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常常收到私訊: 有譜嗎? 影片中的歌曲琴譜是自己整理還是網上抓的呢?
Miemie老師都是自己抓音打譜整理的, (只有少數幾首是彈原作者的譜)
鋼琴流行歌彈法, 如影片中譜例, 我都是先抓主旋律及和弦&伴奏音型簡單標註, 剩下就是自行發揮即興囉! 再慢慢串連起來~~
這是最快的, 當然有些曲子考量到細節, 在聽編的過程會非常仔細把內聲部都抓出來再改編哦! ^^
分享這可愛的小學生~因考量到才初學幾個月(大概拜爾50左右), 他非常喜歡Alan Walker的Faded, 但這首原調非常難, 是六個降~(暈)
我就改成G大調讓他彈得開心~並且補充音階/琶音的練習及調性的和弦的運用, 還有一些左手伴奏音型~
經過練習後, 他成功自行轉調, 彈奏原調完整版了👏👏
然後, 最後還有我們一起合奏的片段 :) 是不是很好玩呢?
#五線譜 #流行音樂 #鋼琴 #Piano
新刊預覽~~✨👀
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。
其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。
攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。
此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like t✨o thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。
其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。
攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。
此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like to thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
【購買吉他優惠方案】：https://youtu.be/NflPEnZljDs
【免費加入賴群】：https://youtu.be/fS1s2p4htpo
【吉他彈唱技巧全解鎖】：https://youtu.be/1u2hcYY7qSA
初學吉他的有福利拉！
今天學吉他再也不是一件難事
溢鴻老師 帶大家用4個和弦
學會超過10首熱門歌曲
還不趕快拿起吉他跟著學吉他！
1.黃明志 – 漂向北方:http://www.91pu.com.tw/song/2017/0302/6074.html
2.李玉剛 – 剛好遇見你: http://www.91pu.com.tw/song/2017/0831/7623.html
3.Alan Walker – Faded: https://reurl.cc/n5nl2
4.鄧紫琪 – 光年之外 http://www.91pu.com.tw/song/2017/0111/5658.html
5.周杰倫 – 七里香 https://www.91pu.com.tw/song/2015/0804/427.html
6.鄧紫琪 – 倒數 http://www.91pu.com.tw/song/2018/0820/10257.html
7.畢書盡 Bii – Come back to me： http://www.91pu.com.tw/song/2015/0715/230.html
8.周湯豪 – 帥到分手： http://www.91pu.com.tw/song/2016/1104/5104.html
9.鄧紫琪 – 那一夜：http://www.91pu.com.tw/song/2018/1022/10512.html
10.鄧紫琪 – 再見 ：http://www.91pu.com.tw/song/2016/0627/3897.html
--------------------------------------------
『線上諮詢』
Line ID ▶@svguitar
電話 ▶0916 059 459
FB粉專:https://www.facebook.com/oscar81520/
IG:SV攻吉他
溢鴻老師演奏頻道：https://pse.is/AUM2T
劇本/徐溢鴻
導演、講師/ 徐溢鴻
拍攝/鄭喬
剪輯/士棋
1對1課程Line ID： @svguitar (加賴詢問或者私訊粉專)
購買吉他：https://reurl.cc/yxjRa
吉他譜在這唷！ 體面：http://www.91pu.com.tw/song/2018/0121/8801.html
流行音樂當中百分之80的歌曲常用節奏型態Slow Soul（慢靈魂樂）
這種節奏型態究竟是什麼樣的感覺？
教你使用吉他模仿鋼琴雙音的伴奏方法
-----------------------------------------------------------
『線上諮詢』
Line ID ▶@svguitar
電話 ▶0916 059 459
FB粉專:https://www.facebook.com/oscar81520/
IG:SV攻吉他
溢鴻老師演奏頻道：https://pse.is/AUM2T
劇本/徐溢鴻
導演、講師/ 徐溢鴻
拍攝/廷兒
剪輯/士奇
1對1課程Line ID： @svguitar (加賴詢問或者私訊粉專)
購買吉他：https://reurl.cc/yxjRa
今天我們邀請到重量級的富安老師
並且要用Am F C G四個和弦來彈唱一系列的歌曲！
實戰演練1~4集所教的東西
在近期流行音樂越來越喜歡用簡短的和弦來創作
並且做出了許多讓人記憶深刻的金曲
現在我們要把初學吉他1~4集的音階、和弦、指法、刷法
帶入實戰演練拉
-----------------------------------------------------------
『線上諮詢』
Line ID ▶@svguitar
電話 ▶0916 059 459
FB粉專:https://www.facebook.com/oscar81520/
IG:SV攻吉他
老徐彈吉他：https://pse.is/AUM2T
劇本/徐溢鴻
導演、講師/ 徐溢鴻
拍攝/廷兒
剪輯/士奇
（更正通知）Alan Walker - Faded數字譜修正，紙本簡譜也修正。 因訪間的鋼琴譜均為升F大調，與本人的降G大調不同，因此重新寫譜，請見諒。 本人的youtube影片吹奏的此 ... ... <看更多>
（更正通知）Alan Walker - Faded數字譜修正，紙本簡譜也修正。 因訪間的鋼琴譜均為升F大調，與本人的降G大調不同，因此重新寫譜，請見諒。 本人的youtube影片吹奏的此 ... ... <看更多>
faded譜 在 Faded-Alan Walker五線譜預覽-EOP線上樂譜架 - Pinterest 的美食出口停車場
Jun 28, 2022 - Faded是挪威電子音樂制作人艾倫•沃克制作、挪威女歌手艾斯琳•索爾海姆演唱的一首歌曲。下面是Faded鋼琴譜，感興趣的朋友可以使用。 ... <看更多>