|
|
How can I quickly memorize a piece?4 K4 V! F) d, x) `5 S8 J
9 \, g! p' `# h1 e- ZThere are many approaches to take, and it''s probably a good idea to use b, k! Z2 J5 B! s- q
as many of them as possible.* T4 g) B. Q4 b- G* o X# I+ p F' {
$ }4 }9 }7 c2 s
First, try to learn what the large scale structure of the piece is. Is it
1 C8 ?* ], A) I+ Y5 i" Cbinary? Ternary? Rondo? That way you are basically beginning by cutting0 N- N2 X/ _" ^# M
it up into more manageable chunks.
+ h& H' F; O: i! i9 {# ]. F) Y$ i% ~& O( Y! ~9 ?( ]& n7 x$ B7 r
Second, look for phrasing and other types of musical structures.
7 d* n: R$ e! m" n0 v
j% S0 b0 ^+ |9 \- vTry to learn it by ear (can you sing the piece all the way through without
3 h6 m' x! ~( g6 y( g: Hthe music or the guitar?). This is easier for people who are more "aurally"
1 j8 E3 j4 m3 y: qorientated (like me).- e8 j) X( g- v: v
) i6 K, _8 m" hIf you are more "visual" try to memorize the page to as great an extent as5 G7 f) r+ M: w) ~, k
you can. The harp prof here gave a lecture about memory & learning) D) X, L7 W' a# G" ]5 q' @2 ~4 Q
techniques, and said that visual memory really was more stimulated by2 e. {5 p$ q# ^+ E/ _
looking up (and to the left, I think) so if you can, try placing your music
7 U6 a3 _9 a- S, \% U/ f; `stand VERY high (for practice & learning) such that you are looking UP at4 f! `" q3 [) G& L+ D
the music.! e9 u( O# x* n; w
0 h5 q, \0 ` r' U6 K- d* B# Q
I knew many guitarists in Spain who memorized the solfege syllables - they
, X# b0 x/ k7 Y; Mcould sing their pieces from start to finish (mi re mi fa mi re mi...)
9 a, a+ b! H K2 X) T" _
% I7 t* j9 y5 X1 {+ K+ F+ |Try to memorize the piece starting at the back (This is a tip from David+ M5 W! p% c' x/ z7 m
Russell) - we always go from front to back, often bogging down, so usually,
' P/ ]) n) O2 I1 T( Uthe farther into a piece we go, the less familiar & comfortable it is. If
! f- J* ]* H1 \7 o0 w5 ryou learn the LAST measure, then the next to last measure, etc. you are
. @( v; [+ I* F% i! n+ \setting up a situation where the farther you go, the MORE familiar and
6 ~8 c5 g, Y; S4 @$ j! D+ tcomfortable things are.
0 K5 c# U; D( C" P7 a& L8 x0 k5 O, c W6 u
This also brings up the issue of learning single measures (apart from) F8 q" X! r- y$ i+ A
whatever musical context they might have). Jose Tomas used this technique3 k; G/ D) T- V: G" e, G! x2 [
as a way for his students to learn 30 minutes of *new* repertoire in6 O/ N# s- w8 @: `
1 month: at the beginning, make a learning plan, in which you assing/ V# H8 `2 G5 D8 j
yourself X measures to learn each day, making sure that every day you 5 S. c5 S* \; N
learn some of every piece (instead of working on piece A, then later : A. O N: `# L9 @
starting on piece B, etc.). Learning very short chunks helps you program ( O! X3 L( ^: Y, i% q7 \7 }9 R
your physical movements much better.0 h/ Y4 ]. ~4 y2 N2 r T# \7 J" g
" N! z9 _% t7 p( J8 o% k
This brings up the even more excruciating techniques suggested by Manuel1 K4 t* `; D; M- n5 E& |+ ^8 j
Barrueco. Make sure you know your right and left hand fingerings so
6 C3 _/ g) ~" G( U- c$ w9 Rthoroughly that you can do either separately.
$ q7 J' d$ X9 x g1 a* K3 c/ b' G8 U6 p* h# f
For example, play the piece with the right hand only (i.e. all open8 i. L( j; i& }. {; V( t' I5 F
strings, but using the *EXACT* right hand fingerings).' }' ~4 o+ @& A, l
0 X- T1 F k9 J5 y0 ]5 c8 _' iThen, try playing the left hand alone. This is a bit harder, because it
( p: x. u9 A: b. f4 odoesn''t really necessarily function as well without the precision of the
! `+ o: ~+ x& ^; K+ l! q9 \8 ], Vright hand. Barrueco''s solution is to mis-tune the guitar to some random
5 D0 g3 \7 }$ Y' Q2 z/ }tuning (i.e. 6th to F, 5th to Ab, 3rd to G#, 1st to D#)...then play your
* \1 y% e3 R& j* _piece, concentrating on plainingg the fingering perfectly.
" h7 e0 ]( y4 D A* ^9 s3 ^
/ Z- M, d. \) G# ]: I! M- j; qThis is an excruciatingly difficult thing to do if you are primarily
6 w6 `! C4 R) ^9 A; c2 Aan "aural" type (I am) - but it''s good, the totally "wrong-sounding"1 @5 W9 _8 l( P1 n7 K
nature of this forces you to fight to not be distracted and concentrate
/ C- @# n5 J0 R& ?0 }2 Gon playing the fingering right.
; O; y! `: H: ^" \1 g) {6 o" N* M2 k& R
Do this *very* slowly to practice the fingering without relying on your
s' f3 G) [# ~; K% k+ {% m4 H, J6 B/ K1 T3 l6 C, O
5 j0 T+ |, L8 t1 O4 k+ ?1 K, Y7 i附"反弹吉他"的翻译:! w) A# C& W' ]
% Z3 w# l$ Z% u* b1 V# T! T0 u1 z当回好人，给大致翻译一下：& c/ D* B, l/ w$ y! K: ^
0 W+ j) p$ S, Y- _
怎样快速记住一个曲子
) `5 I! g1 C2 [6 `5 w* T; s ?5 X& x; V! c3 f$ P
有很多办法，最好尽量综合使用6 k! T1 v3 y' { k
& T. G* Q8 W9 A+ i8 {
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，
; }0 i# B( T& {. _& {+ E1 S$ p' s) N" u) J Y
然后看每个段落和乐句，
* x& K9 g9 z3 [1 D
: v. f1 j. B% U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， n% T+ [3 s& i7 S" x0 x% f
, s6 \( N8 f% @" p
视觉导向的把谱子放在高处往上看更容易记住，
( a S1 T' P! M$ P# T% U4 l/ i! \7 x9 G2 `
很多西班牙的演奏家能从头到尾把曲子唱出来，3234323。。。。
% j8 ?) C# N: m) e& S. f: X9 k) r9 x* A
大卫罗素从后边往前背。。。。
3 q3 J L' ~1 {, t, J% H
' S/ Z Q$ ~. w; S \5 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。。。。, u1 c& b: Q+ u
4 i) S7 l. F* T6 t/ B& S; m; 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，
2 t2 H! m. c" A( {" G: b2 E1 v, Z8 k, \3 V6 x. }
比如，光弹右手，都是空弦，指法要精确。。。
; T# M4 h! i4 _+ e7 d% b" e# j3 Q7 F Z' q3 b8 c9 @
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。。。6 b7 h1 K a; z2 M
B; Q. o# ?6 |3 {9 R! p" Z5 T
很慢的这样练习
5 h% T1 p' V, x. P0 Z+ t+ r) w |
|
