- Traditional Music
Lincoln Center Institute
Since 2002, LCI has sponsored more than 100 performances of Bob Green and Co. at venues including Lincoln Center's Rose Auditorium, Julliard's Opera Theater, and dozens of college and school settings. Most recently, I developed a program called Mountain Music which blends North American traditional music with other styles brought to this country by immigrants. We were deeply affected by observing LCI's Teaching Artists over a number of years, and are grateful for all we learned from them about music, education, and New York City.
Carnegie Hall Education/Weill Music Institute
With their support from 1990 to 2008, I developed and presented programs in international traditional music for their
Programs. We experienced many parts of all 5 boros of Manhattan at these shows.
(Presenter Feedback )
- How to Play Songs You Don't Know with People You've Never Met
This has also gone by several other titles including: "Jam Session
Etiquette", "Ensemble Skills", and "Slow Jam". I've given it at Port Fairy Folk
Festival and Illawarra Folk Festival in Australia, Minstrel Show/Folk Project Festival, NY
Pinewoods at Camp Freeman, and the Park Slope Jamboree.
Suitable for different instruments and abilities, this workshop discusses
techniques for making music with others whose songs are unfamiliar. Depending on
the level and number of attendees, it has ranged anywhere from a facilitated jam
(sort of like group occupational therapy) to a spontaneous Folk Orchestra with
sections composed of different voices or instrument families.
Harmony Singing One of traditional American
music's most recognizable components is the three part close vocal harmony
associated with bluegrass, gospel, and pop music. This workshop starts with
basic techniques for singers (repetoire and key selection) and progresses to
duets and trios, with an emphasis on how best to structure parts for different
combinations of genders and ranges.
- Theory For Folk Musicians - Everything You Were Afraid To Ask About
Music theory may seem a world away from those musics which spring
spontaneously from people and communities, but theory can be very helpful in
communicating with other players and in solving thorny problems like "what chord
should I play?" or "what note should I sing?". This workshop is intended to
provide some vocabulary for practical application in everyday music making.
Mandolin-great Jethro Burns said "I've had some training, but
not enough to hurt my playing any"