Playing while watching music is no longer feasible in all kinds of amazing technical clips. Therefore, focusing on keyboard and hand recitation has become the only choice. Here are ten ways to play the piano quickly by memorizing music. Come and find out!
Ten ways to play the piano quickly by memorizing music 1, action inertia memory method.
This is the fundamental requirement of recitation, and it is the direct embodiment of the performer's mastery of the work. For the performance, even if you can write the music silently, it does not mean that you can play it accurately and smoothly on the stage. Only through a lot of practice can the movements be coherent, and even if they are in an "absent-minded" state, they can be played accurately and smoothly, which can be regarded as meeting the basic requirements of the stage. Therefore, it is quite necessary to appropriately increase the practice time of slow paragraphs or works.
2, keyboard location memory method
This method is especially suitable for works with complex tonality, numerous key signature and temporary trowels, and frequent tone sandhi. Due to the requirements of music theory and harmony writing, there are often more complicated pitch recording methods in music scores, such as re-rising G, which can never be replaced by falling A in theory, but it is really falling A on the keyboard. So when we encounter such a note, we don't need to remember whether to re-raise G or drop A, just remember the corresponding keyboard position directly. By comparing the tonal differences between the subtitle part of the presentation part and the reproduction part, we can avoid confusing "A" in the recitation of this sonata. Another example is to divide polyphonic works into several small segments (the fugue in the common two-page average law is best subdivided into 8 to 10 segments), number them into paper labels, and then draw lots to recite the music by yourself. If it can be completed smoothly every time, even if there are some accidents on the stage, it will not be "fatal", because the beginning of each short paragraph is an "emergency exit", and even if there are mistakes, the performance can continue.
3, harmony analysis memory method
As we all know, the foundation of modern western music creation is the harmony system, and the pronunciation principle of piano makes the application of harmony more complicated than any orchestral instrument. Therefore, learning and mastering the necessary harmony knowledge plays a decisive role in identifying and memorizing music scores. However, there are two common regrets in the process of professional piano education in China: first, harmony courses in professional colleges are often offered late, and only senior students can systematically learn relevant knowledge; Second, some students study professional theoretical courses such as harmony in isolation, but they are not combined with piano performance in actual practice. Therefore, it is better to learn deeply than to live. The key is to apply what you have learned.
4, structural analysis memory method
The structure mentioned here does not completely refer to the division of musical structure, but includes the development analysis of all musical elements or motives in the work. By combing the thread and clues of the development of the work, the work can form an impression that can be clearly recalled from the whole to the part in the mind, which will greatly improve the grasp of the back spectrum. For example, the tonal distribution of sonata is briefly analyzed by using the learned musical form knowledge.
Therefore, finding an efficient method of memorizing music is the only way for every professional piano student. The following are some related research situations in my performance and teaching practice in recent years.
5. Internal auditory memory method
The benefits of listening to a lot of records are self-evident. In addition to providing learners with enough playing skills and inspiration for music processing, it can also help them remember. In the actual performance process, the player can "hear" the notes to be played in advance in his mind, sometimes just like listening training in solfeggio class. At this time, even if the player forgets the playing action and keyboard position, he can follow the inner auditory memory smoothly. Of course, this method requires the quality of the player and is generally suitable for players with absolute pitch recognition ability.
6. Visual memory method of music score
As the name implies, by looking at the spectrum repeatedly, a visual image is formed in the mind, just like the memory of a certain person. In this way, when the player plays by memorizing the music, the content of the music will emerge in front of him, and the player will feel that he is still playing according to the music.
7, conversion speed memory method
In the process of piano playing, inertial memory is always the least laborious way, which can only be formed by repeated mechanical practice. However, this most "natural" way is dangerous, that is, it is easy to rely on the playback speed. Inertia is directly proportional to speed, and this physical law is also true in piano playing. Therefore, it is an important way to test the reliability of memorizing music completely at a very slow speed, because in the process of playing slowly, the inertia of the action disappears completely, and only those who really have music in their hearts can complete the slow memorization.
8. Break up and practice reciting.
Most piano works always assign melody and technical tasks to the right hand, so the right hand is always the most impressive. The left hand is usually the accompaniment part, which is not only easy to be ignored, but also the texture lacking melody is sometimes more difficult to remember. Therefore, the probability that the right hand forgets the music on the stage is extremely small. In view of this situation, the player should memorize the left hand part alone to eliminate the hidden danger of forgetting the score. Of course, if the melody of the work is not in the right hand, it needs to be done in reverse. I once had a "small accident" in a solo concert where my right hand forgot the score, which was caused by the melody of my left hand. In short, breaking up and memorizing music is a necessary means to ensure the integrity of performance. However, it should be pointed out that this notation is totally unsuitable for polyphonic works with more than three voices. Because in this kind of works, alto is often done by two hands alternately, and the spectrum of one hand will inevitably lead to the fragmentation of alto, which is harmful and useless.
9, no piano no spectrum memory method
By comparing the tone differences between the subtitle part of the presentation part and the subtitle part of the reproduction part, we can avoid confusing the "common problems" in the recitation of this sonata. Another example is to divide polyphonic works into several small segments (the fugue in the common two-page average law is best subdivided into 8 to 10 segments), number them into paper labels, and then draw lots to recite the music by yourself. If it can be completed smoothly every time, even if there are some accidents on the stage, it will not be "fatal", because the beginning of each short paragraph is an "emergency exit", and even if there are mistakes, the performance can continue.
10, exercise test memory method
Practice is the only criterion for testing truth. If we can arrange several "simulation" performances before the official stage, we can often expose some hidden dangers that we don't realize at ordinary times. At the same time, "simulation" performance is also a special training for players to comprehensively use various back points, which has an irreplaceable role.
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