Can you pass the "write down notes - no piano allowed" test?

[stormx]

Hi !! 

I have observed the following regarding myself, and i wonder whether is it normal or something undesirable...

I have some (little) pieces memorized (i can play them without the score in front of me). However, if i am not at the piano, and you ask me to write down the NOTES (not even its values), there are MANY i do not remember !!! 

So, my memory seems to be mostly a MUSCLE memory. Do you find this normal?

Bye !!

[nicko124]

I have this problem as well so i would appreciate any help on this. It's mainly for complicated passages of a piece though, i have great muscle memory on them but writing down the notes would be difficult.

[Rach3]

A professor I know believes that in order to perform satisfactorally, you need to know the piece three times over - in "muscle memory in the fingers", aurally, and the notes on  the pages. So, ideally you should be able to (1) think/hum through the piece in all voices away from the piano/without the score, as if you had memorized a recording of it (aural); (2) be able to play through it by fingers alone, without thinking about it and without a score; and (3) be able to start at any point in the piece, knowing the next notes simply by knowledge of the piece (the notes, abstractified). He argues that the best performance can only come from knowing a piece this well. So, basically get to know the piece extremely well.

Given this, theoretically you should be able to (ultimately) transcribe the notes of any piece you know. I think if I were to try this, I would go through an intermediate of hearing/finger-moving first and transcribing by ear - so I'm not quite there yet.

[Daevren]

Rach3, your professior is right. Of course this is very hard. But its the point to aim for.

If you can play/imagine/see/hear the piece in three different ways, in terms of vinger movement, in terms of the notes, and in terms of sound then you know the piece like no other. But this is almost impossible. And may be unwanted. You could learn other pieces in the same time.

[JamesS]

A good way of developing your other types of memory other than your kenosthetic (muscle) memory is to practice away from the piano. Analysing the score away from the piano is very useful as you don't have any interference from technical difficulties etc. Also memorising a piece away from the piano is a very quick and thorough way, as in order to do this you have to look at the score in a very different way, not just in terms of how it feels to play it.

j

[pseudopianist]

I hate it when the piece is just in my finger memory. I wanna know each note and harmony I play. That is why I'm gonna learn a WHOLE Bach fugue by memory (C major book 1) but it is gonna take a while. 

I could write down every note for the following:

Liszt Transcendental study Preludio
Chopin Fantasy Impromptu (Well I used to. I think I could pull it anyway)

[aerlinndan]

I wanna know each note and harmony I play. That is why I'm gonna learn a WHOLE Bach fugue by memory (C major book 1) but it is gonna take a while. 

Might I suggest the C minor book I fugue instead? It's a classic fugue and the benefits of learning it in the way you want to are immense. It is a "perfect" fugue in that it is structured exactly according to the "rules" of fugue-writing. On top of that I found it a whole heck of a lot of fun to play.

[pseudopianist]

Might I suggest the C minor book I fugue instead? It's a classic fugue and the benefits of learning it in the way you want to are immense. It is a "perfect" fugue in that it is structured exactly according to the "rules" of fugue-writing. On top of that I found it a whole heck of a lot of fun to play.

I've already started with the C major fugue so it would be annoying to start another one. And lets not forget that the C major fugue is best one after G minor book 2.

I'm quite familiar with the fugue, theorywise and I think that will help me understand and memorize it better.