Thinking and playing like an organist

Understanding the Organ

So, playing the organ is a very different beast from the piano.

I started on piano, as many of you will, I imagine. At first, you don't really have an idea of what you're aiming for.

Key Differences

• Sound and Feel: It's not just about the difference in the sound or the feel of the keys.
• Role in a Track: Understanding what your role is in a track can be quite challenging, especially when switching back into the organ mindset after playing more piano.

Mindset Shift

If you've been playing piano, say, in bands or on keyboards, you have to get out of a mindset of trying to do too much or trying to mark too much.

• You need to see yourself more as a luxury layer that can sprinkle a bit of something here and there to embellish or support and then get out of the way.

This is particularly crucial in bands with singers, where you're not the lead, where you're not the focus.

The Skill of Support

Using the right tones for the right part at just the right moment and then backing out is the real skill.

• The notes come more easily if you're already a player.
• The true challenge lies in having the taste and knowledge to know when not to play and how to sculpt your sound around what's happening.

The Importance of Listening

Listening is key. I think that's the most important difference.

Exemplary Artists to Study

For some great examples of how to play in that supportive way, check out:

• Billy Preston: He is phenomenal on Aretha's Live at the Fillmore West album and King Curtis's Live at the Fillmore West album. His ability to sculpt sound is unbelievable. One minute he's supporting the vocal with a pad, then playing an incredible rhythm bit that drives with the drums, reacting to others, and choosing the right sound at the right moment.

• Ken Luppa: Featured on Aretha's Amazing Grace album, recorded live in a church. I've never found him on any other record, but he's incredible and similar in style to Billy Preston.

• Steve Winwood: Anything with him is worth a look, including his work with the Spencer Davis Group and Traffic. He knows how to make the instrument sing and get all the different sounds.

• Booker T: His approach to lead playing isn't in your face; a lot of it involves using tones and sculpting around while employing the swell pedal.

Conclusion

So, guys, this is an incredible instrument.

• It's very expressive.
• It's very rewarding.
• It's very exciting.

Let's find out how you really get those cool magic sounds out of it!