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Leia a Matéria Completa Aqui

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Leia a Matéria Completa Aqui 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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