Introduction to the history of the Hammond organ, invented in 1935 by Lawrence Hammond. Overview of how the instrument works: drawbars, percussion, chorus-vibrato effects, pedals and dynamic management via volume pedal. Notes on musical genres and use in jazz.

Review of classic drawbar combinations most used in jazz tradition. From Jimmy Smith's celebrated 8-8-8 sound to orchestral timbres and accompaniment sounds. Techniques to simulate horns, electric bass and harmonic sections with targeted timbral variations.

Building the first bass lines on single major, minor and dominant chords. Simple formulas with tonic, fifth, sixth and chromatic approaches. Introduction to conjunct motion, octave jumps and using the pedals to enrich the groove and add depth to the sound.

Practical application of walking bass techniques on the II-V-I progression, the most recurring harmonic structure in jazz. Use of conjunct motion, sixth jumps and approaches with chord tones to create fluid and musical harmonic continuity between chords.

Blues in a jazz key: from the classic twelve bars to bebop variations. Turnarounds, passages to the fourth degree, use of diminished chords and diatonic progressions. Practical examples of bass lines with chromatic approaches, tritone substitutions and II-V cadences.

Rhythm changes structure based on I Got Rhythm. Turnarounds, cascade of dominants in the bridge and advanced harmonic substitutions. Comparison with similar tunes like Flying Home and Eternal Triangle. Use of diminished chords to create chromatic movement in the bass line.

Techniques for playing bossa nova and other Latin styles. Bass on 1 and 3 with long notes, chromatic and scalar approaches. Rhythmic patterns to give the sense of Latin groove without overloading the rhythm. Notes on voicings and rhythmic management of accompaniment.

Study of seventh chords in their fundamental forms: major 7, dominant, minor, half-diminished and diminished. Sequential exercises on II-V-I progressions with harmonic continuity. Shell voicing technique to widen the voices and harmonize melodies by doubling guide tones.

Four-voice voicings with major extensions: 3-5-7-9 forms and drop 2 techniques. Widened harmonizations to favor harmonic development. Using two hands when not playing bass, thanks to pedal support to expand harmonic possibilities.

Enriching voicings with extensions and alterations on dominant chords. Use of flat ninths, sharp ninths, altered thirteenths and elevenths to create harmonic density. Preparation for the next chapter dedicated to materials for improvisation and advanced modal scales.

Exercises on fundamental materials of jazz language: chromatic approaches, tensions resolving to chord tones and encircling target notes. Complete mapping of major, minor and dominant chords in all keys to develop technique and harmonic awareness during improvisation.

Harmonizing the Mixolydian scale with seventh chords built on scale notes, inspired by Barry Harris's method. Each note is harmonized with internal arpeggios forming phrase fragments typical of bebop. Ascending and descending exercises with chromatic approaches and encirclement.

Patterns based on the Mixolydian scale with third and fourth jumps. Exercises with consecutive jumps and alternating jumps, both ascending and descending. Characteristic bebop and modal jazz sonorities, applicable on harmonic progressions and improvisations at medium-fast tempos.

Descending pattern inspired by Coltrane on the Dorian scale, with chromatic approach on each triad contained in the scale. Rhythmic variants with chord tones on downbeats or chromatic approaches on upbeats. Use of sixteenth notes for slow tempos, with saxophone-like and dense sonority.

Study of diminished scales built with half-step/whole-step alternation. Only three scales for all keys thanks to internal symmetry. Three-finger fingering for speed. Application on altered dominant chords and modal contexts like Caravan, with minor third jump exercises.

Relationship with other instruments in different formations: organ trio with guitar and drums, enlarged ensembles with horns and percussion. Comping and accompaniment techniques, three-voice voicings, swing rhythmic patterns, two-feel and bass management with the left hand.

Jazz waltz and the difference between three-quarter and six-eight time. Typical grooves like Someday My Prince Will Come with strong accent on 1, and All Blues with distributed pulse. Understanding the two strong points in the measure to correctly interpret the ternary groove.

Tips on speed and using the metronome on 2 and 4 to simulate real swing. Subdividing time into multiple zones to study fast rhythms without anxiety. Relaxed approach to tempos over 300 bpm by thinking of half of half of the beat.

Boogaloo, typical groove of the 40s-50s with Latin and Caribbean influences. Bass on 1 and 3, fixed rhythmic patterns with the right hand on thirteenth and ninth chords. Examples from Lou Donaldson's Alligator Boogaloo, Lee Morgan's Sidewinder and The Jody Grind.

Shuffle in the context of electric blues and soul. Patterns inspired by Jimmy Smith and the tune Midnight Special. Regular rhythmic accompaniments with classic shuffle figures, also usable with piano. Variants with repeated notes and simplifications to adapt to different solo contexts.

Funk techniques applied to jazz, starting from Herbie Hancock's Cantaloupe Island. Use of chromatic approaches to chord tones, passages on the sixth degree and marking quarters with pedal pump. Right hand patterns derived from shuffle and boogaloo.

Practical overview of odd meters 5/4, 7/4 and 9/4, including internal subdivisions, clave and differences between swing and straight eighths. Understanding the logic of accents is the key to making even the most irregular groove sound natural.