My main experience with music camps is with the
Centrum Fiddle Tunes Workshop, which is practically in my back yard (bicycling distance). I've attended 3 times, but since it's very fiddle-focused and mandolin is somewhat peripheral, I don't go every year (and it's expensive). Depends on who the instructors are.
I've also attended numerous smaller one or two-day workshops in the area, all fiddle-focused events because my SO is a fiddler and I get to hang out as the (usually) only mandolin player in the group.
Favorite part of a music camp: Being immersed in a group of amateurs and pros who care about the same music I do, in a relaxed "no pressure" atmosphere.
Most important to me when attending a camp:
1. Class size. I like small classes, say a dozen people plus instructor. Past a certain point, I don't think large classes work well. They limit individual interaction with the instructor, and only the most outspoken students or those sitting in the front row benefit.
2. The second thing is instructors who focus on technique and style, not just teaching a few new tunes. It's nice to bring home a few tunes from the camp, but that's not why I go there and spend the money. I want to learn from masters of a style what the essential elements of that style are. That might necessarily include learning a new tune, but I've been to classes where it's basically just "
here's how this one goes." I can get that from an instructional DVD or free online videos.
3. The food has to be good, especially if you're stuck in one place with no other options!
The least favorite thing at a camp? Classes too large, and lousy food.
Memorable experiences: My two favorite memories of Fiddle Tunes are a workshop by Irish guitarist John Doyle (with Liz Carroll occasionally sitting in), and a workshop and band lab led by Tim O'Brien. The band lab was great -- he had us working up tune sets that we played for a Thursday night dance with a caller, and then a concert performance for the other attendees on Saturday. The "band lab" concept is a fun way to combine exposure to music styles with actual performance.
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