Playing from memory – summary Let us summarise the main propositions: Memorisation should commence parallel to learning about a music piece. Such an attitude enforces a thorough analytical assimilation and “hearing” of all the texture elements. Auditory imagining should precede hand work. The above-described methods of checking successful memorisation provide a chance to determine the …
Methods of checking successful memorisation for intermediate and advanced students 1. Playing a piece very slowly and quietly – with “passive” fingers, in order to limit physical movements and force oneself to hear and dictate every single sound to oneself before any strike is made. It is necessary to make sure that one really hears …
Memorisation in the early stages of learning piano (part 3) Polyphonic and duet pieces featuring a simple imitative structure or written in the form of a canon provide the greatest development to a child’s auditory memory during piano lessons. When learning those types of music pieces, student’s and teacher’s cooperation is recommended, involving the student …
Memorisation in the early stages of learning piano (part 2) While working on memory development during piano lessons, attention must be paid to auditory transposition. The student must be asked to transpose easy melodies, as “disassociation” of sets of sound and motor images occurs then. On account of a changed layout of black and white …