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How can I quickly memorize a piece?
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There are many approaches to take, and it''s probably a good idea to use) B" q9 Y# l4 B4 e5 a( r
as many of them as possible.
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1 n* Q a r, zFirst, try to learn what the large scale structure of the piece is. Is it
" x7 R- _* \, e- A. Ybinary? Ternary? Rondo? That way you are basically beginning by cutting4 p% F+ P! _. Z! Y4 T$ R$ N
it up into more manageable chunks.* v2 {" I% V7 X" F
6 l9 x$ ^9 ^4 g; M7 {Second, look for phrasing and other types of musical structures.
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; H" b: [7 q! D8 q6 A6 k& I( gTry to learn it by ear (can you sing the piece all the way through without
7 x- Y2 y* y' X' x* g9 X; h# R) o' Xthe music or the guitar?). This is easier for people who are more "aurally"0 \# s1 Q3 ] I2 O8 e% a( W
orientated (like me).
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3 j3 V8 Q- ?5 W+ yIf you are more "visual" try to memorize the page to as great an extent as$ g+ G; W: F% a2 N! ^+ K" a
you can. The harp prof here gave a lecture about memory & learning
7 V, P( R% j* ?" `techniques, and said that visual memory really was more stimulated by
* c! E Y4 v, I! B. Z) `looking up (and to the left, I think) so if you can, try placing your music8 C' B/ o G( J* x
stand VERY high (for practice & learning) such that you are looking UP at( k9 ]0 O0 e. T! f6 V% G
the music.
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$ g9 C' v5 X1 R: BI knew many guitarists in Spain who memorized the solfege syllables - they/ a, i/ b- u& G: i0 S. L! 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
. n1 ]) n5 T' b! S HRussell) - we always go from front to back, often bogging down, so usually,
# z* N4 ?0 w8 `. I$ Ithe farther into a piece we go, the less familiar & comfortable it is. If; g7 A. _5 P0 {
you learn the LAST measure, then the next to last measure, etc. you are
t# Z0 N+ J; G- f8 L9 O8 Usetting up a situation where the farther you go, the MORE familiar and , s$ j; R3 q1 f) S4 r8 y. D) j
comfortable things are.
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This also brings up the issue of learning single measures (apart from/ I8 Z( b1 w% K- A
whatever musical context they might have). Jose Tomas used this technique) j9 V. K6 @3 N: K' C- C
as a way for his students to learn 30 minutes of *new* repertoire in
7 I0 h; S' U. [7 @1 month: at the beginning, make a learning plan, in which you assing
, }+ z2 k2 a3 r/ T, eyourself X measures to learn each day, making sure that every day you ( n3 I4 k* T1 ^. G
learn some of every piece (instead of working on piece A, then later " D: m1 n# }; S% n0 b/ p* N! Z
starting on piece B, etc.). Learning very short chunks helps you program
* d7 j$ T& R- f1 O' p7 r/ Wyour physical movements much better.
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This brings up the even more excruciating techniques suggested by Manuel: b! @- ]% \# Z2 `# y
Barrueco. Make sure you know your right and left hand fingerings so
+ k9 X% F5 d% t( d6 C2 S( f4 X7 dthoroughly that you can do either separately.5 ^, S" b7 w* [0 m2 a: Q9 ?, P- F; h, q
# ]5 m$ u$ ]5 EFor example, play the piece with the right hand only (i.e. all open( p1 r! [/ Q; D* i) K
strings, but using the *EXACT* right hand fingerings).9 K0 g O0 N5 N$ e. x
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Then, try playing the left hand alone. This is a bit harder, because it: m0 v- U/ B0 i1 o
doesn''t really necessarily function as well without the precision of the
: T( S1 u9 O/ a7 |* |; I+ Lright hand. Barrueco''s solution is to mis-tune the guitar to some random7 H! w* Q0 L2 l
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
9 Q9 P$ o Q2 z& [$ s$ Z+ kpiece, concentrating on plainingg the fingering perfectly.& C8 y: c* T! I+ O
5 }/ u; i/ c# R) Y$ f8 ]This is an excruciatingly difficult thing to do if you are primarily) p3 A) p8 a, m# i
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"% _6 p- i6 }% ?. k2 x4 G }* S
nature of this forces you to fight to not be distracted and concentrate
) a& E2 W. s$ }5 ?% q0 won playing the fingering right.4 b( J5 k4 u* e5 c- H
. J! D; s, I9 h1 s% n* i0 fDo this *very* slowly to practice the fingering without relying on your
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附"反弹吉他"的翻译:
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当回好人,给大致翻译一下:( ~/ H8 s ]& {; E5 T
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怎样快速记住一个曲子' k* F9 O+ e0 W! H4 p4 F5 o1 @
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有很多办法,最好尽量综合使用 x; a0 {' F" C/ r4 @' Q( \% F4 i5 |
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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,, Y2 U r$ i8 y' w. S2 A: _
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然后看每个段落和乐句,) ^; p3 j$ ^0 p* ]# o* N5 l
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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,
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视觉导向的把谱子放在高处往上看更容易记住,7 x& t$ ~/ K! ~: x8 H1 F( M
1 v9 R* _( p1 b) m% v3 {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。。。。+ [2 l, G3 e- ?- ?( L4 S2 A6 c6 x3 C
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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。。。。) }, t- s- U* w% y/ ^& ~8 @* [
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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,3 X2 T4 E3 [7 \/ a. ~2 y2 ~' D& Q" x
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比如,光弹右手,都是空弦,指法要精确。。。! W8 b7 x1 S9 h1 V7 M: g3 x& m
! \2 z) t5 }+ [5 B1 s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。。。: j3 v. W& ]0 r4 b3 I! I) C7 b
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很慢的这样练习 ) X6 Q' `/ f0 ^3 o/ R
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