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TO
M E MO R Z E
W it
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e ro u s
MU S C
u s ical
Ex am
BY
C
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of
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:Th
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t h e N o ve li st
LO N DO N
W RE EV
.
CO N D E D I T I O N
E S , 8 3 , C HA R I N G C R O S S
ROAD W
,
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Th is l it t l e B oole d o e s
n ot
re te n d
t o be
b
u t l i t t l e w r i t t e n abo u t ,
a
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,
f
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the
to
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re -iss u e
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th e
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ccl e s
C H A !T E R
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h Ie m o riz in g
/
C H A !T E R I I
Music al A nalysis
C HA !T E R
The
F acu l ty
The
F a cul ty
IV
of
30
S i g ht
C HA !T E R V I
T h e F a cu lty
of
S e l ectio n
of
of
V II
R ep ertory
C HA!T E R
a Method
E moti on
C HA !T E R
the
of He arin g
C HA !T E R
On
IO
C H A !T E R
F acu lty o f Tou c h
T he
On
S tudy
V III
54
HO W
TO MEMO R IS E MU S IC
their notes
Coul d anything be more humil iating than
for a pi anist o f advanced technique to have to make an
excuse o f that sort ? And yet it is being done d ai ly by
thou sand s o f musicians who either wi l l not take the
troubl e to memorise a dozen pieces or d o not under
stand how to go about d oing so S ome pianists even
go so far as to con fess that they are utterl y unabl e to
.
HO W
TO
JI E JI OR I S E
M USI C
'
HO W
TO
JI E JI OR I S E
M USIC
HO W
TO
M E JI OR I S E M USIC
II O W
TO
JI E JI OR I S E
M USI C
HO W TO
'
JI LS I (7
JI E JI OR I S E
Yes
she repl ied
but it was hard work very
hard
And even now when p l aying the S onata I
sometimes come to a dead stop in the midd l e o f it
and haven t the least idea how to go on
Ah indeed ? D o you rel y on your eye ear or
sense o f touch chiey ? I asked
'
H O W TO
M E M ORISE M USIC
'
HO W
TO M E M ORISE M USIC
T O U CH
This i s the facul ty which the i gnorant pi anist
uses unconsciously when attempting to memorise :
it is almost entirel y a mechanical facu lty
T HE F ACU LT Y o r
T HE FACU LT Y
HE AR IN G
The ear i s an important factor in every branch
o f music but p articul arly so in this branch The
ear i s capabl e o f being trained to a high state o f
perfection even when the training i s begun com
p arat iv e l y l ate in l i fe
OF
T HE F ACU LT Y o r S I G HT
HO W
TO
M USIC
J I E JI OR I S E
AN ALY S I S
We are al l abl e to pul l things to pieces more or
l ess easil y but it is a somewhat d i fferent m atter
putting them together again
I n this case the
facul ty o f synthesi s is al most as important
as that o f analy si s
I n order to benet to the
fu l l by the exercise o f this facul ty it i s necessary
to h ave at l east an elementary knowl ed ge o f
harmony
T HE FACU LTY o r
ME M OR I S IN G O NE S E M O TI O N S
Thi s facul ty i s very o ften exercised quite u n co n
and in cases o f that sort it i s
s cio u s l y by pi anists
und oubted l y a great hel p ; but when the subj ect
i s stud ied thoug h t fu l ly the hel p it afford s is in
creased wonder ful l y
FACU LT Y
T HE
OF
HO W TO M E M ORISE M USI C
10
II
M U S I CA L A N A LY S IS
G RE AT
HOW
12
d iv erse
TO
M USI C
M E JI OR I S E
I t may be asked
stood
B ut does not al l thi s
fussy peering into the nooks and crannies o f a piece
make one obl iviou s o f its grandeur ? I f I want to
admire a ruined cast le I don t go right u p to it
and ex amine each separate stone Why then must I
d o thi s in music ? No you don t l ook at each sep arate
stone that hel ps to make an ol d castl e I know ; but a
ruine d castl e and a grand p iece o f mu sic are not by any
,
HO W
TO M E M 0R 1 SE M USIC
13
4
much o f its poetry that as soon as we d i scover how
HO W TO
14
M E M ORISE M USIC
TO M E M ORISE M USI C
1 1 0 il
l
15
they are emotions are stil l less rel iable and even more
changeabl e
O ne s intel lect shou l d alway s be the
rul ing factor in one s pl aying the emotions shou l d come
a good second for though i t i s a matter o f the utmost
importance that one s h oul d be abl e to feel yet it is sti l l
as important that one shoul d al so think and reason
When the facul ty i s devel oped the student shoul d
learn to write out al l h is memorised pieces entirel y from
memory This o f course is not absol utely essenti al ;
but he who desire s to study the subj ect thoroughl y
cannot d o better than m ake an attempt at thi s I t is
no d oubt weari some work copying out from memory a
l ong B ach F ugue or Beethoven S onata but a moment s
thought wil l serve to demonstrate how excel lent a
method thi s is both for testing one s progress and al so
for impressing more rm l y on the mind what one has
already memorised
I give one ex ampl e here to show the student what I
mean by this facu l ty o f musical an al ysis and how it
may assist one s memory :
Ex
Be
e rh o v n x .
M are zaj
an core
'
H O W TO M E M ORISE M USI C
16
'
Ex
0
.
HO W TO ME M ORISE M USIC
II I
17
Th e F acu l t y
f T o u ch
H O W TO M E M ORISE M USI C
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H O W TO M E M ORISE M USIC
20
H O W TO M E M ORISE M USIC
21
Ex
Ex
:
pg
23
H O W TO M E M ORISE M USIC
22
greater
wil
l
be
the
strain
on
the
muscl
es
not only
the
o f the hand al one but al so o f the arm A practical
i l l ustration o f this is given in the next ex ampl e
.
'
HO W TO M E M ORISE M USI C
23
n ot
cu l t i v at e d
u n co n s ci o us l y
U p
e x ce
pt
t o a ce rt ai n
d e g re e
HO W
2t
TO
M E M ORISE M USI C
BEE
!
HO V
'
N.
H O W TO M E M ORISE M USI C
25
mu
a
physical sensations which
naTri wifc
:
its execution entai l s That way l ies rum It i s not
a
ml ay s n e ce ssai y to hb se rve each bar separately for it
very o ften h appens that many successive bars wil l
dem and precisel y the same kind and degree o f effort to
pl ay them ; but where the character o f the music
ch anges eit h er in rhythm qual ity or quantity o f sound
or technical d i fcul ty then it is o f the utmost import
ance to d iscern the d ifference in physical sensation
which these changes wil l bring about
'
__
.g
nv
'
HO W TO M E M ORISE M USIC
26
x.
FR
C HO !I N
e t c.
x.
HO W TO M E M ORISE M USI C
28
'
'
HO W TO M E M ORISE M USI C
29
m e m o ry_
W
of
man i s
so
-.
'
H O W TO M E M ORISE M USIC
30
IV
Th e F acu l t y
f He ari n g
HO W
TO
M E M ORISE M USIC
31
H O W TO M E M ORISE M USI C
32
B ut this
intel l igence o f the ear i f I may com
a phrase i s a great boon to musicians Al l o f them
possess it to a certain extent but there is qu ite a l arge
number o f otherwise excel lent musici ans who d o not
possess the sense o f absol ute pitch and are not able
to retain a mel od y in their memory until they have
and
great
power
o
f
interpretation
; perhaps ;
e ram e n t
p
but they have not the keenness o f ear which many o f
their less gi fted brethren possess
Now in memorising music it i s very necessary that
t h e ear shoul d be wel l trained and those pianists who
are conscious o f having either de fective ears or ears
t h at are not as ready as they might be to note what
they hear shoul d see to it that t h ese de fects are
remed ied
In order that the ear may be put to the best possibl e
use in memorising music it i s not onl y necessary that
it shou l d be abl e to retain for an indenite period
a mel ody once learned but that it shoul d (with the
assistance o f the intel l ect o f course ) be abl e to compre
hend and re m ember a tune heard once only
The
abil ity to d o this is somewhat rare The use ful ness o f
it
i s evinced in that i f a pianist can remember a
mel ody after hearing it once he i s in a far better
position to imprint it on hi s mind indel ibly a fter study
than the pianist who nd s it necessary to hear a
mel ody twenty or thirty times be fore he is sure o f
h aving grasped its fu l l meaning
Nowad ays a new
and real l y striking melody i s rarel y heard :they al l
st :
m to have been used u p
M odern composers have
.
H O W TO M E M ORISE M USIC
33
great composers
trash
I do not necessari ly
By
mean
l ight
music for l ight music i s very o ften
o f excel l ent qu al ity ; but I mean s o cal l ed music that
i s vul gar and pretentious possessing no merit and
savouring very strongl y o f the music hal l
Avoid
then al l m U S i c o f this kind
Welcome pure fresh
mel od ies as you wel come the sunl ight ; stud y them ;
n d out how they are constructed ; feel their emotion ;
dwel l on them in your mind when you are away from
your piano forte ; and as a resu l t o f al l thi s you wi l l
gradu al l y be abl e to grasp the meaning and emotiona l
force o f a good mel ody the very rst time you hear it
I t is al so a matter o f rst rate importance that t h e
pi anist shoul d be in a position to trans fer a mel od y in
his mind into the actual soun d o f the piano forte
U nless one h as been blessed with thi s gi ft by nature it
wil l be found a somewhat d i f cul t thing to d o The
reason o f its importance may be seen when you think
o f how easi l y the con stant di f culty may be overcom e
.
34
HO W
TO
M E M ORISE M USI C
H O W TO M E M ORISE M USI C
36
Th e F acu l t y
f S ig h t
HOW
TO M E MORISE M USI C
37
HO W TO M E M ORISE M USI C
88
H O W TO
ME M
ORISE M USI C
39
t icu l ar
HO W TO M E M ORISE M USIC
40
practice
In f act practice i s ever y thing
It is impossibl e to l ay d own any strict rules regarding
a particu l ar method o f study for acquiring thi s fac ul ty
Again I mu st repeat C l ose observation i s the great
essential
I wil l give a few more or less extreme
ex ampl es in order to show the broad l ines in which the
student may d irect h i s work
I n the rst
u n i t i at e d
pl ace it wi l l be wel l to attempt the visual memorising
o f a piece w h ich on the printed page attracts and
arrests the eye A piece which i s del iberatel y eccentric
o f strikingl y original wi l l very o ften bear the imprint o f
its true nature on its very appearance F o r instance
Chopin s E tude O p 2 5 No 4 is su fciently u h
common ih appearance to make the beho l der excl aim :
I shoul d l ike to hear that piece pl ayed I wonder
what it sound s l ike i
,
1 1
H O W TO M E M ORISE M USI C
41
i n g I Le t
Ex
A l l eg r o
t r oppo
n on
C HO !I N
O p 2 4, N O
S ot t o
v ot e
e tc
Larg o
m es t o
B E E T HO V E N
No
C t C.
H O W TO M E M ORISE M USIC
42
M E N D E LS S O HN
tc
HOW
44
TO
M E M O R ISE M USIC
'
H O W TO M E M ORISE M USIC
45
M E JI OR I S E
H O W TO
4 8
M USIC
p assion
The more one keeps
unspotted from the
worl d
the tter cond ition wi l l one s sou l be in to
appreciate the greatness and nobil ity o f the work o f the
great composers
B ut on the other hand there are those who while
b e ing o f a decided l y musical temperament and whil st
p ossessing very fair abi l ities as pianists are not abl e to
fee l so intensel y as those whose nerves are more
r esponsive
more quick to feel more ready to enj oy
I t is sa fe to prophesy that these musici an s however
advanced and wel l devel oped their techn ique may be
however strong and keen their intel lectual force wil l
never reach the highest summit o f their art
Fo r
music is founded on the emotions an d i f the emotions
are not al ert quick to feel and quick to respond the
resul t o f the pi an ist s efforts wi l l be futile meagre an d
u sel ess
These peopl e wil l not be able to put their
,
H 0 W TO M E M 0 R 1 SE M USI C
47
o f Mendel ssohn s hi s
Without Word s
S ong
beginning :
,
Ex
A d ag i o
: 63
n on
t r oy-Do
'
M E NDE
I S S O HN .
H O W TO M E M ORISE M USI C
48
e tc
H O W TO M E M ORISE M USIC
49
ndicate
a
sl
ight
spirit
o
f
restiveness
as i f the chains
i
o f circumstance were proving somewhat irksome
The student may analyse the remain ing emotions for
himsel f ; he wi l l see from the foregoing ex ampl e what I
wish to convey to hi s understanding by this facu lty o f
emotion O f course it wi l l be understood that I do
not advise that each bar o f a piece shoul d be l abel l ed
with some particul ar emotion and that the names o f
these d i fferent emotions shoul d be l earned off by heart
in a co l umn ; that woul d be pal pably absurd and o f no
possible u se to the student B ut I d o insi st on the
necessity o f anal ysing the emotion o f al l pieces that the
s tudent wishes to memorise
I t wi l l be found use ful in
many cases to invent some sl ight romance or tal e to t
in with the sequence o f the emotion in the piece that
is being stud ied ; I have known several c ases where
s uch a method o f procedure has proved inval uable
e n ce d ,
'
HO W TO M E M ORISE M USI C
50
V II
:t h
07
S e l e ct i o n
a R
e rt o ry
'
HO W TO M E M ORISE M USIC
52
m emorise
HO W TO M E M ORISE M USIC
53
'
H O W TO M E M ORISE M USIC
84
On a
III
Me t h od
f S t ud y
E M O R IS I NG
HO W
TO M E
,
MOR I S E M USI C
55
'
HO W TO M E M ORISE M USIC
56
T HE E N D