Guide to Memorizing Music

Guide to Memorizing Music
By AJ Goodrich

Contents

Preface
I--Diatonic Melodic Sequences [Motive--Design]
II--Melodic Sequence Continued
III--Harmonic Cadences [Major]
IV--Harmonic Cadences [Minor]
V--Various Forms of Complete and Perfect Cadences
VI--Themes and designs Founded upon cadence Harmonies [＂The Goblin＂ Reproduced]
VII--Unrelated Tones [Suspension, Appoggiatura, Passing Notes]
VIII--Unrelated Tones Continued [Gruppetti, Anschlag]
IX--Passing Note Figures
X--Chromatic Sequence [Interchangeable Parts]
XI--Harmonic and Melodic Sequences Modulating
XII--Chord Sequences [Free and Strict]
XIII--Chord Inversion [Dispersed Harmony; Motive Inversion]
XIV--Free Sequence Structure in Two Parts [Attempt to Reproduce a Cramer Etude]
XV--Canonic Imitations
XVI--Canonic Imitations Concluded
XVII--Period Construction [Form]
XVIII--Miscellaneous Examples from Beethoven
XIX--Bravura Music [Modern Figurations]

Excerpt

Lesson I: Diatonic Melodic Sequences. Motive--Design
The major portion of this system is based upon melodic and harmonic sequences in some of their forms. Repetition, and sequence (which is a species of altered repetition), enter so prominently into the structure of music that whoever understands the principles and applications of these elements possesses the key which will unlock almost every investiture of notes.

In order to master a composition quickly it is essential that the performer shall be able to reproduce a considerable portion of the music by means of sequence, repetition or other methods for continuing and enlarging a motive.

We will presuppose that a given page of music consists of a motive or group continued in sequence through various tonalities--such frequently being the case. Soon as the design is apprehended an expert performer ought to be able to play the page correctly without further reference to the notes. After repeating it slowly two or three times the actual notes would be learned, without having resorted to the usual tedious process of ＂memorizing＂ them. To increase the movement gradually and to include the proper style of performance would be matters of technic and taste. With these subjects the present system has little to do.

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