Memlphii:s Sound ~

The Halmmond Sou:nd:1

Ro,urn!.!' A~~~1l. len, vocalist at On}'x, one of tile newest recording ,eomp.al1aes in II,(("emrhis, is accompanied by R[)nllie "Moore on bass; B[)!i::lby Mallu,el, guitar:

J oe G.r,IlY" drums; and Ronald Wm:L~mu, o()Ti!lan_

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"'M'1l1HlpIllIs 'Counts'; !lit the Cabaret are Richie Simp~ilI '011 drums; Stanley GecII, bass; Lonnle lawson., .guitar; and Hobby WniHock., organist and lead singer,

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I ... ,~I~I ••• 811111 H ••••

Some people say ~t all started W:llth w. c. Hflndy on Beale: S:lr~~j.Qi!1lJers are sure it was theinfluenee of Elvis .P:resley and his :style, but wbaite'l.'e:f ilt was or wheuever ~tstarted,theM!em.m phis Sound has ill dlstlnction oi its own.

The Mem.pfuis Sound has made Memphisone of the leading reooooillg eenters ]11 the country j and these records ace eonsistently included among the top l 00 limes ill the ,cmantry. According to. Jim Stewart, president (II:

Stllx:",Volt Records, thecompeuy responsib]e for carrying much O[ the Memphis Seund to the, rest of the world, "It isa eombination of musical ~ni~en.ces tbat have been improved over tile years until it has become a dlsrlncdvesoend ."

"But," he added., "It is more thanjust the instrumenrs, it's the people, the musicians.' the arrangers and how Weey work: witlheach otherto produce thl8 soand,"

WhHe the "Detroit SmJ:ood," has been d escrlbed as sop 11 iaticated II rban tone, "The Nas..fu:vUl!e Sound," as ,country mnslc and the "New Orleans Smmd:'as jazz Or pop.the Memphis Sound isa combinstioncf musical influences.

'['he musk of Memphis groups contains a "nety Df lnftU.[Ices including blues, eountry, jl<lzz, gospel.folk, and spiritual. Mix them together, depending upon tfue eombination of musldans, writers and producers. and the sound always comes O1lU~ earthy, rural, and spontaneous,

• •• 111' is

"AL(lQd ,ofl'l1;r:i8eM~f." in ,!l. livt perionnrmce a~ a Memphis hi:glh ,s.chooi oorn~i:;'!lSO\fKi~rt WQ.!)jdky, organ, . .David. MayO\, !)ass;Larry Wall, drums; and Mike Houseal, gultor.

Jim. :~~1Itt, p.r~idell!t Oif Sm." VQlt, th.e ,cumpany resporniblefoT IiiIl!lIiS ~cmd:ij!Dg m.ucrtO'$ the MemiPbl~ S011lrnrli.

3

It is interesting to observe that many 01 the groups producing the Memphis Sound melude jhe Hammond B-3 organ among their lnstruments and as one musician commented, "It is the topping J[or a number." "The versadlity of the organ with Its wide variety of sounds Jteips make the OWLeT sounds in the group whether they be bass, guitar or drums, fuller and richer."

Sam. & Dave; Booker 'f & The M.O:s. the late Otis Redding, The Short . Kues, The Box Tops, Aretha F;ranklin, are only a £ew of theindividuals and groups that represent the Memphis Sound that has such a strong eppeal to teenagers and young adults ..

While very little 01 the Memphis Sound has permeated 00 the adult worM, this mu sic symbolizes a feel~g of "sou]" to Y0!.1.iilgsliers of all .raoes.

"Soul music" with its message abou t real people and live situations began with the Negro. SOOI] the Bdtish teenagers, perhaps the world's most critical when i.t comes to music, started accepting the Memphis Sound. 'Then it spread to France and finaHy to rhe whi te A merican teenagers who caught up with the sound. Now it. is Ute music or the youngsters of tbe world ..

Throughout Memphis there are groups on every level or success. Booker T & tile M.n:s have been playing together for yeats and this year Uley wer-e voted the top instrumental. band in the nation, replacing Herb Alpert and the. Tijuana Brass .. Tire group reeen try won a Grammy award for one of the best recordings of 1.967, sour M.m.. Booker 'f and The .M.G. 's, who record under the Stax-Volt label, play by ear and "from the heart,' They usually create their music while they play and that in part, is what makes the Memphis Sound different.

If you drive down Judy Lynn Dr. in Southeast Memphis on a week night you will probably hear a combo produeing the Memphis Sound loud and clear. It's just a practice session for "The V mage Sou nd," a group of htgh school and college students who have

4

"'n(lill~er T amI. Th~ M.G:'IS!," Grammy Award winnen from. 1\,;f'empbis,indude fromlefl. Al Jad'(SOIl, D~ck. DUml, BOi):~er T" J.O:J1ocs •. ~nd :steve Cropper"

''TIie V"ilbg~ SI!!'UDII," i.n apractice session are frem left, .[lobbY Dodds, drums; Dan Ri~ding, bass; Pat Tay:ior. Jead \l'ocal~sl; Tart Laster, ",a<:al~l; Danny Thoro pson. .guitar; and.

Greg Reding, orgc31l.

been p[ayjng together ior three years, On Friday and Saturday nigh.t the groillp plays ;alt clubs in oearhy Sikeston, Mo., Paducah, Ky.; and Blythe.. ville, Ark. TIle group's new record Count On You, W.ElS recently released by .onyx Records,

And over at Onyx, one of the newest :!:"WQroillg companies in. Memphis. they have also released Mama and For Love featuring Ronnie Angel, vocalist. accompanied by a grcup 01 Onyx staff musiclans ..

Since- gospel music is STiCh a big part of the Memphis Sound. it was not surprising to learn that Ronald Wil.Iiams, organist for the group, starred his career p~ayjng a church organ at 15. F~V'e. years later Ronald ill still playing at. church and for Onyx.

"Gospel music that we beam :in church for ISO long is the "Soul" musk that has become part oil' the Memphis Sound," said Ronald ... It 'Ih'3S .fl naturalevolution from church gospel to soul," he added.

"The Memphis Sound is not only a soul. sound, it is. also the reaction of the audience," said Bobby Whitlock, lead si'llger and organist for "The Memphis Counts, ' another Memphis group .. "What makes the sound IlIlJ~gu,e is UlI.at everything b'1S a ruess-age and it appeals to all groups. It's 110£ an ethnic sound."

"The Memphis Counts," appearin .. g at The Cabaret in Memphis record [or Stu-Volt and their newest reoord is Love Ls A Do.gg:OI'u~ Good Thing and .Do You F"e.ell t?

Pepper .& Tanner, Inc., a company whose major business isselliag special musical materials to broadcasters, recently got back in the record. business w:~m Oil yOlmggroup at: musicians called, "The Short Kuts," These versatile y0l1l:lgmel.l, aU college students at Memphis State U niversity and Christi an Bros, College, have recorded Your BY.fS May Shine and LeUi':l'g The Teas« Tumble Down (DO the Pepper Label.

When tile gWIIp was first formed Oliil. April Fool's Day. l 966, the finl Older the manager, Gary Real111eS,

gave ~s'~et a haircut, ~SQ the guys got haircuts ad became ~''The SbQli1 Kllts."

"P>eople aren't afraid to experiment with the MeDilphi.:s Sand, "I :said Sam:

Ph:lllips:, tJiLem. credited with 8t.aittPug tIllie Memphits 1'eoo~dUa,g industry.

fhlllips wasn~t :afraid to experi.m.eIllt eitherwhen he opefiioolhe Memph~s Roo~rding Service in 1950. He cat records on lBJB. lUng" Roseee Gerdon, J oru.nyLoJ:ld()D~ and Rufus Thomas. He also got five p.nsoneFs from the state penilte:JJitJia:ry and they dklWalkmg In The Rai~~or the. first time.

'Then one day ]Elvis Presley walked inti) meQffi.ce and said he WaIll~ 10 make a h:i:rthdayreoQrd for h~s mother . Everyone kn()ws what happened aHertha.t

PhlAlips was recentlJy named presidenlt of HoHday Inn Records, il:oe. One of the firstgroups to record on tile Ho]iday Label was "Load of Misc:llie:f." four ooU.egesludierrts. who started performing together .m Sept Their Mempbis Smmd record is Back 1.71. My Ai rms Again.

Just about the hottest spot for the "young adluU" crowd in Memphis is the Thunderbled Loaege where you can find another popular Memphis group c,:.]~ed "Flash and the Board Q,f Directora," Formerly known as Flash and the Casuals, the group has beeOltog);lilier Em six years and last yeO'll toured with Paul Revereand the Raiders, Oil. naticn a Uy known rock group ..

Flash and h~ boys haverecordcd such Mertrtpbls Sound hits as 1 Pray For Rain, Busy Signal and Love Ain't Easy, aU on tfue Ua[a[abet

It you're a teenageror young adult, chances are you areakeadya fan of ~e Mempht$ Sound ]tits. But, if Y'ou"re, one of those adalts who hasn't given this type of music mil ell thought, try listening to oneef the Memph~s Sound reeorda We thif.lk yon win find some .interesting renditions coming out of t'fuJe townthat was the birthplace of tfte St. Louis Blue» ..

''''Th~ B~ailJe;:~~ dress W lit th.eir name, Warm~!1!®: lIIpfor .9. ~rve se~5ion ilirt fremIeft, Fred S:.c.h.aefex, organ;

Bill MeRom. ~ead gu~t~[; Joe Ar]Joi~d, tet'IQ!r sax, Jim . .Mltch.el~, bass: Dick Coo(p!e[, drmm:;ffim Grivkh. trum,pe>t:; Qrnd! 'Gene .J Ql!irllSQfI, leadvocahst,

"lFla5h alld the B(JI~fd 0<£ )i)i~llel)):r:8;" pe!!'[urming al: the 111mnde:uibir-d LOlim# iII Memph~ are Mart Tidwell, gu~tar; MIk,e Stoker ,bacss; St:ev,e Holr, drn;1m:9:~ DIIi",I.d F~ie!!e.f, o.r,\lai),; Ted Uar.rer.s.orl, ~rUlnpet.; NeweU. Cfiggle, tenor and III,to sax; and H:a5h, tlh~, vocali~L

San~ 'h:Il1Jips~ the man ;t;:£edikid with stil:rr;tingthe MemIlhi~ .recordti1lg ill.dus~r}'.

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Four --.· .

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EasySteps

BY ,JANESE TRUVIiR

n~ @I]d !layj~ "'practice mak::es per .. Iill:ct," bas prooob~y been WId t.Q every penon ¢VCr takmg Dlius.ic,~es:soru;, 1lere isn 't a truer sHI!teme.nt than dm. But sadly many teachers neglect ~o ~plai.jl, imD. detail, how t(;ll'~li~tbjS stale of perrectiOl!1. SLnce: ~h~ ~i;rs,tf:ou~ mO]lths Qf~e~ons ~~ ,cfil!lciai~ onea, a teacher must ma:iJrutnllltbe enthusiasm a ,srllilde~t has for his mu~m~t by app]yrung, s!tric:t biut ,enjoy~ble Pll'3Wet: mJelhod s, Eve'fyoliI~ would likJe ~o p]ay all 'entire ass:igne.d piece from rue s'tl,lrt. Ul1ir"O(t:l:~nate~y ~ it ]S not quite 80 :sj:mple.. But prac~ici[Jg the way E willil exphilil cn make~eOil!m]ng easier,

Gnd .iFingeij:n,g mrn,mtmd

One. :requirEl'meJ]jt of ,good OFgan prnay .. ~ng WS good :fmg~ring. If it is done oo;r.. reedy from tile beginoing, it win. aever be a pm ill!em. Ii very organ method book .. bas 8GmelW;g~if ll1!l:a!l:kil!lgs. S(JIaeUJ1Je has Ul~~n tim~ ttl figure out the easlest po&sibTefimtgerm,g ~o.r eacl1 p~~ce. It is OOJ:e, that evmy I ftQ~~d p~ss[lgerun every p.iece of ~111llSrc w.in rtot amways ffleem easy. ,B.ut [cOr ~fue· most part, tbe~:Ihl,g will be suitable for t~e majodty.

Is ~ere a c:e.r~lEI role; ,a,b(m~ wbat finger goes en wha!1!l:Ole1' Many peeple are di~,couraJged, to learn tha,t there is not. They fee] it would be mucla easier .il' tl~y oouhl memorfuze :me p1<1(;emeJlJt oil (heirD¥rs 1Ji1:ste.ad ofhlllvi:Qg ,to read them, ][cofivrnce them they would not be able to play ~_y pieces if elldllifi~ger ,cofJiJld p[ay omy 1!iJ~:ew cer~~n notes, AlIter ]~rIni" mg UJiis" they donet Fe;g,el bavingto ase the FUIl!.~sd1l<d are: marked,

Re_eiIl.OOr" smooth iogermg means s:m.(I~tb p~ayj:nlg:., This is why le~cihe:rs, ruDIDst 'OB il1ige.r tecl:tm.que: frOfimJlhe very start.

The first step ~11 learning a new piece lsmental, Examine the music carem.lly. Note the time aoo key slgnatures, [f there ere many :sbarps or flats, take time to circle each O]1)e. This wlU remind yQuiliailt sometlu[og must. be doneto that note. Next, look

i ~or ooy ties,phrases, fermatas<} Sitaeca~Qs!> etc, If these :si.gM:s are noticed first, .they may be lncerpureredlnte ~ initial! practicing.

Now theactual p~ayjng begftns. Here, oJi[y the .cigbt handis played. 'Ibis is

one ,of the sev,e['a~ ways. the piece will. be p:tt'<u;:li.c:ed. Breaking it down to one haadalone is still not ,e:noM,gh. flay the right hand ]inein segmems taking a few measures alt. a time. Repeat these measures several timesmailcing sure that each time it ~s p[ayOO carfectly. Now .~o on to th~lle:ltt few measuresand repeat themas before, Aifter doing tJlwee orfour ofthese seg~ ments, put them together as mile. Wh~nthe rig]fi:t hand is done this way, play~t'C!1l:gfu the whole piece two 0'1 tlireeHmes-sti111'i;ght ha~d alone.

The third step Is to practice tJne ldt haad aloneln Ute same manner as the .rigbt hand, Renl~m berto play the part :i]]' &egme:!l!ts working roW:8!ro &e, entire piece. A fuelpful1. hint in. pLay[Ilgtlle~eft handis to bum. the melody line if tlllieh:me is reasonably ,easy. Y Oil win find it ~8 mucheasier 1.0 OQ~ ordinate dle rhythm. of the harmony if the melody can be heard, Gou:rnrlm.g the time a~(!ud is an eX)ccl~~nl way to practice, This is partlculady useful when. p]ayjng syncQPated or dotted

note pass:llges .. As a :SlJlbstt~te :f0'l" verbal counting, Ii metroacme maybe used. This dev~oe never skipsa beat or a1I.ows. ch$.aJtiItg 011 ~hooe longaotes!

The fourthbasjc, step is to practice pt.'lda]ing alone, 'This brings us to ·the

I ~QUQwil]Jg suggestio~sror successful practk~l1g-<t comblnatlon of all {t)Uf of the step s previously mentlened, Playthe .right haJl!d and pedals, left handaad pedals both hand8.. and fi;oallYj' ~U~hllt'>e pans togeche.r. If all the pads are practiced d[l:i,genJt]y~ the fiEal step .of oomiJilling hamill and feet ]8. easy. An organist must.learnto use his I~ght and [eft hands and feet htdf!pend~nnyof eachether, This p:l:'a.ctice me~:od does tbat becaase eachpart IS :ka.rnedind[vjdl1a,1[yud ili.encombrned.

Lwming to play the o:rg;<l!l1 is a .rich and reward:m:g experience witia an unlil1llted n'lmilooTaf p(!~8ibili.ue8 :and opperrunhies, Although pr:actkiog rlmyso:m.etim~ seem 3.. bit mo:n.omnQta:s~ it's worth it. when thai final goal ~s reached,

'7

HammoBd Organ Society

Four State Comention Oc:t.26-27

Y QlU l!.'(ln 't wa~t ~G miss the first Hammond Organ Saci~ry Convention scheduled im~ SatmJday aJr!ld Sunday, Oct@~r 26-27 in Cbi~go's Con~ad MillolilJ. if you are a Hammood OrgallJ SQci~ilJme:mb~iI[ WIIiiI lllinois, Indiane, M]cmgan or W]s.oonsin,

Flm~Entell1l11iDmMI~,Edncatt(ll!it

Imorma.tion. packed. :!lem:iuFS. leadli~ p.rofe~ssIDDal 0:1:g<ilillIisl e]IDlertruum.e:oil:, H .O.S, prograoo pl~JlmEg.new pI\Od~ctexbih~ts., and <In 'm:ga:n !play]ngcont~t 'fl'wOnl.y a l'e'W ~l1gb.n~tsofthi;s weekend gathering sponsored by the HammQnd Organ Co.li!Np~I1Y. There has never 'bam anything Hike ~t ililJJthe hilsloryof ~he lHamm(nnd Orgalll Societies. And from the pl1e-1im:imul1'yresp0ifruse,. it loob as if it's go.in,S to be _ ow,tsla!rnlding e:vent. The, success of th~s fi,U't oOlilJJvelJJtiofiW~U dde-rml!ne wih.etJher it win beexpanded later.

The Cijn~Ii:O:1l w~n Jet s.oc~t:y IDA~bets h@mthe f011>: s,m~:e area get 1!Qgelll~r for a, weekend o:fmn.;U~d actill.vi~ tiesand eD~:ert:<Ji]Omf:J1J!t SponsDred. by the HanmlOIld o.iI''" gan COm!pllI!rnlY, wfuJiJJe acq1iJirmg ,so:m:e new usefuruUps to make their organ playiogmore enjoyabh'l,.

Orga!::!! p.maYjlng 'Ciil:Dltest

A highlight of the ~e:~~n.d will be fue Organ Play.ing C(!~t~s~ $@~ be;gi:ll!nj~g. intermed:iale tiMId advaaced orgaflllSts" Here's how ]in win work: ChapMrs aW~E!ding the four-state coavention may enter one OO!1testaJtt in each oll the three ctl,tegodes. A pa.IJiel of expeds wlll ]~&wn to the ~:apes omd cheese nine fiIDtaW~st<;. The filThal O:;IITJip~liti(l[iJ EO.IC 3Id, 2nd, and ] stpl:8!~ in. e-ach C:8Jteg,orywl]f beheld S'lilil1day, ()ctQ:oor 21.

The 3m place wamers will. receive $25 and a framed eertlficate; 2nd place winne~ win recai ¥~ $5(}and 8. fra-.oo cerilifk .... te; the w~m!l.(.':r wiH receive $ .~. nOa:n:d a p~aql;le, plus an o(ga.1iI!. whk~ wjUbe presented to <ilD hliSti,tU1~l()jjl Of civic group' bylbe A.O.K. Chllpte!r. De filUlffii.Ms' sponn:soring dealers win also receive :f~Olimed cerdficates,

'[he cllitena for j~dging t]}e oQmpetntklll will be:

1. registration ba~aoce (sweU,great. pedal)

2. smoothn~s~ or 'l'Ouch

31. $ffi!llOoOtlThness OE chord ,eibang.es ,41. eventerepo

5. rhythm

6. iMaginati.QIl--cr,e:3JtiVle. inrro and/or e~d~l.lg

7. sm;Q@tluness o:rped.JJI,d];1I[Jg~-s s. ~:aS:le:rnlregistrnHoa ch<Ln.gcs,

l'hfl de:ad]lr.~r~Jl suhm it~i.IiI.g taJpes is Sept. 16. Fwalists wiU be notified. by Hammond Org~n Company no later thaII 'Oct. 7. At that time finalists w]U receive the name o.~ &e seleetionto be pbyed ~or tbefi:nu,<l] ,oomjpe,rJltion SUlIiday> October 27.

II ~ou ]tiiv·e ]fi Illinels, Indiana, Mic~:iga:lii, or Wisocm g~J]J, youand y.oU[~ friends wJU want to sign up now for this otltsta.nding \VJeekend event. A~d. ifY'l1] are a a,,:mnlond Organ Socie'tymember from :ll:l1Jiothe:rSll1iJt:e: who wil bein Cbica...!lP <!il:~h3.t time, )fe[J can also m<lke a:mul,geJl!llents to att~JIild .. F ~F ,addmtiunru inil'u.rmaUoinJarnJd <!!pplica,tio'nbl<lob wriW Hamrno:l1id! Organ Soci~~y Conve:.!liti~n, 42-00 W .. Div~.sey j Chicago, IlL 606 39 betore October 1 I, [968 ...

During 'the "Golden Age:" of radio when the soap opera. reigned as one of the top mediums of entertaiument, orgaiIil music dominated the broadcastsaad the otganlst was as impcrrant as the actors.

Today, the radio soap ope:tt'fI hasbeen replaced by the television serial and '~hc organist is once again gllining prominence, A good example is the daily Jive CBS-TV shew, "Love Is A Many Splendored Thing," feaU1r.ing Eddie Layton, the Vi'e]~-k:Iilown professional organist. Layton is aJ&o an Epic recording artist, soloist for me Hammond Organ Company, :Wd] 0[ganist tor CBS. and offi.cial. organ]st forthe New York Yankees.

"'Being an organist Oil. a TV show is almost like being an airline pilot," said L~yton. "Just as pjlots must go over a last :m in ute check Jist before take-ofl'j radio organists had to make certainthe organ was turned f';I<I, wind

and set the, stop watch, check ~he script to see fhat (h.e pages were in order aad makesure the·.ir shoe laces were tied, '[oday, the re]eV]S:]O!rl 0["gaw5<t must check these items plus several more,"

lBe~o.re he goes on theair, Layton has tocheek OU~ the jelevislon monitor and earphones to make sure they are working properly" Then with. onehalf of hils left eye be w.1!!ltihes the monitor, and whh the other hal f he watches due SCr]pl on the music rack, His right eye is on the stopwaten, w mile Ol1¢ellr is listening to the 00- tors ][1 the studio, and the other. ear istuned in to rhe eonsrant barrage D( directions from the control room,

Layton is pbLying a new X-66reccmly purchased by CBSfoi!' the show, And he is producing som .. e new sound sensadons that <Ire [I~W to televis~.o]i[ serials, For iDst:anoe, by us:i~ aU of the pereussienseops, the show's

theme song has 03.. new dimensien in organ sound. During a very deep love scene or [ust before the end of a hi;gil:dy dramasic, emotion packed act. Layton uses the Dew m-cnestral stops with 'lie ry little vibrato. Viewe:t:s rhroughoutthe country immediately feel they are hearing a number of musieiaas playing ia Ullie background, rather tb1!i!fi just one.

Throughout the years, artists such as Rosa IUo,. John. Gart, George Wdght, Charies Paul, Jesse Crawford, Lew WkI!te,. Fred Fiebel and Bill Meeder have pmY~4ed many musical thrllls with In.ek organ musk'; on radio and televislon,

Now me dynamic X-66i~ adding anew dlmenslon to this area Whether you like dramatic serials or not, we thjnk you will enjoy the exciting musical sounds that are being PJO~ duced by EddIe LaytOlJiTI. on this daj~y program,

How long have you playedthe Hammond Organ? Two months, two years, tvre.m.ty years? No matter how lOi1lg. less than 1 % of your total playing proficiency has been Il.ciitributed. to those fantastic Hammond tonebars, This sysl,em of centrelling th~ ,orgao stops is the greatest method ever devised by any orgsn manutacturer! It has .0:0[71 one problem---education!

Let us look at each tonebar to understand what 'each does and why Mr. Hammond puts them on your instrument. Each set of 9 tonebars has 8 degrees of volume. d.eady marked on the shaft, Urdike a tab organ stop, 1cmebars allow 8cliif.ere.Jlltvob.lmes f'(If ,each t@'lile.,

What is 3. Tonebar Pitch?

Thelirst tonebar is brown, and is III dle 16' pitch. YDU may have heard this is the exactlength in teet fha,tan open pipe of a pipe organ would have to, be to speak. tow "C" on a61 -note manual. The 16' tonebar of the Hammond organ causes [ow "C;' of the 61-l'Iot,e manual to sound the same. This tonebarmakes ev:e'ryth]ug you play sound ONe' octare 10'Wtf than p]s'}'\ed. It add'S body (or low bass tones;' to our ensemble registrations. Very seldam would we use the 1 &' tonebar fur any other purpose,

TILe next tonebar to our right is the· 51;3' pitch, Again, this is exactly the ]en,gth of an. open. pipe sounding low

to

Tonebar

lps

by

Bob Heill'

"C." 'This step adds color to' solo registrations. It actually seunds a 4th interval BELOW what you are playing en the manuals; which gives y,om music an oriental elIecf:. U seit VERY sparingly.

The first white ronebar is the 8' or unison pitch. This pitch is the same pitch as that Df theplano, harp, etc. It is the main tenebar of the system, as most registrations must contain some 8' pitch.

The second white tonebar ]5 the 4'pitch" This is one of the most useful, if used properly, It adds a beaudfnl "openness" oll sound to )'O"ur registraticns, By maki,n.,g lil the loudest in a solo com binatlon, it will add a beautiful quality not possible with other stops. Try the following registration: 005 8 543 2 1. Try seuing the 4' bar to 5' or 6r instead of 8/. Notice the beauty added by the 4' tonebarl

Thefirsc black tcnebar is one of the dissonant harmonics and is used to build woodwind Woes (clarinet, bassoon, etc.), Try playing 00 7000 000, and add the first black (or 2%' stop )to this, Notice the clarinet sounds now formed. (00 7(nO 0(0).

The next ton,ebar Is the 2' stop. This begins the 'ilpper harmonlc family and is used greatly on reed and st,ring stops as well as fi]~ing out the flute ensemble,

The 1 % r black and :.I. .1,1. i black tonebars are used to fill cut file, ellrrre reed and strill:g upper hermenics, Be cautloas.Don'tlet them. dominate a oo.mloonadoD., Too ][l.Uch dissonaat harmonies will thww YUIllI' cornbinations out of prieN <lind win canse a "clash" between your solo and aeeompanimern registrations,

The 1 %r is a fanrastie- stop, f:r.adds the .dgbt tollch to youra.ccompanime][l, 1'ry using the fork.1wing re:gistJI'a~ ~ion: 00, 84J(JU 000. Then pull tThe 1 % f tonebar out to 3-. N etlce .howh emphas:i~s the letthend part w]t:l<m,lt overpowering the melody,

The last tonebar isthe 1 r which adds the (e:al,briUi~:lirilCe 00 allcombinaneas, :Dun't be, afraid tn use thistonebar. It clarifies all registrations and makes yo~r music ,cd~:I? and clear.

Even wIth fun knowledge and use of tile tI)rle1)ars, registratlons can be enhanced by using spU~ "i,i]brato and touch response percussion, changing bands Oil! manuals, playing both hands on one ][[<I]1ua1 a:~ a time, and other organ p~aymg tecHniques. Many of these are discussed ltl my new book,"Profess]onal Drawbar Tips,"

My book win help YOll learn m.i:lny popular professional

oombjnati(Ul&. With(:l1llt having to remember a si]il,gIe digid I use the instrument assoelatlen meIDQd . .Remembe.r the shap.f! of the irrstrwnetU you wish to imitate, end produce tnat shape with the tonebars,

Viafui

ripe Or~ll (Dj_~!;)$OOjj 8')

This is the ea:!'l]est system ever devised to fueFp the Hammond organist remember profeseienal eombiaariens, Even a child eaaleam them all in a marter of minutes,

My new book also has a seeilon em. die Dew "'lEO> and "H'~ series pmressioIiLaI "tricks." It can he ordered directly from; Ye Olde Mosie Shop. 2m. N. Main $1., M:<lrissa, Uin.ois 62257, $1.80 covers cost of book and mdin.g.

lI: am. certain you can e:njoj' your Hammond much more by Teaming how to. use yOU11' "tcaebars.' They arethe greatest device ever invented for you,. the organist!

HAIMMIID'S, X·I77 PtRIDVIDIES EN1ERTAlHMIEHJ

SUMMER YOUTH PROG HAS MUSICAL KICK·OFF

It was a gre:at day ~or the. youngsters of Chicago- when, on June 24, fy,layol Rlchard J. Daley's "Reach Out" summer youth program. was given a rousing musical kick-oU. The event featured eatertainers per.fonni[lg on Hammond's new X-77 oJ:'gfl!l.

Under the "Reach Out'tprogram, 700 public andprivate youth-serving ,agendes~ as well as businessmen, civicminded per8on8>e'n'~ertBiners. sports personalities and others, joined forces '~O bring CI:ttcago kids a great SWlJrmer, Heading the ]ist of eDlt:e11a]!1eu at thekick-off program. was the wen-known [azz organist, Jackie Davis; who introduced tbe"Reach Out" theme song, In addition 1:0 providing the x-n~ Hammond arranged [or Davis and the Heaston Fearless, a rock gt',oulP from. Los Angeles, to appear on the all-musicalprogram ..

The "Reach .ont" ltic];joff program provided a first for Chicago and Hammond Organ Company. It was thebegill!ning of a giganticand ambitious youth program for the ci~. And it was the first time the general p~bUc w:as lntroduced to Hamrn.ond's dynamic new X-77, the organ d.es,~,gl1ied :f@r the popular entertainer,

The "Reach Out" program provided increased oppor~ tUiltti:eS in recreation, edllcaotion, and employment lor youth in ev,ery neighborhced in 'Cb~cago. During the summer, the program operated 9. central informatlea headquarters where yo,w.ngs.ters. called to get lnformation lor almost every snmmer happening in Chicago. Manning the phones were tencollege students with maps. charts and catakngs. These students provided answers to such questions as ''''Where is the nearest swimming peel and when is it open?" or "Where can I go to get a job?" or "Wbere CM T join a softball league?"

12

Jackie Davis, above, and the HOl!Is!:01l Fe{ltl¢-!;l'l, Le~t, provide the musical enltexlainmei'!it. ~okj,ck.-otI: CWca80'~ "Re.ach. 0u(1' summervouih poogr,mm_

..

Letters f.ol' Htfi column should be sent to Question Box!, HAMMOND TIMES, P.O. Box 6698, Cbicago, DUnois ,60680.

Questio:n Box

1. As an owner of tb.e Hammonlil T~21!Hi1 Series, Iwoold like the answers, to the IOifl)'Wil1g:

D. Will the:-re be er is there available a rhydtm side box 10(' the Hammond T -lOOt

h. Can Ole .PoiPte"r B00.1: lor tliJe Series 100 beused

in Ibe l.essoru?

H. Jeremias, Bronx, New York

Yes. there will probably be. by the first of tbe ,year, <I rhythm .. ttachment :fol: your organ. Any organ nllirr-nn:c~ non course will work well Oil, any organ model. Registrations would be the same for the 100 and 200 series.

2. lis then 3. chart slIowj_flr.g b,Ow to 1I13k.~ t:hord changes?

W. C. Kramer. Newton, .Pa.

Som.e "dial-a-chord" charts are supposed to help you transpose chords. There a:r,e several problems wi~!l this approach" One, you would have to stop each time a chord changed and twist the dial to see what notes to play ill your key. Two, eventually youwould have_ to memorize many chord c.ha:uJges, wh.ich is all rmp08sibiHly.

Th.e easiest method is to learn the Major and Minor chords in 3 flats and I sharp. Here's an easy way: a C Major chord has between C .& .!E. 4 half:"steP.8 (C#[)-D#-E). If you wi sh to play an E chord, J:inot start with E, then !C01.li'It up four half-steps (E-F-F~G). G would be the second note in the chord. Then count up 3 more half-steps (C#~A-:-A#)o. AIj: is then the second note or all E chord. 1'0 m.ild the MAJOR chord in. any key, count 1!Ip from root; 4 half-steps then 3 half-steps; MINOR: 3 half-steps. and 4 half-steps.

7TH - 4 half-steps then 3 half-steps then

:3" n

DIMIN [SHED 3 "

" :3" "then 3" '" then

:3'" ~'t.

This method makes transposing chords easier than trying to memorize each note of each chord.

..

J.What kind and size III'lgllin doe;.o; Eddie Layt.on play for tbe CBS·TV daytime s!!'rial WYE IS It MANY SrLENDOREo. TIUNG? Which spprls teilHlS USe the Hammond? And do~.s Hammond makct or bave they ever Dlndc~ a three manual O1'gan~r

J. G. Pslmer ,Dothan, A~a.

Eddie Layton is using a Hammond X-66 organ on all programs requiring an oOrganbt.. The X~66 was introduced about two years agoand ~~ being used in F!enway Park in Boston, Angers Park in Anaheim, Ca.1 irornl,a plu.$. many ot.h. er oOll.vention. centers aDd. sports a.!Cnas tluougllOIit the country. Eddie uses an H - I 0(1 series at Yankee Stadium. Ham mond lUIS Dever made an organ with more than tWG rnanuals. Extra manuals are added so that the organist can pre-set more than two registradons for a number.

Record Report!

Hammond Hits

from Honywoodi Ashley Tappen at lite Hammond Stereo-Fidelity Records Runnemede, New Jersey

Riclumd.~~Glil)ove't Hohnes

Liberty Records

Carissima

Ray M auro at the, Hammond

Circo Record CQ'mpallY 403R lvet Street

New Bedford, Mass,

A delightful album or award winning movie themes played in the full Hammond Spectrum. by Ashley Tappen. The entire album was recorded in Pioca.dlUy Gardens inLendon, where Mr. Tappen's playing was enhanced by the UIlU sunny excellent acoustes or (he building. Amoo,s the album's oatstandfng contents are the theme from. Lawrence of Arabia, Maria from West Side Story, and More from

MO[Jdo COI]i]e.

1Ji ~ en:thusi.asts win love this Cine featl,lringRic~U1rd "Groove" Holmes 'On the organ with drum, guitar, tenor sax, piano, and

UQm bone accompaniment. Included in the album are After Hears a good old fashioned blues number; Scspple From The Apple, an up tempo, bouncy .. number; <lind Deep Purple, a good example of Groove s blues

ballad styling"

Carissima means "dearest one:'

a nd isone 'Or six origlnalpieces in th us album written by .Ray M aurc, Mauro began taking music lessons at the age of four and through the years studied with several o:f the world's most rnmous instructors, For, this album, he uses a Hammond B-3 organ with a Kruger bass. and two speaker systems-s-a Leslie andPRAO.

AU records reviewed. ill this column can be purchased from your local recoro. dealer or o.'irectiy from 'the publiiWel'. Please do IIOt' send orders 1.0 HlIrnmond (hgaT! Company,

);fiusic Review

EDrro.R~S NOT~

Porter Heaps receives ]1ltHY musical selections Bind makes every effor~~orecv~ic.cw acs muchmaterial as he can in each issue , However. spare limaatlcss make .iti:ID,pms:ible for us, to print all of the material reviewed,

BEGINNERS

11I.e llIl~ in Smug

arr, by Nelson Varon $~.95

Music Pl,!b~i~l:'ie.l"8 Hokhng Gmll,

'6~.9 W. 54th se, NewY·ork, N,Y, I.O(Dl9

F'!iitee:lll Favorites an" by Ethel Tench Rogers and Olive Neilson Russell $L75

Pro An :I'~~b~katiom" Inc,

46<9 Ullia~l Ave. .

I Wes:tibury, LL, New Yo-rk

I Sentiimental A' ollrney arr, by EthelTench Rogers

$l,7.5

Pru' Al·t P~~.lic:atl·ons, Inc. 469 Uni.on Ave, W-es:titJillry, L.I., New York

***

l'hL~ is No. 12 in. the Play Now

Library lor A U O".~rJn.!j; one of my [a'!i'QJi~6 series for the beginning m:gani st. 1 reeommend this se.ries at all of myteacher workshops because, in a s~.mp]e way, it is superbly done, No rhythm, just simple two-note chordsin the left hand, All pop tunes ()i[ the 30'tL

***

Designed fur use with Book 1 or

tlte Pro An AU OrgrJcl1 .Method which contalns some.of the finest instruction material for chlldren. V,ery simple rnus~r;:. The me]ooy.ls divided between both hands, and. pwycd with a pedal. b a ss, AU teachers with beginning children should be acquainted w.ith this instruction method.

Special note; Organ Book Guide, No.5, lists thecontents andgives sample pages o.~ am of the six F·o~~cil5 revh::wed in this issue of the Hammond Tanes, A vallable fwm Pro Art Send fer yourfree copy! Abo ask for Organ! Book Guide No.3, wh1cJ] llststheirentire catalog,

***

New arrangements of thirteen old

f'a'i,iloritcs may tie played one of' two ways: either p]ay the .I!eft hand from the chord syrubols, or pl ay the left hand as scored, Very simple left-hand scoring, never more than two notes at a time. Teachers and students Iooking for beginning music can't find <Mlyth.ing more appwpdate than these Pro AIl puhlkat.icms.

***~llenrt **Goo' *Failt

INTElmilED.lATE

LUurgi'C8.l Suite for ,he Organ

by Gordon Young $2,00

Sacred Songs Wn,eo. Te:1o:as 76703

Selel;;wd B:.eperioire arr .by Bthel Tench Rogers and Olive NeJson R1];sscl~

$2 . .00

Pre An, Publicatkms, Inc, 4651 Unio:n Av.e,nl!le W!:'Stb~r.y, LL, Mew York

***

I've never played a. number yet by

Gordon Young that did not appeal bothto mycongregadon and to me, This goes for this eolleetion of four numbers, K")!rie,. Chant, Friars, amd Oio.rifi~amu:ff" They're stunning in every respect, As FVi: said many times before, Young's music is always interesting, fairly easy to p~ my j and odginalEvery church organist will want to

take a look at this.

***

Nioely executed arrangementsof

thhteen wcll-knovm mll~i.cal numbers including an. odgi~j by Ellie] Rogers which is all especially attractive Dumber. Students wi.ll beneflt tJeclmk~llUy from pieces in which We m.e1oc:ly ~s. taken by the ~e[t hand, as In the Nevin h::netim~ l.ove Song. Also by the scale passage in sixths which introduces the Sailor Meets HUrlter number, Del the off-heat mdQdk rhythm of Boccherinl's Mir1uet"

ADVANCED

Aprill in Pads

Auh:lmn in New York: ,Irs Magic

Serenade (Student Prince)

Summer Willld

art" by MiEltkLaub BIQw~rlt im. T.he Wind arr, by Ross Hastings 75ft.

M1Jir;ic Prub~i$her$ H oldin!l; em!'.

619 W. S4th Sit.

New "{·ad:, N,Y. HDOI.9'

**

m can't MIY enough.in praiseof

these <1ddi.tions to the. All Organ Solo Series. :n's the so:r~ of ~rJ[angiQg that the advanced organist is expected to produce, Inspired a:r.rangi!ng.,tne modern sound, COIiJ.temporary chord harmcnies, e(.l[_pert s.oodng'l Ma:~ more could you ask'! Arrangements Iike these shoald inspire the. budd~.lJJg .organ student to greater effort so that someday be migiht be able to play music like this,

AU the music reviewed by Porter Heaps can be .PllTCh ased from. your local music dealer or directly from. tile publisher, Please do not send orders to Hammond Organ Company.

15

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