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Author Topic: Memorizing the most Complex and Unpredictable Works  (Read 799 times)
Ron Dough
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« Reply #15 on: 23:00:08, 07-07-2007 »

It's certainly true, for me, of singers and melody instrumentalists.

And singers in opera generally have no option, of course, no matter how difficult the part may be to learn, and despite the fact that they may be having to cope with awkward set/costumes/choreography/inaudible orchestra etc. I did a recital at quite short notice once where there just wasn't time to learn the material, so I worked from dots and hated it. I like to be able to look the animal that's an audience straight in the eye and communicate on every level...
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oliver sudden
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« Reply #16 on: 23:04:59, 07-07-2007 »

Every level? Wink
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Ron Dough
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« Reply #17 on: 23:07:47, 07-07-2007 »

Every level? Wink

You name it, I've done it, son.....
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oliver sudden
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« Reply #18 on: 00:08:54, 08-07-2007 »

Good lord!

« Last Edit: 00:11:06, 08-07-2007 by oliver sudden » Logged
Tony Watson
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« Reply #19 on: 18:02:07, 08-07-2007 »

When I sang in choirs I always hated it when some control freak of a conductor insisted we sang from memory. Perhaps it was just laziness, or that my brain might make room for it by dislodging something I want to remember.

As for the piano, it's summer holiday time again and, like every year, I am determined to practise hard, only this time I really do mean it.  Tongue And read those books. And get those jobs done around the house...
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Jonathan
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« Reply #20 on: 19:36:57, 08-07-2007 »

I expect that someone else has made this point elseware on this thread but here goes:
I think that the extent to which you use your memory for memorising music also helps - I used to be able to remember pages of music but as I've got older and practised less, this facility seems to have diminished (I can still play Liszt''s "Orage" from memory though!)
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Best regards,
Jonathan
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"as the housefly of destiny collides with the windscreen of fate..."
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