Communicating with many musicians, I noticed that many of them could not organize their activities. By choosing one exercise, they begin to play it for hours, not paying attention while on the other exercises, which are subsequently can not play at all. Inconsistent, one-sided development of muscle force students to abandon learn a many pieces of music just because he can not use different techniques, for which both time and requires the involvement of different muscle groups. Questions addressing these problems were the creation of this training methodology. Of course, much of what is in this course, fragmentary described in various textbooks, shown in videoshkolah and used by other teachers in training. Shimmie Horn shines more light on the discussion. I found the movement with which we play and systematized their progressive development, as well as the perception and analysis of each. I was surprised by the huge interested musicians, when I opened them the essence of his technique, reaction, and emerging issues in open classes were very similar. The sad statistics show that the resulting students' psychological problems often caused by bad pedagogical influences, for example – 'you're not ready,' you can not play ',' no talent ' The question arises: what makes a teacher until, until it was time to utter those words? I insist on specific direction of training each student – first build a foundation of skills, and then a personal approach to the music, which already depends on personal relationships and emotional perception of the person. You can teach almost everyone! Mechanism to ensure that subsequently the intensity of the learning process, due to inculcation from the outset the necessary skills to muscles. And after all has to be 'like clockwork!