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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A Note To The Reader The musical examples in this book can be played on-line, interactively, in your browser. Myriad Music Plug-In enables you to play, display, transpose and print files created with Harmony Assistant, directly from your web browser.
The Mac version is K. The Windows version is k. Both take only about 5 galepr to download and, if forard follow the directions, are easy to install in your browser. Dave Liebman for his Forward, Andrew Scott for his proofing and expert comments, Didier Guillion at Myriad for his patience and expertise with my ineptness with Harmony Assistant. The author accepts full responsibility for any and all mistakes, glitches and gaffs herein.
Reader comments are welcome. For contact info, please visited my web site at: He is definitely one of the senior citizens of jazz having served his time with greats like Cannonball Adderley and Phil Woods. Hal has recorded some remarkable music, ran his own trio from top to bottom meaning music, bookings, PR et al, for most of the s; authored a book on the touring musician that is a goldmine of information; been one of the prime sources of straight forward talk in the jazz education business and most important, a great pianist to have playing alonsgside you.
It has been my pleasure many times to “hit” with Galps. Hal is from the generation slightly ahead of mine having done his early apprenticeship years in the 60s, when there were few jazz books or courses to take part in. But like myself, Hal thought through a lot through the years about how to articulate his specific musical ideas. The material in this book has been in the works for decades with articles, pamphlets, etc. But alongside the desire to explain the music, he also possesses a great gift for writing in such a way forwars you feel like he is there in front of you giving the lesson.
His language is clear, precise and thoughtful with a pervasive sense of motionn throughout as well wonderful stories from the real jazz world that underscores his points.
Galps sums it up in his own words at the beginning of Chapter Three: What Hal concentrates on for the most part is the very subject that is least discussed in texts of any sort, which is the use of rhythm, jazz rhythm to be exact, in order to improvise countless ways on a given line. We are used to books of variations based on pitch changes, harmonic super-impositions, fotward, etc.
But with the emphasis on feeling the upbeat and half time as a measure of time along with other concepts Galper is explaining is offering countless ways of manipulating simple at first, and further on in the book, more complex material for unlimited possibilities. There are some ingenious ideas throughout.
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One in particular was very interesting: His comments on King Oliver’s admonishment to Louis Armstrong about the importance of melody before one attempts embellishment and even some insight into Bach’s use of “FM” make for entertaining reading. And the truly innovative aspect of Forward Motion is the interactive part. Students will be able to hear and play along with the written examples.
Hal is up on the techno scene for sure! I am so pleased that someone has addressed these ideas, especially on rhythmic issues in a coherent, unified and practical manner with abundant examples to play. Even glancing at this book will generate new ideas for improvisers at any level. Four major questions stopped me in my tracks every time. With so many jazz instruction books now on the market does the world need another one?
For many reasons the answer is yes. 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.
This tendency toward uniformity has created generations of musicians who sound alike. We teach the same scales, the same chords and the process of combining the two in the same general manner. They are faced with a variety of points of view about a single subject.
When I was a student we had to learn them all. If we, as educators, have as our goal the development of individual voices, ideally then, there should be as many different voices as there are players.
Every student should be exposed to multiple approaches to the theory and practice of playing jazz, making their own choices of what concepts fit their individual ways of playing. The process of learning how to play is rarely that of starting out with a strong, clear conception of how we want to play. Forward Motion may not answer the question “how do I want play?
Take from it what works fkrward you and throw out the rest. Not without buying and reading them and trying out their suggestions. Even then it may be difficult to tell whether the book is worthwhile. Selling music information moion a profitable venture, if not for the author, certainly for the publisher. Put out a drum book, every young drummer will buy it. These books are written and glper for many reasons: What makes a good jazz instruction book?
First, if you got one usable idea out of it, it was a good book. Hopefully, the readers of Forward Motion will be able to find at least one good idea in it. A good jazz instruction book adheres to five to rigid standards that validates its concepts: Its concepts can be historically validated by their previous use in the tradition of the music. The chain of how a concept grew and was modified through the passage of time should be clear and unassailable.
Valid musical concepts must be applicable in any musical genre irrespective of time and place. They must encompass ideas that are universals. It has to work. The concepts must be pragmatic. Concepts must have the “Ring of Truth” for the student.
Feelings about practicing and performing that are felt on an intuitive level, galpre then verbalized, create a sense of recognition.
Can anyone learn how to play jazz from a book? The only function jazz education can serve, in any of its forms, is to stimulate your mind, to teach you how to teach yourself. Learning how to play jazz is essentially a self-taught process. Always has been and always will forwafd. No one can teach you how to play. It takes a lifetime of work to accomplish that goal. What jazz education offers is the opportunity to create and organize your own individual self-teaching methodology.
The methodology you develop to learn how to play will eventually have a direct influence gal;er your style of playing, your individual voice. If you want to develop your own individual voice you have to develop your own individual way of studying and practicing.
There are however, universals involved in practicing and playing that each moiton will encounter. These universals could be defined as the “whats” and “hows” of music. The “whats” of music are factual and genre specific; the various aspects of harmony, melody, and rhythm as applicable foeward a particular genre or style of music.
The “hows” of musical ideas are universal in nature and take a lifetime to learn. The “hows” are experiential and usually learned through direct and continued playing experience. In that way forwagd will be encouraged to focus more on, not only the mere information herein, but the processes involved with learning and applying that information.
Problems playing music can be reduced to difficulties that lay within the realm of mental states of mind such as: Consequently, this is ggalper theory book only in how it relates to changing those states of mind.
What this book is not, is an exercise book.
Forward | Hal Galper –
FM is tailored for the intermediate to advanced level musician, credit is given that the reader has the wherewithal to extrapolate the enclosed musical examples into exercises of their forwarf. Their purpose was to show how melodies work as well as offering a way of practicing scales more in the manner fordard are used than in the way they were originally learned.
Since that time my understanding of the subject has grown and the way I use FM in my teaching has been modified. Originally, I used FM to correct what I saw as a technical and theoretical problem. Now I see FM exercises as being used to correct what are basically perceptual problems. As most problems with playing music are perceptual in nature, to change the way you play you have to change the way you think.
When the articles were first published, I was sure I had come upon original research that no one else had duplicated. Anyone exploring this subject would come to the same conclusions that Bach and I did. There are concrete reasons why some music sounds better than others.
In volume morion, Pg. In a Bach mktion everything surges forward to a principal accent. 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. We see “one” of the bar before we see any other beat or note. We count first beat of the bar as “one.
It would then seem logical that melodic phrases begin on the first beat of the bar, or “one. It is the beat to which melodic ideas are played toward and at which they end. FM is based on the laws of the physics of sound and rhythm. These laws are immutable and as applicable in Bach’s time as in ours.
FM is also based upon the physiology of how the ear functions, another universal. The mind loves logic and rejects chaos.