20 weeks to a higher level of proficiency: Howard Roberts Super Chops one more time.

[Jimmy blue note]

There are many elements that go into being a good improvisor. You've got to have a good command of the melodies you want to create, you've got to have an idea of what your possible options are, you've got to have a natural sense of time so you don't throw yourself off with hesitation, you've got to have a good sense of the fingerboard so you can find the areas of strength for any harmonic (tonal) situation and you've GOT to have a really good sense of ear to hear, rather than read, your way through a piece.
All these things need to be addressed through a balanced regimen of serious study.

Howard Roberts wrote a 20 week program that uses a number of harmonic structures (based on a few well known Standard progressions and variations) that are presented in a weekly format and go from a relatively slow tempo and progress to a pretty brisk tempo by the end.
I bring my book out every few years and go through this. Each time, I'm at a different place in my musical maturity, each time I get something invaluable.
The last time I did this was in a thread I started 6 years ago.
I'm about to run this again over the next 20 or so weeks.
There are a few places on the web where you can get the book, it's out of print but lots of downloads. I'll also cut and paste sections as I go through.

Howard Roberts - Super Chops - Guitar - Free Download PDF

Anybody here interested in participating in this group? I've found that having a community study environment sharing questions and observations encourages the player to keep going, to acknowledge accomplishments, to untangle obstacles and to understand some of the things that might focus our studies so we can perhaps get a little more depth than merely a finger exercise to a study of ideas and how to turn Chops into Solos.
I'll try to add regular tips, thoughtful insights, strategies for sharpening our soloing skills (ideas on shifting, building on motif, hearing a progression, turning a chord into a line that can be developed, connecting ideas, opening up hand awareness by visualizing the fingerboard... things that aren't directly addressed within the book per se but which I've found are great to inform proficiency skills.)

If there's any interest, I'll start this as a 20 week thread. I did this before, and I'll try to address issues from the relative novice to the seasoned player looking for more conceptual walls to punch through.

[Tal_175]

I'm happy to do this. I have worked on the book partially a couple of times in the past. I may not be able participate for the first week or two as I'm currently focused on something else but I'll join as soon as I can.

[AllanAllen]

Well, I must be getting better, I got halfway through that chart before giving up this time.

[Jimmy blue note]

A few things I will do differently from the book. I'm not going to say the chords given in the book need to be adhered to as written. If you feel that a solid rhythm track of drop 2 or anything that works for you will keep you on track easier...by all means.
I would like anyone to feel free to chime in on "I don't get it" or "This is too easy" or "I don't feel at all musical". One thing I've gotten from people who've gone through the whole program is "I didn't feel the benefits until I took them for granted and then creative ideas came much faster".

This begins as a movement and hearing exercise and I think for the first half I'll be constantly emphasizing that the more you work with your ear, your eye and your consciousness of the form TOGETHER, the less likely you'll fall into obstacles and pitfalls later.
I would like to make this an integrated approach. That's the greatest benefit I see in the ostensibly tedious and admittedly easier tempos of the first few weeks. It's a time to identify inherent and practiced weaknesses we have in our own playing NOW, and not pander to the strengths we've developed to circumvent those weaknesses.
I'll discuss these things and through the forum format, we can share the walls we hit and use Time On The Instrument to take them down, and have some fun.

Take it or leave it. I'll throw lots of ideas out there. Whether you're steeped in the language of bop or the very idiosyncratic fluidity of Kurt or Holdsworth, the unity of your hands and your ear has the same import.

[Tal_175]

I think it's also beneficial to do this exercise just with a metronome (no backing track) without getting lost.

[Jimmy blue note]

I think it's also beneficial to do this exercise just with a metronome (no backing track) without getting lost.

Absolutely. I will strongly suggest to those who have been at it for a while, that this be a platform by which one can develop one's ear, learn to internalize any tune off book, and for the really comfortable, treat these Projects as chord and linear exercises (like a piano player would.)
There is truly something for anyone and I'd like to encourage anyone on any level to consider realistic goals and use a tune based approach to forge one's abilities into a more coherent improvisational ability.
That's why I do this every few years. It's still humbling.

[mr. beaumont]

It sounds really interesting. I have something else I was thinking of working on, but im going to follow this closely, maybe pick up a little behind the pace in a few weeks.

[AllanAllen]

So who is playing the chords and making their own tracks? That’s my perpetual roadblock. I wish it started with Satin Doll or a blues instead of whatever that is.

[Tal_175]

The first two lessons seem to be based on Cherokee. Not a particularly hard progression, IMO.

[Jimmy blue note]

The first two lessons seem to be based on Cherokee. Not a particularly hard progression, IMO.

And a great one to study hard enough to be able to put down your own chords from the changes in the book. No the book Projects are NOT exact lifts from the original standards, sometimes they give you a workout on a variety of substitutions or alternative turnarounds.
I never liked the notated chords, I found them awkward enough to play that I didn't get a solid recording. That's why I offered the option of chording it yourself, as long as your chords are NOT so idiosyncratic or obscure as to make hearing the changes (and playing on them) difficult. This is not a studio session, it's an exercise.

[Tal_175]

And a great one to study hard enough to be able to put down your own chords from the changes in the book. No the book Projects are NOT exact lifts from the original standards, sometimes they give you a workout on a variety of substitutions or alternative turnarounds.
I never liked the notated chords, I found them awkward enough to play that I didn't get a solid recording. That's why I offered the option of chording it yourself, as long as your chords are NOT so idiosyncratic or obscure as to make hearing the changes (and playing on them) difficult. This is not a studio session, it's an exercise.

Agreed. Playing the notated voicings isn't necessary. Some of them are closed voicings that are a bit stretchy. I actually like them when the chords are sustained (and a chorus pedal is involved, ha ha).
Substitutions seem to be used to make the harmonic rhythm one chord per bar in the A section. II's added before V's and functional subs (iii and vi) added when there are two bars of major. For linear playing, these subs are just part of the chord material (dominant material, major material etc). At least that's how I'd play them.

I also like alternating comping and linear playing or harmonize some of the lines. But would that defeat the purpose of the continuous 8th note constraint of the practice?

[Jimmy blue note]

I also like alternating comping and linear playing or harmonize some of the lines. But would that defeat the purpose of the continuous 8th note constraint of the practice?

It would, and for at least the first half of the 20 weeks, I do think eighth notes are extremely challenging no matter what level you are at. I might be inclined to allow myself to use a longer value note at the end of a tonal area or phrase, especially if I notice that it's throwing me away from being aware of harmonic tonal shifts or not allowing me the presence of mind to make physical shifts around the fingerboard.
Working with your own skillset is always important. And then I'd make it a goal to be able to negotiate position or tonal shifts without breaking eighth notes a goal to be worked on with increased awareness and attention.

It's hoped that this kind of study will help isolate our weaknesses. Sometimes that's done by solving our issues one at a time.

This 20 week program is also an excellent way to establish a good template for working on tunes after the 20 weeks too.

[D'Aquisto Fan]

Hey, "JBN." As you know, I ran through the course with you a few years back. I found it to be a very valuable experience, despite being tedious at times. I've got more going on in my life now since we're not in the pandemic, but I will try to jump in. I like your idea of not slavishly adhering to Howard's chord changes. Perhaps sticking more closely with the actual tunes his exercises are based on is a good way to go, for me at least.

[MtnCat]

FYI,
(Per my original 'red cover' book/notes from 1979, $8.95 , No guarantees !)

The SuperChops 'Project' tunes are;

1A 'Cherokee' Bb,
1B 'Cherokee' Db;
2A 'Baubles Bangles and Beads' D,
2B 'Baubles Bangles and Beads' Bb;
3A 'Angel Eyes' Dm,
3B 'Angel Eyes' Am;
4A 'All the Things You Are' Ab,
4B 'All the Things You Are' Eb;
5A 'Blues in C' ,
5B 'Blues in G';
6A "??" in Eb,
6B "??" in Bb;
Continuous, uninterrupted Eighth notes for 1A through 3B. (no rests, no phrasing, no hammer-on's, no pull-off's. No other ornamentation.)
Continuous, uninterrupted Eighth note Triplets for 4A through 6B. (no rests,no phrasing, no hammer-on's, no pull-off's. No other ornamentation.)

Have Fun!

[Bach5G]

Hmmm I am going to have a look for copy (pdf printout) of the book.

And there it is. I don’t if I ever made it past the table of contents. So I’m in.

[Jimmy blue note]

Hey, "JBN." As you know, I ran through the course with you a few years back. I found it to be a very valuable experience, despite being tedious at times. I've got more going on in my life now since we're not in the pandemic, but I will try to jump in. I like your idea of not slavishly adhering to Howard's chord changes. Perhaps sticking more closely with the actual tunes his exercises are based on is a good way to go, for me at least.

I think this is a really good example of how the format of the book can be used to take you to the next level. Any time you commit to a discipline for an hour a day, an activity wherein you can really face something that you know you can benefit from conquering, is going to be beneficial. It'd be interesting to take an inventory of where you are in fretboard visualization, ear awareness, melodic resources... and set yourself a goal. Hmmm, comes to mind that I about a month ago I had a conversation with Jerry Bergonzi wherein we discussed why more people don't use octave displacement as an improvising tool. Or 7ths. Or 9ths. Or dyads. Or using certain specific intervals to achieve textures based on using dissonance vs consonance as the focal point of a phrase. Or making a real craft out of playing strictly motifically... Oh yeah, this could be a great way to punch through the sounds that we find ourselves being trapped (or bored) by. Great idea!

[Jimmy blue note]

Hmmm I am going to have a look for copy (pdf printout) of the book.

There's a link in the original post. It really works. I'll be using it to cut and paste the examples for this thread. It's one of many available.

[Jimmy blue note]

FYI,
(Per my original 'red cover' book/notes from 1979, $8.95 , No guarantees !)

The SuperChops 'Project' tunes are;

1A 'Cherokee' Bb,
1B 'Cherokee' Db;
2A 'Baubles Bangles and Beads' D,
2B 'Baubles Bangles and Beads' Bb;
3A 'Angel Eyes' Dm,
3B 'Angel Eyes' Am;
4A 'All the Things You Are' Ab,
4B 'All the Things You Are' Eb;
5A 'Blues in C' ,
5B 'Blues in G';
6A "??" in Eb,
6B "??" in Bb;
Continuous, uninterrupted Eighth notes for 1A through 3B. (no rests, no phrasing, no hammer-on's, no pull-off's. No other ornamentation.)
Continuous, uninterrupted Eighth note Triplets for 4A through 6B. (no rests,no phrasing, no hammer-on's, no pull-off's. No other ornamentation.)

Have Fun!

Over the years when I revisit this book periodically, I've always used the first half and stuck to the stricter guidelines of eighth note adherence. That's a ritual of inventory and disciplined scouring of my own techniques. It's also a great way to work on SOUND and clean execution. Second half (as it's the same projects but with a different focal perspective), I've chosen specific areas to focus on and really stuck to it. It's always a challenge. Like boot camp.
It seems that the more I know, the more I can actually get out of this program.
I used to discount the pursuit of sheer chops ability in favour of the lyric and developed compositional line, but this program gives me the chance to build really useful tools to work with. It's always remarkable to me how much more expressive I can be by really getting my technique in control.
We're all evolving beings. Imaginative discipline does nothing but make me a stronger player.

[Jimmy blue note]

So who is playing the chords and making their own tracks? That’s my perpetual roadblock. I wish it started with Satin Doll or a blues instead of whatever that is.

I always record my own backing tracks. There's a reason why Howard Roberts makes that a part of his method. Step 1 each day, chord discipline. It's REALLY good ear training too. I'll be providing a tonal guideline each week too, wherein I point out the salient harmonic arcs and the dominant chord devices that are utilized in each tune, so we can see, hear and think of the form in a structural way, and use this knowledge to increase our internal awareness, and get OFF BOOK ASAP.
This is the way the serious musician must think of a tune and it's the portal through which a player can really engage in playing a solo. It's more than the ability to play notes without flams, as he calls it, (or clams or hesitation) but putting your chords down pushes you to KNOW the landscape that you're building on.
These are all essential and classic forms and getting to know them by chord and by ear is the most solid way to bring yourself to engage in really satisfying soloing. The pace is well suited for that.
Remember the target tempo markings are just a suggestion. The important thing is you work at your own pace but push yourself a little each day.
Doing your own backing track is an essential part of the process. Just imagine being fearless in your ability to comp, hear and derive creative solo lines that work with the harmonies. Imagine that you can have a solid footing on that in 20 weeks from now.
Just a matter of saying that's what you want.

[fep]

I'm going to give it a try. My old hands really don't want to do the Howard voicings, so I'll use my own, maybe do a lot of shell voicings instead.

Recording tracks is pretty much my hobby so yes, I'll make my own. See I'm a beginner piano player, I'll do some of my backing tracks with piano.

[fep]

FYI,
(Per my original 'red cover' book/notes from 1979, $8.95 , No guarantees !)

Yep, a bargain.

[AllanAllen]

I always record my own backing tracks. There's a reason why Howard Roberts makes that a part of his method. Step 1 each day, chord discipline. It's REALLY good ear training too. I'll be providing a tonal guideline each week too, wherein I point out the salient harmonic arcs and the dominant chord devices that are utilized in each tune, so we can see, hear and think of the form in a structural way, and use this knowledge to increase our internal awareness, and get OFF BOOK ASAP.
This is the way the serious musician must think of a tune and it's the portal through which a player can really engage in playing a solo. It's more than the ability to play notes without flams, as he calls it, (or clams or hesitation) but putting your chords down pushes you to KNOW the landscape that you're building on.
These are all essential and classic forms and getting to know them by chord and by ear is the most solid way to bring yourself to engage in really satisfying soloing. The pace is well suited for that.
Remember the target tempo markings are just a suggestion. The important thing is you work at your own pace but push yourself a little each day.
Doing your own backing track is an essential part of the process. Just imagine being fearless in your ability to comp, hear and derive creative solo lines that work with the harmonies. Imagine that you can have a solid footing on that in 20 weeks from now.
Just a matter of saying that's what you want.

Well, I revisited after yesterday, set the metronome to 50 and stumbled through it. I'll go even slower next time.

[fep]

"Think simple, play fancy."

That's what a guitar teacher told me about 45 years ago.

I'm ignoring the Super Chops voicings and using what I know. I found this makes it much easier to get the progression off the paper. In the first pass of the A section I simplified as much as I could stand, 2nd pass i fancied it up. (Fancy is relative, my fancy might be your simple).

[AllanAllen]

Thank you for posting this. I thought the A and B on the page meant it was an AABA progression instead of realizing it was chords for exercise 1A and 1B on the same page.

[Tal_175]

The tune is AABA (64 bars). The last A is split with a coda. The markings (A and B) on the page indicate the sections of the form (not the lessons).