray Charles, Melba Moore, Freddie Jackson, Lou Rawls, and many others.  Wes recorded two albums with Ms. Powell as well as several outside projects including his own “Rap-Along” album, a creativity and esteem building recording designed for teenagers. Wes conducted electronic percussion seminars at VA Tech and at the Virginia Governor’s School for the Gifted. He is currently serving as President of the MD/DE chapter of the Percussive Arts Society and leads his latest group, Enviro Drum – Maryland.

Class Descriptions

Pizza Box Percussion – beginning/intermediate

Pizza boxes will be provided for this class, and we will have drum brushes available for purchase (about $20/pair) – or bring your own.  Learning to play the snare drum (on a pizza box!)  is a great way to increase any musician’s awareness of rhythm – and a fun thing for singers to do at jam sessions at they wait for the vocal to come around again!  This is a great way to learn about playing the drums with only $20 invested in equipment!  In this class we will focus on a simple techniques used to play thousands of tunes with brushes.

Rhythmic Scales – all levels, all instruments

You’ve heard of and probably play melodic scales on your instrument. In this class we explore various “Rhythmic Scales” to deepen your sense of time and rhythm. Natural subdivisions of the beat are paired with phrase lengths for exciting results, including an introduction to polyrhythms!

Requirements:  an understanding of pulse and the basic duple and triple subdivisions (notes). Just bring two hands and a lap!

Robert Redd – Swing Piano – Beginning & Intermediate/Advanced

Bio

Robert Redd, born and raised in the Washington, D.C. area, began playing music as a trumpet player at the age of twelve, and began performing professionally while still in high school. While continuing to perform and study the trumpet, he began to develop a serious interest in the piano and decided to make the switch at age twenty-three. He re-established himself as a piano player and was soon very much in demand.

Robert was a member of the Keter Betts trio for 13 years, until Betts’ death in 2005.  The trio performed many concerts and festivals and was frequently heard at venues such as the Kennedy Center and Blues Alley. They performed regularly throughout the school year at Wolf Trap as part of Early Learning Through the Arts, a program which Betts helped start and develop, presenting live music to young audiences. Robert now leads the Wolf Trap Jazz Trio, which continues to present this program.

From 1995-1998, Robert was pianist and musical director for singer/songwriter Kenny Rankin. While touring with Rankin, he performed with Michael Moore, Oscar Castro-Neves, Roy McCurdy and John B. Williams, among others. They appeared regularly at venues in New York City such as The Rainbow and Stars and The Bottom Line, and performed in the guest artist series with the U.S. Air Force Band at DAR-Constitution Hall, in Washington, D.C.

Robert worked often as a member of the Charlie Byrd Trio, and can be heard on Charlie Byrd’s last recording, “For Louis”. Other recent recordings include “Bouquet Chorale” (Summit Records) featuring Marty Nau and legendary saxophonist Phil Woods, and “When Redd is Blue”, co-led with his brother, Chuck. Robert is also a QRS recording artist and has recorded two Pianomation CDs with fellow pianist Mike T. Jones for the New York-based company.

As a free-lance musician, Robert has performed with Bud Shank, Houston Person, Warren Vache, Ann Savoy, Ethel Ennis, Melba Moore, Mundell Lowe, Scott Hamilton, Ken Peplowski, James Moody, John Pizzerelli, The Harry James Big Band, The Artie Shaw Big Band (w/Dick Johnson) and the Duke Ellington Orchestra, to name a few.  He performs frequently with the Smithsonian Masterworks Organization, and is often featured at Blues Alley, where he co-leads a group with his brother, Chuck.  He is also a featured artist every year at the W.C. Handy Music Festival in Muscle Shoals, Alabama.

Recent performances included a private concert in the East Room at the White House for the President, First Lady, and their guests on Valentine’s Day.

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Class Descriptions

Swing Piano - intermediate

My piano classes will focus on Swing/Jazz piano. This includes learning to read and understand chord symbols, developing chord voicings and techniques for comping (accompanying) as part of a rhythm section. We will also explore different approaches to improvising. I will be teaching both intermediate and advanced classes in a very open and comfortable setting, so all are welcome.

Students should know how to read music and have a working knowledge of how to form basic chords. Please feel free to e-mail me (using the Email button above) with any questions regarding the class.

Swing Piano - advanced

My piano classes will focus on Swing/Jazz piano. This includes learning to read and understand chord symbols, developing chord voicings and techniques for comping (accompanying) as part of a rhythm section. We will also explore different approaches to improvising. I will be teaching both intermediate and advanced classes in a very open and comfortable setting, so all are welcome.

Students should know how to read music and have a working knowledge of how to form basic chords. Please feel free to e-mail me (using the Email button above) with any questions regarding the class.

Steve Jones – Blues Piano – Beginning & Intermediate/Advanced

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Bio

Steve Jones is a pianist in the Washington DC area, who has backed up vocalists and played with bands for years.  He teaches piano improvisation and guitar at Washington Adventist University, and has won awards for his music writing from the Maryland State Arts Council, the Puffin Foundation, the Yip Harburg Foundation and BMI.  He has written 2 musical theater pieces:  “Forgotten” (www.forgottenshow.net) about union organizing, which has been produced in 6 cities, and most recently, “Love Songs from the Liberation Wars,” a show about the battle against Jim Crow in North Carolina in the 1940s.

Class Descriptions

Blues Piano - beginning

We will look at simple blues progressions, and blues songs. We’ll learn blues chords and bass lines and blues riffs. We’ll look at what makes for effective blues songwriting, and go through exercises to build the students’ own creative approach to blues piano.

Blues Piano - intermediate/advanced

“The blues is about truth-telling…” – Alberta Hunter

In this class we will explore the truth of the blues.  It would help for the student to know how to form a chord, and have had some experience with the blues. Each of us has our unique influences – we’ll look at how playing the blues allows us to express ourselves and work together at the same time.

Erwin Helfer – Boogie Woogie Piano – Beginning & Intermediate/Advanced

Erwin-Helfer

Bio

Erwin Helfer, a Chicago boogie woogie innovator and master, has been forging his own piano music legacy. Erwin has been playing and performing for over forty years. The sounds and personalities of past boogie woogie and blues pianists have nurtured Erwin’s musical growth. For many years, Erwin accompanied Mama Yancey, the wife of Chicago blues piano patriarch Jimmy “Papa” Yancey, and later recorded one album with her. He was also mentored and influenced by Cripple Clarence Lofton, Speckled Red, and Sunnyland Slim. During the 60′s and 70′s, Erwin released two piano duet albums with his performing and recording partner of ten years, Jimmy Walker. On their first album, Peter J. Welding, one of the preeminent blues historians and scholars of all time, wrote that Helfer had “mastered the rhythmic and melodic subtleties” of the blues piano style. Other Helfer recordings include “Heavy Timbre”, a compilation of Chicago blues pianists, several LPs for his own record label Red Beans, and two CDs for Austrian Label CMA.

Erwin has the chops, the feel, and the drive of the masters but he also pushes the “classic” blues piano music forward in a totally new direction. His music is graceful, spirited, and at times beautifully dissonant. Erwin’s classical music training allows him to hear and interpret the simple, percussive blues and boogie piano style like no one else. Yet, his classical training is not overbearing on his own piano approach; that is, his playing is fluid and carefree, not stiff. Chicago has long recognized its musical treasure, Erwin Helfer. He performs regularly at Chicago clubs and annually at the Chicago Blues Festival garnering rave reviews from publications such as The Reader and Chicago Magazine. His local gigs and frequent European tours have created a strong and loyal following in Chicago and overseas.

His most recent European tours include Berlin Jazz Festival and Debrecen Jazz Festival, the oldest Jazz Festival in Hungary.

Website

Class Descriptions

Boogie Woogie Piano - beginning

No experience is necessary for this class.  This class will incorporate some beginner Blues piano as a foundation as well.  Students do not need to know how to read music, but students who read music may want to bring some blank staff paper to take notes. Students are encouraged to bring a tape recorder to class.

Boogie Woogie Piano - intermediate/advanced

Some Blues and/or Boogie-Woogie piano experience is necessary for this class.  If you are unsure of your level, please contact Coordinator, Daryl Davis: daryl@daryldavis.com and he’ll help you determine the best class for you. Students do not need to know how to read music, but students who read music may want to bring some blank staff paper to take notes. Students are encouraged to bring a tape recorder to class.

Roddy Barnes – Songwriting & One-on-One & Gospel Choir

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Bio

From being anointed as a child with Gospel music from his to church to becoming replete with music academia, Roddy Barnes scored a B.A. in Classical Performance from Missouri Western State University and a scholarship to Berklee School of Music in Boston.  He has traveled to Boston, New Orleans and Austin, playing blues music. His Songs have been recorded by Gaye Adegbalola and Ann Rabson. Roddy has also composed music and lyrics for commissioned for plays, as well as television commercials. His singing and piano playing in his solo performances are equally superb. Augusta is pleased to present Roddy sharing the secrets to his songwriting success with you!!

Class Descriptions

Songwriting - all levels

This class is for all levels of ability. Students should bring writing paper and pen. Basic foundations of songwriting will be covered including:

  • how to work with a melody to enhance the meaning of the lyrics
  • how to voice chords to drive the melody
  • basic theory
  • basic concepts of copyrighting

Students are encouraged to share original songs.

Songwriting One-on-One: Roddy’s “Office Hours” - all levels

Roddy will see students one-on-one, by appointment, to help with songwriting.

Gospel Choir - all levels

This class is for all levels of ability. Three to four traditional gospel songs will be taught during the week ending with a gospel concert at the end of the week. The main emphasis of this class will be to have fun and enjoy the rich harmony of the gospel tradition. No experience necessary; just bring your voice and your spirit!

Laurel Masse – First Steps & Swing Vocals

Laurel Massé

Laurel Massé

Bio

Few artists can claim to have started their careers in music at the top, but as a founding member of The Manhattan Transfer, that is exactly what Laurel Massé did. With her expressive voice, clear diction, and ready wit, the statuesque redhead left an indelible mark on the group. She toured internationally with the Transfer for seven years, recording four albums (certified gold and platinum) and the movie soundtrack of Just a Gigolo (which starred Marlene Dietrich in her final screen appearance). Ms. Massé also made numerous television appearances with the group, including Mary Tyler Moore’s 1974 television special Mary’s Incredible Dream, and The Manhattan Transfer Show on CBS TV in 1975.

In 1978, a near-fatal automobile accident cut short her tenure with the group.In 1980 she returned to stage and studio. Her solo recordings, Alone Together and Easy Living, both charted on Billboard; Again was a People magazine pick. Ms. Massé’s Feather and Bone, a vocal meditation on the Divine, was described by The Absolute Sound as “a recording of extraordinary musical and sonic value.” Her 2012 release, Once in a Million Moons, is already garnering praise. Ms. Massé has also guested on CDs of many artists, including Barry Manilow, percussionist Layne Redmond, bluegrass artist Tony Trischka, and songwriter Carol Hall. She hosted the monthly Laurel Massé Jazz Show for two years on Northeast Public Radio.

She joined the faculty of Jay Ungar and Molly Mason’s Ashokan Fiddle and Dance Camp in 1997 as vocal coach in jazz, western, and swing styles, and has been a Master Instructor at The International Cabaret Conference at Yale since 2004. She has lectured and taught master classes at prestigious institutions such as Dartmouth and The Royal Academy of Music (UK), and is an adjudicator for high school and college jazz and show choir competitions. Ms. Massé has received the prized MAC Lifetime Achievement Award (2004), and the Bistro Award for Best Jazz Vocalist, 2009. That year also saw the release of That Ol’ Mercer Magic, an all-Mercer recording (with Janis Siegel of Manhattan Transfer and Lauren Kinhan of New York Voices). Ms. Massé has been both a guest soloist and a member of the professional choir at the Cathedral of St. John the Divine in New York City. As a member of Project Rushmore Theatre Company she has participated in readings of Beth Henley’s “Crimes of the Heart” (as Lenny), Shakespeare’s “King Lear” (Cordelia), and Lillian Hellman’s “Toys in the Attic (Albertine). She is featured singing her own composition “The Heavens Tonight” (co-written with Larry Kerchner and Hubert “Tex” Arnold) in the Kairos Productions feature film, Camilla Dickinson. Ms. Massé is an ASCAP writer and a member of SAG/AFTRA.

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Class Descriptions

First Steps for the Beginning Vocalist - beginning

Singing feels so good, and singing in front of others can feel so… not good. This is a class for those who long to sing, who might sing when they are alone, but are reluctant to sing in the presence of others. We’ll all be singing together and just having fun. No sight-reading required, no pens or pencils, and no one will be pressured to sing a solo. All you’ll need are your ears and your voice.

Swing Vocals: Stepping Out – intermediate/advanced

You know the melody, you know the words, and yet…  This class is for singers who are ready to perform or already doing so. We’ll work on the subtleties of swing, on aspects of jazz vocal improvisation, on the meaning of the lyric, and on communicating with the audience. Please come with charts of a few songs you may want to work on (songs you already know). This is especially important if the songs are not well-known standards. You may bring a recording device if you wish.

Bekah Williams – Blues Vocal Performance

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Bio

Bekah Williams has been singing in front of large audiences since early childhood. The daughter of a Pentecostal minister, Williams learned early on that singing was to her family as common as household chores for other children. Her Gospel roots are apparent in her soulful renditions of blues songs and jazz standards alike. Her live performance schedule over the years has been busy, playing with: ROUGH & READY, The Snakehandlers, who opened the Greater Cincinnati Blues Fest in 1998, then she joined forces with local/international keyboard wiz Ricky Nye. Performing classic blues and jazz, Bekah and Ricky have been performing locally for almost 10 years.

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Class Descriptions

Blues Vocal Performance - intermediate/advanced

This class is for students who are already performing or are thinking about starting to perform in public. Areas covered will be:

  • stage presence
  • connecting with an audience
  • how to be prepared
  • how to work with a sound system
  • how to work with an accompanist/band

Students should come prepared with two songs they already know, and if possible, sheet music or a chord chart.

Bruce Cowan – Blues/Swing Ukulele & Ukulele Band

Bruce-Cowan

Bio

Bruce Cowan plays ukulele and guitar and sings.He performs with groups in the Pacific Northwest and spreads joie d’ukulele through Ukuleles Unite!, an organization he helped found to present workshops and performances. He also teaches ukulele, leads jams, and works behind the scenes at Centrum’s Blues, Jazz, Voice, and Ukulele workshops in Port Townsend, Washington.

Class Descriptions

Intro to Blues/Swing Ukulele - beginning

Join the fun! Learn the basic chord patterns and strums for blues and easy swing tunes. This class is for beginners and for folks who are learning to play basic chords in common keys.

Advanced Blues/Swing Ukulele - intermediate/advanced

Get your strum and groove on with classic swing and blues adapted to the ukulele. We’ll work with the chord patterns that are the building blocks of song. We’ll learn moveable chord forms so you can play in any key. This class is for players who know their basic chords in common keys.

Ukulele Band - all levels

One can NEVER have too many ukes in one place! Join the madness as the Blues & Swing Week Ukulele Band members (that’s you) agree on a few tunes to play, arrangements for each… maybe even some costumes? All levels welcome. A collaborative class under the guidance of Bruce Cowan. Should be fun!

Optional Evening Mini-Courses $55

Mike (the Girl) & Dan Legenthal – Two Left Feet (Blues & Swing Dance)

Mike & Dan Legenthal

Bio

Dan and Mike Legenthal first danced together in 2009, and have been dancing and teaching together at events all over the country.  One of their regular, and favorite, gigs is teaching at the Augusta Heritage Center in Elkins, WV, every summer, working to bridge the gap between musicians and dancers.  Dan is an up-and-coming dance star with several first-place wins under his belt, as well as a degree in classical music performance, while Mike brings an extensive social dance expertise, and a few championships of her own, creating a knowledgeable, musical pairing.

Mini-Course Description

Two Left Feet (Blues & Swing Dance) with Dan Legenthal - all levels

Come and learn a sampling of dances to a range of tempos, so you can stay on the dance floor all night long! We’ll start at partnering basics, so no experience or partner is needed- come as you are, with both your left feet!

Self-Care for Musicians – Judy LaPrade

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Bio

Judy LaPrade has taught since junior high school, when she directed and accompanied the patient choir at the local state mental hospital.  She never veered from there in her path to build bridges with therapy and the creative arts.  Judy now has thirty years experience teaching in music programs, schools, mental health agencies, and as a consultant.

Judy took your standard classical piano lessons from a young age, but always felt like something was missing.  She longed to put printed music aside and play by ear.  So when she attended her first Blues camp in 1985, she felt she’d come home.  She fell in love with traditional acoustic Blues and early era string band music.  After years of studying Blues and Swing and performing with the Elktones, an eight piece women’s band, she was invited to teach at Centrum.   For ten years now she has been teaching Beginning Blues piano to both people new to piano and current players who want to learn Blues.  A teacher’s teacher, she also loves working with musicians who have mastered other instruments and now want to transition to piano.

Judy feels the process of leaving the printed page and playing by ear can be easier and more fun than she had experienced.  She creates classes that she always wanted but couldn’t find: where you learn basic Blues patterns then use your ear, voice and heart to play and improvise within them.  She gets you ready for the next level as you build a foundation to approach piano wizards with more confidence.  So if you wrestle with fear and doubt about being heard as you leap into something new, rest assured. Judy feels your pain.

Mini-Course Description

Your Body, Your Irreplaceable Instrument: Self-Care for Musicians - all levels, all instruments, dancers, & vocalists

You can replace an instrument or piece of gear, but the body and voice you have is the only one you’ll ever have.  This class will help you build on what you already do to take care of yourself and also help you survive the areas where you don’t.  You will learn several efficient and effective self-care practices such as Active Isolated Stretching for the upper body, low back care, hydrotherapy (use of heat and cold), voice care, and body awareness skills such as breathing and deep muscle relaxation to release long-held muscle tension patterns.  Our objectives are to improve body function, longevity, and comfort, as well as to boost your performance level.  Students should wear loose, comfortable clothing.

Images & Sounds of Appalachia – Michael & Carrie Kline

Carrie & Michael Kline

Bio

Carrie & Michael Kline are soulful singers who focus West Virginia songs, from the ancient ballads of the Hammons Family in the central highlands, to mining laments and songs of resistance in the coal fields. They enjoy love ballads and country songs as well, especially the poignant imagery of Kate Wolf and Laurie Lewis. They present their music both as entertainment and social history, with engaging ease and hard-hitting passion. As two people absorbed in the study of oral tradition, they spend time with old-time singers and tellers living in the Appalachian region. Singing to audiences of all ages, they perform in a variety of situations; from classrooms to prisons, from coffeehouses to picket lines. Their style is an amalgamation of musical and oral sources representative of places like Cherokee, North Carolina, the Appalachian coal fields, and industrial cities from Cincinnati to New England. Their high mountain harmonies meld with Michael Kline’s well-loved melodic flatpicking-style guitar. For more information, visit www.folktalk.org.

Mini-Course Description

Images & Sounds of Appalachia – all levels

Join folklorists Michael and Carrie Kline for a journey into the soul of Appalachia. The Klines will impart songs, stories and their own oral history recordings to paint a portrait of the lives of the people who have made their homes in central West Virginia. This class will appeal to people who want to rest their voices and bodies, but delve deeper into the culture of these Appalachian hills.

Math & Music – Nathan Sams

Nathan Sams

Bio

bio pending

Mini-Course Description

Math & Music – all levels

Join D&E Mathematics instructor – and bass player – Nathan Sams for a glimpse into the simple relationships between math and music. The class will focus on patterns and connections between math and music in terms of notation, scales, chords, transposition, etc.  For example, if you are jamming with a group and get confused when someone uses a capo, then this course is for you!