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I suppose you could apply to music if you broke down the music into individual phrases, motives, or ideas.
 

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Agent27 said:
I suppose you could apply to music if you broke down the music into individual phrases, motives, or ideas.
That's how I saw it.

The whole idea is finding a method to put it into Long Term Memory.
 

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I'm generally fine with memorizing musical lines. I can memorize changes but sometimes struggle to recall them in real time.
 

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I've used a similar technique to memorize scripts.

For music, I memorize what it sounds like in my head and feels like under my fingers, rather than what it looks like on paper. That probably works best for me because I am more of an ear player than reader.
 

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hakukani said:

My ex wife did this in her philosophy classes (I helped her study). She was able to reproduce her notes exactly on her tests . It was incredible, however I don't know how much she retained. It was like she pictured where the words were on the page. She did receive all A s
 

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Agent27 said:
I suppose you could apply to music if you broke down the music into individual phrases, motives, or ideas.
This works for me. I break up the song into bars, then the bars into measures or phrases. Usually I start from the last measure/phrase, playing it 50-100 times (depending the degree of difficulty) in one sitting. During the first 10-20 repeats I look at the sheet, after this I don't have to. Somehow the notes begin to stick and become stickier after each repetition. At a certain point I can visualize how they look on paper, hear how they sound together, and my fingers remember how they're played in sequence. (Usually takes about an hour)
Then I take a break (do something else, play another tune, etc). Then I go back and try to play it perfectly from memory. If I still can't, I repeat the above.
When it's memorized I start on the next measure/phrase immediately preceding it (going backwards) using the same procedure. When the second phrase is memorized I play the two phrases together.
I know others prefer to do it the other way, but going backwards allows me to continue memorizing the measure/phrase I'm currently working on without being distracted by the parts (bars/measures) I've already memorized. It's like "stacking" but backwards.
After I've memorized the whole piece I go to the next phase: Playing it from memory using a metronome.
It's time-consuming but works for me.
 

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Looks like a great technique for memorizing something. But ultimately, I think there's a difference between "memorizing" a piece of music and "knowing" a piece of music. I wouldn't say that I've "memorized" Stella By Starlight, or Mary Had a Little Lamb, or the Pledge of Allegiance, I just "know" them. I could go ten months or ten years without playing (or saying) them, but I would still just "know" them.

Granted, "memorization" is an important step, but it's still just a step on the way to "knowing."
 

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That's great. Now all I need is a way to remember not to suck when I'm actually playing:) .

Rory
 

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Transcription

In speaking with Claude Delangle, I learned a very good way to memorize a piece: study it. On an occasion several years ago Claude was asked to play Berio's Sequenza VIIb from memory, not an easy task, and because of time constraints instead of playing it over and over again he studied the piece note by note on his daily commute of 3 hours on the subway until he could transcribe the piece from memory.

If you're a visual person, as I am, this is VERY useful. Being able to know what a piece should sound like is different from seeing it for me, and although I could vocalize a piece from memory, I am not able to play it until I can literally see the score in my mind as though it were in front of me.

This has been very useful as I memorize the Glazunov for an upcoming concerto competition. As always, your mileage may vary.
 

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