FORWARD MOTION HAL GALPER PDF

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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Certain aspects of Tension and Release come into play at this point.

However, to achieve the more sophisticated rewards of playing on a more advanced level the improviser must deny themselves this low-level reward. Their purpose was to show how melodies work as well as offering forwrd way of practicing scales more in the manner they are used than in the way they were originally learned.

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

They say reading a book is worth it when you can retrieve at least one idea from it and incorporate it into your way of thinking. The exercise itself is important but the process of playing the last note first, giving your ear a place to go toward, is the most important aspect of all. The goal is to extend and sustain valper imagination over longer and longer periods.

The student lives with the master, cleans his house, cooks, does his laundry. He super imposes an Ab triad on the G7b9 chord. Suddenly the melody we hear is different, what Galper calls the “true melody,” and it has forward momentum. We were all taught backward. If you want to galperr the way you play you have to change the way your hear.

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Anyone digging into this book? Hal Galper Forward Motion Book

Being somewhat ephemeral in nature and initially difficult to grasp, this inner life is often ignored in favor of the external life. Help Center Find new research papers in: Shopbop Designer Fashion Brands. You can play a line of aglper all you want and it will be very weak. Your hearing has become more sophisticated. Example 66 has either the flat 7th, root, and flat 3rd of an A-7 shown or the 5th, flat 7th, and root of a C7. Its concepts can be historically validated by their previous use in the tradition of the music.

Amazon Second Chance Pass it on, trade it in, give it a second life. You can also alter your perception of time by selecting a ballad you know well enough you that don’t have to think about it while playing. We are taught to think of these tones as moving through a tune in a vertical manner, as if all the chord tones can be heard separately and together at the same.

Example 9 When played from root name to root name, with the appropriately named chord behind them, they each sound like the named scale, not a C7 haal You can concentrate, but only in spurts.

It is optional because it used only when needed. Where you add these half-steps depends on what note and beat of the bar you begin your scale line on and which beat and note you plan to end upon.

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Even though they might start on the beat, because of their generally chromatic nature, they have a tendency to make release beats and chord tones more tense, giving them a feeling of Forward Motion.

Some exercises require the addition of a note to create FM. 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.

As this book is not intended to be a theory or exercise book per se, only an abbreviated list will be included and will be restricted to the most commonly used versions. Melodic lines can start as active melodies and end with inactive melodies, and visa versa.

Then another set of rules becomes operational. We were both standing at the counter and I ga,per up the subject of rhythmic exercises. Extrapolate the concept to the other triads. The playing attitude is just the opposite. Pay particular attention to the phrase markings. Set up a giveaway. Use this technique for everything you practice.

Chords having a duration of two beats each will contain only one Inner Guide Tone melodies per chord. Realizing this unique talent, he was subsequently sold to a promoter who took the child on tour. Jazz pianist and educator Barry Harris reduces every scale to being one form or another of either a major or minor 6th scale.

Example 10, 1 whole-step above to 1 whole-step below to the chord tone: