Posted by Steve Arkin on Wednesday, May 7, 2014
This is going to be a great Banjo Camp North this year. I'll be teaching both old-time and bluegrass classes (see my class list below). And fellow staff members include the great Tom Adams, three-time IBMA banjo player of the year, and the legendary Paul Brown. There are still a few spots available--sign up now and tell them I sent you!
1. Cool Melodic Blues Licks to Spice Up Your BG Solos - Hot, bluesy, and little-known licks invented by Steve or learned from such friends as Bill Keith, Allen Shelton, Bobby Thompson, Marty Cutler, and Pete Wernick. This class will show you how to do them—and when to use them. (A)
2. Quirky First-Position Bluegrass Licks to liven up your rhythm and boost your drive—a grab bag of short, punchy and little-known Scruggs-style licks, tags, fills, and endings from Allen Shelton, J.D. Crowe, Lamar Grier, Bill Keith, Steve, and others (I)
3. The Square Lick - Connective Tissue of Scruggs Style. Also known as “alternating rolls”, these 4-4 right-hand patterns are necessary for playing such tunes as Shucking the Corn, Doing My Time, Old Joe Clark, Old Hickory, Dixie Breakdown, Cripple Creek, etc. They also provide transitions from one lick to the next and a are a necessary antidote to the relentless Scruggs rhumba (3-3-2) rhythm. (All)
4. Nimble Clawhammer Phrasing – staying with the beat and the tempo are important tasks for playing with a fiddle, but matching the phrasing of the fiddler you’re playing with is essential to really locking in. We’ll talk about finding exactly where to put those key melody notes so that they mesh with a fiddler’s version of a tune—and strategies for adapting your phrasing to match another fiddler or another version. With Kaufman (A)
6. Basics of Fingerstyle Old-Time Banjo - Despite the popularity of clawhammer styles among old-time players, the vast majority of historic old-time recordings feature two or three-finger banjo styles. And two and three-finger banjo styles have become the new rage. This class will focus on a number of these styles—with special emphasis on fingerstyle banjo in a string band context. (I)
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