这就是所谓背熟了再慢慢体会

*CH.one-III.6 Memorizing - P.135*

There are some of the reasons why memorizing before u learn is the only way.

Memorizing is the "clincher",memorizing leads to "mental playing" which is the key to absolute pitch,higher effective IQ, reduced nervousness/stress, composing, and the ability to perform with ease and without flubs. In metal playing, u can play the entire piece in ur mend, away form the piano. To become a concert level pianist, u need to learn mental playing. This is how all the great pianists and composers became what they were. Practically every accomplished pianist ends up composing some music; memory, absolute pitch, and mental playing are critical elements for successful composing.

A student with 2 years of lessons should be able to learn the required 50 different bars of this piece(Elise) in 2 to 5 days and be able to play the whole piece at speed and from memory.

The amount of time spent playing pieces u have completely learned is what separates the accomplished pianist from the amateur. This is why accomplished pianists can perform but most amateurs can only play for themselves.

While practicing one segment, always include the beginning of the following segment.

Trying to un-learn a bad habit is one of the most frustrating, stressful, and time-consuming tasks in piano practice.
A common mistake is the habit of supporting or lifting the hand. In slow play, the hand can be lifted between notes when the hand weight is not necessary. When speeded up, this "lift" coincides with the next keydrop; these actions cancel, resulting in a missed note. Another common error is the waving of the free fingers -- while playing fingers 1 and 2, the student might be waving fingers 4 and 5 in the air several times. This presents no difficulties until the motion is speeded up so fast that there is no time to wave the fingers. In this situation, the free fingers do not generally stop waving automatically at faster speeds because the motion has been ingrained by hundreds or even thousands of repetitions. Instead, the fingers are asked to do the impossible -- wave several times at speeds they cannot attain -- this creates the speed wall. The trouble here is that most students who use slow practice are generally unaware of these bad habits. If you know how to play fast, it is safe to play slowly, but if you don't know how to play fast, you must be careful not to learn the wrong slow playing habits or to end up wasting tremendous amounts of time. Slow play can waste huge chunks of time because each run-through takes so long. The methods of this book avoid all these pitfalls.

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