I finally finished Suzuki Book Three. Yes, it has taken me years, in part because my teacher not only insists on my memorizing each piece, but also my performing, from memory, all the pieces in each book with a pianist (at the same recital) before moving onto the next book. And memory means the ability to start at any point in a piece, know all the notes, etc., not just play it by rote. Memory is the first step in learning a piece; after that, you polish and refine. This is the way she teaches her young students, and it is the way she teachers her older ones. One is supposed to keep all previous pieces current, and I try.
It is difficult for me, all this memorization, but not memorizing is not an option with my teacher. On the one hand, I do think I learn the music better than someone who learns a piece and moves on, never to play it again. I think I am probably better off than people who skip around, or skip quickly through the books, not remembering earlier technique. It's not a race, I say, to reassure myself.
On the other hand, sometimes I think 98 percent of my mental powers and practice efforts go into memorization, and other crucial things about playing the cello, say intonation or vibrato, do not always get the attention they deserve. So, I tend to define success as "getting through the piece," not playing it musically.
Other factors conspire to slow my progress. I play two instruments and have limited time to practice; I play in numerous ensembles playing widely different types of music; I have big recitals, not just the pieces in the Suzuki books, but numerous ensemble pieces so that I can also perform friends (and so they can enjoy being part of the recital, not just suffer through my performances).
The memory thing, for me, has its pros and cons. I do like being able to play pieces from memory, not only the Suzuki pieces, but also fiddle tunes and other music, and my memory capacity much better than it used to be. But, memorizing can be very frustrating for me, and sometimes I feel that my head can only hold a certain amount of music memory (a lot more now than when I started, but still a finite amount), and trying to perfect one phrase causes another one to escape. I had a difficult time getting all the pieces in Book 3 to stay in my head at the same time, so I finally split the pieces into two recitals.
So, to get to the point of this post, I am delighted to say I don't have to memorize the Breval Sonata (because it is a sonata, not because it might be helpful for me to try to learn a piece before memorizing it, rather than the other way around). And, after a week with it, I am thrilled at my progress. The old (memorization) way, I would be two lines into it by now. But I am playing it straight through, with my teacher accompanying (sounds good that way). There are still parts to smooth out, and I have to get it up to tempo, but gosh, this is a nice change of pace.
I have to admit I never cared for the Breval until I started playing it, but was determined to learn it because it is often selected as the junior (grades 7 to 9) audition piece for state orchestra competitions. I do enjoy it now, and I am so delight to be finally playing, somewhat musically, at the 7th grade level (if not quite yet at the winning-the-audition level).
Showing posts with label memory. Show all posts
Showing posts with label memory. Show all posts
Tuesday, March 18, 2008
Thursday, August 2, 2007
Learning and memorizing a tune
I attended a great fiddle concert tonight by the Kane Sisters, two Irish fiddlers. One of them, Liz, said she could learn a complicated tune in about an hour, by ear. Then, the next day she would have to learn it again. And keep at it until she had it down. It doesn't take her all that long: about five times playing the tune with her sister until they have it down. Less complex tunes take only a half hour (the first day).
This was reassuring to me, as they have been playing fiddle since they were young children. I can easily memorize a tune on the first day and almost completely forget it the next day. Yet, if I keep at it, it doesn't really take more than a few days to memorize a simple tune. Reliably playing it is another story.
Liz also said the first step was "listening until you are blue in the face." An interesting image! This is important. I used to do the reverse in a class--try to memorize the tune a few notes or measures at a time, before I really knew the tune well enough to sing it. It is so much easier to play a tune you already know.
I briefly attended a fiddle session before tonight's concert, in which the same subject came up. One of the fiddlers said he memorized about a tune a week, but it took him about a month to learn each tune. Thus, he's usually working on four tunes at once, in different stages of knowing the tune. This makes sense to me, as it is more or less what I do, but sometimes I'm lucky to add one new tune a month.
Here's a link to a good summary of fiddle practice technique.
Later tonight, after the concert, I got a call from a woman at the Scottish fiddle camp that I will be attending soon. She wanted to know my cello level so the teacher could prepare for the camp. There are only 4 cello students, including me, of a total of 75 students, and we're all over 40 and pretty much on the same level (I hope! All the others have attended this Scottish Fiddle Camp before, so they are a bit ahead of me on Scottish fiddling styles.) Turns out we will be learning by ear. I had a nice chat with the caller (a fiddler) about learning tunes, and she agreed about the importance of listening and the ease of forgetting. She also said that the cellists attending are the nicest group of people you could ever hope to meet. Well, I already knew that about cellists!
This was reassuring to me, as they have been playing fiddle since they were young children. I can easily memorize a tune on the first day and almost completely forget it the next day. Yet, if I keep at it, it doesn't really take more than a few days to memorize a simple tune. Reliably playing it is another story.
Liz also said the first step was "listening until you are blue in the face." An interesting image! This is important. I used to do the reverse in a class--try to memorize the tune a few notes or measures at a time, before I really knew the tune well enough to sing it. It is so much easier to play a tune you already know.
I briefly attended a fiddle session before tonight's concert, in which the same subject came up. One of the fiddlers said he memorized about a tune a week, but it took him about a month to learn each tune. Thus, he's usually working on four tunes at once, in different stages of knowing the tune. This makes sense to me, as it is more or less what I do, but sometimes I'm lucky to add one new tune a month.
Here's a link to a good summary of fiddle practice technique.
Later tonight, after the concert, I got a call from a woman at the Scottish fiddle camp that I will be attending soon. She wanted to know my cello level so the teacher could prepare for the camp. There are only 4 cello students, including me, of a total of 75 students, and we're all over 40 and pretty much on the same level (I hope! All the others have attended this Scottish Fiddle Camp before, so they are a bit ahead of me on Scottish fiddling styles.) Turns out we will be learning by ear. I had a nice chat with the caller (a fiddler) about learning tunes, and she agreed about the importance of listening and the ease of forgetting. She also said that the cellists attending are the nicest group of people you could ever hope to meet. Well, I already knew that about cellists!
Wednesday, June 6, 2007
Memorization, Again
I gave my teacher a printout of the article on memory that Erin suggested a while back about why it is not necessary to memorize music. My teacher just laughed. This is not an article she is even vaguely interested in reading.
I've been grumbling about having to perform Suzuki book recitals (all the pieces in the book) from memory. I think I am focusing too much on memory and not enough on technique, intonation, and expression. Either I need to improve my memorizing skills or I need to focus less on memorization.
On the whole, I believe in memorization. I like having a repertoire at my fingertips; and I like performing fiddle tunes, and you can't use sheet music for that. But memory doesn't come easily to me. It requires a lot of analysis and repetition. Then, I tend to be thrown off a bit when I play from memory with others, especially the fiddlers when, sometimes, everyone is playing a slightly different version of the tune.
I tried an experiment a week or two ago. I memorized a fiddle tune, Coleraine, on the flute, to compare the memory process and to see whether it would help or hinder learning the tune on the cello. I memorized it easily the first day, forgot it by the next day, re-memorized it and solidified it over the following few days, and can now play it well. I had never memorized anything on the flute, and it seems to be a very different process than memorizing on a string instrument. When I memorize a fiddle tune on fiddle or cello, I tend to visualize the fingerboard as a grid and think about finger placements on the grid. Most fiddle music on the fiddle is in first position, requiring no shifting, so this works well. Most fiddle music on the cello does require shifting, so it is a little different process. I think about where the shifts are, the bowings, where there is a scale fragment, a fifth, an arpeggio, etc.
With the flute, I found I thought more about note names. No shifts or bowings to worry about, and the pitches are more dependable. It also helped that I could play the tune on the flute--no learning needed, only memory work.
Then I switched to the cello to see if I could play the tune on the cello just from my knowledge of it on the flute. To some degree I could. Curiously I forgot the G#'s that I had focused on in the flute version. Just knowing the tune better helped a lot, though.
Why go through this, you might ask? Well, I have been thinking of memorizing a few fiddle tunes on the flute so I can play flute with the fiddlers on occasion. I have 4 or 5 tunes memorized on the flute now, and have learned several of these on the cello. I think the flute memory work is helpful to memorizing on the cello. At least it does not seem to be detrimental.
As for Suzuki music, I think I will change my focus a little. Instead of memorizing first, polishing second (the Suzuki way), I will concentrate on the learning, intonation, and polishing. I will continue to memorize, and to analyze the music in preparation for memory, but will try not to make memory the major focus of my work. It is not easy to make this transition, but I will try.
I've been grumbling about having to perform Suzuki book recitals (all the pieces in the book) from memory. I think I am focusing too much on memory and not enough on technique, intonation, and expression. Either I need to improve my memorizing skills or I need to focus less on memorization.
On the whole, I believe in memorization. I like having a repertoire at my fingertips; and I like performing fiddle tunes, and you can't use sheet music for that. But memory doesn't come easily to me. It requires a lot of analysis and repetition. Then, I tend to be thrown off a bit when I play from memory with others, especially the fiddlers when, sometimes, everyone is playing a slightly different version of the tune.
I tried an experiment a week or two ago. I memorized a fiddle tune, Coleraine, on the flute, to compare the memory process and to see whether it would help or hinder learning the tune on the cello. I memorized it easily the first day, forgot it by the next day, re-memorized it and solidified it over the following few days, and can now play it well. I had never memorized anything on the flute, and it seems to be a very different process than memorizing on a string instrument. When I memorize a fiddle tune on fiddle or cello, I tend to visualize the fingerboard as a grid and think about finger placements on the grid. Most fiddle music on the fiddle is in first position, requiring no shifting, so this works well. Most fiddle music on the cello does require shifting, so it is a little different process. I think about where the shifts are, the bowings, where there is a scale fragment, a fifth, an arpeggio, etc.
With the flute, I found I thought more about note names. No shifts or bowings to worry about, and the pitches are more dependable. It also helped that I could play the tune on the flute--no learning needed, only memory work.
Then I switched to the cello to see if I could play the tune on the cello just from my knowledge of it on the flute. To some degree I could. Curiously I forgot the G#'s that I had focused on in the flute version. Just knowing the tune better helped a lot, though.
Why go through this, you might ask? Well, I have been thinking of memorizing a few fiddle tunes on the flute so I can play flute with the fiddlers on occasion. I have 4 or 5 tunes memorized on the flute now, and have learned several of these on the cello. I think the flute memory work is helpful to memorizing on the cello. At least it does not seem to be detrimental.
As for Suzuki music, I think I will change my focus a little. Instead of memorizing first, polishing second (the Suzuki way), I will concentrate on the learning, intonation, and polishing. I will continue to memorize, and to analyze the music in preparation for memory, but will try not to make memory the major focus of my work. It is not easy to make this transition, but I will try.
Saturday, May 26, 2007
Memory talismans (talismen?)
It has been a busy week, work-wise, with little time for blogging. Still busy, probably right through the weekend. The joys of self-employment.
I have been re-reading Music for the Joy of It, Enhancing Creativity, Skills, and Musical Confidence by Stephanie Judy (who plays multiple instruments, including cello). This is a great book, full of information and advice on learning, practicing, and performing for amateur musicians. I bought it maybe 7 or 8 years ago and read it then, but am finding much of interest, lots that I forgot, or just seems more relevant now.
The following quote from the book is probably not the best example of useful information, but given my obsession with memorizing, it struck me as worth considering:
"If you are getting ready for a performance, it can help a surprising amount to practice your memory work in the place where you will perform. That's not always possible, of course, but as an alternative you can use a talisman--perhaps a special necklace, a scarf, or a belt that you put on when you practice and plan to wear when you perform. Suzanne McGrath learned this trick from her teenage daughter:
Kathryn always studies for exams wearing the same shoes that she's going to wear on exam day. I used to laugh at her for being superstitious, but she persuaded me to try it when I was getting ready for a recital. I kept my concert shoes next to my music stand and slipped them on when I worked on my recital number. (Kathryn absolutely insisted that I must never, never wear them for anything else or the spell wouldn't work.) And you know what? It worked! I had this very eerie feeling while I was playing that if I forgot anything, it would be down there in my shoe somewhere! At one point I even started to giggle because this idea struck me funny. But I'll definitely do it again."There are lots of other more conventional and musically serious tips, and I am trying them all. My teacher has suggested, more to her younger students, practicing in a special scarf, not for memory, more just to make practicing a special time, so I am kind of up for this one.
So, I am playing four pieces for memory at my next recital. Should I have four talismans? Scarves are a little warm in the summertime. I'm not much of a shoe person and I don't wear shoes at home. I like the hat in the above illustration, but it might be a little too dramatic. Perhaps a sparkly ring, shining with the true vision of the music. Four sparkly rings. We'll see.
Tuesday, May 1, 2007
Memorization tips
My teacher suggested, as a memory builder, that I try saying the names of the notes in a particular passage, away from the instrument, away from the music. I used to be able to do this quite easily. In more than one lesson, I claimed I could write out the piece; I knew it that well. But in the actual playing of the piece, sometimes my mind went blank, as if those neurons weren't connecting properly.
I can't say this about current pieces. I don't think I could actually write them down. I am relying too much on automatic memory.
We went over one section in the lesson, me trying to remember the note names. I did play this section much more fluently, from memory, today (using the loaner bow only).
So, I am going to work on analytic memory, and have found some memory tips online.
These tips are from Music Master.com
1. Read and sing your music (without the instrument)
2. Color-code parts that are the same with markers
3. Practice away from the instrument and study the music by itself
4. Practice it in sections. Don't try to do it all at once
5. Practice one phrase/section 5 times in a row and then try to play it without the music
6. Do some of the sections spell a word? ie: b-a-g-g-a-g-e
7. Can you make a section/phrase spell something to help you remember? ie: Bears Always Eat Fish Every Friday
8. Finger practice without playing your instrument
9. Take it slow!
10. Reinforce 100% accuracy...don't allow yourself to make mistakes; your brain will remember them!
11. Slow practice too!
12. Use your metronome
13. Play for family and friends the weeks and days before a recital or performance
14. Play on other pianos (if you are a piano student) to get used to playing on pianos other than yours
15. Don't overpractice
16. Play with and without the music
17. Make a copy of your music and cut it up into sections. Number or letter the sections and have someone call out the section and you have to start the piece from that section
18. Tape record yourself and play it back to give and get feedback (
19. Don't forget to breath!
20. Stay relaxed (easier said than done!)
21. Don't Panic
22. Play for others
23. Have fun
I saw an article in today's paper about memory in mice likely to develop Alzheimer's disease. When given an enriched environment (cages filled with toys and exercise wheels) memory is restored. I have spent the last week enriching my environment by cleaning my almost hopelessly cluttered office, unearthing many long-forgotten toys (art supplies, CDs, etc.). And of course the cello is a fine amusement. All I need now is an exercise wheel, or to go to the exercise place more often.
I can't say this about current pieces. I don't think I could actually write them down. I am relying too much on automatic memory.
We went over one section in the lesson, me trying to remember the note names. I did play this section much more fluently, from memory, today (using the loaner bow only).
So, I am going to work on analytic memory, and have found some memory tips online.
These tips are from Music Master.com
1. Read and sing your music (without the instrument)
2. Color-code parts that are the same with markers
3. Practice away from the instrument and study the music by itself
4. Practice it in sections. Don't try to do it all at once
5. Practice one phrase/section 5 times in a row and then try to play it without the music
6. Do some of the sections spell a word? ie: b-a-g-g-a-g-e
7. Can you make a section/phrase spell something to help you remember? ie: Bears Always Eat Fish Every Friday
8. Finger practice without playing your instrument
9. Take it slow!
10. Reinforce 100% accuracy...don't allow yourself to make mistakes; your brain will remember them!
11. Slow practice too!
12. Use your metronome
13. Play for family and friends the weeks and days before a recital or performance
14. Play on other pianos (if you are a piano student) to get used to playing on pianos other than yours
15. Don't overpractice
16. Play with and without the music
17. Make a copy of your music and cut it up into sections. Number or letter the sections and have someone call out the section and you have to start the piece from that section
18. Tape record yourself and play it back to give and get feedback (
19. Don't forget to breath!
20. Stay relaxed (easier said than done!)
21. Don't Panic
22. Play for others
23. Have fun
I saw an article in today's paper about memory in mice likely to develop Alzheimer's disease. When given an enriched environment (cages filled with toys and exercise wheels) memory is restored. I have spent the last week enriching my environment by cleaning my almost hopelessly cluttered office, unearthing many long-forgotten toys (art supplies, CDs, etc.). And of course the cello is a fine amusement. All I need now is an exercise wheel, or to go to the exercise place more often.
Monday, April 30, 2007
Bows and memory
Still trying out new bows and still struggling with memory. Last night, after about an hour and a half of practicing, mostly unsuccessfully trying to memorize a couple of pieces, I was putting away my cello, and suddenly realized that I should try comparing my inexpensive "loaner bow" (my regular bow is in for repairs) to the more expensive bows. With the loaner bow I was easily able to play both pieces from memory. I love this loaner bow (what the shop calls a "better rental bow," a wooden bow that is provided with the higher quality cello rentals).
My teacher says a bow cannot improve memory, that I played better with the inexpensive bow because I had just been practicing for an hour and a half, or that, with the loaner bow, I wasn't putting 90 percent of my energies into listening, but rather reserving some of my energies for memory. Could be. But I plan to buy the loaner and use as a backup bow. It has a nice loud, resonant sound. The more expensive bow is capable of a clearer tone, but I think the loaner bow will be great for fiddling: loud is good, in a sea of fiddles and banjos, and inexpensive is good, when you are playing outside.
I am going to keep trying out bows. I liked one of the three, but am not ready to make a decision yet.
My teacher says a bow cannot improve memory, that I played better with the inexpensive bow because I had just been practicing for an hour and a half, or that, with the loaner bow, I wasn't putting 90 percent of my energies into listening, but rather reserving some of my energies for memory. Could be. But I plan to buy the loaner and use as a backup bow. It has a nice loud, resonant sound. The more expensive bow is capable of a clearer tone, but I think the loaner bow will be great for fiddling: loud is good, in a sea of fiddles and banjos, and inexpensive is good, when you are playing outside.
I am going to keep trying out bows. I liked one of the three, but am not ready to make a decision yet.
Friday, April 27, 2007
Memory
I've been practicing more lately, but remembering less. When I first started my adult-music adventure (with piano), I was baffled by the very concept of memorizing a piece, and picking out a melody by ear. My son had no problem at all. Our first tune on the piano was Frosty the Snowman (right hand only, on a small keyboard). He played it immediately, by memory, by ear, and I remember thinking, "How do you do that!"
When I started the cello, with a teacher who requires that all pieces be memorized and performed, I initially complained: "I want to play ensemble music, not perform publicly." But I had no choice. I actually started enjoying the memory work, and in fiddling, I am learning to play by ear. I do love being able to play both classical and fiddle music without sheet music.
But lately, I am having trouble memorizing, getting every bow right, etc., especially for the classical music. I don't think it is senility quite yet, but I am feeling that my brain has a limited capacity for holding pieces, whereas before I imagined that each new memorized piece would increase my capacity to learn more. Perhaps it is just that as the pieces get more complicated, you have to think about them a different way to memorize them. Not just Frosty the Snowman anymore.
Well, the fiddle tunes are easy enough at first glance and there are fewer bowing issues, but it gets more complicated playing them in a group, where people are usually playing at a faster pace than I am comfortable with, and everyone is playing a slightly different version of the tune.
That's my challenge for the moment, remembering how to memorize, and getting better at it. Playing the pieces better is closely connected to this, of course, but that is another issue, or group of issues!
When I started the cello, with a teacher who requires that all pieces be memorized and performed, I initially complained: "I want to play ensemble music, not perform publicly." But I had no choice. I actually started enjoying the memory work, and in fiddling, I am learning to play by ear. I do love being able to play both classical and fiddle music without sheet music.
But lately, I am having trouble memorizing, getting every bow right, etc., especially for the classical music. I don't think it is senility quite yet, but I am feeling that my brain has a limited capacity for holding pieces, whereas before I imagined that each new memorized piece would increase my capacity to learn more. Perhaps it is just that as the pieces get more complicated, you have to think about them a different way to memorize them. Not just Frosty the Snowman anymore.
Well, the fiddle tunes are easy enough at first glance and there are fewer bowing issues, but it gets more complicated playing them in a group, where people are usually playing at a faster pace than I am comfortable with, and everyone is playing a slightly different version of the tune.
That's my challenge for the moment, remembering how to memorize, and getting better at it. Playing the pieces better is closely connected to this, of course, but that is another issue, or group of issues!
Subscribe to:
Posts (Atom)
