東園街的夢 / The Dream of Dongyuan Street

歌詞：

來來 去去 來來 去去 亭仔腳內往來的人 哪裡去 去哪裡

豆菜 發芽 豆菜 發芽 孵出豆芽甘會孵出 美夢 噢希望 希望

你找尋的那個希望 就好像有他的眠夢 哪裡去 哪裡去

你還在找那個美夢 到底過了幾個年冬 哪裡去 覕在哪裡 

生生 世世 生生 市市 長長的麵 甘有長長的回憶 哪裡去 去哪裡

你找尋的那個希望 就好像有他的眠夢 哪裡去 去哪裡

你還在找那個美夢 到底過了幾個年冬 哪裡去 覕在哪裡 

你找尋的那個希望 就好像有他的眠夢 哪裡去 去哪裡

你還在找那個美夢 到底過了幾個年冬 哪裡去 覕在哪裡 

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這是2016年應於加蚋子舉辦的第三屆拾光市集之邀，為好加在工作室拍攝的三部紀錄短片創作的歌曲。

一開始看完三部影片後，變希望能夠用一首歌來串連三部影片，稍作思考之後，覺得三部影片中的人物都帶有著一種對於過去的緬懷與對於未來的期待，便覺得三首歌可以都先以接近影片中主題的段落作為緬懷的呼應，再接到共同對於未來有所期待、在找尋希望的段落。

由於許多影片中的人物都說閩南語，在一邊哼哼唱唱的過程，也不自覺地使用了較接近閩南語的發音，因此便以閩南語作為創作語言。同時為了希望能夠帶有質樸的感覺，儘量使用不需要透過電子設備變成直接演奏的樂器錄製。希望能夠讓那樣的願望、緬懷、情緒，透過音樂，更加直接、坦誠地傳達給觀眾。

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詞 / 曲：Soulless Project 

主唱、吉他：Soulless Project 

打擊樂器：真飽忠

照片：廖翊筌（東園街社規師工作室(台大城鄉基金會)2016/11/13第三屆拾光市集）

紀錄片：好加在工作室

生生市市 https://www.youtube.com/watch?v=nL2bJpbksdI

店，家 https://youtu.be/nlCqvcjyQVo

孵 https://youtu.be/XT4kD0Cggco

Techniques From Songs: Minor Line Cliche（艾怡良 (Eve Ai) - 無數個我 (The Unrecognized)）

這次要延續上次的話題，跟大家聊聊艾怡良的無數個我的和弦進行。還沒聽過的人，請先點一下傳送門（Cover / 原曲）！

有太多地方可以講了，我們就挑前奏的部分來討論一下就好了吧！

相信應該很多人都有看過007系列電影吧？不知道有沒有發現片頭曲跟這首個的和弦進行有點相似之處？

這一段和弦進行是小調Line Cliche的著名範圍，而這首歌的和弦進行應該就是以小調Line Cliche為基礎來做變化！Line Cliche基本上是針對同一個和弦的某一個聲部移動，來達到變化的效果。

像是007的範例，就是針對了Fm和弦的五度做半音的移動。

而這首無數個我也是類似的案例。

作曲者一樣針對Fm和弦的五度做變化，只是他的變化是5, #5, b7, 6，而進入到6時，他改以Bb7和弦來搭配，而不是繼續留在Fm和弦。

一樣類似的手法，也可以用在大調，聽聽看90年代情歌金曲Kiss Me的前奏跟主歌！

下次也在自己的歌曲裡面用用看這樣的手法吧！

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If you haven't heard this song, please check it out first! (Cover / Original)

Before we talk about the intro of this song, I believe most of you have heard the theme of 007 series.Did you find that it sounds familiar with this song?

The chord progression of 007 theme is a well-known example for minor line cliche! Line Cliche basically means to move one note of a chord in stepwise to create a motion in static chord progression.

Like in 007 theme, the 5th of Fm moves to #5 and 6.

The song “The Unrecognized” is a similar example.

The song-writer also moves the 5th of Fm, but it moves to #5, b7, 6. While it moves to 6, the chord changes to Bb7, instead of stay in Fm.

It could also be applied to major chord progression. Let’s listen to the 90’s hit Kiss Me as an example.

Try to use line cliche in your song, too!

Cover: 艾怡良(Eve Ai) - 無數個我(The Unrecognized)

這次要cover的是艾怡良的無數個我。

這首歌的和弦進行有滿多事情可以聊的，但這個部分就留到下次再說，這次就先彈吧！演奏的部分，歌曲是F小調，所以夾移調夾在第一個會比較好彈，但還是躲不掉封閉的！此外仍需要對E型Minor和弦以及一些可能的變化有一定的認識，不然可以能會有點辛苦！

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This time I'm going to cover The Unrecognized by Eve Ai.

There are may things could be discussed in the chord progression of this song, but let’s save it for the next time.

For playing-wise, it’s a song in F minor, so capo on the first fret would make it easier, but you still have to play some barre chords. Also, you have to be familiar to the variations of the E shape minor chord.

不推薦5000元以下吉他的3個 (The 3 Reasons Why Not to Recommend Acoustic Guitars under $150)

這次要聊「不推薦5000元以下木吉他的3個理由」！

第一個理由是手感！

價位較低的木吉他因為種種理由，會讓吉他彈起來、按起來、握起來的感覺不太好。而這會導出第二個理由：音色。

當吉他不好掌握的時候，對於新手來說，要演奏出理想、不要有太大的瑕疵的聲音相對困難，就算成功發出來，音色往往也不怎麼好聽。而這最終就導致了第三個理由：學習熱誠。

由於要發出理想的聲音需要耗費相當大的心力，往往導致在學習熱誠上受到挫折，而進一步讓人停止繼續演奏的熱誠，與吉他的緣份也就到此為止。

5000元是一個大概的標準，畢竟吉他價格也是會隨著物價波動的，畢竟我最近也有是到4000多元，但品質ok的木吉他。但就以這個標準來說，我想會想要選擇這個標準以下的吉他的人，多半都是初學者，我真心覺得避開這樣的選擇，應該能讓你在與吉他相處的這條路上過得比較愉快！至於5000元以下的吉他，個人相當推薦拿來種花，應該會滿好看。

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This time we are going to talk about “the 3 reasons why not to recommend acoustic guitars under $150”

The first reason is the feel.

Cheap guitars usually don’t feel that good playing-wise, pressing-wise, holding-wise. 

And this leads to the second reason: Tone. 

When you are not so comfortable with your guitar, for beginners, it’s not that easy to produce solid, ideal sound. Even you do, it’s not likely that you will like the tone. 

This brings to the last reason: Passion. 

When it takes that much efforts to produce a solid sound, people might feel really frustrated and even give up playing guitar. 

$150 is just a general standard, since the price of guitar fluctuates and I personally have just found a decent acoustic guitar in $140. But deem it a general standard, most people who choose guitars under $150 are beginners. I do think you should avoid those guitars to have a happier journey with guitar. For those guitars under $150, I personally recommend to use them as flowerpot, that should look good.

Listen: Nilüfer Yanya - Thanks 4 Nothing

這首歌一開始以偏電子的鼓組與吉他帶出有著Bossa Nova感的節奏，好像該令人感到輕鬆，但整體的聲響卻都偏冰冷。副歌前半段先把節奏收掉，後半段再把節奏帶回來，但這次是真實鼓組的聲響，充滿空間感，但應該沒有太多壓縮，演奏的節奏是常用於準備推砌出較高情緒的慣用打法，但最後卻是收回原狀。

有趣的編曲，符合歌詞，也充分表達出那種處理與前任之間的情感糾結的情緒。有種將要被遠遠的直拳正中，卻在眼前消失了的感覺，空剩故作輕盈的姿態與一身冷汗。

但其實我最喜歡的歌詞“‘Cause I don’t want to make things better. Thanks for nothing lasts forever ”，雖然在歌中可以理解成一種與前任的認真訣別，但是單看這句話真是厭世的相當有剩，好想用這句話寫一首歌啊。

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This song starts with electronic drum and guitar to bring out a rhythm with bossa nova feel, which (maybe) should make me feel relax, but the whole sound make me feels cold. The chorus begins with lower energy without the drum, but brings it back in the later part with spacious, acoustic, barely compressed sounding drum. The rhythm used in this part often used when the music is trying to build up the energy, but it just lets the energy go and goes back to verse.

Really interesting arrangement, which aligned with the lyrics and also delivered the emotion trying to deal with one’s ex. It feels like you are going to be fitted by a far far straight punch, but it just disappears in front of your eyes, leaving you ,who tried to be calm, in a cold sweat. 

Actually, I like the lyric”Cause I don’t want to make things better. Thanks for nothing lasts forever ” most. Although it can be interpret as a serious abandon to their relationship, it is so misanthropic to look alone. Hope someday I can use these words to write a song.

Technique from Songs: 刷弦的動態（Pink Floyd - Wish You Were Here(Intro)）

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!

Cover: Pink Floyd - Wish You Were Here (Intro Solo)

這首歌前奏的獨奏大體上都是用E小調五聲音階在演奏，結合了E跟D指型，還可以順便練習開放弦應用，很實用。推弦的部分，我雖然有打出音高，但其實他的音準有點微妙，要自己多多揣摩！

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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.

Listen: Rex Orange County - Sunflower

這次Listen要聊的是Rex Orange County的Sunflower。

一開始帶有一些黑膠底噪的三拍子莫名地讓我想到King Krule…之類的。完全沒有想到後來會轉成那麼鮮明的節奏，歌曲雖然明亮但卻透著淡淡的憂鬱質地，相當喜歡這種感覺。副歌前管樂的連續八分音符吹奏也是相當有趣的安排。橋段的念詞相較於現在常見的饒舌形式，比較接近口白，而其中的”I honestly don’t even know why“的念法，相當讓我喜歡，確實地表示出了不解與困惑。

MV的畫面，讓我想到當時在美國的感覺相當懷面的南加州景色，還有那台Beach Cruiser腳踏車當時覺得太貴完全買不下手呢。

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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.

Techniques From Songs: The Way Back to One (Plagal Cadence) (Sufjan Stevens - Tonya Harding)

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。

我不想解釋得太複雜，所以會儘量避免使用音樂術語。你可能在練習歌曲的過程中，隱約覺得和弦進行好像有某種規律。像是C大調的歌中，總是從C開始，而G和弦後面總是接著C和弦。倘若你試著寫出C大調的所有三和弦，並依序寫上羅馬數字，會發現這可以解釋成一首歌總是從第一級和弦開始，而第五級和弦後總是會接上第一級和弦。

在D大調時，就是從D和弦開始，在A和弦後面總是會接著D和弦。但是在這首歌的前奏結束接到A段時，卻是從G接到A。

這就表示著，你其實也可以用第四級和弦，接回到第一級和弦。這樣的做法其實稱為「變格終止」，而回到第一級的方法，其實可以被稱為「終止式」。但如同頭開頭所提的，我不想對名詞做太多解釋，所以有興趣的人可以自己去查查這些名詞。

下一次，你在寫歌時，記得也試試第四級回到第一級的作法喔！

Sufjan Stevens - Tonya Harding

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.

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這次我要彈的是Sufjan Stevens的Tonya Harding。

這首歌大體上都是同一個和弦進行一直重複。假如想要用C型來演奏的話，可以將移調夾夾在第二格。但是我個人比較喜歡不夾移調夾的和弦配置（voicing），所以在接下來的影片中，我也不會使用移調夾。

2018 迦蚋仔Tone：民和街周遭環境收音與演奏紀錄

台北市萬華區民和街108巷周遭，為了尚未通過審查的都市更新，預定於2018年一月開始進行拆除工作。為了想要為這個地方留下一些紀錄，我們在這裡進行了短暫的環境收音以及演奏。

錄影的位置是在一間三層樓的建物中，外牆貼上土黃色國防磚、兩側大體對稱、邊角圓滑、中間有面從二樓延伸到樓頂的玻璃牆。從房屋內向玻璃外看，原本是幾間平房，有已經少見的土角厝、漆上粉綠色的木造矮房...等，還有幾棵跟這棟樓差不多高的大樹跟房屋糾纏在一起。

這附近還有一些住戶、市場攤販在居住、使用，環境收音中還可以聽到機車、附近磨刀店的聲響。有著貫通的樓梯間，或許再加上一些雨天潮濕空氣的因素，演奏的聲音都加上了一層非常美好的殘響，一瞬間讓我聯想到了Led Zeppelin在Headley Grange的錄音。也因為太美好了，讓我們對將要進行的拆除工程更加感到落寞。

這棟樓預計在一月底也會開始拆除，或許將建物與土地生命化地對之感謝，在現代顯得有些矯情，但我們衷心希望這份情感能夠被傳達，也希望乘載了那麼多記憶的你們，在最後也會覺得不枉此生。

你家附近，也有希望能讓我們來留下記錄的地方嗎？

Listen: Sangpuy（桑布伊） - The Power of Life

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。

Techniques From Songs: 樂句的細節 (關你屁事啊 – 彭佳慧 feat. 熊仔 (EG Fills in Rap))

這次Techniques From Songs要延續「彭佳慧的關你屁事啊」利用第一段Rap的電吉他樂句，來講一下「樂句的細節」。

首先在第一小節第三、四拍，及延續到第二小節第一拍的四個音，單看音就是G#、G#、D#、D#，但是他在第一與最後一個音前面加上滑音，讓重複的音聽起來更有味道。

再來是在第二小節最後一拍的三個音，可以視為他在接近第三小節前的裝飾音，這種裝飾音有點像是發語詞的功用，其實不彈也沒什麼關係，但有彈感覺的確不一樣。

最後是，第四小節第二拍的還原G這個音。這一小段句子基本上都是在E大調，除了這個音。順著前兩個音往下多滑了半音到這裡。相對於C#7這是一個b5跟接著的#D跟B行成了短暫的增和弦，增加了一點刺激。

大家可以試著看一下譜，再一邊聽一次，看看能不能注意到我說的那些細節。接著，也在影片中附上的Loop，跟著試試吧！

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This time in Techniques From song, we are going to talk about the detail inside the electric guitar riff in Julia Peng’s None of your business.

In the 3rd, 4th beat of the 1st bar and 1st beat of 2nd bar, there are 4 notes which are G#, G#, D#, D#. The guitarist slides into the 1st and 4th note, which gives the same note different feel.

The group of notes in the 4th beat of the 2nd bar can be deemed ornament. It is like an auxiliary word, which doesn’t really mean something. It’s alright to not play those notes, but it really feels different if you do so.

There is a G note in the 2nd beat of the 4th bar, a note that is not in the key of E. After previous two defending note, the guitarist went one more half step to G. In a C#7 chord, it is a b5 and forms a augmented chord with the following D# and B note.

Try to follow the chart and listen to the fill one more time, to see if you can notice these thing! Also, try it out with the loop in the video.

Cover Songs: 關你屁事啊 – 彭佳慧 feat. 熊仔 （和弦譜 Chords/吉他伴奏 Guitar Backing）

這次Cover Songs的主題是彭佳慧的關你屁事啊。

這是一首帶著一些Fusion、80年代City Pop樂風的曲子，其實主流公司會推出這樣的新歌，稍微有點讓人意外呢。這首歌有用一些延伸和弦，假如覺得這樣的和弦太過困難，可以考慮簡化成七和弦，聽聽看效果是否能夠接受。

這一次開始試著把旋律也打進譜，原本有試著打簡譜，可是因為我不知道怎麼在數字上加點，所以就放棄了。假如知道怎麼做請務必跟我聯繫一下。然後，Rap我懶得打了，請容許我偷懶一下。

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This time I am going to cover None of Your Business by Julia Peng.

It is a song in the style of fusion and 80's city pop. It is surprising that mainstream company released a new song like this. There a some extended chords in this song, if it is not so friendly to you, you can try to use 7th chords instead of them and see if you like the sound. 

I tried to put melody in chart this time. I also wanted to type numbered musical notation, but I gave up, because I didn't know how to put a dot on or under a number. Please let me know how to do it, if you know. I didn't put the rap on the chart, sorry, I am pretty lazy.

Listen: Chet Baker - Lament

這次Listen要聊的是Chet Baker的Lament。

這是收錄在Live&Rare專輯中的版本，照這名字來看應該是收錄了一些較少見的現場版本，但專輯的資訊實在不好找。

這首Lament收錄的是現場的Trio版本，Chet Baker吹小號、Jean-Louis Rassinfosse彈Double Bass、Philip Catherine彈吉他。之所以想要拿這個版本出來講，是因為我覺得在這場演出中，這三個人的對話性非常的好，他們的演奏非常流暢而恰到好處地填滿空間，支撐著主奏，也填補空白的色彩。另外，吉他手會在一些出乎意料的地方加入連續的分解和弦，相當有趣。希望你們也會喜歡。

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This time in Listen, we are going to talk about Lament by Chet Baker.

This version is included in the album Live& Rare. There is not much information about this album on the internet, which (by the name) I suppose is a album that puts some rare live version of songs together.

Lament is a live trio versions. Chat Baker on trumpet, Jean-Louis Rassinfosse on double bass, Philip Catherine on guitar. The reason I want to talk about this version is that the conversation between instruments is so fluent. They comp for the lead and fill the empty space perfectly. Also, the guitarist use continuous arpeggio in some surprising timing, which is really interesting.