How to stay focus when I play a long piece of music by memorization?

[dora96]

Recently, I have very hard time to stay focus when I play some music by memorization.  Example, I have been practicing a lot and can memorize Chopin Nocturne Op9 No1 very well. My frustration is some day, I can do it without any problem. Some day, I find it I can't remember a thing. Even though, I can remember and play the music the first time perfectly, if I do the second round I could not remember as good as the first time.  I find that it is hard to make the memorization permanent and retrieve it whenever I want.  I find Beethoven music  it is easy for me to remember and make it permanent compare to other like Chopin waltz, fantasie, Nocturne, Mozart sonata are particular hard for me to remember completely. If I can see in my head, I feel more confidence that I can play it without memory lapse. I also find that my left hand is a problem, it always let me down. How do I stay focus? I find that it is strain for me to play the music without the book (have the psychological support). Or psychologically, I just fear that I will make mistakes and start losing the plot. I like Chopin so much and I enjoy playing but in the middle of the music, I start day dreaming and  when I am awake I lost it. How do I put my brain into my hands? How do I stay focus without losing concentration? . I have tried different methods, practice slow. analysis the pattern, listen to sound, somehow I want the music stay in my brain forever. I try to build my repertoires. If I don't practice every day with memorization I will loose it very quick.   Please help me, can anyone suggest any effective way to remember the music securely ?

[gerryjay]

 hey dora!

 the best way for me is to understand the structure of the piece as best as i can, and when i play by heart i try to recreate it in its minute details in my head, that's it, think of what every phrase/section i'm playing actually means in the context of the piece. i stop thinking about notes and start thinking about groups, then group of groups, and so on. do you know mozart's k 332 third movement? here's my mental sketch for its exposition:

 Aa1 (mm. 1-7, varied repetition 8-14)
 Aa2 (15-22)
 Aa3 (22-36)
 (end of thematic region 1)
 Ab (37-46 and 47-50)
 (end of transition)
 Ac1 (51-58, vr 59-65)
 Ac2 (66-74, vr 75-83)
 Ac3 (84-91)
 (end of exposition)

 when i play, i "read" it from my mind exactly like that: "now i'm playing part Aa1 (now its repetition). then, part Aa2 (watch the phrasing!)... part Aa3 (staccati...cantabile...)"
 it's like a story of the piece, and i'm also include performance/interpretation directions in my study (sometimes i really speak out loud: "forte", "articulation"  ).
 
 however, sometimes i loose my focus exactly of doing that...  when it happens, i usually stop playing the pieces for a week or so. when i return, it's normal to find some minor problems, but my focus is like new, and in a couple of days the piece is to my best again. or even better. the problem is when you don't have this gap to "refresh"... 

 hope that may help you find a way to solve this issue!
 good luck!

[rachfan]

Hi dora,

There are basically four kinds of memory.  The one that jerryjay describes so well above is intellectual or analytical memory.  It is studying the structure of the score away from the piano to discern themes, variations, patterns, modulations, important harmonies, special "landmarks" (in case you lose your way and need to get to a familiar point to preserve continuity), etc.  This method of memorizing is very useful for people who have studied form and analysis, harmony, counterpoint, and music theory; but it is not limited to them.  There are many structural aspects that are readily apparent to the most casual pianist that can serve in the same way as memory aids.  So it has wide applicability.

The second kind of memory is tactile memory, sometimes called digital memory.  From this approach, the pianist becomes accustomed to the "feel" of playing note groups, chords, passages, phrases, accents, etc. of a piece.  The music gets "into the fingers" as they say.  This is probably the most common kind of memory, but is also the most dangerous.  It is generally the first memory device to fail and flee the scene when a problem develops in performance.

The third kind of memory is visual memory.  This, I believe can be considered two ways.  The first kind is the so-called "photographic memory", whereby the person can close his/her eyes and literally see the score perfectly as if the music were open on the piano's music desk.  The only problem with that is that very few are born with that extraordinary ability.  A more common kind of visual memory though is looking at the keys while one plays, and over time associates the stream of music with the simultaneous visual aspect of the piano keys being depressed, thereby forming memorable motions and patterns in the moment on the keyboard.  You'd be surprised in talking to other pianists how many of them say they are very conscious of this.  Did you ever watch, for example, a video of Jorge Bolet playing?  He would constantly keep his eyes glued to the keyboard.  I believe that's what he was doing--using that particular form of visual memory.

The fouth kind is aural or auditory memory.  This involves memorizing from the sound of the music through practicing and playing.  This requires no perfect pitch, as not everyone has perfect pitch, just relative pitch will suffice.  For anyone who plays well by ear, the aural approach to memorizing comes naturally.

Now, the important point.  The more of the four approaches you can combine and bring to bear, the more secure your memory will be.  There is no one way to do this.  It depends on your own abilities and tendencies.  In my own case, for instance, I relied on both tactile and aural memory.  I played in countless student recitals, not only my teacher's, but in other regional recitals as well, plus solo recitals as well as at special events and being a finalist in a competion in Boston.  I have to say, never once did I suffer a memory slip.  BUT, that particular combination might not serve everyone as well.  Someone else might be more comfortable with the visual and analytical methods, or whatever.

A note on focus or staying focused: The culprit of losing focus is usually mental distraction.  For example, while playing, you think of a spot a half-page ahead that is so hard to execute.  Or, something pops into your mind--something that you have to do later perhaps--that distracts you from the immediate task.  You may have noticed this many times when practicing.  While doing some repetitions, you may hear an odd noise outdoors, or suddenly recall you need to call someone that night, or you get a mental flash of the next piece to practice, etc.  Next thing you know, within two seconds the practice repetition suffers an error and falls apart.  Similar things can happen too in performance unless you're careful.  So, you have to concentrate on concentrating.

Finally, another note, a sad one I guess.  The older we get, it becomes progressively more difficult to memorize, and reaches a point where it is nearly impossible, necessitating always reading from the scores.  This is a natural aging process and is true for a great many people.   Even an artist as great as Richter in his late years had the scores open on the music desk while performing.  He didn't want to take a chance.  Oddly, older people can often play the very first piece they ever learned, or pieces from teenage years from memory.  But they might not be able to play by memory something learned just a month ago.   

I hope this helps.

[dora96]

Hi dora,


A note on focus or staying focused: The culprit of losing focus is usually mental distraction.  For example, while playing, you think of a spot a half-page ahead that is so hard to execute.  Or, something pops into your mind--something that you have to do later perhaps--that distracts you from the immediate task.  You may have noticed this many times when practicing.  While doing some repetitions, you may hear an odd noise outdoors, or suddenly recall you need to call someone that night, or you get a mental flash of the next piece to practice, etc.  Next thing you know, within two seconds the practice repetition suffers an error and falls apart.  Similar things can happen too in performance unless you're careful.  So, you have to concentrate on concentrating.

Finally, another note, a sad one I guess.  The older we get, it becomes progressively more difficult to memorize, and reaches a point where it is nearly impossible, necessitating always reading from the scores.  This is a natural aging process and is true for a great many people.   Even an artist as great as Richter in his late years had the scores open on the music desk while performing.  He didn't want to take a chance.  Oddly, older people can often play the very first piece they ever learned, or pieces from teenage years from memory.  But they might not be able to play by memory something learned just a month ago.   

I hope this helps.

Thank you for rachfan and gerryjay's advice. I think my concentration is exactly what rachfan describe, my mind sometimes has occupied. Very often, when I try to practice my memorization on the music, in the beginning it seems ok, but I play on for a while, it is like mistake waiting to happen. Once I make mistakes in the music, performance virtually inhibited. Psychologically, if I can't do it 110 percent, how do I play in front of people when the nervousness, pressure.

Another question, where can I get reasonable group of audience to perform, to play and practice in front people? I play in front of friends, but that the person I know, plus they don't know much about classical music. Even though I make mistakes, play not so good, They have no idea anyway. Where can I get to practice my performance and able to obtain constructive commend.

[rachfan]

Hi dora,

I think your stage of life and your piano proficiency have a bearing on answering your question.  Here are some brief recollections and thoughts:

When I was a kid studying piano, my first teacher used to hold "rehersals" frequently at her studio.  A student would play a piece and then other students would be asked to offer critiques, followed by the teacher's cogent critique afterward.  Because I was one of her "star" pupils, she would also send me to perform in various regional student recitals sponsored by teachers' associations in those cities and towns.  I also participated in annual auditions and a competition, as well as preparing a solo recital.  So I was never at a loss for audiences as a teenager.  The problem today is that young pianists have too many demands on them, so such rehersals and even the number of recitals seem few and far between.

I studied with two excellent artist-teachers, one for 10 years, the other for 7 years.  Now I prepare repertoire on my own.  (The whole purpose of taking lessons is to learn how to teach yourself, yes?)  Often I post recordings in the Audition Room here and receive very perceptive and constructive comments from the forum members.  I find a lot of value in that.  They are an "electronic audience", yet it works effectively. 

Remember too, a good audience can be 2,000 people or 1 very learned person.  Let's consider the latter for a moment.  In my situation, what I could do (with a major university nearby) might be to make an arrangement with a piano department professor, not to be my teacher, but instead a piano coach.  The idea would be that I would call the professor in advance on an as-needed basis for an appointment at a reasonable fee to play, be heard, and to receive helpful suggestions.  This would probably happen outside of the university at his or her private studio or home. 

Another idea: Watch for master classes in your area.  You might be able to enter it as an active participant for a fee, or at least audit the class and take notes that you can apply in your own playing.  If you get to play, the master will offer all manner of feedback to you.

There are also some adult piano "camps" where you can go for a few days to gain further instruction, attend master classes and play in recitals.  I believe that Clavier magazine lists these every year.

Probably some of the piano teachers in this forum can make more or better suggestions than mine.

I hope this helps.

[gerryjay]

hey rachfan!
thanks for your posts, dude. several things to think about! 

[rachfan]

Hi gerryjay,

Thanks for your note of appreciation.  I'm always willing to share my thoughts on a topic if I think it might be helpful.   

[dora96]

Hi Rachfan, thank you for the positive and practical advice. In fact, I have been practicing and doing my memorization focusing on the key. It helps lots and counting at the same. I find that when I am playing presto tempo, I find that it is so hard to control. In the beginning, it is ok, but when the music go on, and I start losing control. I suppose I get tired and exhausted very easily especially when I need to play the repeat.    If the music slow like nocturne, I can't wait to finish in case I lose concentration. It is so hard. I suppose it just as matter of practicing slow and systemically. Another thing it interests me that does your teacher plays for you if she teaches you a new piece. My teacher is classical piano performer. She never plays for me, and I find that hard without visual demonstration. I ask she please play for me. Her answer is I should work it myself without hearing or trying copy her. Besides, she hasn't practiced this piece anyway. Is it very common when you reach high level most teachers  won't play? They can give advice and instruction but can't demonstrate I just wonder like lots of sport coaches.  One of my friends said I should not expect teachers can play for every song they are teaching. I have posted this issue, but it seems people reluctant to talk about it. Why can't teacher perform in front of students especially when the student is doing the exam ? Another thing if you are doing your own repertoires, how do you know you are doing right ? Do you still seek professional advice after you master it ? I have learned a few piece ( Chopin Mozart and Beethoven) by myself, I just played what is sound right for, but I am sure I am far from perfect. How do I know the teacher is good if I never hear her performance? Thank you so much, it is like to hear you guys learning experience and exciting adventure in this piano world.   

[rachfan]

Hi dora,

The basic duties of a teacher are to provide some analysis, criticism, demonstration, and inspiration to the student.  On demonstration, usually a teacher will demonstrate at the micro, not the macro, level.  For example, the speed of a particular trill, how to execute a Baroque ornament, how to best practice a difficult figuration, how to fix a fingering, or how to optimize the pedaling of a passage, etc. etc.  One of my teachers was a conservatory graduate who had studied with great professors, and the other had a Master of Music degree in Performance and was working on his DMA degree.  He also studied with a fabulous artist.  In 10 years, I only heard my first teacher play a piece once!  It's not that she couldn't play.  For instance, she gave a fine recital at Jordan Hall in Boston just a very few years before she died.  My second teacher had played at Carnegie Hall, but would also demonstrate only small things at a lesson to get the concepts across to me.  Never once did I expect or ask them to play a whole piece I was studying. 

With my second teacher (and understand how VAST the piano repertoire is!) sometimes I would select pieces that he was hearing for the first time.  And my earlier teacher had so busy a teaching schedule, that she never had time to practice!  She was an excellent sight reader, but understandably would have likely been reluctant to play a piece through.  I agree that the duty of the student is to work out the piece with corrections and suggestions from the teacher until the piece is brought up to its potential.

My first teacher often took her top students to hear touring pianists at community concerts and to Symphony Hall in Boston.  Those experiences were often inspiring.  My second teacher gave periodic recitals which I always attended, and learned much from watching and hearing him.

When I start a new piece, I never listen to recordings.  Rather, I want to learn the piece on my own, developing my own interpretation, fingerings, nuances, etc.  Only when I'm nearing  completion of the process will I then listen to a professional recording--and usually it is only to  hear if I have a wrong note anywhere in my rendition (to save myself embarrassment  ).  Sometimes I've found that a wrong note is actually on the part of the artist, and not me  .  Or, it has simply resulted from differences between score editions. 

Really, the most fundamental part of pedagogy is for the teacher to work hardest at teaching the pupil to eventually teach himself/herself.  The teacher does not need to play pieces for the student to accomplish that goal.  You'll know if the teacher is good by reputation,  recommendations from others, years of experience, number of students, his/her musical education, professional memberships, honors or awards, etc.

Finally, bear in mind: There are some wonderful artist-teachers out there.  But there are also very well-known artists who cannot teach effectively at all.  Similarly, there are teachers who have not given a recital in many, many years, and who instead devote themselves to their students.  Yet they are extraordinary in imparting the principles of musicianship and inspiring their students.