top of page

Intro to Bluegrass




75 min/wk 12 weeks

Start Date

Sep. 26th,
Feb. 6th

About the Program

Join local artists Lily Sexton and Max Wareham for a semester of convivial music! Enjoy a rich and interactive schooling in bluegrass; bring your mom, your son, your sibling, and/or your grandpa! This intergenerational course is open to youth ages 10+ and adults with basic performance proficiency. Beginners welcome! Instruments are not provided; participants must bring their own.

Instruments welcomed: Banjo, Bass, Cello, Dobro, Guitar, Mandolin, Ukulele, Viola, Violin, and Voice!

(Let us know if you play something else that you'd like us to consider.)

At the end of the semester, participants will be treated to a brief concert, a final jam session, and complimentary food + drinks!


Day/Time: Thursdays, 6:15-7:30 pm

Your Instructor

Lily Sexton & Max Wareham

Lily Sexton teaches fiddle at NCMC. Lily studied Suzuki violin beginning at age four and continued a classical music education in violin at the Westport Suzuki School and the Talent Education Suzuki School. While pursuing a Bachelor’s degree at the University of Massachusetts Amherst, she shifted her focus to fiddling in the traditional Appalachian style. Since then, she has formed several bands in the Pioneer Valley, most notably progressive bluegrass group Mamma’s Marmalade. Outside of New England, her bands have toured the U.S. and Canada, and she has shared stages with traditional music greats such as Joe Newberry, Mike Compton, and Michael Daves.

Max Wareham, who studied with banjo masters Tony Trischka and Bill Keith, was introduced as a significant voice on the instrument with the release of Peter Rowan’s Grammy-nominated album, Calling You From My Mountain, on which he plays banjo and sings harmony. Prior to joining the Peter Rowan Bluegrass Band, Max taught music extensively, played bass with the psych-pop outfit Sun Parade, and wrote songs and produced several albums under various aliases. Much of his work in bluegrass and education is focused on early bluegrass banjo styles and how they can offer alternative paths to expression within the bluegrass idiom.

bottom of page