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The Harmonic memory is that which comes from acquiring the knowledge of the combinations of sounds, development of progressions, modulations, and general musical construction of a composition. This kind of memory can be obtained by dissecting the music into so many periods, subdividing it into harmonic sections, figuring out the various changes of tonality and thus stamping upon the mind a clear perception of the form of the music.

The Ocular or Visual memory is generated by the impression made on the brain by the written pages of music as transmitted to it by the eyes. These get accustomed to seeing the various notes and lines in certain places on the pages, and in definite dispositions in the different periods of the piece, and the reflection of their vision on the inner eye of the brain remains after the actual visible written page of music has been removed.

The third kind of memory, the Mechanical one, comes from the fingers, which from continual mechanical practice and repetition of passages during study, take the habit of playing the groups and progressions of notes almost unconsciously. This last is certainly the most unreliable of the three memories ; because, if by inadvertence the pianist takes only once in a passage a different finger from the one his hand is accustomed to, it may put him completely out, and a breakdown can ensue if he has not got the other memories to aid him to retrieve his momentary lapse.

Therefore, like everything mechanical, this finger memory is not to be solely depended upon without the help of the other two, in fact I call it sometimes the Auxiliary memory only. In any case, whichever of the three modes of memory fail, the others can come to the rescue, therefore all three must be cultivated as much as possible.