Mandolin Symposium

[Tom C]

What a trip.
Symposium: latin from Greek "to drink together."
1 An occasion at which people who have great knowledge of a particular subject meet in order to discuss a matter of interest.

First the daily schedule.
We would meet in a small theater after breakfast for a music appreciation class. The topics were different each day such as Old time, Swing/jazz, Ethic. One of the instructors would speak and show slides,videos,or audio.
Next we had class 2 which also was different each day.
Right hand, left hand, Rythm etc. There were 5 classes so depending on your class number each had a different instructor that would change each day. So maybe right hand with Compton and left with Grisman. After luch we had electives we previuosly chose. There was enough room so they accomodated all with our first selection. The last class we worked on orchestra pieces to play with our individual groups. We played Minor Swing we bass (Sam Grisman), Mandolcellos, Octive mandos, Mandolas, mandos.
The nights were all pickin'. One night an ude(sp?) player came and played all types of intruments which was great. They also had video clips and such they may show. One night
in the main conference room we were watch a Bach thing Chris put on. He and Mike Marshal then sat around a coffe table and played till 3am. (into the cauldron and classical) There were about 30 of us. Who ever was there at the time. Then cris kept playing and teaching till after 3:30 (A real work hoss)

<span style='color:darkblue'>The Classes
The mornng classes I found were basic that if you were intermediate or take lessons there was not much to be had.
All electives would have been better. The electives ranged from Down-strokes with Mike Compton to Composing. I really like Compon's O)ld Lonesome Monroe Melodies. He played a bunch of tunes in "A" trying to show similarities, Then in C, D etc. AlsoPlaying out of chord position. Radim
Zenkl's "How to practice improvisiong was also great. For some reason there were none on playing harmony which I was disappointed about.</span>
<span style='color:purple'>The Teachers. I'm not going to comment on each one, but Don Stiernberg is one great guy. Besides his great playing he was having as much fun as the students. I really want to start getting more into Jethro and jazz but there's a lot to work on first. Him, Mike Compton, Zadim were all very approachable, friendly and wanted to participate. David , Chris, and Mike Marshall were not around as much but it was obvious that they were hard at work til all ours in the moring while there. Since it was their symposium there was lots to do to be prepared for the next day. It was difficult to pick with any of them unless you were a master picker. None ever stepped down or just joined an intermediate jam. If you couldn't keep up, you ended up watching, which I did not do since I went to pick
,learn and drink with others. though most enthuiastic, Chris was not at all approachable. He spent all his time with his master class which consisted of 6 12year olds who already were able to pick better than anybody there. Bluegrass and classical. Even at lunch, as he would walk all the youngs one would follow like ther piped piper. Cris spent all his time being escorted by Steve Ruffo durring the day. I was more interested in the other instructors anyway but this seemed to leave a bad taste that I found others shared.</span>
The Facilities were beatiful, apartments good, food bad, communication bad as cell phone did not have good reception and there was only 1 pay phone. This probably affected Steve Ruffo more than us as he worked his tail off.
<span style='color:darkblue'>The People. All the folks were great. I met a bunch from the cafe which was a blast. Everybody got along great. No show offs. and all were eager to play, exchange knowledge, just hangout and drink at night til 3 or 4am. It was nice to see everybody with their mandos (3 BRWs too).</span>

<span style='color:red'>The Last Night.
We had a student/instructor concert in a concert hall.
This was open for family,friend,relatives and members. Since it could not be open to public, instead of selling tix they sold memberships. (figure that out). Each group played their arrangements from class 4. (Minor Swing for my group). Next was instrucors performed, then erverybody played Grisman's Shalom Aleichem.</span>

Very Last, Thanks to Steve Ruffo who worked harder than anybody there. He had to do lots of improvising on the spot and everthing ran extremely smoothly. Co-orinating all these people was a ton of work. THANKS STEVE!

Any more thoughts on that?

[Tom C]

It was in a low mountain area close to the beach but we did not bring our mandos there.

[LilCreekster]

First off... in case you're wondering, a new password will be sent for the MS board ASAP. I hope to meet up with Ruffo today (as he has the master email list) and get that going... I'm sure everyone who went will want to hook up and I have a whoollle bunch of material to make available to you guys.

From a student perspective... I was blown away by the symposium. It was not what I expected, really, at all... it was better. I was expecting more of a camp stlyle event, where we'd learn songs and technique and more of a group lesson sort of situation. But what we got was truly a symposium, an exange of ideas and discussions that really affected the way I personally look at being a musician.

The levels we were put in really only affected the final piece we worked on in the concert. With the exception of Mike Marshalls chord day with our class... all of the lectures we got could have been useful to students of any level.

My typical day was something like this...

1. Get up and hike the hill to breakfast

2. Attempt to wake up while discussing mandolins with just about anyone I sat down next to

3. Attend "Music Appriciation" which was more like mandolin history, but still very cool

4. Attend class level, each day was a new topic: Musicianship, Left Hand, Right Hand, Chords, Melody (Each class had one of those subjects taught by Mike, Chris, Don, Dawg or Mike C.)

5. Trudge back up hill for lunch, more mando discussion (now that we're more awake)

6. Go find a jam session to pick for a while

7. Attend Elective class (I took 4 out of 5 of Chris's classes... he is an awesome lecturer!!!! I loved 3 of them, and was dissapointed in one... but that was because of the class not his teaching)

8. Attend concert rehersal (this was my least favorite part of camp, our class was pretty much total chaos until thursady :-P Though, Mike C. was hilarious and somehow got us all through it)

9. Go pick

10. Dinner (yes, the hill again)

11. Pull together a jam session and pick more LOL

12. Wander around after 11pm looking for something cool to do (like discover Mike & Chris playing in the coffeehouse!)

13. Leave the cool thing you found all jazzed up and go pick till 3 am.

14. Crawl into bed and return to step 1!!!

Each of the teachers was really different. I thoroughly enjoyed Don's improv class, and can't wait till some of that sinks in so I can use it!! Dawg is a walking music encyclopedia... it's crazy! He had something to add to everyone's lecture just from memory and knowledge of things that happened and the connections between the, Mike Compton was extremely down to earth and a crack up to listen too. I'd not listened to him before this... and I must say I was blown away by his tone (not something I've generally found in the bluegrass crowd). I know Radim is a great teacher from past experience with him, though I didn't take his classes, I heard from others pretty much what I expected. He's taught a lot and is great at working with students of all levels.

Chris's lectures took me by suprise. Now, of course I signed up for them in the first place since he is my biggest influence (other than Mike M.) But what I was not prepared for was the sheer depth of topic and discussion and passion about playing. Chris is a very thoughtful, intense speaker, and even though it often seems like he is thinking things through as they come to his through turns in the classes... it somehow all comes together to make sense. I learned mostly from his classes about what is is to be a musician, how to alter your thinking and your perception in order to become the musican that you want to be. I am looking forward to going over the lectures again to really absorb them (it was a LOT in 5 days!!) A few of the main themes that stick out in my memory are...

* "Squeezing the life out of what you know" refering to working on something so that you know it inside and out... and playing it as well as you possibly can... even if all you have is a one octave G scale that you know. He emphasizes that it's better to know know one song, even if it's simple, know it realllly reallly well, know the heart of that song... rather than having a giant repretiore of songs you play poorly.

* "You're heros aren't pefect" this discussion was about listening to your heros objectively... to really listen and critique and learn from the mistakes of your heros. That music, especially in a BG jam type of situation, has turned into a "love fest" where we say that EVERYTHING is good. Whether it is or not. And that we can't learn from that, we'll never improve from that. "If our heros are perect" Chris said "Then why don't we just learn their solos and play them note for note every time?" So rather, by breaking down and eveluating what works, what's good, what's really good, and what's ineffective or bad... we can learn how to make better choices ourselves when it comes to soloing

Those are just 2 that stick out in my memory (good thing huh? this is getting long enough as it is! hahaha)

As far as the teachers being accessible, I think they were about as accessible as they couls be for trying to serve the needs of 150 people in 5 days (on top of puttin their classes and concert pieces together) I guess I feel like I went to learn from Chris, Mike, and Dawg... not to hang out with them. So I personally didn't feel that that took away from the whole experience. I know there was some jealousy about Chris's attention to and relationship with the prodigy crew (who, I must mention, were all scary good) but I hope that most people will look back and understand how unique of an opportunity that was for Chris to have an opportunity to affect the future of the mandolin, literally. And we all know that's what he is the most passionate about. Sure, I'm jealous of the lil buggers too!!! But I also know how extremely hard they work... I've never met a group of kids so dedicated to what they love. And all really nice kids, great people, on top of that all. I'm really happy for them that they were able to have that experience. I am also very happy and satisfied with the experience I had!!

Anyhow, it was a phenomenal experience for me. I already miss it so much and can't wait for the next one. So many things were worked out though this process, they are bound to just get better and better! I know there are many suggestions and critiques and those will only serve to help in the future. Hopefully you all got your eval forms in, if not, I will pop that up on the web soon. There will also be discussion on the board once that gets up and running again.

It was SO very cool to meet all of you. I felt like I made at least 100 friends, and it was just a joy to talk to everyone about this lil instrument and this music we are so passionate about. Thanks to everyone who helped make the Sumposium what it was... you guys rock!! Can't wait to see ya'll next time! http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[Tom C]

11 1/2 months to the next, and I will be there again as you are right Heather, it's a great and unique opportunity. Using Mike Marshall's finger busters, Chris Thiles technique and Mike Compton's style, I have alot to work on for a long time. It's not every day one could play Mike Marshall's Monteleone mandocello. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif

[zeke]

Holy hotlicks, Batman, but what a load of inspiration I got. I'm still a bit brain dead and exhausted from the return trip, but I'm also more "tuned" than when I went. Got up this am #and started off by working on "Rebecca" after listening to the wunderkind playing it fri night. What a choice to make after the concert: to hear Mike C and David Long (et al) and join in or to hear Dawg, Don, Radim and the kid wonders cut heads in the coffehouse. Such choices have driven lesser men mad.

I've got so many thoughts about the whole experience that I'm afraid of putting them down yet for fear of getting it all wrong. But I will echo Heather's statement about the paradigm shift in thinking that seemed to be the overall goal of the event. A very risky endeavor from a teacher's point of view, but I can honestly say it worked for me. I've come to see that the limits of style/ability/etc are of my own making; that it's mostly a lack of vocabularity rather than ability. Wow. I feel like I was given a skeleton key to doors that I had assumed were locked to me (only to find that they were under the mat the whole time). Am I waxing too mystical here? Maybe, but that's the effect I'm feeling today; and I now have a couple of new teachers and directions that I'm very excited about exploring. So I apologise if I'm making it sound overblown, but that's my story and I'm sticking to it!

[jasona]

Sounds like a wonderful experience! Please keep putting your thoughts down for the rest of us.

[dixiecreek]

This whole process of going back to live in a world where NOT everybody plays the mandolin has been a very difficult transition for me, hehe... my head is so tired.... sooo much good stuff.... I swear I'll post more later; I'm beat!!!

[jumpyroo]

I'm just SOO sad at not hearing mandos everywhere I go. I've taken to putting mando music on in my room and turning it up loud at bed time or nap time. No one knows what a mando is out here, it was a relief to be completely surrounded by them. I did my crying when I got home, too. Best week of my life.

[mandolinquent]

I finally got home late last night and played my mando until I fell asleep. I was sad when I got home, for the same reasons as Hannah. Last week I would walk out my front door and hear mandos- not here. I could talk about mandos for an hour and someone would listen- and be interested- not here. My family expected me to come home playing better, and while I am playing better now, I realize thats not what I learned at the symposium. By attending, I was able to learn what I need to do to become a better mando player. I know the areas I need to focus more on and how to go about getting better in those areas. Also, I was exposed to all kinds of new music that I never would have heard before. For example, Radim's song at the concert- what was that!? I mean seriously, that blew my mind! I had never seen or heard anyone do that with a mandolin before! And then theres Mike Compton.....I never woulda listened to his stuff, but because he was my class teacher I now think he totally rocks- and then some. And finally, the people. I am so amazed at the people I met last week- greatest, nicest, sweetest group of people ever. I cannot say enough nice things about you all. I learned so much from the artists, but also from fellow students. It was a life changing experience, and I'll be back next year for sure!

[jefflester]

though most enthuiastic, Chris was not at all approachable. He spent all his time with his master class which consisted of 6 12year olds who already were able to pick better than anybody there. Bluegrass and classical. Even at lunch, as he would walk all the youngs one would follow like ther piped piper. Cris spent all his time being escorted by Steve Ruffo durring the day. I was more interested in the other instructors anyway but this seemed to leave a bad taste that I found others shared
I'm not sure I would say unapproachable, but Chris was always surrounded. He ran all of his classes long and then everyone would converge on him after each one. I would have liked to talk to him just for a second and maybe get a picture, but never felt like lingering with the crowd to #possibily get a chance.

I'd rank Don and Radim as the best instructors. I only had Mike Marshall for one class and he seemed too clinical. Chris was a good instructor with his enthusiasm and breadth of knowledge (moreso than I expected), but at times got off on tangents and would get on a roll almost like a speed freak. And I also felt he assumed a bit too much about the background of the students, taking for granted everyone knew all the different references he was talking about. He'd say "everybody get that" at the end of some long explanation, but nobody would answer, because he was on such a roll. I only had Dawg for one class and he was quite personable and told some great stories, but didn't seem to #have much to teach. Mike Compton was a pretty neat guy, but I only had him for one class also.

I'm listening to the Friday night performance (the students) as I write this, from the mics at the foot of the stage. It sounds very nice. I should have it ready for distribution within a day or two and hopefully can work out something with Heather so it can be easily accesible on the webpage. The instructors' performance is up in the air, Ruffo wanted them to hear it before it gets distributed. We had some problems with noise in the right mic, so parts of it (mostly Dawg-Chris-Mike opening trio and Don-Dawg-Mike-Sam jazz quartet) will be in mono. But the stereo stuff sounds amazingly good.

[romkeymm]

Hmmm. Looks like I'm logged in as my kid, Matt. That's not going to stop me!

Mike Romkey here. I was at the Symposium and am not likely to forget it. A life-changing experience. Every day was something new and unexpected -- like sitting down to lunch Thursday next to John Paul Jones, former Led Zepplin bassist, now on the road with Mutual Admiration Society and a mandolin enthusiast. Or hearing Chris go on in incredible detail about a chord change in Beethoven (I have it recorded, I think) during a class on composition.

I don't know where to start. All of the above comments are true. #

Frankly, one of the best parts of the Symposium was getting to meet and hang out with people who love the mandolin. Like Heather, the web goddess! (Hi, Heather.)

One of the single most important realizations for me what that for all of these guys no detail about mandolin playing is too small to pay close attention to. I wouldn't have guessed being super-attentive to how I hold the pick or play a single note would matter so much -- but it does.

I came back with a far richer appreciation for the tradition and history of mandolin music, which you need to understand to "get it." I play Celtic and don't own a single Bill Monroe or Jethro CD, but that's about to change big time.

I also got a better appreciation for A) the holes in my playing; B) the need to dedicate time to serious listening; C) the importance of knowing a bunch of the fiddle bluegrass standards; D) the need to spend time studying scales, modes and chord voicing; and E) the importance of slowing the heck down.

Like a lot of people, I tend to play fast and sloppy and think it sounds good because the notes come out in a blaze. Chris says you shouldn't play any faster than you can and still articulate a clean, clear, ringing tone on EACH note. Work on that a little and you'll realize he's right, if you don't already know it.

Here's the game play I formulated listening to The Masters of the Mandolin Universe:

* Limit practicing to 45 minute sessions. Your brain wanders if you go longer.

* Try to practice 2-3 hours a day. (We'll see how that goes!)

* Break practicing into: A) scales, modes, arpeggios, and chords/rhythm, especially jazzy stuff; B) Bach (Mike and Chris are mad for Bach); and C) expand my repertoire -- in my case working on bluegrass standards, jazz and Celtic. #

If you get a chance to go next year -- GO!

[dixiecreek]

I completely disagree with the idea of Chris being unapproachable! #He was VERY approachable. #Even on Friday during Music Appreciation, when Ruffo told us not to ask Chris questions after class 'cause he had to go get ready for the concert, Chris shook his head and mouthed "It's okay!" to the class, haha... he answered all the questions that people had after class, even when he was being told he had to leave (and give them a break for making Chris leave; he had other classes to teach!), and he was happy to give autographs and pictures to everyone who asked, even when it was 2:30 in the morning and Mike Marshall was in the door going "Mr. Thile, your ride is leaving!" (LOL) Chris still posed for pictures with everyone who wanted one. #Even though he was very busy obviously, I thought he was a very approachable and extremely nice person! #And of course he spent a lot of time with his master class; all the teachers spent extra time with their master classes; that was the whole idea! #My roommate was in his class, and she came home around 2-3 a.m. every morning 'cause that's how late they stayed up working on their song that they wrote together. #So of course he had to spend extra time with them, but he made himself as available as possible to everyone. #http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif

[Michael Lewis]

Keep the reports and observations coming. There are many of us that weren't able to be there and are very interested in what you have to say.

I have a question: did you have any "free" time? just to hang out, talk, and pick? or was the schedual so full of classes and practice that you had only time to eat and sleep?

[mandoJeremy]

Autographs and pictures do not make a person approachable. You do what you have to do for your reputation. Just because Hannah has posted her pic with Chris doesn't mean he is "approachable". I actually know that he is a person that very much stays to himself which most musicians do and whether everybody likes that or not is up to them....you will still play the same. Glad you guys had fun though!

[zeke]

Well, Michael, while there was some event most evenings (like the oud player, more videos of great players, etc), it was mostly free time then. Matter of fact, we had a "bridge fitting 101" workshop in our room, where 2 of my 3 roommates re-fit their bridges. And of course we jammed, jammed, jammed. But not as much as as at a bg fest, tho. Folks seemed inclined to try and get concepts/exercises/techniques hardwired while still fresh. I know I at least tried to....

[dixiecreek]

there was still lots of jamming, though. I musta heard Red Haired Boy 500 times, hehe

[levin4now]

This is very neat to hear in light of my first experience like it, at Steve Kaufman's camp. These memories bring me right back there. Don Steirnberg was a great instructor too, seemed to be invited to play with everyone at their concerts in the evening and had a lot of fun.

[Christine W]

Oh man what an experience!!! My brain is till swimming. It was so great to meet everyone. I guess my hilight was getting to play David Grismans white face mandocello in the concert. That blew me away. Him letting us chceck them out to practice was more that generous and I couldn't wipe the smile off my face. I also must add David Long was awesome he tought me a bunch of stuff after class and I'm eternally greatful. He also made me sing in front of people and showed me that I COULD do it!!! Thanks Dave.
A comment about Thile -He worked his butt off I mean seriously worked hard. What he did with his own time was his own buisness he payed plenty of attetnion to me in class and when he noticed that I didn't understand things he would stop and explain. We had him from 9-5, I never ecpected more than that. I think he is great to spend so much time with the kids. They sure where a great bunch weren't they. His composing class was life changing!!
There is so much more but my brain is so full and I'm feeling a bit in the twillight zone having to return to reality........

Could you name out some of the mandos you saw there?

[Tom C]

One thing we should all take note on about Chris' pickin is that he plays at a very low volumn. When all the instructors played, there were no mics. It was all
pure acoustic. He plays at about 60% volumn of the others. And they all chop alot more softly so he can be heard (that's important). I guess that's his way of pickin' so cleanly and when on stage the mic can be turned up. I really walked away with a much better appreciation of Jethro Burns. Donnie Stierberg had lot's of great memories he shared with us. Tune to learn for next year -"Jethro's Tune"

Gils
Gibson (including Doyle)
Ratliff
Heiden
Pricetone
BRW
Monteleone
Capek
Stiver
Weber
Rigel
MK
There were nice mandos to be had as people brought some for sale.

[fangsdaddy]

i'm still trying to process the whole thing.
chris really impressed me by both his example, passion & knowledge. he'd reference coltrane's solo & bill evan's response from "so what " on "kind of blue" as an example of a great musical conversation, discuss the beauty of coltrane's "a love supreme" or bach or radiohead or even the strokes. he had a definate point of view, which i found lacking in some of the other instructors. i now realize it was really great that they wanted to teach us how to think, vs play new material. i'd also give compton, don, matt & david long (david, thanks for the night of bluegrass abuse, btw!) high marks. unfortunetly, i didn't take any classes w/radim.
at times the jamming was "fiddle tune hell", but i always found those w/tastes similar to mine to play w/.
i've noticed i'm playing slower, trying for better tone & technique. i'm going to get a beginning mando method book & try to learn to read. (who said you can't teach an old dog new tricks?) & i'm going to check out some bach.
personaly i found my fellow students a true highlight. you're the best. i think i learned something from everyone i came across.
other personal highlights:
1. after watching chiris & mike trade licks at 1am, i went into the next room & participated in one of the freest, most spontanous jams of my life. it was an inspired/inspiring moment for me.
2.playing shalom aleichem in the orchestra was truely the most emotionaly moving musical experience i've ever had as a musician.
3. getting john paul jones to autograph my mando case.
sam

[Dru Lee Parsec]

Please tell me that they did announce that this will be happening again next year. I now people are hopeing and wishing that it will happen again so they can attend. But did any of the pricipal organizers actually say "see you next year" or anything to that effect?

[AlanN]

Any Loars, besides David's and Mike's?

[Scott Tichenor]

Please tell me that they did announce that this will be happening again next year. I now people are hopeing and wishing that it will happen again so they can attend. But did any of the pricipal organizers actually say "see you next year" or anything to that effect?
You may want to check the front page of the Cafe (http://www.mandolincafe.com) on that.

[skippy]

I would agree that for the most part my expectations was consistently exceeded if not smashed http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif Here are some thoughts on the teachers

Chris: Wonderful speaker average teacher. He held his classroom's attention the whole time (and then some in most cases) I had him for three classes and felt like I got the most out of the last one were he first told us to be objective about our hero’s, and that we can be the most objective about the people we love... Then he pointed out how to play a solo to the tune, not what sounds "hot" Make the tune better, don't just be showy... we used fisher's hornpipe and wow was that an eye opening experience, I tentatively was the second volunteer to play it for the class with Chris, and man was that HARD, but I learned SOOO much. He helped to break down that song for me and look at song in a different light. (If anyone has a good recording/pictures I would really appreciate it)

The bad side to Chris's lectures that he was almost TOO helpful. He would very politely and VERY completely attempt to answer questions (all questions), causing the classes to go over time very easily without covering much. (In technique, we got to "how to sit and which pick to use")

Chris was wonderful

Dawg--- I thought he was great. I only had him for one class, but I loved his stories, they showed the history and the other side to the music other then just what key and up-down up down etc. Some people didn't like that, and one person actually told him something to the effect of "I didn't pay 1000 dollar to hear an advertisement for Acoustic Disc Record" I guess you can't please everyone.

I did get a ride to my far away apartments with Dawg, and that was cool listening to what I think was a Grapelli tune with him, his girlfriend, Mike Compton and Don S in the car.

Dawg – Awesome

Mike Marshall---

Amazing. I loved the two classes I had with him. I thought that he was a great teacher, very approachable, and funny. I can see what people are saying he didn’t seem to know what level he was teaching to, but that also makes people sit up and listen harder IMHO.

He was funny, I learned technique and some great left hand exercises with him, and enjoyed his company a lot.

MM –Outstanding

Don Streirnberg (spelling?)

I am SOOOOO turned on to Jethro music right now, and it’s all because of him. I didn’t know how cool Jethro could be, but man o man is it awesome. And Jethro couldn’t have picked a better torch bearer for his music. A similar sense of humor, a great guy and a good teacher, I felt I got started in the right direction. I only had him for one class, so I couldn’t really say what I don’t like about him. But hey, so I am not being super critical, sue me.

Don S: Enlightening


Radim Zenkl ---

Huh? Where the HECK did this guy come from!?!?!?! He is SOOOOOO underrated and amazing, I had not heard a thing about him before the camp, and now I am pleading with my wife for more CD money to buy his albums. What a fantastic musician and a GREAT teacher, our class played his “Revival” and as a former band nerd, I have ALWAYS loved when a composer conducts the band… it has a special feel. The one (and when I say one I MEAN one) thing that bothered me about him, was that he wouldn’t take charge in our class. He was SO polite that the “noodlers” kept noodling, even when he was saying something important about the music. He should have made it VERY clear that it wouldn’t be tolerated (he seemed to be getting frustrated, but didn’t feel comfortable making a note) (as it shouldn’t have been, others couldn’t hear what he was saying!!!)

RZ: Surprising

Mike Compton –

I felt I got the most out of Mike Compton. I had always liked Monroe music, but I took some classed with Mike about Bill Monroe and my mind was blown. Look at the Vincent Van Gogh painting “Wheat Field with Crows” and as Mike put it “If I believed in reincarnation, then we should name him Bill Mongogh” or something to that effect. The similarity in Monroe’s music and Van Gogh’s paintings is striking… huge contrasts between Warm and Cool colors (Could be major parts contrasting to Minor or Bluesy parts) Lots of Down strokes in the paintings, the birds could act as tremolo. Amazing stuff!!!! I am VERY into Monroe music right now because of this. Mike also sat down with me to break down some of the more interesting Monroe licks slowly so I could better learn them. What a rush!

Mike C: wow

I learned SOOO much at the mandolin camp, but I have to say that I while I did learn about mandolin, I learned more about being a musician, and how to approach music.

What a blast!

[sandcastlefaith]

Any idea on what cities are being discussed for on the east coast? GO CLEVELAND!

[Tom C]

I believe they will announce next years symposium(s) in October.

[fangsdaddy]

hey mike (signed in as matt)
if you're the fiddler i played w/, you ruled!
sam

[LilCreekster]

I didn't see any more Loars... but there was Dude #12 there, which Paul graciously let many of us play.

I'm not quite sure what people expected Chris to do other than what he did... I saw him answer every single question that was asked, even when being dragged out of the classroom, and even several times almost "running away" from Ruffo while finishing a question or point. As far as being able to "hang out" with everyone there, with 150 people, MANY of them BIG fans of his... how on earth would that be possible? There were 10-20 people around him at all free times trying to talk to him all at once and competing for his attention. I think he handled it really well... he divided his time between teaching, answering questions, playing for students, and working with his masters class.

The picture and autograph thing... well, I think that was just a bonus for people who really wanted that and had a chance to ask. I talked to too many people who felt they were "owed" that. What you were "owed" by coming to the camp was class instruction with all teachers (and we ALL pretty much got our first choice classes) anything outside of the classroom is a bonus! (and there were plenty of those to be had, if you looked around ;) )

For all the people worried that they couldn't get their questions aswered, there were shockingly few good questions at the Q&A session... I mean hey, there was a chance to get a team of the best mando minds alive to answer a question! And we got... Are you related to Penny Marshall? LOL Yes that was good for a laugh, but my point is, that opportunity seemed somewhat wasted.

Anyhow, there are some things I'd like to see different at the next symposium... but making the artists "hang out" with the students more is not one of them. I think it's just the sort of thing you have to be open to whatever fun stuff you run into, be it a jam or a good heated discussion, or a rare movie, or whatever... and that may or may not include a few minutes to talk to one of your mando heros.

I didn't get much of a chance to talk to Chris either... but hey, one of my D strings went on tour with MAS hahahah. And I did get to hang with all kinds of great folks (like Mike & Matt aka big & lil Romkey heheh) It's all what you make of it, as in most of life! I was not dissapoointed one bit (expecpt for in Josh's absence http://www.mandolincafe.net/iB_html/non-cgi/emoticons/sad.gif ) and I hope most people feel the same way. Mandocamp ROCKS. hehehe. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[romkeymm]

Loars? Our roommate had a '24. It was awesome. I also saw a nice early '40s F5 that looks like Bush's but is of a little later vintage. ...

There was also an outstanding Michael Lewis F there. They're a little new-fangled looking, but this one was nice, though I think M.M. thought it was too loud in the top end.

They're too non-traditional for me, but I heard a few good-sounding Rigels.

There were lots of Gilchrists. We got to play a few. They were outstanding. My kid got to play Chris' Dude; he's still walking on air over that. One of the hunderd cool things about the Symposium is that you got to see and play more mandolins in a week that a lot of people probably see in five years.

There were a few of older Gibson Fs with round soundholes. They were very mellow. I've always been partial to the sound. Mike Compton played a new Gilchrist oval during the recital on a tune I think was called "Lonesome Indian Blues."

I was very impressed with the Collings I played, both the Fs and As. I came down with a bad case of Collings envy (my wife, understanding as she is, would shoot me if I ever considered buying a Gilchrist), but after I started applying the left and right hand suggestions from Chris and Mike, my ol' F12 stared to sound a lot better.

Someone above referred to mandos being posted for sale. I never got a chance to visit where the cards were up, but if somebody has a list, please post it.

Better go do some work to pay for all of this...

Mike Romkey, still logged in as Matt (go figure)

[jefflester]

Any Loars, besides David's and Mike's?
Larry Wexer, an instrument dealer out of NYC had one.

[romkeymm]

One more thing regarding Gibsons...

I did not see a lot of newer Gibsons at the Symposium. In fact, I only remember four -- three Master Models (and I think two of these belonged to folks who have an association with Gibson) and a Sam Bush. What's up with Gibson's popularity?

Collings seemed to be a favorite, and Gilchrists with the folks who can afford them. There were a fair number of older Gibsons -- '50s, '40s, '30s, '20s, along with new Webers and Rigels. What does everybody think of the apparent sparce showing of new Gibsons?

Just wondering. - Mike Romkey (maybe I'll log out now and log back in as myself)

[Tom C]

Absolutely no negative feelings here as us students meeting and being with each other was 90% of what made it what it was
http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif.
Less than 11 1/2 months now til the next symposium.

Did any of the instructors play anybody elses mandos? Like did anyboy catch any teachers playin the students mandos with that grin of surprise on their faces? And also did any of you try out any mandos you have never tried before? And if so what were they and how did you like them? Someone mentioned a few brough some instruments to sell what were they? Any Aptius players?

[mandolinquent]

Mike Marshall picked up my new BRW for a minute on his way out of an apartment and said it was real nice. He wasnt able to give it a real evaluation because he was on his way out the door- bad timing. I played so many other mandos while I was there including a Weber Yellowstone, a Triggs, a Gilchrist, and some other BRW's. The nicest mando I played by far was Paul's Dudenbostel #12. He let everyone play it and I was able to play it for about 20-30 minutes. I was really impressed and it blew everything else I played outta the water. Thats just my opinion and I'm sure others will disagree, but if I ever get the opportunity to own one, I'm taking it! http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

[danmills]

I couldn't attend the Symposium, but I made it to the concert. Great stuff from both the students and stars. It was sort of nostalgic for me because I attended a very similar, somewhat smaller event for guitar in the same venue (IGS '99 and '00, organized by Bob Brozman & Woody Mann).

Am I the only one who wishes that Chris had pointed his instrument at the audience instead of at the back of the stage during his duet with Mike Marshall? All I could hear was reflected sound, which was just enough to know that I was missing out on something really special. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/sad.gif Maybe it will come through better on the recording, and maybe the recording will become available some day. I hope so.

Dan
Santa Cruz
Grassfault (http://www.grassfault.com)

[Christine W]

Some more thoughts...... I've taken a nap at lunch and the brain is rejuvenated (trying to get adjusted to east coast time again)
-again on this Thile hanging out buisness and such I really think he gave his all and as far as us wanting to be up the crack of his bum all the time, we as adults should be more mature. I don't idolize him anymore at all. I have respect for him as a musician, and that counts for way more, but as far as being star struck I am not and therefore it's ok that his spare time went elsewhere. It must be very difficult being torn into so many directions and having 150 people want a piece of you. I would hate that. I can't imagine how he feels.....
The fog clears from my brain the more I realize how much they really taught us... give a person a fish and feed them for one day ... teach him to fish and and feed him for a lifetime... this has definetly changed the way I feel about music and my role in it.

[jefflester]

One more thing regarding Gibsons...

I did not see a lot of newer Gibsons at the Symposium. In fact, I only remember four -- three Master Models (and I think two of these belonged to folks who have an association with Gibson) and a Sam Bush. What's up with Gibson's popularity?
I saw at least 2 F-9s.

[SandyBarRanch]

Yes indeed, it was an extremely profound musical experience. Here are a few aof my own thoughts:

Chris Thile is apparently spawning a whole new approqach to the mandolin amongst his wonder kids, it goes something like this: Play softly and cleanly - none of this hammering out lound chop chords or ripping passages faster than you can cleanly articulate. Sure they can play fast, but playing clean is more important. There were 7 of them jamming together the last night and you could hear each one of them play, no one was dorning out anyone else. Chris's rap on mandolin technique is interesting, very classical, he feels there is a complete lack of any standard and is pushing for more attention to this.

Don Steirnberg is a great guy and a great teacher. I took more of his classes than any other instructors becase I'm interested in Jazz.

Radim Zenkl is also a great teacher - I agree with the above statement that Radom & Don were the best teachers. It seemed that they spend a lot of time teaching and are very prepared.

Mike Marchall didn't seem clinical to me
- methodical, yes, but extremely creative and very hands-on with his classes - he alwys got people playing right away, whereas in many other classes you barely played your mando (sometimes this was fine - some things are better learned off the instrument, then at times I'd get anstsy and wish we were playing more.)

I felt all of the isntructors were very real, moslty humble and very approachable. I think Dawg was the least prepared in the teaching department, but he still imparted some gems anyway.

The music appreciation each morning was just fantastic, I loved it, we got to hear and see some amazing stuff, like footage of Django Reinhardt, Stephane Grapelli, Jethro Burns and many other greats.

I think the teeacher-student ratio was actually poor. When you have 20 - 30 students to one instructor there's no way you can expect attention to details ind individual instruction.

The whole thing was an amazing experience, though I can't say I feel the need to do it again next year. If they continue it I may go every 4-5 years. It will be interesting to see how it evolves, because to make it relevant to those who have attended this year it's going to be necessary to expand the curriculum. Still I highly recommend anyone to go, it's an experience of a lifetime, and I know I'll be digesting what I learned for a long time to come.

[carolynbeth]

Well I hate to be redundant, but I'll echo a lot of what others have said -- it really was an amazing experience, and will hopefully get even better, now that the organizers have a better feel for the planning and coordination. Things always seemed a bit frenetic and disorganized, they seemed to be flying by the seat of their pants most of the time, but somehow managed to pull it off. The faculty all worked EXTREMELY hard, into the wee hours when the rest of us were jamming....

More feedback
Instructors:
Don and Radim -- both outstanding teachers, extremely patient with the less advanced players, and both imparted a lot of useful information. I also second what someone else said about Radim's playing -- WOW! He truly is underrated, because he is an incredibly gifted player and composer.

Chris -- I had him for right hand technique and thought he did a terrific job. He went from person to person and evaluated their pick-holding technique; of course he ran out of time, which upset some people. He has very strong opinions about technique, which you may or may not agree with, but he does a great job at explaining WHY he does what he does, and he is very articulate and passionate about it. Which brings me to...

Grisman -- no question, a brilliant player and a true fountain of music knowledge. BUT...the best players do not necessarily make the best instructors. Teaching is just not his strength; I had him for left hand, and sadly did not learn anything of value. It's great to hear his stories, and he is an iconic figure and all, but I wouldn't rush to take any more workshops from him.

Marshall -- I took his composition class and was blown away. He did an exercise where he had the class call out random notes and he put chord progressions to them, and composed a tune right on the spot, which sounded pretty darn good. He has an amazing ear and spot-on instincts; on top of which, he's funny as hell.

Compton -- he's a kick. I missed his Monroe class, sadly, but I LOVE that comparison with Monroe and Van Gogh -- that's great...

One big frustration -- having to choose between several great electives: Monroe melodies with Compton? or improvisation with Stiernberg? or technique with Thile? It was truly maddening...

Another frustration -- students noodling on their mandos while the instructors are trying to teach. I found that incredibly annoying and disrespectful from people who should have known better....

I agree about the student-teacher ratios, but not sure how they can resolve that without greatly restricting attendance (and then having to charge more). Or make it a two-three day workshop for fewer people and offer it more frequently. Hmmmm....

I'll stop now. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif
Carolyn

[Mando Mark in Indy]

I'm still floating on a cloud. What a fantastic week. My Ratliff and I both had a work out. Send me an e-mail to say Hi and check out my business page at www.franksviolins.com where I will be posting all of the photos I took at the symposium (somewhere on the site). David Long....am I still your hero?...thanks for the late night humor and insite! Carolyn...am I really your velvet frog...I freaked when you were there just as I was leaving...I think we went to different schools together! Don...our chat about which finger goes where and Jethro saying no no no....it reminded of time spent with my Dad going to and from those lessons...great memories. Zeke....you're a wild man...keep building those cool mandos. Russ...don't forget to chill...harness your power. Mr. Statman...keep on styling as well as you do (cool hat)...I loved your playing and your better half...you have a match made in heaven. The late night top floor of "D" boys...whew...what a party...let me know the "chord of the day"...love that "Z" chord! Chris...follow your dreams and keep sharing with the young. Mike...I hope Chris is never "done with you yet" ...you rock! Dawg.....keep sharing the wealth. Radim....wow wow wow! Mr. Compton...I'm still pondering your question "What comes after wow?"...I loved your style...It's too bad you missed the rent a cop who was telling us to shut up when you flicked your cig at 'em...joke 'em if they can't take a %$*&...stick to your path, it will serve you well. Brice...you are the future but don't lose sight of the present...be a kid. John Paul Jones...you can be my stand partner in the 3rd mandolin section anytime...I loved that long-necked mandolin. Tom...glad we hooked up for the ride into town...thanks foir being a cool roomie and an awesome player. Have fun in CO! Ruffo...great job...I hope you liked the extra sharp chedder, hand carried from WI. To everyone else...thank you for being a mandolinist. Come and visit my store when your in Indy and say hi, you are all considered part of the family! I've got a call comming in...hello...he he he. See ya soon!

Mark Kurkowski

info@franksviolins.com
www.franksviolins.com

[carolynbeth]

Hey, Froggy!

http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

[TheNaivePicker]

Ive been reading through this thread everyday, The stories are awsome! Even though I wasnt there, still, Just reading everything is a Big Motivation to me. Thank you guys for Posting this stuff! http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif
..and I swear.. If it means Mowing lawns and baby sitting for the whole state of Washington, Ill so be there next year. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

[mandonewbie]

Thanks to all of you who have posted your experience at the Mandolin Symposium.....I've only been playing for a couple of months, so my level of musicianship is nowhere near what I believe many of you possess. But, reading this thread is a definite inspiration and motivation to put in some hard work. It's given me a goal to work toward. Mandolin Symposium 2005.

[Christine W]

A heads up for all those that were looking for the Wegen guitar picks Chris mentioned. I just got mine ffrom First quality they were 4 for $15.

[Scotti Adams]

..anybody ask Grisman why he has black tape over "The Gibson" on his Loar?

[Tom C]

I did want bring bring up what may be a sore spot but I understand somebody asked him and he said because it's because "they" are not the same company that made his mando (Loar) and he left it at that. -It's just what I heard.

[banjo_ken]

Would it be possible to post a transcript (or if possible, a recording) of the composition classes with Mike and Chris. I couldn't make the symposium myself, but as a composer, I would love to hear what they had to say on the topic.

Ken

[mandolinquent]

I heard a rumor last night at the Cleveland MAS show that there may be another symposium in March on the east coast.

[Jan Ellefsen]

As a newcomer to the mandolin world I can only say this: The Mandolin Symposium exceeded all my expectations (in every way). I honestly can’t find one negative thing to say about the whole experience only that I wish the days I spent there had 48 hours not 24. I guess it will take some months to absorb it all.
It was great to see that the musicians that I had spent so much time listening to and reading about not only were the great musicians (I knew that), but also being able to share their knowledge, insight and dedication. And such enthusiasm! As was to be expected they all had their own style of getting the message across and I loved every minute of it. I know I was exhausted every day after the classes and I was only sitting there taking it all in and they even showed up at night playing and making themselves available for questions after all the hard work during the day. Unbelievable.
And the staff with Steve Ruffo in front managed to make the whole affair run very smoothly. ( I have been to similar events in my own trade all over Europe and also taken part in arranging them so I know a little of the work involved.) Thank you Steve, it was great.
And also the people attending the Symposium. Enthusiastic, friendly and helpful and making my stay a thing to remember. If the rest of the world were like the mandolin players I met, the world would be a better place.
I know that all this might sound a little over the top, but it is exactly how I feel at the moment. I hope to see you guys the next time.
Greetings from Jan from Norway

[jefflester]

I'm trying to work up the setlist of the first half of the show. Can anybody add to or correct any of this:


Level 1 Class - "John Hardy"

"Quite Laid Back"
Paul Statman - mandolin
Danny ? - mandocello
Dan Large (?) - mandolin
? - bass

Level 2 Class - "Lonesome Moonlight Waltz"

"Mopias" (sp?)
Joe Walsh - mandolin
2 others ?
with
Matt Sircely - mandocello?

Level 3 Class - "Minor Swing"

"Catharsis"
Ashley
others ?
with
Mike Marshall - mandocello

Level 4 Class - "Revival"

"Lady Be Good", "Ladybird"
Hele (sp?) - mandolin
David Werzberg - mandolin
with
Mike Marshall - mandocello

Mostly Right - "No Style"
Sarah Jarosz - mandolin
Jacob Henry Jolliff - mandolin
Rachel Masat - mandolin
Bryce? -mandolin
1 other

with
Chris Thile - mandolin
Sam Grisman - bass

[jefflester]

A heads up for all those that were looking for the Wegen guitar picks Chris mentioned. #I just got mine ffrom First quality they were 4 for $15.
First Quality currently shows WEG-BG-BL, -BG-BR, -BG-WL, -BG-WR, -M-150B, and -M-150W. The last two are specified as mandolin pics, but I don't think any of these is what Chris was using.

I think this is what Chris had:
www.wegenpicks.com/images/tf100120140.jpg

I mean, if you want to get specific. :-)

[2partinvention]

The other kid was Dominic Leslie (Im Pretty sure I spelled it right). And I'm Bryce Milano.


Our Band name was "The Mostly Rights " Steve didn’t pronounce it right. hehe

Here is my two cents about it . I thought It was great I loved it ! The people were so nice , and the instructors were great.


Chris---- I loved the way he taught about being a musician and not a mandolin player. I really liked the way he talked about soloing. I was prepared for him to show us how to make a solo with some really cool ideas or hot licks or something . Instead he talked about making spaces to breath in the music and not play as fast as you can , but to play something meaningful not just a bunch a of triplets. He also talked about evaluating your heros ,and to learn from their mistakes, because nobody is perfect .


MM----- I really loved the way he taught about how to hold your mandolin in the right place to get the right sound. He pointed out some interesting things that I had never taught about like, when you play louder you also tend to not just grip the pick tighter but your left hand tenses up as well . And to practice playing louder but still keep loose. Mike is the coolest! He defiantly got into the technical side of things.
Donny— I only had for one or two classes , but he’s such a great guy .He really got into the whole theory of everything that he taught like what chord that is and why it is what it is . He’s really cool. He really did a great workshop on improvising and how to improvise.


Mike Compton— It was nice to hear someone just talking about playing to your own standard , and not everybody else’s . And no matter how good you are there’s always someone better.( Sorry I cant say more #I’ll have to listen to the tape .It was the first day and I was just trying to a adjust!).


Dawg— I never actually made it to any of he classes so I cant say. But he’s a real nice guy and excellent player.


Radim— same thing . I know it really seems like I #missed out on everything ,but I did get to go to his workshop with Mike Compton and he said some neat things too , and had some nice perspectives on things. He talked about playing in a band and backing people up and just playing a chop and make the group as a whole sound better instead of making yourself sound better by doing all kinds of fancy rythyms and stuff .

Well thats my rant.
I had a great time , and hopefully they do an east coast one , if so I’ll be there!

Br¥cE

Thanks to everybody who pulled this thang off ! Especially Steve!
http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[Christine W]

jefflester,
You are absolutely correct. They are the teardropped ones. Sorry for the misinformation. I still like them I like the bevel on the pick and they grip easier. I'm looking for the triangular ones, but haven't found any.
Also I was in Level II -and played the Mandocello (Christine Walsh)

[Mando4Life]

Christine....check out...www.bigcitystrings.com...they have them. I just got the 1.0 mando picks....they sound a lot like my TS pick

Sounds like the Symposium was an interesting time. #It would have been cool to sit in on the Mike Compton classes for sure.

[Ken Sager]

..anybody ask Grisman why he has black tape over "The Gibson" on his Loar?
I did ask him why the black tape. His reply was it is a non-commercial statement, and that people put too much stock in what mandolin is being played, rather than the music being played. He had nothing but kind things to say about lots of mandolins and I didn't get the sense that he was making any statement AGAINST Gibson, just not making a statement FOR Gibson.

Joy to all,
Ken

[Christine W]

Mando4life, thanks I'll check it out.

To all who don't know thier notes on the fretboard such as myself:
I did this today and I'm hoping it will help me. I thought I would share. Please if there are any mistakes let me know so I can correct them. It's a 10x14 page so you may have to "fit to size" in your printer preferences. If you have any problems please PM me and I'll try and help

[Scotti Adams]

..thanks for your input Ken.....I was thinking it was just "one of those things" that was done that had no earth shattering meaning...

[arrowmandolin]

Hey you symposium folks......
Did anyone have a chance to play the Santa Cruz mandocello that Mike brought by?
If so what are/were your thoughts?

[carolynbeth]

I didn't play it myself, but I sure stared at it -- just gorgeous; I heard someone else play it and it sounds as good as it looks....

On another note, I did get to play Mike's Lawrence Smart mandola in the concert -- and got to practice with it all week. That is one sweet instrument...I still can't believe the instructors let us borrow their personal instruments like that...thank GOD I didn't drop it, or bang into anything with it -- I would've died!

Carolyn

[mandolong]

Carolyn,

I'm glad you didn't drop it or bang it on anything either. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif

I'll post more about my experience with Symposium. I had an amazing time as an assistant instructor. Especially with my Level II class. I just hope they had as much fun as I did.

More to come....
David Long

[SternART]

Hey David,
I hear you, Compton & Mark Daly were howling at the moon, playing Monroe tunes in the middle of the night.......and the police came & shut you down!
Must be all those fine Gilchrists......I had a big drive the next day & was asleep, missed the jam.......I heard the other instructors were jammin' till late in the coffeehouse too. There was a buzz at breakfast the last morning.
The Symposium was about as much fun as you can have in a vertical position.
Arthur

[djweiss]

I especially enjoyed Thurday night in Carolyn's room, even if nobody could sing the songs correctly...

David: Nobody was mad at you http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif, and I did appreciate the criticism on my kickoff for "Hand me down my walking cane"...I still need to get some of those double-stops from you, though...Let me know if you're coming near San Diego...

-Darren

[Christine W]

I especially enjoyed Thurday night in Carolyn's room, even if nobody could sing the songs correctly...David: Nobody was mad at you ...djweiss "quote"

That was one of the hilights of the whole symposium!! I need someone to kick me in the bum everyonce in a while........THANKS DAVID!!!!

djwiess, where you the one I sang with?

[Tom C]

Christine,
Dave had you singing nice harmony by the end of it.

[djweiss]

I wouldn't dare sing in that room!!

You were singing with my friend Chris Clarke...I was playing the blonde "A5" in the corner (until 2:00am!)

[carolynbeth]

You and me both Darren! one lesson learned from that evening -- if you're going to sing in front of David Long, you had better be solid... and don't even THINK about mixing up your harmony part with the lead http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif #

Just kidding, of course...that was some quality vocal instruction on David's part, and definitely a symposium highlight -- it was a blast, and Christine, you have some lungs, girl! David had the group sounding pretty damn good by the end there -- although our collective beer consumption may have had something to do with that perception, LOL..

Oh and by the way Darrin, you went WAY past 2 a.m. -- I recall having to shoo everyone out the door closer to 3:30 a.m. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif

Carolyn

[Christine W]

Thanks Tom c. Made me realize that is something I would like to work on more. (Nice accent by the way).

djweiss, Oh ok I know who you are now (bad when you recognize someone by thier mandolin) Chris was awesome! I was trying to figure out who he is on the board. That was a fantastic night!

[Christine W]

Carolynbeth, Wasn't that was the same night we were supposed to be in bed early to be rested for the concert I believe.... but at least we had our illustrious leader ...David to balme:D http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif

Yeah I guess I"ll try an keep my big trap shut form now on! http://www.mandolincafe.net/iB_html/non-cgi/emoticons/tounge.gif http://www.mandolincafe.net/iB_html/non-cgi/emoticons/wow.gif

[Patrice]

Although the symposium staff did not get to attend as many classes as we would have liked, we thoroughly enjoyed the week with all of you. Thanks for your patience, your enthusiasm, and most of all your playing. It was wonderful.
We are considering all kinds of things for next year, but have not made firm plans as of yet. However, it is safe to say there will be a next year!
We also have the student evaluation form prepared and are trying to get it posted on our website. If any of you would like me to email it directly to you, please email me.
Thanks again for a fantastic week and I hope to see many of you again soon,
Patrice

[mandomiss]

Oh man, what a trip!!! #I don't have the words to describe how amazingly phenomenal this entire experience was, but the closest I can get to what I feel is this description: sitting in the front row of the music appreciation class with Mike Marshall and Chris Thile playing "Something Quite Trifling" not three feet from where I was sitting. #The Symposium has seriously changed my entire outlook on music and changed my life for the better. http://www.mandolincafe.net/iB_html/non-cgi/emoticons/biggrin.gif http://www.mandolincafe.net/iB_html/non-cgi/emoticons/laugh.gif http://www.mandolincafe.net/iB_html/non-cgi/emoticons/mandosmiley.gif

[Mando Mark in Indy]

Here is a link to the photos I took during the symposium. I hope you all enjoy them.

http://f2.pg.photos.yahoo.com/markkurkowski@sbcglobal.net

Happy Mandolining!

Mark

P.S. If anyone has recordings of any of the classes PLEASE let me know how I can get copies. My tape deck died the first day so I'm keeping my fingers crossed that someone will make there recordings available. Thanks!

[mandonewbie]

Mando Mark,

I'd love to see the pics, but can't get into the album....Sure it's not marked private.

[mandolong]

I appologize for "clocking back in" at Carolyns's and Christine's. I guess I was having too much fun teaching. It won't happen again.
And Carolyn, you have to sing next time http://www.mandolincafe.net/iB_html/non-cgi/emoticons/smile.gif

David

[Christine W]

David,
I don't think any apologies are required. I kinda enjoyed the kick in the pants...uh I dont' know what that says about me but there it is anyway. I didn't hear anyone else complaining either. It's good to see that you are passionate about what you do.

[skippy]

David -

Thanks for playing with us at the Airport, I thought all my mandolin moments were past and gone (Hmm somebody should write a song ;) But when I heard the sound of mandolins I was more then happy to sit in. Another Great memory!

Anyone: If there are any pictures to share (or recordings) I would love to talk. Especially pictures as my camera broke the day before I left!!!!!

[Romkey]

Any word on the concert tape or the participant email list?

I'm still buzzing from the experience -- but maybe some of that is because I now need a fret job!