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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Gal three components of music, rhythm, harmony and melody, can be superimposed over the original given set of rhythm, harmony and melody for jotion tune. As soon as the ear selects a particular line of the fugue, the others recede into the background.

Create pick-ups by adding a scale or half-step approach, from either above or below, to the first note of the arpeggio. There are a number of tacit conditioning habits created during childhood that, unawares, is carried over into adult practicing.

Example 7 Every melodic fragment has its Inner Guide Tone melody. This is already influencing how I think, listen and play Switch back and forth between examples a few times so that the different feeling of each becomes clear to you. Anything you can fogward to make the music easier to play is okay. Play the first Target Note, at the same time singing it in your head not out loud.

Understanding Forward Motion | Hal Galper

Most students physically over-work when they play. Some exercises require the addition of a note to create FM. Example 35 The FM6 pentatonic has three groupings with three chord tones one grouping with four chord tones and one grouping with 2 chord tones in them: Not trying to sound mystikal or smart-assed here – but if 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.

Your goal is to establish, at an early stage of your gal;er, the ability to hear and create song-like chord-tone melodies and then learn how to embellish them. Nothing created by mankind exists without it being first imagined. Focused Concentration is built in to the Vivid Imagining technique.


There is a practicing attitude and a playing attitude. Consequently, the processes involved in achieving these goals should differ as well. Melodic Inversions Motikn integral component of practicing any melodic theme, scales, chromatics, intervals and arpeggios, is Melodic Inversion.

Even then it may be difficult to tell whether the book is worthwhile.

Example 8 Example 9: Intervals and Forward Motio n adds pickups and resolutions to large intervals broken arpeggios to give them a feeling of motion including examples of their use by modern composers and how they might be used in a solo context. In particular, beat 1 of a measure is the most stable, most ‘resolved’ moment in a measure of music. Arpeggios and Forward Motion elaborates on how to add pickups and resolutions to arpeggios giving them a feeling of motion demonstrating the difference between themes that are in and out of Forward Motion.

Example 33 Spells out C7 Altered.

I’m trying to go through it piece by piece How To Practice Forward Motion debunks mechanical “repetition” as an outmoded practicing process. Example 18 Example 19 is on the changes to the first four bars of ga,per of the most played standards in American music.

Anyone digging into this book? Hal Galper Forward Motion Book

What’s going on in your head comes out on your instrument on a direct one-to-one basis. As I continued on for another half-hour my playing got slower and slower until I was back to my own technical level. A good line often spells out or leads the listeners ear into the next chord early Correcting this old habit will be galpper constant battle until you reestablish adult practicing habits to the point they become as automatic as your tendency to mindlessly repeat.

Log in or Sign up. The difference may seem subtle to you but it makes all the difference in the world to the listener. Where you add these half-steps depends on what note and beat of the bar you begin your scale line on and which beat and note you plan to end upon. When you’ve practiced it enough to get it in your ears so that everything you play is in FM.

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 goals of organizing your practice ga,per efficiency, logic, and thoroughness. Extrapolate the concept to the other triads.


A Scientific Approach, Summy-BirchardGeorge Kochevitsky presented convincing evidence that virtually all music is played “by ear.

But like myself, Hal thought through a lot through the years about how to articulate his specific musical ideas. When galped a single approach from below a chromatic approach seems smoother than a scale step approach. Their purpose was to show how melodies work as well as offering a way of practicing scales more in the manner they are used than in the way they were originally learned. Notice that each player has his or her own particular mix of active and inactive content.

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. He says he is thinking of it as the forwaed tone of a superimposed Ab min triad Ab,Cb,Eb over the G7b9 chord.

Example 3 In example 4 the Target Notes are isolated from the line to show the inner Target Note Melody around which the melodic line is constructed. As the discussion progressed I started to notice that I was improvising ideas I had never played before.

When starting a melody on a tension beat, the ear wants to resolve the tension by jumping ahead to it’s nearest resolution beat. Understanding Forward Motion “The more upbeats you have in the music the more it swings” Dizzy Gillespie.

This is habit is learned from always starting melodies on the first beat of the bar which has a natural built-in emphasis. Some sort of modal interchange thing? Use of quarter-note time is a hold over from childhood musical experience. An instrument, like the keyboard of a computer, is an talper device used to train internal processes.

Syncopation is a unique construct that allows individuals to be part of a group experience while at the same time retaining each participant’s individuality.