发信人: henryxie.(琴佬)
整理人: bigfish(2002-01-12 14:57:13), 站内信件
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The Guitar Times: 你能不能就你在记忆方面的方法再介绍得详细一些？
Could you go more into detail about your own process of memorising?
David Russell: 对于这个问题，我要说的是，如果使用我16岁时的记忆方法，也就是将乐曲弹许多遍，那么人生就显得有些太短暂了。
I would profess this : life is too short to memorise the way I did when I was sixteen, just by playing the piece so many times that whoops! it is memorised.
另外，在我年轻的时候，我的视奏能力还不是很强，我只是学习演奏它，一遍一遍地练习，那就是我当时的记忆方法，乐曲显得是如此之长。
And also, when I was young I could not read music well enough so by the time I had learned to play it, it was memorised, because it took so long.
但是随着我年龄的增长，我需要记住越来越多的乐曲，另外，我可以视奏，这样就带来了一个非常可怕的问题，我可以将一首乐曲弹奏得很好，但是一旦你将乐谱拿走，那么我就无法演奏了。
But as I get older, I have more and more pieces that have been in memory and ... I can read, so I have this terrible problem that I can already play it really well but you close the page and I'm lost!
于是我想："在舞台上我有什么东西，在家里我又有哪些东西？"
I think : "what do you have on the stage, and what do you have at home?"
在舞台上我们有所有的东西，除了乐谱，因此我要记住这些乐谱而不是总去阅读它们。你要演奏什么乐曲，你要学习一首乐曲的演奏，我的意见是直接将这些乐谱印在我们的脑子里而不是一遍遍地反复浏览。这种方法不一定对所有的人都适用，但是的确很适合我。
You have everything on stage except the piece of music, so I like to memorise without reading it through. You take your piece, you have decided you wanted to learn this, and instead of reading it many many times I would prefer to stick it into memory straight away. This doesn't work for everybody, but it works for me.
这就是说，一首乐曲对于我来讲所做的第一件事情不是将其浏览一遍，我甚至根本就不明白乐曲要表现什么，但是我已经将乐谱印在自己的大脑中了。
Now this means that my first experience of this piece isn't reading it through, I still don't even understand the piece, but I stick it into memory.
要知道你的大脑比你的眼睛要灵敏得多，因此一旦你将乐谱完全记忆下来，那么你就可以非常轻松地对乐曲的演绎进行构思，"哦，这里是强音，而这里是钢琴声部"，如果你是用眼睛盯着乐谱，效果将远不及此。
Your brain, your mind, is much more agile than your eyes, so once you have memorised the piece you can conceive its shape much easier than when you keep on looking at the page and thinking : "oh, here is the forte, here is the piano". Do that after!
将乐谱记忆在自己的大脑中，那么你对于乐曲所做的第一体验是在你的大脑中完成的。
Get it into memory so the first experience of the piece is there in your head.
然后我们回到乐谱上，开始演奏整首乐曲，你会发觉很容易。这是其一。
Then after we go back to the page and we start and put out phrasing and do all that sort of work that is easier marking down. That's one thing.
在大脑中完成对乐曲的第一体验是非常重要的，如果你在演奏中频繁地出现错误，那么这些错误会严重地影响你，而你以后是必须要改正这些错误的。因此，第二件事就是要尽可能少地犯错误，不要试着去弹奏自己记忆中似是而非不能确定的乐句，一定要尽可能地演奏正确。
Your first experience is also important in that if you play the piece making mistakes often, that dirt gets into you and then you have to clean it up! So, the thing is to make as few mistakes as possible, that is, do not try to play half by memory and half not... you must play everything right, if possible.
根据上面所提到的第一体验的想法，我愿意从后面，也就是从乐曲的结尾开始学习演奏乐曲。你首先要学习的是最后一个小节，将它记忆在脑海中，然后学习倒数第二个小节，依此类推。
Now, because of that first experience idea, I like to learn from the back, from the bottom. So you learn your last bar, fix it in memory, and then you learn the second last bar, but knowing where you're going.
这样，你永远是从一个未知的小节，一个新的小节出发，去演奏一个你已经知道的小节。So you're always going from the unknown bit, or the new bit, into the bit that you already know.
基本上，这样可以防止你犯错误。如果你是从乐曲的第一个小节开始演奏，那么第二个小节你会知道一点，第三个小节比较难，于是你就会弹错了。
Basically, this will help you stop making mistakes. If you start from the top, play your first bar, second one you know a little bit, the third one is difficult and then... it falls apart!
反之，如果你是从后向前来弹，那么你永远是向着自己所熟悉的小节方向前进。
Whereas if you do it the other way round, you're always going into the known bit.
这里还有另外一个考虑，在音乐中，由于时间的发展方向，对于什么已经发生过的就不重要了，而对于那些即将来临的才是最重要的，因此在你的意识中，由于你已经按照这种方式学习过乐曲了，那么你就时刻都知道下一个小节将是什么。当你实际演奏中，那些在你练习是已经完成的小节则正是马上要到来的小节。
It has another purpose : in music, because of the direction of time, it is not such an important matter what has been. It is more important what is coming, so in your mind, because you have learned it in this direction you're always seeing what is coming. As you play, you play this phrase for this bit that is coming in front, not in relation to what is already finished.
另外，如果你在演奏时非常不幸漏掉了一个音符，那么你会回到前面，再弹一遍没有问题的。当然，不出现问题是最好不过的了，但是当错误出现的时候我们就必须正视它，并学习如何去除掉这些小错误。
Also, if you trip up -bad luck you miss a note- , as you do it you have in front what you're supposed to be playing, and it is much easier to get out of the trip-up. Still, it would be great if we didn't have them, but they are there so we must accept that and learn how to get out of these little mistakes.
通常，当我遇到这种情况时，我会继续演奏下一个小节，而不是重复出错的地方。许多弹吉他的人，许多学生在出现错误时都会返回去重弹。我认为比较好的办法就是继续向下弹。
So usually, when I make one, I go to the next bar, not to the one before. Many other people, many students make their mistake and then they go back, so they still have to cover the bit they don't know!
It's better to go to the next bar.
如果一个人正在给你讲故事，突然他咳嗽，这其实并不要紧。咳嗽完了继续讲就是了。这个道理与弹吉他是一样的，你正在弹奏一段乐曲，突然你出现了一处小失误，这时你必须继续向前并且对自己说："什么也没有发生。"这时如果你返回去重新弹，那么实际上是将你的小错误给扩大化了。
And really if somebody is telling you a story, and he has to cough, it doesn't matter! Just as long as he keeps on going. So this is the same thing : you're playing a piece of music, okay you make a little mess, but you must just go through it and think "it didn't exist". But if you go back, it really shows much more the problem you've had.
这里我们要讨论的都是有关记忆的。还有一件事情需要说明，这也是我根据自己的经验得到的体会，如果你从后向前进行记忆，那么你所做的事情就是记忆，你必须专门就做这件事情。如果你是从乐曲的开始来记忆，那么你肯定会有很多想象，例如如何演奏这首乐曲等，你会将这些东西都记忆到你的乐谱中。但是如果你是从后向前记忆，那么你只是在做"记忆"这一件事情。
So this has all got to do with memorising.
There is another thing. This is from all my experiences with memorising : if you memorise from the back, that is from the end, you're only memorising, you must do it on purpose. Whereas when you do it from the top, you're also kind of fantasising, kind of playing the piece, and you are putting it together.
When you do it the other way, you are only memorising
在你受到外界压力和激励的情况下，你的记忆力会超常发挥。例如，现在是11月份，而你6月份要参加考试，那么你会认为还有很多时间，不会感到有外界的压力。但是如果你与朋友约好，"我们明天见面，并且弹两行谱子，不能看谱。"那么你肯定会感到压力。
If you're motivated, you memorise better. If you have, say, your exam in June, that is a long way away and, okay, you start to work but the necessity is a long way away, so you're not really motivated.
But, if you have arranged with your friends "we're going to meet tomorrow and play two lines, memorised", that will motivate you.
举例来说，如果我在课堂上说了些什么，那么我就一定要有所准备，我可能要进行示范并且记忆一些东西。我就是这样的，我还要将这些东西介绍给学生，使得他们有所提高。如果我只是坐在家里并试着记忆些东西，就不会有压力，效果也要差。
For example, if I'm talking in front of a class, and I'm explaining this, I will maybe demonstrate and memorise something. Of course I'm very motivated because I'm trying to explain this to the students and proving to them that this works. So I'm much more motivated than if I sit at home and try it!
你需要找到一条能够激励自己的方法。
You have to find a way of motivating yourself, not just do it. Just play little games and test yourself.
我通常都会感到压力，因为我有音乐会演出。明年2月份的音乐会与我今年11月份的音乐会在曲谱上是完全不同的。因此，我必须不断练习新曲目，我不希望自己到了音乐会的当天对听众说："非常抱歉，我要改变一下演奏曲目。"
I'm normally very motivated because I have concerts. In February I have a completely different program from now November. So, I'm working on stuff that is going to be in a program, and I don't want to suddenly have to go and say "sorry people, I have to change the program again" .
我有激励自己的方法，就在刚才我还作出决定，"要在圣诞节时记住一半的新曲目。"这的确有难度，因为从现在到那时我还有8到10场的音乐会要演出。尽管如此，我还是要保证每天有1到2小时的时间练习新曲目。
I have my own motivation, and just now I decide "I want half of the program memorised by Christmas" . It's difficult, because I still have eight or ten concerts to do between now and then, but everyday I practice for one or two hours for the new stuff.
这对我很有帮助，它能够给我灵感，我认为这样对我非常重要。
It helps me. It gives me inspiration in the day and I think it's important for me.
当我们谈论有关音乐的各种不同的事情，记忆即便不是最重要德事情，也是一件相当重要的事情。
When we talk about all the different things about music, memory actually ends up being one of the most important things, if not the most important.
我们不单单指记忆乐曲，同时也包括你学习一种新的技巧。你可以重复一千遍，以便记住它，没有任何智力的成分，只是肌肉上的记忆。当你一说，做这个动作，于是你的手就会做这个动作。你已经将动作教给了你的手，而你的身体也记住了它。
Not only memorising the piece, but also if you want to learn a technique. Well you repeat it a thousand times... to memorise it, not intellectually but physically so your hand will do that again. When you say "do this", your hand will do it. You have taught it to your hand, and your body has memorised it.
一个天才与非天才的区别是什么？通常，天才具有更好的记忆力，更多的瞬间记忆。例如，我们教一个象Pete Sampras这样的天才，我想他一定会很快就学会那个和弦。因为他具有非常优秀的记忆力。
What is the difference between a talented person, and a not so talented one? Many times, the talented person has more physical memory, more immediate memory.
For example, if we take somebody like Pete Sampras, I'm sure he would memorise a guitar chord just like that! He has fantastic physical memory...
因此我们经常会见到一个人如果演奏某一种乐器非常出色，他必然同时对其他的乐器也掌握得很快。我敢保证约翰·威廉斯在学习新的乐曲时肯定只需要很短的时间。
So it tends to be that the same person that is talented on one instrument is also talented on others.
You must discover if you need more time or less time. I'm sure John Williams needed very little time to learn any new movement.
如果你学习新乐曲需要较长的时间，也没有关系。这并不能证明你是否是一位优秀的演奏者或是一位糟糕的演奏者。
If you need more time, you just have to accept it. That doesn't make you a better or worse musician...
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