One of the greatest areas of struggle for most guitarists is remembering the numerous chords, scales, chord progressions, and other odds and ends that we must employ to reproduce our favorite songs or to improvise. While there is no way to make memorization of large amounts of information easy, there are things we can do to make it more predictable and consistent and thus produce better results and faster progress in our playing.

Psychologists advise that lifestyle greatly affects memory. While this article is specifically directed at musical pursuits rather than memory in general, it is worth mentioning that a healthy diet, regular exercise, and adequate sleep allow our memories to function at their maximum potential. If you want the best results from your musical endeavors, take good care of yourself!

For us musicians, we need to focus specifically on two components of memory: procedural memory and declarative memory. Procedural memory, for our purposes, refers to that aspect of recall pertaining to executing physical tasks. In musician lingo we often refer to this as muscle memory. Declarative memory is that aspect of memory that allows us to recall facts and figures, such as chord shapes, scale patterns, and the intervals of  the root notes of chord progressions. So now that we have a view of the two aspects of memory we need to master, let’s look at some specific strategies.

Improving Muscle Memory

1. Repetition – there is no substitute for repetition. You may have heard something of the old adage among guitar players about “playing until my fingers bleed”. While this may sound like a ridiculous hyperbole, I have in fact literally practiced extreme bends for certain licks to the point that one of my fingernails began to separate from the nail bed and seep blood. While I don’t recommend this, it does illustrate the point that repetition is the key to muscle memory. The more you repeat good executions of a given technique, the better you will play it. This is also incidentally one of the keys to overcoming “stage fright” – embed your skills so deeply into your muscle memory that you can execute them accurately regardless of any distractions.

2. Consistency – you will get much better results from your muscle memory by practicing a moderate amount of repetition daily as opposed to trying to cram in a large block of repetitions on the weekend or  the day before your next lesson.

3. Focus – repetition of slop leads to playing slop. It is extremely important to pay attention when practicing scales, for instance. Be sure that you are relaxed and using the most efficient motions possible for each note. When you are learning something new it is important to practice it at a speed that will allow you to play it accurately and efficiently. That often means “excruciatingly slow”. If that is what it means then do it that way. You will never have speed without slop until you thoroughly train your muscle memory to execute the required motions as efficiently and accurately as possible. Then gradually increase speed, maintaining a balance between speed and accurate execution.

4. Test – it is critical that you push the limits of your muscle memory by testing it routinely. Once you have learned a scale pattern then work on playing through it without looking at your fret hand fingers. Likewise, once you have learned a new chord then get started with applying the chord in a chord progression without looking at your fretting hand. Observe mistakes, correct them, and repeat. This will greatly increase your speed in mastering technique.

Improving Recall

1. Focus – as with muscle memory, focused attention on the details of new information will greatly increase your ability to recall that information. While this may seem obvious, it is important to be aware that we all have a tendency to allow our thoughts to drift randomly. For maximum understanding and recall it is imperative to willfully interrupt the random flow of thought and focus your attention while trying to digest new information.

2. Focus – see item 1. This is so important that I am repeating it to help you remember it!

3. Relation – as often as possible, try to relate new information to things that you already know. For instance, if you know the first position A Major chord shape then it is not so difficult to recall that the A7 is simply A Major minus the middle note. Likewise, all of the A form bar chords are an offshoot of the A Major chord shape, so if you know the A Major well then the various bar forms are not so hard to remember.

4. Isolation – break complicated sets of information into parts and memorize the individual parts first, then assemble them into the complete set. For instance, with a new scale pattern memorize the notes on two strings. Then move to the next pair of strings, then the next. Then go back and put them all together into the complete pattern. For a tablature score, learn one line. Then move to the next and learn that one. Then play the two together. Then learn the next line, and then add that to previous two. Repeat until the song is complete. Then repeat until your fingers bleed!

5.  Consistency – as with muscle memory, recall responds well to repeated exposure to the same information. This is why it is much more productive to practice a half hour a day than to run practice marathons on the weekends.

6. Vocalize – where feasible, find some way to say out loud what you are trying to memorize. Speaking things aids the memory in storing them. Example: when trying to memorize notes along the fretboard, say the notes out loud as you are playing them. This will greatly speed up your ability to recall the names of the notes.

Following these recommendations will greatly increase the rate of speed of your mastery of all things guitar. We all struggle with memory, but these strategies will assist you in increasing the rate at which you conquer various elements of musicianship. Remember this: never give up!

Guitars, Strings, & Picks

If you are new to guitar or even somewhat experienced, you may be overwhelmed by all the options regarding types of guitars, strings, and picks. After you read this brief article you will be an expert on guitar hardware!

There are two basic categories of guitar: acoustic and electric. We will discuss the nature and purposes of each below.

Acoustic Guitars

Acoustic guitars have a large hollow wooden box for a body, with a round hole or some other kind of opening to naturally amplify the sound of the strings. There are two main types of acoustic guitars: classical and folk. The classical guitar, as the name implies, is meant for playing classical style music. You can identify these guitars easily by the presence of three nylon strings which look like clear plastic. The folk guitar uses steel strings, with the larger strings also having a bronze wrap. Folk guitars are typically larger than classical guitars and have a more narrow neck to facilitate chords. Folk guitars are louder and have brighter tone than classical guitars. While either of these type of guitars may come equipped with an option for electronic amplification, we still consider them acoustic guitars.

The dobro or resonator is a specialty acoustic guitar which uses internal metallic plates to amplify the sound of the strings. While it looks much like a standard acoustic guitar, the playing techniques and sound are different enough that many consider the dobro a different instrument from a traditional guitar.

Electric Guitars

Electric guitars come in two main varieties: solid body and hollow body. The hollow body has open chambers in the body with holes, similar to an acoustic guitar, for naturally amplifying the sound of the strings. Despite the opened chambers, they are not nearly as loud as a true acoustic guitar and thus require amplification to be of any practical use. They have a warm (less treble) sound quality which is great for blues, jazz, and other clean tones. Due to the resonant chambers they tend to present feedback (prominent squealing sound) at moderate amplifier volumes.

The solid body guitars have, as the name implies, a completely solid body section with no open resonant chambers. Some solid bodies have internal resonant chambers with a view toward enhancing sound quality, but these chambers will not be opened to the air so they provide no sound amplification and no feedback problems.

Before we go farther with discussing  solid body guitar types, let’s take a moment to consider several very important factors in guitar construction: pick ups, neck profile, and frets.

Pick ups are coils of wire wrapped around magnets. The magnets generate a magnetic field and the coils pick up variations in the strength of the field through electromagnetic induction. When we strike a metal guitar string placed within the field of pick up, the string vibration disturbs the field. The coils pick up on he changes in the magnetic field and generate a tiny electronic signal, which we send out to an amplifier through a cable.

There are two main types of guitar pick ups: single coil and humbucker. Single coils have one coil of very thin wire wrapped around a series of magnets, usually one magnet per guitar string. Arranged so that each magnet is directly under a string. Single coils produce a sound that emphasizes treble and bass frequencies. They tend to pick up electronic noise such as radio frequency signals generated by appliances and lights.

Humbuckers are made of two magnet/coil sets merged into one big coil. They tend to produce a stronger signal which is helpful with distorted guitar tones. They also have a built-in tendency to reject extraneous electronic signals so they do not make as much noise as single coils. They generally have a more balanced frequency response than single coils so that they do not emphasize treble and bass frequencies like single coils.

Neck Profile refers to the depth of the neck and the radius (curvature) of the fretboard. A low number radius like 9 means the neck is relatively curved which is helpful for making bar chords since it fits the shape of the hand well. Necks with a more flat fretboard will have a higher radius number such as 14. These necks will also tend to have less depth from the fretboard face to the back of the neck. These flatter necks are more helpful for playing scales and arpeggios. A Compound Radius neck will have a radius that changes from low near the nut to high near the neck, so that you can make chords easily near the nut while also having the advantage of flatter neck above the 12th fret for facilitating fast scale runs and extreme bends.

Frets are the silver lines that cross the fretboard at regular intervals, allowing us to change the pitch of a string by pressing it aginst the fret and thus effectively shortening the string. They come in different sizes and materials. Stainless steel frets last longer than typical frets but cost more. Medium jumbo frets are suitable for most hobbyists. For progressive rock players, the larger jumbo frets will serve better for high speed scales, sweep arpeggios, and extreme bending.

Most solid body electric guitars bear a similarity to one of two iconic electric guitars: The Fender Stratocaster and the Gibson Les Paul. The Stratocaster features three single coil pick ups, a 25.5 inch scale length (measurement from nut to bridge), and a spring-action floating bridge with a bar for activating the spring action. The floating bridge allows you to apply a pitch variation to the strings through pushing and pulling the bar. The longer scale length means the strings are tighter and the frets are a bit farther apart, so Stratocasters are a bit more challenging to play. The body wood is typically alder which enhances the single coil tendency toward emphasizing treble and bass, giving the Stratocaster a bright, glassy chime in the treble range combined with rich, deep bass response. The neck pick up provides a more balanced overall tone which is good for playing cleaner tones, while the bridge pick up provides a more treble enhanced tone which is useful for distortion sounds. The middle pick is reverse wound from the neck and bridge, providing a tone that is in between the neck and bridge in terms of treble enhancement. The reverse winding of the middle coil provides noise cancellation similar to a humbucker whenever the middle coil is activated at the same time as one of the other coils.

Many modern rock guitars are spin-offs of the Stratocaster, often called “super-strats”. The super- strats will have more pointy bodies and head stocks, with flatter neck profiles and humbucker pick ups to facilitate high distortion, high speed rock solos.

Gibson Guitars designed the Les Paul around a dual-humbucker pick up configuration, with a shorter 24.75 inch scale length. The humbuckers deliver a strong signal for maximum distortion, while still yielding a great balanced tone for cleaner sounds. The mahogany body tends to de-emphasize treble, leading to a tone that many guitarists  describe as “darker” or “warmer”. The shorter scale length means the frets are closer together and the strings are not drawn as tight, so these guitars can be a bit easier to play than the Stratocasters, especially for smaller hands. Like the Strotcaster, the pick up closer to the neck will provide a balanced tone which is great for clean sounds, and the neck pick up will provide more treble clarity which is helpful with distortion tones. The Les Paul also features a fixed bridge for more stable tuning and better sustain than Stratocaster type guitars.

Strings

Strings come in different sizes and materials. Bronze strings are for acoustic folk type guitars, and nickel-plated steel is for electric guitars. Thin strings are more pliable and easier to bend, so they are helpful for beginners and those who wish to play at very high speeds. Thicker strings provide a more balanced overall tone with better sustain. String sets with a .010 gauge high E string are a good balance between tone and playability. I use Martin .010 Gauge strings for my acoustic guitars, and D’Addario .010 gauge strings for my general purpose electric guitars.

The term “action” refers to the height of the strings above the frets. Lower action means less pressure and less time to fret a note, so it may seem to make the guitar easier to play.  The trade off is more fret buzz, more difficulty with bending, and more difficulty with sweep picking techniques. The manufacturer specified string height is typically a good balance.

Picks

Picks also come in many materials, shapes, and thickness. A floppy pick leads to weak pick attack and reduced speed and control. For bronze string acoustic guitars, a medium gauge pick of around .8 mm provides a good balance of control and playablity. For electric guitar I use thicker and more stable 1.5 mm picks. A larger pick will provide more surface area and thus better grip and less unwanted shifting. Different materials provide varying grip, tone, and response. I prefer large, thick acetyl picks for a good balance between durability, grip, and tone.

 

Author: Chad Crawford, Guitar Instructor Palmetto Music Institute http://www.guitarlessonsgreenville.com