e must understand first that there is a wide difference between studying and practicing. They resemble each other only in so far as they both require energy and time. By the same token, they are virtually inseparable in any system designed for efficient learning and memorization.

To understand this concept, we must first divide study and practice into their component parts. What is generally termed 'Study' should actually consist of: Research, Examination, and Prestudy. What is generally termed 'Practice' should actually consist of: Practice, Mental Rehearsal, and Refinement. These six components are at the core of my learning and memorization model. We can begin by understanding the terms.

THE COMPONENTS OF STUDY:

RESEARCH implies that we acquire some knowledge of the piece's historical and national background; a general acquaintance with the composer and perhaps some of his other compositions; a survey of performance styles and practices of the time; and an accurate score from which to work (either a copy of the original manuscript or an authoritative edition).

EXAMINATION implies that we learn the piece's key, time signature, dynamic indications, tempo markings, title, and opus number. We must also decide what these things mean to us and how they will effect our approach and understanding of the piece. Tempo markings and expressive indications should be carefully looked up; the opus number can help us judge where a composition fits in, in relation to the composer's whole output; the title may help define the mood, character, etc.; the key might require a special tuning. All such matters are considered part of the examination.

PRESTUDY involves study and analysis of the score before practice. The analysis should include complete fingering of both left and right hand parts (including indication of rest and free strokes); an observation of the formal, harmonic, and rhythmic structure; and possibly a preliminary listening to a performance or recording of the piece. The latter is optional and sometimes impossible in the case of an unrecorded work or new contemporary piece. Studies have shown that listening to a piece before you begin the learning process is beneficial in forming a concept of the piece as a whole, however, one must avoid a slavish reproduction of someone elses interpretation. Prestudy also means 'playing it through in your head' before you pick up your instrument.

THE COMPONENTS OF PRACTICE:

PRACTICE (the manual process) means a large number of repetitions, with close attention to mere correctness of notes, fingerings, dynamics, tone color, etc. Good practice is intelligent repetition, but there is little intelligence in repeating anything without concentration of mind. The mere act of practicing in itself does not insure the improvement of a skill. "The value of practice lies only in the repetition of a pattern of response that inevitably will vary and may be reinforced by the person or his teacher. It is the subtle manipulation of reinforcement that produces improvement, not the practice itself."6

The most important stage of practice is the initial impression. Nearly all psychologists and educators agree that the first impression is the most lasting one, therefore, in our practice it is economy of time and energy to take advantage of this fact so that no corrections need be made later. "In learning something, make a deliberate and deep first impression and then trust that. Instead of repeating the impression, repeat the recall or memory."7 This leads to the next component…

MENTAL REHEARSAL is defined as implicit recall of the material already learned. There are different stages of this-first; after making an adequate and permanent first impression, repeat it in recall, or from recall, as often as is necessary to deepen this first impression. This stage of mental rehearsal provides for efficient and secure learning. It is generally used on small sections of a piece (say, one phrase at a time). Second; once a piece is somewhat learned as a whole, another type of mental rehearsal has been proven beneficial. During a mid-way point in practicing a piece, one should pause for a period of mental rehearsal away from the instrument and then return to complete the practicing. For example-play it twice; think it once; then play it again twice. Third; once the piece is fairly well learned, mental rehearsals may occur anytime or place you wish - the more the better. Psychological teaching suggests that the last thing at night is a good time for rehearsing what one desires to remember. Why waste those last several minutes you fall asleep? They can make a difference. It must be remembered that mental rehearsal includes recall of notes, left and right hand fingerings (rest strokes and free strokes), dynamics, tone colors, expression, rhythm, and all other ingredients of the actual physical performance. Mental rehearsals should be practiced in 'slow motion' and 'a tempo'. "With each sound that is 'heard' mentally in 'thinking through' a musical composition there should be associated a special consciousness of the fingers which are to produce that sound. To mental hearing must be added mental feeling."8

REFINEMENT is the on going process of improving a composition either technically or interpretively. While most technical aspects will improve through physical practice, most interpretive concepts must evolve through the mind. Refinement requires that the performer regards his performance objectively. Many players allow themselves to produce sounds that they would condemn at once if they heard them in the performance of another. We must strive to become both performer and audience at the same time. As Busoni once said, "No one in the audience listens more attentively than I do. In quest of new beauties, I must continually have my mind alert to opportunities for improvement."9 As most guitarists realize, great works of music are like old friends - they will be with us for a lifetime. Considering this point, we must lay great value on these: words of Manuel Lopez Ramos, "In order to continually refine these great works for guitar, we must learn to renew our love for the music constantly - just as we renew each day the deep feelings for our love ones."10 Refinement is the never ending search for the composers inner thoughts and feelings at his moment of inspiration. As you can see, merely understanding the primary components of study and practice nearly sets up a system - but not entirely. There is yet more to consider before complete learning and memorization model can be formed. However, one important observation can already be made - pure mental activity should be substituted for much of the work usually done at the guitar. As the great piano teacher Leschetizky puts it, "Thought is most essential in the study of pieces; for the way by which they are learned and memorized goes from brain to fingers, and never in the other direction, from fingers to brain."11

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6 Robert W. Lundin, An Objective Psychology of Music (New York: Ronald Press, 1967), pp.132-133.
7 Carl E. Seashore, Psychology of Music (New York: McGraw-Hill Book Co., 1938), p. 151.
8 lames Friskin, The Principles of Pianoforte Practice (New York: H. W. Gray Co., 1921), p. 29.
9 lames F. Cooke, Great Pianists on Piano Playing (Pennsylvania: Theo. Presser Co., 1917), pp. 99.
1O Manuel Lopez Ramos, Masters Class (Mexico City, Mex., June 6, 1977), Lecture.
11 Malwine Bree, The Groundwork of the Leschetizky Method (New York: Schirmer, 1902), p. 76.