Visual Memory

We have many methods of memorizing music. Most obvious is the visual memory, whereby we see in our mind's eye the printed page or our hands on the keyboard in position to play a particular chord. Most people think they memorize in this manner. Actually they memorize by other means but are able at any time to project the passage which they are playing in their mind's eye. As a person often says of a house or garden, "I have hear4 it described so many times I can just see how it looks." This is a useful ability as it aids in thinking about a certain passage, working out the fingering, or deciding the interpretation; but for most students it is not powerful enough to accomplish the first memorization of a piece, and it is not a musical memory.

Finger Memory

The memory of the fingers—the kinesthetic memory—is more generally employed. We would find it impossible to play rapid scales and complicated passage work, if our muscles were not able to repeat long sequences by habit without any thought on our part. We can't think that fast; so we think the sequence slowly and repeat it until our fingers have learned it. Oftentimes we are able to think an entire group of notes; but much passagework must be drilled right into the habits of muscles. The small child is stopped in the middle of a piece and must go back to the very beginning to start again. He is "wound up" as we say; the chain of habits is effective but must be begun at the beginning. Such memorization is not reliable because it is so easily thrown out of gear by the feel of a different piano or by the restraint of different clothes or by the changing conditions of the fingers and hands themselves. In any case, it is not musical.

Symbols

Various intellectual data may also serve as the means of memorizing. Thus names of chords or keys or notes are called forth to emphasize these extraneous symbols. This is a successful method of memorizing but it is very slow and fades quickly when not used. All too often a passage is learned by means of intellectual data but is soon taken over by the habit-forming fingers, which carry the responsibility until the intellectual data have been forgotten and then fail at a critical moment. Intellectual memory is the very antithesis of musical memory.

Ear Memory

The memory of the ear is the sure and easy memory. Every time the composition is played, or even heard, the memory is revived and strengthened. Merely thinking about the piece will often recall all the details. It is this that is the musical memory.

We always use several of these methods of memorization; we use one for one portion of a piece and another for another, and we employ them all at the same time. And then, after the number is memorized, one memory replaces another; the intellect gives way to the fingers, or the ear supersedes all others. Although we do not consciously select a certain memory, we use the one which most readily presents itself. We can, however, consciously select our method. Since the memory of the ear is the quickest, surest, and most pleasant, we would do well to cultivate it.

Sing the Part

To help the ear to do the memorizing, sing the piece—not just the upper melody but the progression in the bass and the movement in the middle part. Even though the range prevents you from singing the part, the mere attempt will focus the ear on the voice being learned. Sing it or whistle it when you are not playing it. Think it through, when you are going to sleep; it is a good cure for insomnia. But be particu­larly careful to direct the attention of the ear to the weakest part—not just to the portion which the ear picks up without effort. Some people do this naturally; others require con­centration. Every use made of the ear strengthens its capacity to serve in another situation.

Units of Musical Thought

The ear memory grasps a new piece by means of little familiar units learned in other pieces. The ear player uses similar units to reproduce a piece he has heard. Ear playing is the strongest method of acquiring these necessary melodic, harmonic, and polyphonic bits, which are the raw material out of which a composer constructs his masterwork. Their real existence is only in the field of sound. The first half of this book is concerned with building up a big collection of these useful units of musical thought.

The memorization of music is concerned with pitches. We do not find it difficult to remember the rhythm; we are never hard pressed to remember whether the passage is loud or soft, fast or slow. The tone color comes to us as second nature, and we seldom are troubled to recollect our inter­pretation. During public performance the fatal question is always: Which notes do I need? These other items are all remembered by ear. Only the notes, which have not been entrusted to the ear, cause us dismay!

Reliability

The connection between stage fright and memorization is obvious. Stage fright thrives on the fear of forgetting. The fear of forgetting depends upon the process of memorization. Under the stress of public appearance the mind goes blank and cannot recall the intellectual symbols by which the piece was remembered; or the mind becomes overactive and questions harmonies and notes which have never been noticed before. The fingers perspire profusely, or do not perspire at all, and the hands feel so queer that the finger memory disappears. The visual memory seldom comes to the rescue; but the ear memory never fails.

Mental Memory

If one would insure himself against forgetting in public let him test himself by every one of the means of memoriza­tion. Think the piece through visually; can you project it on the page—every note? Think the piece through with the fingers; does the thumb know each time it must pass under the hand, and do the fingers follow in easy sequence? Think the piece through intellectually and name the chords or whatever units you have used in memorizing. If you falter in any one of these processes, you have found a slight weakness.

Do not go back to the piano to find the note. Instead, use one of the other memories to locate the needed note or chord structure. But the final and surest memory is to hear the composition through mentally. Be certain that you hear all the parts—not just the most prominent melody. Inevitably, as you hear the complete piece, the fingers and the visual memory will also come into play, and you will have the strongest assurance that your memory will not fail you at the critical moment.

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