JimK 8882 Practice Diary 2025
Here are my goals for 2025, and how I will measure success.
1. Continue to develop the fundamental skills of tempo, accuracy, rhythm, sight reading, and the co-ordination of both hands.
Success will be measured by:
a) Practicing at least 75% of the days in 2025.
b) Completing at least 4 levels of CGS.
c) Learning at least 8 new pieces of repertoire from various sources (such as CGS, Werner, TB, RCM).
d) Re-learning and/or improving at least 4 pieces of repertoire from non-course material previously learned.
2. Improve my musicality (those qualities greater than what is written on a sheet of music) with a focus on expressive techniques (such as dynamics, articulation, phrasing, separating voices), audiation, rhythm, singing, and playing-by-ear.
Success measured by:
a) Completing at least 6 excerpts of the CGS Excerpts Studies for Phrasing and Expression.
b) Completing the MU Living Music Spring Season Foundations modules.
c) Completing the MU Foundations Part II course.
d) Completing the MU Living Music Autumn Season Play-by-Ear modules.
3. Learn and implement memorization.
Success measured by:
a) Study and implement a system for memorizing music.
b) Committing at least 4 pieces to memory.
4. Study the history of classical music focusing on the major composers and their significant works.
Success measured by:
a) Spending at least 10 hours per month on the study of the history of classical music.
5. Continue to improve on the ease of video recording self playing without regard to the purpose of the recording.
Success measured by:
a) Completing the Bulletproof Musician course Beyond Practicing.
b) Video record each repertoire piece (both course and non-course pieces) currently being worked on at least once per month without regard to whether the piece is complete or not.
c) Post at least 6 videos to Progress Journals.
Secondary Goals
1. Continue to improve practice routines through courses, webinars and readings.
2. Learn music theory as applicable for classical guitar.
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That is an impressively well organized study plan, Jim! (My own, I'm afraid, can be summed up as 'keep plugging away ...') Your third item, concerning memorization, intrigues me, as this is something I have never really worked on. I generally manage to remember the pieces I am learning without really doing anything special. (I'm talking about the actual music; often I do have to make an effort to memorize fingering, especially for the right hand.) But I've noticed the memory I acquire is not very durable - if I stop playing a particular piece for even a short while, its memory quickly fades. Somehow, little of what I learn gets transferred to long-term memory. This always frustrates me, and I do wonder if there is something I should be doing differently. You mention implementing a system of some kind - is there a specific program you intend to pursue in this respect? I would be interested to hear how you plan to approach the matter. Thanks, and good luck with further 'studies'!
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David Krupka Thank you for your comments David. I hear your comments about memorizing pieces. I'm very similar in that memorization seems to happen as a by-product while I am learning a piece. But it is not full memorization as I still require the score in front of me to provide visual cues for what to play. And also similar to you I find that once I am done with the piece, I'll put it away for awhile and then when I pull it back out, it is like I am re-learning the piece. While my re-learning is faster than the original learning, it still takes a long time to re-learn.
As for an approach, I currently have some sources that I will be referring to find a process that works for me. All of the material I will be accessing seems pretty consistent with each other.
Within the program I am following to learn how to play, Classical Guitar Shed, they have a course on memorization. I have also previously taken a webinar with Gregg Goodhart on memorization. He teaches how to practice based on what neuroscience research on how we best learn. In the webinar he lays out an approach in detail on the process he recommends. The approach used by both of these are consistent with other.
I also have a couple of books that deal with memorization. The first is a book by Molly Grebrain call "Learn Faster, Perform Better". It was just published last year. She is a neuroscientist and musician. Gregg Goodhart often refers to her work to support his teachings. Her book discusses memorization in a couple of the chapters. The other book I have is called "Memory Book" by Harry Lorayne and Jerry Lucas. Again, Gregg Goodhart refers to this book often when speaking about memorization.
My intention is to read all of this material and then try this methodology on some simple pieces to see how well it works. Assuming that is successful, I will increase the complexity of the pieces that I memorize. I'm also planning to be selective on which pieces I spend time on memorizing as there are some pieces that I learn for my lessons that I doubt that I will play again after completing the lesson.
Hope that helps.
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Jim King Thanks for all this, Jim! You've found a lot of interesting resources that I for one had never heard of. I'll definitely be looking into some of these. I agree with your point at the end, about being selective in what we memorize. I Imagine there's some limit to the capacity of even those with a prodigious memory. My own 'aim' (maybe I should say 'idea', as I don't actually have a plan for implementing it) is to have something like forty-five minutes worth of music firmly in my head. A dozen or so pieces of music, to put it differently. It doesn't sound that difficult - maybe I should get to work on it!
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David Krupka I'll be interested in hearing how well you progress. Please keep me informed.
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Jim King I came across a video yesterday that presents one approach to memorizing music for the guitar. The general principle (basically stringing together increasing numbers of small 'chunks') seems reasonable to me, although I feel the basics units he works with in his demonstration are too short. (Personally, I would try to work with whole phrases, or at least whole musical gestures.) One thing he points out that can be useful, I think, is using technical problems in the music as 'flag posts' (my term, not his) along the way. (Although (again my view, not his) one has to be careful not to be distracted by these - the 'Oh no, here comes the part I always mess up' effect!) Anyhow, well worth watching if you haven't seen it.
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David Krupka Thank you for the video reference. Had a chance to watch the video and a lot of what he says is consistent with the sources that I referred to in my earlier post. I like what he is doing because he is basing a lot of it on the evidence on how we learn from the scientific research. The book he mentioned "Make It Stick", which I had forgotten about which is ironic given that we are talking about memorization, is also a good reference per Gregg Goodhart.
In your post David you mention that you thought that the segment he was using was too short. Based on the reading I have done so far, the segment used for memorization can be as short as a phrase, measure or even a beat. It seems to depend on the complexity of the musical compared to one's playing abilities and one's familiarity with the piece of music. If I was trying to learn the piece he used in the video, breaking it down to a single beat may be very appropriate for me, but for someone like yourself who has played many years, a longer segment, such a phrase may be more appropriate. Bottom line is it comes down to whatever works for each of us.
I also liked his idea of marking the challenges, or as you call them 'flag posts', along the way. I'm going to try to incorporate that into my learning.
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Jim King You're quite right Jim, the appropriate size of any particular 'chunk' will depend on both the individual learner and the complexity of the piece being learned. (Perhaps it would useful to think in terms of the 'density of information' within the chunk; this might be high (as in the case of a Bach fugue) or low (as in the case of a typical 19th c. arpeggio study).) Thomas Viloteau makes an interesting point in his video on memorization here on ToneBase: if you understand what you are playing, you will have no difficulty memorizing it. An analogy from ordinary language illustrates this point, I think: if we are asked to remember a sentence like 'apprendre bien jouer au guitare, ce n'est pas du tout facile'** we will find the task next to impossible if we speak no French, but very easy if we do. It is simply a question of whether or not we understand what we are being asked to recall. Likewise, if a particular harmonic progression makes sense to us (presumably because we have some explicit understanding of musical syntax) it will be easy to recall; if, on the other hand, if the progression appears to be a random sequence of chords, it will be akin to learning a meaningless series of numbers. This suggests that at least a rudimentary grasp of music theory is not only useful, but perhaps essential to successful learning. (I have been very skeptical of this notion in the past, but I may need to revise my view!)
** (with apologies to our francophone members if my French in not quite idiomatic!)
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Very interesting discussion. Here is a summary of the best techniques:
Here are some effective techniques to memorize music:
1. Break it Down:
- Chunking: Divide the piece into smaller, manageable sections. Focus on memorizing each chunk perfectly before moving on to the next.
- Phrase by Phrase: Learn the music in musical phrases, which are natural groupings of notes.
- Key Passages: Identify and prioritize the most challenging or important passages. Spend extra time on these.
2. Active Recall:
- Play without the Music: Regularly practice playing from memory, even if it's just small sections at first.
- Teach it to Someone Else: Explaining the music to another person forces you to think about it deeply and identify key elements.
- Record Yourself: Listen back to your recordings and identify areas for improvement.
3. Multi-Sensory Approach:
- Visualize: Close your eyes and mentally "see" the music on the page. Imagine the notes, rhythms, and fingering.
- Auralize: Sing or hum the melody and harmonies. Internalize the sounds of the piece.
- Kinesthetic Learning: Physically practice the piece repeatedly. Muscle memory plays a crucial role.
4. Utilize Mnemonics:
- Create Stories: Associate musical ideas with vivid images or stories.
- Use Acronyms: For example, create acronyms for note patterns or rhythms.
- Link to Existing Knowledge: Connect the music to other pieces you already know.
5. Consistent Practice:
- Regularity is Key: Schedule dedicated practice sessions for memorization.
- Spaced Repetition: Review the piece at increasing intervals to reinforce learning.
- Avoid Cramming: Consistent, gradual learning is more effective than last-minute cramming.
6. Consider Technology:
- Music Notation Software: Use software like MuseScore or Sibelius to create interactive scores and practice tools.
- Metronome Apps: Use a metronome to improve timing and rhythm.
- Recording Apps: Record yourself playing and analyze your performance.
Important Note: The best techniques will vary depending on your individual learning style and the specific piece of music. Experiment with different approaches to find what works best for you.
Personally, I like
1A,2A, 3A, 3B, 5A,5B
All these tips are very effective. You just have to choose those that you are comfortable with.
I hope these tips help you in your journey
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Andre Bernier Thanks, Andre - a lot of good ideas here! I mostly share your view on which ones work best. I would add 1B (phrase by phrase learning) and especially 2C (self-recording) to my own list. The great advantage of recording is that it generally puts one under enough pressure to get a sense of how secure one's memory is in a 'real-world' setting. (If there's one thing I hate, it's sitting down in front of a few friends, only to find I have seemingly no memory of something I may have played through without difficulty, on my own, only a few hours earlier!)
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Andre Bernier Thanks for sharing your list Andre. My early thoughts on memorization seem to be in line with your preferred methods. But it is great to see a single comprehensive list of ideas in one place.
Just as David Krupka mentioned, I've become a big believer in recording myself, whether it be audio or video. In addition to the reason that David mentioned, testing oneself under pressure, I tend to find more issues when I listen to the playback. When I am playing, I may have a lot of other things on my mind such as my tempo, what are each of my hands doing, what to get ready for, and so on. Trying to analyze my playing while thinking of all of these things may be too much. If I listen to a recording, then listening and analyzing are the only things on my mind. Thus I will pick up more of the issues.
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Jim King I agree completely - recording ourself is useful in all kinds of different ways! As a personal example, it was only after making a video of myself (this was many years ago now) that I realized that I had developed the habit of playing with my eyes closed. This came as a great surprise, because I had the impression of constantly focussing my gaze on my left hand! In reality, although I was no doubt concentrating on what my left hand was doing, I wasn't actually looking at it. The visual effect of it all, I had to acknowledge, was not of someone in full concentration, but of someone stoned out of his mind! Not, needless to say, the image I was hoping to project ...
Another very useful function of recording, I find, concerns tempo. I tend, when I'm first learning a piece, to play it too slowly. It's generally only after listening to myself through recording that I realize that I need to pick up the tempo. Moreover, I often find the most suitable tempo takes me a little outside my 'comfort zone' - in other words, I need to push myself a little further than I would like to. But getting the right tempo is, I think, essential to a successful performance. (Having said that, I don't believe there is a single tempo for any given piece that everyone needs to achieve; in most cases, a variety of tempos can be made to work, depending on the nature of one's interpretation.)
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David Krupka You raise some good points here which further shows the value of recording oneself. Thank you.
End of the Year Challenge: Finish Strong!
