SKU: BT.SY-2953

German.

DIE NEUE GITARRENSCHULE by Heinz Teuchert is one of the most successful methods for classical guitar in German. Since it was first published in 1983, the guitar technique has evolved in many respects so that the need of a revised edition has become more and more evident. Prof. Michael Koch has taken up this mission and now presents the revised method in two volumes: the texts, parts of the playing material, and the appearance of the books have been modernized while preserving Teuchert’s methodical approach and the underlying structure of the method. One of its strengths is the diversity in terms of playing techniques and musical styles not only solo playing but also fingerpicking styles, flamenco techniques, and song accompaniment are taught. The BOOK CD AUDIO ONLINE packs also feature demonstration and play-along recordings of many pieces included in the books.

DIE NEUE GITARRENSCHULE von Heinz Teuchert gilt als Standardwerk unter den deutschsprachigen Lehrbüchern für klassische Gitarre. Seit ihrer Erstveröffentlichung im Jahr 1983 hat sich die Gitarren-Spieltechnik beträchtlich weiterentwickelt, sodass die Notwendigkeit einer Überarbeitung des Schulwerks immer deutlicher zutage trat. Prof. Michael Koch hat sich dieser Aufgabe angenommen und die revidierte Neuausgabe in zwei Bänden vorgelegt: Die Texte, Teile des Spielmaterials sowie das Erscheinungsbild wurden modernisiert, während Teucherts methodischer Ansatz und die grundlegende Struktur des Schulwerks beibehalten wurden.

DIE NEUE GITARRENSCHULE zeichnet sich insbesondere durch ihre Vielseitigkeit aus, was die behandelten Spieltechniken und musikalischen Stilrichtungen angeht: Neben dem Solospiel werden auch das Fingerpicking, der Flamenco und die Liedbegleitung mit Akkorden vermittelt. Demo- und Mitspielaufnahmen vieler der enthaltenen Stücke stehen sowohl auf der beigefügten CD als auch online im MP3-Format zur Verfügung.

AUS DEM INHALT (Band 2):

Einführung in die fis-Stimmung
Weiterführung des Lagenwechsels
Barrégriffe
Flamenco-Anschlag
Die Bindetechnik
Fortschreitende Solostücke und Duos
Technische Kurzübungen

SKU: M7.DUX-868

ISBN 9783868493498. German.

In 'Acoustic Pop Guitar Soloing' Michael Langer looks at the question of how pop musicians 'think' their guitar. The book is the result of his many years of teaching at advanced training programmes, courses and workshops on 'Acoustic Pop Guitar'. It is a tutor book for creative guitar playing which provides an easy introduction to improvising and arranging. Featured topics: - Seeing the chord shape - Understanding the fretboard - Chord environment of the CAGE system - Building blocks for your solo - Professional licks right from the start - Practising with playalongs - Guide for chord-melody arranging.

SKU: M7.DUX-3520

ISBN 9783868494105.

The whole idea behind the two editions of 'Play Guitar Powersteps' is to enable learners to progress rapidly. With the eight chapters providing a multitude of opportunities to delve into specific topics within a clearly laid-out structure, this addition to the Play Guitar series is the perfect companion for all the standard tutors. Powersteps 2: - A step-by-step guide to the most important guitar keys - 34 highlights from the teaching literature - all easy to play - Carefully devised teaching approach with a clear structure - Learn and Play including audio download With pieces by Antonio Muro - Vito Nicola Paradiso - Ben E. King - Cosimo Antitomaso - Michael Langer - Jaime Zenamon - Edson Lopes and many more ...

SKU: PR.114410840

UPC: 680160015689.

See the biography of Michael Karmon on the back cover.
WHEN THE SHEEP WON'T COME:  A SLEEPLESS NOCTURNE FOR GUITAR was composed for Joseph Hagedorn, winner of the 1990 GFA solo competition, and premiered by him in November 1999.  My original idea was to write a serene and moody nocturne in several movements.  However, as I began researching and listening to new guitar pieces, I came across Toru Takemitsu's All in Twilight, and it immediately made a profound impression.  At the time I found it beautiful, moving, and inspiring, but I also felt I didn't have anything to add to what Takemitsu already did, and that I needed to find a new concept for my piece.  So, I decided to view night as a potentially restless time, rather than a serene time, and portray states of mind one might go through during a sleepless night.  The names of the movements evoke, at least in my mind, the moods I am to depict, and the piece becomes progressively more convoluted as it goes on.  By the end, the music is a surreal and weary shadow of the opening.