the definitive classical guitar technique builder

THE DEFINITIVE CLASSICAL GUITAR TECHNIQUE BUILDER

A Solid Right Hand Methodology For Improving The Left Hand

Developed By

K. SAKARI HEIKKILA

“ Remember Not To Over Do It “

” Dare to be a Player “

Copyright © 1983 All Right Reserved. You may not copy, reproduce, post or forward this document in any format. For permissions, contact [email protected]

THE DEFINITIVE CLASSICAL GUITAR TECHNIQUE BUILDER ____________________________________________________________________________________________

I II III____________________________________________________________________________________________ #1 — X — #1____________________________________________________________________________________________ #2 XXX XX XXXX #2____________________________________________________________________________________________ #3 XXX XXX XXXX XXXX XXXX #3__________________________________________________________________________________________

— 42 — A — 44 — A

— 46 — — 48 —

____________________________________________________________________________________________ — 50 —

B — 52 — B — 56 — — 58 —

____________________________________________________________________________________________ 42 60 —

C 44 63 — C 46 66 — 48 69 —

____________________________________________________________________________________________ 50 72 —

D 52 76 — D 56 80 — 58 84 —

____________________________________________________________________________________________ 60 88 42

E 63 92 44 E 66 96 46 69 100 48

____________________________________________________________________________________________ 72 104 50

F 76 108 52 F 80 116 56 84 120 58

____________________________________________________________________________________________ 88 126 60

G 92 132 63 G 96 138 66 100 144 69

____________________________________________________________________________________________

TONE CENTERING : GROUPS A - D, COLUMN II, M.M.= EIGHTH NOTES, PLAY QUARTER NOTES

PHASE 1 - 6 MM = QUARTER NOTE VALUESPHASE 1 : GROUPS A - D, COLUMN II ONLY, RHYTHM #1PHASE 2 : GROUPS A - B, COLUMN II ONLY, RHYTHM #2PHASE 3 : GROUPS C - D, COLUMN II ONLY, RHYTHM #2 PHASE 4 : GROUPS A - B, COLUMN II ONLY, RHYTHM #3PHASE 5 : GROUPS C - D, COLUMN I - II ONLY, RHYTHMS #3PHASE 6 : GROUPS E - G, COLUMN I - II - III, RHYTHMS #3

COLUMN I - RIGHT HAND FINGERINGS : i - m - a - m - i - m - a - m - i - m - a - m

COLUMN II - RIGHT HAND FINGERINGS : i - a - m - i - a - m - i - a - m - i - a - m


EXPLANATIONS

Lets begin. I know it appears rather complicated but it’s not, actually, once you’ve gone throughit a few times. I’ll also say that you may experience extreme frustration while applying the RightHand Fingerings to the rhythm patterns. Resist that frustration. Take frequent breaks. Irecommend 15 minutes breaks for every 45 minutes of practice. I didn’t do this and eventuallysevere tendinitis set in and really slowed me down for a while. Why they don’t teach this inConservatories, I’ll never know.

TONE CENTERING:GROUPS A - D, COLUMN II, M.M.= EIGHTH NOTES, PLAY QUARTER NOTES

The first thing is you do TONE CENTERING. Work initially with just the open top “E” string,no left hand. Set the Metronome at 42, each click representing eighth notes, stroke the open “E”string at quarter note values using the Column I - Right Hand Fingerings pattern. Then do at least one minute (more if you want) at 42 using the Column II Right Hand Fingerings, then oneminute at 44 going back to Column I Right Hand Fingering, one minute at 46 and so on up toMM 84, alternating between Column I and II Right Hand Fingering pattern with each increase inspeed. Notice that you need to place an accent with the Right Hand Finger when noted by boldand underlined finger notation. “ m “. It is this accent process that will eventually “even” outany rhythm problems you have naturally.

I also recommend alternating between the open “e”, open “B” and open “G” strings at each speedjust for variety and control. I used to also alternate between playing over the sound hole, big fullwarm tone and then near the bridge, metallic, nail bright tone. Resist the boredom, if it sets in.I would begin shortly after waking up in the morning.

PHASE 1 : GROUPS A - D, COLUMN II ONLY, RHYTHM #1Now you will play the open strings as above, the metronome markings will represent quarternotes and you’ll play quarter notes, 42 through 58, one increase in speed at a time, one minutespent on each. Follow the alternating Right Hand Fingerings and tone variations explainedabove.

PHASE 2 : GROUPS A - B, COLUMN II ONLY, RHYTHM #2Now you will play the open strings as above, the metronome markings will represent quarternotes and you’ll play eighth notes, 42 through 58, one increase in speed at a time, one minutespent on each.

PHASE 3 : GROUPS C - D, COLUMN II ONLY, RHYTHM #2 This is just like PHASE 2 only faster, going from 60 through 84.

PHASE 4 : GROUPS A - B, COLUMN II ONLY, RHYTHM #3

Now you will start playing sixteenth notes, the metronome always representing quarter notevalues. Remember to always follow the Tone Centering Instructions for each phase.

PHASE 5 : GROUPS C - D, COLUMN I - II ONLY, RHYTHMS #3Here is where some fun begins. Start with Group “C”, Column I, MM 42 representing quarternote values but you play sextuplets ( six strokes per click ). Then move to Column II, MM 60still representing quarter note values but you play sixteenth notes. Notice that sextuplets at 42 isthe very same speed as sixteenths at 60 but the accents fall differently. Then go back to ColumnI, MM 44, then Column II, MM 63, then Column I, MM 46, then Column II, MM 66. Follow thechart, left to right as you move down the Columns.


OK. You have graduated to PHASE 6, the Great Equalizer. Let’s continue to stay with justplaying the open strings until you can get to the bottom of the chart, playing thirty seconds notesat MM 69. Theoretically, you could create a Group “H”, increasing the metronome markings byone incremental speed per column but I think that by Group “G”, you are playing pretty darn fastenough, but hey, don’t let me stop you.

PHASE 6 : GROUPS E - G, COLUMN I - II - III, RHYTHMS #3You start with Group “E”, sextuplets at MM 60, then sixteenths at MM 88, then sextuplets atMM 42, then move down the chart and reading left to right, sextuplets at MM 63, then sixteenthsat MM 92 and then sextuplets MM 42 and so on. Congratulations, you are now improving with THE DEFINITIVE CLASSICAL GUITAR TECHNIQUE BUILDER

When you are comfortable with your abilities and achieve “EVEN” strokes at all levels, ( andthis might take weeks to get to this point ) you can now start introducing the Left Hand into theprogram.The following is a suggestion and is what I did. You can develop your own system of left handincorporation. One good idea is to take a particularly difficult passage from your repertoire andtake it through the chart , top to bottom. This will also burn these passages into your musclememory which will help you greatly when performing on stage. I found that my technicalabilities would drop by a factor one third when under the pressure of performing unless I reallyworked these passages out using my Technique Builder. THIS IS THE DAILY ROUTINE THAT GOT ME THE FARTHEST, FASTEST !

Tone Centering - 42 - 48 : Right Hand alone 50 : Chromatic scale on single string52 - 58 : Right Hand alone 60 : Segovia Slurs63 - 69 : Right Hand alone 72 : Segovia Slurs76 - 84 : Right Hand alone

Phase 1 - Same routine as Tone CenteringPhase 2 - 42 - 44 : Chromatic scales

46 - 48 : Right Hand alone50 - 52 : Segovia Slurs56 - 58 : Right Hand alone

Phase 3 - 60 - 63 : Chromatic scales66 - 69 : Right Hand alone72 - 76 : Segovia Slurs80 - 84 : Right Hand alone

Phase 4 - 42 - 44 : Chromatic scales46 - 48 : Right Hand alone50 - 52 : Segovia Slurs56 - 58 : Right Hand alone

Phase 5 - Alternate every other MM with Right Hand alone, Segovia Slurs,and Tremolo ( p-i-m-a )

Phase 6 - Segovia Scales and Tremolo patterns


the definitive classical guitar technique builder

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