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How can I quickly memorize a piece?
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4 C. a! X' _7 g9 rThere are many approaches to take, and it''s probably a good idea to use
& q( t' v/ s- v( j9 ]% i5 Xas many of them as possible.% \7 E% o: j3 F* ~1 p
% z; t8 {( X) c( k4 |. R LFirst, try to learn what the large scale structure of the piece is. Is it4 m, U% ?+ ]( `* M- m
binary? Ternary? Rondo? That way you are basically beginning by cutting
7 w% r- I8 O' o- Oit up into more manageable chunks.6 ?8 H& o& Y4 G: G! N, o L/ o! Y
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Second, look for phrasing and other types of musical structures.
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' v/ { K! e p" @7 v @, A6 QTry to learn it by ear (can you sing the piece all the way through without
2 z9 w5 |+ N1 _2 Q* Rthe music or the guitar?). This is easier for people who are more "aurally"% {8 ]; P+ a+ F% o% s* i$ R w
orientated (like me).! _$ ]+ w: p: e+ C4 q+ M9 J2 c
6 L6 S% O: ^8 s6 S/ lIf you are more "visual" try to memorize the page to as great an extent as
) V; P, N" O4 c% _* I9 W. ryou can. The harp prof here gave a lecture about memory & learning% r, G- P# ^$ X& r+ t
techniques, and said that visual memory really was more stimulated by" G9 t7 J- w: x* f* o5 T
looking up (and to the left, I think) so if you can, try placing your music% P5 H1 `( \: K1 G3 S
stand VERY high (for practice & learning) such that you are looking UP at$ K- V0 c9 \% U/ S: p; R
the music.
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I knew many guitarists in Spain who memorized the solfege syllables - they
8 t4 O- N7 g0 _/ L6 p7 c1 U- W9 ycould sing their pieces from start to finish (mi re mi fa mi re mi...)7 o+ s, a) `/ {$ b( i
$ x) L2 M, r/ p! o- p( s0 u0 z7 HTry to memorize the piece starting at the back (This is a tip from David) G2 P% m; z, e+ F. L9 p
Russell) - we always go from front to back, often bogging down, so usually,, Q8 y6 Z; I. n. ?& l% T2 ]
the farther into a piece we go, the less familiar & comfortable it is. If4 N; R( _4 a" Q }+ j% G
you learn the LAST measure, then the next to last measure, etc. you are . k. D& n7 Q3 z; ^- o" y7 c9 A5 V
setting up a situation where the farther you go, the MORE familiar and / H5 ~- c) {; Y/ U
comfortable things are.
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7 [3 B% \; h4 u" _, PThis also brings up the issue of learning single measures (apart from7 t/ r9 `% O% h" ]) ^ H1 {/ R$ P
whatever musical context they might have). Jose Tomas used this technique* F$ T! v7 L+ f7 K, {9 }' F
as a way for his students to learn 30 minutes of *new* repertoire in
4 E6 y0 r& c* r$ O8 Z5 D1 month: at the beginning, make a learning plan, in which you assing( \: C' I1 c2 i5 i. ? `! u
yourself X measures to learn each day, making sure that every day you ( G& z1 X# Q0 t2 F; a+ m3 o/ z
learn some of every piece (instead of working on piece A, then later
. _- S% ~9 U: R. ystarting on piece B, etc.). Learning very short chunks helps you program
0 Z1 q$ v1 U' U, ayour physical movements much better.9 I( B$ y2 C4 U2 ^
; l W. K7 H, }, ^, JThis brings up the even more excruciating techniques suggested by Manuel$ t9 F" \) [8 m. A6 D5 m9 ~% l; ?/ v
Barrueco. Make sure you know your right and left hand fingerings so6 d: D: z* C* q
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- J6 f) N$ P% G4 {$ f
strings, 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
$ G: X( |. v4 J3 K/ {, adoesn''t really necessarily function as well without the precision of the! s8 Q, D; j: X, v# X
right hand. Barrueco''s solution is to mis-tune the guitar to some random
- q z4 Q# E- W9 c6 Ktuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
+ k l; n/ z* \7 a( P! M! Rpiece, concentrating on plainingg the fingering perfectly.
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This is an excruciatingly difficult thing to do if you are primarily
! o4 Y# d0 y! C% H4 p/ `' Han "aural" type (I am) - but it''s good, the totally "wrong-sounding"
7 f0 \; _: e* ~1 unature of this forces you to fight to not be distracted and concentrate
! G1 V- ^3 d. ^0 Aon playing the fingering right.3 q U) T' t- e/ X: f
; m5 |& R5 U8 C9 U4 hDo this *very* slowly to practice the fingering without relying on your
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附"反弹吉他"的翻译:# G/ C. }) E: d2 {1 h3 K
1 M( e5 f) D$ z; n2 s当回好人，给大致翻译一下：
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怎样快速记住一个曲子
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有很多办法，最好尽量综合使用
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3 W) o8 x6 _- \8 B( H" n: [- M# Z* ?- N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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& W) d% b8 u4 P9 h" Z# b( `$ i8 e然后看每个段落和乐句，
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* Q v8 y. S- }2 k) o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，0 D# D3 _" o: u: N7 u4 g5 v' U* R
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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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; c3 B4 y9 l* J: p: g; F大卫罗素从后边往前背。。。。# k) q8 @; s5 u! B
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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，4 T2 O- f5 q) d9 a* b
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比如，光弹右手，都是空弦，指法要精确。。。* T+ D& S5 g: o
7 T: a( ^8 @ t3 ^% p- S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 ' E0 t. R0 U% r) g" S: Q9 h R
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