Understanding Forward Motion Official Website for Harold “Hal” Galper, reknowned jazz pianist, composer, arranger, bandleader, educator, and writer. 27 Jan 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. 14 Sep From Bach To Bebop A corrective approach to Jazz phrasing. I’m just getting into it on page 34 right now. This is already influencing how I.

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This chapter also includes a discussion of playing in half fprward and its effect upon a player’s conception of playing in tempo ending with a short treatise on Rhythmic Syncopation. Beginning with our earliest childhood education a tacit conditioning occurs. It illustrates how current transcriptional analysis leads to misconceptions about how a soloist has spelled out the chord changes. In volume 1, Pg. RichardBSep 15, In the key of Bb The progression goes like this: I confess that I didn’t work through the examples in the book.

So is it safe to say one should play chord tones on the strong beats? Sep 14, 1.

Till this comes all is restless, chaotic; when it arrives the tension relaxes, and at one stroke all that went before becomes clear, – we understood why the notes had these intervals and these values. Discussion in ‘ Playing and Technique ‘ started motoin proreverb68Sep 14, He super imposes an Ab triad on the G7b9 chord.

Myriad Forum – FORWARD MOTION by Hal Galper and MM Plug-in

Other editions – View all Forward Motion: Attitude Is Everything Jazz Proverb. Per Galper’s conception, the great musicians actually play straight 16ths so that we hear them grouped like this: How you have a hard time “hooking up” your ideas from one to the other? It offers a step-by-step process for retraining your hearing to hear in Forward Motion. Groups of 16ths resolve on the beats, rather than beginning there. In this book, master pianist Hal Galper also shows how I see an area of study already I figured he might put the 3rd or 5th of g7 but I was thrown a good curve ball with the Aminor triad.


To the ear, tension is intolerable and needs to be resolved. Great way of putting it Hutch.

Anyone digging into this book? Hal Galper Forward Motion Book

Home Forums Galpef Posts. It would then seem logical that melodic phrases gaalper on the first beat of the bar, or “one. I realize the guy is light years ahead of me It is the beat to which melodic ideas are played toward and at which they end. However, the player is hearing thier melodic lines differently than the listener, as melodies and rhythms in motion toward future resolution points.

There are concrete reasons why some music sounds better than others.

But I shouldn’t say too much as I haven’t gakper the book Not trying to sound mystikal or smart-assed here – but mition portions of your lines are spelling triads and other such orderly constructs, the sheer strength of these structures provide the weight and melody needed for the ear to “buy” into it.

Share This Page Tweet. Understanding Forward Motion “The more upbeats you have in the music the more it swings” Dizzy Gillespie. I’m mindful of what he says every time I practice. Read, highlight, and take notes, across web, tablet, and phone.


Selected pages Title Page. Sep 15, 4. Sep 14, 2.

There is also a site you can visit to hear the examples if your piano chops aren’t where you’d like them to be. It has an innate tendency to want to make sense out of chaos. Cb is the 3rd and Eb can be seen as the Altered 5th although i guess he just decided to alter it correct? Since this is a natural innate ability, anyone can learn to hear and play in FM. KRosserSep 16, In response to someones post on the chord tones and triads: I thought he was using this as an example of playing chord tones on these chords to build a sort of guide tone melody That is basically my poor explanation of what the Forward Motion book gets into.

This contrasts with how we are taught in school, where 1 represents the beginning. 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.

You can find the link in the book itself. The same notes can sound square or swinging, depending on how the music is phrased.

Have you noticed the problems you have forwqrd from one melodic fragment to another? RichardBSep 17, In particular, beat 1 of a measure is the most stable, most ‘resolved’ moment in a measure of music. This is already influencing how I think, listen and play