|
|
How can I quickly memorize a piece?
/ V- j# d8 R+ q! h* q: j' |2 V" G
( t+ m4 ?6 p7 n+ j- S+ z. OThere are many approaches to take, and it''s probably a good idea to use
0 `' H2 D" |. u9 Gas many of them as possible.+ L7 b, O0 F, U$ t8 g9 g
4 [# X6 @0 `7 d G5 }; f* ]3 F/ b& ?2 n
First, try to learn what the large scale structure of the piece is. Is it$ S, |" }: K( \8 c2 A+ s
binary? Ternary? Rondo? That way you are basically beginning by cutting
$ C7 |' ?, L. R% @" w9 L* A6 C8 _it up into more manageable chunks.! Y; U u, T8 k" G5 y
/ j- \# Z) ^, _" F5 USecond, look for phrasing and other types of musical structures.& S) L) V$ l: p
! [6 t' x. S: H2 @2 e1 [2 k
Try to learn it by ear (can you sing the piece all the way through without" w% b7 ~4 t5 R1 j8 F
the music or the guitar?). This is easier for people who are more "aurally"
% e% w+ C5 u% x1 e$ M1 |orientated (like me).$ E! y$ q/ R: n+ r" l
7 @, g: h8 H3 w7 ?2 p# {; {
If you are more "visual" try to memorize the page to as great an extent as! ^6 @0 m. {. f, z" i- O
you can. The harp prof here gave a lecture about memory & learning1 L2 p! J) j, Z! o. V+ }. x
techniques, and said that visual memory really was more stimulated by2 u# x' z( |: x1 U, }/ E! @: E
looking up (and to the left, I think) so if you can, try placing your music
0 I3 W+ d6 M" b [stand VERY high (for practice & learning) such that you are looking UP at
$ i8 H9 L4 `/ [ ]3 x* Uthe music.6 D5 Q6 n |1 e9 [& c
6 q5 `# v; |1 H/ _6 J% f: jI knew many guitarists in Spain who memorized the solfege syllables - they
$ j+ g! r* _9 Wcould sing their pieces from start to finish (mi re mi fa mi re mi...)0 ]( v* x8 U8 j( l7 J4 \" T
/ Q& f0 K* _. ] t; g% ]' M% @7 d$ u
Try to memorize the piece starting at the back (This is a tip from David: r) }/ O# k4 b! d
Russell) - we always go from front to back, often bogging down, so usually,5 ]0 r3 E. f- S: E7 d, w {
the farther into a piece we go, the less familiar & comfortable it is. If
1 J5 O" b7 ]% s" eyou learn the LAST measure, then the next to last measure, etc. you are 4 P+ ~, J. F) ?1 S
setting up a situation where the farther you go, the MORE familiar and # G+ {. f% g; ~* f! A
comfortable things are.0 p# H! Q# U* t. p0 }% M0 z
! ~* p: Q. m) H& c: F1 W
This also brings up the issue of learning single measures (apart from
, [/ Y& X+ \8 l- J( m0 jwhatever musical context they might have). Jose Tomas used this technique
$ Y) t4 u5 n5 cas a way for his students to learn 30 minutes of *new* repertoire in$ E9 @* ~* ~" F$ N' m2 M
1 month: at the beginning, make a learning plan, in which you assing
+ k, k, R$ [. z+ g( ^( ~yourself X measures to learn each day, making sure that every day you . G2 C/ z# A4 A
learn some of every piece (instead of working on piece A, then later
" @8 A1 o, \7 Lstarting on piece B, etc.). Learning very short chunks helps you program
6 n4 E% A( K1 H. `! hyour physical movements much better.+ |) o, u' \7 x( D8 s# R* J
# B. R/ V: ~+ t3 y: U( A4 `3 d
This brings up the even more excruciating techniques suggested by Manuel
; @' C/ Z! F) P" `; n! m0 dBarrueco. Make sure you know your right and left hand fingerings so
! g) h. p0 ?" \thoroughly that you can do either separately.
" X& p; |1 X( D2 ?1 Q7 Z& k+ Z! E' u' l: Z; n% v
For example, play the piece with the right hand only (i.e. all open
: d1 d: n- Y O" ystrings, but using the *EXACT* right hand fingerings).
4 `3 \1 u! g+ ~" Q8 j1 z" f1 a+ E9 [4 u) K& [7 a
Then, try playing the left hand alone. This is a bit harder, because it% @" y7 u6 c7 G) k7 C" d( J$ }4 `+ }1 t
doesn''t really necessarily function as well without the precision of the
+ ?5 o$ e4 U. d4 Z& M i, uright hand. Barrueco''s solution is to mis-tune the guitar to some random; x& M; P. o4 }( T5 g
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
X0 r8 A" j2 Y* ~8 r2 h( Epiece, concentrating on plainingg the fingering perfectly.
, [- s1 K6 t) `( _0 W
! X: o: @+ H3 |( l; w1 RThis is an excruciatingly difficult thing to do if you are primarily' e& T, r( K# o# c6 S
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"# U# [* J6 M3 g+ P1 J4 h2 u
nature of this forces you to fight to not be distracted and concentrate# _2 P9 I: Y6 P) b1 `9 J! h. j5 j0 ^" W
on playing the fingering right.
l; r2 N8 f$ \$ S, {$ k- S* Z# o; t- g2 N" ?9 D3 i( v! B/ ^
Do this *very* slowly to practice the fingering without relying on your3 o( q$ O2 v9 F, Z- v" y
9 ]2 P0 j2 n" ]! \5 L* L& P. ^. Q! ~8 H4 ~, q @% C
附"反弹吉他"的翻译:' P6 h, a* M# F' f, n7 a. B. [! g
- }# |% _- a/ J: y" M) A; ]4 w7 \
当回好人，给大致翻译一下：
8 \. D, q6 k/ y5 Z" J) |% x4 b& f3 l0 j4 w! t
怎样快速记住一个曲子
$ \6 N" _' j2 a6 O c
- f& _# b8 |, U/ M5 x R6 P有很多办法，最好尽量综合使用3 d8 g F2 Q$ y
! C2 g2 j( M% b
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，% R4 g: Y Q* |/ J+ k. c
. i/ G F) ` |0 Z9 J0 {1 h+ U然后看每个段落和乐句，6 Z9 l+ L- ?6 _ o# W* d5 F
( ^+ a& Y0 U$ ~$ K5 }# w; u
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，) F2 g. ^: ]9 d- G2 B" z
' {; A5 u8 \+ l9 k* W
视觉导向的把谱子放在高处往上看更容易记住，% q/ E& Q/ y( h V, `5 g5 p
) T" g4 n# K) b) s7 y' d很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。
+ S6 L/ R, w C7 b5 F
6 q5 n# P( S5 I9 }3 A$ B% y! d大卫罗素从后边往前背。。。。
3 A2 s& G; L$ f) N, h
" O4 B) T6 Q; I5 L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。。。。
3 `$ g5 U6 l' I% \
w" P% |7 T7 t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，
: g7 ~- L7 ^# S7 I! F1 p$ `- s. e7 s. ~' _2 [# C8 M8 d# ~, S8 s* y
比如，光弹右手，都是空弦，指法要精确。。。! c$ A4 L) b6 m/ Y, F% V& J/ l9 Q
0 y% s( S0 v- `4 ~& A6 J, X; d4 F- A
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。。。
( `/ D3 M) l$ g k, v$ R1 N+ T
, ^- f$ j2 w: C很慢的这样练习 3 c7 ^& M( S2 v% t" W8 f; ~
|
|
