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JULIE LYONN LIEBERMAN
Paradiddles: Cool String-Crossing Patterns
Drummers achieve fantastically rich patterns by alternating feet and hands, so Julie asked the primary question back in 2003: “How can string players tap into this? What examples do we already have throughout our thirty-five+ string styles?” After listening to hundreds of CDs, she found only a handful from roots music and a few from Western canon.
Julie has compiled dozens of paradiddles. These (mostly) asymmetrical patterns help players develop incredible string crossing skills, enable them to spice up their solos, make normal string crossing easy, and command over the upbow equal to the downbow.
Odd and Alternating Meter
If violinists from India can play in 13/8, we can certainly deal with 5/4. Or can we? And what about alternating between 4/4 and 5/4, or 4/4 and 6/8??!! Well, it’s time to get on the rhythmic gravy train. As one of Julie’s private students said, “This work has improved my ability to track time in normal meter because of the intense listening demands required by mastering alternating meter.”
Julie will provide support tracks from her book Planet Musician and provide strategies for how to approach mastering this family of rhythmic properties.
Riff-Based Improvisation
We will draw on African, Afro-Cuban, Latin, Kansas City Jazz, and rock traditions to highlight the use of riffs as a tool for the development of partnered melodic and rhythmic ideas into successful improvisatory phrases. The ability to develop a catchy, short, rhythmic-melodic idea is surprisingly challenging. By learning iconic ideas from other cultures, we will warm up into the development of your own musical phrases. Then we’ll investigate possible applications for the looper or within an extended solo.
How to Capture the Style
Styles throughout the world require subtle differences in the use of the bow and left hand. Julie will start with muscle isolations for the bow arm to improve subtle dialogue when it comes to thought via nerve to muscle. We will cover:
Right Hand: whipped bows, pump versus pivot, three types of inflections, surges, chop, smileys versus stabs or hyphens, and more!
Left Hand: Inflections, slide technique, style-specific vibrato, vertical technique, and more!
How to Generate Your Own Backing Tracks
Practice with a metronome is useful but can be rather boring for several reasons. One is obvious: tick—tick—tick—tick. But more importantly, all the ticks sound the same. Not so when it comes to understanding and playing well in world styles. For instance, ¾ time can vary from the accent on the downbeat, to an accent on the central beat, to the third and even after.
There are a number of ways you can create your own backing tracks, and Julie will use the “share screen” on Zoom to show you. A side benefit includes ear training as it pertains to chord progressions because not all tunes come with written-in chords.
The good news? You don’t always have to spend money to be able to provide yourself with good tracks. Intrigued? Sign up!
Rhythm-Based Improvisation
String players tend to lack extensive rhythmic skills. This skill-deficit becomes amplified while improvising. You’ll learn the specific reasons for this imbalance and how to remedy it. Julie has concocted a brand-new approach to improvisation designed to foster balance between melodic and rhythmic skills. Be among the first to take advantage of her approach!
Brain/Body Health While Making Music
When you make a meal, each ingredient you add while cooking contributes to the sum total result. As applied to the musician, each time you practice, how you direct your thought-stream as well as how you live in your body, will determine your quality of experience, of physical health, and ultimately, the music you generate.
You will learn how to direct your attention like a juggler: what to pay attention to—mentally and physically—while practicing and why, how to listen differently, as well as how to adjust the use of your body.
Julie has presented Playing Healthy clinics throughout the United States as well as in Canada, Scotland, and France. Sites have included The Starling-Delay Symposium at Juilliard, National String Workshop, International String Workshop, Eastman Conservatory, Manhattan School of Music, The New School for Jazz and Contemporary Music, Berklee College of Music, the Royal Academy of Music, numerous colleges and universities, the European String Teachers Association, as well as for American String Teachers Associations’ and National Association for Music Educations’ state conferences, among others.
Julie is the author of one of the first music medicine books in the world, You Are Your instrument (1991), now in its fifth edition and available as an ePub . She has also authored four spin-off DVDs: The Violin in Motion, Violin and Viola Ergonomics: Determine the Optimum Playing Position and Support for Your Body-Type; The Instrumentalist’s Guide to Fitness, Health, and Musicianship; and The Vocalist’s Guide to Fitness, Health, and Musicianship.
Fun Gateways into Improvisation
Julie has been teaching string players and teachers how to improvise for over 40 years. She’s developed a coterie of engaging games and techniques to master this art. Throw fear and inhibition to the wind. Get ready to forge your own voice on your instrument.
Learning Techniques
Is it taking too long to learn a tune? Are you having trouble remembering tunes you thought you’d learned so well? Do you have to start at the beginning of the tune over and over again to remember the rest of it?
This session will illuminate the “muscles” of the musical brain and how to use them to lock in your tunes for life.
How to Sing While You Play
Julie first started to sing with her violin in the mid-1970s. Some of her voice students from her now defunct NYC Music Studio, included Grammy-nominated Vanessa Carlton, Grammy-nominated Putnam Murdoch, and a number of Broadway actors.
Julie performed live as a vocalist/violinist with the off-Broadway show she composed the music for and performed in at La Mama and Theatre of Nations, as well as on all of her recordings. This will be a fun session, starting with a few vocal warm-ups and techniques, followed by exercises with your instrument.
You Are More Than Your Hands and Your Ears!
with Aleya Dao and Julie Lyonn Lieberman
Imagine we could visualize how energy moves in your body when you make music. For most players, we’d see fireworks in your hands and arms as well as lots of motion in your brain. But the rest of your body would most likely look like a rock formation with a few whirlwinds in your shoulders and back … and swaying as you play doesn’t count!
During this session, we will explore how to truly use your entire body as an instrument. A change in awareness will transform your sound. Music is energy and, when transmitted by ALL of your energy centers, can become a powerful messenger for transformation.
JEREMY KITTEL
Learn a Scottish Reel with Ornaments and Style
We’ll learn an exciting “reel” (the most common type of dance tune) from the great Scottish fiddle tradition. We’ll learn most of it by ear, the traditional way (though rest assured, there *will* also be sheet music for reference). We’ll break down all of the details that make Scottish fiddling what it is – everything from the exact ornaments and “cuts” to bowing patterns, accents, melodic variations, and much more. We’ll also discuss what Scottish fiddling has in common with other styles of fiddling, and what sets it apart. Join us!
Learn a Scottish Air with Ornaments and Style
In this class, we’ll learn a gorgeous Scottish “slow air,” complete with traditional ornaments and flair, drones, ideas for variations / development, and more. We’ll learn most of it by ear, the traditional way (though rest assured, there *will* also be sheet music for reference). The “slow air” repertoire is one of the great aspects of Scottish fiddling; it’s rich and compelling for the player and listener alike. In fact, it’s so appreciated that many Scottish airs have been adopted by other fiddling styles around the world. In this class, we’ll learn at least one tune very well, and we’ll also touch upon some other Scottish slow air “greatest hits,” so that you can continue your journey after class if you like. Join us!
Improvising with the Blues: Level 1
In this fun and creative class, we’ll dig into the basics of improvisation in general, and improvising with the blues in particular. We‘ll discover how easy it is to begin improvising (and also, how easy it can be to teach improvisation to your friends and students as well! :-). We’ll learn how to become fluent in the blues scale, and we’ll gain an understanding of how the blues is much more than just a scale – it’s a complete sonic/resonant mode of expression that, in this day and age, now lives in much of music around the world! By learning to improvise with the blues you are learning musical vocabulary that can be applied to jazz, swing, bluegrass, pop music, and countless other styles. There’s no limit to how far you can take it. Join us!
Improvising with the Blues: Level 2
In this class, we’ll dive deeper into blues improvisation in all its forms. We’ll explore a wide variety of ways that one can use the blues in different genres, and we’ll go deeper into its great potential through detail and the expression of feelings through tonal scoops / bends / phrasing. We’ll examine the ways that blues elements are found in a number of different styles such as jazz, bluegrass, rock, funk, etc., and we’ll learn specific licks in these different styles. There’s no limit to how far you can take it. Join us!
Jazz and Swing: Licks and Stylings to Use for Solos: Level 1
Interested in jazz and swing? Want to learn the licks, the rhythms, the stylings, the building blocks of great jazz solos? Look no further, my friends. In this class, we’ll get started with some relatively simple licks that can be applied to all sorts of jazz and swing tunes (think “Sunny Side of the Street” or “All of Me”). Jazz is a language, a vocabulary, just like any other; we’ll get you started learning it, and show you how to continue the journey! Dialect is also an important aspect of any language, of course, and in jazz, that can be found in accents, inflections, vibrato (or lack thereof), and bowing patterns that have worked well for jazz string players ranging from Stephane Grappelli, to Stuff Smith, to Paul Chambers.
Jazz and Swing: Licks and Stylings to Use for Solos: Level 2
Interested in jazz and swing? Want to learn the licks, the rhythms, the stylings, the building blocks of great jazz solos? Look no further, my friends. In this class, we’ll go deeper into jazz licks, rhythms, stylings, etc – everything that makes jazz music work, and jazz string playing in particular! Jazz is a language, a vocabulary, just like any other; we’ll endeavor to cover a lot in this class, and show you the ways to continue your journey! Dialect is also an important aspect of any language, of course, and in jazz, that can be found in accents, inflections, vibrato (or lack thereof), and bowing patterns that have worked well for jazz string players ranging from Stephane Grappelli, to Stuff Smith, to Paul Chambers.
Learn a Really Neat Odd-meter Balkan Fiddle Tune!
As an admirer from afar, I’ve been fascinated by Balkan folk music for many years! In this class, we’ll learn one of the coolest Balkan tunes I know, and it’ll be in a meter that you probably don’t play every day (for example, 11/8 or 15/8… let’s see what you’ve won!). And if it’s your first time learning a Balkan tune like this, you might be surprised at how natural it will feel once we get into it. We’ll learn most of it by ear (though rest assured, there *will* also be sheet music for reference). And in addition to learning the melody, we’ll also explore how you could accompany such a tune in a string band by using appropriate chop and shuffle patterns. Come join us!
All About Chopping: Patterns, Technique, Thoughts on Effective use, etc.
Ah, chopping! In this class, we’ll go over lots of details regarding this extremely effective and modern technique. We’ll cover some of the mechanics, and we’ll learn various patterns (there are so many patterns to use for different meters, styles, and contexts!). We’ll also see how shuffle patterns relate closely to chop patterns, and how to employ both for maximum effectiveness. Ultimately, chopping is usually most effective when used “just right” in an ensemble context, and we’ll learn how that can change a lot depending on the ensemble. Come join!
How to Play Over Chord Changes: Level 1
Ah, playing over chord changes! Whether you’re playing jazz, folk, funk, rock, bluegrass, or most any style of music, this is an important skill to hone for the creative musician. We’ll learn some simple ways to get started playing over chord changes, and we’ll learn some great ways to practice. Eventually, by using these techniques in your practice sessions, it will translate into better solos, better fills, and better music overall! =-)
How to Play Over Chord Changes: Level 2
Ah, playing over chord changes! Whether you’re playing jazz, folk, funk, rock, bluegrass, or most any style of music, this is an important skill to hone for the creative musician. In this class we’ll dive deeper into ways of playing over chord changes, ways to practice, and slightly more advanced progressions. Eventually, by using these techniques in your practice sessions, it will translate into better solos, better fills, and better music overall! =-)
The Creative Musician: Thoughts, Tips, and Techniques on Composing/Writing, Improvising, Arranging, Playing in a Band, Recording… (hint: it’s all related! =-)
In this class I’ll share some thoughts and philosophy on putting it all together as a 21st-century string player – thoughts on writing/composing, arranging, improvising, producing, and collaborating. I’ll share philosophies, mottos, and tidbits of advice that have helped me in my career as a creative string player; I’ll share ways to avoid “writer’s block,” and how to strive for your highest standards for your playing and your music, while also avoiding needlessly negative self-criticism. I’ll touch upon mindframes that have worked for me (and ones that haven’t!), and ways to search for balance while continuing to move towards your goals. And we’ll also discuss how it’s all related – how many of these different musical skills have so very much in common. Come join!
BETH BAHIA COHEN
Traditional violin music from Greece, Turkey, Hungary and Romania all share similar influences from the long-term occupation of the Ottoman Empire: use of makams or modes for melodic vocabulary and complex rhythms. They also each have their own unique qualities: use of microtones, melodic ornaments, and regional repertoire.
Greek String Music – Level II
The violin in Greek traditional music plays mostly dance tunes. From the Greek islands to the mountains to the Black Sea, there is great variety of styles. We’ll learn one or two Greek tunes by ear (though sheet music will be available), complete with traditional ornaments and chords in their appropriate rhythms. Intermediate level
Hungarian String Music – Level II
The violin (hegedű) in Hungarian village music, the music that Bela Bartok loved and used in his compositions, is the lead instrument in most ensembles and there are many dance repertoires throughout Transylvania and Hungary proper. We’ll learn a tune or two complete with ornaments and the unique vibrato trill that characterizes the Hungarian violin sound.
Turkish String Music – Level II
The melodic vocabulary of Turkish music is made up of makams or modes. There are microtones and no harmony in Turkish music. The violin (keman) uses ornaments similar to Greek music but the style is uniquely Turkish. Folk music, Roma music, Sufi music, Turkish classical music – there are many genres and the violin plays in most of them. We’ll learn one tune each from a couple of genres and makams.
Romanian String Music – Level II
The violin in Romanian music is often the lead instrument in ensembles, and the music is usually dance music in various odd and even meters. The vibrato trill is a ubiquitous ornament and makams/modes found in Greek and Turkish music are used. We’ll learn one or two tunes (think Taraf de Haidouks ensemble) with melody, ornaments, and chords.
ROB FLAX
Improve Your Groove I: Level ALL
If you want to create a danceable groove in your playing, you need two things: a steady pulse the listener can feel, and (for most styles of American music) a propulsive “backbeat” on beats 2 and 4. In this workshop Rob will show you tips and tricks to develop your subdividing skills, internalizing your own sense of pulse, and make sure that every note you play lands “on the grid,” i.e. subdivision of the pulse into smaller and smaller chunks (Tracy Silverman calls these tiny chunks “groove-ons,” as the smallest particle in the grid).
Improve Your Groove II
This class expands on the content of “Improve Your Groove I”, diving deep into some of the grooviest music ever: jazz and funk! Specifically we’ll be looking at how swing 8ths work differently compared to straight 8ths, and discuss how to use syncopation as a means of tension and release. Get ready for some Duke Ellington, James Brown, and more!
Indian Classical Rhythms
Explore the world of tala! India has musical traditions that date back thousands of years, and every musician should know at least a little about it. Both Hindustani and Carnatic styles use rhythmic cycles called tala, and we can describe these rhythms using rhythmic solfege (“bols” in Hindustani, and “konnokol” in Carnatic). In this workshop we will learn some basic rhythmic building blocks and practice reciting them, plus explore some of the most common rhythmic cycles and rhythmic gestures (and learn to play them on our instruments!).
Jazz Fiddle: Rhythm Changes
Gershwin’s 1931 classic “I Got Rhythm” has become one of the most important chord progressions in the history of jazz, with dozens of “contrafacts” (new tunes written over that song’s chord changes), so much so that we call the entire family of tunes “rhythm changes.” In this workshop we unpack the original chord progression and break it down section by section, exploring common harmonic variations and some tips and tricks for navigating this harmonic treasure trove!
Jazz Fiddle: The AABA Form
What do ”I Got Rhythm,” “So What,” “Cherokee,” “Caravan,” “Somewhere Over The Rainbow,” and “A Night In Tunisia” all have in common? Two things: they’re all popular tunes for jazz musicians to play, and they all have an AABA structure. In this workshop we’ll take a look at several AABA tunes and strategize ways to build a compelling solo over the entire arc of 32 bars (and, at the same time, how not to get lost in the middle of the tune!).
How to Use A Looper
A looper pedal can be an incredible tool for your music, if you know what to do with it! In this workshop Rob will explain the basics of how to use a looper pedal—the nuts and bolts of how most pedals work, timing tricks for getting your loop to sound “in time,” and recommended gear setup—and also why to use a looper pedal! Rob will show how he becomes a “one man band” with live looping, as well as offer some ways to use a looper to enrich your technique, your improvisational skills, and even your music writing.
ALEYA DAO
Tapping into Your Musical Power
In your body you have energy centers. Each energy center corresponds to a different musical note. Learn how to use the musical scale to clean and strengthen your energy centers. Aleya has an exceptional ability, and during this session, she will help you discover, cleanse, and connect with the power centers in your body to transform the music you play.
You Are More Than Hands and Ears
with Aleya Dao and Julie Lyonn Lieberman
Imagine we could visualize how energy moves in your body when you make music. For most players, we’d see fireworks in your hands and arms as well as lots of motion in your brain. But the rest of your body would most likely look like a rock formation with a few whirlwinds in your shoulders and back … and swaying as you play doesn’t count!
During this session, we will explore how to truly use your entire body as an instrument. A change in awareness will transform your sound. Music is energy and, when transmitted by ALL of your energy centers, can become a powerful messenger for transformation.
CHUCK BONTRAGER
Getting Started with Gear and Effects
Open to acoustic and electric players! Find the sounds you want and learn how to achieve them.
There has never been an era with so many accessible, affordable options for exploring sounds and effects. If you are reading this on a screen, you already have most of the gear you need to get started!
We’ll survey:
Plug-in options – mics, pickups, and dedicated electric instruments
Effect Types – distortion/overdrive, loopers, wah, delay/echo, etc.
Platforms – pedals, processors, amps large and small, interfaces, workstations and apps
Classical Chops, Modern Technology
How to use effects (delay/echo, looper, distortion) and recording apps as practice tools to make yourself a better player, in any style. For electrics and acoustics, no experience necessary – just the device you are using to read this description.
Distortion and You
We’ll survey the incredible capabilities of bowed strings in lead and rhythm roles in Rock and Metal. Everything from finding a smooth, singing Lead tone to rock-style chopping to covering your guitarist when they solo. Power Chords, distortion control and muting will all be covered. This class caters most directly to electric instruments, but all the concepts and techniques apply to acoustics, too.
The Modern Pit Musician
I’m fortunate to have been a part of over fifty professional theater productions, ranging from short runs with Chicago-area regional theaters to multi-year engagements downtown. This is what I’ve learned and will share with you:
Being the Right Player for the Job – stylistically flexible, maintaining musicality within the support structure of a click track, and staying focused and consistent, eight shows a week…
Being the Right Colleague – fitting in with the rest of the company: musically, professionally, and socially
The Future of The Industry – understanding the ever-more-technological nature of modern production
DR. DAVID WALLACE
Vibrato for Violinists and Violists (All Levels)
This session was a HUGE hit during our 2020 String Summit in July!
Vibrato: that “special something” that enlivens the sound, touches listeners, releases tension, and defines a musical style.
We will:
- Learn essential ergonomics for healthy vibrato by applying simple biology, physics, and geometry
- Learn and practice many tried-and-true exercises and strategies for developing, practicing, and maintaining vibrato
- Learn about “vertical vibrato,” fingertip vibrato, vibrato for pizzicato, and the art of vibrating chords
- Explore different colors, different speeds, different widths, different intensities
- Adjust our vibrato for different musical styles, moods, and emotions
- Learn to observe, analyze, and troubleshoot someone’s vibrato
This clinic is open to all levels and also highly recommended for private teachers and orchestra directors who seek to help students to develop a healthy, unique vibrato.
The Art of Learning Rock Solos
The road to becoming a genuine rock musician includes the study and mastery of iconic guitar solos.
We will:
- Learn, transcribe, and commit to memory David Gilmour’s first solo from Pink Floyd’s “Comfortably Numb.” (The solo YouTuber Rick Beato ranked as the greatest rock guitar solo of all time.)
- Learn and internalize a holistic approach to musical transcription that involves body, mind, ears, and voice.
- Explore how to transpose a mastered solo to all 12 keys.
- Learn how to develop and improvise our own solos based on a classic solo.
Level: Recommended for advanced or strong intermediate players; workshop will be inclusive of all clefs. All strings welcome!
The Psycho-Physical String Player (all levels, all instruments)
To perform, improvise, and grow at our best, we need a healthy connection between our bodies and our minds. Learn secrets and practice techniques for developing strong stage presence, physical ease, rapid learning, memorization, emotional projection, and conquering stage fright.
We will:
- Practice stage presence exercises derived from the actor’s studio
- Practice psychophysical disciplines for reducing residual tension and restoring postural balance.
- Explore master pedagogue Karen Tuttle’s 5 human emotions approach to musical projection and interpretation.
- Introduce basic strategies for mental practice and deep memorization.
Bring your instrument, a piece of music you’re learning, your curiosity, and (if you have one) an alcohol garden thermometer and a yoga mat!
ALISSA JACKMAN
Iconic Rock Riffs
Lead guitarists step aside – lead lead VIOLINISTS/VIOLISTS/CELLISTS are here to stay! Learn some of the iconic riffs and solos from the world of rock n roll to prepare you for the spotlight at your next gig! Violinists often take these melodic lines when playing with a band – so let’s get ready to rock, together!
How to Play in a Rock Band
Discuss the ins and outs of becoming a rock stringplayer. Learn the different roles you may have in the band, take a peek into what your gigs will be like, talk shop about the gear you may need – if playing rock n roll is something you’re interested in, this is the 101 class you need!!
Rock Techniques for Soloing
Tips and tricks for improvising in a rock setting. From stylistic techniques to commonly used scales and beyond, this class will get you eager and ready to hop into that next rock jam!
Finding Your Stage Persona: How to be and Engaging Performer While Staying True to YOU
Whether you are in a large group, band, or a soloist, YOU – my string playing friend – are a performer who needs to engage their audience. Typically, string players don’t put much thought into their stage presences, but no more! In this class we will explore what engaging stage presence and preparation means across genres and performance settings and how you can bring that newfound persona to life!
Singing and Playing
Are you a string player who also loves to sing? Then this is the class for you! In this introductory course we will explore different ways that you can sing and play your string instrument at the same time!
The Art of Gigging and Networking: How to Make Sure You Get the Call!
If you are thinking about getting into the gigging scene or are already a gigging musician, then you should definitely sign up for this course. We will be discussing a wide range of performance scenarios such as club/bar gigs, recording sessions, orchestra, musical theater, gallery events/performance art, and working one on one with artists. We will discuss the universal etiquette and expectations of a professional freelance musician, as well as how to approach and connect with your fellow musicians, the do’s and don’ts when interacting with a contractor/your bosses.
GREG BYERS
Multi-Style Cello Mastery
Interested in developing fluency in a myriad of musical genres on the cello? Then you’ll have to be able to do more than read rhythms and pitches off of sheet music! Join Greg Byers for a discussion on how to cultivate a mastery of culturally diverse musical styles. Topics include music as a language, critical listening, authentic articulation & phrasing, and how to further your studies.
String Recording 101 (Get Ready to Record!)
Music engineering can be a daunting subject for performing musicians, but with COVID limiting live shows it’s never been more important to learn how it works! Join Greg Byers for an overview of audio recording, tailored specifically to the needs of bowed string musicians. Topics will include signal flow, audio interfaces, mic selection and placement, DIY acoustic treatment and popular digital audio workstations.
String Recording 102 (Making It Sound Good!)
Whether you’re recording at home, in your friend’s closet or at a professional studio, a deeper understanding of music engineering will only help you achieve a better result! This class will be a direct continuation of the material covered in String Recording 101. Topics will include EQ, compression, ambient effects, busing, editing, mixing, and mastering.
Advanced Jazz Improvisation
Ready to take your improvisation skills to the next level? This class is all about how to elevate the quality, accuracy & ease of your soloing skills. Greg Byers will discuss techniques to develop a deeper rhythmic, melodic and harmonic vocabulary from which to draw from. Greg will show how to use transcription and analysis to critically enhance your improvisations, as well as share tips for developing stylistically authentic articulation and phrasing.
JOE DENINZON
Get in the groove!
This clinic explores the bowed stringed instrument as a member of the rhythm section. Discover extended techniques useful when playing rock, blues, funk, or jazz. Chopping, scratching, and “comping” techniques will be covered through live demonstration and group participation.
How to Read Chord Charts and Lead Sheets
Whether playing in a band, a church gig, or creating your own arrangement, learning to read chord charts and lead sheets is a must for every musician regardless of their instrument. This class will show you proven practice methods to develop this valuable skill.
Learn the Solo on Stairway to Heaven
Jimmy Page’s iconic solo on “Stairway to Heaven” is a masterclass in blues/modal phrasing and thematic development. We will take apart the riffs, examine the process that went into developing this solo, and learn how we can apply these elements to our own musical vocabulary.
Live Looping 101
Looping is a great tool for practicing, solo performances, and teaching! This class explores what loop pedals or software to buy, how to dissect a song and create a looping “strategy”, and how to practice building a loop for live performances.
Rock 101
Learn about power chords, pentatonic and blues riffs, iconic songs and riffs, and how to put rock swagger into every performance! This class explores the DNA of Rock N Roll. Bring your axe, your attitude…and wear your tight leather pants!
KATIE GLASSMAN
How to Teach Fiddle
Fiddling can fit beautifully hand and hand with a classical violin program and provide inspiration to students who are looking for motivation and variety. This class is for teachers who would like to incorporate a traditional style of fiddling into their lessons with authenticity and knowledge. Fiddle School is a step-by-step fiddle method. The repertoire includes 24 sequential tunes per level (generally this is one year of material).
Learn how to teach a fiddle tune with the proper style and technique. Learn the common technique goals that cross over into both genres, as well as the major differences to point out. Gain the knowledge to feel confident including fiddle tunes in your teaching!
Swing Improvisation
Improvising is just like cooking: you have your basic ingredients, you put them together in the correct way and…VOILA! When I improvise, I use 5 key ingredients to build my solos: listening, melody, language, harmony, and rhythm. Learn the how-to’s and demystify the art of swing improvisation. We’ll learn a 40’s swing standard and look further at chord progressions, “voice leading,” and develop the swing language/vocabulary.
Fiddle Contests
Fiddle contests have played a huge part in my fiddling world since I was 9 years old. Some of my fondest memories are of traveling hours with my family or fiddle teacher to contests all around the country. I would look forward to gaining inspiration from the greats and from my friends — and to hearing all the classic old tunes. What are fiddle contests? How do they work? How are they judged? Are you interested in playing in a fiddle contest? Lots to explore and discuss!
The way contests are structured can differ from region to region, but learn all of the nuts and bolts you can come to expect. I’ll use the National Old-time Fiddlers Contest, held the 3rd full week of June in Weiser, Idaho, as a model for how a contest works.
Leave this class with the knowledge of how to prepare for a fiddle contest, what they’re all about, and what tunes would be great to learn.
Texas Style Fiddle Tune Variations
We’ll look at the origins of the melody of a fiddle tune. The evolution of a fiddle tune is like playing the old game of telephone. As the tune gets passed down by ear, from generation to generation, and from fiddle to fiddler, small changes in the melody naturally occur; variations are added, and the tune grows over time. The melody of any fiddle tune can vary, especially as certain variations become part of a fiddler’s standard interpretation. But because respect for the original melody of a fiddle tune is an unspoken code in Texas-style fiddling, even the oldest melodies remain recognizable over time. Yes, we’ll learn a tune in this class, and we’ll include common Texas fiddling variations that usually fall into one of these categories:
1. Rhythmic Variation
2. Bowing Variation
3. Triplets
4. Small Melodic Variations
5. Fiddley Melodic and Rhythmic Variation
6. Up an Octave or Down an Octave
7. Adapted Variations From the Greats
Practice Like a Champion
The Practice Like a Champion session has been built for musicians of any instrument and any level. Make your practices more productive and learn how to develop into a more well-rounded musician. Join me to learn about how to divide your practice sessions into 4 equal parts, placing yourself into four different states of mind that are all necessary to build toward a successful performance. You’ll be able to self-reflect and discover quick ways to build on your strengths and troubleshoot the issues you want to work on. Gain the skills to improve without becoming overly self-critical and reach your goals without tears. Develop a practice system that has structure but is flexible enough to move with you day after day. Rock your practice world with this workshop!
Western Swing
Western Swing music found its roots in country, breakdown fiddling, and jazz. The combination of these regional styles formed a unique string-based, big band sound in the 40’s and 50’s centered around the seminal Western Swing band, Bob Wills and his Texas Playboys. Who were the Western Swing greats? What tunes did they play and how do you play them so they sound just right? Learn several invigorating twin fiddle tunes from the classic repertoire. The twin fiddling stylings lead to the authentic bowings and embellishments so that you can sound just like the legendary fiddlers in the bands of that amazing musical era.
JACOB SZEKELY
Complete Musicianship I
For the evolving string player
What to practice, how to practice it and why!
Complete Musicianship II
For the evolving string player
What to practice, how to practice it and why!
Blues Rock Mastery for Cellists
The Rock Blues Mastery Class will be specifically for cellists.
Ever dreamed of shredding like Jimi, SRV, Angus Young, on the cello … We’re not talking covers here (like everyone else on the web is doing) but really being able to IMPROVISE at the level of other musicians in the band? Blues Rock Mastery For Cellists is designed to help you finally break through the instrument-specific barriers and blind spots all cellists face when trying to attempt soloing in this style. In this class, you will learn real cello specific concepts for soloing that will help you break out of first position and the few open string keys virtually every improvising cellist is stuck in and the fundamental recipes to soloing in this style.
beginning and intermediate levels
EQ mastery
How to fine-tune your tone in the studio or on stage.
For all string players.
Tune Breakdown
We will break down the most important modern masterpiece for cellists from an improviser’s perspective. Using Mark Summers’ composition, Julie-O, we will tease out the tips, tricks, and tactics you can apply to your improvisations.
Diminished Chord Secrets
For Songwriting and Improvisation
DUANE PADILLA
Learn to Swing Like a Gyspy! Exploring Jazz Manouche – All Levels Welcome
Come explore how gypsy violinists, guitarists, and other European folk musicians in the 1930’s applied and adapted traditional folk and classical string techniques to create a fun, unique string-based version of American jazz, referred to as Jazz Manouche aka. Gypsy Jazz. Topics will include 1) learning tunes like Minor Swing, Dark Eyes, All of Me 2) leaning how to improvise solos in a gypsy jazz style 3), learning how to accompany and be part of the rhythm section.
Hawaiian String Band Music – All Levels Welcome
At the dawn of the 20th century, the violin was the lead instrument in a largely forgotten Hawaiian string band tradition. In this “kanikapila” (hawaiian jam session), we will learn tunes which trace Hawaii’s musical evolution from the ritual chants of pre-European contact era, to the four-part vocal singing inherited from the missionaries, to swing jazz in the 1930s. Along the way, we will rediscover how members of the “Ka Bana Lahui” -The Hawaiian National Band- embarked on a world-wide tour that inspired has musicians in genres as diverse as bluegrass, rock, and beyond.
Exploring the Ukulele- Level 1
Got a dusty ukulele lying in the closet or the attic but never got around learning how to play it? Do you enjoy strumming 3 chord songs at the campfire but yearn to do “fancier” stuff with your ukulele? Come learn 5 concepts which will take your ukulele playing to the next level. No experience is necessary. Topics will include: History of the instrument, right hand techniques, left hand techniques, beginning and advanced accompanying concepts, and solo playing.
PATTIE HOPKINS KINLAW
The Devil Went Down to Strings Without Boundaries
A tribute to Charlie Daniels and his golden fiddle. Join this class and learn how to play the iconic tune, Devil Went Down to Georgia including melody and solos!
Intro to Bluegrass
An introduction to one of the great American genres. Including a brief history, stylistic and theoretical approaches as well as tunes to take home!
Train Songs
What’s in a song? What’s in a train song? Join us in learning the infamous ‘Orange Blossom Special’ as well as more…
Bluegrass Etiquette
Hone in your jam skills and familiarize yourself with the etiquette of Bluegrass! This class includes instruction on a standard tune including melody, backup, rhythm, chords and improvisational tips.
Taters & Tags
A class dedicated to learning how to kick and tag tunes as well as create your own! Join us in learning how to leave a great first and last impression on your instrument.
Fills, Frills & Thrills
The basics on how to fill a space, add frills to your fills and thrill everyone with your frilly fills!
Bluegrass Backup
Learn how to backup using chords, chops and bowing shuffles and how to apply them to any tune.
B for Bluegrass – B MAJOR
Don’t be intimidated by the “high lonesome” sound. Come together and learn all the basics of the key of B including chordal strategies, solos, fills and everything in between.
Scaleology
Are you bored with your scales, arpeggios? Or not playing them? You’re doing it wrong. This class is for you.
Fast, Faster & Fastest
Do you ever wish you could play faster? Join this class for tips and tricks on how to improve your speed for those Blazin’ Bluegrass standards.
CHRIS HAIGH
Nothin’ but the Blues
This was my most popular workshop in July. This workshop will again introduce the basics of blues violin playing, but will have plenty new to offer those who attended the last one.
1. We will do some call and response, introducing the idea of blues as three related phrases per 12 bars
2. Still using the 3 phrases idea, we will try patterns which introduce the major and minor blues scales
3. Playing by ear, I will play 2 bar phrases which you can repeat over the 12 bar sequence
4. We will try using these ideas over three different songs which are not strictly blues; namely House of the Rising Sun, Black Magic Woman, and Move it on Over.
You will receive backing track mp3’s for the 12 bar blues, and the three songs, plus exercises introducing the blues scales.
Fiddling Across Europe
One of the wonderful things about having so many nations side by side in Europe, each with a different but related history, is that the continent is packed with musical treasures- some in plain sight, some virtually unknown to the rest of the world. In this workshop we will take an imaginary journey from the Atlantic coast in the west of Ireland, and travel eastwards all the way to the Bulgarian Black Sea coast, learning a tune in each country we pass through. The countries we will pass through are Ireland, Scotland, France, Italy, Slovenia, Hungary, Romania and Bulgaria. For each of these I will teach you a tune and tell you a little about the style and ornamentation which is appropriate, and something of the history and background to the musical styles. Sheet music for all eight tunes will be provided in advance. If you are a good reader it is not necessary to study them in advance.
Gypsy Jazz: All of Me
Pioneered by Django Reinhardt and Stephane Grappelli in the 1930’s, this distinctive and uniquely European branch of jazz has since spread across the world. For a string player, it is probably the most accessible and popular type of jazz. In this workshop, we will look at the jazz standard “All of Me:”
(1) How to make the melody fresh, relaxed and swinging; Breaking up longer notes; Linking phrases; Rolls;
(2) Understanding and using the chords: Root, 3rd, 5th and 7th; playing the arpeggios; Work through a series of exercises, picking out different parts of the chord; Learn how to turn arpeggios into licks;
(3) Learn some classic Grappelli licks that will work on this tune;
(4) Look at some general points to keep your improvisation interesting; Phrasing and pauses; Bowing- length and position; Repetition.
LEVEL REQUIREMENTS: You will need to be able to read music to a moderate standard and have a basic understanding of music theory- chords, scales and intervals.
RESOURCES
You will receive the basic melody and chord sequence, plus mp3’s of the backing chords at slow and moderate speeds. A week or so before the workshop, you will also receive pdf sheets of the exercises and riffs which we are going to work on. It is not necessary to study these in advance, but if you are of a nervous disposition and wish to be super prepared, by all means do so!
An Introduction to Klezmer
Klezmer is the thrilling, exotic, and evocative music dance music of the Ashkenazi Jewish population of Eastern Europe. In this workshop I will introduce you to some of the elements which give it this character.
We will look at some of the ornamentation which gives the “Yiddish accent” to this music—the krekhts, the downward glissando, the vibrato trill, the “long bent note” and the ghost harmonics. We will look at four different scales or modes which give it a distinctly different feel to western European folk music; these are the Freygish, the Mi Sheberakh , the Adonoi Molokh, and the Mogen Ovos. For each of these we will try a different tune in that particular mode.
DR. DAVID CUTLER
Creative Performance Practice [FREE]
When most people think of creativity in music, their mind goes automatically to the exciting but often intimidating realms of improvisation and composition. Creative Performance Practice (C.P.P.), a concept coined by Dr. David Cutler, offers an alternative, deeply meaningful approach accessible to even musicians with classical backgrounds and limited creativity training. Bring your instrument…we will apply techniques in real time via Zoom!
BIG Ideas on Career and Financial Success: A Life in Music
In a cutthroat world where disruptive technology, global pandemic, and exponential change has rewritten all the rules, success requires much more than talent and hard work. This powerhouse presentation by arts entrepreneurship guru David Cutler unveils big, uncommon ideas that help musicians of all stripes thrive.
VI WICKAM
Cross-Tuning Workshop
Appalachian fiddlers have applied variations to the traditional system of tuning in order to create drone strings. Vi will teach you a cross-tuning approach for the tune, Black Mountain Rag.
Top Show Tunes
Show tunes are fiddle tunes that really make your playing shine. They are flashy and fun, and while they each have some kind of trick to make them sing, they are often easier than they sound, which makes them ideal for WOWing your audiences!
This session will be repeated four times. Each session will cover a different popular show tune:
- Orange Blossom Special
- Black Mountain Rag
- Devil Went Down to Georgia
- Draggin’ the Bow,
Fiddling for Classical Violinists
Learn how to sound like a fiddler. This workshop will cover the tricks and techniques that fiddlers use to sound authentic – and cool. Vi will cover the rules of the road to avoid “sounding classical” when you play fiddle tunes.
Improvise Over a Fiddle Tune
This workshop covers how to improvise over any fiddle tune. Vi will show you how to go from playing the melody to really making a tune your own. Techniques covered include chord structure, arpeggiation, passing tones, accidentals, and more. Bring your fiddle, your viola or your cello and your questions. This workshop is interactive.
Quilt Your Own Breakdown
Vi will use the tune Sally Goodin’ to teach you how to take a simple melody and turn it into a great breakdown fiddle tune. You will learn the structure and elements of a fiddle tune, and how to arrange them effectively into your own killer version!
How to Make a Grammy-Worthy Recording with Vi Wickam & Paul Anastasio
Join recording artists, Vi “The Fiddler” Wickam and Paul Anastasio and learn how to create and market your very own album. We’ll discuss the process–from deciding on which tunes to play, to recording and producing your music, to making your album into an awesome physical product.
Vi and Paul will share some secrets of making an album that will get played on the radio and make it on the Grammy ballot, and help you create a timeline for your own new album’s creation.
This course was inspired by Vi and Paul’s 2020 swing fiddle album, Swinging at the Savoy which charted at #7 on the Folk DJ Radio Chart, and was on the Grammy Ballot in the categories of Best Folk Album and Best American Roots Song.
TOM MORLEY
Intro to Bluegrass: History, Technique, Hot Licks, Tunes
Bluegrass fiddling is a complex situation, and Tom will attempt to unravel some of the mystery of the fiddler’s role when playing in this style. Learn some history of Bluegrass fiddling, some classic instrumentals of the genre every fiddler should be familiar with, and some hot kick-off licks and fills to use when playing in a bluegrass band. Presented with the bluegrass “novice” fiddler in mind! (advanced beginner/intermediate)
Irish Fiddling: Tunes, Techniques & Ornaments
Tom’s performance and teaching passion over the past two decades has been in the world of Irish fiddling. He’s led Irish Trad slow sessions around the US and beyond, at string camps and workshops, taught long-running local groups and now as live streaming Facebook events as well, and is the author of the popular method book Learn To Play Irish Trad Fiddle. In this workshop he’ll discuss any element of Irish fiddling you might be curious about – tune styles, left and right hand techniques and ornaments and more. You’ll also learn a few representative jigs and reels and how to get that Irish sound into your playing. (Advanced beginner/Intermediate level)
East Tennessee Fiddling: History & Tunes
Since his move to Chattanooga in 2017, Tom has discovered a rich motherlode of fiddle tunes somewhat uniquely shared and played in the southeastern corner of Tennessee. Tom will give some history of the importance of fiddling in the area, talk about the Great Southern Old Time Fiddlers Conventions, and share tunes that’s he’s learned from local Old Time jam sessions and through the recordings and private printed tune collection of the late Fletcher Bright, Chattanooga’s most well-known and beloved Bluegrass fiddler. Get ready to learn some great Old Time tunes with catchy melodies guaranteed to stick in your head! (Intermediate level)
Live Sessions: Styles & Etiquette: Popular Tunes & Fitting In
Do you want to be ready to meet up with a fellow fiddler or sit in on a new jam session any time, anywhere, and be able to join in on or call out some tunes with confidence? Tom’s here to help. He’ll also discuss the different kinds of jam sessions and the etiquette usually expected at each. While Irish Trad tunes may be his passion and focus, Tom knows that there’s great, classic tunes in every genre, from every corner of the fiddling world, from every century. They all blend together to make up such a vast library of tunes! No wonder “so many tunes, so little time” is a favorite saying of fiddlers everywhere! Tom’s compiled a list of tunes he feels every fiddler should know and have in their repertoire, which he’ll share and then teach as many as time allows. (Advanced beginner/Intermediate level)
Backup Fiddle 101: Fitting in with any Band
Over an almost four-decade career, Tom has played fiddle in many styles in many bands, from Honky-Tonk/Classic Country (where he earned an RIAA Certified Gold Record award for his work with country singer John Anderson) to Celtic/Irish/Folk, Bluegrass to Old Time, even Cajun to Klezmer! Tom will compare and contrast the fiddler’s place in bands playing different genres, with a focus on backup and solo playing in Country and Folk ensembles. He’ll cover topics including kicking off songs, backup chordal playing, chops, fills, and taking a solo. Tom’s here to help you sound like a pro whether you’re joining a band or just sitting in. (Advanced Beginner/Intermediate level)
Irish Trad Fiddling: Ornaments & the Art of “Micro-Improv”
Once you’ve learned the melody of a good Irish jig or reel, what’s next to do with it? You can start improvising swing, jazz or bluegrass licks over the chord changes…but the other musicians down at the local pub trad session aren’t going to be particularly impressed! That’s because in the world of Irish trad, the melody is the thing. In this class you’ll discover what the master players do as they play a tune over and over—the fine art of “micro-improvisation.” We’ll take a several classic Irish tunes and learn how to push the boundaries in every way, mixing and matching classic Irish ornaments of every type, adding slight variations in melody and rhythm, and more, to keep the tune fresh and interesting, without ever losing the melody. (Intermediate)
John Stenson’s Reel: One Tune, Two Styles (Irish & Old-Time/Bluegrass)
Tunes can take interesting journeys from one genre to another. We’re all aware of tunes that have crossed boundaries over time, especially older historical melodies. Tom’s discovered an Irish trad reel, John Stenson’s #2, which was recorded by Kevin Burke for his classic 1978 album “If The Cap Fits,” but has recently found a new life, having been rearranged as an Old-Time tune by Rachel Eddy and then adapted as a bluegrass instrumental by mandolin/fiddler Nate Lee. Tom will teach the original Irish version and then show the tune’s clever adaptation into these other styles. (Intermediate/Advanced)
DAVID FINCH
Soloing Country/Bluegrass Style
Learn and break down the melody/chords of a bluegrass or country standard . Develop your own solo based off its melody.
Kicks, Licks & Tags
Most bluegrass songs have fairly simple melodies—just like many jazz standards. In this class we’ll focus on these elements and then apply them to a song in the bluegrass-friendly Key of B! Get ready for Big Spike Hammer.
Back Up & Shuffle!
In this class we’ll explore the traditional bluegrass tune Back Up & Push. The double-shuffle is one of the key elements in the bluegrass sound. It’s one of those techniques you want to have in your bag of tricks. In a jam session, when playing at high tempos, you don’t want your fingers and brain to lag behind. The double-shuffle can get you out of that jam and impress your audience to boot. We’ll learn the standard shuffle in the tune and then figure out some new ways and places to use it. Also, we’ll dive into second position, as it is often overlooked by fiddlers … but it rules in the key of C!
ANDY REINER
Find Your Practice Path Despite ‘The River of Suck’
Players will be able to write down their goals and their comfort zones as well as the obstacles and steps to move forward. This workshop will guide you and show how to apply this information to your practice routine. Andy has met and worked with many players who struggle with the fact that “you have to suck at something before you can be good at it.” Fear of not being perfect holds many back from trying. This session is a gentle, encouraging and goal-oriented ‘we’re-in-this-together kind of vibe.’ The River of Suck analogy brings some humor into an otherwise tough and challenging situation. Andy got the concept from one of his mentors, John McGann.
Irish Ornamentation
A combination of left-hand ornaments and right-hand bowing strategies brings lilt, variation, expression and groove to traditional Irish tunes. This workshop will focus on techniques to add ornaments – cuts, rolls, slides, triplets, and warbles – to emphasize important notes and add to the melody in just the right places. Helpful handout provided, including sample tunes, ornamentation techniques, and bowing patterns in context.
Collaborative Tune-Writing
In this workshop, we’ll dissect fiddle tunes to find out what makes them tick, explore different compositional strategies, discuss how to use melodic development to turn a small phrase into a coherent fiddle tune, and learn how to open ourselves up to receive those magic bits of inspiration. As a group, we will collaborate on writing a new tune together, and attendees will leave with a new skill set and inspiration for writing new tunes into the future!
Bowing Patterns for Fiddle Tunes
Simple fiddle tunes are a great starting point. As players mature as musicians, they can layer new techniques on these bare bones melodies. In old-time fiddling, a combination of bowing patterns, drones, and slides brings vibrancy and rhythmic groove to tunes. This workshop will demonstrate these techniques and help you to experience them hands-on with easy melody lines and exercises, presented with an epic handout that takes out the guesswork. Improve your understanding, your playing, and go deeper with fiddle tunes!
MATT BELL
How to Make a Music Video
Video killed the radio star. It’s not just a song and the answer to a trivia question, it’s the truth and it has been for 40 years. Since the first music video premiered on MTV in 1981, audiences have expected to hear music with their eyes as well as their ears. In the 2020s, it’s easier and cheaper than ever to make a music video, but far too few of us are doing it. Or if we are, it’s half-hearted attempt that has no chance of competing against the high budget, high productions value music videos being pumped onto YouTube and Facebook by the millions.
In this class, we’ll talk about how to make a music video that gets your music the attention it deserves. We’ll talk about the equipment you need to either own, borrow, or rent. We’ll talk about how to plan and execute a recording session and video shoot (yes, most successful videos are the result of both an audio recording session and at least one video shoot). And we’ll talk about some tips and tricks to make the editing of your music video easier and cheaper.
You don’t have to be a rockstar to look like one on camera. We’ll teach you how. Here are 4 videos I’ve done in the past 6 months at an average cost of less than $1000 each (audio AND video combined).
FREE SESSIONS!
MATT STAMELL
How to Select and Care for Your Instrument and Bow [FREE]
Matt Stamell will provide you with important information re: how to choose the best instrument and bow for your playing needs and how to take care of them. String players often don’t know enough about their equipment and can sometimes feel inadequate when something goes wrong. Sometimes they even blame themselves if they don’t sound good when all the while, their instrument or bow was in need of some tender loving care from a skilled luthier. For instance, do you know how often to change your strings or get your bow(s) rehaired? How to look for cracks?
For instance, one player struggled and struggled to play an Eb and E on her D string in tune. It turned out that her fingerboard had a dip in it that needed to be planed. As an instrument ages, it might need a new bridge, there may be subtle cracks which, if not caught early enough, can spread and lead to really expensive repairs or even ruin the instrument if they’re near the sound post. Sometimes, over time, the fingerboard can drop too close to the body of the instrument. Do you know what to look for and that a splint can be placed under the fingerboard to lift it? This repair will improve the tone of the instrument.
Matt will provide you with an opportunity to ask questions toward the end of the session, so come with all your queries and learn how to take care of your dance partner!!
ELECTRIC VIOLIN SHOP TOUR
Take a tour of the Electric Violin Shop. Learn about the incredible array of electrics available today. See them, hear them, and experience what they can do. Learn about what you can do with more than four strings, the best bow to use with a five- or six-string instrument, and much, much more. Session will include Q&A.
Thanks to Matt Bell for the tour and to EVS for providing this session for free to all of you!
PAUL ANASTASIO
The Music of Mexico’s Tierra Caliente
Southwestern Mexico is home to a remarkable, violin-driven, regional style. Guitars and violins play many of the same styles played by the Mariachi bands, but with a distinct, passionate feel. The region’s repertoire includes pasodobles in the Spanish style, boleros and danzones with a distinct Cuban flavor, foxtrots and swing pieces inspired by American swing bands of the ’20s and ‘30s, and waltzes that sound distinctly Viennese. We’ll provide a rhythm guitar accompaniment track and you’ll have sheet music for violin, viola and cello to work with.
If you’d like an opportunity to hear the style of Tierra Caliente, two YouTube channels, Juan Reynoso violin and Juan Reynoso live, offer close to 400 videos.
How to Make a Grammy-Worthy Recording with Vi Wickam & Paul Anastasio
Join recording artists, Vi “The Fiddler” Wickam and Paul Anastasio and learn how to create and market your very own album. We’ll discuss the process–from deciding on which tunes to play, to recording and producing your music, to making your album into an awesome physical product.
Vi and Paul will share some secrets of making an album that will get played on the radio and make it on the Grammy ballot, and help you create a timeline for your own new album’s creation.
This course was inspired by Vi and Paul’s 2020 swing fiddle album, Swinging at the Savoy which charted at #7 on the Folk DJ Radio Chart, and was on the Grammy Ballot in the categories of Best Folk Album and Best American Roots Song.
