teaching memory at the piano- a pre-college student workbook base

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Teaching Memory at the Piano: A Pre-CollegeStudent Workbook Based on Research in

Psychology and Piano PedagogyJulie E. MitchellFlorida State University

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Recommended CitationMitchell, Julie E., "Teaching Memory at the Piano: A Pre-College Student Workbook Based on Research in Psychology and PianoPedagogy" (2010).Electronic eses, Treatises and Dissertations. Paper 2377.
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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

TEACHING MEMORY AT THE PIANO: A PRE-COLLEGE STUDENT

WORKBOOK BASED ON RESEARCH IN PSYCHOLOGY AND PIANO PEDAGOGY

By

JULIE E. MITCHELL

A Thesis submitted to the

College of Music

in partial fulfillment of therequirements for the degree of

Master of Arts in Music

Degree Awarded:Fall Semester, 2010


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ii

The members of the committee approve the thesis of Julie Elaine Mitchell defended on October

26, 2010.

_______________________________________Victoria McArthur

Professor Co-Directing Thesis

_______________________________________

Alice-Ann Darrow

Professor Co-Directing Thesis

_______________________________________

Matthew ShaftelCommittee Member

_______________________________________

Evan Jones

Committee Member

The Graduate School has verified and approved the above named committee members.


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iii

TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES iv

TABLE 1: Relationship of Memorization Activities to Research Literature v

ABSTRACT viii

Chapter

1. INTRODUCTION 1

Background and Significance 1

Purpose 2

2. REVIEW OF LITERATURE 3

Memory Process and Memory Aids 3

Memorization Approaches 7

Summary of Literature: Pedagogical Applications 15

3. MEMORIZATION WORKBOOK 17

Need for Resource 17

Introduction and Instructions for Teachers 18

Analytical Activities 23

Aural Activities 39

Kinesthetic Activities 60

Visual Activities 79

4. DISCUSSION AND OBSERVATIONS 98

Summary and Conclusions 98

Limitations 98

Implications and Suggestions for Future Research 99

REFERENCES 100

BIOGRAPHICAL SKETCH 103


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iv

LIST OF MUSICAL EXAMPLES

1. Carefree by Daniel Gottlob Trk, excerpt fromMasterwork Classics 40Levels 1-2, ed. Jane Magrath, Alfred (1997), p. 4

2. Andante in C Major by Wolfgang Amadeus Mozart, excerpt from 49Mozart: 21 of His Most Popular Piano Pieces, Alfred (1997), p. 8

3. Melody, Op.218, No. 18 by Louis Khler, excerpt fromMasterwork 82Classics Levels 1-2, ed. Jane Magrath, Alfred (1997), p. 5


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v

Table 1

Relationship of Memorization Activities to Research Literature

Activity Name Page Research Basis

Name That Note! 24 (Fidlow, 1961; Finke, 1989; Hughes, 1915)

Stick it! 25 (Aiello & Williamon, 2002; Barsalou, 1992;Chaffin & Imreh, 1996/97; Kochevitsky,

1967)

Tell a Story 26 (Aiello & Williamon, 2002; Fidlow, 1961;Frederich, 1950)

Reverse it! 28 (Aiello & Williamon, 2002; Bernstein,1981; Blanchard, 2007; McArthur, 2010)

Stop-and-Go, the Original 30 (Hughes, 1915; McArthur, 2010)

Version

Stop-and-Go, the Extended 32 (Hughes, 1915; McArthur, 2010)

Version

Write it Out 34 (Blanchard, 2007)

Analyze it! 35 (Chaffin & Imreh, 2002; Galotti, 1994;Ross, 1964)

Map it! 36 (Fidlow, 1961; Gordon, 2006; Ross, 1964;

Shockley, 2001)

Sing it! 40 (Aiello & Williamon, 2002; McArthur,

2010; Rubin-Rabson, 1950; Shinn, 1898/99)

Silence is Golden 42 (Brower, 1920)

Dare to Compare 45 (Coffman, 1990; Fidlow, 1961; McArthur,2010; Rubin-Rabson, 1950)

Pick a Color, Any Color 48 (Aiello & Williamon, 2002; McArthur,2010; Rubin-Rabson, 1950)


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Table 1 contd.

Look, Ma, No Hands! 50 (Aiello & Williamon, 2002; Blanchard,2007; Coffman, 1990; Intons-Peterson,

1993; Kochevitsky, 1967; Ross, 1985;

Rubin-Rabson, 1950)

Musical Detective 52 (Blanchard, 2007)

Play and Listen 53 (McArthur, 2010)

Split it Up! 57 (Blanchard, 2007; Enoch, 1977)

Play-Doh Hands 61 (Brower, 1920; Blanchard, 2007; Chaffin &Imreh, 1996/97; Kochevitsky, 1967)

The Money-Maker 63 (Bernstein, 1981; McArthur, 2010; Restak,2001; Rubin-Rabson, 1950)

Change it Up, Part 1 65 (Enoch, 1977)

One-Handed 66 (Aiello & Williamon, 2002; Enoch, 1977)

The Pretzel 68 (McArthur, 2010)

Speed Zone 71 (Aiello & Williamon, 2002; Blanchard,

2007; Enoch, 1977)

From the Ground Up 74 (Barsalou, 1992; McArthur, 2010)

Change it Up, Part 2 76 (Aiello & Williamon, 2002; Enoch, 1977)

Block it! 77 (Chaffin & Imreh, 1996/97; Galotti, 1994)

The Scrambler 80 (Blanchard, 2007; Shockley, 2001)

Shape it! 82 (Aiello & Williamon, 2002; Shockley, 2001)

Color it! 84 (Shockley, 2001)

Turn the Page 85 (Aiello & Williamon, 2002; Bernstein,

1981; Blanchard, 2007; McArthur, 2010)

No Peeking! 87 (McArthur, 2010; Shockley, 2001)


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Table 1 contd.

Claim Your Landmarks, Part 1 89 (Aiello & Williamon, 2002; Chaffin &Imreh, 2002; Fidlow, 1961; Galotti, 1994;

Gordon, 2006)

Claim Your Landmarks, Part 2 91 (Aiello & Williamon, 2002; Chaffin &Imreh, 2002; Fidlow, 1961; Galotti, 1994;

Gordon, 2006; McArthur, 2010)

Mind the Gap 93 (Hughes, 1915; McArthur, 2010)

The Clock Face 95 (Aiello & Williamon, 2002; Fidlow, 1961;

Galotti, 1994; Gordon, 2006)

______________________________________________________________________________


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viii

ABSTRACT

The purpose of this project was to develop motivating and appropriate teaching materials

to build student memorization skills. These pedagogical materials are inspired by related

literature in psychology and piano pedagogy and supported by evidence-based practice. The

Review of Literature explores the psychological processes involved in memory, as well as

various types of memory. The performance practice of memorizing piano music is discussed,

which supports the need for developing memorization techniques. Past and current studies are

cited to show the effectiveness of using mental practice, guided analysis, and other mental

strategies to memorize music. Four approaches to memorization are explored: analytical, aural,

kinesthetic, and visual methodologies. Thirty-five activities are provided for use by elementary

and intermediate piano students, each relating to a specific aspect of memory-building that is

discussed in the Review of Literature. Some activities are appropriate for at-home use during

students practice, while others require the assistance of the teacher during the students private

lessons.


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CHAPTER 1

INTRODUCTION

Background and Significance of the Project

Until the middle of the 19th

century, the memorization of piano music was widely

considered to be unconventional in the realm of classical music. Although the Mozarts of the

music world undoubtedly possessed the natural ability to memorize with ease, few artists before

Clara Schumann performed publicly from memory (Bernstein, 1981, p. 219). The shock of this

new trend created a stir in performance practice. Clara Schumann and other virtuosos such as

Franz Liszt established not only an expectation for those who commit to serious performance,

but their actions also led to the memorized performance standard for concert artists. This

tradition, now the norm in classical music performance, has been a source of anxiety for many

pianists who struggle with memorization.

Because many musical skills beneficial to memorization are often neglected during

private lessons, including ear-training, sight-reading, harmonic analysis, and improvisation,

students may not learn the most effective ways to memorize (Shockley, 1980, p. 2). For some

students, a negative experience when performing from memory has convinced them (and

possibly their teachers) that they are inept at memorizing; thus, many students either give up or

continue to be fearful of performing. Since memorizing music involves a variety of different

brain functions, students often need assistance in the process as well as strategies for success.

Memorizing piano music can be a difficult skill to teach, however, and many teachers avoid

discussing the topic during private instruction. If instructors do teach their students how to

memorize, they often teach in the way they themselves were instructed to memorize without

further experimentation with other forms of memory work.

The more that instructors are aware of basic properties of memory systems and how they

are used, the greater assistance they will be able to provide on the subject of memorization.

Furthermore, if teachers possess the knowledge and understanding of several methods for

memorizing, students can determine which they prefer and use them to improve their memory

skills. In order to address the needs of piano students, instructors may choose to utilize a goal-

specific resource. This resource may be designed to assist students in music memorization that

would supplement any techniques taught in the lessons. The resource should provide motivating


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and appropriate activities that students can incorporate into their individual practice, as well as

exercises that students and teachers can explore together during lessons.

Purpose of the Project

As indicated in the Review of Literature, the use of mental practice and other techniques

can improve the memorization of music (Aiello & Williamon, 2002; Bernstein, 1981; Blanchard,

2007; Brower, 1920; Chaffin & Imreh, 1996/97 & 2002; Coffman, 1990; Galotti, 1994;

Ginsborg, 2004; Hughes, 1915; Kochevitsky, 1967; McPherson, 1995/96; Ross, 1964; Ross,

1985; Rubin-Rabson, 1937 & 1950; Shockley, 2001; Winslow, 1949). The purpose of this

project is to provide private piano instructors with a workbook of activities that can be used

during lessons and students individual practice time. The workbook contains instructions on

how to use the activities and states the specific objectives for developing students memorization

skills. When memorization can be presented to students as a skill rather than a pre-determined

talent, the process can be a mentally challenging yet rewarding musical experience.


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CHAPTER 2

REVIEW OF LITERATURE

Memory Process and Memory Aids

This Review of Literature will investigate the processes involved in memory and

rehearsal. Four approaches to memorization will be explored, which include the following:

analytical, aural, kinesthetic, and visual. Pedagogical sources will be cited and discussed with

regard to their exploration of the aforementioned approaches to memorization as they are used in

private piano instruction.

The term memoryis defined by Fidlow (1961) as all means by which one can recall or

make available to tongue-tip any information or knowledge one feels like using (p. 14). Ones

ability to memorize affects many aspects of everyday life. Memories can be defined according to

their context and relevance to personal experiences. According to Tulving (1983), episodic

memories are memories of life events and experiences, while semantic memories are facts and

knowledge of general topics (p. 9). Memory of music, classified as semantic due to its inclusion

of conceptual information, depends highly on previously learned understandings of context. This

type of knowledge is typically structured according to the musical style with which a particular

music is associated, such as Western, jazz, or Eastern traditions (Ginsborg, 2004, p. 132).

Episodic memories are stored in both short- and long-term memory, while semantic memories

are stored primarily in the long-term memory (Klimesch, 1994, p. 42).

Memory process.The memory process can be broken down into three sub-processes,

which consist of encoding, storage, and retrieval (Barsalou, 1992, pp. 117-118). These

interrelated elements define the overall structural design of the memory system. The processing

of information occurs initially at the sensory level, which is governed by the five senses. Sensory

memory is determined by ones perception of the environment. Information can only remain in

this area of memory briefly before decay transpires, which ultimately decreases the accessibility

of information (Galotti, 1994, p. 105; Klatzky, 1975, p. 12). During encoding, information is

converted into a usable form and stored for later use. The working memory system, used for

maintaining and directing information on a temporary basis, is separated into the areas of short-

term storage and executive processing. Short-term storage maintains information provisionally,

and executive processes utilize the information by directing it to the appropriate cognitive tasks

(Galotti, 1994, p. 124; Smith & Jonides, 1999, p. 1657). The working memory system remains in


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a dynamic state, keeping information active and accessible until it is externalized (Barsalou,

1992, pp. 117-118). Though evidence suggests that the pre-motor region of the brain is involved

in the memory rehearsal process, questions still remain as to the number of working memory

systems that are used for rehearsal of information (Svard, 2010, p. 5).

Once a stimulus is given attention and unnecessary elements are eliminated, the

information can be transferred to short-term memory, where the information is made readily

available for use when necessary. These types of memories have a time capacity of around three

to five seconds but can last as long as 10 to 12 seconds. When compared to the capabilities of the

long-term memory system, the short-term memory is relatively weak. Only an average of seven

pieces of information can be retained simultaneously. If the information in ones short-term

memory is frequently used, the contents remain in an active state and are more likely to become

committed to long-term memory (Snyder, 2000, p. 53). The long-term memory system allows

the recall of information for hours, days, or years, though memory span depends heavily upon

the nature of the material (Galotti, 1994, p. 116; Klatzky, 1975, p. 26).

The process of storing information, though not entirely understood, is thought to consist

of the storage of memory traces. These traces are reinforced with each rehearsal of the

information. Rehearsal enhances the meaning of information, which is then transferred to long-

term memory, where its tendency to be recalled is increased (Smith, 2000, p. 48). If a pattern in

information is recognized and can be related to previously learned knowledge, then meaning can

be applied to the information, further strengthening its usability and memorability (Fidlow, 1961,

p. 30). The process of recognizing patterns occurs when stored long-term memories are related to

an experience. Once pattern recognition is completed,

There is no longer any need to consciously process this information because it is already

completely familiar, which usually causes this information to pass out of the focus of

conscious awareness and become part of our perceptual and conceptual background

(Snyder, 2000, pp. 23-24).

Retrieval, the final stage in memory processing, consists of bringing to ones consciousness

information that has been stored so that it may be readily used (Galotti, 1994, p. 99).

When new memories are related to previously learned knowledge, stronger pathways for

recall in the long-term memory can be established, and the new information may be more easily


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retrieved in the future. Each time a memory is associated with another idea or transferred to

another situation, the memory is reinforced. The most effective means of improving the memory

of information is to create or develop an interest in it, even if one is not naturally present. An

initial desire to know more about a subject does not have to be present, but the existence of a

motivational factor can increase attentiveness and thus improve ones ability to recall the

information (Fidlow, 1961, p. 30). When memorizing a musical work, such motivating factors

may include creating a story that illustrates the musical events, melodic line, etc.

Once material has been categorized, it is more easily recalled than information that is

grouped without order (Galotti, 1994, p. 120). As a result, the recognition of sequences in music

enables musicians to memorize more easily. More advanced pianists have an advantage over

beginners when memorizing because they have developed the ability to determine patterns such

as scales and arpeggios. When these patterns are immediately recognized, the memory process is

simplified with little conscious effort. Less experienced pianists, however, see individual notes

and must expend more effort to memorize (Chaffin & Imreh, 1996/97, p. 20).

According to Restak (2001), every connection made between neurons is enhanced by

repetition, which improves the performance of the action (p. 20). Each time an action is repeated,

the transmission of information in the nervous system increases in speed and efficiency. As a

result, changing fingering and correcting wrong rhythms and notes are difficult processes,

requiring the nerve paths of new habits to become stronger than the original ones (Svard, 2010,

p. 5). Rehearsal with the intention of memorizing allows for the development of automatic cuing,

providing the freedom to focus on musical expression when performing, rather than the

necessary physical motions (Bernstein, 1981). According to Barsalou (1992), the more rehearsal

a piece of information receives, the higher its probability of being transferred from short- to

long-term memory, and the higher its probability of being remembered on a later test (p. 119).

After the initial learning process of a piece occurs, each repetition at the piano should be spent

with the intention of memorizing (Rubin-Rabson, 1950).

Memories, according to Roediger and McDermott (2000), are not records of events but

rather the recoding of them, which results in a personal interpretation influenced by ones

experiences and surroundings (p. 126). Because of this fact, the memory system is an imperfect

source that can fail at times to produce accurate accounts of events; as a result, some memories

can be distorted during the process of encoding, storage, and retrieval. Interference occurs when


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similar memories affect ones ability to recall another memory, and other information displaces

what is intended to be recalled (Galotti, 1994, p. 108). Working on memorizing a piece and

immediately studying or playing another can cause interference in the memory of the first piece.

Taking a break and performing a non-related, non-musical activity for a short period allows the

music to be solidified in the memory without being displaced by another piece of musical

information (Fidlow, 1961, p. 37).

Memory aids.Musicians can use memory aids in order to ensure that information is not

forgotten (Galotti, 1994, p. 100). Whether internal or external, memory aids must be similar in

format to the information being remembered; otherwise, the necessary information cannot be

delivered easily and may cause interference (Intons-Peterson, 1993, p. 154). Memory aids can be

in the form of basic performance cues, which elicit the physical actions of playing, or expressive

cues, which contain information about the phrasing and sectioning of the music. According to

Chaffin & Imreh (2002),

Basic performance cues ensure the execution of critical movements, such as the

placement of a particular finger. Attention to details of this sort leaves fewer attentional

resources for other features, resulting in poorer recall. Attention to expressive cues,

however, does not come at the expense of other features. Rather, an expressive cue

encapsulates or chunks a passage in the same way that a section does. Just as thinking of

a section activates its more detailed representation, thinking of an expressive cue

activates details of the expressive phrase (p. 348).

An external memory aid is defined as any device or mechanism, external to the person,

whose purpose is to facilitate memory, which can be in the form of context cues or priming

prompts (Intons-Peterson, 1993, pp. 135-136). External memory aids have the capacity to

provide more meaning to the information that is to be remembered by improving the coding and

recoding processes. When memorizing music, an external memory aid such as physical practice

provides a tangible method of encoding musical information. External memory aids are

sometimes preferred to internal ones because they often require less mental energy. The use of

external memory aids may not always improve memory, however, if one entirely neglects

internal memory devices (Intons-Peterson, 1993, p. 144).


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While external memory aids occur outside of the mind, internal memory aids occur

within the mind. Such techniques include mental rehearsal and the use of mnemonic devices to

represent the formal structure of music (Aiello & Williamon, 2002, p. 172). Other internal

memory aids in music are the use of visual imagery, wherein the mind reinforces the memory of

the music by using the images of the notes, as well as mental practice in the form of chunking.

Chunking is a process that can increase the capability of short-term memory as information is

combined. Sometimes referred to as recoding, it also increases ones capacity for processing

learned material (Galotti, 1994, p. 107). Chunking in music memory occurs when one visually

detects significant patterns such as scales and arpeggios. The use of chunking allows for rapid

categorization of domain-specific patterns and increases pianists speed in recognition (Aiello

& Williamon, 2002, p. 171). The greater ones body of knowledge about a topic, the more

efficient will be ones ability to recognize different chunks of information (Barsalou, 1992, p.

114).

Memorization Approaches

Due to the pressures and high expectations for pianists to perform without error from

memory, pedagogues of the early 20th

century developed techniques for facilitating the process.

Pianists such as Ferruccio Busoni began promoting the positive effects of mental practice in

memorization. They also suggested that mental practice or the use of imagery enables a pianist to

learn the expressive elements of playing even before approaching the physical aspects

(Kochevitsky, 1967, p. 16). Once the physical and mental elements are both established, a

performers focus can remain on being expressive rather than the fear of possible memory slips

(Bernstein, 1981, p. 237).

Mental practice.Mental practice or imagery has been used in many areas, such as

sports, music, and dance. Mental imagery is defined by Finke (1989) as the mental invention or

recreation of an experience that in at least some respects resembles the experience of actually

perceiving an object or an event, either in conjunction with, or in the absence of, direct sensory

stimulation (p. 2). When combined with purposeful physical practice, mental practice can be

highly effective in reinforcing patterns, routines, and sequences. Though physical practice

provides instant gratification, learning purely by kinesthetic means is not the most consistent

form of memorization in music (Bore, 1937, p. 712). In high-pressure situations, muscle memory

is an unreliable source that may decide to wait backstage until the performance is over


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(Harting, 1985, p. 48). In music, mental practice or score study consists of focusing on the

printed page to learn, rehearse, or memorize musical elements, and can also include imagining

the score in ones mind. Mental practice allows a musician to attend to the necessary physical

motions and emotional components of playing, resulting in a greater level of dexterity. Because

the acquisition of motor skills requires a different form of concentration than analytical skills,

items that may have been overlooked in the process of learning notes and rhythms may be

reexamined when studying the score (Kochevitsky, 1967, p. 50).

Preparing for physical practice by mentally rehearsing can also eliminate the necessity of

unlearning mistakes and lessen the potential of developing tension and fatigue. Silently

reviewing the music can draw ones attention to significant notes and motives, allowing logical

relationships between musical phrases to be formed; fingering and notes can also be solidified

(Blanchard, 2007, p. 172). Though mentally taxing, physical rehearsal preceded by score study

can reduce the amount of time required for learning new material and improve ones ability to

memorize music (Rubin-Rabson, 1937). Even after music is memorized, score study or mental

rehearsal continues to be an effective practice technique. One form of mental practice is mentally

regrouping notes, which can be accomplished by observing the topography of the keys,

fingering, and melodic direction. Mentally reorganizing notes enables the central nervous system

to reduce the necessary nerve impulses that are sent from the brain to the fingers, which can

increase playing speed for passages that require agility, such as scales (Kochevitsky, 1967, p.

50).

A study conducted by Ross (1985) shows that the combination of physical and mental

practice yields improvements in performance equal to that of physical practice alone, though

physical practice was found to be essential for the greatest improvements in psychomotor skills.

Without the distraction of sound in mental practice, a musician is able to make assessments about

necessary physical movements based on past experiences. Physical practice time can be

decreased by eliminating the rehearsal of inefficient movements. Subjects in Coffmans (1990)

study participated in physical, mental, and physical/mental practice in various combinations in

order to determine the effects of mental practice on the subjects performance times of a piano

piece. Subjects who used both mental and physical practice in the study were able to play the

piece at the fastest tempo and produced the shortest performance times.


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Ross (1964) conducted a study to determine the effect of guided analysis on memory by

testing two groups on their memorization of musical excerpts. The experimental group was given

instruction about the excerpts in the form of guided analysis in addition to rehearsal time, while

the control group was only given rehearsal time. The subjects were then tested to determine the

accuracy of their memorization. Results showed that the experimental group required fewer

learning trials in order to accurately memorize the excerpts. The study indicates that the use of

guided analysis in the memorization of music facilitates the learning process.

Mental practice both prior to sight-reading and in regular practice enables a pianist to

envision not only notes and chords, but the harmonic progressions and phrases, providing an

overall understanding of a piece. Because sight-reading requires instantaneous comprehension of

the notes as they appear on a page, a pianist is required to know what lies beyond the mere

physical representation of the notes. Large leaps, awkward transitions, changes in key and meter,

and other difficulties can be anticipated through the use of mental practice in sight-reading

(Kochevitsky, 1967, p. 50).

While many musicians and instructors view memorization as a separate course from the

learning process, memory work should be included from the first exposure of a piece (Rubin-

Rabson, 1950). If memorization only occurs after a piece is learned, the skill of memorization

may only be functional at a conscious level rather than a subconscious one (Winslow, 1949, p.

15). The challenge for teachers, however, lies in helping students reach this point and avoid the

anxiety associated with performing from memory. Since the pivotal research of Grace Rubin-

Rabson conducted on memorization during the 1930s and 40s, there has been little empirical

data collected on the memorization of piano music. There has also been little substantial and

practical direction given to pianists, especially to those at the elementary level (Reichling, 1989,

p. 9). Enabling students to apply meaning to their knowledge of musical concepts allows them to

better comprehend material and memorize more easily, which is accomplished by incorporating

several approaches to memorization (Fredrich, 1950, p. 40).

Analytical memory.To musicians, memorizing can include envisioning the notes in

ones mind as they move across an imaginary score; being able to play a piece several times in

succession without error; knowing a piece by the way the pitches relate to one another;

understanding a work by its harmonic structure; or a combination of any of these elements.

Blanchard (2007) states that the four main ways to memorize include visually, or by the way the


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music looks; aurally, or by interval; digitally, or by sequences of playing; and theoretically, or by

analyzing patterns (p. 171). Analytical or conceptual memory includes knowledge of form,

structure, and/or harmony, which provides a conscious form of memory. Even pianists who

memorize easily often employ analytical memory skills for additional security when performing

in public (Hughes, 1915, p. 597). According to Chaffin and Imreh (2002), Theuse of

conceptual memory to guide skilled motor performance may be a hallmark of expertise in

domains such as musical performance and dance, which involve both complex motor skills and

aesthetic sensibility (p. 349).

Chaffin and Imreh (2002) also found that formal analysis provides a hierarchy for

retrieving information through the use of sections containing basic and interpretive performance

cues (p. 348). Onesknowledge of musical structure increases awareness of what is to be

played, heard, and experienced and can lessen the amount of time required to solve technical

problems. Being able to analyze a piece with little thought also allows more time to be spent

studying expressive details. When memorizing, pianists often examine themes, recognize

patterns, identify phrases, and analyze other details that may go unnoticed if memorization is not

involved in the learning process (McArthur, 2010). Studying and identifying the components of

ones music improves the ability to memorize because it increases the amount of processing of

the material and encodes the memory more deeply (Barsalou, 1992, p. 118).

Techniques for analytical memory development for student and teacher use include the

following:

Name all the notes from memory in a particularly difficult passage (Hughes, 1915, p.

599). These types of passages tend to be susceptible to memory slips, and as a result, they

require more analytical memory work (Blanchard, 2007, p. 172).

Identify patterns in your piece, such as scales and arpeggios (Aiello & Williamon, 2002,

p. 178).

Describe the formal structure of your piece and its thematic material (Aiello &

Williamon, 2002, p. 178).

Write out parts of your music from memory that are chromatic or contain modulations

(Blanchard, 2007, p. 171).


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Make a photocopy of your piece and cut it up into sections. After placing the sections in a

bag, draw one section from the bag and begin playing from that point in the music

(Blanchard, 2007, p. 172).

Develop your own mnemonic system for your piece, based on the landmarks or thematic

material. Give each section a clever name or one that is easy to remember (Gordon, 2006,

p. 83).

Without looking at the music, start at the top of the last page of your piece and play to the

end. Continue this process with each page, working backwards to the beginning

(McArthur, 2010).

Aural memory.Aural memory, or learning by audiation, gives aural cues about musical

material, allowing one to recall or anticipate the sound of a piece (Shockley, 2001, p. 4). The

aural memory is defined as the ability to retain and recall the sound of intervals, melodies,

chords, progressions of chords, and anything which may be termed music (Shinn, 1898/99, p.

3). Both visual and aural cues can come from outside sources such as other members of a

performing group (e.g., a head nod or audible breath) and are most effective when used in every

rehearsal (Ginsborg, 2004, p. 130).

Techniques for aural memory development for student and teacher use include the

following:

Sing phrases of your piece at performance tempo while using appropriate dynamics(McArthur, 2010; Rubin-Rabson, 1950).

Sing one part while playing another part. This kind of activity can be completed during a

lesson, with the teacher playing/singing one part and the student playing/singing another

(Aiello & Williamon, 2002, p. 178).

Have your teacher play a phrase from your piece while you listen. Then play the next

phrase from memory (Blanchard, 2007, p. 173).

Play one part from memory while your teacher plays another, as though it were a duet

(Blanchard, 2007, p. 173).

Alternate playing every couple measures of your piece with your teacher, limiting pauses

in between (Blanchard, 2007, p. 173).


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Play the left- and right-hand parts of your piece separately, using only your index finger.

This requires the ear to direct the finger to each successive note without the aid of

physical props (Enoch, 1977, p. 123).

Practice in a dark room or with your eyes closed (McArthur, 2010).

Practice on a variety of pianos in many different settings so you can adjust to the sound

and touch of an unfamiliar piano when performing (McArthur, 2010).

Listen to recordings of yourself and others performing a piece. Follow along with the

music in your mind or with the score (McArthur, 2010).

Kinesthetic memory.According to Winslow (1949), To recall and retain the music

without stimulus from the printed page one must see it in the mind's eye, hear it, and feel it

throughout the neuro-muscular system (p. 15). Kinesthetic, tactile, or motor memory allows one

to recall the physical sensation of playing a passage and is developed by physically practicing

(Shockley, 2001, p. 4). Kinesthetic memory allows movements to become automatic when they

are repeated and solidified. Though it is the least reliable form of memory, the kinesthetic

memory is sometimes necessary in passages that are especially difficult or fast and allow little

time for other forms of memory to be involved (Aiello & Williamon, 2002, p. 176).

Techniques for kinesthetic memory development for student and teacher use include the

following:

Improvise in the style of your piece (Aiello & Williamon, 2002, p. 178).

Play your piece on the surface of the keys without making any sound. Use the score first,

and then play from memory (Brower, 1920, p. 142).

Practice on the closed key cover. Without the distraction of sound, you can focus on the

necessary physical motions rather than perfecting notes (Brower, 1920, p. 142).

Begin playing with the music and try to read a little ahead, then look away from the

music and continue playing for as long as possible (Blanchard, 2007, p. 173). Without

being able to see your hands as they move, you have to mentally picture the motions; this

process develops muscle memory (Hughes, 1915, p. 598).

Use blocked chords when practicing to solidify your physical movements and knowledge

of harmony (Chaffin & Imreh, 1996/97, p. 20).

Practice difficult passages several times in a row from memory without error. Start over

with the first repetition if you make an error (McArthur, 2010).


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Adjust your physical relationship to the instrument by kneeling or sitting on the floor

while practicing (McArthur, 2010).

Play your piece with your right hand crossed over your left and vice versa (McArthur,

2010).

Play your piece from memory, leaving out every two to three measures (McArthur,

2010).

Play your piece from memory with frequent pauses. Play a section or part of a section,

leave the piano for a short period of time, and begin again where you left off (Hughes,

1915, p. 601).

Play from memory until your teacher instructs you to stop, and then continue playing

again after a brief pause. Because interruptions can often distract performers if they are

unable to remain focused, this exercise aims to develop students concentration skills, as

they are required to resume playing with frequent disturbances in their musical flow

(Hughes, 1915, p. 601).

Play your piece from memory at the beginning of a practice session as well as spread out

throughout the day to simulate a performance (Blanchard, 2007, p. 173).

Play your piece from memory hands separately to build independence between the hands

(Aiello & Williamon, 2002, p. 278; Enoch, 1977, p. 123).

Visual memory.According to McPherson (1995/96), playing from memory is defined as

the ability to reproduce aurally on a musical instrument an existing passage or piece of music

that has been learnt from musical notation using a visual orientation (p. 116).Visual memory,

which consists of score study and mental rehearsal, plays a role in the initial memorizing of

music. Images of the notes, ones hands on the keyboard, and the bodys spatial relationship to

the instrument are all aspects of visual memory (Shockley, 2001, p. 4). Visual memory cues,

which enable memory retrieval, can be developed by determining landmarks in a piece that serve

as points of reference for mapping the score (Aiello & Williamon, 2002, p. 171). Landmarks or

memory postscan be defined by a change in character, meter, or tonality. In elementary and

intermediate-level pieces, they can be identified as the beginnings of phrases. Landmarks are

most effective when positioned at points in the music that easily string together the entire piece

(Fidlow, 1961, p. 47). Logical divisions in the music spatially organize the ideas into collections


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of notes and phrases and allow the memory task to be broken into smaller pieces by way of

chunking (Galotti, 1994, p. 107).

Visual memory may be developed in order to perceive ones hands, the actual keys of the

instrument, or the printed music. Passages containing regular distribution of notes, such as scalar

passages and arpeggios, are most easily remembered visually. Unusual arrangements of notes or

phrases stand out more than predictable material but require the use of both visual and

kinesthetic memory approaches in order to solidify them (Shinn, 1898/99, p. 9).

Techniques for visual memory development for student and teacher use include the

following:

Visualize the beginning of each page of your piece. Memorize the locations of all the

landmarks in a piece. Practice playing at the beginning of each landmark without

hesitation (Aiello & Williamon, 2002, p. 178).

Practice at a slow tempo while observing your hand movements. This solidifies the image

of the physical motions required to play a piece (Aiello & Williamon, 2002, p. 178).

Use a highlighter to identify the thematic material and any patterns. Label all the voices

in your music in order to visualize how each line interacts (Aiello & Williamon, 2002, p.

178).

Label important sections of the music, such as the points of tension and resolution

(Aiello & Williamon, 2002, p. 178). Describe what happens in the music before and afterthese points.

Draw a map or picture to represent the melodic line of the piece (Shockley, 2001).

General memory development.Techniques for general memory development for

student and teacher use include the following:

Always review previously learned material before adding new material (Blanchard, 2007,

p. 172; Gordon, 2006, p. 86).

Memorize small sections of your music at a time (Gordon, 2006, p. 83). Establishing

attainable goals for memory work makes the task more feasible to finish.

Select a slow practice tempo to allow for careful thought to be placed on accuracy of

notes and fingering. This will ensure that no habits will have to be unlearned later on.

Also noting expressive elements from early on in memorizing will provide a solid

framework for ones memory skills (Blanchard, 2007, p. 171).


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Take breaks when working on memorizing a piece to allow the memories to solidify

(Fidlow, 1961).

Begin memorizing from the first time you start practicing a piece (Blanchard, 2007, p.

172).

Begin memory work on the last section of a piece first in order to eliminate the anxiety

many experience when performing the last section of a piece (Bernstein, 1981). Focusing

on the last section of a piece prior to the first section ensures that the beginning is not

given more practice time and mental energy than the end (Blanchard, 2007, p. 173).

Once a piece has been memorized, continue referring to your musical score every few

days (Blanchard, 2007, p. 172). Frequently review elements such as articulation,

fingering, chromatic sections, and dynamics (Brower, 1920, p. 142).

Summary of Literature: Pedagogical Applications

According to Uszler, Gordon, & Smith (1991), Jerome S. Bruners Theory of Learning

states that one of the teachers roles in a students learning process lies in determining the

studentslearning style and current level of musical knowledge (p. 230). Providing learning

structures for students enables them to explore musical principles and ideas so that they may

acquire an understanding of the concepts behind them. Bruners Learning Theory supports the

value of being able to transfer information and apply it to many settings. Once able to transfer

knowledge into other situations, a student is equipped with the skill to become an independentlearner. Bruner emphasizes that the focus of instruction should be on the exposure of concepts in

their most basic form. Fredrich (1950) states that a student who reads words without

understanding what the words mean soon comes to grief because he is not adding to his

knowledge, but is only repeating the symbols themselves without understanding their meaning as

part of a rational idea (p. 40).Once students are able to comprehend the fundamental structure

of a concept, they are more likely to retain the information on a long-term basis (Uszler et al.,

1991, p. 230).

In many cases, and to artists who support the custom, playing from memory is considered

a necessity in order for complete musical freedom to be exercised. According to Bernstein

(1981), All performing artists . . . are able to listen more intensely and play more fluently when

freed from the score . . . For details which would otherwise go unnoticed are consciously

absorbed only through memorization (pp. 220-221). Many advanced performers believe that


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playing without a score enables them to focus more on the physical and expressive aspects of

their playing. Dependence on a musical score has the potential to limit a performers ability to

observe his or her technique and fully engage in musical expression, unless one is trained to do

so in collaborative playing, for example (Winslow, 1949, p. 15). When a pianists eyes remain

almost entirely focused on the music, the hands have the main responsibility of determining

distances between keys. If a score is used in performance, however, a musician must be so

accustomed to its presence that the visual representation of the music does not detract from the

performance. A technically demanding piece often allows little, if any, time for glances at the

score; in such cases, page turns may also be problematic or even impossible to accomplish

without assistance.

If memorization were not required of students, however, they might be able to experience

more literature by studying more pieces instead of focusing so much time on memorization.

Teachers who emphasize the importance of memorization may neglect other skills such as sight-

reading, which requires a different set of skills than performing from memory. Sight-reading

must continue to be incorporated into lessons, even when the aim of students studies is to

perform from memory in competitions and recitals. Though many serious musicians believe that

performing from memory is a necessity for pianists, some teachers argue that because much of

students lesson time is spent on reading music, very little is left for teaching memorization.

Others contend that because performers of other instruments play with a score in front of them,

pianists should not have to play from memory (Shockley, 2001, p. 1). According to Hughes

(1915),

Memory is one of the technical requisites of the pianist, but in itself it has as little to do

with art as have fleet fingers and supple wrists. Let us recognize its importance, but let us

not rate it too high nor those who happen to possess it in especial abundance (p. 602).


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CHAPTER 3

MEMORIZATION WORKBOOK

Need for Resource

For the majority of piano teachers, a struggle exists to find ways to help students

memorize their music. Due to the difficulty of explaining how to memorize, some teachers avoid

the subject altogether in lessons. As stated previously, instructors may assume that students learn

and memorize music the same way they do, or they may be unaware of their own learning styles

relating to memorization. Rather than being able to provide concrete suggestions, many teachers

grapple with various techniques until eventually something in the students mind clicks, or

until students memorize their pieces on their ownby repetition and muscle memory.

Though students are instructed during lessons to begin working on memorizing their

music at home, many students are unaware of how to accomplish the task most effectively

according to their particular learning styles. Students often know little about the process and

significance of memorization; thus, they approach memory work as a separate process from the

learning of the music. Fortunately for many teachers, students are often able to find a way to

memorize their music, whether by accident or conscious effort. Regardless of the students

approach, the memorization of a piece may be completed entirely without the assistance or

guidance of the teacher. As a result, some instructors may be able to avoid having to face this

challenging pedagogical issue. This kind of situation may end successfully for the more

talented students. For those who are inexperienced with memory work, however, attempting

such an overwhelming task using their own devices may lead to the learning of wrong notes and

feelings of frustration.

Because the piano teachers role is to guide and direct the student in his or her learning,

the teacher needs to be able to provide tools for students to use when memorizing. Providing

several approaches to memorization, such as aural, analytical, kinesthetic, and visual approaches,

may allow students to better understand their music and result in successful memorization.

Instructors may guide students through the process by acknowledging their fears and providing

as many positive performance opportunities as possible, while also assuring them that memory

slips are normal aspects of learning and performing.


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Introduction and Instructions for Teachers

Due to the difficulties students often face when attempting to memorize, they may require

guidance and specific instructions on how to approach the process. When piano students are

unaware of how to begin memorizing their music, they may resort to learning by muscle memory

alone (i.e., playing a piece over and over until they get it). In performance settings, however,

muscle memory can easily fail pianists, especially when anxiety escalates. Having other

strategies to use as reinforcement for memorizing can also increase students confidence and

awareness of how their pieces are constructed. Also, when students can be given task-specific,

concrete instructions, they can focus on steps to memorizing, rather than feeling overwhelmed by

the process as a whole.

The following activities are provided to improve students abilities to memorize piano

music using evidence-based practice. The memory approaches described in Chapter 2 are

expanded into four types of activities for student use: analytical, aural, kinesthetic, and visual

activities. Each activity type contains a specific purpose, and many overlap in the memory

approach involved. The activities are also labeled according to the type of student who may

benefit from the activity: elementary, intermediate, or both. Many activities can be completed at

home during the students individual practice time,while other activities may be suitable for use

at the students lesson as deemed appropriate by the teacher. Teachers are provided with further

instructions relating to some activities at the end of each section in order to better guide and

prepare their students.


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Activity Types

Analytical activitiesinspire students to understand the harmonic qualities of their pieces by

labeling chords and patterns. Students learn to appreciate their music at a theoretical level. These

activities are especially helpful for students who enjoy theory and writing about their music, or

for students who need more exposure to analysis. Students also identify landmarks and mentally

conceptualize the order of the sections in their music.

Look for activities labeled with this icon:

Aural activitiesdevelop students listening skills. These activities involve internalizing both

melody and harmony with the intention of learning to use the ear as a guide. Students who lack astrong musical ear will benefit from these kinds of activities, as students will be challenged to

listen more than rely on their fingers to play from memory.



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Kinesthetic activitiesare devoted to developing ones muscle memory in non-traditional

ways, such as playing sections of music at a time interspersed with pauses every few measures.

Students explore the ways in which they can solidify the physical movements required to play

their pieces from memory, often by isolating one hand at a time, or playing one part while their

teacher plays the other.


Visual activitiesinvolve memorizing music by imagining the score in onesmind, visualizing

the keyboard topography, and making associations to imagery. These exercises encourage

students to create visual representations of their music according to melodic lines and shapes of

phrases. Students will benefit from memorizing the location of memory posts or landmarks in

their music to navigate their way through a piece.



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Memorization Workbook

Table of Contents

Activity Student Level Page

Analytical Activities 23

Name That Note! Elementary 24

Stick it! Elementary 25

Tell a Story Elementary or Intermediate 26

Reverse it! Elementary or Intermediate 28

Stop-and-Go, the Original Version Elementary or Intermediate 30

Stop-and-Go, the Extended Version Elementary or Intermediate 32

Write it Out Intermediate 34

Analyze it! Intermediate 35

Map it! Intermediate 36

Teachers Directions 38

Aural Activities 39

Sing it! Elementary or Intermediate 40

Silence is Golden Elementary or Intermediate 42

Dare to Compare Elementary or Intermediate 45

Pick a Color, Any Color Intermediate 48

Look, Ma, No Hands! Intermediate 50

Musical Detective Intermediate 52

Play and Listen Intermediate 53

Split it Up! Intermediate 57


Kinesthetic Activities 60

Play-Doh Hands Elementary 61

The Money-Maker Elementary 63

Change it Up, Part 1 Elementary 65

One-Handed Elementary or Intermediate 66

The Pretzel Elementary or Intermediate 68

Speed Zone Elementary or Intermediate 71


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From the Ground Up Elementary or Intermediate 74

Change it Up, Part 2 Intermediate 76

Block it! Intermediate 77


Visual Activities 79

The Scrambler Elementary 80

Shape it! Elementary 82

Color it! Elementary 84

Turn the Page Elementary or Intermediate 85

No Peeking! Elementary or Intermediate 87

Claim Your Landmarks, Part 1 Elementary or Intermediate 89

Claim Your Landmarks, Part 2 Intermediate 91

Mind the Gap Intermediate 93

The Clock Face Intermediate 95



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ANALYTICAL ACTIVITIES

These activities will help you learn your music with your mind. You will get to look for

patterns, use stickers, and write stories about your pieces.


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Activity 1: Name That Note!

Student Level: Elementary

Activity Type: Analytical

Activity Location:Begin with your teacher, then practice at home.

Objective:To be able to name all the notes in your piece from memory

Materials:Your music, a pencil

Directions:

1. Ask your teacher to look at your music while you name the notes in your piece in order.

Name all the notes in the right hand, and then name all the notes in the left hand. If your

piece is longer than 1-2 pages, you may ask your teacher to select one page to do at a

time.

2. Ask your teacher to circle any notes that you name incorrectly or leave out.

3. At home, do step 1 once or twice daily.

4. Complete this activity again at your next lesson. Name more notes correctly from

memory each time!


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Activity 2: Stick it!

Student Level: Elementary

Activity Type: Analytical and Visual

Activity Location:At home during practice

Objectives:

1. To identify and label patterns in your piece

2. To help you remember changes in the music

Materials:Your music, star-shaped stickers (several different colors)

Directions:

1. Look through your music, and see if you can find any melodic or rhythmic patterns. Is

any music repeated?

2. Place stickers that are the same color on sections that are the same.


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Activity 3: Tell a Story (see Teachers Directions, p.38)

Student Level: Elementary or Intermediate

Activity Type: Analytical

Activity Location: At home during practice or with your teacher

Objective: To make an expressive connection to your piece by making up a story about it


Directions:Make up a story about what you think is happening in your piece. Then write it on

the lines below. Ask your teacher to play your piece while you narrate it with your story.

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________


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______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________


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Activity 4: Reverse it!


Activity Type: Analytical, Visual and Kinesthetic


Objectives:

1. To challenge your mind to think of the music in new ways

2. To be able to play your piece from memory in other ways besides beginning to end

Materials: Your music from the Claim Your Landmarks, Part 1Activity(see p. 89)

Directions:

1. Complete Claim Your Landmarks, Part 1.

2. Start with the last landmark, and play to the end.

3. Now begin with the next-to-last landmark, and play all the way to the end.

4. Continue with this process for each landmark until you reach the beginning of your piece.

5. On the lines below, write down any problems you had while you practiced and how much

time you spent on the activity.


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Date: _____________________ Time spent on activity: _________________

Problem spots (measure numbers): _________________________________________________














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Activity 5: Stop-and-Go, the Original Version



Activity Location:Begin with your teacher, then complete at home during practice.

Objectives:

1.

To be able to play your piece from memory using the stop-and-go* practice technique

2. To improve your concentration as you play

*Definition:Stop-and-go practice is playing a piece from memory as you would in a

performance, except your teacher will suddenly say Stop.Keep your hands on the piano, then

start playing again when your teacher says Go. Your goal is to be able to start playing again

where you stopped.


Directions:

1. Start at the beginning of your piece and play a few measures from memory until your

teacher says Stop. Keep your hands in place.

2. After a few seconds, your teacher will say Go. Begin playing again where you left off.


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3. Ask your teacher to circle any notes you play incorrectly and write down any measures

you cannot restart.

4. Review these measures each day as you practice at home.

5. Then ask a parent or friend to do the activity with you.














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Activity 6: Stop-and-Go, the Extended Version




Objectives:

1.

To be able to play yourpiece from memory using the stop-and-go* practice technique

(see p. 30)

2. To be able to name upcoming notes in your piece


Directions:

1. Start at the beginning of your piece and play a few measures from memory until your

teacher says Stop.

2. Name a few upcoming notes or a chord.

3. If you are able to name the notes correctly, your teacher will say Go. Begin playing

again where you left off.


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4. If you are unable to name the notes correctly, ask your teacher to write them down on

the lines below.

5. Review these measures each day as you practice at home.

6. Then ask a parent or friend to do the activity with you.

Date: _____________________


Date: _____________________


Date: _____________________


Date: _____________________


Date: _____________________


Date: _____________________



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Activity 7: Write it Out (see Teachers Directions, p.38)

Student Level: Intermediate

Activity Type:Analytical and Visual


Objective: To improve your memorization of difficult sections by writing out the music without

looking at the musical score

Materials:Staff paper, a pencil

Directions:

1. Ask your teacher to select a musical passage in your music that you have trouble

remembering or one that contains several accidentals.

2. On staff paper, write out as much of the musical passage you selected without looking at

the musical score.

3. Your teacher may help you if you have trouble remembering the notes.

4.

Complete the activity again at home with the same passage or another one. Show your

work to your teacher at the next lesson.


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Activity 8: Analyze it! (see Teachers Directions, p.38)



Activity Location: Begin with your teacher, then complete at home during practice.

Objective: To understand the harmonies in your piece


Directions:

1. Label all the chords in the music. You may use Roman numerals (e.g., V) or pop chord

symbols (e.g., G7), depending on what your teacher suggests.

2. At home, label all the chords in the music for another piece you are memorizing. Show

your work to your teacher at the next lesson.

Challenge Yourself!

Improvise (make up) a new melody using the same chords from your piece!


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Activity 9: Map it!




Objective:To draw a map of your piece

Materials: Your music, a pencil

Study the example below before you begin completing the activity based on your piece.

Example Memory Map:

Section: A B A

Measure #s: 1-12 13-21 22-36

Key(s): G major E minor G major

Mood(s): lively dark playful


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Directions for your piece:

1. Label the sections in your music according to the melodic and harmonic language (e.g.,

sections A, A, B, C, etc.). Ask your teacher to help you.

2.

In the space below, write down the letter for each section and its corresponding measure

numbers, key(s), and a word that describes the mood of the music, such as bouncy,

stormy, dark, lively, etc.

3. Use the map you have made to help study your piece as you memorize it at home.

My Memory Map

Section:

Measure #s:

Key(s):

Mood(s):

Challenge Yourself!

Study your memory map at home, and then tell your teacher about each section of the piece

from memory at your lesson.


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Teachers Directions

Tell a Story (see p. 26):Encourage your students to be creative and give them ideas if you feel

they are struggling.

Write it Out (see p. 34):Students may have difficulty deciding which passage they struggle

with the most. You may need to suggest a passage or two for them during the lesson that they

may complete at home.

Analyze it! (see p. 35):This activity may only be appropriate for students who have had

adequate theory training. For the Challenge Yourself!element of this activity, your student may

benefit from some guidance in improvisation (e.g., suggestions about starting and ending pitches

or selecting a mood or style for the improvised melody).


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AURAL ACTIVITIES

These activities will help you develop good listening ears. You will learn to sing your pieces

and let your ears be your guide.


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Activity 10: Sing it!(see Teachers Directions, p.59)


Activity Type:Aural

Activity Location:At home during practice or with your teacher

Materials:A photocopy of your music, a pencil

Objectives:

1. To identify the melody and bass line

2. To be able to sing each line separately

Study the following excerpt from Daniel Gottlob Trks Carefree for help in identifying the

melody and bass line. Then proceed with the directions for your own piece.


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1. Ask your teacher or a parent to make a photocopy of your music.

2. Locate the melodyusually this is the top voice, but sometimes it appears in other parts

as well.

3. Write an uppercase M where the melody begins.

4. Now sing the melody of your piece. If you have used the solfege system before (e.g., do,

re, mi, etc.), write the solfege in the music. You may also sing the note names or use la.

If any of the notes are too high or low for you to sing comfortably, you may sing up or

down an octave, or leave out notes occasionally.

5. Look for the bass line, which is the bottom voice. Write an uppercase B where the bass

line begins.

6. Sing the bass line using solfege, note names, or la.

Challenge Yourself!

Sing the melody and bass line without looking at the music!


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Activity 11: Silence is Golden


Activity Type: Aural and Kinesthetic


Materials:A pencil

Objective: To be able to rely on other senses besides your hearing to remember your music

Directions:

1. Sit at the piano as you normally would before playing.

2. Move your hands above the keys as you would if you were playing normally, and play

your piecesilentlyfrom memory (try not to make any sound!). Your fingers will feel like

they are floating over the keyboard.

3. Complete the activity a few times. On the lines below, write down any problem spots you

had and any improvements you made since the last time you tried.


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First Try:

Date: _____________________


Second Try:

Date: _____________________


Improvements made since first try: _________________________________________________

______________________________________________________________________________

Third Try:

Date: _____________________


Improvements made since second try: _______________________________________________

______________________________________________________________________________


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Fourth Try:

Date: _____________________

Problem spots (measure numbers): ____________________

Improvements made since third try: ________________________________________________

______________________________________________________________________________

Fifth Try:

Date: _____________________


Improvements made since fourth try: _______________________________________________

______________________________________________________________________________


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Activity 12: Dare to Compare (see Teachers Directions,p. 59)


Activity Type: Aural and Analytical


Materials: Recordings of your piece, a recording device, a pencil

Objective: To compare performances of your piece

Directions:

1. Listen to recordings of other pianists playing your piece.

2. Record and listen to yourself playing your piece.

3. As you listen, follow along in the musical score or Challenge Yourself!(read below)

4. Compare the other performances to your performance of the piece. What is different

about each performance? Is there anything you like better about the way another pianist

plays your piece? Is there anything you dislike?5. Write down your ideas on the lines below about other performers use of phrasing,

tempo, articulation, dynamics, etc.


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Challenge Yourself!

As you listen to all the different recordings, see if you can imagine the notes of the musical score

in your head.

Date: _____________________ Pianist: ________________________________________

What I liked about the performance: ________________________________________________

______________________________________________________________________________

What I disliked about the performance: ______________________________________________

______________________________________________________________________________

Date: _____________________ Pianist: ________________________________________


______________________________________________________________________________


______________________________________________________________________________

Date: _____________________ Pianist: ________________________________________


______________________________________________________________________________


______________________________________________________________________________


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Date: _____________________ Pianist: ________________________________________


______________________________________________________________________________


______________________________________________________________________________

Date: _____________________ Pianist: ________________________________________


______________________________________________________________________________


______________________________________________________________________________

Date: _____________________ Pianist: ________________________________________


______________________________________________________________________________


______________________________________________________________________________


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Activity 13: Pick a Color, Any Color (see Teachers Directions, p.59)


Activity Type: Aural and Visual


Materials:Highlighters (up to 4 different colors), the photocopy of your music from Sing It!

(see p. 40)

Objective:To be able to sing each voice* in your piece while playing another voice

*Definition:In piano pieces, a voice is a line of music, such as the melody, a part or all of the

harmony, or bass. When there are four different voices, they are sometimes called soprano,

alto, tenor, and bass lines.

Study the following excerpt from Wolfgang Amadeus Mozarts Andante in C Major. The

soprano, alto, tenor, and bass lines have been highlighted for you (Note: some voices use the

same pitch and have been highlighted in two colors). Once you understand the process, apply the

directions to your piece.


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1. Using the photocopy of your music from Sing it! (see p. 40), count the number of voices

in your piece.

2. Select different-colored highlighters, depending on the number of voices you counted.

3. Highlight each voice in your piece in a different color.

4. Practice playing each part while singing another part.


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Activity 14: Look, Ma, No Hands! (see Teachers Directions, p.59)


Activity Type: Aural and Analytical

Activity Location:Begin with your teacher, then practice at home.


Objective: To improve your mental practice* skills by hearing your piece in your mind

*Definition:Mental practice is rehearsing your music in your mind without physically

practicing, either by looking at the music or from memory. It reinforces the physical motions that

you normally make when you are playing.

Directions:

1. Pretend that there is a CD player in your mind.

2.

Find the CD in your mental CD collection that has your piece on it, and put it in the CDplayer. Then press play.

3. Try to hear the piece in your mind without moving your fingers.

4. If your recording skips (if you forget any notes), you may look at your music and find

the place where your mental CD skipped.

5. Write down the measure number where you got lost on the lines below.


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6. Then try to pick up where you left off without looking at the music.

7. Go through as much of the piece as possible. If you notice that there are certain passages

where your CD always skips, study those measures a few times each day. You may

want to physically practice them, too.

Date: _____________________ Time spent practicing: _____________________













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Activity 15: Musical Detective(see Teachers Directions, p.59)


Activity Type: Aural and Kinesthetic

Activity Location:With your teacher

Materials:Your music

Objectives:

1. To figure out where in the piece

teaching memory at the piano- a pre-college student workbook base

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