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- Traditional Music

Tony Trischka, Catherine Popper, Danny Weiss, and students at PS221 Crown Heights Students preparing to help with our show at Chatwsorth St. School Bronx JHS 144 - an impromptu fiddle lesson

Lincoln Center Education

From 2002 to 2016, LCE 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. Theprogram 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 Neighborhood Concerts, Carnegie Kids. and LinkUp 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

Workshop in Australia Akira Satake photo:Larry Ford

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.



you meet pickers in the strangest places (photo: Deb Radway)

Harmony Singing

Danny Weiss and Catherine Popper 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 Traditional Music

Ken Kosek, Bob Mastro, Travis Wetzel - photos Ben Freed Vassar Clements with John Herald at Big Apple Bluegrass '99 - photo Elizabeth Jean

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"

Orrin Star and Greg Vongas at the Bottom Line