|
|
How can I quickly memorize a piece?! u$ I# M5 I# B' {- F/ j3 x) a
. z2 j3 I( b) ]- c1 {) T
There are many approaches to take, and it''s probably a good idea to use5 M( L# G$ ~, ]# ~6 p
as many of them as possible.6 V5 c; ^! P% a( U3 ~- C
/ b1 [9 Q1 h9 \0 tFirst, try to learn what the large scale structure of the piece is. Is it
% I7 I: Z2 ^& ?1 z. Dbinary? Ternary? Rondo? That way you are basically beginning by cutting, j# M# b: J+ Y/ y1 n) D% {& b
it up into more manageable chunks.
" `8 H/ Q R* T2 O& t% M+ @- l+ \' ^
Second, look for phrasing and other types of musical structures.
- i- E1 d- M, w8 Y! Z, r; m" a
Try to learn it by ear (can you sing the piece all the way through without' U3 G% ^8 @7 T/ |2 R
the music or the guitar?). This is easier for people who are more "aurally"! J. u* Z. h/ \) N- U
orientated (like me).
% G8 H0 o2 K5 g6 }# E# }9 z) P! _ Q0 ^1 M6 ` j
If you are more "visual" try to memorize the page to as great an extent as) h% r+ Y g7 {. F; \( P
you can. The harp prof here gave a lecture about memory & learning# P# Y. D C) [3 o7 |1 M
techniques, and said that visual memory really was more stimulated by+ D |" p8 b* O
looking up (and to the left, I think) so if you can, try placing your music
; z( y9 B6 n3 k/ {0 H) wstand VERY high (for practice & learning) such that you are looking UP at5 Q) T" e6 l7 ?: V
the music.
; W% ]% M0 B* T2 n2 ^6 f# d) f4 U/ i2 e6 s; u# l2 z
I knew many guitarists in Spain who memorized the solfege syllables - they6 j8 g+ f, A: T2 B5 k# k
could sing their pieces from start to finish (mi re mi fa mi re mi...)- N8 _9 J/ A( d" M
$ n& a7 x0 t/ Q' vTry to memorize the piece starting at the back (This is a tip from David
+ p. P% k2 ~' t0 r/ M' ] L( ^8 rRussell) - we always go from front to back, often bogging down, so usually,
% n3 P/ e8 Q/ g6 h7 N- B1 Xthe farther into a piece we go, the less familiar & comfortable it is. If
, I* Q) i+ y! y3 z0 f1 H! X9 tyou learn the LAST measure, then the next to last measure, etc. you are
0 g6 s0 s$ |/ _setting up a situation where the farther you go, the MORE familiar and : Q' _9 ^6 U/ D% y3 x! _5 ^
comfortable things are.& x4 J T$ D2 _ y% ` s X
% B" J$ D9 B* {& f1 w( q0 RThis also brings up the issue of learning single measures (apart from
: C2 [2 U& c& [whatever musical context they might have). Jose Tomas used this technique
: p; E) _- p ~as a way for his students to learn 30 minutes of *new* repertoire in
o2 T) F2 C5 x- N! [: m1 month: at the beginning, make a learning plan, in which you assing# |, F( ^* @% F- b" F# R ^
yourself X measures to learn each day, making sure that every day you
/ I' z- W$ W" B+ a* M/ Qlearn some of every piece (instead of working on piece A, then later " \ D4 J* w- L+ h: X( C- h& P0 a
starting on piece B, etc.). Learning very short chunks helps you program # a+ ]9 s7 Q& j l: R
your physical movements much better.
( g/ C: [: J2 Z7 i( V% r n' l; Y* O. t
This brings up the even more excruciating techniques suggested by Manuel+ R; h: Q# V8 M M ] M" I# P
Barrueco. Make sure you know your right and left hand fingerings so9 E5 O* t# W/ S
thoroughly that you can do either separately.
4 Y6 ?2 ]3 I R' r4 [6 y) J$ r& x( i( r- B
For example, play the piece with the right hand only (i.e. all open6 ^- U: t+ Z" D
strings, but using the *EXACT* right hand fingerings).; L( d" R! L P# B* X
4 ~1 L2 e1 H6 Q) U) l yThen, try playing the left hand alone. This is a bit harder, because it
p* T. X7 P8 M a; H, Q; ydoesn''t really necessarily function as well without the precision of the
3 m+ q9 b, a. _' xright hand. Barrueco''s solution is to mis-tune the guitar to some random) g% ~9 ` b. d4 o, d8 f! L
tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
2 H6 T( g! \5 |5 ^piece, concentrating on plainingg the fingering perfectly.4 o$ c( k: c/ b% @& j
K9 C {+ G7 {; E* q" N) K$ KThis is an excruciatingly difficult thing to do if you are primarily* T+ e6 R: |4 O7 E
an "aural" type (I am) - but it''s good, the totally "wrong-sounding"
+ P. U( ~; N y8 T9 C0 z3 Wnature of this forces you to fight to not be distracted and concentrate
% d% g* G/ f$ S; n0 g8 j& D9 ton playing the fingering right.# W/ {( m! a$ Q( T6 _
* b0 D0 a) Y S1 R" D: {Do this *very* slowly to practice the fingering without relying on your
" P+ d% \) V8 I
4 W, e# t# ~8 q. `' A
}$ A3 c4 g* L& x8 U( t8 i) D附"反弹吉他"的翻译:0 q& ?' q% w- H; o( O
. \1 o$ r5 `* K: B( `3 |当回好人，给大致翻译一下：
0 Y- m1 k& @- D* _
! H& z) v$ t# Y$ c/ @怎样快速记住一个曲子
7 |' S& L X/ O" Y7 w/ I0 `& v# m, c+ N, f; g
有很多办法，最好尽量综合使用% z0 b+ W4 _+ O" Y# O) N+ p
; r5 Q" v) w2 ]. R: |+ k6 }
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，) X; Z" o' t! K% n, x2 x
3 f/ D6 E! C; n. Q( x- H) z! {7 M然后看每个段落和乐句，# {0 I0 J/ C6 ^6 g' W; h- J3 Z
# h+ O& I( ^, N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，2 v+ D$ f) u* Z" E# L
0 ~; M0 p$ z5 t6 V9 m
视觉导向的把谱子放在高处往上看更容易记住，
! f) P+ [2 C& @+ h. |; j R
. n, V5 q' {% a; y* k4 B9 r( F很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。, N: S. F; p( ^4 ^" S6 |
* M$ \" {, I( f5 [大卫罗素从后边往前背。。。。
4 z# w5 { u$ p8 b! Y: x4 K: @4 E4 J% n z, W& }
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。。。。
5 }7 R9 y( }1 V, f1 ^0 r, q
# j( q$ o0 y" }( a4 v$ Q3 J4 Y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，9 f$ J1 \# _* _
3 ~0 s. h/ H* N7 d( K
比如，光弹右手，都是空弦，指法要精确。。。6 h# S5 a3 \# N2 |3 v
) j) ?# h3 ?6 g3 z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。。。8 M! e8 w2 D* m5 V& ^9 M+ F
& j3 x$ N9 w1 Q9 P# p$ @$ p+ J( S
很慢的这样练习 " w7 E0 o g0 d/ u
|
|
