The degree of success with this approach will depend on the student's maturity and a supreme confidence in this basic innovative technique. A novice to most things will exaggerate and probe for flaws, finding the remotest of contradictions while sinking into a quagmire of confusion. You'll be happy to know that there is only one thing that will prove an innovative, spontaneous improvisational performance and that is a well-trained ear. Not many will mock this basic truth. However, most will resort to the devices which tend to overrule good acoustical training; string bending, scales, fancy picking, memorizing lines, etc.

I will make only this one jealous statement and then be done with references to other musicians who have dedicated their lives to this fine art: Some may resent this process being talked about being talked about as unique. But the process is designed to expose some pretty widespread bad advice to encourage talented players to master the techniques and maybe reform some of the tidal wave of mediocrity and incompetence that dominates the main stream.

Everything I have learned has come directly from the influence and character given me from three of the greatest guitar players and music innovators of this century: Dennis Sandoli, who I owe for the success of my family and the material which has lead to these observations, Joe Federico, the master of the techniques taught by Sandoli and who made them come alive with graciousness and humility and finally Joe Sgro, a Philadelphia legend, who made but one simple remark to me which melted a long-time musical freeze These men will continue to dominate the musical world in which I live.

The following are things a student should consider prior to undertaking the study of internalizing Tablature.