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

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Example 19 Example 21 shows Example Forwxrd information they contain is experiential in nature, embodying enormous amounts information that, after much reflection by the student and guidance from a master, illuminate the subject. This is one of the best books I’ve ever read on developing strong melody and melodic phrasing. RichardBSep 15, When faced with a problem or motiion that doesn’t make sense, it automatically tries to make sense out of it by relating it to the familiar.

Example 2 The notes within the groupings ascend and the groupings descend. I think of rhythm first. Consequently, the processes involved in achieving these goals should differ as well.

Arpeggios and Forward Motion elaborates on how to add pickups and resolutions to arpeggios giving them a feeling of forwxrd demonstrating the difference between themes that are in and out of Forward Motion. When adding a single approach from below a chromatic approach seems smoother than a scale step approach. Do the same for each succeeding scale tone.

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As in previous chapters, for the sake of thouroughness, the examples are written in exercise format. 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.

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The added half-step keeps scale tension and release patterns in synch with the rhythmic tension and release patterns of the bar. And the truly innovative aspect of Forward Motion is the interactive part.

The strong tones are easier to hear than the weak ones.

The following examples demonstrate how patterns and chord-tone melodies are used to navigate through chord changes to create strong melodic content as well as how to improvise with discipline and freedom, two concepts which at first appear to be mutually exclusive.

Most of us feel our internal tempo “clock” in one of four ways: 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 old adage that “if the note you played is wrong, the right one is either a half-step above or below” is an often misused improvisational device that creates weak melodies.

This is a really cool feature that I have not seen before. Melodic Inversions An integral component of practicing any melodic theme, scales, chromatics, intervals and arpeggios, is Melodic Inversion.

To support this, he shows examples of a Bach piece and cites the work of some scholar that studied Bach. Practicing is work directed toward developing internal processes.

Forward Motion – Hal Galper – Google Books

Practice these exercises in all twelve keys. One would be hard put to argue against a general philosophy that the more ways one looks at a subject, the more one achieves a fuller enhancement of understanding and perspective of it. You torward have a firm idea of how various appoggiaturas are constructed. Many students have learned the melodies of bebop heads melody first without having focused on forwqrd rhythmic aspect.

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Otherwise known as “being able to play anything anywhere,” it illustrates how the masters used these elements only as guides to made up their forawrd solo content over the predictable elements to create rhythmic and melodic freedom during a solo.

Your goal is to establish, at an early stage of your development, the ability to hear and create song-like chord-tone melodies and then learn how to embellish them.

Adding Additional Half-steps To a Scale Examination of common usage reveals that half-steps are often added not only between the whole tone interval between flat 7th and 1 of a 7th chord and the 5th and 6th of a major or minor 6th chord but any other whole-step interval in a scale as well. I started with a series of questions and their answers. Note that they become common bebop scale lines. The tunes we played for these occasions were the classic standard songs. After I studied this material, I went back to the solos I had transcribed in the past and re-analysed them.

Improvisers make a compromise between the two and train themselves to hear in patterns. This is where the chromatic stuff comes in. Example 2 shows how a bar can be evenly subdivided into increasingly smaller rhythmic increments.

These laws are immutable and as applicable in Bach’s time as in moton. By altering your subjective perception of playing quarter-note time to playing in half time, you’ll feel the tempo as being half as fast.