WordProLWP7. YƤ1iWord Pro Text File/DFBAm@PPPPP-PPP@Jonathan Darnboroughڙ@u@Q@@@ @ SmartMasterH@ASMH@Jonathan DarnboroughH@AJDXP p@@UNIVERSAL_SMARTMASTER_EDITOR@ESMX@@@q pcPP`@@q pcPP` @UNIVERSAL_ALL_OTHERS_EDITOR@FOTRX@@@q pcPP`@@q pcPP` @Jonathan Darnborough@EJDX@@@q pcPP`@@q pcPP`B@QCB PP p CxFp= !CCFFp= yqp~ qPHPHPHPH(x qQdIZ+C q@Tp= APHBPHBgf ( xAQdHHAQdHHq !A@Bz$Bp= A!@B?Bp= ~APHBgf PHB(JEXb8Bb8Bb8BF(L5FSFc  XJHBZPHB(5CLFSb8e AAk qAy}-?@En8xP@P@@@ P@@@P @@@PpP@@@Pp @@@d*pq%@@@@Q& p`@x@lC|@@@s>LHH$y ZG A A%@p@  yx@Hx@Hx@Hx@Hx` ABffbff€BBB(EJBBB€BBB 3&ACItB 7@-@<@Pc@P c@P c@P 7q@P@P@@@ P@@@P @@@PpP@@@ x@@@P E@@@P >!A*@EH@ Default Text|C@@@P "q!@@ @@P@c xpp  @@@PppP @@@ qcP`R@fd H@dZZ Z Z Z pH@PZ  pH@P pH@P pH@P pH@PZZZZ(( /!("(# ($(%(&('Z( XZ)*Z*XZ,Z-fZ.cZ/dZ0eZ1 7Z2HZ3Z4?Z5Z6nZ7*Z8 #Z9%Z:Z;Z Z Z >H@@ ??X@P`@@P`@@Pp@P`@@Hx``@@Hx``PC q@@P@ A*@A%x@@@Q$$ %AHAy'ABBBBRBBB A&PHPHL XCFZyBG C 3B5H A]Ay- }Ex$ ?}pExP:An@P@P@@@ P@@@P @@@ X@@@Pplq@@@@P *xAJB2MA@Aj Aff,A8ABffbff,&A 3Bz$Bz* #Ox@@@P@:A@P@P@@@ P@@@P @@@ P@@@Pp|@@@@P *>pEH @ Heading 1! "AO@@ @@P@&$ p`@x@%]A$Az ABff4]A%AHHPHA s-ExPq@AJBO!A #@@ @@P@ XsFZSBG H$@P@P P P  DADxQE @QDs%D@@EBodytBPP@EBody@p Fo- oqqPV uAuxpA@P#AyU@@Default FooterXA@BQJA+AP@EFooter%A@@@Default Footer Styleh$@aAAAyA@ @YAfAdAe@ XQ$@c.X+u@pA@A XRA=A+P@EFooterI/A#A%Iyy@ @Y XQ@c /*BA,yd@Q. $@FStoryBA,Y0A0AmU AxpA@Pq#yU@@Default HeaderXA@BQJPA#AP@EHeaderA@@@Default Header Styleh$@aAAAyA@ @YAfAdAe@ XQ@c+Wq.yu@pA@A XRPA.A#P@EHeaderI,AAIyy@ @Y XQ@c ,,/Bqd@Q+ $@FStory/BQ-A-Amu .A+AV@@ Default PageQA@JIXA @CPageH@@Default Page Styleh$@@ Default TextIxAA~AyAc@ iAfAdAe@ @Printer Folder SettingH$@@ +y$DWd@Q ,@FStory DUmT VxpA@PC\=@i A@B PRA A=P@EFooterIHA#A%JLqy@ @ZC XQ@c H* 8AByd@QC @@FStory 8ABYIAIAm=\qCy@i A@B PRPACA.P@EHeaderIBAAJ5rXq@ @ZC XQ@c B*HA/yd@Q= @@FStoryHA/YKAKAmJq ACA=AT@i(A@IP`AAuP@CPageIAuJ  BC p@t q@@Pf mFTA@4Show a chess grandmaster a position from a real chess game for a few seconds and he will be able to reproduce that position from memory. Show that same grandmaster a chess board with chess pieces randomly placed on it and he will be much less accurate in his attempts to reproduce the disposition of the pieces. This example serves to remind us that memory is all to do with the understanding of structures and processes. The chess grandmaster can memorise a real chess position very quickly because it represents a coherent pattern with a clear internal logic.TPAlnACSEndKmZmB@D@HThree levels of musical memory@\@HE(@H@@P`T@HB)SSEnd/d A 8x @mzqk@ Default TextP@@@i@@Default Text Style@@@pE A@x`aAnD}AA "x@@@PP@@@  r H@@a .uB)APRmF(A@DXExamples taken from Bach's XLittle Prelude in CX , BWV 933sSEnd qgoA Y @@PXx IPAmF(AH@ASSEnd*JHZmF(A@ATPAlnACSEndJYHZmFأ8A@BEMemory in music also depends upon a feel for structure and process. The more clearly one @@@@A` understFan@@@@A` Dds why the notes are where they are, what structural and expressive functions they serve and how, technically, the hands have been trained to negotiate them, the more reliable the memory will be.TPAlnACSEndY+\J@ZmF(A@ATPAlnACSEnd\cBY@ZmF(A@B=Three levels of musical memory can be postulated, as follows:SSEnd"B\@ZmF(A@ASSEnd'aA Sm@BA ASSEnda!AHZmF(A@ASSEndm YD&)A)AT@iaABQH0@A)ACP @ SuperTableI$A X @R AH@s$*'q(A(A@Q @ @ SuperTable(A 8)H 0ARA @i!A@BQJ0PA0A P@DTableI(CA*@  _(: 5A]A$@Q) @@FTable5A$X@BffBFcB@A)A m?qW@@ Default TableQH@@RB0PAAP @ SuperTableH@@Default Table StyleAy@. A@#_)@i H@PD&Zc" 01Ly2A2A)@iaA@Bp0@A2A)P@BRowZP L6RA0AZAZA)@iaA@Bp0@ARA2P@BRowHBP R3qLASASA)@iaA@Bp0@ASALP@BRowHBP2/0@i A@PP`ALA0P@CCellI5A!qyX@@ Default CellQAA@@@R@0@AAP@CCellH@@Default Table Cell Styleh$@ @ Table TextI 3AAAA@ 7AyYmZG  Z  5)V(@Q2 @@FStoryVA(Y6E#wZL6Z Uy5@B Level 3: X"Understanding of musical structuretPAlnACSEnd#rHWw z*A5@BĿThis level is analogous to a driver having a clear understanding of the geography, even the geology, of the route travelled and, hence, the reasons why the roads curve, rise and dip where they do.TPAlnACSEndU_Df @ Heading 3P@@@@Y@P@@@pEAm@DdB}t> # @@@  Z2L@i A@PP`A_ASP@CCellI]A _6PWw QA5@BIdeally, the understanding of why the composer has written each note of the piece, how each note functions within the structure that is the piece.TPAlnACSEndwOf @ Table Textp@i@P@@@pE A@Am@Db|r}# _+bPWw (A5@ATPAlnACSEndb_HWw QA5@BoThis involves an analysis of the harmonic, melodic and rhythmic patterns within the piece as well as an appreci5ation of the expressive issues involved in the piece.TPAlnACSEnd,#bHWw (A5@ATPAlnACSEnd ](qVy(@QZ @@Story'VY^ABw^\ Uy]@B Level 2: X$Conscious understanding of techniquetPAlnACSEndS2R@i A@PP`AZARP@CCellIVA A^PWw z*A]@BThe knowledge of why a particular fingering has been chosen and how this combines with elements of wrist and arm movement to negotiate the notes of a piece with appropriate articulation.TPAlnACSEnd+APWw (A]@ATPAlnACSEndq@@w z*A]@BThis level is analogous to a driver having a clear understanding of why a particular route has been chosen and who drives that route paying conscious attention to each junction.TPAlnACSEnd V+]A5y(@QS @@FStory]A5YWABwWGx UyV@B Level 1: XMuscular memorytPAlnACSEndqPWw z*AV@BThis level is analogous to someone driving a route that they have driven so many times that they reach their destination with barely a conscious thought about that route.TPAlnACSEndx ?AWPWw QAV@BThe pattern of muscular movements required to play the notes of the piece, these movements turned into a physical habit through repetition.TPAlnACSEnd+A FPWw (AV@ATPAlnACSEnd"$aHRmF(A@ASSEnd$)IRmFffA@B`On the following page are some examples that show how these different levels of memory interact.sSEnd)*.$ I Z mF(A@DsSEnd"B.HRmF(A@ASSEndZHZOZIU'uTI jRkRm@BDVSSEnd -tgA i @@PXx X AxpA@PZJZP :ZNZW AxpA@P\[u^_`abZKZQb(Ru(SjM ;(e(fgc(g(h(i(j]##AyU@@ Default FrameQ A@IQXAAP@DFrameH@@Default Frame Styleh$@@ Default TextIAAAAc@ @YAfAdAe@ A]@0PAm/@ASSEndU@@Default Drop CapQ A@IQXAAP @FDropCapIAxH@@Default Drop Cap Styleh$@@ Default TextI&AAAyA@!AfAdAe@ X@Dzb%@@ ),Bqd@d@FStory,BWm-PAm,@ASSEnd 'Ayd@d@FStoryAYAAmsW,w8YY@RV @ @ SuperTableYHmVZ7wXXT@iaABQH0@EXOH @ SuperTableLW @SU AH@ 8$qHyd@d@FStory$AHY 9A 9Amk0mAo@ Note Initials`P@Y@x`al2 g-qA \ @@PXx   @)p  DKm@BD&SSEndm&[ ((T@iaABQH0@D(_P @ SuperTableL' @S AH@s'-$G))@R& @ @ SuperTable)]_X@@Default Right ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@![AyX@@Default ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@!D[2U @ Heading 2P@@@i@P@@@pEAm@D B}t> # @@@  f\Uw @ Number Listp@i@P@@@pE A@Am@D  ! @@@QP Xw+@DTitleP@@@i@P@@@pEAm@DdB}q*A # @@@  r PRmFffA@DXEx. 1: bar 2 - semiquaver XCg played with 4th finger of LHSSEndT#URARmF(A@ASSEndk V :1@Engineering NumberingI 8@ OX+@Outline (Not Indented)P@ @@i@"@ Left Justified Outline Numbering@@@pE A@A+@D  O @@@QP `AyX@@Default Left ColumnQ@H@@@QH0@AAP@CCellX$@@ Default Texty@!1b@Default Headingsa#jXi H@Pzf[q ;'y :qAu g*rbsYRf @@DStoryrbWhU *yd@Q $@StoryYAAm 'yd@d@Story_m SmCH HBvSSEnd 'Ayd@d@FStoryAYAAmaSm@D@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE)@@ap@PT@@apE)@@ap@PT@@apE)@@apE(@@ap@P T@@apB)SSEnds8.W::@R7 @ @ SuperTable:Y< \gWRX @@Table\WP@BffBFcB@DX H,rCs:RG @@StoryWCWIU6)Q5 PKm@BD7SSEndm7\V99T@iaABQH0@E9H @ SuperTableL8 @S6 AH@XK eZVi!A@BQJ0PEZVH@DTableJYCA*@  j#O9i H@PEVG[q 9RSm 8@D@@ap@PT@@apF.0@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@PT@@a?pE.@@a?p@PT@@apE.@@ap@PT@@apE.@@ap@PT@@apE.@@ap@P QSSEndo,kA @ Note Date` P @Y@x`al2 5#6"ARmF(A@ASSEnd"y5I ] mFffA@DXEx. 3: bar 10 - semiquaver XCb played with 4th finger of LHSSEnd)" Km@BDSSEndm\&7T@iaABQH0@ECH @ SuperTableL @S AH@(K ;*&i!A@BQJ0PE*&H@DTableJ)CA*@  Cp#vARmF(A@ASSEnd "IRmF(A@ASSEndD &s.8'@R @ @ SuperTable=)< ,='R( @@Table,'P@BffBFcB@D( 2[(D @ Heading 1P@ @@ i@P@@@pEAm@D B}t> # @@@  ,q@Default OutlineI@ OP+@Outline (Indented)P@ @@i@(@&Traditional Indented Outline Numbering@@@pE A@CfD? " @@@QP RnTQARmFffA@DXEx. 4: bar 13 - semiquaver XCg played with 5th of RHSSEnd.A :@Legal NumberingI@ OXZaf0ei A@PP`EjeH@CCellLg!'  ;#  b/g\sYRa @@Storyg\WcUhKi U{gB Level 3: "Understanding of musical structureSSEnd)rHWwo(CgATPAlnACSEndPAm@ASSEnd SmCH HBSSEndTSm@D@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@P?xE.@@@P?x@PT@@@PxE.@@@Px@PT@@@PxE.@@@Px@PT@@@QpE.@@@Qp@P QSSEnd:< =H8R9 @@Table=8P@BffBFcB@D9 ,rsR @@Story8WU \-b YR[ @@StorybYW]U C/H=s:RB @@StoryH=WDUG0Fi A@PP`EOFH@CCellLH!IKJ U{HB Level 3: "Understanding of musical structureSSEnd)rHWwo(CHATPAlnACSEnd9K F;7i!A@BQJ0PE;7H@DTableJ:CA*@  O#i H@PE7[qQ#R6ARmF(A@ASSEndP 7 e4`wffXiaA@Bp0@EfaH@BRowZP Z5w`[[XiaA@Bp0@E[XH@BRowHBPGoA @ Body Singlep@i@P@@@pE A@Am@D= K i!A@BQJ0PEH@DTableJCA*@  #C(i H@PE<[q#ARmF(A@ASSEnd  ;43w<<(iaA@Bp0@E<4H@BRowZP *5w3++(iaA@Bp0@E+(H@BRowHBPv&pARmF(A@DsSEnd< R @@TableP@BffBFcB@D =,r5s)R< @@Story5W>U ,-5 )R+ @@Story5)W-.U(S2 @First Line Indentp@i@P@@@pE A@Am@D-#  {U  c' a3`i A@PP`Ee`H@CCellLb c]d U{bB Level 2: X$Conscious understanding of techniquetPAlnACSEnd)rHWwo(CbATPAlnACSEndi,hHWwo(CgATPAlnACSEnd-AWwo(CgATPAlnACSEnd =-C :R< @@StoryC:W>U /sR @@StoryWU0i A@PP`EH@CCellL!K U{B Level 3: "Understanding of musical structureSSEnd,rHWwoR*CB#The player understands that the LH XCg has moved to XCaA to create a dominant 7th harmony (3rd inversion) in G major. Thmis represents the modulation to the dominant that characterises the second quarter of the piece harmonically.TPAlnACSEnd[3Zi A@PP`E`ZH@CCellL\ ]H^ U{\B Level 1: XMuscular memorytPAlnACSEnd)rHWwo(C\ATPAlnACSEndB3Ai A@PP`EFAH@CCellLC D]E U{CB Level 2: X$Conscious understanding of techniquetPAlnACSEnd)rHWwo(CCATPAlnACSEnd F4AwGG9iaA@Bp0@EGBH@BRowZPJ,IHWwo(CHATPAlnACSEnd-AWwo(CHATPAlnACSEnd ;5wA<<9iaA@Bp0@E<9H@BRowHBP `7ZeaaXiaA@Bp0@Ea[H@BRowHBPZB @GBullet 1p@i@P@@@pE A@Am@D  " @@@RH 4wiaA@Bp0@EH@BRowZP 5wiaA@Bp0@EH@BRowHBP<0;i A@PP`EC;H@CCellL=!kvARmFffA@DXEx. 2: bar 5 - quaver XCa played with thumb of LHSSEnd 37*;44(iaA@Bp0@E4+H@BRowHBP433i A@PP`E;3H@CCellL5 +3*i A@PP`E3*H@CCellL,  - R @@StoryWU 5/=,s)R4 @@Story=,W67U>K? U{=B Level 3: "Understanding of musical structureSSEndrHWwoFC=Taking a wider view, the player understands that these opening four bars are balanced by a passage of four bars which uses a contrasting keyboard texture modulating to the dominant (G major). The player also understands that the opening four bars are the model for the third quarter of the piece and is aware that the C major perfect cadence in b. 4 is the mirrored in the A minor perfect cadence in b. 10.TPAlnACSEnd-H. U{,B Level 1: XMuscular memorytPAlnACSEnd.r-HWwoQC,BThe first six semiquavers of LH are practised in order to habituate the 4th finger to the small stretch involved in reaching the G.TPAlnACSEndZB( @GBullet 2p@i@P@@@pE A@Am@D  " @@@RH  ACDc  b d,cHWwo(CbATPAlnACSEnd-AWwo(CbATPAlnACSEnd-iAWwo(CgATPAlnACSEnd,HWwo(CgATPAlnACSEnd<3;i A@PP`EA;H@CCellL= >H? U{=B Level 1: XMuscular memorytPAlnACSEnd)rHWwo(C=ATPAlnACSEnd3i A@PP`EH@CCellL ] U{B Level 2: X$Conscious understanding of techniquetPAlnACSEndrHWwoz*CBͿThe player understands that the thumb is used throughout these two bars because the detached articulation of the bass line here can be achieved very well by a slight rocking of the hand from 5 (or 4) to 1.TPAlnACSEnd^,]HWwo(C\ATPAlnACSEnd,^HWwo(C\ATPAlnACSEnd A7;FBB9iaA@Bp0@EB<H@BRowHBPE,DHWwo(CCATPAlnACSEnd-AWwo(CCATPAlnACSEnd,JHWwo(CHATPAlnACSEnd-AWwo(CHATPAlnACSEndc P 7iaA@Bp0@EH@BRowHBP3i A@PP`EH@CCellL H U{B Level 1: XMuscular memorytPAlnACSEndrHWwoQCBdThe LH is practised in order to habituate the thumb to the small stretch involved in reaching the A.TPAlnACSEnd6]7 U{5B Level 2: X$Conscious understanding of techniquetPAlnACSEnd7r6HWwoz*C5BThe player understands that the 4th finger is used here to adjust the hand position in order to place the thumb on C two semiquavers later. The thumb is required on C because of the octave leap that immediately follows this note.TPAlnACSEnd?>HWwo\C=B#The player understands that the LH XCgK is used here as part of the dominant 7th harmony at this point in the bar.TPAlnACSEnd,HWwo(C=ATPAlnACSEndc P qC2 c -dAWwo(CbATPAlnACSEnd,HWwo(CbATPAlnACSEnd-AWwo(CgATPAlnACSEnd-AWwo(CgATPAlnACSEnd?,>HWwo(C=ATPAlnACSEnd-?AWwo(C=ATPAlnACSEnd-EAWwo(CCATPAlnACSEnd-A@Wwo(CHATPAlnACSEnd-AWwo(CHATPAlnACSEnd,?HWwo(C=ATPAlnACSEnd$woz*=Taking a wider view, this harmony forms part of the perfect cadence that rounds off the opening phrase of the piece. The player understands that this is balanced by an imperfect cadence in the answering phrase (b. 4). PAlnSEnd     ?+ FAxPWw (AV@ATPAlnACSEnd FA ?IWw QAV@BfThis is the memory level on which most people rely exclusively. Such reliance is fraught with danger!TPAlnACSEnd Yr)HBA@q Z Y@ \r"HBA@g ] \@ isU @BA@- j i@H$@P@P P P D<iEa H@H@@P@@P@@PPpPP`@p@P P t|~@mADQGAOALQPQHATANAYAZAVAUAWAXA\A[A^A_A`AaAbAIAJAKAQARASAM dAeAfAcAgAhAiAjP @P cpcH dP@QTT cpcP@QH pcPaTT cpcP@QH dP@QUUH cpcP@QHdP@Q cpccpcPaH pcPaUUH cpcP@QHdP@P@@Times New RomanHWH@ MS Sans Serif H@Arial H @ Arial Black H @ Wingdingsh@@ H@@GHGi]AAQrys@@George P. Burdell832882267FA iaA@H@@P@@P@@PPpPP'@%c:\lotus\smasters\wordpro\default.mwpH@p@P P pAOLexmark Z65GwinspoolDNe00:l䤜CA@ p@BX@P@>P䤗Lexmark Z658K䤗IKX)A I K䤗PYHP P? PP PtPP pB'd@PB@@@ENe00: @ Lexmark Z65 @winspoolP@E1-9999XPDUVerR@P@Original Version@Jonathan Darnboroughڙ@u@$`@@ASMH@AJDl|~@mAQA A Q QAA AAAAAAAAAAAAAAAAAAAA !A"A#A A$A%A&A'(A)A*A+A,A-A.A/A0A1A2A3A4A5A6A7A8A9A:A;@ A A A QAAQ>A?AAAB@ @Jonathan Darnborough1087936986A DYƤ1:.P@@CHH@sh PIHBJN   JGQv1XA<Q`I Ip IIIqIzIIIIIIIIIIIIII III;I2IIDIMIVI_IhIIIIIIIIII IIDI#I/I;IGISI_IkIwIIIIIIIII I) I HLQIy Iz^I IF II(I,(I(I/)IZI[)I(I#(I(I8)IE)IP)IIIl I(I(II(I(I(I)I(I)I)I)I$)I)ItIi)It)I)I)I)I)I{,I IIT7I I I}PI2IIIQITIIIIpIeI1I+IIc^I III+I2I]:I'  P  = |~@?AH@ A2 IV II"DI I II"FIuFI@ISBI7Id(I7I4I5I>4I6@I>IIIQI~EIQIuZIbTIfHIC?IHITI7IIz?I4I?IsII5I@I@I&;I0I5(I+I+I5It4I$AIGI?IGISIJIDDI8UI0QI ZIZIYI[IIEITIPIZI5HIII@ZI!II ]I?]I I]I]I ^I'^I6^IT^LD]1!AITcI$fHYƤ1ڙ@]1Qv1&/20/2e1c1{22|~@E72KM5{R02,('ʦ @ ` @@ @@@`@@@@`` `@`````` @` @` @` @`@@ @@@`@@@@@ @ @ @@ `@ @ @ @ @@@@ @@@@@`@@@@@@@@@`@` @`@@``@`@`@`@`@@ @@@`@@@@@@ @@@`@@@@@@ @@@`@@@@@@ @@@`@@@@ @` @ ` @@ @@@`@@@@`` `@`````` @` @` @` @` @` @ ` @@ @@@`@@@@`` `@`````` @` @` @`&D  usssjks/    s    sssssY  VVs sssss$-    #$s/      sss%L LLsssusqfgsC' s   sssssZ  DEsT ' s 0    sss0 3   . /sssussJ  DEs&      s   sssss)    s    sssssL& !s  . ss!L4  5sssu9  SED /'  %"    )$   (%  # #! 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