THE SAKARI METHOD For Classical Guitar                              

             "Perfect Your Passion"                                                  

Are You Trying To Learn With Free Online Video Lessons ?

If You Are.... You Might Be In For Some Disappointment !

If You Watched 100 Right and Left Hand Technique Videos
You Would See 100 Different Styles.

Which One Would Be Right For You ?

Answer ...NONE OF THEM !

So Be Careful, You Might Start Practicing
Someone Else's Solution to a Problem...
You Don't Even Have and
Start Learning a Bad Habit That
You'll Have to Unlearn Later !

That Doesn't Sound Too Good, Does It ?

Discover Sakari's Method of
"Unique Technique Practicing"(TM)

How To Reveal "YOUR" Technique...
The One That Works For You !

When you Practice "Just" the Physical Skills Required to Play Classical Guitar
First and in My Unique Way, You Won't Believe How Your Skills Skyrocket !

What Concert Artists know about kicking their brain out of the picture — that
you don't know yet — is the difference between frustration… and clean, accurate
playing that will automatically transform you into an interpreter of music with complete
control.  Best part: You can Re-Program your Brain to accept this reality
and start playing your Music the way you dream about !
Here's the truth I  finally discovered, pure and simple:   Your brain is a
terrible Classical Guitarist.  And no matter how much you work on technique…
your brain will ruin it all for you, over and over again.

It's the REAL reason you have no consistency in your playing. You're playing like
Segovia one day, then like your neighbor's six-year-old kid the next.  Nailing the first
20 measures of your favorite piece and then stumbling through the last 20
like a beginner who just picked up the instrument yesterday.

Really. It's mostly your brain.  And only partly your fingers !

The problem is, your brain thinks along completely logical lines, and playing the
Classical Guitar is simply NOT a logical process. Your brain looks at the music
on the page, figures out all the strings frets, and fingers needed to play the notes and
then has you downloading all kinds technical information. As you begin to play, a
flood of data hits the brain... right hand finger stroke speed, free stroke or rested
stroke,... arm positioning... neck angle... fret pressure, no pressure, vibrato...
"release" point before the next note... thumb position... preparation for the next
fingering pattern... middle right hand finger here or index finger there... then your
emotions kick in with ....volume choices.... tone color.... musical nuances....
expression.... passion.....and then.....Sorry, can't pull it off. Waaay too much info.

It actually sabotages your playing. Like having a deranged Guitarist who's nearly deaf
and blind, can't walk and chew gum, and is dumb about the details. And he's IN
YOUR HEAD, chattering away all the time and ruining your fun (and stopping your
progress ).
Everybody suffers from this. Every single "out of the loop" Classical Guitarist now
playing, everywhere in the world.

Well, guess what?

If  you are ready to finally stop worrying about what other Guitarists think
(especially in the Forums and Blogs)… and start listening to how to play the Guitar 
consistently and with excellence… then you're also finally ready…

Here's the deal:   You Simply DO NOT Learn the Classical Guitar By
Playing Music and Scales Over and Over and Over and Over !!!

I went from being an OK self taught player 30 years ago to the level of
International Competition in less than a year and a half,  using the method that I
now make available to everyone who wants it, and then spent the last 30
perfecting it and making it a real "choice" for those who are really ready to end their
frustration and slow progress. 

So, here it is :

Your brain, basically, wants to play the music like the perfect recording playing in
your head.  It thinks,  "If  I can just play along and match that beautiful performance I
hear in my head, my actual playing ability will  just perfect itself and I'll have it !"

Won't a million years.

That's exactly how NOT to play a piece of music. That is, in fact, why you stumble
through the first half of the piece and simply blank out in the second half.

My Method is NOT learning the Guitar is 2's 3 in depth courses that show you
step by step how to play effortlessly.....go through the lessons just once....and
then going on to enjoy your music for the
rest of your life.

Your Choice.  Let me ask you....  How much time have your other choices
away from your life so far ?  How many months or years have you wasted

How much longer do you want to be frustrated, disillusioned and disappointed with
your playing ?  How much money will you eventually burn through on traditional lessons ?

Read an e-mail from one of Sakari's students following his Method :

"Hi Sakari,  did I think I understood how to play the Classical Guitar ?   
Is this course what I expected ?   
Is the course demanding ?
If you asked me for one single word to describe my experience with your method ?

  Humbling ! "

Frank E.,  United States

Hundreds of Classical Guitarists all over the world are benefitting from this revolutionary Course for ending Slow Progress which is the number one leading cause of frustration and quitting the instrument.  
Sakari discovered that most exercises, including Etudes and Scales, common to most Classical Guitar Students when learning to play don't really develop lasting results and actually create such bad habits that the Student eventually has to "un-learn" his or her technique, often after a time consuming and painful process.

Most of Sakari's students, in fact, are in just that process of un-learning largely due to what also is a common method used by Teachers, having the Student begin by playing music, even simple music. The Student's brain becomes so overloaded, so quickly, with trying to juggle the right hand, left hand, tone, volume, music reading skills, eye-mind-hand coordination, which string and fret to play any note, eight fingers on 72 frets or more, that the frustration often becomes overwhelming.
The result ? The belief that placing music on the stand and tackling all the Disciplines simultaneously is the only method of learning and adopting the attitude that "It will all just take time".

Again, The Result ? Incredibly Slow Progress, On Every Level.

Many Intermediate to Advanced players following "The Sakari Method" have so many bad habits,that they simply have to go back to square one in order to adequately determine the actual weak spots in each finger and at what tempos they falter because those bad habits are so intertwined with each other.

By concentrating on only the "Micro-Movements" required of the individual fingers to produce the desired results, Sakari has determined how to isolate, develop and then control those "Micro-Movements" in a building block, A to Z fashion.

There are five Major areas of concern when it comes to Classical Guitar Technique that Sakari calls, "The Five Disciplines". 

Each Discipline carries with it 6 Phases or Levels of skill, starting at slow motion speeds to very rapid. Any weak points in the Student's fingers are immediately pointed out during the Phase process and can be then singled out and improved upon before advancing to the next Phase or the next Discipline.

Playing and thinking about unique finger movements, often called counter intuitive movements, to a formula of metronome markings, time signatures and strategically placed accents, the Student's finger independence is developed and strengthened.

But by doing so, literally years of wasted practice time will be avoided.

If you have been playing for some time and are tired of the slow progress and frustration, "The Sakari Trilogy Method" will turn that around for you, plus will teach you how to visualize and think about finger independence so that your technique will become intuitive rather than remaining a struggle.

If you are a serious beginner and want to avoid the wasted time most Classical Guitarists before you have experienced, "The Sakari Trilogy Method" is the perfect way to start, before spending any money on Lessons with a live teacher. That teacher will think you are a prodigy !

But really, all you did was to begin correctly !



It all starts when you're first drawn to the Classical guitar, you purchase one,
you buy some recordings, fall in love with certain pieces and in your desire
to play them, you buy the music to them.  You somehow discover
how to read the notes and actually play some parts of the piece(s)
and you do this over and over to "feel" as if you're making progress.

Well, you're not !  It's probably why you're here, right now !

Absolutely the biggest issue when it comes to learning the Classical Guitar as a beginner or playing the Classical Guitar in the long term is "Technique". Not music reading skills, just finger technique.

Without good technique, the guitar becomes a mystery filled with frustration,
disappointment and perhaps even abandonment of the instrument altogether and Yes,
 I've seen that happen many times.

In fact, the overwhelming e-mails I receive from Guitarists from all walks of life and ages and almost every level of ability goes something like this :

"I play on and off but I just can't ever really understand the reason behind frustrating practice sessions and slow progess."


"I used to play and but after taking lessons with 4 or 5 teachers wanting me to play their favorite pieces of music before I even knew what a free stroke was, I simply gave up.
 I still have my Guitar, though ! "

Well, it doesn't have to be that way !   At All !!

Now I don't know if you are a flat out Beginner or an advanced Player but the real issue in training one's fingers to play Classical Guitar is universal. Minimal movement ! The single biggest challenge to all Guitarists and is the very Cornerstone of Technique. Even seasoned players think their fingers barely move when they play but videos show that fingers are wildly flailing about which causes a whole host of unpleasantries in their technique and music.

My hope, if you're a Beginner, is to make you understand that fingers MUST have the proper training before you jump in feet first with playing music. More on why you don't want to start out with playing music even though most Guitarists have come to expect that playing music is the best learning tool but NOTHING could be farther from the truth.

If you are a flat out beginner and perhaps don't even own a Guitar, my Method may not be for you as it does require a little understanding of the basic posture and playing elements, terms etc.. I will say that you should absolutely purchase my Lessons and remember what I cover in them as you will probably want to come back to them after you have taken a few Lessons with a Live Teacher.

OK, my real goal, if you have been playing a while, is to re-train your fingers so that you don't have to suffer with always falling apart in the same places in the pieces you currently practice and play, but never know why.

I talk about the "Creative Spirit" and "Frame of Mind" in my Personal Mentorship and Coaching Program and these are concepts that are very important in this whole process so what I want you to do right now is think about the following:

Everyone has a time in their life when productivity was at an all time high. You undoubtedly have a time when you were either getting a lot accomplished at something you love or you were particularly creative at some activity.

This "time" when all this great stuff was happening is what I call the right "Frame of Mind" to be in when practicing your Guitar. It will become a fountain of energy as you progress and supply the inspiration to understanding the difference between silence and the sound of your Guitar.

So go back and think about this special time in your life when things were really clicking for you and put yourself into that moment of mental focus.

Focus on what it was that gave you access to that excitement level and productivity and resurrect it again if you are able.

When you go to play any piece of Guitar music, Imagine...Really Believe that you are the Composer of that piece, you just completed putting the finishing touches on it
yesterday and you think it's a real Masterpiece of composition.

Now how would you play it ?

Answer that question and you'll be successful as
a Classical Guitarist, no matter
what level of play you choose to achieve.


Much has been written about this topic and has many elements of mystery surrounding it, starting with Renaissance Lute players playing without nails, some well known Classical Period players playing without nails, etc.. My own belief is that what we hear most players when they play is a “naily” tone, not a “fleshy” tone. My goal was always a little of both. This way, audience members up close would hear warmth, audience members in the back row would hear pure tone. I always sit in the back row at Classical Guitar Recitals so I can hear what kind of tone the player has. I’ve always hated hearing the “tone production” sounds emanating from any musician. Why the first row at a violin concert choose those seats, I’ll never know. They must enjoy being covered with a fine layer of Rosin dust.   

I went through three distinct methods of nail methodologies.  Playing off the left side of the nail, playing off the right side of the nail ( as did Ida Presti of Presti and Lagoya fame ) and playing without any nails at all.  I gave each of them a fair amount of time and study on each to give time for the winner to show itself and why.

Although the right side method contorts the hand a bit, I found some interesting control abilities as it related to musical interpretation.  I can't really explain further other than to say there seemed to be a better balance between the effort of the hands when in play.  Much like turning a faucet with the left hand counterclockwise and turning a faucet at the same time with the right hand clockwise.  A sort of "carving" of one's mental space occurs.

The left side method, if we stick to the same analogy, ultimately my final choice, is more natural and flowing.  Try holding your hands up and simulate turning a hot and cold wall mounted faucet with the left and right hands, both turning counterclockwise.  A different mental image forms.

Playing with no nails is like playing the Clavichord.  Volume simply isn't an option.  A nice musical effect for certain movements but not practical for all literature.  I simply fabricated a "violin mute"  for my guitar, a sort of harpsichord lute stop, for movements like the Gigue to one of Bach's Lute Suites.  Fun stuff !

 As one’s technique grows and changes through time, so does one’s Right Hand position due to arm angle changes relative to the angle of the Guitar neck. These fluctuating changes make it difficult for any player to have just “one” solution to nail length, angle and bevel. How you hold the guitar is the first step to nail preparation.  For the student just starting to come to grips with it, a few suggestions is all I'll ever make.  There is no one way to hold the guitar.  The student needs to find his or her "balance point" with the guitar before I ever give advice.  What may work for me may never work for the student.  Tone is something that should come from within the students ear not without.  For me, I like my guitar at about a 30 degree angle to the floor, which is quite a bit more “level” than most players who hold it between 40 - 45 degrees. I find the more level the neck, the more ergonomic. It’s all about you and how you are able to comfortably play in open or First position, the first 4 or 5 frets from the tuning head. I needed to slide the guitar to the right while holding it so the First position frets were closer to my body making it easier for the left hand to maneuver at that position. This also placed the “hump” of the guitar closest to the fret board directly on top of my left knee. This lowered the angle of the guitar which allowed the right hand finger nails to slide across the strings, creating a warmer tone, and brought the first position frets closer to the body so the left arm wasn’t so outstretched.. It always appeared to me that Julian Bream held the guitar a bit like this while Segovia didn’t. As I pointed out, it’s personal and will change around as you progress and eventually determine the best angle for your technique, overall. 

So how do you overcome the changing tide of Body/Guitar/Arm/Hand/Finger Variables ?

My Method will show you  how you absolutely overcome the changing tide, especially since everyone’s hand/finger/finger nail anatomy are as unique as snowflakes.  My technique of nail preparation takes any type of nail shape, any variety of finger length(s), any anatomical hand, arm and torso variartions and creates the ideal nail shape and bevel for producing the very best tone possible. 
Everyone who follows my nail shaping process is simply amazed at the results !