Musicians See Writing Differently
"Madame Bovary taught me the difference between a sentimental performance and an honest one," grants a pianist [student at Julliard School in New York]. "Writing and rewriting have helped me see how a musical score is put together," says a violinist. And a percussionist remarks of a grammatical insight: "A colon works like a drumroll: it prepares you for the cymbals' clash; a semicolon is more like a modulation" (From "Educating Performers" by James Sloan Allen, The Key Reporter, Spring 1992, p. 8 as quoted in Journal of Reading, 199x, p. 317).
Mneumonics for Some Altered Chords
Eckert (1986) explains that "students in advanced-harmony or analysis courses often find it difficult to distinguish among, or to remember, the spellings of the various augmented sixth chords. They may also confuse them with the similarly-named Neapolitan sixth chord" (p. 23). He outlines a strategy for remembering the chords on the basis of prior knowledge and mnemonics.
His approach is based on students' knowledge of solfege syllables. The syllables (do, ra, me, fa, so, fi, le, etc.) are used to form mnemonics, with each syllable standing for a portion of the chord. For example:
Visual images might also be added to aid in remembering the chords.
Surviving Memory Lapses
It is sometimes the case that musicians will suffer a temporary loss of memory while performing. Foster (1992, p. 43) offers some strategies to help avoid and survive memory lapses.