Many thanks, andreaas 777, for you thorough explanation, I'll certainly try to see if I can use your method. Some things I do which resemble what you do. I also try to have more than one piece "in the works" at any time; I try to listen first to the piece; I do not learn a measure at a time, but instead, a whole section at a time; I also do not memorize the notes (I'm not good at sight reading at all) and I also memorize, not the notes, but the position of the fingers in LH and RH and, most important, the corresponding sound. When I know which sound must come out at a given time, my fingers just do the rest automatically. When that happens, when I have the piece "in my fingers" then, for all intents and purposes, it is memorized. Once mmorized, I rarely go back to the score again, unless someone calls my attention to a mistake I'm making (it happens a lot) or when I want to make sure I'm respecting the tempo, rest notes, etc...
Thanks again, your explanations, they were quite helpful. I still have to read your two other posts on this subject (your links above), which I'll do today or tomorrow.
Last edited by Jorge Oliveira on Sun Feb 26, 2017 10:34 pm, edited 1 time in total.
1972 - Kuniharu Nobe #8, 658/51, Spr, RW B&S, Tokio, JPN
1979 - Ryoji Matsuoka No.40, 650/51, Ced, RW B&S, JPN
1987 - Aria A558, 650/51, Ced, lam RW B&S, Nagoya, JPN
2014 - Hermanos Camps Master Nº 3, 650/52, CAN Ced, MDG RW B&S, ESP