Live: 湖水藍 - 散步路線(Cover) in 家吶子 台式居酒屋

聖誕節前夕的居酒屋演出，氣氛相當歡樂，有熱情的店員和觀眾。

不太專業的錄音設備，但是效果還可以接受。

我也一如往常地唱自己的歌唱到忘詞，相當尷尬。

但我會繼續努力的，以後也還會有機會在這裡出現的，希望能夠看到還沒見到的你們。

Techniques From Songs: 推弦的表情(The Beatles - While My Guitar Gently Weeps)

這次的Techniques From Songs要聊聊「推弦的表情」。

推弦是一個非常「吉他」的演奏技巧，也能夠彰顯出演奏者「演奏表情」上的特徵。

推弦不只是把弦往上推而已，還關係到「推到哪個音、推的速度、推到音準後得處理」。另外還有釋放「釋放後的音高、釋放的速度」。除了單純的推弦之外，也還有一些組合技套餐，總之推弦是一個可以展現豐富表情的演奏技巧。

在這些前情提要後再來看上週Cover的While My Guitar Gently Weeps。

上週有提過這是一首非常適合練習推弦的曲子，可是為什麼呢？

首先他的推弦包含了半音、全音、一全音一半音，把比較常用的推弦範圍都推過了一次。

再來是，推到音準後加上揉弦的表情非常大！是一個特徵很明顯的演奏！

最後是，有許多組合技套餐！

可以注意，這裡比較沒有提到的是「速度」，推弦與釋放的速度。

這個部分其實也有很多可能性，但今天我們就先不多談！在知道有這些需要注意的點之後，在練習與聆聽音樂時，都要更加注意演奏者處理的細節，才能讓自己更加進步喔！

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This time in Techniques From Songs, we are going to talk about the expression of bending.

Bending is a very “guitar” technique, which conveys a player’s playing character.

It isn’t only a technique pushing strings upward, but also relates to how high you bend, how fast you bend, what you are going to do when you reach the pitch. Releasing the string is another thing, where you are releasing to, how fast you release. You can also combine bending with other techniques into a combo. In sum, bending is a really expressive technique.

In last week, I covered the guitar solo of The Beatles's While My Guitar Gently Weeps and mentioned that it is a good song for practicing bending. But why?

First, he bends in half note, whole note and one whole and half note. That is the most commonly used bending range.

Second, his vibrato after reaching the pitch is very distinctive.

Last, there are a lot of combos.

We didn't talk much about "speed" this time, the speed of bending and releasing.

Although there are many possibilities, let's stop at here for now. Since now we know there are  different aspects about bending, next time when you are practicing, try to focus more on these details!

Cover Songs: The Beatles - While My Guitar Gently Weeps (Solo & Backing Track / 獨奏與伴奏)

This time, I am going to cover the solo part of The Beatles’s While My Guitar Gently Weep.

It is a good song for people who’s practicing bending. After the cover part, I will play the backing one more time without the solo guitar, so remember to try it yourself.

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這次Cover Songs的主題是The Beatles的While My Guitar Gently Weeps的吉他獨奏。

這是一段很適合練習推弦的獨奏，在我的獨奏部份後，會有一段只有伴奏的部分，記得自己也試試看喔！

Listen: Mac DeMarco - One More Love Song

這次Listen的主題是Mac DeMarco的One More Love Song。

這是一首安靜、寬廣的失戀歌曲，會有一種並沒有真得懂了什麼、學到了什麼，也還沒有說真的都放下、豁然，但就以一種「或許就是這樣吧？」的心情接受了，讓我聯想到「9 songs」這部電影。

曲子的編制和發展其實滿簡單的，剛剛好襯著這樣的主題。節奏組鬆鬆的Swing 16th的節奏感，加上吉他凸顯十六分音符第二點，就這樣一波一波、緩緩低推著曲子向前。一開始的Synth音色其實有點玩味，或許還有點在嘲笑自己，但是進副歌後鋼琴進來讓整個空間感拉開，情緒跟著也液了出來。

相較於這樣的曲子，他的現場演出倒是玩心很重，是一個滿有事的人，不知道這樣算不算反差萌？

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This is a calm and broad song about failed love. It doesn't fee like one learned something or let the feeling go, but accept the failure like "maybe that's it?", which makes me think about the movie <9 songs>.

The arrangement and development of this song is pretty simple, which suits the topic well. The loose swing 16th feel of the rhythm section and the guitar's accent of 2nd 16th note of every beat 1 push the song slowly forward like wave by wave. The synth melody in the intro feels like one still laughed at oneself, but the piano in the chorus makes the space broaden and carry out the emotion.

Although compare to this song, his live performance is quite interesting in a special way. Maybe this is some kind of gap moe?

Techniques From Songs: A˚7 Double Stop Lick（孫燕姿 Sun Yanzi - 我很愉快 A State of Bliss）

這次Techniques From Songs要從孫燕姿的我很愉快中取一段A˚7的樂句出來。我有做首歌的吉他伴奏Cover，可以先去看看再過來這裡。

這個句子出現在前奏第三小節第三拍，是一個由A˚/D接到Gma7的句子。

這裡利用了A diminished scale的double stop，由於句子只有兩拍，所以我試著利用diminished scale可以往平移小三度的特性，將句子double stop的部分往上移動再演奏一次，變成一個小節的樂句！

 雖然我在譜上還是打著原曲的A˚/D，但基本上這是一個也和用於A˚7的句子，可以接到A˚7解決的和弦都可以連接看看！

另外，之前也提過可以將樂句套用到不同的把位、與調，這樣會讓他更實用喔！

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This time in Techniques From Songs, we are going to draw a A˚7 lick out from Sun Yanzi’s A State of Blues.

I’ve made a guitar backing cover for this song, check it out if you are interested.

This lick appears in the 3rd beat of 3rd bar in the intro. It is a lick in A˚/D going to Gma7.

This lick plays double stop in A diminished scale. Since it lasts only 2 beats, I utilize the character that diminished can be shift in minor 3rd and play the lick again in higher position to make it a 1 bar lick.

Although I still put A˚/D on the paper, it actually suit to A˚7 and you can resolve to any chord A˚7 may goes to.

Also, I’ve mentioned the concept about moving a same lick to different positions and keys. Try do so to make it more useful!

Pd Note Lesson 6: Conditional Logic with Spigot & Moses

ㄧ、Spigot (If): 嘗試利用Spigot製造若大於100則演奏的patch
Object (Command+1) —> Type “makenote 64 250” (makenote velocity milliseconds)
Inlets: MIDI note number / Velocity / Duration
Outlets: MIDI note number / Velocity

Object (Command+1) —> Type “noteout 1” (noteout channel)
Inlets: MIDI note number / Velocity / Channel

將“makenote 64 250”的outlet “MIDI note number”、“Velocity”連接到“noteout 1”的inlets “MIDI note number”、“Velocity"

Message (Command+2) —> Type “64“, “71”
連接到“makenote 64 250”的inlet “MIDI note number”
**若不熟悉MIDI Number與音的關係，可以上網搜尋“MIDI Number“

Trigger: Object(Command+1)—>Type” t b b”
連到”64“,”71“以確保發聲順序

Object (Command+1) —> Type “spigot” (if) (bng, Gate open/close)
**spigot預設為close(0)，不會讓訊號通過，需要輸入”1”來進入open，以讓訊號通過

Object (Command+1) —> Type “>100” (if >100, send 1)
**簡單來說就是true/fulse，ture=1，false=0，若>100送出1，若不是則送出0
**我們滑動Number時，其實它一直在bng
**可以看看這類object的Help!

Number (command+3) —> 連到“>100”
Number (command+3) —> inlet連到“>100”outlet，outlet連到”spigot”的兩個inlet
**spigot右側inlet決定Gate open/close，左側inlet負責bng
—>只要最上方Number大於100，就會演奏這兩個音“64“, “71”


二、Moses(If, else)
Object (Command+1) —> Type “makenote 64 250” (makenote velocity milliseconds)
Inlets: MIDI note number / Velocity / Duration
Outlets: MIDI note number / Velocity

Object (Command+1) —> Type “noteout 1” (noteout channel)
Inlets: MIDI note number / Velocity / Channel

將“makenote 64 250”的outlet “MIDI note number”、“Velocity”連接到“noteout 1”的inlets “MIDI note number”、“Velocity”

Message (Command+2) —> Type “64“, “71”
連接到“makenote 64 250”的inlet “MIDI note number”
Trigger: Object(Command+1)—>Type” t b b”
連到”64“,”71“
Object (Command+1) —> Type “bng”
連到”t b b”

Message (Command+2) —> Type “60“, “67”
連接到“makenote 64 250”的inlet “MIDI note number”
Trigger: Object(Command+1)—>Type” t b b”
連到”60“,”67“
Object (Command+1) —> Type “bng”
連到”t b b”

Object (Command+1) —> Type “moses 50 1” (If >=50 bng right, else bng left)
右側連到“64“, “71”的”bng”，左側連到60“,”67“的”bng”
（各outlet分別設一個Number，來看看他們輸出了什麼訊號）

Number (command+3) —> 連到“Moses 50”
—>滑動Number時，可以發現它會送出所顯示之數字，並且會因為moses 50決定送到哪一側
—> >=50 演奏“64“, “71”，<50演奏“60“,”67“

Message (Command+2) —> Type “80”
連接到”moses 50”的cold outlet —> 觸發後可改變”moses 50”為”moses 80”

Lesson Source

Cover Songs: 孫燕姿 Sun Yanzi - 我很愉快 A State of Bliss（和弦譜Chords / 吉他伴奏 Guitar Baking）

這首歌演奏上用了一些比較刺激的音，放上的譜有將這些和弦簡化成相對常見的和弦，而我將要彈的還是會有一些比較刺激的音。

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The piano in this song played some really interesting notes, although I simplified them into rather normal chords to put on the chart. But in the video, I will still play those notes.

Listen: Tennis - No Exit

這首歌收錄在Tennis上個月出的EP “We Can Die Happy”。

聽起來有點像Fleetwood Mac用了現代的編曲概念，再加上Lo-Fi聲響的感覺。一開頭乾乾的Hi-hat加上濕潤的vocal跟keyboard，就讓人有種空間跟時間的混淆感跟著keyboard的音色旋轉起來，再疊上濕一點的Hihat跟吉他Riff，Band In，可以開始跳舞了。

在第一次副歌時跟著keyboard的情緒往上拉，沒想到副歌後再疊上十六分音符的節奏，才可肯回到間奏，真是餵飽了貪心的觀眾。

而在第二次副歌後時，反而是收掉樂團，拉回原本比較簡單的Grooving再接回主歌。並在這樣的襯底下唱著We Can Die Tonight配合上拉的情緒，再拉回十六分音符節奏的副歌後。

飽餐的觀眾於是又吃了份好吃的甜點，但是甜而不膩，心滿意足。

除了這首歌之外，整張EP其實都挺不錯的，像是多了些復古風味的Dream Pop。大家也可以去找來聽聽看！

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This song is included in the EP "We Can Die Happy" released by Tennis in last month.

It sounds like Fleetwood Mac with contemporary composing concept and Lo-Fi sounds. In the beginning, the dry hi-hat combines with wet vocal and keyboard, which gives me a confusion of time and space that rotates with the keyboard sound. When the wet hi-hat and guitar riff come, band in, it's time to dance.

In the first chorus, my emotion rises with the keyboard, but it goes even higher with 16th note rhythmic post chorus part before moving back to interlude.

While, in the second post chorus, they drop out the band and return to the verse with the basic grooving. In this grooving, they start to sing "We die dance tonight." and goes to the last 16th post chorus with the rising emotion.

So good, it's like a dessert after meal, sweet but not sickly.

The whole EP is pretty good, like Dream pop sound with retro taste. It worths to check it out.

Pd Note Lesson 5 : MIDI (Mac) & Makenote

一、連接電腦MIDI訊號與Pd

Application —> Utility —> Audio MIDI Setup —> IAC Driver —> Device is online

—>將所使用的DAW之類MIDI Setting中的IAC Driver設為On

** 需再開啟Pd前設定好

開啟Pd，創造新的Canvas

Pd —> Preference —> MIDI Setting —> Output device —> IAC Driver

二、Makenote

Object (Command+1) —> Type “makenote 80 500” (makenote velocity milliseconds)

Inlets: MIDI note number / Velocity / Duration

Outlets: MIDI note number / Velocity

Object (Command+1) —> Type “noteout 1” (noteout channel)

Inlets: MIDI note number / Velocity / Channel

將“makenote 80 500”的outlet “MIDI note number”、“Velocity”連接到“noteout 1”的inlets “MIDI note number”、“Velocity”

Message (Command+2) —> Type “60“ (MIDI Note Number)

連接到“makenote 80 500”的inlet “MIDI note number”

Lock之後點選”60“就可以發出聲音

Message (Command+2) —> Type “64“, “67”

連接到“makenote 80 500”的inlet “MIDI note number”

Trigger: Object(Command+1)—>Type” t b b b”

連到”60“,”64“,”67“以確保發聲順序

Object (Command+1) —> Type “bng” 

連到“bng” 

Lock之後點選點bng“就可以發出C和弦

Message (Command+2) —> Type “60 64 67”

連接到“makenote 80 500”的inlet “MIDI note number” —> 得到的並不是三個音，而是”“MIDI Note Number/Velocity/Duration”

**現在若”bng”，也會變成短促的C和弦，因為已經被”60 64 67”的訊號覆蓋，需要另外覆蓋duration來回覆時間

—>Message (Command+2) —> Type “500”

連接到“makenote 80 500”的inlet”milliseconds”

Lock之後點選點”500”、“bng“就可以發出原長度的C和弦

**其實velocity也會被覆蓋，所以需要依循一樣的方法來調回Velocity

三、自訂on跟off

Object (Command+1) —> Type “noteout 1”

Message (Command+2) —> Type “60 80”, “60 0”（MIDI note number/Velocity）

連接 “60 80”, “60 0”的outlet到“noteout 1”的”inlet “MIDI note number” 

Lock後點 “60 80”就會持續播放，點“60 0”就會停止。

**需要同一個MIDI note才有辦法透過這個方法On/Off

問題：為什麼在這裡需要Trigger? 順序並不影響發出的C和弦吧？

Lesson Source

Melody Line in bVII / 降七級上的旋律線

Welcome to Soulless Project, this time in techniques from songs, we are going to use St. Vincent’s Happy Birthday, Johnny as a example to talk about melody line in bVII.

In the A section, most of the chords are in the key of Bb, except Ab, which is bVII in this key. There are different ways to write melody when you encounter this kind of borrowed chord. So let’s look at the A section to see how St. Vincent deals with it.

The notes in the 3rd and 4th bars are Bb, C, D,and F. The same group of notes as in 1st and 2nd bars. But the difference is, in first two bars, this group of notes sounds like normal major scale, while in 3rd and 4th bars, this group of notes sounds more Lydian with the Ab chord being played.

You can deem the melody line using the major pentatonic scale of 2nd degree of Ab. Even more the major pentatonic scale of the 5th degree of Eb, since Ab Lydian is the 4th mode of Eb major. 

So, now we know that, when we encounter bVii chord in a progression, we can just use the major pentatonic of the I to create some Lydian flavor.

If you are interested in using different pentatonic scale in the same chord, you can check out the video I made before to try out more. Otherwise, I will loop the A section for you, when you encounter the Ab chord try to use Bb major pentatonic to create some interesting lines!

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這次Techniques From Songs將以St. Vincent的Happy Birthday, Johnny為例，來談談在降七級和弦中的旋律線。

在A段，多數的和弦都在Bb大調的順接和弦中，除了Ab和弦是這個調的降七級。面對降七級這種借用和弦時，有很多方法可以寫出旋律線，在這裡，我們就看看St. Vincent是怎麼做的。

在Ab和弦的第三、四小節中出現的音分別是Bb、C、D、跟F，跟第一、二小節是同一組音。但不一樣的地方是，在第一、二小節，這組音配上Bb和弦，感覺起來會是自然大調音階；在第三、四小節，這組音配上Ab和弦，感覺起來會有Lydian的風味。

我們可以視這段旋律線為使用Ab大調第二級和弦的大調五聲音階所編成，甚至想成Eb大調第五級和弦的大調五聲音階所組成。因為Ab Lydian即是Eb大調的第四級調式。

因此，現在我們知道，當遇到降七級和弦時，可以使用第一集的五聲音階應對，來產生Lydian感覺的效果。

我將在影片最後做一段A段的Loop，試著在遇到Ab時，使用Bb大調五聲音階，來產生一些有趣的句子。假若對於這種在同一個和弦使用不同的五聲音階的主題有興趣的話，可以參考我之前做的影片。

Pd Note Lesson 4: Metro

metro: 讓你可以特定間距送出bang，並且具備cold inlet讓你可以在bang之間變動間距長度。 

A: Metronome 

Object (Command+1) —> Type metro 500 

** metro後的數字是一個creation argument，讓你設定bang的時間間距（以milliseconds為單位，1 second=1000 milliseconds） 

Object (Command+1) —> Type “bng” —> 將metro的Outlet連到bng的inlet 

Message (Command+2) —> Type ”1” —> 用來啟動 

Message (Command+2) —> Type ”0” —> 用來停止 

—>都將outlet連接到metro的hot inlet，在這裡連接順序並不影響 

**亦可以用”bang”跟”Stop”來控制 

B: BPM Metronome 

Object (Command+1) —> Type “metro” 

Message (Command+2) —> Type “60000” (分子，1 min. = 60000 milliseconds) 

Number (command+3) —> 用來設定BPM(分母) 

Object (Command+1) —> Type “/“ 

Object(Command+1)—>Type” t b b b” (Trigger) 

—> Trigger右側之outlet連到Number, 中間之outlet連到”60000”、左側Outlet連到”metro” 

Object (Command+1) —> Type “bng” （用來啟動）—> 將bng的outlet連到Trigger的Inlet 

將分母的outlet連到”/“的cold inlet，將分子的outlet連到”/“的hot inlet 

在 ”/“ 與 ”metro“ 間設定一些”Number”來看看除出的結果 

Number (command+3) —> inlet連到 ”/“ 的Outlet 

Object (Command+1) —> Type “i” (int, integer 只保留整數，也可以不用) —> inlet接到 “/“ 的outlet 

連接 ”i” 的 outlet到 metro的cold inlet（argument） 

Message (Command+2) —> Type ”0” —> 用來停止 

—>將outlet連到Trigger的Inlet 

Object (Command+1) —> Type “bng” —> 將metro的Outlet連到bng的inlet 

—>調整BPM值後觸發，即可得BPM Metronome 

—>在運作中調整BPM值，因為並沒有再次觸發 ”/“ ，所以速度並不會改變，需要重新觸發才有用。 

B-1: 加入BPM預設值 

Message (Command+2) —> Type “60“ —>將outlet連到分母的inlet 

Object (Command+1) —> Type “loadbang” —>在patch啟動時送出一次bang來初始化這串patch 

B-2: 加入Counter 

刪掉底部的”bng” 

Object (Command+1) —> Type “i” 

Object (Command+1) —> Type “+ 1” 

Number (command+3) —> 用來查看”metro”的outlet(總是1?) 

—>metro的outlet連到Number的inlet、”i” 的inlet 

—>”i” 的outlet連到 ”+ 1”的hot inlet 

—>”+ 1”的outlet連到 “i” 的cold inlet 

Number (command+3) —> inlet連接”i”的 outlet，用來查看”i”的outlet 

Object (Command+1) —> Type “% 8” : Modulo 8，每計算八次就從頭開始。 

Number (command+3) —> inlet連接”% 8”的 outlet，用來查看”% 8”的outlet 

Message (Command+2) —> Type “0“ —> 將計數歸零 

—>Outlet連到 ”i” 的cold inlet 

Lesson Source

Pd Note Lesson 3: Basic Math & Bang Order

Message(Command+1) —> type “10”
Message(Command+1) —>type ”5”
Object(Command+1)—> type”+”
10連到＋左邊的inlet、5連到＋右邊的Inlet

Number (command+3) —>連接＋的outlet到Number的Inlet

需要利用Bang觸發這個加法
—> ‘Command+1 —> Type “bng” ‘
—>將Bang的Outlet先連向10，在連向5
—>觸發後會發現Numer先出現10，再觸發一次後，都會出現15
**—>這是因為Pd會以object的連接順序處理bang！
—>所以若將Bang到數字間的連線與Number都刪除，從先設置一個Number，並先將Bang連接到5，再連接到10，觸發Bang後得結果就會是15！
—>因為Bang會先觸動5到＋右邊的inlet（Argument），再觸動10到＋，這時再碰到Argument的5就會變成15。

我們可以利用「Trigger」來迫使Pd的觸動順序變為右到左，而非連接順序。
—>Object(Command+1)—>Type” t (or trigger ) b b”
—>Bang的Outlet連過來inlet
—>兩個“b”代表觸發的順序，所以右邊的outlet連到5，左邊的outlet連到10

**Hot Inlet永遠都會被執行，也就是最左邊的inlet
—>所以我們必須確保5，在＋被執行前，先被放進Argument！這樣5才會先被放入＋，然後再出發10來加5！
—>利用“Trigger”，可以幫助我們只要確保連接位置正確就會有連好結果，而不需要去記連接的先後順序！

問題：
1. Argument是什麼？
2. 所以Hot Inlet的內容會先被執行，即便Cold Inlet後來放入5到Argument，但因為10跟+已經先被執行，所以也不影響結果？

Lesson Source

Pd Note Lesson 2: Help!

Command+1 —> type “metro”  (節拍器)

—>在Unlock時，對任何方格按右鍵，都可以選取”Help”，會顯示對該方格的使用說明。
—>Unlock “Help”，還可以直接複製其內容，包含文字。

Lesson Source

Pd Note Lesson 1: "Hello World"

Unlock Canvas / Lock Canvas: Command+E
*Unlock時會出現指向左邊的手，Lock時呈現箭頭，Unlock才能進行編輯

Put —> Message (command+2) —> Type “Hello World”
盒子上下的粗線是Inlet跟Outlet

Command+1(object) —>Type “print” (a way to debut the message?)
游標移向”Hello World”下方粗線，會變成圓圈，拉向“print”上方的粗線
—>點”Hello World”時會出現”Hello World”在Console

Command+1 —> Type “bng” —> 將盒子下方粗線連接到”Hello World“上方粗線Lock後，可透過此按鈕觸發”Hello World”
—>像是一個觸發事件用的按鈕？basically means do something.
*Command+2 —> Type “bang” —> 連接後可以得到相同效果

Lesson Source

Mr Jukes - Grant Green ft. Charles Bradley

At first, I clicked this song just because the thumbnail and the cowbell in the intro was so cool. I didn’t expect something this good.

This song is filled with soul! 

Charles Bradley’s ebullient sining meets the groovy arrangement from Mr Jukes. A brilliant combination gives me an imaginative experience, just like the colorful and surreal music video.

By the way, don’t forget to check out Grant Green’s music. They also sampled one of his songs in the intro.

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一開始會點進這首歌其實是因為縮圖看起來很妙，以及前奏的牛鈴很酷。我並沒有預料這會是這麼好的作品。

這首歌就如同曲風，充滿了靈魂！

Charles Bradley奔放的歌聲加上Mr Jukes充滿律動感的編曲，構成一個出色的組合，給我一種非常具有想像力的聆聽經驗，就像是這首歌色彩繽紛又超現實的MV。

順帶一提，也去聽聽看Grant Green的音樂吧！他們在這首曲子的前奏也有sample一小段他的歌來使用。

St. Vincent - Happy Birthday, Johnny

This time I am going to cover “Happy Birthday, Johnny” by St. Vincent.

This song is in key of Bb. Capo on 1st fret and play in A is an easier option, but we still have to deal with some barred chords.

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這次我要Cover要彈的是St. Vincet的Happy Birthday, Johnny。

這首歌是Bb調，在第一格夾移調夾彈A調會容易許多，但依舊是無法避開一些封閉和弦喔。

音階的四度音練習應用 ( Application of Minor Scale in 4th)

這次Techniques From Songs的主題將以楊丞琳的青春住了誰中的電吉他獨奏討論音階的四度音練習應用。

這是倒數第二小節電吉他獨奏的大致內容：

雖然整首曲子是E大調，但這裡大致上是使用E小調五聲音階來對應G和弦，直到B和弦時才有回到E大調的感覺。

而在這一小節的中，樂句大多以四度音前進，雖然這或許只被當成五聲音階慣用的技巧，但我們可以把這個概念抽出來，應用在完整的小調音階練習上。這樣即是我們以1 - 4、2 - 5、b3 - b6…的四度音程來演奏音階。

若將這個概念套用到整個指型會是這樣：

大家可以試著將這樣的四度音練習套用到不同的指型、把位、調上面，並試著在自己的獨奏上。影片最後有預留一段和最後兩小節類似的Loop，大家試著玩玩看吧！

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This time in Techniques From Songs, we are going to talk about the application of Minor Scale in 4th from the solo of this song.

This is the 2nd to the last bar of the solo part.

The whole song is in the key of E, but in here the guitar player use E minor Pentatonic scale to match the G chord. The E major feel doesn't come back until the B chord.

In this measure, the note are basically moving in 4th. although we can deem it a cliche of minor pentatonic scale solo, we can apply the concept into a natural minor scales, like 1-4, 2-4, b3-b6... etc.

So if we put it into a whole pattern, it will be like this:

You can try to apply the scale in 4th concept to different patterns, positions, and keys. Also, use it in your own solo. I will keep a loop that sounds like the last two bars of the solo, try it yourself!

楊丞琳 - 青春住了誰

其實最一開始會想錄這首歌只是因為都還沒人做而已，只是前幾天就開始有人上傳了，事事難以預料，也就這樣吧！

這首歌是E大調，所以用移調夾夾在第四格彈C調會容易許多。在這裡的譜就是提供給有用移調夾著版本，譜的內容也有簡化，只是要注意偶爾多出來的兩拍。在影片中我會演奏不使用移調夾的版本，內容也會比較複雜一點。

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I decided to record this song because there were no one doing this back then yet. But a couple days ago people started to upload some videos for it. Whatever.

This Song is in the key of E. It will be easier to capo on 4th fret and play C. The chart here is slightly simplified for peoples who use capo, but just pay attention to those extra 2 beats. In the video, I will not use capo and the content is more complex, too.

The Clientele - Everything You See Tonight Is Different From Itself

這首歌因為一開頭的聲響跟Beats影響，接下來的和弦乍聽之下也像電子樂器，仔細聽一下後發現似乎是某種撥絃樂器，相當有趣，應該可以說是數位與類比聲響的良好結合。

一開始的器樂背景稍微比較冰冷一點，但在主唱的呢喃進來之後，大致上形成一種「冰冷的背景中帶著堅毅的溫暖」的感覺。整首歌大致維持類似的感覺進行，背景偶爾會加入一些生硬、扭曲的和弦，但是在旋律線上加入弦樂器跟管樂來補強一些溫度。

有種類似「在寒冷的夜晚，身體雖然會因低溫、或風而顫抖，但卻很堅定地一直向某處前進。」的感覺，是一首畫面相當鮮明的曲子，挺不錯的。

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Because of the sound and beats in the beginning of this song, the following chord sounds like it is made by a electronic music instrument, too. It takes me a while too realize that it is a sound of some kind of string instrument, which is really interesting and a good combination between analog and digital sound.

The instrumental background sounds a bit cold, but after the vocal comes in, it feels like "a cold background with determinate warmth". The whole song basically maintain this kind of feel, though there are hard and twisted chord sometimes, it will compensate with strings or horns.

It feels like "In a freezing night, though the wind and cold make  you shiver, you still walk forward firmly."A song with a vivid image, nice one.

Techniques From Songs - 如何在吉他上熟練一個樂句（Steely Dan - Josie）

如何在吉他上熟練一個句子，其實並不是只是將一個樂句重複演奏到滾瓜爛熟而已。之所以會這麼說是因為，吉他上同一個音可以在很多不同位置演奏出來，各何況還有不同的八度。

所以，假如想要真的將一個句子拿下來，得要試著在各個不同的位置演奏出一樣的句子。而更進一步的，想要能夠比較自由地運用的話，還得要了解這個句子在背景和弦之下的選音，不然就會只是重複一套會發出聲音的手指動作，不知道該用在什麼狀況。

因此，我將從Steely Dan的Josie中挑選了一個簡短的兩小節樂句，試著演示一次假若我想要將一個樂句拿下來，會怎麼練習。

首先，這是我選擇的樂句。

相對於背景的Em7和弦，這個句子基本上是由E小調音階與經過音組合，分別是E小調的b7, b7, 6, 7, b3, 1。

在吉他上音階常見的系統是分成五個跟七個指型，我自己比較熟悉的是分成五個的CAGED系統，所以接下來，我將會在這五個型都重複一次這個樂句。

照著這樣演練的話，樂句會相對比較能夠被掌握住。其實真的要拿下來，還會需要練習在不同調中演奏，並且一直試著在各種場合使用出來，但這個部分這次就先不討論。我會在影片尾段放著Em7的Backing Loop，希望大家可以試試在不同指型、把為演奏看看這個句子。

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We cannot just keep repeating a lick until we remember it to really master it. Because there are so many different position for just one note, not even mention that there are different octaves.

So, to really learn a lick, we have to play it in different positions. Furthermore, if we want to be able to use it freely, we have to analyze it with the backing chord. Or it will only be a  repeating hand movement that makes sound, which we don't know where to use it.  

In here, I choose a two bars lick form Josie by Steely Dan to demonstrate what I would do to really learn a lick.

First, this is the lick I choose.
When analyze it with Em7 chord comping, it is basically formed by a E minor scale with passing notes.  These notes areb7, b7, 6, 7, b3, 1 of E minor scale.

Scale systems of guitar usually divide the neck into 5 or 7 patterns. Because I am more familiar with the CAGED system, which divides it into 5 patterns, I will play the lick in every one of those 5 patterns.

You are more likely to really get the lick on your hand through this way. To master it, you still have to practice it in different key and keep using it in different situations, but let's stop at here for now. I will loop the Em7 backing in the end, so try to do this yourself!

Steely Dan - Josie (EG Solo Cover)

Steely Dan是我非常喜歡的一個團體，而其成員之一Walter Becker在兩週前過世了。雖然以目前市場上的音樂來說，他們的音樂資訊量可能有點大，但我還是誠心地跟各位推薦這個團體的音樂，同時在這裡跟大家一起試著從他在Josie的獨奏中學習一些音樂上的可能性。

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Steely Dan is one go my favorite musicians. Walter Becker, one of the founder of Steely Dan, passed in two weeks ago. Although, compares to the music nowadays, their music contains a little too rich informations, I still strongly recommend there music to you. And in here let's try to learn some possibility form his solo work in Josie.

Vijay Iyer Sextet - Nope

前一陣子剛好開始看ECM唱片相關的介紹時，就聽到了這首歌，相當巧。

這首歌一開始鋪陳時的氣氛雖然有點不安定，但其實滿明亮的，接著在一串緊繃音程的堆疊之後，帶著laid-back感的鼓突然加入，帶來非常Groovy的律動感。

非常帥，有這麼帥的開頭，大概很難不喜歡這首歌了。

整首曲子樂器間的對話非常豐富，層次的堆疊感覺也精心設計過，讓曲子一路挺進到結束都沒有冷場，而且感覺還在持續地開展。非常值得細細地欣賞！

以上就是這次的內容，我們下次再見！

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I ran into this song when I started to look at some information about ECM. What a coincidence.

The atmosphere in Intro is basically bright though mixed a little unstable feel. But some really tensioned notes started to stack up, release with a cool riff and laid-back feel drum groove. 

This is too cool! It is just too cool to not like this song with this kind of intro. 

Through out this song, the conversations between instruments are really rich and layered elaborately, which makes it exciting all the way to the end and still expanding.

This is a song worth to listen to! Strongly recommend.

Techniques From Songs - Minor Pentatonic Riff In Major Song (Phum Viphurit - Long Gone)

This time in Techniques form Songs, we are going to look at minor pentatonic riff in a major song. Our example is Long Gone by Phum Viphurit.

This song is in G major and the main riff sounds like this.

The main riff is basically in G major and it feels like he is playing B minor pentatonic shape in mind. Although I cannot really prove that, it is actually a concept that widely used. We can use minor pentatonic scales of 2nd, 3rd, and 6th degree from the key center to come up a riff for the song. 

In here, we can use A minor pentatonic, B minor pentatonic, and E minor pentatonic to create a rill in this G major song. You can write out all the notes of these minor pentatonic scales, and you will find that all the note are in G major. 

In the video, I will shift to A and E minor Pentatonic scale, and use similar rhythm and fingering to fill in the same progression. 

I will keep the backing loops for a while, try this concept yourself!

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這次Techniques From Songs要討論在大調歌曲中的使用小調五聲音階的循環樂句。我們使用的例子Phum Viphurit的Long Gone。

這首歌是G大調，其主要的循環樂句挺起來大約像這樣。

這個句子的音都在G大調中，但感覺他是想著B小調五聲音階的形狀在演奏的。雖然我無法證實這一點，但這其實是很常見的手法。我們可以用一首歌調性中心的2、3、6級的小調五聲音階來為這首歌想一個樂句。

在這首歌，我們可以使用A小調五聲音階、B小調五聲音階、和E小調五聲音階，來為這首G大調的曲子想一個樂句。假如你寫出這些小調五聲音階的組成音的話，你會發現他們其實都包含在G大調音階內。

在影片中，我會移動到A小調五聲音階與E小調五聲音階，並使用類似的節奏與指法來在一樣的和弦進行中填入樂句。

示範完後，會循環一段和弦進行，請也自己試試這個概念吧！

The National - 'The System Only Dreams in Total Darkness' (Acoustic Guitar Cover/ Chart/ 吉他譜)

The song is in key of Fm. It will be easier to capo on 1st fret and play Em. I think that’s what most people needs, so I will demonstrate it in E minor and the chords name will be in E minor too. The strum pattern is just an example, you can do whatever you like that fit the song well.

原曲是F小調，若夾移調夾在第一格就可以用E小調演奏，會輕鬆許多。我想大多數的人應該傾向這個選擇，所以影片以及樂譜都會以這個方式呈現。刷弦的節奏只是參考，你可以選擇任何你覺得適合這首歌的刷法。

Jamie Brown Transcendence - Work Song

看到表演者名字的第一時間，我想著哲學系畢業之後多久沒看到這個詞了。

這是我最近相當喜歡的一張專輯，聽起來他們將古老的聲音紀錄融入到創作當中，但這些聲音不是單純的當作背景、或是植入的變段，這些聲音在他們的創作中可以說是一個主題、一個動機，透過這個主題進而開展出整首歌。

其涉略的聲音紀錄主要應該是以黑人工作歌為主，但又利用了日本的傳統音樂與黑人的福音歌曲，甚至有樂器演奏了茉莉花的片段，取材相當廣泛。而製作出的作品也混合了藍調搖滾、爵士，甚至有點電子、環境音樂的感覺，非常有趣。整張專輯一直營造出一種在招喚著什麼的氣氛，配合著這樣的取材，可以說是非常相映的結合。

對於一直想要將環境聲音融入音樂的人來說，可能會有種「怎麼辦？被人家做完了！」的感覺，這真的是跟音樂融在一起了。

其中這首Be So Glad也真的令人印象深刻。一開始樂器雖然帶著一點不同的氣氛，但大致配合著工作歌的律動感跟聲線，讓人隨著工作歌的律動感緩步前行，在工作歌一邊漸弱時，樂器的走向開始突出，隨著小鼓的鼓刷與鍵盤的堆疊帶著曲子進入了新的律動感，更完整的鼓組節奏、加上saxphone色彩鮮明的獨奏，讓人感覺像是被抽離到了另一個世界，經過一番漂浮之後，工作歌一邊慢慢回到聽覺範圍，好像回到現實世界，卻又一直沒有踏穩實地，半夢半醒一般。是怎麼樣才能想到要把資料般的黑人工作歌編成這樣的作品呢？

總之，是張厲害的專輯。

最近聽什麼？ Temp. - Motel California

會知道這首歌是因為點到了Youtube的推薦。一開始聽的時候還想說「有點City Pop的感覺，日本團？現在流行在MV裡用異國文字嗎？」

點進去他們臉書頁之後，才確定是東南亞樂團。應該是泰文吧？

不過這跟我印象中的東南亞樂團完全不同，我一直聽說的都是生猛、硬派的樂風，這是第一次接觸到他們比較柔軟的樂風。不過簡單好聽、完成度高、MV色調也調得挺好的。聲響帶著一些上個世紀的味道，用一種風味比較濃的嗓音訴說著輕鬆的律動，特別喜歡小號與其他聲線的對話。

滿好奇現在的泰國音樂現場是什麼樣子的！

20170813東園丘演出記事

參與社區活動而認識到的朋友舉辦的小型畢展，剛好也在步行生活圈，便在閉幕活動時前往唱了幾首歌。

沒有麥克風、擴大機、燈光效果，在這一片舊宿舍之間的空地，腳踏實地的「不插電」演出。雖然看似簡陋，但是我非常喜歡的一次演出。能夠自由地選歌與朋友分享，在一塊我覺得充滿潛力的建物群演出。同時，能夠如此直接地與聽眾互動、感受到大家確實享受著你的演奏，這種感覺非常的好。希望能夠一直有機會在這種空間中，有一些有趣的演出。

隨著開始工作也幾年了，在學校中所學的各種良善與價值不停地與社會所追求價值衝擊，在這樣的情況下，若能一直記得這種熱誠就好了。

Techniques From Songs - 控制音符的長度 (Jessie’s Ware - Midnight)

這次Techniques From Songs的主題是控制音符的長度。延續前兩集，我們會繼續使用Jessie Ware的Midnight來當範例。

在我所Cover的Jassie Ware - Midight中，我在副歌時和弦大多的延續長度是八分音符。這裡需要注意的地方是，一個音符的長度其實相當重要。它可能因為不同的長度，而影響律動和情緒。所以影片中會用Midnight的副歌來做示範，以四種不同的音符長度來演奏，分別是斷音、十六分音符、八分音符、附點八分音符，看看有什麼不同的感覺。

相信大家聽完後應該都會注意到每種處理方式的感覺是不太一樣的！下次在處理節奏的時候記得把這件事情考慮進去。

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This time in Techniques From Songs, we are going to talk about "Note Length". We will still using Jessie Ware's Midnight as example.

In my cover of Midnight, I play the chords mostly in 8th note. What we have to think about is that the length of a note so really important that it will affect the grooving and emotion of a song. So in this video, I am going to play the chorus of midnight in 4 different kinds of note length, Staccato, 16th, 8th, and dotted 8th, to compare the feel of different note lengths.

 

I believe we can all feel some differences in different note lengths, so remember to consider about this when you are trying to compose a rhythm next time.

Jessie’s Ware - Midnight (Guitar Cover/TAB/吉他伴奏/譜)

這首歌主歌的分解和弦其實對吉他並不友善，可以試著用七和弦來取代原曲的十三和弦，聽起來有點不同，但會好彈很多，聲音其實也可以接受。但在影片中，我會試著去用十三和弦來演奏。

The verse is actually not that friendly to guitar. So you can try just play 7th chords instead of 13th chords. That will still provide a decent sound while way easier to play. But for this video, let me try to twist my hand a little bit.

最近聽什麼？ - Jessie Ware - Midnight

有興趣的朋友可以先上Youtube或音樂串流軟體上找找，這裡也會附上連結 ，避免聽到前就先被我雷。

這首歌一進歌的分解和弦跟主唱給我非常情緒化、掙扎的印象，好像會是一首Indie風格的歌曲，可是當低頻一進來時帶著一些類似Modulation感的效果，讓我感覺似乎會有點不一樣。

結果副歌以一個非常Groovy的方式將情緒釋放，充滿糾結的奔放感，將內心的悸動化為節奏，理性的矛盾化為旋律。表達得真好，感覺自己就是那個走在深夜街頭，既衝動又有所顧忌的人。

只是副歌的最後一句，一直讓我想到The Weather Girl的It’s Raining Man，一想到MV的畫面就害我有種瞬間抽離歌曲情緒的感覺。

Techniques From Songs - Open Feel Barre Chord From Love Yourself

This time “technique from songs” is going to use Love Yourself by Justin Bieber to talk about open feel comping with barre chords.

Since there are already quite a lot videos are helping you to play this song, I am going to talk about this song in different way. About how to get the open feel comping in the verse.

Here is the progression of the verse.

As we can see, if we just play what we see on the chart, it will just be some barre chords with an interesting rhythm.

But we get an idea from the song, we play only the 5th and 2nd string, to achieve the open feel in the song!

Although, we can see most of the chords as a combination of root and a 3rd one octave higher, it’s actually easier to just skip some strings when you are trying to come up with a rhythm p art like that.

So let’s put this concept to a different chord progression and change the rhythm a little bit. I will use the chord progression form That’s How You Know by Nico & Vinz.

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這次 “technique from songs” 要用Justin Bieber的Love Yourself來討論開放感的封閉和弦伴奏方法。

由於網路上已經有很多不同的影片在做這首歌的演奏教學，我想要討論一些比較不同的面向，也就是如何談出主歌中那種有開放感的伴奏。

以下是主歌的和弦進行：

我們假若只是照著譜例彈奏，就只會彈出有著有去節奏的一串封閉和弦。

但我們可以試著向歌中一樣，只演奏吉他第五及二弦來得到那種開放感。

雖然可以解釋多數的和弦為根音與高八度的三度音的組合，但若想成以後在彈封閉和弦時，若想要得到那種開放感，可以省略掉中間的部分弦，會相對容易一些！

我們將這樣的概念放到其他的和弦進行，並稍微改變節奏。這裡我將用Nico&Vinz的That's How You Know這首歌的和弦進行來做範例。

楊乃文 - 離心力（Guitar Cover/吉他伴奏/樂譜）

之前金曲獎吵得沸沸揚揚時我人在歐洲，所以沒搭上那股熱潮，雖然我也沒有打算跟上，但還是準備了這首讓黃建為老師拿到最佳作曲的離心力。

原曲其實比較複雜一點，但我想多數人的需求應該是「嗯嗯呵呵哈哈哈」就可以直接彈唱的譜，所以附上的譜是我自己認為還算是可以接受的簡化版本，因為簡化過，所以聽起來跟原曲有些出入。

只是影片中演示的是稍微複雜的版本。