Hal Galper's Master Class - Time and Tone

by: Jazz Video Guy

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I'm not gonna let things go watch it sucker so listen what I come in telling you right you're my Disney yeah how a few times you have to give up how are you playing it all right well I'm going to swing this by this side you don't have to count on your a corner is counting so start counting that's the pros use anything artificial to get through to rhythm that's basically the process just counting now what have you taught me I haven't at all right it's a problem listening antenna difference you listen here all the old guys learn when I saw it up courtesy takes a hey amen you're not listening out or not listening I said yeah by everything you know they say yeah we're not listening and find it up community like they talk about two different things well here is passive like you're here we're listening right listening is active listening is when you pay attention to certain things whereas here I consider a record that's come in action or we know listening its aggressive is something you're doing and you're pointing your stuff right okay now listen to this here's what I want you to dig I can't let how many times I've heard people who talk about Mike record and is playing that his two greatest attributes we're time and tone and for many years I thought they were two separate things but then I realize they are both two sides of one thing in other different you have to use the sound the tone of your instrument to keep time not any external clock or a movie animal process so let me show you how this is done when you play a note it has clicks well and then if he came he got a series of diminishing Basin overtones you hit to that follow me show it to you listen to all those

yeah now I'm gonna play the first five notes of the C scale I'm going to use the sound preceding note to the side where I'm going to hit the next note all right you

so how could you possibly can if possible I mean yes that that trick if you know what I mean do it okay check this out

oh yeah is actually a rhythm in it that's well is a rhythm it's an action

it hasn't a lot of things that come from early childhood study we breathe without this will be hazy that were absolutely appropriate when you are kidding but we made the assumption that there's still pragmatic adults one of the things is we haven't we made the assumption that addition to think that playing notes of time and space is a matter of playing a series of tax a series of beginnings of notes problem is how long isn't it it's an answer it's too short an event for the line in control so when I talking about listening I want you to switch your listening and the kingdom to the end of because no one ever seems to talk about this the Untied event involves two events starting and stopping it but everybody talks about how they started pays any attention to how this stop and both have to be done in time so I'm going to get it right if you want to play again I want you to listen to the end of your notes you have salem safe switch your plenty of attention you're listening for your attention off the attack and into hi anything else

here don't say yes me I'd say yes last one ah not quite let's give it a shot you see if you can do that don't forget the years of conditioning thinking terms of attack and what it does thing you push you up it doesn't put you right in the cup to us in example I'm going to come on for pete's right I want both of you hit 100 50 okay one two three four this one and this one we came at two months one two three four three basic match you think it alright so now you want to try to match us all indicate this well indicate we're doing as well didn't have what we call a room sound which is what it's all about right that's right again my lady well late to my dress now



I'll bet you're playing the sax section you're paying attention to two ratios but you're not paying attention do it Natalie drank it not the same way so think everything please the deal proud of the sax all right this is the only time anybody pays attention to anything else when they play in a groove and once that's done all right my brother was yeah much improved how'd that feel doubler most are simply the best players in Arizona yeah I don't you guys notice if I'm using all these notes I'm muting every note to give it that bounce we're given we're doing a stylistic sin here the bebop stylistic so every single note I'm playing am Utica for my right hand or my left hand the part some would call football said haha if you get wide open fine let it rip but we're getting this nice the bond of Bounce and that's not you gotta stop the move in so the durations make a big difference in what we're doing between but I'm here on that ride cymbal that's doing the sustaining I'm not I'm actually holding the note a bit but but I'm using if you think ish when Deborah she goodbye wasn't ba ba ba ba ba ba bump D bump and it gave a musical box that's what you can help we need get upset that helps to feel for you to get bit it doesn't have that box some of this week alright so let's get in the shop


More from this creator:
Book: Forward Motion https://amzn.to/2ypAPPh

Recording: Cubist https://amzn.to/2q3eKBR

Book: The Touring Musician https://amzn.to/2yujzIK

Book: Jazz Piano Voicings: Transcribed Piano Comping https://amzn.to/2PKJ8vZ


presents "Time and Tone" a Hal Galper Master Class. For Skype lessons, visit: http://www.halgalper.com/study-1-on-1/syllabus/

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