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    42 views28 pages

    Isometrics For Guitarrists Milton Raskin - Compress

    Uploaded by

    Daniel Kloster Corrêa de Oliveira

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    © All Rights Reserved
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    The Howard Roberts Guitar Manuals ester Guitar (SPOT CU Ur ae rc) Ce TET Vener te, Milt Raskin “Capsule Biography” Bom in Boston, Massachusetts. Studied piano in Boston with: Miss Freida Raf. faelson, F. Addison Porter, Phil Saltman, George Cohen and Richard McClanahan 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 High," “That Girl”... “F.B.L,"... “Jimmy 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 .. . Vie 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 Itwould be more beneficial for the professional guitarist t0 avoid the practice of these exercises on aday 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 ere isometric exercises pri marily designed for the finger style guitarist, although they may be advantageously practiced by guitarists in any musical pursuit! My many thanks to Mr. Howard Roberts for his encouragement in the happy effort expended herein, _ ttn Caatin Milton Ras Copyright © 1971 by Howard M. Roberts Published by Playback Music Publishing Company PO. Box 15, Edmonds, Washington 98020 All Rights Reserved Printed and Published in USA International Copyright Secures 1880 0-89015.0012 Table of Contents LESSON LESSON LESSON LESSON LESSON Lesson LESSON LESSON Lesson Lesson Lesson, Lesson, LESSON 10 " 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 I: 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 a 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. ‘long with their tendons perform motion and produce action by their contraction, or shortening, ‘The fibres are held together in bundles called Fascieu- 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 its 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 Strai Muscle strain may occur when any physical exercise OF group of exercises is over-indulged in, and it be- hooves the player to allow adequate periods of rest in 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, ete, ‘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 onty 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 its capacity, and will respond in strength, dex- terity and endurance. Lesson1 For Strengthening the Down Stroke of the Fingers of the Left Hand Step 1 a) Procure a small rubber ball, one that is small Place the ball into the base of the thumb enough to fit into the base of the thumb, and (where the thumb meets the palm of the that can be easily held by the top of the hand) and hold the ball securely by curving thumb. 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 paim of the hand. (ee illustration 2) Step 4: Hold this position for a few seconds and relax. Step 5: Do the exercise about 10 times. Lesson2 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. 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. Lesson3 For Endurance and Strength in the Knuckle Joints of the Left Hand Step 2: Place the thumb of the right hand under the tips of the curved fingers of the left hand. (See illustration 1) Step 1; Extend the left arm in front of the body as if you were holding the neck of the guitar, fingers curved and the thumb slightly held apart from ‘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 thuimb, 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, Lesson4 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 itso that the fist is about twelve inches in front of you, and s0 that the top of the fist is more or less Step 1. facing you Very lightly clench the right hand into a fist (See illustration 1) Step 3: NOTE: Focus all your attention on move As fast as possible, and without strain, move ‘ments from the wrist joint only! the fist sideways from left to right about ‘The forearm is to be kept still. 20 times, Step 4: Do the exercise about 10 times. Lesson5 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 @ 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, gradually 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!) 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 sight fist. Step 2: With the right forearm held slightly away ‘rom 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: Keoping the fist as loosely 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 il) 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 @ “strumming” position, and using the forearm as a “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 pleying! Lesson7 For Developing Strength in the Up and Down Wrist Strokes of the Right Hand. Step 2: Place the hand and forearm in front of the body, as if you were in playing position, ace a small rubber ball in the palm of the right hand, holding it with the 3rd, 4th and Sth 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 and down as fast and as vigorously as possible, keeping the forearm as loose as you can In this step you will be employing a bit of the “whipping” action of the forearm as outlined in Lesson 6, Parts 1 and 2, which action here is held to a minimum. Lesson 8 (Part) For the Development of the Rotary Muscles of the Right Forearm a) For this exercise, procure a stick of hard wood about 12 inches long and one inch thick Step 1 Hold the stick firmly at its center, with the right hand, Stop 4: Rotate (turn) the right forearm (from the elbow joint only) vigorously towards 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, Step 2: Extend the right forearm, so that the stick is held in front of the body, Step 3: Grasp the end and underneath portion of the stick with the left hand. (See illustration 1) Lesson 8 (Part!) a} 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. Lesson9 For Stimulating and Relaxing the Hands a) This isnot an isometric exercise, but will be found to be invaluable for easing tensions in the hands, and for giving the hands 3 ‘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 fs not scalding! Step 2: Fill the other side of the double sink with cold water from the tap, even adding a few ice 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 16 to 20 seconds, Step 4: Immediately immerse the hands in the ice cold water, letting them dangle freely for 15 to 20 seconds. Step 5: Follow the procedures as outlined in Steps 3 and 4, “Hot to Cold”” “Hot to Cold”, ete. Step 6: Do these about 10 times. NOTE: This exercise is very beneficial to the hhands, 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 hand, grasp the tip of the left hand forefinger by its top and underneath side, (See illustration 1) a) This isnot an isometric exercise, but will stimulate and promote a general feeling of exhilaration in the fingers, Step 2: Step 4: Pretend that you ate 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 Ist and 2nd knuckle joints 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 6 times. Lesson 12 (Part!) Finger Style Guitar Pla For Developing the Correct Sensation inthe A 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: Keeping the fingers folded very lightly, slide the thumb away from them. (See illustration 1) n of the Right Hand Thumb Step 3: Keeping the thumb as “straight” as possible, lightly “slide” the thumb back and forth from its base only, as easily as you can NOTE: Bear in mind that the picking action of the thumb in finger style guitar playing is made from the base of the thumb only, and that the entire fleshy part of the thumb contacts the string. ALTHOUGH THE ACTION DESCRIBED IN THIS EXERCISE IS LARGER THAN IN NORMAL PLAYING, IT IS DESIGNED TO GIVE THE GUITARIST THE PROPER “FEEL” AND SENSA. TION OF THE THUMB ACTION, Lesson 12 (Parti) Fingor 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 the right hand lightly formed into a fist, rest both fist and forearm sideways (in front of you) on the table. Stop 3: {See illustration 2) Step 2: Place and 2nd, 3rd, 4th and 5th fingers of the left hand, “inside” the right hand thumb. Keep the thumb as straight as you can, and

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