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rounder2u uploaded a new video
(3 weeks ago)

Here is my arrangement of 'The Preacher'. This version is in mono becaus...
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Here is my arrangement of 'The Preacher'. This version is in mono because the stereo version I recently uploaded was distorted by YouTube's audio encoding process.
This gospel flavoured jazz song was originally recorded by the composer and pianist Horace Silver and the Jazz Messengers in 1955.
I'm using the 800008888 setting with fast Leslie during the whole song, in different ways (low frequency single note, 'half-squabbling', chorded, high frequency single note, octaves, low and high frequency glissandos, etc).
Chorus 1: The melody line, single note. No bass line.
Chorus 2: The melody line one octave higher with a bass line added (I'm using a bass line rather close to the recording from 1955)
Chorus 3: The melody 'chorded' and 'half-squabbling' :-) with the same bass line as in the chorus before.
Chorus 4: The melody line one octave higher again with embellishments like grace notes. Here I change the left hand to a walking bass line of my own.
Chorus 5: The melody chorded over the walking bass line.
Chorus 6: The first solo chorus, over the walking bass line. I go for the blues. After a while I'm repeating a 5/4 triplet figure against the bass line. Then landing at an inverted A7 chord, before finishing the chorus with a long one note syncopated rhythm.
Chorus 7: The second solo chorus. Another 5/4 figure changed to a riff and back again to the cross-rhythm. Two short riffs before continuing the chorus with a long fast 'machine gun' tremolo. A couple of bebop oriented phrases ends the chorus.
Chorus 8: Same as chorus 2.
Ending: The left hand is planted on the the low F key. The right hand is doing a fast downwards palm glissando, turned to a slow upwards palm glissando. The chord I'm holding during the rest of the ending is a, well, let's call it a F69/Eb. The left hand is playing a few notes in the lower frequency range before coming to a stop with a one octave thumb glissando at the upper manual low F key. Then I'm doing the same one octave thumb glissando on the lower manual while still holding the note on the upper manual.
---------- The organ is a Clavia Nord C1 - a Hammond B-3 clonewheel organ.
Nord C1 Registrations and Settings: Upper 80 0008 888. Chorus C3. Percussion On, Soft, Fast, Third. Lower 88 8000 000. Not used. Bass lower manual 80. Leslie simulator Fast position. Equalizer not used. Overdrive not used. Reverb Hall, Soft, 50%. Tonewheel mode Vintage 2 (high level of tonewheel crosstalk and cable leakage artefacts).
The sound is recorded line out from the organ. No additional external effects, external amplifiers or speakers are used. ---------- To be sure to watch this video in higher quality, please, click the 'HQ' button or add &fmt=18 to the URL at the end, or use this URL:
http://www.youtub...
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rounder2u favourited a video
(1 month ago)

Barbara Dennerlein videos have now passed the 1,000,000 views mark on Yo...
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Barbara Dennerlein videos have now passed the 1,000,000 views mark on YouTube. This video is a thank you to all jazz, organ, and Barbara Dennerlein fans who have helped to spread the word.
As many of you know, this title was written by Barbara and dedicated to the late great Jimmy Smith. Although her playing was not influenced by Jimmy Smith, like all jazz lovers she is grateful to him for his contribution to organ jazz - his approach to soloing made modern jazz organ possible - during her concerts she often mentions this fact and praises Jimmy Smith.
Barbara and Jimmy first met when she was only 15 years old. She took part in an organ competition and Jimmy Smith was one of the judges. In an interview she described their first meeting:
BD: "I sat down and played something different, "On the Sunny Side of the Street" and suddenly I noticed someone came from behind me and he took my hair, I had very long hair, much longer than now, and he put it to the side, and then he sat down and he played with me. [laughs] So really, it was great.
AAJ: And you weren't expecting it at all?
BD: No, it was incredible of course, wonderful. And then people were so shocked about their decision—he played with me, the second place finalist. The third place finalist didn't even play again after that! [laughs] It was really funny, and afterwards we stayed in contact. And it was really nice, until he started to see me as a competitor."
Barbara still has great respect for Jimmy Smith's contribution to jazz and the Hammond organ as this composition demonstrates.
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rounder2u uploaded a new video
(1 month ago)

Here is my composition 'Bird Cherry Mountain'
The song is a 12 bar blues ...
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Here is my composition 'Bird Cherry Mountain'
The song is a 12 bar blues progression with a funk touch. I like the bass pattern Reuben Wilson use in his song 'Orange Peel', so I base this blues on that pattern.
Intro 1: Left hand bass intro with a C7+9 chord. Intro 2: 12 bar left hand blues progression.
Chorus 1: Chord rhythm chorus with Eb at the top in all three chords: C7+9, F7, G7+5. Chorus 2: Chord rhythm chorus with G at the top in all three chords: 'C69', F9, Gsus4.
Chorus 3: Solo chorus high up. As the bass line is syncopated I create some tension by playing the solo with quarter notes on the beat during the last four bars.
Chorus 4: Here I also mostly play on the beat, but emphasize the offbeat when going from C to F, and when going from C to G.
Chorus 5: Chord rhythm chorus played on both manuals. The rhythm is a combination of Chorus 1 and Chorus 2.
Chorus 6: Chord rhythm chorus. A full 12 bar only on the beat. 2 and 4 on the lower manual. Chorus 7: Chord rhythm chorus. Same as Chorus 6, but here I instead switch to playing offbeat during the whole chorus.
Chorus 8: Chorded chorus. I'm resting my right hand on the lower manual :-) Only moving the thumb. The chords are C6, F9, G9sus4.
Chorus 9: Solo chorus with focus on the blues. I start with an long anticipation note (grace notes and landing at the highest G note). I also use the technique of sliding the same chord from the upper to the lower manual. I also use anticipation when going to F (grace notes and landing at the highest C note), and when going to G (grace notes and landing at the G note).
Ending. The ending consists of variations of the last four bars of Chorus 9/Chorus 3. I'm filling up with a downwards and upwards palm glissando, and a triplet upwards palm 'staccato glissando'.
Outro: Same as Intro 1.
---------- The organ is a Clavia Nord C1 - a Hammond B-3 clonewheel organ.
Nord C1 Registrations and Settings: Upper 88 0800 000. No Vibrato/Chorus. Percussion On, Soft, Fast, Second. Lower 08 8000 000. Bass lower manual 80. Leslie simulator Slow position. Equalizer Bass +3dB, Mid 0dB, Treble 0dB. Overdrive not used. Reverb Hall, Soft, 50%. Tonewheel mode Vintage 2 (high level of tonewheel crosstalk and cable leakage artefacts).
The sound is recorded line out from the organ. No additional external effects, external amplifiers or speakers are used. ---------- To be sure to watch this video with higher resolution and better sound, please, click the 'HQ' button or add &fmt=18 to the URL at the end, or use this URL:
http://www.youtub...
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rounder2u uploaded a new video
(2 months ago)

Here is my arrangement of 'Orange Peel'. This organ funk song comes from ...
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Here is my arrangement of 'Orange Peel'. This organ funk song comes from the great organist Reuben Wilson's record 'Blue Mode', released in 1969.
The song is built upon a syncopated bassline keeping the groove in C at all times, and to that a 4 bar melody riff/melody phrase is added. The melody phrase is played by a saxophone on the original recording. I play the melody phrase chorded, first after the bass line intro, then after the first solo chorus and during the ending. The rest of the song is filled up with riffs of my own, and I will also take the blame for the repeated one note right hand Intro and the one note right hand Outro :-)
---------- The organ is a Clavia Nord C1 - a Hammond B-3 clonewheel organ.
Nord C1 Registrations and Settings: Upper 88 0800 000. No Vibrato/Chorus. Percussion On, Soft, Fast, Second. Lower 08 8000 000. Bass lower manual 80. Leslie simulator Slow position. Equalizer Bass +3dB, Mid 0dB, Treble 0dB. Overdrive not used. Reverb Hall, Soft, 50%. Tonewheel mode Vintage 2 (high level of tonewheel crosstalk and cable leakage artefacts).
The sound is recorded line out from the organ. No additional external effects, external amplifiers or speakers are used. ---------- To be sure to watch this video with higher resolution and better sound, please, click the 'HQ' button or add &fmt=18 to the URL at the end, or use this URL:
http://www.youtub...
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rounder2u uploaded a new video
(3 months ago)

Here is my arrangement of 'The Silver Meter'. This 12 bar blues comes fr...
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Here is my arrangement of 'The Silver Meter'. This 12 bar blues comes from the great organist Big John Patton's first record under his own name, 'Along Came John', released in 1963. The song was penned by the drummer on that record, Ben Dixon.
The song is uncommon in the way it is composed as the melody line consists of just two notes, and the bass line is basically only one note on the root of the chord. On the original recording the melody is played in unison by two saxophones.
Here are a few notes on my arrangement of The Silver Meter.
About the bass line: To create tension and movement in the bass line I do two things. - I'm keeping the tonic with my left thumb (the C) even during the F (subdominant) and G (dominant) chords during melody and solo choruses. - I also use anticipation during the whole song, which means that I'm going to the next chord with my little finger one eight note ahead.
I'm playing the bass line in octaves during the intro, those chorded rhythm choruses, and during the ending.
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Intro: Fade in with the chorded rhythm.
Chorus 1: Chorded rhythm chorus.
Chorus 2: Melody chorus, played on the upper manual. I'm using the volume pedal. Chorus 3: Melody chorus repeated, but the bass line goes up one octave during the last two bars of the chorus.
Six solo choruses follows, all played on the lower manual.
Chorus 4: Solo. After the start I'm playing quarternote triplets, and then I'm using a pedal tone while playing the solo both over and under the pedal tone. The chorus ends by playing the note Bb off beat.
Chorus 5: Solo. Repeating a phrase three times with variations, and keyboard 'thumps' in between. The same phrases in the high register, before going down in octaves. The chord in the end is a C7+9.
Chorus 6: Solo. Chord rhythm to start with. Then I want to end the next part holding the note Bb, so I start the three note phrase higher up and play it 6 times, and every time one half step lower.
Chorus 7: Solo. Two note rhythm with keyboard 'thumps'. I'm playing the same two notes through all 12 bars.
Chorus 8: Solo. A variation of the chorus before. Calming down and getting ready for the next chorus.
Chorus 9: Solo. A fast tremolo (machine gun) on the note C with Eb, F and G thrown in. Then a few very short grace notes before holding on to the high C for a while. Repeating a phrase two times octaving it downwards. The next riff is repeatead three times before ending on the dominant, and then the solo part ends with a short phrase to C.
Chorus 9: Melody chorus. Chorus 10: Melody chorus repeated.
Ending: Fade out with the chorded rhythm from the Intro.
---------- The organ is a Clavia Nord C1 - a Hammond B-3 clonewheel organ.
Nord C1 Registrations and Settings: Upper 18 0811 111. Vibrato V1. No Percussion. Lower 84 6000 000. Vibrato V1. Bass lower man. 60. Leslie simulator Stop position. Equalizer not used. Overdrive not used. Reverb Hall, Soft, 50%. Tonewheel mode Vintage 2 (high level of tonewheel crosstalk and cable leakage artefacts).
The volume pedal (expression pedal) is an Yamaha FC7.
The sound is recorded line out from the organ. No additional external effects, external amplifiers or speakers are used. ---------- To be sure to watch this video with higher resolution and better sound, please, click the 'HQ' button or add &fmt=18 to the URL at the end, or use this URL:
http://www.youtub...
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enjoy ur day!