Forward Motion [Hal Galper] on *FREE* shipping on qualifying offers. This deep, yet user-friendly book provides a unique view of how to learn to . I have in my collection Hal’s notes from 5 the early 80s about forward motion, Galper is explaining is offering countless ways of manipulating simple at first, and . Hal Galper-Forward Motion. I bought this book last week and started working through some of the ideas and it seems to be a pretty interesting.

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Similarly, the ear tends to select one of the four chord tones of each chord as the chord changes progress through a tune. Kindle Edition Verified Purchase.

The chapter illustrates the almost infinite ways that chord tones can be synchronized with the strong beats of the bar to clearly “spell” out chord changes.

My friend has hard copy of this book and i’ve compared with it, his examples are fine and mine are stuffed. Tin Pan Alley tune-smiths frequently used intervals in many of the classic American standard songs. I could understand what was happening much better than before.

The process of improvising around simple, hearable, inactive melodies is still occurring, but on a more sophisticated level. This ability can be developed to a highly sophisticated degree. The only way they can be successfully conceived is as groupings independent of the named chord change.

Becoming a lost art, HFM can only be implemented after having played your own vocabulary for many years. This same tendency is present in the ear as well.

To understand the difference between rhythms that are in and out of Forward Motion, try this experiment: Essentially, this means putting chord tones on the beats. Don’t have a Kindle? The methodology you develop to learn how to play will eventually have a direct influence on your style of playing, your individual voice. When practicing music ideas we tend think that it is the idea itself that we are trying to learn when in actuality the idea functions more as a tool to develop the more sophisticated process of vivid aural imagination.

What Hal concentrates on for the most part is the very subject that is least discussed in texts of any sort, which is the use of rhythm, jazz rhythm to be exact, in order to improvise countless ways on a given line.

Today’s academic jazz pedagogy approaches improvisation through learning scales and arpeggios along with rules of application over various chords. You can also alter your perception of time by selecting a ballad you know well enough you that don’t have to think about it while playing.

Notice that each player has his or her own particular mix of active and inactive content. The rules that govern music are universal, not affected by the passage of time, place or genre. When starting a melody on a tension beat, the ear wants to resolve the tension by jumping ahead to it’s nearest resolution beat. For more advanced students, who know their scales, these exercises function to re-train the way you have previously heard scales into hearing with FM.

An added whole or half-step may inserted before the first note, between the first and second note, between the second and third note and after the third note. Example 3 Normal transcriptional analysis would define the Ab in the second bar as the flat 13th of the C7 chord. When the inventor of the music puts so much emphasis on one particular aspect of jazz, I got the point, that jazz is, at root, a rhythmic invention. But they could show you how to play by hearing them night after night, playing it right, so you could hear it and through the process of trial and error, eventually emulate their playing.

From this comparison it became clear to me that there were as many ways of organizing ones practicing as there were persons organizing it. The following examples start on the chord tone, on the beat. Most lack this trust and to compensate, using every-day trying. Example 19 As you can see, the pattern when translated into FM, takes on a different shape.

Anyone digging into this book? Hal Galper Forward Motion Book | The Gear Page

One of our practicing goals is the galpr of patterned hearing. Try to retain the legato, over-the-bar line feeling of the 16th notes in the faster quarter-note tempo. Understanding Forward Motion “The more upbeats you have in the music the more it swings” Dizzy Gillespie.

Sonny Rollins is a master of rhythmic, harmonic and melodic superimposition.

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Example 3 In example 4 the Target Notes are isolated from the line to show the inner Target Note Melody around which the melodic line is constructed. The main challenge most students face in developing a playing attitude is having the opportunity to gain enough playing experience with musicians of a high enough calibre to develop a playing attitude. The book looks more like a handout from a university professor than anything else. After getting black and blue from falling off gslper thing, the inventor imagined that adding another leg to it might make it more stable, galpet it did.

Forward Motion insures that you are foorward the music correctly by copying and practicing it correctly. Galper attempts to guide us to a more mature way of “hearing a line.

Example 36 Selecting the strongest groupings to spell out II-Vs results in the following. The “hows” are experiential and usually learned through direct and continued playing experience.