|
|
How can I quickly memorize a piece?
) i/ ?1 v0 M* |8 x" K$ j: v5 ~( E
h5 M0 y; J0 oThere are many approaches to take, and it''s probably a good idea to use4 T4 v& g, X0 S3 A' C
as many of them as possible.
! n) x+ g$ @& U. P% N
0 F" O$ y. m3 u5 H0 I, E0 zFirst, try to learn what the large scale structure of the piece is. Is it
1 Q& D( L5 T# {9 E M' P& q. Jbinary? Ternary? Rondo? That way you are basically beginning by cutting/ L. A7 T3 P }( D+ L
it up into more manageable chunks.! g% p# Y- k+ g3 F" _
& s* m) \/ x1 O) n+ iSecond, look for phrasing and other types of musical structures.
4 O+ y r/ m7 y" J+ ?
5 k6 E) V; @# Z* n; b2 h) ]Try to learn it by ear (can you sing the piece all the way through without2 M/ X5 O5 N8 a% D+ Y( C
the music or the guitar?). This is easier for people who are more "aurally"' t3 x# h! q8 e8 ^" Y6 ^% Z! L" G
orientated (like me).
5 r% V% a% V) Z z" x
( [6 S% M* J$ N3 |$ Z: P9 pIf you are more "visual" try to memorize the page to as great an extent as0 ^, i/ K- [/ M9 r7 u" l
you can. The harp prof here gave a lecture about memory & learning
" I8 M7 c' d% }2 N9 U. V; etechniques, and said that visual memory really was more stimulated by8 e! ]/ z2 N: g9 X9 P
looking up (and to the left, I think) so if you can, try placing your music" M$ V( K# e8 V4 v
stand VERY high (for practice & learning) such that you are looking UP at2 A6 C0 U/ b3 y8 M$ ]
the music.
6 C( n6 e5 P4 H* A9 a/ L
! k$ G" G7 |, i# rI knew many guitarists in Spain who memorized the solfege syllables - they1 y% b. t; o) U# o
could sing their pieces from start to finish (mi re mi fa mi re mi...)
; n/ o v5 H% c2 h: H7 a% L
/ ^# M- h! }4 O' LTry to memorize the piece starting at the back (This is a tip from David" x* w+ Y' q; p: `+ p
Russell) - we always go from front to back, often bogging down, so usually,: B M; U- V- B5 O# A
the farther into a piece we go, the less familiar & comfortable it is. If
- Z) w( m1 r, B1 Vyou learn the LAST measure, then the next to last measure, etc. you are
( X3 x' I# y4 ] ]5 bsetting up a situation where the farther you go, the MORE familiar and 3 _) k* D- I: ^' Z3 ?9 A$ M7 j
comfortable things are.
& A# o$ [% r% ^5 ?3 x1 O7 f- N( h( V/ A$ l: U) a
This also brings up the issue of learning single measures (apart from, j4 b! F$ i/ T
whatever musical context they might have). Jose Tomas used this technique
& I# u: Z, O" L/ U1 r( ?7 T: \5 Jas a way for his students to learn 30 minutes of *new* repertoire in* p+ A: u4 @, d f
1 month: at the beginning, make a learning plan, in which you assing( l8 v/ V! [6 q2 d+ f Q2 C
yourself X measures to learn each day, making sure that every day you
8 d6 q0 g' Z; K" U. ]/ i2 Glearn some of every piece (instead of working on piece A, then later + R6 r% y8 N, _- E: I$ V4 Z: u
starting on piece B, etc.). Learning very short chunks helps you program % w7 @: }4 A$ w: ^
your physical movements much better.
) b2 L6 U* F& v
* k" h: a2 U4 @7 V5 j8 ~; h' nThis brings up the even more excruciating techniques suggested by Manuel' r$ i# W# ~: B& n6 z
Barrueco. Make sure you know your right and left hand fingerings so9 B, F" Q% x& _3 P M5 A
thoroughly that you can do either separately.* F3 b. p1 E1 g/ Q" Z( e& g
7 j9 ]! I3 ^9 u, JFor example, play the piece with the right hand only (i.e. all open
2 S& m1 \# o$ d: P8 ]5 e( pstrings, but using the *EXACT* right hand fingerings).' ~! q9 I) S# f
. H3 z( Y. A) ^' c" q% }( }; ` B* D
Then, try playing the left hand alone. This is a bit harder, because it4 i! F$ I8 h# \, V
doesn''t really necessarily function as well without the precision of the0 ]+ P+ ^2 Z0 y6 V8 E
right hand. Barrueco''s solution is to mis-tune the guitar to some random
2 O9 T& E$ w' T' N' M$ l* F/ p3 jtuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your; M/ i, h2 ?' G q+ M* `
piece, concentrating on plainingg the fingering perfectly.
1 e0 V |; B5 r- S! W0 k# l
u" d, r/ A! W/ v$ O6 qThis is an excruciatingly difficult thing to do if you are primarily
0 t0 R& E# T7 Fan "aural" type (I am) - but it''s good, the totally "wrong-sounding"
& o) X( z& L. P* t7 Dnature of this forces you to fight to not be distracted and concentrate: s, M+ c5 F F- z! ?7 E/ P" V6 H
on playing the fingering right.# |1 D: f$ z& l/ P9 g
% {2 j2 R ?! \4 A( {2 E
Do this *very* slowly to practice the fingering without relying on your- U4 Z6 e% H; Y' b4 c
; ~- i4 C" z- e
4 v" S: }. v& C8 A
附"反弹吉他"的翻译:
, o% V6 a& Y0 k( E5 J# R5 i5 t' V! z# |6 l( Q3 ]- f
当回好人，给大致翻译一下：- e+ N( ~7 {% p5 F" k; C u
0 Y% H, s$ j* W3 r( `" K( L怎样快速记住一个曲子
* l2 z ~. B# @3 y& }6 B& [: r! L: a: _0 t% @9 z, p
有很多办法，最好尽量综合使用% `$ j+ E# V0 [$ A3 m& q
- w, U1 h d# \. A
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，
, V% ]. {: G2 R7 p2 `1 {, a3 d2 Y9 c, M
然后看每个段落和乐句，
9 ]$ H/ a E+ X) V4 x7 i! l6 u4 b% F' I5 I
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，
5 t" B, S) y# M4 u$ ]! Y6 S% n
9 {8 e N$ e6 ]( B+ E视觉导向的把谱子放在高处往上看更容易记住，
) g0 b) {7 w0 X7 a; V' a
9 b( k& H1 a# r# R- S很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。
3 {$ M0 ]) U1 r' z* V! y1 b2 h: M8 ~" S9 g6 w2 \8 Q1 r6 q4 ]
大卫罗素从后边往前背。。。。& S8 x' X: Z. c. y5 a4 n$ o' [
) F' A) i3 L& y" Q* _, M. `
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。。。。
; ]7 J" |- o: M$ V l# Q# }) S6 w/ S
, |1 J: `. w C4 z* j" O- M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，! ]" _& V* `6 U$ P$ Y! |" c3 H
* X3 M/ G7 p) v比如，光弹右手，都是空弦，指法要精确。。。& A, k7 w5 r) [& U
3 W' {; @; u! a* Z
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。。。
3 v) g1 n/ S8 P
5 I n, @: C/ H. l+ h1 D4 I: Y很慢的这样练习 & X, D6 L+ o; ], ^9 ?
|
|
