When we start learning—whether in primary, middle, or high school, or in a conservatory—we are never given a class on how to learn.

There are many techniques we can use to speed up the learning process. I will approach this from the perspective of a pianist, as music is the main focus of my work. We deal with an infinite number of notes that must be internalized and reproduced exactly as written—while also interpreting them expressively, balancing chords, and shaping phrases according to what follows.

As you can see, many aspects must be considered when learning music, but let’s start far away from the instrument itself.

The Basics of Two Memorization Processes

There are two types of memory involved in learning: brain memory and muscle memory (also called motor memory).

Muscle memory develops when a movement is repeated often enough that it becomes ingrained, almost like a reflex. In music, this is a key aspect of memorization, but it should not be the sole type of memory relied upon. Nerves or stress on stage can disrupt muscle memory, so a more profound and diverse approach is necessary for stability.

Brain memory, on the other hand, is where we store knowledge. One of the strongest ways to enhance learning is through visualization. The brain functions like a muscle—the more you use it, the quicker and more efficiently you can absorb information. Various techniques help solidify learned material.

1. Understanding

Understanding why something is written the way it is creates logic in the learning process. Logical connections help us remember that A follows B. For example, in a cadence, it is logical that the dominant (G7) is followed by the tonic (C).

Western classical music (until the advent of 12-tone theory) was built on harmonic structures. This is particularly evident in piano music, where counterpoint plays a less dominant role than in choral music. Since most music consists of chords and scales, understanding these patterns simplifies memorization.

For instance, if a passage involves an ascending C major scale starting from G and spanning two octaves, we can remember 18 notes simply by recalling three key pieces of information:

1. The starting note (G)
2. The scale (C major)
3. The ending note (C)

By learning basic harmonies, scales, and progressions, a clear structure emerges, making memorization much easier. I will elaborate further on this in the Chunking section.

2. Chunking

Chunking is one of the most effective memorization techniques. I dedicate at least 40% of my daily practice to it. The brain can only process a limited amount of information at a time, so grouping material into meaningful units is essential.

For example, in the coda of Chopin’s Fourth Ballade (Op. 52), there are so many simultaneous elements that we cannot consciously control every note during performance. Instead, we use chunking to create a structured mental map, freeing up brain space for interpretation and expression.

A simple way to understand chunking is by looking at phone numbers:

• Instead of memorizing 1233455678 as ten separate digits, we group them as 123 345 5678—reducing the cognitive load by about 70%.

I apply the same principle to piano music. I group notes within the span of an octave and separate essential notes from less important ones. This method creates mental distinctions, allowing for clearer retention and recall.

Example 

1. In the left hand, I separate the bass from the accompaniment, as they span more than an octave.
2. In the right hand, I simplify complex chords by first playing only the most critical notes.
3. I gradually introduce additional notes, reinforcing the structural hierarchy of the passage.

By reducing a section from 27 individual notes to just 9 groups, memorization becomes far more efficient. Once the chunking is stable, I work towards performing the piece with full relaxation.  

By reducing a section from 27 individual notes to just 9 groups, memorization becomes far more efficient. Once the chunking is stable, I work towards performing the piece with full relaxation.

3. Repetition of groups/chunks

Once a piece is divided into meaningful groups, repetition further reinforces memorization. A useful technique is incremental repetition:

1. Play each group multiple times within the tempo.
2. Reduce the repetitions gradually (from 3x per group, to 2x, to 1x).
3. Focus on relaxation and differentiating important from less important notes.

For example, in Wilde Jagd (Liszt’s Transcendental Études), memorization is not about individual notes but about recognizing patterns of tension and relaxation. Liszt often builds entire sections on this principle. When approached correctly, difficult passages become manageable.

4. Repetition of phrases

Playing a piece from start to finish is one of the least effective ways to memorize it. Instead, one should resist the urge to play through and instead focus on short phrases—sometimes as little as a single measure or even a single beat in highly complex works like Enescu’s.

Memorization is a long-term process. Work intensively on small sections before moving on.

5. Visualisation

Step away from the instrument. Take a walk, go for a bike ride, or even visualize while cooking. Mentally see every note of the piece. Start with separate hands before attempting to visualize both together. Some people find it useful to match visualization with physical rhythms, such as the cadence of walking or cycling.

6. Mnemonics (use of acronyms, rhymes or phrases)

Don’t just visualize the notes—name them! During practice, I often say the bass notes or melody aloud. When dealing with tricky sections, I also name chord progressions. This adds another layer to memory, linking:

• Finger memory (muscle memory)
• Chunk memory (structural organization)
• Harmonic memory (progressions)
• Visual memory (score visualization)
• Aural memory (inner hearing)
• Verbal memory (naming notes)

These layers create a multidimensional mental map of the piece.

7. Incubation time

Memorization does not mean a piece is ready for performance. Even if one can play it without slips, it is not yet stage-ready. The mind and body need time to internalize the music.

I often let a piece sit for two weeks before revisiting it. This process allows for deeper insights and greater confidence when finally bringing the piece to the stage. I usually take several months before performing newly memorized works.

8. Teach someone else

Explaining a piece to someone else deepens your understanding. Whether teaching a beginner or discussing it with an advanced musician, articulating your insights clarifies your own thinking. Some performers even teach the repertoire they are preparing, as they find it strengthens their interpretation.

9. Relaxation and Playing Softly

Relaxation is crucial for memorization. Playing loudly and with tension requires more mental effort and causes unnecessary fatigue. A quick test: play a passage extremely softly. You will immediately notice greater mental clarity and awareness.

In Liszt’s Transcendental Études, large-scale gestures should be executed with fluidity, not rigid precision. In pieces like Wilde Jagd, broken chords spanning the keyboard should feel like a single motion, even though they contain 20+ notes.

A relaxed approach frees up mental space, allowing the music to unfold naturally.

10. final thoughts

Memorization is a multifaceted process that goes far beyond repetition. By incorporating visualization, chunking, harmonic understanding, and physical relaxation, we create a deeper, more stable connection to the music.