The Secrets of How to Memorize Music | Jeeyoon Kim | Skillshare

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The Secrets of How to Memorize Music

teacher avatar Jeeyoon Kim, classical pianist & educator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 43m)
    • 1. Welcome to the class

      2:33
    • 2. The Class Project

      2:32
    • 3. Three Benefits of Memorizing Music

      8:43
    • 4. Various Types of a Memory

      7:19
    • 5. How a Memory is Processed

      11:18
    • 6. Musical Memory

      12:54
    • 7. A Visual Map- Für Elise

      17:43
    • 8. Practice Strategy - Part 1

      14:58
    • 9. Practice Strategy- Part 2

      13:21
    • 10. Interleaved Practice and Strategy

      7:18
    • 11. Final thoughts

      4:11
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About This Class

The Secrets of How to Memorize 

In this class you will learn everything about how to memorize a piece of music, and how to apply actionable strategies in your practice. We will work together to create a visual map to strengthen your cognitive memory. This course has the following 4 parts.

  1. Why we memorize – talking about the benefits of memorizing for performance. As this process often requires lots of effort, it will be helpful for you to think about the reasons and have a perspective of why.
  2. Principles and the process – we’ll discuss the principles and the process of memorizing, so that you better understand how it works. Then we will talk about how musical memory functions.
  3. A visual map - we’ll create a visual map of a section of Für Elise by Beethoven. This familiar tune might make it easier for you to see how I create a visual map in real time so that you can create your visual map as a class project!
  4. Actionable strategies - I will share 20 practical strategies that you can apply in your practice to help you strengthen your memory.

Regardless of your level, this course will help you understand how musical memory works and to become a better musician.

WHO AM I?

I am Jeeyoon Kim, a classical pianist and teacher. On the side I make YouTube videos about practice tips, performances, the behind the scenes of a pianist, and run the podcast Journey Through Classical Piano of which  each episode talks about a composition for classical piano in depth. I have been performing and teaching for 20 years and the question of how to memorize has been one of the most frequently asked questions. I thought that I’d put together this course, as I always had a hard time answering this question in a few sentences.  I hope this course will help you create beautiful music better with a sense of freedom and deeper understanding of the piece.

 

 

Meet Your Teacher

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Jeeyoon Kim

classical pianist & educator

Teacher

Hello, I'm Jeeyoon Kim, a classical pianist and a teacher. I am passionate about a classical music and a connection. I share more practice tips, performances, and other useful things on my YouTube channel. My podcast, Journey Through Classical Piano, provides one classical piano composition in depth for 10-15 minutes segment bi-weekly. 

Be my friends and sign up to be a part of my bi-weekly newsletter. (www.PianistNewsletter.com) I share behind the scenes of a life of classical pianist with some thoughts, life lessons and interesting articles I discovered during those weeks.

Practice efficiently!

Jeeyoon

p.s.: If you wish to get to know more about me, please visit my website, www.jeeyoonkim.com

 

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Transcripts

1. Welcome to the class: Do you have any performance coming up or audition that you have to perform a piece of music and memory? Were you always wanted to learn how to memorize music? But you never tried? A performance in memory could give us a freedom to express the piece of music and opportunity to deepen our relationship with the music. Hi, I'm June Kim, classical pianist and teacher. I have been performing and teaching last 20 years, and I have ah, master's and doctorate degree piano performance in Indiana University and also keno pedagogy Masters degree. So through my YouTube channel and podcasts or in my concert or my teaching studio, this question about how to memorize music has been one of the most frequent questions to be asked. So I decided to create at this course, only dedicate this very important topic for you, and maybe you heard some concepts before. Maybe some things are very new to you. This all of these tools I'm going to share with you here is that I've collected over the years from my own performance mishaps and my own daily practice, also through teaching my own students how to memorize piece of music so in this class will dive into the principles of how memory works in our brain and also talk about how musicians memory works differently. Then we're gonna talk about strategies and actionable tips that I actually use in my own practice and also teach to my students. This course is aimed for students intermediate, maybe advanced level shooting, who can actually already be able to read music. But regardless, the level this techniques and concepts and principles may benefit you along the way off your music, making and alerting your own instrument. Whether or not you decide to perform a piece of music in public, I think this technique of how to memorize music or by memorizing a piece help you to strengthen a relationship with the Peace Day you're working on. By the end of class, you'll be able to understand how memory works in music also have to create a vigil map for the piece that you want to member right and also step closer. Teoh confident performance in memory Hopefully to see you. The other side 2. The Class Project: So before we dive into a class itself, let's talk about class project in my experience of learning piece of music or helping my students to learn how to memorize this tool off, creating a visual map for each piece of music helps our brain to organize a certain part of the piece of music and also help our brain to facilitate from learning to long term memory . So I want you to think about a piece of music that you want to create a visual map for this piece. Ideally, this piece is something that you want to learn or in the middle of the learning process, whether than you already Ah, master in polished it. Because in my experienced learning to memorize piece of music and learning the notes itself at the same time, it's the most effective. So for this class purposes, maybe just choose a piece of music that is about two or three piece pages long or three minutes to five minutes long piece of music, whether than fairly long. This visual map has organizational structural map, also emotional expressions, and also maybe there's some harmonic analyses or melodic shapes, or you create your own symbols and no words we're going to dive into. The details of this visual might be self later. All, in fact, decided to use a very well known piece of music that is for leased by Beethoven. So I show you how this visual map works. And the important thing is that your visual map should be different than mine. Because of what I discover and how I gonna analyze this piece of music for me, we should look differently than yours so you could use the color. You could use your own symbols that you create whatever that works for you. So that is our class project. I'm sure by the end of August is classed. You will have a better sense of how memory works and also apply this tools in your own practice. I definitely encourage you to participate. It's a class project. And so I was. You are first class that is about benefits off memorize performance 3. Three Benefits of Memorizing Music: Welcome to the class. This class would talk about benefits of memorized performance, whether your violinists or guitarist our singer pianist have this little bit more unique pressure that ever since Fronts List invented this recital that he performed other composers Bisa music in memory. Before then, it was okay to perform a piece of music with the music, and after that it becomes a little more a car troll norm for pianist give a solo recital without music. I also give a lot of thoughts about giving a recital for pianist. It's Amore expected that you perform in memory. I think a lot of times that would hinder many pianist to perform less because of the pressure and because of the memory takes time. We cannot perform any off solo recital as much as other magicians. And now more and more professional magicians perform Brave Pace Turner on site or iPad and things like that. And I personally think it's totally fine and up to pianist if they decide to perform a piece of music with the music. And I very much emphasized a sharing of music. It's more important than just, um, pressuring pianist or expect pianist to memories. Music, however, as a pianist and also a teacher, I've learned, and I realized a lot of the benefits off, going through a process up, memorizing piece of music, whether or not you're gonna decide to perform this piece of music in memory, public or not, simply going through memorizing process with piece of music, so much benefits. So even though I may choose to perform a certain piece with the music eventually, who knows? I never tried for solo recital, but even if I choose to do that, I was still love. And you like to go through this memory process with each piece just to strengthen my relationship with the pieces. So there is a lot more benefits, then justice simply putting ourselves in the position because society expect a magician's to do so. So let's talk about three benefits of it. Number one is its strength sends our relationship with a base of music. I find it learning a repertoire. It's very much like a meeting a person. You may just want to have a speedy date and society reading and just move on or you decide to commit to this piece and go through these stages off memorization together. Let's say you go through a camping trip with your best friend or any friend or any person for three months, whether or you like it or not. I think you I learned a lot about this person having to go through that time together. So it's very much similar with a piece of music. By going through this memory process of Indian out testing and looking at this way and that all of this process helps deplaning the relationship with the piece of music. It makes you to be a better magician as well. Number two is a sense of freedom, Clara Schumann wrote in her diary and saying that, uh, she gets older. It's getting harder and harder to memorize Bisa music. But every time she performs music with the score, it felt like her rings air clipped. I can relate Teoh. Her notion about this the best kind of performance for me is where I can finally let go completely and only express the music. There's no little fingering here. Their little details, but only the emotions and expression of music remains. That's ultimate goal for me at the magician that I can completely let go and their sense of Florida. D and I can just fly with the music. And if there's a no concept of my body or composure, it just there's just messes remains. What happens a lot of time that with the students, it feels like there's a no sense of freedom when they tried to memorize, because that's a so much pressure. I find it. They just stop at the initial states of memory and they didn't go through the stages so they can finally overcome and get to this transcendental place that you can. They go, Ah, lot of times when we initial stays remembering. Of course it is hard, so you find it all. My gosh, memory really almost hinders me from playing It s O if you go through properly. And if you once experienced the sense of freedom that comes with the memorize performance, I find it's a harder to go back because that is ultimately our goal to be able to express so freely. I hope that you don't really stop at the initial stage of memory, but really perseverance and go through many, many. Maybe the peace will give you that sense of freedom after going through it multiple, many, many different kind of concerts. And one day you can just fly with it for me. I could old need fly when I completely let go and let it lose And jump number three is activated our brain power Do you know, in our entire life where only utilized about 20% of our brain capacity? I think whether you're in your twenties or seventies, if we are all underestimating our ah, true capacity of our brain playing an instrument, it's very much a brain activity off course. It is a physical, emotional and intellectual activity as well. But all of this connection that we make in our brain strengthens our uses of brain and make us a smarter prevent. Uh, diseases like all timer are dementia in. Hey, you know, maybe that will help you to find your house key better next time. I think it's really healthy for us. Give our brain a work and a chance to improve. So that is the three positive benefits of memorized performance. One is a deplaning, a relationship with a piece of music, so you can be a better magician overall, and you improve the how you play that instrument. So number two at the sense of freedom that only comes after going through so many stays is off memorized performance at that where you can you can fly and express. And they were three was activated our brain power So we can be better magician utilize a suitably more off our potential. I hope it was convincing for you to try to memorize piece of mutate whether you have external reason to memorize piece of music for audition or competition, um, or performance coming up or you just have, ah, very loose and reason that you want to just have a piece of music always ready to go Whenever you have a piano on the street or friends house, make sure you own your why and come into it because this process, it's not easy. Unless you commit, you just like halfway there might be much harder. And at the end you may not go to that where that you can fly that I'm talking about, so you just have to jump into it and commit to it. So next class, we're gonna talk about general sense of how memory works so we can get to know this beast. We're gonna try to tickle co memory 4. Various Types of a Memory : I think this class, we're going to talk about a different kinds of memory and how works in our systems so you can have an overview of how a memory works in our body. Memory is a power of a brain that you can recall past experience or information in this faculty of our mind. Information is in code is stored and men eased and retrieve broadest sense. There's three kinds of memory. One is sensory memory to eat a short term memory, and three is a long term memory. Typically, when we think about memory, we think about this long term memory. So you remember your best friend in a high school. Sensory is our shortest memory. It's fleeting, no more than a flesh since her memory X as a buffer for a stimuli received through the five senses. These images are actually retained, but only for brief moment in time. Typically last and half a second. Have you ever waved a sparkler in the air? You can see the trail of a light behind the water that is our sense memory, and that is the light or the Bijan sound or smell so our senses can recall very quick sense of information. Start the memory is a little bit longer than sensory memory, but it's still it dismissed. After a few minutes, the label is quite apt, given their function that a holding information until we recall it. If we make a mental this to before you go to grocery store, that is a short term memory that we call eyes at an Apple was or cereal that I need to get shorter memories. Also, interchange of terminology with the working memory this is also temporary, has very low capacity. It's a critically pruning the information if this is a necessary or has to be dismissed, or it has to go to the long term bank information. We were mostly working with a piece of music in our practice session. We're dealing with this very front of our brain, which is a working memory. This is a reason when we have to keep repeating the numbers when we just heard in order to find a pen and paper to write it down. So that is where the are overworking memories, working really hard until you can take it out on the piece of paper. So long, remember hey, is our brain that it's more the most complex system A stores information managed and we called information event that you can remember Ah, five minutes ago or 20 years ago. There's many different forums off this long term memory. Sometimes they're conscious, requiring us to actively think in order to recall a piece of information. Other times they're unconscious, simply appearing without an active attempt at recollection, like remembering the route from your home toe work without actively thinking about it. When you write down the application form, you can easily write your full number or your address in your system security number and things like that that is a stored in your long term memory. So the goal for us is to make our short term memory of piece of music make into the long term memory. Music lies both conscious and unconscious, filled off this long term memory just like sometimes you're you can recall the piece of music without you actively working at it. Other times you have to really remember and consciously work at the pattern to in order to we call that information. So since we don't have any control over unconscious, aside off long term memory process. I think we can spend a little more time and war get our conscious side off long term memory . I guess that is the reason I have discords that so we can consciously working at the process of how this long term process of the memory works for our brain. So when you memorize piece of music, it's coming from long term memory, not from immediate short term working memory, however, working memories always working, even though when we used a long term memory. So when we have a memory mishap or blank in the middle performance and things like that, it's in the athletes. Sometimes they call it a choking. So when those choking taking place, it's when you use your working memory instead of long term memory. At the moment, destruction or too much pressure are overworked. Working Memory said there was interesting research. There's a professional golfers always have to perform under pressure, so they were just fine performing millions of people or big tournaments. But then our coach said that we're gonna just review record your swing, and we're going to send this video to one of the famous coach in the world and they gonna critic in this video, As you see days Coach said that they had more frequent choking and kind of mistakes. What it says to us is that when you think about those little details, so it makes us to work from the working memory than the long term memory. So working memories always gonna work anyway, What if we can do as a magician is we have to give a working memory a job, not very detail oriented kind of job, but more off a structural, big picture kind of thing. So when we're working from the long term memory, the short time working memories are working that, say, tone off the piece or the phrasing, or you're thinking I am in the a B A structure, but I'm working on right now playing B section or things like this is a more overall picture. So they're working really hard, whether than finger numbers or very little note or things like that. So that will help magicians to have last memory slips or in professional athlete, there's last choking. Later in the course, we're gonna talk about more specific kinds of strategies that we're gonna use So in this class we talked about the three different kind of memories. There was a sensory memory and there was a short term and working memory, and there was a long term memory that has all the conscious and unconscious side. So our goal is to make a short term memory to go to the long term memory. When we play the piece of music, it comes from long term memory and give ah, working memory, a job, more structural and bigger picture kind of job. Next class, we're going to talk about how brain process information and what kind of state is he? It goes through so we can deepen our understanding off memory. 5. How a Memory is Processed : So we have three stages of memorization. One is encoding and then to its consolidation and then third ISS retrieval. So encoding is initial stage off learning The Break likes to make a simple brain, likes to make it pattern and Chungking. So that's where I find, uh, music theory and knowing harmony. It's really helpful in the scope of this class. Overall, I'm not going to go into the detail of harmonic analysis, although I will use that skill for my own practice. And I was certainly share some in our visual map class later. But let's say, if you know D. Major, the major has F sharp and C sharp and piece of music has F sharp and C sharp. Whether then you don't know a D Major has this two sharps. It will bring process differently if you just know that the major has F sharp and sister makes perfect sense. I don't have to work again your working memory to make that as a new information in the encoding process. Brain likes to categorize. Luckily, music, especially the music that we play I'm not the A tonal music is that there's always pattern pattern of rhythm Pettitte of melodic patterns of the structure. There is similarity. There is a slight difference. What is a similar? What is it different So we can always find the pattern and put them in the different kind of group if you have a hard time memorizing someone's phone number, but then you realize they're area code is the area you live in then or visiting your and have to memorize all of those visits. But neither rest up the seven visit because you already know the initial area code. The so brain loves the pattern and always going through this process of pruning. Is this information where this information goes? Should I just ditch it, or can I put it somewhere? Stare where I can retrieve back later, which is where we wanted to be? That is a long term memory. Finding a pattern is one of the most important process off memorization so that we can help Ray to process this information. To go to this bank of long term memory. Consolidation stays is how our brain works. Put our short term memory to long term memory, so this stays is unlike other stages. It's unconscious. We cannot do anything about it, except that happens while we slip. So the expert says you need to have good 7 to 8 hours of night's sleep to make this memory really works. If you know if only going to sleep for hours and night is your brain is not gonna efficiently memories a piece of music. Um, and there's a research about the benefits of naps, and I certainly utilize about taking a nap. Or especially when I can't sleep eight hours and night or I'm working a really piece of music, really difficult music. Then by like three or four o'clock in the afternoon, I really feel tired. And if I have a power nap like 20 minutes and I can tell my brain is recharged and process that information, I highly recommend this book called Why We Sleep. And this book is everything that you need to know about sleep. And I found, even though I knew the importance of sleep. Ah, having to go through this book, reminding me a lot of things, and it was very informative and good readings. While you sleep, you can imagine sending Armenians that going through all of our neurons and connecting those course together while you're sleeping and upset in one day. When you play a piece of music, it makes sense and you memorize it. That's because all those minions are working behind the scenes while you sleep. I am processing. This is short term memory to going to the long term memories, so make sure you have a good sleep off eight hours while you're working on new piece of music. Try to memorize. Ah, nothing poor, in fact, that I want to emphasize where I hear a step physical time, physical time off, Having to have this night up sleeps with this piece of music. I sometimes really surprise certain students just memorized piece of music and then tried to perform next week and disappointed because that memory was not solid or even attempt to perform after memorized this a week ago. That's very risky, because he did not give your brain a time to process or time to forget, even so, that you can re learn a bus. Sections that brain forgot way need that kind of physical time. So for myself, I would be more comfortable to have at least two months off buffer until the performance, and I feel that that I memorized it. But let's say very list a month Less than that, I feel like it's you just don't have enough time to test this memory and strengthen the course. So I highly recommend you start the process of learning and memorizing pizza. Musee almost day one together. It's not like one. You learn music. Then, at some point almost towards the end of this process, off learning up Reppetto or you start to memorize towards end while I emphasize importance of starting the memory process that together so that you have a longer time, physical time upset, leaping of days and also that your brain works a bit differently if you I know that you want to perform this piece of music and memory eventually, a really important for you to start this mindset of a commitment and working towards that goal from the beginning and for my experience and my shift of when I memorized a piece really helped to strengthen this long term memory and relationship with the peace to all together. Then we have this retrieval stays. That's where we ask brain, can you come up with this information from our brain. So after when we think about memory, we only think about this state, every Tribble, though there is a different stages that come to this point. So it's a retrieval stays. You should not come from our working memory, but from the long term memory, you can always a strengthen this part of retrievable stage by testing yourself all the time . Uh, we're gonna talk about more specific strategies later in the course, but you can perform this piece more often in in the public or for friends. A lot more practice performances or trying to retrieve that information were often directed day or not only from the beginning, but only from certain sections. We're gonna talk about this more specific kinds, but so one of the important thing that I want you to think about is the retrieval stays needs very, very poor, frequent testing. So in language learning, there's a cold space re trouble. That's when ah person memorizing vocabulary, and they tasked himself about this particular word in next day or after four days or after week later or after two weeks later. Then, after a month later, they test that word again. So says, to strengthen their reachable stage with the word One thing we can learn from this space retrieval from this language learning is that you giving yourself a time to forget? So we don't have to physically wait to make this happen for me? A lot of times, when I perform a piece of music, the part that I knew I thought I knew or very easy I didn't have to have to work hard or upset in that it gets like in the middle of the performance. I forget because I didn't strengthen that part of the music and it just kind of loose. And that's the simple information I often say to my students. Those mistakes are friends and, um, and many friends might visit you some performances and my students over a joke like so many friends visited in my performance today or things like that. But anyway, the point is that you have a very positive mindset about this friends visiting you and because that's just some simple information information that just simply need to strengthen that part of the trouble after the performance. That's why frequent and more performance practice is needed to fool for you to find that weak spot of memory. Unfortunately, those friends only visit when you try to memorize and perform in the more nervous situation . So we have to create a very creative way of settings to find where Brain likes to forget. Where was too easy for brain to process, how we can make it a little bit more attraction so that you it goes to the long term process more efficiently. So in this class, we talked about three stays is of memory that was encoding. The brain likes to Chungking and Pattern, and also going to a consolidation that's very unconscious staged where all comedians working behind the scenes, but you need the soulless sleep to make that happen. We also need the physical hours of days to go through the piece of music to get to their and the third was retrieval and the retrieval. We need a lot of testing, and those retrieval stays that you let your brain to forget or brain just decide to forget . And if you find those loose ends as frequently as possible and find a different way off the storing system consciously the next class for gonna finally lunch to a musical memories and what kind of musical memories there are and what kind of strategies that we can use to strengthen their musical memory. 6. Musical Memory : There are three different kinds of memory. Want his auditory to its muscle memory, and three is cognitive memory. We all have strength and weakness, and in order to have a musical memory, all three have toe work. But the thing is that even though you may have some strength and weakness on each part, it's really where you lose all at once. So more modality that we use the brain retained lor more information. It's important for us to strengthen our weakness and use more modality as regal about musical memory. More difficult time we give to brain to use different kinds of modality more likely will also retain their information more securely. Number one Auditory memory. That is something you can hear the sound in your head. Can you sing all entire piece in your head? Oftentimes, Suzuki training magicians have a little more strengthened in this auditory memory. Because they started from the beginning, they only working on music, memory and by sound owning. And I have a students that he learned entire piece by just a hearing. The piece. I don't know how he did it. I find that it's much harder, but in his case, auditory memory. What's very strong? That's why I really emphasize importance of singing. It can be done with just la, la LA but or so fetch. I grew up with in Cultured that singing what's very natural in music education system. There are a lot of aural theory that is because so they we can hear the sound in our head a little bit better. So dis aspect of memory. I used all the time as a mental practice. When I wake up, I think about maybe one page or two of my memory, my bed or when I go for a walk, I think about this sound of my piece in my head. I advise my students to be able to hear that sound in their head. Maybe you don't have to sing it out loud, but in your head. If you feel like this is one of the weaker side of your musical memory, then I advise a two star with the tune the you know really well like Happy Birthday and try to play that tune only from you what you hear in your head and onto piano or in your instrument. Make sure you play something everyday memory so that you're keep bringing back the sound you already have in your head, especially at the initial stage of learning a piece. Make sure you listen to different kind of recording off the pieces. So you have a more sonic picture off this how this piece sounds later on, you could definitely record yourself and this, um, back as well. Another thing you can do is open a score and follow along the score and by practicing in your head. If you're stuck in somewhere, especially for pianist, will be left hand. Then stop at the point that you cannot play that part and you more than try to play it on your instrument and remember the sound and putting together at the pianist. There it's. We have a little more struggle because we have to deal with the different parts, and often there is a lot of notes. But that doesn't mean we cannot hear all the sounds at the same time. Imagine you're at the party. There are all different kind of people talking, but you hear all at the same time. It's not like you only single out that person, but if you like to single out your best friend's voice, and you can definitely recognize it. So you have to find out what is your best friend's voice, and then you can actually hear it. It's a very similar kind of concept. You have to know what you're looking for and really tried to image the sound in your head. For me, this is one of the most important tools that I utilize all the time. If I can play through entire piece in my head in my bed or when I walk when I swim, this is important clue that I'm entering into a little more secure stage with this piece in memory. The material is a muscle memory. I think this is the one that I don't have to even explain what it is. You know, the problem off muscle memory is the re relying on muscle memory almost 99% of the time, especially when you don't memorize consciously. You know, a lot of times, yes, it's so magicians will say, you know, I just memorise. I don't even think about it, so that probably means they have a very good muscle memory because their years of training so is there years of training of listening, so auditory and Muslim memory work together and automatically they memorize it. But we can also be more conscious about this muscle memory by obviously practicing a lot longer hours and then the history we used like a dummy piano kind of thing. I'm not sure what could be equivalent in violin or other is German. Maybe you just kind of imitate the position in dummy piano. We play without the sound, so you're only relying on the muscle movement. Have ever seen a pianist practice their pieces on the table and you can see their fingers and use the correct fingering? But they're active hearing the sound in their heads, so they're basically what they're doing is strengthening the auditory memory and Soyuz muscle memory. So I don't do whole a lot of this muscle memory strength because that's more of given. But I find sometimes you know something like those Elektronik piano. It's a perfect dummy pianos, So I recommend for you to try to practice your peas with the sound off and see if you can actually play Drew. That's actually not easy to do. Another thing you can try for that is too much than put the ball, um, really low and practice entire piece. So you're really hearing mawr in your head. And while you're working the muscle, if you're violinists or string instruments purpose in you put your instrument out of tune severely out of tune and try to play it. And can you play stand? Then you'll really have to relying on your finger muscle memory as well. Maybe you never had a problem off memorizing piece because I came natural to you. That means you did a lot of a muscle memory and so as auditory memory by just putting a lot of hours. But I find Mawr consciously. We put our attention to the other guys auditory and cognitive memory, that muscle memory. It's there, but that when the other fails, I find the muscle memories important. But not as much as we put emphasis on by practicing long our just automatically you memories interesting for me. The reason for me I start memorizing right away at the day one is that I don't want muscle memories take over the other part of the memory. I actually want to memorize a piece conscious e before muscle memory take over and be able to memorize entire piece. We have to distribute different kinds of memory more consciously so by you doing cognitive auditory memory. So when those thing fails, the muscle memory remains again. It's very where that all three is gonna fell all at the same time. Often times I know I know that certain part of the music and go along really fine. But they would have said in my cognitive and auditory fells, and then out of set of my fingers pick up and my fingers go, Uh, and that's the time that I go. Thank you muscles, you remembered. And then I pick it up from well, I left off and keep going. So muscle memories, air important. I definitely rely on that as well, but not 100% that is the least reliable kind of memory, but I need it. So I hope that you strengthen the muscle memory but also distribute the other port the memory as well. Number three is a cognitive memory. Maybe this is a whole reason off the entire course that I designed, because I want you to be more conscious and be active about your memorizing peace and the cognitive memory is about how much intellectually do you know? Do you know the form of it? Do you know how the phrasing goes to know difference between two similar sections and can, you know, create us story in line of it? Do you know, expression of the peace, All of other details that we know and consciously know as information of the peace and also find the pattern again. The Chungking really comes in here, and all of that is the cognitive memory, cognitive memory. How are we going to strengthen this part is probably the the rest of the class that we're going to dive into with the practical tips. As I mentioned earlier, the other class here is again that understanding music theory comes very handy. It doesn't mean you cannot do it, but it just very handy and efficient for me. But if you don't have any harmony, background or never studied, it's never too late to tap into because, you know, at the end of it, you don't have to know a lot. You just have to know, basically kissing, nurture and just basic course uncomfortable enough, it's become your own language. Then you see all different notes and you just know desist A major family. Oh, this is the C minor family. So you can already categorize this music into a pattern if you don't. And in fact, I have a students that don't have any music theory base and no knowledge of theory. But they still be able to create cognitive memory and visual maps in their own term. They highly recommend to start from where you are, and even without any harmonic language that you have, it will still work. But it will be easier in the long term. If you're gonna play this instrument entire life, why not have another tool that is handy cognitive memory. It also comes with knowing the background of this music as well. And music history comes in as well because it just depends the relationship up your piece and looking at the score and visually analyzing. Oh, I never know there was staccato here. Oh, that's slur here. All of these the reanalyzed visually that works. Also, cognitive memory is probably works with visual memory, which is that you know, certain music is on the right hand corner of the top. So visual curies also becomes our cognitive memory because that is another information that we may member very consciously think about this three different kind of memory. Auditory muscle memory and cognitive memory, which are the memory that you're relying on the most, which are the memory that you feel like you would like to strengthen. And if you feel like you're auditory memories, liking can certainly start. Play something by ear and memorized peace and always play something in memory every day by singing and all the things the strategies that I mation earlier. And we can always strengthen that this cognitive memory, which we are going to talk about the rest of the course that comes down to our next class were finally dive into creating visual map with your piece. But I am going to do with the for lease so you can kind of see how I would process to create a visual map. 7. A Visual Map- Für Elise : you are to create video map for for lease by your big toe. And the reason I chose for release is that I'm hoping that you're fairly familiar with this piece. Or at least they will be may be easier for you to see high works. And I am also assuming that you were able to read music and maybe this maybe a little too difficult, too easy. But that is about intermediate level, and I am use it for events level. It's well, I certainly you can use your beginner pieces as well. The idea. Vigil map east. It's not like you sit down and try to create a vigil, met and one sitting. Certainly you can do that. But mawr, I would let you to think about, have a structure of first and be able to fill in the details as you practice, and that's the whole point of it. And later on, maybe you want to any more, and maybe you wanted to get rid of it. So this is kind of like a process of get to know your piece. So even though I'm trying to do everything, maybe, but I can think of today. But Maybe next time I do it, and it might be different to, which is totally fine. There's a no right answer for this vigil member. This is totally up to you. Whatever you like to use and you can be very creative can use like a bigger paper. Or you can you can just use your iPad or computer or just good old paper and pencil a swell . I recommend to have every piece do you pay. They have a vigil met, even if it's not a detail as some other pieces. But I think that's a really good place for you to write it down and notice things. And the more important thing about here is that you try that. You try to understand this piece, try to find the pattern so that it's separate from the all the notes again that is helping our brain toe organize information and more pattern. So I hope you thinking of one piece to try to attempt to this mapping and think about the structure of the peace first. So so you have to start with the big picture and get smaller and smaller and smaller details. So one of the most important thing is you figure out what kind of structure makes sense for this piece. Doesn't have to be accurate. You just decide what the days. It may not be always very clean cut as this is a B A may be very little more am biggest, but it that's matter that you decide. This is the form that I decide to understand this piece as so after you decide what structured this piece is. Then you will write that very sectional title each paper, or if this is a very shore peace than you can do with within two pages long or something. So authorities has a structure off a B a C A. Again, Those days are not always identical, especially the ending A is different. There's some traditions are different, but it's overall. It's a so I will decide in a So what I will do first is right a structure a and then the next page be. But the next day I know it's not gonna be very complicated, so I'm gonna not gonna give a lot of space. Just May hair, and then I'm gonna go directly, see here and then back to a I know it's not gonna be that difficult, but that's and you can maybe call it. I will. Cook is a coda because it's kind of ending part of it. So I started with this a b a c A structure on the paper. Sometimes you actually you could dio different title of each section. Let's say this is like a river, Okay? And then later on, it has I'm going to call that a spring and they were back, Teoh. So we're back there and this. See? So I'm gonna call that one a just storm, you know? OK, so that's our beginning off. Having a structure. Okay, on that was river here. By the way, I'm gonna share this file on your lesson below. So no worries. After the structure, you have to decide phrasing. Then again, that's can be really personal to you. Decide what kind of raising you want section and I would call old way to here as a one. You can have to defend phrasing here. In fact, you can Actually, in fact you can have this one and that can be two, or this whole thing can be one. And after that is all of that will be three old way to here. And then we're back to, uh but to the same thing we did one and one and four is identical, and then five is identical as to Okay, so here again, if you want to, you can also have the option of try to write some measure here. That's my major, because it has 123 basically kind of almost four measures. So this is kind of individual measure line that if you want to. So we decided a structure that after the phrasing the season, then I have to fill in. Some details on that comes with the harmonic analyses or anything that you find a pattern, how you decide to analyze and make into some symbol or some simplified version of the music . So I will start one of first things section. What I would actually write it down here is on E because it's very important that I know that I'm starting from E I like to do. Is this minus? You know, the minus means for me it's half step. It's very, you know, just help step very close to note. So when I C E and the minus there. That means I might be doing some half step. Or I can actually do like this study, buddy. Uh, which is fourth. That interval means something for me, because that's fourth, right? And then ther that basically for me is a minor harmonic arpeggio. What I will do where here is simply ready down a minor. That's enough of information. But if I wanted Teoh, I can also dio instead of I'm doing the fifth up. That's enough information, because right here we're doing this'd e major. So I'm gonna ready e major here and then start doing this. And this is the octave, so I will write it. If I really wanted to be more specific right here, I could write it. This is a minor. Ah, 63 again. That is because how I'm gonna analyze just court, which is a minor first inversion and e major with position. But you don't have to do that way, Specter. Same thing. Okay, So because it's the same thing, what I can do here, um, I'm gonna make this one triangle wizard insert triangle, saying this is my first phrasing of mapping this particular section become this. This is basically I think I would like to do on see here every time I have a some note that feels like it's Ah, let Martin note I read it The alphabet, the next section here, Ace that. So if I analyse first and two first section and two, there's no need to Things were different. So I'm gonna make Mark on the section to I don't have to repeat the two exactly, because that's again. I just know that the same thing. Different color. I'm gonna use green here iss that instead of studying one e I'm just added the e bottom and going up e I'm gonna make a triangle. That means it's different about this and that and everything. Same everything saying you can maybe same same and right here is different. E all actually thought this becomes right here is different. So I have to make that it's a starting with e uh, and uh, which is the six queen of the sea and then end with a It's everything else is the same. So again, for me, this is very information, good information that is different every time you can have a some difference you can make make something is noticeable. So if I look at this temper, it says like this. So this is one and two after that way. So four and one are identical. Except this time I have de Sharp starting and e back to e, which is identical. So I have to make Mark that as a beginning of four. Otherwise, this all same ace one same as to okay, Same way I might Dio here is I am starting with B and then just a scale up. Yeah, I mean, because this is eyes going up on then right here I would do is a c major, because that's how, uh, same list as this guy here. I think this seventh is significant, So I might want to do this, Um, seven from on. Then it's, you know, going here because the pattern here because thes three are the same pattern. And this guy Yes, I would actually do because I already know this is e jump. It's gonna be, um, Dorada left right, have left, right? So I'm gonna make it that Aziz d sharp minus or I can do like this. And then that's left this entire thing is going up. If I wanted to make this one, is it a little more clear? I can make it four notes going up, you know? So when I looking at breaking this one, he tells me right here, I think I can also call this section. Um, something else. Maybe I will have jumping and note. So jumping notice Starting right here, I then And I hope that makes sense to you. What I want to add a here is a little bit more emotional. So I want to do fall some street in the fall. So I could I'm not sure I could do this, but I can write it actually, on some street here and And some, um, trees. I'm walking a little bit happy and said at the same time, Bill on Coley. And then we have way. There's just moments of sunshine. What changes a bit here. There says some sun momentarily. But then there's way started to have some cloud on some thunder. This going on here, uh, and then we're back to here. So instead of writing some words for emotion, you can also write us some picture about your emotional que Every time I play this piece could think of something or change something I think I can also, as some dynamics, that's really fun. So because it starts with the pianissimo on and there is something like that major forte here and it's important where this diminuendo starts, it's right here diminuendo, and then it's important that we're back to pianissimo. I hope he gave some idea for you. Obviously, I can go keep going with this forever off our entire piece, but I don't think it's necessary. I think you have enough idea to work with this a section. Then you would know how I will do do def differently for the other section. So So I hope that you try to create your own visual map for your piece and share with us. Now we have a tool for visual map and next class. We're going to continue to move on to different kind of practice strategies for strengthened the memory 8. Practice Strategy - Part 1: So now we know how to create a visual map. Remember that. Just the one of the tools that you can utilize that is a strengthening the cognitive memory side of musical memory. So hopefully use many different kind of modality toe help you to memorize that piece. So next two glasses What? I'm gonna do it A sharing strategies and tips that I utilized during my practice and also teach my students. So you will be more practical kind of application. And this class I'm going to share 10. And next class, I'm going to share another 10 strategy number one on decided section or small part of it, and the memorize it consciously, So you can't be just the one measure, But it can be better if you make a complete sentence like one phrasing like three or four measures. For example, inver least that we talked about in the previous class. It had a structure off a B a c a. Right. So one day you decide. OK, today I'm gonna try to memorize section three and maybe phrasing one. So that's your goal to memorize or six and three phrasing. Number one first measure and really take a look and every strategies that you can utilize and to make that happen. Also, what I suggest it's not all knee starts from the beginning. I would actually suggest you to start to tackle the one of the most typical part of that piece and start with that memorization right away of So then when you get to her easier section, which is the very beginning of the peace, that it feels easier and I like to kind of sometimes you start from the back and the back track of it. So important thing is that you decide a certain section and consciously try to memorize strategy. Number two. If this is the first day of learning a piece that it's also first day you tried to memorize , it will be harder to memorize and because of its harder, it will stick with you better. That's irony of memory. I think I mentioned their previous class also, that I don't want my muscle memories kicks in too much before I consciously make that happen. So let's say when you start to learn notes of that piece, then even then tried to find maybe a one measure of maybe At that point, you want to try to memorize right hand only fair pianist or just the main melody or this beginning first measure. So don't wait until the later off the process, but already star from the first day. And if you never try this way, try it. I think you will be very surprised. High Security. You will feel almost towards end of this journey with that piece. Strategy Number three. Practice with your visual map. I hope you will. Or you did try to create your vigil map, and the beauty of visual map is that you can always add more details that you go or change . Another vigil map are whatever that is use because that's a simply five version of your actual piece. Practice it. Looking at the visual MEB and play. I think that will help you to pattern and organized information. Helped brain to organize information as well. Strategy number four Singing your piece thesis is auditory memory, and you could use Lalla or you can just use the sulfate but actually consciously tried to sing. If you're violinist, it will be easier one line if you're a pianist, this is so much harder, especially like a rock mine off their cement court. So it's not possible to sing all the time. But you can still sing melodic line of your right hand or some difficult sections of your left hand that you cannot hear. You cannot single out the melody, then just practice left alone and find the tenor voice. Are trying to sing with a lot. A lot of, uh, you know. So it is still possible. I don't do personal here, all of them, my pieces to left, right and singing. I mean, that's too much. But when I have a heart difficult time, a certain section that doesn't seem to stick with me. Then I really tried to be able to hear my left and alone. And can I actually seem that interval things like that? So try number five, have a game with the sections. What I mean by that is right H section on the piece of paper. Let's go back to our for list example because that structure was a B a c A. Right, So you're right. Which a that is, even like Is that a the first A with middle air Later, a or or even even go even deeper, like section B. But in the phrasing three. Whatever you wanted to decide the different sections, write in the piece of paper, put it in a box and the renda me choose that paper. And when you pick that random paper, he says, play see section number five phrasing, and you just start from there. You can test yourself memory that way, if you already kind of have some kind of memory or that's you can use that as a randomness or just different section off a practice test section, and that can be your challenge of memorizing deck section. So it's kind of like, you know, make it fun at the same time challenging our brain. And it's also obviously very, very, very important to have, Ah, different stops. I call it at the bus stops. You want to have a very important bus stop so that in your brain when you are on stage and performing, you know, where is the very secure bus stops that you can always start. So if some memories the slips and you can just go to the next bus stop and continue, um, so there. If serves a different functions, but I think you really want to have a very good bus stops in your piece. Number six is a lot of performance practice. When I say a lot, you would think, OK, I played play through and feel fine. I place couple times with my friends. No. Oh, a lot more than that. I mentioned earlier, like I would like to give at least two months, but that's because, you know it's an hour and 1/2 solo program and one that. But if this is still, give yourself at least a month, and from that month period that you already memorized, this piece feels fairly secure until the time that you actually have important event or that's your goal performance. Then I will do a lot of mini, mini or actually pressure kind of performance practice in front of your friends. A record yourself are. Make it riel. Make it like actual performance that, you know, you just perform seven more times before the real thing and real thing is, you are number 10 or something. So ah, whatever you're thinking that what is practice performance is edit five times more and do it more. I think a lot of students that they just think, Oh, yeah, I play through him for my my friend Anyone find So I'm ready. More likely, you didn't do enough of a perp practice performance. The reason we do a lot of this performance practices that have you ever noticed that something's come up Only when you play in front of your teacher or an audition are, you know, very pressured situation. That's another topic that I can talk about, which is the performance nerves have ever noticed, that whatever you perform, they're just random places that you never expected is comes up and you're kind of mad at yourself and why that's mostly easiest thing that I forgot, you know. So again, those information is very valuable. It only comes out when you perform in the will sense, like actually performed. For some someone. For me, that is so important stays is for me to find where the loose ends in my brain because I could not find that in my practice room. But he will show in the well performances, So I want to find more information about this, the very thing that birds my loose and before the rial concert. Number seven is Record yourself and listen yourself with the score or your visual map. It serves a several different things. One is that you become your own teacher. So do you learn this meta cognition ability? Be able to give yourself a fit back? Another thing is strengthens your aural memory by hearing the sound of the music. So I highly recommended strategy. Number eight is Give yourself environment. It's very uncomfortable and perform. I talked about a lot of a performance practice before, but this is the environment they should be. You know, I've ever try that. You know, you play and someone has to distract you or things like that. I mean, that is the kind of the idea. You kind of throw yourself in a more on uncomfortable environment. So, for example, practice in the dark or our practice in the very early morning. If you're night person, you are if you're a morning person than practice really late at night or find that person that is very uncomfortable to play for and play for that person. For me. Sometimes, you know, I gather my musician friends and symphony fear friends and hey, would you like to listen my run through? Obviously, magicians are the hardest, Please, because they listen differently, you know? So But I still do that because that is so important for me to throw myself in a uncomfortable situation for me to find the more data, the data that I need, S O, whatever that is uncomfortable make yourself very uncomfortable. Um, that will be helpful for you. Speaking of that, remind me of one notion that try to practice peace with your eyes closed or almost not Looking at the visual things I find some students really fixated on looking at the fingers . And you know, I can't play piano looking at my fingers because it is so distracting. It's That's a lot of information. So I like Teoh like looking some other like position that it doesn't mean anything, you know, or almost close my eyes whether than, really, because by the point that you lied, learned a piece, you don't really need to look at it unless you train yourself. Always look at it. So I think if you are always drawn into practice that way, or play piano or placed him in that way, I guess. Violinists Much easier not to look at but especially pianist if you're always usually looking at things that try to be opposite and move away from visual cues. Lesson that because for me, my experiences when I have less visual destruction, I can mawr focusing on the sound and the physical sensation, which is what we want straight in them were nine ese. Create a story for your piece and maybe draw a picture. What it does is it kind of contextualized. The story can be anything you know in your past, your past experience or some Amy's that comes with this piece or some kind of story line or more detailed stories can be like all this pursuing a journey, and we met this challenge. And if you never try this way, then you see the story can be your personal story that I really always remember. This experience I had in the past whenever I play this particular section, and then when I play this particular later in the section, I think about that memory or so tried to go there, this kind of creating a story within help us to find the expression focusing on the music itself, which is our goal strategy. Number 10 Practice slow, but also practice fast. Practice low. It's something that we all have to remind ourselves like Oh, yeah, I have to practice slower and that is very, very important. In fact, in the beginning of memorizing stage, I want to memorize piece in slow tempo, so it's not like my muscles can remember, but more like I have to think what its next note, you know. So at the beginning Stages also later stays that you can actually play piece in memory in slow. That probably means that you can cognitively know this piece rather than your muscle, Remember, but also at the same time, I recommend you to practice in the fast temple in a wheel tempo, because when you perform in the rial tempo, our brain don't think about all every details. But there's work a little differently. Are Muslim remembers a little differently. So I think it's also important for you to actually play in the real tempo. So you're your brain really get used memorizing and retrieving that information in that temple as well. So that was our 10 strategies to apply in your practice room, and the next class I'm gonna share with you another 10 9. Practice Strategy- Part 2: So let's continue with our strategies. Number one is studying your score regularly. If and if you already memorized the piece, just always go back to score and take a look and difference between this pattern. And you will be surprised how many new things you still discover so always with curiosity, approached the peace. And don't assume that you already know them all. Our tried Teoh have the treasure hunt with your score. Number two is no your challenging spot or jumping sections in alphabet. What I mean by that is that whenever we have some, like, especially the lips or jump, and then we your hand go somewhere that applies to pianist and then you wanna lend it for your or upset in the second guessing, where am I going? And your muscles may forget to. At the moment your cognitive side was, say, I have to go to a and then you will go A. So I think it's important to have some cues like that. I definitely have separate spots in the music that I know alphabetically say I'm going to be flat. I'm going from a or, you know, the beginning note. Sometimes you know you sit down and start to play. And what is my first note? Right? So always know several spots that alphabetically. So that means you ca technically know that where you supposed to go in your brain. Whether then, you know your muscles go. That kind of relates to number three. That is a practice, those challenging spots on the dummy piano, especially when we have a like a difficult spots and you know you will. Practicing the kind of the key keyboard. If you're violinist, practice out of tune right and again or muted and very muted and practice that difficult jump and spots as well. Number four is record your progress and your relationship with a piece specifically, um, some other part of in my YouTube video I shared about other practice tips. And there I talked about the practice journals and things for this related to memorization . I recommend for you to have specific folder for this specific piece where you keep the vigil map and maybe some other information. What? Maybe it's some kind of journaling with this particular piece. When did you start it? When they do start to complete memory, Gatien off Section A Well, when you have a first run through, how did you feel? How long did he take from the day? One to the point that you can play entire piece, somewhat memory. And when he's a time, you become trouble performing or, you know, just kind of keep those record I know you will. No, without writing down, but its veil of the information that we tend to forget, you know, brain want always pruning the necessary information. So when you go back to that piece, especially when you go back to the peace after years later that you want to relearn the species, then all those information is right there. If you research about other facts about this piece than put it there and also kind of make a mental note about when they just start to memorize this piece, is that the beginnings, days or later stays in? How did affect the actual performance stage in this piece as well? So I highly recommend to have separate file. It doesn't have to be anything fancy, just like, you know, I don't know just the organization thing that you know, the old information goes to this file for this piece strategy. Number five is first time when you tried to memorize, Let's say, even four measures. Or, you know better yet when you try to first time, go through the entire piece from the beginning to the end. There's definitely big holes here and there. You cannot go through and that time tried to blur it and just passed a section until you can kind of find a way out and kind of make it to the end if you can make it so the practice is that you kind of like a sketch, right? So it's not really a cred. I know it's not agree, but I see how it goes in the finish it and the key here is you don't just immediately open the score and find all while was that note that I couldn't find but more if the moment can you a blurred and improvise anglais? Or can you somehow still create a musical line to skip that whole and make it? And that kind of experience one is very helpful when you have a memory slips in the real performance, so you can have kind of learned how to improvise and you know fig through. And number two is that that is kind of way to strengthen your memory too, because your sonic picture might be there. But maybe your fingers is not there. Or maybe your fingers still, no. And so is not your sonic picture. And hopefully, um, you have some sound in your head, Sonic picture of it and your fingers still know quite yet. And so you can kind of like, Yeah, it's the pictures become pencil. And now, over time I mean by you know, it's not like you're not gonna get the score the whole day, but like after a couple of tries, then you finally okay, that spot is consistently have a huge hole. I need to go there and really find out what's going on there. Go through it for 1st 2 tries without looking at the score, but be very tempting. But I recommend it for you to try. Also tried to learn how to fake through it, which is a very important skill. Stratas Number six is practice away from the instrument. I think they actually creating visual map was also practised away from the instrumental right. But when you first wake up can you practice? You know, certain section like section two. I want to practice from that from that landmark spot. And can you hear it in your head or you're waiting in the grocery line, then tried to play that piece some section Or when you go for a long walk and tried to play and you may not be able to play through whole thing, that's okay again, blur it and maybe just go to the next. But you can kind of remember and go like that kind of a practice in your head as well. Don't just go from the beginning and go stop and step like this. But just learn to go somewhere that you can kind of still would be able to create a sketch in your head away from the instrument. Number seven is before your performance. Decide where you want to focus, which is more about the structure or the expression or the tone or the pattern weather than very much of detail. So working memory is gonna work no matter what, but we need to give them a job. The job is not about its individual note, but more about I want a picture about the beautiful son, um, in the summer or something like that, in kind of focusing on something in the expression, or I really want to create very special creamy tone it this moment or I am actually entering into a Section two. Now, you know, very overall picture expression, the mood, all of that decide beforehand where you want your brain our mind to go. Otherwise, when you're focusing on the very every single notes are very detail of the memorization. You kind of lose the big picture and more likely that you get that choking and mishaps happen. So you really have to learn a gay and kind of I could be able to create a picture without caught up in the so much of the details. It's almost like a life lesson isn't what is. The number eight is a fingering, fingering, fingering. So, uh, for pianist is when you first learned a piece that is, I mean 1st 2 weeks. That's almost feel so like a long time but fest the first week of when you learned entire piece in the No. Twice, you really have to find the most efficient fingering for your fingers then write it down on your score and come into it. If that Will those work or discussion with your teacher or, you know, just like that doesn't seem to work. Then you can always change it. The problem is that you don't pay attention to Fingering is leading to this memory because that stay you trained this soldier to go on the war. You know, you trained every possible way but connect at the actual war. You bring another soldier, put it in there. So that's exactly like a fingering. You have to train this sold soldier to go on this. This were and this person is gonna take that battle. So that's why for me, I really have to know what is the best fingering and initial learning stays, especially first in two weeks of learning new piece. It's all almost all about fingering. Find the fingering and articulation and things like that. So always remember fingering and commit Write it down and always stick to it. Unless that's not the best fingering Number nine is. Get to know that piece about everything about that piece to see, get in the relationship and commit and commit to love the piece, Then you will be curious. I wonder when this piece is composed. I wonder what composure was thinking about. I wonder what other composers were doing this. So any historical information, anything related to this little a trivial kind of thing or, you know that all related to deplaning the relationship with the peace rather than you just play and don't know anything about the composure not being nothing. You know, you just have to be almost stalker for this piece. And I often feel like I'm a stalker. Like all wow Schumann was writing this letter and, you know, like it's fun, actually, and also helps for me to understand the piece of music and their composure as well. So always curious. What was the context that Putin piece of music was composed and also that really to find more about the harmonic language? So then again, I'm talking about music theory, the importance of it again. That doesn't have to be a lot of complicated things, but what kind of harmony is used in this piece? And that's kind of cool cores here, and you know that kind of thing too. So always look for information about the peace and love it. Strategy Number 10 Always think in pattern practice in patterns. So let's say when you play certain pieces, then you always have to know all I'm doing it, this sequence kind of pattern and what while you practice, you can always practice in the blocked way. So if you are playing a minor arpeggio kind of way, but then try to play a simplified version of the A minor or if that is, anything like same thing three times. But then when you play one time and moving on like so, you always have to find a pattern and simplify way of playing that pattern in your practice , because that helps again our brain to organize information in patterns. And so you can also help bringing to de clutter the unnecessary information because you cannot have so many information at once. So by organizing that way, you can actually have a much more a space to memorize more pieces. So that was part two of the strategies and tips about memorizing piece in your practice room. So next class I'm going to talk about Internet leave practice and how we can apply that in our practice room. That is a proven theory that helps for our long term memory 10. Interleaved Practice and Strategy: what is Inter lived Practice versus blocked practice. When I first encountered this concept, I found, Well, no, that's kind of against what I usually do. The blocked practices. Basically you block like, let's say, 30 minutes and you go through this piece only that piece and until a lot of a repetition, the same activities and things like that and internal ive practices, basically, sometimes they call it is a random practice is that if you going to do a different activities instead of 31 and then another one just kind of go trend them order and during mawr shorter time but a lot of switch. So if you are working on three different pieces and decided to work on 20 minutes, it's time instead of 20 minutes each piece, you would do five minutes. It's peace until it's piece gets that 20 minutes long. Practice a lot of research after research say that this kind of inter leaved practice even athletes and really strengthen the long term memory, even though at the moment that you practicing that doesn't feel good and doesn't feel like almost against of what you would like to do because that required a lot of effort. It's much easier just to sit down and go through it whether than changing an activity. Then I found that I'm kind of doing the interleague practice all the time. So how to apply this inter leaved practices is very personal choice. But I think that there's some truth in this theory. So I'm gonna give you right now a little math to solve five plus eight minus four plus one . Then we get into the same problem one more time. Five puts eight minus four plus one. So how did he feel? What the second time? Because you knew there was the same thing was easier when clarinet is Kristen Carter, who is a big advocate off this inter lived practice. In fact, I'm gonna link her article in the lesson note. It was very surprised to do this kind of simple math problems, but second time was way different than the first time. The first time I was much more engaged. Second time just noi that it was the same problem. My brain just relaxes. And of course, yeah, I know the answer already. So that is the beauty of into lived practice, because by changing the activity more often than your brain has to work again. Well, so which we don't like personally, but brain likes it. So how are we gonna apply this In our own practice, you can certainly experiment your own way. But the way I like to do specially is a beginning stage of learning. Are memorizing a piece that, let's say you learned to memorize, See section, beginning four measures so you will do other block practice of different piece and then set a interval timer in your phone. There's like a workout interval timer kind of thing. There's a jillion APS out there, and every 10 or 15 minutes when the alarm rings, then you play that four majors a game. Then you know they move on to the next piece or other piece that you're working out. And then when that alarm rings again, then you play that four majors of section again. So you visit this section more frequently and almost like a new again. The idea is here is that you have to let your brain to forget and the retreat begin. I almost forget and then retrieve, so it's more frequent kind of meeting Chris and Carter was also talking about this analogy of you meet this person every single day for five minutes for, Let's say, for a month instead, off one day you meet for a long time, which one you feel there will be more comfortable by the end of 30 days. So I think if we're our musical piece, we want to enter into the peace more often, especially at the beginning of learning a piece. And even when you learn and memorize entire piece, have a frequent stops throughout the day and, you know, sit down and play on the and then that could be like five minutes and then get up and do other things and then try to do it again. So that could be one way of I would apply that into lived practice as well. Another way. I think it would be fun to apply is that you know, we talked about the writing down old old inspection numbers in the paper and then put in a box and randomly picked that. So you do that in every five minutes, so you're kind of doing into random like entrance off it randomness of it. But then have a some kind of novelty along with it. So I thought that was kind of fun way off doing it throughout the day. Like I'm gonna pick this number and then all you have to start it again. I always think about the journey of learning. A piece is that you become your own coach and your own friend. So always think what kind of issues there are. Noticed what you can do about that and what kind of solution you can give to yourself. So even if I gave all of these tools that you still have to find your own way to apply to your own practice room. So even though the resources to says the interleague practices very effective, especially for long term memory But you have to find and also experiment and actually have to experienced, if that is really true to you or not, one thing that we can really take away from this inter lived practice is that if you do the repetition over a petition that by the time you doing fifth time's your brain is not a zing . Gays just remember that math problem that I just suggest even the second time our brain is just is different. So then we have to find the way. How can I sparkle that brain to engage and work again? So you have to be so creative to find a way to do even that kind of meth problem if we start to do from the backwards which becomes totally different numbers like one minus four plus eight plus five, you know. But that way the reengaged at number one, more time. So if that is in the practice room, if you always do certain way of rhythm repetition, then do something totally different way. Look for a refreshing way that you never tried so that your brain is tricked is if that is something new. So finally we have arrived to the last class. 11. Final thoughts: so I hope all of the things that I share with you has been helpful for you, or give some direction for you to experiment on your own journey off your piece. So, as I said at the beginning of the class, really have no an own your why and commit and care and love that relationship that you're going to cultivate through the process of memorizing it. No matter what I do during practice room, every time I'm on the stage feels very raw and nuke as much as it can be frustrating, especially. I worked really hard, but you still have this mishaps and memory glitches and things like that. But that's also beauty of being a human, accepting that we're not perfect. But you try to find the beauty, then discover something new. I really liked the fact that there is always room for me to grow rather than I or have arrived. There is always a possibility to learn more and to become better magician and by trying to memorize a piece that is a one way of stretching myself to the next level in next discovery of the beauty. Good news is proper training solely practice and all of the tips that I share in discourse that you toe point, even if you have a mishaps, even if you have a mistakes that you know how to get up and keep walking as if nothing happened and because it's all about that expression of the journey. It's not about the fall, but eventually also, you will embrace it and you actually know how to get up. And that is very comforting and empowering to do. You'll be very surprised how many professional magicians, even the most legendary magician that you will really look up to that will always have a mishaps that they will always happen. Memory slipped on stage and do almost would have killed himself. I had experienced, like I would want to quit playing piano that kind of mistake, too, because we're all human. So if you just remember that it's not only your struggle but everyone else's struggled to, then you maybe, hopefully just focusing on creating your beauty with your piece that you choose. You may sometimes wonder. Is it worth it? Why I do it, you know. So for me, when I feel that oneness with the music and then the sense of freedom and the feeling of empowering the growth that I feel in me as a musician, magician as a person, it's all worth it. So I highly recommend for you to try. You can only find me very easily anywhere, but especially in the YouTube channel. I share some practice tips us like I did in this course, but I think you will actually appreciate my podcast. That's cold journey through a classical piano where I share one classical piano competition in death in 10 to 15 minutes. It's almost like a miniature piano concert with my commentary in my notion about that piece and composure and so please check it out. Also be my friends through by weekly newsletter that I send out in that newsletter. I write old the life lessons or things that resonate with me during those weeks. Sometimes it's my favorite music of the week. All of the things may be fun and maybe useful things that I write and communicate with you that way as well Stay connected. I hope to see you very sin. And don't forget to do your class project practice efficiently by