Seit Februar 2020 ist diese Seite mit laufend aktualisierten Informationen zu überarbeiteten Ausgaben, Neufassungen und ERRATA-Seiten einiger Kompositionen eingerichtet. Einige spezielle Spieltechniken werden beschrieben. Neben Fehlerkorrekturen können die ERRATA-Seiten auch Verbesserungen an erläuternden Texten oder Hinweise zur besseren Lesbarkeit der Notation enthalten.
Since February 2020, this page has been set up with continuously updated information about revised editions, new versions and ERRATA pages of some compositions. Some special playing techniques are described. In addition to error corrections, the ERRATA pages can also contain improvements to explanatory texts or notes to make the notation easier to read. Links to ERRATA Pages: click to view, right click to download.
With the 2022 new edition from Nogatz Verlag (www.nogatz.de), the previous December 2019 self-publication and the associated ERRATA page will not be continued.
Please only use the revised edition BM09-0708162 of 2020! (SELF-PUBLISHING)
The ERRATA page refers to „Blinde Berührung / Blind Touch“ BM09-0708160 and BM09-0708161 published before January 2020.
Please only use the new version BM 12-1811190 of 2019! (SELF-PUBLISHING)This new version (2019) has harmonic changes throughout the piece. The explanation of playing techniques and notation has been revised.
Please only use the new version CLM08-3112190 of 2019! (SELF-PUBLISHING)This new version (2019) has harmonic changes, especially in the last movements of the piece. The explanation of playing techniques and notation has been revised. The rhythm notation, especially in the polyphonic movements, has been corrected.Compared to the first version, the new version can be studied with little effort. Microphone amplification is desirable.
Revised Edition January 2020, CLM02-0614152 (SELF-PUBLISHING)Modification in the revised edition: corrections, new tablature font, new score layout. Corrections are continuously documented and the description of playing techniques has been continuously improved to this day. A further revision was carried out on July 2022. Besides minor improvements, I decided to make the main tempo more flexible: Tempo giusto [quarter] = 46 ― 54.
Kokoro-ERRATA for the self-published edition – updates 24 June 2021, 16 July 2022, 21 July 2022
With this publication of the revision August 2022 at the Bergmann Edition (BE-220818), the previous self-publication of the piece will not be continued.The notes of the piece itself remain unchanged, but the basic tempo has been slowed down a little. The explanations in „Notation & Playing Techniques“ and the notation itself have been improved. The notation of the bass courses now corresponds to the more readable standard. I highly recommend using this edition.
Revised Edition 2020, CLM09-1609131 (SELF-PUBLISHING)New tablature font and clarification of a few notation details. The ERRATA page refers to the first edition CLM09-1609130 only.
CLM03-0317150 published before January 2020 (SELF-PUBLISHING)Revised Edition February 2020, CLM03-0317151.
Revised Edition October 2019, BM10-1907121 (SELF-PUBLISHING)Modification in the revised edition:Bar 99 ff: some changes in bass movement of guitar 1
The text of the nail attack in the explanation of playing techniques and notation of the pieces Kokoro, Geister / Ghosts etc. has undergone several changes. You can find descriptions of this technique in articles, videos etc. about guitar fingerstyle techniques. Sometimes, contrary to my definition, a kind of golpe is included. It is important that the fingernail surfaces (more precisely the nail plates) of the plucking hand strike on the strings with finger impulse.
The text of “Harmonics + fundamental” (formely “Half harmonics”) in the explanation of playing techniques and notation of the pieces Kokoro, Geister / Ghosts, Guitar Spots etc. has undergone several changes (** for theorbo only**):
Flageoletts + GrundtonBevorzugte Position: in Stegnähe. Wenn möglich, spiele in „Daumen-außen Haltung“. Während der Finger anschlägt, berührt die Fläche des Daumennagels leicht den Chor. Finger und Daumen verlassen den Chor gleichzeitig. Der Grundton (der normale Ton des Chores) sollte „durchscheinen“. Durch wiederholtes Anschlagen bei variierender Position der Anschlagshand werden wechselnde Flageoletttöne erzeugt.
Harmonics + fundamental Preferred position: near the bridge. If possible, play “thumb-outside”. While the finger is plucking, the surface of the thumbnail is touching the course slightly. Finger and thumb are leaving the course simultaneously. The fundamental (the normal tone of the course) should “shine through”. While varying the position of the plucking hand, a repeated plucking creates changing harmonics.
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