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Read What Others Are Saying About "Forward
his book, 'Forward Motion,' Hal has masterfully assembled indispensable
information pertaining to the art of jazz improvisation. Not
only is it based on his keen observations, lessons from the
masters, and his own experience as an estimable performer, but
it ties together vital information from various research sources
from the fields of science, medicine, pedagogy, and other master
level improvisor's teachings.
Hal has a very clear and straight-forward approach to explaining
the various aspects of forward motion and demystifies that which
lies at the very root of the art form.Ý...I cannot imagine that
"Forward Motion" would not be considered an essential reference
tool to any student, teacher, or performer seriously involved
with practicing the fine art of jazz improvisation.
I believe his book is a clear illustration of why he is considered
among the very finest jazz educators in the business."
Todd Coolman, Ph.D.
Director of Jazz Studies
Purchase College (SUNY)
am loving your book. It is a great teaching tool. I am already
incorporating it into my improv classes."
Director of Jazz Studies
UMKC Conservatory of Music
difficult to express in a few words the impact FM has had
on my musical life. I use it every time I pick up my horn,
listen to a record or write a tune. My critical listening
skills have gone through the roof! Studying Hal Galper's 'Forward
Motion' is undoubtedly the best method for understanding jazz
and arguably music in general, that I have ever experienced.
Concise, easily understandable and usable concepts presented
by a Master with a gift for communicating. It has changed
the way I compose, play and hear music in the most wonderful
way. If you do the work you WILL achieve the highest rewards"
Former Positions: Assistant Professor Berklee College of Music,
Founding Dept. Head Selkirk College Music Program Nelson,
Currently: Saxophonist w/ Blood, Sweat and Tears
brilliant! I downloaded the plug-in, it works great. I am especially
happy that the examples repeat until you stop them, that way
the user can drill the stuff into their ears, body and brain.
After studying it with you, and on my own, I've been teaching
your system of Foward Motion for the past 9 years at the West
Jutland Conservatory of Music in Denmark where I currently serve
as Leader of the Jazz Orchestra.
The material presented here has transformed many of my students,who
despite a great deal of natural talent never had exposure to
any of the masters and had learned the basic concepts of jazz
improvisation from an incompetent source. After putting their
playing in 'sync' with the help of this material, they are on
I will try to make this book mandatory for the new 1st year
students this September and from then on. "
Motion" covers most (if not all) of the concepts that you
imparted to me in our private lessons, and 12 years later
I can say that this stuff has really become part of the fabric
of my own musical thinking. Your book provides the "missing
link" in jazz education by examining, in clear and concrete
terms, the rhythmic precepts of good jazz phrasing.You successfully
dubunk the "you either have it or you don't" mentality by
offering a clear path one can follow to "get it!" It will
be invaluable to any jazz student or educator who has sensed
the inadequacies of current chord/scale based systems of teaching
and learning improvisation.
Motion should be on EVERY musicians short list.
again. I wish you great success."
Galper's new eBook "Forward Motion: From Bach to Bebop" is
the most technologically cutting-edge music book that I have
ever seen. The ability to simultaneously read about and listen
to a musical concept on a personal computer could revolutionize
the very definition of comprehensive music text. Besides that,
it makes for a very engaging and compelling learning experience."
work! I feel like I'm in the same room with the piano when
listening to the examples - the sound technology is incredible.
More importantly, the FM stuff is exactly what I need to work
on. Thanks for putting this out!
really enjoying the book. It's the first time that I've actually
seen any book that has the REAL shit that cats want and need
to know. This is kind of information that I also was hearing
from Dizzy, Freddie Hubbard, George Benson, Bags, and Jimmy
Smith. This book has helped me narrow down some problems that
I need to clear up in my playing right now. Your concept of
Forward Motion is brilliant.
I work my way through FORWARD MOTION, I keep coming back to
one dramatic conclusion: Hal Galper is a brilliant teacher!
FORWARD MOTION is constantly informed by his playing, knowledge
and experience. Rather than making the common mistake of treating
jazz theory and improv as if they were extensions of Western
Classical music (i.e., through intellectual dissection and analysis),
Hal's approach is refreshingly holistic and profoundly wise.
Unlike most jazz method books, Hal Galper's FORWARD MOTION teaches
you HOW to play, not WHAT to play. Hal has performed an invaluable
service to jazz students and jazz educators everywhere. FORWARD
MOTION is a work of genius, full of lessons from a master which
will transform your playing.
Director of the Barbary Coast Jazz Ensemble
Faculty in Music Director of the Institute for Creative Music
designing the concept of Forward Motion, Hal Galper has come
up with the Unified Field Theory in music! If he were a scientist,
he would win the Nobel Prize for this. His work on Forward Motion
unifies jazz improvisation, European classical composition,
and, for that matter, all styles of Western music. more clearly
than any other concept Iåve ever read. He easily glides back
and forth between references to Cannonball Adderley, Albert
Schweitzer and J.S. Bach. In addition to his conceptual innovation,
he is also an amazingly clear writer and speaker. His articles
and book text are always well written, conversational and easy
to understand, avoiding complex "textbook-ese" terminology and
sentences. He is the same way in his personal lectures, always
staying on point and keeping his audience totally involved personally
Further, the technological innovation of the web-based book
that allows Forward Motion students to practice his exercises
and material in any key and tempo hits the ball out of the park
ñ itås the play-along record taken into the 21st century.
Dr. David Demsey
product is amazing. I am enjoying the approach of the book
, and the plug in is a great tool! Your book is helping to
steer my ears in a more focused direction, and serving to
clarify some thoughts I have had up to now. Thanks for that!
I will also make sure to recommend it to other musicians or
students looking to improve their playing as well.
Thanks for your Forward Motion book. It is the best thing, in
jazz music education, since sliced bread. I mean it. I describe
myself as a middling, middle-aged semi-professional guitar
player, jazz wanna -be, who has musical talents (mostly as a
songwriter) and good chord chops but a very limited ability
playing linear stuff (mostly I play back up and Freddie
Green rhythm.) I love bebop and have really struggled with single
note playing. Not that I am without books and videos from great
players or that I haven't listened endlessly to the greats for
years and years. After reading Don Glasgo's pitch about FM I
copped it (yet another "guide!) and this is what happened
after checking out the first couple of chapters: I popped in
a tape while I was driving of The Jazz Messengers and the first
sax solo had the FM phrasing concept as clear as could be! The
eighth note phrases started on the & of 1 and the &
of 3. When I got home I tried to play a very simple thing on
the guitar which has frustrated me no end: a tremolo, just one
note repeated evenly in16ths. I played/heard it with FM and
something happened! My first tremolo! I have since applied FM
to a transcription of a Bird trio recording of Cherokee (Early
Bird, @1941) and it's incredible. Same thing with the Bach Two
Part Inventions. And here is something that I think is very
important: it changes the fingerings on the guitar because the
phrases relate to the the anticipated chord change (as example
3 p.37 demonstrates) and the chords shown on beats 1 and 2 aren't
the reference "shapes." This is fun and exciting,
man! And further, all of the examples are great to play. I've
slowly progressed to chapter 6 and, unlike any previous course
or program, truly enjoy and can feel the benefit from the study.
Your book is something that serious players need to know about.