MAPPING...
First, allow me a reference back to performance anxiety,
otherwise known as stage fright. And my
point is as important and simple as this; the anxiety we call stage fright
tends to compete with and block conscious access to long-term memory. And
long-term memory is what we rely on to perform. Second, let’s remember that our
true goal and purpose is not to reproduce notes and rhythms and symbols on a
page, but rather to realize the meaning and emotion of music. Therefore, how we
approach memory is essential to reaching our ultimate and spiritual goal in the
communication of music to our audience.
And there are several methods or techniques we can employ to strengthen
and bolster our memory. One of which is
mapping.
What is mapping?
Mapping is a method of learning
music that begins with learning the music as a whole, followed by the discovery
of details as the learner finds them.
The term was coined by Dr. Rebecca Shockley of the University of
Minnesota who explains how this method is a more efficient method of memorizing:
“Mapping is a Gestalt approach to
learning that starts from the basic structure and gradually fills in the
details…” It is in direct opposition to
the one measure-at-a-time approach …where the accumulation of details without
awareness of the whole results in a patchy performance that lacks unity,
direction and musical meaning.”
Steps to Mapping…
1)
Study the music for a very brief moment,
scanning it in its entirety without the instrument. Make general observations
about the various qualities and attributes that make the piece unique. See and
hear the things that attract you to the piece. You don’t have to see all.
Remember, you are looking for overarching aspects of the piece that will stay
with you as you later investigate these individual characteristics in
detail. You can then choose one aspect,
say, a rhythm that is fundamental or repeated in the piece and clap it. Make it
physical. Make it yours. You might notice tonal areas that are unique or
memorable or perhaps the kinds of harmonies utilized; perhaps a harmonic
pattern.
2)
Now go to your instrument, without the music,
and improvise on what you have learned are the larger patterns of the piece.
Think of this as making a sketch or outline of the piece. Don’t be concerned
with playing the details; you are now in a creative mode regarding the overall
structure. You won’t get the notes
right, and that is not the point. When finished decide to take another aspect
of the piece and improvise on that.
3)
Make a transcript of the ‘map’ of the piece.
Yes, that’s correct! Write down a
general sketch of the piece. You can use some details if you like; and, you can
use your own symbols. Be creative! If
you are familiar with Schenkerian analysis/reduction, this is the time to
employ it! Personally, I am influenced
by and utilize Schenkerian reduction in nearly every piece I learn. As with the improvisational stage, there is
no right or wrong way to do this. The important thing here is to utilize tools
that have meaning for you.
4)
Now get your
instrument! Now, make up something from
the ‘map’ you’ve created. Have fun!
5)
Move away from the map and your instrument to
visualization; away from both!
6) Proceed next to choosing smaller and smaller
sections of the overall form attempting to, gradually, place more and more
detail into place. This detail will include pitch, rhythm, dynamics, texture,
timbre, etc., in the various ways you discover the piece. At this point you are
alternatingly moving between the actual score and your general/ Schenkarian ‘map’.
Mapping can be utilized with any
piece, but it most beneficial, essential in my opinion, in any larger
composition.
I hope that you find this ‘method’
to be freeing, enjoyable and helpful as you learn your next pieces.
As always I enjoy reading feedback
from my readers. Let me know how you are doing and whether these writings are
helping you in your progress as a musician.
Sincerely,
RT
