Celtic Week Classes – July 10-16, 2022

Fiddle

INTERMEDIATE IRISH FIDDLE A (Colin Farrell)
In this class for intermediate players we will cover the basics of Irish fiddle technique: bowing, ornamentation and tempo, rhythm and tone. We will be learning new tunes, taught simply, phrase by phrase, before demonstrating how to incorporate various techniques into the tune. We will also take some standard session tunes and look at adding variations and different ornamentations. We will also be listening to recordings of fiddle players and studying the different styles and techniques. Tunes will be taught by ear, but sheet music will be provided for those who need it. (Class limit: 30)

INTERMEDIATE IRISH FIDDLE B (Andrew Finn Magill)
As intermediate players you’ve built a little repertoire and mastered some basic ornaments. In this class we will work on phrasing and stylizing your playing with those things we term ‘lilt,’ ‘lift,’ and ‘drive’ by looking at specific bowings, ornaments and fingerings. We will also look at the notion of ‘style’ and some of the techniques the great fiddlers before us used. For those who read music, I will bring a few fiddle transcriptions, but this class will be first and foremost an ear-training class. We will learn one or two rare hornpipes, fiddle-friendly reels (think G minor) and maybe even something more exotic like a slide or a set dance. The goal of the week is to inspire, inspire, inspire, while giving you the tools you need to practice more efficiently and meet your musical goals. All music will be recorded before camp and notated for all who wish it. (Class limit: 30)

ADVANCED IRISH FIDDLE A (Gerry O’Connor)
The bowing and articulation of bow patterns in the playing of jigs and other familiar dance rhythms introduced in the early part of the class will provide the basis for a systematic approach to a generic playing of Irish fiddle music suitable for intermediate/advanced fiddlers. This will enable the student to identify some repetitive patterns of bowing which, although non-specific, will aid the student in understanding the non-random activity of bow movement in Irish fiddle playing. Audio and selective video recording is encouraged. While some experience in learning by ear would be an advantage, a positive approach to attempting to learn by watching and listening is essential. The notation of the workshop tunes with some typical bowing motifs indicated will be forwarded in .pdf format by email after the class. (Class limit: 30)

ADVANCED IRISH FIDDLE B (Brian Conway)
In this course for advanced players we will cover the use of phrasing, ornamentation and bowing in traditional Irish music. We’ll discuss a “how-to- practice” method, how to approach session playing, and how to learn tunes from recorded media. We will learn a few tunes, but the emphasis will be on advanced technique and the use of variations as well as answering any questions you may have. The tunes taught in this class will be, for the most part, traditional Irish tunes rather than newer compositions and Brian is open to teaching tunes requested by the students. Sheet music will be provided for those who need it. Please bring an audio recorder. (Class limit: 30)

INTERMEDIATE SCOTTISH FIDDLE (Mari Black)
Are you searching for your authentic Scottish voice? Looking for more sparkle in your playing? Want to get grooving with a real Scottish fiddle accent? This class is a fun, yet intensive odyssey that delves into creating a believable stylistic Scottish feel. We’ll learn many traditional tunes: driving reels and jigs, stately marches, mighty strathspeys (the signature Scottish tune type!), and haunting slow airs. We’ll discover how to capture the stylistic essence of each tune type through good choices in bowing, ornamentation, phrasing, and rhythmic groove. We’ll polish up your dance feel so you know how to get everyone’s feet tapping, and we’ll put together complete ‘MSR’ sets that you could use for a traditional Scottish performance or competition. All tunes will be taught by ear, so definitely bring your audio recorders, but don’t worry – notated sheet music for all tunes we learn will be given out at the end of the week to help you keep practicing once you get home! (Class limit: 30)

ADVANCED SCOTTISH FIDDLE (Jeremy Kittel)
This course will delve deeply into the spirit and stylistic nuances of Scottish fiddling. If rhythmic drive and groove are the lifeblood of Scottish folk music, then the soaring and joyous melodies are its soul’s expression. We’ll work on ornamentation and bowing, phrasing, melodic variations, and of course – we’ll jam! Technique and theory topics – tone, practice methods, simple chord theory, playing with speed and precision – will be included as appropriate. All tunes, including strathspeys, reels, jigs, marches, and slow airs, will be essentially taught by ear, though sheet music will also be provided for most of the tunes. Students are encouraged to bring a small audio recorder (or smart phone) to record musical examples and repertoire. (Class limit: 30)

CAPE BRETON FIDDLE (Katie McNally)
In this class, we’ll look at what makes Cape Breton music different from other fiddle styles. We’ll talk a lot about bowing and how this gives the fiddle style its ‘accent,’ as well as common left-hand embellishments that you’ll hear in the style. Listening to recordings will also be a part of the class. We’ll use this as part of our ear training to identify common stylistic features and apply them in our own music. The class will be taught mostly by ear and we’ll talk about ways to improve your ear training. Sheet music will be provided as reference at the end of the week. We’ll learn jigs and reels, and march, strathspey & reel sets, as the class desires. (Class limit: 25)

FIDDLE FOR COMPLETE BEGINNERS (Caitlin Warbelow)
Learning to play the fiddle might seem daunting, but believe it or not, it’s possible to learn the basics (as well as a tune or two!) in a week. That’s what we’ll do in this class, starting with a foundation of great left-hand and bow grip technique, and moving on to finesseing your sound production, string crossings, and intonation. By the end of the week, you’ll be able to play basic scales as well as a simple polka. Please make sure to bring a fiddle and bow in playable condition and a shoulder rest. (Class limit: 20)

FIDDLE TECHNIQUE A (Katie McNally)
Oftentimes, technique becomes a limiting factor on the journey to fiddle mastery. This often-neglected topic is well worth studying if you want to improve your sound quality, increase your speed while keeping a clean tone, expand your technical ability, and prevent unnecessary aches and pains. This class is for those who already play fiddle at an intermediate level, but wish to improve their technical skills. Over the week, we’ll put together a toolbox of skills (bowings and bow technique, ornamentation and left-hand technique, string crossings, a discussion of lilt, basic music theory, posture, troubleshooting strategies for common issues, etc.) that you can use in pursuit of good tone and ease of playing. While discussing technique, we’ll learn a few tunes by ear. The class will be customized to the needs of the students, so feel free to bring questions of interest! All tunes will be taught by ear. (Class limit: 20)

FIDDLE TECHNIQUE B (Caitlin Warbelow)
Oftentimes, technique becomes a limiting factor on the journey to fiddle mastery. This often-neglected topic is well worth studying if you want to improve your sound quality, increase your speed while keeping a clean tone, expand your technical ability, and prevent unnecessary aches and pains. This class is for those who already play fiddle at an intermediate level, but wish to improve their technical skills. Over the week, we’ll put together a toolbox of technical skills (bowings and bow technique, ornamentation and left-hand technique, string crossings, a discussion of lilt, basic music theory, posture, troubleshooting strategies for common issues, etc.) that you can use in pursuit of good tone and ease of playing. While discussing technique, we’ll learn a few tunes by ear, so please bring a device to record tunes each day. The class will be customized to the needs of the students, so feel free to bring questions of interest! All tunes will be taught by ear; some handouts will be distributed as well. (Class limit: 20)

 

 

Flute and Tinwhistle

INTRO TO IRISH FLUTE A (Kevin Crawford)
This class offers an introduction to playing traditional Irish music on the flute for students who already have some experience with the basics of the instrument and can play some tunes at a slow pace with little or no ornamentation. We’ll discuss a ‘how-to-practice’ method and how to approach session playing. We’ll learn a few tunes but the emphasis will be on establishing foundations for you to take home and apply throughout your own learning as well as answering any questions you may have. Students will learn how to ornament tunes with rolls, cuts and tongue-ing. Tunes will be taught by ear so bring a D flute and a recording device. ABC notation will be provided for those who need it.

INTRO TO IRISH FLUTE B (John Skelton)
This class is designed for those who have just started playing Irish music on the flute. It will cover the basics of ornamentation and phrasing. Some time will be spent on tone production and the mechanics of playing a flute. Players coming from the tinwhistle or from another flute discipline will find this class particularly useful. The class is taught by ear but sheet music is available for those that need it.

INTERMEDIATE/ADVANCED FLUTE A (Kevin Crawford)
This class is for students who are skilled enough to play tunes in a variety of rhythms (jigs, reels, etc.), with good technique and at a reasonable tempo. This course will expand on the skills and topics introduced in the intro class, with more attention given to ornamentation, breathing, style and repertoire, while continuing to emphasize rhythm and phrasing in the music. Tunes will be taught by ear so bring a D flute and a recording device. ABC notation will be provided for those who need it.

INTERMEDIATE/ADVANCED FLUTE B (John Skelton)
This class covers all of the aspects of Irish flute playing – ornamentation, phrasing, breathing and rhythm. Some time will also be spent on repertoire and in developing a personal style. We will learn a few tunes and then ‘de-construct’ those tunes to help us understand different styles. Students should be proficient in playing tunes at a moderate tempo. The class is taught by ear but sheet music is available for those that need it.

INTERMEDIATE/ADVANCED FLUTE C (Nuala Kennedy)
Nuala grew up playing traditional Irish music in Dundalk, Co. Louth and has also spent many years living and playing music in Edinburgh, Scotland. She is also strongly influenced by the music of Cape Breton Island, Nova Scotia. In this workshop, she will explore some of the repertoire from these three places, looking at a variety of tune types including marches and strathspeys. Students will play in a range of keys. Written music is not provided, however students are free to notate, and are encouraged to bring a recording device.

TINWHISTLE FOR COMPLETE BEGINNERS (Billy Jackson)
This class is for students with no prior experience of the tinwhistle. Instruction will start with the most fundamental techniques and a few very simple tunes. By the end of the week, you’ll be well on your way to playing. Please bring along a recording device and a tinwhistle in the key of D.

INTRO TO IRISH TINWHISTLE A (Kathleen Conneely)
This class is for students who already have some experience with the basics of the instrument, and can play some tunes at a slow pace with little or no ornamentation. Beginners will learn how to ornament tunes with rolls, cuts and tongueing. Emphasis will be placed on rhythm and phrasing. Tunes will be taught aurally, so bring a D whistle and a recording device. Sheet music will be provided for those who need it.

INTRO TO IRISH TINWHISTLE B (Seán Gavin)
This class will focus on the fundamentals of the instrument. Seán will teach simple traditional tunes, and use those tunes as a vehicle for learning other foundational techniques such as embouchure, finger position, intonation, rhythm, phrasing, and basic ornamentation. Students can also expect some discussion and analysis of great players from the past and prese nt. Participants will need a tin whistle in the key of D.

INTERMED./ADVANCED IRISH TINWHISTLE A (Kathleen Conneely)
This class is for students who are skilled enough to play tunes in a variety of rhythms (jigs, reels, etc), with good technique and at a reasonable tempo. This course will expand on the skills and topics introduced in the beginners class, with more attention given to ornamentation, breathing, style and repertoire, while continuing to emphasize rhythm and phrasing in the music. Tunes will be taught aurally, so bring a D whistle and recording device. Sheet music will be provided for those who need it.

INTERMED./ADVANCED IRISH TINWHISTLE B (Seán Gavin)
In this class, Seán will teach traditional tunes with a focus on musical thinking. Students can expect to learn ornamentation (cuts, taps, rolls and more) while also covering articulation on a variety of Irish tune types. While students can expect to expand their repertoire, the emphasis of the class will be on the intangibles such as rhythm, phrasing, and the placement of breaths. There will also be some discussion and analysis of regional styles, as well great players of the past and present. Participants will need a tin whistle in the key of D.

 

 

Harp

INTRO TO CELTIC HARP (Billy Jackson & Gráinne Hambly)
The beginning student will be introduced to the fundamentals of this grand and ancient instrument, including basic harp technique (e.g. hand position, posture, exercises). Arrangements of simple Scottish and Irish melodies will be taught by ear, with written music provided as back-up. Billy and Gráinne will each lead the class at various times during the week. In order for classes to commence on time, students are kindly requested to be tuned and prepared well in advance, and to ensure their instruments are in good working order. Students are also encouraged to bring a recording device, music stand, and spare strings.

INTERMEDIATE/ADVANCED CELTIC HARP (Billy Jackson & Gráinne Hambly)
Class topics will include arranging, ornamentation, and accompanying voice and other instruments. A selection of Scottish and Irish material will be taught at a more advanced level and individual interests of participants will be taken into account. Billy and Gráinne will each lead the class at various times during the week. In order for classes to commence on time, students are kindly requested to be tuned and prepared well in advance, and to ensure their instruments are in good working order. Students are also encouraged to bring a recording device, music stand, and spare strings.

 

 

Fretted Instruments

CELTIC FINGERSTYLE GUITAR (Robin Bullock)
This class will explore the world of possibilities presented by traditional Irish, Scottish and Breton repertoire arranged for solo fingerstyle guitar. Some tablature will be offered, but students will also create their own individual settings of airs, jigs, reels and the 18th-century harp music of Turlough O’Carolan, sharing arrangement ideas in an informal, hands-on environment. Alternate tunings such as DADGAD, “Canine” tuning (CGCGCD) and “Werewolf” tuning (CGDGAD) will be used extensively to open up the instrument’s full sonic potential. A good time will be had by all. An audio recorder is recommended.

SESSION GUITAR ACCOMPANIMENT I (Will MacMorran)
This class is for newer guitarists and those new to Irish traditional music. Students will learn chord shapes and patterns for DADGAD guitar tuning and strumming patterns for jigs, reels and other melodies. We will focus on common keys within Irish traditional music, how to be creative with your own playing, and also discuss the ‘ins and outs’ of playing with others. An audio recorder is recommended, and chord charts will be provided.

SESSION GUITAR ACCOMPANIMENT II (John Doyle)
In this class for advanced students, players will further master different strumming techniques to a variety of types of tunes, add dynamics to their playing through syncopation and emphasis, confident chord substitutions, fingerpicking techniques, tips and tricks for playing in sessions, how to work out the right chords for tunes and alternate tunings for the guitar. Students should be familiar and comfortable with strumming, have a good working knowledge of Irish music and of music theory. Chord sheets in dropped-D tuning will be provided. Students should bring a capo.

FLATPICKING CELTIC GUITAR (Robin Bullock)
This intermediate-level class will focus on making traditional Celtic tunes come to life, flatpicked on steel-string guitar. We’ll discuss technique, lift, ornamentation, and other facets of making Irish, Scottish and Breton tunes sound authentic on guitar, as well as alternate tunings, capo techniques and methods for picking up tunes by ear. Sheet music and tab will be available if required. Students should bring a capo and an audio recorder is recommended.

DADGAD SONG ACCOMPANIMENT (Eamon O’Leary)
This class will focus on approaches to song accompaniment using the unique DADGAD tuning. We’ll start with an introduction to the tuning, so no previous experience is necessary, and then we’ll explore the different rhythmic and harmonic possibilities that it affords. Particular emphasis will be placed on chord voicings and rhythm-hand techniques. Participants need not be singers and most of what we cover will also be applicable to ‘tune’ accompaniment.

ACCOMPANY TUNES ON THE FLY &
THE NASHVILLE NUMBER SYSTEM 
(Will MacMorran)
In this intermediate/advanced level class, we will strengthen our knowledge of the guitar’s fretboard while building an array of right-hand rhythmic possibilities. We will also learn to use the Nashville Number System as it pertains to chording traditional music. Using DADGAD tuning for counter-melodies, syncopation, and reharmonization, we will explore ways to be an invaluable addition to any musical setting. By the end of class, we will have explored techniques to accompany tunes on the fly, and given new life to the music you already play.

CELTIC BOUZOUKI (John Doyle)
In this class we will explore the first basic chord structures for backing tunes and songs, rhythmic patterns in Celtic music, and then explore further into counter-melodies, hammer-ons, and other techniques used to make bouzouki accompaniment dynamic and unique. Students should bring a bouzouki, pick, capo and recording device.

MANDOLIN I (Dave Cory)
This will be a primer for Irish music on the mandolin. We’ll learn about tune types, navigating the fretboard in GDAE tuning, building fundamental ergonomics and picking mechanics, and work on a balanced selection of basic easy-to-learn tunes. I’ll provide notation for everything we learn, but will emphasize playing by ear throughout the week, while incorporating enough music theory to give a solid technical context. Bring a recording device!

MANDOLIN II (Dave Cory)
In this class, we will focus on more complex playing aspects. We will work on advanced repertoire, develop a wider range of ornamentation and tonal control, approach quicker tempos, using double stops and harmony, adapting to dynamics of other instruments, and a lot more. Bring a recording device!

TENOR BANJO (Eamon O’Leary)
In this course for banjoists of all levels, Eamon will cover right- and left-hand technique, ornamentation, tune settings, and different banjo styles. Tunes that are particularly well-suited to the banjo will also be incorporated into the class. Students are advised to bring a recording device.

 

 

Reeds

UILLEANN PIPES (Cillian Vallely)
This class will focus on tunes from the standard piping repertoire and their associated piping techniques. Through the teaching of new tunes, we will examine standard piping elements such as rolls, crans and triplets, and also look at how to get the best sound from the instrument in terms of tone and tuning. We will spend some time looking at the various styles of playing and how to develop the music from the basic melody through the use of ornamentation and melodic and rhythmic variation. We will also look at regulator accompaniment for those with full sets and we will try to cover the various tune types associated with traditional music. A device to record the classes will be essential as the class will be taught by ear and it is expected that a lot of what you learn at the class will be of use between classes. For those who require it, musical notation can be made available at the end to take home. Intermediate and advanced players will benefit the most from this class.

BUTTON ACCORDION (John Whelan)
In this class for B/C accordion, a specific tune will be assigned to the class each day, and learned by ear. Attention will be paid to posture in general, fingering technique, hand position, air button control, the understanding/internalizing of a tune, phrasing and ornamentation. Different playing styles will be demonstrated and discussed, along with listening recommendations for representative box-players. Students will also be encouraged to showcase their progress to their classmates. Classes will be taught by ear. Students are encouraged to bring audio recorders, pen and paper, and to ask as many questions as possible. Videotaping is not permitted.

PLAYING IN SESSIONS (John Whelan)
Playing in sessions can be a daunting task sometimes, especially if you are venturing into a new one when traveling around, so being prepared is a good way to keep your mind and nerves at ease. I will focus on what are the best session tunes played around the country. Session etiquette is very important not just for you but for everyone – when to play and when not to play. Learn to use your experience to learn new tunes without interfering with others in the session and gain more confidence. We will also focus on how to improve your current community’s session to get more enjoyment from it and to understand that you, along with your peers, are all equally responsible for sustaining a vibrant musical experience for each other and your community especially in a public session. (No class limit)

ANGLO CONCERTINA (Gráinne Hambly)
This class is intended for students playing Anglo C/G concertinas, and is open to all levels, from beginners with some basic playing experience upwards. It is not suitable for complete beginners, however, and all participants should be familiar with their instrument (location of the notes, etc). Basics of technique and style (e.g. bellows control, phrasing, alternative fingerings) will be covered, as well as ornamentation in the context of Irish traditional dance tunes. Participants are encouraged to bring an audio recorder. Written music will also be provided.

 

 

Song and Folklore

THE BIG SING (Nuala Kennedy)
Everyone is welcome at The Big Sing, where we will sing a range of beautiful Celtic songs plus a few wild cards thrown in, and arranged to create the powerful group sound for which this class is known. No skills in reading music are required. No singing skills either! This is a class for all ages and abilities: a love of song is the only prerequisite. Thre’s safety in numbers. If you love harmony, love belting out a song or poem or are shy about singing then this is the class for you! It’s an enjoyable way to broaden your repertoire and add your voice to the group. Please come ready to share at least one song or poem (or even tell us a joke!) that you enjoy. Lyric sheets will be provided. Bring a recording device if you have one. (No class limit)

THE IRISH OTHERWORLD IN STORY, MUSIC & LORE (Dáithí Sproule)
From the earliest stories in the Irish Gaelic language – some written down first in the 7th or 8th century – right up to lore current in Ireland, the Otherworld has felt close to Irish people. We see this not just in myths and folktales, but in the lore about tunes and songs, and in stories told of even recent occurrences of music learnt from the Otherworld people or fairies. Dáithí looks forward to sharing some of this with you and to showing that Otherworld beliefs reveal a coherent and meaningful view of reality! (No class limit)

IRISH GAELIC SONG TRADITION (Dáithí Sproule)
The Irish Gaelic song tradition is one of incredible richness and beauty – both in melody and poetry. In fact, all the great instrumental players agree that Irish language song is the heart of the music. Dáithí has been singing songs in Irish all his life, even before he knew the language, and they can be learned phonetically and enjoyed by non-Irish speakers. We’ll learn a variety of songs, and Dáithí will share background and stories about them. (No class limit)

SINGING SCOTTISH SONGS (Ed Miller)
Each day will focus on two or three songs, learning them by hearing and singing them over several times. We’ll also listen to recordings by a variety of singers to hear how they present, express and decorate a song. Songbooks will be available and the language and social context of the songs will be explained. Emphasis will be on learning a selection of traditional and more recent songs aurally and orally by repetition. (No class limit)

SCOTLAND IN SONG (Ed Miller)
The songs of the Scottish folk revival of the past 50 years cover everything from politics and social change to urban renewal and personal experience. In this class, we’ll listen to, talk about and SING serious and humorous songs by Adam McNaughtan, Ewan MacColl, Alan Reid, Hamish Henderson, Robin Laing, Andy M. Stewart, Dougie MacLean and others, all of whom are keeping the Scottish song repertoire refreshed, vibrant and relevant. Songbooks will be available. (No class limit)

LOVE IN ITS MANY FORMS (Dave Curley)
Love songs come in many forms; requited and unrequited, broken promises and ‘happy ever afters’ (they’re a bit rare but they do exist), personified songs of love for the homeland and arduous journeys to prove dedication. Jovial and energetic or sombre and bittersweet, Love songs can encompass it all. We will learn by ear with the aid of lyrics. (No class limit)

IT’S A MINER’S LIFE FOR A MINER’S WAGE (Dave Curley)
We’ll look at working songs and songs that chronicle the journey of the Irish people looking for a better chance at life. Most laboured and toiled, many didn’t survive and some made it to the height of power all over the world. Mines, railroads, skyscrapers, ditches, politics, military, servants, – the Irish have left a strong legacy in the physical and political landscapes of many countries. We will learn by ear with the aid of lyrics (No class limit)

SONGS TO SHARE (Cathy Jordan)
Our voices have been silenced for a long time and singing was outlawed due to Covid. We all missed singing together and sharing the joy that it brings. In this class we will focus on songs with a chorus especially for those who like to sing with others in singalongs. We will endeavour to bring back the thrill of singing together with great Irish songs for all to share in both Irish and English language. For all ages all abilities. (No class limit)

SONGS OF THE SEA (Cathy Jordan)
In this class we will look at songs with topics related to the sea – everything from epic adventures on the high seas to sea shanties, bawdy ballads, tender lullabies and even some cross dressing songs. So bring your life jacket and join me on the waves of the ocean. For all ages all abilities. (No class limit)

 

Percussion and Dance

BODHRAN I (Anna Colliton)
In this class, we’ll cover basic position and technique for playing the bodhrán, with a focus on developing speed, comfort, and versatility. Students will learn several “no fail” approaches to accompanying jigs, reels, and, time permitting, other types of traditional tunes, and begin to enhance their playing with ornamentation, fills, and tonal variation. Total beginners are welcome, as are more experienced players wanting a refresher. We’ll make sure there’s something for everyone, so students are strongly encouraged to bring questions, favorite recordings, and topics of discussion to class! Written notation will be used in class but we’ll make time at the end of class for students wishing to make audio or video recordings for reference. (Class limit: 25)

BODHRAN II (Anna Colliton)
We’ll learn to further enhance our playing with tonal variation, alternate stick-ing patterns, syncopated rhythms, and single- and double-ended ornamentation, and begin to craft fully-formed parts to accompany traditional melodies. We’ll also learn how to break out of any rhythmical ruts we may be stuck in! We’ll deepen our understanding of jigs and reels, and work on other types of traditional tunes according to the wishes of the class. Students should already be comfortable accompanying both jigs and reels and be able to play with consistent timing, and are strongly encouraged to bring questions, favorite recordings, and topics of discussion to class – we’re going to have fun! Written notation will be used in class but we’ll make time at the end of class for students wishing to make audio or video recordings for reference. (Class limit: 25)

MASTER CLASS IN ARTISTRY (Janis Ian)
This is a traditional Master Class, normally offered on the university level and focusing on what it is to be an artist – to live as an artist, and to understand more about the role of and history of the artist through the ages, right up to the modern world. We will be covering history – from earliest sapient beings to the ancient Greeks, the Dark Ages, medieval troubadours and their role in spreading the news, the Renaissance, and why syphilis gave rise to the ‘artist as lunatic’ perception. We’ll pay attention to fear, and its effect on us as creative persons, the poetry and consciousness of wood, what to do when the well runs dry, the importance of both craft and talent, and the impossibility of living up to your ideals. There will be exercises for stage fright, a ‘wall’ of quotes and artwork you can take pictures of to carry home with you. Each class will end with a song to illustrate that day’s lesson, along with a short Q&A. Students will be asked to read 3-4 short stories about artists before class begins. If you haven’t received the short stories two weeks before classes begin, please email info@janisian.com for copies. (No class limit)

 

 

Other Events

SLOW JAMS & SINGING
After supper each night, students have the opportunity to participate in slow jams and singing sessions. At the slow jams, common tunes are played at a speed that is accessible even to beginners. The singing sessions are a chance to share your voice and songs.

POTLUCK SESSIONS
In addition to the regular class sessions, each afternoon several staff members will offer Potluck Sessions serving up a different menu of one-hour workshops.