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Interesting Find !?!


Jed

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There isn't much I find more interesting that listen to great jazz musicians / educators with strongly-held opinions talk about musical stuff. Better still if they are from my stomping grounds. I can't take credit for finding these links - thanks to Malcolm from another discussion board for that. But this guy, Hal Galper says exactly what I've learned from all the great teachers that I've had over the years.

 

Give this guy a listen and see what you think:

 

The musician is the instrument:

[video=youtube;y_7DgCrziI8]

 

On building a musical vocabulary:

[video=youtube;b4kVUIpfTPU]

 

regarding speed / chops / technique:

[video=youtube;wDw1igyuvxk]

 

regarding learning how to improv:

[video=youtube;NehOx1JsuT4]

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Yes, I love that guy. Just discovered those videos myself a few days ago. It was those first 30 seconds of "Technique part 2" that had my old heart beating like a lovestruck 13-year-old.

Like you, I thought here is someone cutting through the bs and saying what 40+ years of playing has shown me (and more of course).

That's my man.

 

:):idea::idea::idea::idea:

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I believe that scientists have demonstrated that musicians actually develop new synaptical connections in their brains. Its probably the reason why musicians are less likely to develop Alzheimers. But its probably an oversimplificatin what he is saying; there is the issue of manual dexterity.

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You should buy his book called "Forward Motion", it will kinda blow your mind. And you will never practice scales the same way, or anything for that matter, with the same phrasing you use now.

 

http://www.forwardmotionpdf.com/

 

It's not like Hal is some unknown dude.... he was cannonball adderley's piano player for many years (after Zawinul), and some guy name Michael Brecker played sax on his album.

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Thank you so much for posting this; it's extremely interesting!

 

This article is also very interesting: http://www.halgalper.com/13_arti/practiceandperformancegoals.htm

 

From the article: "Most students give primary consideration the external, technical and mechanical aspects of study: notation, theory, the instrument, mechanical technique, all those aspects of playing music that are visible to the naked eye. Your instrument, which ever one it may be, IS NOT THE INSTRUMENT! It just looks that way. The external aspects are an illusion. [...] The conclusion that follows may be difficult for the student to grasp at first: YOU ARE THE INSTRUMENT! A musical instrument is merely a machine. It is an input and output device. It is worth stating twice: the mind, the body and emotions are the basic tools of any artistic endeavor! They can be trained to do the improvisor

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I believe that scientists have demonstrated that musicians actually develop new synaptical connections in their brains. Its probably the reason why musicians are less likely to develop Alzheimers. But its probably an oversimplificatin what he is saying; there is the issue of manual dexterity.

 

 

Yeah, it's gotta get onto the instrument or you suk.

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Very interesting....thanks Jed!

 

I applied 'forward motion' hearing to something on the radio today and found it to be worth the effort.

 

There was a funk kind of track on, and I started following the repetitive bass, whilst tapping my foot. But for this exercise, my foot taps were the just bar lines, NOT the beats 1-2-3-4. In any given bar, in the notation, beat one would be a dotted quarter note, then an eighth rest, then an eighth note before a tripletty bit, then an eighth note, and another short rest.

 

(I'm currently converting the complete works of Beethoven and Mozart to text form :)).

 

I had two realistic choices....I say realistic because most other variations were weird to follow.....

 

I could either:

 

Interpret the beat on '2-and' as beginning of the lick, starting on an eighth note, which then ended over the bar line, on the dotted quarter note in the following bar;

 

or...

 

Interpret the beat on 1 as the beginning of the lick, starting on the dotted quarter note and ending within the same bar.

 

Don't forget I was 'isolating ' the bass line for this exercise.

 

The first option was funky....the second was nothingness personified!

 

It was much better when the line ended on beat 1, notationwise.

 

Have I outlined an example of forward motion here? The actual bass lick did in fact land (end) on beat 1, starting in the middle of the bar before.

 

I post this to see if we can get some practical stuff going on re forward motion.

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  • 3 years later...
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Old thread bump, I know, but since there hasn't been a lot of activity I think it's worth bringing these up again for folks that either haven't seen them, or haven't watched in a while.  I watch them a couple times a year, and they never cease to inspire and keep me "on track."   This thread is one of the best things I've ever gotten from LL, or any forum.

 

I'll add one more: "On Time & Tone":

 

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