|
|
How can I quickly memorize a piece?
( p8 X$ B9 Z! R# K+ X
$ _0 s9 O+ _! I9 h9 \* p l9 e+ U0 H( mThere are many approaches to take, and it''s probably a good idea to use
; V! p4 K6 i+ E3 Aas many of them as possible.) |/ \: m8 `; I6 Q% w
5 A2 n# [) G0 a2 sFirst, try to learn what the large scale structure of the piece is. Is it
9 T& \* m7 P* L# B" z+ jbinary? Ternary? Rondo? That way you are basically beginning by cutting
5 p2 A6 x7 f% p& x8 s4 n2 qit up into more manageable chunks.9 y' ?; h7 G9 y) q' c# n
: W4 j# i" e: F+ i! a, N' X
Second, look for phrasing and other types of musical structures./ }5 E" |% N5 ]
" _6 d# I9 z+ A) y7 M: v& a
Try to learn it by ear (can you sing the piece all the way through without
4 v9 O0 Y. [, M. Qthe music or the guitar?). This is easier for people who are more "aurally"* J% H% |5 ?" }1 D; i4 d
orientated (like me).% n7 E, Q) r3 }
* h' M) ?" G$ Q% [
If you are more "visual" try to memorize the page to as great an extent as1 c% E# K- p5 d7 _9 s' K
you can. The harp prof here gave a lecture about memory & learning
, K' J' A6 F: F! {) Htechniques, and said that visual memory really was more stimulated by
2 D& W) |% v, \ _looking up (and to the left, I think) so if you can, try placing your music6 G& v4 A! |! H1 G3 O8 J
stand VERY high (for practice & learning) such that you are looking UP at
/ ]! T: V9 ?2 c2 @$ \9 j$ b5 _, jthe music.
G$ u4 p0 K" L! u6 I9 O8 \( L( Z! h$ m) M
I knew many guitarists in Spain who memorized the solfege syllables - they* N/ [8 E4 U. a& Z
could sing their pieces from start to finish (mi re mi fa mi re mi...): d6 Z. u, E* ?" K- Y
! X* d: H; T" a0 a: { N) |
Try to memorize the piece starting at the back (This is a tip from David
& h9 _6 ~2 h ^% ] e) XRussell) - we always go from front to back, often bogging down, so usually,
9 a) x5 |3 K$ Z l5 Ithe farther into a piece we go, the less familiar & comfortable it is. If
0 g ?3 ^6 x0 }" {) C" r' lyou learn the LAST measure, then the next to last measure, etc. you are
7 _& I5 L; h3 p0 l1 ~setting up a situation where the farther you go, the MORE familiar and 8 ^0 y& \1 X0 b! `- u
comfortable things are.; ~: P$ }5 f( `6 }* ~( B
( e a' N4 n8 H2 ^6 }7 XThis also brings up the issue of learning single measures (apart from
( n$ V# g s1 l9 I# {$ E, swhatever musical context they might have). Jose Tomas used this technique
( E' Y! a0 O \& I" P' mas a way for his students to learn 30 minutes of *new* repertoire in
1 j4 K& a* O: Z/ j1 k! Z1 month: at the beginning, make a learning plan, in which you assing
4 o" f0 J: k2 A' [/ j. ~( C: G7 qyourself X measures to learn each day, making sure that every day you
9 V; J5 h! S6 B+ dlearn some of every piece (instead of working on piece A, then later ; y9 {9 v; Y/ N, H: B
starting on piece B, etc.). Learning very short chunks helps you program
3 u: N$ C1 {& i! Y9 T5 g. I- L4 u% _your physical movements much better.2 g9 {1 B, }1 k, k
4 P6 J( F0 I& U& T! g+ oThis brings up the even more excruciating techniques suggested by Manuel$ u! x0 v. P6 f$ P+ | D
Barrueco. Make sure you know your right and left hand fingerings so- L' E& I; E" ?$ D. i: \: j" w
thoroughly that you can do either separately., ]9 @$ L. G: k' ?/ E
$ |0 S# E8 F( y. _' \For example, play the piece with the right hand only (i.e. all open
) s8 u9 [/ R2 u6 |& Mstrings, but using the *EXACT* right hand fingerings).4 n: d# c' F! }
6 ]: x+ W$ l5 c0 V5 _3 }# P
Then, try playing the left hand alone. This is a bit harder, because it! M6 N1 A; f) G; \+ t
doesn''t really necessarily function as well without the precision of the" g {/ H( { ^( J" n" E
right hand. Barrueco''s solution is to mis-tune the guitar to some random1 I$ d% `3 |; j/ Z
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your4 H, R6 f2 z' X8 d! |3 O
piece, concentrating on plainingg the fingering perfectly.
& K5 z( g5 d) p' B+ S, Q) c5 o5 j/ y. L9 @
This is an excruciatingly difficult thing to do if you are primarily6 L. u% C: u- j3 _8 j! P) C
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
5 e$ ~- u+ H/ h' m* ?nature of this forces you to fight to not be distracted and concentrate1 t+ S. o8 N. f* d
on playing the fingering right.
s. N8 v6 F. Y9 a: D, J9 g( q
9 y b& r* c$ p0 Q7 }6 l9 z, VDo this *very* slowly to practice the fingering without relying on your
4 t7 k& F. s3 o1 a& C3 e# Q! d2 w2 i7 S
5 U6 X. W. q' z4 }
附"反弹吉他"的翻译:
" Q, h0 c0 Q' [1 d" x! t9 _) e! C5 w7 V/ G1 D% t
当回好人，给大致翻译一下：; Y. a) @, p/ p/ V
$ v. n# z2 ?) g& I
怎样快速记住一个曲子
0 p8 ^3 ]0 @7 {8 P2 V& L2 U- e/ I6 l7 ], Y# l$ e5 C: @
有很多办法，最好尽量综合使用, i' w( r- ?$ X- M
) f+ o1 J+ [2 Y1 H# C
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，
3 v1 ]6 ?. y8 C1 `4 V2 Q2 q5 a7 S
2 q/ q7 b9 [& m& \2 b5 A, G然后看每个段落和乐句，
( T# ^/ ^1 t h7 N. y' Q' ]0 k: S8 m/ K# E/ K4 i3 l+ U1 t" l
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，
# y: @' u% H* [' T" a- ~) ~( \# Y3 w0 q( r
视觉导向的把谱子放在高处往上看更容易记住，3 r8 l7 s$ k. T
$ {9 T9 {/ f1 r5 `# V Y
很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。& q! P" p+ X2 [2 ^2 A* X
+ w* E; @: ?. p! H( K" n6 c. D大卫罗素从后边往前背。。。。' v7 `) B, A9 @ R3 d
8 l/ j5 T" s/ y. R4 s+ S: `
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。。。。
. g, c( {% c: i. F: C; o) f" K* b2 Q K- D' R# b2 y( g9 z
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，
& _. C: p! P2 P- ?6 \7 C
* O5 y. U& j6 q$ e5 g$ k+ d比如，光弹右手，都是空弦，指法要精确。。。
6 m. M( B$ {& x, g0 @ e9 w
+ N: d" v6 Q2 V9 l1 F0 e H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。。。* }; S# R: i% i4 h
4 Q w- m; E: z2 j
很慢的这样练习 2 E& D$ h% I. e; J8 X1 O4 E
|
|
