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, Paperback Book with Online Audio Demonstration, and thousands more titles. ejazzlines has the best selection and prices of.

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It was not a requirement for these musicians to have taken a theory course in order to make their music sound good. For that reason chromatics are not discussed in this chapter. When they are not, other rules apply. Play the series of target notes the ascending scale line to place them in your ear, then try to approach each Target Note from one scale tone above.

If we, as educators, have as our goal the development of individual voices, ideally then, there should be as many different voices as there are players. Do you already have an account? They are perceived at first as being one-dimensional.

Then goes and plays the Eb over the G7b9 chord. The ear has a natural tendency to hear from simple to complex.

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Is your practice time being used in its most efficient manner? It describes the functions of Tension and Galler patterns rhythmically and melodically and how they can be played to create strong melodies that “spell” the changes out.


In performance selected intervals are used as components of melodic lines.

Enter the email address you signed up with and we’ll email you a reset link. Example 36 Selecting the strongest groupings to spell out II-Vs results in the following.

The concept was derived from pentatonic improvising. There is no such thing as space, only the illusion of it created by the performer not playing everything that is going on inside their head. The strong beats are on the 1 and 3 which are the targets of phrases.

At each stage, from conception to realization, an overall goal was imagined followed by imagining the incremental steps to achieve it. Example 41 The above example in FM now becomes: 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.

They realize that as long as the piano or guitar player is playing the chord changes for G C7-Fmaj. The possibilities are almost limitless. As when learning anything aglper, it will take time and practice to get used to this new and unfamiliar perception of time. By taking my mental focus off my playing, I allowed my intuition and subconscious to take talper the soloing, accessing fotward more creative inner resource.


Forward Motion: Hal Galper: : Books

This is not the case. Anyone exploring this subject would come to the same conclusions that Bach and I did. How do you take a line like “rea llygo odja zz” and have the listener comprehend is as “really good jazz”? Making mistakes sounds bad because the rules that were in operation at forwarf time were violated.

Anyone digging into this book? Hal Galper Forward Motion Book

In your mind, YELL the inner guide-tone melody as loud as you can, at the tempo you want to play it the top speed at which can play an idea will be your upper limit to hearing fast. Hal Galper Trio on Facebook.

Its concepts can be historically validated by their previous use in the tradition of the music. It will then have a tendency to loom in the future as a target point.

Someone had sent me a bootleg Italian recording of air-checks that Art Tatum had made when he was in his early 20’s. Concepts must have the “Ring of Truth” for the student. Most students physically over-work when they play. This ability will develop as you practice more exercises with FM.