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Classes & Teachers - 2008

Week 1


STEVIE COYLE—altar boy, circus performer, Waybacks co-founder, David Lindley student, Theatre and Theology degree holder, juggler, actor (“The Young and the Restless,” “Cheers”), animal wrangler, comedian—is a whiz-bang guitarist and lap steel player. His musical family background and passion for the life outré prepared him perfectly to teach at CCMC.

Fingerstyle Repertoire (level 2–3) We’ll learn some “pattern picking” while keeping true thumb independence. Introduce the right hand to Mother Maybelle–style rhythmic elements, palm and finger muting techniques, and The Thumbpick. Repertoire includes Elizabeth Cotten,  Stefan Grossman, and Doc Watson. Tablature provided (and demystified). Bring reading glasses and a recording device.

Advanced Fingerstyle Repertoire (level 4–5)   Explore more esoteric realms of fingerstyle guitar: alternate tunings, voice leading, left-hand economy, “singing into the fretboard,” left-hand thumb technique, the CAGED system, and arranging for group and solo fingerstyle guitar. Repertoire include Leo Kottke, Pierre Bensusan, Bob Evans, and Rick Ruskin. The TAB will fly thick and fast. Bring a recording device.



Rich Delgrosso is a teacher, writer, and performer living in Houston, TX. He is a veteran of workshops across the country. His writing appears regularly in Blues Revue and Mandolin magazine, and he has written three mandolin books for Hal Leonard Publishing. A multi-instrumentalist (guitar, harmonica. and mandolin), Rich was nominated for a Memphis Blues Music Award as Best Instrumentalist (mandolin) two years in a row.

Blues Repertoire: The String and Jug Bands (level 3)   Play the music from the black string and jug bands of the 20s, including the Memphis Jug Band and the Mississippi Sheiks, whose songs “Sittin’ on Top of the World” and “Stealin’” remain popular today. We’ll also explore the music of lesser-known but equally great bands, like the Tennessee Chocolate Drops. Open to all instruments; bring a jug if you’ve got one! Music provided in standard notation and TAB.

Blues Jam (level 2 and up)  Here’s your chance to let your hair down and sing some down-home blues! All voices and instruments are welcome as we play through some of the most popular blues tunes from the past century. As we arrange the songs, you’ll gain insight into the basics of the blues and how to make your own blues hot and greasy! Song sheets provided.




Since moving to San Francisco in 1980, MICHAELLE GOERLITZ has played, recorded, and toured with artists including Soul Sauce, the Snake Trio, Lichi Fuentes, Rhiannon, Patrick Palomo, John Worley, Jami Sieber, Tammy Hall, Voz do Brasil, Novo Tempo, and Bossa 5-0. She was also a founding member of Wild Mango. In 2007 she was named a rising star under the percussion category in Downbeat magazine. She also teaches percussion and drums to children ages 8–14. 

Hand, Stick, and Beyond (all levels)  Learn basic techniques of hand and stick drumming, and then apply them while playing Cuban and Brazilian rhythms. We’ll also touch on instruments including shakers, shekeres, pandeiro, and the highly underestimated triangle. 

Tudo Bom Bateria (all levels)  The Heartbeat of Samba Brasil: Basic Rio Carnaval-style drumming, on surdo (the bass drum and “heartbeat”), repinique (the “lead voice”), tamborim (the high voice), agogó (Brazilian cowbell), ganzá (shaker), and caixa (snare). Learn how all the parts go together and join the samba parade! Students should have some foundation in keeping time.




CHRIS GRAMPP has played jazz, blues, rock, and traditional music in bands and as a soloist for over 25 years in the Bay Area. He has studied guitar with Tuck Andress, Warren Nunes, and Davis Ramey, and has written lessons for Acoustic Guitar magazine. He has taught for many years at CCMC, the Puget Sound Guitar Workshop, and music festival workshops.

Your First Lead (level 3)  Develop simple solos for swing, blues, rock, and pop tunes. We’ll cover some theory, but the emphasis will be on easy-to-play scale patterns, dynamics and expression, playing by ear, and using song melodies to build solos. All instruments are welcome; participants should be able to play simple single-note melodies on their instruments.

Jazz and Swing Improvisation: A Melodic Approach (level 4–5)  Focusing on the “right brain” side of improvising, we’ll begin by creating short musical ideas that fit selected jazz standards. Then we’ll develop variations of each idea, emphasizing parallel harmonies, rhythmic variety, and conversational phrasing. Finally we’ll use all this material to create extended solos. All instruments are welcome.




KAREN HORNER has been playing and teaching the bass nearly all of her life, and has played styles ranging from orchestral to jazz and nearly everything in between. She holds Bachelor’s and Master’s degrees in double bass performance. Critically acclaimed and much sought-after as a musician, she continues to perform professionally often. She has resided in the Bay Area for 25 years, where she teaches music in public schools.

Beginning Bass (level 1–2)  Explore some of the basics, beginning with a simple overview of the bass. Our focus will be on creating strong and beautiful bass lines that support and enhance a group’s overall sound. We’ll examine and develop some of the fundamental rhythmic, harmonic, and melodic elements of the bass. Bring tunes and questions and above all, plan to have fun!

Intermediate Bass (level 3–4)  Construct strong and beautiful bass lines by examining and developing rhythmic, melodic, and harmonic aspects of bass playing. We’ll take a closer look at some technical challenges, and focus on style and on incorporating more melodic playing by using chord tones and pentatonic scales. Students can direct topics to specific areas; bring tunes and questions!




As a vocalist, ED JOHNSON is frequently compared to Ivan Lins, Milton Nascimento, and Kenny Rankin. As a guitarist, composer, and bandleader, critics often cite the lushly exotic, accessible sounds of Jobim and others. The vibrant, original contemporary jazz he plays with his band Novo Tempo continues to win fans and airplay worldwide; their  latest release, The Other Road, is currently featured as an Editor’s Pick on the weekly syndicated “Sounds of Brazil” radio show. With over thirty years of teaching experience, Ed is one of the Bay Area’s most sought-after guitar and vocal instructors.

Jazz Ensemble: Play Well Together! (level 3 and up)  Listening to others for inspiration and reacting in a supportive manner is the MO for this highly interactive class for players and singers. Repertoire includes standards, blues, be-bop, Latin and Brazilian classics.

Jazz/World Vocal Harmony (for singers with some vocal harmony experience)  If you love singing intricate, lush vocal harmony in multiple parts, then come join us for a blissful experience! We’ll learn arrangements of jazz standards, newer pop standards, some gospel, and world music. Sight-reading skills are helpful but not required; our emphasis will be on learning by ear.




Bandleader MICHELLE KIBA is a singer/songwriter, ukulele player, guitarist and lead vocalist in the Tiki Tones. She has produced two studio CDs, a live album, and several songbooks. She performs concerts and workshops across the U.S., and in Australia and Japan. During the weekdays, Michelle is a music therapist facilitating programs to entertain and stimulate seniors. Michelle teaches private and group ukulele lessons in Berkeley, San Jose, and Santa Cruz.

Ukulele 101 (level 1–2)   Even if you’ve never held a uke, you’ll be playing music before our first hour is over. Discover a handful of easy chords and learn enough songs from several genres to keep you going long after camp is over. This is not a theory-based class; we’ll discuss tuning, ergonomics, and a little history. Each class builds on the previous day, so don’t miss Lesson One. A recording device is highly recommended.

Island-Style Ukulele (and more) (level 2–4)  For students who’ve been playing for a while and can play 8–12 chords. Learn classic Hawaiian strums, some non-island songs (swing tunes), hapa haole, pop, Paniolo (Hawaiian cowboy), hula favorites, and contemporary songs, as well as some Hawaiian-language songs and a little halau protocol. A recording device is highly recommended. (If you’re interested in participating in a group performance at the student concert, please bring a sarong or aloha shirt.) 




MARGO LeDUC is a much sought-after vocal coach in both San Francisco and Los Angeles. She coaches artists under contract with Sony Music, Capital Records, and many other labels. Margo views the singer as a whole person—not just a set of vocal chords. Lessons with Margo are about hard work and heart—correcting technical problems and nurturing the creative artist within. Margo performs extensive session work, supports corporate clients, and is a voting member of the Recording Academy. Her powerful, expressive and sumptuous voice lends itself to any style or setting.

Beginning Voice Discover your inner artist and learn how to take creative risks in the world of vocal music. You’ll improve your singing in a supportive and empowering environment that will strengthen you and your voice. Breathing, stance, range, power, and control will be the central issues addressed. 

Advanced Voice  Connect with the artist within and express your deepest emotions through your singing. We’ll balance technical discipline and letting go, to experience singing freely with technical skill, in a safe and supportive environment. Students should bring songs to interpret and perfect.




KAREN LEIGH toured extensively with fiddler/mandolinist Kenny Hall, and is the guitarist in the The Creole Belles, a Cajun dance band. Having immersed herself in southern traditions, Mexican folk music, and some European traditions, she’s played in all kinds of traditional grassroots ensembles, playing guitar, guitarron, and accordion. She’s taught guitar at PSGW and the Festival of American Fiddle Tunes since 1983.

Beginning Flatpick (level 2)  We’ll start with keeping hold of the pick, and quickly move into playing single notes, alternating bass, and simple melody lines. Our repertoire will draw from traditional old-time, country, and bluegrass music. By the week’s end you’ll be pickin’ and grinning.

Flatpick Variations With Bass Runs (level 2–3)  Each day we’ll learn a song from a different regional folk tradition—Cajun, Tex-Mex, Greek, to start—and we’ll play new tunes by ear. With this material, we’ll study flatpicking techniques such as cross-picking and connecting chords using bass runs. If you are comfortable with a flatpick and want to get into more complicated picking, this is the class for you.



A nationally acclaimed bluegrass musician, recording artist, and composer, KEITH LITTLE performed on the Grammy-award-winning recordings The Grass Is Blue and Little Sparrow by Dolly Parton, and Another Country” by the Chieftains. His compositions have been recorded by Crystal Gayle, Tim O’Brien, and the Whites. Keith performs regularly with duo partner Jim Nunally, and is a featured member of the David Grisman Bluegrass Experience. A dedicated teacher and coach, Keith is an amazing vocalist and an honorary lifetime member of the California Bluegrass Association.

Greenhorn Mandolin (level 1)   Wondering what to make of that odd little instrument with too many strings? Starting with the basic skills of tuning, timing, and tone, we’ll explore using chord forms and strumming patterns for vocal accompaniment, along with simple melodic lead lines. The end result will be a greater appreciation of this wonderful instrument . . .and two grooves on the end of each “noting” finger.

Melody-Based Soloing for Bluegrass Banjo (level 3–5)   Explore the musical language of Earl Scruggs and his contemporaries, using your thumb, two fingers, three or four beats per measure, and the five-string banjo. Students should have a working knowledge of the chord progressions to standard bluegrass songs and some familiarity with basic right-hand roll patterns. Recorded examples and printed handouts will be provided; a recording device is encouraged.




CELIA MALHEIROS is a composer, singer, multi-instrumentalist, arranger, producer, and educator. Born in Rio de Janeiro, Brazil, Celia has been performing and living in the U.S. for 30 years. She has recorded with Hermeto Pascoal and João Bosco, and directs the Brazilian All-Star big band for the SF Carnaval Ball. Her work as an educator includes workshops and lectures in Europe and the U.S., artist-in-residence at Wheaton College in Massachusetts, and the Adventure in Music program for the San Francisco Symphony.

Brazilian Song Repertoire and Accompaniment (Singers: all levels; level 3–5 for guitar, cavaco/cavaquinho players, and mandolinists)   Have you wondered what songs Brazilians sing when they get together? We’ll explore the sensual melodies and accompaniment of famous Brazilian songs that strongly represent the varied and unique genres of this vast country with a rich cultural history. Vocalists, guitarists, mandolin players, and cavaco players are all welcome!

Choro Music! (level 4–5)   Generally described as Brazilian be-bop, choro is instrumental Brazilian music with a history dating back to the 19th century. We’ll examine the intricate melodies and counterpoint style accompaniment and the subtle African influenced Brazilian rhythms. Guitarists, mandolin players, wind instrumentalists (particularly clarinet and flute), and percussionists are essential elements of this extraordinary music; but whatever instrument you play, a keen interest in the style is what counts! Sight reading and inverted chords knowledge is helpful but not mandatory.



STEVE PALAZZO has spent almost his entire adult life playing, building, and teaching guitar. His original flatpicking arrangements of traditional fiddle tunes (with David Grier) have been featured in Flatpicking Guitar magazine. He’s played with The Phillips/Grier/Flinner Trio, Jim Hurst, and Missy Raines, and currently plays guitar in the bluegrass band Homefire. His latest recording, Like Strangers, is a compilation of old-time country duets with singing partner Laura Smith.

Plays Well With Others (level 3)   This flatpicking guitar class will focus on feeling the pulse of fiddle tunes, bluegrass songs, and old-time country music while playing the appropriate backup style—driving bluegrass songs with bass runs and swinging Texas-style tunes with closed rhythm chords. Special attention given to right-hand pick precision while playing lead melodies.

Flatpick Leads: Dissecting the Good Doctor (level 4–5)   Explore the leads of players who mastered the exciting style pioneered by the legendary Doc Watson. Learn how to build a solid foundation for incorporating crosspicking, slides, hammer-ons and pull-offs, and tips for hanging when the tempo gets scorching hot.




BOB REID was born in Berkeley in 1950, just in time to be aware of the folk music boom. He attended the Berkeley Folk Festival on a school field trip at 12 and saw Pete Seeger, as well as the New Lost City Ramblers, thus beginning a long relationship with the music. He has been a member of the San Francisco Folk Music Club for over 35 years and has an album of original children’s tunes.

Beginning Guitar (level 1)   An entry into the guitar tailored to each student's needs with individual attention. No experience is necessary and the more questions you have the better. We’ll pursue the answers together. Wherever you are is the perfect place to be!

Fingerpicking Classics (level 2)    Explore simple picking patterns and colors to use in your song accompaniments. Individual attention will assure that you leave camp with what you need to keep growing. We’ll take songs you’ve been playing with those “same old” right-hand strums and put your fingers to work!




COSY SHERIDAN’s songs have been showcased everywhere from Carnegie Hall to the “Dr. Demento Show.” In 1992 she won both the Kerrville NewFolk and Telluride Troubadour awards, and released her critically acclaimed CD Quietly Led. Since then she has released 6 more CDs and written a one-woman-show, “The Pomegranate Seed.” She’s been described as “frank, feisty, sublimely and devilishly funny” (Cornell Folksong Society). Cosy has taught at camps around the country, including CCMC, The Swannanoa Gathering, Summersongs Songwriter's Camp, and Puget Sound Guitar Workshop.  

Stagecraft (all levels)   Performance stagecraft is a skill anyone can learn. It can be an inspiring exchange with the audience, and sometimes it’s the art of making a monologue seem like a dialogue. How do performers create that magic? How do we get centered; how can we calm down enough to play and sing? We’ll look at song introductions and between-song patter, microphone and instrument placement, and that elusive quality known as “presence.” This is a workshop: Find out what works for you. 

Songwriting as a Daily Practice (all levels)   Songwriting is a muscle like any other: the more you use it, the stronger it gets. We’ll write in class each day, focusing on one aspect of songwriting: lyric, rhyme, meter, melody, and story. 




MIKE STADLER (Instigator) is a singer/multi-instrumentalist/writer who plays guitar, fiddle, mandolin, clawhammer banjo, lap steel, and dulcimer, in styles including country, folk, bluegrass, swing, and old-time. He has taught in the SF area since the early ’80s. 




JACK TUTTLE (Instrumentalist) has been performing in the San Francisco bluegrass scene for thirty years. He has taught thousands of students on mandolin, fiddle, banjo, and guitar at Gryphon Stringed Instruments in Palo Alto. Many of his former and current students have become top players in the Bay Area and beyond. He’s performed with many bands, including the Gryphon Quintet and the Fog City Ramblers. In 2007 he was named an Honorary Lifetime Member of the California Bluegrass Association.

Bluegrass Mandolin Soloing (level 3–4)   Learn how to work up a basic melody and add the stylistic elements that define bluegrass mandolin, including the use of blues, off-beat movement, double-stops, chordal position playing, and common bluegrass licks. Classes taught using a combination of “by ear” and tablature.




Fifteen-year-old MOLLY TUTTLE has been a teaching assistant at the California Bluegrass Associations Music Camp and has taught privately for two years. She is a highly regarded guitar flatpicker and a soulful singer with influences from both early bluegrass and old-time singers. She is also an accomplished clawhammer and bluegrass banjo player. Articles about Molly have been featured in Bluegrass Now, Flatpicking Guitar, and Acoustic Guitar magazines. In 2007, Molly released her first CD, The Old Apple Tree, a recording of duets with her father.

Bluegrass Guitar Solos (level 3–4)   Learn how to get a bluegrass feel on bluegrass vocal songs, using soloing techniques pioneered by some of the greats of bluegrass guitar. Rhythm guitar playing and how to get the bluegrass groove on guitar will also be covered.




Guitarist MIKE WOLLENBERG has performed solo and in Bay Area bands for the past 30 years. He has released two solo guitar CDs: The Hand That Feeds Me and Just Another Fool on the Hill. He’s recorded with Darol Anger, Mike Marshall, and Julian Smedley.

Introduction to Swing Guitar (level 3)   In the process of learning various classic swing tunes, we will explore common chord voicings, right-hand rhythm techniques, and approaches to generating an unrelenting groove. 

Advanced Fingerstyle Jazz Guitar (level 4–5)    Learn approaches for playing solo jazz guitar. We’ll look at ways to keep the groove going and create the impression of several parts happening at once. Techniques will include bass line comping, right-hand independence, and back-beat grooving.

Week 2


CARY BLACK is a bassist, vocalist, producer, and teacher from the Pacific Northwest. In addition to his work with such diverse artists as Ernestine Anderson, The Kingston Trio, Nokie Edwards (The Ventures), Ernie Watts, Mollie O'Brien, Kay Starr, and Laurie Lewis, he has taught at an array of music camps and performed across North America, Europe, and in Asia.

Upright Bass Fundamentals (level 1–2)   Learn how to listen for the best-sounding bass notes, and where to find them on the instrument. We will develop techniques for playing comfortably, dynamically, and in tune, with accurate timing.

Blues Bass (level 3–4)    Using classic 12-bar and 8-bar forms, we’ll study the methods of various styles of blues bass playing, including country blues, rhythm & blues, and jump blues. Riffs, turnarounds, walking patterns, syncopation, and a variety of grooves and progressions will be featured.



Born in Jimmie Rodger’s hometown (Meridian, MS), MIKE COMPTON has lived in Nashville since 1977. An acclaimed mandolinist, Mike played with the Nashville Bluegrass Band from 1985–1988 and again from 2000 to the present. His work includes the Grammy-winning recordings O Brother, Where Art Thou?, Cold Mountain, and numerous recordings with David Grier, John Hartford, and Dr. Ralph Stanley. 

Black Mandolin Culture and Repertoire (level 3)   Get familiar with how the mandolin was used in black American culture during the early to mid-1900s. In addition to learning tunes (by ear, standard notation, and tablature), we’ll uncover a bit of history about the players.

Monroe-Style Mandolin (level 3–4)    A repertoire class that delves into Bill Monroe’s bluegrass mandolin style. We’ll cover material from the earliest Monroe string band through the last days of his career, as well as some examples of his influences. Ability to read standard notation or tab is recommended.



MIKE DOWLING was the guitarist in the late, great Vassar Clement’s first touring band. Clements called Mike “One of the finest guitarists there is, anywhere.” Grammy-winner Mike is a popular blues, slide, and swing instructor at music camps and workshops throughout the world, including his own Greater Yellowstone Music Camp for acoustic blues and swing.

Fingerstyle Blues (level 3)    Broaden your repertoire while finding your own voice using simple arranging techniques. Learn right-hand patterns using alternating thumb, dead thumb, muting for 8- and 12-bar blues, along with time-honored licks, rhythms, turnarounds, and new chord shapes.

Riffs, Rags, and Boogies (level 4–5)    This fast-paced, hands-on class for flatpickers and fingerpickers will teach techniques for being a better ensemble player. We’ll focus on melody, rhythms, and holding it all together as you learn songs from artists as diverse as the Delmore Bros, Louis Jordan, Duke Ellington—and Mike Dowling.



MARK GRAHAM is a widely known and respected songwriter and harmonica player. He’s played old-time music on the Marine Band harmonica for over 30 years, and performed with many of the luminaries of Southern old-time and bluegrass music including Tim O’Brien, Laurie Lewis, Dirk Powell, The Horseflies, The Chicken Chokers, Tom Sauber, Pete Sutherland, Bad Livers, and Hurricane Ridgerunners. His songs have been performed and recorded by The Austin Lounge Lizards, Bryan Bowers, Bad Livers, and The Limelighters.

Southern Old-Time Harmonica (all levels)    Learn techniques and theory for playing the dance tunes,breakdowns, songs, and solo harmonica pieces found in the southern old-time repertoire. You’ll be playing rip-roaring ,hell-raising, soulful old-time music with banjos and fiddles or by yourself in some lonesome holler.

Brain Wants to Help (all levels)   Create striking imagery, moving metaphors, and characters with credible voices. We’ll discuss scansion; punchy, ingenious rhyming and alliteration; humor that gets a laugh; and melodies that evoke the right mood, from lonesome terror to surreal hilarity, and then bundle it all into songs that will make you the envy of your songwriting community.



GINNY HAWKER grew up singing with her father and 51 cousins in southern Virginia. The powerful unaccompanied singing of her grandfather's church was the first music she heard.  Later her father taught her the harmonies of early bluegrass and country music. For the past 20 years Ginny has performed in concerts, festivals, and workshops throughout the US, Canada, and the British Isles.

Finding Your Unaccompanied Voice (all levels)   Ginny comes from deep within a strong music culture that she relates clearly and with pride, as she guides students deeper into a song than the mere words and notes. When commitment to a song is inside the singer, geography plays no part.

The Songs of Kitty Wells (all levels)   Kitty Wells started singing professionally at age 14, and today, in her eighties, continues to make appearances. She was the first female country singer to top the country charts and received the Grammy Lifetime Achievement Award. Her clear, soulful voice caused many people to turn to country music who never cared for it before. Students will hear about her life and learn 6 to 8 of her songs in authentic country style.



WAYNE HENDERSON is well known for his fast guitar picking of fiddle tunes. He’s played at Carnegie Hall and all over the world. The Wayne C. Henderson Guitar Competition and Music Festival is held at the Grayson Highlands State Park on the third Saturday of June each year. Proceeds from the festival go to promote the musical arts and provides scholarship money. His hand-built instruments are on display at the Smithsonian Institution.(Yes, he finally finished Eric Clapton’s guitar.)

Bluegrass Flatpick (level 3)   Learn some standard fiddle tunes played in the Blue Ridge Mountain area. “Pinch picking” is an unusual technique (fingerpicks on the thumb and forefinger), but fingerpicks or flatpicks are fine. We will be playing by ear, so bring a recording device. We’ll go over the tunes until you get them.

Advanced Bluegrass Flatpick (level 4)   Play fiddle tunes from Doc Watson and other pickers from western Virginia. We’ll work on endings and three-finger chord shapes that can be played up the neck. Bring a recording device. 



SYLVIA HEROLD has been singing and playing nonstop for 30 years. She was a member of the swing trio Cats and Jammers, and played in the Django-inspired Hot Club of San Francisco. Sylvia currently performs with the Celtic Grateful Dead band Wake the Dead, and her own folk quartet, Euphonia. She has recorded three albums of folk songs.

Intro to Swing Guitar (level 3)   Four-note jazz chord shapes are easy to learn and can be used all over the neck. You'll learn some of the handiest chord shapes and apply them to fun jazz standards and Western swing classics. Increase your chord vocabulary and learn some fantastic songs to sing and play! Bring a music stand and a selection of flatpicks.

Weird and Wonderful Pop Songs (level 3)    We’ll learn pop songs of the ’50s, ’60s and ’70s that inspire and enchant us (or make us squirm). From the tawdry to the transcendental, American pop music has it all. In the process, you’ll learn some nifty chords on the guitar. Bring a music stand and a selection of flatpicks.



Putting the “eh" in “ukulele" since he was but a wee keiki, JAMES HILL is considered a “rare peer” of Hawaii’s premier `ukulelists with a “world-class command of the instrument” (John Berger, Honolulu Star-Bulletin). His music is a “tour de force” mix of jazz, classical, and folk influences (Yvonne Zacharias, The Vancouver Sun).

Warning: Ukulele May Be Habit-Forming (level 1–2)   Ever noticed that people always look happy when they’re playing ukulele? Find out why in this beginner-level class. Discover the simple joys of this four-stringed wonder in a fun, hands-on setting. Learn a bunch of songs and, along the way, take in a few things about picking, strumming, vocal accompaniment, and harmony.

Hooked On Uke? We Can Help (level 3–4)   Want to go beyond three chords and a double strum? Want to inspire your friends (and make new ones) with a little razzle-dazzle? Spice up your ukulele playing with new strums, songs, chords, fills, and more galore. Hey, you paid good money for that fingerboard so start using frets 5 to 12. Lots of tunes, lots of fun.



A strong and extremely imaginative player, PETER LANGSTON (Instigator) appears to play every instrument in every style and is equally adept at hot improvisation and supportive backup. His performing credits include work with such diverse artists as Doc Watson, Chill Wills, Bill Keith, and Reverend Gary Davis. Peter is active in recording (as artist, composer, and producer) and is a frequent instructor at the Puget Sound Guitar Workshop.



FRANNIE LEOPOLD is an ethnically diverse guitarist and vocalist, grounded in good old-time string band and harmony singing. For the last 10 years, she has also delved into Mexican music and performed with Cynthia Llano. Her work with Jeanie McLerie as the Delta Sisters has included a healthy dose of Cajun. Frannie also performs with Hank Bradley and Cathie Whitesides as the Balkan Cafe Orchestra. She has been an instructor for 20 years.

Guitar Pulse: Rhythm and Runs (level 2)    We’ll listen to some of the black string band repertoire (Mississippi Sheiks, Memphis Jug Band) to help us get a feel for punchy flatpick rhythms and quirky runs, but at a bluesy, slower, more accessible tempo. Latin rhythms and runs also if requested. Bring a notebook and a recording device.

Latin Songs with Guitar Backup (level 2–3)    Enjoy songs  from the Mexican and Cuban traditions. Lyrics, translation, and pronunciation will be provided. Guitarists can also learn accompaniment rhythm and runs (cumbia, bolero, ranchera, and polka).



TONY MARCUS (Instrumentalist) loves to play music. His first band (The Arkansas Sheiks) played mostly old-time music. He has since performed with R. Crumb and the Cheap Suit Serenaders, Cats and Jammers, Geoff Muldaur and many others. He has also worked in “guitar theatre” playing onstage, most recently in Lost Highway in Walnut Creek and Fire on the Mountain in Little Rock. Currently, he sings with Patrice Haan in the duo Leftover Dreams and is working on a CD of original songs.

Band in the Blue Ridge (level 3)   What is a band? More specifically, what is a band playing southern mountain music? What is often called “old-time music” is many things: a blend of fiddle tunes and ballads brought over from the British Isles, Victorian-era songs filtered through the folk tradition, ragtime, and blues. We’ll look at how to make a collection of people playing some portion of this music sound like a band. All stringed instruments welcome (harmonicas too!). Because this isn’t specifically an instrumental instruction class, you should have some familiarity with your instrument.



MARY McCASLIN represents a link between traditional folksingers and today’s “new folk” singer-songwriters. A pioneer of open guitar tunings, with a distinctive vocal style, Mary is known for her haunting renditions of pop standards and rock classics. Her influence can be heard in many younger folk performers. Her songs have been recorded by Tom Russell, Bill Staines, Chris Williamson, Kate Wolf, Stan Rogers, and others. 

Intro to Folk Fingerstyle Guitar (level 2)   Begin with simple three-finger picking patterns and then move on to more complex patterns. On the last day Mary will give a brief overview of the alternative tunings used throughout her career. Handouts will be given for all picking patterns and tunings discussed in this class.

Folk Repertoire (level 2–4)   As you develop your fingerstyle guitar skills, learn some of the cover songs Mary performed over the years, along with other more well known songs. Lyric handouts with chords will be given.



CAROL McCOMB is a vocalist, songwriter, and multi-instrumentalist with 40 years of performing, recording, and teaching experience. She has authored a best-selling guitar instruction book, taught thousands of people to play guitar, and is a frequent contributor to Acoustic Guitar magazine. When Carol isn’t teaching, she tours as one half of the duo Kathy and Carol, with her band, and occasionally with Linda Ronstadt. Carol is a founding member of CCMC and has taught at several other music camps around the country.

Beyond Boom Chuck (level 2–3)   Bored with the same old strums? Put some pizzazz into your playing! Learn how to vary your rhythm within a song with lots of new strums, right-hand patterns, runs, and fills. We’ll have fun with rhythm exercises in class and arrange songs in a variety of styles. Good for both flatpickers and fingerstyle players.

Mother Maybelle’s Guitar Style (level 3)   Maybelle Carter’s distinctive guitar lead style is surprisingly easy and very satisfying to play. We’ll learn at least a dozen Carter Family songs with lead breaks, starting out with easy leads and then making them more complex by varying the rhythm and adding more melodic movement.



Seattle guitarist RON PETERS has played professionally for more than 30 years. He has toured internationally and has been heard on many radio and TV commercials. His performance credits include The Manhattan Transfer, Chevy Chase, and Pearl Django. He has studied with Joe Pass, Ted Greene, and Gene Bertoncini, and is an alumnus of Berklee College of Music in Boston. Ron is a frequent instructor at numerous camps and workshops in the U.S. and Canada.

“Swiss Army” Rhythm Guitar (level 3)   You’re at a big jam playing all the classic old favorites, but you’re not sure how to make it sound right. In this class we’ll learn a new rhythm guitar style each day: pop, R&B, rock, blues, swing, reggae, and more. We’ll look at chord shapes, strum/picking patterns, and other subtleties that define the style. Increase your confidence and stand out at your next jam!

Swing/Jazz Improvisation: (level 4–5)   Playing a new melody in real time is what improvisation is all about. In this class we will look at various techniques to build melodies over common chord progressions including: scales, arpeggios, neighbor/approach tones, motifs, rhythmic variation, and phrasing. With these ideas we will build “lines” that really reflect the chord changes and turn heads. Some theory will be discussed, but you’ll get the concepts under your fingers.



ERIC SCHOENBERG has taught since 1963. He’s written a book, Fingerpicking Beatles; released two solo albums on Rounder Records; and contributed to several anthologies. As the proprietor of Eric Schoenberg Guitars in Tiburon, CA, he’s produced a line of high-end classic steel-string guitars.

Slow Melodies as an Introduction to Fingerstyle (level 2–3)   Instead of the more standard chord/pattern method, this class uses a melody-centric approach. We’ll learn several beautiful slow melodies as we develop the all-important ability to hear and reproduce tunes smoothly on the guitar. Once the melody is in place, we’ll add the other parts of the arrangement, finding chords (harmony) and then adding the bass (accompaniment).

Techniques for Advanced Fingerstyle Arranging (level 4–5)   Learn how to develop and play full arrangements capable of standing alone as solo guitar pieces. Melody in the treble, bass lines, harmonies, subtle and not-so-subtle techniques and ideas that make a piece interesting to hear and fun to play. A variety of topics will be touched on such as melody/bass separation and independence, fingerboard theory, counterpoint.



JENNIFER SCOTT is considered one of the most important jazz artists working, recording, and teaching in Canada and the U.S. Her vibrant voice and solid piano playing have been featured on many CBC and NPR shows, including “JazzBeat.” Jennifer sings and plays piano with Novo Tempo, a Brazilian group based in the San Francisco area. She has several solo albums and has performed with jazz greats including Clark Terry, Tommy Banks, Rufus Reid, Paul Horn, and Don Thompson.

Intro to Voice (all levels)   An exploration into what makes the singing voice work in a healthy, practical way. Breathing techniques, warm-ups, alternative scale practice, and varied practical repertoire will be the focus for the first three days. On the last two days, we’ll apply what we learned  and address individual needs and concerns. Free your voice in a safe, fun environment! No prior singing experience necessary.

Voice Lab (level 3–4)   We’ll focus on troubleshooting, alternative vocal techniques, and honing your skills as a versatile singer, as we explore various song styles and interpretation. Some musicianship for singers and fun ear-training exercises will be worked with as well. A great class for singers looking to take it to the next level!



HELEN WHITE is a much-lauded old-time fiddler and folk singer. She’s received numerous recognitions and many top-five finishes at regional contests. She performs widely with Wayne Henderson, old-time bands, and a swing trio, the Hy-Tone Hepcats. Helen has been fiddle instructor at Blue Ridge Old Time Music Week, Fiddlekids, Puget Sound Guitar Workshop, Festival of American Fiddle Tunes, and Palestine Old-Time Music and Dulcimer Festival. She is also a composer, board member of the Wayne Henderson Festival, and founder of the Junior Appalachian Musicians program.

Beginning Guitar (1)   An introduction to the wonderful world of guitar.  We’ll learn basic chords for backing up songs and tunes and touch on some user friendly music theory to understand what the hotshots are doing when they call out numbers to each other. 

Appalachian Fiddle (level 2–3)   This class will feature tunes common in southwest Virginia in both standard and crossed tunings (EAEA). We will pass through basic fiddling fundamentals, spend time applying some basic bow patterns to select tunes and, explore strategies for getting into jams, and learning tunes on the fly. The class will be taught by ear so a recording device is highly recommended!



RADIM ZENKL (Instrumentalist), mandolin player, composer, and instructor, plays many musical styles including bluegrass, folk, flamenco, jazz, and classical. He has recorded five solo CDs and has appeared on numerous others. This U.S. National Champion is at the cutting edge of the mandolin’s future, performing solo concerts worldwide, collaborating with leading artists of the acoustic music scene, and inventing new playing techniques.

Beginning Mandolin (level 1–2)   No experience necessary. We’ll focus on tuning, right-hand techniques for picking and strumming, left-hand positions, tremolo, chords and backup rhythms, and basic improvising. You should be able to join a jam in a couple of days.

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