Phases of the Method

Below you’ll find descriptions for each of the Phases of learning. Local continuing students will go through these phases under my guidance. For students who have chosen the Facilitated e-learning course, I personally will work closely with each student guiding them through these Phases. I shall achieve this through written instructions, personal videos as well as through email and a general bulletin board. Your questions will be addressed within 48 hours.

I think that you’ll find these Phases designed to target important specific areas of learning the classical guitar.

While it is recommended that the Phases are learned in order it is entirely possible for students to move around a bit, especially as we get to the later Phases.

Each Phase is also designed with specific goals and parameters and thus can be learned individually with good results. The works we do in each Phase should be practiced outside, and without the attempt to integrate into, your normal practice.

In the early Phases students should expect to practice in short concentrated intervals. (Five minutes, 3-5 times per day).

While the Phases have suggested time frames for completion the student can choose to take some time in between Phases.

Send inquires to scott@miramont.com

Phase I
Basic Technique (6-8 weeks)	Technique is the cornerstone to reaching your potential on the guitar. A haphazard approach to this subject will produce like results. A systematic approach that takes into account the physical properties of your hands along with traditional movement concepts will insure that your hands are working at their optimum. We will work on positioning and movement, specifically on two forms that make up 90% of the movements you make on the guitar	1) Sitting 2) RH position and Finger Sweeps 3) Sympathetic Motion 4) Arpeggios 5) Alternation 6) String Crossing 7) Scales	Inquire for price
Phase II
Tone Production (2-3 weeks)	Tone production is not only a result of nail care but hand positioning as well as understanding the role of the three knuckles when flexing. In this Phase we are striving for a good firm ‘sound’, accuracy and with a wide range of dynamics. This Phase will build on the technique learned in Phase I.	1) Nail Care and Filing 2) Anatomy of the Stroke 3) Planting or Prepared Stroke	Inquire for price
Phase III
Technique implementation (4-6 weeks)	Now it’s time to put wheels on our technique. Learning the technique of how to move your fingers properly when playing scales and arpeggios is only going to prove useful if we implement it in repertoire. We will explore how to do that in this phase. From simple, beginning exercises to the standard ‘war horses’ of our repertoire. This will help to give your technique a complete daily workout.	1) Technique Practice Template 2) Beginning to Advanced Arpeggio Excerpts 3) Beginning to Advanced Scale Excerpts	Inquire for price
Phase IV
How to learn Music (6-8 weeks)	Once our technique is in order and we have begun eliminating unnecessary mistakes it’s time to turn to our music. How we approach our music is critical for eliminating weeks, if not months, of correcting learned mistakes. This approach is efficient and it will have a positive effect on your ability to perform in public	1) Theory and Analysis 2) How to Read Music 3) How to Memorize Music 4) Slow Directed Movement Practice	Inquire for price
Phase V
Practice Technique (6-8 weeks)	Do you find yourself playing the same piece the same way to the point of boredom? There are a variety of drills and practice techniques that when applied to a piece or a section of a piece can produce a lasting effect. We will explore the many different drills as well as when and where they are most appropriate.	1. Slow Directed Movement 2. Dotted Rhythms 3. Metronome 4. Counting Measures 5. Rim Tones 6. Air Guitar (visualization and memorization	Inquire for price
Phase VI
Performance Practice (6-8 weeks)	Performance… Ah, the juggernaut of good intentions! Do you suffer from performance anxiety? Do nerves get the better of you when you sit down to play for somebody? Do you find yourself exclaiming that you “play it better at home”. We’ve all been there and I’ve suffered like you. But, there is a way to change the rules and get a grip so that you not only can perform without the inhibiting factors but begin to allow yourself to freely express the music in a public setting without serving the whims of our mental anguish. This builds a real and lasting confidence. This is one of the most important gifts you can give to yourself.	1. Practicing for Performance 2. Onstage Skills	Inquire for price
Phase VII
Programming (3-4 weeks)	Putting together a group of pieces that flow like a fine multi-course meal is an art form in and of itself. A great program, whether it’s 15, or 30 minutes or a full concert recital is key to our development. Choice of repertoire is a critical factor that is often overlooked by teachers who succumb to student’s requests to play pieces that often set them up for failure. Building on what is good for you to play based on your interest and your technique is critical for something that you are going to live with for some time.		Inquire for price
Phase VIII
Practice Bins (6-8 weeks)	Once we have a handle on our technique and have worked some repertoire up it’s important to not only utilize the tools we’ve learned so far but also an efficient and varied form of practice. Yes, our practice, for the most part should have a ‘form’ or a method. This phase will help eliminate the uncertainty of what and how to practice. It will also eliminate the habit of playing one piece only to lose interest, moving on to another. In contrast you will learn to build a foundation of pieces that collectively will have an effect on your technique that singly they cannot.	1. Technique (implementation of repertoire into scales and arpeggio patterns). 2. Learning New Work 3. Detail 4. Maintenance 5. Performance 6. Rejuvenation	Inquire for price