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How can I quickly memorize a piece?* E, w. H) H) x. Z: }% T
9 u0 ?2 |; W; n, A3 P- J, MThere are many approaches to take, and it''s probably a good idea to use% @8 S, [' a" T: B+ U$ \6 t+ {
as many of them as possible.
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$ j: q& y/ W) |First, try to learn what the large scale structure of the piece is. Is it
, T+ z4 ?9 F- I6 r2 M# Cbinary? Ternary? Rondo? That way you are basically beginning by cutting
3 P4 J9 j p7 c8 R4 fit up into more manageable chunks.5 _6 }. [5 R5 b0 F' ]; p
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Second, look for phrasing and other types of musical structures./ E- d3 S M) }% \' @2 U3 _# n7 Z1 W
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Try to learn it by ear (can you sing the piece all the way through without7 }3 D& L8 m/ J% E n2 ?6 P7 P, p
the music or the guitar?). This is easier for people who are more "aurally", h$ r5 ?( a! s7 X+ Y) S: Z1 z
orientated (like me).
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If you are more "visual" try to memorize the page to as great an extent as: Y( n% W7 _; k3 L* ^/ V/ i7 F
you can. The harp prof here gave a lecture about memory & learning; B/ E5 _3 m: u9 i+ ^
techniques, and said that visual memory really was more stimulated by) G5 V3 i- N7 p: K! I4 I
looking up (and to the left, I think) so if you can, try placing your music
' g: k1 L- o- `# L& `7 _7 bstand VERY high (for practice & learning) such that you are looking UP at
2 T4 `+ K$ B# L7 [. s* `" `the music.
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I knew many guitarists in Spain who memorized the solfege syllables - they
$ o" C: H; o4 A. r; C* F- @2 r- X) ycould 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 u8 y0 a- g9 F% T( u+ D: E
Russell) - we always go from front to back, often bogging down, so usually,$ f& Z$ b) l8 k6 E
the farther into a piece we go, the less familiar & comfortable it is. If6 G! E4 y1 b6 _# K/ y
you learn the LAST measure, then the next to last measure, etc. you are
5 q+ u& t: `0 N: Nsetting up a situation where the farther you go, the MORE familiar and
: @+ U! v" K l) o! Tcomfortable things are.6 K6 u+ d: B' V: s* I
* p, [( ~$ k: K: `& QThis also brings up the issue of learning single measures (apart from
/ o6 G% x+ ~( | zwhatever musical context they might have). Jose Tomas used this technique
6 ?* l1 t" U, |* G Das a way for his students to learn 30 minutes of *new* repertoire in0 u; e: y* g% `9 W) ]- F+ y
1 month: at the beginning, make a learning plan, in which you assing
& R9 m% T2 H6 u# vyourself X measures to learn each day, making sure that every day you
' d1 k( m* B6 O: Flearn some of every piece (instead of working on piece A, then later
7 |, @6 ^2 w$ V5 Sstarting on piece B, etc.). Learning very short chunks helps you program : l. q2 Y, j3 a: p4 X# x: V% Q3 n
your physical movements much better.0 Y0 {8 v' f% k* E: v) ^
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This brings up the even more excruciating techniques suggested by Manuel
: M" u" Q+ E- s2 h. J/ G( TBarrueco. Make sure you know your right and left hand fingerings so, @9 h5 v- [8 f3 g# A
thoroughly that you can do either separately.1 M8 r2 }$ J+ u( J+ _
( n. H( R$ D6 r2 Z* {7 A& mFor example, play the piece with the right hand only (i.e. all open
+ o! p/ c/ [! [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
4 {& k0 T1 }4 Z& z# Bdoesn''t really necessarily function as well without the precision of the
- K: r$ Q3 G! R) M8 O& X1 Q0 pright hand. Barrueco''s solution is to mis-tune the guitar to some random: Y: b9 o- p4 v7 I2 y0 W0 i9 y
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your' f; K( o5 J, m. s" @/ k" m4 I
piece, concentrating on plainingg the fingering perfectly.% l P$ i% `- Q4 _# a I% Q* r
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This is an excruciatingly difficult thing to do if you are primarily7 m* L# w6 M0 d. d' C z7 O
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
% J# F9 f/ o7 Q4 c) inature of this forces you to fight to not be distracted and concentrate
* j, E- i( J# p( P9 u& non playing the fingering right.
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; _% Y( u+ l! {" e. n! XDo this *very* slowly to practice the fingering without relying on your1 I' {4 A: v9 n' c& b
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. f9 B5 J! S9 ?附"反弹吉他"的翻译:
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$ M: F/ o7 f6 _( T2 c3 m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/ Y/ ~" c ~( D
# t, M& Q1 P$ f0 n有很多办法，最好尽量综合使用5 v+ t' Q* X* v: B; Z: f( V
% [* i( N& a% b8 b/ E* | z1 {
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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1 F0 O' R$ J' r' s- m! L& X6 B然后看每个段落和乐句，7 [) S# V& K. \% B S2 T
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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，" L3 a- B# J' K, Z
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视觉导向的把谱子放在高处往上看更容易记住，* E/ O6 h& m9 g2 {; N5 {7 x' l _
. n; G9 e8 y `0 [; r# h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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! l6 B( [ I) X. D; a$ N大卫罗素从后边往前背。。。。+ W" d* [3 V$ ~, C. c, J
9 d3 o! |3 q N! g, q# p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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! K4 P/ l3 J. m: r. H8 N8 r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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比如，光弹右手，都是空弦，指法要精确。。。
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4 T0 k' f$ W) \/ L. z$ F( k, ^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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$ @9 H' |6 S' A+ t9 M8 c0 V很慢的这样练习 $ P+ s5 j$ O) U
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