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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The ear motikn be trained to hear: What Oliver is suggesting is, if you can’t improvise your own inactive “song-like” chord-tone melodies, you haven’t established a firm foundation in your ears upon which to improvise more active musical ideas embellishments. Intervals and Forward Motion adds pickups and resolutions to large intervals broken arpeggios to give them a feeling of motion including fogward of their use by modern composers and how they might be used in a solo context.

It is optional because it used only when needed. We count first beat of the bar as “one.

It can only be described as an F -7 played over a C maj. If you make a mistake, return to step number one again.

Example 11 Example 12 Any group on one scale can go to any group on the following scale. The pick-ups move toward the last note of each four- note fragment. He could go anywhere at any forwzrd and make it work. It has to work.

It is a trying without trying. The more complex, the more mirror versions there are. The Windows version is k. The added half-step is also applied to the second and third categories of scale lines: It will be especially difficult to resist slipping back into quarter-note time while playing with a drums and bass who must play with a quarter-note feeling.

Practicing and playing without understanding how the most basic tool of your art works is inefficient and largely nonproductive. One of the ways to convert them into FM is to leave out the first note and beat and start the exercise on the second note, second beat as in example 19 and mentally translate it into FM notation. He really is just not swinging at all on any of ’em.


If your ear is properly programmed it will do the work for you. The melodies become so strong that jal without a chord being omtion behind them, you can hear the movement of the chords as they progress through a foeward. To paraphrase Oliver, improvising by ear is easier when you have established something simple and clear around which to improvise.

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

Although they tend to gaper out the chords with a little less accuracy than 7 and 8-note scales, they can be superimposed over the changes with much more freedom. Not trying to sound mystikal or smart-assed here – but if portions of your lines are spelling triads and other such orderly constructs, the sheer strength of these structures provide the weight and melody needed for the ear to “buy” into it.

Bad feel and time and not swinging Example 13 The exercise with FM applied. FM is a practicing technique that takes advantage of this innate tendency to hear an idea in motion toward future rhythmic and harmonic resolution points.

Once practicing FM has begun you can’t go back to your earlier way of hearing because the ear wants to hear this way.

Forward | Hal Galper –

It follows then that “Embellishments” can be defined as being rhythmically active 8th. FM is also based upon the physiology of how the ear functions, another universal. Both take only about 5 minutes to download and, if you follow the directions, are easy to install in your browser. Example 9 Example 10 shows how changes can be anticipated a bar in advance.

When adding segments always start from the first idea. More on appoggiaturas in the next chapter. He is definitely one of the senior citizens of jazz having served his time with greats like Cannonball Adderley and Phil Woods.

The chain of how a concept grew and was modified through the passage of time should be clear and unassailable.

Reconditioning your attitude and conception of playing quarter-note time can eliminate this effect. Someone, sometime in the far past, decided they were tired of sitting on cold, hard rocks and wondered if there was a better alternative they could come up with. Overcome this difficulty or any other by making a separate exercise out of the pairs of last and first notes the connector intervals in Example 6 as they ascend or descend the scale.


How many times, while playing, has your mtion drifted off to think about what your old lady said to you earlier that day? It is within this internal life that the richness of creative and controlled musical experience can be discovered, developed and enhanced.

Anyone digging into this book? Hal Galper Forward Motion Book

Play them by ear, using your auditory memory. Problems playing music can be reduced to difficulties that lay within the realm of mental states of mtoion such as: The TV was on to the morning kids show Mr. You can play a line of triads all you want and it will be very weak. One-on-one individual lessons are the norm.

Groups of 16ths resolve on the beats, rather than beginning there. They are operational while they are applicable. This ability, like vivid imagining, may take years to develop. What had happened was that by listening so long to Tatum playing fast, I had put the sound of playing fast in my ears.

Gaper To Practice Forward Motion debunks mechanical “repetition” as an outmoded practicing process. Play these exercises in strict tempo. Kochevitsky proved see below that all music is played by ear. Example 35 The FM6 pentatonic has three groupings with three chord tones one grouping with four chord tones and one grouping with 2 chord tones in them: In other words the key to playing syncopated phrases is to think rhythmically instead of melodically.

I figured he might put the 3rd or 5th of g7 but I was thrown a good curve ball with the Aminor triad.