Cedar Run Song Workshops: Class Descriptions

In this class, we will work on how to merge your personal artistic vision with the craft of professional songwriting. We will learn how to incorporate some basic tools and skills of the professional songwriter into your craft without losing your particular style. This class is for songwriters of any level of experience. It will focus more on lyrics and lyrical structure than on musical forms. (Kate will teach one section of this class.)

This class is intended for those students who have already had basic songwriting classes, are consistently writing, and feel that they are ready to take their work to the next level. The class will include time for specific songwriting analysis and critique. It will also be self-directed in that the needs and interests of the group will determine the direction of our discussions, which may include topics such as publishing, recording, performing, and music business practices. (Kate will teach two sections of this class.)

What makes a song compelling? Why do great songs enrich our lives and affect us in lasting ways? And how do we craft our own deeply felt songs so that they communicate our thoughts, insights, and feelings to others? When songs provoke and move us, they have successfully married art with craft - and almost certainly, they flow like water, avoiding impediments that may disrupt the easy progression of melody, groove, and narrative...and cost us our listeners' interest. Using as our reference a useful model for the life cycles of a song - its stages of rise and fall, beginnings and completions - we will focus on how to more skillfully stream our songs so that they are effective and satisfying for ourselves...and for our audiences. This class will involve exercises, individual and collaborative song assignments, discussion, and Q & A. Students are encouraged to bring a recorder and writing materials. (Please note that attending a previous Essential Songwriting class is NOT a prerequisite for taking this class.) (Tom will teach two sections of this course.)

Every writer - veteran or beginner, amateur or professional - must *begin*, must face the blank page again and again. Whether we simply hunger for fresh material, are experiencing full-blown writer's block, just haven't written anything lately, or simply want to begin a new project and are uncertain where to start, we can all use tools and support for getting things going and, perhaps more importantly, for staying on a roll once the wheels are in motion. In this workshop, we will explore how writers can cultivate an environment to nourish inspiration, and we will examine simple practices that both launch the creative process and nurture it from day to day. This class will include exercises, individual and collaborative song assignments, discussion, and Q&A. Students are encouraged bring a recorder and writing materials to class. (Tom will teach one section of this class.)

You started writing that song with the BEST line you EVER thought of. You got it all done and realized that something was just not working. If it turns out that the problem is that "best line you ever thought of," are you willing to chop it out? Rewriting can be as simple as changing your song's point of view from first to third person, or as dramatic as scrapping the original idea and allowing the song to be what it deserves to be. It's an act of non-attachment and the thing most likely to take your songwriting to the next level. Bring a song to class to be Ruthlessly Rewritten by the whole group. Don't be scared! You can always "revert," but you probably won't want to. (Kathy will be teaching one section of this course.)

Your first verse should have an aroma. Your chorus should crunch underfoot like seashells on pavement. Dom Perignon, on his very first sip of champagne, said, "I am tasting stars!" Emotion is closely tied to the senses, and your songs should be loaded with images that appeal to taste, touch, smell, sound, and sight. Until someone invents the scratch-and-sniff .mp3, we have to rely on words to create sensory environments. This class will playfully explore the "show 'em, don't tell 'em" philosophy of songwriting. Bring songs and a lifetime of sense memories to play with. (Kathy will be teaching two sections of this course.)

Every other musician plays an instrument, something that is outside the body. And singer/songwriters use their bodies as a whole instrument to create music. This presents specific challenges and opportunities for students of singing to learn how to maintain vocal integrity, while engaged in their craft. And it can also be the source of great joy! In this practical , hands-on workshop, we will address many issues that relate to singing both lead and harmony vocals effectively. We will look at ways to produce sound that are healthier, more sustainable, and more effective. We will sing individually and as a class as we learn to find our inner voices and blend with others. (Joe will teach two sections of this course.)

In this hands-on workshop, we discuss what the craft of songwriting has contributed tothe telling of stories of historical merit, and we will discuss and demonstrate how to use songwriting in the present time as a tool for communication. The world is full of stories that need to be told - stories of courage and heroism of every manner...stories that are left out of the mainstream media. From stories about children who are killed in the inner city to tales of whimsy and humor...songwriting can be an excellent form of journalism. But what does it mean to research a song? What does it mean to bring integrity to the process? Over the course of the week, we will discuss and demonstrate ways to use our craft as a tool for real communication in this modern world. Each student is asked to birng a story, a newspaper clipping, a portion of a book, or something else that will serve as the spark for a new song. We will all work on new material throughout the week and encourage each other gently down the path of songwriting journalism. (Joe will teach one section of this class.)

This class will be a "roll up your sleeves and start writing" workshop. Most of us have tried our hand at songwriting and have penned a few songs and just need a gentle push to sit down and do it. After a brief visit to nuts-and-bolts song structure (verse, chorus, bridge, etc.), we will dive into several helpful writing exercises and song assignments. Throughout the week, we will share and critique our new "works in progress" in a safe, supportive, constructive circle. (John will teach two sections of this class.)

What makes a good song? In this class, we will take a close look at the core elements of songwriting, from coaxing the Muse for inspiration and ideas to a close look at song structure (including verse, chorus, bridge writing). We'll also look at the use of rhyme, metaphor, melody, and groove, and look at the journey that each song takes. We will dissect a few songs to look at how they were written and what makes them good songs. Time allowed, we will critique some current work from students as well. (John will teach one section of this course.)

If you've ever wondered if there are chords beyond the first four frets of your guitar, then this workshop is for you! Adventuresome Guitar I is designed for guitar-playing songwriters and singers who are looking to spice up their songs with new guitar ideas, specifically in the area of chords. We will focus on moving chords up the neck of the guitar and experimenting with strumming and picking rhythms to spice up the feel of your playing. We'll do this in real time, with lots of hands-on playing, by learning songs in first position (the first four frets) and then learning the same songs in one or two other places up the neck of the guitar. All chords and rhythms will be taught in the context of song examples. This workshop is best-suited for players with a knowlege of all the basic first position chords, eg. C, C7, A, A7, Am, G, G7, Em, E7, E, D, D7, Dm, F, Bm, B7. (Brooks will teach one section of this course.)

Adventuresome Guitar II is for guitar-playing songwriters and singers who feel as though their guitar skills have reached a plateau and that everything they play sounds pretty much the same. This workshop offers students specific ways to spice up their songs with new guitar ideas. The focus of this workshop is playing single notes around and beween chords, specifically, connecting chords with bass lines and riffs. We'll also arrange our chords so that we can play melodies at the same time. We will develop a "tool kit" of skills for you to draw on as you write and arrange other songs. The topics will be taught in the context of song examples, so there will be lots of playing. This workshop is best suited for players who know all the basic first position chords (C, C7, A, A7, Am, G, G7, E, E7, Em, D, D7, Dm, F, Bm, B7) and have a beginner's knowledge of playing different barre chords and/or power chords up the neck of the guitar. (Brooks will teach one section of this course.)

So, you've got a handful of songs - arrangements, original pieces: what's needed to take them from the comfort of your living room to the stage? How do you recreate the comfortable vibe of your living room on stage? This workshop will explore tangible ways to prepare a set of songs for performing. We'll cover everything from preparing the songs for the gig and understanding how to get the live sound you want to the patter between songs. Students will create a "toolkit" of performance techniques on which to draw in different performance situations, experiment with live sound (there will be a small system available), and practice performing for each other. So, whether you've got a repertoire of three songs or thirty, this workshop will explore ways to play your best and enjoy it when you perform. This will be an interactive workshop with lots of playing as well as an opportunity to use different sound reinforcement tools. Through class discussions and performances, we will create a handout, listing items for a performance "toolkit." Each session will include the opportunity for students to perform for each other. (Brooks will teach one section of this class.)

Maybe you've been thinking about writing a song, and now you're wondering, "How do you really do this?" Or maybe you've written a song, and you're saying to yourself, "Is this good? I think it is. Maybe it is. Oh, I don't know..." And then you ask, "What exactly is it that makes a good song good? Are there rules? Are you allowed to break them? (Hint: YES) This workshop is designed to answer many of these commonly asked questions through group participation, brainstorming sessions, and individual writing exercises. By the workshop's end, each participant will have had an opportunity to share an original (or favorite) composition, participate in a group songwriting exercise, and complete an original song. You will need to bring writing materials and one original song (or a song that you think is really good) to either perform live or play on CD, as well as 9 copies ofthe lyrics. (Terri will teach one section of this course.)

You wouldn't run a marathon without stretching, right? Yet many of us sing without ever warming up our voices. And often, we try to hit notes that seem out of our ranges. Is it that the notes are too high, or is it that we just aren't sure how to technically approach them? The focus of this workshop will be on learning vocal and breathing exercises (or tricks, as I like to call them) designed to help you care for and strengthen your instrument. As a group and on a one-to-one basis, we'll work on techniques that will help you gain more control of your sound, discover your full vocal range, and, in general, develop good singing habits - all while having fun! Participants may want to bring a recorder and writing materials for taking notes. (Terri will teach one section of this course.)

This class is intended for mandolin-curious guitarists. After all, the diminutive "king of instruments" looks just like a little guitar, doesn't it? We'll get to know the mandolin, learn some scales, and how to tune it in standard mando tuning. We'll learn a Celtic tune and and old-time tune (more, if time allows), using both TAB and our ears, starting off slow and working toward a little speed with which to wow our friends and relatives back home. On the way, we'll look at right-hand techniques like muting and tremelo, and I'll provide a list of great listening CD's for the new mandolinist in each of you. Participants in the class will need to provide their own mandolins and have a working knowledge of basic guitar. (Eric will teach one section of this course.)

So, you're all warmed up and rady for your next gig. You hit the stage, playing. Toward the end of that first song, you realize that you have no idea what to say when you stop playing. So, you don't say much of anything, and you zoom into the next song. Then as that one comes to a close, you're faced with the same dilemma all over again. So, you take shelter by diving right into the next song - 'cause it's all about the music, right? Well, the answer is - maybe. But why be satisfied with presenting a string of songs, when you can bring to the stage a well-crafted, pre-meditated, multi-layered show? Yep, it's true. Those spaces between the songs are tools for reaching your audience, just as surely as your best songs are. And they canbe just as reliable for you as tools for keeping yourself relaxed, anchored, and, most of all, in touch with your audience. This course will concentrate on turning a set into a show by examining the spaces between the tunes and making some conscious decisions about what to do with them. We'll look at different types of song introductions and work on writing and crafting some to go with your material so that you can use them on your gigs. We'll look at purposeful silence as a way to introduce a song, as well. We'll also work on preparing to improvise between songs and how to rescue an intro gone wrong. We'll look at humor, with an eye to the humorist's tools of timing, character, and irony. We'll talk about ways to weave smaller groups of songs together into mini-sets within your longer sets. By the end of the week, you'll have some concrete and practical tools to help you establish a good, relaxed relationship with your next audience. Bring a recorder to class, along with writing materials. We'll be writing and performing for each other often. (Eric will be teaching one section of this class.)