Larry McDonald wrote: ↑
Thu Aug 24, 2017 2:59 pm
I sometimes use what I call "extreme" playing with my students. I have them take the tempos to absurd speeds to see where/if there are mechanical breakdowns that need my attention. Then I ask them to set their metronome to "glacier" and check that there is another memory system (such as an audiated memory) other than motor memory, which often fails at very slow tempos. Overlapping memory strategies are critical for performance, in my opinion.
All the best,
Hi! I'm really interested in what you have to say about memory here. When I struggle with technical consistency or I don't like the overall tone of a piece I'm playing, I'll greatly slow it down so that I can focus on each individual note or set of notes more closely. When I do this, I'll sometimes find myself suffering from random memory lapses, where partway through I find my fingers floundering over the strings, unable to figure out which to pluck or fret (or both!) next--even though I remember it fine at normal speed.
At the risk of being too tangential, I was wondering if you could explain your comments about memory a bit more. Specifically: What do you mean by "audiated memory" exactly? (I've never heard the term before.) Also, could you elaborate on the "overlapping memory strategies" you referred to? What types of strategies, and how might one effectively learn or utilize them? Any additional info would be greatly appreciated. Thanks!