Forward Motion Testimonials
“In 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. …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)
“I 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
“It’s 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, Canada.
“It’s 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 their way…
I will try to make this book mandatory for the new 1st year students this September and from then on. ”
“Forward 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.
Forward Motion should be on EVERY musicians short list.
Thanks again. I wish you great success.”
Hal 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.”
Awesome 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!
I’m 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.
As 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 Goddard College
In 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 IŒve 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 and musically.
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 – itŒs the play-along record taken into the 21st century.
Dr. David Demsey
Your 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.