Commentary

(I have taken the liberty of editing some of these emails to remove comments that were not either pertinent to the subject or were of a personal nature H.G.)

Hal,

Thanks very much for posting the FM articles. I read them yesterday and they are already making a difference in my playing. (I'm one of those guys whose played for years but it's never sounded "right" like the pros.) It's amazing that after so many books and teachers that this (seemingly simple) concept of perception seems to be opening the doors for me. In the first FM article you mention four parts: Understanding FM, Rhythmic FM, Melodic FM, and Harmonic FM. Is the Harmonic FM article posted at this time? If so I must have missed it. If not, would you post it or email me a copy? Thanks. I can't wait to get back to practicing.

Regards, Steve

Dear Hal,

Great website!

I've been checking it out for the past couple of weeks but this morning I discovered the "Development of Style" articles. All I can say is thanks!

Sincerely, Greg Bush

Hal,

I'm sure glad I found out about your website from the "Jazz Improv" magazine. I still have copies of your forward motion articles from Down Beat in the early 80's. They were without doubt the single most valuable pieces if information I've received in my music education. The new article in Jazz Improv is equally illuminating. You are the most lucid and direct writer I've encountered on the subject of jazz improvisation and we are lucky that you are so willing to share your insight and knowledge. This is, of course, without saying how inspiring your music is! I've been a fan since your first recordings with Phil Woods and I continue to enjoy your trio. Well, I guess I'd better get back to the articles. It's going to take a while to absorb these.

Thanks again, Doug Switzer

Dear Hal

Just came across your website and thought it might be fun to say hello. A student last week gave me a copy of your forward motion articles and that prompted me to search for you on the net. The website looks both good and interesting and the way to go.

I just read your rave about Jazz education and the Jazz Guild idea, and I remember you saying something about this back in 82, but now it seems to be even more relevant. I was surprised when I glanced through your articles how much has actually seeped through into my own teaching and I was struck by my understanding of YOUR contribution to MY education, in all aspects.

I guess I just really wanted to thank you for this (the Galper tapes are still somewhat legendary in an underground sense) and see if we could stay in touch

All the best, Paul McNamara

Dear Mr Galper,

thank you very much for your articles on playing et al. They have clarified and reinforced things I was maybe aware of but not on such a conscious level that I could deal with them.

In my practice being a guitar teacher I come across a lot of students with two drawbacks: the first is a completely undeveloped ear, the second being a serious lack in instrumental technique. Students just don't see the massive amount of work you have to do before you arrive at a level where you can really improvise and not just string some licks together. I know a lot of this has to do with modern society & instant gratification so therefore I'm really happy there are still master musicians willing to offer their knowledge and time.

Thanks very much and kind regards, Frans Liekens

Hal, From your web site lessons:

"You may have experienced the feeling of playing in half-time without realizing it. Have you noticed how easy it is to improvise 8th. note ideas while playing a samba or bossa nova? Brazilian music is written and played in 2/2 and is based on the clave beat which is a two bar phrase. Have you noticed how easy it is to improvise double-time, 16th. Note ideas on a ballad? That's the half-time feeling at work."

Or, as you say, ballad concept. This is great advice. I had always been able to run singing "16th note" solos against ballads. But on faster tempos I'd freeze up.Your lesson really hit the nail on the head for me. Thanks very much. Your comping lesson was also very helpful.

All the best, Andy Quinn

Dear Hal:

My name is Guillermo Bazzola, I am a jazz guitar player from Buenos Aires, argentina.

I visited your website and it's one of the best (if not the best) that I saw of those hosted by musicians. It's so complete and interesting in all aspects, songs, articles, etc... I know you from records with Scofield, Phil Woods, Sam Rivers and your own ones. I even have an old vinyl "Speak With A Single Voice."

Your writings, like those about Forward Motion, have been really useful to my understanding of jazz music. I knew them many years ago, when I was a kid and was studying.

I agree with you when you say that musicians of your generation are often neglected. That's truly unfair. Since I live very far from USA, I've known you through the records, but I have found a lot of knowledge from guys like you, Liebman, Richie Beirach, Ron McClure and others....

Good Luck and have a happy 2001 !! Guillermo Bazzola

Dear Mr. Galper:

Just a short note to tell you how much I have enjoyed your article, "The Development of Style." You have truly shed light for me on how to get started. I played my instrument in high school and have taken it up again in my middle age. I am taking private lessons, learning all my major/minor/dominant scales and chords, etc. but when I attempt to improvise it sounds very trite and unmusical!

I was also of the belief that one must memorize many licks (in all twelve keys) and then somehow string them together to get something that sounds good. Your step by step approach not only makes intuitive sense but in the end will result in an endless array of ways to develop some seemingly simple musical ideas into coherent and melodic statements. I can't wait to start incorporating your recommendations into my daily practice sessions.

I'm afraid I have rambled on and have taken up your valuable time but I did want you to know how important your article has been to me personally. Keep up the good work!

Sincerely, Craig R. Saxton, MD

Mr. Galper,

I recently purchased my first copy of Jazz Improv, and I really enjoyed your article on developing style. I know that from now on I will be regularly purchasing copies if it...

...Thank you for writing such an interesting article, I look forward to further writings from you.

Nathan Canamar

Dear Mr Galper

Last night, I down loaded your set of instructions of music theory and it's application, which I must say, at this early stage, I am enjoying very much...

... From what I have seen, I like your stuff. You know why! because you give working musical examples in an easy way. So it is clear to follow, takes you by the hand and leads you through that stage. So many of the theory books are quite dry. This is the theory, this is what you do. No examples. How come it hasn't sunk in yet!!!

Regards John F

Hi,

I just read your Really informative on Comping. It's going to take repeated reading of it solidify the concepts of my mind...

...If this article is geared for less than already professional players, then the only thing not addressed was that all those concepts can't be very easily applied if one's nose is stuck in a Fake Book, which seems to be the norm these days, rather than knowing the tunes.

Thanks for some Great articles. Bill Gobby

Hal,

I just finished reading your revised article on melody and embellishment with excersises. These articles have had a profound impact on my playing and the new addition has answered some questions. I have purchased many books on jazz improv and while some have contributed to my playing there always seemed to be something missing. Your articles are an important resource in passing down the tradition of the masters that is not easily found otherwise....

...I look forward to more in the future. On behalf of aspiring jazz musicians and myself,

Thank you. Bob

Mr. Galper,

I am a young jazz violin player and I want to thank you for your help. For the past 2 days I have been studying forward motion and half time off your web page and applying it to my playing. It is unbelievable how differently I hear things from just two days ago.

After I read the half time article I put the Giant Steps album in and was able to hear and appreciate Coltrane in a whole different light...

Thank you for your time, sincerely, David Kaemmer

Hal,

Wow! I have just read your articles on "Forward Motion," and I must say this all makes such GREAT sense...

Where were YOU when I was working on my Masters? I had to take a graduate form class, and I was in a constant state of confusion. I think I really wanted to analyze lines, as you say, but my teacher wanted to take a more vertical approach.

This is just GREAT!--Wayne Dyess

Hey Hal,

Man!!! not only have I become a fan and admirer of your piano playing, I've just come across a "mother lode" of thought. Just came across your article page and have started to read them... In any event, I was jazzed by reading your "radical" article. Wanted to thank you.

Eloy

Dear Hal

Thanks for your website, it seems like a pot of gold to me... So far I've only read the rants and the first article. I have to agree with all the rants, and tell you it ain't no different if your 42 or 62 you better damn well be 22 in this biz. So, comfort yourself in your body of work and the great times you've had, You could have been an accountant...then what stories would you tell...

Anyway, Thanks again, I'll go out and look for a couple of your records today...

All the Best, Pat

I read your article on "Development of Style ll" in the latest issue of Jazz Improv. The article lead me to your web sight in search of more information. Your insights on forward motion and especially playing in half time have unlocked solutions to problems that have eluded me for years.

In a short time I was able to hear the double time effect and apply it to tunes I have been playing forever. The improvement in articulation smoothness, and ease of playing have been an epiphany for me. I still have to work at this but I've heard and felt the results.

I do not know how much time and money I have spent over the years searching for explanations of why some musicians sound excellent and others, using the same notes and playing similar phrases are lacking. I'm working on your FM concepts and though I understand them on a conscious level I have not yet been able to get the feel inside.

I'm sure that you have had peek performance experiences where you can do no wrong. Everything flows out of you like water through a channel on a spiritual level. Which, by the way, I think is actually what is happening.

I think your insights will help me experience that level more often by minimizing the conscious effort I have been putting into my playing and giving the subconscious more sway.

Thanks, Art Borgeson

Hi Hal,

Since that time of an earlier discussion about playing in groups as opposed to being a "professional" student, playing in groups makes a big difference. Studying with a self proclaimed "savior" of jazz does not get you there. I find that actual playing situations are most beneficial, perhaps more so than private lessons, which are of course important. I've found great improvement in my improvising. I'm still taking saxophone lessons, but each day it‘s taking more of a back seat to the reality of playing, in other words you have to go where the action is to improve.

Norman Walsh