Memorization

[Zigma]

Does anyone have any tips for memorization? I have about a month to go before I play this piece, and I'm scared to death that I won't be able to memorize it. For some reason I seem to have trouble memorizing music, I'm slow at it. It's a Nocturne by Chopin, if that makes any difference.

[ayahav]

I cannot really sympathise with you on this matter, because I have a really easy time memorising music, but here are some methods I can offer you.

Method #1: Play through the piece a couple of time, with the left hand playing, and the right hand only going through the motions, without really making the sounds. Then do the same with the right hand and the left hand not making the sounds.

Method #2: Divide you piece into sections, and try playing the sections in a random order.

Method #3: Play the piece (just making the motions) without making any sound.

Method #4: Play the piece 10 times in a row (when you reach the end go right to the beginning). Do this every day. It should start sticking in your memory after one or two days.

Because you're playing a Chopin nocturne it's easier for me to offer you advice, as I have played numerous nocturnes. If you tell me which one it is, I might be able to help you more easily. The best idea in Chopin nocturne is to look for the patterns and the structure. The patterns might not be evident straight away, but they're always there. The structure is pretty much always the same. Dolce/Cantabile first section - Contrasting middle section - repeat of the first section or a development on the first section material.

My best wishes,

Amit

[tosca1]

Dear Zigma,
Is it absolutely essential that you memorize this piece?  A month is before a performance is not so long and if you are "scared to death" about it would it not be better to use the score and put yourself in a less stressful performance situation?  The most important thing is to give a musically satisfying performance of the piece which will be difficult to do if you are feeling too anxious about your memorized rendition.
Ayahav's advice is most helpful and I do not pretend to be an expert on memorisation. I could add however that memorisation shows that you thoroughly know the piece that you are playing. To some extent memorisation will come naturally as you study the work in every aspect and the "muscular" memory will help the " analytical" memory and vice versa.
All the very best.
Robert.

[ayahav]

I must say that I agree with the post above. To me memorisation has always come naturally. As I learnt the piece, I just got up one morning and found out that I can play the piece from memory. It happens every time. You'll find that when you do play from memory, it is much easier to concentrate on other aspects of your playing.

[rachfan]

As has been mentioned many times, there are four kinds of memory--tactile, aural, visual, and analytical.  The tactile or touch memory is purely mechanical, that is, the sensation of the fingers playing through the piece.  Aural memory is the music being retained for recall in the "mind's ear".  Visual is literally "photographic memory".  There are people who have that uncanny ability, and they can actually view of the sheet music in their mind as if it were on the music desk before them.   Analytical memory arises from studying the piece away from the piano, noting its form and landmarks such as parts, key modulations, figuration patterns, cadences, transitions, climax, unusual harmonies, etc.  Some people are more adept at music theory than others and can use this approach expertly.  Geiseking was a genius at this.    

Generally, the trick seems to be to use any TWO of these methods with which you are most comfortable.  NEVER depend on just one, particularly tactile memory.  If the fingers suddenly lose their place, the piece will come to a abrupt halt!  If, however, you are combining aural memory with tactile, for example, then the mind's ear can take over momentarily to help.  For example, it will assist you in imrprovising a bit through a difficult measure or two to preserve the overall effect.  Or it can help you to advance to a nearby landmark where you can regain your bearings, while maintaining continuity.  The rule there is never stop--keep on going, even if you must momentarily become a co-composer with Chopin or whomever.  (Don't worry--if Chopin is looking down on you, like any other composer, he'll be totally intrigued by your improvisation during that emergency.)

I always found that if I truly loved a piece, I could memorize it.  Incidentally, as you get older, memorizing becomes more and more difficult.  (The brain's RAM becomes too full basically.)  And I fall into that category!  Yet, recently I was playing the accompaniment to "Believe it not!", a powerful, tempestuous, and sensual song by Rachmaninoff.  After practicing it for awhile, I closed the music and astonished myself by playing it through in its entirety--I had memorized it because I really loved the piece, and had the tactile and aural sensations clearly ingrained into my brain.

I think there's a larger message there that transcends mere memorization.  Once you become a "well-rounded pianist", do not spend time on repertoire you dislike.  The repertoire is too vast and one's lifetime is too short.  So select music you truly love.  Think of a piece as an important intellectual and emotional investment.  

Be sure to play the piece(s) for relatives and friends before you get before an audition, jury, or audience.  Be secure in your playing before taking the plunge.

[dinosaurtales]

What RachFan said.  (BTW RachFan - tell my piano teacher about playing what you like!  She is *making* me do the Bach French Suite, and it's boring.  What I hate most is that it's hard, but when it's all done it'll sound easy.  Makes no sense to do that!)  

Anyway - back on topic.  I've been memorizing pieces, and I always look for patterns of any kind (this would fall under RachFan's analytical memory I s'pose) For instance, Chopin uses a lot of interesting lines in the bass and often the accompanying notes *go* with it - so look at little blobs like that and see if there's a pattern there.  Sometimes you just have to memorize the bass *line* and the other bass notes just follow along naturally.

One piece I am working on memorizing is a Cramer sonata, that seemingly has NO patterns at all - lots of thirds, fourths and fifths in apparently random sequences in both hands, BUT (and this took a while to detect!) I noticed that if the left hand contained the tonic of a chord and the third, the right hand would contain the tonic and the fifth - as an example.  What this means is that if I *know* the notes of one hand, I can quickly deduce the other - and that helps me out.  

Most pieces seem to have easier patterns that this, though.

Good luck!  It's definitely a skill - memorizing, but once you start doing it you'll get better.

Also, I agree with RachFan.  Getting older does seem to make learning pieces more difficult at all levels - memory in particular.  Sometimes I think getting old sucks, but it's definitely better than the alternative!

[rachfan]

Hi Dinosaur,

Well, remember, I said "after you become a well rounded pianist", then you can branch out on your own and play what you love to play.  We all had to suffer some Bach.  (Some people actually love playing his music, but then again, some of us don't.)  Once you're done with paying dues to  Bach, maybe you can acknowledge the learning in that and convince your teacher to then move on to other periods in the repertoire--hopefully.  

[dinosaurtales]

Well, I wish that was true.  Unfortunately I think she really likes the stuff.  She sez it's *good* for me.  - and at my age!  You'd think I could make my own decisions - but NO.  I'm still being told what to do.  

Gad!

Mindy

[rachfan]

Dinosaur--

Try this in bringing two reasonable minds together.  Ask her, if you're on the French Suite now, why that cannot be sufficient for this year's exposure to Bach.  Tell her that the counterpoint, ornaments, suspensions, sequences, pedal points, etc. have all been fascinating, but that you need some balance in your study repertoire to gain perspective and improve your technique in playing different musical styles.  While Bach is a great composer and teacher, you want  to appreciate masters in later periods as well.  Tell her you're not abandoning Bach, you'd be willing revisit Bach again-- maybe a Two-Part Invention, Symphonia, or a Prelude & Fugue--but that would be NEXT year, not this year.  

Seriously, an adult student needs to have more latitude in making these choices than a very young student.  Another tact might be "You chose the last piece, so I get to choose the next one", then keep trading off.  Hopefully, she'll agree with that premise and compromise.  Nothing discourages a student more than being trapped in repertoire of little or no interest or being forced to learn a disagreeable piece.  See if you can talk it out and set some guidelines.  Good luck!    

[dinosaurtales]

Well, actually, the situation isn't as grim as I am making it sound. I have two other pieces I am working on for her lessons - a Cramer sonata, and a John Field.  I am also working on a Wesley March (off to the side - she snubbed it, but I liked it!)

So the Bach just sort of fits into the mix.  It's just not my fav - it gets 15 minutes of my precious time then on to the fun stuff!

Mindy