Dave Limina - Hammond Organ Complete

Basic Afro-Cuban Rhythms for
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Ill The Studio/ Touring Drummer ISBN: ~8763~-030-0 HL: 50448012 DVD $19.95
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I
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I Your Voice for Performance
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Real-Life Career Guide for the
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a Preparing for Your Concert
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Jazz Improvisation: Starting Out with

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Essential Rock Grooves for Bass

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Jim Kelly's Guitar Workshop Featuring Stephen Webber

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I Featuring Victor Mendoza

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Harmonic Ear Training

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Berklee Media Berklee Press
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ISBN 978-0-634-01433-8
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CONTENTS
Acknowledgments ......... . ... ............. ... .... .... .... ..... ........... . .iv
CD Track List .. . ...................... ... .... ..... . ....... .... ........... .. .v
Introduction . .. .... ... .. . . ...................... .. .... . .. . ............ . ....vi
Part I. The Hammond an~ Other Drawbar Organs
About the Hammond Organ .......................................... 2
Drawbar Organs ........... . . . .... ....... .. ....... ... .......... .. ...4
Standard Hammond Controls .... .. ........ .. ........ . ........... .. ... 5
Getting Started ............. .... .... ...... . . . .......... . . . . . ..... .5
Startup ..... .... . . . ............. ..... ....... ... ..................7
The Harmonic Drawbars ...... .. ....... .. ....... .... .......... .. ... 8
Percussion .... . ........ . . .. .. ...................... .. ........... 12
Expression Pedal .......................... ...... ...... ...... ....14
Vibrato and Chorus ....... .. ... ...... ... ....... ... .......... ... .. 14
The Leslie Speaker ... .. ...... ... ...... ................. ...... ....15
Playing Position ................................................. 18
Bass Foldback Exercise .. ....... . ........ .. ......... .... ........ .. l 9
Bass Pedals Exercise .. ... .... ........................ .. .. . ... . ....20
Part II. Exercises
About the Exercises .• .•..........................................22
About Notation . • •................•.•..•.••.•..••.•..••..•....•.23
l. Dive In: Two Hands, One Foot . ........ . ......... .. .......... ... .24
2. Dynamic Control and Accenting with the Expression Pedatl . . ........26
3. Leslie Speed Switching ................................ . . . ......28
4. Combining Dynamics and Speed Switching .................. . .... '.30
5. Bass Pedals, Leslie Speed Switching, and Dynamics . ... .......... . ... 32
6. Bass Pedals, Left-Hand Comping, and Right-Hand Melody . . .. . ..... .34
7. Bass Pedal Technique in Four Keys .... ..... . ........ .. . ..... ..... 37
8. Rock Techniques in Four Keys ...................................42
9. Rock Comping Techniques ..................................... .47
10. Glissando Techniques .... .. .... ....... .. ........ ........... ... .49
11. Blues Techniques in Four Keys .. ....... ..... ..... ...... ...... ... .51
12. Blues Comping Techniques .......................... . ..........56
13. Trills, "Sputter" Technique, and Drone Tones ...... .. ......... ... .. 59
14. J azz Techniques in Four Keys . ... ...... ..........................62
15. Left-Hand Bass and Foldback Awareness in Four Keys ..... . ... ... ....67
16. Manual j umps ................... ... .... ...... ........... .....72
17. Hammond Block-Chord Style .. .. ....... ... ...... ... ........... ..74
18. Funk Techniques in Four Keys ...................................76
19. Drawbar Changes, Preset Changes, and Effects in Real Time ....... ..81
20. Walking Bass Line Pedal Technique in Four Keys ... ..... ....... ....87
21. Special Effects ...... ... .... ...................................92
Part ill. Tunes
Honeymoon for Millie . .............. ..... ........... .. .......... 102
Swampness .............. ...... . ........ . ..................... .104
Rhythm Changes . ...... . ....... .. ...... ..... ..... .. .. .. ....... .106
Mercy Train ..... . ..... ............................. .. .......... 108
Anna's Dance .. ................................................ 111
Jimmy Shuffle ........... ...... .. ....... .. ........ .... ......... .113
Thirteen . ..... .. .. ................................ .. .......... 115
Going Gone .............. ..... . ....... .. ......... ............. 118
Suggested Listening . ... ...... . .... .... . ......... ... ......................... 120
Technical Assistance .. . ...... . .... .............................. .. .......... 121
CD Credits ...... ... ..... . ... ..... .. ..... ...................... .. .......... 121
About the Author .. ............... ............. .. ............... .. .......... 122
Songwriting: Essential Guide to Lyric Form and Structure
Tools and Techniques for Writing Better Lyrics
ISBN: 0-7935-1 1B0-1 HL: 50481582 BOOK S14.95
By Pat Pattison
Melody in Songwriting
Tools and Techniques for Writing Hit Songs
~
ISBN: 0-634-00638-X Hl: S0449419 BOOK S19.9S -: ' The Songwriter's Workshop: Melody
By Jack Perricone ISBN: 0-634-026S9-3 HL: 50449S18 BOOK/CD S24.9S
By Jimmy Kachulis
Reharmonization Techniques
ISBN: 0-634-0158S-O HL: 50449496 BOOK S29.9S
The Songwriter's Workshop: Harmony
By Randy Felts
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By Jimmy Kachulis
0 Music Notation
i.. Theory and Technique for Music Notation
ISBN: 0-793S-0847-9 HL: 50449399 BOOK 519.95
·.·'\ :· . :!:~ Songwriting: Essential Guide to Rhyming
I
.' By Mark McGrain . A Step-by-Step Guide to Better Rhyming and Lyrics
ISBN: 0-7935-1181 -X HL.: 50481583 BOOK S14.9S
By Pat Pattison
Modern Jazz Voicings
Arranging for Small and Medium Ensembles
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By Ted Pease and Ken Pullig Essential Songwriter
I Berklee In the Pocket Series

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· By Jimmy Kachulis and Jonathan Feist
BOOK S9.95
I Arranging for Large Jazz Ensemble

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By Dick Lowell and Ken Pullig
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Jazz Composition: Theory and Practice

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Finale®: An Easy Guide to Music Notation, 2nd Ed.
•
By Ted Pease
ISBN: 0-87639-068-8 HL: 50448064
-BOOK/- CD-ROM
--- S34.9S
~
By Thomas E. Rudolph and Vincent A. Leonard, Jr.
, Music Theory
I , The Songs of John Lennon: The
f ISBN: 0-634-0179S-O
1 By John Stevens
Hl: 50449_504 . BOOK
~a_t~e~ Years
$2~.95
1lsBN~ 0-87G39-046-7 : HL: 50448043 L BOOK :_s2~? -

: By Paul Schmeling
ACKNOWLEDGMENTS
I express sincere thanks to the many people who made this book possible: Arny,
Emily, Gabriel, and Anna; Debbie Cavalier and Susan Gedutis, Berklee Press; Dr.
Joe Baudo, for my first taste of the B3; Paul Schmeling, for support and for
bringing Hammond instruction to Berklee; Matt Marvuglio, for support of
Hammond instruction at Berklee; Dan Sullivan, for support over the years; Torno
Fujita; Bruce Katz; Shinichi Otsu; Hammond Suzuki; Motio n Sound; all my
students, for your enthusiasm; Larry Finn; Anthony Vitti; Kevin Barr y; Don
Houge; George M~Caan; Larry Luddeke; Christ J esus, for everything.
Special thanks to Mark Vail for his book, The Hammond Organ: Beauty in the B
(San Francisco: Miller Freeman Books, 1997).
Dedicated to the memory ofJoe DiTomasia,

expert Hammond technician and friend
•
CD TRICK LIST
LISTEN PLAY
1 2 Exercise 1. Dive In: Two Hands, One Foot

3 4 Exercise 2. Dynamic Control/Accenting with Expression
Pedal
5 6 Exercise 3. Leslie Speed Switching
,1 8
10
Exercise 4.
Exercise 5.
Combining Dynamics and Speed! Switching
Bass Pedals, Leslie Speed Switchiing, Dynamics
11 12 Exercise 6. Bass Pedals, LH Comping, RH Melody
u 14* Exercise 7. Bass Pedal Exercise in Four Keys
15 16 Exercise 10. Glissando Techniques
17 18 Exercise 13. Trills, "Sputter" Technique, and Drone Tones
19 20* Exercise 8. Rock Techniques in Four Keys
21 22* Exercise 11 . Blues Techniques in Four Keys
23 24* Exercise 14. J azz Techniques in Four Keys
25 26* Exercise 18. Funk Techniques in Four Keys
27 28 Exercise 15. LH Bass and Foldback Awareness in Four Keys
29 n Exercise 12. Blues Comping Techniques
31 32 Exercise 9. Rock Comping Techniques
33 34 Exercise 17. Hammond Block-Chord Style
35 36 Exercise 16. Manual Jumps
37 38 Exercise 19. A. Changing the Drawbars
n 40 B. More Practice Changing the Drawbars
41 42 C. Drawbar Effects
43 44 Exercise 20. Walking Bass Line Pedal Techn ique in Four Keys
45 Exercise 21. A. Percussion Only
46 B. "Wa-Wa" Effect
41 48 C. Key-Click Keyboard Drummirng
49 50 D. Super-Crunch Gliss
51 52 Honeymoon for Millie
53 54 Swampness
55 56 Rhythm Changes
57 58 Mercy Train
59
61 "
62
Anna's Dance
J immy Shuffle
63 64 Thirteen
65 Going Gone
"
*Pan speakers to right for drums only
INTRODUCTION
I first became aware of the Hammond organ in high school. My music teacher
Dr.Joe Baudo was (and still is) ajazz organist, and he kept a Hammond C3 at the
school. He would play swinging jazz with left-hand bass andl foot pedals all at the
same time. The power and hugeness of the sound amazed me. I remember
thinking, "Where did this thing come from?"
I couldn't fathom using all four limbs at the same time to play. I had no clue
what all those con1:fols did, but I had to find out. I remember going to hear him
play with a trio at a smoky club. The swirling, churning org;an sound created a
cool vibe as soon as you walked in the door. I found out that throughout the
1960s and 1970s, groups based around the organ were a common feature at
nightspots. Many clubs had either a "house" Hammond or a Hammond that was
kept on the stage throughout a player's stint. Little did I know then-this was
1980-that the popularity of the Hammond was about to decrease drastically.
Throughout the 1980s, the advent of affordable polyphonic synthesizers

prompted many people to scrap their Hammonds, or at least let them fall into
disrepair. At Berklee College of Music in the mid-l 980s, th•e Hammond was
considered a novelty-a relic from an age of inferior technology. It was common
to refer to the B3 and other vintage keyboards as obsolete, thanks to the DX7.
How wrong that was!
The DX7 is now mostly obsolete, while the Hammond has been back for a while
and is more popular than ever. It graces performances andl recordings of all
contemporary styles. The fatness of the original tone-wheell generated sound,
combined with the warmth and overdrive of the Leslie spe;a.ker, have stood the
test of time and technological advancement. Today, command of the Hammond
organ and Leslie speaker is highly sought after in the music industry. Whether
you're laying down a background track on a rock tune or leading a jazz organ
trio, having Hammond chops will make you a more powerfol and in-demand
keyboard player.
In the late 1980s, I started to seriously investigate the world of the Hammond
organ. I checked outJimmy Smith and Groove Holmes, and the sound totally
knocked me out. Chester Thompson, Art Neville, and Jimmy McGriff killed me
with their funkiness. Al Kooper, Greg Rollie, and John Lord created oceans of
sound that rivaled any lead guitar. Benmont Tench and Spooner Oldham have
played one-note parts that add magic to many a recording. While these are some
of the best known players, many masters remain unknown, laying down inspiring
musical backdrops for preachers across the country.
As a piano player with no experience at the organ, I initially found playing the
Hammond intimidating. There was so much sound and power at my disposal that
I felt completely out of control. The range of sounds and effects seemed so V¥t.
Once I found out how to turn it on, I didn't know where to begin. We pianists
are trained to create textures and colors with the pressure from our fingers. The
Hammond, on the other hand, is not touch-sensitive. Dyna1mics are created with
the expression pedal, and sound colors are changed by the: harmonic drawbars.
Playing two keyboards at the same time can be uncomfortable at first. Playing
with your feet can seem impossible. ·•
A good way to clear up the initial confusion is to follow a s1tep-by-step process.

Through a decade of teaching Hammond organ at Berklee and nearly fifteen
years of performing professionally on the instrument, I have developed a series
of proven exercises that help piano players master the org2m, one skill at a time.
This book shares these exercises with you. Some of the exercises willl seem easy;
others will be challenging. All are designed to be musical and fun.
This book is divided into three parts. The first part helps familiarize you with the
Hammond and other drawbar organs. The second part contains exercises that
involve both keyboard technique and use of the controls on the instrument. The
third part contains several tunes in a variety of contemporary musical styles. The
CD contains full performance demonstrations of the exercises and the tunes as
well as a minus-organ version for play along. Take your time as you work through
the book. Try to master all the exercises before moving on to the tunes. You'll be
glad you did. You'll enjoy the tunes more, and you'll find that the techniques you
learn from this book will expand your expressive capabilities.
You do not have to be a foot-pedal-bass playing, comping, soloing, one-person

band to be a great organ player. You may choose to skip over bass-pedal playing
and two-hand techniques if you are interested in developing only certain musical
styles on the organ. For example, most rock and pop organ parts are played with
one hand on one keyboard (known to organ players as a "manual"}. The secret
of great Hammond playing is mastering the combined use of the d1rawbars,
expression pedal, and the Leslie speaker speed switch. Once you've mastered these,
you can create the classic sounds in all styles and levels of technical proficiency.
New drawbar keyboards are sounding better and better and there are many to
choose from. The first one I remember is the old Korg CX3. I still have mine,
and I use it every week on gigs or in the recording studio. I play it through a
Leslie 147 speaker or a tube preamp. Korg has reintroduced the CX3 with a great
range of features. The Hammond Suzuki XK2 and the new XB-3 are powerful
instruments that have features beyond what inventor Laurens Hammond ever
imagined. The Roland VK.7 and VK.77 are drawbar organs that are great vehicles
for Hammond techniques. Oberheim has a double-manual drawbar keyboard. All
of the above can be used with this book to study established Hammond techniques.
I don't address MIDI, keyboard splitting, or other possibilities that these keyboards
present. In this book, I offer tried and tested techniques and methods of making
the classic sounds.
Enjoy!
If you want more information about me or my publications, please vis.it my Web site:
www.davelimina.com
PART I
The
Hammc»nd
and Otlher
Drawbt1r
Organs
..
About the Hammond Organ
Hammond organ inventor Laurens Hammond was an engineer who began to
profit from his skill as an inventor in the early 1920s. He formed the Hammond
clock company in 1928 and began manufacturing clocks with AC synchronous
motors. This kept him in business into the Great Depression. In 1933, he devel-
oped a means of producing a musical pitch using tone wheels. He found that a
rotating wheel with a notched outer edge could produce a sustained pitch when
spinning next to an electromagnetic pickup. Each pitch wa:s made up of a pure
fundamental and eight harmonics, as described below.
Hammond used the motor design from his clocks to spin the tone wheel
assembly. Since the motor spins at a rate that is in sync with standard electrical
current, the tone wheel could maintain a steady pitch. A row of these tone wheels
could create a variety of pitches. Hammond realized that these rows of tone
wheels could be triggered by a key on a keyboard instrument. When a key is
pressed, nine contacts close a circuit, sending the fundamental tone and eight
harmonics to nine drawbars.
Almost every musical sound we hear is actually a combination of several simulta-

neous sound s: a main tone (a fundamental) and several overtones. Nearly every
musical sound contains some combination of overtones, though the individual
overtones are often imperceptible to everyone but the most trained ear. The pres-
ence or absence of overtones
determines, in large part, the
sound quality of a tone. For
instance, sound a bell or a
pan lid. Listen carefully and
you'll hear at least one or two
Ma net Coil Coil Ma net
of the partials: the main tone
of the bell, plus one or two
Bakelite Gear faint simultaneous rings, an
octave and an octave and a
fifth higher than the loudest
Fig. t. Hammond tone wheel generator sound (the fundamental).
The organ player can mix the level of each harmonic in the organ sound using
the drawbars, creating an almost limitless variety of tone co'lors. Since the
harmonic overtone series is an acoustical constant, the tone wheels, with some
enhancement, could accurately emulate the sound of a pipce organ. Figure 2 on
the next page illustrates the harmonic overtone series, and shows how the
Hammond drawbars correspond to pipes on the pipe organ. In many ways, the
Hammond organ was the first music synthesizer, employing the principals now
known as additive synthesis.
Hammond saw a market for his invention in the form of an electric organ. Th.e
organ would be a low-cost substitute for church pipe organs and a cost-effective
home model for the amateur player. Mr. Hammond never intended his instru-
ments to be used by professional jazz and rock performers. In fact, he was
opposed to marketing them to professional performers. Ironically, it is these
professional performers that helped create the legacy that we enjoy today.
The Hammond organ company began producing the modlel A, their first
organ, in 1935. After many refinements came the most welll-known console
models: the B3, C3, and A-100. The company continued to produce these three
until 1974. The B3, C3, and A-100 are identical internally. The C3 has an
enclosed case, while the B3 stands on four legs. The A-100 hais internal nonrotating
- PART I The Hammond Organ and Other Drawbar Organs

I
speakers. Most players disable the internal speakers and use this organ with a
Leslie speaker. Some contemporary players prefer the B3 because it is unen-
closed, allowing the audience to watch their footwork. Most Hammond players
agree that these three original tone-wheel Hammonds are the most rewarding
to play, because each has the full range of features that define the famous
Hammond sound.
The harmonic overtone series based on the fundamental C ·
Second harmonic
Third harmonic
Fourth harmonic
Fifth harmonic
Sixth harmonic
Sub- Seventh harmonic

third harmonic
Sub- Eighth harmonic
I
jl\
fundamental
.-
bl &
.-
~
'
... I
t .J Not used
<
by Hammond
... .- &
j , .. -
& One octave
lower than
Ithird harmonic
One octave
lower than
fundamental
I
"'
Pipes .. ~
(I) (I)
8. 8. Q. Q.
a: a: a:
I~
CD
~~ ~~ ~ &
-~ 8.
Q.
a: 8.
~ a: 0 a:
~u
0..
0
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-
<b
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LO ~
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cD ~ ~
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s c:
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E ~
s:;
:e
sc: i
2
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2
.II
~..
.II
gc:
..
Orawbars ~
:;
h i...3 i
2
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~
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s:;
£s:;
"
CJ)
"
CJ)
.....
---v------'
Sub Foundation Brilliance
fit. 2. Overtone series as it corresponds to the Hammond and to pipe organs
About the Hammond Organ m

Drawbar Organs
While this book is written to show you around the Hammomd organ specifically,
the lessons presented work with any drawbar organ. Many of these are listed on
this page and the next. (By drawbar organ, I mean any organ that has a bank of
nine drawbars that are true to original Hammond design, and can be manipu-
lated in real time.)
It is also important to use a Leslie speaker or other rotating speaker with your
instrument (see page 16). Leslie simulators are okay as a sulbstitute, but they
don 't really create the effect of physical motion that is such a big part of
Hammond organ sound.
' ;
Fig. 3. Hammond 83 Fig. 4. Hammond Cl case, with C3 components
Fig. S. Hammond A-100 Fig. 6. Hammond C2
~
I
PART I The Hammond Organ and Other Drawbar Organs
l_ ..
Fi9. 7. Hammond M3 Fig. 8. Hammond R
..._.114 Suzuki Drawlt11 Kejlto...

The Suzuki company of Japan purchased the Hammond
name in 1988. In the United States, the company is
known as Hammond Suzuki.
XK2 Single manual
XB-3 Double manual with
foot pedals
Fig. 9. Hammond Suzuki drawbor keyboard
Single manual
Double manual
Single manual
Double manual
MIDI sound module
with drowbors
Oberheim 08'3 Single monual
'Gberhelm OB:tSquored Expander MIDI sound module
with drowbors
Double manual
Single manual
keyboard with Fig. 10. Diversi
drowbars
MIDI sound module
with drowbars
Fig. 11. New CX3
Standard Hammond Controls

Getting Started with the 83, C3, and A-100
If you have never played a Hammond organ , here are some basic instructions to
get you started. If you already own a tone-wheel Hammond, you may find some of
the followi ng information new and helpful. If y<;?u own a newer non-tone-wheel
d rawbar organ, it is importan t to be aware o f original H ammond con trols. Most
d rawbar organs are very faithful to original design, and the same names are
usuall)' used for the controls. T r y to fi nd a B3, C3, or A-100 with a Leslie speaker
to play al least a few times to fam iliarize yourself. The experience with the original
H ammond will give you depth and insight into playing your newer instrument.
Standard Ha1mmond Controls
Here is an illustration of what th e control panel looks like on a typical B3 or
C3 organ.
I
I
m
I ~
<
I ~
u.
<!>
...
I ~
w
0
~
0
m
~
<
Ci
<!>
'U.
...
w
~
0
tJ
0
..!!?
.....c:~
0
I ..,u
..,'-'c:
~
~ ' 0
....
l ..,c:
a>
....i
0
E
E
- -=-1
Li :c
0
...f'4
j !~ ....ii
Ill) PART I The Hammond Organ ancl Other Orawbar Organs

Startup
Al Kooper says that if the Hammond wasn't already turned on at the famous Bob
Dylan Highway 61 Revisited sessions in 1965, he would never have been able to
play his classic Hammond track on "Like a Rolling Stone." (He had never played
a Hammond before and d id not even know how to turn it on!)
To turn on most Hammo nd tone-wheel organs, flip the start switch on and hold
it for 5 to 10 seconds (Step l ). This will bring the tone-wheel assembly up to
speed. Flip the r un switch to the "on " position
Step 1 Step 2 Step 3
(Step 2). Hold both for a few seconds to stabilize
the speed, then release the start switch (Step 3).
Default Setting (Home Base)

Each time you sit down behind a H ammond, set
the controls as you see them below. These
Fi91. 13. St artup proced ure
settings will give you a starting point for playing
in many styles. As you progress th rough the exercises, work towards memorizing
the controls.
• Upper B~ preset fo r real time drawbar changing and general comping
• Upper B preset for the classic jazz percussion sound
• Lower B preset for left-hand bass
• Sometimes players' hands drift beyond the lower end of the manual, causing
the preset keys to sh ut off. Using the B preset helps to reduce thiis possibility.
• Lower Bb preset for left-hand comping
• Bass pedal drawbars
• Some players put a piece of tape across the drawbars used for the left-hand bass
setting. This eliminates the risk of accidentally pushing them in while playing.
Volume Vibrat<:VChorus I .----- -- Upper B~ Preset - -- ..., .....---- Upper B Preset ---~
1
Control
I 1 Controls
~~~ · ~··~
, -
,... - Percussion Controls - --. .----- - - Lower B~ Preset - - --. . - - -- - Lower B Prese·t ---~
[i]~ii ..
r 1 Bass
Pedals
II
fit. 14. Default settings
Standard Hcimmond Controls

the Harmonic Drawbars
The harmonic drawbars on the Hammond organ are a uniqiue and creative
invention. They are a set of variable sliders that represent a fundamental tone
and eigh t parts of the harmonic overtone series related to that tone. They look
and function very much like the faders on a mixing console, and are labeled with
incremental designations from 1-8. The drawbars can be pulled out and pushed
in to vary the level of the harmonic they represent. A player can mix the volume
level of the harmonics both to create different tone colors and to control the
overall range of the keyboard.
Sub Foundation
Consonant Harmonic Drawbars
Fig. 15. Sound groups and consonant/dissonant drowbars
The drawbars on keyboards like the Hammond Suzuki XK2 and other new
drawbar keyboards represent and mix the harmoi:i.ics just like original
1
Hammonds.
The original Hammond instruction manuals and this book :list drawbar settings
by increment, like this: 0 0 8 8 0 0 2 0 5. The original manuals touted that, with
careful manipulation, a player could use the drawbars to make the Hammond
sound like any acoustic instrument. The manuals listed a wide range of instru-
ments with corresponding drawbar settings. (There's even a "barking dog"
setting.) Many people consider the Hammond organ to be the first synthesizer.
To the modern listener, however, the Hammond does not accurately reproduce
the subtle characteristics of other acoustic instruments. From today's perspective,
its technology best emulates the pipe organ.
• Using the Drawbars

Drawbars are easy to manipulate in real time, and the playe1r can always see how
they are set. Most players memorize settings by the way the drawbars look visually,
not by the nu meric settings. Incremental settings may work in the recording
studio, but not so well in the middle of a solo when you need more high drawbar
to cut through the band. You may find that the same drawbar setting may sound
slightly different in various locations, through a different speaker, or even on two
different B3s. To get just the right sound color, most players: constantly adjust the
drawbars while playing.
Hammond B3, C3, and A-100 models have two banks of drawbars per manua4
The player switches between the two banks by pressing the I~ and B reverse-color
preset keys. ·.

• Drawbar Exercise
This exercise explores how each drawbar corresponds to the harmonic overtone series.
Sustain a C-natural, two octaves above the bottom of the upper manual, with your
right hand. This is the third C from the left, also referred to as C3.
Slowly pull out and push in each drawbar with your left hand. (Use the upper Bl>
preset.) The pitches that you hear are represented on the staff. The following
chart shows how they are related to the pipe organ.
8 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0
• subfundamental • sub-3rd harmonic • fundamental

• 16-ft. pipe • 5 1/3-ft. pipe • 8-ft. pipe
• one octave below fundamental • fifth above fundamental ·consonant
·consonant •dissonant
0 0 0 8 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 8 0 0 0
0
0
• 2nd harmonic • 3rd harmonic • 4th harmonic

• 4-ft. pipe • 2 1/3-ft. pipe • 2-ft. pipe
• one octave above fundamental • one octave and a fifth above fundamental • two octaves above fundamental
•consonant ·dissonant •consonant
0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 8 0 0 0 0 0 0 0 0 0 8
ava
ava
&
0
• 5th harmonic • 6th harmonic • 8th harmonic

• 1 3/5-ft. pipe • 1 1/3-ft. pipe . • 1-ft. pipe
• two octaves and a third above fundamental • two octaves and a fifth above fundamental • three octaves above fundamental
·dissonant ·dissonant ·consonant

• Classic Hammond Drawbar Settings
Try th e following settings. Refer to this list when playing the tunes and for ideas.
Style Classic Settings Variations

888000000
II~"'' -"-
Default jazz
888000060 888000007 858000000

1
Default jazz variations
II~ ··1- 111-··--~ JI~ 1.11
.
~=
808000000 858000000
Left-hand bass r~ - -11., 111 • 11,.

888888888
ll~~Ulll
Full organ
008400000
Left-hand comping "1!1-11_

...
008600003 008000000 008670003
Left-hand comping variations

11!1!''""'
!"'
"I 111 11111~•11
888800000 888800007
Fat rock
11~~1,,11- 1111'""~
Mellow
r,.
---- ~
800000000
-
_1.....
r·
8040 00000
I II
r·
804000003
I Ill
"I I "I ..,........

008000000 008000006 008500006
Mellow 8va (fundamental)

"I"'"'" -
~ ..::;;
- ~
568000000 568000004 568000008

1 11 1 11
111~· · !
11
Light comping
111" " 111· 1
!!!:
"
865000000 865000004 865000008
1 11
Sub comping
II~"'""" II'"'"" ! 11!" 1 "
llilJ PART I The Hammond Organ and Other Drawbar Organs
Set the drawbars by increment. Use the B~ preset key on the upper manual.
Style Classic Settings Variations
Funky sizzle r,. . ..11.1

800000008
86 50 004 67
Classic arch
11• I 111
r ~. 1_111 1'l"1111
808000000
r1-1.II!! .
808000004 808000008
Hollow comping
0 08 8 8 0 0 00
Fundamental
--~!i ••
Gospel
000800005
11_11~111
000888000
··~11~l!!I!
000080004
!!l!!,. _ 1_111
8000 0 6 8 86 8 080 068 8 6
Classic block chord

r ..1·11~ r~-11111
Classic gospel I!! Ill~11I
008885004
._.
808 80 0 0 08
Green Onions
r~ ~· 1•1
Classic jazz
888000000
II~ ~• . 1• 1
888000080
111~· 1
888000700
11~~ - r
1
r- Percussion Controls - - ,
Use upper B pt8$8t with percusslon
888=
for clasSic jazz. Also:
• Set vibrato and chorus to On, at C3.
• Set percussion as follOWJ:
........ st.. uc•
r VibratotCllorus Controls l or
~811 8[:18~
Standard Hammond Controls DI
Hammond Factory Presets
Each manual has twelve reverse-color preset sound keys located at the left end of
each manual. Like syn thesizer presets, Hammond presets are one-touch, pre-
wired drawbar sellings that eliminate the need to set each drawbar manually. The
first key, C, is the cancel key. When pressed, this key shuts off the manual.
Pressing one of the preset keys from a to A activates one of nine factory-preset
sounds. These no nvariable sounds are internally fi xed drawbar settings that
represent classic pipe organ sounds. The B~ (A#) and B reverse-color preset keys
Fig. 16. Preset keys each activate a row of ni ne variable drawbars. Many players use these two preset
keys to vary the d rawbars-change the sound-manually in real time. Most
organs still have the· original fac tory presets, though the presets can be
customized to an individual player's liking. The following lists show the original
preset drawbar setti ngs and their traditional pipe organ names.
UPPER MANUAL LOWER MANUAL

Preset Drawbar Tone Loudness Preset Drawbar Tone Loudness
Keys Setting Quality Value Keys Setting Quality Value
c Cancel c Cancel
C# 00 5320 000 Stopped Flute pp C# 00 4545 440 Cello mp
D 00 4432 000 Dulciana PPP D 00 4423 220 Flute & String mp
D# 00 8740 000 French Horn ml D# 00 7373 430 Clarinet ml
E 00 4544 222 Salicional pp E 00 4544 220 Diapason. Gamba & Flute mt
F 00 5403 000 Flutes 8' & 4' p F 00 6644 322 Great, no reeds
F# 00 4675 300 Oboe Horn mt F# 00 5642 200 Open Diapason
G 00 5644 320 Swell Diapason mf G 00 6845 433 Full Great ff
G# 00 6876 540 Trumpet I G# 00 8030 000 Tibia Clausa f
A 32 7645 222 Full Swell ff A 42 7866 244 Full Great with 16' fff
A# Adjust harmonic drawbars in 1st group, upper manual A# Adjust harmonic drawbars in 1st group, lower manual
B Adjust harmonic drawbars in 2nd group, upper manual B Adjust harmonic drawbars in 2nd group, lower manual
Percussion
The percussion effect was included on many Hammond models. It is a circuit that
adds a "chirp" or "ping" to the attack of each note. It is used to add punch and clarity
to solo lines. One of its original uses was to emulate percussive instruments like xylo-
phone and marimba. The use of percussion in
contemporary styles is huge. It is the defining char-
acteristic of the classic J immy Smith jazz sound.
Percussion is only available on the upper-manual

B bank of drawbars. When the percussion eITect is
enabled on the upper B preset of a B3, C3, A-100,
or o ther models with stock percussion or a retrofit
kit, the I-foot (8th) harmonic drawbar is d isabled.
Percussion is a single-triggered effect; the

percussion effect will no t sound while another'
note is being held down on the same manual.
The percussion effect is polyphonic, however,
meaning that it will sound when a chord is
Oii llDRMAL FAST TillRD played , as long as all of the keys are struck simul-
taneously. As a result of these idiosyncrasies, ,
PERCUSSIOll players must play with a detached touch to
PERCUSSIOI PERCUSSIOll PERCUSSIOI HARMOlllC
VOlUME DELAY SELECTOR ensure that the percussion effect will speak on
each note. Playing with a legato touch may result
OFF SOFT SLOW SECOllD in percussion being engaged inconsistently.
FiJ. 17. Percussion controls

• Percussion Exercise
This exercise demonstrates where the pitches of the percussion effect appear on
the staff and the keyboard.
Play a Con the upper manual, two octaves from the left (C3). Push alll the draw-
bars in, and set the percussion to the second harmonic. This will produce a C
one octave above middle C. Select the third harmonic and play the saime note.
This will produce a G above the staff in treble clef.
Upper Manual: Middle C
111111 !'I!!! I!' I!'' !'I!'' I!' I!!! I!! LmJJ

f
I Upper B Preset I
~ Whotyoo hea< - - - - - - - - - - - - -
Percussion
On/Normal/Fast/Second
On/Normal/Fast/Third
Leslie
'ill: j 3 13 3 jll: j j d~
Slow What you see - - - - - - - - - - - - - - -
Fig. 18. Percussion pitches
• Percussion Touch Exercise (Pseudo Touch Sensitivity)

Play the exercise using a legato (connected) touch. You should not hear anything.
Then play with a detached touch. You should now hear the notes. Try alternating
between the two touches.
'II= j J J J J J 3 J =II
Fig. 18a. Right-hand scale fragment

Expression Pedal
The expression pedal on the Hammond organ and Hammond Suzuki keyboard
is used to create dynamics and expression. It has a dynamic range that covers
approximately 50 percent of the overall volume level. It can be used to con trol
large changes in volume, but its main use is to provide expression
because the Hammond organ is not touch-sensitive. Overall volume
level controls are located on the speaker cabinets. The B3, C3, and
A-100 models have a control that switches in a relative manner
between "normal" and "soft" volume.
The expression pedal is a vital means of dynamic nuance within a

musical passage. Most players are constantly manipulating the pedal
to create swells and accents as they play. This is the key to making
the instrument "talk. " One of the most apparent effects is to attack
a chord simultaneously with a quick jab of the pedal. Th e effect
works best when the 1-ft. drawbar is engaged and the Leslie is on
FAST. Your right foot should almost always be on the expression
Fig. 19. Expression pedal pedal , except when you're using both feet on the bass pedals.
Vibrato and Chorus

The vibrato and chorus controls look like this:
V-3
NORMAL OFF OFF
VOLUME VIBRATO VIBRATO

SWELL GREAT
SOFT ON ON
C-1
Fig. 20. Vibrato and chorus controls
• The vibrato/swell switch controls the upper manual. "Swell " is the traditional
name for the upper manual.
• The vibrato/great switch controls the lower manual and the bass pedals.
"Great" is the traditional name for the lower manual.
• The black knob controls the amount of effect, measured in levels as Cl , C2,
and C3. VI, V2, and V3 indicate the amount of vibrato.
In the Hammond organ's early years, many people informed the Hammond
factory that the new organs sounded too "perfect." So, the company added the'
chorus effect, to make the Hammond sound more like pipe organ pipes, which
are rarely in perfect tune with each other. Today, people use the chorus effect to
create a fatter sound.
C3 and C2 chorus settings are used by players in many styles. Adding chorus t?
the bass pedals and left-hand bass can enhance the fullness of the bass. Some
players swear by this; others dismiss it as irrelevant. Check it out for yourself. If
you are playing through a Leslie that has a big bass response, you may not need
to use chorus.
llD PART I The Hammond Organ and Other Dr-awbar Organs

The Leslie Speaker
The Leslie speaker is a vital component of the classic Hammond sound. Most
Hammond fans agree that the impact of the instrument. on contemporary music
would be insignificant without the Leslie speaker.
Inventor and musician Don Leslie was displeased with the original Hammond
tone cabinet that came with his Hammond organ. He theorized that the instru-
ment would sound more like a theater pipe organ if the sound source moved. On
a pipe organ the location of the sound source constantly changes depending on
which pipe is being played. So, he created his famous Leslie speaker, a speaker
fitted with a rotating horn and low-frequency rotor. The moving parts produce a
changing perception of where the sound source is. This makes the instrument
sound bigger, louder, and subtler, all at the same time. It also adds m:any other
intangible aspects to the sound. People have tried to acoustically analyze the
effect of the speaker using scientific terms such as "the Doppler effect." Don
Leslie's explanation is simply that it creates motion.
Most Leslie speakers are capable of two speed settings: SLOW, or "chorale," and
FAST, or "tremolo." The SLOW setting engages motors that spin the moving
components. This creates a warm choruslike effect. Most Hammond playing is
done with the Leslie set to "SLOW." The FAST setting engages two la1rger motors
that spin the components much faster. This is usually reserved for exciting
moments in the music, such as a loud section at the end of a buildup or a great
blues solo.
There is also a third setting that literally stops the motors. However, most
speakers are not configured for the stopped setting. The setting sounds a lot like
Hammond's original tone cabinets, which had no moving parts. Organist Booker
T. Jones used the stopped setting frequently. A classic example is his famous
recording of the song "Green Onions."
A technician can easily modify an organ arnd speaker to

achieve all three settings. If you are using an older
model Leslie, you can stop the slow motors by unplug-
ging them from the amplifier. You won't be able to use
the slow settings anymore, but you can switch between
stopped (OFF) and FAST. Many players prefer this.
Some players leave the slow motor of the low-frequency
rotor unplugged to give the low end of the speaker
more clarity, especially when they are playiing bass lines.
Fig. 21. Leslie speed switch
Fig. 22. Leslie amplifier with slow rotor of low frequency motor unplugged
Standard Ham1mond Controls

• Leslie Speed Switching
In some of the exercises in Part II, we will explore the Leslie in transition
between speeds. The second or two that it takes for the horn and rotor to accel-
erate or decelerate creates one of the greatest and most unique effects in
Hammond playing. Mastery of it is one of the secrets of great Hammond playing.
Choosing a dramatic moment in the music to switch the Leslie speed enhances
the nuance within the music. A skilled player constantly switches speeds to create
this effect. For example , switching the speed from SLOW to FAST at the precise
moment when the verse of the song changes to the chorus is like when the
drummer changes from the hi-hat to the ride cymbal: the sound becomes bigger
and more present, enhancing the dynamic change in the music. Accordingly,
switching from FAST to SLOW can enhance a shift from a louder section to a
softer one.
The speed is changed with a toggle switch that is usually mounted on the left
front panel of the organ. Some players prefer the foot switch, which keeps their
hands free to play and change drawbar settings. Switching with your left hand
requires you to take your hand off the keyboard, which can disrupt your playing.
We will explore how to overcome this in the exercises. A Hammond organ techni-
cian can add a foot switch to any Hammond and Leslie.
• Common Speaker Models

The 122 and 147 are the most commonly used Leslie models, and both are still
being manufactured.
The 122 was designed for use with the Hammond organ. It has a vacuum tube
amplifier that puts out 40 watts of power. While this may not sound like much ,
the speaker can be loud enough to compete with any guitar amp. For added
volume and presence, Hammonds can be hooked up to more than one Leslie.
The results seem exponential. The sound is simply enormous.
The 147 was designed for non-Hammond use, but can be modified to be hooked
up to a Hammond with a special connector kit, available from such companies as
Goff Professional (www.goffprof.com). Most Hammond organs have a built-in
Fig. 23. Leslie speaker model 147/122 Fig. 24. Leslie speaker model 145

High frequenc~, rotating horn
High frequenc~· driver
Low frequency 12· speaker
Low frequency rotor

Amplifier
Fig. 25. Internol Leslie components
preamp to power the amplifiers within the Leslie speaker. If yours does no t have
a preamp, you can purchase a combo preamp pedal that has quarter-inch inputs.
Guitars and other instruments may be con nected to the Leslie with the pedal ,
which allows speed switching by foot.
The 145 Leslie is similar to the 122 and 147 models, but comes in a smaller
cabinet. The 145 is harder to come by, due to the convenience of its size.
Motion Sound is a newer

company that makes keyboard
amplifiers and speakers. Their
name alone indicates the inspi-
ration from Don Leslie's inven-
tio n. Motion Sound 's KBR-M,
an amplifier with a rotating
horn and low-rotor simulator,
sounds great. It has a foot
switch for speed changing and
a second channel for digital
piano or other keyboards.
r19. 26. Combo preomp pedol Fig. 27. Motion Sound model KBR-M
Standard Hamunond Controls Ull

Playing Position
This is the basic sitting position for playing two-manual organs with bass pedals. As
pictured below, place your right foot on the expression pedal and your left foot on
the footrest above the pedal board. The right hand usually plays the upper manual,
and the left hand usually plays the lower manual. It is common to comp ·with your
right hand on the lower manual while your left hand plays bass lines on the lower
manual. The default left-hand bass setting is great for right-hand comping also.
Fig. 28. Proper hond position
Fig. 29. Proper foot position Fig. 30. Full body positioning and posture
Default left-hand bass setting: 8 0 8 0 0 0 0 0 0
~--- Lower B Preset ---~
PART I The Hammond O•gan and Other Drawbar Organs

Bass Foldback Exercise
T he B3, C3, and other drawbar keyboards have a bass foldback featur·e that was
incorporated into organ d esign after the model A. The foldback featu re makes
the lowesl octave of the keyboard sound one octave higher when the subfunda-
mcntal d rawbar is pulled out. This only applies to the subfundamental, or 16-ft.
drawbar. The resulting lowest sounding note on both manuals is C, two octaves
below middle C. This is not as the keyboard indicates visually, which often causes
confusion among beginners.
Play a C major scale descending from middle C (which is C4 in this exercise) on

the lower manual with the subfundamental drawbar pulled out. Notice that the
bottom two octaves sound the same. Next, play the same scale descending from
C3 with only the fundamental drawbar pulled out. Notice that the scale descends
to the same note. Try setting the drawbars to the default left-hand bas.s setting. In
the lowest octave, you will hear o nly one pitch. The "break point" between the
octaves is C, one octave from the left end of the manual. In the next octave,
between C2 and C3, you hear two pitches an octave apart.
The 1-ft. drawbar, or 8th harmonic, also folds back at G4. Try playing a scale
ascending u p the keyboard from C3 with only the 1-ft. drawbar pulled out. Notice
the fo ldback at G4. This is less significant than foldback on the bass emd, because
players use the 1-ft. drawbar more often to add a high-end "whistle" or "sizzle"
effect than Lo play extremely high pitches.
Thro ughout the exercises, bass no tes will be notated acco rding to theiir physical
relationship to middle C, not where they actually sound. If the subfundamental
drawbar is in use and the note is below the foldback point, the pitch you hear will
be one octave higher than where it is written.
Drawbar setting: 8 0 0 0 0 0 0 0 0
Upper and Lower Manual: Middle C
WWI! 'I!!! I!'I!!,I!'I!!' I!'l!!'I!'[!ll]]

r - - LowerB-, Preset~ r-- Lowo1 8. Pres.el ~
r
I
r1-·-··
I.....- ~
-- .
C4
2=1w
0 CJ c IR R FU :~ lfl
Break \ 1
fl ~11 II
point ~ - - - 1 - - - -- -
What you see
Fig. 31. Practice Example: Boss foldbock , os it applies to the 8 0 0 0 0 0 0 0 0 drowbar setting
Standard Hamrnond Controls

Bass Pedals Exercise
This exercise demonstrates the range and pedal drawbar settings for the
bass pedals.
Set brown drawbars to 8 0.
r Bass
Pedals l
Practice playing a chromatic scale from the left end of the pedal board with your
left foot playing the ''white" pedals with your heel and the "black" pedals with the
toe or ball of your foot. Ascend one octave and a minor third to E~. Continue
with your right foot to the highest C.
.
Switch feet
Fig. 32. Practice Example: Boss pedals
Same exercise, one octave higher: Brown pedal drawbars, 0 8. Top pedal is
middle C.
r Bass
Pedalsl
Fig. 33. Hammond 83 boss pedals

..
• I ~---~~-
'
.
-
. ·.
. I
.
I ..
•
~
•
~ ~.~ PART II
Exercistts
About the Exercises
The foUowing exercises are designed to be played through in succession. Listen
1P. t.he~xamples on the CD. Practice the exercises alone at first, then play along
with the tracks. If you are sitting behind a real B3 or similar Hammond, follow
the setting diagram carefully.
Remember that every Hammond sounds slightly different. The drawbar settings
on my B3 may sound a little different than the same settings o n yours. The age of
the instrument, the condition of the components, the presence of solid state
preamps, modifications, or even loose screws, may contribute to the distinct char-
acter of the individual instrument. The room can also affect the sound. To
achieve the right character in a dead-sounding room, such as one with rugs and
low ceilings, you may need a little more high drawbar. Leslie speakers may sound
noticeably different from one another. The age of the tubes, impedance inconsis-
tencies, blown speakers, blown drivers (the speaker component that sends the
sound to the high frequency rotor), broken motors, and aged components may
either harm or add character to the sound.
Most of the exercises are designed for any drawbar Hammond or any other
drawbar keyboard. Follow the setting diagrams as closely as you can. If your
instrument is a new drawbar keyboard, most of the settings will apply, especially
the drawbar settings. If some of the controls on the diagrams are not part of your
instrument, just work with the drawbars and the Leslie or rotary speaker settings.
It may be difficult to play bass lines on a single-manual keyboard. If your

keyboard has splitting capabilities, use the lower manual settings for the left end
of the keyboard. If it is an older keyboard like the old Korg CX3 with no splitting
capability, you can use two keyboards on a stand. Set the second keyboard to a
bass sound, in place of the lower manual. You can use a stereo volume pedal as
an expression pedal. For an authentic Hammond sound, set the range of the
pedal about halfway-neither all the way off nor all the way on. Hammond
expression pedals start at about 20 percent and increase the volume to about 60
percent of the overall volume range.
Practice each exercise slowly at first. You may find it helpful to practice with each
hand separately. If you practice at a slower tempo, play with the metronome clicks
on beats 2 and 4. Practice in a room where you will be undisturbed. Use a CD
player with fairly large speakers, because it's important to feel like you are part of
the band on the CO. The experience may be unrealistic if the other instruments
sound too "small." If you use small speakers or walkman headphones, on which
there is little bass response, it can also be hard to distinguish pitch.
On every play-along exercise, bass guitar is mixed only in the left channel (left
speaker) . This gives you the option of playing with or without bass guitar. If you
are playing left-hand bass or bass pedals, pan your sound system right by turning
the balance knob all the way to the right. If your sound system does not have a
pan (balance) control, try disconnecting the left speaker. Even if you are playing
bass yourself, try playing with the bass guitar also. This will give you a different
perspective on the groove and a little more freedom when improvising, because
you won't have to concentrate on your left hand.
PART II Exercises
About Notation
When reading the exercises, be sure you know where middle C is on the manual.
Normally, middle C is in the center of both manuals at C3 (the third C up from
the bottom). When the subfundamental drawbar is pulled out past 3, however,
the middle C pitch is shifted to the C4 location on the manual. If the subfunda-
mental is not in use and the fundamental is pulled out past 3, middle C is located
at C3 on the keyboard. The old Hammond instruction manuals called this
"normal pitch ." If nothing lower than the second harmonic, or 4-ft. drawbar, is
pull ed out, middle C will b~ located at C2 on the manual.
800000000 008000000
1·~~·~··9 ''!~·~··~
u1um1ml!filmnlmfrnm1rnm11 11111m1m1rn1lnrnm1rnm1rnm11
C4 C3
888000008 0088800 3 6
II!~·~··! ''!!l~'I!
UIW !II mIrnllilEilHrn mI!!Im11 lllW !II mI!II!! flrn mI!II mI!II m11
C4 C3
6 7 800004 7 0086 3 0000
lll ~'e'I! ''I !&~••~

-- -· -\
111Wrnm1rn1iillnmm1m1rnm11 u11urnm1rn1!11rnm1rnm1rnm11
C4 C3
Fig. 34. Middle C in relation to drawbar setting
About Notation 6JI

EXERCISE 1 Dive In: Two Hands, One Foot
This exercise will introduce you to o rgan-specific techniques such as playing two
manuals at the same time, operating the expression pedal with your right foot,
and setting the drawbars and other controls before playing.
Vibrato Swell
On Listen to the example on the CD, then play the tune with your right hand on the
upper manual and you r left hand on the lower manual. Make sure that your foo t
Vibrato Great is always on the expression pedal. Position the pedal to achieve a mezzo forte
On (medium loud) voll!me level, and leave it there throughout the exercise. Set the
Vibrato and Chorus Leslie to SLOW. Place the heel of your left foot on the footrest above the pedal
C3
board. If you have a one-manual keyboard, use the upper manual setting.
Remember that the left-hand bass notes below the foldback break sound one
Leslie octave higher than where they are no tated.
Slow/Chorale
~--- Upper B~ Preset - - - -
lltJ PART II Exercises

Cil)CIJ[!) Dive In: Two Hands, One Foot
Gospel R & 8
G G+7/8 C G/D 87/m E- A7
CID 87/D# E- 7 C7
.·:::-----:::
.----=======---
-------- >
E- 7 C7 A7 CID
.·::::-----:::
.----=======---
-------- >
G13 E 7(~9) A7 D7 G7 A7 D7 G7
EXERCISE 1 Dive In: Two Hands, One Foot

EXERCISE 2 Dynamic Control and Accenting with the Expression
Pedal
Listen to the example, then play the tune with your right hand on the upper
manual and your left hand on th e lower. Following the dynamic markings,
change the volume level with the expression pedal. Play the accents by quickly
Leslie pressing and depressing the pedal with your foot, making a quick 30-degree
·s1ow/Chor81e "stab" with it.
. - - - Upper B~ Preset --~
-
~
~-- Lower B Preset --~
PART II Exercises
C!:B ~ Dynamic Control and Accenting with the Expression Pedal
12/8 Feel
C- 7 G7(#5,#9) C-7
-
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G- D- c- E~/F
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EXERCISE 2 Dynamic Control and Accenting with the Expression Pedal

EXERCISE 3 Leslie Speed Switching
In styles such as rock, gospel, and r&b, you should speed-switch constantly to
create that intangible swirling of sound. Develop the instinct to switch speeds
along with the phrasing of the music. Speed switching can really enhance the
Leslie music's natural phrasing.
Slow
In this exercise, play the tune with your right hand on the upper manual and your
left hand on the lower manual. Switch the Leslie speed when indicated by the "X"
in the music on the following page. Begin with the Leslie on the SLOW, or
"chorale," setting. If you have a speed switch
on your instrument, it is most likely located
near your left hand. If you have a foot switch
to control the speed, use your left foot.
Switch speeds as quickly as possible with your
left hand. It's okay to take your hand off the
keys for a second.
Work with your right hand only at first to hear

the effect. Add your left hand after you get a
feel for it. Remember that one of the most
sought-after effects on the organ is the Leslie
in transition between speeds. Experiment with
speed switching at dynamic changes, section
changes such as verse-to-chorus or vice versa,
at the high point of a solo, or at the begin-
ning or end of a solo section.
~--- Upper B~ Preset - - - -
~--- Lower B Preset - - -......
.&6-
-
U' I!''I!' I!'' I!'I!'' II'I!!'I!' I!!' [I

PART II Exercises
CIB(ll) Leslie Speed Switching
Gospel waltz, swing eighths

C G/B G-/Bb F/A F-/Ab C/G 07/F~
,
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x x
fast slow
EXERCISE 3 Leslie Speed Switching fII

EXERCISE 4 Combining Dynamics and Speed Switching
The gospel or soul style is one that features several Hammond techniques at
once. In this exercise, you'll use Leslie speed switching and expression pedal
techniques simultaneously. Play this gospel tune, following the dynamics and
Leslie Leslie speed switching indications. Notice how the presence of the high 1-ft.
Slow drawbar accentuates the Leslie speed switching. (The left-hand part is optional. )
- - - Upper B~ Preset --~
- - - Lower B Preset - --
UllllHl!UIHl!HIHl!UIHl!UIHl!UI I
PART II Exercises
~~ Combining Dynamics and Speed Switching
Gospel.
C- 7 B~ 3
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EXERCISE 4 Combining Dynamics and Speed Switching

EXERCISE 5 Bass Pedals, Leslie Speed Switching, and Dynamics
Play the lower bass clef staff with your left foot. With your left hand, do uble the
bass line in octave unison. The drawbar settings will account for the d iflerence in
octaves, though they will appear the same on the staff. This technique is a good
Leslie way to practice bass pedals, because your left hand is "covering" for you r foot. If
'Slow you miss a note or two on the pedals, your left hand will make up for it. It is also
easier to switch the Leslie with your left hand while your foot is holding a bass
note.
Practice the left-harid part first to become familiar with the bass line, then add
the foot pedals. You may find it helpful to play the bass pedals one at a time very
slowly- even out of tempo for a while, until you start to get it. Slowly increase the
tempo, aiming to play the bass pedals without looking. Jimmy Smith said that he
drew a diagram of the pedals and hung it on the wall in front of him when he
practiced. It helped him visualize the pedal board in his head.
Once you've learned the tune, add the marked dynamics and Leslie switching.
~--- Upper B~ Preset ---~

r Bass
Pedals l
~~
6
5
4
3
2
-
1

-
UIW !'I!''I!' I!'' I!' I!''I!'I!nI!' In' I.I
PART II Exercises
~~ Bass Pedals, Leslie Speed Switching, and Dynamics
Gospel Waltz
F A7 F
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(800)---------------------------------------------------- ----- ------- ------ --'
EXERCISE 5 Bass Pedals, Leslie Speed Switching, and Dynamics

EXERCISE 6 Bass Pedals, Left-Hand Comping, and Right-Hand
Melody
Play each part separately first. Start with the bass pedals. Then, add the left hand,
then the right hand. Memorize the pedal board so that you can play without
looking down. If you don't have pedals on your instrument, play the right-hand
and left-hand parts anyway. Some players use the chorus setting on the lower
manual to enhance the fullness of the bass and bass pedals.
~--Upper B~ Preset --~

r Bass
l
Pedals
~-- Lower B Preset --~
Lower Manual: Middle C
UIWU l !UIU l !U l ~ l !UIH l !UIH l !UI I
llIJ PART II Exercises

@ID~ Bass Pedals, Le~-Hand Comping, and Right-Hand Melody
R&B
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EXERCISE 6 Bass Pedals, left-Hand Comping, and Right-Hand Melody

@:9~ Bass Pedals, Left-Hand Comping, and Right-Hand Melody
(continued)
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III) PART II Exercises

EXERCISE 7 Bass Pedal Technique in Four Keys
This exercise will help you develop your pedal technique and enhance your
~3·~
~
' R;r
skills at playing three parts. Play the exercise as written with your left foot only at
first. Add the left-hand part first, then the right-hand part. Use the heel-toe
method on the chromatic passing notes: Play the "white" pedals with your heel
~ratoSwell and the "black" pedals with your toe or the upper part of your foot. Learn the
t'~...
right- and left-hand parts even if you have no pedals. The exercise on the CD is
in the key of C. Play the first exercise with the CD, then play the following three
keys with track 14 panned right. This will leave just the drum track for you to
play along with. ·
'!
rato and-Chorus
:p C3
Fig. 36. Heel position Fig. 37. Toe position
j Pedals l
~--- Upper Bb Preset - ---. Bass
~b
6
5
4
3
2
1
~--- Lower 8~ Preset - - - - .
''
-
~
' b
-
-
UIUI !'I!'! I!! I!!! I ~! I!!! I!! I!!' I!' I!!! 11 EXERCISE 7 Bass Pedal Technique in Four Keys
@8~ Bass Pedal Technique in C
12/8 Ballad
Play as written and/or improvise
CMaj7 A7(#5,#9) CMaj7 A7(115,#9)
CMaj7 A 7(ll5,U9) D -9 CMaj7 A 7(#5,#9) D -9
3 3
III] PART II Exercises

@9~ Bass Pedal Technique in A
12/8 Ballad
AMaj7 F#7(lt5.~9) B- 9 E 13(~9) AMaj7 F~7(115,#9) B-9
3
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EXERCISE 7 Bass Pedal Technique in Four Keys

~~ Bass Pedal Technique in Bb
12/8 Ballad
- - - - • .,-_ - ---
B bMaj7 G 7(115,#9) C- 9 B~Maj7 G7(#S,#9) C- 9
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PlllT II Exercises
@:IDGB> Bass Pedal Technique in F
12/8 Ballad
0 7(~9) C13(~9) FMaj7 07(~9)
I-
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EXERCISE 7 Bass Pedal Technique in Four Keys 1111

EXERCISE 8 Rock Techniques in Four Keys
Hammond organ and guitar blend very naturally in a rock setting. Generally, the
guitar and organ should play parts that complement each other. Often, the organ
sustains chords throughout a tune or section, while the guitar plays a more rhyth-
mically active part. The skilled organ player will use the expression pedal and
Leslie speed switch to make the sustained part breathe with the music.
The bass clef part below shows an example of this technique. Practice the bass clef
part first with your right hand, following the instructions. Then, experiment with
different drawbar settings, and choose different places to switch the Leslie speed.
The treble clef part of the exercise is a different approach to the same set of
chord changes. Here the organ takes a more active role. Practice this part with
your right hand only. Try the parts together only if you have a two-manual instru-
ment, and notice that the chord voicings overlap. It is unique to the double-
manual organ that you can exactly double the notes of a chord or melody. Try
speed switching only if you have a foot switch, because there's no opportunity in
this tune to take your hands off the keys to flip a hand switch.
Play the exercise in the key of G with the CD. Turn your stereo balance knob all
the way to the right on track 20 to play with drums only for the other keys.
~---Upper B~ Preset ---~
~---Lower B~ Preset - - - - .
PART II Exercises
@9~ Rock Techniques in G
Rock
D
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fast
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EXERCISE 8 Rock Techniques in Four Keys E!J

@ID~ Rock Techniques in A
Rock
E
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~
~
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~
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! i - : - . ~- r- ~
~·
I ~ 3-
- -- u.
IL..-·
I -· T
I
- - - ~
- '.J
A D
- A E
x
fast
D A E A
x
slow
PART II Exercises
@9~ Rock Techniques in E
Rock
E A E B
x x
fast slow
C#- A E B E
E A E B
x
fast
A E B E
x
slow
EXERCISE 8 Rock Techniques in Four Keys nJll

@9~ Rock Techniques in Bb
Rock
F
- -..
r
~
y
I ,,.
,,.
• .0. ~
.0. p.• \.
~ ----
....
' - ' .I
It)
mf x x
-------- .. -------
---·.. -.. ..
~
,,.
a: ~ 1 ~
J- # ~
fast
a:---1
-
..
-
- ·-e--
.. ~
,..-
r--
.0.
slow
....
y
--
G- E~ B~ F B~
__...,
- ..
~
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I
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- --- -- -
--
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y
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u c....:______.,• ~- c;
1'S
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i- # a 2
ft
-.. - :rt
- ...
L. ....
II
~
T'S"
-
y
B~ E~ B~ F
x
fast
F B~
-
x
slow
llilJ PART II Exercises

EXERCISE 9 Rock Comping Techniques
Listen carefully to the CD example then play along, trying to emulate the rock
feel. There are several idiomatic devices in this exercise that are used often in
rock styles. Grace notes are very important here, as are the chord voicings. Since
many rock tunes have repetitive chord changes, you need to be creative in order
..' Slow to keep the part interesting. Notice how shifting up an inversion in the second
part changes the color and energy level of the part. In the last part, grace notes
create motion within the progression. Play along in C with the track. The left-
hand bass part is optional._Try this one in a few different keys o n your own.
·-
~--- Lower 8 Preset ---~
lllW J, I!HIJ, IJU IJ, I!U IJ, IJU I!, I!U 11
EXERCISE 9 Rock Comping Techniques DI

~~ Rock Comping Techniques
Straight Eighth Notes
c F/C B~/C F/C c
c c
- F B~ F
x x x x
fast slow fast slow
B~ F c c
A
PHT II Exercises
:,.·
EXERCISE 10 Glissando Techniques

"Glissing," or sliding your hand aJong the keys, is characteristic in organ playing.
Because there is no weighted action as on a piano, it is easier to slide up and down
the keys. Here are a few ways to incorporate these techniques into your playing:
Leslie
Fast
• To gliss up, slide on the rounded part of your right hand underneath the
knuckles on the palm side. This method allows you to slide up the keys and
catch a chord with the same hand.
Fi9. 38. Upward glissando: palm technique

technique
• You may also try glissing up the keyboard with the rounded part of your left
palm and catching the chord with your right hand.
• .\1ost downward slides can be done with the traditional back-of-the-fingers

piano method.
• Try adding a quick pedal accent with each attack.
,...---- - Upper B~ Preset - ----.
. - - - - - lower B Preset - - ---,
Upper and lower Manual: Middle C
EXERCISE 10 Glissando Techniques EIJ

@ID~ Glissando Techniques
Straight-Eighth Rock
C/G G B~/F
>- >
F C/G G F C/G G
> > > >
B~/F F G
> > >
fl / b...I~ i"- .. /i'
,
•' J
~
- •
"" -
~
~ -·-· .. - -
I
""
-- -- -- -- -- -- -- -- -- -- -- -
- -- -- -- -- --
• • •• •4 ~ 4 "II "II 1111 "II "II 1111 1111 "II "II
PART II Exercises
EXERCISE 11 Blues Techniques in Four Keys
t~~
Here are a few classic blues o rgan licks to add to your bag of tricks. Try these on
any 12-bar blues solo. T he left-hand comping is optional. Practice the righ t hand
first, and emphasize the grace notes. Play the exercise in the key of G with the
CD. Use track 22 panned right to play the other three keys along with the drum
~ track. Experiment in other keys, as well.
L siow
. - - - - Upper B. Preset - - .
~- Lower B Preset - -.

@It~ Blues Techniques in G
Shuffle
G7 C7 G7
- - -..... - ... -- -- - .- ..__- - . ..

~,,-.
i'\ u ,.
- ~
-
L.
' '-'
-· ~
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- -
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I. -
-
•
~
t .l
mf x 3 x
·fast slow
-· ""l
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,,. ..R_
.. ...
~R
.. ---~
- -
~
~
--
,
-
~
r.
C7 G7
07 C? G7 G13
x
slow
PART II Exercises
~~ Blues Techniques in E
Shuffle
E7 E7
,,
,,
·'"
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_ ,. ,_
.. -
n
~
,.
-;; - - - ---
-
-~
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3
- --- - .... -_ - -
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- :
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r L I
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t.. I
mf x x
fast slow
-I
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11
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n-=
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--
-
~
.
-
.
-..,.
~
A7 E7
x
fast
87 A7 E7 E13
3 3 3 3 3 3 3 3
x
slow
t:'\

@9~ Blues Techniques in A~
Shuffle
-,·~
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r.
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mf x 3 x
slow
----- 3..
fast
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13
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v
/
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3 - I
-
I I I I
x
fast
.... ::-
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--
~3
--
,3
.... ---- tl.. t--.
~
I
llD PART II Exercises

~~ Blues Techniques in C
Shuffle
C7 F7 Cl
\ ....--....
.. 'fll-°f!. ~ ~~ 'f!. _ h., _
-·- -
I\
'-' lJ'
u
,.
.....
- - -
fl'-~ . -
'-" - ··-
I
- -
3
I
-- -
-
-
x
'11
= -
1~
mf x
- ..-..
h!
6... . . . '"'
b#
-=
-
fast
h! --1l
~
Tl"
slow
-
F7
x
fast
G7 F7
x
slow

EXERCISE 12 Blues Comping Techniques
This exercise presents a classic blues organ shuffle. It features classic blues
comping with left-hand bass. Practice the right hand first. If you can't reach the
first chord voicing, try the alternate voicing throughout the exercise. Try both
Vibrato Swell hands with the track panned right. This is a true organ trio blues. Practice
On grooving with the drums while maintaining independence between your hands.
Experiment with laying back the time with your right hand, playing a little
Vibrato Great behind the beat while keeping the left-hand bass line steady with the drums.
On Pay special attention to the grace notes.
Vibrato and Chorus
Optional:
C3
~--- Upper B~ Preset - - - - ~--- Upper B Preset - - - -
Percussion
On/Soft/FasVThlrd
Leslie
Slow
~--- Lower B Preset - - - -
E:J PART II Exercises

. ~~Blues Comping Techniques
Shuffle
G 13
C7 G13
07 C7 G7
x
fast
EXERCISE 12 Blues Comping Techniques Oii

~~Blues Comping Techniques (continued)
C7 G13 A
013
E1J PART II Exercises

EXERCISE 13 Trills, ''Sputter" Technique, and Drone Tones
Th is exercise explores three importan t o rgan sounds:
Trills. It is commo n to trill between two notes a minor third apart on the organ.
fercussion
The root and flatted third of a chord and the fifth and seven th degree of a domi-
, OnJNormal/Faat/Second
nant seventh chord are used often. They are featured in th is exercise.
Leslie Sputter. Use two or three fingers to rapidly repeat a note. I call this "sputter"
Slow technique. It's like trilling on one note.
Drone tones. Another nice effect is to sustain a pitch while playing a lick along
with it. I call this a drone tone. Some players use matchbooks stuck between the
keys, small weights- and even their noses-to drone a no te. Here, the fifth finger
on your righ t hand will serve well.
Try to imitate the examples on the CD. Play th e exercise right-hand only at first,
then add your left hand .
.....--- - Upper B~ Preset - - --.
.....---- Lower B Preset - -- - .
'
i
uawrnnrnmrnH1!rnHl!rnH1!rn 1
EXERCISE 13 Trills, ttSputter" Technique, and Drone Tones l!m

@I)~ Trills, "Sputter" Technique, and Drone Tones
&vb-- -------------------------------- --- -

Shuffle
1 2 1 2 1 2
r-3--, r-3-----i r-3--, 3 3
R.H .
aceel.
(8vbr - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(8vbr - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(8vbr --------------------------------- -----------------------------------------

w-
6 6 6 3
6 1
ElJ PART II Exercises

~~Trills, "Sputter" Technique, and Drone Tones (continued)
<8vb) ~~ - - -,- - - : - - - : ; ; - ;; -. - : ; - - - - - - - - - - - - - - - - - - - - - ,
5
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slow
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EXERCISE 13 Trills, uspatter" Technique, and Orone Tones l1IJI

EXERCISE 14 Jazz Techniques in Four Keys
The setting below is the classic jazz organ sound with percussion. When playing
jazz lines on the upper manual with percussion, you must play with a detached
touch in order to ensure a percussion attack on each note. This exercise provides
Vibrato Swell
some bebop lines to practice. Try to hear the percussion speak on each note of a
phrase. If it doesn't, you are playing too legato or connected. Develop a touch
On
that is between staccato and legato-neither too short or too long. Play in the key
Vibrato Great of B~ with the CD. The other three keys can be played with track 24 panned
On right, with drums ~nly.
Vibrato and Chorus
C3
~-- Upper B Preset --~
Percussion
On/Soft/Fast/Second
Leslie
Stow
~I- - - Lower B~ Preset --~
UIWUl,rnUl!rnUl!UIHl!UIHl!rn I
UIW ''I !!,I!' I!!' I ~ 'I!!!l!!l!!!l!!I ~!! 11
PART II Exercises
~~ Ja11 Techniques in Bb
Swing
Bb7 Eb7 8 ~7
j
-&
~ ~dl
1
j
1
C- 7 F7 Bb7
j
ti 1
r
I
!
l
I
!
t
I
.I
I
l
lI
!
l
!t
'
EXERCISE 1• Jan Techniques in Four Keys [D

~~ Ja11 Techniques in C
Swing
C7 F7 C7
~ ~d!
1
F7 C7 A7
~
1
0 -7 G7 C7
~
1

~~ Jazz Techniques in F
Swing
F7 F7
G-7 C7 F7
EXERCISE 14 Jan Techniques in Four Keys llJI

~-~ Ja11 Techniques in E ~
Swing
.. -
,
.
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f'i
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A~7 E~7 C7
j
1
F-7 8~7 Eb7
j
1
>
PART II Exercises
EXERCISE 15 Left- Hand Bass and Foldback Awareness in Four Keys
This exercise provides left-hand bass line practice and foldback awareness.
Some players alter the shape of their bass lin es to accommodate the foldback-
Vibrato Swell the point where the octave repeats itself. This exercise plays around the break at
On first, then through the break, creating lines that descend in pitch as you ascend
the keyboard. It makes for interesting octave jumps and patterns you might not
Vibrato Great have otherwise d iscovered.
On
Vibrato and Chorus

Some players tap the heel of their left foot on the bass pedals every quarter note
C3
to create a thumping effect that adds to the swing feel. When performing left-
hand bass o n a swing tune like this, some players also pulse an accent on the
Percussion expression pedal each quarter note. This enhances the swing feel, creating the
On/Soft/FasVThlrd well-known driving organ swing. Make sure that you don't move the pedal too
Leslie
much. This can be overbearing and detract from the desired effect.
. ~
~ Slow
Play the exercise in G with CD track 27. Play the other keys with the drums on
track 28.
Fig. 40. Topping heel
~--- Upper B Preset ---~
UllllUl!HIUl!HIHl!HIH!n!IHl!HI I
EXERCISE 15 Left-Hand Bass and Foldback Awareness in Four Keys
~~ Left-Hand Bass and Foldback Awareness in G
Swing
G7
C7 G7
07 C7 G7
07
G
_...,E7 A7 07 G
_...,E7 A7 G13
.. _, ... _, -
- - -' v -
-
-'
- ·-
-'
I - - .-
-' -'
-- -- ,--
-' -'
1 1
--•
,_
~
•
~
t)
(8 vbt - - - - - - - - - - - - J
.. "' I
.
.... -
-I
- I I
y - .. T
I
rJ'.. .-I
- ~·
-~
.. t'I'-
- ..
p.- --. --. -

8vb------------------- --- --------- -- --------- ---- -- -----J
PART II Exercises
~~ Left-Hand Bass and Foldback Awareness in Bb
Swing
F7
,,
f\
.. I ' -•
.' - -- ,,_.,.
- -
.......,
(8~1 ---- - - --- ------------- - - -- ------------- ----- --------
I
.. _ -
I ..
" - I I I
• -
-,
_,
• ~ ~~
f'i I
II
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I
G7 C7
,......
F7
..... .....
I
G? C?
,...... F7
..... - .. -
_,
.
.
B~1 3
,,_ ...• -
r
'- ,, .. r- r- - LI -
I ..._... I I
(8~)- -------- -- ~ ------- ------ ------ --- ----- - _,
- • •
. II • - .. _ I
- -
.....
I
_,
- _, ........-
I
- .. _,
- -_, ....
I I •
8~--- ---- -- --- -- ------ - -- - - ------- -- --- - - --- ---- - --- ---J
EXERCISE 15 Left- Hand Bass and Foldback Awareness in Four Keys

@ID~ Left-Hand Bass and Foldback Awareness in C
Swing
C7
8vb----------- ---------------------- ----- -- ------ -- -----------------------

F7 C7
I\ ,,_
.,
-
I I
,,
"t)" I -
_J
I i......1
-- - -
v ....
- -
I --
- ~ L...- -
(8 vb)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---------- --------
--·..... -
I I I I
-
I I
- I
(8vb)-- ------------------------ -- - --- - ------ ----------------------------------
I
- - -
G7 F7 C7
I\ \ ,,. _...-..._.
...
'\.'II
~
,_
L
~
- -
(8 vb) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
-.. ....- - I I
-
I
-
- I • I -.} p-.}
(8vbt --- ------------------------ ---- -- ----- ----------------------------------
c A7 07 G7 C A7 07 G7 C13
(8 vb)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - J
PART II Exercises
~~ Left-Hand Bass and Foldback Awareness in Eb
Swing
E~7
A ~7
A~7
C7 F7 C7 F7
-- -'
b
8w------------------ ------------------ ------------------'
EXERCISE 15 Left-Hand Bass and Foldback Awareness in Four Keys IJI

EXERCISE 1& Manual Jumps
Jumping between upper and lower manuals in real time allows you to make a
quick timbre change without changing drawbar settings. Section A gives you a
chance to practice switching between the manuals in real time. Section B shows
Leslie you a classic Hammond trick: employing two manuals with two different timbres
Fast to achieve a unique glissando sound. Richard "Groove" Holmes used it often. Use
a strong pedal stab to emphasize lower-manual accented notes.
PART II Exercises
~~ Manual Jumps
Medium Swing
0 Upper F13 G-7 F13 G- 7

,...
.. -- ... .' -.."' ,..-"" .. .. --- -- • ..-- ---,.. . ..
I - - - -
- -... -,...
,.
., ....
"
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-
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x '-
-
'u ....
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,...
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---
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... -
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--
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F13 07(#9) G-7 F13
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EXHCISE 1& Manual Jumps

EXERCISE 17 Hammond Block-Chord Style
Block-cho rd voicings are a way of harmonizing a melody or solo lick. They can
make a single piano line sound big; they can make an organ sound like a full
swing big band. The d rawbar selling o n the upper man ual is what helps create
Leslie the full organ block-chord effect. The effectiveness of block chord technique
Faat
depends more on the sound of the organ than o n the actual chord voicings. In
fact, I sometimes call these "pseudo" block chords because the inner voices of the
chords are often ghosted notes-the keys are pressed only lightly, so they don't
fully sound. (When. you don't press a Hammond key all the way down, it will
make a light percussive click instead of a tone. This is called "ghosting.")
In the exercise below, the chords are also rolled upward s, and lo nger notes are
"shook" using tremo lo. This tech nique is very u nique to the Hammond. Try this
one without left-hand bass at first.
~--- Lower B Preset - - - -

<!!9~ Hammond Block-Chord Style
Medium Swing
~f? _________________ :..:-:-=.:--------- ~---- \' --------------------- --- - --
T;
1
II
-
...
•
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(8 vb) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(lJVl')- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
C7 Straight - - - - - - - - - - - - - - - - - - - - - - - - - - - - f ! _,
b. -
- ..
(8 va) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - '
J
-- ..b.. - •
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- ...
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v
~
EXERCISE 17 Hammond Block-Chord Styfe

EXERCISE 18 Funk Techniques in Four Keys
Play this exercise on one manual with both hands. Try to emulate the left-h and
ghosting that you hear on the CD. The result of ghosting is a percussive click that
is typical in funk style. The combination of Leslie and d rawbar settings with
Leslie percussive two-hand playing can create infinite funky effects. Experiment with
Slow these patterns and try to create your own. Notice that, in essence, you're d istrib-
uting the sixteenth notes over both hands. It's almost like d rumming on the
keyboard. Try rolling the chords slightly. Also, try playing it with and without the
bass pedals.
Play in F with CD track 26, and play the next three keys with track 26 pan ned right.
~--- Upper B~ Preset - - - . . . . ,

r Bass
l
Pedals
PART II Exercises
~~ Funk Techniques in F
Straight-Eighth Funk
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EXERCISE 18 Funk Techniques in Four Keys ID

@I) ~ Funk Techniques in E
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PART II Exercises
Funk Techniques in Eb
8w------------------- ------- ------------------------- --- -------- ----
(8 wr - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(8 00)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -,..:....-3--=.
(8w)-------------- -------------------- ---------------------------- ---- -- --

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(8V'>,-------------- -------- ------------------- ----------- -----------'
EXERCISE 18 Funk Techniques in Four Keys

~~ Funk Techniques in Bb
8~7
I ~h· 111= w w J J J J J J I
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(8wt ----------------------------- ------ -------------------- ------------ --

8~7
(8w)-------------------------------- ------ ---------------- ---------j
miiJ PART II Exercises

EXERCISE 19 Drawbar Changes, Preset Changes, and Effects in
Real Time
Being able to quickly change sounds while playing is an important Hammond
skill to master. For example, you may want to add high drawbar to accentuate a
Leslie louder section, or change the sound to suit different sections of a tune. It's .iust
Slow like changing patches on synth, or tweaking a synth patch in real time.
A. Changing the Drawlaars

Play through exercise 19, following the patch/ drawbar change instructions. The
bass part is just for reference on this exercise. Most players need to have their left
hand free to change the drawbars.
..------ - Upper B~ Preset - - - - - - - Upper B Preset ---~
EXERCISE 19 Drawbar Changes, Preset Changes, and Effects in Real Time

~ ~ Drawbar Changes, Preset Changes, and Effects in Real Time
R &B
A- 7 0 13 GMaj7
Change to
A- 7 07 GMaj7 B7(#9,b13) upper B preset
*
- E-(Maj7) E- 7
:...-----...
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------- - A7
x x
fast slow
800---
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r r r r
PART II Exercises
B. More Practice Changing the Drawbars
Try p laying the left-hand bass on this exercise. Pull out the drawbars with your
right hand during the last two beats of the second bar.
Leslie
Slow
Fig. •t. Changing the drowbars in real time
Bars 1and2: Bars 3 and 4:

~-- Upper Bb Preset - -----. ~-- Upper Bb Preset - - - - - ,
..
IWll!~I''' I!~I U~I! ~I!!~ I!,I!!~I! ~1 !HII 1
EXERCISE 19 Drawbor Changes, Preset Changes, ond Effects in Real Time

~~ More Practice Changing the Drawbars
Shuffle
C7 *Pull out drawbars Play 4 times c7
~
~~~~~~~~~
~~=t::::::±::±:::~~~+===l:I
>
PART II Exer<ises
C. Drawlaar Effects
Use your left hand to pull out and push in the indicated drawbars while playing
the trill with your righL This technique is common in blues, deep soul, and
gospel styles. The change in timbre can create some inte resting effects. Experi-
Leslie ment with other drawbar settings. Check out Hammond artist Tony Z. to hear
Fast some great slow blues soloing using this effect.
~--- Upper B~ Preset - - --.
111
UIWUl!UIHl!UIUl!UIHl!UIU!n!lI
EXERCISE 19 Drawbar Changes, Preset Changes, and Effects in Real Time

@9 ~ Drawllar Effects
Shuffle
<11 ,. . ,. . ' ,, . ,,. ' , , ., • • • • • • • • • • • • •. • • • • • ... ...
C7
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PART II Exercises
EXERCISE 20 Walking Bass Line Pedal Technique in Four Keys
This is an advanced bass line on the organ, so try it at slower tempos at first.
Some players are more comfortable playing with no shoes on, so they can feel
where they are on the pedals. When moving from "white" pedal to "white" pedal,
Leslie try to glide your heel from note to note. At first, you may have to rest your leg
~ Slow
after a pass or two. This is normal; keep practicing to develop stamina.
If you're having a tough time, keep at it. Most players do not play virtuosically on
the pedals. Simple bass on ballads or root-fifth motion are more common. You '11
fi nd it easier if you can visualize the pedal board in your head. Try not to look
down at your feet. Remember to play the "white" pedals with your heel, and the
"black" ones with your toe. This will help you create a nice legato when moving
in half steps.
Practice all four keys with track 44.
EXERCISE 20 Walking Bass Line Pedal Technique in Four Keys llJI

@8~ Walking Bass Line Pedal Technique in F
Shuffle
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m.'r.I PART II Exercises

-.:.&.:I
@I)~ Walking Bass Line Pedal Technique in G
Shuffle
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EXERCISE 20 Walking Bass Line Pedal Technique in Four Keys

@9~ Walking Bass Line Pedal Technique in Eb
Shuffle
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(8vb)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I
llilJ PART II Exercises

@9~ Walking Bass Line Pedal Technique in E
Shuffle
E13
8 w--- ----------------------- --- -------------------------- ·

E13
A7
(ljw)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .
A/B E13 C#7(#9) F#- 7 A/B E 13
fl-7
q
(~)- - - - - ------ - - - - - - - - - - - - - - - - - - - - - -------- - - - - - - -'
EXERCISE 20 Walking Bass Line Pedal Technique in Four Keys llJI

EXERCISE 21 Special Effects
There are many ways to create unique sounds and effects on the Hammond.
Some players create their own sounds and stick to them as their trademark, while
others continue to discover the depth of sonic possibilities on the instrument.
Percussion Here's a few u nconventional tricks that players have developed over the years.
OnlNonnal/Slow/Second
A. Percussion Only
Leslie Use the B preset on the upper manual with all the drawbars pushed in. Set the
Fest percussion as indic~ted and set the Leslie to FAST. Play chords and let them
decay. This is a unique effect I've heard a few times. Try it on your own, after
listening to track 45 for a demonstration. Note that this works only with the
second harmonic. Selecting the third harmo nic would cause the notes you press
to sound a fifth away from concert pitch.
- - -- Upper B Preset - - --
- - - - Lower B Preset - - - -
UIW !'l!!,I!'In' I!'I!'' I!'I!!,I!'I!!,I I
PART II Exercises
@9 Percussion Only
R &B
- D/A G/A D/A

...-..
EXERCISE 21 Special Effects OJI

B. "Wa-Wa" Effect
Ho ld down the cancel p reset key (C) with the fifth fin ger of your left hand. This
allows quick switching between two p resets. Choose two contrasti ng presets and
~eslle trill between the two while holding the cancel key down. Play chord s or solo licks
Slow with your right hand. Experiment with d ifferent preset choices.
Fig. 42. Fake effect pedal

C. Key-Click Keyltoard Drumming
Set the drawbars as indicated, then play the manuals with the palms of both
hands. Press the keys just h ard enough to make a percussive sound. Groove along
Leslie with the drums on track 48.
Stow
- -- Upper B~ Preset - - -
UllllU l !UIU l !UIU l !UIH l !H I U l ~rn I
EJ PART II Exercises
@I)~ Key-Click Keyboard Drumming
New Orleans Funk

07
2
j ~~~~---+-----tt
11-.....--.-14----+---------+-----+-----tt
EXERCISE 21 Special Effects 0.

D. Super-Crunch Gliss
Start with the Leslie on FAST. As soon as you attack the chord with your right
hand, switch the Leslie to SLOW with your left hand, then back to FAST a beat
Leslie later. Next, gliss quickly all the way down with your left hand, then slowly up
Fast either manual. Press down as many notes as you can while glissing. Time your ascent
to coincide with the last bar. Some players gliss with both hands on both manuals
at the same time. You can create many different effects this way. Experiment.
. - - - - Upper Bb Preset - - - - . .
~--- Lower Bb Preset ---~
PART II Exercises
@!I)~ Super-Crunch Gliss
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-- - -- - --
EXERCISE 21 special Effects Elm

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Programs And Courses Now Available From
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0 Production
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PART Ill
Tunes
The tunes on the following
pages give you the oppo rtunity
to full y explo re the fin er po ints
of playi ng the organ in several
styles of music. Before you begin
each tune, liste n to the demon-
stration on the CD. Listen to the
role of the organ in each style.
Follow the drawbar and control
settings as specified at first, then
expe riment.
Honeymoon for Millie
This tune is in the classic jazz/ blues style.
Vibrato Swell
On • Play the melody along with the sax, using the classic jazz setting with your right
Vibrato Great hand on the upper manual, and comp with the left-hand comp setting on the
Off
lower manual. (These sounds were explored in exercise 14.) Comp for the sax
solo using the same sounds. The default left-hand bass setting 8 0 8 0 0 0 0 0 0
Vibrato and Chorus works great for comping, also.
C2
Percussion • Solo with the classic jazz setting on the upper B drawbar bank while comping
On/SoftJFast!Third
with your left hand.
Leslie • Experiment with percussion settings.

Slow
• Experiment with chorus settings.
• The Leslie is usually set to SLOW throughout the tune in this style.
• Try setting 8 0 0 0 0 6 8 8 6 on the upper m preset with an optional FAST

Leslie as your solo builds.
• Pan your sound system hard right to try left-hand bass on this track.
. - - -- - Upper B Preset ---~
Bass: Comping:
. - - - - - Lower B Preset ---~ I
~- - - Lower B~ Preset ---~
- I
b
-
':~
--
0
PART Ill Tunes

Honeymoon for Millie
Limina
Medium Swing
8~7 E~ B~
- - --- -
C7 fine F7
- ... . .. •-'
f'i I
C- 7
-
-
F7
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I I I I I
Form: 1 melody; 4 choruses, tenor sax; 4 choruses organ solo; 1 melody
Honeymoon for Millie llD

Swampness
Jam along with this swamp groove.
Vibrato Swell
On • Use bluesy comping riffs, or solo through the whole track.
Vibrato Great
Off • Try the suggested drawbar settings, then experiment.
Vibrato and Chorus • Try the special effect technique described in exercise 21B o n this one.
C3
• Play a solo with the full organ setting 8 8 8 8 8 8 8 8 8, Leslie FAST.
• Experiment with Leslie speeds throughout the song.

...-- -- Upper B~ Preset - --- ...-- - - Upper Bb Preset - - - -
I
-
- -- - Upper Bb Preset - -- - -
-
- - - Upper Bb Preset - - --
- -
- --
. . . - - -- Upper Bb Preset - -- - - -- - Upper Bb Preset - - - -
.-- -- Lower Bb Preset - - --

1
PART Ill Tunes

Swampness
Swampy straight-eighth funk
E7
'== I II· r,r,r,r :'I r,r,r,r'I: r,r,r,r :'I r,r,r,r'I: r,r,r,r :'I r,r,r,r'I: r,r,r,r :'I r,r,r,r,:
=::· 1
' r,r,r,r'Ir,r,r,r'Ir, r,r,r'Irrz

, , z r'Ir, r,r,r'Ir, r,r,r'Ir, r, r,r'Ir,r,r,z'I
C7 A7 E7
' r,r,r,r'I r,r,r,r'Ir,r,r,r'I r,r,r,r'Ir, r, r,r'I r,r,r,r'Ir,r, r,r'Ir,r,r,r,.·11
Form: open for organ
Chord voicings and comping ideas
E7 ~ _ C1
Swampness IID
Rhythm Changes
Practice comping and soloing with these common chord changes. (There is no
Vibrato Swell melody on this track.)
On
Vibrato Great • Try comping with two hands, right hand on the upper manual, left hand on
Off
the lower. Play voicings that you would play on the piano.
Vib!'llto and Chorus • Try the classic jazz setting for your solo, and comp with the left-hand comp
C2 setting on the lower manual.
Percussion
On/Soft/Fast/Thlrcl'
• Bluesy riff comping is also common on the organ. Try this with your right hand
on the upper manual with this setting: 5 6 8 0 0 0 0 0 4.
Leslie
Slow • The Leslie is usually set to SLOW in this jazz style.
• Try a bluesy block chord solo, in the style of exercise 17.
,....----Upper B~ Preset ---~ ~--- Upper B Preset ---~
Left-hand comp:
~---Lower B~ Preset ---~
IE) PART Ill Tunes

~~ Rhythm Changes
Medium Swing
BbMaj7 G7 C -7 F7 BbMaj7 G7 C- 7 F7 B bMaj7 BbMaj7/D Eb7 E07
I ll=z- r 7 7
r7 r7 IT
7 z r7 r7 r7 T
7
r7 r7 I r7 r7 T
7
T
7
Ir
7
r
7
r7 r7 Ir
7
T
7
T
7
T
7
I
'
2 I
B b/F G7 C-7 F7 BbMaj7 G7 C- 7 F7 BbMaj7 G7 C-7 F7
r7 z-7 T
7
r7 IT
7
r
7
r
7
r7 Ir7
T
7
r7 r7 Ir
7
z- r
7 7
r
7
Ir
7
r
7
r7 r 7 Ir
7
T
7
r7 r7
' BbMaj7
T
7
z-7
BbMaj7/D Eb7
T
7
T
7 7 7 7 7
IT r r r Ir
7
E07 BbMaj7
T
7
r
7
r7 Ir
7
r
7
r7 r7 I z-7 r7 r7
07
7
Ir
7
r7 r7 r7
'
T
G7 C7 F7
r7 r7 r7 r7 I r7 r7 r7 r7 I r7 r7 r7 r7 I r7 r7 r7 r7 Ir7
z-7 r7 r7
7 7 7
Ir r r r
7
' BbMaj7
r7 z-7
G7
- 7
T T
7
C- 7
Ir 7
r
7
F7
r7 z-
7
Ir
BbMaj7
7
r7
G7
r7 r7 Ir
C- 7
7
r7
F7
7
r
7
Ir
BbMaj7
7
z-
7
BbMaj7/D
r7 r
7
'
L
Eb? E 07 I
1, 2
BbMaj7 C- 7 F7 l 3
9 b7
I":'\
r7 r7 r7 T
7
Ir
7
r7 r7 r7 Ir 7
r7 r7 r 7 :11 ~~ ~ ~w qJ 1;e ~ ! &J II
'
Form: 1 chorus, tenor sax; 2 choruses. organ solo
._..
Rhythm Changes
Mercy Train
In this funky r&b-influenced tune, foc us on blending with the guitar and Wurl-
itzer electric piano o n the recording.
• When other comping instrumen ts are present, play voicings that do not clash
with them. Balance your volume level to blend in. When playing with other
chord-playing instruments, you don 't always have to play complete voicings. Try
playing only upper structures (tensions) over the relatively simple guitar voic-
ings on the CD.
• The timbre of the Hammond blends naturally with guitar. Adding the 1-ft.
drawbar will make the organ more present. Switching to FAST Leslie will make
it even more p resent.
• Play the suggested voicings first, then experiment with doubling the electric
piano voicings. Try different inversio ns.
• The expression pedal can help achieve a nice blend in this tune. Use pedal
stabs to accent the kicks in bars 7 and 8 of section A.
• Practice switching Leslie speeds at section changes. Try SLOW at section A,

FAST at the beginning of section B, then back to SLOW at the third bar. Then,
set it to FAST throughout section C, and SLOW at section D. Experiment.
(This technique was explored in exercise 19.)
• Get fun ky in section C. Try the funk technique from exercise 18.
• Try doubling the melody with this setting, 8 5 8 0 0 0 0 3 0, on the upper

manual. Comp with your left hand.
Comp A: Comp B:
~--- Upper B~ Preset - - - - ~--- Upper B Preset - - --
-
- - -
End Vamp Solo:
- - - - Upper B~ Preset - - - - - .
II!IJ PART Ill Tunes

UllllUl!HIUl!HIHl!HIHl!UIUl!UI I
Mercy Train
Limina
Funk R & B
F -11 F~-11 F- 11 F - 11 F ll-11 F - 11
A 4 A 4 4 A
F - 11 F ~-1 1 F - 11
Melody, electric piano
A 4 A A~13
Organ comping
suggested voicings
F- 7
G-11 c - 11
>
C-(Maj7)
f'i
-" "
I • >
- .- -
>
--
>
.. . " \ t':)
.. -
I._
- -- .. n
•- - n
... --
-
-- --
~
~ I r J '--
~
" r-.
-
~ .~
~ r r I ~
,., >
- -- -
I • > ~ n
..
n
.- -" "
-- - - -
,_
I'"<
•- .,
"
·~
-• - .. ..
••
--
,. _
~~
-
'-
" v -e.
t.. If
:> -41 --.___..__
>
Mercy Train IIiIJ

Mercy Train (continued)
c-11 F7 F - 11
- - -- . _...,
,,'~ ... " -- - .. .... .. '
.
.
I
.... - ..
~
. .
--
r
-
'
~
, "
-- ---- -
- -.
1---
~
- ~
n• -
-
-
- '-!./
-- ~
-~
_,
- ..........
.,..,.
,
fl I
...... " .n-. n
..
•• ..
.• .• •
-
..
•
" " - •• ..
u
-- .---- ,_-- -
---- -- --- - ...- - - - - - -
'~ I
... -
-- - ....
I I
- ... " ,_
\
... _ ~
"
•' ,, ... "
-
~
- -- ••
...
:.. I
• ... "' :-
u
Organ doubles electric piano
-- i
- '-'~
--
1 bi '-'i j
-
•-
I\
.,
..."
•
I
II
....
---- ---_ -- - ...-
...
.
....- •
.. -y,. .,. - • - ... -_ -- .. ...-
....-
y K
,_
•
.. - .. ..
-
....
' y .,.
-
t,_J
-
i "'""i
-- A~7
i 1 bi '-'j
To Coda-$-
-
•'
fl
.,
..."
•
I
II
_,
- -- -
-- -
... _
.....-
.. -• .. - .,. -• '
- ---- .. - .. - .. - ..
-
.....
,.. -
K
,_
• .,.
\
-
.... ... .... ... i 1 bi '-' j
y ,.
tJ
,..
-
i '-' i
-
,
. ,
...
y
I
II
" ... --- ...--_ ---- .. - .. -

-
I
\
"
.. - ---- -- ---- .. ..- .. - .. - ..
•
I
y
-
..
I lo.
\
-
•
- ....
'-'
....
y ,.
-
t..l • i "'""i i 1 bi ---i
Half time feel
Ab/B~ G b/A~ 8~7(#5 ,#9) D.S. al Coda
,.. Play 3 times
> > > >
,
. ....
I
II
.,
.. ~
'F
~
' F
.. F'
~
, ,#
, ,#
, ,#
, ,#
A
,. ....
'- J
t..l I I I I I
A
fl
,, ... "
• ...
I
.. I
I
I
I
I - I
I
I
I
I - I
I
I - .. - - - - I I I I ll -•• -•• -•• --• ..-• ....
t..l 1
>• >• >• >• •

-$-Coda ,
-- ...-.._..---
E~7 Repeat and fade
... ...
fl I
.,
.. .- -- --
- - ,_
I
y ..
--
.. . - ...• --- ---- ---- ...-_-
I
y ..
.. •
\ \
• ...... ,.-
- -
.
- .
... -
~
"
'
... -
~ ~
t,_1
~ '""i
i .__... ~ i 1 --1 bi ---i
Organ solo
---
- ..
fl
-• , -" " ..
I
'
y
I - - - - I I I I - I - - - - - - --
I I I I I
- I
- I
- I I
t,_l
Form: Intro; melody; guitar solo; melody; organ solo on coda
PART Ill Tunes

Anna's Dance
"Anna's Dance," a classic AABAjazz ballad, will give you a chance to play sophisti-
Vibrato Swell cated voicings under a tenor sax melody.
On
Vibrato Great
• Experiment with expression pedal swells and drawbar settings. A common
Off
nuance is to switch to a drawbar setting with more "sizzle," such as the 1-ft.
drawbar, on the B section. At the same time, switch the Leslie to FAST.
Vibrato and Chorus
C1 • Try the classic jazz setting for the organ solo, and comp with the left-hand
Percussion
comp setting on the lower manual.
On/Soft/Fast/Third
• Some players play one-handed voicings on o ne manual when comping; other
players use two-handed voicings on one manual.
• Try comping with two hands, one on each manual, using 5 6 8 0 0 0 0 0 3 on

the upper m preset and 0 0 8 4 0 0 0 0 0 on the lower B~.
• Throughout th is tune, experiment with glissando tech niques explored in exer-

cise 10. Try sliding up the keyboard with your right hand and catching a chord
o n the downbeat with the same hand.
A Section: B Section:
. - - - - - Upper Bb Preset - - - - . . - - -- - Upper B Preset ---~
-
. - - -- - Lower Bb Preset ---~
II ..
UIWHl!HIUl!rnHl!HIHl!rnHl!HI I
Anna's Dance Oii
Anna's Dance
Limina
Ballad
~ J JJ II= ;P J f3 1l -; J j ~jg I
F -7
J
I ~~Maj? ~01>-11
J. 3 J jg =II J. ~ Ji II 4
A~Maj7 D-11 G7 CMaj7
~ ~r J_:_____J J u~ 1 IP lo IJz
F Ir J J J IJ. J oJg l;PJ :£3 I

,-3-, E~7 A b7 D ~Maj7(~11)
C-9 F7(~ 11 ) 9 1>-11 Eb7(b9) I ~bMaj7 ~~Maj?

~
~ ~'&~ qJ. IJ J J. ;l e =II 0 II

l\J J
PART Ill Tunes

Jimmy Shuffle
'J immy Shuffle" is a classic 1960s organ shuffle inspired by Jimmy McGriff. This
Vibrato Swell block chord style was explored in exercise 17.
On
Vibrato Great
• Try bluesy riff comping for the guitar solo on the lower manual B ~ prese t with
this setting, 8 0 8 0 0 0 0 0 4. Switch to the classic jazz setting on the upper
On
manual for the last chorus of the guitar solo.
Vibrato and Chorus
C3 • Try the classic jazz setting for a solo with C3 chorus on the upper manual and
Percussion
the Leslie on SLOW. Co.mp with your left hand on the lower manual.
On/Soft/Fast/Third
• For the last chorus of your solo, switch to the block chord style with the upper
m preset at 8 0 0 0 0 5 8 8 5. Simultaneously, switch the Leslie to FAST.
• This tune provides good practice for comping behind a guitar solo, something
Hammond players do quite a lot in this style.
• Pan your sound system hard right to try left-hand bass o n this track. (Left-hand
bass technique was covered in exercise 15.)
.....----Upper B~ Preset - - - - , ...---- - Upper B Preset - - - - ,
Comp: Bass:
~--- Lower B~ Preset - - - - , . - - -- - Lower B Preset - --
Lower Manual (Comping): Middle C
UllllU IH~ I U l !nlH l !nlU l !nlH l !nl I

Lower Manual (Bass): Middle C
Jimmy Shuffle
Jimmy Shuffle
Limina
.
Texas Shuffle
G7
. .. ..
- -- -- - - -- • ---... . - -. ---... -- -
\ ----
..
fl
.
\ • •• . #•\ A l • • •
. .. ...-
\ ~- , __• • h-..- -
..
-
•- ..
'
~)
~
~
- • - -
,_ - • n•
-
--... ,_ - -
• - -
- - ,_
-
I"""
• - --
-· - . -
.....
-
- ~ - '-
-·· ..
. ....
L. .....
- .. - ...- - ...- -
~
,.
- _, -- -- I
-I- -- -- -....
I I I I
8~------------------------------------ - - - - -- ----------- --
•-
fl,,
. - \ • •
- ,_ - -
-
- - - b., • •
• ,.._
- . --- ---
C7
- -
--- --- •
.. -\
- . • .. ..
- • -- - - --
• ,_
G7
#•\ ,..... ..
...-
-- .
• --
• , __•
- - ... --
-- •-
•
't) • -
IJ '
-
- ~
-
h-
-.
L. .....
.. ,.,- - -- -- - -
I
- -- -- - - _, ...-
I I -- - I •I I
(8wi- ---------------- --------- ---------------------- ----- ------------ ------ ---- ---

1
E 7 • Change to A-7 07 G7 E7
.. - --- --
3 -
-
•
fl
-
-. ' J
I
.... .. ~
_, -- _,
--.... -_, - I I I --,
-..... -- ·-
I
... ...-
-- --
....I
-- --
• - -
, , J I
r • .._Cl ;x ;x -
~)
.. ....
..
I I I
-.
-- ...- -
- -- - -
r '•
... ff -
-- · - I
-.... - -.... • n-
....
(~i- -------------------- - ------------------------- -- ---------------- -- --------- - -
2 G7
A 7 * Chang~to 07
•-
't)
f\
,,
IJ
upper
-
_,
-
\
.. --
•
-- .. •- ..-
,_ -
I"""
- ..
I
- I
- I
- I
- I
-I
I
I
I
I
~
I -
-
x fast
~
,... .. .. I I I I I
.
- I
- t>• -,J
(~t - - - - - - - - - - - - - - - - - - - - - -
·-
J
~
-.... -.... - - u
-- - ... -_, -- -'
'
_,
-
Form: 2 melody; 3 choruses, guitar; 2 choruses, organ; 1 melody
lllD PART Ill Tunes

Thirteen
Here are some classic rock chord changes. Set the drawbars to the different
settings for each section, as listed on the music. This is a great opportunity to use
the technique described in exercise 19, changi ng sounds with the phrasing of the
music.
• Change the drawbar settings for each section, as indicated below.
• Try switching Leslie speed at the section changes.
• A single note sustained du1ing the intro using the intro setting 8 0 0 0 0 0 0 0 0
can be effective. Find a note that works. Start with G or D, and play it in the
upper register. Sustain the note with the Leslie on SLOW, increase the volume
slowly over a couple of bars, then switch the Leslie to FAST as you reach peak
volume.
• Glissando techniques work well in the guitar solo section (see exercise 10).
• Use a fatter 8 8 8 8 0 0 0 3 5 setting for your solo.
• Since there is no melody on this track, you can solo up to the guitar solo.
Thirteen IUW
@I)~ Thirteen
Intro: Optional:
I Upper B~ Preset -------. I Upper B~ Preset
1
Verse: Chorus:
Upper B~ Preset -------. Upper Bb Preset
1 1 1
Solo:
I Upper B~ Preset
Upper Manual (All Except "Optional"): Middle C
UllllHl!HIHl!UIUl!HIHl!HIHl!HI I
Upper Manual for "Optional" setting: Middle C
UllllUIH!IHl!HIHl!HIHl!rnrn!rn I
1111) PART Ill Tunes

Thirteen
Limina
Rock
Intro, guitar first 2 times, then bass and drums enter
Play 4 times
4I ll=/
E- C G D
2
7
z7 2
7
2
7
z7 2
7
2
7
z7 z7 2
7
7
7
2
7
2
7
2
7
z7 =I I
f
Verse
G c E- D
, , , , , r, r, z, r, rrz
4 rrr z 1r, ,
r ,
r z'Ir, , ,
rrz 'Ir, r, ,
rz'Ir, ,
r ,
rz'I r 1 , , 'Ir r r z
7 7 7 , ,
E- c F c G
, 7 7 'Ir,r,r,z'Ir, r, r, z, 1rrrz71r r rz
4, , , 'I
rrr z
Chorus
7
77
rrrz71r r r z rrrz
7 7
7 , ,
7 7 7
7 7 7 , ,
E- c G E- c D
'I , , , 'I 'I , , , 'I , , , 'I
4 'I , 7 7 r r r z r7r,r,z r r r z 1 r r r z rrrz r r rz
r7r7r, z rrrz
, , , , 7 7 7 , ,
E- c G c D G
, , , 'I , , , 'I , , , 'I , , , 'I , , , 'Ir, rrz
, , 'Irrrz
, 7 , 'I
4 r r r z r r r z rrrz r7 rrz
7 7 71r rrz r r r z
87 E- D c
4 z7 2
7
2
Half time feel, guitar solo

7
2
7
7
7
2
7
2
7
2
7
2
7
2
7
z7 2
7
0
z
Jo
4~//,Z ~/~/ z 7
c
z 7
z 7
I
7
2
7
2
7
2
7
z 7
z 7
I
G
2
7
z 7
z
7
z 7
G7/8
2
7
z 7
2
7
z 7
c
2
7
7
7
z7 2
7
Cildim G/D 87/0 ~ E- c
4 r
7
r7 r7 r7
Guitar solo cont.

r
7
r7 r7 r7 r7 r7 r7 r7 r7 z-7 r7 r7 r7 r7 r7 r 7 r7 r7 r7 r7 II
F/G C/G G Play 4 times
411:/ 2
7
2
7
2
7
2
7
2
7
2
7
z7 2
7
2
7
2
7
2
7
2
7
I
7
2
7
2
7
=I I
ff
Organ solo
F c G
411: / 2
7
2
7
2
7
2
7
I
7
2
7
z 7
z7 z7 z7 z7 2
7
2
7
2
7
2
7
=I I
Form: Open for comping; solo last 4 repeating bars
Thirteen DDI
Going Gone
This one is a funky blues with a two-bar break at the end for solo fills.
• Try the suggested drawbar settings on the music.
• Experiment with Leslie speeds and chorus settings.
• Use the triads to create funky comping parts.
• Try two-hand funk technique as demonstrated in exercise 18.
• This track starts with an organ solo for two choruses. Be careful not to rush the
time during the two-bar break.
• Experiment with percussion sounds on the upper B preset.
• Comp for the sax solo. Try to come up with a part that complements the guitar.
• Try sustaining the 81>7 and C7 chords.
- - - - Upper Bb Preset --~ - - - - U p p e r Bb Preset --~
-
~---·Upper Bb Preset - - -
-
b
Upper Manual (First Two Drawbar Settings): Middle C
·upper Manual (Third Drawbar Setting): Middle C
PART Ill Tunes

Going Gone
Funk
G7
~ Ill: / / r r I r r r r I r r r r I r r r r
Solo Fills
- - I
=I
Form: organ 2 times, tenor sax 2 times
Comping Ideas
B ~7 C7 G7 Break
Going Gone Ila

Suggested Listening
To explore some great Hammond playing, check out recordings by these artists.
Artist Genre
Allman Brothers Band
(Greg Allman, organ) rock
Booker T & the MGs
(Booker T. J ones, organ) funky rock
Boston
(Tom Sholtz, organ) rock
Wild Bill Davis jazz/ blues
J oey De f rancesco j azz
Deep Purple
(John Lord, organ) rock
Bill Dogge tt j azz/blues
Charles Earland soul/jazz
Emerson Lake and Palmer
(Keith Emerson, organ) rock
Larry Goldings jazz
Richard "Groove" Holmes j azz
Bruce Katz blues/jazz
Al Kooper rock
Chuck Laevell rock
Hank Marr blues/jazz
Jack McDuff jazz/ blues
Jimmy McGriff j azz/blues
Medeski, Martin, and Wood
(John Medeski, organ) jazz
The Meters
(Art Neville, organ) New Orleans Funk
Niacin
(Jo hn Novello, organ) rock/ fusion
Don Patterson jazz
John Patton j azz
Phish
(Page McConnell, organ) rock
Billy Preston funk/ gospel
Do n Pullen jazz
Santana
(Greg Rolie, Chester Thompson,
Tom Coster) rock
Shirley Scott soul/jazz
Sly and the Family Stone
(Sly Stone, organ) funk
Jimmy Smith jazz
Dr. Lonnie Smith jazz
Soulive groove/jazz
Richard Tee gospel/pop/ fun k
Benmont Tench rock
mJ PART Ill Tunes

TonyZ blues
Tower of Power funk / rock
Steve Winwood rock
Bernie Wo1Tell funk
The Young Rascals
(Felix Cavaliere, organ) rock
Larry Young jazz
Technical Assistance
For technical assistance with your Hammond o rgan or to locate hard-to-find
parts, contact:
Goff Professional www.goffprof.com
CD Credits
Recorded at Straight Up Studios, Arli ngton, Mass.
Engineer ................................................................................................ Larry Luddeke
Hammond 8 3, Wurlitzer e lectric piano ................................................ Dave Limina
Bass ..........................................................................................................Artthony Vitti
Drums .......................................................................................................... Larry Finn
Guitar .................................................................................................. George McCaan
Tenor Sax .................................................................................................. Don Houge
Guitar on "Mercy Train" ............................................................................Kevin Barry
Suggested listening
About the Author
Dave Limina has been a full-time professional keyboardist for over fifteen years.
He has also been an assistant professor in the piano department at Berklee
College of Music in Boston, Mass. for nearly ten years. During this
i}i I.
time, Dave has performed throughout the United States, Canada,
and Europe with many artists. Known for his command of many
.- contemporary styles, Dave is a sought-after player in many situa-
tions. He has performed with jazz musicians like Ernie Watts and
Mark Murphy, blues artists like Mighty Sam McClain, Michelle
Willson, Ronnie Earl, Susan Tedeschi, and Duke Robillard, and
pop/ rock musicians Steve Forbert, Chuck Berry, Brooke Benton,
Paula Cole, Al Kooper, and the Courage Brothers. He has played
keyboards for the Broadway show Rent and appeared on many
recordings as a studio player.
Dave has also put his broad-ranged experience to work in an

instructional video produced by Rittor Music ofJ apan. This multi-
style video, titled Accekrate Your Keyboard Playing, has been a top
seller. It is available in music stores throughout japan and the
United States. For more information, visit www.berkleepress.com.
Dave has been a highly requested teacher at Berklee, where he

received the "Most Valuable Contribution to the Curriculum"
award in 2001 for creating the college's first courses on Hammond
organ techniques and roots/ blues styles for piano.
For more information, visit his Web site: www.davelimina.com
About the Author

Dave Limina - Hammond Organ Complete

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ISBN: 0-87639-022-X HL: 50448034 DVD S1 9.9S • Featuring Ricardo Monzon

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Printed in the United States of Ame rica

I Berklee In the Pocket Series

I Arranging for Large Jazz Ensemble

Jazz Composition: Theory and Practice

1lsBN~ 0-87G39-046-7 : HL: 50448043 L BOOK :_s2~? -

Dedicated to the memory ofJoe DiTomasia,

1 2 Exercise 1. Dive In: Two Hands, One Foot

Throughout the 1980s, the advent of affordable polyphonic synthesizers

A good way to clear up the initial confusion is to follow a s1tep-by-step process.

You do not have to be a foot-pedal-bass playing, comping, soloing, one-person

Almost every musical sound we hear is actually a combination of several simulta-

- PART I The Hammond Organ and Other Drawbar Organs

The harmonic overtone series based on the fundamental C ·

Sub- Seventh harmonic

fit. 2. Overtone series as it corresponds to the Hammond and to pipe organs

About the Hammond Organ m

Fig. 3. Hammond 83 Fig. 4. Hammond Cl case, with C3 components

Fig. S. Hammond A-100 Fig. 6. Hammond C2

..._.114 Suzuki Drawlt11 Kejlto...

Fig. 11. New CX3

Standard Hammond Controls

Ill) PART I The Hammond Organ ancl Other Orawbar Organs

Default Setting (Home Base)

• Upper B~ preset fo r real time drawbar changing and general comping

• Upper B preset for the classic jazz percussion sound

• Lower B preset for left-hand bass

• Lower Bb preset for left-hand comping

• Bass pedal drawbars

Standard Hcimmond Controls

Consonant Harmonic Drawbars

Fig. 15. Sound groups and consonant/dissonant drowbars

• Using the Drawbars

PART I The Hammond Organ and Other Drawbar Organs

• subfundamental • sub-3rd harmonic • fundamental

• 2nd harmonic • 3rd harmonic • 4th harmonic

• 5th harmonic • 6th harmonic • 8th harmonic

Standard Hammond Controls

Style Classic Settings Variations

888000060 888000007 858000000

Left-hand bass r~ - -11., 111 • 11,.

Left-hand comping "1!1-11_

Left-hand comping variations

"I I "I ..,........

Mellow 8va (fundamental)

568000000 568000004 568000008

Style Classic Settings Variations

Funky sizzle r,. . ..11.1

Classic block chord

UPPER MANUAL LOWER MANUAL