birthday of <go away>:

06.11.2009

i'm still looking for a male singer who can handle this song and enrich it in live performance.

atm. i just got lyrics in cantonese. but richard hasn't hit me with his korean version which is announced it's done 2 weeks ago.

推薦! 編曲好正! 一定要留意!!

薛凱琪 - 慕容雪 

编曲 / 监制 : Edward Chan/Charles Lee

20 Tips On...

Songwriting

Published in SOS January 1999
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Sound Advice

Every songwriter goes through times when the inspiration just seems to dry up, and the perspiration doesn't seem to be working. Debbie Poyser offers some guidance.

1. If you've already got a chord sequence you're happy with for part of a song but are struggling with where to go next, try reversing the chord order of the part you already have and using it for the new part. It often works, but if it doesn't, try reversing just a section of the chord sequence and repeating it. Also, try doubling the length of time for which each chord plays and see where that takes you. For a bit of variation, halving note values for a chorus creates the impression of an increase in tempo even if there isn't one.

2. If you always write with a keyboard, pick up a guitar for a change and see if that sets you off in a different direction. Get a capo and put it in a stupid place on the neck - really high up, for example - and see how different that makes chords sound. Even the most basic chords take on a new resonance and generate new harmonics which your ear can pick up, maybe giving you an idea for a melody. Conversely, if you always write with a guitar, make a point of sitting down at a keyboard with a piano sound and picking out interesting tunes that wouldn't normally occur to you. You could even consider writing the verse music at the keyboard and swapping to a guitar for the chorus.

3. Keep a list of prospective song titles on your wall. Whenever you hear a good word or an evocative phrase, add it to your list to use when you're trying to come up with new material.

4. Try a different time signature for a change. If you never use 3/4, for example, try and write a song in 3/4. To vary your rhythmic range, try strumming a guitar along to a selection of records, just trying to extract their rhythmic feel in a natural way.

5. Listen to as many of other peoples' songs as you can. Focus especially on those songwriters whose works are considered classics, and don't neglect the best of what's happening now. Always be thinking about what makes a classic song so good while you're listening to it. Try to pick up on arranging tricks and song structures, and remember them; even make a note of any you particularly like. This isn't stealing -- it's studying. Film makers have been doing it for years and make no secret of the fact.

6. Analyse your favourite songs and construct exercises around them -- writing a new set of lyrics for a favourite song, for example, or setting the existing lyrics to a new melody. Write a theme song for a film that doesn't have one, or an alternative theme for a film that does. Listen to a classic song in a genre you don't usually work in and try to write a song which copies its style (but not its content).

7. Always carry a notebook when you're out, so that you can jot down any song ideas that occur while you're going about your daily business.

8. If you usually write songs with a lot of chords in them, try restricting yourself to just three and see what you can squeeze out of a limited set of options. Conversely, if your songs never have more than three chords in them, try writing one with six.

9. Try 'free association' when you have something to write a song about but can't think how to start the lyrics: sit down with paper and pen (or a word processor) and write down every word and feeling that comes into your head about that subject: the process can give you a push in the right direction, and the resulting words are the ones that you'll need to work in if the song is to make a genuine impression on the listener.

10. Though some people find it hard to construct lyrics that rhyme, rhyming is important and is worth persevering with. As highly successful songwriter Janis Ian says in The Songwriters Workshop, "A rhyme scheme helps to hypnotise, to force its way into our listening selves." Others have observed that a good rhyme scheme gives the listener a pleasant feeling of resolution and security. Not every song has to rhyme, but so many of the good ones do that there must be something in it! Don't overdo it, though -- a bad or over-extended rhyme scheme can be irritating to the listener and can distract attention from what you're trying to say. If you have to make a line sound stupid in order for it to rhyme, throw it away and start again.

11. To help with the above, get a rhyming dictionary. This will save you from mentally running through the entire alphabet one letter at a time trying to find a rhyme for 'existential'. A thesaurus, which will give you a list of different words that mean the same thing, is also a good resource for a songwriter and could help you add more interest to your lyrics.

12. Add extra professionalism to a song with sophisticated background vocal ideas. Don't always slavishly imitate the lead vocal's phrasing and timing. Try extending the end of the odd line in a harmony, then pick up with the lead again when it feels natural and musical to do so. When your lead vocal is singing a long held note, look for something short and contrapuntal you can do with the harmony vocals -- with clever phrasing you can fit an entire line of a song as a harmony line under the last extended syllable of a lead melody. This is one area where arranging and songwriting are very closely linked.

13. Get some books to help you. There are several excellent ones around that will really make you think and tell you things you didn't know. Books I would certainly recommend include the following, which are all available from the SOS Bookshop (01954 789888): 88 Songwriting Wrongs and How to Right Them, by Pat & Pete Luboff (order code B254, £11.95); Beginning Songwriter's Answer Book, by Paul Zollo (B253, £10.95); The Songwriter's Workshop, edited by Harvey Rachlin and with an excellent chapter by Janis Ian and two cassettes (B260, £15.95); and if you really want an in-depth reading course on lyric-writing, leaning heavily on training your mind and knowing your own thinking patterns as a way to write more effective songs, check out The Songwriter's Idea Book, by Sheila Davis (B250, £12.99). If I was going to buy just one of the above, it would probably be 88 Songwriting Wrongs and How to Right Them, for its straightforward presentation and language. (All the above prices will need postage added to them, by the way -- check the SOS mail order pages on page 276 for details.)

15. If you compose with a sequencer, always have it in record mode while you're doodling at your keyboard. Don't assume that you'll automatically remember anything good that comes up, because you won't. As it happens, the latest versions of many popular MIDI sequencing programs actually have a buffer that captures your ideas for you -- if you find that you've just played something that you wish you'd recorded, press a key combination (Option Record in Cubase) places the buffer's contents in a track (incidentally, the next update of Cubase will provide a menu item for this feature).

16. Every songwriter should know that a commercial song has to have a hook. But did you know that it should ideally have several hooks? As well as your main lyrical/musical hook, the high point of the song, try to work in secondary hooks to maintain listener interest -- short guitar, bass or piano riffs between lines of the song, a catchy extra chord change when nothing is happening with the lead vocal or to lead from the verse into the chorus, or perhaps a vocal ad-lib that will stay in the mind of the listener. If you think about these things while you're actually writing the song, when you come to demo it you'll find you've already got a head start for its arrangement.

17. Try to introduce plenty of dynamic and metric interest into your songs, so that they peak and subside rather than plodding along on one level. If a song's verse has lots of short words in a choppy rhythm, try using long, sustained notes for the chorus, for example. Try to make sure that the verse and chorus are not the same length -- vary short and long sections if you can, so that the song's structure does not become too predictable to the listener.

18. Make sure your songs are not all in the same key. It may sound obvious, but it's very easy to just stick with what's easiest for you to write or sing in, and if you don't keep an eye on this your songs could all end up sounding similar to each other.

19. Consider co-writing. Someone else's strengths can fill in for your weaknesses and they can bring unusual melodic or lyrical perspectives that would never have occurred to you.

20. If you've really run out of musical ideas, use technology. Those with computers can try an algorithmic composition or auto-accompaniment software package -- or even an arpeggiator! David Zicarelli's M, the king of interactive composition software, has just been re-released (for the Mac only) and can treat your musical input to predictable or totally weird transformations (www.cycling74.com/products/m.html). PG Systems' Band In A Box is available for various computer platforms, and lets you apply a wide variety of preset styles to whatever chord sequence you input, taking a lot of the strain out of song construction. Even Steinberg's sophisticated Cubase family of sequencing software has a so-called Style Tracks module, and similar facilities are found on many a sequencer-equipped synth.

1、《整蛊专家》里车文杰与车文晶西服领带手提公文包去上班，在路边来了一场劲歌热舞，后面还有人伴舞，唱的是“良朋~~情长~~良朋相勉励情谊难忘”，这个歌曲的原唱是陈宝珠和薛家燕，歌名是“青春阿哥哥”。

2、《家有喜事》里有一段戏，周星驰饰演的常欢被挂在晾衣杆上，开始时对着张曼玉唱了一首深情款款的《人鬼情未了》主题曲，然后陈淑兰饰演的Sheila让他唱《IQ博士》，这时周星驰唱了一首《赌仔自叹》，歌词为：“拎冧六，长衫六……”（这首歌的原唱是以鬼马歌曲而闻名的郑君绵，他曾在《审死官》里饰演胡知县），这种九唔搭八的无厘头演唱正是周星驰的拿手好戏。

3、《逃学威龙1》里周星星在课堂上唱过一首《铁窗红泪》的歌，还有《家有喜事》里吴君如饰演的程大嫂在卡拉ＯＫ包房里也唱过这首歌。这首《铁窗红泪》是有“庙街歌王”之称的香港著名歌手尹光作词并演唱的，被收录在尹光在大华唱片唱片公司发行的粤语专辑《铁窗红泪》里，原为1977年粤语电影《讲数》的主题曲，周润发的《监狱风云》里也有这首歌。

4、《家有喜事》里的那首《相逢何必曾相识》是程大嫂的家常便歌，这首歌曾入选1990年度香港十大中文金曲、十大劲歌金曲，它的词曲创作者是蒋志光（他曾在《逃学威龙2》里饰演数学老师）。在片尾处为挽留大嫂由周星驰饰演的常欢领衔演唱了这首歌，周星驰在唱之前，抬头仰望，身体缓缓升起，举起话筒然后大幅度转身，这个POSE可是张国荣在演唱会上的经典动作，周星驰模仿得似模似样。这首歌周星驰用的是闽南语和粤语结合的唱法，为这首情歌更添新意。

5、《武状元苏乞儿》里周星驰饰演的阿灿在被抄家之时，嘴里唱着：“鸳鸯扣，易结不易解……苦相思，能买不能卖……悔不该……”这段唱词来自王粤生在五十年代为粤剧《摇红烛化佛前灯》所创作的《红烛泪》，由唐涤生填词。周星驰一边唱着一边轻声对师爷说我会学写字的，正是浪子回头其情也真。

6、《整蛊专家》里，周星驰饰演的古晶与邱淑贞饰演的Banana跳舞时，周星驰突然一边跳一边唱起一首《沙里洪巴》，这是一首源自中国新疆的童谣，邓丽君、郭富城等都演唱过这首歌，周星驰在舞厅里载歌载舞地唱这首歌，再配上他的运动服造型，与他共舞得需要多大的勇气啊。

7、《破坏之王》里吴孟达卖给周星驰一套“抵抗失恋冲喜套餐”，其中放的那首歌是“Funky Town”，这首歌就是“Lipps, Inc.”的那首著名迪斯科舞曲。而“Funky Town”的发音跟“放弃她”几乎一样，所以才用了这首歌，当时周星驰用“着了你的道”的表情来哼哼这首歌，再加上他的新郎官造型，观众们想不笑都难。

8、在《唐伯虎点秋香》的粤语原版里，唐伯虎被八个老婆弄得无限凄凉时唱了一首：“我个心又悲个心又痛，八个老婆都洒呢弄宠，人家道我享尽齐人福，查实空虚寂寞兼且冻，兼且冻。”这首来自于新马师曾的粤剧名曲《胡不归之慰妻》，原词节选：“我嘅心又喜, 我嘅心又惊。何幸今宵会我郎, 会我郎……”周星驰改编版的最后一句“查实空虚寂寞兼且冻，兼且冻”则来自于1986年林忆莲的流行歌曲《放纵》的那句“我空虚我寂寞我冻”。

9、《少林足球》里的周星驰吃了赵薇做的馒头之后表示：“除了唱歌，我想不到其它方法来表达我内心地兴奋和对你地仰慕。”然后唱了一首改编自刘三姐的经典山歌曲调的馒头歌：“（粤语歌词）哎~~~太极功夫整馒头哩，惊天动地。馒头睇落又香又甜，好鬼想食。但见阿妹双臂好力，令到阿哥五体投地！”这首歌好不好听暂且不论，但这一石激起千层浪，此举引发了街坊邻居们压抑多时的愤懑和激情，酱暴和猪肉佬他们伟大的理想立刻被点燃，从眼中喷薄而出，喷出的是那种不甘人下、立志成为伟大作曲家和舞蹈家的梦想。

10、《少林足球》里周星驰和黄一飞在酒吧唱的那首《少林功夫醒》让听的人轻则轻则惊呼狂叫，重则吐血身亡。这首歌改编自美国六十年代乐队“Mamas & Papas”的著名歌曲《California Dreaming》（《重庆森林》里王菲常放这首歌），少林功夫加唱歌跳舞，冇得顶呀！

--------------------------------------
*선예) I want nobody nobody nobody but you
I want nobody nobody nobody but you
난 다른 사람은 싫어 니가 아니면 싫어
I want nobody nobody nobody nobody

선미) 난 싫은데 왜 날 밀어내
려고 하니자꾸 내 말은 듣기 않고
왜 이렇게 다른 남자에게
날 보내려 하니 어떻게 이러니

소희) 날 위해 그렇단 그 말
넌 부족하다는 그 말
이젠 그만해 넌 나를 알잖아 왜
원하지도 않는걸 강요해

*예은) I want nobody nobody nobody but you
I want nobody nobody nobody but you
난 다른 사람은 싫어 니가 아니면 싫어
I want nobody nobody nobody nobody

선미) 난 좋은데 난 행복한데
너만 있으면 돼 더 바랄게 없는데
누굴만나서 행복하란 거야
난 널 떠나서 행복할 수 없어

소희) 날 위해 그렇단 그 말
넌 부족하다는 그 말
말이 안되는 말이란 걸 왜 몰라
니가 없이 어떻게 행복해

*예은) I want nobody nobody nobody but you
I want nobody nobody nobody but you
난 다른 사람은 싫어 니가 아니면 싫어
I want nobody nobody nobody nobody

I don't want nobody body body.
I don't want nobody body body
나는 정말 니가 아니면 니가 아니면 싫단 말야

유빈) 제발 그만해 Stop baby
내가 너 없이 어떻게 행복해
말이 안돼 그러니 그만해
내가 아무것도 필요없다고 말 한거처럼(철없)
는 소리라고 생각하고 만거야 뭐야
내가 원하는건 오직 너야
힘들어도 난 니옆에서 힘들어할거야
그러니 보내지 마 내 손을 놓지마
I don't want nobody nobody nobody but you

*선예) I want nobody nobody nobody but you
I want nobody nobody nobody but you
난 다른 사람은 싫어 니가 아니면 싫어
I want nobody nobody nobody nobody

FUSION乐团 - 好想对你说

风轻轻轻
抚弄你发稍
我偷偷看你, 你装做不知道
牵你的手
会忘了风景
不在乎自己, 想的都是你

抱着你, 我就再也没有想过要放弃
相信你也是一样,我的心早已经被你吸引
只容的下一个你,你是我的地心引力

一直好想好想对你说,我好喜欢你, 却放在心里
为了你我什麽都愿意放弃, 要和你在一起,不管是哪里

风轻轻轻,  抚弄你发稍
我偷偷看你, 你装做不知道
牵你的手, 会忘了风景
不在乎自己, 想的都是你

抱着你, 我就再也没有想过要放弃
相信你也是一样,我的心早已经 被你 吸引
只容的下一个你,你是我的地心引力

一直好想好想对你说,我好喜欢你, 放在心里
为了你我什麽都愿意放弃, 要和你在一起,不管是哪里

爱你让我变的坚强, 守护着你在你身旁
心中想, 不会再让你受伤
当你把脸靠在我肩膀,从此带着你去飞翔
去飞翔
飞向最遥远的地方

一直好想好想对你说,我好喜欢你, 却放在心里
为了你我什麽都愿意放弃, 要和你在一起,不管是哪里

End~~~

】《 韵字表 》 最终版 (对前次进行了补漏修正)

基本配器十原则