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, Paperback Book with Online Audio Demonstration, and thousands more titles. ejazzlines has the best selection and prices of.

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Again, “let the melody be your guide. Cell Improvising Forward Motion. Any two musical ideas can go against each other as long as each of them has musical integrity. Concentration is a mental state and is hard work.

Amazon Renewed Refurbished products with a warranty. Gaoper mistakes sounds bad because the rules that were in operation at the time were violated. Since that time my understanding of the subject has grown and the way I use FM in my teaching has been modified. That Parker solo with complex chromatic alterations on each chord, might actually be one long line headed for a target note 2 measures in the future!

I discovered distracted concentration one evening when I was playing a steady solo piano gig at a restaurant in a Boston suburb.

Understanding Forward Motion | Hal Galper

Where a half-step approach already exists below a chord tone, a half-step may be added in the whole-step interval just below it. Example 8 Compound tempos take practice.

We were both standing at the counter and I brought up the subject of rhythmic exercises. Do the same for each succeeding scale tone. Most Active Authors Latest Reviews. These laws are immutable and as applicable in Bach’s time as in ours. The harder you try the further away you get from it.


The “hows” are experiential and usually learned through direct and continued playing experience. The ears hearing have their own independent way of working. I appreciate that Galper can back up what his says with historical and personal anecdotes from the creators of this music.

Musical ideas, if they don’t make sense to the ear, if they’re not being played logically, are harder to learn. 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.

In a Bach theme everything surges forward to a principal accent. Always use this process when practicing anything. See examples 4a, 4b, and 4c below. The ear can be trained to hear: The goals of childhood and adult practicing differ. The process of learning how to play is rarely that of starting out with a strong, clear conception of how we want to play.

Your immediate impulse will be to repeat the idea again without going through the process.

To clarify this concept, I’ll define melody and embellishment in specific ways. Not trying to sound mystikal or smart-assed here – but if portions of your lines are spelling triads and other such orderly constructs, the sheer strength of these structures provide the weight and melody needed for the ear to “buy” into it.

When the articles were first published, I was sure I had come upon original research that no one else had duplicated. This weakness is also an advantage.

Example 1 However, these FM exercises spell out the changes one beat and a half ahead of where the chord symbols are written. The more chord tones in a grouping there are the more it spells out a change.

He shows us a modern twist where we derive our own strong half note melodies using forsard guide tones from the changes or from superimposed chords and then embellish them with varying degrees of chromaticism. MikeSep 14, When practicing themes always play every inversion. These difficulties occur for one reason only: Example 3 Example 3a Skipping every other note results in the following intervals of a Bbmaj.


How do the notes stack up if we look at them as pointing to certain future notes rather than merely looking at them in the vertical context of the chord listed for that beat or measure?

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Most beginning improvisers attempt to get this hop in an artificial manner, through articulation, by either playing their eight notes: Example 68 has the flat 7th, root, and 3rd of a C7. All practicing is dedicated to the development and control of inner processes.

Vivid Imagination and Focused Concentration. Example 21 Explore the possible combinations of the groupings as in example 23 as well as those in example The secret is how to do it and make it sound good. Applying FM to these combinations have been hinted at in some of the preceding examples. Circle the notes on “1” and “3” of the bars, isolate the inner guide tone melodies and practice those before you try to play the complete melodic line.

It is very similar to programming your thinking and is comprised of two stages: I say “authoritative” because, while many books offer a “new approach to learning improvisation,” this author has learned from and played with many of the greats.

A Scientific Approach, Summy-BirchardGeorge Kochevitsky presented convincing evidence that virtually all music is played “by ear.