|
|
How can I quickly memorize a piece?
0 A7 H6 z3 V N6 G
" [0 ~% U4 I( n: I% CThere are many approaches to take, and it''s probably a good idea to use D i: \, a6 M3 p2 X4 h" o
as many of them as possible.
- K% B0 t! v4 F' p
" e% v( w; d$ U+ c1 uFirst, try to learn what the large scale structure of the piece is. Is it3 @; }8 m) h( J$ R* ~
binary? Ternary? Rondo? That way you are basically beginning by cutting/ v) Q+ N/ }/ C, @# D4 @" `
it up into more manageable chunks.
# ]9 [3 }, ?: f( u, x1 D. p4 W' _. h+ E
Second, look for phrasing and other types of musical structures.
; y( u7 W. Y* @7 R8 k8 O( \
* ^- Y B% W& Z& W% ATry to learn it by ear (can you sing the piece all the way through without# Z% K/ r b8 o3 e% `
the music or the guitar?). This is easier for people who are more "aurally" H) d8 ^1 R3 s5 l( i
orientated (like me).
7 v2 g h+ Y" N L3 T0 ?) }8 m; R
If you are more "visual" try to memorize the page to as great an extent as
; t" P$ e# W( Tyou can. The harp prof here gave a lecture about memory & learning
1 I) M; `$ D8 j) F0 |techniques, and said that visual memory really was more stimulated by
# ^/ |$ z3 Y2 e8 G( K/ Z) `looking up (and to the left, I think) so if you can, try placing your music
1 r8 ?7 i$ h/ \7 Pstand VERY high (for practice & learning) such that you are looking UP at. @! A; F$ k% q' k# I$ U; R
the music.+ r& ]# u( Y* a# N" p( v
* F' G7 ^3 n$ G8 G6 D$ j
I knew many guitarists in Spain who memorized the solfege syllables - they7 l U5 B* T, C5 T! X
could sing their pieces from start to finish (mi re mi fa mi re mi...)
% ?2 B3 w3 m0 w! o, w/ {! f1 G$ h8 X* u; C+ w
Try to memorize the piece starting at the back (This is a tip from David4 t$ U8 F2 u+ D0 I
Russell) - we always go from front to back, often bogging down, so usually,8 G% R$ {2 M+ L7 F) M! H9 c" p
the farther into a piece we go, the less familiar & comfortable it is. If2 N5 Y; G0 M9 ?0 n1 H
you learn the LAST measure, then the next to last measure, etc. you are 2 y+ _% M" q$ n8 t& c& B% k, L/ P; a
setting up a situation where the farther you go, the MORE familiar and
4 @, H- w' M8 |, @comfortable things are.# r5 E) L1 r- I0 N* p. `
% W4 e3 z: S& d/ D7 D* _' `This also brings up the issue of learning single measures (apart from1 Q6 i1 Y+ F# q: c2 y9 w, ^
whatever musical context they might have). Jose Tomas used this technique8 B4 G3 e; S+ R) n3 l, q
as a way for his students to learn 30 minutes of *new* repertoire in
4 u3 z. F& N" e1 E9 ^/ h/ o6 {1 month: at the beginning, make a learning plan, in which you assing$ c! Q! b7 I9 D& ~" I: Y
yourself X measures to learn each day, making sure that every day you ! f0 C+ G% i5 t" ~ E1 c
learn some of every piece (instead of working on piece A, then later
$ r+ ?; n i. U8 k% G! gstarting on piece B, etc.). Learning very short chunks helps you program - a% l) w) F$ Z1 l1 E
your physical movements much better.
2 x+ m$ J: H: `* j/ N2 c# S5 w- c3 H# H3 X2 X: `( v
This brings up the even more excruciating techniques suggested by Manuel+ m0 z% S" k! ~, ~- G0 j
Barrueco. Make sure you know your right and left hand fingerings so% g% a. U8 f$ i: Q% a3 X( l
thoroughly that you can do either separately.
( D! T; `4 L& n# \" M) i' A; ~ }' m3 u% a; W, O/ A. N* i
For example, play the piece with the right hand only (i.e. all open! w! c$ I2 }, h8 E# w# W
strings, but using the *EXACT* right hand fingerings).
& ?/ t# F/ \3 O" v+ o! m9 B# ?9 \5 |+ H
Then, try playing the left hand alone. This is a bit harder, because it K& T- c; ]* u2 ]& ~' E9 \: ]
doesn''t really necessarily function as well without the precision of the
. o. Z/ M* b2 h. z! fright hand. Barrueco''s solution is to mis-tune the guitar to some random5 H% O E4 z. q, _" Z
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
" Y: B; ~0 A5 n* F/ }" W9 u- Ipiece, concentrating on plainingg the fingering perfectly.( `% d5 d: D4 k/ X, R
2 [" g- z, W4 P: M1 c
This is an excruciatingly difficult thing to do if you are primarily& v6 H& |# b! @7 [, l
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"; l* ^" C' `& B& O( v
nature of this forces you to fight to not be distracted and concentrate* V% L% m2 O \/ L
on playing the fingering right.' I: _+ t! Y" L
1 ~4 ?5 [! a% RDo this *very* slowly to practice the fingering without relying on your6 m' X7 l3 K5 A2 M9 \
$ y; ^. w- G$ l4 o! u4 w3 h
& `. r1 T. Y8 N( M( t) D( H% J" f/ i附"反弹吉他"的翻译:
1 `- S- j1 ?/ m: V) \$ s q8 c5 D
当回好人，给大致翻译一下：
/ I! ~0 K* J. U9 Y2 R" k, N! U/ R5 g+ [6 S# |! _
怎样快速记住一个曲子' R: L& \ w1 X- c, B* F' w, p& g' N
" C# G5 o% _5 l9 [& L
有很多办法，最好尽量综合使用; t! G5 o# l% Y9 k, {
& p) P- H/ K8 N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，. H* F# [/ d" f$ G. s5 Z
8 k% Z3 M+ M0 O0 V然后看每个段落和乐句，
' a6 M( r5 d* |3 I# b
1 J9 r# |& N# S8 \7 b7 }- }+ {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，
8 z; G) |" ^: {" l4 S7 d$ S8 m8 T8 S
视觉导向的把谱子放在高处往上看更容易记住，
- s( g' t o$ X5 Q5 B- U' g3 d0 l6 E/ H
很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。
% T j: |, _ s8 _% R$ \
1 [. E [# S- d& k4 |& Y+ R大卫罗素从后边往前背。。。。
2 {3 o) Q4 Y5 ~6 w* x( Q& u" {) _5 i) Q! r- b, c( C
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。。。。0 t$ `- j9 R3 f n& y0 ?' L
: D O. Q4 {4 q3 ] B
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，' _5 s! v' o/ m# Y
" E Y# f" q+ D( j: L
比如，光弹右手，都是空弦，指法要精确。。。+ x( x r# }1 P/ y0 \+ }
: d h1 v; F4 Y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 y4 J; X8 \! l+ [2 ^! F( D( L& a/ O. k* u6 O6 F& B
很慢的这样练习
: c5 P! z7 C( e |
|
