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How can I quickly memorize a piece?
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There are many approaches to take, and it''s probably a good idea to use
/ V9 S; W3 s+ Oas many of them as possible.
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First, try to learn what the large scale structure of the piece is. Is it: T% R, Z" z" q2 r7 {! E" s/ T4 B9 L
binary? Ternary? Rondo? That way you are basically beginning by cutting E! \9 ^/ D( V; r( k% E
it up into more manageable chunks.
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' d' l7 X/ c2 D2 a( S, iSecond, look for phrasing and other types of musical structures.
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Try to learn it by ear (can you sing the piece all the way through without
8 I) w6 b3 L( L* U% K- athe music or the guitar?). This is easier for people who are more "aurally"
1 ~" F& h2 {( h2 d0 m' B! B; c5 Xorientated (like me). R, i5 Z1 p) D h4 T& [# ~$ f" C
) Q5 z ?, C" L. m$ \2 \2 D1 [If you are more "visual" try to memorize the page to as great an extent as4 c+ w l: C3 c1 C1 G
you can. The harp prof here gave a lecture about memory & learning
; k# J( ~" N/ l/ ~techniques, and said that visual memory really was more stimulated by
) u0 x* A8 E7 wlooking up (and to the left, I think) so if you can, try placing your music
+ y7 Z2 F" g/ z$ i* u' ]+ ?1 t: sstand VERY high (for practice & learning) such that you are looking UP at
! n; p* \& }, Y9 p0 _* ithe music., M; o; g" W# h: `, N2 N
* t; E+ v# g; N5 a; D; O$ x2 g7 }I knew many guitarists in Spain who memorized the solfege syllables - they7 p0 g* q) Z$ U& s. v+ s
could sing their pieces from start to finish (mi re mi fa mi re mi...)8 G8 \1 n5 Y: Z( a
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Try to memorize the piece starting at the back (This is a tip from David
6 M$ V* _- Z" dRussell) - we always go from front to back, often bogging down, so usually,
" @# I- L1 I2 w% I5 E) nthe farther into a piece we go, the less familiar & comfortable it is. If
" Z* `/ r) u9 U9 tyou learn the LAST measure, then the next to last measure, etc. you are
+ }, |0 l! M; I1 ~+ Z. ]. Csetting up a situation where the farther you go, the MORE familiar and
3 ` L9 ]& G! M4 u2 m' L. scomfortable things are.$ i9 b! u& z+ Q/ E/ k( z
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This also brings up the issue of learning single measures (apart from
! [ R5 k/ A3 t* z3 N. y- G4 H8 {whatever musical context they might have). Jose Tomas used this technique* o: D% m s& R
as a way for his students to learn 30 minutes of *new* repertoire in
/ |/ i: K6 h' G* d' p1 month: at the beginning, make a learning plan, in which you assing: P6 C1 w( G; b) q
yourself X measures to learn each day, making sure that every day you & `) |9 _" r+ v, j/ R. v. ^% F& D
learn some of every piece (instead of working on piece A, then later ( `2 o9 O8 f1 {( U4 r( K# p
starting on piece B, etc.). Learning very short chunks helps you program ; R( a6 l' H) R; h2 n
your physical movements much better.
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This brings up the even more excruciating techniques suggested by Manuel7 { e/ m3 F% s
Barrueco. Make sure you know your right and left hand fingerings so5 [ G- c' O; C- c6 E" [: U/ V
thoroughly that you can do either separately.
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For example, play the piece with the right hand only (i.e. all open% z, P; K5 W# ^: T
strings, but using the *EXACT* right hand fingerings).9 {7 S4 T2 L( V) i2 T4 A' W& |! e
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Then, try playing the left hand alone. This is a bit harder, because it
4 u; k3 T; q; K$ j S% rdoesn''t really necessarily function as well without the precision of the
% l) m# g7 g, u9 u5 A: ]right hand. Barrueco''s solution is to mis-tune the guitar to some random
& e7 e V" v8 L' a; }$ m# b- v+ mtuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your2 A6 z2 C3 S: [3 r" k$ W
piece, concentrating on plainingg the fingering perfectly.
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This is an excruciatingly difficult thing to do if you are primarily
5 k2 p# X) o! p) H) Z5 dan "aural" type (I am) - but it''s good, the totally "wrong-sounding"
1 Q0 t A( y6 W1 L6 @nature of this forces you to fight to not be distracted and concentrate% r- F" \4 c+ L- B
on playing the fingering right.
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Do this *very* slowly to practice the fingering without relying on your
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1 Y7 v P: ?4 J* ~# E4 x附"反弹吉他"的翻译:
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当回好人，给大致翻译一下：, R( ]- N% y! K' j( N# z. \
5 k, e, C; q* t怎样快速记住一个曲子9 r5 ]; `+ e( z K
; |' ~3 ?& k$ c+ K有很多办法，最好尽量综合使用
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; L: T O; @$ ~0 _首先是分析曲式，看看是2段体，3段体还是回旋曲，这样就可以把曲子分割成容易对付的几块，
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然后看每个段落和乐句，
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用耳朵记住整个曲子，你能不能不听录音，不用吉他把整个曲子唱出来？这个方法适合听觉导向的记忆者，( m- A8 _6 D+ A3 j9 V6 ^
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视觉导向的把谱子放在高处往上看更容易记住，
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很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。
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大卫罗素从后边往前背。。。。* L. h6 h9 x; z4 I3 w9 a3 |# k! Z
; _ D j0 Y' ?6 f b, x何塞托马斯教学生用1个月记住一个30分钟的曲子，方法是订个计划，把曲子分成小块，每天学一块，顺序任意。。。。
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更精确的办法就是象八路爱科一样记住两手的指法，直到可以两手单独运动，( E: n w7 D3 P. ^
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比如，光弹右手，都是空弦，指法要精确。。。0 @) m4 s+ E) X3 q+ h3 p! T
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还可以只按左手，八路为了集中精力，把琴弦都给调乱了，这样就不会用右手了，对听觉记忆导向的人这样很难，但是很有效。。。
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很慢的这样练习
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