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Thread: Memorizing Chords and Progressions

  1. #51
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    Default Re: Memorizing Chords and Progressions

    Quote Originally Posted by Mandolincelli View Post
    This is the best music memorization lesson I've seen out there:
    It's a very good lecture, and very well delivered, orally and on the piano. Seems he's elaborating on the point I was trying to make, when speaking of building blocks, sequences, etc.: how the piece is put together. Also note the questions: which key am I in, what chord am I on? Answering these questins is an important part of the learning, understanding, and memorization process, not something you figure out afterwards.

    When I hear those first few bars of the Mozart piece, K. 331, I cannot help but try to figure out the chords, and I note, as he also points out, that the E7 is in first inversion so as to bridge the roots of the A and f#m chord. And the beginning motif is the seed of straightforward sequencing - this very concept aids memorization of these bars.

    An exercise I like to do is look up a fiddle tune on mandozine, and listen to the MIDI and see how much of it I can figure out in just one listening without looking at the notation. I will concentrate on structure, what the tune is "about", and almost invariably what I get first is the changes.

  2. #52

    Default Re: Memorizing Chords and Progressions

    Quote Originally Posted by DougC View Post
    This is not a literal notion. It means that one 'sings it in your mind'. The same holds true for double stops, tremlo etc. In your head you say this sound goes HERE. It becomes a matter of connecting thoughts to the physical world. It is also a simplified version. One could do 'raspberries' with your lips for a tremlo, and it would be funny. But simplicity is the object in 'vocalizing' a tune.
    What you are talking about here is a concept that comes up at a lot of art schools. Whether you are painting, acting, animating, photographing, or improvising—you know the result you want to achieve be for you start executing it.

    The opposite of this method would be a process-based approach, where the results reveal themselves as you go through the process of creating the piece.

    Both are valid approaches, but most art schools believe an artist should be able to execute a “vision” for a given project.

    Of course, with musical improvisation, the execution of your vision is happening in real time. But the goal is to have your solos be intentional, rather than just moving your fingers around on the right notes.

    Maybe it is a little bit of both approaches.
    Last edited by JonZ; Nov-17-2018 at 12:23pm.
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