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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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.

motkon They start on “one” of the bar and on 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. For an even more accurate analysis, circle the notes at the beginning of each quarter-note.

Transpose these exercises into all twelve keys.

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So is it safe to say one should play chord tones on the strong beats? 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. An abbreviated list of some of the infinite ways chromatic embellishments have been used in the jazz vocabulary is included. Sep 17, 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?


According to Dizzy Gillespie, in Mike Longo’s interview with the master, this difficulty stems from the difference between the African and western concepts of rhythm. Even though the 1st grouping of each pair is from the minor 7th chord, it sounds like the dominant all the way through each pair.

It would then seem logical that melodic phrases begin on the first beat of the bar, or “one. It is the source of all civilization.

Understanding Forward Motion | Hal Galper

Apply the process to the other three Melodic Inversions. However, any scale line, ascending or descending, of any length, over a II-V or II-V-I, will sound strong mohion the last note of the line is a basic chord-tone of the last chord the approached chord of a sequence.

In a Bach theme everything surges forward to a principal accent. Appoggiaturas and Forward Motion shows how chromatic embellishments can be synchronized to spell out chord changes.

What makes a good jazz instruction book? Their other dimensions are illuminated only after one has had enough experience and acquired enough knowledge to relate to the proverb personally. Amazon Rapids Fun stories for kids on the go.

Anyone digging into this book? Hal Galper Forward Motion Book

Example 1 The notes within the groupings descend and the groupings ascend. It makes no difference how you name it as it still has three chord tones and one non- chord tone. Connecting Chords with Linear Harmony. When the articles were first published, I was sure I had come upon original research that no one else had duplicated. In most group endeavors galpef is usually either one or the other, being either part of a group with a consequent loss or individuality or the opposite, where one retains their individuality to the detriment of the total group experience.


There are two potential hazards of playing in half time. Adding Additional Halfsteps to a Scale. The concept can also be applied to melodic improvising as well. If you make a mistake, return to step number one motiin.

In the above case the forard scale is independent of the chord symbol. An abbreviated list of some of the infinite ways chromatic embellishments have been used in the jazz vocabulary is included.

The rules that govern music are universal, not affected by the passage of time, place or genre.

Then goes and plays the Eb over the G7b9 chord. Sonny Rollins is a master of rhythmic, harmonic and melodic superimposition.

Pleasure to see a local Seattle guy on bass in that clip Jeff Johnson The ear tends to reject chaos and has a marked tendency to automatically make sense of the sounds it hears. Surprisingly, the other notes can be diatonic to the key or can be derived completely of notes outside the yalper, and the solo will still hang together if the half note melody is logical.

Harmonic FM will be discussed in greater detail in Chapter 7.