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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Forward | Hal Galper –

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.

Correcting this old habit will be a constant battle until you reestablish adult practicing habits to the point they become as automatic as your tendency to mindlessly repeat. Combining the discipline of knowing your chord tone melodies with the freedom of playing any approach to them shows that discipline and freedom are not inconsistent. Note that they become common bebop scale lines. Or, the chords are heard as a “color,” such as the “altered” color, or the “Major 7th. There are always rules of one kind or another at work to make the music sound good.

Cells come in infinite forms, however, our focus here is only on how FM affects cell playing.

Anyone digging into this book? Hal Galper Forward Motion Book

Most Active Authors Latest Reviews. The following examples are shown only mofion scale step additions. This is an interesting way for beginners to practice learning their scales.

Example 4 Notice how example 4 swings more than example 3. Allegedly, Bird could spell out changes two bars in advance of where they were written.

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

The approaches from above and below can be applied to whole-step approaches as well. Try them with an added chromatic as well. 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 C triad will be used throughout.


If you can’t do it easily you can’t have fun and project that feeling of fun to your band-mates and listeners. Before mindlessly repeating a musical idea, define its Inner Guide Tone Melody.

They’d usually say “Fake it kid, fake it. If you make a mistake in any of these exercises, don’t repeat the phrase thoughtlessly. Here’s a link to an old thread about the book: Because of limitations of space the following examples are for ascending appoggiatura groups only.

At this point you should have the idea of how to construct the descending groups on your own. In an effort to introduce students to the concept, I’ve included beat- and-a-half HFM in most of the exercises in this book. galer

When studying music as a child, most of us share the common experience, especially those with exceptional capacities for hearingof our teachers discouraging us from memorizing and playing music by ear. Till this comes all is restless, chaotic; when it arrives the tension relaxes, and at one stroke all that went before becomes clear, – we understood why the notes had these intervals and these values.

Cell playing for scale groups introduces an alternate way to perceive four note scale groupings than was discussed in the chapter on Scalar Forward Motion. 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.

We count first beat of the bar as “one. Applying FM to spell out changes using pentatonic groupings uses the same process as in the chapter on Scalar FM. Originally, I used FM to correct what I saw as a technical and theoretical problem. Most of us have been conditioned into believing that jazz improvising should be hard work and feel that if it becomes easy we are somehow “cheating”.


His intuitively founded concept is based upon a fundamental scientific principle about how the ear works, particularly when a musician “plays by ear. See examples 4a, 4b, and 4c below. No one can teach you how to play.

When do you stop practicing Forward Motion? The harder you try the further away you get from it. You’ll therefore be twice as relaxed, have twice as much time to conceive ideas and double your technical bal. Listen to music while counting in half time. If you think of the rhythm first, the rhythm will automatically select the proper moiton out of the continuous 8th note line that is running through your ears.

This is no less so for the musician. They function on a conceptual level. I can personally attest to his statement as I had the good fortune to have played with him a number of times. It is compulsive behavior in its finest form. Concentration comes in many forms: Every seven-note scale contains five whole-step intervals where a half-step may be added. Someone had sent me a bootleg Italian recording of air-checks that Art Tatum had made when he was in his early 20’s.

Your hands have no choice. In volume 1, Pg. The ear gravitates toward logical strong musical ideas, retains them quicker and tends to reject ideas that are weak chaotic. A half-step maybe added between these two chord tones to keep the rhythmic and melodic tension and release patterns “in synch.

This is the third category of scale lines in action. It has an innate tendency to want to make sense out of chaos. Use of quarter-note time is a hold over from childhood musical experience.