Esta forma de memorizar la he leído múltiples veces en distintos foros y libros, pero me da la impresión de que la mayoría simplemente nos ponemos a repetir y repetir las secciones mientras las leemos hasta que las aprendemos por ósmosis.
Uno de los libros que enlacé en este hilo tiene un apéndice sobre la memorización:
Yo nunca he intentado memorizar así, soy de los que repiten y repiten, pero la verdad es que me pica mucho la curiosidad. Igual lo intento, a modo de experimento, con alguna pieza corta y comparto por aquí mis impresiones.It is a well-known fact that Leschetizky advises memorizing away from the instrument. This method at once shuts the door on all useless and thoughtless repetition employed by so many piano students, who repeat a passage endlessly, to avoid thinking it out. Then they wonder why they cannot commit to memory! The Viennese master suggests that a short passage of two or four measures be learned with each hand alone, then tried on the piano. If not yet quite fixed in consciousness the effort should be repeated, after which it may be possible to go through the passage without an error. The work then proceeds in the same manner throughout the composition.
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Michael von Zadora, pianist and teacher, said to me recently: "Suppose you have a difficult passage to learn by heart. The ordinary method of committing to memory is to play the passage over and over, till the fingers grow accustomed to its intervals. That is not my manner of teaching. The only way to master that passage is to analyze it thoroughly, know just what the notes are, the sequences of notes, if you will, their position on the keyboard, the fingering, the positions the hands must take to play these notes, so that you know just where the fingers have to go before you put them on the keys. When you thus thoroughly understand the passage or piece, have thought about it, lived with it, so that it is in the blood, we might say, the fingers can play it. There will be no difficulty about it and no need for senseless repetitions."
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Most of the artists agree that memorizing must be done phrase by phrase, after the composition has been thoroughly analyzed as to keys, chords, and construction.
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It is plain from the opinions already cited and from many I have heard expressed that the artists waste no time over useless repetitions. They fully realize that a piece is not assimilated nor learned until it is memorized. When they have selected the composition they wish to learn, they begin at once to memorize from the start.
The student does not always bring to his work this definiteness of aim; if he did, much precious time would be saved.