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How can I quickly memorize a piece?
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. e; T/ i0 r, tThere are many approaches to take, and it''s probably a good idea to use
$ O( }+ p: u, l7 j1 Cas many of them as possible.
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First, try to learn what the large scale structure of the piece is. Is it3 s- S# F! z. o0 L, P
binary? Ternary? Rondo? That way you are basically beginning by cutting
* g+ |( e3 s& z3 n) wit up into more manageable chunks.2 Z. g4 f- [$ \/ X& k9 r
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Second, look for phrasing and other types of musical structures.
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4 Z# u" j6 D8 [# p7 tTry to learn it by ear (can you sing the piece all the way through without
' ~, w W6 v4 }$ M0 d- Nthe music or the guitar?). This is easier for people who are more "aurally"4 g0 e( E/ [4 h3 i0 k: n
orientated (like me)./ b& k+ \, A1 F" ? ] Q
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If you are more "visual" try to memorize the page to as great an extent as
% }4 z4 K @. H- o7 c3 W: R- |' yyou can. The harp prof here gave a lecture about memory & learning9 r: g. d! D% o) t! {" k5 O# \7 E
techniques, and said that visual memory really was more stimulated by* { j; n2 V+ g+ G, h" F" J
looking up (and to the left, I think) so if you can, try placing your music9 h( I8 n1 k/ V- B% I3 ]
stand VERY high (for practice & learning) such that you are looking UP at
& k7 [! [8 F l# ^" z; N) ]! Zthe music.
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I knew many guitarists in Spain who memorized the solfege syllables - they
% |6 i) o: R9 T& x1 O: s4 `could sing their pieces from start to finish (mi re mi fa mi re mi...)
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( _' f2 L% O( {- U' {$ N Q9 s; uTry to memorize the piece starting at the back (This is a tip from David
) i5 A+ P+ b. D6 t+ SRussell) - we always go from front to back, often bogging down, so usually,
# m" @- f/ Q# w" Y5 Kthe farther into a piece we go, the less familiar & comfortable it is. If2 H5 H7 u# T5 \2 m0 |, v0 w
you learn the LAST measure, then the next to last measure, etc. you are
# @8 Q, ]' Y. d% isetting up a situation where the farther you go, the MORE familiar and $ n2 l- n2 V$ p! G. O
comfortable things are.3 c2 N# W- D R+ n: r- \$ u$ p
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This also brings up the issue of learning single measures (apart from
3 N, w+ I9 ^5 E! z+ b0 xwhatever musical context they might have). Jose Tomas used this technique, R7 C0 J) U7 V- ~# Q! P
as a way for his students to learn 30 minutes of *new* repertoire in
! H5 f3 C( `6 [3 K+ }6 e7 G1 month: at the beginning, make a learning plan, in which you assing
( p+ a% @% S$ u! \ s w) U) L5 V$ Syourself X measures to learn each day, making sure that every day you + T1 S/ |; a$ z9 @( d
learn some of every piece (instead of working on piece A, then later ' k! F _0 @* q& q
starting on piece B, etc.). Learning very short chunks helps you program
- l1 ?. s: _) H3 S5 u% |* P2 {7 ]your physical movements much better.' \9 R4 h0 d" z0 c! L+ j7 f: s
% P7 d+ z0 ]+ G* AThis brings up the even more excruciating techniques suggested by Manuel2 h+ t! k2 e( q# W/ i1 L/ S; s# V
Barrueco. Make sure you know your right and left hand fingerings so/ k+ u, ?9 B* ~2 V. r' G
thoroughly that you can do either separately.
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. v6 e1 {$ A( UFor example, play the piece with the right hand only (i.e. all open
% i! r" B# [( W: d; [6 O( fstrings, but using the *EXACT* right hand fingerings).
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7 H5 r. \8 \3 E% gThen, try playing the left hand alone. This is a bit harder, because it
& z' y. n$ c! `' ~( ~doesn''t really necessarily function as well without the precision of the
1 G0 R# R5 n& c/ t8 [right hand. Barrueco''s solution is to mis-tune the guitar to some random# W% G+ t; V" {7 R6 G. P9 m: H
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your0 c0 `$ n) R U0 r' C) i u
piece, concentrating on plainingg the fingering perfectly.
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This is an excruciatingly difficult thing to do if you are primarily) z/ z& y! A& Q4 h. n7 ~
an "aural" type (I am) - but it''s good, the totally "wrong-sounding", u/ i* C5 x' O& E7 R, p* Y( ]
nature of this forces you to fight to not be distracted and concentrate
* S7 P! l! L* [6 Pon playing the fingering right.. ~# m/ a' K( N! s" Q. ^" t
: N! g' v( s6 E' l' f$ l8 EDo this *very* slowly to practice the fingering without relying on your
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! w3 ]# G2 C) @附"反弹吉他"的翻译:0 M- s/ M4 V' D: c) U* `( z
4 T3 k+ h. L5 ]& ?) |7 K1 _当回好人，给大致翻译一下：
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m E8 @' } F, P: [. c, C怎样快速记住一个曲子
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: q \& B; [; I- {9 K' ]! {有很多办法，最好尽量综合使用& i# _% a4 O5 N$ d$ I
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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，# k7 z5 p* l7 p
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然后看每个段落和乐句，+ N# V1 ?* h) M4 u- H8 Y9 t
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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，% w4 G2 Q+ T, |1 d8 i
0 f' b9 G2 |/ D0 Z& }* w% m9 r3 j很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。 P) N6 R" {& c: q# {
2 o! ]& h% `2 E2 D1 v大卫罗素从后边往前背。。。。
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6 q" o" z" \5 o9 Z: 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。。。。4 ~6 P6 g/ X% A
! z: ~6 u1 U/ C' I& f% t3 c2 g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，* p0 w, r! f% d/ d
. i: u: _6 O3 J6 g$ Z. {: ?" ^5 z比如，光弹右手，都是空弦，指法要精确。。。! H, t7 Q; ~6 Z* a4 X3 V
5 O9 f; @: T# p, G$ w- G4 t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。。。! l' H9 n& P+ w* I
5 R$ F; N2 P. @' F! V. I很慢的这样练习
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