Teaching Memory at the Piano: a Pre- College Student Workbook Based on Research in Psychology and Piano Pedagogy Julie E

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2010 Teaching Memory at the Piano: A Pre- College Student Workbook Based on Research in Psychology and Piano Pedagogy Julie E. Mitchell

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COLLEGE OF MUSIC

TEACHING MEMORY AT THE PIANO: A PRE-COLLEGE STUDENT

WORKBOOK BASED ON RESEARCH IN PSYCHOLOGY AND PIANO PEDAGOGY

JULIE E. MITCHELL

A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Arts in Music

Degree Awarded: Fall Semester, 2010

The members of the committee approve the thesis of Julie Elaine Mitchell defended on October 26, 2010.

______Victoria McArthur Professor Co-Directing Thesis

______Alice-Ann Darrow Professor Co-Directing Thesis

______Matthew Shaftel Committee Member

______Evan Jones Committee Member

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

TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES iv TABLE 1: Relationship of Memorization Activities to Research Literature v

ABSTRACT viii Chapter 1. INTRODUCTION 1 Background and Significance 1 Purpose 2 2. REVIEW OF LITERATURE 3 Memory Process and Memory Aids 3 Memorization Approaches 7 Summary of Literature: Pedagogical Applications 15 3. MEMORIZATION WORKBOOK 17 Need for Resource 17 Introduction and Instructions for Teachers 18 Analytical Activities 23 Aural Activities 39 Kinesthetic Activities 60 Visual Activities 79 4. DISCUSSION AND OBSERVATIONS 98 Summary and Conclusions 98 Limitations 98 Implications and Suggestions for Future Research 99 REFERENCES 100 BIOGRAPHICAL SKETCH 103

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LIST OF MUSICAL EXAMPLES

1. “Carefree” by Daniel Gottlob Türk, excerpt from Masterwork Classics 40 Levels 1-2, ed. Jane Magrath, Alfred (1997), p. 4

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

3. “Melody,” Op. 218, No. 18 by Louis Köhler, excerpt from Masterwork 82 Classics Levels 1-2, ed. Jane Magrath, Alfred (1997), p. 5

Table 1

Relationship of Memorization Activities to Research Literature

Activity Name Page Research Basis

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

Stick it! 25 (Aiello & Williamon, 2002; Barsalou, 1992; Chaffin & Imreh, 1996/97; Kochevitsky, 1967)

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

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

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

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

Write it Out 34 (Blanchard, 2007)

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

Map it! 36 (Fidlow, 1961; Gordon, 2006; Ross, 1964; Shockley, 2001)

Sing it! 40 (Aiello & Williamon, 2002; McArthur, 2010; Rubin-Rabson, 1950; Shinn, 1898/99)

Silence is Golden 42 (Brower, 1920)

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

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

Table 1 cont’d.

Look, Ma, No Hands! 50 (Aiello & Williamon, 2002; Blanchard, 2007; Coffman, 1990; Intons-Peterson, 1993; Kochevitsky, 1967; Ross, 1985; Rubin-Rabson, 1950)

Musical Detective 52 (Blanchard, 2007)

Play and Listen 53 (McArthur, 2010)

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

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

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

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

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

The Pretzel 68 (McArthur, 2010)

Speed Zone 71 (Aiello & Williamon, 2002; Blanchard, 2007; Enoch, 1977)

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

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

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

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

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

Color it! 84 (Shockley, 2001)

Turn the Page 85 (Aiello & Williamon, 2002; Bernstein, 1981; Blanchard, 2007; McArthur, 2010)

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

Table 1 cont’d.

Claim Your Landmarks, Part 1 89 (Aiello & Williamon, 2002; Chaffin & Imreh, 2002; Fidlow, 1961; Galotti, 1994; Gordon, 2006)

Claim Your Landmarks, Part 2 91 (Aiello & Williamon, 2002; Chaffin & Imreh, 2002; Fidlow, 1961; Galotti, 1994; Gordon, 2006; McArthur, 2010)

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

The Clock Face 95 (Aiello & Williamon, 2002; Fidlow, 1961; Galotti, 1994; Gordon, 2006)

______

vii

ABSTRACT

The purpose of this project was to develop motivating and appropriate teaching materials to build student memorization skills. These pedagogical materials are inspired by related literature in psychology and piano pedagogy and supported by evidence-based practice. The Review of Literature explores the psychological processes involved in memory, as well as various types of memory. The performance practice of memorizing piano music is discussed, which supports the need for developing memorization techniques. Past and current studies are cited to show the effectiveness of using mental practice, guided analysis, and other mental strategies to memorize music. Four approaches to memorization are explored: analytical, aural, kinesthetic, and visual methodologies. Thirty-five activities are provided for use by elementary and intermediate piano students, each relating to a specific aspect of memory-building that is discussed in the Review of Literature. Some activities are appropriate for at-home use during students‟ practice, while others require the assistance of the teacher during the students‟ private lessons.

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CHAPTER 1 INTRODUCTION Background and Significance of the Project Until the middle of the 19th century, the memorization of piano music was widely considered to be unconventional in the realm of classical music. Although the “Mozarts of the music world” undoubtedly possessed the natural ability to memorize with ease, few artists before Clara Schumann performed publicly from memory (Bernstein, 1981, p. 219). The shock of this new trend created a stir in performance practice. Clara Schumann and other virtuosos such as Franz Liszt established not only an expectation for those who commit to serious performance, but their actions also led to the memorized performance standard for concert artists. This tradition, now the norm in classical music performance, has been a source of anxiety for many pianists who struggle with memorization. Because many musical skills beneficial to memorization are often neglected during private lessons, including ear-training, sight-reading, harmonic analysis, and improvisation, students may not learn the most effective ways to memorize (Shockley, 1980, p. 2). For some students, a negative experience when performing from memory has convinced them (and possibly their teachers) that they are inept at memorizing; thus, many students either give up or continue to be fearful of performing. Since memorizing music involves a variety of different brain functions, students often need assistance in the process as well as strategies for success. Memorizing piano music can be a difficult skill to teach, however, and many teachers avoid discussing the topic during private instruction. If instructors do teach their students how to memorize, they often teach in the way they themselves were instructed to memorize without further experimentation with other forms of memory work. The more that instructors are aware of basic properties of memory systems and how they are used, the greater assistance they will be able to provide on the subject of memorization. Furthermore, if teachers possess the knowledge and understanding of several methods for memorizing, students can determine which they prefer and use them to improve their memory skills. In order to address the needs of piano students, instructors may choose to utilize a goal- specific resource. This resource may be designed to assist students in music memorization that would supplement any techniques taught in the lessons. The resource should provide motivating

1 and appropriate activities that students can incorporate into their individual practice, as well as exercises that students and teachers can explore together during lessons. Purpose of the Project As indicated in the Review of Literature, the use of mental practice and other techniques can improve the memorization of music (Aiello & Williamon, 2002; Bernstein, 1981; Blanchard, 2007; Brower, 1920; Chaffin & Imreh, 1996/97 & 2002; Coffman, 1990; Galotti, 1994; Ginsborg, 2004; Hughes, 1915; Kochevitsky, 1967; McPherson, 1995/96; Ross, 1964; Ross, 1985; Rubin-Rabson, 1937 & 1950; Shockley, 2001; Winslow, 1949). The purpose of this project is to provide private piano instructors with a workbook of activities that can be used during lessons and students‟ individual practice time. The workbook contains instructions on how to use the activities and states the specific objectives for developing students‟ memorization skills. When memorization can be presented to students as a skill rather than a pre-determined “talent,” the process can be a mentally challenging yet rewarding musical experience.

CHAPTER 2 REVIEW OF LITERATURE Memory Process and Memory Aids This Review of Literature will investigate the processes involved in memory and rehearsal. Four approaches to memorization will be explored, which include the following: analytical, aural, kinesthetic, and visual. Pedagogical sources will be cited and discussed with regard to their exploration of the aforementioned approaches to memorization as they are used in private piano instruction. The term “memory” is defined by Fidlow (1961) as “all means by which one can recall or make available to tongue-tip any information or knowledge one feels like using” (p. 14). One‟s ability to memorize affects many aspects of everyday life. Memories can be defined according to their context and relevance to personal experiences. According to Tulving (1983), episodic memories are memories of life events and experiences, while semantic memories are facts and knowledge of general topics (p. 9). Memory of music, classified as semantic due to its inclusion of conceptual information, depends highly on previously learned understandings of context. This type of knowledge is typically structured according to the musical style with which a particular music is associated, such as Western, jazz, or Eastern traditions (Ginsborg, 2004, p. 132). Episodic memories are stored in both short- and long-term memory, while semantic memories are stored primarily in the long-term memory (Klimesch, 1994, p. 42). Memory process. The memory process can be broken down into three sub-processes, which consist of encoding, storage, and retrieval (Barsalou, 1992, pp. 117-118). These interrelated elements define the overall structural design of the memory system. The processing of information occurs initially at the sensory level, which is governed by the five senses. Sensory memory is determined by one‟s perception of the environment. Information can only remain in this area of memory briefly before decay transpires, which ultimately decreases the accessibility of information (Galotti, 1994, p. 105; Klatzky, 1975, p. 12). During encoding, information is converted into a usable form and stored for later use. The working memory system, used for maintaining and directing information on a temporary basis, is separated into the areas of short- term storage and executive processing. Short-term storage maintains information provisionally, and executive processes utilize the information by directing it to the appropriate cognitive tasks (Galotti, 1994, p. 124; Smith & Jonides, 1999, p. 1657). The working memory system remains in

3 a dynamic state, keeping information active and accessible until it is externalized (Barsalou, 1992, pp. 117-118). Though evidence suggests that the pre-motor region of the brain is involved in the memory rehearsal process, questions still remain as to the number of working memory systems that are used for rehearsal of information (Svard, 2010, p. 5). Once a stimulus is given attention and unnecessary elements are eliminated, the information can be transferred to short-term memory, where the information is made readily available for use when necessary. These types of memories have a time capacity of around three to five seconds but can last as long as 10 to 12 seconds. When compared to the capabilities of the long-term memory system, the short-term memory is relatively weak. Only an average of seven pieces of information can be retained simultaneously. If the information in one‟s short-term memory is frequently used, the contents remain in an active state and are more likely to become committed to long-term memory (Snyder, 2000, p. 53). The long-term memory system allows the recall of information for hours, days, or years, though memory span depends heavily upon the “nature of the material” (Galotti, 1994, p. 116; Klatzky, 1975, p. 26). The process of storing information, though not entirely understood, is thought to consist of the storage of memory traces. These traces are reinforced with each rehearsal of the information. Rehearsal enhances the meaning of information, which is then transferred to long- term memory, where its tendency to be recalled is increased (Smith, 2000, p. 48). If a pattern in information is recognized and can be related to previously learned knowledge, then meaning can be applied to the information, further strengthening its usability and memorability (Fidlow, 1961, p. 30). The process of recognizing patterns occurs when stored long-term memories are related to an experience. Once pattern recognition is completed, There is no longer any need to consciously process this information because it is already

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

conscious awareness and become part of our perceptual and conceptual background

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

Retrieval, the final stage in memory processing, consists of bringing to one‟s consciousness information that has been stored so that it may be readily used (Galotti, 1994, p. 99). When new memories are related to previously learned knowledge, stronger pathways for recall in the long-term memory can be established, and the new information may be more easily

4 retrieved in the future. Each time a memory is associated with another idea or transferred to another situation, the memory is reinforced. The most effective means of improving the memory of information is to create or develop an interest in it, even if one is not naturally present. An initial desire to know more about a subject does not have to be present, but the existence of a motivational factor can increase attentiveness and thus improve one‟s ability to recall the information (Fidlow, 1961, p. 30). When memorizing a musical work, such motivating factors may include creating a story that illustrates the musical events, melodic line, etc. Once material has been categorized, it is more easily recalled than information that is grouped without order (Galotti, 1994, p. 120). As a result, the recognition of sequences in music enables musicians to memorize more easily. More advanced pianists have an advantage over beginners when memorizing because they have developed the ability to determine patterns such as scales and arpeggios. When these patterns are immediately recognized, the memory process is simplified with little conscious effort. Less experienced pianists, however, see individual notes and must expend more effort to memorize (Chaffin & Imreh, 1996/97, p. 20). According to Restak (2001), every connection made between neurons is enhanced by repetition, which improves the performance of the action (p. 20). Each time an action is repeated, the transmission of information in the nervous system increases in speed and efficiency. As a result, changing fingering and correcting wrong rhythms and notes are difficult processes, requiring the nerve paths of new habits to become stronger than the original ones (Svard, 2010, p. 5). Rehearsal with the intention of memorizing allows for the development of automatic cuing, providing the freedom to focus on musical expression when performing, rather than the necessary physical motions (Bernstein, 1981). According to Barsalou (1992), “the more rehearsal a piece of information receives, the higher its probability of being transferred from short- to long-term memory, and the higher its probability of being remembered on a later test” (p. 119). After the initial learning process of a piece occurs, each repetition at the piano should be spent with the intention of memorizing (Rubin-Rabson, 1950). Memories, according to Roediger and McDermott (2000), are not records of events but rather the recoding of them, which results in a personal interpretation influenced by one‟s experiences and surroundings (p. 126). Because of this fact, the memory system is an imperfect source that can fail at times to produce accurate accounts of events; as a result, some memories can be distorted during the process of encoding, storage, and retrieval. Interference occurs when

5 similar memories affect one‟s ability to recall another memory, and other information displaces what is intended to be recalled (Galotti, 1994, p. 108). Working on memorizing a piece and immediately studying or playing another can cause interference in the memory of the first piece. Taking a break and performing a non-related, non-musical activity for a short period allows the music to be solidified in the memory without being displaced by another piece of musical information (Fidlow, 1961, p. 37). Memory aids. Musicians can use memory aids in order to ensure that information is not forgotten (Galotti, 1994, p. 100). Whether internal or external, memory aids must be similar in format to the information being remembered; otherwise, the necessary information cannot be delivered easily and may cause interference (Intons-Peterson, 1993, p. 154). Memory aids can be in the form of basic performance cues, which elicit the physical actions of playing, or expressive cues, which contain information about the phrasing and sectioning of the music. According to Chaffin & Imreh (2002), Basic performance cues ensure the execution of critical movements, such as the

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

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

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

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

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

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

An external memory aid is defined as “any device or mechanism, external to the person, whose purpose is to facilitate memory”, which can be in the form of “context cues or priming prompts” (Intons-Peterson, 1993, pp. 135-136). External memory aids have the capacity to provide more meaning to the information that is to be remembered by improving the coding and recoding processes. When memorizing music, an external memory aid such as physical practice provides a tangible method of encoding musical information. External memory aids are sometimes preferred to internal ones because they often require less mental energy. The use of external memory aids may not always improve memory, however, if one entirely neglects internal memory devices (Intons-Peterson, 1993, p. 144).

While external memory aids occur outside of the mind, internal memory aids occur within the mind. Such techniques include mental rehearsal and the use of mnemonic devices to represent the formal structure of music (Aiello & Williamon, 2002, p. 172). Other internal memory aids in music are the use of visual imagery, wherein the mind reinforces the memory of the music by using the images of the notes, as well as mental practice in the form of “chunking.” Chunking is a process that can increase the capability of short-term memory as information is combined. Sometimes referred to as “recoding,” it also increases one‟s capacity for processing learned material (Galotti, 1994, p. 107). Chunking in music memory occurs when one visually detects significant patterns such as scales and arpeggios. The use of chunking “allows for rapid categorization of domain-specific patterns” and increases pianists‟ speed in recognition (Aiello & Williamon, 2002, p. 171). The greater one‟s body of knowledge about a topic, the more efficient will be one‟s ability to recognize different chunks of information (Barsalou, 1992, p. 114). Memorization Approaches Due to the pressures and high expectations for pianists to perform without error from memory, pedagogues of the early 20th century developed techniques for facilitating the process. Pianists such as Ferruccio Busoni began promoting the positive effects of mental practice in memorization. They also suggested that mental practice or the use of imagery enables a pianist to learn the expressive elements of playing even before approaching the physical aspects (Kochevitsky, 1967, p. 16). Once the physical and mental elements are both established, a performer‟s focus can remain on being expressive rather than the fear of possible memory slips (Bernstein, 1981, p. 237). Mental practice. Mental practice or imagery has been used in many areas, such as sports, music, and dance. Mental imagery is defined by Finke (1989) as “the mental invention or recreation of an experience that in at least some respects resembles the experience of actually perceiving an object or an event, either in conjunction with, or in the absence of, direct sensory stimulation” (p. 2). When combined with purposeful physical practice, mental practice can be highly effective in reinforcing patterns, routines, and sequences. Though physical practice provides instant gratification, learning purely by kinesthetic means is not the most consistent form of memorization in music (Bore, 1937, p. 712). In high-pressure situations, muscle memory is an unreliable source “that may decide to wait backstage until the performance is over”

(Harting, 1985, p. 48). In music, mental practice or score study consists of focusing on the printed page to learn, rehearse, or memorize musical elements, and can also include imagining the score in one‟s mind. Mental practice allows a musician to attend to the necessary physical motions and emotional components of playing, resulting in a greater level of dexterity. Because the acquisition of motor skills requires a different form of concentration than analytical skills, items that may have been overlooked in the process of learning notes and rhythms may be reexamined when studying the score (Kochevitsky, 1967, p. 50). Preparing for physical practice by mentally rehearsing can also eliminate the necessity of unlearning mistakes and lessen the potential of developing tension and fatigue. Silently reviewing the music can draw one‟s attention to significant notes and motives, allowing logical relationships between musical phrases to be formed; fingering and notes can also be solidified (Blanchard, 2007, p. 172). Though mentally taxing, physical rehearsal preceded by score study can reduce the amount of time required for learning new material and improve one‟s ability to memorize music (Rubin-Rabson, 1937). Even after music is memorized, score study or mental rehearsal continues to be an effective practice technique. One form of mental practice is mentally regrouping notes, which can be accomplished by observing the topography of the keys, fingering, and melodic direction. Mentally reorganizing notes enables the central nervous system to reduce the necessary nerve impulses that are sent from the brain to the fingers, which can increase playing speed for passages that require agility, such as scales (Kochevitsky, 1967, p. 50). A study conducted by Ross (1985) shows that the combination of physical and mental practice yields improvements in performance equal to that of physical practice alone, though physical practice was found to be essential for the greatest improvements in psychomotor skills. Without the distraction of sound in mental practice, a musician is able to make assessments about necessary physical movements based on past experiences. Physical practice time can be decreased by eliminating the rehearsal of inefficient movements. Subjects in Coffman‟s (1990) study participated in physical, mental, and physical/mental practice in various combinations in order to determine the effects of mental practice on the subjects‟ performance times of a piano piece. Subjects who used both mental and physical practice in the study were able to play the piece at the fastest tempo and produced the shortest performance times.

Ross (1964) conducted a study to determine the effect of guided analysis on memory by testing two groups on their memorization of musical excerpts. The experimental group was given instruction about the excerpts in the form of guided analysis in addition to rehearsal time, while the control group was only given rehearsal time. The subjects were then tested to determine the accuracy of their memorization. Results showed that the experimental group required fewer learning trials in order to accurately memorize the excerpts. The study indicates that the use of guided analysis in the memorization of music facilitates the learning process. Mental practice both prior to sight-reading and in regular practice enables a pianist to envision not only notes and chords, but the harmonic progressions and phrases, providing an overall understanding of a piece. Because sight-reading requires instantaneous comprehension of the notes as they appear on a page, a pianist is required to know what lies beyond the mere physical representation of the notes. Large leaps, awkward transitions, changes in key and meter, and other difficulties can be anticipated through the use of mental practice in sight-reading (Kochevitsky, 1967, p. 50). While many musicians and instructors view memorization as a separate course from the learning process, memory work should be included from the first exposure of a piece (Rubin- Rabson, 1950). If memorization only occurs after a piece is learned, the skill of memorization may only be functional at a conscious level rather than a subconscious one (Winslow, 1949, p. 15). The challenge for teachers, however, lies in helping students reach this point and avoid the anxiety associated with performing from memory. Since the pivotal research of Grace Rubin- Rabson conducted on memorization during the 1930s and ‟40s, there has been little empirical data collected on the memorization of piano music. There has also been little substantial and practical direction given to pianists, especially to those at the elementary level (Reichling, 1989, p. 9). Enabling students to apply meaning to their knowledge of musical concepts allows them to better comprehend material and memorize more easily, which is accomplished by incorporating several approaches to memorization (Fredrich, 1950, p. 40). Analytical memory. To musicians, memorizing can include envisioning the notes in one‟s mind as they move across an imaginary score; being able to play a piece several times in succession without error; knowing a piece by the way the pitches relate to one another; understanding a work by its harmonic structure; or a combination of any of these elements. Blanchard (2007) states that the four main ways to memorize include visually, or by the way the

9 music looks; aurally, or by interval; digitally, or by sequences of playing; and theoretically, or by analyzing patterns (p. 171). Analytical or conceptual memory includes knowledge of form, structure, and/or harmony, which provides a conscious form of memory. Even pianists who memorize easily often employ analytical memory skills for additional security when performing in public (Hughes, 1915, p. 597). According to Chaffin and Imreh (2002), “The use of conceptual memory to guide skilled motor performance may be a hallmark of expertise in domains such as musical performance and dance, which involve both complex motor skills and aesthetic sensibility” (p. 349). Chaffin and Imreh (2002) also found that formal analysis provides a hierarchy for retrieving information through the use of sections “containing basic and interpretive performance cues” (p. 348). One‟s knowledge of musical structure increases awareness of what is to be played, heard, and experienced and can lessen the amount of time required to solve technical problems. Being able to analyze a piece with little thought also allows more time to be spent studying expressive details. When memorizing, pianists often examine themes, recognize patterns, identify phrases, and analyze other details that may go unnoticed if memorization is not involved in the learning process (McArthur, 2010). Studying and identifying the components of one‟s music improves the ability to memorize because it increases the amount of processing of the material and encodes the memory more deeply (Barsalou, 1992, p. 118). Techniques for analytical memory development for student and teacher use include the following:  Name all the notes from memory in a particularly difficult passage (Hughes, 1915, p. 599). These types of passages tend to be susceptible to memory slips, and as a result, they require more analytical memory work (Blanchard, 2007, p. 172).  Identify patterns in your piece, such as scales and arpeggios (Aiello & Williamon, 2002, p. 178).  Describe the formal structure of your piece and its thematic material (Aiello & Williamon, 2002, p. 178).  Write out parts of your music from memory that are chromatic or contain modulations (Blanchard, 2007, p. 171).

 Make a photocopy of your piece and cut it up into sections. After placing the sections in a bag, draw one section from the bag and begin playing from that point in the music (Blanchard, 2007, p. 172).  Develop your own mnemonic system for your piece, based on the landmarks or thematic material. Give each section a clever name or one that is easy to remember (Gordon, 2006, p. 83).  Without looking at the music, start at the top of the last page of your piece and play to the end. Continue this process with each page, working backwards to the beginning (McArthur, 2010). Aural memory. Aural memory, or learning by audiation, gives aural cues about musical material, allowing one “to recall or anticipate the sound of a piece” (Shockley, 2001, p. 4). The aural memory is defined as the ability “to retain and recall the sound of intervals, melodies, chords, progressions of chords, and anything which may be termed „music‟” (Shinn, 1898/99, p. 3). Both visual and aural cues can come from outside sources such as other members of a performing group (e.g., a head nod or audible breath) and are most effective when used in every rehearsal (Ginsborg, 2004, p. 130). Techniques for aural memory development for student and teacher use include the following:  Sing phrases of your piece at performance tempo while using appropriate dynamics (McArthur, 2010; Rubin-Rabson, 1950).  Sing one part while playing another part. This kind of activity can be completed during a lesson, with the teacher playing/singing one part and the student playing/singing another (Aiello & Williamon, 2002, p. 178).  Have your teacher play a phrase from your piece while you listen. Then play the next phrase from memory (Blanchard, 2007, p. 173).  Play one part from memory while your teacher plays another, as though it were a duet (Blanchard, 2007, p. 173).  Alternate playing every couple measures of your piece with your teacher, limiting pauses in between (Blanchard, 2007, p. 173).

 Play the left- and right-hand parts of your piece separately, using only your index finger. This requires the ear “to direct the finger to each successive note without the aid of physical props” (Enoch, 1977, p. 123).  Practice in a dark room or with your eyes closed (McArthur, 2010).  Practice on a variety of pianos in many different settings so you can adjust to the sound and touch of an unfamiliar piano when performing (McArthur, 2010).  Listen to recordings of yourself and others performing a piece. Follow along with the music in your mind or with the score (McArthur, 2010). Kinesthetic memory. According to Winslow (1949), “To recall and retain the music without stimulus from the printed page one must see it in the mind's eye, hear it, and feel it throughout the neuro-muscular system” (p. 15). Kinesthetic, tactile, or motor memory allows one to recall “the physical sensation of playing a passage” and is developed by physically practicing (Shockley, 2001, p. 4). Kinesthetic memory allows movements to become automatic when they are repeated and solidified. Though it is the least reliable form of memory, the kinesthetic memory is sometimes necessary in passages that are especially difficult or fast and allow little time for other forms of memory to be involved (Aiello & Williamon, 2002, p. 176). Techniques for kinesthetic memory development for student and teacher use include the following:  Improvise in the style of your piece (Aiello & Williamon, 2002, p. 178).  Play your piece on the surface of the keys without making any sound. Use the score first, and then “play” from memory (Brower, 1920, p. 142).  Practice on the closed key cover. Without the distraction of sound, you can focus on the necessary physical motions rather than perfecting notes (Brower, 1920, p. 142).  Begin playing with the music and try to read a little ahead, then look away from the music and continue playing for as long as possible (Blanchard, 2007, p. 173). Without being able to see your hands as they move, you have to mentally picture the motions; this process develops muscle memory (Hughes, 1915, p. 598).  Use blocked chords when practicing to solidify your physical movements and knowledge of harmony (Chaffin & Imreh, 1996/97, p. 20).  Practice difficult passages several times in a row from memory without error. Start over with the first repetition if you make an error (McArthur, 2010).

 Adjust your physical relationship to the instrument by kneeling or sitting on the floor while practicing (McArthur, 2010).  Play your piece with your right hand crossed over your left and vice versa (McArthur, 2010).  Play your piece from memory, leaving out every two to three measures (McArthur, 2010).  Play your piece from memory with frequent pauses. Play a section or part of a section, leave the piano for a short period of time, and begin again where you left off (Hughes, 1915, p. 601).  Play from memory until your teacher instructs you to stop, and then continue playing again after a brief pause. Because interruptions can often distract performers if they are unable to remain focused, this exercise aims to develop students‟ concentration skills, as they are required to resume playing with frequent disturbances in their musical flow (Hughes, 1915, p. 601).  Play your piece from memory at the beginning of a practice session as well as spread out throughout the day to simulate a performance (Blanchard, 2007, p. 173).  Play your piece from memory hands separately to build independence between the hands (Aiello & Williamon, 2002, p. 278; Enoch, 1977, p. 123). Visual memory. According to McPherson (1995/96), playing from memory is defined as the ability “to reproduce aurally on a musical instrument an existing passage or piece of music that has been learnt from musical notation using a visual orientation” (p. 116). Visual memory, which consists of score study and mental rehearsal, plays a role in the initial memorizing of music. Images of the notes, one‟s hands on the keyboard, and the body‟s spatial relationship to the instrument are all aspects of visual memory (Shockley, 2001, p. 4). Visual memory cues, which enable memory retrieval, can be developed by determining landmarks in a piece that serve as points of reference for mapping the score (Aiello & Williamon, 2002, p. 171). Landmarks or memory “posts” can be defined by a change in character, meter, or tonality. In elementary and intermediate-level pieces, they can be identified as the beginnings of phrases. Landmarks are most effective when positioned at points in the music that easily string together the entire piece (Fidlow, 1961, p. 47). Logical divisions in the music spatially organize the ideas into collections

13 of notes and phrases and allow the memory task to be broken into smaller pieces by way of chunking (Galotti, 1994, p. 107). Visual memory may be developed in order to perceive one‟s hands, the actual keys of the instrument, or the printed music. Passages containing regular distribution of notes, such as scalar passages and arpeggios, are most easily remembered visually. Unusual arrangements of notes or phrases stand out more than predictable material but require the use of both visual and kinesthetic memory approaches in order to solidify them (Shinn, 1898/99, p. 9). Techniques for visual memory development for student and teacher use include the following:  Visualize the beginning of each page of your piece. Memorize the locations of all the landmarks in a piece. Practice playing at the beginning of each landmark without hesitation (Aiello & Williamon, 2002, p. 178).  Practice at a slow tempo while observing your hand movements. This solidifies the image of the physical motions required to play a piece (Aiello & Williamon, 2002, p. 178).  Use a highlighter to identify the thematic material and any patterns. Label all the “voices” in your music in order to visualize how each line interacts (Aiello & Williamon, 2002, p. 178).  Label important sections of the music, such as “the points of tension and resolution” (Aiello & Williamon, 2002, p. 178). Describe what happens in the music before and after these points.  Draw a map or picture to represent the melodic line of the piece (Shockley, 2001). General memory development. Techniques for general memory development for student and teacher use include the following:  Always review previously learned material before adding new material (Blanchard, 2007, p. 172; Gordon, 2006, p. 86).  Memorize small sections of your music at a time (Gordon, 2006, p. 83). Establishing attainable goals for memory work makes the task more feasible to finish.  Select a slow practice tempo to allow for careful thought to be placed on accuracy of notes and fingering. This will ensure that no habits will have to be unlearned later on. Also noting expressive elements from early on in memorizing will provide a solid framework for one‟s memory skills (Blanchard, 2007, p. 171).

 Take breaks when working on memorizing a piece to allow the memories to solidify (Fidlow, 1961).  Begin memorizing from the first time you start practicing a piece (Blanchard, 2007, p. 172).  Begin memory work on the last section of a piece first in order to eliminate the anxiety many experience when performing the last section of a piece (Bernstein, 1981). Focusing on the last section of a piece prior to the first section ensures that the beginning is not given more practice time and mental energy than the end (Blanchard, 2007, p. 173).  Once a piece has been memorized, continue referring to your musical score every few days (Blanchard, 2007, p. 172). Frequently review elements such as articulation, fingering, chromatic sections, and dynamics (Brower, 1920, p. 142). Summary of Literature: Pedagogical Applications According to Uszler, Gordon, & Smith (1991), Jerome S. Bruner‟s Theory of Learning states that one of the teacher‟s roles in a student‟s learning process lies in determining the student‟s learning style and current level of musical knowledge (p. 230). Providing learning structures for students enables them to explore musical principles and ideas so that they may acquire an understanding of the concepts behind them. Bruner‟s Learning Theory supports the value of being able to transfer information and apply it to many settings. Once able to transfer knowledge into other situations, a student is equipped with the skill to become an independent learner. Bruner emphasizes that the focus of instruction should be on the exposure of concepts in their most basic form. Fredrich (1950) states that “a student who reads words without understanding what the words mean soon comes to grief because he is not adding to his knowledge, but is only repeating the symbols themselves without understanding their meaning as part of a rational idea” (p. 40). Once students are able to comprehend the fundamental structure of a concept, they are more likely to retain the information on a long-term basis (Uszler et al., 1991, p. 230). In many cases, and to artists who support the custom, playing from memory is considered a necessity in order for complete musical freedom to be exercised. According to Bernstein (1981), “All performing artists . . . are able to listen more intensely and play more fluently when freed from the score . . . For details which would otherwise go unnoticed are consciously absorbed only through memorization” (pp. 220-221). Many advanced performers believe that

15 playing without a score enables them to focus more on the physical and expressive aspects of their playing. Dependence on a musical score has the potential to limit a performer‟s ability to observe his or her technique and fully engage in musical expression, unless one is trained to do so in collaborative playing, for example (Winslow, 1949, p. 15). When a pianist‟s eyes remain almost entirely focused on the music, the hands have the main responsibility of determining distances between keys. If a score is used in performance, however, a musician must be so accustomed to its presence that the visual representation of the music does not detract from the performance. A technically demanding piece often allows little, if any, time for glances at the score; in such cases, page turns may also be problematic or even impossible to accomplish without assistance. If memorization were not required of students, however, they might be able to experience more literature by studying more pieces instead of focusing so much time on memorization. Teachers who emphasize the importance of memorization may neglect other skills such as sight- reading, which requires a different set of skills than performing from memory. Sight-reading must continue to be incorporated into lessons, even when the aim of students‟ studies is to perform from memory in competitions and recitals. Though many serious musicians believe that performing from memory is a necessity for pianists, some teachers argue that because much of students‟ lesson time is spent on reading music, very little is left for teaching memorization. Others contend that because performers of other instruments play with a score in front of them, pianists should not have to play from memory (Shockley, 2001, p. 1). According to Hughes (1915),

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

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

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

CHAPTER 3 MEMORIZATION WORKBOOK Need for Resource For the majority of piano teachers, a struggle exists to find ways to help students memorize their music. Due to the difficulty of explaining how to memorize, some teachers avoid the subject altogether in lessons. As stated previously, instructors may assume that students learn and memorize music the same way they do, or they may be unaware of their own learning styles relating to memorization. Rather than being able to provide concrete suggestions, many teachers grapple with various techniques until eventually something in the student‟s mind “clicks,” or until students “memorize” their pieces on their own by repetition and muscle memory. Though students are instructed during lessons to begin working on memorizing their music at home, many students are unaware of how to accomplish the task most effectively according to their particular learning styles. Students often know little about the process and significance of memorization; thus, they approach memory work as a separate process from the learning of the music. Fortunately for many teachers, students are often able to find a way to memorize their music, whether by accident or conscious effort. Regardless of the student‟s approach, the memorization of a piece may be completed entirely without the assistance or guidance of the teacher. As a result, some instructors may be able to avoid having to face this challenging pedagogical issue. This kind of situation may end successfully for the more “talented” students. For those who are inexperienced with memory work, however, attempting such an overwhelming task using their own devices may lead to the learning of wrong notes and feelings of frustration. Because the piano teacher‟s role is to guide and direct the student in his or her learning, the teacher needs to be able to provide tools for students to use when memorizing. Providing several approaches to memorization, such as aural, analytical, kinesthetic, and visual approaches, may allow students to better understand their music and result in successful memorization. Instructors may guide students through the process by acknowledging their fears and providing as many positive performance opportunities as possible, while also assuring them that memory slips are normal aspects of learning and performing.

Introduction and Instructions for Teachers Due to the difficulties students often face when attempting to memorize, they may require guidance and specific instructions on how to approach the process. When piano students are unaware of how to begin memorizing their music, they may resort to learning by muscle memory alone (i.e., playing a piece over and over until they “get it”). In performance settings, however, muscle memory can easily fail pianists, especially when anxiety escalates. Having other strategies to use as reinforcement for memorizing can also increase students‟ confidence and awareness of how their pieces are constructed. Also, when students can be given task-specific, concrete instructions, they can focus on steps to memorizing, rather than feeling overwhelmed by the process as a whole. The following activities are provided to improve students‟ abilities to memorize piano music using evidence-based practice. The memory approaches described in Chapter 2 are expanded into four types of activities for student use: analytical, aural, kinesthetic, and visual activities. Each activity type contains a specific purpose, and many overlap in the memory approach involved. The activities are also labeled according to the type of student who may benefit from the activity: elementary, intermediate, or both. Many activities can be completed at home during the student‟s individual practice time, while other activities may be suitable for use at the student‟s lesson as deemed appropriate by the teacher. Teachers are provided with further instructions relating to some activities at the end of each section in order to better guide and prepare their students.

Activity Types

Analytical activities inspire students to understand the harmonic qualities of their pieces by labeling chords and patterns. Students learn to appreciate their music at a theoretical level. These activities are especially helpful for students who enjoy theory and writing about their music, or for students who need more exposure to analysis. Students also identify landmarks and mentally conceptualize the order of the sections in their music.

Look for activities labeled with this icon:

Aural activities develop students‟ listening skills. These activities involve internalizing both melody and harmony with the intention of learning to use the ear as a guide. Students who lack a strong musical “ear” will benefit from these kinds of activities, as students will be challenged to listen more than rely on their fingers to play from memory.

Look for activities labeled with this icon:

Kinesthetic activities are devoted to developing one‟s “muscle memory” in non-traditional ways, such as playing sections of music at a time interspersed with pauses every few measures. Students explore the ways in which they can solidify the physical movements required to play their pieces from memory, often by isolating one hand at a time, or playing one part while their teacher plays the other.

Look for activities labeled with this icon:

Visual activities involve memorizing music by imagining the score in one‟s mind, visualizing the keyboard topography, and making associations to imagery. These exercises encourage students to create visual representations of their music according to melodic lines and shapes of phrases. Students will benefit from memorizing the location of memory “posts” or landmarks in their music to navigate their way through a piece.

Look for activities labeled with this icon:

Memorization Workbook Table of Contents Activity Student Level Page Analytical Activities 23 Name That Note! Elementary 24 Stick it! Elementary 25 Tell a Story Elementary or Intermediate 26 Reverse it! Elementary or Intermediate 28 Stop-and-Go, the Original Version Elementary or Intermediate 30 Stop-and-Go, the Extended Version Elementary or Intermediate 32 Write it Out Intermediate 34 Analyze it! Intermediate 35 Map it! Intermediate 36 Teacher’s Directions 38 Aural Activities 39 Sing it! Elementary or Intermediate 40 Silence is Golden Elementary or Intermediate 42 Dare to Compare Elementary or Intermediate 45 Pick a Color, Any Color Intermediate 48 Look, Ma, No Hands! Intermediate 50 Musical Detective Intermediate 52 Play and Listen Intermediate 53 Split it Up! Intermediate 57 Teacher’s Directions 59 Kinesthetic Activities 60 Play-Doh Hands Elementary 61 The Money-Maker Elementary 63 Change it Up, Part 1 Elementary 65 One-Handed Elementary or Intermediate 66 The Pretzel Elementary or Intermediate 68 Speed Zone Elementary or Intermediate 71

From the Ground Up Elementary or Intermediate 74 Change it Up, Part 2 Intermediate 76 Block it! Intermediate 77 Teacher’s Directions 78 Visual Activities 79 The Scrambler Elementary 80 Shape it! Elementary 82 Color it! Elementary 84 Turn the Page Elementary or Intermediate 85 No Peeking! Elementary or Intermediate 87 Claim Your Landmarks, Part 1 Elementary or Intermediate 89 Claim Your Landmarks, Part 2 Intermediate 91 Mind the Gap Intermediate 93 The Clock Face Intermediate 95 Teacher’s Directions 97

ANALYTICAL ACTIVITIES

These activities will help you learn your music with your mind. You will get to look for patterns, use stickers, and write stories about your pieces.

Activity 1: Name That Note!

Student Level: Elementary

Activity Type: Analytical

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

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

Materials: Your music, a pencil

Directions:

1. Ask your teacher to look at your music while you name the notes in your piece in order. Name all the notes in the right hand, and then name all the notes in the left hand. If your piece is longer than 1-2 pages, you may ask your teacher to select one page to do at a time. 2. Ask your teacher to circle any notes that you name incorrectly or leave out. 3. At home, do step 1 once or twice daily. 4. Complete this activity again at your next lesson. Name more notes correctly from memory each time!

Activity 2: Stick it!

Student Level: Elementary

Activity Type: Analytical and Visual

Activity Location: At home during practice

Objectives:

1. To identify and label patterns in your piece 2. To help you remember changes in the music

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

Directions:

1. Look through your music, and see if you can find any melodic or rhythmic patterns. Is any music repeated? 2. Place stickers that are the same color on sections that are the same.

Activity 3: Tell a Story (see Teacher‟s Directions, p. 38)

Student Level: Elementary or Intermediate

Activity Type: Analytical

Activity Location: At home during practice or with your teacher

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

Materials: Your music, a pencil

Directions: Make up a story about what you think is happening in your piece. Then write it on the lines below. Ask your teacher to play your piece while you narrate it with your story.

______

Activity 4: Reverse it!

Student Level: Elementary or Intermediate

Activity Type: Analytical, Visual and Kinesthetic

Activity Location: At home during practice

Objectives:

1. To challenge your mind to think of the music in new ways 2. To be able to play your piece from memory in other ways besides beginning to end

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

Directions:

1. Complete Claim Your Landmarks, Part 1. 2. Start with the last landmark, and play to the end. 3. Now begin with the next-to-last landmark, and play all the way to the end. 4. Continue with this process for each landmark until you reach the beginning of your piece. 5. On the lines below, write down any problems you had while you practiced and how much time you spent on the activity.

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

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

Student Level: Elementary or Intermediate

Activity Type: Analytical, Visual and Kinesthetic

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

Objectives:

1. To be able to play your piece from memory using the “stop-and-go”* practice technique 2. To improve your concentration as you play

*Definition: “Stop-and-go” practice is playing a piece from memory as you would in a performance, except your teacher will suddenly say “Stop.” Keep your hands on the piano, then start playing again when your teacher says “Go.” Your goal is to be able to start playing again where you stopped.

Materials: Your music, a pencil

Directions:

1. Start at the beginning of your piece and play a few measures from memory until your teacher says “Stop.” Keep your hands in place. 2. After a few seconds, your teacher will say “Go.” Begin playing again where you left off.

3. Ask your teacher to circle any notes you play incorrectly and write down any measures you cannot “restart.” 4. Review these measures each day as you practice at home. 5. Then ask a parent or friend to do the activity with you.

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

Date: ______Time spent on activity: ______

Problem spots (measure numbers): ______

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

Student Level: Elementary or Intermediate

Activity Type: Analytical, Visual and Kinesthetic

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

Objectives:

1. To be able to play your piece from memory using the “stop-and-go”* practice technique (see p. 30) 2. To be able to name upcoming notes in your piece

Materials: Your music, a pencil

Directions:

1. Start at the beginning of your piece and play a few measures from memory until your teacher says “Stop.” 2. Name a few upcoming notes or a chord. 3. If you are able to name the notes correctly, your teacher will say “Go.” Begin playing again where you left off.

4. If you are unable to name the notes correctly, ask your teacher to write them down on the lines below. 5. Review these measures each day as you practice at home. 6. Then ask a parent or friend to do the activity with you.

Date: ______

Problem spots (measure numbers): ______

Date: ______

Problem spots (measure numbers): ______

Date: ______

Problem spots (measure numbers): ______

Date: ______

Problem spots (measure numbers): ______

Date: ______

Problem spots (measure numbers): ______

Date: ______

Problem spots (measure numbers): ______

Activity 7: Write it Out (see Teacher‟s Directions, p. 38)

Student Level: Intermediate

Activity Type: Analytical and Visual

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

Objective: To improve your memorization of difficult sections by writing out the music without looking at the musical score

Materials: Staff paper, a pencil

Directions:

1. Ask your teacher to select a musical passage in your music that you have trouble remembering or one that contains several accidentals. 2. On staff paper, write out as much of the musical passage you selected without looking at the musical score. 3. Your teacher may help you if you have trouble remembering the notes. 4. Complete the activity again at home with the same passage or another one. Show your work to your teacher at the next lesson.

Activity 8: Analyze it! (see Teacher‟s Directions, p. 38)

Student Level: Intermediate

Activity Type: Analytical and Visual

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

Objective: To understand the harmonies in your piece

Materials: Your music, a pencil

Directions:

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

symbols (e.g., G7), depending on what your teacher suggests. 2. At home, label all the chords in the music for another piece you are memorizing. Show your work to your teacher at the next lesson.

Challenge Yourself!

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

Activity 9: Map it!

Student Level: Intermediate

Activity Type: Analytical and Visual

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

Objective: To draw a “map” of your piece

Materials: Your music, a pencil

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

Example Memory Map:

Section: A B A‟

Measure #‟s: 1-12 13-21 22-36

Key(s): G major E minor G major

Mood(s): lively dark playful

Directions for your piece:

1. Label the sections in your music according to the melodic and harmonic language (e.g., sections A, A‟, B, C, etc.). Ask your teacher to help you. 2. In the space below, write down the letter for each section and its corresponding measure numbers, key(s), and a word that describes the mood of the music, such as “bouncy,” “stormy,” “dark,” “lively,” etc. 3. Use the “map” you have made to help study your piece as you memorize it at home.

My Memory Map

Section:

Measure #‟s:

Key(s):

Mood(s):

Challenge Yourself!

Study your memory “map” at home, and then tell your teacher about each section of the piece from memory at your lesson.

Teacher’s Directions

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

Write it Out (see p. 34): Students may have difficulty deciding which passage they struggle with the most. You may need to suggest a passage or two for them during the lesson that they may complete at home.

Analyze it! (see p. 35): This activity may only be appropriate for students who have had adequate theory training. For the Challenge Yourself! element of this activity, your student may benefit from some guidance in improvisation (e.g., suggestions about starting and ending pitches or selecting a mood or “style” for the improvised melody).

AURAL ACTIVITIES

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

Activity 10: Sing it! (see Teacher‟s Directions, p. 59)

Student Level: Elementary or Intermediate

Activity Type: Aural

Activity Location: At home during practice or with your teacher

Materials: A photocopy of your music, a pencil

Objectives:

1. To identify the melody and bass line 2. To be able to sing each line separately

Study the following excerpt from Daniel Gottlob Türk‟s “Carefree” for help in identifying the melody and bass line. Then proceed with the directions for your own piece.

Directions for your piece:

1. Ask your teacher or a parent to make a photocopy of your music. 2. Locate the melody—usually this is the top voice, but sometimes it appears in other parts as well. 3. Write an uppercase “M” where the melody begins. 4. Now sing the melody of your piece. If you have used the solfege system before (e.g., do, re, mi, etc.), write the solfege in the music. You may also sing the note names or use “la.” If any of the notes are too high or low for you to sing comfortably, you may sing up or down an octave, or leave out notes occasionally. 5. Look for the bass line, which is the bottom voice. Write an uppercase “B” where the bass line begins. 6. Sing the bass line using solfege, note names, or “la.”

Challenge Yourself!

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

Activity 11: Silence is Golden

Student Level: Elementary or Intermediate

Activity Type: Aural and Kinesthetic

Activity Location: At home during practice

Materials: A pencil

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

Directions:

1. Sit at the piano as you normally would before playing. 2. Move your hands above the keys as you would if you were playing normally, and “play” your piece silently from memory (try not to make any sound!). Your fingers will feel like they are floating over the keyboard. 3. Complete the activity a few times. On the lines below, write down any problem spots you had and any improvements you made since the last time you tried.

First Try:

Date: ______

Problem spots (measure numbers): ______

Second Try:

Date: ______

Problem spots (measure numbers): ______

Improvements made since first try: ______

______

Third Try:

Date: ______

Problem spots (measure numbers): ______

Improvements made since second try: ______

______

Fourth Try:

Date: ______

Problem spots (measure numbers): ______

Improvements made since third try: ______

______

Fifth Try:

Date: ______

Problem spots (measure numbers): ______

Improvements made since fourth try: ______

______

Activity 12: Dare to Compare (see Teacher‟s Directions, p. 59)

Student Level: Elementary or Intermediate

Activity Type: Aural and Analytical

Activity Location: At home during practice or with your teacher

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

Objective: To compare performances of your piece

Directions:

1. Listen to recordings of other pianists playing your piece. 2. Record and listen to yourself playing your piece. 3. As you listen, follow along in the musical score or Challenge Yourself! (read below) 4. Compare the other performances to your performance of the piece. What is different about each performance? Is there anything you like better about the way another pianist plays your piece? Is there anything you dislike? 5. Write down your ideas on the lines below about other performers‟ use of phrasing, tempo, articulation, dynamics, etc.

Challenge Yourself!

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

Date: ______Pianist: ______

What I liked about the performance: ______

______

What I disliked about the performance: ______

______

Date: ______Pianist: ______

What I liked about the performance: ______

______

What I disliked about the performance: ______

______

Date: ______Pianist: ______

What I liked about the performance: ______

______

What I disliked about the performance: ______

______

Date: ______Pianist: ______

What I liked about the performance: ______

______

What I disliked about the performance: ______

______

Date: ______Pianist: ______

What I liked about the performance: ______

______

What I disliked about the performance: ______

______

Date: ______Pianist: ______

What I liked about the performance: ______

______

What I disliked about the performance: ______

______

Activity 13: Pick a Color, Any Color (see Teacher‟s Directions, p. 59)

Student Level: Intermediate

Activity Type: Aural and Visual

Activity Location: At home during practice or with your teacher

Materials: Highlighters (up to 4 different colors), the photocopy of your music from Sing It! (see p. 40)

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

*Definition: In piano pieces, a “voice” is a line of music, such as the melody, a part or all of the harmony, or bass. When there are four different “voices,” they are sometimes called soprano, alto, tenor, and bass lines.

Study the following excerpt from Wolfgang Amadeus Mozart‟s “Andante in C Major.” The soprano, alto, tenor, and bass lines have been highlighted for you (Note: some voices use the same pitch and have been highlighted in two colors). Once you understand the process, apply the directions to your piece.

Directions for your piece:

1. Using the photocopy of your music from Sing it! (see p. 40), count the number of voices in your piece. 2. Select different-colored highlighters, depending on the number of voices you counted. 3. Highlight each voice in your piece in a different color. 4. Practice playing each part while singing another part.

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

Student Level: Intermediate

Activity Type: Aural and Analytical

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

Materials: Your music, a pencil

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

*Definition: Mental practice is rehearsing your music in your mind without physically practicing, either by looking at the music or from memory. It reinforces the physical motions that you normally make when you are playing.

Directions:

1. Pretend that there is a CD player in your mind. 2. Find the CD in your mental CD collection that has your piece on it, and put it in the CD player. Then press “play.” 3. Try to hear the piece in your mind without moving your fingers. 4. If your recording “skips” (if you forget any notes), you may look at your music and find the place where your mental CD “skipped.” 5. Write down the measure number where you got lost on the lines below.

6. Then try to pick up where you left off without looking at the music. 7. Go through as much of the piece as possible. If you notice that there are certain passages where your CD always “skips,” study those measures a few times each day. You may want to physically practice them, too.

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Activity 15: Musical Detective (see Teacher‟s Directions, p. 59)

Student Level: Intermediate

Activity Type: Aural and Kinesthetic

Activity Location: With your teacher

Materials: Your music

Objectives:

1. To figure out where in the piece your teacher is playing 2. To play the next phrase that occurs

Directions:

1. While sitting at the piano, ask your teacher to pick a short phrase from anywhere in your piece (perhaps 4 measures) and play it for you. 2. As your teacher is playing, try to imagine in your mind where this phrase occurs in the music. Listen for anything that might give you a clue. Is this towards the beginning, middle, or end? Do you recognize any patterns? 3. Once you have figured out where your teacher is playing in the music, solve the mystery by playing the phrase that comes after the one your teacher played. The faster you can respond, the more of an expert musical detective you have become!

Activity 16: Play and Listen

Student Level: Intermediate

Activity Type: Aural and Kinesthetic

Activity Location: At different locations during practice

Materials: Several different pianos, a pencil

Objectives:

1. To be able to perform on a variety of different kinds of pianos so that in a performance, you aren‟t distracted by the instrument 2. To be able to adjust to the different touches required to play keyboards you‟ve never used before

Directions:

1. Ask your teacher to arrange for you to visit a college or other location where you can have access to several pianos. If you have friends who own pianos at home, ask them for permission to use their pianos, too. 2. Each time you get to perform your piece from memory on a different piano, listen carefully to the way the sound comes out of the piano. 3. Ask yourself these questions: a. Does it make a “full” sound that travels across the room, or does the sound seems to stop in mid-air?

b. Are the keys hard to press down, or do they sink quickly as you play them? c. Are the pedals stiff or easy to press? 4. Write down what you liked/disliked about the experience of playing each piano and how it sounded when you played your piece.

Piano 1 location: ______Date: ______

What I liked about it: ______

______

What I disliked about it: ______

______

How it sounded when I played my piece: ______

______

Piano 2 location: ______Date: ______

What I liked about it: ______

______

What I disliked about it: ______

______

How it sounded when I played my piece: ______

______

Piano 3 location: ______Date: ______

What I liked about it: ______

______

What I disliked about it: ______

______

How it sounded when I played my piece: ______

______

Piano 4 location: ______Date: ______

What I liked about it: ______

______

What I disliked about it: ______

______

How it sounded when I played my piece: ______

______

Piano 5 location: ______Date: ______

What I liked about it: ______

______

What I disliked about it: ______

______

How it sounded when I played my piece: ______

______

Activity 17: Split it Up!

Student Level: Intermediate

Activity Type: Aural and Kinesthetic

Activity Location: With your teacher

Materials: Your music, a pencil

Objective: To learn each part separately by gaining independence between your hands

Directions:

1. Sit beside your teacher on the piano bench. 2. Start at the beginning of your piece. 3. Ask your teacher to play one hand while you play the other hand from memory; then switch parts with your teacher. 4. As you play, listen carefully to your teacher as he/she plays the other part. 5. Ask yourself these questions: a. Was there any place in the music where I felt lost? b. Was I just “feeling my way through” any section of the music without really knowing what was coming next? 6. List any problem spots you encounter by measure numbers on the lines below, and review them again hands separately with the music after your lesson.

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Teacher’s Directions

Sing it! (see p. 40): During the lesson, play or sing one part while your student plays or sings another. This exercise can be completed with or without the music.

Dare to Compare (see p. 45): Suggest high-quality recordings of reputable musicians to your students to find on YouTube. Have recordings available in your studio as well. If you have access to a recording device, record your student playing from memory during the lesson and discuss the performance.

Pick a Color, Any Color (see p. 48): During the lesson, play and sing along with your student at first to guide them. This activity is especially helpful for Baroque pieces.

Look, Ma, No Hands! (see p. 50): For students who struggle with concentration, this activity may be completed in small units, such as a few measures at a time.

Musical Detective (see p. 52): If student has not been exposed to the term “phrase,” simply do not use the actual term during the activity. Ask your student to respond to your phrase by playing “a few measures” of the music after you finish playing.

KINESTHETIC ACTIVITIES

These activities will help you develop your “finger” memory. You will learn to “play” away from the keyboard and challenge yourself to work out the tough spots in your pieces.

Activity 18: Play-Doh Hands

Student Level: Elementary

Activity Type: Kinesthetic

Activity Location: At home during practice

Materials: Your music, a pencil, a tabletop or other flat surface such as the closed key cover

Objective: To be able to play large leaps smoothly by practicing the motions away from the keyboard

Directions:

1. Sit at a table/desk or at the keyboard with the key cover closed. 2. Look for any large leaps that either hand makes in your piece, and circle them in the music with a pencil. 3. Imagine the shape your hands make when you play each of the leaps you circled in your music. Ask yourself these questions: a. Do I have to stretch to reach a high note or chord with my right hand, or a low note or chord with my left hand? b. Do I have to move to a note or chord quickly? 4. Now practice these motions on the table, desk, or closed key cover while imagining that you are actually playing them on the piano. Try to see the keyboard in your mind as your hands travel to their new positions.

Note to Student: If you have any musical passages with several chords and leaps in a row, maintain the same hand shape for each chord (pretend that your hands have been molded into Play-Doh shapes!).

Activity 19: The Money-Maker (see Teacher‟s Directions, p. 78)

Student Level: Elementary

Activity Type: Kinesthetic

Activity Location: At home during practice or with your teacher

Materials: 5 quarters

Objective: To be able to play the most difficult sections of your piece from memory without error

Directions:

1. Ask your parents for 5 quarters. 2. Place the stack of quarters beside the music rack on the piano. 3. Look through your music, and pick out the most difficult spots. 4. Practice each of these spots 5 times in a row perfectly from memory. Each time you play accurately, take one quarter from the music rack and put it in your pocket. 5. If you make any mistakes before you get to 5, start over. If you get through all 5 repetitions, you get to keep the money! (Ask your parents first.) 6. On the lines below, write down the measures you worked on, whether or not you reached your goal (“5 times accurately”), and how long it took.

Date: ______Measures worked on: ______

Time spent: ______Goal reached: Yes/No (Circle one)

Date: ______Measures worked on: ______

Time spent: ______Goal reached: Yes/No (Circle one)

Date: ______Measures worked on: ______

Time spent: ______Goal reached: Yes/No (Circle one)

Date: ______Measures worked on: ______

Time spent: ______Goal reached: Yes/No (Circle one)

Date: ______Measures worked on: ______

Time spent: ______Goal reached: Yes/No (Circle one)

Activity 20: Change it Up, Part 1 (see Teacher‟s Directions, p. 78)

Student Level: Elementary

Activity Type: Kinesthetic and Analytical

Activity Location: At home during practice

Materials: Your music

Objective: To learn to rely on other forms of memory besides rote “muscle memory”

Directions:

1. Play through your piece hands separately from memory using only finger “2.” 2. Now play through your piece hands separately from memory using only finger “3!”

Activity 21: One-Handed

Student Level: Elementary or Intermediate

Activity Type: Kinesthetic

Activity Location: At home during practice

Objective: To gain independence between your hands

Materials: Your music, a pencil

Directions:

1. Practice the entire piece hands separately from memory. 2. List any problem spots you encounter on the lines below.

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Date: ______Time spent practicing: ______

Problem spots (measure numbers): ______

Activity 22: The Pretzel

Student Level: Elementary or Intermediate

Activity Type: Kinesthetic and Aural

Activity Location: At home during practice

Materials: A pencil

Objective: To play in different registers as well as different hand positions in order to throw off your “muscle memory”

Directions:

1. Play your piece from memory with your left hand crossed over your right, while still playing the notes in each hand as you normally would. You may be more comfortable if the right hand plays an octave lower so that you have more room. 2. Each time you practice the activity, write down any improvements you made since the last time you practiced.

Second Try:

Date: ______

Improvements made since first try: ______

______

Third Try:

Date: ______

Improvements made since second try: ______

______

Fourth Try:

Date: ______

Improvements made since third try: ______

______

Fifth Try:

Date: ______

Improvements made since fourth try: ______

______

Sixth Try:

Date: ______

Improvements made since fifth try: ______

______

Seventh Try:

Date: ______

Improvements made since sixth try: ______

______

Activity 23: Speed Zone

Student Level: Elementary or Intermediate

Activity Type: Kinesthetic

Activity Location: At home during practice

Objective: To build awareness of musical passages played primarily from rote “muscle memory” by playing your piece at a slower speed than normal

Materials: A metronome, a pencil

Directions:

1. Play through your piece from memory at a much slower speed than you normally would. Ask your teacher for a suggested metronome number if you need it. 2. Write down the metronome number you choose each time and any problem spots you have on the lines below.

Date: ______Metronome number: ______

Problem spots (measure numbers): ______

Date: ______Metronome number: ______

Problem spots (measure numbers): ______

Date: ______Metronome number: ______

Problem spots (measure numbers): ______

Date: ______Metronome number: ______

Problem spots (measure numbers): ______

Date: ______Metronome number: ______

Problem spots (measure numbers): ______

Date: ______Metronome number: ______

Problem spots (measure numbers): ______

Date: ______Metronome number: ______

Problem spots (measure numbers): ______

Activity 24: From the Ground Up

Student Level: Elementary or Intermediate

Activity Type: Kinesthetic

Activity Location: At home during practice

Materials: A pencil

Objective: To throw off your “muscle memory”

Directions:

1. Sit or kneel on the floor in front of the keyboard. 2. Make sure you can comfortably reach the keys. If you cannot reach them, try sitting or kneeling on a stack of books or some cushions. 3. Play your piece from memory. 4. Practice the activity a few times, and write down any improvements you made since the last time you practiced.

Second Try:

Date: ______

Improvements made since first try: ______

______

Third Try:

Date: ______

Improvements made since second try: ______

______

Fourth Try:

Date: ______

Improvements made since third try: ______

______

Fifth Try:

Date: ______

Improvements made since fourth try: ______

______

Activity 25: Change it Up, Part 2 (see Teacher‟s Directions, p. 78)

Student Level: Intermediate

Activity Type: Kinesthetic and Analytical

Activity Location: At home during practice

Objective: To learn to rely on other forms of memory besides “muscle memory”

Materials: Your music, a pencil

Directions:

1. Play through your piece hands separately with the music. 2. Now change some of the fingering. For example, on notes where you use finger 2, use finger 3 instead. On notes where you use finger 3, use finger 4 instead. 3. Write in the finger numbers lightly with pencil so you can erase them when you are done.

Note to Student: You may need to ask your teacher to help you decide which fingers to use for this activity.

Activity 26: Block it!

Student Level: Intermediate

Activity Type: Kinesthetic and Analytical

Activity Location: At home during practice

Materials: Your music, a pencil

Objective: To improve your “muscle memory” by blocking* the notes of broken chords*

*Definition: Broken chords are notes played one after another that form chords. Blocking the notes of a broken chord means to play the notes simultaneously.

Directions:

1. Look through your music and circle or mark any measures that contain broken chords. 2. Practice these measures both from memory and with the music by blocking the chords several times daily.

Teacher’s Directions

The Money-Maker (see p. 63): This activity can be done during the lesson so that the student‟s level of concentration can be monitored.

Change it Up, Part 1 (see p. 65): This activity is especially appropriate for elementary students since their repertoire will most likely consist of music that uses only one note at a time.

Change it Up, Part 2 (see p. 76): This activity may be more appropriate for mature intermediate students who are able to alter their fingering easily.

VISUAL ACTIVITIES

These activities will help you “see” your music in your mind. You will get to color in your music, play with your eyes closed, and be a better memorizer!

Activity 27: The Scrambler

Student Level: Elementary

Activity Type: Visual

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

Materials: A photocopy of your music, a pen/marker, scissors

Objective: To develop your visual memory of your piece

Directions:

1. Ask your teacher to make a photocopy of your musical score. 2. With your pen/marker, cross out or color over all the measure numbers in the piece so you cannot see them. 3. Use your scissors to cut each line of the music so they are separate. 4. Place all the music lines on a table. 5. Ask your teacher to mix up the pieces of paper so they are no longer in the right order. 6. Now see how much of the piece you can put back in order without looking at your original musical score. If you have trouble, your teacher can help you look for patterns or clues that might give you a hint. 7. After you complete the activity, put the pieces of paper in a Ziploc bag to take home.

8. Complete the activity again at home during practice, as many times as your teacher specifies.

Challenge Yourself!

For a greater challenge, cut up the music so each piece has two or three measures; mix up the pieces, and then try to put them in order!

Activity 28: Shape it! (see Teacher‟s Directions, p. 97)

Student Level: Elementary

Activity Type: Visual

Activity Location: At home during practice or with your teacher

Materials: A photocopy of your piece, a pencil/pen

Objective: To identify melodic direction

First study the excerpt from Louis Köhler‟s “Melody,” Op. 218, No. 18. Notice how the lines drawn above the music illustrate the shape of the melody—they go up and down or stay the same, just like the melody does from note to note. Complete the example by drawing a line above each note in the bass clef to show its direction. At your lesson, ask your teacher to check your work. Then try it with your own piece!

Directions for your piece:

1. Ask your teacher or a parent to make a photocopy of your piece. 2. Look at each note in the melody. 3. Draw a line above each note to show the direction of the melody‟s movement. When a note goes up, your line should go up; when a note goes down, your line should go down; and when the note stays the same, your line should go straight across.

Activity 29: Color it!

Student Level: Elementary

Activity Type: Visual and Aural

Activity Location: At home during practice

Materials: A photocopy of your music, a recording of your piece; crayons, colored pencils, or markers

Objective: To connect to your piece visually using imagery*

*Definition: Imagery is what you see in your mind when you hear music. These images can be specific objects, colors, or places.

Directions:

1. Ask a parent to make a photocopy of your music. 2. Listen to a recording of yourself or another pianist playing your piece while following along in the music. 3. Think of colors that come to mind as you listen. Do you think of bright or dark colors? 4. Each time you see a different color in your mind, write its name down in the music. Then go back with crayons, colored pencils, or markers, and “color in” the measures of the music according to the colors you imagined as you were listening.

Activity 30: Turn the Page

Student Level: Elementary or Intermediate

Activity Type: Visual and Kinesthetic

Activity Location: At home during practice or with your teacher

Materials: Your music, a pencil

Objective: To visualize the music at the beginning of each page

Directions:

1. Without looking at the music, start at the top of the last page of your piece and play to the end. 2. Now start with the next-to-last page, and play to the end. 3. Continue this process with each page, working backwards to the beginning. See if you can make it all the way back to the first page. 4. On the lines below, write down any page numbers you have trouble starting and how much time you spend on the activity.

Challenge Yourself!

Mix up the order of the pages. Try starting at the top of page 2 and play to the end, then page 4, page 1, and so on. The less you have to rely on seeing the music to know where you are, the better your memory will be when the time comes to perform!

Date: ______Time spent practicing: ______

Pages I had trouble starting: ______

Date: ______Time spent practicing: ______

Pages I had trouble starting: ______

Date: ______Time spent practicing: ______

Pages I had trouble starting: ______

Date: ______Time spent practicing: ______

Pages I had trouble starting: ______

Date: ______Time spent practicing: ______

Pages I had trouble starting: ______

Date: ______Time spent practicing: ______

Pages I had trouble starting: ______

Activity 31: No Peeking!

Student Level: Elementary or Intermediate

Activity Type: Visual, Aural and Kinesthetic

Activity Location: At home during practice

Materials: A pencil, blindfold (optional)

Objective: To be able to play your piece from memory without using your eyes

Directions:

1. Make your practice room as dark as possible by turning off the lights and closing any blinds or curtains. 2. Now close your eyes or cover them with a blindfold, and play your piece from memory (no peeking!). 3. After you complete the activity, think about what it felt like to use your ears and not your eyes. Did you miss any notes because you could not see the keys? Write down the measure numbers where you had trouble.

Date: ______

Problem spots (measures/sections): ______

Date: ______

Problem spots (measures/sections): ______

Date: ______

Problem spots (measures/sections): ______

Date: ______

Problem spots (measures/sections): ______

Date: ______

Problem spots (measures/sections): ______

Date: ______

Problem spots (measures/sections): ______

Date: ______

Problem spots (measures/sections): ______

Activity 32: Claim Your Landmarks, Part 1

Student Level: Elementary or Intermediate

Activity Type: Visual and Analytical

Activity Location: At home during practice or with your teacher

Materials: Your music, a pencil

Objective: To label landmarks* in your piece that will help you play from memory

*Definition: A landmark (sometimes called a “memory post” in music) is a designated point in the music that can help you find your place if you ever get lost—like a street sign that points you in the right direction. Sometimes, landmarks can be at the beginning of a new section in the music or where the mood suddenly changes.

Directions:

1. Look through your piece for any spots that look like they may be the beginning of a new section or a change in mood/character. The first landmark is easy—the beginning of the piece! Write an “A” in pencil above the first measure of the music. 2. The next-easiest place to label is the last section. Look at the last page of the music. Is there a coda, or any short section of closing musical material? Label it “Emergency Exit” with your pencil.

3. Now go back to the beginning. After the section you‟ve labeled “A,” look for any point in the music that you could label as a new section or idea. Write a “B” above the beginning of this section. 4. Continue labeling each section of the music until you reach the “Emergency Exit.”

Activity 33: Claim Your Landmarks, Part 2

Student Level: Intermediate

Activity Type: Visual, Analytical and Kinesthetic

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

Materials: Your music from Claim Your Landmarks, Part 1 (see p. 89), a pencil, several note cards

Objective: To improve your visual memory of the landmarks in your piece

Directions:

1. After you have labeled all your landmarks in the music, start playing from the beginning. 2. After a few measures, stop and immediately begin playing at the next landmark. If you are able to begin each section successfully, go on to the next one. 3. Continue the process until you get to the end of the piece. 4. Now evaluate yourself. Were there any landmarks you had trouble remembering? Write them down on the lines below. 5. After you have successfully begun playing at each landmark in the piece in the correct order, write each landmark letter on a note card and shuffle them. Then begin playing at the landmark you wrote on each card.

Note to Student: In order to reach the Expert Level, start at the end and play each landmark in reverse order.

At the Lesson: Once you have labeled all your landmarks, ask your teacher to call out a landmark letter where you should begin. Your teacher may ask you to play only that section or all the way to the end. The more the order of landmarks is mixed up, the harder the challenge!

Date: ______Time spent practicing: ______

Landmarks I had trouble starting: ______

Date: ______Time spent practicing: ______

Landmarks I had trouble starting: ______

Date: ______Time spent practicing: ______

Landmarks I had trouble starting: ______

Date: ______Time spent practicing: ______

Landmarks I had trouble starting: ______

Date: ______Time spent practicing: ______

Landmarks I had trouble starting: ______

Activity 34: Mind the Gap

Student Level: Intermediate

Activity Type: Visual, Kinesthetic and Analytical

Activity Location: At home during practice or with your teacher

Materials: Your music, a pencil

Objective: To be able to play your piece from memory by leaving out every few measures using the “gap practice”* technique

*Definition: “Gap practice” is a technique that involves playing through a piece from memory and leaving out every couple of measures. It requires you to think ahead in the music.

Directions:

1. Play the first few measures of your piece from memory. 2. Stop playing, and skip ahead 2 measures in your mind. 3. Start playing at this new spot in the music. (For example: if you play measures 1-3 and then stop, you will skip measures 4 and 5 and begin playing again at measure 6.)

4. Continue this process through the entire piece, and write down any measures on the lines below that you can‟t remember.

Challenge Yourself!

For extra practice, change the number of measures you play or the number of measures you skip (e.g., play 4 measures and skip 4).

Date: ______# of measures skipped: ______

# of measures played: ______Measures I had trouble with: ______

Date: ______# of measures skipped: ______

# of measures played: ______Measures I had trouble with: ______

Date: ______# of measures skipped: ______

# of measures played: ______Measures I had trouble with: ______

Date: ______# of measures skipped: ______

# of measures played: ______Measures I had trouble with: ______

Date: ______# of measures skipped: ______

# of measures played: ______Measures I had trouble with: ______

Activity 35: The Clock Face (see Teacher‟s Directions, p. 97)

Student Level: Intermediate

Activity Type: Visual and Analytical

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

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

Objective: To make a visual representation of the order of your landmarks

Directions:

Part 1: Diagram

1. On your musical score, count the number of landmarks you have labeled. 2. On the following page, draw tick marks evenly spaced along the edge of the circle that are the same as the number of landmarks in your piece. (You may estimate the distance between the marks—don‟t worry about making them perfect!) 3. Starting at the top of the circle, number the tick marks starting with “1” (where 12 o‟clock would appear on a clock face). Move clockwise around the circle as you label each mark. 4. Now go back and look at your musical score. Determine the chord name of the first chord found at or near each landmark.

5. Beside each number on your circle, write the name of the chord found at that landmark.

Part 2: Mental Practice

1. At home, practice saying aloud from memory any of the information you have written beside the numbers. For example, if your third landmark begins with an A minor chord, say, “Landmark 3—A minor chord.” 2. At your lesson, your teacher can quiz you by asking you to name the chord at each landmark. The more the order is scrambled up, the greater the challenge!

Teacher’s Directions

Shape it! (see p. 82): If you and your students enjoy artistic activities, you may also have them draw a picture of mountains or hills. They can make the shape of the slopes match the direction of the melody. This exercise can also be completed with the bass line, and the student can compare the interaction between the melody and bass line.

The Clock Face (see p. 95): This activity is most effective after the student has completed Claim Your Landmarks, Parts 1 and 2. More advanced students may also benefit from labeling the Roman numerals of each of the chords on their diagrams. Another option could include labeling the key of each section if the piece has several modulations.

CHAPTER 4 DISCUSSION AND OBSERVATIONS Summary and Conclusions Instructors‟ opinions regarding its importance vary at all levels of piano study, yet the sentiment of many is that memorization is the final step in learning and understanding a piece of music. For many teachers, the idea of memorizing piano music is an assumed aspect of music study, and they require it of their students in order to follow the principles of tradition. Unfortunately, memorization can be a more daunting and difficult task for pianists than for other musicians. Due to the expectation to memorize, performing can cause stress and anxiety for pianists, especially for beginners or those with little performing experience. When a teacher removes a student‟s score for the first time and states, “Now, let‟s try it from memory,” students often experience a sense of panic. To novice students, the idea of performing from memory in front of peers and strangers may initially sound terrifying. Students may continue to feel this way even after years of playing if they have negative experiences performing in front of others. Being able to provide strategies for memorization, including the consideration of musical structure, the identification of patterns, and the use of effective mental and physical practice can assist students in their learning process. Supplying students with logical and simple activities for them to incorporate into their practice time can also alleviate the difficulty and stress of memorizing. Limitations The present project is limited due to the fact that the activities have not been tested on actual students for the purposes of experimental research; however, all activities are supported by evidence-based practice. Many of the activities supplied in this document are intended for use during private lesson instruction, but some activities may require more time than teachers are able to spend at each lesson. A number of activities require extra materials, such as audio equipment, art supplies, and a photocopier. If teachers are unable to provide such supplemental materials, some activities may be difficult to complete. The at-home activities are intended for use without the help of the instructor but may require an introduction or explanation from the teacher. Teachers will benefit from reviewing every activity before assigning them to students, and students will benefit from having a teacher‟s explanation of the assignment prior to completion.

Implications and Suggestions for Future Research Further studies may be conducted in order to determine the applicability and effectiveness of all activities. Experimental research could be carried out using elementary and intermediate students in the private piano lesson setting to determine the effectiveness of each type of memorization activity. Such measures could include the accuracy of notes or rhythms performed before and after completing each activity. Other studies may include student perception of ability to play expressively also using a pre- and posttest measurement. Survey data could be taken in such a descriptive research study using a Likert scale. Additional research may be conducted on student learning styles and preferences. Jerome S. Bruner‟s Theory of Learning may be further examined to better comprehend student and teacher roles during the learning process. Piano instructors may benefit from determining their own learning styles (i.e., whether they prefer to learn analytically, aurally, kinesthetically, visually, or a combination thereof). Piano teachers may also benefit from understanding how their students approach memorization. Having students describe their techniques for memorizing their pieces may result in additional or surprising discoveries. Piano instructions may wish to examine their reasons for requiring or not requiring their students to memorize and postulate why pianists are often expected to be without their scores during performances. If other musicians use musical scores during solo performances, it is possible that pianists may do the same. It has become “understandable” for a pianist to need the music to perform an atonal work, but one who depends on the score for a baroque or classical work is generally not accepted. If teachers were to consider the reasons why memorization is required in so many settings, it might be concluded that successful and effective music-making does not always require performing from memory. When it is deemed appropriate and even beneficial for students to memorize music, however, they should be given a plan and specific tools in order to accomplish the task successfully and strategically.

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BIOGRAPHICAL SKETCH Julie Mitchell was born in Stone Mountain, GA, in 1985. She graduated in 2008 from Georgia College and State University in Milledgeville, GA, where she received her B.A. in Piano Performance. For four years, she served as an accompanist for the GC&SU Choirs. Julie was awarded a Graduate Assistantship in Group Piano at Florida State University, and she also taught both private and group instruction in the Tallahassee area. Her Master of Arts degree will be in Music with an emphasis in Piano Pedagogy. She is currently teaching private piano lessons and Yamaha music classes in the metro-Atlanta area.

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