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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We are taught to count them as: The c on a c7 can be called a b9. In other words, as long as both ideas are strong ideas. Every grouping may not contain both of these basic chord tones but will contain at least one of them. I know it was true for me.

Although most childhood behavior becomes modified when reaching adulthood, somehow we think this is not true of many of our early musical concepts. In other words, in the end, each musician has to develop their own individual methodology according the way their mind works.

Focused Concentration is built in to the Vivid Imagining technique. There is no such thing as space, galoer the illusion of it created by the performer not playing everything that is going on inside their head. Start your solos with lines of melodic content and progress to faster lines, using them to connect melodic ideas.

All problems with playing are hearing problems. Repeat the scale ascending and descending without stopping at the top or bottom of the scale. Seems weird that he goes on about fwd motion, but those clips dont have much at all???? The following ones are for chords that last for a bar each and use two groupings from each pentatonic scale. The chord tones 3rd, flat 3rd, and the flat 7th spell out the character and color of changes with the greatest clarity.

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Forward | Hal Galper –

Copying not only what the master played but also how the master played it. This is good and proper education for every-day goal orientation. All seven-note scales have five whole-step intervals to which a half-step may be added to correct a melodic line, depending on fordard note and beat you start your line on. What Hal concentrates on for the most part is the very subject that is least discussed in texts of any sort, which is the use of rhythm, jazz rhythm to be exact, in order to improvise countless ways on a given line.

The question is then, are you training your ears to work properly? Example 15 Resolving Arpeggios and Creating Pick-ups Create resolved arpeggios by adding an ascending or descending scale step at its end.

It has been my pleasure many times to “hit” with Galps.

Some of the chord tones in the diatonic bebop Dom. It has an innate tendency to want to make sense out of chaos.

Understanding Forward Motion | Hal Galper

Perhaps a schematic will explain better than words can. As the scale exercises lengthen, each phrase will contain two target notes forming an Inner Guide Tone Melody that will guide you through the exercise. Many beginning improvisers use this understanding to improvise scale-wise. Otherwise known as “being able to play anything anywhere,” it illustrates how the masters used these elements only as guides to made up their own solo content over the predictable elements to create rhythmic and melodic freedom during dorward solo.

Anyone digging into this book? Hal Galper Forward Motion Book

Play the series of target notes the ascending scale line to place them in your ear, then try to approach each Target Note from one scale tone above. Dizzy Gillespie was a guest with the Phil Woods Quintet for a week.

It’s not, as often believed, cheating to make it easier. Do not try to think melodically. Melodic Inversions An integral component of practicing any melodic theme, scales, chromatics, intervals and arpeggios, is Melodic Inversion. Syncopation is a unique construct that omtion individuals to be part of a group experience while at the same time retaining each participant’s individuality.

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It is the motoon device. What jazz education offers is the opportunity to create and organize your own individual self-teaching methodology. When practicing music ideas we tend think that it is the idea itself that we are trying to learn when in actuality the idea functions more as a tool to develop the more sophisticated process of vivid aural imagination.

Playing the V 7 while the II-7 change is occurring spells out the V7 ahead of time.

I thought he was trying to put Chord tones on the strong mtion Example 28 Spells out Cmaj6 and A For more advanced students, who know their scales, these moiton function to re-train the way you have previously heard scales into hearing with FM. Flrward can play a line of triads all you want and it will be very weak. Highly recommended book I would recommend the e-book version as the examples play on your PC and you can change tempo and key.

What had happened was that by listening so long to Tatum playing fast, I had put the sound of playing fast in my ears. Play fodward exercise until you can hear their melodic content then go back to the original exercise to see if you can play it without pausing.

The use of Inner Guide Tone Melodies is also discussed. The result is that in Example 7 the melody sounds to the listener as 8th notes, but the player is conceiving them at a different rate of speed as 16th notes.

It offers a step-by-step process for retraining your hearing to hear in Forward Motion.