What do people ask most often about the Songwriting Workshop?

• What is the age range of workshop participants?
• Is there a “minimum” level of experience required to participate in this workshop?
• What if I have not yet written my first song?
• Do I have to be able to read music to participate?
• Do I have to be able to play an instrument to participate?
• Can I participate as a lyricist only?
• Do I need to send an audition tape/CD?
• What do I need to bring to the workshop? (Instruments, equipment etc?)
• How are the days at the workshop structured?
• Who are some of the guests and faculty that the workshop has featured in the past?
• How are performers selected for the various performance opportunities?
• If I’m from out of town and don't have a car, how do I get to the Hugh’s Room Showcase on the last evening?
• Will participants have the opportunity to work in different groups and with different professionals throughout the week?
• Will I have a chance to record my new songs at the workshop?
• Does the workshop cover “arranging and MIDI” or “blending” (like Rap music)?
• Does the workshop cover any topics on Production aspects and/or equipment used in production?
• My family would like to spend some time in Toronto while I attend the workshop. Where can they stay nearby?
• Is there an “alumni association” associated with this program that I can join?
• Where can I find more information about Humber's Songwriting Workshop?
• What if I cannot attend the full week of workshops?
• How much does the workshop cost?
  
  

Q – What is the age range of workshop participants?
A – We have had songwriters as young as 15 years old and as senior as 70. Everyone brings something different to the program, and everyone gets something different from it.

Q – Is there a “minimum” level of experience required to participate in this workshop?
A – There is no minimum level of experience required. At this point we are a first-come, first-served kind of program, designed with a universal approach that works for all writers regardless of age or experience. That said, we ask you to “self-stream” at the registration stage by selecting your skill level from a choice of “Beginner”, “Intermediate”, or “Professional (“Professional” means that at least some of your income is derived from the pursuit of songwriting, not just gigging playing others’ songs). These streams are flexible and choosing one that doesn’t entirely describe your place in the world of songwriting won’t limit your participation in the workshop.

Q – What if I have not yet written my first song?
A – We have lots to offer those newcomers who wish to write their first songs as well as those veterans who aspire to write better songs. Each year, there have been one or two participants who have yet to write their first song.

Q – Do I have to be able to read music to participate?
A – No. it doesn't really enter into it very much, if at all. Chart-reading and -writing (but not necessarily notational manuscript-reading and -writing) is an important element of communicating song ideas, though. The workshop offers seminars on communicating and collaboration with other musicians.

Q – Do I have to be able to play an instrument to participate?
A – No, but it helps – a lot. Singing is also an obviously useful skill for a songwriter.

Q – Can I participate as a lyricist only?
A –Yes. In fact, we encourage collaboration between students that have different skill sets. Lyricists can learn how to structure their work in more musical ways, to enhance the product that they offer to musical collaborators. Resource leaders are made aware of each student's skill set, and adapt their approach in the afternoon workshop sessions to tailor them individually to each student's level and skill set.

Q – Do I need to send an audition tape/CD?
A – No. Audition tapes/CDs are not required to participate.

Q – What do I need to bring to the workshop? (Instruments, equipment etc?)
A – Participants are usually bring their own guitar or mini-keyboard or other portable instrument (drums are on-site). Lots of students also bring their own small portable recording devices. It's a writing workshop, so it certainly helps to have pens/pencils, paper/notebooks etc. It's always good to have reference to some of one's own back catalogue or past written material (if applicable). Some songwriters are comfortable when they have access to a laptop, a thesaurus, a rhyming dictionary, etc. None of these things are mandatory, but they can help.

Q – How are the days at the workshop structured?
A – Saturday gets underway with a meeting-and-greeting of the faculty and other students, first in a general, lunchtime format, and then one-on-one in what we call “Faculty Speed Dating”. These 10-minute sign-up sessions can be used in whatever way the participant sees fit: song critiques, music industry advice, whatever. Saturday evening is the annual Bluebird North: Where Writers Sing & Tell concert by the faculty, presented by the Songwriters Association of Canada in the Assembly Hall.  This free concert attracts an audience beyond just the workshop participants because it is a rare opportunity to hear some great songs – even hit songs – in a stripped-down, intimate environment. Sunday through Wednesday will see seminars and panels in the mornings—featuring up-close-and-personal performances by amazing songwriters, war stories from industry veterans, plus seminars on lyric writing, musical tips and tricks, guitar playing for songwriters, building an indie career,  song analysis, and musical technology for the songwriter. Some of these sessions run concurrently, so you can pick-and-choose the one that interests you the most. Afternoons are spent in the classrooms – or on the grass by the lake! –with resource leaders and small groups of students (usually 6 –7), working and re-working songs. Evenings are spent independently, with the popular Open Mike event and residence lounge jams. Thursday morning we will all enjoy hearing the many new songs composed by students during their week at the workshop. Thursday afternoon will see the sequel of “Faculty Speed Dating”, which will also feature a few non-faculty special guests. Friday morning sees a special interview/performance and presentation of this year’s Euterpe Award at a special celebratory luncheon to conclude the workshop. Lunches are provided each day, and the food is really delicious!

Q – Who are some of the guests and faculty that the workshop has featured in the past?
A – Andy Kim (“Sugar, Sugar”; “Rock Me Gently”), Ed Robertson (Barenaked Ladies), Ron Sexsmith, Jules Shear (“If She Knew What She Wants”by The Bangles; “All Through The Night” by Cyndi Lauper), Molly Johnson, Murray McLauchlan, Andy Stochansky, Jenny Whiteley, Shari Ulrich, Lynn Miles, Mia Sheard, Damhnait Doyle (Shaye), Haydain Neale (jacksoul), Tara MacLean (Shaye), Ian Thomas (“Painted Ladies”, “Right Before Your Eyes” by America), Stefan Moccio (“A New Day” by Celine Dion), Tom Wilson (Blackie & The Rodeo Kings), Moe Berg (The Pursuit of Happiness), Ember Swift, Fergus Hambleton (The Sattalites), Lisa Dalbello, Justin Gray (Joss Stone), Simon Law (“Back to Life/Back to Reality” by Soul II Soul), Grieg Nori (Sum41), Justin Nozuka, lawyer/punk rocker David Steinberg-Quinton, agent Richard Mills (Feldman & Associates), manager Michael Roth, publisher Mike McCarty (EMI), film composers Amin Bhatia and Christopher Dedrick, music supervisors Ron Proulx, Chris Robinson and Amy Fritz, A&R Rep David Cox (Universal Music), publisher Jodie Ferneyhough (Universal Music), radio music directors Dianne Collins (CBC) and Wayne Webster (MIX 99.9/Standard Radio) and many others.

Q – How are performers selected for the various performance opportunities?
A – In addition to late-night jam sessions in the residence lounges, there are four different kinds of ‘formal’ performance opportunitiesat the Humber Songwriting Summer Workshop. The most frequent chance for songwriters to perform for an audience is the nightly Open Mike session. Sunday evening through Wednesday (Day Two through Day Five) starting at 8 PM. Performers are selected by random draw after submitting their names to the Open Mike coordinator each day of the workshop. The other frequent performance opportunity is the (new for 2008!) daily lunchtime showcase. Each day at 2:30 PM, three songwriters selected by the faculty will perform two songs each. Thursday morning will see performances of new material written while at the workshop (also new for 2008), again on a random draw basis. These performances will receive commentary and suggestions from faculty and other students. Thursday evening will feature the annual Humber Student Showcase at Toronto’s celebrated Hugh’s Room. We supply a band featuring some of the finest musicians in the country--players who regularly back up Jann Arden, k-os, Ron Sexsmith, Hugh Dillon, and Andy Kim--to back up performers. The twenty or so performers will be selected from the votes of fellow students and faculty, taking into account many factors to be discussed in detail at the workshop.

Q – If I’m from out of town and don't have a car, how do I get to the Hugh’s Room Showcase on the last evening?
A – We will make sure everyone who wants to be there has a ride.

Q – Will participants have the opportunity to work in different groups and with different professionals throughout the week?
A – Yes, they will. We rotate the small groups from faculty member (resource leader) to faculty member so that every full-time participant will work with four different resource leaders in four different groups, and several times during the week, we offer 10-minute one-on-one mentor sessions with any of the faculty members that the student might be interested in consulting on a specific issue or question. There is also plenty of time to interface casually with various resource leaders during the events we have planned.

Q – Will I have a chance to record my new songs at the workshop?  
A – Yes! Two past participants—accomplished songwriters themselves—are again joining us to offer free demo recording sessions during the workshop week. Bill McKetrick is an experienced guitar-based recording engineer, while Allister Bradley is an experienced piano playing recording engineer. Available on a first-come/first-served basis, Allister and Bill worked hard to accommodate all students last summer and produced some excellent song demos at no extra cost to anyone!

Q – Does the workshop cover “arranging and MIDI” or “blending” (like Rap music)?
A – Only in a somewhat peripheral way, and depending upon the resource leader. Some use technology every day, and rhythms and loops and beats are integral to their writing process. Others are strictly acoustic piano- or guitar-based writers. Rap and hip hop in general are under-served at the Humber workshop, frankly, though with enough interest, we will certainly cover these areas better in future years.

Q – Does the workshop cover any topics on Production aspects and/or equipment used in production?
A – There is a Long & McQuade seminar that covers some of the newest production tools, and again, some of the resource leaders are very comfortable discussing production, equipment, etc. For example, Blair Packham is a producer and composer of music in all genres for television and is very up-to-date when it comes to production tools and gear.

Q – My family would like to spend some time in Toronto while I attend the workshop. Where can they stay nearby?
A – Humber Residence Suites also offers on-site bed and breakfast accommodation to accompanying family or friends of workshop registrants. Accompanying guests should book their suites directly with Humber Conference Services - Residence Front Desk. Call 416-675-5027 or 1-888-548-6327 and follow the prompt for Lakeshore Reservations.

Q – Is there an “alumni association” associated with this program that I can join?
A – Not officially (not yet). This program has only been in operation for three summers and although it is quickly becoming very popular, we have not yet established a formal "alumni". It is a great idea and one that we will look at for the future. In the meantime, past students have been keeping in touch via MySpace and a Facebook group.

Q – Where can I find more information about Humber's Songwriting Workshop?
A – In addition to these pages you can also check out www.myspace.com/humbersongwriting. If you have any additional questions please email them directly to Blair Packham at blair@blairpackham.com.

Q – What if I cannot attend the full week of workshops?
A – There is now an option to attend for 3 days only, either Sunday through Tuesday inclusive (Day 2 to Day 4), or Tuesday through Thursday inclusive (Day 4 through Day 6) for $395. The three-day options are similar but not identical, so be sure to look at the schedule to choose which one suits you best.

Q – How much does the workshop cost?
A – There are various pricing options for this workshop: Registration officially opens February 1^st.