im-Directed Movement is an approach A to practicing guitar which should prove useful to teachers and students. A.D.M.* is a concept of practicing movements to and from notes, as opposed to the idea of practicing notes themselves. One purpose of A.D.M., developed and put into effect, is to minimize dependence upon the conscious activity of note recall after having prepared the memorization of a piece. Therefore, A.D.M. is essentially the "memorization of movement." And it is certainly to a performer's advantage to be able to reserve his conscious efforts for the interpretive elements of his performance, since that is what determines his degree of artistry while on the concert stage.
To begin, most advanced performers agree that a certain "tactile-memory" or "muscle-memory"¹ exists when playing the guitar, and that this memory goes through various levels of development as one progresses in learning a new piece for performance. It is the manner in which the muscle-memory is attained that deserves close attention.
Muscle-memory is developed by using the principles of habit formation, and habits are the result of constant repetition. It is imperative that repetition be controlled by the fully conscious mind or progress may be hindered. The following excerpt from a recent work by Aaron Shearer² adds insight regarding the nature and importance of habits:

	"Habit formation applies to both mental and physical activity; we acquire habits of thought as well as habits of body movement. Our most important concern must be with how, under what conditions, or in what manner are our habits to be acquired. They can be developed either from careful understanding and accurate study and practice, or from confusion and erroneous study and practice. Habits of clear thinking and accuracy are self-reinforcing and lead to the best possible progress. However, it is essential to realize that the same principles are at work in the case of inaccurate thinking and practice. Confusion and error reinforce habits of confusion and error which will unavoidably occur in performance until replaced by habits of clear thinking and accuracy. Thus, habits will either shorten the learning process or make it longer or even impossible. The option belongs to each of us alone." Aaron Shearer, Principles of Learning the Classical Guitar, page 5)

Therefore, since tactile-memory is to be developed through principles of habit formation, then repetition in practicing must be consistently accurate. How may this accuracy be achieved? The concept of visualization³ is one possible solution. Visualization requires that before a note (or note group) is played, the guitarist can see, in his mind's eye, which string and fret the note(s) will be played on, and which fingers of the left and right hands will play the note(s). Once the guitarist has cultivated the ability to perceive these images on the guitar, then he is at least on his way to practicing accurately.
However, the importance of consistency of accurate repetition cannot be stressed enough! In a discussion about accurate performance, guitarist Manuel Barrueco said, "If you practice mistakes, you will perform mistakes."4 This deduction, however obvious, deserves careful, consideration. As we know from our discussion of habits, muscle-memory itself cannot distinguish between right and wrong notes, or equally important, correct and incorrect fingerings. Remember: the concentrated effort for consistently accurate repetition must be achieved first! A desirable muscle-memory will hopefully follow.
With the basis for muscle-memory established, we can now proceed to examine the usefulness in its application to A.D.M. Let us begin with two examples:
For instance, many students who have a secure technique and the ability to visualize pieces on the guitar quite well, continue to have difficulty producing a smooth, well-connected, fluent rendering of the music they play. One reason for this is too much focus on practicing notes and insufficient attention paid to the procedure in moving from one note to the next.
Another example would be the inherent difficulties in playing legato on the guitar. We have talked with each student, at one time or another, about how it is impossible to maintain the continuous vibration of a string while changing its length. This problem is usually attended to by immediately trying to speed the movement with which one proceeds from one note to the next. This prescription is well-intended, but also illustrates the aforementioned problem: too much focus on arrival points . . . not enough on the pathway.
Instead, if the movements which take place between two notes are carefully studied, the guitarist might achieve fluid, legato-like playing, more quickly. This is where Aim-Directed Movement enters the picture. Specific factors are involved in good movement: smoothness, balance, strength, and accuracy. These factors will now constitute our aims in directing our fingers to the notes during the repetition in practicing. Hence, the term, "Aim-Directed Movement." Keep this in mind as we move on to the illustration and procedure for A.D.M.

For the purpose of illustrations, we will examine now the movement from a C major chord to a D major chord.

Begin on the C chord

1) VISUALIZE NEXT NOTE (in this case the D chord)

Try to see, with the mind's-eye, the configuration of the left-hand fingers, including any open strings. Imagine: the open D, the first finger on A in the second fret of the third string, the third finger on D in the third fret of the second string, and the second finger on F# in the second fret of the first string. Picture the different positions to be assumed by the wrist, forearm, and elbow upon playing the new chord. Also, try to see that the same right-hand fingers that played the first chord will also play the new chord, except that P will play a different string.

2) MOVE SLOWLY AND SMOOTHLY TO THE NEW NOTE(S), DO NOT PRESS

In moving the fingers, you may place them simultaneously on the new chord configuration, or place them in some consecutive fashion if this is what would occur at tempo (such as in cases where a guide finger is used). Motion should be as smooth as possible, avoiding any sudden or awkward movements. Do not press the strings down to the fingerboard at this time. Simply place the fingertip so that it only touches the appropriate string within the appropriate fret. Then place the right hand fingers on their appropriate strings.

3) ADJUSTMENT

Now move each finger to where it is as close behind the fret as possible. Make adjustments with the fingers, wrist, forearm, and elbow to seek a "strong" position. It is important for the guitarist to know that when he presses the fingers down and sounds the note(s), the following should result:

- Each finger will receive proper support and not collapse at any joint (except in the case of barres, hinge-barres, or some similar technique being done intentionally). - Each finger will depress only the string intended and not interfere with the vibration of other sounding strings. - Each tone will be clear, free of buzzing or other - Extraneous noise.

4)PRESS AND PLAY

The final step is to depress the strings and sound the notes. Then proceed to the next note(s) according to step 1.

RHYTHMIC CONSIDERATIONS

One should understand that Aim-Directed Movement is a practice technique useful at particular developmental stages of a piece (or exercise). It is not a total system or process for learning music. Before attempting A.D.M. the guitarist should be sure that he has fully grasped the basic elements of the music. This is especially important with respect to rhythm. When one begins practicing with A.D.M., rhythm assumes a subordinate function. If necessary, the player must utilize corrective pauses. For example, if at step 1 - VISUALIZATION - the player cannot readily see, in his mind's eye, where the next note is to be played, the player must then suspend the rhythm until the fingering is clearly seen.
There are additional benefits to be found by practicing with A.D.M. If one is unable to progress successfully through the step 1 - VISUALIZATION - at any point in a piece, then a memory weakness is clearly identified. This happens frequently because tempo is so slow during A.D.M. that the muscle-memory (partially developed from having played the piece with the music) is unable to furnish the correct information, e.g., which notes are to be played next, and which fingers are to play them. The performer must then supply this information from his conscious memory. If this is not possible, then the passage requires further visualization study before A.D.M. is attempted again. Step 3 - ADJUSTMENT - helps the player to develop an ability to project an impending result, or it could be said that it increases the player's awareness of what the outcome will be before an activity takes place. This is desirable because, once again, PROPERLY DEVELOPED MUSCLE-MEMORY WILL RESULT THROUGH ACCURATE REPETITION ONLY!
In conclusion, it is understood that many different practice techniques exist, each being useful at some stage of development. It is hoped that, carefully considered and put into effect, Aim-Directed Movement will also serve a useful function among the practice techniques you teach.

* A.D.M will represent Aim-Directed Movement in various sections of the disscusion.
1. "Muscle-memory" fuctions at a lower level of consiousness; however, it defenitely requires mental activity, in terms of an aim, to make it operate.
2. A.M.D., in concept was first introduced to me by Aron Shearer.
3. For further information on visualization, see Mike Samuels, M.D. and Nancy Samuels, Seeing with the Mind's eye. (New York, Random House, 1975)
4. In a interview of July, 1976.