刷弦的動態是一個重要的音色控制角色。刷弦時，透過位置、範圍、輕重的改變，可以影響音色非常多。一段演奏若是一直維持同樣的演奏動態，聽起來其實會有點枯燥乏味。我在這裡會演奏Wish You Were的前奏片段，請參考原曲，並觀察我的演奏，再用附上的譜例試著演奏看看。也試著將這樣的概念，放到平日的演奏中喔！
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The dynamic of strumming hand is a key role for controlling the tone. The position, range and power of your strumming influences the sound a lot. It is insipid when you keep the same strumming dynamic all the way through. I will play through the rhythm part of the intro of Wish You Were Here. Listen to the original song and take a look at my playing before you try out! Also, put this concept in your own songs!
The intro solo of this song is based on E minor pentatonic. It combines shape E, D and open string. A really practical solo to learn. The pitch of the bending part, although I write out the pitch, is a little subtle, so take some more time on that part.
In the beginning of this song, the Vinyl sound and triplet makes me think about King Krule… I don’t really know why,
It turns into a bright groovy song unexpectedly, although there a little melancholy feeling behind the scene, which makes me fascinated. The horn section in chorus is also pretty interesting. But what I like the most is the bridge. It’s like narration rather than prevailing rap. Especially the way he spells out “I honestly don’t even know why.” conveys the confusion feeling so well.
The music video reminds me those days in the south California and the beach cruiser that’’s too expensive that I couldn’t afford.
This time in Techniques from Songs, I am going to use Sufjan Stevens’ Tonya Harding to talk about the way back to one chord.
I don’t want to make it too complicate, so I will try not to use musical terms to explain this. You might feel that there are certain orders in the chord progressions from playing lots of songs, like in the key of C, it usually start from C and after G it goes back to C. If you try to analyze it by writing out all the triads in C and give them a roman numeral in order, you will find out that it’s like a song usually start from the I chord and after V chord, it usually goes back to I chord.
In the key of D it will be D and after A it will goes back to D. But in the end of the intro of this song, it goes back to D after G.
That means you can also go back to I chord after IV chord. It’s actually called “Plagal Cadence” and “the way back to one” can be called “Cadence”. Like I said in the beginning, I don’t want to talk too much about these terms, so you can try to google it be yourself, if you are interested!
Next time when you are writing a song, try to use IV chord to go back to I chord, instead of V chord.
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這次的Techniques from Songs將要用Sufjan Stevens的Tonya Harding，來聊聊如何回到一級和弦。
This time I am going to cover Sufjan Stevens’ Tonya Harding.
It’s basically the same chord progression all the way through. You can play in C by putting the capo on the 2nd fret. Personally prefer the voicing without capo, so I will not use capo in this video.
This time in Listen we are going to talk about Sangpuy’s “The Power of Life”.
Sangpuy is an established indigenous singer from Taiwan. “The Power of Life” is a song from his album “Yaangad” released in 2016. It is based on the song, “The Root of Life”, which is the first song of this album.
It feels like “The Root of Life” is a song singing the melody of life. Without complex backing instruments, the melody sung by Sangpuy alone, is full of the power of nature.
But “The Power of Life” takes it to a totally different place with an attempt to give it some electronic touch. It’s like all the rumbling sounds are trying to build up an image of endless sprouting of the mother nature. Although it is a quite opposite choice, the song is still really fascinating.
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這次Listen要聊聊桑布伊的《The Power of Life》。
桑布伊是相當知名的原住民歌手。《The Power of Life》是根基於《The Root of Life》 這首歌，而這兩首歌都收錄在2016年的專輯《椏幹》中。
感覺上《The Root of Life》是一個永唱生命的歌曲。沒有太多的配器，桑布伊的歌聲就直接展現了大自然的生命力。但《The Power of Life》則做了完全不同的選擇，一樣的詠唱基底上添加了電子的元素。但這些聲響咕嚕咕嚕的感覺，就像是在構築一個大自然不斷循環萌芽的畫面，還是充滿力量。雖然是一個完全相反的選擇，但仍是相當迷人的聲響。
