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Zakk Wylde Zakk Wylde ZakkZakk WyldeWylde Comentário e Transcrição Kleber K. Shima Rapidinha 1 No More Tears / do álbum No More Tears (1991) 031 - 040 Neste riff, Zakk mostra como se usa acostumados a ouvir slide em country ou na casa 6 (compasso 2). Note que bottleneck (ou slide) em um contex- blues. Afine a guitarra conforme a indi- Zakk usa o A.H. (harmônico artifici- to mais pesado, já que estamos mais cação na partitura e use o slide apenas al) em quase todas as músicas. F. 0 1 F. 0 1 Rapidinha 2 Mama I´m Coming Home / do álbum No More Tears (1991) 000 - 008 Este foi um dos maiores sucessos é empresária do cantor. O compasso 1 é cendo a escala de E jônio, mantendo comerciais de Ozzy, pois o velho feito sobre um lick bem conhecido no as cordas 1 e 2 como notas pedais. Madman já era consagrado por fazer country. A dica é deixar soar as notas en- Use um violão de 12 cordas - ou um baladas muito boas. Mama refere- quanto toca. Nos compassos seguintes, te- violão que possua cordas de aço - para se à sua esposa, Sharon, que também mos o riff principal, em que Zakk vai des- manter o brilho da melodia. F. 02 F. 0 2 Juliana Mozart Fotos: Fotos: 34 - Guitar Class - Dezembro 2002 Rapidinha 3 Miracle Man / do álbum Rest For The Wicked (1988) 000 - 007 Esse foi o álbum de estréia de da já soava bem forte, como mostra este mediárias. A sigla M significa palm Zakk Wylde, que entrou para a ban- exemplo. Veja que esse riff possui mui- muting, que consiste em abafar as da em 1988. Seu estilo ainda não tos saltos de cordas, portanto, tome cui- cordas com a palma da mão direita estava tão definido, mas sua pega- dado para não esbarrar nas cordas inter- (para guitarristas destros). F. 0 3 F. 0 3 Rapidinha 4 Gets Me Through / do álbum Down To Earth (2001) 029 - 041 Exemplo tirado do último álbum, regulagem do tensor, encordoamento, taneamente para baixo (veja a foto). gravado em 2001. Este é um dos pou- ponte, etc. O destaque vai para os bends O riff termina com hammer-on so- cos momentos em que a afinação é de ¼ de tom. Como eles são produzidos bre a escala pentatônica de Em/Gm normal, ou seja, nada de mudar a nas cordas graves, puxe as cordas simul- com o auxílio de cordas soltas. F. 0 4 F. 0 4 Rapidinha 5 Graveyard Disciples / do álbum 1919 Eternal/Black Label Society (2002) 000 - 021 Essa música faz parte do último dis- caracterizam seu som na banda de Ozzy. te as casas; deixe apenas o som aba- co de um projeto paralelo de Zakk A afinação também é bem mais baixa, com fado. No final (compasso 3), há um chamado Black Label Society. Repa- a sexta corda afinada em C (Dó), deixando slide oitavado (tônica e oitava), en- re que a sonoridade é bem mais crua a música mais sombria e densa. Comece tre as notas C (Dó) e D (Ré), onde a e direta, sem muitos enfeites, que com as ghost notes na casa 3, mas não aper- quarta corda deve ser abafada. F. 0 5 F. 0 5 www.revistaguitarclass.com.br Dezembro 2002 - Guitar Class - 35 Rapidinha 6 Perry Mason / do álbum Ozzmosis (1995) 032 - 102 Os bends que aparecem neste exem- produzindo a mesma nota. Note que no das, descendentemente. Zakk não plo são chamados de uníssonos. To- compasso 3 é feito um slide descenden- economiza nos harmônicos artifici- que as duas notas ao mesmo tempo e te partindo da casa 20 e, na segunda vez, ais (A.H.). Veja que alguns harmôni- dê o bend na terceira corda até que o esse mesmo slide é feito com a palheta cos são tocados com vibrato, o que som se iguale ao da segunda corda, (pick slide). Raspe a palheta sobre as cor- reforça o efeito do harmônico. F. 06 F. 0 7 F. 0 6 F. 07 Rapidinha 7 Hellraiser / do álbum No More Tears (1991) 013 - 036 A gravação original é do Motor- distorção e toque as ghost notes (notas que você deve raspar a palheta nas head, banda liderada pelo lendário com X) abafando as cordas sem apertar casas indicadas. Note que os bends Lemmy Kilminster. Nos compassos em nenhuma casa. No compasso 3, há são acompanhados de harmônicos 1 e 2, acione um delay junto com a um pick slide, estilo Randy Rhoads, em artificiais (A.H.) F. 08 F. 0 8 F. 09 F. 0 9 36 - Guitar Class - Dezembro 2002 Rapidinha 8 Low Down / do álbum Sonic Brew (1999)/Black Label Society 001 - 020 A principal característica dessa ção pela sétima corda. No último com- po. Repita o procedimento nos tempos música é que a sexta corda possui passo, Zakk toca as notas abafadas mu- 3 e 4. Podemos rotular esse efeito de uma afinação pouco usada por Zakk dando a posição da mão. No primeiro semi ghost note, pois como foi tocado - é afinada em B (Si). Se você tiver tempo, comece abafando perto da casa de forma espontânea, algumas notas não uma guitarra de sete cordas, também 9 e vá aumentando gradativamente, até ficaram totalmente abafadas. Essa mú- pode substituir a mudança de afina- voltar na casa 9, no final do segundo tem- sica é trilha do Cool Boarders 2001. F. 1 0 F. 1 1 F. 1 0 F. 1 1 Rapidinha 9 See You On The Other Side / do álbum Ozzmosis (1995) 009 - 023 Toque os acordes deixando soar as tas mais agudas do acorde, que são: Ré, sexta na ponta (Mi), Sol Maior com a notas. Note que no segundo compas- Mi, Fa# e Sol. Neste caso poderia dizer sétima na ponta (Fa#) e Sol Maior com so, mantemos o acorde de G enquan- que temos o acorde de Sol Maior com a a oitava na ponta (Sol). Esse evento é to mudamos em grau conjunto as no- quinta na ponta (Ré), Sol maior com a conhecido como marcha harmônica. F. 1 2 F. 1 2 F. 1 3 F. 1 3 www.revistaguitarclass.com.br Dezembro 2002 - Guitar Class - 37 Rapidinha 10 I don´t Want To Change The World / do álbum No More Tears (1991) 000 - 008 Este é um típico riff de hard rock, single notes. A divisão rítmica deixa a harmônicos artificiais (A.H.) apare- em que power chords (bicordes com coisa mais interessante, pois ela não é cem novamente, quando o efeito é tônica e quinta) são misturados com repetitiva. Note que no final do riff os tocado com vibrato. F. 14 F. 1 4 F. 15 F. 1 5 38 - Guitar Class - Dezembro 2002 www.revistaguitarclass.com.br Dezembro 2002 - Guitar Class - 39 SOLOS I DONT WANT TO CHANGE THE WORLD Álbum: No More Tears (1991) 0200 - 0232 Selecionamos este solo por possuir está gritando. Veja nos Truques como slide (compassos 10 e 14), no qual muitas características marcantes de podemos conseguir esse efeito. No você deve raspar a palheta entre as Zakk Wylde. Se você quer conhecer compasso 7, há um efeito bem interes- cordas, no sentido descendente (indo mais o estilo desse guitarrista, este é sante, no qual ele dá um bend com a das notas agudas para as graves). um bom começo. Vale destacar o pedal mão direita (veja a foto) na casa 21 e Raspe a palheta entre as cordas 3 e 4. point feito no compasso 4, em que a faz a volta do bend na casa 4, com O solo finaliza com uma seqüência de nota C# é usada como nota pedal. No pull-off (ligado descendente). Nos patterns (padrões) muito usada por compasso seguinte, temos um lick bem compassos 9, 11 e 13 Zakk usa bends Zakk. Ele toca os patterns característico de Zakk, em que apare- uníssonos, em que a nota alcançada ascendentemente, terminando com um cem os harmônicos artificiais que ele pelo bend deve ser a mesma que está bend na casa 22. Lembre-se de que, na usa em quase todos os seus solos, sendo tocada na corda abaixo. Outro maioria das vezes, os bends de Zakk dando a impressão de que a guitarra efeito que Zakk usa muito é o pick são com vibrato. F. 0 3 F. 0 4 F. 0 5 F. 0 6 F. 0 1 F. 0 2 F. 0 7 F. 0 8 F. 1 1 F. 0 9 F. 1 0 40 - Guitar Class - Dezembro 2002 F. 1 2 F. 01 F. 0 2 F. 0 3 F. 0 4 F. 05 F. 0 6 F. 0 7 F. 08 F. 0 9 F. 1 0 F. 11 F. 1 2 www.revistaguitarclass.com.br Dezembro 2002 - Guitar Class - 41 SOLOS MAMA IM COMING HOME Álbum: No More Tears (1991) 230 - 254 Essa é uma das músicas que fizeram cuidado - e há vários tipos de bends último compasso, em que há um bend mais sucesso, e possui um solo nesse solo -, como no compasso 2, no normal, que deve ser tocado com o simples, porém, marcante. Feito qual ele é usado junto com um double dedo 3. Logo em seguida, vem um pre basicamente sobre a escala pentatônica stop (técnica em que se usam duas bend release, na corda de cima, com o maior de E (Mi), este é um solo que cordas tocadas simultaneamente), mas dedo 2. Tome cuidado para que o bend exige uma audição mais cuidadosa, repare que o bend é usado somente na esteja posicionado no tom certo.
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