R&B
5 Ways To Comp on a Hammond B-3
Feb 19 2014 12:32PM
Short for accompanying, “comping” is an often-overlooked component of playing the Hammond B-3 organ. Often, one ends up holding pads and throwing a Leslie switch back and forth while the guitar player takes yet another solo.
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5 Ways To Play Like Billy Preston
Feb 7 2014 2:15PM
I was approximately 14 years old when I started to discover gospel and blues licks, listening to Mark Naftalin from the Paul Butterfield Blues Band and early John Mayall records. At that time (the mid 1960s), there were plenty
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Keyboard Soloing Ideas from Jeff Lorber
Jan 17 2014 1:33PM
When I was playing the club circuit in Boston and New England in 1972, I thought I had a pretty great keyboard rig: a Rhodes Stage electric piano, a Fender Twin Reverb amp, and a wah pedal. Then I stopped by Bunratty’s Bar
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3 Ways to Craft Groovy '70s Keyboard Parts
Jan 3 2014 2:19PM
The 1970s were a time where the hair was long, safety belts were not required, and keyboard-playing rock stars ruled like thundering T-rexes. Piano parts were front and center, with octaves in the right hand and rolling rhythms
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Building a Better Groove
Dec 10 2013 12:20PM
Whether I’m in the studio working and producing different projects, or I’m playing live on stages around the world, for me everything starts with the groove. Often times, you can get things cooking by simply laying down a few
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Jeff Lorber Pumps Up Your Solos with ii-V Progressions
Nov 19 2013 6:53PM
When you’re soloing, your ideas should flow organically and not sound like musical formulae plugged into chord changes. All of the concepts of my last few columns—pentatonics, blues licks, and modal playing—are more or less
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5 Ways To Play Like New Orleans Piano Legend Allen Toussaint
Sep 27 2013 5:00PM
Known equally for his masterful work as a pianist, composer, arranger, and producer since the early 1960s, Allen Toussaint’s talents grew out of the musical crucible of New Orleans. He quickly made a name as a tasty pianist
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Clavinet in Context
Sep 9 2013 11:16PM
I was introduced to the Hohner Clavinet by artists like Billy Preston, Garth Hudson, Stevie Wonder, Willie Turbinton, Art Neville, Edgar Winter, Bernie Worrell, and Terry Adams of NRBQ. In many ways, my approach to the
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5 Ways to Play Like George Duke
Aug 7 2013 12:39PM
Trying to reduce George Duke’s playing to five examples is basically impossible. He has done so much in such a wide variety of styles, that what follows will only scratch the surface of his musical mastery. That being said,
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Keyboard Multitasking Onstage
Jul 23 2013 9:05PM
If you’re a gigging keyboardist, you’ve undoubtedly been asked to cover multiple parts at once. Often times, this involves playing parts with one hand so that your other hand is free to play other keyboards or zones on the
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Jazz Arranging for Keyboardists
May 16 2013 3:00PM
Keyboard players are naturally good arrangers. We do it every day while we’re writing, tracking, putting chords to melodies, and mixing our music. All of these activities involve selecting textures, achieving balance, and
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Add Impact to Your B3 Bass Lines with Percussive Pedal Techniques
Apr 26 2013 12:48PM
A powerful technique used by most modern B-3 organists is to tap rhythmically on a bass pedal while playing the actual bass line on the lower manual using the left hand. Only occasionally do they play actual bass notes on the
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Erik Norlander: Keeper of the Prog Flame
Mar 21 2013 6:00PM
If anyone says that prog is passé, don’t believe it. New players have emerged from every decade since the heyday of Yes, ELP, King Crimson, and early Genesis. One of the most prolific is Erik Norlander. Beginning in 1999
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Everything Old is New Again, Again
Jul 23 2013 8:56PM
I’ve said this before and I’ll say it again. Electronic dance music is like fashion that you can hear. It goes through predictable and well-defined stylistic cycles in which a sound begins in some underground scene, rises to
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Salsafy Your Sound!
May 16 2013 3:00PM
Salsa (Spanish for “sauce”) is a broad commercial term used to describe danceable Latin music. There are no specific chord voicings or progressions that give you a Salsa sound; it’s all about feeling the rhythm in chunks of
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 Four or more
 
 
 
 

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