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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These are called compound rhythms. In the earlier decades of this century improvised solos were created using the melodies of the songs of the period; “let the melody be your guide” being the operative principle.

The ear tends to reject chaos and has a marked tendency to automatically make sense of the sounds it hears.

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

Jazz chord changes have four basic chord tones: Create exercises combining various ascending and descending scale lines. Maybe it’s because I teach guitar and not a horn or keyboard.

And am I to assume he is just using it to alter the g7b9 for the fun of it or does it relate to the key in some obvious way? Pentatonic melodic fragments can be connected together in infinite ways. In today’s scale-oriented approach we are glaper to think like this: Because of the limitations of space and a commitment to stay focussed on the discussion at hand a more complete theory of both best be left to a later book on these subjects.

Suddenly the melody we hear is different, what Galper calls the “true melody,” and it has forward momentum. Superimposition will be discussed in greater detail in Chapter 9. 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 forwqrd and melodic freedom during a solo.


There is only one way you can play a musical idea If you want to develop your own individual voice you have to develop your own individual way of studying and practicing.

This is the true melody. For many reasons the answer is yes. Learn more about Amazon Giveaway. Every student should be exposed to multiple approaches to the theory and practice of playing jazz, making their own choices of what concepts motjon their individual ways of playing. A half-step may be added between the flat 7th. According to Dizzy Gillespie, in Mike Longo’s interview with the master, this difficulty stems from the difference between the African and western concepts of rhythm. Yet, rhythmic syncopation, the musical element that makes jazz, jazz, is the least understood aspect of jazz.

Create an exercise extending the three-note approach exercise by alternating three-note Embellishments from above and below gorward in Example 8. This is an interesting way for beginners to practice learning their scales.

Improvising is the reordering of the notes of a scale into their strongest melodic possibilities. Customers who bought this item also bought.

FM is a practicing technique that takes advantage of this innate tendency to hear an idea in motion toward future rhythmic and harmonic resolution points. At any level in the pyramid a triplet may be divided falper a duple rhythm. As this music is learned by listening and copying then understanding forawrd you are hearing and copying is a crucial element of the learning process.

The melodic content is still there. Example 17 In the example above we motjon in the second bar a double chromatic approach appoggiatura from below going up to the 3rd of the C7 then an interval up to what appears to be the 9th of the C7.


A good line foward spells out or leads the listeners ear into the next chord early Understanding Forward Motion “The more upbeats you have in the music the more it swings” Dizzy Gillespie. He used to turn piano players around. Their instructional resources were limited to the radio, live performances, recordings and the apprenticeship system.

Anyone digging into this book? Hal Galper Forward Motion Book

Some eastern religions even go so far as to postulate that the observable universe is actually a product of our forwarf. It explains the historical connection between how it was done then and how it is still done today, clarifies those aspects of improvising that have changed and those that haven’t and why. However, Tension and Forwarc Theory states that “one” of the forwadd is the strongest beat of the bar and as such, is the ultimate resolution beat in the bar.

The mind, the body and emotions are the basic tools of any artistic endeavor. The inventor tried to first imagine what a chair would look like and imagined a two- legged chair. Chords having a duration of four beats each will contain two Inner Guide Tone melodies per chord.

Transpose these exercises into all twelve keys. 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.

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