I thought I'd ask what everyone thinks about playing from memory in the diploma exams. I see in the syllabus you are "encouraged" to do so, though not required to. I remember doing a lunchtime recital from memory. It was a big risk, but it worked, though it was more difficult. What have people on here done in their exams. Are memory lapses likely in the exam situation?

I did all my diplomas on oboe from memory. I didn't have any memory lapses, but I don't think the examiners appreciated my effort either. No mention was made of me performing from memory on my mark sheet, which meant the other examiner, who only listened to my tape, as well as the panel, wouldn't know of the fact. I would say that if it's risky for you to perform from memory, it's not worth trying it in an exam situation.

But why would it be commented on that you played from memeory if this is what is encouraged at this level?
I would think it more likely a comment would be made if you didn't...?

Playing From Memory is helpful~

it says in the syllabus that there is no rule which says either way. However, it did say that you are encouraged to keep to the traditional customs of your instrument to make the exam a more realistic experience. After all, the performing element is trying to recreate the recital situation. So for solo piano, it would probably be better to play from memory.

QUOTE (sbhoa @ May 27 2005, 07:29 PM)

But why would it be commented on that you played from memeory if this is what is encouraged at this level? I would think it more likely a comment would be made if you didn't...?

I played with the music (piano) - didn't get any specific comments. But from now on I am going to make an effort to perform from memory - you feel so much freer. Has there been a thread on the techniques people use to memorise? would be fascinated to find out whether anyone uses a definate strategy.

QUOTE (Fen @ May 28 2005, 04:36 PM)

I played with the music (piano) - didn't get any specific comments. But from now on I am going to make an effort to perform from memory - you feel so much freer. Has there been a thread on the techniques people use to memorise? would be fascinated to find out whether anyone uses a definate strategy.

I pretty much always play from memory. Quite often it will come naturally as I learn the music, other times I will have to learn it properly. At the moment I am trying to 'speed memorise' a Mozart piano concerto ready for performance at the beginning of October. It took me 2 days to learn the slow movement, which is the shortest. Learning to play each hand separately from memory makes playing from memory more secure. Fingering must also be learnt thoroughly - I really find it helps to 'feel' mentally the position my hand is in while at the same time being able to think ahead to where it has to move to next.
I find it helps to analyse the harmony, so I have written in chord symbols where there is a clear harmonic progression. I also write in arrows to show where there are ascending and descending scale patterns. Also, if there are places where material occurs with a slight variation, I will make an extra effort to learn this difference so that I know what happens where. It also helps to be able to visualise the structure of the piece of the whole, eg the different sections, keys, textures.

QUOTE (sl123451 @ May 27 2005, 07:57 PM)

... the performing element is trying to recreate the recital situation

Does anyone else feel as I do, that in the Dip exams the recital situation is NOT being created at all, and that something should be done about this?

In a real recital, the audience claps between pieces, so there is feedback, a warm atmosphere and a release of tension - a chance for the performer to 'draw breath' mentally before proceeding to the next piece. In the Dip exams there is ....silence, which is just - peculiar!! I've accompanied several of my recorder players in their Dip exams, and have always found the atmosphere really strange and sterile because of the lack of any feedback.

I would say that for a recital-type exam there should be at least a small audience to applaud between pieces.....

As for playing from memory, I would say that if you are comfortable with that, that would be best, but not if you were in the slightest bit anxious about it. I'm absolutely rubbish at memorising, so if I ever do my Dip in clarinet it will definitely be with the music. I tend to have my music stand quite low anyway, so I don't think it poses much of a barrier to communication with the audience.

You have raised a very important point Jo. I always felt it was like a recital exept for the audience, but this is quite a big ommission. The honours recitals at university are open to the public, and recreates a recital situation properly. Most wind players do not play from memory in those recitals, though they could if they preferred. I am working on memorizing. I have been looking through the Weber Grand Duo, and the Ireland Fantasy Sonata. Not sure what else.

without the audience, theres no "bravo" even if you play amazingly well

luckily ive got a near-photographic memory, and i find that it does make the playing so much freer. In solo piano, in a recital, it can sometimes be off-putting to think that the performer doesnt know ever nuance of the piece that he cant memorise it.