On Memorising Music, Part 1

I’ve been having a number of conversations recently about memorising music, with both piano friends and choral friends, and reflecting on them has helped bring a number of things into focus for me. This post and the next cover general themes that apply across both worlds, and I’m planning a follow-up that specifically considers lyrics, since language is processed by the brain somewhat (but not entirely) differently from music.

For some people, a lot of the memorising process happens during the process of simply learning how to execute the music, without any specific attention to memory per se. For people who find memorising hard, this can seem like unhelpful information: that’s all right for them, you might think, but it doesn’t help for those of us that struggle.

However, as someone for whom that is sometimes, but not always the case, I think there are things to be learned from what’s going on when memorising comes readily to inform how to go about things when it doesn’t.

Getting into the Flow with Mosaic

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I spent Sunday happily in Norwich with Mosaic, a mixed-voice barbershop chorus who meet once a month, and who are preparing to participate in the British Association of Barbershop Singers’ Convention in May. Last year I had revoiced an arrangement for their contest set, and we spent a good deal of the day working on that, with a little TLC also on their other song.

The general trajectory of our work on both songs was to start from the holistic and work our way towards the detail. The reason for this is that global concepts often improve a lot of details at once, and so save you a lot of effort compared with diving immediately into the nitty-gritty. The chorus’s MD Chrissie had identified flow as a primary area she wanted to develop in the delivery of my arrangement, and it turned out that quite a lot of what we worked on with that song was also relevant to the other.

LABBS Convention 2025

Steel City Voices - LABBS 2025 ChampionsSteel City Voices - LABBS 2025 ChampionsThis year’s national convention of the Ladies Association of British Barbershop Singers was set to be an exciting one from the outset, as we knew going into it that we would be seeing a new champion chorus for the first time in nearly 20 years. Since Signature’s win in 2006, the title has been shared between Amersham A Cappella, The Cheshire Chord Company and the White Rosettes, none of whom were competing this year.

The absence of the big three this year was a direct consequence of the affiliation agreement with the Barbershop Harmony Society that has allowed LABBS groups to compete that their International Convention. The White Rosettes made history as the first to represent LABBS on the international stage in 2025, and this July both Cheshire Chord Company and Amersham A Cappella were invited to participate.

On Music-Team ‘Refresher’ Spots

Usually my first blog post of November is about LABBS Convention, but this year it has been queue-jumped by a question from a conductor I’ve been working with, namely the use of members of the music team to lead short spots in rehearsals. This post is partly for him, to help him work with his team, partly for his team to help them understand what this would entail and why, and partly for anyone else in the world who has rehearsals to run.

There are two things to clarify here: why it is valuable to have different people lead short spots in rehearsal, and what you might do in them.

In my title I’ve termed them ‘refresher’ spots; in other contexts I’ve called them Music Team spots, or ‘wildcard’ slots. All three titles capture elements of what they do: refreshing attention, making use of the team, and – by giving someone other than the MD the decision about what to do in them – bringing a little spritz of unpredictability to things.

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