guitar in Italy.

Even later, in the same century, Gaspar Sanz wrote that other
nations such as Italy or France added to the Spanish guitar. All of these nations
even imitated the five-course guitar by "recreating" their own.[12]

Finally, circa 1850, the form and structure of the modern Guitar is credited to
Spanish guitar maker Antonio Torres Jurado, who increased the size of the guitar
body, altered its proportions, and invented the breakthrough fan-braced pattern.
Bracing, which refers to the internal pattern of wood reinforcements used to secure
the guitar's top and back and prevent the instrument from collapsing under tension,
is an important factor in how the guitar sounds. Torres' design greatly improved
the volume, tone, and projection of the instrument, and it has remained essentially
unchanged since.

Types

Guitar collection in Museu de la Musica de Barcelona

The Guitar Player (c. 1672), by Johannes Vermeer

Guitars can be divided into two broad categories, acoustic and electric guitars.
Within each of these categories, there are also further sub-categories. For
example, an electric guitar can be purchased in a six-string model (the most common
model) or in seven or 12-string models.

Acoustic
Main article: Acoustic guitar
See also: Extended-range classical guitar, Flamenco guitar, Guitar battente,
Guitarron mexicano, Harp guitar, Russian guitar, Selmer guitar, and Tenor guitar

Classical Guitar Sample

MENU0:00
Spanish Romance.
Problems playing this file? See media help.
Acoustic guitars form several notable subcategories within the acoustic guitar
group: classical and flamenco guitars; steel-string guitars, which include the
flat-topped, or "folk", guitar; twelve-string guitars; and the arched-top guitar.
The acoustic guitar group also includes unamplified guitars designed to play in
different registers, such as the acoustic bass guitar, which has a similar tuning
to that of the electric bass guitar.

Renaissance and Baroque

Main article: Baroque guitar
Renaissance and Baroque guitars are the ancestors of the modern classical and
flamenco guitar. They are substantially smaller, more delicate in construction, and
generate less volume. The strings are paired in courses as in a modern 12-string
guitar, but they only have four or five courses of strings rather than six single
strings normally used now. They were more often used as rhythm instruments in
ensembles than as solo instruments, and can often be seen in that role in early
music performances. (Gaspar Sanz's Instruccion de Musica sobre la Guitarra Espanola
of 1674 contains his whole output for the solo guitar.)[13] Renaissance and Baroque
guitars are easily distinguished, because the Renaissance guitar is very plain and
the Baroque guitar is very ornate, with ivory or wood inlays all over the neck and
body, and a paper-cutout inverted "wedding cake" inside the hole.

Classical
Main article: Classical guitar
Classical guitars, also known as "Spanish" guitars,[14] are typically strung with
nylon strings, plucked with the fingers, played in a seated position and are used
to play a diversity of musical styles including classical music. The classical
guitar's wide, flat neck allows the musician to play scales, arpeggios, and certain
chord forms more easily and with less adjacent string interference than on other
styles of guitar. Flamenco guitars are very similar in construction, but they are
associated with a more percussive tone. In Portugal, the same instrument is often
used with steel strings particularly in its role within fado music. The guitar is
called viola, or violao in Brazil, where it is often used with an extra seventh
string by choro musicians to provide extra bass support.

In Mexico, the popular mariachi band includes a range of guitars, from the small
requinto to the guitarron, a guitar larger than a cello, which is tuned in the bass
register. In Colombia, the traditional quartet includes a range of instruments too,
from the small bandola (sometimes known as the Deleuze-Guattari, for use when
traveling or in confined rooms or spaces), to the slightly larger tiple, to the
full-sized classical guitar. The requinto also appears in other Latin-American
countries as a complementary member of the guitar family, with its smaller size and
scale, permitting more projection for the playing of single-lined melodies. Modern
dimensions of the classical instrument were established by the Spaniard Antonio de
Torres Jurado (1817�1892).[15]

Flat-top
File:Bernd Voss - Copito Blues guitar.ogv
A guitarist playing a blues tune on a semi-acoustic guitar
Main article: Steel-string acoustic guitar
5 Accessories
5.1 Capotasto
5.2 Slides
5.3 Plectrum
5.4 Straps
5.5 Amplifiers, effects and speakers
6 See also
7 Notes and references
7.1 Notes
7.2 Citations
7.3 Sources
8 External links
History
See also: Lute � History and evolution of the lute, Gittern, Citole � Origins, and
Classical guitar � History

Illustration labeled "cythara" in the Stuttgart Psalter, a Carolingian psalter from

the 9th century. The instrument shown is of the chordophone family, possibly an
early citole or lute
Before the development of the electric guitar and the use of synthetic materials, a
guitar was defined as being an instrument having "a long, fretted neck, flat wooden
soundboard, ribs, and a flat back, most often with incurved sides."[2] The term is
used to refer to a number of chordophones that were developed and used across
Europe, beginning in the 12th century and, later, in the Americas.[3] A 3,300-year-
old stone carving of a Hittite bard playing a stringed instrument is the oldest
iconographic representation of a chordophone and clay plaques from Babylonia show
people playing an instrument that has a strong resemblance to the guitar,
indicating a possible Babylonian origin for the guitar.[2]

The modern word guitar, and its antecedents, has been applied to a wide variety of
chordophones since classical times and as such causes confusion. The English word
guitar, the German Gitarre, and the French guitare were all adopted from the
Spanish guitarra, which comes from the Andalusian Arabic ?????? (qitharah)[4] and
the Latin cithara, which in turn came from the Ancient Greek ??????. Kithara
appears in the Bible four times (1 Cor. 14:7, Rev. 5:8, 14:2 and 15:2), and is
usually translated into English as harp.
Many influences are cited as antecedents to the modern guitar. Although the
development of the earliest "guitars" is lost in the history of medieval Spain, two
instruments are commonly cited as their most influential predecessors, the European
lute and its cousin, the four-string oud; the latter was brought to Iberia by the
Moors in the 8th century.[5]

At least two instruments called "guitars" were in use in Spain by 1200: the
guitarra latina (Latin guitar) and the so-called guitarra morisca (Moorish guitar).
The guitarra morisca had a rounded back, wide fingerboard, and several sound holes.
The guitarra Latina had a single sound hole and a narrower neck. By the 14th
century the qualifiers "moresca" or "morisca" and "latina" had been dropped, and
these two cordophones were simply referred to as guitars.[6]

The Spanish vihuela, called in Italian the "viola da mano", a guitar-like

instrument of the 15th and 16th centuries, is widely considered to have been the
single most important influence in the development of the baroque guitar. It had
six courses (usually), lute-like tuning in fourths and a guitar-like body, although
early representations reveal an instrument with a sharply cut waist. It was also
larger than the contemporary four-course guitars. By the 16th century, the
vihuela's construction had more in common with the modern guitar, with its curved
one-piece ribs, than with the viols, and more like a larger version of the
contemporary four-course guitars. The vihuela enjoyed only a relatively short
period of popularity in Spain and Italy during an era dominated elsewhere in Europe
by the lute; the last surviving published music for the instrument appeared in
1576.[7]

Meanwhile, the five-course baroque guitar, which was documented in Spain from the
middle of the 16th century, enjoyed popularity, especially in Spain, Italy and
France from the late 16th century to the mid-18th century.[A][B] In Portugal, the
word viola referred to the guitar, as guitarra meant the "Portuguese guitar", a
variety of cittern.

There were many different plucked instruments [8] that were being invented and used
in Europe, during the Middle Ages. By the 16th century, most of the forms of guitar
had fallen off, to never be sentos Fender Stratocaster
Periodo em atividade 1970 � 1990
Gravadora(s) Epic Records
Afiliacao(oes) Double Trouble, Jimmie Vaughan, David Bowie
Stephen "Stevie" Ray Vaughan (Dallas, 3 de outubro de 1954 � East Troy, 27 de
agosto de 1990) foi um guitarrista, cantor e compositor de blues eletrico norte-
americano. Era o lider da Double Trouble. Nascido em Dallas, Vaughan se mudou para
Austin com 17 anos, quando iniciou sua carreira musical.

Foi uma importante figura do Texas blues, um estilo musical caracterizado pelo
swing e pela fusao do blues com o rock. Tornou-se um dos principais musicos do
blues rock, com diversas aparicoes na televisao e albuns lancados. O trabalho de
Vaughan englobou diversos estilos, principalmente o blues. Foi indicado a doze
Grammys, vencendo seis; em 2000, foi postumamente induzido ao Hall da Fama do
Blues. Muitos o consideram como um dos melhores guitarristas no estilo blues rock.

Morreu em 27 de agosto de 1990, em um acidente de helicoptero em East Troy que

tambem pos fim a vida de integrantes da equipe de Eric Clapton.

Indice
1 Vida e Carreira
2 Influencias musicais e estilo
3 Morte acidental
4 Equipamentos
4.1 Guitarras
4.2 Cordas e Palhetas
4.3 Amplificadores
4.4 Pedais
5 Discografia
5.1 Discos
5.2 Gravacoes com lancamentos postumos
5.3 Compilacoes
5.4 Bootlegs famosos
6 Premios e indicacoes
7 Ver tambem
8 Referencias
Vida e Carreira
No inicio de sua carreira Vaughan fazia apresentacoes na banda de seu irmao Jimmie
Vaughan, a principio tocando o contra-baixo, apenas para ter a oportunidade de
tocar em uma banda, que era seu desejo na epoca. Com a experiencia adquirida, SRV
assumiu a guitarra definitivamente e apos tocar em uma serie de bandas, Vaughan
formou o conjunto de blues, Country e rock chamado Double Trouble com o baterista
Chris Layton e o baixista Jackie Newhouse no final dos anos 70. Tommy Shannon
substituiu Newhouse em 1981. No inicio conhecido apenas localmente, logo Vaughan
atraiu a atencao de David Bowie e Jackson Browne, gravando em albuns de ambos. O
primeiro contato de Bowie com Vaughan havia sido no Montreux Jazz Festival. Bowie
lancou Vaughan em seu album "Let's Dance" na cancao com o mesmo nome e tambem na
cancao "China Girl".

O album de estreia do Stevie Ray Vaughan & Double Trouble foi lancado em 1983. O
aclamado pela critica, Texas Flood (produzido por John Hammond) lancou o sucesso
top 20 "Pride and Joy" e vendeu bem tanto nos circulos de blues como de rock. Os
albuns seguintes, "Couldn't Stand the Weather" (1984) e "Soul to Soul" (1985),
vivenciaram quase o mesmo sucesso dos discos anteriores. O vicio em drogas e o
alcoolismo levaram Vaughan a ter um colapso durante sua turne em 1986. Passou por
um processo de reabilitacao na Georgia um ano mais tarde. Apos seu retorno, Vaughan
gravou "In Step" (1989), outro disco aclamado pela critica que ganhou um Grammy
pela melhor gravacao de blues rock.

Foi considerado o 12? melhor guitarrista do mundo pela revista norte-americana

Rolling Stone.[1]

Influencias musicais e estilo

O estilo musical de Vaughan tocar blues e southern rock era fortemente influenciado
por Albert King, que se auto-proclamou "padrinho" de Stevie, e por outros musicos
de blues como Otis Rush e Buddy Guy. Stevie e reconhecido por seu som de guitarra
caracteristico, que em parte provinha do uso de cordas de guitarra espessas,
pesadas, calibre .013 e tambem da afinacao meio tom abaixo do normal em (Eb) mi
bemol. O som e o estilo de Vaughan tocar, que frequentemente mescla partes de
guitarra solo com guitarra ritmica, tambem traz frequentes comparacoes com Jimi
Hendrix; Vaughan gravou varias cancoes de Hendrix em seus albuns de estudio e ao
vivo, como "Little Wing", "Voodoo Child (Slight Return)" e "Third Stone from the
Sun". Ele tambem era fortemente influenciado por Freddie King, outro grande musico
texano, principalmente pelo timbre e ataque. O pesado vibrato de King pode ser
claramente ouvido no estilo de Vaughan. Outra influencia no estilo foi Albert
Collins. Sua tecnica da mao direita. Em Texas Flood, grande sucesso e estilo
marcante de SRV, notoriamente foi influenciado por Larry Davis (1958 original Texas
Flood)

Morte acidental
O retorno de Vaughan foi tragicamente interrompido quando, na manha do dia 27 de
agosto de 1990,morreu em um acidente de helicoptero proximo a East Troy, Wisconsin.
SRV seguia para uma apresentacao no Alpine Valley Music Theater, onde na tarde
anterior se apresentara junto com Robert Cray, Buddy Guy, Eric Clapton e seu irmao
mais velho Jimmie Vaughan. Quatro helicopteros estavam a disposicao dos musicos, e
Stevie encontrou um lugar vazio em um helicoptero com alguns membros da equipe de
Clapton, e decidiu embarcar. Em consequencia do ceu extremamente nublado e da forte
nevoa, o helicoptero de Stevie virou para o lado errado e foi de encontro com uma
pista artificial de ski. Nao houve sobreviventes, e o blues rock perdera um dos
seus maiores expoentes. Stevie Ray Vaughan esta enterrado no Laurel Land Memorial
Park, em Dallas, no Texas.[2]

Equipamentos
Guitarras
Sua guitarra principal era uma Fender Stratocaster, que ele adquiriu em 74 e a
apelidou de "Number One".Em 2003 ela foi desmontada por funcionarios da Custom Shop
da Fender e foi confirmado que o braco era de dezembro de 62 e o corpo e um 63.
Assim a Number One pode ser chamada corretamente de uma "63`strat". Os captadores
sao de 59, razao pela qual Steve se referia a ela como uma 59.

Cordas e Palhetas
Ele sempre afinava meio tom abaixo. Suas palhetas eram Fender Mediums, tocadas de
lado com borda arredondada.

Amplificadores
Stevie usava uma combinacao de amplificadores, todos ligados ao mesmo tempo

Dois Fender Super Reverbs "Blackface"

Cabecote Dumble Steel String Singer de 150 Watts com caixas acusticas Dumble 4x12"
Cabecote Marshall Major de 200 Watts com caixas acusticas Dumble 4x12"
Dois Fender Vibroverb "Blackface", Com um falante de 15", ligado a uma caixa
acustica Fender Vibratone com falante interno rotativo do tipo "Leslie"
Todos os seus amplificadores tiveram seus falantes trocados por falantes Electro-
Voice.

�The 100 Greatest Artists of All Time: Stevie Ray Vaughan� (em ingles). Rolling
Stone. Consultado em 12 de janeiro de 2012
Stevie Ray Vaughan (em ingles) no Find a Grave
[Esconder]vde
Stevie Ray Vaughan
Stevie Ray Vaughan � Tommy Shannon � Chris Layton � Reese Wynans
Albuns de estudio
Texas Flood � Couldn't Stand the Weather � Soul to Soul � In Step � Family Style �
The Sky Is Crying
Albuns ao vivo
Live Alive � In The Beginning � Live At Carnegie Hall
Compilacoes
The Real Deal: Greatest Hits Volume 2 � The Essential Stevie Ray Vaughan and Double
Trouble
Artigos relacionados
MTV Unplugged - Stevie Ray Vaughan & Joe Satriani � Lista de premios e indicacoes
recebidos por Stevie Ray Vaughan � A Tribute To Stevie Ray Vaughan � Double Trouble
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