HOW To "NAME THAT TUNE" With MERELY ABSURD WORDS.
As I say here on the music realm of my site, it's often good for memory to name the motifs of your tune. Say when you're learning your song you already know how to play your left hand just when you at the second loop of your tune, but not too well yet. In this phase you must be definitely sure you know what you want to remember is of worth, otherwise all that follows you learn to boost your memory will be going against you not for you, so you would want to learn stuff like the Five Ways To Music Power by way of the general good rules of the ideas and so on above.

Generally you want to be at least 3 times more certain or more, that you're more right than wrong in general. There are many ways to achieve this, for instance by way of your teacher marm from way back when in college, learning via CD ROMS with instructors (Cheaper and often a lot more of worth because you learn at your own speed) what I say on this site, knowing how you want the tune to go, or other sources of knowing either how not to goof or what's life to boost (these are the two general most important motifs in learning anything). In learning a song I often find myself not being able to remember some of it well while I'm learning it, since much of a good song is by much improvement and weeding out the only song anyone named you or me could ever write in the whole cosmos just like it. If you know what you want to remember to augument your song on the way to completion of it, if there's a lot to remember with slower to learn realms of the song and you want to remember it faster, as I say naming it is of real worth to improve it well, this broadens your depth and speed both. (Never underestimate the worth of familiarity in learning. In essence you have to learn the whole song with more than enough familiarity at least once. It's often a considerable time in months or even years from when you know how to play it right once in a while to where you can play it right most of the time or more, even though you "know" what the song is. If you're good at chess and you try a computer, you'll find that there are many deep and not so deep levels of perception. You can think you know, but only when you know why and how you know really well is your knoweledge complete, this is about making all the structures in your song, like all the mortar, roofs and wells of a realtor being sound and of worth, not just to look at, you want a room to live in.) To know has many layers of depth, and to name your motifs of your songs is of worth. How do you name it?
Say you start with on the fourth string at the start of your tune, and you want to remember this. One good way is to use the letters of each word to make one word you can remember at high speed, by making the word absurd. So when I start the song on the fourth Start With Fourth, is SWF or My word to repeat is SWiFt, SWIFT. And to remem-beer START and SWIFT (with ginger ale!) it's like the latin "Make Booze Haste Slowly!" Or another part of my song has, First, Middle Low High, which could be FMLH Foamy MiLes per Hour, so at that ream of my song with each rep I imagine a zoom up the superhighway of the B&O tracks of the wires and foam expands out when I reach that motif of the sound machine! Or on a repeat of another like but distinct realm of my tune Second Low Middle High, might be SLow My YooHoo, and here I would always repeat, Slow My Yoohoo, with a sound like a jug launching a giant ship to economise... This method of using letters for the words and then making a simple word out of it is a way to find the distinction faster, it's a sort of memory amplifier, refining it well to find distinctions that would otherwise take perhaps a third or twice the time to achieve it in tougher realms of the tune or other realms I want to learn. You go from where you can repeat that realm of your tune just sometimes correctly (where you know what you want to remember but can't repeat it all the time) to where you always play it well, and fast, this is a good depth booster. The word altus in latin means both high wide deep and broad, when you go on the roads in concert if you have a grand with 87 rooms and a swimming pool for the Margie and mom, so be it! For more advanced options of these Letters For Words, Click Here (My Comedy Machine).
With each session to learn a tune, in general you'll have two types of motif to remember, the new ones and the old, and others that are somewhere between new and so well learned you always repeat them well and without error and with ease. Only when you finish up the song will there be no more new motifs while you learn then, thus for most of your practice hours you'll want to both learn the new stuff, but something many non creators who wonder about the ways of music don't know is that it's just as important to learn more of the familiar motifs well as it is to learn the new motifs. The familiarity is about balance, and there is almost no other way to learn music well than with balance.You may say that there are all these complex cyber ways to learn music, it turns out for now at any rate that like computerized art and computers in general, they have just two problems; they're real unyeilding and real unpredictable! Many cyber artists and musicians always draw and compose at faster than light right on the memo or the cassette because of this, and improve their creativity much faster and without risk of loss of all their memory here. Only then do they go computerized. Computers are often hugely slower than "real" media, and mostly seem to be just for perfecting and then sharing with the world wide web. Computers are another media, like painting in say oil more than arches, and like any seperate medium with a good number of special problem solving skills not found elsewhere. Even so I believe computers are way over rated here in 2009 for creativity. A paradise for musicians? The third moon they say has a higher boost in orbit!
Another way to name some of some tunes better is about what it reminds you of, say a dog barking, fizz if sharp, the click of a watch, or the power part of the song, the sad motifs, the smooth part of the song, the rough part, and so on. You can take these parts of the song and the words and make absurd words to remember like the above, and also where on your instrument you play, the speed you play it, and other ways you remember better, provided you're more sure than not, by using rediculous condensed words of sound.


If you learn sounds by aroma, your can't opener has no whiff!
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