HAL GALPER FORWARD MOTION 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. 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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Discussion in ‘ Playing and Technique ‘ started by proreverb68Sep 14, Log in or Sign up. The Gear Page is run by musicians for musicians. We’ve added some “new” guys to the moderator crew. All are longtime members that stepped up to the invite to help out by volunteering their time and effort to help the membership experience on TGP stay on the even keel. A special thank you to the ‘new’ guys that helping out. Anyone digging into this book?

Sep 14, 1. I’m just getting into it This is already influencing how I think, listen and play He talks alot about the importance of choosing what and where to play chord tones vs passing tones on strong and weak beats among many, many other things Looking forward to finding out who else is or has read it and what they got out of it as well.

Sep 14, 2. I’m mindful of what he says every time I practice.

MikeSep 14, Sep 15, 3. I confess that I didn’t work through the examples in the book.

Nonetheless, reading the text changed the way I hear music and, to a significant extent, the way I play. Sep 15, 4. Glad to see some of the same sentiment for this book being shared by others on the forum. I skimmed through it quickly and already I can tell It is going to change how I hear rhythm in my lines. 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.

You can find the link aglper the book itself. I’m trying to go ha, it piece by piece This might take me all winter I have a question for you harmony masters He super imposes an Ab triad on the G7b9 chord.

I understand that this alters the chord by sharping the 5th etc. Here is the first example In the key of Bb The progression goes like this: BbMaj7 G7b9 Cmin7 F7b9 etc etc I thought he was using this as an example of playing chord tones on these chords to build a sort of guide tone melody Then goes and plays the Eb over the G7b9 chord.

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He says he is thinking of it as the 5th tone of a superimposed Ab min triad Ab,Cb,Eb over the G7b9 chord. I figured he might put the 3rd or 5th of g7 but Motiion was thrown a good curve ball with the Aminor triad. I realize the guy is light years ahead of me I thought he was trying to put Chord tones on the strong beats I get that those notes work Cb is the 3rd and Eb can be seen as the Altered 5th although i guess he just decided to alter it correct?

But why the 5 of the G7?

Anyone digging into this book? Hal Galper Forward Motion Book

My other question is And am I to assume he ha just using it to alter the g7b9 for the fun of it or does it relate to the key in some obvious way? Some sort of modal interchange thing? He does it again on the next two chords as well. I see an area of study already Sep 15, 5. I haven’t read Hal’s book, but I foraard very surprised at how poor Hal’s performance is on that youtube link, especially rhythmically!

He really is just not swinging at all on any of ’em. Bad feel and time and not swinging Mohion he was having a bad nite Seems weird that he goes on about fwd motion, but those clips dont have much at all????

Forward | Hal Galper –

RichardBSep 15, Sep 15, 6. Sep 15, 7. 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 moton these structures provide the weight and melody needed for the ear to “buy” into it.

But I shouldn’t say too much as I haven’t read the book Pleasure to see a local Seattle guy on bass in that clip Jeff Johnson Sep 16, 8. KRosserSep 16, Sep 16, 9. Sep 16, LucidologySep 16, Highly recommended book I would recommend the e-book motiom as the examples play on your PC and motiin can change tempo and key. In response to someones post on the chord tones and triads: Yes every note is a chord tone of some chord but the point is that it is where the line resolves to is what your ear will lock unto into.

Anyone digging into this book? Hal Galper Forward Motion Book | The Gear Page

The strong beats are on the 1 and 3 which are the targets of phrases. You can play a line of triads all you want and it will be very weak. That is basically my poor explanation of what the Forward Motion book gets into. 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. Galpers is an easier read and more examples and has audio.

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TonyVSep 16, Here’s a link to an old thread about the book: I read the book. The core concept is that there is tension and resolution with respect to musical TIME. In particular, beat 1 of a measure is the most stable, most ‘resolved’ moment in a measure of music. Therefore, effective musical statements tend to resolve at the 1 – 1 is the END of phrase.

This contrasts with how we are taught in school, where 1 represents the beginning. Galper contends that we must learn to hear 1 as the resolution of the prior measure. Once we do so, we will start hearing music differenly and be more able to play like the masters, who tend to have excellent “foward motion”.

He lists Bach and Coltrane as musicians who exemplify this. Essentially, this means putting chord tones on the beats. Galper shows how once you do this, you can surround those chord tones with virtually ANY other notes and you will make a coherent statement. This is where the chromatic stuff comes in.

Here’s a little tidbit from the book. We are taught to count them as: Per Galper’s conception, the great musicians actually play straight 16ths so that we hear them grouped like this: Groups of 16ths resolve on the beats, rather than beginning there. To support this, he shows examples of a Bach piece and cites the work of some scholar that studied Bach.

Sep 17, Great way of putting it Hutch. A good line often spells out or leads the listeners ear into the next chord early Provides more bang when the big One does arrive.

WashburnmemphisSep 17, So is it safe to say one should play chord tones on the foraard beats?

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