She began her talk with techniques she uses in her own practicing and with her students to help memorize music reliably. All performers have a fear of forgetting but it can often become a self-fulfilling prophecy. To reduce the probability of memory slips, a performer should be prepared with an avenue of escape and be able to present an illusion of continuum if a memory slip does occur. She gives pep talks to students and recommended The Inner Game of Music by Barry Green.   

Why memorize music, other than continuing the tradition started by Clara Schumann and Franz Liszt? Dr. True pointed out several reasons:  

* It helps us develop a greater connection with the music   

 * There can be more flexibility in playing   

* A performer can shift the focus from themselves to the music   

There are four facets of memorizing which should include not just the notes and rhythm but everything on the page: dynamics, phrasing etc.  

1. Tactile memory
This is based on accuracy, slow practice and consistent fingering. Knowing and practicing scales and arpeggios in various ways including 3rds, 6ths and 10ths put those patterns in the fingers. Although this way of memorizing is the one most students rely on, it is not reliable by itself.  

2. Visual memory

Then play at a slow tempo without stopping or breaking the pulse ten times with the music. Students often practice stopping which makes them more likely to stop in a performance because that is what they practiced! The next day, review the previous day's section. Then do the same process as above with the next to the last phrase. Then put it together with the last phrase. She noted that this process can be done forward but feels it is more effective if done from the end of a piece since the beginning is often practiced more by students.

To reinforce memory, review the previous day's work and also practice slowly (which forces one to focus on details) and in different rhythms and tempos, thinking of the music away from the piano (especially right before going to bed since you establish what you learn during REM sleep), playing 2 measures then thinking two measures, playing on the fall board are some helpful ways to review. Try to predict where a memory slip may occur. Pay special attention to the differences in the exposition and recapitulation. Playing for others is important; Dr. True has students overlap so they can play for each other.    

In starting a new piece, Dr. True has the student look at many aspects that tell you a lot about the style and character of the music:

• the loudest and softest parts and the dynamic outline
• how dense the music is, how many voices
• tessitura of the piece, where it played on the piano, what is the range
• harmonies especially augmented 6ths or Neapolitan 6ths
• harmonic rhythm which helps determine the tempo

• melody e.g. stepwise or active in changing direction (the flexion

  count is how many times the melody changes direction)

• rhythm...is there a lot of variety or is it similar

• melodic and/or rhythmic motifs, how many times do they occur *

  Dr. True recommended Guidelines for Style Analysis by Jan La Rue

  http://www.amazon.com/Guidelines-Style-Analysis-Jan- Rue/dp/0393099466

  Although Dr. True does not teach beginners (she tried it for one summer in college but found it did not suit her), she has a great respect for teachers who do and feels some of her suggestions may work with beginners.  Editor's note: I use many of these ideas with beginners, even young children and they work well (even memorizing backward!)