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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Oliver makes the value judgement that certain melodies and notes are more important than others; that melodic content is of primary importance and embellishments are of gapper importance.

When starting a melody on a tension beat, the ear wants to resolve the tension by jumping ahead to it’s nearest resolution beat.

It is the beat to which melodic ideas are played toward and at gqlper they end. For many reasons the answer is yes. So is it safe to say one should play chord tones on the strong beats? You can’t have an action without a thought that proceeds it.

If too much time lapses between steps your ear could lose the previous programming. These laws are immutable and as applicable in Bach’s time as in ours. Focused Concentration is built in to the Vivid Imagining technique.

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

The player is constantly trying to train and use these inner processes through the direct experience of using them. Once we do so, we will start hearing music differenly and be more able to play like the masters, who tend to have excellent “foward motion”.

Making mistakes sounds bad because the rules that were in operation at the time were violated. It just looks that way. Appoggiaturas and Forward Motion shows how chromatic embellishments can be synchronized to spell out chord changes. However, when the ear is fed the information it requires to function naturally, the ear does the work for you and carries your line to its resolution. Now try this using 8th notes. Their playing sounds worse to them.

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The Practicing Attitude The main contributor to confusion between these two attitudes is that students spend more time practicing as compared to the amount of time spent playing. Concentration is the “work” we do as performers. We count first beat of the bar fforward “one. Example 41 The above example in FM now becomes: How fast you can play depends on how fast you can hear. There are four types of triads: The operative attitude is that one must be exciting not excited.

What he means by imagination is “Aural” imagination. The added half-step keeps scale tension and release patterns in synch with the rhythmic tension and release patterns of the bar. The following ones are for chords that last for a bar each and use two groupings from each pentatonic scale.

Pentatonic melodic fragments can be connected together in infinite galpet. Mental states can be eventually controlled and mastered as tools of your art. Forward Motion may not answer the question “how do I want play? He also proved that if the signal from the brain is strong enough, the hands will do anything to get the sound out. What had happened was that by listening so long balper Tatum playing fast, I had put the sound of playing fast in my ears.

You can play a line of triads all you want and it will be very weak.

Understanding Forward Motion | Hal Galper

Chords having a duration of two beats each will contain only one Inner Guide Tone melodies per chord. This same tendency is present in the ear as well. It depends on how intense the aural signal is in the ear. It is not the practiced idea you take to the bandstand with you, it is the process of vivid aural imagination you take to the bandstand as a performing tool. Yes every note is a chord tone of some chord but the point is that it is where the line resolves to is what your ear will lock unto into.

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They realize that as long as the piano or guitar player is playing the chord changes for G C7-Fmaj. As when learning anything new, it will take time and practice to get used to this new and unfamiliar perception of time.

Add the third segment. Take from it what works for you and throw out the rest. How To Practice Forward Motion debunks mechanical “repetition” as an outmoded practicing process.

Have you noticed the problems you have going from one melodic fragment to another? Exercising control over these types of concentration and using them as tools is another of your goals. To understand this process, try the following experiment. When the four dominants are transposed into all twelve keys each chord type that exists in modern jazz nomenclature is listed once.

As most problems with playing music are perceptual in nature, moton change the way you play you have to change the way you think. We see “one” of the bar before we see any other beat or note.

Fofward though the 1st grouping of each pair forwrd from the minor 7th chord, it sounds like the dominant all the way through each pair. Extrapolate the concept to the other triads.

Anyone digging into this book? Hal Galper Forward Motion Book

There are two potential hazards of playing in half time. Example 32 Spells out C7b9 or Db Diminished. Melody and Embellishment creates a historical context for the following chapters by creating a framework for understanding how the process of jazz improvisation became increasingly more sophisticated from its beginnings fogward the early ‘s.