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How to Learn Classical Guitar Pieces

How to learn classical guitar pieces

As classical guitarists, we are faced with a conundrum. There is so much great music out there, and we only have a limited time in which to practice.

We want to learn classical guitar pieces quickly, but we also want to bring them up to a high level.  In other words, we don’t want to just play the notes, we want to play them beautifully.

But this takes time.  Wouldn’t it be great to be able to learn classical guitar pieces quickly, memorize them effortlessly, and be able to play them beautifully, and all this happen within a relatively short timeframe?  That’s what this article is all about.

The Karate Kid

how to learn classical guitar piecesDo you remember the movie The Karate Kid?  It was such an iconic hit, probably because it was built on fundamentally sound philosophies that we could all relate to on some level.

To teach Daniel (Ralph Macchio) karate, Mr. Miyagi (Noriyuki “Pat” Morita) didn’t just jump right in and try to achieve an end results immediately.

Instead, he had him paint the fence. He had him wax the cars.  What was his reasoning for this?

Martial arts, like classical guitar, is a series of complex movements.  So instead of trying to gobble it all up all at once, Mr. Miyagi broke things into smaller bites. He broke the task into its core elements.

He first had Daniel master the separate motions that were required. Only then did he start to assemble them into more complex patterns and combinations.

In the end Daniel triumphed by operating at a high-level.  He did this in a shorter time span with fewer hours invested than his competitors.

This was only possible because he broke the larger task into smaller chunks.  He first mastered the fundamental movements, then strung them together.

Learning classical guitar pieces, Mr. Miyagi style

learn classical guitarMany of us practice classical guitar, at least sometimes, using the same philosophy. If you do any sort of technique practice at all, you are using this philosophy.

Simply by practicing scales and arpeggios, you are building the elements that go into playing beautiful music.

The more focus and intention you can train those core movements, the easier and better your ultimate outcome will be.  This means you will play more beautifully, with greater facility.

(Of course there is more to beautiful music than just good technique, but we do have to be able to execute whatever the music calls for.)

However, we often throw this idea out when we actually go to learn our pieces. Learning classical guitar music is a complex undertaking.   Even the “easy” music is often complex and not-so-simple.

So one of the things that we can do to learn music faster, and bring it to a higher level more quickly, is to focus on the quality of our process.

Good ingredients, good soup

By focusing on each element involved in the process of learning a new piece, we can more quickly eliminate confusion, and overcome obstacles. Whenever we have problems in a piece of music, It typically means one of two things:

  1. that we have some form of confusion about what needs to happen and how, or
  2.  there is simply a technical challenge that we understand, but simply can’t perform very well (such as speed, or a stretch, or a shift).

“One of our main goals is to eliminate confusion.”

Either way, if we can identify and eliminate any obstacle or confusion before training our muscle memory, we will be better off.  That way, when we do train our muscle memory, we will be training it correctly.

To do all this, and to train our muscle memory to play what we actually want to play (the piece, up to tempo, with drippingly gorgeous phrasing), we have to embrace the process of learning.

Of course there are many ways to learn anything, but the point is that we have to focus on the quality of our attention to each step of our learning process.  If we shortcut any one step of the process, it will weaken the end result.

The Rub (or, “but, but, but…”)

And herein lies the rub. We want to play music.  We want to play music, and we want to play it now.

“In addition to the music, we are learning to master our own body and mind.”

It takes discipline and patience, (not to mention an unwavering faith in the process) to deny ourselves the immediate gratification of “hearing what the piece sounds like” and instead practice each step as if it were the whole piece in and of itself.

Remember, Daniel did not enjoy painting the fence. He did not enjoy washing and waxing the cars.  He wanted to learn karate, not do a bunch of repetitive motions that did not immediately resemble karate.

At times, we will be the exact same. We will want to speed up the process, skip steps, and just jump right in to playing the piece.  And no one is going to be there to stop us.

But over time, with practice, we can learn to treat every step along the way as an end unto itself. We can learn to take great enjoyment in mastering the elements that make up the whole.  This is the stuff truly great practice is made of.

The secret to playing beautifully: master the details and play them all in a way that supports and demonstrates the main idea (emotional core) of the music.


The process of learning classical guitar pieces

There are many musical elements into which we can break any passage or piece of music. What follows is a good place to start.

These seven steps, which I first described in my article about learning classical guitar pieces in this way, will eliminate much of the confusion, and get you well on your way to playing the piece beautifully.

How to Learn Classical Guitar Pieces

I wrote this little tune, Gypsy Dance, to illustrate the process of learning pieces.  It is a relatively simple tune, and should be fairly accessible to most people.

“But I’m not good at reading music…”

If you are not-so-great at reading music, that’s ok.  I am including a sheet with all the notes on it that you will need.  This piece uses only the natural notes on strings 1, 2 and 3, and the open bass strings.

Besides, one of the great things about this 7-step process is that you will have the chance to learn everything in small chunks, so it will be easier overall.

“But I play more advanced music…”

Even if you consider yourself above and beyond little pieces like this, remember, you will still learn from going through the process.

You may also surprise yourself!  Some things you may have thought you were great at may prove difficult.  If so, contact me and I will send you a bill for the dose of humility!  (just kidding.)

So let’s get started! Download the pdfs from the form below so you can follow along, then dive into each step below to learn classical guitar pieces, step by step.


Step One: Make Small Sections

To begin with, decide on small sections to work on.  Go ahead and mark these in your music. (You may want to have an extra copy of your music to do this with, instead of the original)

“Build the habit of always crossing the bar line in your practice.”

Tip: Ideally, these do not land at a bar line. When in doubt, start at a bar line, and finish one note after the next bar line.

Remember: Bar lines are like line-breaks on a page of text. They don’t really mean anything.  They are simply there to keep things tidy and organized. Build the habit of always crossing the bar line in your practice, and everything you play will sound more natural and beautiful.


Step Two: Make Sure You Know What All the Notes and Musical Markings Mean

You can do this section by section as you go, or you could do this for the whole piece at one time. Either way, you want to make sure that you know what every single dot of ink on the page means.

If there is a word you do not know, stop and do not go forward until you look it up. If there is anything you do not understand, now is the time to figure it out.

This is an easy step to skip, But it has a consequence that may not be obvious.

When there are words or symbols that we do not understand on the page, it creates confusion.  And the quickest way to learn a piece of music is to eliminate the confusion surrounding it.

As a bonus, you will also learn new musical definitions or symbols, which leads you forward on your path of musicianship.


Step Three: Clap and Count the Rhythm Aloud

Here we are at the third step, and we still have not even picked up the guitar yet.

I know you are eager to start playing the piece, but the moment you start playing it, you start training your muscle memory.

If you just blunder along, and hack through it, you’re training your muscle memory every bit as surely as if you do it correctly. So you might as well do it right the first time.

The quickest way to create a beaten path is to take the same route every time.  We are creating pathways and directions in our brain and muscles to perform the piece. So if we can do it the same way every time, we will learn classical guitar pieces much more quickly and make fewer mistakes.

“Do yourself a favor: Learn to count rhythms.”

So before we even start to play the notes, we want to make sure that we know exactly what we are doing rhythmically.

Most beginners are not completely comfortable counting aloud.  But here’s the thing: unless you can count it out loud, you really don’t know the rhythm. You may think you do, but there is still confusion there.

Take the time at this stage to figure out exactly where each note falls within the rhythm of the small section you are working on.

If you don’t know how to count rhythm, see this post.

If you skip this step, chances are that most of the practicing you do will be full of mistakes and have to be re-learned. This will add tons of time to your overall process (or you will just never get it quite right).


Bonus Step 3B (when you are ready): Decide On Dynamics and Phrasing

At this time in the process, you have the opportunity to decide on your dynamics and phrasing.

This means determining which notes are loud or soft, where you are going to swell or fade, or if certain notes pop out from the notes around it (accents).  You can also notice if there are places where the notes are to played very short (staccato) or need to flow in a certain way (legato).

If you are just starting out, it may be easier to put this step at the end.

“If you are just starting out, it may be easier to put this step at the end.”

But as you can, decide on how you want to make the music is beautiful as possible, and be able to express that within your clapping and counting the rhythm.

It may help to stand up while doing this. You need to be completely engaged and definitive about your choices in the moment.  Have high energy and get involved, like this.

You can always change things later if you find a better way. But the more you can engage with the music simply clapping the rhythm and counting aloud (you can count with the pitches of the melody if you know how it goes) the faster you will learn the music.

It will also make the music more immediately meaningful, and contribute to effortless memorization (more on that later).

Quick Primer on Dynamics:

Dynamics are a big subject, but here are just a couple basic rules for deciding on dynamics (swells and fades and the volume of notes) on classical guitar:

1.) Do not accent the high note. If the note is the highest note around (if the note before it and after it or both lower), do not let it be the loudest of the three notes.  Another way to say this would be play the highest note quieter.  (this can be tricky on the guitar, as the high notes want to pop out. Don’t let them!)

2.) If the notes are going up in pitch, get quieter.

3.) If the notes are going down in pitch, get louder. Playing this way brings the music forward and creates ongoing action.  There will be times when you’ll want to do the opposite, but this way is a better musical choice 95% of the time.

4.) Repeated notes start quieter and get louder. This creates action in the music, instead of simply playing the same note the same way over and over.  Sometimes you may want to play the first note louder.  If so, let the second repeated note be quiet and get louder from there.

(Of course you could make repeating notes fade and get quieter, but this leads to a “dying away” effect that should be used very sparingly.  It can easily become exhausting for the listener, and drain energy from the piece.  Imagine someone who sighs a lot.  Very draining.)

There are other “rules “to this subject. But these are great start.

Step Four: Play the Right Hand Alone

Using only open strings, with the left-hand off the guitar, play the right-hand in rhythm with the correct fingerings.

This step does not sound very pretty. You are only using the open strings after all. Just be okay with that.

Be sure to let the open strings ring, and don’t mute them out for this step. That way if you make a mistake you’re more likely to hear it. It also reinforces in your mind where the string changes take place.

“Be sure to write your fingerings in your music.”

If the right-hand fingerings, PIMA, are not written in the music, now would be the time to figure them out and write them down.

What many less advanced players do is to get into the habit of working on the left-hand first and letting the right-hand do whatever it wants to.

This may work at first, and at slow tempos, but it doesn’t scale. As you get into more advanced music or faster tempos, if the right hand is not consistent, you’re bound to run into trouble.

Basic Rules of Right Hand Fingering:

Here are the basic rules of right-hand fingerings:

1.) When both are present, the thumb plays the stem-down notes and the fingers play the stem-up notes.

2.) When possible, do not repeat fingers. In other words, don’t play consecutive notes with the same right hand finger. This is especially important with notes that happen in quick succession.

3.) When crossing strings, choose fingerings that allow for ease in the right-hand. This means moving from I to M or M to A when moving up the strings (toward the floor), and from A to M or M to I when moving down the strings (toward the ceiling).

When you decide on them, write them into your music. Don’t assume that you will just remember them (“Pride goeth before the fall”, and all that). You can always go back later and change them if they don’t work out.

When performing the step, continue to count the rhythm aloud.  If you decided on dynamics within the previous step, use them in this step as well (and every step forward). Use dynamics both in your voice as you count, and with your fingers as you play.

As always, exaggerate dynamics like crazy in your practice.


 Step Five: Play the Left Hand Alone

Next, we play the left-hand alone, without the right hand.

This sounds like a whole lot of nothing.  You’re not actually be making any sound while doing this. But even so, it is truly an important step.

Warning: Your right hand will be extremely tempted to sneak around and play the strings so that you can hear the notes. Don’t let it!

Remember to keep counting aloud and place your fingers using the correct rhythms. It may help to sing along if you know the melody.

The point here is to have your left-hand do slowly exactly what you would like it to do later at full tempo.

You can use the step to observe the different “shapes” that your fingers make. You may also notice what chords or scales the notes make up.

As all steps, treat this step as an end unto itself.  Think about connecting notes, and maintaining good hand position.


Step Six: Play the Hands Together, Note By Note

At long last, we get to play the music with both hands!

It’s all very exciting! But a word of caution: go slow enough so that you maintain all the good work you have done so far.

Remember, you are still “waxing on and waxing off”!

“For Pete’s sake, SLOW DOWN!”

Go note by note, and make 100% certain that you are using the correct fingerings in each hand.

In this step, you can throw rhythm out the window. The point is to combine the hands and solidify the fingerings. The rhythm can wait.

This does not mean to play with bad rhythm, but just that you can take pauses after every note if you like so that you can be sure everything is in order.

This is sometimes called “goal directed movement” or “aim directed movement”.

This is also a wonderful way to practice memorizing your pieces.  By going slowly and pausing after each note, you disable any muscle memory, and are forced to know what each hand needs to do.


Step Seven: Play in Rhythm, Slowly. Add the Metronome

After you have played the section you’re working on hands together using corrective pauses, you can go back to counting out loud and playing in rhythm.

Go much slower than you feel you need to at first. This will increase your chances of success.

As with every step, our goal is to eliminate confusion and train ourselves to play the song (or section) correctly. If you try to go too fast too soon, you run the risk of undoing or diluting all the good work you have done in all of the previous steps.

If you need to, or would like to, you can introduce the metronome into your practice at this stage.

(You can also work steps three, four and five with the metronome as you do them. This can make the process of learning classical guitar pieces go much quicker.)

As always, count aloud and use exaggerated dynamics (if you did that step earlier).


Memorizing Music the Easy Way

One of the benefits of learning music in this way is that it can lead to effortless memorization.

Even if you have found memorizing music difficult in the past, there is a good chance that you will memorize pieces you learn in this way without even trying.

“This is a natural way to learn anything: Get Familiar.”

Because you are examining each small section from so many different perspectives (rhythm, right hand, left hand, dynamics, etc.), You are naturally becoming more familiar with the section.

Effortless memorization stems from becoming very familiar with the music.

This is the same way that we learn and memorize most things throughout our daily lives.

Even quicker memorization

If you would like to supercharge your memorization, there are a couple of extra small steps you can take it. These won’t add much time to the process, but will help you to memorize your music much more quickly.

First, begin with the intention to memorize the music.  Simply keeping in mind that you want to memorize the music will alert your brain to pay close attention and to remember it.

After all, how will your mind know to efficiently store this information unless you tell it that it’s important?

Throughout each of the steps, as you are doing them, take just a moment and look away from the music and do that step from memory.

Do this when clapping the rhythm and counting out loud.  Clap and count aloud using exaggerated dynamics without looking at the music once or twice before moving onto the next step.

Play at the right hand by itself from memory as you learn it.

And also play the left-hand from memory as you learn.

The sixth step from above, playing the hands together using corrective pauses, is very powerful for memorizing music.

Even if you only temporarily memorize each step as you are learning it (for only a few minutes), it will still speed up the entire learning process of the tune.  So spending the extra few seconds on each step will go far to boost your memory skills and help learn classical guitar more quickly.

And even if you choose to continue to play with the music in front of you, it will allow you to free up some of your mental energy, which can then focus on other things, such as tone production, exaggeration of dynamics, legato (the smooth connecting of one note to the next), bodily awareness, or any number of other useful things.


But wait, there’s more!

This method of learning is not the “end all be all”, and there are other considerations and ways that you could practice. That said, These seven steps provide a solid physical foundation from which you can build. You can add other practice techniques to this as you wish, and as you are able.

Some of the other things that this process does NOT include can be found in the article: 50 Ways to Test Your Musical Memory

But even if you did none of these things, and only stuck to these seven steps to learn classical guitar music, you will be far ahead of the curve and will gain much satisfaction in your progress.

Over to You!

Have you tried this?  Share your thoughts or experience in the comments!


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32 Responses to How to Learn Classical Guitar Pieces

  1. Ross March 26, 2018 at 9:04 pm #

    Hi Allen

    Many thanks for this.

    Would you suggest working steps 1 -7 on 1 section before moving on to the next sections ?



    • Allen March 27, 2018 at 6:32 pm #

      Hi Ross,
      No, You can work on many sections at the same time. Each section may be at a different point in the 7-step process. You don’t have to go in order or anything else. Chances are, some sections will take longer than others. So it’s fine to bounce around. You may like to write the numbers of the completed steps above each section, so you know exactly where to pick up next time.

      Have fun,
      All the best,

  2. Outlander March 25, 2018 at 5:05 pm #

    Outstanding presentation Allen! This structured discipline is exactly what I have been missing, and needed, for a long time. Question on dynamics: in the second measure with the two bass notes (d) we play the first quiet and the second a bit louder, would that also apply in the upper voice as well? i.e. end of meas. 4 and beginning of meas.5 where there are three (e) notes in a row. Do dynamics necessarily apply? Thank you for this wonderful program!

    • Allen March 26, 2018 at 12:14 pm #

      Hi Outlander!
      Dynamics are always a good idea if you can spare the mental bandwidth for them.
      Here are some resources for you:
      Basic Dynamics “Rules”
      The Long-Short

      I hope that helps. Good luck!
      All the best,

  3. mdalley February 6, 2018 at 11:20 am #

    Just wanted to say thank you for a great product in lessons. I’m a 69 year old retired college professor who tried to teach myself classical guitar off and on for 30 years and now being retired trying to pick it up and do it correctly. Wow, have I made mistakes and I’m really struggling to correct the simply aspects of holding the instrument correctly. For all your beginning students, listen to Allen and get the basics right and not be in such a hurry to get through the “music piece”. I’ll be signing up for your Classical Guitar Courses starting with Guitar Technique. Thanks again.

    • Allen February 6, 2018 at 5:31 pm #

      Thanks so much for the note!
      Best of luck with all your musical endeavors!
      Thanks again,

  4. Danny Vengedasamy December 20, 2016 at 3:34 am #

    Hi Allen. Many thanks for the lessons. It is much appreciated. There are so many lessons (and material) on the internet and one sometimes become paralyzed by the enormous amount of information (you know…paralyses analyses). I have watched the seven step program and will start practicing. The unfortunate thing for me is that there are not many classical guitar teachers here in Johannesburg, South Africa and secondly for me to purchase lessons (such as yours) is extremely expensive as the Dollar related to the South African Rand is approximately 12.5 to the Dollar. That is we have to pay approximately 12.5 times more to purchase lessons/material. This makes it unaffordable so your lessons is really welcome. Will keep you posted on my progress. Thanks again.

    • Allen December 20, 2016 at 7:48 am #

      Thanks Danny! Best of luck with your practice. I look forward to hearing how it goes!

      All the best,

  5. Paulette Hummel November 9, 2016 at 4:27 pm #

    Question-when playing the right hand (either alone or with the left) in the first section should the thumb rest on the D string or just hover? Also-when you go from one note to the next should the LH go down on the string at the exact moment the RH hits the string in order for it to sound legato? I have to agree with John Anderson-this is the best website and best resource around. I have learned so much in the last month.


    • Allen November 9, 2016 at 5:03 pm #

      Thanks Paulette,
      The answers are…. well, it depends.
      Legato: if two notes are on the same string, then yes, synchronize the hands. If on different strings, you could do it either way. You can also listen for over-ringing notes and decide what to do about those as well.

      for the thumb in practice section one, you could do either, or neither. As a rule, do whatever would give you the most freedom to move and leave the most options open. Eventually, since we have I and M alternation, we would keep the thumb one string behind the string being played. http://classicalguitarshed.com/alternation/

      I hope that wasn’t too open-ended! Good luck!

  6. Andreas April 17, 2016 at 9:51 am #

    Hi Allen,

    a great tutorial!

    Step 4, play the right hand alone.
    Your basic rules on right hand fingering are for me as a beginner extremely important(!), yet still some kind of a mystery:
    1. line (1)(1), first note (c) you’re starting with the “m”, I’ll take instinctively the “i”?
    2. (1)(1): for the third note(e) you take the “m” and why just not the “a” (would be due to your rules) -> and this is what you’re exactly doing in (1)(3) playing: “i”, “m”, “a”?

    Later on you say “…change them if they don’t work out..”, that means it’s not set in stone as long as I keep in mind your rules 1-3?

    Would it be wrong if I say:
    -I’ll obey your rules 1-3
    -I’ll start with a finger which seems for me (looking down at the guitar) to be the “right one” to start with?
    The “rest” works like that: following your rules when I start for example with the “i” the next one will be “m” and so on?
    -living by the rules you mentioned above I don’t have to write the fingerings into the music “don’t assume that you will just remember them..”)?
    Kind regards

    • Allen April 17, 2016 at 4:40 pm #

      Hi Andreas,
      Thanks much.
      A couple of thoughts:

      1. For a while, I would write in all right hand fingerings for everything you play, and strictly adhere by them. This trains the habit of consistency and intention, and gets you noticing and thinking about them.

      2. Before changing anything (fingerings, notes, dynamics, anything) you find on a score, first understand the intention and reasoning behind it, as it is. If you can play it fully at tempo and think that the composer/arranger/teacher would be satisfied with it, then you can play with other options. If when you explore other options, be able to articulate or explain why you think it’s a better choice. Be scientific – these are logistical issues.

      3. As a beginner, I would not trust your intuition or instinct. No offense meant here, but it takes time and competency to build a trustworthy intuition or instinct. Much as teenagers may have a strong intuition about something, but be completely off base due to lack of experience, until you know more and have analyzed and worked through more pieces, you’re not to be trusted! (I say this jokingly, but I still follow this myself, double-checking everything and approaching fingerings and other choices as methodically and as objectively as possible.)

      4. You can find more on right hand fingerings here in this article.

      Thanks for the great questions! In short, I would suggest sticking with the fingerings given, and exploring the reasons they were chosen. What are the benefits of the given fingerings? Why would this be a better choice than that? and other such questions. If you find them difficult or awkward, embrace the challenge!

      Good luck!

  7. Yasin Rahmani February 5, 2016 at 3:47 pm #

    Thanks for this good article. so useful.

    • Allen February 5, 2016 at 4:03 pm #

      Thanks Yasin! Good luck!

  8. Francesco December 24, 2015 at 6:47 am #

    Dear Allen,
    Thank you very much for the amazing demonstration.
    As a self-taught guitarist this has been one of my major strangles for years now. Finally a really detailed step-by-step plan to a fruitful study is available. I find it way more helpful even of Ricardo Iznaola’s little booklet: On Practicing.
    Amazing job!
    From now on your website will be my primary reference.


    • Allen December 24, 2015 at 7:01 am #

      Thanks Francesco! Glad to help.

  9. Daniel Dickey November 20, 2015 at 8:08 pm #

    Sir, just completed listening to your 7 step process and I really like the organized approach to learn how to coordinate the right and left hands in simplistic direct manner. I’ve played guitar for many years and can read the music – but this is the first time I have seen an organized approach to learning. Thank you!!


    • Allen November 20, 2015 at 9:28 pm #

      Thanks Dan, I hope it helps!

  10. Jonathan Makdoh September 7, 2015 at 5:25 pm #

    Sir, I just want to say a big thank you for the lessons especially the ones on alternation(RH). I am greatly impressed by the simplistic but effective way of presenting these core lessons. I always review them every now and then and have always found them rewarding. I just cannot thank you more.Thank You sir

    • Allen September 7, 2015 at 5:40 pm #

      Thanks Jonathan!

  11. Jonathan Makdoh September 7, 2015 at 5:24 pm #

    Sir, I just want to say a big thank you for the lessons especially the ones on alternation(RH). I am greatly impressed by the simplistic but effective way of presenting these core lessons. I always review them every now and then and have always found them rewarding. I just cannot thank you more.Thank You sir.

  12. Allen August 14, 2015 at 9:15 am #

    I had a good question by email (thanks, Ray!) that I’d like to share here:

    “When learning a small section of new music, should you always play the small section learnt last before continuing on the next segment?”

    Not necessarily. You can actually learn the small sections out of order. You don’t have to start at the beginning and work forward. I find it helps to start with the section that you anticipate giving you the most trouble.

    Also, you can work on many small sections at a time. You may be at step 3 on one section and step 6 at another, while at step 2 on yet another. You don’t have to finish one before going to the next.

    When bouncing around like this, it can help to write the completed step numbers above the small section, so that you can keep track.

    Hope that helps,

  13. mark June 21, 2015 at 7:34 am #

    Thank you Maestro!

    This is an incredibly useful “road map” that can (and should) be done for every single piece of music we are attempting to learn, regardless of the piece’s simplicity or complexity! Yes, it may seem difficult at first, but I can imagine that after we employ this “system” a number of times, it will become ingrained in our subconscious so much so that we will automatically use it from now on and throughout our entire musical career.

    Another great thing, in my opinion, is that early in our musical career, when we are struggling to learn all of this, because we are actually learning in small doses, we don’t even realize how much or how fast we are learning. You’ve actually made learning the guitar painless and enjoyable.

    Again, thank you sincerely.

    • Allen June 22, 2015 at 9:01 am #

      Thanks so much for the feedback, Mark! You’re right, the “system” becomes ingrained in time, and becomes automatic.

  14. Mr. Klayton Khishaveh February 24, 2015 at 6:16 pm #

    I have started with your program. Don’t know much about it but, other programs been a bit of disappointment so far. I’m starting to learn the metronome. Also going through your beginner’s 7 steps. Been playing for 6 months and really trying to get the right note out of my RH and landing the left notes w my LH properly. I’m really taking my time trying to make sure that I am producing a good sound. This is all new to me. I try to practice everyday and if not practicing watch videos or read up on the techniques. I am skeptical of your program but I’m resiliant thus committed. I will let you know how I progess every step of the way and if Q comes up will shoot you an email. So that’s that.

    KK from California, U.S.A.
    (619) 794-4545
    [email protected]

    • Allen February 24, 2015 at 7:40 pm #

      Thanks for the comment, Mr. Khishaveh. You are right to be skeptical. Until you have put in the time and work and witnessed the results for yourself, there is no reason to be anything other than skeptical. As time goes on, you will get better and more comfortable with the process of working on pieces. Until then, it’s something of a leap of faith. Please do get in touch if any questions come up or if I can help in any way, and please keep us posted on your progress. Good luck, and have great practice! All the best, Allen

  15. John Andersson February 18, 2015 at 3:51 am #

    Went through all of the videos relating to the 7 Step process of leanring. This is something I will embrace fully. Not having a tutor I have felt adrift and have struggled at times. This brings structure. I have no doubt that not olny will I improve but at long last maybe even play beautifully. This has to be the best website around.


    • Allen February 18, 2015 at 3:21 pm #

      Thanks so much for note (and the kind words), John! I hope these work well for you. If any questions come up, feel free to get in touch anytime.

  16. Vithar February 14, 2015 at 5:04 pm #

    Amazing course! Some things I already did while learning new songs, like separating it into various pieces and focusing on each of them, one at a time; but I never really thought about practicing the hands separately or focusing on dynamics, it all just came together when I was learning (or not…).

    I’ll be sure to add these tips to my daily practice.

    Thanks a lot! I really appreciate it.

    • Allen February 14, 2015 at 7:26 pm #

      Thanks for the note, Vithar! Glad you liked it. Let us know how it goes!
      Cheers, Allen

  17. Hanne February 14, 2015 at 7:26 am #

    Thank you I love your lessons. It makes so much sense :-))

    • Allen February 14, 2015 at 8:53 am #

      Thanks Hanne!

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