Memorizing music - how is it best achieved? - music
When memorizing music there are quite a few equipment you can do that will make your job that much easier. Memorizing music is chief as most associates know you play beat when having the music in your head considerably than having your head in the music. So where to start when memorizing music effectively?
I agree with Fred Noad, when discussing memorization in his book, Solo Guitar playing, he states. . . Learn to play a piece from establishment to end with categorically adjust fingering and with accomplished continuity (however slow) ahead of committing it to memory.
To learn music in this approach helps with an generally visual remembrance of the piece and it helps with continuity moderately than have the piece sound disorderly and fragmented. If you think about it you will apprehend that our feelings and memories are nonentity more than brawny similes or, pictures, if you like.
To prove my point let's say I ask you to think of an elephant. What do you see? Is it the word elephant on paper down (which could be a picture) or is it a adventure or part adventure the brute itself? I bet you I know the answer. A further test would be to ask how you dreamed at night. Do you dream in words or are your dreams a chain of cinema fairly like a scene from a movie?
You need to work with your brain instead than aligned with it. Why not develop the biological act of your memory? It's crazy not to!
I also know from my days at Teacher's Academy that most citizens have assorted strengths when it comes to education a bit new based on the body's atypical senses. Some associates are visual learners, some learn beat with their concrete (touching) sense and some are brawny hearing learners.
What is clear in most copy about recall is that a code of as many of your senses as likely is a stronger way of knowledge anything. For the reason that of this we ought to employ most of our senses when culture a new piece of music. Of course of action we can't add in taste and smell to any great amount (unless you want to eat your music!) but we ought to categorically try to use our other senses of sight, audible range and touch.
So, having recognized a approach of erudition a new piece of music what comes next? What are the nuts and bolts, so to speak?
I would essentially take a step back. That is, start not with in performance a piece of music but moderately just conception it, just like a book, on its own. What I would be looking for is how it is put together. I would look at the key, form, and arrange of the music? What about sequences and repetitions? What about dynamics, enunciation and tone?
Breaking a piece up into its factor parts first already you start to play it and get a visual recall of the piece allows you to take a short-cut of sorts. If you appreciate where the repeats are, for example, you have previously cut down on the quantity of bars you have to memorize. If you know about the dynamics of the piece already you play it physically your brain won't have to deal with too much in a row at once.
As Sharon Isbin says in the Classical Guitar Fulfil Book. . . "The more you be au fait with the dialect and build up of a piece, the easier it will be to memorize. "
I liken it to energetic to an unfamiliar place or hamlet in your car and using a roadmap. If you just turn up and anticipate to find the avenue it would be very awkward indeed. But if you look at the map earlier you stand a much change for the better accidental of conclusion your destination by noticing the signs along the way. You accept where you are, with much less stress!
Of course, I'm conversation about conception the music AWAY from the guitar. This must be your very first step. I would then employ the Noad approach after this.
Next I would test my remembrance by in concert the break free phrases in the music. If you certainly know a phrase, try to filament it as one with the next express in the piece and so on until you get to the end of the piece. If you are not certain to play phrases try in concert one bar at a time and going back to the in print music when a bar is forgotten.
In this way the music can be overlapped until the whole piece can be played by memory.
I would leave the piece for quite a few days to a week after that. Then I would test my reminiscence again by annoying to play the whole piece, construction note of where I faltered or desired to consolidate. Goodbye it for a age of time allows your involuntary brain to keep "working" on it for you. The involuntary is actually quite brawny and when you get out of its way, you'll be amazed at what it can achieve.
Studying a new piece in this approach ought to yield results. And remember, the more you apply (properly) the easier it will become. Good luck!
Trevor Maurice is an Australian, active in charming shore Maroubra, in the eastern fringes of Sydney.
He's been concerned in in performance guitar (mainly classical) for longer than he cares to consider and has also skilled the instrument for many years. He is governess trained, having a Qualification of Culture (Majoring in music)
He has also trained Basic (Elementary) discipline for many years and had a long-held dream to build a attribute website for the classical guitar that is of use to anybody even to some extent attracted in this delightful instrument. He has now made that dream a actuality with the approvingly rated. . .
http://www. learnclassicalguitar. com/index. html
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