Dave Limina - Hammond Organ Complete [PDF]

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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.

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Bass Pedal Technique in Four Keys

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This exercise will help you develop your pedal technique and enhance your 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 and the "black" pedals with your toe or the upper part of your foot. Learn the 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. ·

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EXERCISE 11

Blues Techniques in Four Keys

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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.

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EXERCISE 11 Blues Techniques in Four Keys

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PART II Exercises

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Blues Techniques in Four Keys

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EXERCISE 12

Blues Comping Techniques

Vibrato Swell

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 hands with the track panned right. This is a true organ trio blues. Practice grooving with the drums while maintaining independence between your hands. Experiment with laying back the time with your right hand, playing a little behind the beat while keeping the left-hand bass line steady with the drums. Pay special attention to the grace notes.

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PART II

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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.

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The root and flatted third of a chord and the fifth and seven th degree of a dominant seventh chord are used often. They are featured in th is exercise. Sputter. Use two or three fingers to rapidly repeat a note. I call this "sputter" 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 .

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PART II

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PART II

Exercises

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EXERCISE 15

Left- Hand Bass and Foldback Awareness in Four Keys This exercise provides left-hand bass line practice and foldback awareness.

Vibrato Swell

On Vibrato Great

Some players alter the shape of their bass lin es to accommodate the foldbackthe point where the octave repeats itself. This exercise plays around the break at 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 have otherwise d iscovered.

On Vibrato and Chorus C3

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Some players tap the heel of their left foot on the bass pedals every quarter note to create a thumping effect that adds to the swing feel. When performing lefthand bass o n a swing tune like this, some players also pulse an accent on the expression pedal each quarter note. This enhances the swing feel, creating the well-known driving organ swing. Make sure that you don't move the pedal too much. This can be overbearing and detract from the desired effect.

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Play the exercise in G with CD track 27. Play the other keys with the drums on track 28.

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I Upper and Lower Manual: Middle C

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

G7

C7

07

_...,E7 .. _, ... _, - -

A7

G

07

G

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C7

G13

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PART II Exercises

•

~

-

. ....

-

~~ Left-Hand Bass and Foldback Awareness in Bb Swing

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EXERCISE 15

Left- Hand Bass and Foldback Awareness in Four Keys

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

C7

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v ....

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(8vbt --- ------------------------ ---- -- ----- ----------------------------------

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(8 vb)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

PART II Exercises

C13

J

~~ 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 you a classic Hammond trick: employing two manuals with two different timbres to achieve a unique glissando sound. Richard "Groove" Holmes used it often. Use a strong pedal stab to emphasize lower-manual accented notes.

Leslie Fast

~---

Upper B~ Preset

---~

~---

Lower B Preset

---~

Upper and Lower Manual: Middle C

PART II

Exercises

~~ Manual Jumps Medium Swing

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-

,.,. ,.,.

Manual Jumps

llD

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 the full organ block-chord effect. The effectiveness of block chord technique 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.")

Leslie

Faat

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.

~---

Upper

B~

~---

Lower B Preset - - - -

Preset

Upper and Lower Manual: Middle C

PART II

Exercises

---~

,-------------- -------- ------------------- ----------- -----------'

EXERCISE 18 Funk Techniques in Four Keys

miiJ

~~ Funk Techniques in Bb Straight-Eighth Funk 8~7

~

Bass pedals optional

I

~h· 111= w

w

J

J

J

J

J

J

BW---------------------------------------------- ---------------------

(8wt ----------------------------- ------ -------------------- ------------ -8~7

(8w)-------------------------------- ------ ---------------- ---------j

PART II

Exercises

I

=I

EXERCISE 19

Leslie Slow

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 louder section, or change the sound to suit different sections of a tune. It's .iust 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

---~

Upper and Lower Manual: Middle C

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

A- 7

GMaj7

07

-

Change to B7(#9,b13) upper B preset

GMaj7

E-(Maj7)

*

-

E- 7

:...-----...

.= -------

A7

x

x

fast

slow

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x slow

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 3 and 4:

Bars 1and2: ~--

Upper Bb Preset -

-----.

~--

Upper Bb Preset - - - - - ,

..

Upper and Lower Manual: Middle C

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.

•

-

@I)~ Walking Bass Line Pedal Technique in G

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EXERCISE 20 Walking Bass Line Pedal Technique in Four Keys

llilJ

@9~

Walking Bass Line Pedal Technique in Eb

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(8 vb)-- ------------------ - -- - ------------------ --- --- -----------· #/B~ E~13 C7{ll9) F-7 Ab/B~ E~ 1 3 F-7

~ (8vb)- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

PART II Exercises

I

@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

Percussion

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. Here's a few u nconventional tricks that players have developed over the years.

OnlNonnal/Slow/Second

Leslie

A. Percussion Only Use the B preset on the upper manual with all the drawbars pushed in. Set the 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.

Fest

-

- --

Upper B Preset -

- --

- - - - Lower B Preset - - - -

Upper Manual: Middle C

Lower Manual: Middle C

UIW !'l!!,I!'In' I!'I!'' I!'I!!,I!'I!!,I

I

PART II

Exercises

@9 R &B

Percussion Only

-

D/A

G/A

D/A

...-..

EXERCISE 21 Special Effects

OJI

llD

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 trill between the two while holding the cancel key down. Play chord s or solo licks with your right hand. Experiment with d ifferent preset choices.

~eslle

Slow

Fig. 42. Fake effect pedal

PART II

Exercises

EJ

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 with the drums on track 48.

Leslie

Stow

- --

Upper B~ Preset - - -

Upper and Lower Manual: Middle C

UllllU l !UIU l !UIU l !UIH l !H I U l ~rn I

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 later. Next, gliss quickly all the way down with your left hand, then slowly up 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.

Leslie

Fast

. - - - - Upper Bb Preset - - - - . .

~---

Lower Bb Preset ---~

Upper and Lower Manual: Middle C

PART II

Exercises

@!I)~ Super-Crunch Gliss

fl

- -

I

t.J

x

slow

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--

EXERCISE 21 special Effects

Elm

College Credit Online Certificate Programs And Courses Now Available From

Berklee Imusic.com .

extension school

Areas of Study Include:

0 0 0 0

0 0

Production Theory, Harmony, & Ear Training Songwriting Arranging Music Business Guitar

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 demonstration 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 Vibrato Great

Off Vibrato and Chorus

• Play the melody along with the sax, using the classic jazz setting with your right hand on the upper manual, and comp with the left-hand comp setting on the 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 works great for comping, also.

C2 Percussion

On/SoftJFast!Third

• Solo with the classic jazz setting on the upper B drawbar bank while comping with your left hand. • Experiment with percussion settings.

Leslie

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

---~

- - - Lower B~

I ~

- I

b

-

':~

Upper and Lower Manual: Middle C

PART Ill

Tunes

-0

Preset

---~

Honeymoon for Millie Limina Medium Swing E~

8~7

C- 7

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x ' i -t

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- - - - - - .. I

I

I

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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

• Try the suggested drawbar settings, then experiment.

Off 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 - --

.-- --

Lower Bb Preset -

Upper and Lower Manual: Middle C

PART Ill

Tunes

- - - Upper Bb Preset -

--

-

1

-

-

- --

-

--

-

- -- - Upper Bb Preset - - - -

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

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E7

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Chord voicings and comping ideas

E7

~

_

C1

Swampness

IID

IE)

Rhythm Changes Vibrato Swell

Practice comping and soloing with these common chord changes. (There is no melody on this track.)

On Vibrato Great

Off Vib!'llto and Chorus

C2 Percussion

On/Soft/Fast/Thlrcl'

• Try comping with two hands, right hand on the upper manual, left hand on the lower. Play voicings that you would play on the piano. • Try the classic jazz setting for your solo, and comp with the left-hand comp setting on the lower manual. • 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

• The Leslie is usually set to SLOW in this jazz style.

Slow

• Try a bluesy block chord solo, in the style of exercise 17.

,....----Upper B~ Preset

---~

Left-hand comp: ~---Lower B~

Preset

Upper and Lower Manual: Middle C

PART Ill

Tunes

---~

~---

Upper B Preset

---~

~~

Rhythm Changes

Medium Swing C -7

BbMaj7 G7

' ' ' ' ' '

I ll=z- r 7

7

r7 r7

IT

B b/F

G7

r7 z-7

T

BbMaj7

BbMaj7/D Eb7

T

7

z-7

7

T

7

7

C-7

r7

T

IT

7

7

F7

2

z r7 r7 r7 I

F7

r

7

r

7

T

Ir

E07

7

T

7

7

F7

r7 r7 I r7 r7 C- 7

G7

BbMaj7

r7

C- 7

BbMaj7 G7

r7 r7

7

Ir

T

B bMaj7 BbMaj7/D Eb7

7

T

Ir

F7 7

z- r

7 7 7 7 7 IT r r r Ir

T

7

r

7

7

Ir

7

r

7

r7

7

Ir

r

7

r7

T

z-7

C- 7

- 7

T

7

I

E 07

r7 r7 r7

Ir

7

T

7

7

r7

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Ir

r7 r7 r7

7

Ir

7

C-7

G7

7

r7 r 7

7

T

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T

7

T

7

I

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7

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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 Wurlitzer 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 voicings 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 - - - -

-

-

End Vamp Solo: -

-

~---

-

Upper B Preset - - --

-

- - Upper B~ Preset - - - - - .

Upper and Lower Manual: Middle C

II!IJ

PART Ill

Tunes

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Mercy Train Limina Funk R & B

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PART Ill

I

- 1 --1

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Anna's Dance Vibrato Swell

"Anna's Dance," a classic AABAjazz ballad, will give you a chance to play sophisticated voicings under a tenor sax melody.

On Vibrato Great

Off

• Experiment with expression pedal swells and drawbar settings. A common 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 Percussion On/Soft/Fast/Third

• Try the classic jazz setting for the organ solo, and comp with the left-hand comp setting on the lower manual. • 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 exercise 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 ---~

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..

Upper Manual: Middle C

Lower Manual: Middle C

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Anna's Dance

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Anna's Dance Limina Ballad

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PART Ill

Tunes

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Jimmy Shuffle Vibrato Swell

'J immy Shuffle" is a classic 1960s organ shuffle inspired by Jimmy McGriff. This block chord style was explored in exercise 17.

On Vibrato Great

On

• 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 manual for the last chorus of the guitar solo.

Vibrato and Chorus C3 Percussion

On/Soft/Fast/Third

• Try the classic jazz setting for a solo with C3 chorus on the upper manual and the Leslie on SLOW. Co.mp with your left hand on the lower manual. • 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 - - - - ,

Bass:

Comp: ~---

...---- - Upper B Preset - - - - ,

Lower

B~

Preset - - - - ,

. - - -- - Lower B Preset - --

Upper Manual: Middle C

Lower Manual (Comping): Middle C

UllllU IH~ I U l !nlH l !nlU l !nlH l !nl I Lower Manual (Bass): Middle C

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PART Ill

Tunes

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-

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

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Thirteen Intro:

I

Optional: Upper B~ Preset -------.

I

Upper B~ Preset

1

Verse:

Chorus: Upper B~ Preset -------.

1

1

Upper Bb Preset

1

Solo:

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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 PART Ill

Tunes

I

Thirteen Limina Rock

Intro, guitar first 2 times, then bass and drums enter

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C 2

7

z7

2

7

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z7

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2

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2

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z7

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2

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2

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2

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2

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7

7

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7

Play 4 times

G

C/G

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r7 r7 r7 r7 II

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F/G

2

2

7

2

7

2

7

2

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2

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2

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411: /

2

7

2

c 7

2

7

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7

z

7

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z7

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2

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2

7

2

7

2

7

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

--~

~---·Upper Bb Preset - - -

-

b

Upper Manual (First Two Drawbar Settings): Middle C

·upper Manual (Third Drawbar Setting): Middle C

PART Ill

Tunes

- - - - U p p e r Bb Preset

--~

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

mJ

Suggested Listening To explore some great Hammond playing, check out recordings by these artists.

Artist Allman Brothers Band (Greg Allman, organ) Booker T & the MGs (Booker T. J ones, organ) Boston (Tom Sholtz, organ) Wild Bill Davis J oey De f rancesco Deep Purple (John Lord, organ) Bill Dogge tt Charles Earland Emerson Lake and Palmer (Keith Emerson, organ) Larry Goldings Richard "Groove" Holmes Bruce Katz Al Kooper Chuck Laevell Hank Marr Jack McDuff Jimmy McGriff Medeski, Martin, and Wood (John Medeski, organ) The Meters (Art Neville, organ) Niacin (Jo hn Novello, organ) Don Patterson John Patton Phish (Page McConnell, organ) Billy Preston Do n Pullen Santana (Greg Rolie, Chester Thompson, Tom Coster) Shirley Scott Sly and the Family Stone (Sly Stone, organ) Jimmy Smith Dr. Lonnie Smith Soulive Richard Tee Benmont Tench

PART Ill

Tunes

Genre rock funky rock rock jazz/ blues j azz rock j azz/blues soul/jazz rock jazz j azz blues/jazz rock rock blues/jazz jazz/ blues j azz/blues jazz New Orleans Funk rock/ fusion jazz j azz rock funk/ gospel jazz

rock soul/jazz funk jazz jazz groove/jazz gospel/pop/ fun k rock

TonyZ Tower of Power Steve Winwood Bernie Wo1Tell The Young Rascals (Felix Cavaliere, organ) Larry Young

blues funk / rock rock funk rock 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

i}i

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 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 situations. 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.

I.

Dave has also put his broad-ranged experience to work in an instructional video produced by Rittor Music ofJ apan. This multistyle 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