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Take The Hammond Organ Course
Play while you learn. This easy-
to-take Hammond Organ Course is
a proven success. And it's a nat-
ural for you and the family. It
starts with easy tunes in Part I,
and continues in Parts II and III to
progressively more challenging
pieces ending with Part IV. de-
signed to bring you to a high peak
of organ proficiency. You'll be ex-
posed to 100 solo arrangements in
all! A student manual, keyboard
guides, pedal markers, and "flash
card" games are included. Ask your
local dealer about obtaining this
enjoyable and highly successful
course today,
Have Fun With Your Hammond
You own one of the world's great
sounding instruments. Play it. Dis-
cover the exciting effects you can
gel. Let the Hammond Organ
Course expose you to the fun of
learning new arrangements. Ask
your local deafer about the Ham-
mond Organ concerts in your area.
And join the Hammond Organ So-
ciety. You'll learn new tips and
techniques, see instructional films,
and meet new friends. You'll
achieve new levels of satisfac- ■■■■
tton through your Hammond. |mI
PLAYING INTRODUCTION
How to Start the Organ Page 2
The Pedal Keyboard Page 2
The Expression Pedal Page 3
Meet Your New Hammond Organ Page 4
Beginners Tune "Merrily We Roll Along" Page 6
YOUR HAMMOND ORGAN
Features Page 8
The T-lOO, T-200 Series (Diagram Illustration) Page 9
The Keyboard and Controls Page 10
Upper and Lower Preset Page 12
Vibrato Variations Page 13
Reverberation Page 13
Organ Volume and Brilliance Page 13
Percussion Voices Page 14
Cymbal and Brush Page 15
Pedal Tones Page 16
Two-speed Leslie T-200 Series Page 16
THE HARMONIC DRAWBARS Page 17
Colors of the Drawbars Page 18
Registering the Tone Families Page 20
The Flute and Reed Family Page 21
The Diapason and String Family Page 22
Using Correct Volume and Range Page 23
Drawbar Registrations on Published Music Page 24
Listings of Drawbar Registrations Page 25
MUSIC SECTION
"Silent Night" Page 27
"Long, Long Ago" Page 28
"Twinkle, Twinkle, Little Star" Page 29
"Good-Night, Ladies" Page 29
"Home Sweet Home" Page 30
Chimes "Sweet Hour of Prayer" Page 31
Celesta "Brahms Lullaby" Page 32
Hawaiian Guitar "Aloha Oe" Page 33
Marimba "Celito Lindo" Page 34
Xylophone "Skaters Waltz" Page35
Rhythm Effects "Du, Du, Liegst Mil Im Herzen" Page 36
Banjo "Oh Susanna" Page 37
String Bass Effects Page 38
HOW TO PRACTICE Page 39
LANGUAGE OF MUSIC (CHART) Page 40
MUSIC GLOSSARY Page 42
FACTS YOU SHOULD KNOW
Care and Maintenance .' Page 44
Accessories Page 44
HI HAMMOND ORGAN COMPANY
Page 1 nil DIVISrON OF HAMMOND CORPORATION
COPYRIGHT 1867
PLAYING INTRODUCTION
TURN THE ORGAN ON
At the top right hand comer of the organ, above the upper
manual, you will find a single toggle switch. Push the switch
up into the "ON" position. To shut off the organ simply push
the switch down to the "OFF" position. A small pilot light is
located to the left of the switch, letting you know at a glance
whether the organ is ON or OFF. For the moment, let's leave
the organ running so you can try out the various suggestions
that follow.
THE PEDAL KEYBOARD
To the left of the front panel, and close to the floor, you wiU
find the pedal keyboard, consisting of thirteen bass notes,
which correspond exactly to the same thirteen notes on the
manuals, except that they are lower in pitch. The pedal notes
provide 16' and 8' pitches and are designed to provide a deep,
rich background for the tonal colors of the manuals. These
pedals have been especially designed to simplify pedal play-
ing; where the foot plays the bass notes, the left hand then
is free to play the harmony, and the pedal note will blend
in smoothly since the foot can sustain the bass note as long
as desired.
Page 2
THE EXPRESSION PEDAL
(SWELL PEDAL)
To the right and just above the pedal keyboard is the expression pedal, which
you operate with your right foot, and with which you vary the volume of the
organ to create "expression." One reason it is so easy to play the organ is that,
unlike other keyboard instruments, you do not need to vary your touch nor
learn a difficult linger technique in order to provide expression for your music.
You play the manuals and pedals with a minimum of pressure (famous organ-
ists tell us that the Hammond Organ requires less physical effort than any
other instrument) and you use the expression pedal to let your music swell to
grand effects, die away to a thrilling whisper, and for all the many variations
of expression in between. Pressing forward with the front of your foot increases
the volume; pressing back with your heel decreases it.
KEYBOARD CONTROLS
The illustration above pictures the playing controls
as they will appear to you while seated at the instru-
ment. Each group of controls is labeled for simplicity
and convenience of operation. The function of each
tab is explained in detail in another section of this
guide.
For the moment, put all tablets in their "off"
or up position. Run your fingers across the bottoms
of each group of tablets making sure they are "off",
(up position). Also depress the rear of the tabs
located at the left end of the lower keyboard. On
the T-200 Series, depress the rear of the tabs lo-
cated at the right end of the lower keyboard
(Cymbal and Brush). Now, depress those tabs indi-
cated by an arrow in the illustration above. In the
case of tabs located at either end of the lower key-
board, depress the front of the tab or that end
•nearest the player.
To the left of the upper keyboard are three
groups of drawbars, the left group controlling tones
for the lower keyboard, the center, single drawbar
controlling pedal tones and the right hand group
controlling tones on the upper keyboard.
Hammond Harmonic Drawbars are moved in
and out as opposed to the tabs which move up and
down. You will notice that each drawbar has num-
bers on it (1 through 8 ) . Later you will learn how
to use these numbers to set up literally thousands
of different tones. At this point, however, push all
the drawbars in or to their "off" position. Now pull
the center drawbar out to 6 as shown in the ilJus-
stration.
Position yourself comfortably on the organ
bench at about the center of the instrument. Your
left foot should be able to reach the pedals. Put
your right foot on the expression or volume pedal.
BEGINNERS — Follow the outline on the next four pages and discover how truly easy and enjoyable
it is to play a tune on the Hammond Organ.
OTHERS — Those who have played an organ before may experiment with their favorite song, as the
instrument is ready to be played.
Page 3
It's easy to play the
Hammond orga/n
V" for two simp le reasons!
Sustained tone
By just pressing a key you sound a beautiful
ORGAN tone tinat continues to sound as long as
the key is down. A professional organist can not
make that one note sound any better than you
can. This permits the beginner to sound
professional from the very start.
'ess ion (loud and soft)
On the organ it is not necessary to
strike keys lightly or heavily to
produce changes in volume. All keys
may be played w/ith a light touch
because the volume or expression
pedal controls the loudness.
~r. «-• ,
^'ih
Page 4
^ Why two keyboards'^ (caned manuals)
\
\
The inelodjj
is played on the upper keyboard
using a solo tone of one color-
just as a solo instrument plays
the melody in an orchestra.
The accoitipaid/ifeif f
or background is played on the
lower keyboard using a softer
tone of a contrasting color -just
as the orchestra plays a soft
background for the solo instrument.
The bass
is played on another keyboard
called the pedal keyboard. These
low tones add depth and body and
rhythm to the music— just as
the bass violin adds these qualities
to the orchestra.
Page 5
Ho IV (JO (I do it I
r
w
"iiustnaBW^BBIO^r indicati
those tablets you are using (from
instructions on previous page).
■-■■■■'■"'-I
Qo
UPPER: Theater Brass 16'
PEDAL DRAWBAR: 6'
PEDAL TABS: Pedat Sustain,
16', Pedal Mute
VIBRATO: On (Nonnal)
LOWER: Ensembre 8'
LESLIE (T-200): On, Fast
PERCUSSION: Off
REVERBERATION: II
11 o
T-lOO
PLACE YOUR RIGHT HAND on the upper keyboard with your
thumb on middle C, index finger on D, middle finger on E, ring finger
on F, little finger on G. If you wish you may use the keyboard guide
'A" for the upper manual (Located inside the back cover of this book).
Keep your right hand in this position and play the melody notes of
"Merrily We Roll Along". Start with the middle finger.
Fingering
NOW... on the lower
keyboard we add the
chords, (you may use
keyboard guide 'B")-
Place little finger on G,
index finger on C and
thumb on E.
Keep little finger on G, move
index finger and thumb from C
and E to B and D (one note
to the left).
The first chord is
The next chord is
Mffll
THE PEDALS are next
. . . press either "C pedal
with the f C ; chord and
the "6" pedal with the
chord.
Fingering
togeth
"MERRILY WE ROLL ALONG"
5
©IBM
3 3
2 2 3 2
m — m — o
E E E
Easy. . .
and fun too-
wasn't it?
D D
D
The difference between the organ and
all other instruments lies in the fact that
the organist can vary the tones of his instrument.
He can have the sound of flutes, violins, trumpets,
theater organ sounds or church organ sounds
and all at virtually the touch of a finger.
Changing tones is called registration. For your
convenience there are three pre-set registrations
available on the upper keyboard. Press the tab
marked "Full Tibias 16' " and play
"Merrily We Roll Along" with a deep throated
theater organ sound. You may even wish
to try the "String 8'". Further on, you will discover
how easy it is to change registration
with the famous Hammond Harmonic Drawbars.
Page 7
Here is a capsule list of the features of your Hammond
Organ. These playing features will provide you with a
lifetime of musical pleasure, satisfaction and challenge.
The instrument's rugged construction will provide you
with a lifetime of trouble-free service.
Two 44 Note Manuals
Overhanging Keys
• 13-Note Pedalboard
• Exclusive Hammond Tone Wheel Generator
• Reverberation
• Four Preset Tabs
• Six Pre-Voiced Percussion Tones
Chimes Marimba
Celesta Xylophone
Guitar Banjo
• Percussion Reiteration
• Twin Mallet Reiteration on Xylophone — Marimba
• Vibrato, Vibrato Chorus & Celeste
• Pedal Legato
• String Bass (Pedal Sustain)
• Pedal Mute
• Cymbal & Brush (Rhythm Effects)
• Earphone Jack
• Two-Speed Leslie Speaker*^
• Built-in Tone Cabinet Connection
• 34 Watts of Music Power Output
•T-200 Series only
Page 8
T-100 SERIES -Left End Block Rocker Tabs
■STRING BASS-
PH^^^^H^H
11 PEDAL
n LEGATO
PEDAL 16'
SUSTAIN PEDAL
8'
PEDAL
MUTE
CYMBAL
PEDAL
BRUSH
LOWER
^^B^^^^^B^^M
^^■^^^■■i^^H
o
CYMBAL-BRUSH
VOLUME
Page 10
The illustrations picture the keyboard and the control tabs found on both the T-lOO and T-200 Series
Hammond Organs. All groups of controls as well as individual finger tabs (above the keyboards) and rocker
tabs located at either the left end or both ends of the lower keyboard are clearly marked for quick and
easy visual identification.
The control tabs are simple to operate and allow you to add great expression and variety of color to
your music at the touch of a finger.
You win notice that the difference between the T-lOO and the T-200 instruments is in the area of the
rocker tabs at the left end of the lower keyboard.
The T-200 pictured in the large illustration has the Cymbal and Brush controls located at the right
end of the lower keyboard to allow room for the two Leslie speaker controls located in the rocker tab
group at the left end of the lower keyboard.
The T-lOO Series instrument which does not have a built-in Leslie speaker houses the Cymbal and
Bfosfa rocker tabs in the lower left hand group of tabs.
On the following pages is a complete explanation of these controls. It will be to your advantage to
thoroughly familiarize yourself with their various uses and efEects.
Page 11
DRA>VBARS & PERCUSSION . . . This tab when depressed renders the tones set up on the
harmonic drawbars effective for the upper manual. It also serves to "Turn on" any percussion tab
depressed in the Percussion section. In its "up" position it renders the drawbar registration
sOent permitting only percussion voices to sound. Depressed, it permits a combination of draw-
bars plus percussion.
STRINGS 8' . . . Heavy upper harmonic development, organ string quality. Same as drawbar setting
of 00 8888 666.
FULL TIBIAS 16' . . . Produces a beautiful theatrical quality. Drawbar setting of 80 6808 006.
THEATER BRASS 16'... Combination of the more powerful tones available on the organ.
Drawbar setting of 84 8868 666.
DRA>VBARS . . . This tab when used renders the tone set up on the harmonic drawbars effective for
the lower manual.
ENSEMBLE 8'... A general purpose accompaniment tone used by most organists to balance with
upper presets or "full" drawbar combinations. Its voice is a combination of strings and orchestral
tones. Drawbar setting of 00 8666 444.
*One of these tabs must be depressed in order for the lower manual to sound. They
are always used one at a time and cannot be used in combination. Depressing
one tab releases the other.
Page 12
VI BR A"
VARIATIONS
The ejjects produced by the
Hammond Vibrato make your music
richer and fuller, and add greater
depth. Tones containing vibrato are
mvch more pleasing and less tiring
to the ear than even the most
beautiful tone without vibrato.
VIBRATO
ON
VIBRATO
SMALL
VIBRATO
CHORUS
VIBRATO
CELESTE
X
VIBRATO
CELESTE
It
This group of tabs controls the degree of Vibrato on both manuals. Only when you have the "VIBRATO
ON" tab depressed will any of the controls in this group be effective.
VIBRATO SMALL .
is "normal."
Pressing this tablet reduces the degree of vibrato. When it is up, the vibrato
wigp^l-Q CHORUS . . . The chorus eiTect (Sound of many voices) is a combination of vibrato
signal with direct signal. When used with the "Vibrato Small" tab the vibrato chorus effect will
become "small."
VIBRATO CELESTE I and II . . These tabs give a more theatrical effect similar to a blend
of several vibratos. The two tabs give different degrees of celeste, and the two can be used together
to give the maximum effect. Pressing the "vibrato small" tab will reduce the amount of celeste.
REVERBERATION
Reverberation, or "echo", is present in some degree
when listening to any music. Natural reverberation is
that part of any sound which reaches the ear by reflection
from walls, ceilings and floor, as distinguished from
the part which reaches the ear by a direct path through
the air from the source of the sound,
REVERBERATION I & II... These may be used
separately or in combination to give three degrees of
reverberation. You can set them to provide the cor-
rect amount of reverberation to compensate for the
lack of reflective sound which would be normally
present in an acoustically treated room.
ORGAN
VOLUME SOFT This tab is a volume control which
allows you to play either at normal or at "soft" vol-
ume. While you can also play the organ softly by
keeping the expression pedal partly closed, depressing
this tab reduces volume while giving you the entire
range of the expression pedal.
BRILLIANCE... Normally the organ produces a mellow
combination of voices. However, when extra brilliance
is desired on such families of tone as brass, reeds and
strings, the briUiance tab substantially brightens the
sound of the entire instrument.
Page 13
PERCUSSION VOICES
CHIMES
CELESTA
GUITAR
TWirj MALLET
MARIMBA
TWIN MALLET
XYLOPHONf
BANJO
REITERATE
Organ tones are nonnally "sustained" in that they
are steady in their loudness. The opposite of this is
"percussion," which refers to a tone that is not
steady and fades away gradually — like a piano,
chimes or a plucked string.
The addition of pre-set percussion voices to the
Hammond Organ opens the door to an entirely new
world of fascinating effects hke chimes, banjo,
marimba, xylophone, and others. The percussion
voices pictured above may be used individually,
combined with other percussion voices or combined
with drawbar tones. You'll find many hours of addi-
tional enjoyment with your Hammond Organ
through exploring the percussion possibilities.
All the voices of the percussion division are
made playable through the upper manual "draw-
bar" tab. It is marked "Drawbars and Percussion."
For instance, if you are playing a melody on the
upper manual using "Theater Brass 16' " and add
the preset "Banjo" tab, the "banjo" will not sound.
To hear the percussion voice either the tab
marked "Drawbars and Percussion" must be de-
pressed or the "Theater Brass 16' " tab must be
moved to its oiT position. In the latter case only the
percussion voice will sound. If the "Drawbars and
Percussion" tab is depressed you will hear the per-
cussion voice as well as the combination set up on
the upper manual drawbars.
Try the percussion voices one at a time. First,
however, turn oS or lift all four upper manual pre-
set tabs including "Drawbars and Percussion." As
you press each key you will notice that the tones
fade away while you are holding the key. This is a
true percussion efiect. For a pure percussion tone it
is suggested that the Leslie speaker, on the T-200
Series Model, not be used.
CHIMES . . . Provides a beautiful chime-like tone. Play in single note style, preferably in the range of
tubular chimes, from G below Middle C to the second G above Middle C.
CELESTA ... A beautiful 4 ft. celesta quality which may be used by itself or with a soft drawbar
setting such as 006000 000.
GUITAR . . . May be played in several ways. Played in single note fashion it has the characteristics of
the Spanish Guitar. It may be used to create the effect of the Flamenco Guitar by pressing the
Reiterate tab and adjusting the rate control to suit your taste. The Hawaiian Guitar effect may
also be created, an example of which is included in the music section.
MARIMBA ... An excellent choice for fast moving music using single notes or chords. When used
with reiteration a twin mallet effect is heard which lends greater authenticity to the sound.
XYLOPHONE . . . Also an excellent choice for fast moving music. May be used in single notes or
chords. As with the Marimba and Reiteration, produces a most authentic alternating twin mallet
effect.
BANJO . . . Debghtful for fast moving melodies in single notes or chords. With the Reiteration tab
down and the rate adjusted to suit your personal taste an exceptionally realistic banjo sound is
created.
REITERATE . . . Depressing this tab produces a repeating or reiterating effect on Chimes, Celesta,
Guitar and Banjo. In the case of Marimba and Xylophone, the effect is that of twin mallets
alternating between two notes. The rate of reiteration or alternation is controlled by the "Reit-
eration Rate" control located just to the left of the organs on/off switch. Experimentation is the
best gmde to where it should be set (slow to ffist).
Page 14
CYMBAL/PEDAI This valuable, new rhythm effect is playable through the pedal division.
The crash of a cymbal is heard each time a pedal is depressed. When the pedal drawbar is used,
the cymbal sound is superimposed over the pedal tone. Cymbal/Pedal is especially useful m
rhythmic music.
BRUSH/LOVS^ER . . .Invaluable in the playing of rhythmic music. Latin American tunes are given
a new lite and spice. Pox trots and waltzes seem to come to life. May be used alone, with a
drawbar registration or the lower manual preset ensemble. This effect simulates the sound of a
drummer's brush striking or brushing the head of a snare drum.
CYMBAL-BRUSH VOLUME . . . may be regulated by the Cymbal-Brush Volume control which
is continuously variable . . . (soft to loud).
PEDAL LEGATO . . . provides the longest decay time permitting the beginner to play a pedal,
remove his foot, look for the next pedal and play it without a noticeable break in tonal continuity.
PEDAL SUSTAIN — provides a short decay time similar to a string bass. The best string bass
effect is created by using Pedal 8', Pedal Mute and Pedal Sustain.
Remember that these pedal controls. Pedal Legato and Pedal Sustain determine the time it
takes for the pedal tone to die away after the pedal is released.
16'/PEDAL/8'... The most important tab control is the one marked 16'/pedal/8'. This tab deter-
mines the pitch at which the pedal will sound. Depressing the back (16') produces a deep or low
tone when the pedal is played. Depressing the front of the tab (8') produces a higher pitched
tone when the pedai is played.
PEDAL MUTE . . . determines the relative brightness of the pedal tone. In its "OFF" position (back
depressed) both 16' and 8' pedal tones will be crisp and bright. In its "ON" position (front
depressed) both 16' and 8' pedal tones will be mellow in character. Therefore you have four
pedal tones to choose from:
1. 16' Mute off (bright)
16' Mute on (mellow) 3. 3' Mute off (bright)
Normal usage will be 16', Mute on.
4. 8' Mute on (mellow)
TWO-SPEED LESLIE
Lfshe may be used by itself or in conjunction with Vibrato.
Vibrato chorus or Celeste I, II, or III. It is not advisable to
use Leslie when using any of the percussion voices as the
percussion voice tends to lose its authenticity.
There arc no hard-and-fast rules governing the use of Vibrato,
Vibrato Chorus, Celeste I, II, and Leslie. By helping to carry the
tone colors the.se various forms of animation substantially enhance
the flexibility of the instrument. Your own ear is the best guide
to the sound you like best.
OFF/LESLIE/ON... The rocker tabs controlling the Leslie are to the left of the lower manual.
Leslie ON/OFF when turned "On" will introduce the sound created by the Leslie in its fast or
slow position.
SLO W/LESLIE/FAST . . .The built-in two-speed Leslie speaker is another form of sound anima-
tion similar to Vibrato and Vibrato Chorus but produced mechanically. It is actually a built-in
rotating diffuser which when on FAST lends an exciting, lush theatrical quality to organ tones.
When on SLOW the effect is that of the undulating sound of a church organ.
The speed (Slow or Fast) may be preset by the Slow/Fast rocker tab and brought into
play instantly by pressing Leslie ON.
Page 16
THE HARMONIC DRAWBARS
-m
How the Harmonic Drawbars Provide You
Many Thousands of Beautiful Tones
To take the fullest advantage of the wonderful harmonic drawbars of
the Hammond Organ, it is necessary to understand what "music"
really is. All sounds — musical or otherwise, are created by sending
impulses or vibrations through the air. These are "felt" in the sensi-
tive mechanism of our ears — a process we call "hearing." While you
may think that you hear a single individual sound, actually each
sound, or musical note, consists of a "fundamental" or basic tone,
and a number of "harmonics" or overtones — the latter being difierent
when the same note is played on difierent instruments.
For instance, when you play "A" above middle "C" on any
instrument — organ, piano, violin or any other — you are creating a
vibration at the rate of 440 impulses per second, provided of course
that the instrument is in tune. This is known as the "fundamental"
of this "A." However, the harmonics or overtones which accompany
this fundamental of "A" on the piano would be quite different from
those you would hear if you played the same note, on say, a violin
or any other instrument. These different harmonics are created by a
combination of differences in the materials and shape of the instru-
ment, and the manner of playing.
Now it is apparent that if you have available a source of sound
which will provide the fundamental sound of each note on the key-
board, plus a source of a large number of harmonics, you are in a
position to combine these fimdamentak and harmonics into musical
tones similar to those of almost any instrument you can name. And
that is just what the harmonic drawbars of the Hammond Organ do
for you. The first white drawbar in any group of Hammond drawbars
provides the fundamental of every note on the manual controlled by
that set of drawbars. The rest of the drawbars provide harmonics, or
"overtones," and in some cases, sub-octave tones, in such a way that
you can instantly combine the drawbars into many thousands of
beautiful tone colors.
The drawbars make the Hammond Organ the only instrument in
the world on which you can mix beautiful tone colors as an artist mixes
the paints on his palette. Instead of giving you a limited number of
already-fixed tones which would be all you could ever play on the
organ, the Hammond Organ gives you the ingredients for creating
any of the standard tone effects you may want, plus thousands of
other interesting tone colors which may be variations of the standard
tones, or entirely difierent.
Page 17
UPPER DRAWBARS
THE COLORS OF THE DRAWBARS
In the illustration above you will notice that there are a number of drawbars on the "T" Series
Hanunond Spinet Organ, and that these are located to the left of the upper manual The first seven draw-
bars are the harmonic drawbars which set up tone colors for the lower manual. Next is a single brown
drawbar (set slightly apart from the other drawbars) which controls the volume of the pedals; finally,
there is a set of nine harmonic drawbars which set up tone colors for the upper manual.
WHITE DRAWBARS
As you know, the first white drawbar for each
manual represents the fundamental tone. All the
other white drawbars are octave intervals or har-
monics of the fundamental tone — when you play
the organ first with the fundamental drawbar
alone and then, one by one, add the white draw-
bars in sequence you will hear the addition of the
same note an octave higher in each case. The tonal
brilliance is greatly increased by adding white
drawbars but the harmonics added are always in
"consonance" or harmony.
BLACK DRAWBARS
The black drawbars on the Hammond Organ
represents the dissonant (discordant) harmonics
which are also necessary in building rich tone
colors. It must not be assumed that the dissonant
harmonics are unmusical — you will find them
present in varying degrees in many organ and
orchestral voices. For instance, the mellowness of
a horn, the pungency of strings, and the brilliance
of reeds all owe much of their character to the
presence of these harmonics in different degrees.
In general, however, the black drawbars should
not be emphasized strongly above the white draw-
bars. If a black drawbar is to be emphasized, it is
a good rule to use adjacent white drawbars to
strengths within two steps of the black drawbar.
A combination such as 00 1282 882, for instance,
contains so much of the dissonant harmonics that
it will sound off key.
BROWN DRAWBARS
ONE OCTAVE
BELOW
FUNDAMENTAL
LISTEN TO DISSONANT HARMONICS
FinH 1
ONE OCTAVE
ABOVE 1
AND A finH
FUNDAMENTAL 1
ABOVE
FUNDAMENTAL
ftNO A THIRD
ABOVE
FUNDAMENTAL
TWO OCTAVES
AND A FIFTH
ASOVE
FUNDAMENTAL
In addition to the white and black drawbars, there are two brown drawbars in the group controlling the
upper manual on your Spinet Model of the Hammond Organ. These two drawbars produce "sub-octave"
effects. The first brown drawbar is the sub-octave of the fundamental and the second brown drawbar is the
sub-octave of the third harmonic. These are used to add depth and richness to many combinations. They
also increase the range of the keyboard by one octave, since a solo registration for "8 foot" or normal pitch
can be set up using the first brown drawbar as the fundamental, and played one octave higher.
Page IS
reason a Hammond Orgsa sociks « rcz: ino m-i n^.e^ .^ :i-t jl. u^^il -i:ta i
on the keyboard as many as nine s ep arat e tones or {Rtcbes can be b^ird smultaneously. As an aid in
identifjing the nine pitches available each dravbar 15 marked with the pitch at which it sounds.
You will note that the fundamental drawbar is marked 8' and the sub-fundamental (one octave
below) is marked 16'. This is pipe organ terminology and means that the pipe used to produce the funda-
mental tone on a pipe organ is actually eight feet high (for the lowest key on the manual) while that used
for the octave belotc is sixteen feet high. The pipe length or footage for the octave above the 8' fundamental
is only half the size or four feet high. The next higher octave is marked 2' and finally the third octave
above the 8' fundamental is marked 1'.
The remaining drawbars marked BY/, 2%', 1%', and V/^' produce harmonics or pitches that fall be-
tween the octaves.
Assuming you were holding Middle "C" on the upper manual and, one by one, from left to right drew
each drawbar all the way out. You would hear the note or pitche.s indicated in the illustration below. The
same is true of the lower manual with the exception of the first two brown drawbars.
SUB-
POUNDATION
BRIULIANCE-
PIPE PITCH 16' S'/j' 8' 4' Z'h' 2' P/s' I'/s' 1'
SCALE PITCH SUB 5th UNISON 8th 12th 15th 17th 19th 22nd
OCTAVE I 1
STOP NAME BOURDON QUINT PRINCIPAL OCTAVE NAZARD BLOCK TIERCE LARIGOT SIFFLOTE
FLOTE
COE FQABCDEFSABCOEFGABC DE FQABC
Page 19
REGISTERING TONE FAMILIES BY SHAPE
Regardless of the size of a pipe organ or its number of stops, aU of its voices are related to four basic families
of tones. For instance, the string family includes such voices as Violin, CeUo, Viola, Aeoline, etc. The reed
family includes such voices as Oboe, Clarinet, Bassoon, Enghsh Horn, etc.
Tone famiUea may be quickly set-up on the harmonic drawbars by relating a pattern or shape to each
family. The four families of organ tone axe:
1. Flute family
2. Reed family
3. Foundation or Diapason family
4. String family
The iUustration below pictures the shapes or patterns related to each of the four tone families.
These are the generalities which apply to the tonal
resources of the organ, and in themselves produce
pleasant and usable effects. However, real beauty
of tone ia secured in two ways — the first is the use
of registrations which have been worked out by
fine organists, such as those published on much
organ music. The second— and eventually the one
that best expresses your own feeling for the music
^is to create your own tonal effects, trying out
and perfecting the tones with which you play your
favorite selections and marking your music with
those you like best. Don't always play the same
selection with the same registration, explore other
new tones, because you can play each piece in hun-
dreds of difierent ways on the Hammond Organ.
GETTING THE EXACT TONES YOU WANT
It might happen that a trumpet quality registra-
tion suggested in a musical selection is not exactly
the tone you have in mind. If you were playing on
an organ on which all the "stops" had been set up
at the factory, you would have to be satisfied with
one or a few trumpet tones.
The Hammond Organ, however, allows you not
only to set up any tonal effect you want, but also
to make many fine variations of the tone. Only
on the Hammond Organ can you play exactly the
shade of tone you want for every selection and,
perhaps even more important, for every size and
type of room in which you play.
The matter of the right shade of tone for every
enclosure is very important, because the acoustics
of the room in which you play have much to do
with the beauty of your music. So important is
this matter of acoustics that expensive custom-
built organs are "voiced" after they are installed in
order to adapt the tone of the pipes to the acous-
tics of the church or hall.
With the Hammond Organ, a touch of a finger
is all that is needed to make the tone quality softer
or more brilliant, richer in one harmonic or an-
other, in fact, exactly right. Great musicians de-
clare this to be one of the most wonderful of the
many exclusive features of the Hammond Organ.
Page 20
THE FLUTE FArVllLY (TWO STEP PATTERN)
\y TRY THESE EIGHT
. (OR TRY SOME SIMILAR}
/
Chorus of flutes
8' flute
4' flute
2' flute
Soft flutes
Stopped flutes
Tibia (Theater)
T-200 add Leslie/Fast
Light Concert flute
80 8605 002
00 6201 000
00 0602 001
00 0106 004
00 4000 000
00 5020 000
80 8605 004
00 3700 000
Of the four families of tones, the flute tones represent the simplest harmonic
development, using chiefly the fundamental (first white drawbar) and the
octave harmonic (second white drawbar) with occasional use of a very small
amount of the first black drawbar. The relative proportions of these haimonica
vary for the different kinds of flutes.
There are literally hundreds of flute tones available on the Hammond
Organ, in contrast to any other type of organ on which you can play only
the one or perhaps two or three which are set up at the factory. By simply
changing the relative positions of the 3rd and 4th drawbars to 00 3700 000
you can create a light concert type of flute. Or by closing the 4th drawbar
altogether and adding a little of the 5th drawbar plus a heavier fundamental,
you can get a solo type tibia — 00 0820 00. This should be used with Normal
Vibrato on the T-lOO and Leslie/Fast on the T-200. Using any combination
of white drawbars provides a variety of flute tones. Add the first brown
drawbar to give depth to any flute combination.
THE REED FAMILY (TRIANGLE PATTERN)
TRY ANY OF THESE v^
REED TONES )j A J
Chorus Reed
(Trumpet type)
English Horn
Oboe
Clarinet
Trumpet
Bassoon 8'
Bassoon 16'
French Horn
Bass Horn
00 6876 540
00 3678 660
00 4764 210
00 6260 210
00 6070 540
00 6777 770
08 7500 000
04 7400 000
00 7654 321
06 7888 800
The reeds are more brilliant and more numerous than any other group, and
many are used as solo stops rather than as accompaniments because of their
strong personalities.
While, as you have seen, the flutes concentrate their harmonic development
chiefly on the fundamental and second white drawbars, the reeds are char-
acterized by heavy upper harmonic development. In fact, reed tones often
have upper harmonic development as great as that of the fundamental and
second white drawbar.
The reed tones of the organ are numerous. They include the brasses and
woodwinds, the tones of the latter instruments being created by vibrating
reeds. The oboe is a typical reed, with emphasis on the drawbars in the middle
of the group and with nearly as much of the first black drawbar as of the
fundamental itself. In fact, use of this first black drawbar is characteristic
of many reed registrations and creates a "triangle" pattern that is very easy
to remember. Used in a less powerful registration, 00 2333 200, this triangle
pattern is a useful accompaniment tone on the lower manual.
Page 21
THE DIAPASON FAMILY (RIGHT ANGLE PATTERN)
I
SOME OF THE
MAGNIFICENT
• DIAPASON TONES
Diapason Chorus 00 5756 254
Full Organ 54 7878 766
Bright Diapason 00 8777 666
Foil Organ (Theater Type)
TlOO Vib. Normal
T-200Vib. Normal Leslie/Fast
All diapason tones are characterized by a strong fundamental and second
harmonic with relatively weak upper harmonics. There is much disagreement
among professional organists as to what constitutes a "good diapason," per-
haps because of the fact that diapason tones are more affected by good or
bad acoustics than are the tones of more pronounced character, and the regis-
tration that is good in one location may not be satisfactory in another. The
"Phonon" type of diapason, for which a suggested registration is given above,
was developed on pipe organs by designers who wanted to produce a soft
fluty type of diapason or foundation tone.
In discussing tone as a stracture, it may be said that the diapason tones
lie between the flute tones, which are almost devoid of upper harmonics,
and the string tones which are characterized by strong upper harmonic
development.
THE STRING FAMILY (BOW PATTERN)
SOME OF THE HUN-
DREDS OF POSSIBLE
COMBINATIONS FOR
STRINGS
String Chorus
Salicional
Aeoline
Gamba
Violin type
Vox Celeste
Vox Humana
Soft Strings
12 3333 444
00 2343 332
00 1222 221
00 3484 443
00 4345 554
00 2434 432
00 1300 400
00 1324 321
You have seen how the harmonic drawbars of the Hammond Organ make it
possible for you to produce thousands of beautiful tones which belong to three
of the tonal families of the organ — flute, reed and foundation. The fourth
and last of these "organ family" groups is the string tones, both organ and
orchestral.
String tone qualities are characterized by especially strong upper harmonic
development. The fundamental and second harmonic may be relatively weak,
which is the exact opposite of the harmonic structure of the flutes, as you
will remember.
There are many hundreds of possible string tone registrations, and every
string tone can be made either "dull" or "bright" by varying the amount of
the upper harmonics. In fact, the string tones are considered the most versatile
of the four tone families of the organ. They can be soft or loud, single strings
or groups, and are used both as solo registrations and as accompaniments.
Page 22
ADDING REGISTRATIONS
Just as the full organ effect is achieved by adding the "voices" of the organ together, you can very easily
combine any tones you wish on the Hammond Organ. It is simpler than arithmetic. Let's say that you want
to combine the following:
01 6788 540
00 82 10 000
00 1354 321
In. order to get a registration which
will sound as if all three of these tones
are being played together, you take
the largest figure for each drawbar,
making the result
01 8788 541
or take another example
^^ r/B/A 8'
vox HUMANA 8'
THE TWO
00
00
8240
2423
000 ^^^
321
00
8443
321
USING CORRECT VOLUME AND RANGE
It is well to keep in mind that aU organ tones are
characterized not only by their individual har-
monics but by the loudness with which they are
played and the range in which they are used.
String tones, for instance, should be played softly.
You cannot open the expression pedal .so that a
string registration sounds as loud as a tuba and
expect it to sound like a stringl If you play a violin
registration low on the keyboard it may be beauti-
ful but it will not sound like a violin. Here are
some suggestions for the range in which to play
various instrumental effects, counting the lowest
octave on the keyboard (F to F) as 1, the .second
octave as 2, etc.:
Clarinet 1st and 2nd octaves
French horn 1st and 2nd octaves
Muted horn 1st octave
Trumpet 1st and 2nd octaves
Orchestral oboe 1st and 2nd octaves
English horn 1st and 2nd octaves
Flute Entire Range
Tibia 2nd. Srd and -Ith octaves
Orchestral flute 2nd, 3rd and 4th octaves
Grosse flute 2nd and Srd octaves
Flute 8' & strings Entire Range
Flute 16' & strings 2nd. Srd and 4th octaves
Oriental tone lat and Srd octaves
\}}\\}\}m}}\}}}m\\}}
Page 23
PUBLISHED MUSI
When buv-iug organ music, choose those folios or
selections which are arranged for Hammond Organs.
Almost all organ music carries Hammond Organ
registrations. The purpose of registering music for
the Hammond Organ is to indicate to the player:
(1) Hammond Drawbar settings, (2) amount of
vibrato, (3) use of percussion, if called for. Regis-
tration suggested are just that — suggestions. In the
final analysis, the players "ear" determines which
tones or combinations of tones he or she likes best.
Because your instrument represents a new
series incorporating new features, the music you
buy won't indicate exactly how to set the controls.
However, basic drawbar settings remain the same,
making it relatively simple to adapt any Haramond
Organ registration to your "T" Series instrument.
Registrations for console Hammond Organs are
indicated by letters within circles and squares. A
circle always means upper manual while a square
always meajis the lower manual For example, you
00 6544 333. On
#) 86 5544 333 a# „..
iries, you would seT86 5544 333 on the
upper manual drawbars and 00 6544 333. on the
lower manual drawbars. When using lower manual
drawbar registrations indicated in nine digits al-
will see
the "T
ways disregard the first two digits. Often you will
s^a circle or square with other letters such fc^
Gy ^£3" ^^'^' "^^^^ ^^^^^ t° 'he preset keys
on console models. The drawbar registration equiv-
alent of each of the console preset tones appears in
the "Standard Voices" preset chart below. The
"Theater Organ" presets found on the H-lOO Series
Hammond Organ are listed on the other chart.
Use of Vibrato, Leslie, Percussion and Cymbal-
Brush are a matter of personal taste.
However, if vibrato #1 or #2 is called for in a
registration, uae Small Vibrato on your "T" Series.
If Vibrato #3 or "Full Vibrato" is called for, use
Normal Vibrato on your T-lOO or Normal Vibrato
and Leslie, fast, on your T-200 Series.
The important thing to strive for in registra-
tion is good tonal balance between the manuals and
pedals. If the accompfuiiment overpowers the mel-
ody either soften the accompaniment or make the
melody registration louder.
A wealth of beautiful tones are at your finger-
tips through drawbars and preset tabs. Explore your
instruments' vast tonal resources and use those
tones that appeal to your personal taste and mood.
HAMMOND ORGAN PRESET CHART (STANDARD VOICES)
UPPER MANUAL
PRESET
KEYS
c#
D#
F#
G#
B
PRESET
KEYS
c#
Di+
F#
G#
fl#
LOWER MANUAL
DRAWBAR
SETTING
TONE QUALITY
Cancel
PRESET
KEYS
DRAWBAR
SETTING
TONE QUALITY
00 4432 000
00 5320 000
Stopped Flute
Dulciana
00 8740 000
French Horn
00 4544 222
Salicionsl
00 5403
00 4675 300
Flutes 8' &4'
Oboe Horn
5644 320
Swell Diapasoit
6876 540 ■'
Trumpet
32 7645 222
Full Swell
Adjust drawbars in 1st Group, Upper Manual
c
Cancel
c#
00 4545 440
Cello
D
00 4423 220
Flute & String
D#
00 7373 430
Clarinet
E
00 4544 220
Diapason, Gamba& Flute
F
00 6B44 322
Great, no reeds
F#
00 5642 200
Open Diapason
G
00 6845 433
Full Great
S#
00 8O30 000
Tibia Clausa
A
42 7866 244
Full Great with 16'
A#
Adjust drawbars in
Ist GrauD. invip.r IVIanrial
Adjust drawbars in 2nd Group, Upper Manual
Adjust drawbars in 2nd Group, Lower Manual
H-100 PRESET VOICES (THEATER ORGAN)
UPPER MANUAL
DRAWBAR
SETTING
TONE QUALITY
PRESET
KEYS
LOWER MANUAL
TONE QUALITY
DRAWBAR
SETTING
Cancel
00 8740 000 00
Cancel
French Horn 8'
00 8408 004 00
00 4545 442 1
Cello i
Tibras 8' & 2'
00 8080 840 60
00 4432 000
Dulciana 8'
Clarinet i
08 8800 880 04
D#
00 4800 000
Novel Solo 8'
Vibraharpi
60 8088 000 00
3800 345 8
Ttieafer Solo 16'
VoK 8' & Tibia 4'
00 4685 300
6554 322 2
Oboe Horn 8'
F#
60 8807 005 00
00 5642 200
Siring Accomp. 8'
Full Tibias 16'
6888 654 44
Trumpets'
76 8878 667 66
J
43 5434 334 3
Open Diapason 8'
00 8030 000
Full Accomp. 16'
Tibia 8'
Full Theater Brass 16'
Adjust drawbars in 1st Group, Upper Manual
84 7767 666 4
Ait
Bombarde 16'
Adjust drawbars in 2nd Group, Upper Manual
Adjust drawbars in 1st Croup, Lower Manual
Adjust drawbars in 2nj Group, Lower Manual
Page 24
A TYPICAL THEATER ORGAN STOP LIST
Tibia 16'
Bourdon 16' . .
Diapason 16' .
Solo Strings 16'
Contra Viol 16'
Contra Celeste 16
Vox Humana 16'
Oboe Horn 16' . ,
Saxopiione 16' .
Clarinet 16' ...
English Horn 16'
Ophicleide 16' .
.72 0020 000
,54 3100 000
.64 3322 000
.25 4421 000
.24 3210 000
.23 4321 000
.14 3110 000
47 5430 000
,27 3210 000
.35 2000 000
.25 3442 100
.47 7600 000
Tibia 8'
Concert Flute 8
Diapason 8' .
Solo Strings 8'
Viol d'Orchestre 8
Viole Celeste 8'
Vox Humana 8'
Oboe Horn 8' . .
Saxophone 8' .
Clarinet 8' . . .
English Horn 8'
Tuba 8'
,00 8240 000
,00 6421 000
,00 5642 110
.00 2366 542
■ 00 2444 322
,00 2323 211
,00 3400 332
.00 4763 000
.00 2478 500
.00 8382 700
.00 3577 540
.00 5680 400
Flute 4' 00 0803 030
Piccolo 4' 00 0600 000
Octave 4' 00 0545 321
Solo Strings 4' . . .00 0436 555
Viol 4' 00 0344 232
Octave Celeste 4' . . 00 0324 220
Vox Humana 4' ... 00 0433 042
Oboe Horn 4' 00 0606 310
Clarion 4' 00 0515 230
Tibia 2' 00 0006 001
Piccolo 2' 00 0005 111
Twelfth 00 0060 020
SOME OTHER DISTINCTIVE TONE QUALITIES
Melodies (single or double-note)
00 4680 006
00 3460 704
00 5070 052
00 3558 808
00 6005 700
00 2268 888
00 4678 333
00 5288 822
00 1478 630
00 6080 808
00 8005 005
36 0000 008
08 6000 808
07 5646 006
Ensembles and accompaniments
04 3508 863
05 7800 006
20 3004 845
46 8080 008
00 5006 006
00 5000 345
00 5505 403
00 5334 003
00 6654 321
00 2353 221
35 8857 004
00 1377 865
00 3500 420
52 4660 055 (8va.)
Melody
Tibia 8' 00 8240 000
Oboe Horn 8' 00 4763 000
Saxophone 8' 00 2478 500
Krumet 8' 00 0185 786
English Horn 8' 00 3577 540
Solo Strings 8' 00 2366 542
Vox Humana 8' 00 3400 332
Oboe Horn 16' 47 5430 000
Accompaniment
Vox Humana 8' 3400 332
Viole Ceieste 8' 2323 211
Soft Tibia 6130 000
Soft Tibia 5120 000
Concert Flute 8' 6421 000
Concert Flute 8' 6421 000
Soft Concert Flute 4210 000
Viole Celeste 2323 211
Page 25
TRY Y<
ROWN DRAWBAR REGISTRATIONS
Part of the fun of playing your Hammond Organ
is to experiment with your own drawbar arrange-
ments. It is not essential that you use the regis-
trations set up on any music you may have. These
registrations merely represent the preference of
the composer or arranger and may not be your
choice of tonal color at all. You may also find that
the acoustics of the room in which you are play-
ing may make it desirable to vary slightly the
registrations used. You may especially wish to
supply a little more or a little less "brillance" by
varying the amount of the upper drawbars used.
Do not hesitate to experiment with tonal colors on
your Hammond Organ— there are many thousands
of beautiful tones in the instrument and part of
the enjoyment of the organ lies in creating new
and lovely tones to make your music more in-
teresting.
CHANGING DRAWBAR REGISTRATIONS
Sometimes music that carries registration for the
Hammond Organ shows the liking of the arranger
for a great many changes of tonal colors in a selec-
tion; sometimes, changes suggested are very "con-
tiasty" in character and occasionally they come at
places in the music where it is difficult to make
them while continuing to play without a break in
your music. Here, again, these suggested changes
or registrations are a matter of taste and need not
be made. In fact, many fine organists point out
that it is usually undesirable to make drastic
changes of tonal color. Ordinarily, changes of tone
on big pipe organs are made by "bringing in" or
dropping out one or more pipes so that the changes
of tonal color represents an addition or subtraction
from the basic tone. This method of changing
tonal colors gives you a very smooth and natural
flow of music. It is therefore suggested that you
practice making very simple drawbar changes-
one drawbar or two, at most, which you can do in
a split second, and which will give you a noticeable
change of tone yet one that is a natural transition
from the tone you have been using.
You will enjoy creating tonal colors yourself, and
will want to keep your favorites in a little note-
book or mark them on your music.
PLAYING THE ORGAN
Now that you have acquainted yourself with the various controls and have proven to your own satisfaction
combmataons as they are often called) are indicated by number, it is not nece^^ to set E Zblr^
nr^oHn t'"'''""'^' '°"*"^' •'^*"^^" '^' ""'"'^"^ ^ ^«U - on the num^eS. In hel"i"n on
^^Tv U^"^' "I^''^' '"'''^'"^ °^ '^^^^'''S *«"^ ^^"'■"'^^ by pattern instead of ty numbers was ex
tyou ^anT "°" '""^" "'' ''"^ continuous-contact drawbars make it simple to g^rthe dTrent
notttS": '"" '" *"'^/''" '^^* "'^^ '"'^^'^ ^"-Id fl°- -enly'from note tonol The nSe"^^
not struck as on a p.ano. A very slight finger pressure is sufficient to depress the key
Page 26
The following musical selections have been specif-
ically arranged for your immediate musical pleasure.
All are in the key of C (no sharps or flats) and use
only three chords. The C, F and G chords are
plainly marked on the lower manual keyboard gruide
attached to the back cover of this book. The melody
notes in the music are named for your playing con-
venience. As you progress with your lessons you will
learn to read notes quickly and easily. For now,
however, you may use the handy keyboard charts
to help you find the melody notes and accompany-
ing chords.
When playing the pedals, use the chord name
to determine the proper accompanying pedal note.
Play the C pedal with the (cj chord, G pedal with the
chord and the F pedal with the /f\ chord.
After you have played these easy-to-leam selections,
experiment with different drawbar and tab settings. You
will soon develop your own favorite tone combinations.
SILENT NIGHT
lOWER UPPER I
IDCDDD '-
■rojir ™
Andante
-PEflCUSSiON-
— VIBRflTQ.-- 1 RtvtHB ORGiSN
- DQ
LOWER: ENSEMBLE 8'
VIBRATO: ON, NORMAL
PEDAL DRAWBAR: 6
PEDAL TABS: 16',
PEDAL LEGATO
ORGAN: BRILLIANCE
m
©
s
^
UPPER: FULL TIBIAS 16'
PERCUSSION: OFF
REVERBERATION; I, II
CYMBAL/PEDAL: OFF
BRUSH/LOWER: OFF
LESLIE (T-200): ON, SLOW
F. Gruber
G7
©
A
J- I J J
D
©
J I J. J' J
^^
m
c c
A A
B A G A G
A
©
G7
n
S3=
^¥f
©
G7
m
m
-r
G F
Page 27
Alokxx
HAWAIIAN 6UITAR
This fascinating effect is made possible by combining
the pre-voiced guitar tab with a drawbar registration. The guitar
percussion voice will sound and decay without vibrato
over a sustained vibrato drawbar combination. This creates
the illusion of the singing tones of the Hawaiian Guitar.
Where wavy vertical lines appear next to melody notes
"roll" those notes. Play the bottom one first,
very quickly followed by the top note.
UPPER: 00 8888 000
PERCUSSION: GUITAR
REVERBERATION: I, M
CYMBAL/PEDAL: OFF
BRUSH/LOWER: OFF
LESLIE (T-200): OFF
LOWER: 8606 000
VIBRATO: ON, NORMAL
PEDAL DRAWBAR: 4
PEDAL TABS: 16',
PEDAL LEGATO,
PEDAL MUTE
ORGAN: BRILLIANCE
©
Lower
G
E
C
E
Pedal
Page 33
CELITO LINDO
without reiteration. As an alternate registration
set up the upper manual drawbars as indicated and
press the upper manual drawbars tab as indicated
in measure 8.
UPPER: 40 0000 OOO
PERCUSSION: MARIMBA.
REITERATION
REVERBERATION: I, II
CYMBAL/PEDAL: ON
BRUSH/LOWER: ON
LESLIE (T-200): OFF
XYLOPHONE
The xylophone sounds similar to the
marimba but the tone is brighter. The play-
ing technique remains the same. You
may wish to use the cymbal and brush for a light rhythmic effect. Of course, the xylophone is also
an excellent solo voice without reiteration. Remember, you may add drawbars at any time by
simply pressing the upper manual "drawbars and percussion" tab and adding those drawbars of
your choice.
LOWER UPPER
LUWtK UPPER r PtKCUSSIDN 1 |
r iTTmnnDli
Dl
DIDIDC
©
f
'HM EFFECTS
(Cymbal &. Brush)
Your T- Series Hammond Organ fea-
tures rhythm effects which lend excit-
ing color and sparkle to your music.
The cymbal effect is playable
through the pedals while the brush
effect is playable through the lower
manual. They may be used .separately
or together.
fLIEGST MIR IM H
Following is an easy waltz which
demonstrates the flexibility of the
cymbal and brush. Experiment by
using the brush only or the cymbal
only. Of course, these effects may be
applied to any type of music. Set the
tabs and drawbars as indicated below
and listen to how music comes alive
with these sparkling rhythm effects.
lOWIfi LIPF>ER
tttuina ORC
LOWER; 6433 321
VIBRATO: ON. NORMAL
PEDAL DRAWBAR: 7
PEDAL TABS: 8',
PEDAL SUSTAIN,
PEDAL MUTE
ORGAN: BRILLIANCE
UPPER: 00 4000 000
PERCUSSION: BANJO,
REITERATION
REVERBERATION: I, II
CYMBAL/PEDAL: ON
BRUSH/LOWER: ON
LESLIE (T-200): OFF
Page 36
BANJO
Here is a "fun" sound enjoyed by one
Eind all. The banjo voice may be played
in several ways. First of all, by itself it
produces the sound of a plucked banjo
string. With reiteration any note will
keep repeating as long as the note is held.
It may also be used to accent upper man-
ual drawbar combinations. Adding cym-
bal and brush lends a toe tapping rhythm
accompaniment.
i.tjwrfi ufJf'EH
I HERCUS5IDN 1 i VIBHftTf^' —
■LHB ORGAN
LOWER: 7655 443
VIBRATO: ON, NORMAL
PEDAL DRAWBAR: 7
PEDAL TABS: 16',
PEDAL SUSTAIN,
PEDAL MUTE
ORGAN: BRILLIANCE
UPPER: 00 0000 000
PERCUSSION: BANJO
REVERBERATION: I. II
CYMBAL/PEDAL: ON
(ADJUST VOLUME)
BRUSH/LOWER: ON
(ADJUST VOLUME)
LESLIE (T-200): ON, FAST
Page 37
Exciting, professional String Bass efiects
are made possible in your T-lOO or T-200
Series instrument through the use of the
rocker tab marked "Pedal Sustain".
Here is a musical example of the String
Bass effect. Set the tabs and drawbars as
indicated below. Play the pedals in a de-
tached or staccato manner.
VO'/JtW UPPER I PEHCU ^SlO.-j , , viBRftTQ , RfJEas ORGAN
c cm Enim i rnrr n ci
DinDD ■•■•
Qinnn -• ..... do
LOWER: 6544 221
VIBRATO: ON, NORMAL
PEDAL DRAWBAR: 8
PEDAL TABS: 8',
PEDAL SUSTAIN,
PEDAL MUTE
ORGAN: BRILLIANCE
UPPER: 80 OOOO 000
PERCUSSION: MARIMBA
REVERBERATION: I, II
CYMBAL/PEDAL
(OPTIONAL)
BRUSH/LOWER:
(OPTIONAL)
LESLIE {T-200): OFF
Upper I
Lower
Pedal
S
^
Play staccato or detached.
''"- J H J I Jii - I I iJi J I ^^
J5
BiP
C6
^
^
^^
E7
F6
G7
^
^
=8=
i |J H i
* •^
^
Jj ^ 1^ ^'^
^^
^ tfJ u
Am
D9 3
Page 38
How wonderful it would be if every organist could
study with a truly great teacher. It's a remarkable
experience. A great teacher will inspire his students
to strive for perfection and be content with nothing
less. Music will assume a new dimension. It wiU
begin to be more than just notes on paper. The
student will begin to take seriously his responsi-
bility, as the middle man in the Composer-Per-
former-Listener relationship. He will try to project
to the listener the qualities which he, himself, feek
in the music.
The organist who has the time and inclination to
practice, and who wishes to do a meticulously per-
fect performance, should remember four things.
The choice of registrations, a.ssuming that the notes are played correctly, is
what makes one organist sound different from another. Two organists cam
play the same piece of music, one will sound thrilling, the other will be a
perfect bore. Choice of registrations makes the difference. Therefore, spend
plenty of time selecting registrations to fit the type of music you are playing.
Many professional organists spend hours on one number, trying this, trying
that, until they finally arrive at precisely the best registration possible.
Probably the greatest single factor in good organ playing is correct fingering.
Figure out your fingering before you start to practice. Write it in the music,
then stick to the fingering you've chosen. Keep in mind the necessity for a
smooth legato, and in order to preserve this legato use finger substitutiwi
and the thumb glissando. Remember that an organist plays with his fingers;
arm and hand motion should be kept to a minimum. Develop precise finger
motion, press the keys firmly.
SLOW, CORRECT, PRECISE, THOUGHTFUL practice is the way to
really learn a piece of music. Basically the process of learning is this. We
impress upon the muscles of the fingers a PATTERN — the order in which
the fingers are used. If then, every time the music is practiced, the same
fingers will be used on the same keys, constant repetition will impress this
pattern so thoroughly that the fingers will give back, automatically, exactly
what they've learned. It's a question of FINGER MEMORY. That's why,
once the music has been thoroughly learned, the player can be thinking of
something eke, and the fingers will go right on playing by themselves. Thaf s
why we start practicing SLOWLY and THOUGHTFULLY so that every
time the music is played it wiU be done perfectly. Gradually the tempo will
increase, and at the same time perfection of playing will be maintained.
Learning music by this method will actually take no longer than learning
by hit-and-miss methods, and the results will be far superior.
Every organist should LISTEN TO HIMSELF PLAY. He should listen
in a detached manner as though hearing someone else. You'd be surprised
how many players do not listen to what they are doing. Once a teacher was
^^ giving a lesson to a pupil. After a particularly horrible performance, the
teacher paused a moment, then asked the student, "How did that sound to
you?" The reply was, "I don't know. I wasn't listening!" Finger memory
was doing the work, and the poor fingers didn't have much to remember.
Page 39
THE LANGU
THE GRAND STAFF
BKACE'
CLEF
-fy^.
SL
^
^Wl'
i?^
if:^
sx^
a^
C DE FaABCDE F
MIDDLE. -Q- D ■=
— xm O < l ^ T^
GABCOEFaABCD
E F Q A B C
TREBLE CLEF
SION
KEY SIGNATURE
yTIME SIGN A TURE
BAR LINES
MEASURE MEASURE
TIME SIGNATURES
Upper number determines counts per measure.
Lower number determines value of note
getting one count.
The letter "C" (or (jj) following the clef sign means 'common time' or ^
KEY SIGNATURES
The sharps (#) or flats (!,) appearing at the
I beginning of each staff indicate the key of
the composition. For example;
NOTE VALUES
o J J i'n
WHOLE NOTE . HALF NOTE . QUARTER NOTE . EIGHTH NOTE
SIXTEENTH NOTE THIRTYSECOND NOTE SIXTYfOURTH NOTE
A dot J. foHowIng a note augments its value by one-hall.
RESTS
^ 7
WHOLE REST . HALF BEST . QUARTER REST . DGHTH R£ST
SIXTEENTH BEST ' SIXPr-FOURTH REST
THIRTYSECOND REST
Page 40
GE OF MUSIC
THE KEYBOARD
F QABCD E F 3 ABC DC F OABCD E
AUCMtNTFD >m
iUCMENIED 4TH
INTERVAL: the difference in pitch
between two notes
(here shown relative
to middle C).
UNISOH
F e A B d
■ en ■■■■ m
■la »H I memma m i j
bo iji ji o ^n^» ; i> ^ =^ I
i
I MINH 3I<D I DIMIHtSIED SM I M« tn I
THE MAJOR (Diatonic) SCALE
(Example shown in C major)
^ ?f
WHOLE WHOLE
STEP STEP
PATTERN
ALPHABET C O E F
SOLFEGOIO DO RE Ml FA
NUMBEI^S 1 2 a 4l
(Denoiing degrees of scale]
Nuw'yJiAtS I 31 nr DC
[Denoiing chard, Nifmofijr}
NAMES OF DEGREES
OF THE SCALE
HALF WHOLE WHOLE WHOLE
STEP STEP STEP STEP
HALF
STEP
6
SOL
S
A
LA
e
SI
B
T(
7
n HL is: 1 TO. TyiT
T
O
N
I
C
s
u
P
E
R
T
O
N
I
C
M
E
D
I
A
S
u
B
D
O
N M
T I
N
A
N
T
D
O
M
I
N
A
N
T
S
U
B
M
E
D
I
A
N
T
L
E
A
D
I
N
e
T
O
N
E
TRIADS
MAJOR: 1-3-
MINORrl-i-a-S
AUGMENTED: 1-3-^5
DIMINISHED: l-^S-fS
MOST COMMONL
USED CHORDS
I car TONIC
I3Z: or SUBDOMINANT
3Z: or DOMINANT
Page 41
^g^^m
A cappella — Choral music without instrumental ac-
companiment.
Accelerando - Becoming faster.
Accidental — Sign of chromatic alteration, momen-
tarily introduced for single notes or measures.
Adagio — Slow, tranquil.
Agogjc — Denoting all the subtleties of performance
achieved by modification of tempo.
Alia marcia — In march style.
Allegretto — Quite lively, moderately fast (faster than
Andante, slower than Allegro).
Allegro — Lively, rapid.
Andante — Moving, moderately slow.
Andantino - A little faster than Andante.
Appoggiatura — Note of embellishment, grace note.
Attack — The speed with which an organ speaks:
time between the playing of a note and the
resulting tone.
Augmented Interval— Interval increased by a half step.
Aria — An elaborate solo song.
Arpeggio — Notes of a chord when played one after
another.
A tempo — Return to the original rate of speed.
Cantabile — In a singing style.
Chromatic scale — Composed of successive half
steps.
Coda — A concluding section added to a composition.
Con brio — With vigor and spirit.
Con moto — With movement.
Consonance — A combination of tones in agreement
of sound.
Counterpoint —A study of melodies and their inter-
relationships.
Da capo ai fine — Repeat from the beginning to the
end (D.C.).
Dal Segno al fine — Repeat from the sign ( 8 ) to
the end (D.S.).
Decay — The time during which one or more sus-
tained notes die away.
Diminished Interval — Interval decreased by a half
step.
Diapason — A flue-pipe work of the organ which forms
the backbone of each manual; the characteristic
full (foundation) sound of the organ.
Diatonic — Denoting the natural scale consisting of
five whole steps and two half steps, e.g. as it is
produced on the white keys of the keyboard.
Dissonance — A combination of tones in disagree-
ment, unrestful, needing a consonance to follow
for completeness.
Dolce — Sweet, soft.
Duet — Composition for or rendition by two per-
formers.
Dynamic marks — Words, signs, etc., indicating de-
gree of sound volume.
Etude — A study, primarily designed to aid the stu-
dent in the development of his mechanical and
technical ability.
Fine — Close, end.
MUSIC GLOSSARY
Some useful musical terms and their definitions
Flat - Sign (b) which indicates lowering the pitch of
a note by a half step.
Forte (f) - Loud.
Fortissimo (ff) — Very loud.
Glissando — The execution of rapid scales by a slid-
ing movement of the hand or finger over the keys.
Half Step — Next adjacent key up or down.
Harmonics — Overtones (or integral multiples of fun-
damental frequency) that make up tone color.
II canto ben marcato — The melody played very dis-
tinctly,
Largo — Extremely slow, broad.
Lento — Slow
Legato — Connected, smooth.
Ledger lines — Lines added above or below the staff
for those notes too high or low to be represented
on the staff.
Meno — Less.
Mezzo — Half.
Mezzo forte (mf) — Moderately loud.
Mezzo piano (mp) - Moderately soft.
Misterioso — In a style suggestive of mystery.
Moderate — Moderate rate of speed.
Molto — Much.
Non tanlo — Not so much.
Octave — Interval embracing eight diatonic tones; e.g.
C to C, up or down.
Percussion — Pertaining to those instruments which
are sounded by striking or shaking.
Perdendo — Gradually dying away.
Perfect Interval — The unison, 4th, 5th, and octave
which retain the same character when inverted.
Pesante — Heavy.
Piano (p) - Soft.
Pianissimo (pp) — Very soft.
Poco a poco — Little by little
Presto — Very quick.
Prestissimo — As fast as possible.
Primo — First.
Rallentando — Gradually growing slower (rail.).
Rinforzando — A sudden stress applied to a single
note or chord.
Ritardando — Gradually growing slower (rit.).
Ritenuto -- Immediate reduction of speed.
Root — That note on which a chord is built.
Secondo — Second.
Semplice — Simple.
Sempre — Always.
Senza — Without.
Sforzando (sfz) — A sudden and strong accent on a
single note or chord.
Sharp — The sign {=) which indicates a raising of a
note by a half step.
Smorzando — Dying away.
Solfeggio — Singing the degrees of the scale by
syllables (usually DO, RE, IVll, etc.).
Page 42
Sopra — Above.
Sotto — Under.
Strepitoso — Noisy.
Stringendo — Quickening.
Subito — Suddenly.
Syncopation — Any deliberate upsetting of the nor-
mal pulse of meter, accent, and rhythm.
Tacet — Is silent.
Tanto — Much, so much.
Tempo — Rate of speed of a composition.
Teneramente — Tenderly.
Tenuto ~ Hold, sustain.
Timbre — The color or quality of tone.
Timorese — Timid, fearful.
Triad — Three-toned chord: root, third, and fifth.
Troppo — Too much.
Turn — An embellishment consisting of four or five
notes (usually a principal note played in alter-
nation with its higher and lower auxiliary).
Tremolo — A continuous fluctuation of loudness pro-
ducing a tremulous effect. Sometimes combined
with a pitch variation.
Tremulant — A mechanical organ device which pro-
duces pulsations of tone.
Una corda — In piano, a direction to use the left (soft)
pedal.
Unison — The pseudo-interval formed by a tone and
its duplication.
Veloce — Quick.
Vibrato — A continuous fluctuation of pitch used to
increase the emotional quality of tone.
Vivace — Lively, brisk.
Vivo — Lively,
Whole step — Two half steps.
—-—-;. i.~.=:- r ?in-;«f2;rjS '«S4***iB*«
Some Musical Symbols and what they mean
^
I
I
%
\
t
jTj
Crescendo — Increasing in loudness.
Decrescendo or DimJnuendo — Decreasing in loudness.
Slur — Curved line spanning two or more different notes to show
they are played legato.
Tie — Hold for total count of notes. ( Curved line spanning same notes)
Hold — Prolong time value of note or rest at performer's discretion.
Time signature
Treble clef sign
Bas9 clef sign
Sharp sign
Flat sign
Natural sign
Staccato — Played detached.
Triplet — Three notes played in the count of one note of the next higher
value.
Grace Note — Short appogiatura.
Repeat Signs — See "Dal Segno al fine".
Page 43
I
SOME FACTS YOU SHOULD KNO>V
ABOUT YOUR HAMMOND ORGAN
CARE AND MAINTENANCE
You may place a Hammond Organ anywhere in your home, knowing that
this sturdy instrument shrugs off all tone problems. It is impervious to too
much or too little heat, too much dampness and sudden changes in tempera-
ture.
Connect only to power supply of voltage and frequency shown on the
name plate. Place console at least two inches from the wall for best acoustical
results and for ventilation.
PLASTIC KEYS AND STOP TABLETS
Clean lightly with a soft, damp cloth or chamois. Wiping with a dry cloth
builds up an electrostatic charge which will attract dust particles from the air.
If cleaning agents are necessary, use pure facia] soap and lukewarm water.
Dry without excessive rubbing.
Do not use boiling water, strong solvents, such a.s alcohol, dry cleaning fluids
or window cleaning fluids which contain such solvents.
WOODWORK
Dust with a soft damp cloth or chamois. If cleaning agents are necessary,
use a .soft cloth lightly dampened with a solution of mild soap and lukewarm
water. Remove solution, using soft cloth dampened with clean water. Dry
thoroughly, rubbing with the grain.
Use a good grade furniture wax or polish. Avoid use of paste waxes or oil-type
polishes.
Excessive rubbing in one spot or at edges may result in damage to the finish.
PACKING FOR MOVING OR SHIPPING
If the organ is to be shipped by a carrier other than a regular furniture
mover, arrange with your local Hammond Organ dealer to have it properly
packed.
ACCESSORIES
BUILT-IN EARPHONE JACK
Earphones can be hooked into the Hammond T-Series quickly and easily
using Hammond's Built-in Earphone Jack. They are a very useful accessory
which you may want to purchase since they permit you to practice at any
hour without disturbing others. Dynamic-type earphones will give best results,
although other types can be used. Your dealer can supply earphones just right
for your Hammond Organ.
BUn.T-IN TONE CABINET RECEPTACLE
If greater volume is wanted to boost the sound of your Hammond T-Series for
playing in large auditoriums or churches, a tone cabinet can be easily attached
through Hammond's Built-in Tone Cabinet Receptacle. Your dealer can
supply you with a suitable tone cabinet.
Page 44
b47031365
HO-294
Printed in U.SA
Hammond Organ T-lOO, T-200 Series Owner's Manual
Scanned July 29, 2008 by John Phillips
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