Professional Documents
Culture Documents
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Plaintiff,
v.
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DECLARATION OF ERIK
JOHNSON OPPOSING
DEFENDANTS MOTIONS IN
LIMINE NOS. 3 & 4
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Defendants.
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Philadelphia, Pennsylvania.
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I was retained as an expert in this case to listen to and analyze Taurus and
Stairway to Heaven, to perform both pieces as a master musician and faithfully replicate
the original recordings for the purpose of creating multitrack facsimiles. I also created a
full transcription of Taurus and incorporated by reference the corresponding audio for
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which contained rebuttal of defendants reports (Ferrara and Mathes). I now submit this
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Taurus and if after further consideration of defendants expert reports, rebuttals, and
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both the deposit copy and the recordings to render a full and complete analysis and
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opinion. This means that 5 of the six experts involved in this case (on both sides plaintiff
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and defendant) used the same method where as one defense expert Ferrara used a
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different method. It should be noted that even defendants experts conflict each other on
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5.
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his musicological opinions as compared to mine and the other experts in this case, is that
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Dr. Ferrara had taken a narrowfishbowl approachof solely considering the deposit
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(and that of the other experts), had taken a holistic approach in considering both the
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6.
Moreover, there is no dispute among the experts that the intro of Stairway to
Furthermore, Dr. Ferrara in his Expert Report affirms that it is similar to Taurus.
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Mathes Rebuttal further states that Stewart says that 80% of the
pitches are the same. With the same underlying line clich, this would be
expected. However, it should be noted that the descending melodic line
encompasses only a portion of what is substantially similar. The harpsichord part
of Taurus (as represented in the deposit copy) contains six notes that correspond
exactly to the melody of Stairway to Heaven. This fact doesnt address the striking
similarity of the guitar parts on the recordings. Furthermore, the bass clef part on
the deposit copy of Taurus strongly suggests the guitar part which although is not
fully represented, is present represented and defined in the deposit copy.
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Composition Is The Part Of The Song Which Remains The Same From
Performance To Performance
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2
DECLARATION OF ERIK JOHNSON OPPOSING
DEFENDANTS MOTIONS IN LIMINE NOS. 3 & 4
10.
"A musical composition's copyright protects the generic sound that would
necessarily result from any performance of the piece," Newton v. Diamond, 204 F. Supp.
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In other words, the composition is that part of the song that remains constant
compositional element that remains unchanged from each and every performance of
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performance to performance.
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is that part of the song which remains unchanged from each and every performance of
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Taurus. And, the part of the song which remains unchanged from each and every
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roughly 30 years. In each and every performance of Taurus, the compositional element
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which remains unchanged are the compositional elements embodied in the guitar part.
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and from what I am told known to exist. The list is in chronological form, except that the
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a.
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b.
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c.
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d.
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e.
Audio Exhibit 32
Audio Exhibit 36
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DECLARATION OF ERIK JOHNSON OPPOSING
DEFENDANTS MOTIONS IN LIMINE NOS. 3 & 4
f.
g.
Audio Exhibit 38
h.
Audio Exhibit 39
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This is true regardless if one listens to the very first recording of Taurus
(7/10/1967)(Audio Exhibit 33) or the very last recording of Taurus (1996)(Audio Exhibit
39).
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protectable. For this reason, those aspects were discarded in rendering my opinions.
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For example, the Taurus Album Recording (Audio Exhibit 32) contains
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individual performance aspects and instrumentation that are notand never werepart
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(Audio Exhibit 32), which were re-recorded for purposes of this case are as follows:
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a.
Acoustic Guitar
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b.
Cello 1
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c.
Cello 2
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d.
Cymbal
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e.
Flute
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Harpshichord/Piano
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String Bass
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Viola
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Violins
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DECLARATION OF ERIK JOHNSON OPPOSING
DEFENDANTS MOTIONS IN LIMINE NOS. 3 & 4
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Many of these instruments are only heard in the Taurus Album Recording
(Audio Exhibit 32). For example: Cello 1; Cello 2, Flute; Viola; and Violins.
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These instruments and the parts that they are playing are performance
elements not compositional elements of the song Taurus. These performance and
introduction to Taurus and accompaniment for purposes of the Album Recording, which
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Album Recording and the other recordings of Taurus which are not protectable
compositional elements of Taurus are identified below (by striking them out):
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a.
Acoustic Guitar
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b.
Cello 1
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c.
Cello 2
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d.
Cymbal
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e.
Flute
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Harpshichord/Piano
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String Bass
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Viola
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Violins
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the Taurus Album Recording. It is not part of the composition of Taurus that must remain
unchanged from performance to performance. For that reason, those performance and
instrumentation elements must be discarded in coming to a musicological opinion. (I note
that I took the liberty to also strike the Cymbal from my analysis even though this can be
heard in other performances of Taurus because it too should not be considered part of the
composition).
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embodied in the:
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DECLARATION OF ERIK JOHNSON OPPOSING
DEFENDANTS MOTIONS IN LIMINE NOS. 3 & 4
a.
Acoustic Guitar
b.
c.
String Bass
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Exhibit 32), or the last known performance of Taurus, Taurus Live Acoustic
(7/30/1996), it is the composition of the guitar which is the salient feature, which is
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DECLARATION OF ERIK JOHNSON OPPOSING
DEFENDANTS MOTIONS IN LIMINE NOS. 3 & 4