Memorisation will set you free. Free to play, to explore, to create. In acting one of the first actions an actor takes is to “get off the book”. Why? For the very reasons stated above. Therefore, examining boards require memorisation: to set you free. Free to discover and play with the composer’s intentions. This is difficult to do if you have your head buried in a score.
The following video of Dr. Mortensen explores various methods of memorisation.
Practice room memorisation and it's dangers.
He explores in depth these topics.
“If you are looking, you’re not listening” Hal Galper
Reading and playing is another form of multi-tasking. The myth of multi-tasking has been explored and debunked by many reputable researchers. As we all know, it is an activity that has been found to be less effective than single minded focus.
A memorised tune means you’ve internalised the changes to the point you don’t really have to think about too much. This enables us to fully contribute to the jazz conversation on stage.
So… when learning a new tune play it for an hour or two. Play it fast/slow, loud/soft, transposed in a few keys. Take a simple lick and transpose it over each chord or ii-V pattern in the piece. This was Monk’s method.
“The better you know them (the changes), the freer you are” Hal Galper.
Galper suggests checking out the multiple recordings of the same piece that Miles Davis and Monk made over the years. Listen to the development and evolving sophistication of the performances.
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There is an answer to that important question. First what is your specific measurable goal? How much time can you devote to learning?
Here are some achievable goals from my students.
You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail.
I'm a professional pianist and music educator in West Toronto Ontario. I'm also a devoted percussionist and drum teacher.