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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
! {1 k) a% A M, _- L$ Nas many of them as possible.5 f- J8 n. o2 T8 i
+ B8 \; B. @. H6 UFirst, try to learn what the large scale structure of the piece is. Is it% w+ D% x' V% @" r
binary? Ternary? Rondo? That way you are basically beginning by cutting
$ e! U2 b) V3 G/ [5 J' O2 Bit up into more manageable chunks.6 Q$ ~0 n# N& u0 K3 v
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Second, look for phrasing and other types of musical structures./ t T1 R( V( h m* }$ h9 L
7 f# |; d% J) u+ dTry to learn it by ear (can you sing the piece all the way through without9 ?2 q( a, H6 R/ Q$ P4 Z
the music or the guitar?). This is easier for people who are more "aurally"
3 t: [6 [' b4 p3 M; D& j; Norientated (like me).
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$ k/ \- e5 ?7 z2 N+ o6 Q4 OIf you are more "visual" try to memorize the page to as great an extent as/ S2 ^( H3 e. H# L8 R; G, n& ~! }) ]
you can. The harp prof here gave a lecture about memory & learning
- c3 ?/ r0 t+ Htechniques, and said that visual memory really was more stimulated by; @" i( f( c0 @/ l( n# m* E. I
looking up (and to the left, I think) so if you can, try placing your music
, f O3 l- j5 W% X% d0 I% r) S) B+ sstand VERY high (for practice & learning) such that you are looking UP at
. |- a: I% f$ o1 A9 j# u5 }5 N! qthe music.
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I knew many guitarists in Spain who memorized the solfege syllables - they
& U* U- |! x" Z t3 w/ G+ j2 v/ Qcould sing their pieces from start to finish (mi re mi fa mi re mi...)* @8 D+ @3 ]' _) ~
' v; | L, P: O: ^, L" p" U# e6 P; ]Try to memorize the piece starting at the back (This is a tip from David6 X U& C+ Y3 T$ i: W0 _* P4 K
Russell) - we always go from front to back, often bogging down, so usually,
7 Y+ O3 F/ |( J, `3 {# X! [the farther into a piece we go, the less familiar & comfortable it is. If+ a. V( W" }' F; g3 v/ C
you learn the LAST measure, then the next to last measure, etc. you are
" k5 i$ ]( |7 i* O! ~: z( |" Osetting up a situation where the farther you go, the MORE familiar and
3 s& d' y- @. Acomfortable things are.' ]! X' b3 q0 L6 Z& J
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This also brings up the issue of learning single measures (apart from3 n. f8 `3 u. c5 q! Q/ R% f
whatever musical context they might have). Jose Tomas used this technique* Q) f0 x$ o& A0 s4 z6 b) U
as a way for his students to learn 30 minutes of *new* repertoire in
; F- Y: g) |) A8 P0 E* R1 month: at the beginning, make a learning plan, in which you assing
$ S( `0 v7 g3 D' e% b) [- V1 Yyourself X measures to learn each day, making sure that every day you
; F0 Z0 b t" Tlearn some of every piece (instead of working on piece A, then later
/ J6 J2 B% w6 w0 ^- t* [0 ^starting on piece B, etc.). Learning very short chunks helps you program - d8 e$ v6 d3 h8 W- _8 Z. w$ B
your physical movements much better.
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This brings up the even more excruciating techniques suggested by Manuel
$ Q u/ N) i, ^+ `Barrueco. Make sure you know your right and left hand fingerings so
: ?6 r8 m o6 J( |# t) m8 @# \. F$ z( m8 pthoroughly that you can do either separately.0 z8 E u0 C6 `% ?* s0 |( X9 O
) |" p' {% j$ {3 {+ cFor example, play the piece with the right hand only (i.e. all open
7 o/ v" r. U+ L) K; L1 Astrings, but using the *EXACT* right hand fingerings).
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Then, try playing the left hand alone. This is a bit harder, because it |% o/ l, S& D* B+ d
doesn''t really necessarily function as well without the precision of the- `; P: ?; q# n4 z( p3 e8 ?( t. Q% ~
right hand. Barrueco''s solution is to mis-tune the guitar to some random
( b7 \. E2 K3 e9 o2 @2 F: Ntuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
# h. e6 W9 b& i0 Ppiece, concentrating on plainingg the fingering perfectly.$ Z4 x7 _/ p7 r% ?9 [: d7 p6 m
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This is an excruciatingly difficult thing to do if you are primarily: }! r6 S; p+ c( M2 @
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
3 m% s" J- e) p: pnature of this forces you to fight to not be distracted and concentrate
J3 @) S o/ i+ von playing the fingering right.
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Do this *very* slowly to practice the fingering without relying on your
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6 a: y3 ^, _) @# x: ^附"反弹吉他"的翻译:
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, E. ], H/ s* l9 ^# S当回好人，给大致翻译一下：
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( c1 c' K: p) ^/ |+ O% p0 C怎样快速记住一个曲子8 n& S( J# p" H
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有很多办法，最好尽量综合使用) B/ E# }+ g9 q6 V
- o4 f1 K6 t3 U- ?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，- |5 G9 M# _/ f5 W
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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，7 C3 j/ n2 a, K2 {2 K
3 A5 h: O) s! ^" N$ b" B* L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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6 H- @* e. ^, _ {" U% }2 L大卫罗素从后边往前背。。。。
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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，
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& ~4 ~2 S5 `; l2 Q U比如，光弹右手，都是空弦，指法要精确。。。
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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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