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in progressive rock include the Zombies' and Argent's Rod Argent, Yes's Tony Kaye and Rick Wakeman, Focus's Thijs van Leer, Uriah Heep's Ken Hensley, Pink Floyd's Rick Wright, Kansas's Steve Walsh, and Genesis's Tony Banks. Banks later claimed he only used the Hammond because a piano was impractical to transport to gigs.[133] Ska and reggae music made frequent use of the Hammond throughout the 1960s and 1970s. Junior Marvin started to play the instrument after hearing Booker T & The MGs' "Green Onions", although he complained about its weight.[134] Winston Wright was regarded in the music scene of Jamaica as one of the best organ players, and used the Hammond when performing live with Toots and the Maytals, as well as playing it on sessions with Lee "Scratch" Perry, Jimmy Cliff, and Gregory Isaacs.[135] Tyrone Downie, best known as Bob Marley and the Wailers' keyboard player, made prominent use of the Hammond on "No Woman, No Cry", as recorded at the Lyceum Theatre, London, for the album Live![136]
Barbara Dennerlein has been praised for her work on the Hammond's bass pedals. The Hammond organ was perceived as outdated by the late 1970s, particularly in the UK, where it was often used to perform pop songs in social clubs.[137] Punk and new wave bands tended to prefer second-hand combo organs from the 1960s, or use no keyboards at all.[138] Other groups started taking advantage of cheaper and more portable synthesizers that were starting to come onto the market.[139] The Stranglers' Dave Greenfield was an exception to this, and used a Hammond onstage during the band's early career. Andy Thompson, better known for being an aficionado of the Mellotron, stated, "the Hammond never really went away. There are a lot of studios that have had a B-3 or C-3 sitting away in there since the 70s."[140] The instrument underwent a brief renaissance in the 1980s with the mod revival movement. Taylor played the Hammond through the 1980s, first with the Prisoners and later with the James Taylor Quartet.[141] The sound of the Hammond has appeared in hip-hop music, albeit mostly via samples. A significant use is the Beastie Boys' 1992 single "So What'cha Want", which features a Hammond mixed into the foreground (the instrument was recorded live rather than being sampled).[142]



Jazz, blues, and gospel musicians continued to use Hammond organs into the 21st century. Barbara Dennerlein has received critical acclaim for her performances on the Hammond, particularly her use of the bass pedals,[143] and has modified the instrument to include samplers triggered by the pedals.[144] Joey DeFrancesco embraced the instrument during the 1990s, and later collaborated with Jimmy Smith.[145] He is positive about the future of the Hammond organ, saying "Everybody loves it. It makes you feel good ... I think it's bigger now than ever."[146] Grammy-winning jazz keyboardist Cory Henry learned to play the Hammond organ at age two and used it on 2016's The Revival Chord organ is a kind of home organ that has a single short keyboard and a set of chord buttons, enabling the musician to play a melody or lead with one hand and accompanying chords with the other, like the accordion with a set of chord buttons which was originated from a patent by Cyrill Demian in 1829, etc.[1][2] (See Accordion#History?[note 1]) Initially, the chord organ was invented as a kind of electronic home organ by Laurens Hammond in 1950.[3][4][5] This was followed by the reed chord organ (c.?1959) and Optigan (c.?1971). The sound of the reed chord organ is somewhat similar to the harmonium or the accordion. Contents 1 History 2 Gallery 3 Chord organ musicians 4 Notes 5 References 6 External links History The Chord Organ was first introduced by the Hammond Organ Company in 1950. It was invented primarily by John M. Hanert, who was Hammond's primary musical engineer at the time. He had previously developed the Novachord and Solovox, two instruments which used vacuum-tube circuitry rather than tone or phonic wheels to generate the tones as in a Hammond Organ. The Chord Organ, as the name implies, used a left-hand panel with buttons to play harmony; however, instead of a Stradella-type chord and bass arrangement, a completely new design was implemented. 96 separate chord buttons provided Major, Minor, 7th, Diminished, Augmented, Major 6th, Minor 7th and 9th chords for all twelve musical keys. Two bass pedals, played by the left foot, sounded the "root" and "fifth" of each chord, and rhythm was added by means of a bar struck by either the palm or the thumb of the left hand. The Chord Organ incorporated elements of both the Novachord and the Solovox in that the right-hand 37-note keyboard could play both chords and single notes. An "Organ" section provided String and Flute sounds which were polyphonic, while a "Solo" division permitted the organist to play single-note melodies superimposed over the polyphonic "Organ" division. The Solo division operated essentially identically to the Solovox - one group of controls determined the register or pitch in which the Solo division would sound while another group of controls allowed the player to filter the sound in various ways ("timbre" controls). There were five different versions of the basic Chord Organ, which was called the "S" series. The original model "S" used octal tubes and one 12" speaker while the "S-1" used miniature tubes and one 12" speaker. For the "S-4," two 10" speakers were substituted for the single 12" speaker and the wood cabinet was re-designed. The "S-6," the most popular model, added the ability to add Percussion to the Solo division, thereby allowing the instrument to imitate instruments such as Banjo, Hawaiian Guitar, etc. The "S-100," the last revision of the "S" series, added built-in Stereo Reverberation, substituted an Expression Pedal for the expression lever used on previous models, and featured a re-styled cabinet design as well as a separate ON/OFF Power Switch (on previous models, power was turned on by swinging the expression lever down similar to the Solovox). An additional Chord Organ was manufactured for a brief time in the mid-'60s (the 2000 series), which had a simplified chord panel (Major, Minor, 7th and Diminished chords only) and traditional organ-type voices for the right-hand keyboard. This model also used solid-state circuitry. In addition to Hammond, Wurlitzer,[6] Farfisa[7] and Estey Organ[8][9] made electronic chord organs. In 1958, Magnus Organ Corporation introduced its electric chord organs, similar to electrically blown small home reed organs.[10]Since then, chord organs were generally designed as instruments for beginners, and separated from the mainstream of home electronic organs. In addition to Magnus, Emenee,[11] Bontempi and Belcanto[citation needed] made electric chord organs. Gallery Hammond S-6 Chord Organ (c.1950, electronic organ) Wurlitzer Model 4100 BP (1959–1963, electronic organ) Magnus Chord Organ Model 890 (after 1960s, electrically-blown reed organ) A chord organ with displacement-sensitive keys[citation needed] Optigan (1971, optical sampling organ) Chord organ musicians This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Chord organ" – news · newspapers · books · scholar · JSTOR (November 2015) (Learn how and when to remove this template message) David Bowie on "Memory of a Free Festival" on his second album, David Bowie, AKA Space Oddity. George Harrison (on Blue Jay Way) on Magical Mystery Tour. Rami Jaffee Daniel Johnston The Microphones/Mount Eerie Modest Mouse (on the album Sad Sappy Sucker). The Music Tapes Elliott Smith Cortney Tidwell Minimal music (also called minimalism)[2][3] is a form of art music or other compositional practice that employs limited or minimal musical materials. Prominent features of minimalist music include repetitive patterns or pulses, steady drones, consonant harmony, and reiteration of musical phrases or smaller units. It may include features such as phase shifting, resulting in what is termed phase music, or process techniques that follow strict rules, usually described as process music. The approach is marked by a non-narrative, non-teleological, and non-representational approach, and calls attention to the activity of listening by focusing on the internal processes of the music.[4] The approach originated in the New York Downtown scene of the 1960s and was initially viewed as a form of experimental music called the New York Hypnotic School.[5] In the Western art music tradition, the American composers La Monte Young, Terry Riley, Steve Reich, and Philip Glass are credited with being among the first to develop compositional techniques that exploit a minimal approach.[6][7][8][9][10] The movement originally involved dozens of composers, although only five (Young, Riley, Reich, Glass, and later John Adams) emerged to become publicly associated with American minimal music. In Europe, the music of Louis Andriessen, Karel Goeyvaerts, Michael Nyman, Howard Skempton, Gavin Bryars, Steve Martland, Henryk Gσrecki, Arvo Pδrt and John Tavener exhibits minimalist traits. It is unclear where the term minimal music originates. Steve Reich has suggested that it is attributable to Michael Nyman, an assertion that two scholars, Jonathan Bernard, and Dan Warburton, have also made in writing. Philip Glass believes Tom Johnson coined the phrase.[11][12][13] Contents 1 Brief history 2 Early development 3 Style 4 Critical reception 5 In popular music 6 Minimalist composers 7 See also 8 References 9 Sources 10 External links Brief history Periods, eras, and movements of Western classical music Early period Medieval era c.?500–1420 * Ars antiqua c.?1170–1310 * Ars nova c.?1310–1377 * Ars subtilior c.?1360–1420 Renaissance era c.?1400–1600 Common practice period Baroque era c.?1600–1750 * Late Baroque c.?1680–1750 Galant music c.?1720–1780 * empfindsamer Stil c.?1740–1790 Classical era c.?1750–1820 * Mannheim school c.?1740–1780 * Sturm und Drang c.?1770–1780 Romantic era c.?1800–1909 * Nationalism (Romantic) c.?1830–1910 Late 19th-century to 20th- and 21st-centuries Modernist era c.?1890–1980 * Impressionism c.?1890–1930 * Post-romanticism c.?1890–1930 * Nationalism (Modernist) c.?1890–1990 * Expressionism c.?1900–1930 * 2nd Viennese School c.?1900–1970 * Neoclassicism c.?1920–1950 * Serialism c.?1920–1980 Postmodernist era from c.?1930 * Neoromanticism from c.?1930 * Contemporary from c.?1950 * Experimentalism from c.?1950 * Minimalism from c.?1960 * Postminimalism from c.?1980 vte The word "minimal" was perhaps first used in relation to music in 1968 by Michael Nyman, who "deduced a recipe for the successful 'minimal-music' happening from the entertainment presented by Charlotte Moorman and Nam June Paik at the ICA", which included a performance of Springen by Henning Christiansen and a number of unidentified performance-art pieces.[14] Nyman later expanded his definition of minimal music in his 1974 book Experimental Music: Cage and Beyond. Tom Johnson, one of the few composers to self-identify as minimalist, also claims to have been first to use the word as new music critic for The Village Voice. He describes "minimalism


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