Memorizing Music!

posted by Ruth Butterfield-Winter

So, our choir director asked us to memorize 5 pieces for the next concert. If I were to take a guess, I would say, 15-20% of choir members would say, "...and, your problem is... ?" Probably another 45-50% would say, "I don't like memorizing, but I'll do it, if the director says to...," But, I'll bet the rest of the choir members out there, would say, "WHY?" "I don't memorize well." We like the comfort of having the music and words; don't forget the dynamics and phrasing marks penciled-in during rehearsals, right in front of us. So, when the director, a.k.a. "God" says, "You Must Memorize These Pieces," you just have to find it in yourself to do it, or face the possibility of being the only one with a folder up during the concert.

Memorizing pieces has been a tradition and practice of performance forever. When a concert artist performs a solo for an audience, the audience sees that the performer really knows (or doesn't know) the material. The piece becomes part of the performer. The performer relays the story, emotions, pictures, triumphs and defeats as if they are his or her own blood and soul. To know a piece of work so well that you can play it from memory, means that it is originating, in some form, from you. It is authentic, real. If you are reading the notes of a song from the page of music, you are just mouthing words and singing the corresponding pitches, while following the composer's instructions, with the guidance of a conductor or music director, if you're lucky enough to have one. Is that worth it to an audience?

On the other hand, some music is complicated and written for an ensemble of instruments or vocal parts (or both). It is traditional to have music in front of you. Very rarely, will you see a string quartet play without music on their stands. Yes, granted, it happens, but not often. Likewise, if you go to an orchestra concert, everyone, including the conductor, has music on their stands, even the triangle player! Sometimes, you'll see a conductor conduct a major work from memory, but usually, there is music for everyone.

So why on earth would a choir director want an ensemble of voices to memorize pieces?


Well, in my opinion (and you have the opportunity to comment below and tell me what you think), a choir is like a solo instrument with many parts, like a magnificent living pipe organ that can mouth words. A choir is a living being made up of individual glorious sounds which work together to sound as one solo instrument. When a choir, as a whole, is singing without music, it shows that the music and story, the emotions and beauty is originating from the body of sound as a vibrant entity. The audience connects directly to the music, instead of being blocked by noisey page turns and eyes that constantly move down to the page and back to the director and down again.

But what of the more complicated pieces? ...for instance, Mozart's Requiem or Handel's Messiah? In my opinion, with larger works, or complicated and longer works, memorizing is not the best option. It's probably because I'm used to seeing choirs singing larger works, with orchestra, perform with the music. Maybe the reason choirs use the music with orchestral works, is because the orchestra is using music and the look of the picture is better for the audience if everyone holds music.

What do you think? Next time, we'll talk about how to memorize. There are several techniques and I'd love to get your imput on that.