twocats I’ve got a long reply; hopefully it’s useful. When I was a kid, I didn’t find memorization ‘difficult,’ per se, but I did find memorization problematic. The pieces that I was asked to memorize, I felt like by the time I got to the point that I needed to memorize them, I could play much of them from memory. But I didn’t have fantastic security in my memorization. To this day, I have nightmares of bad memory lapses during performances, and I was always more comfortable with the score.
Fast forward to resuming piano as an adult, it was very pleasant to realize that the technological advances of tablets and page turning devices really meant that I could use the score and not have to worry about clunky page turns, or multiple sheets that could have issues on the music stand, and so performance with the sheet music in front of me was not a big deal. In general, I haven’t put effort into memorizing things, and I feel this in many ways gives me more freedom, as I don’t have the mental anxiety of worrying about a memory lapse.
I did memorize the last piece that I submitted for a PT recital, but this was the exception. I ended up deciding to memorize it because I realized it had kind of memorized itself. The piece had a number of technical challenges for me, but I think musically it was more straightforward than a lot of things I have worked on recently. I think this was the reason I absorbed it. Even so, I think the biggest issue with the performance was ultimately an issue related to memory. Do I think memorizing it made me feel more free in my playing? Not really. But it wasn’t a big deal to memorize it, although the memorization was also imperfect.
This takes me to my current project, which is another 20th century piece. It’s got a few spots that I’ve found particularly troublesome to learn. There’s one particular spot that’s just 6 measures, but I spent several weeks on it, trying different practice techniques, and it was giving me no end of trouble to learn. I don’t think this was for particularly technical reasons, but the passage is on the way to being atonal, if not fully there, and I just felt like I was spending a lot of time on it without much progress. My teacher had suggested a few things and I was still struggling. At my last lesson, he suggested that I work on memorizing it, and he gave me some suggestions for how to work on memorization. And I’ve implemented this, and the passage is finally coming together.
He had some very concrete recommendations for approaching memorization. 1. Work on small chunks — maybe a few measures. 2. Start with the music, then try to play from memory, then go back to the music and read through the phrase. Continue this (alternating between memory and the music) until every note in the small section is memorized. Then expand the section or work on the next section, but always alternate between reading the sheet music and memorization (I think this will actually help to not have the problem of feeling that you can’t continue to work both from the sheet music and from memory, which others have described). 3. There are several aspects to memory, and each is important. They include a. Visual memory — both the visual memory of the notes on the score and the visual memory of the appearance of the phrase on the keyboard (what does it look like your hands are doing?) b. Kinetic memory — how are you moving between notes/chords? C. Aural memory - how the phrase sounds; my notes from the lesson say “hear the ‘song’ of the phrase,” d. Conceptual memory - what is the structure of the music? Chord progression, etc. my lesson notes are, “ it is Impossible to memorize without understanding a phrase” and “Transitions can be perilous; it is important to understand these.” And finally e. Technical memory. Lesson notes: “technical failures often causes memory slips.” Make sure you are technically secure. As you memorize a section, you need to pay attention to each of these things and memorize each of these aspects.
The recommendation was also that if you are planning to work on memorizing a piece in its entirety, it is beneficial to do so from the beginning so that you incorporate all aspects of memorization before the purely kinetic memory sets it (and you will be over-reliant on ‘muscle memory’). He also recommended memorizing hands together as much as possible.
Anyways, I’m not really planning on attempting to memorize a whole piece, but working on specific tricky passages in this way, I did actually find that I made more progress than anything else I had been doing. And while it is somewhat time-consuming, I think if I were to approach an entire piece this way, it would be an approach that would help me simultaneously learn and memorize the piece in a way that felt secure.
