by Dr. Richard Dowling

Types of Memory

• Digital (Tactile) Memory –– Useful for rapid passagework, but dangerous since only the fingers are in control, not the conscious mind.

• Visual (Photographic) Memory –– Everyone can develop this to a degree. Visualize placement of notes on the page, actual size of the notes, spacing of measures, and page turn reference points.

• Harmonic (Analytical) Memory –– Is frequently considered the most important and useful type of memory since pianists must recognize chords and their inversions, and understand modulations.

• Aural Memory –– Aided by structured ear training. Sing along with melodies, bass line progressions, and inner voices during practice.

Memorization Procedures

• Formal Analysis –– Recognize form types and identify repeated phrases or sections. Compare similar phrases or sections carefully for minute differences to avoid confusion in performance. Understand transitions between sections. Don’t be afraid to mark the score. The physical act of writing can also be a memory aid.

• Fingering –– Extremely important! In order to achieve maximum advantage and avoid wasting time, establish the best fingering as early as possible to aid digital memory through repetition of identical patterns during practicing. Employ "symmetrical" fingerings when possible, and notate fingerings in the music as needed for visual reinforcement.

• Sections & Dates –– Memorize music in small parts––perhaps only a couple of measures, or a line or two at a time. At the end of a memorization session, mark the date of completion to track the progression of work accomplished. Memorizing works best when small bits of material are added on to one another little by little. Decide in advance a reasonable amount to work on each day.

• Hands Separately –– Practicing hands separately is particularly helpful in contrapuntal music. Try to memorize as much of the left hand alone as possible.

• Slow Practice –– Absolutely essential for discovering weak spots in the memory. Always be sure to include dynamics, articulation, phrasing, and other expressive markings during slow practice. Practice without pedal in order to evaluate accuracy of execution. Metronome: slow to fast, two notches at a time. Plenty of drill must accompany memory work.

• Review –– Ideally, memorization of new pieces should occur in closely-spaced intervals, preferably on consecutive days. Avoid too many days in between sessions. The brain retains about 50% of material that was learned from the previous day. So, it is important to reinforce newly memorized music as soon as possible to avoid significant memory loss and to avoid wasting time re-memorizing.

• Mental Practicing –– "Play" through the piece mentally away from the piano in order to locate weak spots in the memory. Mental practicing involves a special combination of silent digital, visual and aural memory. Feel, see and hear the imaginary keyboard, score and music in your mind.

• Mock Recital –– Open the lid, take off the music stand, and play for an imaginary audience (or a group of family and friends) without stopping. Duplicate actual stage surroundings as much as possible.