By Heart: the Art of Memorizing Music takes its readers from personal anecdote to practical skills for becoming a successful memorizing musician. If you are new to memorization, this book will give you the skills and techniques to get started with the process. You will carry those skills and techniques for the rest of your life. Even if you already have a solid memorizatio By Heart: the Art of Memorizing Music takes its readers from personal anecdote to practical skills for becoming a successful memorizing musician. If you are new to memorization, this book will give you the skills and techniques to get started with the process. You will carry those skills and techniques for the rest of your life. Even if you already have a solid memorization practice, this book will inspire some new or different approaches while also reinforcing your own convictions. Many of the techniques presented are good for any type of practice, even for the non-memorizing musician. Therefore, this book is also a useful foundational study of how to practice.
By Heart: The Art of Memorizing Music
By Heart: the Art of Memorizing Music takes its readers from personal anecdote to practical skills for becoming a successful memorizing musician. If you are new to memorization, this book will give you the skills and techniques to get started with the process. You will carry those skills and techniques for the rest of your life. Even if you already have a solid memorizatio By Heart: the Art of Memorizing Music takes its readers from personal anecdote to practical skills for becoming a successful memorizing musician. If you are new to memorization, this book will give you the skills and techniques to get started with the process. You will carry those skills and techniques for the rest of your life. Even if you already have a solid memorization practice, this book will inspire some new or different approaches while also reinforcing your own convictions. Many of the techniques presented are good for any type of practice, even for the non-memorizing musician. Therefore, this book is also a useful foundational study of how to practice.
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Mike –
I've wanted to memorise music for many years, and have done a few times in the past, but never managed to retain what I'd learned. On the other hand I've successfully memorised a wide range of poems and pieces of Scripture, and recently worked out a system for keeping these regularly up to date so I don't forget them. To a great extent, Cienniwa presents a similar approach to memorising music. The things he emphasizes on top of that, however, is that we need to keep a log of the work we're doing I've wanted to memorise music for many years, and have done a few times in the past, but never managed to retain what I'd learned. On the other hand I've successfully memorised a wide range of poems and pieces of Scripture, and recently worked out a system for keeping these regularly up to date so I don't forget them. To a great extent, Cienniwa presents a similar approach to memorising music. The things he emphasizes on top of that, however, is that we need to keep a log of the work we're doing while memorising a piece, and that memorising away from the instrument (the piano, in my case) is essential. It's only by doing this that you realise how much you're relying on tactile memory (that is, letting your fingers 'remember' stuff) rather than on real memorising. Cienniwa is the most encouraging author I've ever read on the art of memorising music. He's humble about his own shortcomings in memorisation, and shares frequently about things that can wrong in performance if you haven't done the basic work. I found this book well worth reading and will keep on coming back to it as I make progress with memorising. Highly recommended. PS, the only thing that surprises me about this book is its cover. When I first saw it I thought the book must be several decades old. In fact, it's relatively new. Dare I suggest it could do with a more contemporary cover?
Dawn Lennon –
If you are a musician looking for practical guidance on memorizing music, this is a quick-read primer that helps pave the way. Although the author's personal focus is on how to memorize classical music for piano and harpsichord, the memorizing techniques covered here apply to any instrument. Most striking are the author's explanation of why memorizing music helps us deliver better music, particularly better performances. He covers how playing from a score buffers the music. Although his end game If you are a musician looking for practical guidance on memorizing music, this is a quick-read primer that helps pave the way. Although the author's personal focus is on how to memorize classical music for piano and harpsichord, the memorizing techniques covered here apply to any instrument. Most striking are the author's explanation of why memorizing music helps us deliver better music, particularly better performances. He covers how playing from a score buffers the music. Although his end game is the recital, he covers, in length, the process of preparing for it, particularly techniques for learning new pieces, the importance of practice performances, and mental practice way from the instrument. Personally, I was intrigued by his chapters on fear (performance anxiety), the value of meditation, pre-performance rituals, and putting together a recital (essentially the elements of one's gig). This is a book that emphasizes the importance of organization and discipline, everything from the practice log to the metronome. Since my interest is non-classical acoustic guitar playing for personal enjoyment, some of the content was beyond my needs.
Vicki Elmer –
This book is wonderful--I have memorized some difficult Bach and Beethoven pieces, but I think I relied on what the author terms "tactile memory". In the last week I've followed his directions about memorizing away from the piano and have made enormous progress. I like the idea of going back to previous pieces both memorized and not, and keeping a log so that you can spend 10 minutes refreshing before going on to major practice items, but not forget that you're doing that. Absolutely recommend t This book is wonderful--I have memorized some difficult Bach and Beethoven pieces, but I think I relied on what the author terms "tactile memory". In the last week I've followed his directions about memorizing away from the piano and have made enormous progress. I like the idea of going back to previous pieces both memorized and not, and keeping a log so that you can spend 10 minutes refreshing before going on to major practice items, but not forget that you're doing that. Absolutely recommend this. I'm 74, and started with the piano at age 60 knowing how to read music and owning a piano. I have a GREAT teacher.
Joseph –
Audiences often enjoy a fine performance without really fathoming the amount of behind-the-scenes sufferings and discipline that went into it. This book, then, is a neat introduction to some of the different types of discipline that go into successful memorizing. I admit I myself use routines of this sort in my own work as a pianist.
Kirby Wanden –
Concise and to the point Best thing about this book is the mental work away from the piano or any other instrument. Has greatly improved my practice and performance. Cudos
Chris Heins –
In general, I liked the book. I got it for Christmas and I was having my students memorize music. Any way to get them to do it well is great information. There were several things that I agreed with, some that were iffy (for me), and some not at all. It is from personal experience of Dr. Cienniwa and his return journey to memorizing. This book describes what worked for him. Not all students are at this level of playing or have that much time but as I said, it was great for ideas. Some I will be In general, I liked the book. I got it for Christmas and I was having my students memorize music. Any way to get them to do it well is great information. There were several things that I agreed with, some that were iffy (for me), and some not at all. It is from personal experience of Dr. Cienniwa and his return journey to memorizing. This book describes what worked for him. Not all students are at this level of playing or have that much time but as I said, it was great for ideas. Some I will be using.
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