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Techniques For Memorizing Music On The Guitar
Over the next few posts, we will be looking at a number of initial techniques for memorizing music on the guitar. These are initial because there are many phases to memorization. These posts are about the initial learning of the notes on the page in order to replicate them on the guitar. In my opinion, a combination of techniques is preferable (motor, cognitive, visual, emotional, etc.) and varies according to different artists. Different memory types reinforce memorization from different angles and perspectives.
Hearing Before Playing
Observe the following quote by Fernando Sor.
I make a great distinction between a musician and a note player. The former is he who, considering music as the science of sounds, regards the notes only as conventional signs representing them, and which by the sight convey the result to the mind, as letters communicate words, and words, ideas. The latter is he who considers it the science of notes, who attaches great importance to their names, the real acceptation of which is unknown to him…
Fernando Sor
In using different aspects of memory learning, the music reaches the psyche. There it sounds
Combination Of Techniques For Memorizing Music
Overall, memorization is the combination of recalling more than one element of the music simultaneously. A successful recall of the music from memory usually focuses first on the aural aspect tied to the visual movement aspect of the fingers. The process of memorization is very analytical. However, only after this intense analysis can a piece move into the development of making actual music and, as Sor put it, convey the “idea” held within.
The Block Memorization Method For Music
The block memorization method is probably the most common method of memorization. It requires that the student already be familiar with the piece. F
The Block Memorization Process
The student begins by looking away from the music. Then, play as far as possible from memory. The effective use of this method will need extra care taken to ensure correct fingerings, dynamics, and anything else needed for the final memory of the piece.
When the memory fails, then the student must look at the music. Finding the problem area, the student plays the area several times to “work” it into the memory. Then, in order to create continuity, play the problem area slightly before the problem area. This becomes the main practice section at this time.
After the section feels secure, the student proceeds to the next problem area by continuing to play from memory. Then, repeat the previous steps to develop the memory. It is to continue from the practice section onward and not return to the very beginning of the piece. This wastes much time in the process of memorization. It has already been established that the music preceding this point is memorized.
Conclusion and Apparent Drawbacks
The block approach to memorization works quite well with most students. The biggest drawback is the practice of the sections in between the memorized and unmemorized parts. They will still need more work to ensure
The Overlap Memorization Method For Music
The student will typically play a single measure of music until it is secure. Then, the student will play the following measure until it is secure. After memorizing both the first and second measures, the student combines the two measures and plays them from memory together.
Next, play the third measure until memorized. Contrary to most students’ ideas of memorization, it is important to play the second measure and the third measure together. Most want to go back to the beginning and play from the first measure to the final measure from memory. This actually takes more time and reduces the speed of memorization.
Another observation is that more advanced students may be able to take an entire phrase and memorize it as a section. This is more logical when it comes to phrasing. However, the majority of students will usually default to memorizing one measure at a time. After memorizing the third measure, the process should continue until completely memorize the entire piece. Also, note that this may take more than one practice session. This depends on the length and complexity of the piece compared to the skill level of the student.
Advantages of the Overlap Method
Using this method, the player glosses over no part of the piece nor takes it for granted. This is due to the overlapping process. This also eliminates memory lapses on transitions. The other main benefit is that with only two measures or sections memorized at one time, the need to play over prior areas is eliminated. This saves time in the process because these areas have already been committed to memory.Â
Disadvantages of the Overlap Method
The greatest disadvantage is connected to the last advantage given above. If the previous area is not memorized sufficiently, then moving to the next area may cause the previous section to fade when returning to it at a later time. A way to remedy this is to select a given area, say 10 measures or a phrase and use the overlap method for that area over the course of a few days. This ensures that playing it the next day will secure the section with repetition.
The Reverse Overlap Memorization Method For Music
The argument for using this memorizing music method relies on the theory that the more time one spends with a given section, the deeper it will engrain into their memory. With that theory, if a student learns from the beginning of the piece to the end, then the end of the piece will be less secure than the beginning of the piece. For shorter pieces, this may be a moot point, but for longer pieces, this could have real consequences.
The method begins at the end of the piece and works its way back to the beginning. As with the previous explanation of the overlap method, the last measure is played until it is memorized. Then, the second to last. The two are combined and committed to memory. Next, add the third to last and then combine the second to last and the third to last. By beginning at the end, the student will become more familiar with the piece in its entirety than by using the standard overlap method.
This method may seem odd to most people. However, it has been known to be one of the effective approaches to memorizing music in a short period of time. It has also been known to aid those that have difficulty memorizing music in the first place.
Advantages of The Reverse Overlap Method
I have used this method on a number of pieces. Sometimes it feels counterintuitive. Other times the process gives greater insight into the direction of the phrases. It also is more difficult to “hear” internally the piece if you are unfamiliar with its sound.
Disadvantages of The Reverse Overlap Method
These are the main disadvantages of using this method. It takes more time to reach a point where the phrases and sounds come into view. The question is whether the advantage of knowing the piece more intimately from end to beginning outweighs the phrase disadvantage.
Final Thoughts On Memorization Music
As the saying goes, “There is more than one way to skin a cat.” I’m not about to get into the morals of skinning cats, but it applies to memorization as well. As we have seen, there are a number of ways to approach the skill of memorization. The three methods touched on are:
- The Block Memorization Method
- The Overlap Memorization Method For Music
- The Reverse Overlap Memorization Method For Music
There are a few others that I know of but these seem to be the most prevalent amongst guitarists and musicians in general. Many times it may be a combination of two of them that may be relied upon on a regular basis.
Eliminating Confusion And Errors Is Essential
The most important thing to remember about memorization is accuracy. All the methodologies in the world won’t help if the notes and fingerings are learned incorrectly in the first place. It is vitally important to take as much time as needed to verify the fingerings and placement of notes before ever beginning the memorization process. This will keep the confusion and errors to a minimum as the piece progresses toward performance.
Mentally Playing A Piece
An area missing in the previous posts is the idea of visualization. That is, playing the piece mentally without the guitar in your hands. It can take a number of different forms. Aaron Shearer taught me to say the solfege during this process. Others seek to hear the notes mentally. But all of them are seeing the fingers move on the fretboard, strings, and/or the sheet music. However you choose to mentally practice, make sure you put some time
Check out some of our other articles:
- Techniques For Memorizing Music On The Guitar
- 3 Things I Am Learning From Beginner Guitar Scales in Open Position
- Help Your Practice By Changing Your Sheet Music Stand
- Learning To Connect Two Guitar Scale Forms – Part 1
- Segovia Scales And Their Hinderances
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I have two degrees in guitar performance and was privileged to study under Aaron Shearer, Tom Kikta, David Skantar, Ken Karsh, Tim Bedner, and currently Christopher Berg. Outside my editorial work on this blog, I teach full-time across many genres including classical, jazz, blues, rock, funk, and metal.
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4 responses to “Techniques For Memorizing Music On The Guitar”
A fundamental question would be why is it necessary to memorize? Learning to play from memory is an important part of a musician’s development but it should not be a requirement for a person to play everything from memory. A much more useful skill in acquiring a broad and comprehensive knowledge of the repertoire is the development of a fluent reading ability.
Thank you, Alan, for your comments. I appreciate your thoughts on the subject. However, the intent of the post is to talk about memorization rather than its importance in relation to other skills. Each student has different goals and weaknesses. For someone looking to play through repertoire, development of reading fluency is paramount. In performance, however, memorization allows for greater expression and has become the norm in classical guitar solo playing.
I do agree that memorization CAN allow for greater expression in performance but I don’t agree that it is necessary to memorize in order to play more expressively. I think that a common mistake many players make is viewing memorization as the final goal, once a work is committed to memory the score goes back on the shelf. Regular reference to the working score keeps the memory fresh and helps avoid misreadings and memory lapses, both of which diminish any expressive benefits one may gain from playing from memory
Thank you for your valid points. I believe most of these issues still fall back to the individual player, their goals, their current level, and the difficulty of the music at hand.