Vocal Week

Vocal Week

August 5 - 10, 2018

The act of singing is itself one of humanity’s oldest and most powerful traditions, and many cultures’ songs are a gateway into deeper understanding of their ethos. Plus, they’re fun to sing! Vocal Week offers you a wealth of opportunities to join in. Participants will learn songs and techniques from a range of traditional cultures and contemporary styles, taught by nationally and internationally known workshop leaders. Taking good care of your voice will also be emphasized, along with workshops in voice technique and daily vocal warm-ups. Those at the beginning level can learn to master melodies and simple harmonies, while more experienced singers can get a challenging workout. Take week-long workshops during three periods each day, sample single-day “one shot” sessions during one period each afternoon, and sing in a large group during afternoon cultural sessions in the chapel. You can also enjoy evening song circles, concerts, and dances.

Vocal Week runs concurrently with Bluegrass Week; Arts, Crafts, & Folklore Workshops; Folk Arts for  Kids; and Evening Mini-Courses. This is the first year of our Bluegrass Week and Vocal Week pairing, and we have some exciting plans in store. Participants can take advantage of both weeks by attending special events, sampling afternoon electives, swapping songs in jam sessions, and sharing in the fun.

Tuition Guide:
$490/week if paid before June 1. $530/week if paid after June 1. 
(+ Room & Board or other available options.)

Registration opens on March 1, 2018. 

2018 Week at a Glance | 2018 Vocal Week Class Schedule2018 Schedule of Events / Bluegrass Week and Vocal Week|   Vocal Week 2018 Flyer | Register Here!

2018 Workshop Leaders and Classes. Click any name below to open more details. Click again to close.

Vocal Week Coordinator & Ad-Hoc Harmonies – Flawn Williams

Flawn Williams

Flawn started singing with his parents and sister around their South Carolina home and on road trips in their ’54 Ford. Other influences included church choirs, novelty records, and the “Folk Revival” of the 1960s. He’s led workshops at Augusta since 1982 in shape note singing, improvisation, doo-wop, and other topics from his eclectic repertoire. Since 1997, Flawn has coordinated Augusta’s Vocal Week. He also performs in many Washington Revels productions in the DC area. Flawn’s singing credits include harmony vocals on CDs by Bryan Bowers, John McCutcheon, Ginny Hawker & Kay Justice, Ann Porcella, Pete Kennedy, and others. He also produced Cathy Fink’s solo album The Leading Role, and Ginny Hawker & Kay Justice’s Signs and Wonders.

Ad-Hoc Harmonies (All Levels)

Ad Hoc Harmonies (All Levels): In this workshop, participants will sing closely with one another, listen closely to one another, and feel what it’s like to improvise while harmonizing. We won’t be covering whole songs, nor will participants be learning parts individually to build up harmony. We’ll dive into a series of games and exercises, sometimes using songs or song fragments, to explore pitch matching, tone matching and percussive qualities of vocalizing. Ad Hoc Harmonies borrows textures and patterns from a wide range of music, from Gregorian chant to doo-wop, and it draws on the traditions, styles, and techniques you’re learning in other Vocal Week workshops as well. Some of the harmony moments will be simple, satisfying, and utterly predictable, but some will strain the bounds of decency. This is a time to be open to experimentation and exploration. Get silly with some nonsense songs and wallow in rich drawn-out chords and near-interminable drones. Some notes and phrases will get repeated to push participants to the threshold of boredom, because it’s right at that precipice that creativity will chime in to provide relief.

Old Meeting House Songs (All Levels) and Unaccompanied Appalachian Ballads (All Levels) with Sheila Kay Adams

Sheila Kay Adams

A seventh-generation ballad singer, storyteller, and musician, Sheila Kay Adams was born and raised in the Sodom Laurel community of Madison County, North Carolina, an area renowned for its unbroken tradition of unaccompanied ballad singing that dates back to the early Scots/Irish and English settlers in the mid-17th century. She learned to sing from her great-aunt, Dellie Chandler Norton, and other notable singers in the community, such as Dillard Chandler and the Wallin family. In addition to ballad singing, she is an accomplished clawhammer-style banjo player and storyteller. Adams began performing in public in her teens, and throughout her career she has performed at festivals, events, music camps, and workshops around the region, country, Canada and the UK, including the acclaimed International Storytelling Festival in Jonesborough, Tennessee, and the 1976 and 2003 Smithsonian Folklife Festival as part of The Bicentennial Celebration and Appalachia: Heritage and Harmony.

Adams is the author of two books: Come Go Home With Me, a collection of stories published by the University of North Carolina Press, and a 1997 winner of the North Carolina Historical Society?s award for historical fiction; and My Old True Love, a novel published by Algonquin Books in 2004 and a finalist for the Independent Booksellers Association award. She has recorded several albums of ballads, songs, and stories including My Dearest Dear (2000), All the Other Fine Things (2004), and Live at the International Storytelling Festival (2007). Adams appeared in the movies Last of the Mohicans (1992) and Songcatcher (2000), a movie for which she also served as technical advisor and singing coach.

In September, 2013, Adams received the nation’s highest honor in the folk and traditional arts – the National Endowment for the Arts National Heritage Fellowship Award, which recognizes folk and traditional artists for their artistic excellence and efforts to conserve America’s culture for future generations. In a letter in support of her nomination, George Holt, director of performing arts and film studies at the North Carolina Museum of Art wrote, “”Sheila Kay Adams is the key figure in carrying forward to this day the tradition of unaccompanied ballad singing that has enriched her community for more than two centuries, promoting its beauty throughout our country and beyond, and insuring that it will be perpetuated by younger generations of singers well into the 21st century.”

Old Meeting House Songs (All Levels)

Old Meeting House Songs (All Levels): From Sheila Kay: “These are the songs I grew up singing in the many different Baptist churches in Sodom, North Carolina. You?ll recognize many of them – I?ll Fly Away, Build Me a Cabin, Where the Soul Never Dies, Farther Along, and Palms of Victory are but a few. This class will ROCK! You can sing melody or find a harmony. I?ll provide the words and music, but we?ll sing them without accompaniment. That?s how I learned them because we couldn?t afford a piano. Come to this workshop ready to sing and sing some more! I love teaching this workshop ! If you need to get in touch with me, please visit my website at www.sheilakayadams.com and send me an email. –SKA”

Unaccompanied Appalachian Ballads (All Levels)

Unaccompanied Appalachian Ballads (All Levels): From Sheila Kay: “I grew up in a small community in western North Carolina where singing was as natural as breathing. My older relatives, Dellie Chandler Norton, Berzilla Wallin, Cas Wallin, Inez Chandler, Dillard Chandler, and Evelyn Ramsey called the songs they sang ?love songs,? even though they often ended in tragedy – Barbary Allen, Little Margaret, Young Hunting and Black is the Color, to name a few. I?ll provide the words to many songs the way I learned them and we?ll work on the ornamentation – the way my family members bent and held notes and this little ?sigh? they put on the last word at the end of certain lines. I would like to offer you the words, tunes, conversation and some of the ?flavor? of learning these ballads in much the same way I learned. Bring your recorder and a notepad. If you got questions you can visit my website at www.sheilakayadams.com and send me a message – I would love to hear from you. –SKA”

A Medieval and Renaissance Banquet (All Levels) and Tricky Transcriptions & Hidden Harmonies (All Levels) with Emily Eagen

Emily Eagen

A specialist in both early and contemporary music, Emily Eagen likes to find the connections between those more formal music forms and the traditional folk musics of many lands. A native of Cincinnati, she moved to New York City in 2007 after spending five years studying, performing, and teaching music in the Netherlands.

After settling in Brooklyn, Emily quickly became part of the contemporary music scene in New York, working with Meredith Monk, Dawn Upshaw, and most recently Bang on a Can for their tour of Julia Wolfe’s Steel Hammer, a contemporary take on the ballad of John Henry. Emily has also taught Medieval, Renaissance, and Baroque music at the Amherst (CT) Early Music Festival. She works as a teaching artist for Carnegie Hall, leading lullaby songwriting workshops for parents and families, writing original music for the “Carnegie Kids” program, and working with school-aged children to sing and write songs of inspiration and social change.

A professional whistler and two-time International Whistling Champion, Emily has a foot planted firmly in Americana through her vocal harmony and singing classes at Brooklyn’s Jalopy Theatre, and with her new vocal close-harmony trio Up At Dawn.

A Medieval and Renaissance Banquet (All Levels)

A Medieval and Renaissance Banquet (All Levels): This workshop will offer you an introduction to some of the most enduring and versatile gems of pre-17th century music, found in manuscripts as notated music and/or passed down through oral tradition. Emily has collected a delightful range of English, Latin, French, Ladino, and Italian songs, which can be learned by ear and involve harmony parts when appropriate. This will include Gregorian chant, plus the oldest known English songs (try singing in old English!), Sephardic ballads, and simple multi-part pieces. She’ll touch on modes, drones, harmonizing, languages, and multiple versions of the same tune. The workshop will give you an exposure to the vast and rich field of Early Music, and provide a practical result – a handful of tunes useful for spicing up any folk music concert and showing where it all began. Come one, come all! Instruments (recorders, guitars, percussion, hurdy-gurdys…) are welcome! And no knowledge of musical notation is required.

Tricky Transcriptions & Hidden Harmonies (All Levels)

Tricky Transcriptions & Hidden Harmonies (All Levels): Never fear, open your ears! This workshop will give singers a chance to dig into some of the more complicated two and three-part traditional American harmony songs from the early 20th century to the present day. We’ll bounce back and forth between recordings, written transcriptions, and parts taught by ear to help “crack the code” for harmonies and rhythms that at first seem impossible to parse out, but are ultimately a true delight to master in detail. We’ll enjoy singing some of the most quirky, virtuosic, sublime, and unusual repertoire out there, and Emily will give you the tools and musical guidance to bring your voices and ears to places they’ve never been.

Humorous and Macaronic Songs (All Levels) and Irish Traditional Songs (All Levels) with Bridget Fitzgerald

Bridget Fitzgerald

Bridget Fitzgerald (née Coyne) is one of the great musical treasures in New England. A sean nós singer born and raised in Lochán Beag, Inverin, in Connemara’s Gaeltacht, she grew up awash in music. Often, she listened to the likes of Elvis Presley, Cliff Richards, and Mel Tillis on Radio Luxembourg, but sometimes attention was given over to the family’s own music. This is when she would hear her mother Ann and her uncle Johnny sing the beautiful old sean nós music that virtually defined the west of Ireland in song. On occasion, the great Joe Heaney stopped by. Although it might mean having to turn the radio off, there wasn’t anything unusual about her father coming home from the pub with Heaney (a family friend) for a bit of a sing. The depth of her family’s own songs and the grace of Heaney’s music made no difference to Bridget at the time, because she saw it all simply as a part of growing up. She didn’t realize until much later, even after immigrating to the United States in 1964, how important and special this upbringing was. Then (and even somewhat now), she scarcely considered herself a “singer” in the performative sense, and didn’t see her particular connectedness to the music as anything other than unworthy of note.

Then things changed. In 1984, Mick Moloney introduced a traditional music group called Cherish the Ladies. He invited Bridget in, and it was on their debut album in 1985 that she first recorded. She remained part of Cherish for five years. Afterward, she worked with other groups including the Women’s Singing Traditions of New England and Fourin a Feire. In the early 1990s Bridget forged a great friendship with guitarist Carol Barney. The two found a special bond through music and performed often. They had just started work on an album when Barney was diagnosed with a terminal illness. She passed away before work was complete, and the album lay fallow until 2013 when Bridget found a way to re-engage with the recordings and the memory of her friend. The result was a brilliant CD:  Two Sides of a Coyne.

Today, Bridget is recognized as a master sean nós singer. Her work has been recognized by the National Endowment for the Arts, Massachusetts Cultural Council, Rhode Island State Council on the Arts, and the Southern New England Arts Council. She has taught workshops on Irish Language and singing at music camps in North America and Ireland. She has performed for two of Ireland’s presidents, Michael D. Higgins and Mary MacAleese. In 2014 she was named to the Comhaltas Ceoltóirí Éireann’s Northeast Regional Hall of Fame. Bridget teaches traditional singing for the CCÉ Boston Irish Music School.

Humorous and Macaronic Songs (All Levels

Workshop description coming soon!

Irish Traditional Songs (All Levels)  

Workshop description coming soon!

Appalachian Songs Old and New (All Levels) and Singing for the Confidence Impaired (All Levels) with Kay Justice

Kay Justice

Kay Justice grew up in the small town of English, WV, located in the southernmost county of the state. At an early age, she began singing in school plays and in church. While in nursing school, she discovered the music of popular folk singers such as Joan Baez; Peter, Paul, and Mary; Pete Seeger; Ian and Sylvia; and others. Drawn to the music, she began playing the guitar and singing many of the songs she heard and loved. Further exploration led her to seek out the music of Appalachia, her home.

In the early 1970s she was once again a student, this time at Clinch Valley College in Wise, Virginia. There she met Helen Lewis, a pioneer in Appalachian Studies. Helen and Rich Kirby presented a semester-long seminar in Appalachian music; it was there Kay heard songs from Kate Peters Sturgill, George Tucker, Nimrod Workman, Ralph Stanley, Addie Graham, Guy and Candie Carawan, and a host of other traditional musicians. Her quest to learn materials from the region was begun and continues today.

She met Ginny Hawker at an early Augusta Vocal Week and the two of them began singing, touring, teaching, and recording together. As Kay’s career as a nurse anesthetist became more demanding, she made the painful decision to stop touring, but continued being active at a more local level. Now retired, she performs solo or as a member of the Herald Angel Band, an all women string band with Alice Gerrard and Gail Gillespie. Kay and Ginny have also done some reunion concerts in recent years. Kay has taught at Augusta, Ashokan Fiddle and Dance camp, Blue Ridge Mountain Music Gathering at Mars Hill College, and with the JAM (Junior Appalachian Musicians) program in Galax, VA. Kay and Ginny recorded four albums, and Kay has appeared on four albums with Alice Gerrard. Her debut solo album is called Hickory Wind.

Appalachian Songs Old and New (All Levels)

Appalachian Songs Old and New (All Levels): This workshop will present songs from the southern Appalachian mountains, with emphasis on some lesser known singers and songwriters from the area. Recordings will be played enabling participants to hear and learn a variety of styles including religious songs, songs of struggle, love songs and ballads. Lyric sheets will be provided; melodies will be taught by rote.

Singing for the Confidence Impaired (All Levels)

Singing for the Confidence Impaired (All Levels): Singing for the Confidence Impaired grew from recognition that many folks who love to sing also question their own ability. This workshop is designed to help those who are shy or insecure about their singing voices have an opportunity in a non-threatening, supportive environment to develop a level of comfort in singing with others or alone. As the week progresses, participants will be given an opportunity to try out their voices. Attention will be directed to breathing techniques, finding the correct pitch, extending your vocal range and learning to feel relaxed while singing. Always a fun and productive workshop, this provides a safe place for the budding vocalist.

Gospel Trios from the Badgett Sisters (All Levels) and Songs and Stories from Central North Carolina (All Levels) with Emily Miller

Emily Miller 

Emily Miller is well-known as a touring singer with the Sweetback Sisters and the Starry Mountain Singers. She has been a long-time Augustan: first as a student in her youth, and for many years a wonderful teacher. She makes her home close to Elkins in central West Virginia, and is the Director of the Appalachian String Band ensemble at Davis & Elkins College. She’ll be assisting with harmonies in Connie Badgett Steadman’s classes, but she’ll also be shepherding some honky-tonk hijinks.

Gospel Trios from the Badgett Sisters (All Levels)

Gospel Singing (All Levels): In this workshop led by Connie Steadman, we will learn three-part traditional and original gospel songs as they were arranged and sung by the Badgett Sisters (Connie and her two older sisters, Cleo and Celes). Connie will be assisted by Emily Miller and Val Mindel so that all three voice parts are supported, and we can learn a song or two every day. All the songs will be taught by ear with word sheets provided.

Songs and Stories from Central North Carolina (All Levels)

Secular Songs (All Levels): Connie will share traditional songs and stories that she learned growing up in North Carolina. The workshop will be a combination of listening to and learning songs and stories, with a focus on secular styles. Connie will be assisted by Emily Miller.

Baritone Bash (All Levels) and Country Duets (All Levels) with Val Mindel

Val Mindel

Val Mindel is a longtime musician, teacher, and workshop leader, known for bringing out the best in singers, whatever their level. Her specialty is the close, buzzy harmony that makes American old-time, bluegrass, and country harmony so compelling. She has taught at numerous music camps – here in the US at Augusta Vocal Week, Ashokan Southern Week, Voice Works, Allegheny Echoes, and others; and in the UK at Sore Fingers fall and spring camps. In addition to her solo work, Val teaches and performs in various combinations, including with California-based Any Old Time, with singer/multi-instrumentalist Joe Newberry and with daughter and old-time country musician Emily Miller and her husband Jesse Milnes (they have two CDs together: In the Valley and Close to Home), and has just published a book, So You Want to Sing Folk Music, part of the “So You Want To Sing” series for Rowman & Littlefield and the National Association of Teachers of Singing. Val teaches classes across the country and abroad as well as regular workshops at Brooklyn’s growing old-time music school, Jalopy. She lives in Elkins, West Virginia.

Baritone Bash (All Levels)

Baritone Bash (All Levels): This will be an intensive week on finding the baritone part (that pesky third part) below and above the lead. We’ll pit our harmony wits against a number of songs, in the process learning strategies for finding the starting notes, figuring out exact parallels, determining where and why parallel harmony won’t work, negotiating notes with the tenor harmony (typically the first harmony that singers find) and lead and creating crosses and lead switches to make all the parts work among singers of similar ranges. We’ll also workshop singing baritone parts on the fly, a common necessity in jam situations. Expect lots of singing.

Country Duets (All Levels)

Country Duets (All Levels): Val Mindel and Joe Newberry’s duet workshop is aimed at folks who have always wanted to create that buzzy, close-harmony sound that defines country duet singing – from brother/sister duos to classic country, bluegrass, and beyond. They’ll focus on the particular joys and challenges of guy/girl duets as well as the basics of singing with another singer, blend issues, arrangement choices and harmony options. Repertoire will be drawn from the American South, Appalachia, and the Ozarks.

Country Duets (All Levels) and Songwriting (All Levels) with Joe Newberry

Photo by Jillian Clark

Joe Newberry

Known around the world for his clawhammer banjo playing, Joe Newberry is also a powerful guitarist, singer, and songwriter. The Gibson Brothers’ version of his song “Singing As We Rise,” featuring guest vocalist Ricky Skaggs, won the 2012 IBMA “Gospel Recorded Performance” Award. With Eric Gibson, Joe shared the 2013 IBMA “Song of the Year” Award for “They Called It Music.”

A frequent guest on A Prairie Home Companion, he was a featured singer on the Transatlantic Sessions 2016 tour of the UK with fiddler Aly Bain and Dobro master Jerry Douglas, and at the Transatlantic Sessions’ debut at Merlefest in 2017 with fellow singers James Taylor, Sarah Jarosz, Declan O’Rourke, Karen Matheson, and Maura O’Connell. In addition to performing solo, he plays in a duo with mandolin icon Mike Compton, and also performs with the dynamic fiddler and step-dancer April Verch.

Newberry has taught banjo, guitar, singing, and songwriting at numerous camps and festivals, including Vocal Week, Bluegrass Week, and Old-Time Week at the Augusta Heritage Center. Other camps have included Ashokan, Midwest Banjo Camp, American Banjo Camp, the Puget Sound Guitar Workshop, Targhee Music Camp, the Swannanoa Gathering, Centrum Voice Works, the Festival of American Fiddle Tunes, Pinewoods Camp, the Australia National Folk Festival, Blue Ridge Old-Time Music Week, and the Bluff Country Gathering. He was also for many years the coordinator of Old-Time Week at Augusta.

Newberry grew up in a family full of singers and dancers. He took up the guitar and banjo as a teenager and learned fiddle tunes from great Missouri fiddlers. He moved to North Carolina as a young man and quickly became an anchor of the incredible music scene in the state. Still going strong more than 35 years later, he does solo and studio work, and plays and teaches at festivals and workshops in North America and abroad.

Country Duets (All Levels)

Country Duets (All Levels): Val Mindel and Joe Newberry’s duet workshop is aimed at folks who have always wanted to create that buzzy, close-harmony sound that defines country duet singing – from brother/sister duos to classic country, bluegrass, and beyond. They’ll focus on the particular joys and challenges of guy/girl duets as well as the basics of singing with another singer, blend issues, arrangement choices and harmony options. Repertoire will be drawn from the American South, Appalachia, and the Ozarks.

Songwriting (All Levels)

Songwriting (All Levels): IBMA Award-winning songwriter Joe Newberry will help you focus on making your good songs even better, or get you started if you only have a trunk full of ideas. The workshop will use examples of different types of songs—narrative, chorus/verse, free-form—with an eye and ear toward simplifying the words to uncover the heart of the song. Through word play and writing, writing, and more writing, the song in your head can become the song on your lips!

Gospel Trios from the Badgett Sisters (All Levels) and Songs and Stories from Central North Carolina (All Levels) with Connie Badgett Steadman

Connie Badgett Steadman

Connie Badgett and her siblings learned gospel harmony singing from their father back in the 1940s in rural Caswell County, North Carolina. The family group sang quartet-style hymns, gospels, jubilees, and spirituals. Later the three Badgett sisters toured and recorded as a trio. They sang across the United States and as far away as Australia. They won a North Carolina Folk Heritage Award in 1990 for continuing the gospel tradition. The stretch of Highway #62 that runs south from Yanceyville, North Carolina, was renamed Badgett Sisters Parkway in their honor. From her mother, Caroline G. Badgett, a phenomenal storyteller, Connie inherited her talent and love of storytelling. Connie Badgett Steadman now carries on the family singing and telling traditions as a solo performer, but for Augusta Vocal Week she’s teaching participants to sing the sisters’ trio arrangements.

Gospel Trios from the Badgett Sisters (All Levels)

Gospel Singing (All Levels): In this workshop, we will learn three-part traditional and original gospel songs as they were arranged and sung by the Badgett Sisters (Connie and her two older sisters, Cleo and Celes). Connie will be assisted by Emily Miller and Val Mindel so that all three voice parts are supported, and we can learn a song or two every day. All the songs will be taught by ear with word sheets provided.

Songs and Stories from Central North Carolina (All Levels)

Secular Songs (All Levels): Connie will share traditional songs and stories that she learned growing up in North Carolina. The workshop will be a combination of listening to and learning songs and stories, with a focus on secular styles. Connie will be assisted by Emily Miller.

Finding Your Voice (All Levels) with Charles Williams

Photo by Kyle Reardon

Charles Williams

Charles Williams is equally excellent when singing opera, spirituals, German lieder, or field hollers. He coaches singers in Alexandria, VA, and is a master teacher / artist in voice at the Levine School of Music in Washington, DC. And he has been a mainstay at Vocal Week for many years. He also can slap a mean hambone rhythm! He performed in the Metropolitan Opera’s 50th anniversary production of “Porgy and Bess,” and has toured the world singing Broadway tunes, spirituals, German lieder, and field hollers. Most recently, he toured worldwide with Philip Glass’ opera “Einstein on the Beach”.

Finding Your Voice (All Levels)

Finding Your Voice (All Levels): Whether you like to sing traditional folk songs, gospel, opera, pop, or blues, your instrument is your voice — coming from your body, your intelligence, and your soul. Learn how to produce a free and effortless tone to bring out the music that is unique in you. And get a feel for how to sustain that tone with a minimum of stress. This is a group workshop, but it includes a lot of individual instruction. Many past participants have reported that they get as much out of listening to what Charles does with other individuals in the workshop as they do from experiencing what he does with them. It’s intense but supportive, focused but fun.

Morning Warm-Ups with Penny Anderson

Penny Anderson

Penny Anderson is a life-long singer of both choral music and traditional folksong. Those two interests dovetailed perfectly when she was introduced to the shape-note singing revival in the 1980s. In 2011 her shape-note-influenced choral composition “Cat Jeoffry” had its world premiere at Augusta Heritage Center’s Vocal Week.
Penny is classically trained in music theory, voice, and piano, but not enough to ruin her singing. She has a repertoire of several hundred traditional folk songs from the American, British Isles, and French traditions. In the last decade she has written dozens of original songs and a number of choral pieces. Penny’s musical obsessions at the moment are organizing the Pittsburgh monthly shape-note sing, teaching choral singing at her local community center, singing a grab-bag of music from many eras as part of the trio Monongahela Harmony, composing choral pieces as well as solo songs, and learning to play the concertina. She would rather sing, preferably with a group, than do anything else.

Don Friedman, Musician and Jam Leader

Don Friedman

Don Friedman hails from the old-time and bluegrass mecca of Brooklyn, NY, where he sings, harmonizes, and plays and teaches guitar. He’s currently in two trios in the New York area: Triboro, and Just Left Town. After co-teaching old-time and folk harmony singing with Augusta staffer Emily Eagen at Brooklyn’s Jalopy Theater for 7 years, Don has now been teaching the class with Augusta stalwart Phyllis Elkind for 5 years. He has led jams and sing-alongs for decades at a variety of venues, including many years at Augusta. By day, he is an attorney with a New York-based anti-poverty agency.

Annalee Koehn, Musician

Annalee Koehn

Bio: Annalee Koehn is a Chicago-based singer and guitar-player. She is a founding member of the trio, Blackest Crow, playing fiddle-driven old-time tunes and country and Americana masterpieces. A motivated and dedicated harmony singer, Annalee’s ongoing musical journey has included collaborations with Sweet Fern, honky-tonk singer Urban Djin, Blue State Cowboys, and Sweeter Gift Trio. She can be heard on recordings such as The Old Town School of Folk Music Songbook – Volume 4, Mark Dvorak’s Every Step of the Way CD, numerous Blue State Cowboy recordings, and has written and recorded with Urban Djin on his CD titled Enabling Angel. In 2017 she performed songs by Bob Dylan and Woody Guthrie at the 33rd Annual Printers Row Lit Fest in an event broadcast on C-SPAN.

Besides her pursuit of music, Annalee is also an artist, designer, inventor, and teacher. She is a Lecturer at The School of the Art Institute of Chicago and works as a Product Developer and Designer at Annie Kane: Made by Hands. Some of her work and more music memories can be seen at www.AnnieKane.com.

http://anniekane.com/annalee_koehn_music

www.blackestcrowmusic.com

www.AnnieKane.com

https://www.facebook.com/BlackestCrowband/

Tom Druckenmiller, Liaison

Tom Druckenmiller

Tom Druckenmiller has been influenced by the West Virginia banjo master Dwight Diller and has studied guitar with Norman and Nancy Blake. He produces and hosts the nationally syndicated Sing Out! Radio Magazine, which is available as a podcast in iTunes, Stitcher, Bluegrass Nation and the Sing Out! website at www.singout.org.

 

Click here to see the Dance workshops offered this week!

 

Click here to see Arts, Craft & Folklore workshops offered this week!

 

Click here to see the Folk Arts for Kids! workshops offered this week!

 

Click here to see all  mini courses offered this week!