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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As soon as you have begun to change your hearing, go to the following exercises to learn how to synchronize them to spell out chord scales. By playing a series of patterned melodies, the improviser acquires the gal to string them together to create the illusion of a long melodic line.
A C is synchronized with the 3rd beats of each bar.
Anyone digging into this book? Hal Galper Forward Motion Book
The rules that govern music are universal, not affected by the passage of time, place or genre. I thought he was using this forwarr an example of playing chord tones on these chords to build a sort of guide tone melody Only then can you apply superimposition to free yourself fogward the basics, achieving musical freedom.
To establish a clear foundation upon which to hear and understand more rhythmically and melodically complex musical ideas, the ear of the improviser as well as that of the listener desires to hear a simple melody first.
Or what your dog did that afternoon?
You have to build trust in your training and instincts. I get that those notes work Melodic Inversions An integral component of practicing any melodic theme, scales, chromatics, intervals and arpeggios, is Melodic Inversion.
He says he is thinking of it as the 5th tone of a superimposed Ab min triad Ab,Cb,Eb over the G7b9 chord.
Anyone digging into this book? Hal Galper Forward Motion Book | The Gear Page
Practice these exercises in all twelve keys. Not trying will probably be the most difficult aspect of the process.
Mental states can be eventually controlled and mastered as tools of your art. The following is a tetra chord mixed inversions exercise Example 9, second line that segues into the subject of arpeggios with pick-ups and resolutions.
At this point the general concept forwarx superimposition is hopefully clearer to the reader. The more chord tones in a grouping there are the more it spells out a change. It has a little hop in it that we are all familiar with. As most problems with playing music are perceptual in nature, to change the way you play you have to change the way you think.
Forward | Hal Galper –
All the examples in FM start as a pick-up, outside the first bar line. The non-chord tones are the weak tones. Example 1 is the demonstration scale. Until you’ve changed your playing around to FM it will sound worse to you than it did before because now you’ll be hearing in a natural manner. Some of the chord tones in the diatonic bebop Dom. There are four types of triads: What Oliver is suggesting is, if you can’t improvise your own inactive “song-like” chord-tone melodies, you haven’t established a firm foundation in your ears upon which to improvise more active musical ideas embellishments.
This weakness is also an advantage. Their playing sounds worse to them. Repetition is a mechanical process that creates mindless and inattentive practicing.
When the articles were first published, I was sure I had come upon original research that no one else had duplicated. We see “one” of the bar before we see any other beat or note. The cellist’s was concentration. FM is also based upon the physiology of how the ear functions, another universal.
All are longtime members that stepped up to the invite to help out by volunteering their time and effort to help the membership experience on TGP stay on the even keel. Pay particular attention to the phrase markings. Experiment using them in different combinations. The ear has it’s own dynamic.
Forwarx 16, 9. Superimposition is the path to musical freedom and motioh precepts of FM can be applied to all superimposed musical ideas. It offers a step-by-step process for retraining your hearing to hear in Forward Motion.
Superimposition differs from ordinary change playing in that, in the accepted sense, extensions of a chord the 9th, 9th, flat 9th, 11th, 11th, flat 5th and sharp 5th are named in terms of their distance from the root of a chord. The material in this book has been in the works for decades with articles, pamphlets, etc. The process of learning how to play is rarely that of starting out with a strong, clear conception of how we want to play.
Most beginning improvisers attempt to get this hop in an artificial manner, through articulation, by either playing their eight notes: Again, “let the melody be your guide. We teach the same scales, the same chords and the process of combining the two in the same general manner.
Example 19 Example 21 shows Example The following is a partial list of cells that start on each scale tone of a C7 scale. When I was a student we had to learn them all. This same tendency is present in the ear as well. Being used to working hard, it will be difficult getting used to playing being easy. Harmonic Forward Motion details the advanced technique of spelling out chord changes in advance of where they are written and how to make them work within a solo line.
If a pianist or guitarist, keep your hands on the keyboard or fret board. Hal Galper Trio on Facebook.