Super interesting. And also how differently each and everyone of us memorises, or associates. For me, it’s very visual, almost photographic, once I’ve seen the score. But if I’d only heard a piece, it would all be imagery and emotions which are evoked when listening, imprinted and then memorised. And yes, patterns and intervals on the fingerboard…. Thanks for another ‘memorable’ lesson, Kerson ☺️🙏
Another absolutely precious lesson from you, Kerson! I can totally relate, even though for years I dare not rely too much on my emotions as an important/primary guidance in practice with the fear of being “undisciplined”, two of which really shouldn’t be incomprehensible. It makes perfect sense to let our emotions be “the centre of gravity” in playing/practicing because it is why we play it and what keeps us playing. Thank you for giving us such thoughtful advice 🙏
Kerson, as a 64 year old retired professional violist, singer, Cathedral choirmaster and organist, to memorize a piece, passage or score, I usually start at the end of the composition and work backwards; especially taking notice of sequences and patterns if any. I start with the last phrase or line; always using the metronome at a very slow tempo - slow enough that I can play the passage easily and well. Most often this is a VERY slow speed like 40 or 50 to the quarter for example. I listen repeatedly to several great performances as well. If there is an accompaniment, I study and play it also, and if need be, doing a form and analysis. I do all this couched within the philosophy of repetition and review.
I do exactly the way Kerson described. To be emotionally attached to the piece of music is the greatest feeling in the world. It not only helps to memorize it gently but it helps to express it more beautifully.
Viola Bear, what you’ve described method is traditionally taught by many and it certainly has brought a lot of success in many players. But I believe Kerson has introduced another dimension that’s rarely taught but make a lot of sense psychologically and especially with solo works, which the player has to find the meaning and voice in the piece to begin with, to own the piece, as it were, rather than simply memorize it to the point of “having learned it by memory “. Not sure if I am making sense
@@Xixi2010Z Yes, you make perfect sense. However, I don't mean to lessen Kerson's approach; I applaud it. However, after decades of studying with and other teachers, I have found that many teachers do not teach exactly how to practice and how to memorize either. They SAY use the metronome but they do not SHOW FULLY HOW TO use it. I BELIEVE THAT THIS IS A LOST ART AND SCIENCE BECAUSE MANY THINK IT IS BORING! This is also true in memorizing. It is more of how one does something rather than just going through the motions. I have had many great and famous musicians as teachers and coaches. However, almost none of them were really great teachers. I believe that Kerson is blessed with the happy gift of being both a truly great performer AND great teacher; a very rare combination. This is one reason I consider him so highly in my regard. Many teacher of children make repetition and review boring and dull. However, done in a correct manner and with the approach Kerson describes, it cam be fun and a science wrapped in an enjoyable, insightful and fulfilling practice / rehearsal session.
@@SarumChoirmaster totally agree. Memorization is well studied in modern science and I wouldn’t but be surprised if Kerson has certain understanding of, or at least, is sensitive towards that area. The old fashioned mechanical repetition in my view is not only boring, ineffective especially when we are sleep deprived, but also tends to solidify bad habits. I believe when we put our feeling/emotional response towards the piece at the centre of our practice, we are immediately making music and letting the semantics guide our diction and grammar, as it were. I believe it’s the smartest and most interesting way to go about it.
Thank you for another immensely helpful video, Kerson! You’re my favourite modern violinist by far and I greatly appreciate your wisdom! I’m starting to teach violin next year so I guess I’m gonna spend the whole summer on your channel to prepare for the classes with my students :) Did you ever consider making a video about holding the violin without a shoulder rest? Your freedom while playing is fantastic and I’m sure many of us could benefit from your advice on this topic. Best of wishes! ♥️
This was a great video, it just makes logical sense. Its almost impossible for me to remember very mundane things that had no actual emotional impact to me, I especially am realizing this when learning the Terms in Music Theory, but I seem to remember those little random moments where my friends tell me little random things about them like they’re favorite things to do or a moment of trauma that may trigger them so I remember so I don’t hurt them unintentionally or can tell when something is bothering them. I internally connect with it and them and my love for them makes me remember that specific aspect of them. So if you just build an emotional connection like that with music consciously, you have a frame of reference everytime your mind digs it back up because of its emotional energy and its impact on you.
YEEESSS right? Like same with other Kreisler pieces, I can memorize the piece in like 2 days if I want but the cadenza takes like 2 weeks just to be able to play😂 when I don’t really wanna learn it I just play through and kinda skip the cadenza lol
@@OttoKuusAt the beginning, this cadence (Prelude and Allegro Kreisler) was perceived as a set of sounds that were in no way connected with each other. I had to memorize the sensations in my hands, and divide them into phrases and turn on logic.
Super interesting. And also how differently each and everyone of us memorises, or associates.
For me, it’s very visual, almost photographic, once I’ve seen the score.
But if I’d only heard a piece, it would all be imagery and emotions which are evoked when listening, imprinted and then memorised.
And yes, patterns and intervals on the fingerboard….
Thanks for another ‘memorable’ lesson, Kerson ☺️🙏
I read "Memorize a new piece in less than 40 minutes", now that would be really really effective 😂😂
same lmao
Another absolutely precious lesson from you, Kerson! I can totally relate, even though for years I dare not rely too much on my emotions as an important/primary guidance in practice with the fear of being “undisciplined”, two of which really shouldn’t be incomprehensible. It makes perfect sense to let our emotions be “the centre of gravity” in playing/practicing because it is why we play it and what keeps us playing. Thank you for giving us such thoughtful advice 🙏
Kerson, as a 64 year old retired professional violist, singer, Cathedral choirmaster and organist, to memorize a piece, passage or score, I usually start at the end of the composition and work backwards; especially taking notice of sequences and patterns if any. I start with the last phrase or line; always using the metronome at a very slow tempo - slow enough that I can play the passage easily and well. Most often this is a VERY slow speed like 40 or 50 to the quarter for example. I listen repeatedly to several great performances as well. If there is an accompaniment, I study and play it also, and if need be, doing a form and analysis. I do all this couched within the philosophy of repetition and review.
I do exactly the way Kerson described. To be emotionally attached to the piece of music is the greatest feeling in the world. It not only helps to memorize it gently but it helps to express it more beautifully.
Viola Bear, what you’ve described method is traditionally taught by many and it certainly has brought a lot of success in many players. But I believe Kerson has introduced another dimension that’s rarely taught but make a lot of sense psychologically and especially with solo works, which the player has to find the meaning and voice in the piece to begin with, to own the piece, as it were, rather than simply memorize it to the point of “having learned it by memory “. Not sure if I am making sense
@@Xixi2010Z Yes, you make perfect sense. However, I don't mean to lessen Kerson's approach; I applaud it. However, after decades of studying with and other teachers, I have found that many teachers do not teach exactly how to practice and how to memorize either. They SAY use the metronome but they do not SHOW FULLY HOW TO use it. I BELIEVE THAT THIS IS A LOST ART AND SCIENCE BECAUSE MANY THINK IT IS BORING! This is also true in memorizing. It is more of how one does something rather than just going through the motions.
I have had many great and famous musicians as teachers and coaches. However, almost none of them were really great teachers. I believe that Kerson is blessed with the happy gift of being both a truly great performer AND great teacher; a very rare combination. This is one reason I consider him so highly in my regard. Many teacher of children make repetition and review boring and dull. However, done in a correct manner and with the approach Kerson describes, it cam be fun and a science wrapped in an enjoyable, insightful and fulfilling practice / rehearsal session.
@@SarumChoirmaster totally agree. Memorization is well studied in modern science and I wouldn’t but be surprised if Kerson has certain understanding of, or at least, is sensitive towards that area. The old fashioned mechanical repetition in my view is not only boring, ineffective especially when we are sleep deprived, but also tends to solidify bad habits. I believe when we put our feeling/emotional response towards the piece at the centre of our practice, we are immediately making music and letting the semantics guide our diction and grammar, as it were. I believe it’s the smartest and most interesting way to go about it.
Thank you for another immensely helpful video, Kerson! You’re my favourite modern violinist by far and I greatly appreciate your wisdom! I’m starting to teach violin next year so I guess I’m gonna spend the whole summer on your channel to prepare for the classes with my students :) Did you ever consider making a video about holding the violin without a shoulder rest? Your freedom while playing is fantastic and I’m sure many of us could benefit from your advice on this topic. Best of wishes! ♥️
i'm sure that the 40 hours' time was deliberately chosen for the reference
This was a great video, it just makes logical sense. Its almost impossible for me to remember very mundane things that had no actual emotional impact to me, I especially am realizing this when learning the Terms in Music Theory, but I seem to remember those little random moments where my friends tell me little random things about them like they’re favorite things to do or a moment of trauma that may trigger them so I remember so I don’t hurt them unintentionally or can tell when something is bothering them. I internally connect with it and them and my love for them makes me remember that specific aspect of them. So if you just build an emotional connection like that with music consciously, you have a frame of reference everytime your mind digs it back up because of its emotional energy and its impact on you.
Yes! Well said my friend ❤❤
Hint from J Heifetz for memorizing - Look at the music before you go to bed.
If you can memorize one meazure you can memorize entire music
I love your voice, so deep
Nice video and nice shirt! Where did you get it? 😀
wow very inspiring thoughts of your way of creating learning performing ! you rock :)
Nietzsche: the more abstract the truth you want to teach, the more you have to seduce the senses to it.
Thank you !
What a wonderful explanation. Thank you.
whenever I play double bass I ALWAYS play by memory, there are so many shift that is impossible to forget them x'd
lol the Matthew McConaughey reference threw me off 😂
What happen to footnote?🙁however you speak very good and
understandable.thanksss🌻😀
He means less than a day :v
Yes, it was very difficult to remember the cadence from Kreisler’s Prelude and Allegro 🤣🤣🤣
YEEESSS right? Like same with other Kreisler pieces, I can memorize the piece in like 2 days if I want but the cadenza takes like 2 weeks just to be able to play😂 when I don’t really wanna learn it I just play through and kinda skip the cadenza lol
You memorize the sound, right? Not the movement...?
@@OttoKuusAt the beginning, this cadence (Prelude and Allegro Kreisler) was perceived as a set of sounds that were in no way connected with each other. I had to memorize the sensations in my hands, and divide them into phrases and turn on logic.
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