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How can I quickly memorize a piece?. ~6 W2 m+ k% _2 t7 q" o; |' d
/ X& | t* ?( gThere are many approaches to take, and it''s probably a good idea to use
5 g6 n: q2 [2 n3 jas many of them as possible.- O8 E G' b% T' E+ Q/ G9 r
4 S6 u9 V1 J3 q8 O3 M+ H/ x) pFirst, try to learn what the large scale structure of the piece is. Is it
3 n' @9 Y- V/ T" ~( J% @$ Lbinary? Ternary? Rondo? That way you are basically beginning by cutting4 l# \1 N9 g6 v/ C+ P( j6 H& d+ x
it up into more manageable chunks.
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; g/ V. ]& s- eSecond, look for phrasing and other types of musical structures.
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Try to learn it by ear (can you sing the piece all the way through without* n. z, i- R7 \4 j( P; \* v
the music or the guitar?). This is easier for people who are more "aurally"9 T5 Y6 g/ r/ N/ T& M8 y0 {' L
orientated (like me).5 e A5 p$ f# a: q9 }7 A
% X0 A. r3 Z* N2 {9 VIf you are more "visual" try to memorize the page to as great an extent as
7 v6 Z. e4 m: z/ M0 U! Fyou can. The harp prof here gave a lecture about memory & learning( ^; L5 Y' ?+ U+ d3 d0 }& b
techniques, and said that visual memory really was more stimulated by
* Y6 \" J( P* t4 Wlooking up (and to the left, I think) so if you can, try placing your music- f* z# S2 J& K+ V% P5 T
stand VERY high (for practice & learning) such that you are looking UP at
0 \# L5 `9 C5 o E. p% U; z7 I0 Vthe music.
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4 q8 T- v! u* ~5 \8 \! @I knew many guitarists in Spain who memorized the solfege syllables - they
& A+ F2 G" L/ d9 {could sing their pieces from start to finish (mi re mi fa mi re mi...)! h9 t! X X- t. }
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Try to memorize the piece starting at the back (This is a tip from David2 X' j. J9 Y+ p7 g7 z
Russell) - we always go from front to back, often bogging down, so usually,% S$ i1 [( i- G+ e6 v. U
the farther into a piece we go, the less familiar & comfortable it is. If- b8 r1 R+ b: M$ m" B% }
you learn the LAST measure, then the next to last measure, etc. you are / }$ s1 ~6 B- t S1 o: Y+ _
setting up a situation where the farther you go, the MORE familiar and ! I: v. L' P, R- T
comfortable things are.! n1 W8 P, ?# o4 O2 A5 o# O# @
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This also brings up the issue of learning single measures (apart from
% G! b. C+ @- X$ m7 Iwhatever musical context they might have). Jose Tomas used this technique. X/ b& g# H% W& y# u; A
as a way for his students to learn 30 minutes of *new* repertoire in
- i2 h1 O2 [4 f3 c. K1 month: at the beginning, make a learning plan, in which you assing
2 ]1 C0 s" R. o6 y0 W1 L9 Uyourself X measures to learn each day, making sure that every day you 3 N" Y$ N1 [6 Z6 x0 @
learn some of every piece (instead of working on piece A, then later
& c3 |! N: u: ^* ~% Y* Z1 Hstarting on piece B, etc.). Learning very short chunks helps you program / l" ~2 a$ z" d, }6 q
your physical movements much better.3 h2 a2 d5 O1 F8 h
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This brings up the even more excruciating techniques suggested by Manuel
2 O# ~* C D8 N1 E' rBarrueco. Make sure you know your right and left hand fingerings so
! x& y$ I! a5 f k) K& Qthoroughly that you can do either separately.
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For example, play the piece with the right hand only (i.e. all open5 G H9 ~; ]( h5 c: B
strings, but using the *EXACT* right hand fingerings).
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Then, try playing the left hand alone. This is a bit harder, because it" M$ Y E4 n0 Z; B0 ?* U
doesn''t really necessarily function as well without the precision of the
0 Y d1 B/ G; C5 E, [" w7 N pright hand. Barrueco''s solution is to mis-tune the guitar to some random8 D# e( |* T$ v
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your' q- ~3 r; ]( @/ B+ r; j
piece, concentrating on plainingg the fingering perfectly.
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+ _$ w1 x1 ~- C/ V# T0 lThis is an excruciatingly difficult thing to do if you are primarily
( j9 I% K% m1 `+ u$ Aan "aural" type (I am) - but it''s good, the totally "wrong-sounding"
! j: T* O9 @9 T' v4 D& f) Onature of this forces you to fight to not be distracted and concentrate
& ?7 |8 K* l: O4 H. oon playing the fingering right.
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3 Q9 t7 I" K% g) iDo this *very* slowly to practice the fingering without relying on your/ ^5 w' V/ u$ }0 T7 r) ^$ z9 H
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6 m9 a- B; F9 C, `附"反弹吉他"的翻译:
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当回好人，给大致翻译一下：
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4 p& t2 L: l! m) R怎样快速记住一个曲子/ o3 z. }. f7 u% ]2 H
1 _: u; B2 w. Q8 b$ D$ l
有很多办法，最好尽量综合使用
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+ G* a) H8 ^* |+ p3 \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，
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0 U# H4 ]5 b; G: ?: h# L( W( G4 E然后看每个段落和乐句，# w: ^5 [5 F6 E/ n' M4 g: j" 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，$ f' j) }! r4 r. U c+ I
3 t' p: f$ a' j. a6 ~" |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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- b1 d! O4 H; A# @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。。。。- j. h, |0 Y$ C/ z( E3 C
! M! Q& R. Z5 X" B8 R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，
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8 x; X9 p! _3 \) ^3 Y: n( |比如，光弹右手，都是空弦，指法要精确。。。4 [3 E. K/ F3 N- S B8 m6 Q5 ~
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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 7 w, t$ v" z8 h' ]8 T2 c% U
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