How Does a Pianist Remember All Those Notes?

memory

Imagine being in a subway station memorizing the number (and perhaps names) of stops to your destination — an opera house let’s say. After you passed through the sliding train doors and entered the portal of the opera house (a couple of doors really), most likely the brain estimated each time that the usefulness, shelf life, of the information has expired, been proven correct each time and slowly diminished its recall ability. It is apparent that a narrative is easier to remember than a shopping list for the untrained memory.

Master memory is cultivated by mnemonic training — the cultivation of a multi-layered and often emotionally connected retrieval structure. Soloists are capable of remembering a tremendous amount of information based on several, mostly inexplicable and un-researched, mnemonic applications. Concert pianists, for example, can perform a 45 minute piece with 30,000 individual notes, that have to be performed in an absolutely particular order, with rhythmical and dynamic variability, passionately creating an emotional and formal narrative, from memory, live on stage.

“As with all things of value, cultivation and constant practice is key.”

And in a piece such as “Rach 3,” they also have to coordinate with a large body of musicians, also from memory. The research on the doorway effect is quite insightful and relevant for the career musician (concert pianists, for example) and the methodical pedagogue, and can be epitomized as such: The stage and the practice room must become the same room.

As with all things of value, cultivation and constant practice is key. In order to keep all that has been achieved behind the practice room door, one should attempt to create a comfortable and familiar environment in the practice room, gain authority and mastery of the music and the instrument and return to the same enjoyable and intimate environment on the stage. Imagine the door out of the practice room is the door onto the stage Matrix style. The concert performance is the tip of an iceberg — always keep that in mind and in sight.

via How Does a Pianist Remember the 30,000 Notes of the ‘Rach 3’? | Jura Margulis.

Backwards Practice?

Found on Pinterest

Found on Pinterest

So often transfer students will come to me and play a piece they’ve been working on.  When they make a mistake, they’ll stop and start the piece all over again instead of correcting the mistake on the spot and moving on.

If they do this at home in practice, they’ll have played the beginning part many times more than the ending – or they may have never gotten to the ending at all!

The infographic above shows a way to get around this problem.  It’s also great for memorizing pieces during recital preparation.

Similar to this are some pieces in the early pages of beginning method books.  Lines 1, 2 and 4 will be identical with only line 3 being changed.

If a student plays this over and over all the way through, he’s learned line 1 three times better than line 3.  I always suggest practicing line 3 by itself several times to help counter this problem.

How Does a Pianist Remember the 30,000 Notes of the ‘Rach 3’?

memory

 

Imagine being in a subway station memorizing the number (and perhaps names) of stops to your destination — an opera house let’s say. After you passed through the sliding train doors and entered the portal of the opera house (a couple of doors really), most likely the brain estimated each time that the usefulness, shelf life, of the information has expired, been proven correct each time and slowly diminished its recall ability. It is apparent that a narrative is easier to remember than a shopping list for the untrained memory.

Master memory is cultivated by mnemonic training — the cultivation of a multi-layered and often emotionally connected retrieval structure. Soloists are capable of remembering a tremendous amount of information based on several, mostly inexplicable and un-researched, mnemonic applications. Concert pianists, for example, can perform a 45 minute piece with 30,000 individual notes, that have to be performed in an absolutely particular order, with rhythmical and dynamic variability, passionately creating an emotional and formal narrative, from memory, live on stage.

“As with all things of value, cultivation and constant practice is key.”

And in a piece such as “Rach 3,” they also have to coordinate with a large body of musicians, also from memory. The research on the doorway effect is quite insightful and relevant for the career musician (concert pianists, for example) and the methodical pedagogue, and can be epitomized as such: The stage and the practice room must become the same room.

As with all things of value, cultivation and constant practice is key. In order to keep all that has been achieved behind the practice room door, one should attempt to create a comfortable and familiar environment in the practice room, gain authority and mastery of the music and the instrument and return to the same enjoyable and intimate environment on the stage. Imagine the door out of the practice room is the door onto the stage Matrix style. The concert performance is the tip of an iceberg — always keep that in mind and in sight.

via How Does a Pianist Remember the 30,000 Notes of the ‘Rach 3’? | Jura Margulis.

Practising Backwards

Found on Pinterest

Found on Pinterest

 

 

So often transfer students will come to me and play a piece they’ve been working on.  When they make a mistake, they’ll stop and start the piece all over again instead of correcting the mistake on the spot and moving on.

If they do this at home in practice, they’ll have played the beginning part many times more than the ending – or they may have never gotten to the ending at all!

The infographic above shows a way to get around this problem.  It’s also great for memorizing pieces during recital preparation.

Similar to this are some pieces in the early pages of beginning method books.  Lines 1, 2 and 4 will be identical with only line 3 being changed.

If a student plays this over and over all the way through, he’s learned line 1 three times better than line 3.  I always suggest practicing line 3 by itself several times to help counter this problem.