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。
