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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However, the player is hearing thier melodic lines differently than the listener, as melodies and rhythms in motion toward future resolution points.
Understanding Forward Motion | Hal Galper
This same tendency is present in the ear as well. You may have experienced the feeling of playing in half time without realizing it. It would then seem logical that melodic phrases begin on the first beat of the bar, or “one. Being human, seeking rewards for our labors is rorward, especially after working hard to achieve this level of hearing.
Then goes and plays motioon Eb over the G7b9 chord. Always starting from the first bar, add more segments until you can hear and play the complete melodic line for 8 bars. Look for them in every exercise. Most of the preceding generations of masters learned the rules of jazz playing through the process of copying the music. The second stave is the quarter-note tempo.
Anyone digging into this book? Hal Galper Forward Motion Book
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. Example 9 Example 10 shows how changes can be anticipated a bar in advance.
They are beamed to create the visual illusion of a long melodic line. The internal processes can be compared forsard software code that you’re constantly writing and rewriting. The term “rules” is used in a relative sense: Wanting to play the most definitive melodies myself, I began my research by trying to analyze why some melodic lines sound better than others.
One-on-one individual lessons are the norm. These laws are immutable and as applicable in Bach’s time as in ours.
I haven’t read Hal’s book, but I was very surprised at how poor Hal’s performance is gaoper that youtube link, especially rhythmically! Pentatonics tend to be used mostly in modal playing but can be applied to change playing as well. The ear tends to reject chaos and has a marked tendency to automatically make sense of the sounds it hears.
He super imposes motjon Ab triad on the G7b9 chord. There is only one way you can play a musical idea The ear gravitates toward logical strong musical ideas, retains them quicker and tends to reject ideas that are weak chaotic.
If you can’t do it easily you can’t have fun and project that feeling of fun to your band-mates and listeners. Sep 15, 3.
Any two musical ideas can go against each other as long as each of them has musical integrity. Example 39 Example 40 now has a beat and a half pick-up. How to add half-steps to the other whole- step intervals in a scale will be demonstrated later in this chapter. It’s a process of experimentation and trial and error.
But like myself, Hal thought through a lot through the years about how to articulate his specific musical ideas. Narrow concentration focuses on a narrow point, as in meditation. Improvisers mix these pick-ups to create interesting phrasing. Scale lines that descend for chords that last two beats each, Category 2: Appoggiaturas and Forward Motion shows how chromatic embellishments can be synchronized to spell out chord changes. Glad to see some of the same sentiment for this book being shared by others on the forum.
Here’s a link to an old thread about the book: One could play more freely because of these minimalist organizing factors.