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  首頁 > 影音網> 波希米亞狂想曲鋼琴套-Thomas Yu
波希米亞狂想曲鋼琴套-Thomas Yu


[mrspai]於2020-03-30 00:05:10上傳[]


Bohemian Rhapsody Piano Cover - Thomas Yu

Thomas Yu
1.36K subscribers

Is this the real life? A piano cover of Queen's masterpiece.
Bohemian Rhapsody (arr. Thomas Yu)
Editor: Matthew Holdenried


I’m amazed by the overwhelming response to my asking this question: “If you studied classical music, did it positively affect your non-music career?” So many folks are still responding, wanting to sing the praises of music (see what I did there), not only in how music benefited them career-wise, but in other aspects of their lives. Most of us who studied music though, as kids, resented the practise time and argued with our parents. And that’s the catch: sometimes parents want to give up the fight and allow their kids to quit. Understandable, but I hope they encourage their children to hang in there: they WILL thank you later. Everyone I know whose parents allowed them to quit music all wished they weren’t allowed to give up. (In my family, quitting was NOT an option; get your Associate of the Royal Conservatory of Music first – THEN we’ll talk.)

In this ongoing series, posted every week or so, I’ll be speaking with doctors, lawyers, marketing professionals, accountants, actors, arts administrators, and people in all kinds of fields who studied classical music and are thankful they did. I’ll keep this going until I run out of participants. I hope you enjoy reading them as much as I did. Today, let’s meet Thomas Yu. He is a periodontist who kept up his piano chops to a very high level – high enough that I actually forget he’s a medical professional – I keep thinking of him as a pianist who happens to do periodontal stuff on the side.

Please summarize your current career, and your duties.
I own a periodontal practice in Calgary, specializing in dental implants and gum surgery.

What instrument(s) did you study, and at what stage in your life?
I started piano lessons at age five in Saskatoon. According to my parents, I would watch my older sisters play, and when they would finish, I would hop on and mimic what they just played. It irritated them both, but it was a sign that I should start playing too. Also, many people don’t know this, but I also played trombone in the University of Saskatchewan Jazz Ensemble.

Were music lessons intended as a hobby or did you have a performing career in mind?
I didn’t truly fall in love with playing until I was 17, when I started studying with Bonnie Nicholson. Throughout my university life, I thought about quitting my academic studies to pursue music. My struggle continued until the age of 23, when I eventually met my next piano teacher, Marc Durand. He encouraged me to finish my dental studies, and promised he would teach me thereafter in Toronto. He kept his promise and then taught me for the following eight years. I guess piano has always been a “serious” hobby.

Was quitting your music lessons a welcome relief or a complete heart-wrenching moment of reckoning?
Deciding not to become a professional pianist was a very difficult choice, and I used to fight with my parents about it. But making the transition towards being an amateur pianist has opened up opportunities that I had not dreamed of before. Competing in amateur competitions, travelling the world for music, and meeting like-minded amateur pianists has been so rewarding. It turned out to be the best musical decision ever.

How did your classical music studies (and music theory, if you studied that too) impact your ability to do your job today?
There’s almost nothing in common with having your hands in someone’s mouth versus on the piano (insert “ivories” pun here). The surgical side uses my brain, while the musical side uses my gut and soul. In a way, they allow me to use all of my body’s energy.

Is classical or music in general (playing, listening, attending concerts, getting your kids to practise) a part of your life today? If not, do you think you’ll return to it?
Absolutely! I thought with every new stage of life I would change the amount of playing, but instead I find myself playing more than ever. Now, having a little boy to raise, I will see how the next chapter of playing will pan out. He’s already trying to compete for time on the piano.



《波希米亞狂想曲》(英語:"Bohemian Rhapsody")是皇后樂團的一首歌曲,由佛萊迪·墨裘瑞所創作,最初版本收錄在專輯《A Night at the Opera》(1975年)中。本曲結構極為特殊,無重複的副歌,而是由幾個風格差異甚大的部分構成,包括謠曲、吉他獨奏、歌劇、硬搖滾等,並且充滿著猛烈的意識流與噩夢色彩。本曲在西方社會相當為人熟知,常被簡稱為「Bo Rhap」或「Bo Rap」。在當時,它是有史以來製作費最高的單曲,現在仍為流行音樂史上最精心設計的複雜作品之一。[1]

佛萊迪·墨裘瑞在西倫敦肯辛頓的家中創作了《波希米亞狂想曲》的大部分。[8]這首歌的製作人羅伊·托馬斯·貝克講述了墨裘瑞曾如何在鋼琴上彈奏開始的謠曲部分給他聽:「他用鋼琴彈了開頭部分,接著停下來說:『這裡就是歌劇部分開始的地方!』然後我們一起出去吃晚飯了。」吉他手布萊恩·梅說樂團覺得墨裘瑞的最初設想「很有趣、有獨創性,值得繼續發展」。[9]梅說很多皇后的原材料在錄音室中完成,但在他們開始之前整首歌都已「存在於在佛萊迪的腦海中」了。[8]音樂學者希拉·懷特勒(Sheila Whiteley)認為:「標題有關當時的搖滾思想,波希米亞藝術家世界中的個人主義,加上『狂想曲』指向藝術搖滾的浪漫主義理想。」[10]說到波希米亞主義,朱迪絲·帕雷諾(Judith Peraino)說:「墨裘瑞想要……(這首歌)成為偽歌劇,在搖滾歌曲的範圍之外,而它的確採用了一些歌劇特點:多軌錄製的合唱和詠嘆調般的獨唱交替進行,情緒誇張劇烈,情節模糊混淆。」[11]

Smile的前鍵盤手和墨裘瑞的朋友克里斯·史密斯(Chris Smith)說,墨裘瑞在1960年代後期就開始創作《波希米亞狂想曲》;他過去常常在鋼琴上彈奏自己正在寫的曲子,其中一個片段叫做「牛仔歌」,含有多年後出現在完成版中的歌詞「媽媽……我剛剛殺了個人」。[12]

在赫里福德郡的排練三周後,1975年8月24日在蒙茅斯附近的洛克菲爾德錄音室開始錄音。期間還用了額外的四個錄音室(Roundhouse, SARM (East), Scorpion和Wessex)。[1]據幾位樂團成員說,因為這首歌之前就已在墨裘瑞的腦海中成型,他自始至終導演了整個過程。[8]墨裘瑞彈奏的是一架貝希斯坦牌演唱會大三角鋼琴,在音樂視頻和英國巡演中也使用了它。這首歌因為它的複雜性分部錄製,再剪輯在一起。[13]




簡上仁 • 台灣音樂之旅





Grimm Press

▍1899年,瑞士畫家瓦勒東(Félix Edouard Vallotton)繪製作品《氣球》(Le ballon)。畫面中,一名孩子自樹蔭底下邁步而出,追尋向陽飛去的紅氣球。鮮豔、向陽、輕盈的氣球,讓他拋置樹蔭下黯淡、土色、落地的皮球。孩子的影子未與腳底相連,顯示他正騰空躍起,邁向象徵熱烈希望與絕對自由的「紅氣球」。瓦勒東以冷靜沉著的筆觸調度光影,也以內斂雅緻的平塗法,客觀傳達赤子之心的純淨追尋。

▍1956年,法國導演拉莫里斯(Albert Lamorisse)執導作品《紅氣球》(Le Ballon rouge)。《紅氣球》視角童貞,敘事流暢,成為奧斯卡罕有的無對白最佳原創劇本。拉莫里斯以童稚觀點,講述男孩與一顆紅氣球朝夕相處的奇幻故事。紅氣球色澤活潑,對比戰後巴黎的灰藍基調;紅氣球也以氮氣的輕盈,檢視城市生活的孤寂、頹喪與壓迫。奇幻的紅氣球,是隻無法豢養的飄浮寵物,以希望與幽默、自由與溫柔,與男孩的日常相伴。稚態又醇美的視角,替成人世界脫下困心磨氣的外衣,讓久經世故覆蓋的毛孔,得以歇止喘息,進行一場深情、純真的呼吸。

▍2008年,台灣導演侯孝賢改編拉莫里斯作品,與奧賽美術館合作,執導作品《紅氣球之旅》(Le Voyage du Ballon Rouge)。

侯孝賢的紅氣球,同樣緊貼一名男孩,在巴黎的天空、街道、地鐵相隨徘徊。承襲前輩賦予紅氣球守護天使的意象,侯孝賢也以堅實的詩情,接棒關照五十年後依然單純的赤子之心,與仍舊複雜且讓人不知所措的成長失落。《紅氣球之旅》的鏡頭,最終落定奧賽美術館,男孩與同學一同坐在一幅畫前,試圖理解畫作訊息。這幅畫就是瓦勒東的《氣球》(Le ballon)。畫中孩童身穿白衣,金髮在光中飄逸,向陽追逐那顆紅色氣球。侯孝賢一脈相承人們對「紅氣球」的渴望與嚮往,也正視人對純真與希望的需要與鄉愁。

▍2011年,美國插畫家弘穆司(Jon J. Muth)依據巴布狄倫(Bob Dylan)名曲《風中飄盪》(Blowin’ in the Wind)繪製同名繪本。民謠《風中飄盪》兼具社會意識與哲學深度,以劃過天空的砲彈隱喻戰爭;以簡單的"men"代指致力推翻不公的人們。詞曲未提任何具體事件或個人,僅清晰傳遞關於愛、正義與平等的純粹訊息。針對《風中飄盪》,巴布狄倫有不同唱法,有時滿懷希望與光亮,像看見紅氣球升空;有時則充滿懷疑與失落;像看見紅氣球被刺破。

▍2019年,弘穆司繪本《風中飄盪》(Blowin’ in the Wind)在台問世。弘穆司以孩童、紅氣球、紙飛機和民謠吉他貫穿全書,分別代指純真、希望、白鴿與反戰。弘穆司的《風中飄盪》觀點可說與《蒼蠅王》壁壘分明。繪本《風中飄盪》同樣將幾名兒童設定於田園山水,全書也無成人身影(除了監獄牆後向紅氣球招手的黑人囚奴們),然而一改《蒼蠅王》逼視人性劣根的路線,弘穆司將孩童群聚山丘或一同划舟,帶著自省眼光行經監獄、高牆、砲口與冰山,將紅氣球抱於懷中或飄立空中。在歌詞「要犧牲多少人,才明白太多生命消失在人間?」(Yes, 'n' how many deaths will it take till he knows,That too many people have died?)這頁,孩子們更將紅氣球繫於象徵列強的加農砲口。細線如絲在風中飄盪,繫起一場善惡之間懸而未決的永恆角力。

▍最後,時間來到今天。12月10日是國際人權日,為你點播一首Bob Dylan的(Blowin’ in the Wind),也邀請你閱讀弘穆司繪本《風中飄盪》,看看孩子們如何飄揚、高掛、分享、珍視他們的紅氣球🎈



民謠(Blowin’ in the Wind):https://reurl.cc/A1LQDZ


彥鈞Water x 李振全 Jeremy 【鹽埕之戀】《Move On》創作專輯

Published on Jan 16, 2020
留下與離開 誰可以瀟灑的做出決定 在這個美麗的海港 還有很多故事正在發生著


你甘會記 彼日的下午 咱兩人攑著一支小雨傘 黃昏配的情話 在2號的碼頭 戀愛的人都真愛喋發誓

跟人同款 只不過是卡~憨頭 那會來愛著不該愛的人
不知天有多高 愛你一句我敢 拜託天星 讓這段故事繼續啊~

阮來犧牲 這款拆散 成全恁的夢
希望愛人 你會了解 苦衷跟無奈
當然嘛會孤單 嘛會寂寞 恁快樂我滿足
趁著今夜小雨 彈著你愛的歌

最後寫的批 你就小心放口袋 我也不甘 愛情的路先辭告退
眼淚攏輦落來 在惜別的海港 下次若見面 你甘會 記得我~

阮來犧牲 這款拆散 成全恁的夢
希望愛人 你會了解 苦衷跟無奈
當然嘛會孤單 嘛會寂寞 恁快樂我滿足
趁著今夜的小雨 彈著你愛唱的歌

阮來犧牲 這款拆散 成全恁的夢
希望愛人 你會了解 苦衷跟無奈
我若講不愛你 是條故意 含淚來講出嘴
今夜小雨 彈著你愛的歌

今夜小雨微微 想你我就孤單

演唱 : 廖彥鈞
詞/曲 : 李振全
編曲 : 蘇冠瑜
電吉他 : 黃啟明
木吉他/貝斯/弦樂/鍵盤 : 蘇冠瑜
鼓 : Eddie Zheng
和聲 : 陳韋達

Apple Music:https://apple.co/2QYftT6
YouTube music:http://bit.ly/2TuaLhm