The Howard Roberts Guitar Manuals

AS Guitarists
(For Students and Profes By ce AS
EMM E,
Milt Raskin “Capsule Biography”
Born in Boston, Massachusetts.
Studied piano in Boston with: Miss Freida Raf- faelson, F. Addison Porter, Phil Saltman,
George Cohen and Richard MecClanahan in New York,
Mr. Cohen was the teacher who first demonstrated to the author in his formative years, the
value of gymnastic exercises.
The author utilized these constantly in his practice and pursued the study of these
gymnastic exercises in the years following.
His credits in the music business include:
PIANIST: Staff Pianist at M.G.M, Studios for 8 years. Free lance Pianist for all of the major
networks; T.V., and motion picture studios,
PIANIST ON SUCH SHOWS AS: “Peyton Place,” “The Flying Nun”... “Twelve O'Clock A o A A |
Durante Presents the Lennon Sisters Hour,”*—ABC- TV,...and others.
ORCHESTRATOR AND COMPOSER: Walt Disney Studios... Screen Gems... and others.
CONDUCTOR: For Nat King Cole... Nancy Wilson... George Shearing ,.. Vic Damone,.. Jane
Powell... Dinah Shore... Trini Lopez . Edgar Bergen ,.. George Chakiris, and others,
ARRANGER: For Alfred Newman ... George Shearing ... Nancy Wilson ... Pat Boone . and
others.
Gymnastic exercises have been employed by pianists for many years, and the author was
dis- mayed by the fact that they seemed to be unknown to players of other instruments.
In discussing this fact with Mr. Howard Roberts, whose reputation on the guitar is one of
major proportions, the author, thanks to Mr, Roberts' encouragement, evolved the series of
isometric exercises in this book, written for guitarists only.
“Isometrics” For Guitarists Preface
'Isometrics””, can be simply described as pitting the energy of the muscles of one limb,
against the muscles of the opposite limb,
Although a prescribed number of times is given for the exercises in each lesson, lessen
these, if any extreme fatigue is experienced in practice.
Always bear in mind, that muscles develop during their rest period, and not during their
activity, therefore, it would behoove the student and pro- fessional to practice cautiously
and wisely.
lt would be more beneficial for the professional guitarist to avoid the practice of these
exercises on a day in which there ¡is to be a performance of any kind. This lessens the
danger of over-fatigue to the playing apparatus. Instead, practice them the previous night
before retiring.
Lessons 9 and 10, which are not isometric exer- cises, will be found invaluable for
stimulating and promoting a general sense of well-being in the hands and fingers. These
two lessons can be done as many times during the day as you wish,
Exercises 11 to 13 are isometric exercises pri- marily designed for the finger style guitarist,
although they may be advarítageously practiced by guitarists in any musical pursuit! ,
My many thanks to Mr, Howard Roberts for his encouragement in the happy effort
expended
herein. Sincerely, e NENA Milton Raskin
Copyright 6) 1971 by Howard M. Roberts Published by Playback Music Publishing
Company P.O. Box 15, Edmonds, Washington 98020
All Rights Reserved Printed and Published in U.S.A.
International Copyright Secured
ISBN 0-89915-001-2 Table of Contents
LESSON
LESSON
LESSON
LESSON
LESSON
LESSON
LESSON
LESSON
LESSON LESSON LESSON
LESSON
LESSON
10
11
12
13
FOR STRENGTHENING THE DOWN STROKE OF THE FINGERS OF THE LEFT HAND
FOR STRETCHING AND LIMBERING THE FINGERS OF THE LEFT HAND
FOR ENDURANCE AND STRENGTH IN THE KNUCKLE JOINTS OF THE LEFT HAND
FOR THE DEVELOPMENT OF THE UP AND DOWN MOVEMENTS OF THE RIGHT HAND
FOR ENDURANCE AND THE ADJUSTMENT OF TENSION AND RELAXATION IN THE WRIST
AND FOREARM OF THE RIGHT HAND
FOR THE DEVELOPMENT OF SPEED AND LOOSENESS IN THE UP AND DOWN STROKES OF
THE RIGHT HAND
FOR DEVELOPING STRENGTH IN THE UP AND DOWN WRIST STROKES OF THE RIGHT
HAND
FOR THE DEVELOPMENT OF THE ROTARY MUSCLES OF THE RIGHT FOREARM
FOR STIMULATING AND RELAXING THE HANDS FOR STIMULATING THE FINGERS
FINGER STYLE GUITAR PLAYING: ISOMETRIC EXERCISE FOR DEVELOPING THE KNUCKLE
JOINTS OF THE RIGHT HAND PART l: FINGER STYLE GUITAR PLAYING: FOR DEVELOPING
THE CORRECT SENSATION AND ACTION IN THE RIGHT HAND THUMB
PART Il: FINGER STYLE GUITAR PLAYING: FOR STRENGTHENING THE RIGHT HAND
THUMB
FINGER STYLE GUITAR PLAYING: FOR STRENGTHENING THE RIGHT WRIST AND HAND
General Principles Of Anatomy
The skeletal system may be likened to and classified as both flexible and complex machine,
comprised of levers and joints such as the pivot, the hinge, the ball and socket, added to
which we have the rotational (turning) movements of the forearm,
Muscles
Muscles are formed by bundles of fibres which change their shape with every movement of
the body, and along with their tendons perform motion and produce action by their
contraction, or shortening.
The fibres are held together in bundles called Fascicu- li. These in turn are again united by
sheaths of fascia into the larger bundles which go to make up the mus- cle mass, The
muscle mass acts as a unit through the tendons, which are attached to the bones, and move
the bones like the arms of a lever,
Muscle Tone
Muscle tone may be described as that state of a body or any of ¡ts organs or parts, in which
the functions are healthy and performed with due vigor,
The tone of our muscles largely influences and condi- tions our bodily endurance, and
when this tone is maintained, the muscles do not so readily fatigue,
With Isometrics, we are assured of a healthy state of muscle tone, and endurance and
agility in the playing mechanism,
Muscle Strain
Muscle strain may occur when any physical exercise
or group of exercises is over-indulged in, and it be-
hooves the player to allow adequate periods of rest in ¿A the performance of the Isometric
Exercises contained
in this book!
Muscle strain, if continued, may have serious effects upon the playing apparatus, not only
causing pain, but by the muscles themselves becoming chemically injured by the piling up
of lactic acid within their tissues!
They may then become over tense and unable to relax, or they may lose tone and become
flabby! The Human Machine
There are three simple aspects through which we may view the “Human Machine.”
The Bones
The bones contribute rigidity to the body's mechanical system and embody the laws of
mechanics concerning hinges, levers, etc.
The Muscles
The muscles are the power system, and produce action by their contraction, or shortening,
In their actions upon the levers of the skeleton through the tendons, they express the laws
of mechanics concerning forces and power.
The Tendons
The tendons constitute the connective links be- tween the muscles and the bones, and
express the laws of mechanics regarding tension elements,
(See ¡Illustration .... “The Human Machine””)
The Psychological Aspect of the Muscles
While we have dealt briefly with the skeletal and mus- cular systems, we must be made
aware of the fact that we cannot will a muscle to act! We can only will the action of a limb!
We will then discover that our mus- cular reactions are automatic, and respond immediate-
ly to our desires!
Through these series of isometric exercises presented here, the playing equipment will be
developed to the peak of ¡ts capacity, and will respond in strength, dex- terity and
endurance.
The Lever System
The Power System
The Human Machine
The Hand
Em The Palm Side
E 9 AN Of The Hand

The Back Side Of The Hand

ICTOR RAIN a)
Lesson 1
For Strengthening the Down Stroke of the Fingers of the Left Hand
Procure a small rubber ball, one that is small enough to fit into the base of the thumb, and
that can be easily held by the top of the thumb.
Step 1: Place the ball into the base of the thumb
(where the thumb meets the palm of the hand) and hold the ball securely by curving the
top of the thumb over it.
(See illustration 1) Step 2: Hold the left arm out in front of you, as if you were holding the
neck of the guitar.
Step 3: With the ball held very lightly by the thumb, press the four fingers downward
forcefully into the palm of the hand. (See illustration 2)
Step 4: Hold this position for a few seconds and relax,
Step 5: Do the exercise about 10 times. Lesson 2 For Stretching and Limbering the Fingers
of the Left Hand
Step 1: Curve all the fingers of the left hand, and
very lightly hold them together. (See illustration 1)
Step 2: Extend the left arm in front of the body, as
¡if you were holding the neck of the guitar.
e Step 3: Count 4 slowly, and very quickly and with as much force as possible, open the
hand out, as wide as you possibly can. (See illustration 2)
Step 4: Hold this position for a few seconds, and relax by bringing the fingers back to their
original starting position.
Step 5: Do the exercise about 10 times.
Lesson 3 For Endurance and Strength in the Knuckle Joints of the Left Hand
Step 1: Step 2: Extend the left arm in front of the body as if Place the thumb of the right
hand under the you were holding the neck of the guitar, fingers tips of the curved fingers of
the left hand. curved and the thumb slightly held apart from (See illustration 1) the fingers.
Step 3: Step 4:
From the base of the fingers only, press down Hold this position for a few moments, as
forcefully as you can against the thumb, as and relax.
you lift up against the fingers with the right
hand, utilizing the force of the entire right Step 5:
arm. Do the exercise about 10 times. Lesson 4 For the Development of the Up and Down
Movements of the Right Hand
Step 2:
With the right forearm held slightly away from the side of the body, extend it so that the fist
is about twelve inches in front of you, and so that the top of the fist is more or less Step 1:
Very lightly clench the right hand into a fist.
facing you. (See illustration 1)
Step 3: As fast as possible, and without strain, move
the fist sideways from left to right about 20 times.
NOTE: Focus all your attention on move- ments from the wrist joint only! The forearm is to
be kept still.
Step 4: Do the exercise about 10 times. Lesson 5
For Endurance and the Adjustment of Tension and Relaxation in the Wrist and Forearm of
the Right Hand.
Step 1: Hold the right hand as if you were holding a guitar pick, placing the hand and
forearm in front of you, as if you were going to play the guitar.
Step 2: From this relaxed state, gracdually tense the hand and forearm until they are as
tense as possible.
Step 3: Without moving the hand and forearm, gradually decrease the tension, until the
hand and forearm are in their original relaxed state.
Step 4: Do the exercise 10 times. Lesson 6 (Part 1)
For the development of Speed and Looseness in the Up and Down Strokes of the Right Hand
¡ Step 1: Clench the right hand into a very light fist. Step 2:
With the right forearm held slightly away from the side, extend the forearm so that the fist
is about 12 inches in front of the body, and so that the top of the fist is more or less facing
you.
(See Lesson 4, step 2, ¡illustration 1)
Step 3: Keeping the fist as /oosely clenched as you can throughout the exercise, and using
the forearm as a “whip”, very vigorously “whip” the fist up and down, as fast as you
possibly can, about 20 times.
Step 4: Do the exercise 10 times,
Lesson 6 (Part 11)
Step 1: Hold the right hand and forearm very loosely in front of the body, as if you were
playing the guitar. With the fingers, simulate the holding of a guitar pick.
Step 2: With the hand in a “strumming” position, and using the forearm asa “whip”,
furiously whip the hand up and down as fast as possible, about 20 times.
Step 3: Do the exercise 10 times.
NOTE: Focus your attention on looseness, disregarding the fact that the movements will be
larger than in normal fast playing!
A A Lesson 7 For Developing Strength in the Up and Down Wrist Strokes of the Right Hand
Step 1: Step 2: Place a small rubber ball in the palm of the Place the hand and forearm in
front of the right hand, holding it with the 3rd, 4th body, as if you were in playing position.
and bth fingers. Simulate the holding of a guitar pick with the thumb and forefinger. (See
illustration 1)
Step 3: From the wrist joint only, move the hand up In this step you will be employing a bit
of and down as fast and as vigorously as the “whipping'' action of the forearm as possible,
keeping the forearm as loose as outlined in Lesson 6, Parts 1 and 2, which
you can. action here is held to a minimum. Lesson 8 (Part 1) For the Development of the
Rotary Muscles of the Right Forearm
Step 2: Extend the right forearm, so that the stick is held in front of the body.
a) For this exercise, procure a stick of hard wood about 12 inches long and one inch thick.
Step 3: Grasp the end and underneath portion of
the stick with the left hand, (See ¡Illustration 1)
Step 1: Hold the stick firmly at its center, with the right hand,
Step 4: Rotate (turn) the right forearm (from the elbow joint only) vigorously towareds
you, as you forcefully lift up on the end of the stick with the left hand,
Step 5: Relax, and do the exercise 10 times. Lesson 8 (Part 11)
aj Follow the procedures outlined in Steps 1 and 2 of Part |, Lesson 8,
Step 1: Grasp the top part of the end of the stick
with the left hand.
Step 2: Rotate (turn) the right forearm (from the elbow joint only) vigorously away from
you, as you forcefully press down on the end of the stick with the left hand. (See
¡illustration 2)
Step 3: Relax, and do the exercise 10 times. Lesson 9
For Stimulating and Relaxing the Hands
a) This is notan isometric exercise, but will be found to be invaluable for easing tensions
in the hands, and for giving the hands a most invigorating and relaxed sensation!

b) This exercise will require a double sink, such as can be found in most kitchens.

Step 1: Fill one side of the double sink with hot water from the tap, as hot as you can
comfortably stand, taking care that it is not scalding!
Step 2: Fill the other side of the double sink with cold water from the tap, even adding a few
¡ce cubes to get it as cold as you can stand!
Step 3: Immerse both hands into the hot water and let them merely dangle freely, for about
15 to 20 seconds.
Step 4: immediately immerse the hands in the ¡ce cold water, letting them dangle freel y for
15 to 20 seconds.
Step 5: Follow the procedures as outlined in Steps 3 and 4, “Hot to Cold”... “Hot to Cold”, etc,
Step 6: Do these about 10 times.
NOTE: This exercise is very beneficial to the hands, and may be utilized before one begins
practice on the guitar, Lesson 10 For Stimulating the Fingers
Step 1: With the forefinger and thumb of the right a) —Thisis not an isometric exercise, but
will hand, grasp the tip of the left hand stimulate and promote a general feeling of
forefinger by its top and underneath side. exhilaration in the fingers. (See ¡llustration 1)
Step 2: Step 4: Pretend that you are putting on a pair of Reverse and repeat the process for
the skin tight gloves, and squeeze the finger from right hand. its tip down to its base. Repeat
about 10 times. NOTE: We may also perform this exercise by grasping the fingers, on their
sides, Step 3: utilizing the “squeezing” process.
Do each finger in turn, in exactly the same way. Lesson 11 Finger Style Guitar Playing
Isometric Exercise for Developing the Knuckle Joints of the Right Hand
Step 1: Hold the right hand about 10 inches in front of the face. Hold the fingers very lightly
straight up and touching one another. (See illustration 1)
Step 2: From the 1st and 2nd knuckle joíts only, and as rapidly as possible, bend these
knuckle joints up and down about 20 times. (See illustration 2)
Step 3: Do the exercise about 5 times, Lesson 12 (Part l)
Finger Style Guitar Playing For Developing the Correct Sensation in the Action of the Right
Hand Thumb
Step 1: Make a very light fist, and place the fist on a table, so that the wrist touches the edge
of the table,
Step 2: Step 3: Keeping the fingers folded very lightly, slide Keeping the thumb as “straight”
as possible, the thumb away from them. lightly “slide”” the thumb back and forth
(See illustration 1) from ¡ts base only, as easily as you can.
NOTE: Bear in mind that the picking action of ALTHOUGH THE ACTION DESCRIBED the
thumb in finger style guitar playing IN THIS EXERCISE IS LARGER THAN is made from the
base of the thumb IN NORMAL PLAYING, IT IS only, and that the entire fleshy part of
DESIGNED TO GIVE THE GUITARIST the thumb contacts the string. THE PROPER “FEEL”
AND SENSA-
TION OF THE THUMB ACTION, Lesson 12 (Part 1) Finger Style Guitar Playing For
Strengthening the Right Hand Thumb
Step 1: seat yourself at a table, high enough to enable you to rest the forearm on it. With
Step 2: the right hand lightly formed into a fist, Keep the thumb as straight as you can, and
rest both físt and forearm sideways (in draw it back and away from the fingers, still front of
you) on the table. keeping the other fingers folded into a fist.
Step 3: Step 4: Place and 2nd, 3rd, 4th and 5th fingers of With as much force as you can
muster, and the left hand, “inside” the right hand thumb, without undue straín, move the
straightened (See illustration 2) right thumb (from its base) back towards
the fist, as you “prevent” this movement by pulling back against it with the left hand,
Lesson 13
Finger Style Guitar Playing For Strengthening the Right Wrist and Hand
Step 1: Place the right hand lightly in front of you on
a table, with the fingers straight and touching, and with the wrist joint near the edge of the
table. Place the left hand sideways, against the right hand fingers.
(See illustration 1)
Step 2: From the wrist joint only, forcibly slide the right hand towards the left, as you
“prevent” this movement by forcib/y pushing back against this action with the left hand.
Step 3: Do the exercise 10 times.
Step 4:
Reverse the procedure. Place the fingers of the left hand on the entire little finger side of
the right hand. Forcefully try and slide the right hand towards the right, as you prevent this
movement by pu//ing back on it with the left hand.
(See illustration 2)