On June 12th the CBA Summer Music Camp spomsored a set of eight online workshops taught by outstanding Music Camp instructors. Workshops were one hour long with a 15-minute introduction, and were broadcast over Zoom. There were opportunities to ask questions and discuss with the instructor. There were four time periods with two independent workshops in each time period. People signed up for one, two, three, or four workshops, with a special discounted price for a set of four.
Saturday, June 12th, 2021
(click on instructor name for bio)
Period 1 12:00 - 1:15 PDT *
Putting the "Blues" Into Bluegrass Guitar
We’ll discuss how bluegrass guitar players use blues notes and scales, and how to use them in a solo. Using tablature, we'll learn a straight solo or two and then "bluesify" it.
Banjo Licks – The Building Blocks of Solos
You can play a bunch of tunes and want to make the big leap to soloing in jam sessions. But how do you do that on the fly? You can approach soloing in much the same way that you learned to speak – by getting some tried and true phrases under your fingers that will get you where you need to go. In this workshop I’ll show you some handy licks that will get you around the common 1 – 4 – 5 changes in the most popular bluegrass keys.
Period 2 1:30 - 2:45 PDT *
The Nitty Gritty of Southern Traditional Singing
The devil is in the details. It’s all about style. The secrets of southern traditional singing revealed! Come find out what gives traditional singing from older unaccompanied styles to more modern country styles, their unique sounds. What do I hear when I listen to a song? How do I learn a song? What do Dock Boggs, Addie Graham, George Jones, the Carter Family have in common? I’ll sing; you’ll sing; we’ll learn songs and break them down. I’ll provide a source list that might be helpful for continued listening.
Double Stops for Bluegrass Mandolin
Double stops are two notes played together, and they are a great way to make melodies sound more full and interesting. In this workshop we will look at everything from melodies with open drones, to chord tone double stops and harmonized scales. Bill Monroe, David Grisman, and many other bluegrass greats incorporate double stops into their playing. They can be used in countless tunes and songs, from Bluegrass Breakdown to Lonesome moonlight waltz.
Period 3 3:00 - 4:15 PDT *
Guitar - Walks, Runs, and Refining your Strums
we'ill look into bass walks used when going between chords. Bass runs, which are commonly based on the Lester Flatt G Run. Refining strums will take a more in depth look at the similarities between common bluegrass, country, and folk strum patterns.
Bluegrass Fiddle - Licks and Tricks!
Have you ever heard a fiddler play a fun lick or hit a cool chord that you just can't put your finger on? This class is for you. Join Della Mae's Kimber Ludiker for a survey of bluegrass "pocket licks" in various keys to get you ready to hang in any jam or playing situation. We'll talk about classic licks, hooks, fills, kicks, endings, how to come up with great ideas on your own, and how to pull it all off by applying a believable "bluegrass filter"! You'll learn practice skills and technique drills to get you comfortable playing in most keys a singer will throw your way.
Period 4 4:30 - 5:45 PDT *
Backing Up a Singer on Mandolin
In this workshop we’ll learn mandolin techniques to back up a singer as well as some traditional licks and fills to use while doing so. We’ll also work on a clear, easy (non-violent!) way to indicate to others in the band or jam that you are taking the fills on a given verse or chorus.
Three Techniques for Wide-Ranging Banjo Improvisation
In this workshop I’ll be explaining three different techniques to open up the fingerboard in both scalar and chordal ways. The first is a technique that Bela Fleck showed me many years ago. It sounds melodic but has a Scruggsy right hand. The second technique I’ll call the "Keith" roll, because Bill felt that he was the one that came up with it. It involves one four note roll and allows one to move chords all around the neck. The third is the interval of the 6th and completely opens up the fingerboard. All three have infinite possibilities for fun and profit.
* All times are Pacific daylight Time (PDT).
We're finding ways to share and teach traditional music despite the limitations of the coronavirus pandemic. Email is welcome 24 hours a day (and may be answered at the strangest hours!). See the Contact Us page.
Our instructors also offer other events to keep the music in our lives and the CBA community active, so. . .