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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
II
III
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#1
#1
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#2
XXX
XX
XXXX
#2
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#3
XXX
XXX
XXXX
XXXX
XXXX
#3
__________________________________________________________________________________________
42
44
46
48
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50
52
56
58
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42
60
C
44
63
C
46
66
48
69
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50
72
D
D
52
76
56
80
58
84
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60
88
42
E
63
92
44
E
66
96
46
69
100
48
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72
104
50
F
76
108
52
F
80
116
56
84
120
58
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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 :
RHYTHM
RHYTHM
RHYTHM
RHYTHM
RHYTHMS
RHYTHMS
#1
#2
#2
#3
#3
#3
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
42 - 48 :
50 :
52 - 58 :
60 :
63 - 69 :
72 :
76 - 84 :
Phase 1
Phase 2
Phase 3
Phase 4
Phase 5
Phase 6
42 - 44 :
46 - 48 :
50 - 52 :
56 - 58 :
60 - 63 :
66 - 69 :
72 - 76 :
80 - 84 :
42 - 44 :
46 - 48 :
50 - 52 :
56 - 58 :
Copyright 1983 All Right Reserved. You may not copy, reproduce, post or forward this document in any format.
For permissions, contact info@firstlightbulbmoment.com