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How can I quickly memorize a piece?7 X. c' t7 i" C
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There are many approaches to take, and it''s probably a good idea to use
! \* z" e6 r4 r4 r3 Oas many of them as possible.
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First, try to learn what the large scale structure of the piece is. Is it
/ K+ W1 w( U" j' Ubinary? Ternary? Rondo? That way you are basically beginning by cutting- V4 a5 a1 [& b, A K
it up into more manageable chunks.
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Second, look for phrasing and other types of musical structures., u( ?# I# p% G% l: }' p) _
. x# `: A5 [8 v2 j. H# s% j: |6 wTry to learn it by ear (can you sing the piece all the way through without6 C4 r2 v; y4 P! h+ L) O
the music or the guitar?). This is easier for people who are more "aurally"
i7 g' y# h$ c( u( K8 ]* M2 aorientated (like me).
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If you are more "visual" try to memorize the page to as great an extent as
. x! S1 }6 h) X5 U" gyou can. The harp prof here gave a lecture about memory & learning6 F g3 b7 [1 }/ h4 K2 s3 Y2 O
techniques, and said that visual memory really was more stimulated by9 M u0 m! C7 \( z
looking up (and to the left, I think) so if you can, try placing your music
& _2 O4 Z& X! w) g2 ^! ]% Z# astand VERY high (for practice & learning) such that you are looking UP at
3 m) D3 G* ]( A z+ ]1 sthe music.
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I knew many guitarists in Spain who memorized the solfege syllables - they7 _" k) u' ?1 J9 R; g4 i2 \& J- e
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
3 u2 B- z$ Q% N- n% V2 z# qRussell) - we always go from front to back, often bogging down, so usually,
0 \, a" }/ ]9 F8 l& G& N9 jthe farther into a piece we go, the less familiar & comfortable it is. If
' r( Y' M3 E; I. J; `you learn the LAST measure, then the next to last measure, etc. you are
! M6 D9 t/ A9 \- T( H. t9 Q& M/ C5 F8 isetting up a situation where the farther you go, the MORE familiar and
9 e5 T$ C0 g( Hcomfortable things are.2 Y, t7 K. _/ e. R. V
( Q, l- a0 o0 s9 b( Y4 w, ZThis also brings up the issue of learning single measures (apart from
: U; h. t) }: `5 l- ?/ a! wwhatever musical context they might have). Jose Tomas used this technique
8 A- Q+ _. z* {9 ` o( q7 P% \2 `6 sas a way for his students to learn 30 minutes of *new* repertoire in+ K, {9 s2 q6 r. V7 S5 i
1 month: at the beginning, make a learning plan, in which you assing
. b/ q+ j+ `) c6 C5 dyourself X measures to learn each day, making sure that every day you & P" ]; x2 H& N5 v& O: q. v
learn some of every piece (instead of working on piece A, then later 2 ]+ T5 z* ^# H# |" ]
starting on piece B, etc.). Learning very short chunks helps you program Z: Y3 e5 z* E# H& t$ [
your physical movements much better." N9 C1 E5 k F3 D ]# c
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This brings up the even more excruciating techniques suggested by Manuel4 Z5 A4 A( Y9 s& O6 j4 O3 R5 l
Barrueco. Make sure you know your right and left hand fingerings so
* ^$ g! R) _# H$ d3 D9 z6 ^& uthoroughly that you can do either separately.$ V7 C9 o- m4 Z. y: R1 W/ }: o
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For example, play the piece with the right hand only (i.e. all open
1 S" N2 x% n* |. mstrings, but using the *EXACT* right hand fingerings).% v6 n& R2 b- G
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Then, try playing the left hand alone. This is a bit harder, because it2 [; e- o8 Z/ c5 |, e
doesn''t really necessarily function as well without the precision of the
: D h6 y% a. o" Rright hand. Barrueco''s solution is to mis-tune the guitar to some random. r! d0 ?2 [6 z. `$ `& l1 d
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
5 c5 Z1 _- I" _4 Ypiece, concentrating on plainingg the fingering perfectly.8 y P$ ~5 J1 Y# v( w; }
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This is an excruciatingly difficult thing to do if you are primarily; q4 p/ Q. G" Y. ^( J+ p
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
8 r% H% N5 Q% N2 qnature of this forces you to fight to not be distracted and concentrate
" g. ` W7 \ qon playing the fingering right.4 B7 ?5 I, V$ s- n2 ]0 O# u
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Do this *very* slowly to practice the fingering without relying on your7 p- x% ~& W/ v
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附"反弹吉他"的翻译:
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! l0 [# O3 i* p) X8 n, W' x当回好人，给大致翻译一下：* p# {6 V7 L ^' \5 P8 z5 Z
# w& z8 l) m+ q) \1 g6 u1 q怎样快速记住一个曲子
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' V; D9 J/ L6 s& E( U有很多办法，最好尽量综合使用; T$ i2 @4 m& c6 y" m! w7 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，; d$ i( T% M9 _9 P% O G( @* _
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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，3 h4 S( G+ t; _( }3 Q- {9 L' A
$ p8 _; q& @0 B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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大卫罗素从后边往前背。。。。
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5 E8 u8 n1 M0 T/ _, v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。。。。* ~& V& r6 l. p( K+ S! K/ {
" y$ i7 m6 F# |7 x9 o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，$ _ a1 k% f6 v8 n. P3 S
/ y; Z7 N1 h' L9 Z" `3 `3 ?' z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。。。
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很慢的这样练习 q) g. N: h7 s u; `
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