Up until the end of the 19th century Quebecois fiddlers, playing for social dances, nearly always played solo, accompanied only by the binary rhythm of the dancers' feet. Along with the lack of recording devices, this seems to have yielded a quirky breed of tunes, unconcerned with whether a tune-phrase ended in the standard 16 beats, or whether it ended on 15, 18 or even 22 beats. These crooked tunes are unique, fun and, well...crooked. Try not to trip over yourself as you participate in this enjoyable workshop.

Workshop participants will learn:

• What makes crooked tunes 'crooked'
• How to find the beginning of phrases that seem to overlap
• Hand techniques needed to play this repertoire
• At least one Quebecois crooked tune

Playing traditional music is so much more than just banging out the right notes. The particular treatment a musician gives to a tune can identify it with a country, a region, an individual musician, or even a place in time. Clare is a region in Ireland whose fluid, unhurried style of music is reflective of its people and its geography. This workshop will use this elusive dialect of Irish Traditional Music as a framework in which to examine ornamentation for the hammered dulcimer that is culturally relevant, respectful of tradition, yet innovative.

Workshop participants will learn:

• At least one Irish reel or jig
• Interesting facts about County Clare music
• Ornamentation specific to traditional Irish tunes
• Rhythm and hand techniques to acheive an authentic sound

(to expand your horizon & impress friends at parties)

With time, most dulcimer players learn the chord shapes and patterns needed to play fiddle tunes, traditional folk melodies, and perhaps a few more intricate pieces. Some players wish to stretch themselves further but aren't sure how. This workshop will provide geometric patterns, chord progressions, arpeggios and scales that will change the way you look at your instrument and allow you to delve into more exotic music styles such as Jazz, Gypsy Swing, Klezmer, Tango, or Musette. Many of the exercises offered in this workshop will also help to build dexterity, hand separation, economy of motion, and confidence.

Workshop participants will learn:

• How to find familiar chords in unfamiliar places
• How to find Jazz chords using geometric patterns
• How to play chromatic runs on a "non-chromatic" instrument
• How to play the Blues scale
• How to play tunes in non-standard keys
• How to find backing chords more intuitively

In early 20th century Paris an interesting musical phenomenon occurred. Peasants from the Auvergne region migrated to the city, opening cafes and bars. They brought with them a french bagpipe called the Musette and began holding dances at their establishments. Many Italians had already been living in these same districts of Paris, and their Italian accordian soon became a staple at these events. Add to the mix the influence of itinerent Gypsy musicians with their Eastern-sounding scales, as well as an increasing Parisian interest in American Jazz, and the quaint, little waltz known as Musette was born. This workshop explores playing Musette on the dulcimer.

Workshop participants will learn:

• The history of Paris Musette
• The structure of Musette melodies
• Chord changes typical of Musette
• How to play at least one Musette waltz
• Hand separation techniques needed to play Musette
• Exercises based in this genre to build playing skills

Gypsy Swing, Jazz Manouche, or Gypsy Jazz are all terms that refer to the wonderful genre of music that centers around the guitar genius of Django Rienhardt. Django was a Belgian-born, Sinti Gypsy who grew up playing traditional music outside of Paris in the early 20th century. At age 18 he was injured in a caravan fire and was left with only two playing fingers on his left hand. This limitation led him to re-learn his craft in an entirely new way. Django's newfound techniques, Gypsy heritage, Parisian influence, and love of the American Jazz songbook, all meld together to give us Gypsy Jazz. While the dulcimer is not typically a jazz instrument, its shared lineage with the Gypsy cymbalom makes it an exciting instrument for playing this style of music.

Workshop participants will learn:

• What makes this music sound "Gypsy"
• What makes this music sound "Jazzy"
• The basic structure of Gyspy Jazz tunes
• The unique chord formations of Gypsy Jazz
• At least one simple Gypsy Jazz melody
• How to begin improvising over chord changes
• Some basic Gypsy Jazz 'licks'