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. 

---

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！

---

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。

---

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。

---

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.