Forward Motion. From Bach to Bebop: A Corrective Approach to Jazz Phrasing. by Hal Galper. A revolutionary breakthrough in jazz education! The core of the. 12 Jan In this book, master pianist Hal Galper also shows how get that feeling of forward motion and also how to use melody guide tones correctly. 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.
|Published (Last):||15 September 2011|
|PDF File Size:||19.53 Mb|
|ePub File Size:||10.51 Mb|
|Price:||Free* [*Free Regsitration Required]|
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. The great jazz drummer, Billy Hart, once confided to me that he “hears” his whole chorus in approach to “one” of the next chorus.
A good line often spells out or leads the listeners ear into the next chord early He really is just not swinging at all on any of ’em. This ability can be developed to a highly sophisticated degree. He super imposes an Ab triad on the G7b9 chord.
Superimposition is an advanced technique describing how musical freedom from the predictable elements of music: 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. Analysis of Inner Target Note Melody. Sep 16, Here’s a little tidbit from the book. Sep 15, 5. It describes the functions of Tension and Release patterns rhythmically and melodically and how they can be played to create strong melodies that “spell” the changes out.
Provides more bang when the big One does arrive. Resolving Arpeggios and Creating Pickups. RichardBSep 17, We see “one” of the bar before we see any other beat or note. Therefore, effective musical statements tend to resolve at the 1 – 1 is the END of phrase. Here’s a link to an old thread about the book: To support this, he shows examples of a Bach piece and cites the work of some scholar that studied Bach. Do you already have an account? It illustrates how current transcriptional analysis leads to misconceptions about how a soloist has spelled out the chord changes.
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. Search Media New Media. 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. Per Galper’s conception, the great musicians actually play straight 16ths so that we hear them grouped like this: However, the player is hearing thier melodic lines differently than the listener, as melodies and rhythms in motion toward future resolution points.
Anyone digging into this book? Hal Galper Forward Motion Book | The Gear Page
This contrasts with how we are taught in school, where 1 represents the beginning. LucidologySep 16, I see an area of foeward already The chapter illustrates the almost infinite ways that chord tones can be synchronized with the strong beats of the bar to clearly “spell” out chord changes.
Cell Improvising Forward Motion.
Such is the case, for example, when looking at a modern abstract painting by Klee. Sep 14, 1. Share This Page Galpee. On page of the same volume referring to Rudolf Westphal’s metrical study of the fugues in Bach’s Well-tempered Clavichord “…he proves again and again that those who regard the bar-lines in Bach’s music as the borders of the rhythmic factors are bound to play him unrhythmically.
Cb is the 3rd and Eb can be seen as the Altered 5th although i guess he just decided to alter it correct?
I confess that I didn’t work through the examples in the book. 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.
Correcting Outmoded Practice Habits. In this book, master pianist Hal Galper also shows how My library Help Advanced Book Search. Sep 15, 6. Understanding Forward Motion motlon more upbeats you have in the music the more it swings” Dizzy Gillespie. You can find the link in the book itself.
Anyone digging into this book? Hal Galper Forward Motion Book
It would then seem logical that melodic phrases begin on the first beat of the bar, or “one. Sep 16, 9.
Galper contends that we must learn to hear 1 as the resolution of the prior measure. In the key of Bb The moton goes like this: When faced with a problem or something that doesn’t make sense, it galpee tries to make sense out of it by relating it to the familiar. Rhythmic Forward Motion introduces the basic concept of Forward Motion, starting with how my study of it began and how music is almost universally taught “backwards” from the way it really functions.