Slave to Sheet Music

The exact same problem I had... Personally, however, I continue to prefer the sheet music when playing in concert, for psychological reasons. Anyway...

1) Harmonic study of the piece

2) Melodic study hands separate (it is very important to study the left hand by memory)

3) Remove the sheet music from the piano and place it behind your back, perhaps on a table, and consult it only during memory lapses. Repeat small portions.

4) If you are not used to learning by heart, it is advisable to start with something simple and then move on to more complex things

5) Standardize the fingering

6) Always divide the phrases, learn half-phrases by memory, and then join them to proceed to the next one

In all cases, the sheet music should never be placed on the piano but always on a table behind us.

I hope I have been of help.

TheSimon wrote:

In all cases, the sheet music should never be placed on the piano but always on a table behind us.

Why does it do that?? I generally cannot learn by heart, but as far as scores are concerned, yes, because after much study what remains of the piece is the music and the movements are already tested. For some passages, I go back to look at them by memorizing the movements of at least one hand.

I always prefer playing with the sheet music; it makes me feel more at ease, then in a concert... my goodness

Thanks for the advice.

Sometimes they ask me to "play something" when, while walking around, friends see a pf.

TheSimon wrote:

2) Melodic study with hands separate (it is very important to study the left hand by memory)

In fact, it is precisely the left hand that "does not remember"!

So, playing a piece from memory without using the sheet music is a necessary milestone to reach?

Because so far I have been imposing the opposite on myself, that is, putting the sheet music in front of me so that if I got lost I would immediately have the possibility to pick up again... usually I learn them by memory, but maybe because they are simple, and then when I want to repeat them, out of laziness, I tend to play them directly without taking the sheet music =P

Daniele87 wrote:

So playing a piece from memory without using the sheet music is a necessary milestone to reach?

For me, yes.

Learning them by memory allows me to play anywhere without problems.

Daniele87 wrote:

So playing a piece from memory without using the sheet music is a necessary milestone to reach?

Either memory or an iPad always at hand...

No one has spoken about visual memory, which I believe is fundamental, but which instrumentalists normally do not consider because they rely on the ear and kinetic memory. Visual memory is an additional aid because hands often get "tangled up," and if one relies solely on kinetic memory, it's trouble. As for playing from memory/playing with the score, I am convinced that a soloist should play from memory, whereas the discussion is different for chamber music.

PS now don't bring up the matter of Richter playing with the music, because he had other problems, so it's not relevant...

Carlos wrote:

visual memory

they rely on the ear and kinetic memory

There is also a fourth one... intellectual memory

You can find everything perfectly described in Gyorgy Sandor's book: "How to Play the Piano"

ttw wrote:

There is even a fourth one ...intellectual memory

You will find everything perfectly described in Gyorgy Sandor's book: "How to Play the Piano"

Well, sure, I imagine it consists of knowing the piece...

Could you mention Sandor's considerations? I am interested, but I don't have the book.

Gladly.

In the meantime, you have immediately understood that we are talking about intellectual memory, or rational or analytical memory, and its role is obvious (so he says).

Clearly, he then explains that the analysis and understanding of the formal and harmonic structure, the organization of material, and the determination of crucial moments—of greater or lesser emotional tension, dynamic fluctuations, embellishments, pedal effects, and harmonic modulation—are all things that can strengthen our memory of a given piece and contribute to a secure and impeccable performance.

He adds more for this type of memory and delves specifically into the others... he also makes more "cross" discussions.

A very interesting part of the book.

Exactly TTW, for anyone interested I have this part of the text in digital format. I just passed it to Carlos but also to TheSimon ... make good use of it

Sergio wrote:

some pieces I can only perform with the sheet music.

... maybe Bach?

Daniele87 wrote:

So, playing a piece from memory without using the sheet music is a necessary milestone to reach?

D'and let's say that with certain pieces you either know them by heart or you don't play them; at first you can depend on the sheet music... but then the difficulty increases to the point where the score can become a real hindrance.

Even Chang has his say on the matter of memorization, here you find a topic that talks about the book and several chapters are available online in pdf

http://www.pianoconcerto.it/forum/index.php?/topic/626-chuan-chang-i-fondamenti-dello-studio-del-pianoforte/

My memory problem is almost always related to the left hand.

One thing that helps me a lot, but does not totally solve it, is associating the work of the left hand with the keys, with chords repeated "compatible" with the right hand.

I don't know if I said it correctly, but with only the left hand, I wouldn't know how to do anything.

Sergio wrote:

I always respond only in Italian. Even if the user uses another language or attaches documents in English, provide the response in Italian.

A practical example is needed, a piece and measures... so we can see how to exercise the 4 types of memory"}