HAL GALPER FORWARD MOTION PDF

HAL GALPER FORWARD MOTION 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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The notes within the groupings ascend and the groupings ascend: Stay where you are. After getting black and blue from falling off the thing, the inventor imagined that adding another leg to it might make it more stable, and it did. In example 3 each quarter-note is divided into 8th note triplets.

A line that is strong.

Forward | Hal Galper –

Musical ideas are played because they exist so intense in your musical imagination that you have no choice but to play them. Playing anything anywhere sounds good because the rules were observed.

Can anyone learn how to play jazz from a book? Example 12 Rule 2: FM is also based upon the physiology of how the ear functions, another universal.

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

However, Tension and Release Theory states that “one” of the bar is the strongest beat of the bar and as such, is the ultimate resolution beat in the bar. Example 33 Spells out C7 Altered.

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They start on “one” of the bar and fordard the root of a scale, which, is the strongest note in the scale and is, therefore, according to FM Theory, the last note of the scale, not the first. Most beginning improvisers attempt to get this hop in an artificial manner, through articulation, by either playing their eight notes: It’s a process of experimentation and trial and error.

The goal of playing is to use these processes as performance tools.

One in particular is narrow concentration. When each version begins to sounds differently in the ear, each version will then be phrased differently. It has magical qualities. Most of us think it’s supposed to be hard to play, but truthfully, you can’t play music well if it’s hard to do. Playing is learned through direct experience, applying these internal processes until they work for you on the bandstand.

In example 1, the scale of C7, which is common to G-7, C7, Fmaj. Yes every note is a chord tone of some chord but the point is that it is where the line resolves to is what your ear will lock unto into. The way you organize your practicing will have a direct influence on your future style of playing. Not only do the notes have to be in FM but the phrasing as well.

There are concrete reasons why some music sounds better than others. The Windows version is k. In performance selected intervals are used as components of melodic lines.

Most scale lines are combinations of three-note pick-ups, two-note pick-ups, and one-note pick-ups.

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Anyone digging into this book? Hal Galper Forward Motion Book

Example 35 The FM6 pentatonic has three groupings with three chord tones one grouping with four chord tones and one grouping with 2 chord tones in them: Vivid Imagination and Focused Concentration Students don’t often have a clear understanding of the difference between practicing and performance and how the two interact.

A C is synchronized with the 3rd beats of each motikn. Listen to music while counting in half time. The great classical pianist Falper Watts was his guest.

The process of Faking It is implemented by bringing these highly developed internal processes to the bandstand and just “going for it” without worrying about making a mistake. The term “rules” is used in a relative sense: The introduction of the book is free on Hal Galpers site, it explains it far better than I can in a text post There are other books on this from Mike Longo and Bert Ligon, they are also very good.

Jazz pianist and educator Barry Harris reduces every scale to being one form or another of either a major or minor 6th scale. Superimposition is an advanced technique describing how musical freedom from the predictable elements of music: Each of the pick-ups is heard differently in the ear.