LIBRO - BOOK

DI MEOLA AL, JOHN McLAUGHLIN, PACO DE LUCIA, FRIDAY NIGHT IN SAN FRANCISCO. SHEET MUSIC BOOK IN STANDARD NOTATION. 

LIBRO DI MUSICA JAZZ, FUSION,
SPARTITI PER CHITARRA CON PENTAGRAMMA E ACCORDI. 
TRASCRIZIONE DI OGNI CHITARRA.

Questo irripetibile concerto del 5 dicembre 1980, ha aperto le strade al genere spanish-jazz-acustico.

LIBRO DI MUSICA JAZZ FUSION, TRASCRITTO da AL DI MEOLA !

SPARTITI PER 2 E 3 CHITARRE CON:

ACCORDI E PENTAGRAMMA.

DISCO PIù FAMOSO DEL TRIO CHITARRISTICO PATRONIMICO ( Di, Mc, De ) .  

Al Di Meola, Paco De Lucia: Mediterranean Sundance/Rio Ancho;
Al Di Meola, John McLaughlin: Short Tales Of The Black Forest;
Paco De Lucia, John McLaughlin: Frevo Rasgado;
Al Di Meola, Paco De Lucia, John McLaughlin: Fantasia Suite; Paco De Lucia, Al Di Meola, John McLaughlin: Guardian Angel.

Trascrizione di ogni chitarra.

Al Di Meola, John McLaughlin and Paco DeLucia - Friday Night in San Francisco

Artist Transcriptions
Series: Guitar Book
Artist: Al Di Meola
Artist: John McLaughlin
Artist: Paco Delucia

This famous trio of acoustic guitarists is captured live in this matching folio to the Grammy Award-winning album from a live concert in San Francisco. The book contains full transcriptions of every tune including: Short Tales of the Black Forest - Mediterranean Sundance/Rio Ancho - Fantasia Suite - and more.
Inventory #HL 00660115
ISBN: 9780793512461
UPC: 073999601152
Width: 9.0"
Length: 12.0"
96 pages

Series: Guitar Book
Artist: Al Di Meola
Artist: John McLaughlin
Artist: Paco Delucia
Artist Transcriptions 21st Century Publications

"Latin rhythms are the most interesting rhythms in the world," opines Al Di Meola, "and to write them you have to be able to play them." And Di Meola can certainly play them. The master altenate-picker and fusion pioneer has carried on a multi-decade love affair with the music of Spain and Central and South America while simultaneously leaving his imprint on the jazz and rock worlds. His two latest releases are The Guitar Trio with Paco de Lucia and John McLaughlin, and Di Meola Plays Piazzolla, a tribute to the great Argentinean tango composer Astor Piazzolla. Both albums are rich in Latin influences, and Di Meola has devoted his musical life to absorbing the subtle stylistic nuances of the various genres within his own playing. "Almost everything I do I kind of analyze to be some kind of percussion or drum pattern," says Di Meola. "I'm particularly interested in what's known as the 'clavé' rhythm. That's essential in Latin music, and some people just can't do it. But you'll hear Latin musicians say, 'Oh, he plays good clavé.' clavé is sometimes referred to as a rhythm, hut mostly in salsa music. When you play against the clavé, you're playing against the time, and that's what I do a lot when 1 play rhythmically on a guitar. We refer to clavé as the quarter note." A great example of this can be found in Di Meola's song "Beyond The Mirage," from The Guitar Trio (see Ex. 1). The opening arpeggios are composed in a classic clavé rhythm. "All three guitars tune the 6th string down to a low D," says Di Meola. "I use a little bit of my Roland GR synth in there, so you can hear that real low tone of a fretless bass sound." 

The picking pattern is not strictly alternating, but designed to fit over the specific string spread. Di Meola composed the picking pattern as much as the notes themselves. You must perform the pick strokes a certain way to achieve the proper ,"hythm. "The first note you hit is on the 6th string, the second note is on the high E string, the third on the D string, and so on," explains Di Meola. "So there's a lot of skipping around. It's down, up, down, up, up, up. But you have to do it this way or the rhythm won't sound just right. And if it's off a hair, the feel is ruined."
At this brisk tempo (q=200), it's quite a challenge to execute pattens accurately. But that's not the most difficult aspect of the passage, according to Di Meola: "It's more the rhythm that's going to mess people up. And what people need to get into is experimenting more with different rhythms, and keeping all of that locked into the clavé time." The rhythm and the placement of the accents brings to mind anothe," Latin-jazz standard, "Spain," by Chick Corea. "The whole thing in 'Spain' is the way those accents fall," says Di Meola. "It's off of the clavé without the clavé moving that will determine whether it's working or not. What 1love about Chick is that he writes and plays with so much clavé. I'm really drawn to his ability to use that in composition and playing." As a fitting homage to Corea-who helped launch Di Meola's career by hiring ti,e teenage,' to play in his band Return To Forever -Paco, John, and Al perform "Spain" as an encore. Note how close the rhythm and accents are in the opening of "Spain" to Di Meola's own tune. The difference is that "Spain" is melodic and "Mirage" is rhythmic. Both carry the clavé rhythm within their notes, and both capture the essence of Latin music. "The important tiling is the rhythm," stresses Di Meola. "Withont that you have nothing. Whether it's 'Spain' or 'Beyond The Mirage' or whatever, the rhythm is everything."

 Quando nella seconda metà degli anni '70 comparve il primo album dal titolo "Land Of The Midnight Sun", di un giovane chitarrista il cui particolarissimo stile esecutivo era stato già notato sulle produzioni di Chick Corea "No Mytery" e "Romantic Warrior", si ebbe occasione di ascoltarlo esterefatto in cuffia in un negozio di dischi. Il disco avrebbe fatto furore tra gli "insiders" dell'epoca; i giovani cultural-rampanti di allora ascoltavano jazz-rock, fusion, Zappa e art-rock sul tipo dei "Gentle Giant". I successori del chitarrista di Chick Corea potevano solo sognare di una carriera incredibile come quella che iniziò allora AI Di Meola: mentre oggi Scott Henderson e Frank Gambale suonano in piccoli Clubs, AI Di Meola riempiva già allora grosse sale, senza problemi. La sua seconda produzione, "Elegant Gypsy" fu votata jazz-album dell'anno nella classifica di Guitar Player e AI Di Meola stesso salì sul trono di migliore chitarrista jazz dell'anno. Tutti i suoi dischi di quel tempo hanno sufficiente fuoco ritmico, ma, almeno allora, AI Di Meola sembrava evitare come il diavolo l'acqua santa, shuffle, swing e tutto quello che avesse a che fare con grooves a terzine. "Mediterranean Sundance", un duetto col gigante del flamenco Paco De Lucia, è stato pubblicato su "Elegant Gypsy".Nella notazione di questa rubrica si trova la parte di Al Di Meola, dal tema fino alla fine del suo assolo; qui c'è dentro tutto ciò che mandava in pappa il cervello dei giovani chitarristi (aspiranti e non) di oltre 16 anni fa. Ancora oggi ci sorprende la velocità e la precisione tecnica per quanto riguarda la scelta del suono ed il fraseggio; l'entusiasmo è un po' diminuito. Praticamente tutto il brano è composto solo da note in MI- naturale; in alcuni punti spunta un RE# sul MI- armonico. Le salve di staccato tipiche di AI, sono ottenute con una percussione energica vicino al ponte ed un deciso smorzamento delle corde con la mano (p.m. = Palm Mute, sordina col palmo della mano). I passaggi ad altissima velocità sono composti fondamentalmente da una serie di segmenti di scala; ne sono stati influenzati chitarristi come Steve Lukather, Vinnie Moore e una serie di esecutori da "competizione e gran turismo". AI allora suonava delle Les Paul, le sue chitarre acustiche erano della casa Ovation.

Spaventosa, questa musica vive della sua velocità, esattamente come anche la musica classica. Per suonare musica strumentale interessante occorre essere padroni di una tecnica fenomenale. E' importante che l'ascoltatore colga la complessità della musica: lento, rapido, triste, allegro - sono tanti gli stati d'animo e gli aspetti della musica; non è solo rapidità esecutiva. Come compositore e musicista improvvisatore voglio anche poter tradurre in note reali quello che mi gira per la mente; e a questo scopo non posso fare a meno di una determinata tecnica. Solo così può funzionare. Ma la rapidità esecutiva credo non sia più un punto di discussione ... almeno per gli ultimi 6 o 8 albums.

Ancora qualche osservazione sulla biografia di questo musicista: Larry Coryell è uno dei chitarristi che hanno influenzato inizialmente Al Di Meola: lui ha definito Coryell come il vero e proprio padre della fusion. Al si recava regolarmente ai concerti del suo idolo. I due musicisti si incontrarono e si conobbero: Coryell ha invitato il sedicenne Al nella sua fattoria dove senz'altro gli ha insegnato qualche trucco. AI volle approfondire l'argomento e nel '71 si iscrisse al Berklee College di Boston. In questo periodo ha seguito soprattutto la musica di John McLaughlin, Miles Davis e John Coltrane. Il suo studio sembra avere riscosso successo: infatti Chick Corea si accorse ben presto di lui. Stava cercando un sostituto per Bill Connors e così a 20 anni Al Di Meola divenne il nuovo chitarrista dei Return To Forever, sicuramente uno dei passi più importanti e decisivi della sua carriera. Dieci anni più tardi pensò di intraprendere la carriera di solista e divenne uno dei musicisti di jazz-rock più popolari degli anni '70, una star della chitarra sia elettrica che acustica. D'altro canto mai virtuosismo tecnico e perfezionismo esecutivo è stato tanto criticato e considerato fine a sè stesso come nel caso di questo musicista; ma la re ponsabilità non fu esclusivamente dei critici musicali.

… di musica aggressiva e ad alto volume è calata uotevolmente: non rifiuto certo questo aspetto della musica, ma la mia sensibilità musicale è cambiata nel corso degli anni. John McLaugh-Iin è una persona diversa, lui viene da un'altro pianeta. Senza voler stare a criticare, avevamo molti punti in comune qualche anno fa: tutto doveva essere il più forte, il più rapido possibile, un'energia illimitata, ecco cosa volevamo esprimere. E' una tendenza comune alla maggior parte dei giovani musicisti. Pat Metheny si è sviluppato in un certo modo alla rovescia negli ultimi tempi. Ho sentito che ha pubblicato un disco solo con rumori (ridacchia). Ma devo dire che non l'ho ancora ascoltato. Forse ha solo voluto esprimere la sua frustrazione di essere cacciato sempre nello stesso cassetto ..• che ne so .... Avrà pure avuto i suoi motivi.

Come come avete lavorato in studio sul tuo ultimo album "Orange And Blue"?

AD M: Ho registrato una quantità di basi Iive col mio tastierista Mario Parmisano, per il resto è un album molto "prodotto". Le parti di chitarra le ho registrate successivamente da solo. Ma lavoro anche con una quantità di altri musicisti; a dire il vero, a parte alcuni passaggi improvvisati, è stato un lavoro molto ben pianificato. Ma non mi dispiace neppure l'altro sistema: andare in studio con un'intera band e registrare tutto più o meno dal vivo. In questo caso la possibilità di inserire dei guest-musicians è quasi impossibile in quanto il prodotto, una volta registrato, è bell'e finito così com'è. Nel mio nuovo album ho avuto la possibilità di lavorare con quei musicisti che volevo per le mie composizioni: Peter Erskine, Manu Katchè, Marc Johnson, Pino Palladino - tutta gente con cui volevo lavorare già da sempre. E poi c'era ancora Steve Gadd che non aveva più suonato da lO - 11 anni sui miei dischi; è stato meraviglioso averlo di nuovo su una mia produzione. E' gente che contribuisce in modo veramente speciale alla mia musica.

Hai altri progetti?

ADM: Attualmente sto suonando anche con Jean Luc Ponty e Stanley Clarke in trio, musica puramente acustica. Tra non molto registreremo anche un album che comparirà l'anno prossimo.

Esistono nuovi dischi che ascolti volentieri?

ADM: Vuoi dire dischi di altri artisti?

Immagino che ami ascoltare anche le tue produzioni.

ADM: Sì, il mio nuovo album lo ascolto molto volentieri. (Riflette) Mmmmh, ci ho lavorato talmente tanto e con tanto impegno che ho quasi ascoltato altra musica (riflette) ..•Enigma!

Stai parlando del progetto di Michael Cretu?

ADM: Esatto, quel tipo che vive ad Ibiza.

Molta gente che si considera importante ed intelligente non ama questo genere di musica. Ma Cretu fa degli ottimi dischi, ha un suono inconfondibile. Dove hai sentito la loro musica?

ADM: Sai, la Jazz-Radio negli Stati Uniti è terribile, tutto quello che suonano è "bullshit easy Iistening" – spaventoso! Ecco perché le stazioni rock hanno sempre maggiore successo: loro almeno non trasmettono tanta spazzatura. E' lì che ho sentito uno spot del nuovo album degli Enigma, un brano con una voce indiana, un pezzo fatto molto bene. Non è certo una rivoluzione musicale, ma il suono è molto individuale, creativo; ecco perchè mi piace. Apprezzo in ogni caso le produzioni intelligenti e creative. Non vorrei però che ti facessi un'impressione sbagliata: Enigma non rappresenta il mio gusto musicale; amo molti tipi di musica tutti diversi.

Atmosfera e ambiente mi sembranoimportanti sia per l'ascoltatore che per il musicista. Evidentemente vuoi lasciare al tuo ascoltatore la possibilità di interpretazione, la libertà di feeling; lasciare che scopra sempre nuovi aspetti della musica. Questo è quanto mi è capitato all'ascolto di alcuni brani del tuo disco.

ADM: Ottimo, se riesci a cogliere la musi~a in questo modo; una reazione di questo genere mi dice che il mio disco per te ha qualcosa di particolare. Quando un disco mi piace così di primo acchito, me ne stanco anche rapidamente. Quando invece ad ogni nuovo ascolto scopro qualcosa di nuovo è un ottimo segno. Mi è capitato per esempio con i dischi dei Weather Reporto La combinazione tra atmosfera e stato d'animo è importante quanto tutti gli altri ingredienti musicali.

Un ottimo esempio è "Secret Story" di Pat Metheny. Conosci questodisco?

ADM: L'ho sentito una volta e mi è sembrato molto riuscito; un album molto "prodotto", come il mio. Pat Metheny a quanto ho sentito, ci ha investito un milione di dollari. lo non ho avuto nemmeno un decimo. Se una casa discografica mi offrisse tanti soldi per una produzione .•. (riflette sorridendo) ... accetterei subito!

Oltre alla musica e i soldi ci sono altre cose che ti interessano? Fare a maglia, indossatrici, films, politica, religione ...?

AD M: Jessica Lange è la mia attrice preferita. Religione e politica mi annoiano; organizzazioni come la "Scientology Church" mi fanno venire i brividi. La mia religione è la mia musica, anche se può sembrare ridicolo. Ma la musica mi permette di concentrarmi, mi dà forza. Conosco una quantità di musicisti che stanno tutt'altro che bene... fanno una vita schifosa, ma quando hanno il loro strumento in mano stanno bene; è come una religione, quello in cui credo esiste veramente, non me l'ha raccontato nessuno, ma ne ho fatto esperienza diretta io stesso. Questo tavolo qui lo posso toccare, lo vedo, sta di f ronte a me. La stessa cosa succede con la musica ed ecco perchè ci credo. Tutto il resto non funziona! La gente deve poter fare quello che vuole, deve poter essere libera sempre che non faccia del male ad altri. Ma questa è solo la mia opinione.

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

CARLTON LARRY, FINGERPRINTS, GUITAR TABLATURE EDITION. SHEET MUSIC BOOK WITH GUITAR TABLATURE .

LIBRO DI MUSICA FUSION,

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE.

Ed Lozano

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.

TiTOLi : 

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

CARLTON LARRY, LARRY CARLTON. SHEET MUSIC BOOK WITH GUITAR TABLATURE . 

LIBRO DI MUSICA JAZZ FUSION,

SPARTITO PER CHITARRA :

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE.

Room 335 - Musica di: Larry Carlton - 1973
Nite Crawler - Musica di: Larry Carlton - 1977
Point It Up - Musica di: Larry Carlton - 1978
Rio Samba - Musica di: Larry Carlton - 1978
Don't Give It Up - Musica di: Larry Carlton - 1978
(It Was) Only Yesterday - Musica di: Larry Carlton - 1978

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.

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.

ACOUSTIC FUSION. GUITAR SCORE. SHEET MUSIC BOOK WITH TABLATURE

LIBRO DI MUSICA FUSION ACUSTICA.

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

14 Titoli:

-Rio funk (Ritenour) - FROM THE ALBUM ''LEE RITENOUR IN RIO''

-rainbow (Ritenour) - FROM THE ALBUM ''LEE RITENOUR IN RIO''

-sun Juan sunset (Ritenour) - FROM THE ALBUM ''LEE RITENOUR IN RIO''

-living inside your love (Earl Klugh) - FROM THE ALBUM ''LIVING INSIDE YOUR LOVE''

-Catherine (Earl Klugh) - FROM THE ALBUM ''FINGER PAINTINGS''

-dance with me (Earl Klugh) - FROM THE ALBUM ''FINGER PAINTINGS''

-minute by minute (Larry Carlton) - FROM THE ALBUM ''DISCOVERY''

-mediterranean sundance, per due chitarre (Al di Meola) - FROM THE ALBUM ''ELEGANT GYPSY''

-Rene's theme (Lary Coryell) - FROM THE ALBUM ''SPACES'' 

-early autumn (Mezzoforte) - FROM THE ALBUM ''FORTISSIMOS''

-columbia (acoustic alchemy) - FROM THE ALBUM ''ARCANUM''

e altri. 

LEARN TO PLAY: ALL AMERICAN HARP. CHARLIE McCOY. Per armonica. BOOK & CD .

SOUTH FAYETTE

AM936200

LEARN TO PLAY ALL THE GREAT AMERICAN STYLES FROM  :

CHICAGO BLUES TO NASHVILLE COUNTRY,

DOWN TO RIO GRANDE TO TEX-MEX .