LIBRO

LIEBERT OTTMAR E LUNA NEGRA OPIUM HIGHLIGHTS Guitar Recorded Version TABLATURE CHITARRA TAB

LIEBERT OTTMAR E LUNA NEGRA, OPIUM HIGHLIGHTS. TAB.

Series: Guitar Recorded Version TAB
Artist: Luna Negra
Artist: Ottmar Liebert

This songbook features note-for-note transcriptions with tab for 14 selections from Ottmar Liebert and Luna Negra's 1996 new age/flamenco release Opium. Includes tips on playing Ottmar's music, and pages of great photos.

"Flamenco is a music both romantic and dangerous; it is an attitude as much as it is a musical genre." Ottmar Liebert

135 pages

Alegria Arabe
The Blink Of An I Contains Eternity
Buleria De Las Golondrinas
Buleria De Rojo
Butterfly + Juniper
Chama 2 Santa Fe
La Acequia Madre
Montana Walking
Nuevo Mexico
Old Man On The Citadel
Tangos De Tesuque
Turkish Night
The Winding Road/La Primavera
Yasmeen

Price: €59,99
€59,99

LIEBERT OTTMAR E LUNA NEGRA BORRASCA GUITAR TABLATURE BOOK CHITARRA SPARTITI LIBRO

LIEBERT OTTMAR E LUNA NEGRA, BORRASCA. TABLATURE

Series: Creative Concepts Publishing
Publisher: Creative Concepts TAB
Artist: Ottmar Liebert

 

On your early releases you overdubbed rhythm and lead parts. When
you began to tour, did you hire additional players for those parts?
I just did it by myself and kind of faked it. I also had a new percussionist
who was really hot, so it kind of worked. This year, to celebrate seven years
of Luna Negra [Ottmar's group], we plan to tour with a nine piece band that
will consist of three guitar players, three drummers, a horn section, and a
bass player. There are a lot of tunes from Borrasca [Lieben's sophomore
effort] that feature Rhumbas that shouldn't be faked.
You have a pretty respectable speed with your picking. Do you use a
pick, or is it always i,m (index and middle finger alternating)?
It is always i,m. The tremolo is i,m,a, with the first note of the triplets
starting with the a and the thumb. I only use a pick when I play live on the
electric; it is a pick made out of stone. I also use a sterling silver pick I
found at the Hard Rock Hotel in Las Vegas when we played there.
What did you do to build up speed and develop a smooth tremolo?
Well, the tremolo was more about reclaiming lost territory. When I was
a kid I spent countless hours reading and doing a tremolo at the same time.
The picato (i,a rest strokes) was just a matter of practicing. The picato was
easier than the rasqueados [the flamenco strums] because they are very
unnatural motions for the hands to make. I worked on them every day for a
couple of years. I recently had a studio musician in New York tell me about
several recordings by famous classical guitarists of Rodrigo's Concierto De
Aranjuez. These guitarists would keep a pick near their guitar for the passages
requiring the rasqueados, because they didn't have the technique. The first
time that Concierto was recorded correctly rhythmically was when Paco De
Lucia recorded it a few years ago. The slow movements are not as beautiful
as, say, Julian Bream's. I think this is because Flamenco players are not as
used to setting the note perfectly with an orchestra; the guitar tone is dead so
quickly. I think Paco's rendition is so beautiful; it has never been performed
like that before. I think he blurred the line between Classical and Flamenco.
Do you still maintain a practice routine?
If I don't practice for an hour or two every day I get edgy, physically
weird. My wife will tell me to go into the studio and practice. I am kind of
a high-strung, scattered person, and I am very unorganized. 1 get distracted
by my computer, phone calls, etc. Some of the practice is just physical, and
you need to practice like a runner. Sometimes, however, I will spend time
just playing around with melodies-not practicing technique, but practicing
musIc.
It sounds like you play what you hear, not what you find on the guitar.
Yes, I hear the next note or I don't play it.
How do you care for your nails?
I apply a little bit of Crazy Glue, then I add baking soda to it. This
combination creates an instantly hard shell. I try to take it off once a year to
let my nails breathe and rest.
What sort of ampl ijication do you use?
I hate'pickups, I've always played into a microphone. It used to be a
AKGC460 with a 63 capsule. Now it's a C480, which is a wonderful new
mic with a higher output and an incredible range. Live, I need to use a
pickup, depending on the size of the venue. I use an Acoustech, which is a
mic-pickup combination; it helps on the low end.
Tell me about your guitars.
My flamenco guitars are made by Keith Vizcarra, of Santa Fe, and are
Negras [cedar top/rosewood back and sides]. They are fitted with
revolutionary V-pegs that Vizcarra designed. The idea behind them is that
normal machine heads don't have the connection to the wood that friction
pegs have. Because of this, Vizcarra invented geared friction pegs, which
have a geared ratio with material that looks like wood and has wood on the
end. They contain the best of both worlds. You get the sound of friction and
the reliability of geared heads. They are absolutely brilliant.
 
Ottmar Liebert's phenomenal success in the last decade has been matched
by only a few mainstream pop/rock acts. That he is an instrumental guitarist
makes his story all the more unbelievable -not the stuff of gold and platinum
success. Not normally. Liebert is a self-described "mutt" born of Chinese
and German heritage and raised in Europe as a boy. His journey brought him to
America, where he followed his pop/rock muse through many frustrating
years. Looking for a change of pace, Liebert began playing nylon string
acoustic guitar in restaurants in his home town (eleven years to date) of Santa
Fe, New Mexico. A local artist funded a vanity pressing of 1,000 copies of
what turned out to be Nouveau Flamenco. When radio got a hold of this
unique hybrid of flamenco/pop instrumental tunes, a genre was born. Even
though the public readily took to Liebert's quasi-flamenco stylings, some
purists were, and still are, outraged. I met with Liebert after he had just
finished mixing his newest project, Leaning Into The Night, for Sony Classical.
When I heard your first CD, "Nouveau Flamenco," it seemed like a very
pop,oriented treatment of Flamenco styles. There is a lot of repetition and
musical hooks.
I had been playing mostly in rock bands, so I am one of those people
eho thinks in terms of verse/chorus/verse.
Even though you have released a half dozen records since, the first one
is still popular.
Higher Octave [the record label] is still working that first album; I only
did, three with them before signing with Sony. That album is now platinum in
the U.S., Canada, ew Zealand, and Australia. It is an amazing little record.
your experience with Flamenco wasn't all that great when you recorded
that fisrt record in Santa Fe.
A couple of years from the time I arrived, after taking a bunch of Flamenco
lessons and picking material off of records, I was developing the material for
Nouveau Flamenco. When I recorded that album I had only been playing
Flamenco for about a year, so I had very rudimentary technique. It was
interesting, because calling it Nouveau Flamenco was kind of a joke. If I had
pretended to be Spanish I would have called it "Nuevo Flamenco." My title
was suppoed to be funny, like "Nouvelle Cuisine." I kind of stepped right
into a hornet's nest with that title. I found myself thinking, "where is
everybody's sense of humor?" Here I was just starting out with a style I was
interested in, applying it to what I had already, and these guys were getting so
upset. Actually decided to keep it going, because it was becoming funny to
me. The people that are the most stern about "tradition" are not the players,
they are the critics-the people removed from it. Their attitude is, "this is
mine, I found it. I can't play it, but I know what it's supposed to be." You
have to take it with a sense of humor. I take some of the traditional meters
and apply them. In the beginning, to show people where I got them from, I
would write underneath [Buleria], and by no means is it a Buleria with regard
to key and chord sequence, but it is a Buleria rhythm. One time my guitar
builder made me aware of an Email newsletter. I got involved, which was
funny because they didn't believe it was me writing back. They had been
writing about me forever; one faction was saying "Ottmar sucks," and the
other group was saying, "He's introduced so many people to Flamenco, etc."
they had never checked the meter of the song. They just thought that it
wasn't a true Buleria because of a very narrow idea of what Flamenco is. It
is like saying Chuck Berry is Rock 'n Roll, but King Crimson isn't. To me
it's humorous but it is really a non-issue.
I have heard you say that you prefer instrumentals because the listener
is not being told what to think about. Can you elaborate?
Well, I think that instrumental music somehow involves the listener;
without that involvement it is just background. Instrumental music is very
much like a relationship: what you get out of it depends on how much you
put into it. A song format seems to say, "Check me out, I've got something to
say ! " The Iistener is just receiving, as opposed to being involved. The better
lyricists  i will involve you, but some of the pop-schlock is not involving at all.
it is fine for me if omeone wants to refer to instrumental music as background.
Because I think it is beautiful that music can have those different levels.


Matching folio to the album, including: August Moon - Baja La Luna Mix - Borrasca - Bullfighter's Dream - Driving 2 Madrid - In the Hands of Love - The Storm Sings, and more.

112 pages

Price: €39,99
€39,99

VICTOR MONGE "SERRANITO" IN CONCERT. TABLATURE

VICTOR MONGE "SERRANITO" IN CONCERT. TAB.

Product Description:
Victor Monge "Serranito" is a legend in the history of Spanish music. His virtuoso technique combined with his supreme musicality has confirmed the fact, well known in musical circles, that he is one of the greats in flamenco guitar. As a composer he takes the greatest care in the form and foundation of his compositions, something which has taken him to an astonishing level of perfection in his music. This book gives notation and tablature for six of his compositions, as performed on the video of the same title. A biography and performance notes are included in Spanish, English, French, and Japanese.

Format: Book

Song Title: Composer/Source:
Calle de la sangre (Bulerías) Victor Monge "Serranito"
Cazorla (Taranta) Victor Monge "Serranito"
Llora la farruca (Farruca) Victor Monge "Serranito"
Paseando por Triana (Soleá) Victor Monge "Serranito"
Por la vera el Genil (Tangos) Victor Monge "Serranito"
Romance para un poeta Victor Monge "Serranito"

Price: €33,95
€33,95

DYLAN BOB THE HARP STYLE OF BOOK ARMONICA LIBRO SPARTITI Blowin' In The Wind TABLATURE

DYLAN BOB, THE HARP STYLE OF. Trascrizioni di 12 canzoni del più famoso menestrello della musica rock. Con discografia. Contiene: blowin' in the wind -don't think twice, it's all right -baby, I'm in the mood fot you -rainy day women #12 & 35 -just like a woman -I want you -I shall be released -I'll be your baby tonight -all along the watchtower -simple twist of fate -dark eyes -what was it you wanted. Tablature per armonica.

By Bob Dylan. Harmonica/vocal songbook for voice, harmonica and guitar chords. 80 pages. With vocal melody, harmonica notation, lyrics, chord names, guitar chord diagrams, instructional text, performance notes and black & white photos. Folk Rock.

A survey of Dylan's unique approach to harmonica playing through the transcriptions of:

Blowin' In The Wind
Don't Think Twice, It's All Right
Baby, I'm In The Mood For You
Rainy Day Women, #12 & 35
Just Like A Woman
I Want You
I Shall Be Released
I'll Be Your Baby Tonight
All Along The Watchtower
Simple Twist Of Fate
Dark Eyes
What Was It You Wanted

Price: €32,99
€32,99

ACOUSTIC FUSION-GUITAR SCORE TABLATURE MEDITERRANEAN SUNDANCE MEOLA SPARTITI CHITARRA

ACOUSTIC FUSION. 14 Titoli. Rio funk (Ritenour) -rainbow (Ritenour) -sun Juan sunset (Ritenour) -living inside your love (Earl Klugh) -Catherine (Earl Klugh) -dance with me (Earl Klugh) minute by minute (Carlton) -mediterranean sundance, per due chitarre (Al di Meola) -Rene's theme (Coryell) -early autumn (Mezzoforte) columbia (acoustic alchemy) e altri. TAB.

Price: €99,99
€99,99

LARRY & LEE RITENOUR-CARLTON GUITARS TABLATURE SPARTITI CHITARRA TRASCRIZIONI BOOK

LARRY & LEE RITENOUR / LARRY CARLTON. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

 

BOOK OF JAZZ / FUSION MUSIC.

SHEET MUSIC FOR GUITAR WITH CHORDS, TRADITIONAL NOTATION, TABLATURE. 

2 LINES OF TRADITIONAL NOTATIONS & 2 LINES OF GUITAR TABLATURE. 

103 PAGES.

SUPER TRANSCRIPTIONS !

LARRY CARLTON e LEE RITENOUR
(YEAR ALBUM: 1995)

Crosstown Kids - MUSIC BY LEE RITENOUR.
Low Steppin' - MUSIC BY LEE RITENOUR and LARRY CARLTON.
L.A. Underground - MUSIC by LEE RITENOUR.
Closed Door Jam - MUSIC BY LARRY CARLTON.
After the Rain - MUSIC by LEE RITENOUR.
Remembering J.P. - MUSIC by LARRY CARLTON.
Fun in the Dark - MUSIC by LEE RITENOUR.
Lots About Nothin' - MUSIC by LARRY CARLTON.
Take That - MUSIC by LEE RITENOUR.
Up and Adam - MUSIC by LARRY CARLTON.
Reflection of a Guitar Player - MUSIC BY LARRY CARLTON.  

Price: €179,99
€179,99

CARLTON LARRY GUITAR PLAYER TABLATURE CHITARRA LIBRO SPARTITO Room 335 sleepwalk

CARLTON LARRY, PLAYER. Anche per due chitarre. Room 335 -nite crawler -point it up -Rio samba -(it was) only yesterday -strikes twice -midnight parade -song for Katie -sleepwalk -blues bird -south town -blues for T.J. -crusin'. TAB.

Price: €98,00
€98,00

CARLTON LARRY FINGERPRINTS LIBRO CHITARRA TABLATURE-lazy susan-chicks with kickstands-gracias

CARLTON LARRY, FINGERPRINTS. Fingerprints -silky smooth -the storyteller -Ôtil i hurt you -slave song -all thru the night -lazy susan -chicks with kickstands -gracias -crying hands.TAB.

Description
All ten tracks from the album arranged for guitar in standard notation and tablature. Includes Silky Smooth, Til I Hurt You and Crying Hands. 120 Pages.

Price: €89,99
€89,99

CARLTON LARRY TABLATURE ROOM 335-NITE CRAWLER-POINT IT UP-RIO SAMBA DON'T GIVE IT UP-(IT WAS) ONLY

 

CARLTON LARRY, LARRY CARLTON. TABLATURE

Room 335 - Carlton
Nite Crawler - Carlton
Point It Up - Carlton
Rio Samba - Carlton
Don't Give It Up - Carlton
(It Was) Only Yesterday - Carlton

 

A longtime Nashville resident, Larry Carlton will perform a special hometown show at the Schermerhorn Symphony Center on Friday, September 30. Carlton spoke to Examiner.com about the upcoming show, his long career, playing with Michael Jackson and Dolly Parton, his continuing passion for music and more in the following interview.

Special thanks to Larry Carlton, and to Laurie Davis of the Nashville Symphony for arranging this interview.

 

You're playing at the Schermerhorn on Friday. Is this in conjunction with the Larry Carlton Plays the Sound of Philadelphia project?

That will be part of the show. The show I'm putting together is . . . I don't know if you'd call it the landscape of my career, but I'm going to do some things that I haven't done before, and the people are gonna be excited. They're gonna go, "Wow, I didn't know he played on that," or "Really? He was involved in that?"

I want to do a special show that night. It won't be just me and a sax player. (Laughs).

How did this come about? Did they approach you, or were you looking around for an appropriate venue for a particular type of show?

I was approached. I guess they finally got around to me. (Laughs). No, I was excited when I got the call. It's hometown for me, and the venue, if you will. I'm really excited.

I saw on your web site that you're going to be appearing with Steely Dan in New York City. Did you see them when they were in town?

No, I was actually out of town. Last year, or a year and a half ago they invited me to do seven shows with them. So I did a couple of nights in New York, one in Chicago, a couple of nights in LA. It was the first time . . . well, I'd never played live with them, and it was the first time in 35 years, since we cut The Royal Scam, that I went back and learned my solo from "Kid Charlemagne."

What's it like going back and re-visiting a part of your own career like that? Is it strange for you?

They're great memories. The weirdest thing for me is, I've never learned one of my own solos. (Laughs). I knew I had to play it note-for-note, and when I did, I got a standing ovation. People wanted to hear Larry play that solo.

After the long career you've had and all the various things you've done, what is it that keeps you active and excited about music?

That's a difficult question in that, at four years old I was fascinated with the guitar. At six years old I started taking lessons. I was passionate about it through the next fifty years, and that passion still exists.

Do you still keep an active practice regimen? Do you have the guitar in your hand every day?

No, normally I do about 125-150 a year touring around the world. So when I come home - and this is not new to me, I did this way back in the seventies - it's not unusual for me to not touch the guitar for a month, and just live my life; go horseback riding, go fishing.

I find that's good for my soul, good for my mind, and then when I come back to the guitar it's time to go again. It's a balance, I think.

You came up in an era where everything about the business was different. With all the changes in recording and distribution, do you think it's easier or harder for an artist in your position than it used to be?

Well, I have a unique situation, so I'm going to say it's easier. I have my own label now, and for the last four-and-a-half years. It was the first time in 17 years that I wasn't on a major label, and it was by choice. With the Internet I can talk to, play for, make music for the whole world, not just the US. When I was on a major they were very focused on the US.

Of course my albums were distributed overseas, and I have a great career in Japan and Europe. But now, I get an idea for a project . . . maybe it'll come from someone on Facebook saying, "Larry, have you ever thought of something with strings?" It could happen like that. So I'm enjoying the freedom of getting to make those choices.

What about the downside of the Internet, which is illegal downloading. Has that impacted you in the same way that it has rock and pop acts?

Well, of course. My numbers are down, like most artists, because everybody's exchanging files back and forth. That affects not only your record royalties, but your publishing and writing royalties. But it's just a new day, and I'm going with it. On my web site I'm sharing how I learned the guitar, how I play it . . . I want to be part of this new scene, and not avoid it and resent it.

You've obviously done a ton of recording, but two names jumped out at me from all that you've done that I wanted to ask you about, one of which is Michael Jackson. What did you do with Michael Jackson?

Quincy [Jones] called and said, "Larry, I have a special song, and it's got to be you." Because I wasn't doing a lot of dates, I'd already discontinued doing a lot of dates back then. So I went in and recorded what became a single, "She's Out of My Life."

In fact I'm looking at a three-foot plaque in my office right now that says, "Michael Jackson Off The Wall, over five million albums sold. We got all the marbles on this one, thanks for your help, Quincy." And there's four marbles in the bottom of it. It has a picture of Michael and the album cover. So yeah, I played on one cut on that album as a favor to Quincy.

The other one that popped out at me was Dolly Parton. I didn't know you'd done anything with her.

I don't remember the date, to tell you the truth. Whoever was producing her in LA in probably the early-to-mid seventies called me as the guitar player. So I know that I played on some stuff for Dolly, but I don't know what it was. (Laughs).

When you're doing that many different dates in so many different styles as you used to, is there any rational way to prepare for that, or do you just walk in and do it?

You walk in cold.

Versatility has served me well, and I think one of the reasons that I'm so versatile as a musician is because of the era and time that I was brought up. You figure, I was born in 1948, so by the time 1958 came around I'm ten, and I'm listening to doo-wop music on the radio. And that transitioned into the sixties, and rock and roll became very big.

So I'm part of that whole history, and I was playing the guitar the whole time. Every time something new came out in a style, I was aware of it. It was part of my hunger to learn how they did that. I wanted to learn the solo on an Elvis Presley record, and then The Beatles came along. So I lived through that transition, and the one thing that really made me a little bit different is that I fell in love with jazz when I was 14, but I didn't neglect pop music.

Back then every genre lived side by side, whereas now it's become divided and everything is micro-marketed to a very narrowly defined target demographic. How has that impacted you?

Obviously because I'm an instrumentalist, I was very happy in the mid-eighties when that format came along called the quiet storm, which transitioned into smooth jazz. All of a sudden there was a place on the radio for those of us that don't sing.

But I think it's run its course, I think it's boring now, and most of the stuff on those stations all sounds the same. You can't tell one sax player from another. But it was a neat thing that happened, and it exposed a lot of us to people that otherwise wouldn't have known us.

Are you finding that there's any good that's coming to you from any of the various alternatives, like satellite radio?

Yeah, I think so. You know, my songs are on those stations, and I'm sure there are people at home that keep those on sometimes, and listen to them while they're living their lives in their house or car, so it's just a nice place where someone might discover an artist.

You're offering interactive lessons on your web site. What gave you the idea to do that?

I was doing a guitar seminar in New York, and a producer was there who produces teaching DVDs. He has the largest Internet site, called True Fire. Anyway, he was impressed with my seminar and the way I communicate, so he approached me and said, "I'd like to produce a teaching video with you. It's been twenty years since you've done one." So that's how it started, and it still continues. I'm flying out tomorrow to speak to him about another project. So having a great producer helps me expose what I want to give to the guys out there.

What do you think is the most important thing to know for a kid who wants to play guitar?

I think what you just said: if a kid wants to play. I think motive is really important. What's your motive to play the guitar? Mine was always to make music. I can say this honestly: I never thought about being a star. It never entered my mind. I wanted to play the guitar. My dream as a teen was to be like my jazz heroes and play jazz in smoky clubs my whole life. I didn't know I was gonna become a session guy or any of that stuff.

So it's motive. Are you doing this because you want to be a star, or do you want to be a musician? If you're doing it because you want to be a star, then you'll go that direction, and that's okay. Both avenues are fine, but I think you've got to be honest, because I think truthfulness comes out of you when you're playing your music.

I read this online; is it correct or incorrect that your niece is Vanessa Carlton?

Nope. Incorrect! (Laughs).

I suspected that.

I have no idea where Wikipedia got that information. I've never met her.

Your son Travis is a bass player. Is it something that gives you pause, to see him go into the business? Because you have a decades-long bird's eye view of how difficult it can be.

All I can tell you is that he's gifted with music, and then he worked very, very hard as soon as he got out of high school. He went to GIT, graduated top of the class, Best Performer . . . he's a gifted, gifted musician who's worked very hard, and now he's reaping the rewards of that.

When he was a little boy sitting on my lap, and I'd be mixing a song in my studio, his body was always in time with the song. As a little kid. The stuff you can't teach, Travis got. I'm very proud of him. He plays in my band, he plays in Robben Ford's band, and he plays in Scott Henderson's band. People like grooving to Travis. It's a beautiful thing.

I wanted to ask you about Christianity and the music business. Do you ever find that being a Christian and being in the music business are at fundamentally cross purposes?

Personally, I have never had a struggle. When I became a reborn Christian in 1983, the Holy Spirit never told me, "Change what you're doing, Larry. Don't do that anymore." I mean musically. I was never called to that, "All right, now you only play religious songs." So I'm very comfortable with my relationship with God, and I just make my music, and my testimony is my music, and how I live my life.

I know some other Christian musicians that have been called to do it a different way, a more aggressive way, a more out-front way. I haven't been called to that, so I'm just growing where I was planted.

Is there anything else you want to say about the Schermerhorn show or whatever else is coming up?

I'm just excited to play at the Schermerhorn in my hometown, and I plan on bringing the best show I can.

Price: €129,99
€129,99

AL DI MEOLA JOHN McLAUGHLIN PACO DE LUCIA FRIDAY NIGHT IN SAN FRANCISCO TABLATURE CHITARRA RIO

DI MEOLA AL, JOHN McLAUGHLIN, PACO DE LUCIA. FRIDAY NIGHT IN SAN FRANCISCO. Le 3 ''tremende'' linee di chitarra. Tutti i titoli tutte tranne "frevo rasgado". SHEET MUSIC BOOK WITH GUITAR TABLATURE.

 

LIBRO DI MUSICA JAZZ FUSION.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.  

 

Song List:

- Mediterranean Sundance / Rio Ancho
- Fantasia Suite (Al Di Meola)
- Guardian Angel
- Short Tales Black Forest

Price: €213,99
€213,99
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