As a vocalist, when trying to learn music you may have wondered if there might not be a better way to do it then to simply cram it into your head. Given enough repetition, most songs can eventually be committed to memory through this method. But, as you might expect, I have some methods which you can follow to make the process of memorization more orderly and more lasting.

First of all, you must realize that memory is largely physical; especially the particular kind of memory required to learn a piece of music. What I'm about to offer you as a technique is not necessarily a short cut. However, it is a proven method which, when completed, will lock the music firmly in place in your memory. This can be very comforting when you're on stage during stessful times, however, the system is not just for those situations. You learn best if your entire body is involved in the memorization process.

The body, whose memory is largely phisical, can remember many things at one time, but the brain can only learn one new thing at a time. If you begin to memorize music by trying to do the melody, rhythms, lyrics, etc. all at once, you actually make it harder on yourself. It may seem to be quicker that way (and in an emergency it may be exactly what you should do) but the quality of the memorization is lower. You are more likely to have temporary lapses of memory if you cram. What you think you have learned can so easily slip away with the slightest distraction to your concentration. When you learn music layer upon layer, one step at a time, you prgram your brain more thoroughly and, as a result, you will retain more.

Now, the first thing to do is to separate the lyrics and the music. The ability to make language and the ability to make pitch come from two separate sections of the brain and your brain will learn faster if you let it function accoding to its natural impulses.

Look at the lyrics as if they were a script and approach them in the same way that you would lines in a play. Examine what they say and what they mean. If the lyrics are those of another writer, give extra time to the dramatics that are obvious and the dramatics that lie in between the lines. Form an opinion and begin to let the feeling of the message creep into your soul. Sit with it, adopt as many varying attitudes as you can (anger, joy, rage, ecstacy) and try saying the lines as if you were actually feeling those things.

Try attitudes that don't even seem to apply. For example, take the line "Mary had a little lamb" and say it four different ways.Try it angry, try it laughing, try it sad and try it majestic. None of these feelings necessarily apply, but trying it in different ways will stretch you to all the possible extremes of interpretation. This will broaden your scope and spark your imagination and you may discover things you never saw before.

Look in between the lines, as well, to find additional information. Who is talking? Who is listening? Is the song telling a story or just explaining an emotion or both? Be specific. Be detailed. The clearer your pictures, the better you will be able to communicate the essence of the song to the audience. For you to take control of the piece of music you must know it inside and out.

Now, say the words out loud very slowly. Pronounce every consonant separately and every letter at the beginning and end of each word. Learn the words syllbically. Do this until you can repeat every word as clear as a bell. Who needs a singer at the front of a band singing away with a beautiful sound and no words? The essence of a song is in the words -I want to hear what you have to say and so does the audience. If they can't understand you, if your diction is poor, they will feel left out. You won't even be able to catch their attention let alone continue to hold it for very long.

The next step is to say the words while biting on your finger. Yes, that's right, you finger. Don't bite too hard or you'll hurt yourself. (We don't want anyone drawing blood!) Now, as you bite, say the words slowly and as clearly as you can. Pronounce every syllable no matter how silly it sounds. When you take your finger away you will have worked the words "into your muscles." This process also helps you to memorize the lyrics. As you do this exercise, you can think of all the possible emotional feelings of your 'script.'

In the next couple of articles I'll be breaking this process down in stages so until then, just review what we covered in this article:

-Say the lyrics as a script, as if they were lines in a play.
-Spend time on the dramatic content. Adopt varying attitudes towards your 'script.' Be specific.
-Develop the background of the 'script.' Try contrasting attitudes.
-Say the words syllabically, slowly pronounced every consonant.
-Now say the consonants and syllables while biting on your finger.

The lyrics of the song are now programmed, and you're ready to continue... next month.