|
|
How can I quickly memorize a piece?
& N! |8 Z5 ]: _: o+ J1 U" M" X5 y9 d" n6 B: [/ b+ k( o( k& ?9 Q+ @2 B" _
There are many approaches to take, and it''s probably a good idea to use5 J" O& _" i4 b+ V0 I% F7 a
as many of them as possible.
9 Z5 Z, s9 ?1 ]9 ^, F: a& A
/ u6 p8 m* h9 l2 `1 m# }First, try to learn what the large scale structure of the piece is. Is it; ^4 a2 m7 c8 W% Y* `3 Q
binary? Ternary? Rondo? That way you are basically beginning by cutting
$ V* V. }) w; g* v3 K7 G: N8 rit up into more manageable chunks.
+ J. M' E8 k5 h1 s% E/ S6 G0 a
( q5 T' N' d% LSecond, look for phrasing and other types of musical structures.
, k. }& ?9 F3 O6 A8 {6 c
7 a3 [. u- w; a6 d; VTry to learn it by ear (can you sing the piece all the way through without
/ R. }8 X! f: g( R3 ^9 ^the music or the guitar?). This is easier for people who are more "aurally"
% H" b; P4 u3 [9 ]orientated (like me).
. [9 Q& u: ]9 t% Z" u
$ L% J5 i% N5 c5 y6 MIf you are more "visual" try to memorize the page to as great an extent as
$ D0 j' ]* ~! s- g6 u2 vyou can. The harp prof here gave a lecture about memory & learning
2 V: q5 a2 d2 |- L* v* Jtechniques, and said that visual memory really was more stimulated by7 P& `7 V8 v/ i& t
looking up (and to the left, I think) so if you can, try placing your music' r' X7 @- G, U# w! ~
stand VERY high (for practice & learning) such that you are looking UP at8 [& t* L1 t- _4 N/ M2 y5 l, z
the music.
6 w j9 n/ w4 Y* S1 k
7 d9 o E' E6 q, S0 ~- wI knew many guitarists in Spain who memorized the solfege syllables - they
3 ?1 p6 C2 }* C, P" U* }5 M3 D* Q! Ncould sing their pieces from start to finish (mi re mi fa mi re mi...)' O$ N: s; ~/ i. N: W
0 \" S8 \% E6 S; U, }6 I+ E P
Try to memorize the piece starting at the back (This is a tip from David& B. o* h- d! H1 ^/ D: L
Russell) - we always go from front to back, often bogging down, so usually,4 |& G! _: Q' ^* Z
the farther into a piece we go, the less familiar & comfortable it is. If
5 K" ?9 v* r; c0 u6 [+ {* Hyou learn the LAST measure, then the next to last measure, etc. you are
6 y* P- \3 a; I& I2 r; A( [; jsetting up a situation where the farther you go, the MORE familiar and 9 t6 C; `3 M& |4 e4 ~7 b- [
comfortable things are., j0 E# F& I0 [) C( _6 z2 f
) q9 r! @3 ?& W# I& y
This also brings up the issue of learning single measures (apart from- p0 V+ U" @( c5 m0 _# h
whatever musical context they might have). Jose Tomas used this technique: h9 K D2 v1 @
as a way for his students to learn 30 minutes of *new* repertoire in- Q* Y$ F) q2 b( V, V4 z/ Y
1 month: at the beginning, make a learning plan, in which you assing
" Y% j( ^0 h: J3 b* y gyourself X measures to learn each day, making sure that every day you
9 }. a) I5 ~. f8 z# M% Ulearn some of every piece (instead of working on piece A, then later & j8 [/ a3 H4 z+ D; I
starting on piece B, etc.). Learning very short chunks helps you program
1 B( J, |7 @! o: u6 \* w2 {% Y6 {/ lyour physical movements much better.
+ v$ m2 {9 R* G" @0 h% o% `# n. b: v2 Q
This brings up the even more excruciating techniques suggested by Manuel
, [2 \( k x5 ?. F" X# S# @Barrueco. Make sure you know your right and left hand fingerings so3 ?# r" e6 y0 o2 t; ~/ o8 @* M/ M; _
thoroughly that you can do either separately.9 `) v- [, f ], y1 E9 y( g
! z) H/ c% D# L* r- B) k% J; X$ v
For example, play the piece with the right hand only (i.e. all open t- B- \3 r6 e$ w3 E# D
strings, but using the *EXACT* right hand fingerings).% u; C* }: `4 X( e& O
: r0 t- T. ?, m0 A' {Then, try playing the left hand alone. This is a bit harder, because it
0 r& ], U5 l: X: }" Rdoesn''t really necessarily function as well without the precision of the* Q- F& X# {6 r: A1 u5 a' U: ]
right hand. Barrueco''s solution is to mis-tune the guitar to some random
* m( n' n3 e; ~- ?, |tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your* y$ M- q, {- W- r; z6 ~
piece, concentrating on plainingg the fingering perfectly.5 A/ X) P2 r! w7 Y Y- I
2 o t' j" D7 F7 EThis is an excruciatingly difficult thing to do if you are primarily& Z3 V# ^( S) n) i8 ]6 P0 A
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
, L' i, B5 b- I; _. Gnature of this forces you to fight to not be distracted and concentrate
3 ~ }; b) I5 Y" V R6 non playing the fingering right.4 u1 k* @5 W# P; a2 l9 Q N
; F& ]% b/ n: ~. `
Do this *very* slowly to practice the fingering without relying on your
( k' J! O( Y9 U) P% k$ O
* i& L9 r, z- p7 P; h7 A* w" G4 }9 _1 \ ^
附"反弹吉他"的翻译:5 }- f8 |1 B9 Q7 T
7 s2 c6 v# a0 y% B, a) f
当回好人，给大致翻译一下：. X2 O# f$ @* k; D! F! \: B3 D4 \) S
" [" X3 l4 C' k$ i8 J% ?" Y( _2 }怎样快速记住一个曲子
! M: Y6 O& {( @; B6 r Y0 v4 o K' Z! h) h9 v# X* S5 J" J, y% r- C. t
有很多办法，最好尽量综合使用, n! I& d& U5 K4 W7 d$ I5 @$ j
6 L- f5 D, H& E! t# g- t' E
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，! K( E7 P {" j2 |
4 H) Y' B9 h2 ?5 N y% a
然后看每个段落和乐句，; A7 P5 Y m7 i: X; S' {8 G/ Q7 y4 q7 `
9 O% O9 _+ }5 r' K* i0 e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，; T) D X9 U+ j4 m
& Q7 G4 Y# I! o7 G; _0 u视觉导向的把谱子放在高处往上看更容易记住， [( q& ]. D: U8 C N7 Y
1 H7 S7 z8 e. J* b$ Z5 y
很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。- Y; k9 @( P; d# U$ L5 o: ?
9 k/ e7 l' G( |0 Q& L! k
大卫罗素从后边往前背。。。。
4 f% \4 Q6 V \% r3 [3 ]4 C# v# M# e! j- ^
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。。。。
/ t! s! b7 b9 m8 k2 }/ q W5 W" l2 B, z( f9 A
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 |3 s( j' t- d; l; w/ v
' ~* g, w1 G" G+ j/ H, Y
比如，光弹右手，都是空弦，指法要精确。。。
- `) p9 r6 _1 P/ x7 ^7 V: D3 x) J% ^+ S3 E5 m1 S
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。。。
; r/ r" p1 A4 ^6 Q: f6 @5 `4 w3 x7 B
很慢的这样练习 8 G) c+ W8 k) o
|
|
