Workers' Music Association

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COURSES

See the Tutors page for more information on each tutor

See the Timetable page for start and finish times for each session. Please try to avoid booking courses whose sessions occur at the same time.

Big Band

Tutor: Phil Hargreaves

Session 6

The Big Band at Summer School departs from the ‘Large Jazz Orchestra’ model, and blends Traditional Dance Tunes (predominantly English tunes) with dance music from various traditions – Reggae, Jazz, Latin, Ska etc, based around the expected rhythm section (bass/drums/guitar/piano) plus horns and more usual folk instruments. Accordingly, there is scope for most instruments to join in somewhere.

There are written parts, but reading is not a large part of the experience. Arrangements are flexible – some solos will be involved.

Brass

Tutor: Ben Lunn

Session 2

Our growing brass course is open to all.

The course focuses on ensemble playing, introducing various curious, and lesser-known works for brass. Within the sessions, we play as one larger group, but if we have enough attendees there will be opportunity to split off into smaller groups.

To help with the preparing of music for the week, if you can let us know your ability on your instrument, we can craft the pieces to you. The music we played is varied, and attendees are welcome to bring their own arrangements to be tried by the group – all we ask is your enthusiasm!

To celebrate the 90th anniversary of the WMA, the course will showcase the wealth and breadth of music connected to the WMA.

Ceilidh Band

Tutor: to be confirmed

Sessions: occur each morning before session 1

The repertoire of Ceilidh music that we shall use is predominantly dance music and includes hornpipes, reels, jigs, double jigs, slip jigs, hops, polkas, waltzes etc. It originates mainly from Scotland and Ireland but includes other European and American pieces. The music is written in concert pitch and is suitable for a wide variety of instruments.

These sessions are suitable for musicians having all levels of experience of playing Ceilidh music. They are also an ideal introduction for those who are playing Ceilidh music for the first time.

The Ceilidh performances form part of the social activities that take place in the evenings. Some participants may want to join the practice sessions but not perform at the Ceilidhs, which is their choice. Other participants may not be able to join the course sessions but are welcome to play in the band if they are able to sight-read the music.

Chamber Ensemble

Tutors: Neill Jackson & Helen Thomas

Session 1

The Chamber Music course is an opportunity to play in smaller groups with a range of players and instruments and to experience well-known music and more unusual works.

We try to vary the groups each day so that everyone gets to play in a range of ensembles over the week.

Generally, players work in small groups, one or two per part, so players with a certain level of competence will enjoy this course more, though we try to accommodate all levels.

Composition

Tutors: David Martin & Ben Lunn

Sessions 3 & 4

This year, for the first time, the course will have two themes, not the usual one. They are ‘Music and Politics’, and ‘Writing for Woodwinds’.

Music and Politics
Music and politics have been connected for a long time, long pre-dating the 20th century.  David will play examples of music connected with politics dating up to the late 19th century, then Ben will take over, introducing us to 20th century music with political overtones. We will also want to consider how instrumental music can be ‘political’ in the absence of a text.  

Writing for Woodwinds
The Summer School includes a composers’ concert, for which David invites you to write music for clarinet, either as a solo, or for clarinet and piano. If you find transposition confusing, write for solo clarinet. If you use a piano, keep its part simple, bearing in mind that rehearsal time at the school is limited.

Our guest artist, Heather Roche, has a remarkable archive with information on the capabilities of the clarinet.  This can be found here: https://www.heatherroche.net/resources-for-composers.

Concert Orchestra

Tutor: Neill Jackson

Sessions 4 & 5

The Concert Orchestra will cover a wide range of repertoire and periods over the week from classical to modern and serious to light, in an informal and friendly atmosphere. There will be two sessions every day and players will be encouraged to swap parts to give everyone who wishes a chance of leading of playing solos.

Help will be on hand from string, wind and brass tutors and the course is open to all players. As on all orchestral courses, clarinettists and brass players, especially horns, should be prepared to transpose. Any clarinet player who has both Bb and A instruments should bring both instruments to gain the maximum enjoyment.

Conducting

Tutor: Ben Lunn

Session 1

The conducting course is open for anyone, from beginners to seasoned conductors. Throughout the week, participants learn the craft and put it into action – learning things like how to prepare a score, basic and complex beats, rehearsing with an ensemble, and various other skills that can help prepare you to conduct in other settings or refine your craft.

To celebrate the 90th anniversary of the WMA, the conductors will be engaging with a well of music connected to the WMA in a variety of ways!

Folk Music

Tutor: Suzanne Hootsmans

Sessions 3 & 5

In this year’s Folk Music course, we will primarily focus on sharing music with each other. Students will be asked to bring a piece of music to the course and provide the group with discoveries they have made about the piece, its origins and significance, and the reason they have chosen to bring it.

Students can choose whether to teach their piece to the group themselves or to have the tutor teach it if they wish.

Once we have learned a new piece, we will also work on storytelling through harmonies, instrumental accompaniment, and other musical possibilities, with the group’s input. We will discover all this together as we go!

The course is open to singers and musicians of all abilities.

Modern Jazz

Tutor: Phil Hargreaves

Sessions 1 & 2

We will be spending a week examining Jazz accompaniment/ soloing over chord changes in a Post-Bop context, using lightly arranged ‘Heads’ with chords provided in appropriate keys for B♭/ E♭/ Concert Pitch and Bass Clef.

This course is probably best suited if you have some experience of fitting scales to chords, and improvising. If you are a beginner improviser, you might find the Trad Jazz course a good place to start.

The course tutor is known as a free improviser. If you are interested in this area, you are invited to let the tutor know, so some free playing in some other space in the timetable can be organised. We will also be doing some freely improvised workshop pieces, with a view to developing listening skills (which are vital to any style of music).

Trad Jazz

Tutor: Matt Neal

Sessions 4 & 5

This course is suitable for people who would like to try playing jazz for the first time, though not exclusively aimed at beginners. Participants should have reasonable fluency on their instrument and some sight-reading skill.

Improvisation is a central feature of jazz and is neither as difficult nor as scary as might be imagined. This course will concentrate on providing a repertoire of available notes for every tune that will be played so that solos can be improvised without too much hassle or worry.

Jazz is a serious art form which is both fun and creative. This introductory course should help participants to confidently play with other jazz musicians, and perhaps start to become jazz musicians themselves.

The introduction to playing jazz in this course will help increase the enjoyment of future performances for the musicians who are able to attend.

Jazz Vocal

Tutor: Phil Hargreaves

Session 5

This course is for vocalists who are interested in singing Jazz standards (if you are interested in singing modern show tunes or pop songs, the Solo Singing course will be the place for you). It will be run on a ‘Masterclass’ basis, using computer-generated backings.

As each vocalist will be performing one at a time, it will be limited to five participants on a first-come-first-served basis, and a certain amount of pre-preparation is expected.

Singers at any stage of their development will be welcome, it isn’t exclusively for experienced Jazz singers. We will be looking at the stylistic and practical requirements of Jazz singing, possibly including improvisation, with the possibility of singing with a Jazz group live.

Opera

Tutor: Jane Scott

Sessions 1 & 2

The Mother is a play by Bertolt Brecht with music by Hans Eisler, written in 1930/31 and based on the 1906 Gorky novel. This will be the main focus of the 2026 Opera course in the year when we celebrate the 90th anniversary of the WMA. It will involve speaking and singing opportunities for soloists, as well as plenty of music for students who prefer to perform purely as chorus members.

Scores will be provided as well as recorded sound files of the individual vocal parts for those who find it helpful to learn primarily by listening.

It is hoped that newcomers as well as regular participants in the course will enjoy the opportunity to learn and perform this powerful piece which marks something of a change from the type of material we have worked on in recent years.

NEW: Piano

Tutor: Aidan Chan

Session 5

This course welcomes pianists of all levels who wish to develop their playing in a supportive and encouraging environment, offering a space to refine your technique, explore interpretation, and build confidence through focused, individual guidance.

Each participant will receive one-to-one lessons tailored to their experience and musical interests. You are encouraged to bring works in progress or polished pieces that you would like to develop further. The course is suitable for pianists working on classical or contemporary classical repertoire, whether solo or as part of a chamber ensemble. Participants are welcome to discuss aspects of tone, phrasing, pedalling, or practice strategies that will support their progress beyond the course.

Alongside individual tuition, optional group sessions will be offered on piano technique, dexterity, and stylistic improvisation. The aim is to develop flexibility and musical awareness at the keyboard, encouraging a freer, more responsive approach to playing while remaining grounded in the classical tradition.

Throughout the week, the emphasis will be on enjoyment, curiosity, and steady improvement. The course is designed to meet each pianist where they are, offering individual attention and group activities that complement a wide range of abilities and backgrounds.

Sight Singing

Tutor: David Martin

Session 2

Sight singing is the art of reading and singing vocal music at first sight. Not second or third sight, but first sight. This means getting to grips with the basics of theory, of musical notation. The course is aimed at beginners in sight singing, rather than those who already have some knowledge of this skill. It is not possible in one week to make you into an accomplished sight singer; that requires months of study.  But you can learn the basics of the art, and be in a position to further your knowledge after the school. The course will include some singing, especially later on in the week, but it is not primarily a singing course.

Solo Singing

Tutor: Saul Danson

Sessions 3 & 4

The aim of the solo singing course is to develop vocal technique, enhance artistry, and build confidence. The course is suitable for students with all levels.

Throughout the week, singers will work on at least two prepared songs, each in a relaxed and informal setting. All musical styles are acceptable, and no prior performance experience is necessary.

String Orchestra

Tutor: Neill Jackson

Session 2

The String Orchestra is open to all players of bowed strings (violin, viola, ‘cello and double bass). We try to play a mix of standard pieces and less well-known works and music from different ages.

Like the concert orchestra, the String Orchestra works by using the first half of the week exploring several works so we cover a wider range of music. Reasonable sight reading is helpful for both groups and it is better if string players have some ability to play in higher positions so they can tackle more of the music but, when possible, the range of music is chosen to give everybody a chance to take part.

We also cover elements of String technique.

Summer School Chorus

Tutor: Jane Scott

Session 6

This is an inclusive session which welcomes students from all courses and is intended to allow those with different musical interests to sing together.

No previous singing experience is necessary and the Summer School Chorus provides a good opportunity for students whose main focus is on instrumental music to join in some group singing, along with those whose course choices have a singing focus.

The repertoire includes a wide range of material from madrigals to musicals and songs which reflect the aims of the WMA.

Wind Ensemble

Tutor: Helen Thomas

Session 3

The Wind Ensemble welcomes all woodwind players and saxophonists. We will play a wide range of repertoire including original works for wind ensemble, arrangements of works in classical and popular styles, and even the occasional graphic score.

The course is ideal for players with varying levels of ability who would like to improve their sight-reading and ensemble skills and who enjoy a mix of tutor-led and peer group learning.

Extra Activities

To be confirmed.