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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
: P( C! t# l. Has many of them as possible.
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First, try to learn what the large scale structure of the piece is. Is it
5 N# u) @- G2 d# q) X& H# G" o) Z. Ibinary? Ternary? Rondo? That way you are basically beginning by cutting& |6 V4 c! j3 Z$ M. X
it up into more manageable chunks.7 A/ S) S. k- V: V8 m6 v
& R0 _4 d& N0 P* b X E1 b0 VSecond, 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+ q$ ~, M% a( o- E
the music or the guitar?). This is easier for people who are more "aurally"
& ~ l7 M' ?6 T( V- Gorientated (like me).9 U+ `5 h* c8 @/ q0 E5 b* q
2 X8 B0 o/ M/ ^/ h; R4 ~If you are more "visual" try to memorize the page to as great an extent as1 t$ C7 ^2 F' ^3 {
you can. The harp prof here gave a lecture about memory & learning Y$ w+ [5 _" Y7 ], W6 Z) {
techniques, and said that visual memory really was more stimulated by1 {4 g) u8 c. E% H0 L O
looking up (and to the left, I think) so if you can, try placing your music. P8 U! J. Y' Y/ Y( @% h( X7 a
stand VERY high (for practice & learning) such that you are looking UP at
# r0 j) Q4 N1 e- f nthe music.0 n2 H0 r5 j9 `8 p8 s
( ^/ G' o, \3 B" x! dI knew many guitarists in Spain who memorized the solfege syllables - they6 U& d$ o3 P7 n5 g' B# [
could sing their pieces from start to finish (mi re mi fa mi re mi...)
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Try to memorize the piece starting at the back (This is a tip from David
4 \, ?* z( F& V9 y6 z7 o0 YRussell) - we always go from front to back, often bogging down, so usually,
& b% E* o8 _+ b6 C8 y3 Othe farther into a piece we go, the less familiar & comfortable it is. If
) Q# c+ {) X- F/ J m- zyou learn the LAST measure, then the next to last measure, etc. you are
( O2 D6 n4 H+ S8 Esetting up a situation where the farther you go, the MORE familiar and 5 w# i1 c. n) Q7 ^/ Q' f& o# h
comfortable things are.
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! O$ h9 G: T2 V& U: v! Z4 W7 D. yThis also brings up the issue of learning single measures (apart from
5 Z3 ?6 ~6 u# }whatever musical context they might have). Jose Tomas used this technique
0 ~4 W7 q# @6 q$ |as a way for his students to learn 30 minutes of *new* repertoire in
# h) d; _* P; s1 month: at the beginning, make a learning plan, in which you assing
* C! o0 N/ B4 d- x$ L! d7 @* syourself X measures to learn each day, making sure that every day you
. Y, X8 A7 P# [2 I( ?. ^learn some of every piece (instead of working on piece A, then later 6 k& i8 f- l4 v+ G i: ]0 q$ g6 i
starting on piece B, etc.). Learning very short chunks helps you program
; H: B8 P* g! n4 Tyour physical movements much better.
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6 w3 |+ k N Y* z3 ^( QThis brings up the even more excruciating techniques suggested by Manuel
' M( n/ ~. ]0 |$ B) SBarrueco. Make sure you know your right and left hand fingerings so) A n( o- B# B' u; _3 V) x
thoroughly that you can do either separately.6 k' ?+ _9 W9 _; _* `
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For example, play the piece with the right hand only (i.e. all open
, J1 ~. U; o8 s4 A0 hstrings, but using the *EXACT* right hand fingerings).
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' k& S/ e! B( L: I, |3 t3 C/ NThen, try playing the left hand alone. This is a bit harder, because it
7 `( \6 f: t4 ~1 N& H J: F4 gdoesn''t really necessarily function as well without the precision of the: ?* Q9 Q( f7 v3 Z3 S
right hand. Barrueco''s solution is to mis-tune the guitar to some random! R% d% {5 N& w$ {5 X, J. n- A+ v6 k' Z
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
5 _0 h* f" S R7 C& {piece, concentrating on plainingg the fingering perfectly.
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This is an excruciatingly difficult thing to do if you are primarily- O. R$ R# M1 m: F; x+ R/ X
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
/ ~$ p0 j! `# n) ^nature of this forces you to fight to not be distracted and concentrate
2 c5 ~, L! m; V: T( [1 c- eon playing the fingering right.# t. i# K7 G! c7 N8 C
" m/ [9 ^7 n) l) |& H" K$ fDo this *very* slowly to practice the fingering without relying on your) C/ T8 S, f+ [ K
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附"反弹吉他"的翻译:
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当回好人，给大致翻译一下：
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9 }. i& F; Z3 B: l" H W, U( Q/ I- d怎样快速记住一个曲子$ ]. @, P/ G8 p* r
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有很多办法，最好尽量综合使用# ^7 }( L( }, U5 |( G- Y( X, o- a- w
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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，: _% j9 m6 W! C7 l2 u' _
. [' E& t1 c2 ~# I5 m视觉导向的把谱子放在高处往上看更容易记住，; E/ ^3 r7 V8 X1 H4 w
) z# P, j. [9 `( \3 r+ _* C很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。# `1 I5 s! L; Q' f
) k5 V q% `" q! F T9 ?! I大卫罗素从后边往前背。。。。; ^6 S* X: U ]' G: d% N8 j+ I4 ?
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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，( ~1 C* @) u: V
, Z9 X6 r w0 x" N% x$ x' d4 [) X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。。。; y/ t- E1 X1 K
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很慢的这样练习 2 s. A$ Q: M' d7 i# b
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