Do you always practice from the start of a piece? Have a think about that….

Once you’ve got the skeleton or an understanding of the framework of the piece together, I highly recommend commencing your practice of a piece, not from the start, but from a little stumbling block perhaps, a section or phrase or chord change that is proving tricky, or perhaps the start of a phrase or section that you want to work on and bed in further. Playing through pieces start to finish, skipping over stumbling blocks without addressing them, hoping they magically sort themselves out the next time we play the piece through in exactly the same way is not really going to get you too far.

Whatever your particular “stumbling block” might be, isolate it and work through it slowly and methodically. Pick it apart.  Find out EXACTLY what is going

Spanish guitar
Photo credit: aesedepece

wrong, or rather what is not quite working right and what you need to do with your left hand fingers AND your right hand fingers to get it working as you want it to sound.

It can take our brains around 20 or days to learn new patterns, apparently – so don’t stress if you can’t get that chord change or finger movement yet or a piece memorised after a couple of days. Just know that by carrying out this methodical work you’re embedding the new habit, the new muscle memory.

And when you do pick out that tricky spot to practice it in isolation DO NOT just go repeating it countless times without awareness of what you’re really doing. If it’s still not working go back to figuring out what you need to do to fix it up. And if you’re not sure what that is then it’s definitely one that your teacher will be able to help you with!

So, yes repeat it a few times when you’ve got it more or less figured out. Do this S-L-O-W-L-Y.  This is absolutely key. Don’t be in too much of a rush to get it up to speed just yet. There’s plenty of time for that. Just focus on getting it right, getting it rhythmically correct, getting it settled, getting it sounding exactly how you want. Speed comes later, and only ever to serve the music.

And then leave it to sink in for a while. You might want to come back to it later in your practice session. You definitely want to pick out that little tricky spot in your next practice session. I can pretty much guarantee it will be a lot less tricky the next day and the next, until you will have forgotten what all the fuss was about!

So, next time you sit down to practice, before you start playing your first piece from the very start to the very end without pausing for breath in between ask yourself the following questions:

  1. Do I really need to play this all the way through from the beginning right now? Would that be an effective use of my time now or am I just being a little bit lazy? 😉
  2. Where do I know I could begin focussing on instead? Which sections need the most work still?
  3. What is it about those sections that need further work, what do I need to do and what do I want to have achieved by the end of this practice session with those sections?

How to memorise music

Putting aside the question of whether one should memorise music and why we as guitarists and musicians might be inclined to do that (check out my recent article on the subject if you want to read a little more around that argument HERE), I decided to write today’s post based on the presupposition that we want to memorise and how we might go about that.

Well, there are a number of modalities we can employ when memorising music:

  • Kinesthetic or tactile
  • Aural
  • Theoretical or analytical
  • Visual

And whilst we may naturally feel more predisposed to one or two modalities over the others, the more of these we can use when memorising music, the greater we will know and understand the piece, the stronger the memorisation will be and less opportunity there will be for having one of those troublesome blank spots!

Kinesthetic or tactile

This is basically the touch, feel and movement of the hands and fingers around the fretboard and on the strings. You may find if you’ve just been learning a piece from the score, and without thinking too much about it, start to play it away from the score, you’ll probably be relying heavily on your “muscle memory”. The muscles in the arms, hands and fingers, along with just a wee bit of help from your grey matter, will seem to take on a life of their own and play the music for you. The memorisation of the music has started to build itself into your muscles, into your neurology, through the very repetition of bars, phrases, sections and whole pieces. Your unconscious mind (which knows a lot more than you probably give it credit for!) has started the process of memorisation.

However, you might find that if you then start to actively think about what it is you’re playing, about where your fingers are and where they’re going next, the ability to “remember” and play the music suddenly starts to crumble. That’s because this is only one part of memorising music – only superficial memorisation really – and we need to bring other weapons into the memorisation arsenal.


This modality might be the next one that starts to build up. It also may build up in conjunction with that of the tactile memory. This is the memorisation of the sound of the music being created.

So do you know where the melody is going? Where are the phrases and sub-phrases? Where is the melody? Is there more than one line? What about the bass?

And we’re concerned not only with the melody, but also with the harmonies. Can you hear the various chords in your mind’s ear? Can you hear how those relate to the melody line?

When memorising you may forget where the fingers need to move to, but you can hear the music “playing on” in your head. You know where you need to go aurally, but the fingers and muscle memory isn’t perhaps quite up to the same speed!

That’s where the next modality comes in so very useful….

Theoretical or analytical

This is where we get to know the piece really inside out. And there’s absolutely nothing stopping you when from getting to grips with the analytical side of a piece from the get go. In fact, taking some time to dissect a piece, exploring and understanding its theoretical make up, is probably going to help you learn a piece much faster, regardless of whether you’re memorising or not.

Knowing time signature/s, key signature, key modulations, rhythms, and elements such as melodic and/ or rhythmic motifs and harmonic “signposts” including chords, and key notes at the start and end of phrases and sub-phrases within the piece, are fundamental things you can start out with. If you want to get really stuck into analysing your piece and getting to know it inside out I challenge you to recall it by writing it out bar by bar on stave paper!

Which brings us nicely to the last modality…


The visual memory can link back into the first modality we discussed – the kinesthetic or touch – knowing what the movement of the hands look like as we play. But we can also memorise what the music on the score looks like – yes it is possible! And undertaking the exercise of analysing the score, recalling it and writing it out can help with that. As a first port of call, however, we can learn to “see” in our mind’s eye the shape of the music on the page.

Another way of visual memorising a piece is to imagine playing the piece away from the guitar – can you see in your minds eye how you play the piece with your left hand? Where are the gaps in that visualisation? Are there any gaps in the aural recall? Can you also see what the right hand is doing?

Full on stuff! But the more and more of these modalities and exercises you can build into your practice the stronger the memorisation is going to be. Then you can forget about it (so to speak) and just play!

As always, there is more than one way to skin the metaphorical cat, so let me know how you go about memorising the music you play.