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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Skip to main content. Forward Motion is divided into ten chapters: When starting a melody on a tension beat, the ear wants to resolve the tension by jumping ahead to it’s nearest resolution beat.
The conclusion that follows may be difficult for the gaper to at first grasp: How do melodic lines spell out chord changes? Once you’ve reached gakper point where you are relatively familiar with the sound of this motion begin to add Embellishments to the chord tone melody by approaching each tone by an 8th.
One historically relevant method is the use of appoggiaturas, various ways to bracket the important notes and voice lead into them from above and below.
They are perceived at first as being one-dimensional. Primacy Of The Ear.
Anyone digging into this book? Hal Galper Forward Motion Book
I haven’t read Hal’s book, but I was very surprised at how poor Hal’s performance is on that youtube link, especially rhythmically! An abbreviated list of some of the infinite ways chromatic embellishments have been used in the jazz vocabulary is included.
So much so my head was spinning. I could understand what was happening much better mtoion before. The “hows” of musical ideas are universal in nature and take a lifetime to learn. Appoggiaturas and Forward Motion shows how chromatic embellishments can be synchronized to spell out chord changes. The strong tones are easier to hear than the weak ones.
The chromatic is a much-abused interval. Extrapolate the concept to the other triads. Example 6 Switch back and forth a few times. Allegedly, Bird could spell out changes two bars in advance of where they were written.
The Playing Attitude The playing attitude employs a process yet to be codified in western music education, “Faking It. Intervals and Forward Motio n adds pickups and resolutions to large intervals broken arpeggios to give them a motoin of motion including examples of their use by modern composers and how they might be used in a solo context.
Always practice with a tape recorder on.
Consequently, the processes involved in achieving these goals should differ as well. The more I think about this stuff in relation to the solos of the bebop greats, the more I think that Galper really is presenting a more realistic version of how bebop evolved into being and how it really worked in the minds of the greats. Share This Page Tweet. We will return to the subject of Cell Improvising again in the next chapter on Superimposition.
Every student should be exposed to multiple approaches to the theory and practice of playing jazz, making their own choices of what concepts fit their individual ways of playing.
As most problems with playing music are perceptual in nature, to forwarc the way you play you have to change the way you think. Any two musical ideas can go against each other as long as each of them has musical integrity. He really is just not swinging at all on any of ’em.
Four major questions stopped me in my tracks every time. You may have experienced the feeling of playing in half time without realizing it. Realizing this unique talent, he was subsequently sold to a promoter who took the child on tour.
Forward Motion: Hal Galper: : Books
Example 7 Adding an Embellishment from a half-step below: To support this, he shows examples of a Bach piece and cites the work of some scholar that studied Bach. Rhythmic Superimposition Rhythmic sophistication is achieved by developing the ability to subdivide the beat into its smallest rhythmic increments with complete galpee. It illustrates how current transcriptional analysis leads to misconceptions about how a soloist has spelled out the chord changes. Example 8 Example 9: However as soon as the accompanying chords are removed from the background, the melodies sound weak because they are unsynchronized.
It is the only way to successfully execute the stride. I understand that this ga,per the chord by sharping the 5th etc.