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How can I quickly memorize a piece?/ C# D" J8 I5 F
) z$ o/ k6 {" D3 R$ JThere are many approaches to take, and it''s probably a good idea to use
7 g1 R4 i8 ^0 ^/ ^& m/ cas many of them as possible.2 Q2 A0 H7 F3 l8 N8 u
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First, try to learn what the large scale structure of the piece is. Is it
- R$ Q0 k+ {& Wbinary? Ternary? Rondo? That way you are basically beginning by cutting
' \; t$ L3 H! \it up into more manageable chunks.9 c1 U. t& L& m6 R1 ]5 X5 Q ^
v9 L7 b7 G/ SSecond, look for phrasing and other types of musical structures.* R) M3 R: g6 Y: `( s: r( @3 y
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Try to learn it by ear (can you sing the piece all the way through without
8 Q4 @" }( d, A9 A) l: i2 Vthe music or the guitar?). This is easier for people who are more "aurally"( B; Q5 B) i/ v" `, X+ [- _
orientated (like me).6 B/ q6 B+ o5 Z+ q, ~ {
( B0 s- ]: y) A9 ~ mIf you are more "visual" try to memorize the page to as great an extent as' {/ R+ w& C. f- L; T) C, d
you can. The harp prof here gave a lecture about memory & learning5 P" b# b& t/ K$ m5 {0 b
techniques, and said that visual memory really was more stimulated by" s' x2 g. H& }$ n: q! B4 W
looking up (and to the left, I think) so if you can, try placing your music! h% N, c2 x g7 }$ W/ i7 ^
stand VERY high (for practice & learning) such that you are looking UP at
; Z- `/ L1 U3 |4 n2 f S* y- [2 @. fthe music.* s/ }1 d& B& b% Y/ e
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I knew many guitarists in Spain who memorized the solfege syllables - they C/ @5 g! W0 M
could sing their pieces from start to finish (mi re mi fa mi re mi...)
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6 B5 p% L5 p* G" I" {+ dTry to memorize the piece starting at the back (This is a tip from David
+ ~) P- `. ]; L! IRussell) - we always go from front to back, often bogging down, so usually,
6 x/ G* a7 R. M) Mthe farther into a piece we go, the less familiar & comfortable it is. If: G _) l, Y3 [8 T: d/ J3 H4 z# M
you learn the LAST measure, then the next to last measure, etc. you are $ `! R# o1 F. W+ ?5 h. D. L
setting up a situation where the farther you go, the MORE familiar and
) n, y! Y5 d `- W4 N3 c' ?comfortable things are.
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+ \2 v( P0 { @3 ~This also brings up the issue of learning single measures (apart from R1 l ~1 i% [ k
whatever musical context they might have). Jose Tomas used this technique
' T* u0 Q' `0 @7 U' pas a way for his students to learn 30 minutes of *new* repertoire in/ I: l/ q1 L0 k+ L, e( I
1 month: at the beginning, make a learning plan, in which you assing/ m _* ?$ c+ H7 ?$ N; J X
yourself X measures to learn each day, making sure that every day you
; s2 V* m; y( V. J( O6 Clearn some of every piece (instead of working on piece A, then later 6 A* I3 Q1 H# ~/ g. H( T9 O2 n
starting on piece B, etc.). Learning very short chunks helps you program
& I1 y, P- V( cyour physical movements much better.' I# O# C, t- B; V B9 R
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This brings up the even more excruciating techniques suggested by Manuel$ G& Z0 p/ e6 B" Y' g, {
Barrueco. Make sure you know your right and left hand fingerings so
, \- Y6 n! d6 P3 C! Tthoroughly that you can do either separately.2 ]( k! ?2 j1 B; K! }
( F1 ~* ^* K0 _! D" S! A. X% j# @! ZFor example, play the piece with the right hand only (i.e. all open
5 S$ f$ [, e; p+ R$ H: vstrings, but using the *EXACT* right hand fingerings).4 |8 Y5 E+ x2 Q/ z
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Then, try playing the left hand alone. This is a bit harder, because it5 j4 v2 r1 L' @. Y- f
doesn''t really necessarily function as well without the precision of the/ q; c* {) ~+ Q( [2 H- ]$ U
right hand. Barrueco''s solution is to mis-tune the guitar to some random
7 A6 }. [7 i" A9 G" x$ @tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your( @* z: v w+ @! J8 l
piece, concentrating on plainingg the fingering perfectly.) Y) P- g7 w) B8 ^% l
# c$ \) B/ K3 M4 `This is an excruciatingly difficult thing to do if you are primarily, K; U- M. ^1 X
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
* o3 I. ?: t+ nnature of this forces you to fight to not be distracted and concentrate
+ @, b& ^( I7 m4 H/ ^7 G5 e; D: Ton playing the fingering right.# y$ @$ M2 `0 @" e* \; u
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Do this *very* slowly to practice the fingering without relying on your
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附"反弹吉他"的翻译:, s0 t7 ~8 a3 w( P. W# l9 j
2 Z' k% ?+ O& f% j$ F F当回好人，给大致翻译一下：
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- ~; _" |% A; t怎样快速记住一个曲子, ~- }$ j$ z9 M4 Z: s* ^2 X4 } `
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有很多办法，最好尽量综合使用
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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，( y* O% P3 S/ m, L! ?+ S
5 s8 l. X6 ~# d+ f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，+ S0 h C" J! }: T! @% O
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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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( ]$ _, ?+ T' {3 `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。。。。
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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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$ m* ~" z! d2 e" r: Q* k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， g& k% e3 ^0 ~0 B7 j2 b
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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。。。# k, C- _, s4 `, i
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很慢的这样练习 0 C8 b; \' m9 F# E/ F# Y5 R
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