POP ORGAN WORKSHOP - Chord Symbols & Turnarounds by BILL IRWIN
Do you ever wonder why some solos sound like they’re driving down a greased rail and others seem to never find their footing? It has to do w...
Harness the soloing magic of voicings and lines created exclusively from dominant diminished scale tone triads. If that sounds like seriousl...
In planing, instead of chord motion being based on voice leading and root movements, voices move according to the key or scale (as in diaton...
I’ve saved the broadest application of a scale to a chord for last, because it is often used as a jumping-off point for taking a solo—from t...
Often, what I respond to in a great solo is the artful balance of tension and release. In this lesson, let’s look at ways to take things “ou...
Adding some blues licks to a solo is a sure way to connect to your audience, and for many genres of music is the essential vocabulary you sh...
A keyboard “comping” (short for accompanying) part can really determine the character of a song. A dash of harmonic color here, a bit of mov...
As organists, how do we imply a lot of harmony out of the limited number of voices that results from our left hand often having to double on...
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