|
|
How can I quickly memorize a piece?/ d; e1 ?* {2 @% a( t
$ Q: F" l# P6 s" H3 ?& }; d5 XThere are many approaches to take, and it''s probably a good idea to use
( o3 u3 v% \& Las many of them as possible.
' m) }# {7 v: Q1 H, X
9 S( s. f P- w( G$ [4 rFirst, try to learn what the large scale structure of the piece is. Is it) ?5 s8 b0 R E$ n! L; |
binary? Ternary? Rondo? That way you are basically beginning by cutting
0 b$ b. P# v' K* C- F. Zit up into more manageable chunks.; j/ X) x, W6 C4 r) p% ?
* ~3 s# [9 L/ M: Y9 i+ k& Q
Second, look for phrasing and other types of musical structures.
2 J5 Y& @% _' ?* V
( x4 u j( U1 p8 X0 F0 U% mTry to learn it by ear (can you sing the piece all the way through without
3 Z" P4 p3 S6 j$ A$ F* Athe music or the guitar?). This is easier for people who are more "aurally"
! [' a1 F% d0 N6 n2 i6 X& |/ rorientated (like me).+ l$ ~( ]+ G4 a! O5 e
7 B5 E$ C" m6 C; Z* @4 s
If you are more "visual" try to memorize the page to as great an extent as- F; |( O4 v* b$ Q8 M: b; ~
you can. The harp prof here gave a lecture about memory & learning$ A- i5 W' ]4 e
techniques, and said that visual memory really was more stimulated by
3 s' j. W! J1 x# @. n0 vlooking up (and to the left, I think) so if you can, try placing your music% Q* Y5 |# k9 ~! l' `0 e& L, X
stand VERY high (for practice & learning) such that you are looking UP at
1 m9 W* b* u! I' o, ?1 j; _the music.+ ~4 X$ u: F6 L0 h2 h
" T5 Z% r) i* z/ u5 w5 n
I knew many guitarists in Spain who memorized the solfege syllables - they2 l: p' X6 ^6 {. f) q7 s7 Y
could sing their pieces from start to finish (mi re mi fa mi re mi...)- l7 G) z5 z/ M, g1 W1 `" H' \
: V# D3 H9 o I$ R" H9 BTry to memorize the piece starting at the back (This is a tip from David
9 m+ M h: l1 e1 FRussell) - we always go from front to back, often bogging down, so usually,4 |8 S4 _! c/ u* D+ O" D, O* {
the farther into a piece we go, the less familiar & comfortable it is. If% i# @1 e& l3 q( n' g
you learn the LAST measure, then the next to last measure, etc. you are / _9 s4 F* o" }4 v9 e0 D
setting up a situation where the farther you go, the MORE familiar and ; W2 h/ U& G2 R/ j# E: c$ V/ e
comfortable things are.
; W. o) I9 R! E9 N, d( Z3 ~! W5 U9 S1 w! _' |
This also brings up the issue of learning single measures (apart from- l' Q4 r7 _- l0 G9 ~% {
whatever musical context they might have). Jose Tomas used this technique
% ]' e2 D2 {9 q/ l8 D* a8 yas a way for his students to learn 30 minutes of *new* repertoire in8 R S$ y7 i& f3 _, u
1 month: at the beginning, make a learning plan, in which you assing& m% }8 i$ w& k: D' Y ~9 x; |
yourself X measures to learn each day, making sure that every day you
7 R- I, |8 `* t% i$ q1 Glearn some of every piece (instead of working on piece A, then later , n! D) F3 f' |1 }) J
starting on piece B, etc.). Learning very short chunks helps you program
& N: @$ u' H; t; z2 j5 ?' l. Tyour physical movements much better.6 j* y$ j, X; B( @! B+ a e
$ d- i3 l$ w' s" {; R) Y' n
This brings up the even more excruciating techniques suggested by Manuel% z) w; Q$ i- \+ @5 D5 y
Barrueco. Make sure you know your right and left hand fingerings so
% ~' a0 X! F# \: hthoroughly that you can do either separately.- p# a0 |3 M. } Q: _1 t& n; r% }. |
9 ?6 z! Q' W8 O, KFor example, play the piece with the right hand only (i.e. all open
5 {( A# g4 E. @4 \8 n& lstrings, but using the *EXACT* right hand fingerings).) `% Q( K- M) q' p3 W( t( Q
; E) C5 a8 ]" K1 L- K9 H" KThen, try playing the left hand alone. This is a bit harder, because it" q; T0 @# d1 u4 h1 E3 f
doesn''t really necessarily function as well without the precision of the
( ~2 @4 Z5 x! X0 T4 c5 S& Qright hand. Barrueco''s solution is to mis-tune the guitar to some random
- U/ r6 k$ |. O( g$ qtuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
- N* l# i8 B% q) z" `) g$ X$ W$ Q ypiece, concentrating on plainingg the fingering perfectly.
) C4 H X5 ^6 D( @) m3 r! Y" m' A5 w1 ^! u' o
This is an excruciatingly difficult thing to do if you are primarily
h! E; ?0 h! c1 ian "aural" type (I am) - but it''s good, the totally "wrong-sounding"
* D( w' @! s5 z: bnature of this forces you to fight to not be distracted and concentrate
% `& A" q# d8 F# v: non playing the fingering right.1 u, ~/ D% g) Z0 ^& g' i$ ?# _
) C) P/ v# `. R! N6 [Do this *very* slowly to practice the fingering without relying on your' ]. g+ D! h: b0 y3 x. a
; c4 g/ j, ] v& W! z/ P8 \, }% V% z5 X0 i5 {% c+ f; K. E7 e, h& o6 ?
附"反弹吉他"的翻译:
6 |, H+ s7 O' o4 j" `
- c% ~0 k3 w- d当回好人，给大致翻译一下：
9 G1 @0 z! J b8 f
% M4 T% s3 @# R/ N% E! `/ w怎样快速记住一个曲子2 p4 i: n+ s; t+ J! N& f# G% b
* ]; _. i& m/ `* b4 e8 a) h$ {7 u9 h有很多办法，最好尽量综合使用( Y8 ]( h1 \. G1 X4 [ L
, ~& z D S" I" c! Z& x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，! i4 w+ |; b. y
" M! P- e) e- F& c/ e然后看每个段落和乐句，
. N& X( S! U' P4 W @( p( T& U+ q% p2 u0 ]
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，6 ?# B% L! i% H$ g# n H* T( I" h
- u3 v% ~2 `) q! W" e; G8 f视觉导向的把谱子放在高处往上看更容易记住，
" w% \7 Y4 D: F; ?2 l! o; b9 \; `# d8 A& t) a, C4 |: Q, _
很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。( {$ n8 ^% s7 A& {
! }4 c/ x S4 |% R
大卫罗素从后边往前背。。。。
) e8 N3 ~* X" ~- p
/ Y4 U' ^- D/ Q& S; ~9 n1 \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$ H! v1 u( @8 Z% Z
- L% g( A& g) j8 h3 H. k& 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，
1 w0 p) ]) b7 L ]' K1 W6 `. U3 G' ?/ I# ]
比如，光弹右手，都是空弦，指法要精确。。。
4 _4 V1 x3 M1 m: V1 r4 l" ~6 M2 ~2 _- B$ A& k( v
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。。。
2 S) ]! Q' Q9 P
7 Z- s7 w9 i) g0 S9 A很慢的这样练习
5 s6 k, l, E' y& K$ n. ] |
|
