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How can I quickly memorize a piece?
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3 V& ~8 G; t5 M+ G/ {- [There are many approaches to take, and it''s probably a good idea to use) e0 y- P- G ^. T0 u5 a
as many of them as possible.2 Q( J8 V g0 C* j2 x, c
# h1 c( W9 {$ D. d. w4 I. VFirst, try to learn what the large scale structure of the piece is. Is it( j6 H8 s' g8 i9 X9 Q$ p2 g0 K
binary? Ternary? Rondo? That way you are basically beginning by cutting+ C6 R O$ v' [$ J
it up into more manageable chunks.
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( i; {1 ]% e, f4 WSecond, look for phrasing and other types of musical structures.$ f* L/ m' y7 r9 o, ^
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Try to learn it by ear (can you sing the piece all the way through without6 D2 i6 g) m! S9 ^" f$ {0 n
the music or the guitar?). This is easier for people who are more "aurally"- A# o# K( ?1 k, k8 ^2 m# O/ M2 Q
orientated (like me).
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If you are more "visual" try to memorize the page to as great an extent as
1 B! E' y: A! o4 yyou can. The harp prof here gave a lecture about memory & learning0 O) G( U1 W. T4 f$ F* a- n6 M$ ~
techniques, and said that visual memory really was more stimulated by
7 L/ w; l, K- }: a' ^5 rlooking up (and to the left, I think) so if you can, try placing your music2 }( M. v- r7 S0 a& d% i+ U
stand VERY high (for practice & learning) such that you are looking UP at" q) z; \3 h/ ]7 v- w
the music.
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5 ~2 t2 n0 L- W k) m6 }I knew many guitarists in Spain who memorized the solfege syllables - they2 L( ^8 y2 O1 @4 a3 H& v
could sing their pieces from start to finish (mi re mi fa mi re mi...)* K ~/ ^2 l% R' |. k" ]
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Try to memorize the piece starting at the back (This is a tip from David' t7 N' Y8 R4 [7 V5 M7 W
Russell) - we always go from front to back, often bogging down, so usually,
7 l0 z* J" ~1 I8 jthe farther into a piece we go, the less familiar & comfortable it is. If
5 l! @( T n3 W! B2 d; Cyou learn the LAST measure, then the next to last measure, etc. you are ! ?) x7 ?& O5 w: V! |
setting up a situation where the farther you go, the MORE familiar and
2 h& j* F4 Q" e* C1 lcomfortable things are.
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This also brings up the issue of learning single measures (apart from! {1 _$ \1 D3 p% w
whatever musical context they might have). Jose Tomas used this technique5 i: j/ f7 @3 B. w) c
as a way for his students to learn 30 minutes of *new* repertoire in
( [# J( ^5 O+ p* Q1 month: at the beginning, make a learning plan, in which you assing
9 o1 Z1 T" x8 k- a2 h( _yourself X measures to learn each day, making sure that every day you . w$ R- y3 g. O8 ]
learn some of every piece (instead of working on piece A, then later
+ a' ?% j8 J7 E4 ustarting on piece B, etc.). Learning very short chunks helps you program % T! r- |1 }3 f3 M' i
your physical movements much better.- B/ }9 e5 U; S% r2 r5 P
1 ]0 P' ]: P2 o" W( `This brings up the even more excruciating techniques suggested by Manuel3 y4 Q0 c8 A1 h, h
Barrueco. Make sure you know your right and left hand fingerings so
/ u1 x8 k- w. rthoroughly that you can do either separately.# [/ z5 k @% o/ Y- b
& O" B$ a8 J% [8 B/ TFor example, play the piece with the right hand only (i.e. all open" {- o& w: w. R* c; [
strings, but using the *EXACT* right hand fingerings).
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; m# Z4 b% j; OThen, try playing the left hand alone. This is a bit harder, because it
$ V. z+ W* y# y; q% }7 { Xdoesn''t really necessarily function as well without the precision of the
+ p3 G6 b4 N% `5 }right hand. Barrueco''s solution is to mis-tune the guitar to some random
. R2 X! U, ]3 {/ ?$ Z4 {, N0 u+ e$ Ltuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
: {3 I" b# `, U1 J5 H" }piece, concentrating on plainingg the fingering perfectly.
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This is an excruciatingly difficult thing to do if you are primarily4 [ h& C) A1 h, ^
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"% `# q8 u- k; ~: F" }+ K/ }
nature of this forces you to fight to not be distracted and concentrate
$ R, c' Z4 u! o% |' `( qon playing the fingering right.$ b. t7 d' S( O3 g+ D) B
) o2 n; M3 m( a8 n. E) TDo this *very* slowly to practice the fingering without relying on your; Z; r/ [ r7 Q
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附"反弹吉他"的翻译:7 T- C* H5 {% i; X) G7 b C# J
7 [& ?2 B% A: B6 w) d2 {, a当回好人，给大致翻译一下：4 K6 V7 S. S; [+ A
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怎样快速记住一个曲子2 Y( ^' @$ ~# G* y7 [
/ q! l* m4 E& z8 E: S有很多办法，最好尽量综合使用# [( g% q4 _2 i( e" Q6 f+ o
: m8 ]" r. f5 z0 d: \ j, I+ l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，! m3 }% w H, g0 h
. K/ E0 Z; v6 u2 t- S P/ p( S然后看每个段落和乐句，; j* m% {, G2 ]- v! j$ M
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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，, u+ m E# I* o* f& O
; M: S& H6 Q- Z4 z! t' M' i+ y( s视觉导向的把谱子放在高处往上看更容易记住，
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1 k) G9 \$ [' q很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。& P& _4 J }" B6 Q. t5 _6 U9 p- _& V
# h7 H9 A% R5 v6 n. J8 r大卫罗素从后边往前背。。。。8 g! B4 C0 _9 ^2 n
) h G' j8 f- f, d: j/ t/ H1 C6 i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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: Q: ^& W& f+ S9 C; f7 c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，
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比如，光弹右手，都是空弦，指法要精确。。。7 P+ u7 @; W& y) T
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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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5 x! V3 ?: H2 }1 ]5 \0 a1 @- a很慢的这样练习 3 ~* [2 ~. n/ V, j! r) H
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