How can I quickly memorize a piece? C/ z0 ?; _. k; B
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There are many approaches to take, and it''s probably a good idea to use3 B. V1 U4 z! `
as many of them as possible. x2 t* o/ g( F. e( i
* I8 Z+ ~- ?9 |- rFirst, try to learn what the large scale structure of the piece is. Is it
* P6 p. `6 Y! s# k' vbinary? Ternary? Rondo? That way you are basically beginning by cutting9 l7 m2 P) o d
it up into more manageable chunks.
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Second, look for phrasing and other types of musical structures.
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: U' Z- n# X% U: p7 @/ g8 i3 V1 \Try to learn it by ear (can you sing the piece all the way through without9 h) ~1 `5 I+ d
the music or the guitar?). This is easier for people who are more "aurally"& _2 N& V- A9 }) S! G
orientated (like me).
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If you are more "visual" try to memorize the page to as great an extent as
$ k4 ^# s( i! x% L4 Jyou can. The harp prof here gave a lecture about memory & learning1 z, V; W$ [" t- \7 ?1 v
techniques, and said that visual memory really was more stimulated by) }% L5 Q/ o- o e
looking up (and to the left, I think) so if you can, try placing your music
: x7 G. ?" ^3 U x( k8 I0 Bstand VERY high (for practice & learning) such that you are looking UP at
8 r1 Y6 C- V* \8 P) ]' E# wthe music.3 Z& Z; ]" o" p
6 R% ^& C, b5 S4 j! ^2 ^I knew many guitarists in Spain who memorized the solfege syllables - they9 g3 F2 ^) ]/ ` e; v
could sing their pieces from start to finish (mi re mi fa mi re mi...)2 s( e$ H: c2 r+ E m1 D
& p* Q4 A8 i' V" g- R9 zTry to memorize the piece starting at the back (This is a tip from David# M0 a5 i5 m1 ?6 k
Russell) - we always go from front to back, often bogging down, so usually,9 Y; S7 @5 k, S$ K Z( s/ g
the farther into a piece we go, the less familiar & comfortable it is. If1 U, l8 d" H# \" [" i( D
you learn the LAST measure, then the next to last measure, etc. you are + z' S# `1 ~ j- B" b
setting up a situation where the farther you go, the MORE familiar and
+ F: u7 m2 o3 Y2 f7 ]) o. Ucomfortable things are.
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This also brings up the issue of learning single measures (apart from
( d' A- S0 x7 }3 @+ w# o* S: Xwhatever musical context they might have). Jose Tomas used this technique
% H/ h$ u5 o5 }1 d" Bas a way for his students to learn 30 minutes of *new* repertoire in0 C1 D4 w8 b; p ~: `" M( H& m
1 month: at the beginning, make a learning plan, in which you assing1 E1 c2 |8 N% ^ ]
yourself X measures to learn each day, making sure that every day you * B9 ]: c' S; U5 s! X3 \) x: E+ |
learn some of every piece (instead of working on piece A, then later
. S" ]' n6 g, q! w- G: p/ ]3 z" Cstarting on piece B, etc.). Learning very short chunks helps you program & n' ~- X: n& m; C0 j
your physical movements much better.3 @ U* z2 K, T% E7 C& S( I
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This brings up the even more excruciating techniques suggested by Manuel/ Q& v$ a2 H3 R0 G. Q
Barrueco. Make sure you know your right and left hand fingerings so
, F) _6 W$ F N+ \1 k/ \9 athoroughly that you can do either separately.
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" W" ^+ V, t0 w" V0 h- }For example, play the piece with the right hand only (i.e. all open
% {1 R3 T: a; }0 R8 k% nstrings, but using the *EXACT* right hand fingerings).( k8 ^& A( s3 g. y2 P
6 x( ~2 q7 s9 e0 w. M. z; sThen, try playing the left hand alone. This is a bit harder, because it* X0 g7 F( q- D" t& C
doesn''t really necessarily function as well without the precision of the
: Q# S1 z3 g4 ^( H2 w0 @" Uright hand. Barrueco''s solution is to mis-tune the guitar to some random b0 J( m1 \0 a+ {& M1 `# R) a
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your" m/ f0 ^ B' f) O" O5 b
piece, concentrating on plainingg the fingering perfectly.
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0 }% H; p, j1 M; k- N( HThis is an excruciatingly difficult thing to do if you are primarily) b6 ^; N6 r) q9 I% H9 Y
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
# C( r. Y u. i1 onature of this forces you to fight to not be distracted and concentrate
3 }" c1 C" H' F7 A! Z0 N' `1 Von playing the fingering right.* Y7 \& S! m3 q6 o3 Z6 V! }
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Do this *very* slowly to practice the fingering without relying on your' d! v$ @3 E, s# i9 h+ i2 O/ t
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1 i+ A& f' |* {- X2 s9 D# O附"反弹吉他"的翻译:
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当回好人，给大致翻译一下：8 }# H G( I2 q
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怎样快速记住一个曲子
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有很多办法，最好尽量综合使用8 C4 `. l5 P! @" T! _1 r6 E
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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，
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4 T+ e2 l! W9 X% }& j* p" U然后看每个段落和乐句，5 u7 Y$ _* f8 d
6 s, [- C1 n6 }4 p6 `( }+ b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，7 G: N( Y' v, R% J1 q, o# T
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视觉导向的把谱子放在高处往上看更容易记住，
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$ }" `) U, L( t5 X3 Q5 I7 q+ S8 D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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! y3 x) B6 x" r大卫罗素从后边往前背。。。。; u: e6 A( j$ Y
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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。。。。
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" A7 K+ G) @1 [8 H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，) B7 k2 U' r9 K( @1 K2 ?) p
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比如，光弹右手，都是空弦，指法要精确。。。
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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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* g5 Y: |4 s/ n _% t- Y9 H很慢的这样练习
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