memorization with harmony/theory

[hopefulauditionpasser]

hi all,

i've always been very bad at this part of memorization, and I'd like to bolster it up a bit. the most i've been proactively doing so far is simply identifying repetitions, imitations, and sequences of notes, i.e "the bass is always on a B octave and jumps up to E, then B to F, then B to F# chromatically onwards. The next section it goes chromaticaly downwards from E"..

I'm able to point to sections of a piece and label chords, but I'm unsure how pro pianists think and use harmony to aid their memorization. i wouldn't think they just memorize chord progressions. would anyone be able to explain to me their (or the general agreed upon) process in which to use theory to memorize?

thanks

[brogers70]

People memorize differently, of course. I use theory to help me memorize in small ways. For example, maybe there's a chord that happens at a spot where I often have a memory lapse, and pure muscle memory doesn't reliably do the job, so maybe I just think - OK that's that widely spaced C# Minor in first inversion. I train myself to think that thought as I'm approaching the spot where I have memory problems, and, bingo, no more memory problems there. Or if I have some dense Brahmsian chords written in Cb major with a bunch of double flats and naturals and odd accidentals, I just rewrite it, in my mind, in B major, the chords seem more natural to my mind, and it's easier to remember. Or sometimes if there's a cycle of fifths progression, I just remember that that's what it is and it helps me remember how the bass line moves. Mostly I do use lots of muscle memory, but theory helps shore up the places where there are problems.

[frodo10]

It is helpful to analyze forms.  For example, in sonata allegro form (very common), it helps to thoroughly analyze the exposition and the recap.  If you rely on muscle memory, you can easily end up repeating the exposition when playing the recap.