I'm glad to see you review this book, Mikko. HR gave me a copy of Super Chops in the mid-1970s when I was editing his column for Guitar Player magazine, and I still have it, with lots of handwritten notes in the margins. Conversations with Howard were always fascinating because he was as interested in the theory of learning as he was in simplifying music theory and guitar performance. At the time, he was flying around the country giving jazz guitar seminars in the conference rooms of big hotels, always to sold-out crowds. The success of these led to the founding of GIT --- and yes, to answer your question, he was the founder and creative force behind this school and later MI. Pat Hicks organized the business end of things. HR designed the original curriculum. The whole idea was to provide professional schooling for guitarists so they could go out and join a band or become a studio musician after completing a couple years of intensive training. They used the LA music scene as a training ground. The school, and HR's congenial personality and reputation, attracted teachers and guest lecturers who were among the best guitarists in the world. Later they added bass guitar and other instruments, which led to MI. It's impossible to overstate HR's impact on music education and his role in elevating the guitar to the status of a serious, innovative instrument. Some readers might not know that HR was a member of "The Wrecking Crew," which has been the subject of a recent movie by the same name. His studio experience, which was as technically demanding as it gets and ran the gamut of styles from A to Z, made him something of a perfectionist, but his improvisational playing was always free, spontaneous, brilliant, creative and inspiring. He had a way of making you feel you could do anything he could do if only you put forth the effort. HR moved to Seattle and started another school in Bellevue, the Roberts Music Institute, now in the very capable hands of his son, Jay, and Don Mock, who is also from Seattle and taught at GIT. As I got to know the music scene better, I began to realize how exceptional HR was as a human being in the competitive milieu of LA. Though he was at the heart of it, I never heard him utter a harsh word about anyone. It made you wish there were more people like him everywhere, but in retrospect it becomes clear that they broke the mold when they made Howard.
I went to a seminar for a week with Howard Roberts and he wouldn't even show up he said because he was drinking and taking pills. The good news was John Abercrombie and Mick Goodrich took over and gave us a glimpse into the future. Real story
Howard Roberts approach....I went to MI in 1981...A Fantastic school....but what it did for all of us...was to teach us How To Learn this was never taught at any school that I am aware of... the importance of time frame study....Thank You for this video Mikko. I always enjoy learning from you...
Hello again those of you who are interested. I'd like to say something else about Super Chops. The chord progressions Howard asks you to play have a 1st and 2nd endings as well as a Coda. Not only are the chords hard to play but while I'm struggling with the grips I also have to remember where I am in the song form. I find I've been forgetting because of my struggles with the grips. I then have to start the recording over and do it all again. Ugh! Old school baby. He's says this program is analogous to joining the Chicago Bears as opposed to joining a health spa. I agree.
I used this book in the past. I finished the entire book. It had the most dramatic improvement on my playing that any thing I have ever learned or tried before or since
I'm on week two now of super chops. I'm doing exactly as Mr Roberts has prescribed. I'm playing the chords for ten minutes and I'm here to tell you that this is difficult. Week two chords are a little harder than week one. This isn't just single note boot camp this is chord boot camp as well. Wow. Thanks Mikko for bringing this to my attention. I love the new chords. I've gotten used to some but some of other shapes are tough.
I’ve done the program twice. For me the point was to determine, and increase, the point at which I could think. Get to a certain point, especially with triplets, and the same patterns become painfully evident. It also made me focus much more on phrasing. When you are playing unrelenting stream of eighth notes, you have to come up with devices other than space to mark off your phrases. I’ve since found that doing this for a week on a new tune is a great way to get the tune inside of you. Great video.
This is a great message. Thanks. I did seminars when I was a teenager with Howard Roberts and he talked about his concept for a school that he was going to build and 12 years later it was a reality and I wasn’t going to musician Institute to study. so I know the technology has changed but the good thing about playing record for 10 minutes is you have to play them and you have to know them so it is as important as the notes single notes even eight. This is great for me and it’s a good way to maintain your chops in between gigs and travel and play. I think I pooped look out again thanks for the kick in the butt.
I had a teacher who was fairly well know as a big band arranger and trumpet player. He was the "heaviest" musician I've ever met. He had amazing ears. Nothing could get buy this guy. If you played one note outside the "correct scale" in his class he would let you know it was "wrong" and tell you what note it was that you played in solfege language. I think he was one of the best teachers I ever had and the worst teacher I ever had. Every student that finished his series of classes sounded exactly alike. People in his classes were afraid to just play and experiment. I understood his point but he made a huge mistake in not mentioning that just playing and not thinking about the correct scale was just as important if not more. This was a great video today. Thanks for your advice
yeah I've had teachers like that and they can be great when you need your ass kicked 😆 Scott Henderson was the opposite of that he always told me to forget about theory and scales (when playing) and just try to create what he called an "event" in my solos. I wish I still had a recording of a lesson where he tells me to set my guitar on fire because that would be more interesting than what I was playing at the moment 😂
I've gone through the "program" several times. Each time I was at a different level and each time it's taken me to a completely unanticipated level, not just of speed, but in becoming a better player. I had a list of things to work on and that really helped me from falling into a rut of just getting faster with the conceptual limitations I had. If you have ideas about things you want to be able to do but can't reach yet, it's a really well thought out program. Be sure not to miss the Pointers that begin on page 16. Pure gold!
It's a great format, using a diverse variety of forms, a wide variety of usual and unusual turnaround and working them through different keys and tempos until the player can push beyond their limits.
That was interesting thanks, and I can see the value of this approach. I was doing something similar yesterday over I Remember April, Trying to keep a flow and moving across the whole neck. It quickly shows you the areas where your scales and arps are patchy as well as pushing you to be creative.. It is nice to see Howard Roberts getting a mention, he was on such blistering form in the late 50s and 60s and goes a bit under the radar these days.
@@Mikkokosmos A good example of his sideman playing is on the albums he did with Bobby Troup, a song like Mountain Greenery shows how he could mix up chords and single lines effortlessly. Sometimes these players were at their best on other peoples albums. There is also some amazing playing on the his albums Good Picking, Somethings Cooking, Colour him Funky and H R is a dirty Guitar Player. His chord melody is remarkably clean as where his chops.
Some students have found that their improvising has improved by playing quarter or eighth notes at a slow tempo, and with a minimum of legato. As for HR’s etudes, he says just to use them as a jumping off point. However, students need to play through the etudes several times to understand his style and to get the most out of the book. Otherwise, they tend to fall back on playing licks they already know.
Mikko, hello from Kansas City, Missouri. Outstanding content as always. One of the best jazz guitar CZcams channels.Belated Happy Birthday. Remember, your not just getting a little older, more importantly, your getting a lot better. Thanks.
Před 3 lety+8
Hey Mick, I never react on videos, but I would like to say that I love the vids you're doing! Especially since I'm self learning with books, you're the only one talking about all these amazing books!! I think also it would be cool if you'd make a video with your approach to The Advancing Guitarist, since everybody making videos about it only seems to talk about the single string part (which is one page haha). Anyway thank you so much for your work!!
Thanks! Glad you like it. I have covered that book a few times. YT doesn't like when I put links here but if you search my name and Mick Goodrick a few videos should come up
Před 3 lety
@@Mikkokosmos ah, didn't find those yet!! I will look them up! Thanks👌👌
Nice review of the book. Regarding his choice in chord voicings, it's part of the technique building process. The voicings aren't the garden variety ones, nor are they easy to grab voicings. So playing them on a timer for 10 minutes, as recommended by the course, is a technique building component of the course, IMO.
I have learned so much from you... I wait for Fridays for your lessons. Can‘t mention how many insightful books I have checked out just because of your channel. Specially the Miles Okazaki book, Randy Vincent 3 note, thank you David Baker hehe (you doubted that maybe it’s a lame joke but I laugh to death each time I play and sing thank you David Baker, maybe it‘s really lame 😂), the music of Peter Sprague, Lorne Lofsky, ... the list is so long! So great to see the love and devotion you bring here through your lessons. A Big thank you Mikko 🍀💚🙏
I can't believe that I haven't tried this yet, seems so simple and so obvious for a beginning improviser. I guess the moral of the story is to just keep playing, no matter how much you like or dislike what you're playing? I always have the problem of sounding like I am wandering aimlessly and get discouraged and then stopping.
Have a few of Howard Roberts books from the 70's, but Super Chops isn't one of them. I like the part where he suggests creative visualisation techniques...very cool 😎. I picked up the 3 volumes he did with Gary Hagberg called Guitar Compendium which served as great reference books. I also picked up a Gibson Howard Roberts Fusion III guitar from the mid 90's. What a great guitar! A little slick looking for my tastes (at 1st) with the black lacquer finish and gold hardware, but it sounds and plays so well I soon adapted to the looks! Lol Exceptionally versatile guitar that's often overlooked. One of Gibson's best models ever imho. Thanks for sharing your ideas in this video! Excellent as always 👌 Great jam at the end BTW!!!
Nice sight reading Mikko ! I have had this book for at least 35 years, one of the most intense workouts ever, a lifetime of study. H.R. states in the book that this is like training with the Chicago Bears, definitely not for the meek. You have many of the same books I do. I would say that this book along with the Aebersold Rhythm Changes and the Barry Galbraith Comping are among my all time favorites.
I used this book in high school. I have not looked at it in 30+ years. Maybe I'll revisit. Recording was a bit of a pain back then, but it was good practice. I remember when I was going through this that it made me realize that one can play on the changes and not just modally - for me it really helped that connection. That was epic for me back in the 80s
This book offers something that is rare in guitar books i.e. a simplistic System of Organization. In this case it's how to organize your practice time.Concerning playing changes, Howard Roberts used the words "condensed milk" to describe how you take a core principle and spread it out.Pat Metheny used the same kind of concept ,he calls it playing "inside" a chord instead of "on top" of each chord. Pat Martino explains it superbly he calls it "Minor Conversion" ex. Key of F: Gmin triad is 1 note away from both subdom chords BbMaj#11 and Gmin7 and 1 note from both dominant chords C7 and Emin7b5. you still retain the character of each chord without having to think of four different modes Gmin.Is the " core" its the "inside" of those other 4 chords and it's a "coversion" of those chords. the trick is to compose Gmin lines that fit them all . I Hope you get a chance to check out Pat Martino's "Creative Force Book 1" it is a great system of chordal organization on guitar followed by slick lines over dominant chords. As always , you shared a great lesson. Thank you!
He obviously understood learning in general. Some of the same techniques are used in martial arts. I agree, it should be played for 10 minutes. 7,500 times, cements a group of movements in your subconscious. Otherwise, it could also be a secret musical meditation...
Thank you, Mikko. I like your style of teaching with with an easy going common sense down to earth presentation. You've made learning jazz improv for me much clearer and this overview of the HR Super Chops approach has given me a new tool to look into and hopefully advance my playing. Nice playing!
Thanks Mikko. Super Chops ! One of Classic Guitar method, it was main text when I studied at GIT.I think it is very good to work but not good idea to use mother tonic scales for changes because it never sounds like jazzy to me.I rather recommend using Dorian scales like Pat martino or
I had heard about super chops in like 1984, but thats all. None of the other kids knew much other than the name, either. I assume one if the Metal guys mentioned using it, and therefore kids talked about it, but nobody actually had the book.
The seems like a similar idea to the 'Connecting Game' from Joe Elliot's book. Thinking I could use this idea to do the connecting game arpeggios, then key centres, then maybe even pentatonics - all non-stop. Your prior video on 'Connecting chords with Linear Harmony' was a real eye opener and I bought it instantly and have started using it. I wonder if it would be to difficult to try to hit guide tones while doing this. Also I am also playing out of a single position at this point as Joe Elliot had suggested but not sold on and this could push me out of that. New guitarist problems.
I guess that he wants at the beginning that you play 8th notes with alternate picking because this is the best way to learn to swing and actually to play swing on the guitar. exceptions are there of course
I found Super Chops and downloaded it. I'm on the first week and I'm doing exactly as Howard says. I'm not using a loop pedal. I'm recording with my phone and playing the chords as he's written them. The chords are tough and it's especially hard to play through them for ten minutes. They are new voicings for me and some are real stretches. I realized if I used a loop pedal I wouldn't hear the click of the metronome . This is not easy and I suggest doing what Howard says first. No tab in this book. You need to know how to read. You could read the chord symbols but you would miss out on the cool (yet difficult) chord voicings.
@@JoePariseauMusic yes I tried that but they make a noise when you accidentally touch them. Might give it another try. They are great for Zoom lessons but not for making videos 🙂
@@Mikkokosmos When I was doing my research another option is a condenser mic. Like the blue or red usb ones. Condenser mics are made to pick up sound at a distance, like an acoustic guitar. But, they pick up a lot of the room too. So if your neighbors are loud we'll hear them. Lol 😆
I got that book about 45 years ago, and I found it to have one glaring error: None of the chord progressions have a given melody. I happen to believe that the tune should be the point of departure for subsequent improvisation, not the chord changes by themselves.
It's all about copyright. It's quite clear what tunes the chord changes apply to and there are lots and lots of sources for the tunes - notation, recordings, tab - so the lack of a melody line is something that you could easily remedy even 45 years ago. You probably already know all the tunes if you bought it back then. So let's not state that Howard made an error; he simply wanted to produce a method which wouldn't bankrupt him.
@@irishmuso7129 I don't quite agree, and 45 years ago I was unfamiliar with most of the standards up to that time. I wrote in the titles of those I recognized, one of which was "Cherokee." Others, however..? Anyway, much better instructional materials are available today, so the whole matter is moot as far as I'm concerned.
I own the original red version, published in 1978. I was 17, dreaming of going to GIT (which had just started) one day, and this book was advertised a lot in Guitar Player Magazine, promising, well... super chops. I was very disappointed that you already have to be an accomplished jazz guitarist to start working with this book. It is definitely not a jazz method book, you have to already know what to play on those changes. After watching your video I dusted it off after four decades. Still same conclusion, I’m afraid. With all due respect to you and HR, to me the examples in the book nor your own improvisations using Super Chops do not sound very musical, or even like jazz. I totally get the concept of the “handcuff” practice principle, where the focus is on a limited set of parameters, in this case, maintaining a constant stream of 8th notes. Maybe for professional guitarists this book may be of value. If you’re strapped for time, I believe there are more important issues to practice.
Fair enough, I agree that you need prior knowledge and that is not explained in the "20 weeks" selling pitch. It's not for the beginner. However, I don't agree that the examples don't sound musical or like Jazz. Or that an exercise always have to sound musical for that matter. A dancer has to do many excercises that would be of zero interest for an audience in order to be able to perform. Same for musicians. And Jazz is just a name for a very broad genre. But I would say that the chord changes and etudes in the book sound like quintessential Jazz in my ears.
Great video, your guitar sounds excellent. You can download Howard's book for a minimal fee from Scribd.com. Howard Roberts was a truly outstanding LA studio musician/virtuoso. I've been listening to a relatively unknown Four Freshmen album from 1959 called "Four Freshmen and Five Guitars" which features Howard, Barney Kessel, Tommy Tedesco, Herb Ellis, George Van Eps, etc. The ensemble guitar playing is excellent, and so is the quality of the recording.
@@andybutton1515 ?? What are you talking about? Total nonsense. I've downloaded stuff from them that I can't find anywhere else, for a few dollars, no problem.
Even if your words explain the purpose of the method, the risk to get a nervous breakdown with it is high . At the end of the method, you could still unable to play offbeat or take some human riff. Grant Green and Les Spann kill you with few notes . Saying that I really like your lesson because you don't promise cheap miracles . THS
If there are tabs in the book? If that's what you're asking then no, no tabs. As I mention in the video, there are no tabs but the fingerings are written out.
I have never said that you can't sing along with what you're playing when working with this book. And it's quite possible to sing note sequences. But thanks for calling my playing robotic :p When you say "all" are you including Howard Roberts? :p :p
@@Mikkokosmos No way is your playing robotic, I think you are a great teacher and player, what I mean is... it is so easy to build Frankenstein solos, a bit of this guy, a bit of that when we have the melodies and improvisation tools inside of us if we listen
I'm glad to see you review this book, Mikko. HR gave me a copy of Super Chops in the mid-1970s when I was editing his column for Guitar Player magazine, and I still have it, with lots of handwritten notes in the margins. Conversations with Howard were always fascinating because he was as interested in the theory of learning as he was in simplifying music theory and guitar performance. At the time, he was flying around the country giving jazz guitar seminars in the conference rooms of big hotels, always to sold-out crowds. The success of these led to the founding of GIT --- and yes, to answer your question, he was the founder and creative force behind this school and later MI. Pat Hicks organized the business end of things. HR designed the original curriculum. The whole idea was to provide professional schooling for guitarists so they could go out and join a band or become a studio musician after completing a couple years of intensive training. They used the LA music scene as a training ground. The school, and HR's congenial personality and reputation, attracted teachers and guest lecturers who were among the best guitarists in the world. Later they added bass guitar and other instruments, which led to MI. It's impossible to overstate HR's impact on music education and his role in elevating the guitar to the status of a serious, innovative instrument. Some readers might not know that HR was a member of "The Wrecking Crew," which has been the subject of a recent movie by the same name. His studio experience, which was as technically demanding as it gets and ran the gamut of styles from A to Z, made him something of a perfectionist, but his improvisational playing was always free, spontaneous, brilliant, creative and inspiring. He had a way of making you feel you could do anything he could do if only you put forth the effort. HR moved to Seattle and started another school in Bellevue, the Roberts Music Institute, now in the very capable hands of his son, Jay, and Don Mock, who is also from Seattle and taught at GIT. As I got to know the music scene better, I began to realize how exceptional HR was as a human being in the competitive milieu of LA. Though he was at the heart of it, I never heard him utter a harsh word about anyone. It made you wish there were more people like him everywhere, but in retrospect it becomes clear that they broke the mold when they made Howard.
Thank you for this info. Don Mock was teaching a little bit still when I went to M.I. Also an amazing player and educator :)
I went to a seminar for a week with Howard Roberts and he wouldn't even show up he said because he was drinking and taking pills. The good news was John Abercrombie and
Mick Goodrich took over and gave us a glimpse into the future.
Real story
Howard Roberts approach....I went to MI in 1981...A Fantastic school....but what it did for all of us...was to teach us How To Learn
this was never taught at any school that I am aware of... the importance of time frame study....Thank You for this video Mikko. I always enjoy learning from you...
Hello again those of you who are interested. I'd like to say something else about Super Chops. The chord progressions Howard asks you to play have a 1st and 2nd endings as well as a Coda. Not only are the chords hard to play but while I'm struggling with the grips I also have to remember where I am in the song form. I find I've been forgetting because of my struggles with the grips. I then have to start the recording over and do it all again. Ugh! Old school baby. He's says this program is analogous to joining the Chicago Bears as opposed to joining a health spa. I agree.
I used this book in the past. I finished the entire book. It had the most dramatic improvement on my playing that any thing I have ever learned or tried before or since
Good to know Roger. I'm on day three and these chords are a real work out. Wholly Mackerel
This review goes above and beyond. Very nicely done.
I'm on week two now of super chops. I'm doing exactly as Mr Roberts has prescribed. I'm playing the chords for ten minutes and I'm here to tell you that this is difficult. Week two chords are a little harder than week one. This isn't just single note boot camp this is chord boot camp as well. Wow. Thanks Mikko for bringing this to my attention. I love the new chords. I've gotten used to some but some of other shapes are tough.
I’ve done the program twice. For me the point was to determine, and increase, the point at which I could think. Get to a certain point, especially with triplets, and the same patterns become painfully evident. It also made me focus much more on phrasing. When you are playing unrelenting stream of eighth notes, you have to come up with devices other than space to mark off your phrases. I’ve since found that doing this for a week on a new tune is a great way to get the tune inside of you. Great video.
I LOVE how it actually sounds like the 70s. It was a glorious time! It seems like there was more Jazz in everyday media, than now.
This is a great message. Thanks. I did seminars when I was a teenager with Howard Roberts and he talked about his concept for a school that he was going to build and 12 years later it was a reality and I wasn’t going to musician Institute to study. so I know the technology has changed but the good thing about playing record for 10 minutes is you have to play them and you have to know them so it is as important as the notes single notes even eight. This is great for me and it’s a good way to maintain your chops in between gigs and travel and play. I think I pooped look out again thanks for the kick in the butt.
I had a teacher who was fairly well know as a big band arranger and trumpet player. He was the "heaviest" musician I've ever met. He had amazing ears. Nothing could get buy this guy. If you played one note outside the "correct scale" in his class he would let you know it was "wrong" and tell you what note it was that you played in solfege language. I think he was one of the best teachers I ever had and the worst teacher I ever had. Every student that finished his series of classes sounded exactly alike. People in his classes were afraid to just play and experiment. I understood his point but he made a huge mistake in not mentioning that just playing and not thinking about the correct scale was just as important if not more. This was a great video today. Thanks for your advice
yeah I've had teachers like that and they can be great when you need your ass kicked 😆 Scott Henderson was the opposite of that he always told me to forget about theory and scales (when playing) and just try to create what he called an "event" in my solos. I wish I still had a recording of a lesson where he tells me to set my guitar on fire because that would be more interesting than what I was playing at the moment 😂
I've gone through the "program" several times. Each time I was at a different level and each time it's taken me to a completely unanticipated level, not just of speed, but in becoming a better player. I had a list of things to work on and that really helped me from falling into a rut of just getting faster with the conceptual limitations I had.
If you have ideas about things you want to be able to do but can't reach yet, it's a really well thought out program.
Be sure not to miss the Pointers that begin on page 16. Pure gold!
Several times!? wow that must have had a huge impact on your playing! Cool!
It's a great format, using a diverse variety of forms, a wide variety of usual and unusual turnaround and working them through different keys and tempos until the player can push beyond their limits.
That was interesting thanks, and I can see the value of this approach. I was doing something similar yesterday over I Remember April, Trying to keep a flow and moving across the whole neck. It quickly shows you the areas where your scales and arps are patchy as well as pushing you to be creative.. It is nice to see Howard Roberts getting a mention, he was on such blistering form in the late 50s and 60s and goes a bit under the radar these days.
yes I'm gonna go to Spotify and listen to Roberts more closely. So much I haven't heard
@@Mikkokosmos A good example of his sideman playing is on the albums he did with Bobby Troup, a song like Mountain Greenery shows how he could mix up chords and single lines effortlessly. Sometimes these players were at their best on other peoples albums.
There is also some amazing playing on the his albums Good Picking, Somethings Cooking, Colour him Funky and H R is a dirty Guitar Player.
His chord melody is remarkably clean as where his chops.
I still have one that I bought back around 1980. Hardly ever used it.
Some students have found that their improvising has improved by playing quarter or eighth notes at a slow tempo, and with a minimum of legato.
As for HR’s etudes, he says just to use them as a jumping off point. However, students need to play through the etudes several times to understand his style and to get the most out of the book. Otherwise, they tend to fall back on playing licks they already know.
Mikko, hello from Kansas City, Missouri. Outstanding content as always. One of the best jazz guitar CZcams channels.Belated Happy Birthday. Remember, your not just getting a little older, more importantly, your getting a lot better. Thanks.
Hey Mick, I never react on videos, but I would like to say that I love the vids you're doing! Especially since I'm self learning with books, you're the only one talking about all these amazing books!!
I think also it would be cool if you'd make a video with your approach to The Advancing Guitarist, since everybody making videos about it only seems to talk about the single string part (which is one page haha). Anyway thank you so much for your work!!
Thanks! Glad you like it. I have covered that book a few times. YT doesn't like when I put links here but if you search my name and Mick Goodrick a few videos should come up
@@Mikkokosmos ah, didn't find those yet!! I will look them up! Thanks👌👌
Nice review of the book. Regarding his choice in chord voicings, it's part of the technique building process. The voicings aren't the garden variety ones, nor are they easy to grab voicings. So playing them on a timer for 10 minutes, as recommended by the course, is a technique building component of the course, IMO.
Howard was a MONSTER - as big a vocabulary as anyone.
The solo of Keith Jarret on Ot Could Happen to You...Woöoowwww
I have learned so much from you... I wait for Fridays for your lessons. Can‘t mention how many insightful books I have checked out just because of your channel. Specially the Miles Okazaki book, Randy Vincent 3 note, thank you David Baker hehe (you doubted that maybe it’s a lame joke but I laugh to death each time I play and sing thank you David Baker, maybe it‘s really lame 😂), the music of Peter Sprague, Lorne Lofsky, ... the list is so long! So great to see the love and devotion you bring here through your lessons. A Big thank you Mikko 🍀💚🙏
Omg thank you 😃😃😃😃 you just made my day and it is soon my 50th birthday 😀🍾
Wow a very happy birthday to you in advance! You’re the man!!
@@parijatmoumon thanks 😀 2 hours to go 🍾
I can't believe that I haven't tried this yet, seems so simple and so obvious for a beginning improviser. I guess the moral of the story is to just keep playing, no matter how much you like or dislike what you're playing? I always have the problem of sounding like I am wandering aimlessly and get discouraged and then stopping.
Have a few of Howard Roberts books from the 70's, but Super Chops isn't one of them. I like the part where he suggests creative visualisation techniques...very cool 😎. I picked up the 3 volumes he did with Gary Hagberg called Guitar Compendium which served as great reference books. I also picked up a Gibson Howard Roberts Fusion III guitar from the mid 90's. What a great guitar! A little slick looking for my tastes (at 1st) with the black lacquer finish and gold hardware, but it sounds and plays so well I soon adapted to the looks! Lol Exceptionally versatile guitar that's often overlooked. One of Gibson's best models ever imho. Thanks for sharing your ideas in this video! Excellent as always 👌 Great jam at the end BTW!!!
Man, I’ve dropped in and listened to youfor a long time now. and, you are really nailing it now. Love ya
love your review. i am not a jazz player but looking forward to doing it seriously and i feel this is the best approach. Thanks.
Nice sight reading Mikko ! I have had this book for at least 35 years, one of the most intense workouts ever, a lifetime of study. H.R. states in the book that this is like training with the Chicago Bears, definitely not for the meek. You have many of the same books I do. I would say that this book along with the Aebersold Rhythm Changes and the Barry Galbraith Comping are among my all time favorites.
Those are all great books indeed 😎
I used this book in high school. I have not looked at it in 30+ years. Maybe I'll revisit. Recording was a bit of a pain back then, but it was good practice. I remember when I was going through this that it made me realize that one can play on the changes and not just modally - for me it really helped that connection. That was epic for me back in the 80s
I got mina at the G.I.T book store in 1990. Same here didnt look at it for almost 30 years 😃
This book offers something that is rare in guitar books i.e. a simplistic System of Organization. In this case it's how to organize your practice time.Concerning playing changes, Howard Roberts used the words "condensed milk" to describe how you take a core principle and spread it out.Pat Metheny used the same kind of concept ,he calls it playing "inside" a chord instead of "on top" of each chord. Pat Martino explains it superbly he calls it "Minor Conversion" ex. Key of F: Gmin triad is 1 note away from both subdom chords BbMaj#11 and Gmin7 and 1 note from both dominant chords C7 and Emin7b5. you still retain the character of each chord without having to think of four different modes Gmin.Is the " core" its the "inside" of those other 4 chords and it's a "coversion" of those chords. the trick is to compose Gmin lines that fit them all . I Hope you get a chance to check out Pat Martino's "Creative Force Book 1" it is a great system of chordal organization on guitar followed by slick lines over dominant chords. As always , you shared a great lesson. Thank you!
Cool I'm not aware of that book I will look into it right away 😃
THANK YOU !💗
Met Howard a few times at GIT in 81 ;his words of advice “hang buy your thumbs”lol...
He obviously understood learning in general. Some of the same techniques are used in martial arts. I agree, it should be played for 10 minutes. 7,500 times, cements a group of movements in your subconscious. Otherwise, it could also be a secret musical meditation...
Thank you, Mikko. I like your style of teaching with with an easy going common sense down to earth presentation. You've made learning jazz improv for me much clearer and this overview of the HR Super Chops approach has given me a new tool to look into and hopefully advance my playing. Nice playing!
“Cherokee” slowed way down. Great job on this video.
Thanks Mikko. Super Chops ! One of Classic Guitar method, it was main text when I studied at GIT.I think it is very good to work but not good idea to use mother tonic scales for changes because it never sounds like jazzy to me.I rather recommend using Dorian scales like Pat martino or
Thanks for the excellent lesson Mikko! Very motivating concepts!
Thanks 😃 hope you are doing well 🙏
@@Mikkokosmos Thanks! I’m fine, I hope you too 🙏
I have a copy of Super Chops
thank you
A Lot of books great for play better u likes blues jazz blues in E flat you did is good understanding the tunes E B flat in jazz
So nice!!
Are you aware of the book "Forward Motion" by Hal Galper? It is just amazing! Great video by the way. Thank you so much!!!!
Noo I'm aware of some of his books but not that one. Gotta check it out
I am. It's just one of my vast number of instruction books.
I had heard about super chops in like 1984, but thats all. None of the other kids knew much other than the name, either. I assume one if the Metal guys mentioned using it, and therefore kids talked about it, but nobody actually had the book.
Musician’s Institute used it as a text book in the 90’s. I believe he founded the school.
Yes I was there in the 90s it was an elective but I didn't take that class 🙂
Great book but G.I.T. was founded by Patrick Hicks and Howard was in charge of curiculm. Both were great guys. I was an 83 guy.
@@randyhetlage9202 cool you were there in the golden era 😃
The seems like a similar idea to the 'Connecting Game' from Joe Elliot's book. Thinking I could use this idea to do the connecting game arpeggios, then key centres, then maybe even pentatonics - all non-stop. Your prior video on 'Connecting chords with Linear Harmony' was a real eye opener and I bought it instantly and have started using it. I wonder if it would be to difficult to try to hit guide tones while doing this. Also I am also playing out of a single position at this point as Joe Elliot had suggested but not sold on and this could push me out of that. New guitarist problems.
Great video. I found this book in a pdf
I guess that he wants at the beginning that you play 8th notes with alternate picking because this is the best way to learn to swing and actually to play swing on the guitar. exceptions are there of course
Right on Mikko
I found Super Chops and downloaded it. I'm on the first week and I'm doing exactly as Howard says. I'm not using a loop pedal. I'm recording with my phone and playing the chords as he's written them. The chords are tough and it's especially hard to play through them for ten minutes. They are new voicings for me and some are real stretches. I realized if I used a loop pedal I wouldn't hear the click of the metronome . This is not easy and I suggest doing what Howard says first. No tab in this book. You need to know how to read. You could read the chord symbols but you would miss out on the cool (yet difficult) chord voicings.
Hate to bug you, but could you please direct me to where you downloaded Super Chops.
@@ianmackenzie686 I didn't see this otherwise I would have been happy to answer You. Scrib. something like that. I hope that helps
Great lesson, thanks. Do you record all your audio through a shotgun mic or separate guitar and vocals? Thanks
Zoom för the talking and a mic for the amp and then a room mic as well. Still havent found the best solution. I don't want a
mic in front of my face 🧐
@@Mikkokosmos use a clip on mic. I think they're called lavalier. I use one on Zoom with my students.
@@JoePariseauMusic yes I tried that but they make a noise when you accidentally touch them. Might give it another try. They are great for Zoom lessons but not for making videos 🙂
@@Mikkokosmos When I was doing my research another option is a condenser mic. Like the blue or red usb ones. Condenser mics are made to pick up sound at a distance, like an acoustic guitar. But, they pick up a lot of the room too. So if your neighbors are loud we'll hear them. Lol 😆
I got that book about 45 years ago, and I found it to have one glaring error: None of the chord progressions have a given melody. I happen to believe that the tune should be the point of departure for subsequent improvisation, not the chord changes by themselves.
ya that's a good point. wow 45 years! my copy is 30 years old :D
@@Mikkokosmos I have the biggest guitar instruction book collection west of the Mississippi.
@@williamstanford7994 😲😲
It's all about copyright. It's quite clear what tunes the chord changes apply to and there are lots and lots of sources for the tunes - notation, recordings, tab - so the lack of a melody line is something that you could easily remedy even 45 years ago. You probably already know all the tunes if you bought it back then. So let's not state that Howard made an error; he simply wanted to produce a method which wouldn't bankrupt him.
@@irishmuso7129 I don't quite agree, and 45 years ago I was unfamiliar with most of the standards up to that time. I wrote in the titles of those I recognized, one of which was "Cherokee." Others, however..? Anyway, much better instructional materials are available today, so the whole matter is moot as far as I'm concerned.
Sir do you know a good book for beginners in jazz guitar? Thank you
Contact Chuck Anderson He lives outside Philadelphia PA He can take you from start to finish with jazz guitar
I own the original red version, published in 1978. I was 17, dreaming of going to GIT (which had just started) one day, and this book was advertised a lot in Guitar Player Magazine, promising, well... super chops. I was very disappointed that you already have to be an accomplished jazz guitarist to start working with this book. It is definitely not a jazz method book, you have to already know what to play on those changes. After watching your video I dusted it off after four decades. Still same conclusion, I’m afraid. With all due respect to you and HR, to me the examples in the book nor your own improvisations using Super Chops do not sound very musical, or even like jazz. I totally get the concept of the “handcuff” practice principle, where the focus is on a limited set of parameters, in this case, maintaining a constant stream of 8th notes. Maybe for professional guitarists this book may be of value. If you’re strapped for time, I believe there are more important issues to practice.
Fair enough, I agree that you need prior knowledge and that is not explained in the "20 weeks" selling pitch. It's not for the beginner. However, I don't agree that the examples don't sound musical or like Jazz. Or that an exercise always have to sound musical for that matter. A dancer has to do many excercises that would be of zero interest for an audience in order to be able to perform. Same for musicians. And Jazz is just a name for a very broad genre. But I would say that the chord changes and etudes in the book sound like quintessential Jazz in my ears.
Great video, your guitar sounds excellent. You can download Howard's book for a minimal fee from Scribd.com. Howard Roberts was a truly outstanding LA studio musician/virtuoso. I've been listening to a relatively unknown Four Freshmen album from 1959 called "Four Freshmen and Five Guitars" which features Howard, Barney Kessel, Tommy Tedesco, Herb Ellis, George Van Eps, etc. The ensemble guitar playing is excellent, and so is the quality of the recording.
Don’t sign up to scribed or even give them your details! It’s a scam!!!!
@@andybutton1515 ?? What are you talking about? Total nonsense. I've downloaded stuff from them that I can't find anywhere else, for a few dollars, no problem.
A new edition should be made because is impossible to find any copies out there.
Yup! You can find PDF:s, though if you google it 🤓
@@Mikkokosmos You are right..👍
Even if your words explain the purpose of the method, the risk to get a nervous breakdown with it is high . At the end of the method, you could still unable to play offbeat or take some human riff. Grant Green and Les Spann kill you with few notes . Saying that I really like your lesson because you don't promise cheap miracles . THS
Do they have this in tabs?
If there are tabs in the book? If that's what you're asking then no, no tabs. As I mention in the video, there are no tabs but the fingerings are written out.
You are all wrong, sing the lines over the progressions and play that, not some mechanical robotic note sequence :)
I have never said that you can't sing along with what you're playing when working with this book. And it's quite possible to sing note sequences. But thanks for calling my playing robotic :p When you say "all" are you including Howard Roberts? :p :p
@@Mikkokosmos No way is your playing robotic, I think you are a great teacher and player, what I mean is... it is so easy to build Frankenstein solos, a bit of this guy, a bit of that when we have the melodies and improvisation tools inside of us if we listen