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本帖*后由 Stone654 于 2016-10-26 13:11 编辑 让DADGAD听起来更有味道：DADGAE Gayla Drake，翻译Stone654 我跟一个叫Dean Farley的坛友讨论过调音的问题，有些话真的非常耐人寻味：“我用DADGAE调弦弹琴跟你那是相当不一样啊。” 一些调弦有十分特殊的标志性的声音特点，DADGAD调弦就是个例子，辨识度非常高。有些人把它叫做“第二标准调弦”。（那要这样我自创个游戏估计立马能火——但凡看广告听见DADGAD调弦的BGM就噣一提溜老雪）它的音色非常优美动人，即可打节奏指弹，又可乡村摇滚。音乐人之所以喜欢他，八成是因为DADGAD调弦的曲子实在是太TM好听了。 但是，这可能会导致乐曲同质化的问题，有时候你弹的东西跟别人弹的东西太过相似。有两条路可以走：再找个调弦练得滚瓜烂熟，或者干脆把DADGAD高低关系整个反着调，前无古人搞点事情。（鉴于你的对手包括Pierre Bensusan, Laurence Juber以及晚期风格的Michael Hedges, 我只能祝你好运。） 有一个让DADGAD听起来焕然一新的方法，就是把高音D调回E，构成DADGAE。听起来有点拧，但真的很不一样。 你可以像弹DADGAD调弦一样开始——这其实挺酷的。假装一弦还是D，二品和四品是比较“保险”的弹奏位置。用两根D弦保持贝斯声部，然后你随意发挥。听起来很酷对不？在二弦上滑弦到五品的D或者更富打击性一点：用小指敲击它。实验一下二弦上的升C和C，感受一下差一个半音对和声或者走向的影响是多大。在低音部弹奏C，在高音部弹奏升C，你会得到一个比较魔性的凯尔特调调。 现在把根音挪到五弦。这里有一个A5和弦，这比DADGAD听起来更为压缩和紧凑。我*喜欢的就是你想要一个四和弦的时候，你只需要放开一个手指，而不是按上去。那感觉就好像潜入深水，对比强烈，而且你得到了一个一弦空着的炫酷的D9和弦。 
下面你要做个选择：到底是要一个大五和弦还是小五和弦？你可以把三弦空着，或者按一下一品听听效果。我非常喜欢把弦降半调，如果你弹一个A5作为你的根音——几乎是下意识直觉的东西，你可以很自然地弹奏其他和弦的和声，而且你回到A5时，它听起来十分地清晰干净。 
还有一个窍门：当你在C调演奏时，你会得到一个很酷的Dm下潜，这可以替代F和弦。Am作为根音会让你的演奏有全新的色彩，nice的D9（或Dm9）下潜和炫酷的G6add9。（如果你在横按五六弦五品时让DGAE弦空着是这样）和声很简单，听起来模糊而又温暖。 
这里我有四个音频链接，涉及流派比较广泛（有需要的请移步原文）：从凯尔特音乐到乡村蓝调，再到能让我想起Mother Maybelle Carter的民谣。（这些全部由同一位演奏家演奏，毕竟行家）*后，灵活性是一个好调弦的标准，DADGAD调弦就是个例子，请从和弦图开始吧，我先撤了。 原文： Spicing up DADGAD: DADGAE Gayla Drake September 09, 2009 I was talking on the phone with one of my fellow PG columnists, Dean Farley (“Signal Chain”), about tunings. He said something that really got me thinking: “The way you use DADGAE sounds nothing like the way it sounds when I play in it.” Some tunings have particular signature sounds, DADGAD for example, is identifiable miles away. Some people are starting to call it the “second standard tuning” (and I have invented a hopefully soon-to-be popular drinking game wherein contestants take a drink each time they hear DADGAD used in a television commercial for banking or insurance). It’s got that beautiful suspended sound that makes it so rich for rhythm playing, fingerstyle and even folk-rock. Singer-songwriters love it, and with good reason—pretty much any song you play in DADGAD sounds frickin’ great. But it can get a little samey after a while, and sometimes DADGAD’ers start sounding a little too much like other DADGAD’ers. We are faced with two choices in this instance: find another tuning to conquer, or turn DADGAD inside out and find things to do with it that nobody has (and considering your competition includes Pierre Bensusan, Laurence Juber and the late Michael Hedges, I wish you luck). One way to turn DADGAD on its ear is to take the high D back to an E, giving you the above mentioned DADGAE. It’s a simple tweak, but it can change everything you do. To start, play like you were in DADGAD—no, really, this is totally cool. Play like you’ve got a D on top and that the second and fourth frets are the most natural places in the world to land. Use the two lower Ds for a droning bass, and just go nuts for a while. Isn’t that an incredibly cool sound? Slide into the D on the fifth fret of the second string, or bash your pinkie down on it for some percussive excitement. Experiment with both C♯ and C♮ on the second string (A) as you go, seeing how much difference one half-step can make in the feel, the harmony, and even the groove. Play a C♮ in the bass and a C♯ in the treble and you’re in for some wacky Celtic-tinged goodness. Now, use the A string as your root. You’ve got an A5 here. It’s a tighter sound than DADGAD, more compact. But one of the things I really like is when you want to go to the 4-chord, you drop to it instead of walking up, and suddenly you’re swimming in deep water again, and what an awesome contrast. Plus, you get that cool D9 with the high E left open. Next, you have a choice to make. Do you want your 5-chord to be major or minor? You can play the G open, or fret the first fret and see what that does for you. I really like dropping to the Em. If you play an A5 as your root, which is the easiest and most intuitive thing to do, you can really play around with the harmonization of the other chords, and when you come back to that A5, it’s so solid and clean. Here’s another wrinkle; when you play in the key of C, you get a very cool drop down to Dm, which can substitute for the F-chord. Using Am as your root gives you a whole new palette to play with, with that big drop to D9 (or Dm9), and a cool G6add9 (if you just let the DGAE strings ring open while fretting the sixth and fifth strings at the fifth fret). It’s a lovely dark feel that’s loaded with easy harmonizations. I’ve included four sound clips of this tuning that cover a pretty wide range of genres: from Celtic-influenced chord-melody to country blues to folk-ballady goodness to something that reminds me of Mother Maybelle Carter (all recorded with a Kragenbrink OM Fingerstylist; yes, this job rules). Versatility is the sign of a great tuning, and this one has it goin’ on. Check out the chord charts to get you started, and see where you can take it. |
