Charakteristische Hammond-Techniken
Mit
Joe GlossopIn diesem Abschnitt spricht Joe über die Art von musikalischer Sprache und die Techniken, die für die Hammond einzigartig sind; damit klingst du beim Spielen wie ein Organist und nicht wie ein Pianist, der Orgel spielt
Die klassischen Versionen der Stücke aus diesem Kurs kannst du in Joes Spotify-Playlist hören schau sie dir hier an.
Das steckt im Kurs
45 Lektionen (3h 0m) · 1 gratis
01. Interpretation: 'Green Onions' von Booker T
3:01
02. Sounds: 'Green Onions' Booker T
3:08
03. Das Stück spielen: 'Green Onions' von Booker T
8:21
04. Lead-Lines: 'Green Onions' Booker T
4:43
05. Basslinie: 'Green Onions' Booker T
2:01
06. Aufführung: Jimmy McGriff - All About My Girl
3:43
07. Aufführung aus Keyboard-Sicht: Jimmy McGriff - All About My Girl
3:43
08. Sounds: 'All About My Girl' - Jimmy McGriff
4:01
09. Intro: 'All About My Girl' - Jimmy McGriff
2:10
10. Das Thema spielen: 'All About My Girl' - Jimmy McGriff
2:58
11. Basslinie: 'All About My Girl' - Jimmy McGriff
1:52
12. Schluss: 'All About My Girl' - Jimmy McGriff
1:51
13. Improvisation und Comping: 'All About My Girl' - Jimmy McGriff
4:38
01. A Change is Gonna Come' - Sam Cooke
7:46
02. Keyboard-Ansicht: 'A Change is Gonna Come' - Sam Cooke
1:20
03. La La means I love you' - Booker T
5:39
04. Keyboard-Ansicht: 'La La means I love you' - Booker T
2:25
05. Groovin' Booker T & the MGs
4:57
06. Keyboard-Ansicht: 'Groovin' ' - Booker T & the MGs
1:15
07. Time is Tight' - Booker T & the MGs
5:31
08. Keyboard-Ansicht: 'Time is Tight' - Booker T & the MGs
1:39
09. 'The Girl from Ipanema' - Antonio Carlos Jobim
6:17
10. Keyboard-Ansicht: ‘The Girl from Ipanema’ - Antonio Carlos Jobim
2:36
11. Blues nach 'Blue Bash' - Jimmy Smith
7:59
12. Keyboard-Ansicht: Blues nach 'Blue Bash' - Jimmy Smith
3:24
13. Walk on the Wild Side' M-series-Jam - Jimmy Smith
6:44
Transkript der Lektion
Distinctive Hammond Language
Okay, so we're going to talk about a bit of distinctive Hammond language for you. This includes techniques that you will only really achieve on an organ and may not even sound good on another instrument.
Fast Repeated Notes
One thing is a kind of fast repeated note that's made possible by the action of the organ and by the fact that you don't get all the harmonics at the same time.
- It really encourages you to play it in the Hammond key.
- It's very responsive, and you really can't play that quite fast.
I typically do it with my thumb and forefinger, but you can do it however you want. Some people just use one finger, which feels a bit messy for me. So, I like to rock between them.
You can actually put a few things in between if you prefer that style, it's quite a Jimmy Smith thing to do.
Changing Drawbar Settings
We also have the possibility of holding a note and just changing the drawbar settings. It sounds quite obvious, but it's really effective.
- When you have a simple, nice little riff and are adjusting the drawbars, you're going to lose volume.
- You can compensate for this by using the swell pedal.
As you go for the desired drawbar setting to achieve the tone you want, remember:
- As those drawbars go in, push the swell pedal in so you don't lose too much actual level.
Percussive Techniques
One more thing is the percussive, scratchy, chokey sound you sometimes hear on records. A lot of the time, it's on the bottom manual, but you can also achieve it on the top with more of a gospel-like feel.
- This technique combines a bit of thumb action, but mostly uses the palms.
For example, in the key of C, you might play a bluesy lick followed by a walk down to F, B flat, F.
This is actually reminiscent of a track called "Love the One You're With," specifically the Aretha Franklin Live At Fillmore West version where Billy Preston plays. He's possibly my favorite player of all, an incredible musician!
Matching Parts to Tone
Also, you could work on the second harmonic; however, you don't want to use your percussion once you've engaged the harmonic, as it tends to become messy and sounds too clunky.
- Always match the part to the tone.
For your percussion, try something more subtle and fitting.
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Joe Glossop ist ein Keyboarder aus Sheffield, der sich an der Hammond-Orgel einen Namen gemacht hat. Derzeit hat er den Orgelplatz in Tom Jones' Tourband inne und hat mit Van Morrison und James Hunter gespielt, ebenso an Klavier und Rhodes. Seine Kurse holen den echten Hammond-Sound aus jedem Keyboard heraus: die Zugriegel-Registrierung, das Leslie, den Walking Bass der linken Hand und das Begleit- und Solovokabular der Soul-Jazz-, Blues- und Rock-Orgeltraditionen, von Jimmy Smith bis Booker T.
