Markus Reuter / Trey Gunn: Music and the Tapping Technique #11

Sunday  9 June  2019  5:00 PM    Sunday  16 June  2019 0:00 AM
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Last update 04/05/2019
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June 9-15 2019
For all guitar / bass / tapping instruments and players of all levels.
The Touch Guitar Circle will take place in Seattle from June 9th to 15th 2019, the first one there since 2014. Markus Reuter (Stick Men, Crimson ProjeKct, centrozoon) will be leading the seminar joined, also for the first time since 2014, by Trey Gunn (King Crimson, Security Project, 3Below). We will discuss the most recent developments of “The Family”, which is a refined method specific to the touch style technique, and do a variety of work in tapping mechanics, fret board knowledge, complex rhythms, ear training, improvisation and composition.
The attendees will spend all week in a house, training and playing their instruments all day. The class is for anyone using a tapping technique on any stringed instrument.
Lodging for 7 days: $260 on average (will vary based on the number attending)
Seminar fee: $650
Selective booking is also possible if you cannot attend the full seminar. Please bring a sleeping bag if possible and towels. Please contact us if you want to play an instrument dedicated to the tapping technique like the Touch Guitars®.
Schedule:
June 9: arrival day and evening workshop
June 10-14: seminar days
June 15: morning workshop and departure day
For contact and registration info send an email to: info@touchguitarcircle.com
The accommodation fee is due by end of February to be able to book the house and the seminar fee by the end of March. If we don’t have enough registrations by end of February we will have to cancel the location and find a new one which will be more expensive. We advise to take precautions by getting travel insurance.
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About Markus Reuter:
Markus Reuter is a professional player, contemporary classical composer, and psychologist who's researched and studied the touch/tapping technique for over 20 years. The result of this work is "The Family", a systematic and practical approach to the touch technique. He's worked with Centrozoon, TUNER, Stick Men, The Crimson ProjeKCt and with The Colorado Chamber Orchestra among many others.
About Trey Gunn:
For Trey Gunn, the merging of storytelling, visual imagery and music have always been the point of contact for his creative life. Photography, painting, language and film play together to reinforce and inspire the musical experience he has sought throughout his rich career.
A native Texan who now resides in Seattle, Gunn, began his musical life at the age of 7 playing piano. His interest in music grew through various instruments: electric bass, electric and acoustic guitar, keyboards, and the touch guitar. He completed a degree in classical music composition at the University of Oregon before moving to New York City where his professional life blossomed.
In 1992 he was asked to join David Sylvian and Robert Fripp in a collaborative project that toured throughout the United States, Europe and Japan. The band released "The First Day" and "Damage" – a live recording from the Royal Albert Hall in London – both on Virgin Records. During this period Gunn also found time to record his first solo album "One Thousand Years.” This recording began his work merging storytelling, dreamtime and music.
In 1994 he joined King Crimson – a group many contend as the most aggressively, adventurous rock band of all time. Over the next decade he participated in seventeen King Crimson CDs, two DVDs and hundreds of performances. For his role in this configuration of the group (Adrian Belew, Robert Fripp, Pat Mastelotto and Gunn), he helped evolve a new and unique instrument. This 'tapped' instrument, the Warr Guitar, is a 10-string touch guitar with the range of a piano. It can be heard, in depth, on his 7 solo recordings.
In addition to the powerful performances and recordings of The Trey Gunn Band, Gunn has toured and/or recorded with TOOL, Brian Eno, Maynard J. Keenan’s “Puscifer”, Vernon Reid, Led Zeppelin’s John Paul Jones, Azam Ali, Michael Brook, The Farlanders, Matt Chamberlain, David Hykes of the Harmonic Choir and has spent nearly twenty years in diverse musical partnerships with Robert Fripp.
2004 saw Gunn fully step into the world of multi-dimensional art forms. He began working on a series of children’s stories set in Africa, a setting of Gregory Orr’s poem “Orpheus and Eurydice” and he and Joe Mendelson (Rise Robots Rise) gave birth to Quodia -- a new form of multi-media performance art. Quodia concerts -- that integrate live music, film, language and storytelling -- have continued to take Gunn deep into cultures far from his Texan roots: Russia, Norway, Mexico, Argentina, Chile and more.
Although Gunn began intensive scoring work for television in 1998 in between tours and recordings, it wasn’t until 2006 that his work in film began to coalesce. He has, since, music supervised for a feature about the independent music scene in Seattle, and Pavel Ruminov, a filmmaker known as the “new Kubrick of Russia” sought Gunn’s scoring expertise for his film “Dead Daughters”. He score for Sonya Lea's film "Every Beautiful Thing" (2015) won the Moondance Film Festival for "best score."

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