Practical & philosophical workshop for guitar players who know their ones, fours, and fives in a few keys and feel fairly at-ease in a jam setting but are looking to deepen their intention and understanding of rhythm, give more shape to their playing, and learn about supporting a variety of fiddle styles. We may get a bit abstract at times with the purpose of developing strong listening skills, gaining a broader understanding of the genre, learning about creating a cohesive sound in a band setting (hint: communication and self-awareness!), and setting students’ individual musical intentions. We’ll also develop concrete skills like how to continue developing a firm sound and give movement to your playing with interesting bass notes & bass runs.
Instructor Bio
Sonya Badigian grew up in New England and learned fiddle amidst a small but fierce old time scene centered around deep, thoughtful listening to 78-era recordings and sources from Kentucky and Missouri. In the ensuing years she turned her ear particularly to traditional players like Snake Chapman and Gene Goforth who pushed themselves to experiment with more modern styles and repertoires. She also picked up guitar along the way. In her early twenties Sonya moved to North Carolina, where she currently resides.
Her approach to old time is to closely investigate and work at channeling the sincere, playful energy that permeates old recordings, and to incorporate that sense of movement into a natural sound that feels informed. She is fascinated with the accumulation of peculiar details that amount to an individual’s musical fingerprint. In teaching she aims not just to guide students toward a playing style that is tonally and rhythmically intact, but also to teach a listening style that inspires a sense of wonder and develops their musical imaginations within the realm of old time.
Sonya can be found playing guitar and singing with Hard Drive (Tatiana Hargreaves, Aaron Tacke, Nokosee Fields), a North Carolina-based band whose first release, Random Access Mash, presents a “high-octane bluegrass-old-time style delivered with deep intuitive insight, manic exploratory zeal and seriously powerhouse instrumental (and vocal) chops” (Folk Radio UK). She has played fiddle and guitar for workshops, concerts, and square dances across the country. In her spare time she helps run Slippery Hill and serves on the board of the Field Recorders’ Collective.