Festival Workshop

[Bruce Evans]

I am seeking a wide opinion on the subject of workshops at festivals, so I am posting this on a few instrument boards. I want to limit this to the 1 hour workshop which you attend at a festival. This is not about a several hour workshop by a professional musician which you pay for at a music store, or the week long camp workshops.

I have witnessed two different philosophies from workshop leaders. Under one approach the hour (actually about 50 minutes) is an intensive lesson in which you spend your time playing your instrument in the effort to get some technique “under your fingers.” In the second approach, the workshop leader presents a range of issues within the subject with examples of each. There is some playing of instruments, but not necessarily enough to firmly grasp the concepts which are presented.

Questions
1. Which do you expect?
2. Which do you prefer?
3. If you think there is a place for both, do you expect to be told which approach is to be used at the beginning of the session?
4. Is there an alternate method which might be used?
5. Do you have any other comments?

Thanks
Bruce

[johnwalser]

I tend to get the most out of workshops that focus on two or three items in great depth with opportunities for the attendees to get an up close view of precisely what is being demonstrated.
John

[steve in tampa]

The quality of the teaching in workshops at festivals varies, and the size of the crowd attending can make a big difference.

I have attended small workshops where there is individual attention from the presenter to the attendees, and have been to workshops where there were so many attendees that is was a performance with a Q&A between songs.

Some presenters just do a demonstration of their musical and oratory skills, and some actually have a lesson plan and try to impart some knowlege.

Best advice I can give is to attend several, even if it is on a different subject that mandolin so you can experieince the different tyes of presentations.If the subject is music, you can come away with something you may not have expected.

[Jim Gallaher]

I think the workshop has a different character based on its intended audience.

If it is advertised as a "beginner's" workshop, it should involve the attendees as much as possible -- the "hands on" approach.

If the workshop is aimed at intermediate players, the instructor should limit the topics to a few, then explain each in detail.

The best experience I've had with festival workshops was one given by Wayne Benson (then w/IIIrd Tyme Out), who came to the 45-minute gathering with a specific topic to discuss, explained it, demonstrated it, took specific questions, then hung around to answer questions from individuals.

My worst experiences have been from workshops where the leader asks the group what it wants to explore, sifts through the various suggestions (from players at various levels) and tries to cover too much in too little time.

[Tom C]

Workshops at festivals seem to be like mini shows. Performer(s) play some tunes, audience asks questions. I believe it naturally leans toward this direction because most of the audience does not even play the instrument. It's becomes a place where one can watch a professional in a small place. When you have the likes of Bush, Grisman, Thile giving a workshop, it will attract everybody. Sometimes you have to watch the previous 2 workshops to ensure a good seat. It would be nice for some hands on work, and for those with instruments to get priority seating.

[GTison]

If a group is doing the workshop it is usually another performance just closer up. The last time (Williams and Clark Expedition) I came with most of my band and I had specific questions to ask. Most folks just came to hear anything that was done. I got some good answers. I also saw Jessie McRenolds he answered questions but I just mostly watched as he and Luke played his style. I like to ask questions that I would have liked answered a long time ago. Many folks are just too shy to ask good questions or freeze up and can't think of what to ask. Craig Smith (banjo) gave one of the best workshops I have ever been to. He gave lots of sugestions that would apply to any instrument. And what he said has stuck with me for years. Butch Robbins, I was in awe of his TONE, and his Monroe stories but I can't say I learned anything technical. He seemed to stress the spirit of the music, which is also important at some level.

I'd like to see Labeled "beginners workshops" at festivals as well as stars workshops. I think that would be helpful.

[AlanN]

Bowfinger,

Was Bobby playing his Triggs mandolin during the workshop?

[R. Kane]

I've been to lots of mandolin and guitar workshops. The best was Jorma taking an hour to teach a song (Trouble in Mind, a slow 8 bar blues in E), and demonstrate the variety of ways he does verses, choruses, turnarounds, etc., and all the while talking about the whys of each choice that he makes. He would play and talk us through a short section, then have us mimic, always starting from the previous section so that we learned the connective tissue.

I like to have a chance to learn a tune at any workshop I attend, particularly a tune that includes some signature techniques of the instructor. I don't always get it down in an hour, but that's what the cassette tape recorder is for.

The worst aspect of workshops is the "slowest common denominator" factor, which is inevitable if the instructor starts by asking what we want to do. By all means, separate the beginners. And if the workshop advertises in advance that "....will be teaching his/her tune ........" , chances are that more people who attend would be more prepared, and the instructor could move a little faster through the material.

Just my $.02.

[Rroyd]

Jim's points are well taken, and workshops that advertise their intentions seem to be the most effective in dealing with the participants. Far too often, no one knows what to expect, and I've seen many workshops with most of the audience holding instruments, expecting some sort of hands-on tips, only to find themselves attending a "mini" concert.
Some festivals do an excellent job in setting up workshops for all levels, and getting them appropriately advertised, while others seem to just throw together the obligatory workshops with no thought as to a purpose or goal, with luck playing a major role in any sort of success.

[bsimmers]

I don't care for starting off with a Q&A session.

You have to ask yourself, "what does everyone want to leave with?"

#1 has to be 'inspiration to improve.'
You don't want to be so impressive that people sell their instruments because they know they'll never get there. Tell YOUR story(briefly). How did you get 'there?'

#2 some memorable tips on how to do so.
Some practice techniques. What works, what doesn't. Time management for learning.

Last:
#3 Q&A session.

Start with a brief intro. about what you will cover.

End with a summary of what you covered so people can walk away saying specifically what they learned, and what they're going to do to improve.[I]

[GTison]

Alan, Bobby was playing his old Fern. He was as nice as could be. After the workshop I went over and talked to him. Seems like he let me play the Fern a little. I didn't have my new Fern with me but he talked about the bridges being higher that the late 20's models. All around The Williams and Clark Expedition they are GREAT Folks and very approachable. Good Workshop too.

[AlanN]

Ooh, that's a dandy mandolin, that old '29. He told me once that Bill Monroe wanted a good mandolin to mess with for a spell and he chose Bobby's fern. See, I always knew Big Mon had some smarts http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

And yes, he's a nice fellow, will talk mandolins with anybody. I have a CD of live, unreleased stuff he has done with various bands - Southern Manor, Kathy Chiavola, etc., that, when I think I've heard it all, I'll slap that on and just be moved!

[250sc]

The best workshops I've attended had a specific lesson plan and written material. The written material had the basics and some more challanging material to work on as you progress.

[johnnymando]

I've attended many workshops.They are driven by the level of the attendees.A prime example was Alan Bibey doing his at our festival in the Finger Lakes region of N.Y,this past Aug.
He was fielding questions like "did Bill Monroe start bluegrass?"to "how do you tune this?".It was maddening....
Granted,theres a place for every level of Bluegrass fan,I think the solution is to label workshops as "Introduction to:"or advanced or just mini concert,ect.
With some guidelines its not at the mercy of the crowd.

[AlanN]

Instrumental workshops at festivals are virtually impossible to police. Since none are turned away, these often seem to drift from "I'm player X and this is how I play" to as is described in the above post. If I can glean one or two nuggets from these things, I'm happy.

I suppose the most effective are like a tape I have of one of the big ones - Mando Mania somewhere or another - 8 pickers sitting in a line, they all talk a bit, then pick a tune which goes round the horn. As Tim O'Brien said once "Say and Play Hour".

Funny: Butch B. at one of these things, his time at bat followed a 15-year-old Chris Thile. Butch: "Never follow an animal act or a kid".

[Jim Roberts]

Alan: Butch got that famous line from W.C. Fields if I'm not mistaken!