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Eric Johnson Comentário e Transcrição Kleber K. Shima Rapidinha 1 Cliffs Of Dover / do álbum Ah Via Musicom (1990) 026 - 035 Esta música abriu as portas para FMs, chegando a ganhar um Grammy. ponto. Somente as notas da segunda que Eric Jonhson se tornasse conhe- Nesse trecho, podemos notar duas téc- corda vão mudando e a nota G, que cido no mundo inteiro. Cliffs Of nicas distintas: pedal point e string está na primeira e na terceira corda, Dover foi uma das primeiras músi- skipping. No pedal point uma nota sem- permanece fixa. String skipping é a cas instrumentais a emplacar nas pre permanece fixa em determinado técnica de salto de cordas. F. 0 1 F. 0 1 Rapidinha 2 SRV / do álbum Venus Isle (1996) 000 - 014 Este tema feito em homenagem a sexta corda (compassos 1 e 5) e slides é a forma como ele deve ser executa- Stevie Ray Vaughan. Possui vários em intervalos quartais sobre duas cor- do, pois Johnson é obcecado pela per- elementos hendrixianos, que tam- das (compasso 6). Repare na beleza feição timbrística e interpretativa, bém faziam parte do estilo de do acorde Asus2 no final do compas- explorando todas as nuances e deta- Vaughan, como o uso do polegar na so 6. O que torna esse exemplo difícil lhes possíveis. F. 0 2 F. 0 2 F. 0 3 F. 0 3 Juliana Mozart Fotos: 8 - Guitar Class - Junho 2003 Rapidinha 3 Manhattan / do álbum enus Isle (1996) 001 - 019 Este é um dos temas mais mar- tocar notas oitavadas. Note que polegar (como Wes) e no compasso 2 cantes de Johnson, que possui uma Johnson vai alternando três técnicas usa a palhetada híbrida (com melodia que gruda na cabeça. distintas. Ele começa com a técnica palhetas e dedos). Não pense que Aqui ele faz uma homenagem a Wes de notas oitavadas palhetando as no- Johnson afinou ½ tom abaixo. Ele to- Montgomery, que criou o estilo de tas, em seguida troca a palheta pelo cou em Eb mesmo! F. 0 4 F. 0 4 F. 0 5 F. 0 5 F. 0 6 F. 0 6 Rapidinha 4 Steves Boogie / do álbum Ah Via Musicom (1990) 000 - 006 Neste tema country, Johnson come- híbrida - muito usada na música médio e anelar. O riff termina com um ça com uma divertida seqüência cro- country - é utilizada. Você deve tocar a bend de ½ tom sobre a nota G (sexta mática descendente (compassos 1 e 2). nota A (quinta corda solta) com a corda). Observe a afinação do bend para A partir daí, a técnica de palhetada palheta e as notas agudas com os dedos que ele não passe da altura desejada. F. 0 7 F. 0 7 www.revistaguitarclass.com.br Junho 2003 - Guitar Class - 9 Rapidinha 5 East Wes / do álbum Ah Via Musicom (1990) 000 - 008 Johnson abre o tema com arpejos mais legal é a pequena alavancada que essas duas notas usando hammer-on sobre os acordes Em7/11 e Esus2, mas aparece no final de cada arpejo. No final (ligado ascendente) e pull-off (ligado também pode ser interpretado como do riff, temos um pequeno trinado (liga- descendente) o mais rápido possível um D com baixo em E (D/E). O truque dos rápidos) sobre as notas D e E. Ligue dentro do tempo 4. F. 0 8 F. 0 8 Rapidinha 6 Shape Im In / do álbum Alien Love Child (2000) 152 - 157 Este riff é construído sobre a escala exemplos de simplicidade que funcio- notas estão situadas no tempo fraco de E mixolídio (jônio com sétima me- nam perfeitamente. Deve-se tomar cui- (compassos 2, 3 e 4). Este evento rece- nor). Esse é um daqueles clássicos dado na divisão rítmica, em que muitas be o nome de sincopa. F. 0 9 F. 0 9 Rapidinha 7 Rain / do álbum Alien Love Child (2000) 000 - 012 Johnson obteve mais uma indica- Maresh. Este exemplo é tocado usan- combinação de acordes Emmaj7/9 ção ao Grammy com esse belíssimo do-se a técnica de fingerstyle (sem (lê-se Mi menor com sétima maior tema composto pelo baixista Chris palheta, somente com os dedos) numa e nona) e Em 6/9. F. 1 0 F. 1 0 F. 1 1 F. 1 1 10 - Guitar Class - Junho 2003 www.revistaguitarclass.com.br Junho 2003 - Guitar Class - 11 Rapidinha 8 Zap / do álbum Tones (1986) 026 - 031 Johnson acertou a mão mais uma cantes e famosos do mundo são feitos a velha pentatônica menor de Bb foi vez, provando que os riffs mais mar- partir de idéias simples. Neste caso, a utilizada. Atenção com a tercina. F. 1 2 F. 1 2 Rapidinha 9 Venus Isle / do álbum Venus Isle (1996) 512 - 531 Toque usando palhetada híbrida, utilizando os dedos médio e anelar para como Johnson gosta de explorar acor- palhetando as notas mais graves e tocar as notas mais agudas. Repare des abertos, por ter o piano como se- gundo instrumento. F. 1 3 F. 1 3 F. 1 4 F. 1 4 Rapidinha 10 Cliffs Of Dover / do álbum Ah Via Musicom (1990) 055 - 106 As colcheias estão em forma de um pouco mais longa do que a segunda. Esse riff é feito sobre as tríades de cada swing fill, ou seja, a primeira nota é Esse tipo de divisão é muito usado no jazz. acorde e o elo de conexão entre elas é feito através de slide descendente. F. 1 5 F. 1 5 F. 1 6 F. 1 6 12 - Guitar Class - Junho 2003 www.revistaguitarclass.com.br Junho 2003 - Guitar Class - 13 SOLOS CLIFFS OF DOVER Álbum: Ah Via Musicom (1990) 0000 - 0025 Este solo está situado no campo escala pentatônica menor, formada solo - um pedal point usando harmônico de Em/G. Nos compassos 1 por dois grupos de padrões de cinco palhetada híbrida (palheta e dedos) e ao 4, Johnson toca sobre a escala notas, um padrão de quatro notas e salto de cordas (string skipping). A pentatônica menor com a nona um padrão de cinco notas. No com- nota G (casa 15 da primeira corda) é a adicionada, terminando num lick de passo 7, Johnson faz uma bela subida nota pedal e deve ser tocada com o pentatônica menor, muito usado no sobre os acordes C6 e D6, usando a dedo anelar da mão direita (veja foto blues e no rock. No compasso 5 temos técnica de salto de cordas (string 7). As outras notas devem ser tocadas um lick sobre a penta blues de Em, skipping). Entre os compassos 7 e 8, alternando-se a palhetada. No final do com a blue note (quarta aumentada - Johnson faz uma ligação para novos solo, Johnson volta aos padrões sobre nota A#). No final do compasso 5 e no arpejos sobre as tríades de G6, Am, G/ cinco notas (muito usado por ele) compasso 6 aparecem padrões B, C e D. A partir daí (compassos 10 sobre a escala pentatônica maior de G (patterns) descendentes sobre a ao 12) temos o trecho mais difícil do (compasso 13). F. 01 F. 02 F. 03 F. 04 F. 06 F. 07 F. 0 5 F. 0 8 F. 0 9 14 - Guitar Class - Junho 2003 F. 0 1 F. 0 2 F. 0 3 F. 0 4 F. 0 5 F. 0 6 F. 0 7 F. 0 8 F. 0 9 RAIN Álbum: Alien Love Child (2000) 0224 - 0310 Neste belo tema indicado ao (menor com a sexta maior), modulando Nos acordes Bbmaj7 e Fmaj7, Johnson Grammy como melhor canção instru- para o campo harmônico de F nos utiliza as escalas de Bb lídio e F jônio. mental, Johnson faz um solo com acordes Bbmaj7 e Fmaj7. O raciocínio Um detalhe importante é que nas sotaque jazzístico, começando com de Johnson é feito da seguinte maneira: finalizações para o Em, em vez de tocar uma subida de pentatônica menor de nos acordes dentro do campo harmôni- uma das notas da tríade, Johnson a Em em tercinas (três notas por tempo). co (D, Em, Em7 e A7), Johnson utiliza a substitui pela nona maior (nota F#), Note que a harmonia está sobre o escala Em dórico e Em pentatônica criando uma tensão muito interessante campo harmônico de Em dórico menor (dórico sem a sétima e a nona). e agradável de se ouvir. F. 01 F. 02 F. 03 F. 04 F. 05 F. 0 6 www.revistaguitarclass.com.br Junho 2003 - Guitar Class - 15 SOLOS F. 0 7 F. 0 8 F. 0 9 F. 0 1 F. 0 2 F. 0 3 F. 0 4 F. 0 5 F. 0 6 F. 0 7 F. 0 8 F. 0 9 SRV Álbum: Venus Isle (1996) 0155 - 0224 Eric Johnson presta uma homena- interessantes do solo estão nos Johnson usa a técnica de harmônicos gem ao grande Stevie Ray Vaughan, compassos 3 e 4, em que Johnson faz tocados com o dedo indicador da mão baseando-se no tipo de som que uma frase de difícil execução sobre a direita, palhetando as notas e seguran- conseguiria tocando com o captador escala pentatônica maior de E. A do a palheta com o polegar e com o do braço de uma Fender Stratocaster. digitação é o segredo para executar a dedo médio. Johnson termina o solo Essa música também traz a participa- frase com precisão. Os trechos que com vários slides ascendentes e ção de Jimmy Vaughan, irmão mais devem ser estudados com calma estão descendentes sobre a escala velho de Stevie. Os pontos mais nos compassos 8, 9, 11 e 12, em que pentatônica maior de E.
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    , •!1996 WFU Publications Board, All Ri hts Reserved · · •'· ·"; ·-:~ :"--·-·/:' ':•.'l.('• :~·-r:·-. "~- -·. ,1": ,' ',," • " J> •• ·l'. 1 ' . E.~PI•li~~~!~-:,~k·pl~y~ Charlotte's Grady Cole .Center, Devils BedevaUed: WoRlen's soCcer sneaks past Duke, perf,o~rp~jjop~lar ~o11g~ and ·dances the Sissyneck. · Schilling. ·kJcks i~.last-second ·goal to down. Devils 1-0 ·?·· ·,,_:- ::. ·:·,. ' A&E Page 86 Sports Page 81 News Page A4 VOLUME80, No.5 "COVERS THE CAMPUS LIKE THE MAGNOLIAS." THURSDAY, SEPTEMBER 26, 1996 'Work Forest' myth dispelled in Kuh report BY DAN CHILI>S The report said the amount ofeffort has the third highest workload in the demics at the university consume 0Lu Got.ll Mm BLACK Ru•mu !~K devoted to educationally purposeful country. too much of their time. activities by students Kuh found that Ken Zick, the vice president of According to a recent assessment does not seem to ex­ more than half of stu­ student life and instructional re­ of the intellectual climate of the uni­ ceed that put forth by Intellectual dents at this university sources, said part of the reason be­ versity, the nickname "Work Forest" students at other com­ te spend 30 hours or fewer hind the conclusion could be the is not as accurate as many students parable universities, a week on their school quality of the students themselves. like to imagine. contrary to common work, class time in­ "We know there are some students One of the conclusions of the as­ student belief. Kuh used cluded. who don't have to spend as much sessment, done by George Kuh, stated, three comparable uni­ Kuh also con­ time on the material presented in "students devote satisfactory, but not versities while assess­ cluded that students do order to master it," Zick said.
  • Copyright by Craig Dwight Hillis 2011

    Copyright by Craig Dwight Hillis 2011

    Copyright by Craig Dwight Hillis 2011 The Dissertation Committee for Craig Dwight Hillis Certifies that this is the approved version of the following dissertation: The Austin Music Scene in the 1970s: Songs and Songwriters Committee: __________________________________ Mark C. Smith, Supervisor __________________________________ Douglas E. Foley __________________________________ Karl H. Miller __________________________________ Kevin Mooney __________________________________ Jeffery L. Meikle __________________________________ William M. Stott The Austin Music Scene in the 1970s: Songs and Songwriters by Craig Dwight Hillis, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas At Austin August, 2011 Dedication In memory of David Norman Hillis ~ Brother Valerie Ann Hillis ~ Mother Dwight Norman Hillis ~ Father Acknowledgements This project began roughly twenty years ago when I visited the American Studies Department to inquire about their graduate program. I'd been rooting around the History Department where, at age forty-one and only twenty years behind schedule, I'd finished my undergraduate degree. I had the academic bug and I wanted to move on to graduate school. Professor David Montejano was kind enough to let me sit in on one of his graduate courses to allow me to get a feel for what graduate work involved. As the seminar wound down, he suggested that I check out the AMS program on the third floor of Garrison Hall. I looked through the courses the department had been offering over the last few semesters and after noticing subjects like film history, jazz, a large collection of topics in popular culture, and seminars dealing with drugs, alcohol, and the beat generation, I knew I'd found a new home.