"

Now ~g;n 50unding alll/mate slringl (Ex. 10). Apin. $!art slowly, and contlnually
check p toensureiMl yout pos.ition "nd movemenll.n I.ccwate. Then dese youreya
""d continue pblying. VisUllliu lhe striog and yow rnovemen15 - aUn lo se\' 1. dw'
¡mage In your mincl's ere as)'Du 50Und theslrings. Continue unril roo an ronfidently
5Qund bolh $ttings without watching f .

. ,,--------------------,
oo.

The Pre-Reading Procedure

You11 bulLd 5O,'CUre k.bita; of a«uracy and ronfideru:e onIy Ihl'QUgh secure undI!r-
standing. Your musdescan doonly what yow mind II"Lb them toclo,50 you mUA hilve
iI d«r ditf'Clion bclo«, beginnlng 10 play. Thus, 10 proyes quickly lOnd avoid conlu-
sion "nd error.)Ioo mus! undcrstand the mus!, aOO know wllere lile notl'Sar... found on
the gultar.

"'-""Ndlng 1, • ,y.r.m.tlc w.y '0 .lImln.'. confuslon lHIlo,. you.n.mpt lo

P"ymu,1c.

Pre-reading is.uso In efflCimt and effl'divoe approa.ch 10 d@v~ing $('(UN! and

flut!nI sightreading. I:Ir $(lIving problems bel"OI"e you actual ly pLoy, you're doing~­
tiaUy wluit profident re.ders doatsight. lhe differt1lCe i$ in how quidcly you do JI: well-
trained sighlTNdef'S ,ud ahead ¡nel solve problems as !he)' play - since you're 51m d~
veIoping yollr rnding .bility, you'lI soIve problems more slowly and deliberltely. By
working In thlJ nunner, you'lJ buitd h~bilS which will em.ble you 10 sighlfead wi!h
'CCUta()' iOO confldcnCl!.

~rNding involves visllaHution. and VISllallz.o.ti.on 15 lhe key 10 mlrtimizln¡

confusion ilnd error. ViJw"UUltiOlO mnns reading lhe musk .w.
y fn:xn !he guitn-
seeing!he mll5ic unfold under your fingen; ilS though you were..ctuaUy pl .. ylng it. The
Pllrpolil! ol vis\laliUlion is 10 ~ure lhal you. dearly understand lhe mll5ic kfart)'Oll
altempl 10 pI.1y ;1.

T"he Pn-Reading f'rocedure is (lI.1"I"i«I out In twosteps -witlroullMplllrr .

• Step One: Clarlfy Ihe Rhylhms

-, Ualng • m.tronome, ... tn. lempO . . slow _ nKHSMy 10

.vold confualon ancI .rror. Go th10ugh 1M ~U ... p¡.c. It ' - t

.. ~I whl'- dlre<:tlng 1M *1 wlm tour tool and rtgftt hMd.

 "
b. Voc.Ilze IN note valun (ualng 1M neutrW
wnu. clrectlng the beM.
.y1~ "tah") I
Are roo hlIIvlng trouble wilh any o/lile rhythms1lf YOU In!, illOlateNch problem-
lticrhylhm and practiceuntil you cando;t acruntdy. Then practice ¡heentiR! p¡~ ­
finl counting. then vocalizingeach value - until you're secure. 1f you have IW) problems
willl 1M rhythms, ¡Gon 10 Stl'p Two .

• Step Two: Solfega Each Note and Vlsuallze It on

IfIeGultl;r
Whl" dnctlng ... bM1, lIng the ~. lyUabM lo, Meh
note - 11 you Mwen'1 IICqUIttId tht abnlty 10 alng conact pHchH al
alght.18Y 1M .yl...... AIm 10 eIearty _In you. mlnd ', tM
noc.·....ct loc:8tIon Ofl In. gultar. (l1erMft.,., ~sol.~ wlUltwayl
.y.
m.r 10 tht IICI of alnglng o. uylng soH. 1y118b11S.)

- - -----
11It Irnportance of \he Pre-Readlng ~ure ean', be overemphasiud - ¡t's Ihe
f;lStest and most st'(Uff way 10 leam 10 ~ad and play music. Always carry out chis
pl~lIn! untit you can do eadI Slep nuently and easily.

Duets for Study

Tho,> following duet$ wiLl glve you prllctice wilh basic rhylhrn5 and pikhes. The
upper par! 15 ro.. you, and \he lower par! is fOl' YOU' teache\'" o. an ~enred gullMist.
Alwa)" thoroughly practice your part befare pl .. ying it wi\h another guit.tri$t.

CarefuUy follow Ihe Pre-Re.lding P'rocedure before yoo beg;n 10 play u.ch duet.
W~ you begin lO pl"y, continue directing lile be,,1 wilh)'QlU" fooI, and JOIfege e¡eh
noIe as you play. If rhylhm i5 " problml, oounl a10ud as you play. (>r,ctice wilh lile
metr\)J\Ofll(', and SO '5 ,lowly ;OS nl'C'e$SMy f()f "ccurK)'. Prlctiree"ch duet unlil you (2n
play il a("CUJ¡~ly and confidently ¡t "bool M.M. ) . 63.

CAUT1ON: WJrtn pli.ying uf 1II1I~/c frK ¡lit firs/ ¡imt, ,.Jways btgin ~I ~ J10u> r_gk
1(mPf' IOtnJOid ccn~iorr,,1Id tmII'! You shoold reg"rd e"eh 1nl'tr"OoCIfll(' ~ting in th1s boQk
as a goal ro be .chie-ved through eart'ful p","reading ,,00 p racti«.
Ez.ch of the5eduets ends wilh • .wtkd lIo,,&/t It.or (:1 ); Ihls mNrullNI Ihe piea!'
is lO be repe..ted once.
Notes on the Fingerboard
BdOfE' plOceeding. Cl.mully review ~Beginning Left-Hand Trilining,~ Part Ollt,
pp. 43 - 48. You should ~!so review che following not,tIona1symbols (see P~r' 011" p. 29):

Clrded numbers, Ci) Q)G)@®@.inditatestrings.

Uncin::1ed numbers, 1, 2. 3, 4, indiQue Ief¡.fwld fingers. A z.eroindiates ¡h.I¡ no Idt-
Iw\d fingcr is U$oI!d.

Roma" nwner¿!s, ]Ihrwgh XIX. indico!e freu..

A (La) on@
Form w nou> A by preulng@ (third slring) agilinst n (second {m)
h&nd nnger). [email protected].
wjth 20clt-
-•

Visualizing Notes on the Fingerboard

To IeiIm Ihe notes on the fingcrboard, begin by watdting lhe rmg('T~ and yoUT
finger positioos as you play. Sol lcge each note. The!'I dose your eyes and continue 10
50lfege and play. Vl.$ua!ize )loor finger movements as you play - aim 10 see each
rnovemcnt in)lour mlnd'5eye.

!tepe .. ! each o( lhe figure; in !he folJowing eQmple \Ulril )"OU can play them
Icrutate)y uwI. c:onñdently. --
Ü . 13 ____________~------------------c_------------_, --
--
•

UntiJ no .... you.'ve v;S\lal.iud oruy copen $lrings during !he Pre-Ruding Proa.-dure
(_ p. 12). The inlroductioncl A CLlo)on n, however, requires fOIl todomon ¡han simpl),
•
•
--
vlsualiu the string. ThUll, you now need to indude a third Slep in lile Pre-RNdillg
Pr(XlldUle:
•
-
 I
¡
• Step TlI ....: VIIUlllize left-HanO Movel'l'leflt.

al Po.IlIveIy ct.tennl,... the flrlng, the nI, and tlle 'en·hand

n _o
, b)SoI.1n ~rect rhythm .. you dlr.ct the bNt. "'wallzIng
NdI tlnger _ ttIougto tr. adUIIIIy depr...lng the ñ1ng
aga.lnlt the mot.

- -- - - --
Using lile three-step f"re-Reading Procedu~ pr~ce the following eumple:
EJ:. 14 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _- ,

RemembeT. )'OUT hand$ uedirect\'d by your mino. In es.sential \hat you \2J1)' out
1M Pre-Reo1Iding procedu~ bqort pr«lici"8 uy "tui ml/Sic. You'U pr0gTft5 rapidlyonly ir
you thoroughly understand Ihe musiund how 10 play il. Acquire Mbits of lICCUT<lC)' ¡nd
con6denc.. AvoId eonfu,lon Mld .,rorf

,,
,,
,
r•
'"
Memorizing Music
Memoñution I$an _ t ial $1ciI1 for ;lny asp;ring gultarist. No maUer how N'C\lfe
your technique,)'1)U won' t bol I secuTe perfonner untíl you CAn confldently memo~
mus.ic. Although somepeopl",mPm()Tlze~readily thanotMss, memoriu.tion dotsn"
requirespedal ~lent. lfyouan leMn 10 rud md play simple ¡Mees, you (;tI! i.lso lNm
10 memonu UId pcrfOl'm muskconfidenUy.

Uh every otlM:r .u~t oí guilar ¡Iudy, ~ memorization is an ;t.cquired

skill. To acquire thi, skiU, you mus! ¡vojd confU$ion In<! error when readlng and
playing musk on IN> guiur. If you're ronfused and m;aking en~ when re.mng 1.
pie.:e, 111m tlla!'1 e""ctly wl\at 1Ou'lI memoriz.e - ronfusion and error wül become
~t of)'Oll' pLayíng.

Eliminating Confusion and Error

Confusion is cauSlld by a lade or undentanding. Perl\aps Jou're uruamiliar with

<.'erlaln arusof lhe fingerlKNrd, Of you h,ven' , m"stcred a <DII1ple:IC rh ythm. Ormaybe
you "'aven', JUffi~tly studied a ch;o]]enging futgering. WhaL~ lhe rea:;QJ\, the rault
is (fttain: Confu.sion disrupls )"O\If concentration. ClIusing you either lo m;t.ke eJTOrs or
(,¡el you're about 10 mm erro,..,. Th15, or ('()Ur$(', de$1rOy$ your serurity and confidence.

Fortun.ately, you e.., avold rol'Úusion by carefully se!ecting and examining the
music you' reaboul tO$tudy. Byoolaling and f tudying probk>m pu~gessepara!(!ly, you
e.., clarify..,y un{amlliar pitdles, romplcx rhythms, 01 awkward fIngerings.
Thu$, ,'nc. conluslon Is evo/deblll, mas! errors e,. e/so evolubl4l. Through
C/fflllul pr.~,..l/on. yOIl ce" rlldUCII conluslon /0 e mln/mum, snd you can off."
.vo/d 1I ./Iogethllr.
Mast students give iruuffidenl ¡lIention 10 con!usion..,d error when Jeaming a
new piK\!. They U$ume ~ nn I'limlnateerrorsafl<'T memorizing !hl' piec:e. ThU$, tIIey
,
develop powe-rful habits of error wh.!eh they mus! laboriously try 10 rol"T"('(l. Students ••
••
who try 10 etiminate errors afte!" memorizing a pira! never perform .IlI securely and
ronfidentlyas theyrould If they had developed Nbltsof accurK)' from Ihe beginnin¡. ,
,
When apprOKhing a new piece for lIudy, how 500Il should you begin elimlnating
confusion and error? Theanswer is simple: YOII should IIIlmfflltl. conlus/on end e"OI
,
belo,.. bitglnnlng lo pI.y 1M p/«;f. You .utomal/celly WfJIn memortzJng "'0111 your
"", flNIdlnr;, end Ihls memortutlon I.nds lo sllck ellttl"o"fJllreech /1",. you pley.
Thu$, Irom"" "", rndfng. you shollld estebllsh heblts 01 ecc/Jf1lcy, conllnll/ty,
end conHtMnctl.
~ '"
......"'
..
... Selecting Music for Study
SinCE> you'll bed¡,.ling wilh rh ythms. pit,hl'$, and fingerings, r ou need loc.lrcfu!ly
...... ronsider !he complexily 01 ¡he muslc you ¡¡elOO. U you choose muslc which 15 too
romplex ror)"OUT lewl 01 de\'eloplJ\enr, )'00.1'11 either experienceronluslon and error,m
)'0'111 h;o~ 10 work extreme!)' slowly 10 .void lhem. 80th are undesirable. A/ways

......"" ..-el. pIRe whl ch, wf,h ",asoMble ~r.tlon. you CIIn rud anrl play wl thout
conluslon 800 fffOf,

...... You should ev;¡Juate a. new pi~ Ihl'O\lgh ¡he following pl'lX'tdurt:

Q $can til. pilleara. rhythm problems. Are Ihere anyrhythmlc

l igur.. whlch you d on'! unde rstend7 ti $0, '11'111 you be Ible
10 SOlV8 'hem qulckly?

O Sun Ihe pleCI lor plteh problems. Can you r.ad all lhe
pltehe.? Bew.re 01 long pana" .. 00 unfamlllar .ru. 01
1M Ilngerboard .

Q 5caon lhe pleca fo r tlglll- Ind 'en-hand ditllcullles. 001.

1'" p~ c ontaro flngerlng problll~ whlch )'OU don', reed-
11.,. unoersl and?

---- - - -
The purpose of litis e,·;oJuati()tl is IOchoooM.> music Iha! ¡SO'! too complex. For now,
you shouLd erron Ihe sideal cau lion when sel«ting music. 5Llrl with short and relatively
simple pieas - piea>s whkh al!ow roo 10 concenlrare on secureJy developillg your
re"ding and mcmoriz.ltion skills.

Sear in mind, howe\'er, Ih,,1 the $('ledion process doe$n'l necessarily I'lId once
yoo bl-gin Ihe mcmori¡:;¡liOll procedu.... 5usl~ned roncenlralion isessenll;ü 10 lhememo-
riulion proa.>du, ,,, and boredom is fatal 105ustained concentration. Thus, be sensiti\'e to
boredom as yO\l work witl\ a piece. 11 you musl s!udy. plac. 'or so long Iha! you
btconw cOIIs/Jllnlly bored lIf1th /1, 'h.n 1M pl_lsn" sult.bJe lo, you, presant
rJa",lopnwnl.

The Four-Step Memorization Procedure

You'U deveJop lhe abiU ty 11,1 mcmorize music acru ralely and s«urely Ihrough the
following procedure:

Ste p On,: Pr~eadlng w1thout Ihe gulter.

SI.p Two: Readlng.nd pI.ylng on !h.lluilar.

'"
Sl:lp 11'1,. .: TIJllng your memorluUon wlthout the guller.

Step FQlJr: Seeurlng you, memorlzatlon on lhe gulÚlr.

CAUTION: " you rush Ihtough In)' one slep, lhe Inllt. proeedur. wlll
eoUapM. Neyer go on 10 Ihe ne .. t slep unlll you eln carry oullhe prevloul 1I.p
wllh &aW.

Step O"e: Pre-Readi"g withou! the Guitar

Ml!mOriUUOn Uld reading~ dosel)' linked. How quickly you memorfre depends
ulxm your abilil), toacrurately and se<:urely read muste. Guitarlsts who are good lUden
arCi11most alw<1yS more nuent al memoriu¡ion. The re~SOn issimple: Good readcl'$are
seldom ronfused, makc fewererrol'S. Ind !huI bulld more accurale and secure tubils.

Al this poin! in yow study, you JIIouId already be familiar wilh lhe rr.,..Re.d.i"S
P".oc~",d;ure (-.. pp. 12-1J and p. 231. Ir you're bcginning 10 work wilh Jonger and_
comple:o pi«es. howe\~, roo shouldn', iltempt \O pre-reilld too much materiala. OIIO!.
'The quid:est ;md eu!c$t way 10 work with • longer piece is 10 d ivide IIlnlo llWlilgeable
segments. 111U5, !he I're-Reading I'rocedure must now be adjuslcd 10 allow you 10
approach rom ple~ ml,lsk without confl,lsion.

If you'~ working with a relatively lhart ",nd simple piece, you c~n gosegment by
segment through Steps Oneand T"'othrough thet'fltire piece. 11 you'n! ..'OCking witha
long,"" ~d mon! rompl6 piece, you c~ d ivide it inlO musl(';)Uy logica1 sections and go
through a1J foursteps 01 the Memom...tion P10cedllle with ead! t«tion.

Proceed n follow5, withouttht gwi/Q,:

O Caralully examina Iha musle lOO dec:lde how meny measur81

you can handle w1thoul eontuslon and arror. Ttlls wltl be tllt
IIrslsagmenl.ltlha plac.1s long oreompl.... you meydaelda
lo Ilka only tha f lrst 1_ measuras. tf you undarsllnd phru-
In;, take. muslcarly eoherant group 01 not" Of 'lgures.llIlhI
sagment eontaJn.s a partlcularly challanglng ligur., you may
nMd lo 111<. only two or Ih,.. notas ala time.

O Clsrlfy eaeh rhythmlc Ilgura wllhln Ih. Slgment by counllng

aOO dlracllng tha beato As you counl, csalarmlna Iha slrong
and weak be.ts wlthln tha segmen!. Flnatly, claptllt rh ythms
.. you coun!. !

,
I

I
 -
'"'" '"
.~

.,. o Now rMd Ind 'fIluallzl 1111 segment at. steady Ind mean-
lngtul lempo, as thougll yo ... Wllfl pl.ylng 1I on 1111 gultat.
Counl IloUd, then ,olle;. eloud u you I/JluaJiu,' Aepeal
."
tllls slIp untll you ean ..slly and aecurat.ly visualiza Iha
"...... segmento

.,. As roo berome <ldept IOt salleging a single p.>rl . you can further danfy \he lexlur@
011 ~ by soIfeging two or lT1o(>Ill parb in .. slightly broken INnner. The melady ;,
IOlfeged un !he beat. !he atoo poort(5) slighlly befOTe lhe beit:
-a
.,..,."" ~. L ______________________________________________- ,

If tl\.t upper pan 1$ lhe melody: " me-do, TI, do "

""""
""
...."" , b . _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _----,

.,.-a If thlloWIIf PII" l' lile me lody :

.,.
".

...;;-.... "do-me, 'a, me ~

....,.
.... WIIen you.'ve romple~ Step Onc with lhe firsl segrncnt. you're ready 10 go on lo
Stt>p Two. &11 before you do, u k youTKIf the following queslions:
....
....
.,.....
• "VI I canlutly follO~ all 1M ¡nstrutllona wllhlo Slep
0n01

...... • can I do Iv8Jl)1hlng wlthln tllls step whh N"?

....... • Do 1"" ACUle?

.... Ahovull. lit Pltia!, . y m/ rt drotlopill8 rhu/Jili/y IOfrxvs ~"d $>ISla;" yo~ r ClmUII¡ rsd ioll
.... - Ihis is IIbsoIlI,tly mcnlutl for rradill8 gnd plllyillS musK: 011 IhI guilar .

...-"
... •

...""
""
Step Two: Readi"g a"d Playi"g O" the Guitar
o WI'Ien 1OU'VI clarlllld Ind aolvtd 111 pol.nllaJ prgblarns wlth·
In tha segment, Immedla'IJy pley It on lhe gultar. Play It slowly
,nd wlthout he,ltallon. Flr" count a loud .s you pley lhe sev-
mlnL 1'hen aoljega aloud as yO\! pIIIy lhe Mgmlnt. Appl y lhe
Alm-Oifllct.cl MO ... lmenl conc.pt lor movlng your flnge r. on
lhe ¡¡uitar as you play.'

o Stop" lhe flr~ .Ig n 01 contuslon. Ba aensltlve 10 .rrOlS IS

you play, bu! also be aware lha! lome .,rorl .r. molll
..rlous lnan oth." . 11 you oceaslonally mi.. or Ilub. nota
but don 'l hesltat" kMp pI.ylng - you'II building hablts 01 ,
contlnulty, so you shouldn'! atop lor I mlnor slip 01 1M
lino ..... But 1I you h.artale be lora, durlng , o, 1ft... In 'ITOI, ,
or 1I you ,apealadl)' makalh, same arror, you ha ...a. " rlou.
problam whlch demands Immedleta en.nllon. Determine lhe
cau,. 01 your eonlYslOl'l and usa whate"'lr par! 01 tM Pr.
Ra.dlng Procedure nee.s$8I')' to solve t he problem. HeS/,.
tlons or rflputf1d em:K$ .Iw.y, ,Illn81 conlus/on - fI you ·,.
confuHd, ,top pI.ylnfJ!
,
When )'00 aln confidentl)' p!.y lile ~giJ\(>nl wiLhoul h~'Sil~ lion. you' re ready 10 ,
pp'"o.........
c 10 lile neKI segnll'nl. Allhougll you're nOI uying 10 memorlze lile piece ~I lh1$ ,
poinl, 'ooa. in mind 1.... 1)'O'I'U inevilabl)' begin 10 memoriu ~nything yoo play. Thus, 10
build 5eCUre .... bi~of conlinu;I)'. ~lways workon lke.wgmenls in order -don' l sklpbadc •
and lorlh througll lile piece. Again, be ale'l 10 lhe sJiglllesl sign 01 confuslon! Yoo'Te •
working 10 develop <lCCUr"cy, COIIlinuilY, and conrLdence - don'l negate IlIem by ;
19noring confusion and error, ,
~d and play h al ~ I'NSONble
,
Whcn )'0'1 Teaell Ihe end cllhe piece o r 1IettIon,
lempo. R'PHt,,,. 111/1" pllCI O, uclion., many
p t.y II SlICU"Iy.nd conlld.ntly.
ti,.".,., n_sury un/II you can
,••

- ----- -
Al yo" read and vis" ... li.zeeKk segmen l in StepOne, bea. in mind ~I vis""Iiz.11ion ,••

Isn'l .n end in itseU. The only way 10 confirm yoo, vis"al izalion In Step ene i, by •
immediale!y going IOStep Two and playing Ihe segment on lhe guitar. nw.. .,10M
•
.S you ClIn vlsuallz•• HfJtnen l, Immtldla/.ly conflrm 1I by ~u,. 'ely ,..dlng and
plBylng II on 1M fJuller. •
•
,
•
,•
í1
,,
,
,
 '"
1I you have diffocully r/,'adlng ~d pl .. ying ¡he music yoo' ve selecled, your
problem m"y be OI'l@O(moreoflhe FoIlowing:

~
• You're tfylng lo prHNd too mueh • once. ~., Iry lo

..
~
prHud
and .nO!"•
more ~rt.l ltuln '¡Iou can handl, wllhout confuslon

.
..
• YOUl .tucty belol'll playlng wasn, thorough 'f\Gugh. el..,
PfHMdlng '- crucial. S. su.. !hal you elarlfy .U rhythms and
ftflGWlngl. Don', tty 10 play any material untU you ean VI.U8IlU It
_ _o

-
•
•• .1M p¡.c.11 too comp. • . VO Yean selact. plecewnh lome
a.chnlcl l challa. . . but rOy .hould undal'3tand howl0 1iI0 lboul
IJOIvlng lhem. AlPln. never ..~I • plece that you can'! study
wlthOul contualon and .rror•

• ".,. lempo mar be 100 fasl. AI.ays begln wllh a lampo Ihat
allOWl you 10 play w11" conlJnully 1100 lceUllIcy. Alto,JI tha plece
r.qulr.. I tlI,l lempo 10 be . treetlva and you ean', reseh tha'
"mpo wlthln I r...onabla ti......, you .hould choose • leas de-
rnandlng plece.

WI"'le~ tlw rea,¡on, if you bc<:ol1\\' ev"",, slightly oonfused u you try 10 pl.y lhe
mu~ic.s'o"phryi"8! By trying \O pusllstubbomly thn)Ugh ronfusion and erro/', you'Uonly
lngrain extnm>ely harrnful habits.

Your aim in Slep Two is 10 Ix> ¡bIe 10 play !he pleceorsectlon ,,·it/\oul ronfusion
ano:! ftror. Thus, "..,., go on lo 5taps ThrH and Four untll you can S«U,.'y lUId
conlldantly play Iha pl.c. o, Ngmetl l 81 8 fHson8blelsmpo.

Step Three: Testing Your Memorization

By b(-roming lhoroughly f.mili .... wüh 1M musk, you're ",eJl ¡long the road 10
memoriwg il. In fKt, you may ffe! tha! you al .....ady ho\"e Ihe entire pi~ or segment
~morized. parti<:ularly if it'$ $hort and ..... lath·ely simple. U you belie\"e you h.1ve Ihe
piece or segment memori1.ed , Ihcn lhe n.I'Itt s tep islO verify your memoriuolioll.

Never rry rO p lay music Irom memory unril you've verllled your
memorizarion through carefuf visuallzation away from Ihe guitar.

. •

"
""
". ,
,
f't'ocaod as follow5: ,
a Sel both tha gultar .lId mUlle .,Ide.
Halo both h8N1' 111
,
playlng poslUon 11 though you',. play1ng In Ima;I".,. guitar.
No,"", vl.uallzawhlla .olleglng t~ mosllmportant IIna (gener· ,
aU.,. lhe mIIlody) and movlng YOUt IInoer. as Ihou;h you',.
ICluallr playln; lhe place - Imagina YOUt len hand a' lhe
,,
IIngerboard Ind YOUt rlghl IIlnd soundltlll lhe Itrin;s" You
may IIIld 11 aasler lo concentra" wl1l'! your ayes cloNd. 11
neetlSSfo1Y . 'hin YOUt locus 01 concetlultlon bet_ MndS,
,
dapendlng on whh:h hend has tha greater technlcal chal-
leng •. PrOCNd as .Iowl.,. as ne<:l ssary lo Ivold contullon Ind ,
.rrOl.
•,
If you (Coln a«uralely visuali2e lhe enl~ piKO! a l leasl ¡wice In 5uccess.ion. proceed •
10 Step Four. (lf )'<.!U've b.(lbn !he piece inlO $mlUer scctiotls, you should ~ able lo
U'curately visu.tliu> Ihe enl;,e S«Iion you',e working on.) If you can'l aoxur;otely
•
vi$U.lllu lhe piea' (o, il<'dion) in Ihit man"e r, proceed as f0l1ow5 without Ihe guit.ar. •
•
Memorfzing the Piece:
•
•
[J Uslng lile vl$uallzatlon process, decida how lar Inlo lile musle •
you can securaly visualiza from mamory. Whln you gel 10. •
polnl whlr. you'ra uneartaln 01 lile neXl nol., slOp. Go bac:k
10 Ch. Icora and examina Iha problam pas.sag • . SeIec1 •
•
f
mu sk:llly logical phraH conlllnlng Iha probtem pasiNIga. f

a tHmortu !tle rhythms by eounllng 1!'Id clapplng. •

a •
SOllege Ihemosllmporuntllne-generaUy Ihe matody. RIId
erld viluallze Ihe segmanl ",lIIral limas, maklng sure Ih.aI •;
you can elearly Imag Ine Ihe musle unlold lng undar your
,
IIngarl. l'hen look away from Ihe leore and eonllnua 10
,
Vllulllze. Repeal unUI you laal you have lhe segment , .
euraly memorizad. ,
,
O 11 you 'eel you've mamorlzed lhe segmenl, lasl YOUt memol'l-
,
mUon Ihrough lile ''TIIUng Yout Memot lzallon~ proeadure. 1I
you can carry OUllhl1 procedura wllh ease, proclld 11IWIIed1· ,
alaly 10 Slep Four. ,,
- ---- - - ,
,
•

prinltd POSO. But _ " " . f('Oft .-wn. ruuallZ<>d O«n b"""..." .. " .... od ¡..,.., ne.o liEing ...... ,I
0II1ho gul .... !I'..... In pl.oy frorn "" "ay by risualilin¡; 1M pótft •• Rng<'< ................ dlA><tlyOllIM
ri .., tat""" tllon .. ..,... on a PO&<'. ,
¡
 •
• '"
"•
~ CAUTION:Once you ..... begun 'IIememotfntlon proce$$. ~""y$ 5loor''''
muslc 8""Y Irom lhe guit.! - '"'Wlr r.-d.OO pI. y.' tM u melftrlfJ.
•• Renl(,mber, you'.\! trying 10 1K'CU ....ly memorize tht mu~ic.1f you continuaUy play

•• from Ihescore, you' .... simply dclaying lhe memorization process. Of rourse, lhere's no
Iwm In goingbKk and forth bet ...'ft'fI lheguitar <lnd thesron!. Examineilnd visWllize lhe
musi"$often 1$ n~, .. nd playeach segrnenl unlil you hlVe il serul'(!ly memorized.
•• Bwl ktrp ,he IlCOff ud Ihr gwi/af Mpilfaltd - yow'lI mtmOI'iu mort q"ic/rly ud sn:1ITt/y.

•• Step Four: Confirming Your Memorization

•
~
May and rPpNt \h@ piew o. s-egment untiJ you an confick!ntly play il from

" memory. When memorizing by ~15. dewlop continuity by a1wa)'$ beginning lo

""
,

b
pUf from a poinl precedlng ~ach new $ol'8ment. Continue in this manner unti! you reach
!he t!nd of lhe piece o. scdion.

Al fim, you lNyo«asionaJly need to slow downOl' pause \o re<lIU;\ passage. As

""
, long u you hesi""te ck>liberately and dorl't ~ con(used, a hesilalion o' brief pause
i5n'j harmful. BUl if you can'l qukl<ly rec,.¡J!he notes. o. roo fine! yoursclf grabbing (or
Me" in .. rul-()T·miss fashion, you ,ho\J.ld wl aslde Ihe guitar omd Telum 10 "M~rizing
~ tlw Pi~~ in Slep Three (p. 218).

i'
" . As a final le$t
- ------
01 you r ml'Jlloriulkm, carry out !he foHowing procedure with
!he guitar.

;O"
"..
o Play lhe IIrsl measura, lhen (WllhoU110uchlng Ih. slrlngs)
solleoe .nd vISUIIII, . lhe seconel measure, pl. y the thl,d
/TINs u,e, SOl lega and visua liza Ih. lourth , etc. Contlnue a¡·

.. terna"ly playlng and vlsuaHz:l ng massur. by meaSUf. wiltl-

OUI hesitallon Ihrough lhe enllre pleca .

O When you reaeh 1M end 01 Ihe plece o, secUon, ,.peallM

¡¡ Pfoe.dur., exeepllhls time begln by reverslng lhe order _
¡¡ vIsualiza Ihe nrst me lSure , play Ihe seconel , etc.

" O Repee llh ls procedu,e untU you can do 11 eas lly eOO sec urely.

""
"",.
,. ,

"
Summary

With pa '¡omee and carel"ul practire, you'1I dl"Velop ,he abilit y lOqu k kl y and IIK\Irtly
memonze""en Iong~nd complexpi«eJ. Furthó>r, thi$ pi cx«lul'li' MIl" you bulld I $II(UI't!
and enduring memoryof music. Studenl$oft(!n 6nd Lhal theycan Instanlly t«all and play
a p~ which they had leamed monlhs or even yean before

A1ways observe Ihe following as yoo study aOO pr~¡CI.' !he memorlution
procedur...:

• Arter vlluallOllng lOO playlng I "aw pllce, don'! Irped tha!:

)'ou'lI nec.ssBtUy be Ibll 10 play 11 ..curaly Irom n'lemory I Mw
lIourll81ar. ln lhe beglnnln;. you may need se.... ral relolorcemenl
M,slons 01 vlsuallzatlon and playlog balor. you Acutelv momo-
ri:re I plac..

• OOn'l tryto memoria 100 mucll orloo qulckly. Tlkl whatevlt

tima you nNd 10 thoroughly analyzl ,!'Id ¡Iarn lhe mu.le. Wha"
you begln 10 wotk wlllI lonoer Ind mor. compllX pl~. yO\! Cln
memorIza them In mu,leelly loglClI .eellon• •

• BelS..lbJ• . Thara ara loml pl_,wtllch mlka certllllnpartlot

lhe memonzatlon porO(:'" Impractlcal. For ",.mpll, atttlougll
IOIfe.Oe l. axtnunely uselulln clar1fylng 111. volclng ol.rpegglo.,
lt'. I'Iatdly practlcal 10 sollega IVlry note 01 I rapld arpegglo If
performance tempo. lnstead, vlsuallzl !he chord .nd 11. llngeflng.
n.n, 1I you·r. unl.mlllar wlth lha chord, pl.y II 10 become K-
qualnted wtth tts 10Und. Use your knowledgl 01 harmony lo reln-
force your memorlzation -Identlfy alch chord by na!l1l Ind hlr·
monlc luncUon If you Cln.

Above 1.11, be positive. Remember, leuning to memorize is 1. chl.llenging pt(l(.'e$5.

Your prog~ is din:'Ctly affected by your I.ttitude,sodo not let minar setbld<sdestroy
your confidente. r ' operly pursued, Ihis memorization process i5 e:drcrnely rewarding.

,,
•
•