The idea behind my memorization technique is that it is a way to structure the process of memorization, but that within that framework, any way of learning the music will do. If you think analytically, visually, aurally, intervalically, use note names or solfege, or some combination of those (and any other) ways, the structure of repetitions should still be a useful one to follow.

Do you actually see the notes subconsiously when you are playing.

Tony

I would guess so, though they might need quite a bit of supervision on choosing small sections, and some guidance on the thinking part. I find it interesting that sometimes I think analytically (noting what all the intervals are, for example), sometimes I think of the note names, sometimes I narrate to myself (this is the part with the big crescendo…), and various organic combinations of those ways and others. Younger kids might benefit from guided questioning from you: “what are you seeing when you think this passage? what are you hearing?” and reminders to try and memorize everything–the dynamics, articulations, interpretation as well as just the notes. I’m working on this method with an adult student and a 14 year old at the moment, and have not used it with anyone younger yet. Let me know how it goes for you!
-z

How you stitch the small sections together depends a little bit on how small they are, and how well you already know the piece. If the sections are full or half phrases, a little study away from the instrument (studying the form of the piece as a whole) might be all it takes. If the sections are very small, you might have to go through the process a second time with larger chunks (I once memorized some very complicated music one bar at a time, then went back and did it two bars at a time, then four bars at a time…)

If it is a piece you know previously from listening to it a lot, or playing it with the music, you will probably find that studying slightly larger sections (like the exposition, or half the development section…) will be enough to stitch together your memorized small chunks. For pieces that you are learning for the first time as you memorize them, considerably more study will be involved.

As much as possible, I like to do that kind of study mentally, away from the instrument, to avoid the temptation to test myself and thus to add anxiety into the process.

This is a pretty big topic! I hope these bits tide you over until I can approach this stage of the process in a more complete way.

Let me know how it goes.

I do have a question about this, though… maybe it’s something that will be coming up in a future post, but I figured I’d ask anyway. I can see where memorizing in small chunks is much more effective than trying to memorize larger parts of a piece, but how do you approach stitching them all together, and how do you avoid stumbling where the sections begin and end?

Thanks again for the wonderful practice process and performance insights–I have your blog on my favorites list and look forward to each week’s post!!

–Jami K.

Zara, I LOVE YOUR PRACTICE NOTEBOOK!
It’s great you are willing to share your ideas like this. I have also kept a notebook on and off for several years, but you have taken the art to a new level!

I like your ideas about memorization and will definitely try them out! My next concert will be partially from memory and my memory is very out of practice. Glad to have some inspiration.