CLASSICAL

THE DEFINITIVE
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 info@firstlightbulbmoment.com

THE DEFINITIVE CLASSICAL GUITAR TECHNIQUE BUILDER

____________________________________________________________________________________________
I

II

III

____________________________________________________________________________________________
#1

#1
____________________________________________________________________________________________
#2
XXX
XX
XXXX
#2
____________________________________________________________________________________________
#3
XXX
XXX
XXXX
XXXX
XXXX
#3
__________________________________________________________________________________________

42

44

46

48

____________________________________________________________________________________________

50

52

56

58

____________________________________________________________________________________________
42
60

C
44
63

C
46
66

48
69

____________________________________________________________________________________________
50
72

D
D
52
76

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
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TONE CENTERING : GROUPS A - D, COLUMN II, M.M.= EIGHTH NOTES, PLAY QUARTER NOTES
PHASE 1 - 6
PHASE 1 :
PHASE 2 :
PHASE 3 :
PHASE 4 :
PHASE 5 :
PHASE 6 :

MM = QUARTER NOTE VALUES

GROUPS A - D, COLUMN II
ONLY,
GROUPS A - B, COLUMN II
ONLY,
GROUPS C - D, COLUMN II
ONLY,
GROUPS A - B, COLUMN II
ONLY,
GROUPS C - D, COLUMN I - II ONLY,
GROUPS E - G, COLUMN I - II - III,

RHYTHM
RHYTHM
RHYTHM
RHYTHM
RHYTHMS
RHYTHMS

#1
#2
#2
#3
#3
#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
Copyright 1983 All Right Reserved. You may not copy, reproduce, post or forward this document in any format.
For permissions, contact info@firstlightbulbmoment.com

EXPLANATIONS
Lets begin. I know it appears rather complicated but its not, actually, once youve gone through
it a few times. Ill also say that you may experience extreme frustration while applying the Right
Hand Fingerings to the rhythm patterns. Resist that frustration. Take frequent breaks. I
recommend 15 minutes breaks for every 45 minutes of practice. I didnt do this and eventually
severe tendinitis set in and really slowed me down for a while. Why they dont teach this in
Conservatories, Ill 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 one
minute at 44 going back to Column I Right Hand Fingering, one minute at 46 and so on up to
MM 84, alternating between Column I and II Right Hand Fingering pattern with each increase in
speed. Notice that you need to place an accent with the Right Hand Finger when noted by bold
and underlined finger notation. m . It is this accent process that will eventually even out
any rhythm problems you have naturally.
I also recommend alternating between the open e, open B and open G strings at each speed
just for variety and control. I used to also alternate between playing over the sound hole, big full
warm 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

#1

Now you will play the open strings as above, the metronome markings will represent quarter
notes and youll play quarter notes, 42 through 58, one increase in speed at a time, one minute
spent on each. Follow the alternating Right Hand Fingerings and tone variations explained
above.
PHASE 2 : GROUPS A - B, COLUMN II

ONLY, RHYTHM

#2

Now you will play the open strings as above, the metronome markings will represent quarter
notes and youll play eighth notes, 42 through 58, one increase in speed at a time, one minute
spent 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 note
values. Remember to always follow the Tone Centering Instructions for each phase.
PHASE 5 : GROUPS C - D, COLUMN I - II ONLY, RHYTHMS #3

Here is where some fun begins. Start with Group C, Column I, MM 42 representing quarter
note values but you play sextuplets ( six strokes per click ). Then move to Column II, MM 60
still representing quarter note values but you play sixteenth notes. Notice that sextuplets at 42 is
the very same speed as sixteenths at 60 but the accents fall differently. Then go back to Column
I, MM 44, then Column II, MM 63, then Column I, MM 46, then Column II, MM 66. Follow the
chart, left to right as you move down the Columns.

Copyright 1983 All Right Reserved. You may not copy, reproduce, post or forward this document in any format.
For permissions, contact info@firstlightbulbmoment.com

OK. You have graduated to PHASE 6, the Great Equalizer. Lets continue to stay with just
playing the open strings until you can get to the bottom of the chart, playing thirty seconds notes
at MM 69. Theoretically, you could create a Group H, increasing the metronome markings by
one incremental speed per column but I think that by Group G, you are playing pretty darn fast
enough, but hey, dont let me stop you.
PHASE 6 : GROUPS E - G, COLUMN I - II - III,

RHYTHMS #3

You start with Group E, sextuplets at MM 60, then sixteenths at MM 88, then sextuplets at
MM 42, then move down the chart and reading left to right, sextuplets at MM 63, then sixteenths
at 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, ( and
this might take weeks to get to this point ) you can now start introducing the Left Hand into the
program.
The following is a suggestion and is what I did. You can develop your own system of left hand
incorporation. One good idea is to take a particularly difficult passage from your repertoire and
take it through the chart , top to bottom. This will also burn these passages into your muscle
memory which will help you greatly when performing on stage. I found that my technical
abilities would drop by a factor one third when under the pressure of performing unless I really
worked these passages out using my Technique Builder.
THIS IS THE DAILY ROUTINE THAT GOT ME THE FARTHEST, FASTEST !
Tone Centering

42 - 48 :
50 :
52 - 58 :
60 :
63 - 69 :
72 :
76 - 84 :

Phase 1
Phase 2

Phase 3

Phase 4

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

42 - 44 :
46 - 48 :
50 - 52 :
56 - 58 :
60 - 63 :
66 - 69 :
72 - 76 :
80 - 84 :
42 - 44 :
46 - 48 :
50 - 52 :
56 - 58 :

Right Hand alone

Chromatic scale on single string
Right Hand alone
Segovia Slurs
Right Hand alone
Segovia Slurs
Right Hand alone
Same routine as Tone Centering
Chromatic scales
Right Hand alone
Segovia Slurs
Right Hand alone
Chromatic scales
Right Hand alone
Segovia Slurs
Right Hand alone
Chromatic scales
Right Hand alone
Segovia Slurs
Right Hand alone

Copyright 1983 All Right Reserved. You may not copy, reproduce, post or forward this document in any format.
For permissions, contact info@firstlightbulbmoment.com