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How To Use Hammond Organ Drawbar Settings |
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How To Use Hammond Organ Drawbar Settings
Once you know how to turn on the Hammond organ, the next step is getting sound of it.
At the left side of each manual (keyboard) are the setting keys. They are easily identified as the colors are reversed. The firstkey (C) is the cancel key. When depressed, any other setting keysthat are depressed will be released. The next nine keys (Db to A)are presets. These are drawbar combinations that are hardwired inthe back of the organ. Think of these as the different soundsavailable on a keyboard. There are different names for each ofthe presets, but we won't cover them at this time. The last two(Bb and B) are the ones you'll use primarily.
There are five groupings of drawbars. The first one is activatedwhen the Bb setting key is depressed on the upper manual. Thesecond one is actived when the B setting key is depressed on theupper manual. The next set (the smallest set with only twodrawbars) controls the pedal and requires to setting key to bedepressed. The second to last set is actived when the Bbsetting key is depressed on the lower manual. And the last set isactived when the B setting is depressed on the lower manual.
Before we move on, it is important that you understand thebackground of the drawbars. Some organs have numbers on thedrawbars. What's this? Great question! The HammondOrgan was invented for the purpose of being an inexpensive replacementfor pipe organs. The concept is that each drawbar represents apipe on the pipe organ. Different length of pipes createdifferent pitches. A longer pipe creates a deeper pitch and ashorter pipe creates a higher pitch. The numbers on the Hammond organ drawbars represent the length of the pipe in feet.
Ok, let's go! Let's start with the B setting key depressed forthe lower manual. Remember, this activates the last set of drawbars. Start bypullingout the first white key (8'). Play middle C on the organ. This drawbar is called the fundamental. This is because each noteplayed is its true pitch. This will make sense as we move on.
Now pull out just the first drawbar (16'). This is the deepestpitch. It actually represents the pitch an octave below theactual note that you're playing. Now pull out the 16' and the8'. When you play a key, you are actually playing two notes - theoriginal note and the note an octave below! Now you can start tounderstand why the organ has such a large sound.
Now pull out just the second white drawbar (4'). This representsthe note an octave above the actual note that you are playing.
Now pull out just the third white drawbar (2'). This representsthe note two octaves above the actual note that you are playing.
Now pull out just the last white drawbar (1'). This representsthe note three octaves above the actual note that you are playing.
Let's review before we move on. Pull out the 16', 8', 4', 2' and1' drawbars and play middle C. You are now playing fivenotes. C below middle C, middle C, and the three C's above middleC.
Now it gets a little more interesting. What I haven't mentionedso far is why these drawbars were selected. The choice ofdrawbars represents a natural series of notes called the overtoneseries. All pitches made by instruments utilize some combinationof the overtone series to create their unique sound. Brassinstruments tend to use many overtones, while stringed instruments tendto use fewer. The more overtones used, the edgier the sound.
Continuing on...pull out the second drawbar (5-1/3'). I neverunderstood whey they chose to put this drawbar here instead of afterthe 8'. My confusion comes from the fact that this pitch isactually a fifth above middle C, meaning that it actually fits betweenthe 8' and 4'. Oh well. It is what it is!
Next is the first black drawbar (2-2/3'). This is a fifth above the 4'.
The second drawbar (1-3/5') is a third above the 2' and the last blackdrawbar (1-1/3') is a fifth above the 2'. Pulling out the 2',1-3/5' and 1-1/3' drawbars actually creates a Major chord in rootposition.
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