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Should Soloists Always Perform from Memory?

Should Soloists Always Perform from Memory?

by Gerald Klickstein | Jan 14, 2013 | memorization, music performance, performance anxiety

“Performing from memory can be a beautiful thing.” –The Musician’s Way, p. 82 As someone who has performed countless solos, I know the upsides and downsides of playing with and without a score. We musicians often debate whether to memorize or not, so...
The Four Stages of Memorization

The Four Stages of Memorization

by Gerald Klickstein | May 8, 2010 | memorization, music practice, The Musician's Way

“I’m very mistrustful of tactile memory. I think it’s the first thing that goes.” –André Watts, pianist The Musician’s Way, p. 82 Have you ever been blindsided by a memory lapse? Maybe you felt secure in practice, but, during a performance, you blanked on a...
“Memories are Made of This” Published in The Strad

“Memories are Made of This” Published in The Strad

by Gerald Klickstein | Sep 26, 2009 | memorization

The October 2009 issue of the UK monthly The Strad featured an article I wrote about memorization titled “Memories are Made of This.” I was invited to contribute to the magazine by its editor, Ariane Todes, after she attended a lecture I gave on the subject of...
Writing about Music

Writing about Music

by Gerald Klickstein | Sep 20, 2009 | creative process, music education, music performance, music practice, The Musician's Way, writing

Why write about music and musical expertise? Is it as abstruse as that old saw – “Writing about music is like dancing about architecture” – would lead us to believe? In the Preface to The Musician’s Way, I wrote, “Words are destined to fall short when it comes to...
Sol What? Some Thoughts on Solfège

Sol What? Some Thoughts on Solfège

by Gerald Klickstein | Aug 6, 2009 | music education, music practice, The Musician's Way

In The Musician’s Way, I encourage the singing of solfège syllables, scale-degree numbers, counting syllables, and letter names as part of the process of learning, memorizing, and interpreting music. In my own teaching and playing, I employ the fixed-do solfège...

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