| Hammond organ and lead synth sounds can be used | | | | when utilising a common playing technique. Hammond |
| in a highly effective way in a worship context, | | | | organ players often use long glissandos up to a held |
| however the use of both of these sounds is heavily | | | | note (or chord) in the higher register of the |
| dependent on the role of the keyboard player within | | | | instrument. These can sometimes even be played |
| the band. These types of sound will tend to be used | | | | with the forearm (and often with the palm of the |
| where there is already a reasonably full band to start | | | | hand). These can be used to great effect when |
| with. This means that they will be most appropriate | | | | building from a verse into the chorus of a song |
| when there is already a full rhythm section. In | | | | where the feel wants to be built up greatly. Smaller |
| practice this is likely to mean a group with drums, | | | | glissandos can also be used between different chords |
| bass, rhythm guitar and either another guitar (electric) | | | | and this is a very common playing effect. |
| or someone playing first keys (who is likely to use | | | | Another technique which is often used is to play |
| mainly piano and electric piano sounds). As a rule of | | | | melodic figures (around chord notes) underneath a |
| thumb it would be unwise to overuse either type of | | | | held higher note. To use this technique it is important |
| sound in a much smaller band. | | | | to find a note which will fit with a number of chords |
| Hammond organs (and synthesised emulations of | | | | in a row so that this can be held over the top of the |
| their sound) are commonplace in many styles of | | | | movement underneath it. |
| modern music from rock to R&B. Originally | | | | It is also possible to use Hammond organ sounds to |
| intended as a cheaper alternative to the pipe organ, | | | | play lead line melodies maybe in an introduction. If this |
| the Hammond organ was taken up by gospel and | | | | is going to be used along with any of the other |
| jazz artists because of its distinctive sound and the | | | | styles of playing outlined above it is important to |
| many possible variations in tone. These variations are | | | | change the volume of the keyboard carefully so that |
| selected using nine drawbars (per manual) each of | | | | this line is loud enough without chordal playing |
| which triggers a different note in the harmonic series | | | | becoming too dominant in the mix. |
| for every key. Each drawbar has eight volume | | | | The last important point to make about Hammond |
| settings and it is the combination of these plus | | | | organ sounds is the possible use of a Leslie speaker |
| vibrato, percussion, overdrive and reverb effects | | | | effect. Many keyboards and all good Hammond organ |
| which make up the overall sound of the Hammond | | | | emulators now include the option for adding this |
| organ. | | | | 'swirling' effect to the sound. To gain the best effect |
| In reality many of us will rely on preset sounds and | | | | from the use of a Leslie simulator it is necessary to |
| patches rather than being able to create our own | | | | turn it on and off (or from fast to slow) whilst |
| using dedicated hardware or software. A number of | | | | playing. This often necessitates playing mainly with |
| keyboards now offer the ability to alter drawbar and | | | | one hand and keeping the other free to push the |
| effects settings but there are still a great many | | | | button or turn the modulation wheel. Some of these |
| which do not. Most general purpose synthesizers | | | | techniques are demonstrated on the Musicademy |
| have Hammond organ sounds on their ranks but | | | | Intermediate Worship Keyboard Intermediate DVDs. |
| these may be known by different names. They could | | | | Lead synth sounds are much quicker and easier to |
| be B3, rock organ, jazz organ, full bars, soft organ | | | | deal with than Hammond organs. This is partly |
| and other similar names. | | | | because they are only used infrequently in a worship |
| There are a number of different ways to use | | | | setting. You will find different lead sounds in many |
| Hammond organ sounds which I shall outline briefly. | | | | keyboards and these include Saw leads, Sine leads |
| The first is similar to the way one would use a pad | | | | and Square leads along with numerous others. Most |
| sound - playing chords to support the harmonic | | | | of the names relate to the shape of the wave which |
| movement of a song. This is a very common way of | | | | creates the sound. By their nature lead sounds will |
| using the sound as it can be much more immediate | | | | often be quite harsh so that they cut through the |
| than a pad sound and also cuts through the mix lot | | | | mix. The best use for these sounds is to create lead |
| better. You can use this style of playing in both fast, | | | | melody lines for introductions and links. It is very |
| powerful songs and more ballad-like settings. Be | | | | easy for these sounds to conflict with a lead guitar |
| careful when selecting sounds for different songs and | | | | part if they are playing different things. However, if |
| make sure that the power of the sound matches the | | | | both instruments play the same riff or melody a very |
| feel of the music. | | | | effective sound can result. |
| With any style of Hammond organ playing it is | | | | When dealing with any new sound one of the best |
| extremely important to keep everything in the | | | | things we can do is to listen widely and try to hear |
| correct register. The lower parts of this kind of | | | | the application of these voices in different styles of |
| sound can muddy up the lower and middle parts of | | | | music. Try to imitate or emulate these uses, even |
| the overall mix so these are best avoided for all but | | | | playing along with the track at home if possible. Try |
| fleeting moments - it is better to keep most playing | | | | things out in rehearsals and see if it works but don't |
| more than an octave above middle C for comfort. | | | | go ahead and use new ideas in a live environment |
| One time when a lower register may be used is | | | | until you are comfortable with them. |