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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Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? This deep, yet user-friendly book provides a unique view of how to learn to play jazz correctly. Hal, who was the pianist for Cannonball Adderley and Phil Woods, among others, dissects the problem of how the phrasing of many aspiring musicians prevents the music from swinging.

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Forward | Hal Galper –

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Three-Note Voicings and Beyond. Sher Music June 1, Language: Start reading Forward Motion on your Kindle in under a minute. Don’t have a Kindle? Try the Kindle edition and experience these great reading features: Share your thoughts with other customers. Write a customer review. Read reviews that mention forward motion great book charlie parker hal galper approach ideas hear examples important musical improvisation solo learning bebop editing content idea phrasing playing basic.

Showing of 19 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. I gave this book 5 stars for one simple reason. The book presents authoritative information I have never encountered before in any of the countless jazz improv and theory books I own.

I would say “the one ring to bind them all” but that is too cliche at this point. I say “authoritative” because, while many books offer a “new approach to learning improvisation,” this author has learned from and played with many of the greats. His approach is steeped in trying to formulate an approach to strong jazz lines based on what past greats have emphasized in their own words. I think a good way of saying this is that Galper is trying understand how the greats heard the solo in their own head, rather than how an academic later analyzed the notes over the assumed chord changes.

He wants the reader to hear and imagine in the same way as the greats.

That being said, it isn’t just a motivational book of “play with more energy” or forsard more anticipation and syncopation” or “make your lines sing. As another reviewer said, this is one of the only jazz books I read cover to cover, and am now reading cover to cover again. While technical and full of examples, it feels more like a course lecture or a private music lesson, not a technical manual.

I appreciate that Galper can back up what his says with historical and personal anecdotes from the creators of this music.

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He isn’t trying to present a “new and improved” way, but seems to be trying to get into the head of these greats to understand how they approached and heard this music.

It clearly wasn’t merely applying certain scales over certain chords. This is not a book of scales and arpeggios or even rules about how to use them over chords. To paraphrase guitarist Barney Moion analogy to boxing, those are the equivalent gslper shadow boxing and heavy bag and speed bag work. They are the preparation, but not the thing itself. Instead this is a book of how to make those things actually come out as jazz instead of the altogether too common experience of sounding like etudes and practice exercises.


Much of balper has to do with how we hear and envision the lines we want to play. This book is subtitled “a corrective corward to jazz phrasing” and is about adjusting our hearing from the simplistic childish way we all retain from the way we practiced as kids and mostly still do.

Galper attempts to guide us to a more mature way of “hearing a line. This is not “what to play over what chord” and is instead “how to produce strong lines with momentum from the notes under your fingers.

How do you take a line like “rea llygo odja motiln and have the listener comprehend is as “really good jazz”? Succinctly, that is the point of this book. Today’s academic jazz pedagogy approaches improvisation through learning scales and arpeggios along with rules of application over various chords. Couple that with always starting ideas from beat 1 and 3, and you have a recipe for static boredom.

Galper offers an alternative approach to arrive at strong lines, and this approach seems deeply rooted in the historical development of jazz motio the 20’s onward forrward to teaching omtion Berklee in the 60’s when Galper attended. Both methods can lead to the same outcome, but Motin approach is a refreshing alternate perspective that we know has a historical basis. Despite what one reviewer said, this book is NOT basically one concept rehashed over and over.

I found numerous important ideas some new, some familiar that coalesced to give me a different approach to improv. Here are a few of those concepts, all from only the first few chapters: These melodies, based off the chord changes or superimposed chords, are more important than the embellishments used to fill in the line; they are what the ear actually picks out. Surprisingly, the other notes can be diatonic to the key or can be derived completely of notes outside the key, and the solo will still hang together if the half galpr melody is logical.

One historically relevant method is the use of appoggiaturas, various ways to bracket the important notes and voice lead into them from above and below.

One can create endless convincing bebop lines with merely these two elements of half note melody and embellishment.

OK, so maybe you already knew all of that. But now things really start to get interesting: Our early musical training and practice focused on hearing and playing musical ideas starting on beats “1” or “3” of the measure. Beats 1 and 3 are the release points of what came before. A mature improviser hears lines pointing to these notes, not lines starting on these notes and leading away. Imagine a typical 8th note arpeggio exercise from a lesson book.

Now imagine if we simply play three preparatory notes before the first bar; the 4 note frame has shifted and our mind hears the melody as very different 4 note groupings: Try repeating each version over several times before switching; you will quickly hear and feel a big difference.

Suddenly the melody we hear is different, what Galper calls the “true melody,” and it has forward momentum. This is a very important difference. In today’s scale-oriented approach we are trained to think like this: In essence each chord idea starts on 1 or 3.

Anyone digging into this book? Hal Galper Forward Motion Book

Galper asks us to revise this way of hearing so that the beats preceding 1 and 3 are the ideas, the tension, that points forward to release on important notes on beats 1 and 3.

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In other words we want our ideas to END on 1 and 3, rather than start on 1 and 3 the way practice exercises do. Envisioning musical ideas as starting on 1 and 3 is static, mottion framing them to end on 1 and 3 is dynamic. In a sense, the mature improviser hears his lines moving TO 1 and 3 or, if you are Charlie Parker, heading to even more distant destinations.

Galper even shows how a monotonous static arpeggio exercise can be “reframed” in this way so we hear it very differently without actually changing the notes, just the way the mind groups the notes.

Its really quite mind blowing how the melody changes when preparatory notes are added to shift the 4 note frame by which we hear a phrase. The experience is similar to looking at one of those black and white silhouettes that is a vase or a face depending on whether you focus on the black or white. So, if one pays close attention, this book can provide a way forward to stronger more cohesive improv lines.

It also offers an excellent alternative tool for analysis of solos, and Galper encourages the reader to go back and re-analyze famous solos from this different perspective. 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?

That Parker solo with complex chromatic alterations on each chord, might actually be one long line headed for a target note 2 measures in the future! No wonder Parker was known to tell his pianists “don’t follow me, just stay with the changes, and it will come together. He shows us a modern twist where we derive our own strong half note melodies using the guide tones from the changes or from superimposed chords and then embellish them with varying degrees of chromaticism. He then shows us how to change our hearing so that we present our embellishment lines pointing strongly TO those future target notes, rather than crafting lines that merely trail AWAY from target notes in consonance with whatever chord of the moment.

The more I think about this stuff in relation to the solos of the bebop greats, the more I think that Galper really is presenting a more realistic version of how bebop evolved into being and how it really worked in the minds of the greats.

Maybe it’s because I teach guitar and Kindle Edition Verified Purchase. This guy gave a seminar at my school back in the 80s and forever changed the way I think about jazz improvisation, and especially how to really get the most out of a scale. Since then I’ve taught this approach to lots of adult students. None of them came in doing this already, even though it seems pretty simple.

Maybe it’s because I teach guitar and not a horn or keyboard. Decades later I got the book to be sure I didn’t miss anything. The concept is there, and it’s very important for any motin.

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

It is covered to some degree in other books but not with this level of focus and intensity. There are typos and other errors motio throughout the book, like mislabeled or missing or repeated examples in the kindle version, anyway. You’ll find places where things get a little heavy as he suggests practicing every possible one of dozens hundreds?