2024 BYU Organ Workshop Handouts by BYUSchoolofMusic

BYU Organ Workshop 2024

Handouts and Information Booklet

Music Building Maps

Monday, August 5

BYU ORGAN WORKSHOP 2024

This schedule is subject to change

3:00-7:00 p.m. Registration Check-in Information Desk – 2nd Floor Lobby

3:00-5:00 p.m.

Individual Consultations (scheduled, $15) Payne 1231B (Casavant organ), Hall 1231C (Schoenstein organ)

Private Lessons (scheduled, $60)

Supervised Practice Boehmer 2217 (no charge; four per hour scheduled & supervised, walk-in for unsupervised practice)

4:00-5:00 Displays open 2221

5:00-7:00 Seminar: The French Romantic Organ Sound Ideal Harmon Choral Hall

5:00-11:00 p.m. Open Practice (organ practice rooms, and Organ Lab, unscheduled, no charge) Anytime – Online videos: Organ Terminology Boot Camp Forsyth Making the Most of the BYU Organ Workshop Cook Stories of Your Peers Harris

Tuesday, August 6

New to the Organ

Experienced Organists Special Topics Practice & Study

8:00 Registration Check-in 2nd Floor Lobby Displays open 8:00-8:50 2221

Breakfast, with Questions and Answers Cook North Ensemble

9:00 Opening Session Cook, Gunnell Choral Hall Keynote Address Janice Kapp Perry

10:00 Pedal Technique Part 1 (required for priority seating in a “Feet On” session) Hess Choral Hall

11:00 Registration Basics (Part 1) Johnston Choral Hall

Organ Technique and Repertoire (Part 1) (2 hours):

Intermediate (Level 3) Boehmer Recital Hall Upper Intermed. (Level 4) Payne North Ensemble Early Advanced (Level 5) Swain South Ensemble Advanced (Level 6) Kerr 1231A Lessons Beyond Level 6: Sign up for Supervised Practice →

12:00 Lunch Break Displays open (11:55-1:20; closed for the week Thursday 1:20) 2221

Supervised Practice (Beyond Level 6 Only) Harris 2217

12:30 Lunchtime Listening Session: The Organ Music of Franklin Ashdown Welch North Ensemble “New to the Organ” track alternative: Pedal Technique “Feet On” Part 2 (must sign up during Tue. 10:00 pedal class. Schedule only one “Feet On” session during the week. Offered Tue.-Fri. 12:30.) Hess, Johnston, Pickering 2217

Technology Help Desk Stuart Information Desk

1:30 Organ Technique and Repertoire (Part 1) (1.5 hours): Preparatory Level and Beginning (Level 1) Harmon Choral Hall (Attendance at this session required for Tue., Wed., or Thu. afternoon “Preparatory Level Supervised Practice”) Early (Level 2) Forsyth Recital Hall

3:00 Registration Basics (Part 2) Johnston South Ensemble

4:00 1. Planning, Prelocating, and Pivoting: the 3 "P"s for Perfect Pedal Technique Swain Recital Hall

2. Preparatory Level Supervised Practice (12 seats only for those who sign up during 1:30 class. Also Wed. 3:30 or 4:30 or Thu. 2:30. One space per person.) Peterson, Margetts 2217

5:00 Preparatory Level Supervised Practice (repeat, 12 seats only for those who sign up during 1:30 class) Peterson, Margetts 2217

7:00

Advanced Hymn Playing (Part 1) (1.5 hours) Kerr North Ensemble

Organs in Israel Welch North Ensemble

You Can Pass The AGO Service Playing Exam Goodliffe North Ensemble

Teaching Beginning Students through The Organ for Primary Series (1.5 hours) Swain South Ensemble

Touch: The Organist's Primary Means of Expression (Part 1) Forsyth Choral Hall

Creating a New Organ: Paul Fritts Op. 43 Gunnell South Ensemble

Supervised Practice (1 5 hours) Hall 2217

Supervised Practice Margetts 2217

Displays open (5:00-6:15) 2221

The New BYU Letourneau Concert Hall Organ – A Sneak Peek Forrest followed by reception Concert Hall

Wednesday, August 7

New to the Organ Experienced Organists Special Topics Practice & Study

8:30 Music Theory for the Organist Levels 1-2 (Part 1, 1.5 hours)

Peeples Choral Hall

10:00 Hymn Playing in the Sustained Style (Part 1) Pickering Choral Hall

11:00 Chorus Registration Payne Choral Hall

Music Theory for the Organist Levels 3-4 (Part 1, 1.5 hours)

Gunnell North Ensemble

1. Music Theory for the Organist Levels 5-6 (Part 1, 1.5 hours)

Harris South Ensemble

2. Hymn Improvisation (Part 1, 1.5 hours) Campbell 2217

Organ Technique and Repertoire (Part 2) (1 hour):

Intermediate (Level 3) Boehmer Recital Hall

Upper Intermed. (Level 4) Payne North Ensemble

Early Advanced (Level 5) Swain South Ensemble

Advanced (Level 6) Kerr 1231A

Lessons Beyond Level 6: Sign up for Supervised Practice →

Working Out Challenging Pedal Parts

Peterson North Ensemble

Adapting French Romantic Organ Registration Indications to American Organs Pickering South Ensemble

12:00 Lunch Break Displays open (11:55-1:20; closed for the week Thursday 1:20) 2221

12:30 Lunchtime Listening Session: Organ Music by Women Composers Johnston North Ensemble

Supervised Practice (Beyond Level 6 Only)Custom Presentation Harris 2217

Supervised Practice Johnston 2217

“New to the Organ” track alternative: Pedal Technique “Feet On” (Part 2 – must sign up during Tue. 10:00 pedal class. Schedule only one “Feet On” session during the week. Offered Tue.-Fri. 12:30.) Hess, Hall, Pickering 2217

Technology Help Desk Stuart Information Desk

1:30 Organ Technique and Repertoire (Part 2):

Beginning (Level 1) Harmon Choral Hall

Early (Level 2) Forsyth Recital Hall

2:30 1. How to Set Up a Hauptwerk Organ Stuart Choral Hall

2. Preparatory Level

Supervised Practice (12 seats only for those who sign up during 1:30 class. Also Thu. 3:30 or 4:30. One space per person.) Peterson, Swain 2217

3:45 (prepare for Field Trip)

Advanced Hymn Playing (Part 2) Kerr North Ensemble

Piano Technique for Organists Hall North Ensemble

3:45 Buses depart from south of Music Building

4:30 Visit to M. L. Bigelow Organ Builder (American Fork)

5:45 Boxed dinner on the bus

Using OrganTutor to Enhance Teaching & Learning Cook South Ensemble

iPad Power Part 1 (also Thursday 1:30) Peeples South Ensemble

Supervised Practice Hall 2217

7:00 Hymn Sing with Tabernacle Organists and Instant Choir (You) – Conference Center Theater

8:15 Buses depart from west of Conference Center for BYU Music Building

Supervised Practice Boehmer 2217

Thursday, August 8

New to the Organ Experienced Organists

Topics Practice & Study

8:30

10:00

Music Theory for the Organist Levels 1-2 (Part 2, 1.5 hours)

Peeples Choral Hall

Hymn Playing in the Sustained Style (Part 2) Pickering Choral Hall

11:00

Solo and Accompaniment

Registration Payne Choral Hall

Music Theory for the Organist Levels 3-4 (Part 2, 1.5 hours)

Gunnell North Ensemble

1. Music Theory for the Organist Levels 5-6 (Part 2, 1.5 hours)

Harris South Ensemble

2. Hymn Improvisation (Part 2, 1.5 hours) Campbell 2217

Organ Technique and Repertoire (Part 3) (1 hour): Intermediate (Level 3) Boehmer Recital Hall

Upper Intermed. (Level 4) Payne North Ensemble Early Advanced (Level 5) Swain South Ensemble Advanced (Level 6) Kerr 1231A

Lessons Beyond Level 6: Sign up for Supervised Practice →

Playing Pianistic Hymns at the Organ (Part 1) Pickering North Ensemble

Practice Habits That Lead to Mastery Harmon South Ensemble

12:00 Lunch Break Displays open (11:55-1:20; closed for the week today 1:20) 2221

12:30

Supervised Practice (Beyond Level 6 Only) Harris 2217

Supervised Practice Gunnell 2217

Lunchtime Discussion: What I Wish I Had Known Sooner as an Organist Goodliffe North Ensemble “New to the Organ” track alternative: Pedal Technique “Feet On” (Part 2 – must sign up during Tue. 10:00 pedal class. Schedule only one “Feet On” session during the week. Offered Tue.-Fri. 12:30.) Hess, Johnston, Gunnell 2217

Technology Help Desk Stuart Information Desk

1:30 Organ Technique and Repertoire (Part 3):

Beginning (Level 1) Harmon Choral Hall Early (Level 2) Forsyth Recital Hall

2:30

Playing This Sunday When There’s No Time to Prepare Gunnell Choral Hall

3:30

1. Sight-Reading and Transposition Tips (also Fri. 1:30) Goodliffe Recital Hall

2. Preparatory Level

Supervised Practice (12 seats only for those who sign up during 1:30 class. Also 4:30. One space per person.) Peterson, Margetts 2217

4:30 Preparatory Level

Supervised Practice (repeat, 12 seats only for those who sign up during Tue. 1:30 class) Peterson, Margetts 2217

Advanced Hymn Playing (Part 3) Kerr North Ensemble

iPad Power Part 1 (repeat) Peeples South Ensemble

Console Facility For the Feet Forsyth Recital Hall

Touch: The Organist's Primary Means of Expression (Part 2) Forsyth North Ensemble

iPad Power Beyond the Basics Peeples South Ensemble

Getting Started Composing for the Organ Boehmer South Ensemble

Low-Stress Performance Opportunity (Part 1 –Prep Session) Harris 2217

Supervised Practice Peterson 2217

7:00 Instructor Recital Workshop Instructors followed by reception Recital Hall

Friday, August 9

New to the Organ Experienced Organists Special Topics Practice & Study

8:30 Music Theory for the Organist Levels 1-2 (Part 3, 1.5 hours)

Peeples Choral Hall

10:00 Hymn Playing in the Sustained Style (Part 3)

Pickering Choral Hall

11:00 Registration Decision Making and Score

Preparation Margetts Choral Hall

12:00 Lunch Break

12:30

Music Theory for the Organist Levels 3-4 (Part 3, 1.5 hours)

Gunnell North Ensemble

1. Music Theory for the Organist Levels 5-6 (Part 3, 1.5 hours)

Harris South Ensemble

2. Hymn Improvisation (Part 1, 1.5 hours)

Campbell 2217

Organ Technique and Repertoire (Part 4) (1 hour):

Intermediate (Level 3) Boehmer Recital Hall

Upper Intermed. (Level 4) Payne North Ensemble

Early Advanced (Level 5) Swain South Ensemble

Advanced (Level 6) Kerr 1231A

Lessons Beyond Level 6: Sign up for Supervised Practice →

Playing Pianistic Hymns at the Organ (Part 2) Pickering North Ensemble

Stage Deportment Goodliffe South Ensemble

Lunchtime Listening Session: Hymn Playing Masterclass Margetts North Ensemble

Supervised Practice (Beyond Level 6 Only) Harris 2217

Supervised Practice Peeples 2217

Technology Help Desk Stuart Information Desk

1:30 Organ Technique and Repertoire (Part 4):

Beginning (Level 1)

Harmon Choral Hall

Early (Level 2)

Forsyth ALERT: South Ensemble

2:30

Sight-Reading and Transposition Tips (repeat) Goodliffe North Ensemble

Playing Cathedral Organs With a Laptop Ray Recital Hall

Questions and Answers from the Church of Jesus Christ of Latter-day Saints Headquarters Choral Hall

3:30 Closing Session Harmon, Johnston Choral Hall

Low-Stress Performance Opportunity (Part 2 – play for one another!) Harris 2217

Supervised Practice Campbell 2217

Thursday

8:30

10:00 Hymn Playing in the Sustained Style (Part 2)

Technique and Repertoire - Level 3 (Part 3)

(Part 3)

2:30

(Part 3)

10:00 Hymn Playing in the Sustained Style (Part 3)

(Part 4)

Technique and Repertoire - Level 1 (Part 4)

Organ Technique and Repertoire - Level 2 (Part 4)

Low Stress Performance Opportunity (Part 2)

ORGAN WORKSHOP CLASS DESCRIPTIONS

Workshop classes and events are described in detail below. Each one is intended for organists at a certain level of training or range of levels. Decide which of the levels below describes your training most accurately, and then choose classes designed for that level. If you intend to work through one of the BYU Independent Study Organ Courses (“levels”) in the months following the workshop, you will benefit directly from classes that correspond with your level. Follow these links to see the list of requirements for Levels 1-2 and Levels 3-6.

Level 1: beginning (Pianists with little or no formal organ training, or who need help in applying what they have learned in their organ playing. No music theory prerequisites.)

Level 2: review basics (Those with organ training, but who would benefit from a review of basic legato organ technique, repertoire, registration, hymn playing, and registration. Should be able to sight-read single-line melodies. Music Theory prerequisites: see Theory Requirements for Level 1).

Level 3: early intermediate (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, and registration. Should be able to sight-read two-part music. Music Theory prerequisites: see Theory Requirements for Levels 1-2).

Level 4: intermediate (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, and registration. Have training in playing organ pieces in both legato and articulate styles. Should be able to play easy four-part vocal scores, to sight-read simple three- and four-part organ music and hymns, and to transpose hymn melodies (only) up to and including a major second up and down. Music Theory prerequisites: see Theory Requirements for Levels 1-3).

Level 5: early advanced (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, registration, and in intermediate organ pieces in both legato and articulate styles. Should be able to play moderately difficult four-part vocal scores and easy choir accompaniments, to sight-read moderately difficult four-part organ music and hymns, and to transpose simple hymns into all keys up to and including a major second up and down. Music Theory prerequisites: see Theory Requirements for Levels 1-4).

Level 6: advanced (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, registration, and in early advanced organ pieces in both legato and articulate styles. Should be able to play more difficult four-part vocal scores and choir accompaniments, to sight-read more difficult four-part organ music and hymns, and to transpose moderately difficult hymns into all keys up to and including a major second up and down. Music Theory prerequisites: see Theory Requirements for Levels 1-5).

CLASS DESCRIPTIONS

ADAPTING FRENCH ROMANTIC ORGAN REGISTRATION INDICATIONS TO AMERICAN ORGANS

The great organ works from the French Romantic tradition are some of the best-loved of the entire organ repertory. Registering these works, created for specific French organs and cathedral spaces and often with specific registration directions, requires more than simply stop-for-stop transfer. Learn more about making these adaptations in this very useful session.

ADVANCED HYMN PLAYING

This course is intended for pianists or organists who have had substantial introductory organ training and who are applying it in their hymn playing. The following topics will be covered:

Rearranging Parts (soprano solo, tenor solo, alto up an octave, soprano/tenor switch, manual only)

Advanced hymn registration

Nonharmonic Tones

An Introduction to Creative Introductions and Interludes

An Introduction to Free Accompaniments

Bring a hymnbook and receive specific direction and ideas for the coming year's practice.

Hymnbook required. Organ shoes recommended. Also recommended: Belnap, Parley L. Hymn Studies for Organists Rev. ed Provo, UT: BYU Creative Works Office, 1992/2004. These may be available at the displays. Cook, Don. The OrganTutor Online Tutorial. Provo, UT: BYU Creative Works Office, 1998/2021 Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. The OrganTutor Workbook. ("OTW") Spanish Fork, UT: Ard Publications, n.d. (ardpublications.com)

Dean, Carol. Hymns from the L.D.S. Hymnal Marked for the Organ. email Jennifer Morgan at ldsorganistblog@gmail.com

You should be familiar with the concepts covered in these classes: Hymn Playing in the Sustained Style, Registration Basics, Chorus Registration, Solo and Accompaniment Registration, and Registration Decision Making Basic hymn registration is not covered in Advanced Hymn Playing.

We invite you to bring a list of the stops on the organ that you play, including pitch designations. List them under each division (for example: Great: Principal 8', Octave 4', Mixture IV, etc.; Swell: Bourdon 16', Geigen Principal 8', etc.; Pedal: Principal 16', Lieblich Gedackt 16', etc.) Refer to your list throughout the workshop

CHORUS REGISTRATION

Now that you are familiar with organ stops, how to you combine them into useful combinations for organ pieces and hymns? Chorus Registration – combining stops to be sounded by several musical lines or voices at the same time, as when both hands play on the same manual – is the most important type of organ registration. We will go deeper into what was introduced in the Registration Basics class. Don’t miss it!

Those attending this class should have been introduced to the organ console, families of organ tone, and pitches of organ stops.

CONSOLE FACILITY FOR THE FEET

Learn about negotiating large leaps, finding toe studs, maneuvering the Swell/other boxes with both feet.

CREATING A NEW ORGAN: PAUL FRITTS OP. 43

This brand new tracker organ is as beautiful to hear as it is to see. Instructor Jason Gunnell will take you on a step-by-step visual tour through this organ from conception to completion.

GETTING STARTED COMPOSING FOR THE ORGAN

For those who have enough music theory background, learn some tips on getting started writing music for the organ.

HOW TO SET UP A HAUPTWERK ORGAN

Virtual organs are becoming increasingly common as practice organs for many reasons, such as cost savings and stoplist versatility. Harold Stuart, Organ Workshop Technology Director, will identify all the components of a Hauptwerk organ and how to set one up.

HYMN IMPROVISATION

They say that the culmination of a musician’s art is in their ability to create music “on the spot.” But improvisation is an art form that can be taught, and requires many hours of practice before anything “on the spot” pops up! Learn some of the secrets of the improvisor’s art as it applies to improvising on a hymn tune. You will go home with some good ideas on how to practice this valuable skill.

HYMN PLAYING IN THE SUSTAINED STYLE (Levels 1-2)

This course introduces hymn playing in the sustained legato style: evaluating the text, dealing with the repeated notes, planning fingering and pedaling, hymn registration, practicing, and hymn introductions. It is intended for pianists or organists who have had little or no formal organ training or who need help in applying that training in their hymn playing.

Bring a hymnbook and receive specific direction and ideas for the coming year's practice.

Hymnbook required. Organ shoes recommended. Also recommended: Belnap, Parley L. Hymn Studies for Organists Rev. ed Provo, UT: BYU Creative Works Office, 1992/2004. These may be available at the displays. Cook, Don. The OrganTutor Online Tutorial. Provo, UT: BYU Creative Works Office, 1998/2018. Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. The OrganTutor Workbook. ("OTW") Spanish Fork, UT: Ard Publications, n.d. (https://www.ardpublications.com/)

Dean, Carol. Hymns from the L.D.S. Hymnal Marked for the Organ. email Jennifer Morgan at ldsorganistblog@gmail.com

HYMN PLAYING MASTERCLASS

Workshop instructor and Temple Square Organist Linda Margetts will present hymns played by participants and offer comments that can be helpful for everyone. Submit your proposed hymn by email to Elena at organ@byu.edu no later than Wednesday, August 7. If you are interested in submitting a hymn in video format, please observe these guidelines:

• Make a video recording using a good external microphone. Sound quality will be most important. Set your camera so that your hands, feet, and the stops are visible.

• For the recording, state your name, the hymn you are playing, and the make and type of organ.

• Play all verses, with registration changes, as though you were accompanying a large, enthusiastic congregation.

• Upload your video to YouTube as an unlisted video, and include the link.

• Send an email that includes the link and your name to organ@byu.edu.

• Video submissions are due July 28.

INDIVIDUAL CONSULTATIONS

Meet with a workshop instructor on Monday afternoon for up to 15 minutes to get feedback on:

• Your level placement for workshop classes

• Hymn playing tips (bring a hymn to play)

• Tips on organ pieces (bring a piece to play)

• Other organ-related questions

Make your appointment (fee) through the BYU Organ Workshop website > Registration Info.

INTRODUCTORY VIDEO: HOW TO MAKE THE MOST OF THE BYU ORGAN WORKSHOP

This video is designed to answer all your questions and help you prepare for the workshop. Be sure to watch the video before the workshop begins!

iPAD POWER

You’ve seen them – organists who have left their paper scores behind and dare to trust the likes of their performances to an iPad! What are they doing? How are they doing it? What apps are they using? Joseph Peeples will walk you through his paperless way – complete with the whys, the hows, and the what-do-I-do-nows.

iPAD POWER BEYOND THE BASICS

This session digs a little deeper into the iPad and forScore – the more advanced features that can make an organist’s life a little simpler and more organized.

LESSONS BEYOND LEVEL 6

Twelve participants may apply for one of twelve seats in this special advanced technique and repertoire course. There are three four parts (and this schedule may be modified as you see fit):

• Tuesday: Supervised Practice. Use the time for practice, and apply for one of the 12 seats by signing up for an eightminute Supervised Practice session with the instructor Tuesday between 10:00 and or 11:0011:50.

• Wednesday: Customized Presentation. Based on the Supervised Practice experience, the instructor will create a presentation designed specifically for this your group.

• Thursday: Supervised Practice. Use the time for practice, in preparation for Friday’s Low-Stress Performance Opportunity. Some class members will play and the instructor will offer comments for the benefit of the whole group.

• Friday: Low-Stress Performance Opportunity (see below). Some class members will play, no one will play perfectly, and everyone will enjoy the performances!

LOW-STRESS PERFORMANCE OPPORTUNITY

So – you don’t feel like playing in front of everyone during the workshop, but you wouldn’t mind playing in front of a few of your fellow workshop goers. This is your chance! Bring your prepared piece to the Organ Lab for the first session and receive a few pointers from the instructor. Her job is to help you feel comfortable and to boost your confidence. In the second session, play it for the few others who are there to do the same. It’s designed to be fun and fulfilling – even if everything doesn’t go just right!

LUNCHTIME LISTENING SESSIONS

Bring a lunch while you listen to experienced organists from a variety of backgrounds and perspectives play their music. Helpful lists and spoken announcements by the performers will reveal their sources – a valuable resource for all who attend. This is an excellent opportunity to hear new pieces and make choices for future study.

• Tuesday session: The Organ Music of Frank Ashdown. Many of us knew Frank Ashdown, a physician whose real passion was composing music for organ and for choir. James Welch was a particularly close friend, and will share some of Frank’s best organ pieces.

• Wednesday session: Organ Music by Women Composers. A recent movement in exploring the music of female composers has revealed some excellent pieces. Wendy Johnston will share some of those during this session.

• Thursday session is more of a discussion: What I Wish I Had Known Sooner as an Organist. Temple Square organist Bonnie Goodliffe is passionate about teaching and learning organ. Her wisdom and level of experience are a valuable resource for any organist. She will share some of the things she would have done differently as an organist, and will open it up for your ideas as well. We can always benefit from the experience of others!

• Friday session: Hymn Playing Masterclass. Several workshop participants will have the opportunity to demonstrate their best hymn playing, and the instructor will offer feedback from which all can benefit. Those interested in playing should submit their name and hymn to organ@byu.edu Tuesday or Wednesday during the workshop.

MUSIC THEORY FOR THE ORGANIST (Levels 1-6)

Music theory is central to musicianship. These classes provide an opportunity to go over some key concepts with an expert and serve as a springboard for further study throughout the year. We suggest that you attend the earliest level that teaches concepts with which you are not yet familiar.

Note: The Greg Steinke/Paul Harder books referenced below are programmed learning texts in music theory, designed for self-study. The courses were designed around the 10th edition for Levels 1-4, and the 12th edition for Levels 5-6. Other editions (i.e., used books or newer editions) may be used and are even encouraged, but specific chapter numbers and the frame numbers referenced in the instructor feedback of the Quizzes may be slightly inaccurate.

Level 1 (chapters 1-5 in Paul Harder, Basic Materials in Music Theory): Time and sound (sound waves, pitch, intensity, timbre, harmonics, the harmonic series), The notation of pitch (symbols for tones, basic scale, treble clef, bass clef, C-clefs, ledger lines, grand staff, ottava sign, half- and whole-steps, accidentals, enharmonic notes, chromatic scale, pitch designations), Time classifications (beat, meter, simple and compound time, borrowed divisions, subdivisions of the beat), Note and rest values (relative value of notes and rests, the dot, division of dotted and undotted notes and rests, subdivision of dotted and undotted notes and rests, the unit in simple and compound time,

metronome indications, terms that express tempo) Time signatures (time signatures in simple and compound time, relation of time signatures to time classification, common time, alla breve, the tie, rhythmic patterns, syncopation)

Level 2 (chapters 6-11 in Paul Harder, Basic Materials in Music Theory):

Intervals (harmonic and melodic intervals, numerical classification of intervals, compound intervals, classification of intervals by quality, inversion of intervals, enharmonic intervals), The basic scales (structure of the basic scales, modes, the keynote), The major scale (structure of the major scale, use of accidentals to form major scales on any note), The minor scale (the natural, harmonic, and melodic minor scales; diatonic and chromatic intervals), Key signatures (key and tonality, major key signatures, relative keys, minor key signatures, use of accidentals to form the various minor scales, the circle of fifths),Triads (the tertian system, basic [diatonic] triads, major, minor, augmented, and diminished triads, Roman numeral identification, chord symbols)

Level 3 (chapters 1-5 in Steinke/Harder, Harmonic Materials in Tonal Music, Part 1):

Definitions (tonal, keynote, key, iteration, tonality, tonal center, tonal harmony, intervals, chords, triads, harmonic interval, root, diatonic triads), The structure of tonality (harmonic tonality, functional harmony, primary triads, secondary triads, neutral chord, active triad, progressions [basic, opening, closing], basic harmonic phrases, retrogression, tonal variety), Triads in root position: doubling and spacing (figured bass symbols, three- or four-part texture, voice crossing, close/open structure, vacant tone, sonority), Triads in root position: voice leading (relative motion, consecutive intervals, common tones, redistributing tones, augmented intervals, doubling principles, spacing principles), Triads in first and second inversion (root position, inverted triads, sonority, incorrect parallel motion, irregular doubling, active tone, six-four chord types, irregular resolution, nonessential function)

Level 4 (chapters 6-10 in Steinke/Harder, Harmonic Materials in Tonal Music, Part 1):

Introduction to seventh chords and the dominant seventh (dissonance, diatonic seventh chords [major-minor, fully diminished, etc.], first/second/third inversions, dissonant elements), Phrase structure and cadences (phrase, melodic contour, cadence types [authentic, plagal, half, deceptive, final and nonfinal, perfect and imperfect, picardy third, Phrygian]), Nonharmonic tones (identify and know how to write the following: passing tone unaccented and accented, neighboring tone, appoggiatura, escape tone, anticipation, suspension, retardation, ornamentation, changing tone, pedal, free tone), Harmonic progression (progression & retrogression, relative strength of various types of root movement, primary triads and their secondary triads in harmonic progression, structural and embellishing harmony, relation of a basic harmonic structure to the phrase as a whole), Melody harmonization (choice of cadence, base line, tonality, harmonic rhythm, basic harmonic structure, embellishments of basic harmonic structure)

Level 5 (chapters 1-6 in Steinke/Harder, Harmonic Materials in Tonal Music Part II):

Seventh chords (dissonance, diatonic seventh chords [major-minor, half-diminished, inverted, etc.], dominant seventh chord, Nondominant seventh chords (passive resolution, cadence effect, sequence patterns, regular and irregular resolutions), Altered nonharmonic tones and secondary dominants (foreign tones, tonal color, alteration of scale degrees, chromatic passing tones, false [cross] relation, double neighboring tones, chromatic mediants, tonicization, dominant function, dominant relation, leading tone relation, sequence of chords), Modulation to closely related keys (transcient modulation, tonal reference, change of mode, phrase modulation, modulating sequence, pivot chord modulation, diatonic modulation, chromatic modulation), Borrowed chords (modal mixture, modal exchange, Picardy third, deceptive cadence, ambiguity of modality), Augmented sixth chords [Italian, German, French, English] (chromatic alteration, altered chords [subdominant, subdominant seventh, supertonic seventh], motive/motif

Level 6 (chapters 7-11 in Steinke/Harder, Harmonic Materials in Tonal Music Part II):

Neapolitan sixth chord, altered dominants, and diminished seventh chords (altered supertonic triad, tritone relationship, altered dominants, diminished seventh chords, enharmonic spellings), Chromatic third-relation harmony (tonal instability, tonal expansion, color harmony, functional/nonfunctional harmony, “chromatic stress”, ambiguous tonal effect, tonal fluidity, symmetrical relationships), Modulation to foreign [remote, distant, semirelated] keys, Ninth, eleventh, and thirteenth chords (tertian extension, incidental melodic occurrences, tone cluster, chromatic median seventh chord, dominant [eleventh, thirteenth] chord, polychord, appoggiatura chord, impressionistic music, palindrome, pandiatonicism, atonality, pantonality)

ORGAN TECHNIQUE AND REPERTOIRE

To make best use of these classes, please read this section entirely so that you be fully prepared!

These courses offer training for pianists or organists in basic organ manual and pedal technique, and in organ repertoire. Choose the level appropriate for your needs,.

Important: to make the most of these classes, choose from and bring the materials for the appropriate level and receive specific direction and ideas for the coming year's practice. Read carefully through the list of requirements for your level (Levels 1-2 and Levels 3-6). Make a list of the materials needed in that level and acquire whatever you can. Best in Music and Day-Murray Music and stock many of the titles used in BYU organ programs, and Day-Murray charges only the actual cost of shipping.

Online workshop participants are welcome to submit recorded pieces from their level for demonstration during the session. If you do so, please observe these guidelines:

• Make a video recording using a good external microphone. Sound quality will be most important. Set your camera so that your hands, feet, and the stops are visible.

• For the recording, state your name, the piece you are playing, and the make and type of organ.

• Upload your video to YouTube as an unlisted video, and include the link.

• Send an email that includes the link and your name to organ@byu.edu. Submissions are due no later than August 2 (or as arranged with the instructor).

If you want personalized feedback or direction from an instructor, sign up for Private Lesson (fee). We recommend bringing the following from the appropriate Organ Technique (or Independent Study organ course) level: One of the organ methods

For online participants, it is highly recommended that you be seated near an organ for these sessions.

ORGAN TERMINOLOGY BOOT CAMP

Here’s a little self-test. Consider these terms: manual, stop, piston, reversible, expression pedal, rocker tab, Swell, Great, toe stud, rank. If the meaning behind one or more of these terms is not clear to you, you might want to go through this online video tutorial. It will help familiarize you with some of the basic jargon you will hear throughout the workshop.

ORGANS IN ISRAEL

Dr. James Welch and his wife Deanne have recently returned from a period of service at the BYU Jerusalem Center. His travels brought him to many unique and interesting organs in and around the city. He will show and tell you about these organs during this fascinating presentation.

PEDAL TECHNIQUE

This class covers the most important foundations of good legato pedal technique. After attending this class, attend a “Pedal Technique ‘Feet-On’” session to get experience and individual guidance on your pedal technique.

Those who attend this class will be the first to be permitted to sign up for one (only) of the “Pedal Technique ‘Feet-On’” sessions described below.

PEDAL TECHNIQUE “FEET-ON” SESSION

This session provides an opportunity to practice the techniques covered in the Pedal Technique class (see the class description above) with the help of an instructor. Beginning organists are encouraged to schedule one of these sessions during the week, and experienced organists who want pedal technique pointers are also welcome. Bring pedal studies or music that you prepare before the workshop, or use materials provided by the instructor.

To receive priority registration for this “Feet-On” session, you must attend the Pedal Technique class described in the box above and follow the instructions to sign up during or immediately after that class.

Organ shoes highly recommended.

PIANO TECHNIQUE FOR ORGANISTS

Warming up the fingers at the piano offers great benefits to organists. The key action, the ease of access, and the reduced reach are just a few of them. Learn in this class some of the routines and technical studies that can be most beneficial to organists.

PLANNING, PRELOCATING, AND PIVOTING – THE 3 “P”s FOR PERFECT PEDAL TECHNIQUE

Learn a new (or renewed!) approach to pedal technique that could be just the ticket to help you move your pedaling to the next level.

PLAYING CATHEDRAL ORGANS WITH A LAPTOP

Visiting instructor Kenneth Ray can be seen wherever there’s a MIDI port with his trusty laptop, playing virtual recreations of great organs of the world. In this session he’ll demonstrate it for you, then show you the hardware, software, and setup needed to do this yourself.

PLAYING PIANISTIC HYMNS AT THE ORGAN

The current movement in hymn singing for church services includes an increasing need for playing pianistic hymns at the organ. An organist who can do this effectively will enhance the hymn singing experience and increase their value to the congregation and church leaders. Learn some of the ways to interpret and perform these pieces during this session.

PRACTICE HABITS THAT LEAD TO MASTERY

For those situations where you are not pushed for time, learn strategies and habits that will lead to true mastery of your organ playing, at whatever level you are.

PLAYING THIS SUNDAY WHEN THERE’S NO TIME TO PREPARE

We don’t always have weeks or months to prepare our organ music for an event. Sometimes we find ourselves asked at the last minute to play this Sunday! In this session, learn some strategies to help you prepare when there just isn’t a lot of time.

PREPARATORY LEVEL SUPERVISED PRACTICE

The Preparatory Level is introduced during the first session of the “Organ Technique and Repertoire – Level 1” class. It offers training for pianists in the most basic skills needed in classical or sacred organ playing. The Preparatory Level is designed to be learned, practiced, and completed during these Preparatory Level Supervised Practice sessions, while still allowing attendance at the Level 1 organ instruction and hymn playing classes. As an alternative, the level may be prepared

during the year and played either during the next Organ Workshop or during the year with a qualified organ instructor –including online.

Music will be provided. Organ shoes are highly recommended. Attendance at the Tuesday 1:30 Organ Technique and Repertoire class (Level 1) is required. Sign-up for the Preparatory Level Supervised Practice will take place during that class. Class size limit: 12 students per session. Limit: 1 session per participant.

PRIVATE LESSONS

45-minute private lessons ($60 each) with a workshop instructor of your choice are available between Monday, August 5 and Friday, August 9. The lesson can be in person or online. Pay at the time of registration, and scheduling will open in July. Watch for an email with scheduling details. No refunds for missed appointments.

These lessons are an excellent opportunity to receive help in hymn playing, organ pieces, BYU Independent Study organ course requirements, or in any area of organ performance. Play hymns and/or organ repertoire that you have prepared for the instructor, who will comment on your preparation and provide guidance for further study.

Organ shoes highly recommended.

QUESTIONS AND ANSWERS

While you enjoy a light breakfast and wait for the opening session, Organ Workshop Director Don Cook will answer any questions about how the workshop operates, or short-answer questions about organ playing. This is a chance to ask any burning question that you might have before the workshop even begins!

QUESTIONS AND ANSWERS FROM CHURCH OF JESUS CHRIST OF LATTER-DAY

SAINTS HEADQUARTERS

A representative from the Church Headquarters will make a presentation and field questions about serving as an organist in the Church of Jesus Christ. Frequent reference may be made to the music section of the General Handbook.

REGISTRATION BASICS

This two-part series explores several fundamentals in organ registration that must be understood by all organists. It is designed to lead into the Chorus Registration, Solo and Accompaniment Registration, and Registration Decision Making classes.

Part 1: THE ORGAN CONSOLE, and FAMILIES OF ORGAN TONE

Mysteries of the organ console are revealed, including the divisions of the organ and console devices such as thumb pistons and toe studs, expression and crescendo pedals, and other registrational aids. The division of speaking stops into Principal, Flute, String, and Reed families is also introduced.

Part 2: PITCHES, AND QUESTIONS AND ANSWERS

The numerals (pitch designations) found on stops are explained, leading to a discussion of the basics of building a good ensemble. Couplers are also introduced.

See the “Organ Terminology Boot Camp” video before attending this class.

REGISTRATION DECISION MAKING AND SCORE PREPARATION

Once you understand basic organ registration principles, how do you decide just when and how to apply them in specific organ pieces or hymns? This session will present a wide variety of organ pieces (primarily) and hymns, and will follow the thinking process one uses in creating a registration plan. We will also cover various ways of marking and preparing the score.

Those attending this class should have been introduced to the organ console, families of organ tone, pitches of organ stops, chorus registration, and solo and accompaniment registration.

SEMINAR: THE FRENCH ROMANTIC ORGAN SOUND IDEAL

The French Romantic tradition in organ literature can be credited to two extraordinary individuals: the organ builder Aristide Cavaille-Coll and the composer César Franck. Neil Harmon will teach about the sound ideals of the French Romantic organ and why it became known as the symphonic organ. BYU students and faculty recently returned from a Pipe Organ Study Tour to France (and England). Dr. Harmon will share some tour experiences and what was learned about the French Romantic organ.

SIGHT-READING AND TRANSPOSING TIPS

This session offers tips used by professionals when they sight-read or transpose. While nothing will take the place of practicing these skills over a long period of time, applying some of these “secrets” could speed up the process.

SOLO AND ACCOMPANIMENT REGISTRATION

After learning about organ stops and chorus registration, how do you create combinations when one hand is playing a solo sound on a different manual from the first? Solo and Accompaniment Registration is very useful when playing preludes, postludes, and when improvising. Various types of solo stops and combinations are explored, along with ways to create balanced accompaniment combinations.

Those attending this class should have been introduced to the organ console, families of organ tone, pitches of organ stops, and chorus registration.

STAGE DEPORTMENT

How to conduct oneself on the concert platform – or any stage. Attire, entrances/exits, bowing, body language, speaking, and dealing with scores. Good stage deportment puts our audiences at ease and sets the stage for good communication. Temple Square Organist emeritus Bonnie Goodliffe will share some of her knowledge in this important topic.

SUPERVISED PRACTICE AND STUDY

The BYU Organ Lab (room 2217 MB) offers a unique way to practice and learn about organ playing. During Supervised Practice time you may practice on your own on any of the twelve digital organs in the lab. If you want up to ten minutes with an instructor to answer questions and offer suggestions (no extra fee), sign up for one session in July. This is an excellent time for “hands-on or feet-on” training. You might also consider bringing a copy of the stoplist of your organ to Supervised Practice to get a few registration tips from the instructor.

During each Supervised Practice hour, four of the organs will be reserved for these ten-minute supervised practice sessions. The other eight organs will be open for practice or study without supervision on a first-come first-served basis.

In addition, you can study selected basic organ topics in the Organ Lab through OrganTutor Online, an online tutorial. Seven of the twelve lab organs are equipped with an iPad that allows you to explore OrganTutor Online free and at your own pace such important topics as Families of Organ Tone, Pitches of Organ Stops, and Three Primary Types of Organ Registration. See various pedal and manual techniques demonstrated in full-motion video clips. Together with interactive links and selftests, this system will help clarify these important topics at your own pace. The OrganTutor Workbook is available for purchase at the displays, and an OrganTutor Online tutorial subscription is available through organtutor.byu.edu

The iPads will also allow you to view a video of a few selected classes from previous workshops.

The Organ Lab also hosts the Free Organ Music Exchange. The organ scores and books in the white crates are available for free. They have been donated by individuals who are downsizing their libraries and from estates. You are welcome to play through the scores and take those that you or your students will use. Please do not remove them with the intent to resell. If you have organ scores or books that you’d like to donate, please contact doncook@byu.edu or neil_harmon@byu.edu to arrange for drop-off or pick-up.

You are welcome to use the Organ Lab and the organ practice rooms (1231B, 1231C, 1231E, 4110) without supervision whenever they are not being used for classes or lessons throughout the workshop. Scheduled practice time may be available –watch your email early in the week for details. Organ shoes highly recommended.

TEACHING BEGINNING STUDENTS THROUGH THE ORGAN FOR PRIMARY SERIES

Over several years, Laurie Swain has developed an innovative approach for teaching organ to young students or older beginning students. Organ for Primary is fast-paced and fun, and teaches steps for learning to play the organ using organ arrangements of children's songs from the Church of Jesus Christ of Latter-day Saints. Centering on music that is familiar to Latter-day Saint children can provide valuable motivation! Learn more about the way her system works in this interesting session.

TECHNOLOGY HELP DESK

BYU Organ Workshop Technical Director Harold Stuart will be available to answer any technology question. The amount of time he can spend during each session depends on the number of people waiting to be helped.

TOUCH:

THE ORGANIST’S PRIMARY MEANS OF EXPRESSION

So much of what we do that is expressive on the organ comes back to touch: attack and release of individual notes, chords, pick-ups to certain hymns, etc. In addition to early music, paying attention to touch can also make later music and hymns more expressive. Learn more about touch in this two-part class.

USING ORGANTUTOR TO ENHANCE TEACHING & LEARNING

The digital age has provided tools that can ease the processes of teaching and learning. OrganTutor harnesses digital tools to make the teacher’s life easier by replacing lecture and demonstration. The student is empowered as these “lecture topics” and video demonstrations are placed in their hands between lessons, making that valuable lesson time more efficient. For the reasons given above, OrganTutor is used heavily in the BYU Independent Study courses. This session will spell out how the OrganTutor Online Tutorial and Workbook can facilitate the work of both the organ teacher and the student.

WORKING OUT CHALLENGING PEDAL PARTS

Some organ pieces and even hymns present real challenges for the feet! During this session you will see several “real feats for the feet” that can be made possible by a strategic and creative pedaling plan. Learning the instructor’s thinking process will help you to work out your own plans once you are faced with challenging pedal parts.

YOU CAN PASS THE AGO SERVICE PLAYING EXAM

The American Guild of Organist offers certificates for organists at every level. Earning the Service Playing Exam is a great way to achieve national certification. And working towards a certificate offers great motivation to continue your organ study! Learn all about this process during this session.

GENERAL AND EVENING EVENTS

CLOSING SESSION

The closing session is an opportunity to put the workshop in perspective. Enjoy some success stories involving workshop participants, a presentation by Bonnie Goodliffe about the AGO Achievement Awards, and some words of encouragement by the BYU organ faculty. Those who stay for this Closing Session will be richly rewarded.

DISPLAYS

A few vendors will be offering music and materials for sale during selected hours throughout the workshop. Materials recommended or required for the workshop classes may be available for purchase. The only way to be sure, however, is to order them ahead of time through Best In Music (see contact information below) and have them either shipped directly to you or held for you at their display table.

Some BYU-specific materials (i.e., The OrganTutor Workbook) can be ordered through Ard Publications, who will also have a table at the Workshop.

Following are some of the businesses associated with the BYU Organ Workshop. Be sure to order early if you want items in hand during the workshop!

• Best In Music (in-person vendor for this year’s workshop): 1-801-802-8022; bestinmusic.net

• Day-Murray Music (including the hymn prelude volumes of Dr. Neil Harmon and Dr. Douglas Bush): 1-866-DAY1946; daymurraymusic.com

• Ard Publications (OrganTutor and related items): ardpublications.com; Organtutor.byu.edu

• Heritage Church Organs: heritagechurchorgan.com

• Music of David Chamberlin: chamberlinmusic.com

• Organ for Primary: desertsunrisepublications.com

FIELD TRIP

We will gather Wednesday afternoon to travel to American Fork and Salt Lake City. We will stop at the M. L. Bigelow organ shop to see behind the scenes as they build a new tracker organ destined for New York. Then it’s on to Temple Square, where the tabernacle organists will conduct the hymn sing in the Conference Center Auditorium on their traveling Hauptwerk organ. (The pipe organs are unavailable this summer due to construction and renovation.) Bring your voices and a hymnbook!

The field trip is always the highlight of the workshop for many of our participants. Don’t miss it! Bus transportation and a box dinner will be available for an extra fee.

INSTRUCTOR RECITAL

Most of your instructors will share some of their favorite organ pieces in this exciting recital. You’ll hear a wide variety, and maybe even some that you’ll want to learn.

THE NEW BYU LETOURNEAU CONCERT HALL ORGAN – A SNEAK PEEK

The Letourneau organ company has been installing and voicing the new BYU Concert Hall organ all summer, and will continue through early September. This event will be the absolute first sneak peak of the organ by any group of people! Letourneau president Andrew Forrest will spend an hour with us showing and telling us as much as he can about his soon-tobe finished masterpiece. Don’t miss this one!

OPENING SESSION

The opening session features a keynote address by Janice Kapp Perry, whose musical influence goes deep and spans decades. Every member of the Church of Jesus Christ has a number of her melodies imprinted on their minds and spirits. We are privileged to listen to her story, which will set just the right tone for this year’s workshop.

During the Opening Session you will also meet the instructors and hear comments from workshop founder and director Dr. Don Cook.

QUESTIONS AND ANSWERS

QUESTIONS AND ANSWERS FROM CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS HEADQUARTERS

A representative from Church Headquarters will offer a status report on the development of the new hymnbook. They will also respond to questions submitted online by workshop participants (only) about serving as an organist in the Church of Jesus Christ. Frequent reference may be made to the music section of the General Handbook. Watch for instructions on how and when to submit your questions.

SEMINAR: THE FRENCH ROMANTIC ORGAN SOUND IDEAL

STORIES OF YOUR PEERS (link available in August)

Inspired by the occasional stories shared between organ workshop participants, instructor Valerie Harris interviewed several of you in 2023 and put together this video of some of those stories. It’s inspiring to hear of the amazing strength and determination in some of you so that you can provide music during the church service and for your own enrichment! If you wish to be actively involved in the Organ Technique and Repertoire classes and/or an Independent Study organ course, choose an organ method book from which to learn organ technique. The following are recommended. You may choose any one or a combination of more than one from which to play. If you desire, you may use another method book with the approval of the course instructor. Any method you choose should develop the concepts and skills listed below using comparable exercises.

INFORMATION ON ORGAN METHODS

The OrganTutor Workbook and The OrganTutor Online Tutorial are required texts for the Independent Study organ courses Levels 1 and 2, containing materials needed for passing the written assignments and exams. If you decide also to learn organ technique through OrganTutor, you will not need to purchase the Davis, Gleason, or Keeler books.

Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. The OrganTutor Workbook. ("OTW") Spanish Fork, UT: Ard Publications, n.d. (ardpublications.com)

This volume contains the materials developed for the Brigham Young University Group Organ Program and the Independent Study organ courses. Its primary strength lies in the written materials, handouts, worksheets, and exercises that cover a wide range of topics. It is revised frequently to meet current needs – most recently with version 4.1 in 2024 with QR codes that lead directly to video examples. Ideally The OrganTutor Workbook is used together with The OrganTutor Online Tutorial.

Cook, Don. The OrganTutor Online Tutorial. Provo, UT: Brigham Young University, 1998/2021. (organtutor.byu.edu) This is an online organ tutorial that supports The OrganTutor Workbook. A subscription for the online tutorial is available for 6 months ($30) or 3 years ($50). Free 2-week subscriptions are available by emailing organ@byu.edu. The technique exercises and hymn projects appear in the workbook for practice and are demonstrated through video clips. Registration and other concepts are demonstrated through hundreds of audio clips.

Davis, Roger. The Organist's Manual. New York: W. W. Norton, 1985.

This method book is widely accepted in organ teaching circles. It provides written instruction on important topics such as part playing, phrasing and articulation, fingering, and ornamentation, with useful appendices. Davis uses a moderately thorough approach to teaching technique. The choice of repertoire and careful editing are particular strengths of this volume. Unfortunately, the book is out of print and usually expensive to acquire used.

Gleason, Harold. Method of Organ Playing. 8th ed. Englewood Cliffs, NJ: Prentice-Hall, 1995.

This has been a standard resource in organ instruction for many years. It represents a thorough approach to teaching technique, and contains generous written instruction on elements of performance practice and other important topics, with a wide range of carefully-edited repertoire. The refinement of this book reflects Harold Gleason's many years of experience during and after his tenure at the Eastman School of Music. Gleason's late wife Catharine Crozier continued with revisions in the editions published since his death. Unfortunately, the book is out of print and usually expensive to acquire used.

Keeler, J. J., and E. Donnell Blackham. Basic Organ Techniques. 3rd ed. Bryn Mawr, PA: Universe, 1998.

Many organists associated with Brigham Young University benefitted from the meticulous and thorough approach of J. J.Keeler. The technical studies in this volume represent a good approach to teaching legato technique. Some written instruction is included.

Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early. New York: Oxford, 2000.

This relatively new method book explores two basic techniques that are particularly fitting for Level 3: “modern” and “early,” for music written since and before about 1750. Its greatest strength lies in its coverage of organ historical information, and it serves as the required text for several of the Level 3-6 lessons.

Adapting French Romantic Organ Registration Indications to American Organs

David C. Pickering, DMA, AAGO, dpickeri@ksu.edu

I. Understanding of French Romantic Organ Registration Nomenclature:

a. Aristide Cavaillé-Coll (1811-1899), the famous builder of French Romantic style organs, divided the organ stops into two groups, each with its windchest on each division:

i. Jeux de fonds: contains the 32’, 16’, 8’, and sometimes 4’ principals, strings, and flutes

ii. Jeux d’anches: contains the mutations, mixtures, and reeds (all pitches). Cavaillé-Coll occasionally included 4’ principal or flute pitches in this category as well. Air was admitted into the various jeux d’anches windchests using a ventil pedal activated by the foot

b. Organ Repertoire from the French Romantic Period Featured on BYU Independent Study Levels 1-6

• Level 1: Verset, Léon Boëllmann

• Level 2: Canon, Jacques-Nicolas Lemmens

• Level 3: Andantino, César Franck (in OrganTutor)

• Level 4: Mélodie or Pastorale, Jacques-Nicolas Lemmens (in OrganTutor)

• Level 4: Verset for the Kyrie, Alexandre-Pierre-François Boëly

• Level 4: Verset, Léon Boëllmann

• Level 4: Berceuse, Louis Vierne

• Level 5: Adagio from Fantaisie in C, César Franck

• Level 5: Prelude from Prélude, Fugue et Variation, César Franck

• Level 6: Fugue and Variation from Prelude, Fugue et Variation, César Franck

• Level 6: Toccata, Eugéne Gigout

II. Common Problems Encountered on American Instruments

a. Two-manual organs or three-manual organs with weak Choir or Positif division:

i. The Great will often serve the roles of both Great and Choir/Positif division.

1. Franck Prelude from Prelude, Fugue, et Variation: simply use a flute stop from the Great division to encompass both flutes indicated by Great (Bourdon) and Swell (Flûte [harmonique]).

2. Gigout Toccata: opening section could be played on the Great division functioning as a Positif division with a registration slightly less than what Gigout specifies so that an effective buildup can be realized (perhaps just 8’ foundations?).

b. No Voix humaine (required for Franck Fantaisie in C)

i. Do not substitute string and string celeste (Voix Celeste) . . . Voix (voice) is the only common word here!

ii. One could substitute a Clarinet or Cromorne (if it’s under expression and not too large, thinner neoclassical American style Krummhorns tend to work better) with Tremulant.

iii. Another substitution I’ve seen in a couple of different sources is: 8’ Voix Celeste, 4’ Flute, and Tremulant.1

1 Joby Bell, “Franck-ly Speaking, Part VIII: Fantaisie in A,” http://jobybell.org/blog/2015/1/29/franck-lyspeaking-part-viii-fantaisie-in-a.html, accessed July 15, 2024. See the comment after “Measure 102.”

c. Swells without 2’ Flutes

i. The 2’ Octavin is a common harmonic flute stop found on the Swell division on French 19th-century organs. Many American organists mistake this stop for a 2’ Octavin that is found in American Classic style organs, which is a principal stop.

d. Scarcity of the Flûte harmonique (Flûte), particularly on Swell divisions

i. Substitute with another open flute stop if possible or simply substitute another flute stop (stopped or otherwise), see Vierne Berceuse.

e. How to Realize a French Jeux d’anches registration:

i. Scholarship on what comprises Jeux d’anches registrations in French Romantic organ music has changed over the last 30-40 years.

ii. If the music indicates (Ajoutez les anches du Gd-Orgue), does that mean adding all stops indicated by “anches” or just reeds?

iii. French organ music scholar Jesse Eschbach has written two articles2 in recent issues of The American Organist that give further insight and scholarship into the matter, citing sources indicating that French organists did not combine mixtures and reeds until the beginning of the twentieth century

iv. Case studies in registering Gigout Toccata Jeux d’anches sections and Franck Fugue from Prélude, Fugue, et Variation.

v. Eschbach’s plea:

”Ultimately, it’s the responsibility of the organist to select an instrument appropriate for the 19th-century French organ repertoire, where mixtures don’t have to be used to form a vibrant, brilliant, grand choeur. Given the resources now at hand in North America, the time is ripe for organists here and everywhere to reconsider our habits and avoid traditional mixtures in most 19th-century French music, especially the works of César Franck. Vive le difference!”3

vi. What do we do if our instruments do not contain the reed plena necessary to comprise a convincing sound without mixtures?

vii. How do we register the Ajoutez les anches du Positif if we’re playing a two-manual organ or a three-manual organ with a Positif division that doesn’t contain a substantial jeux d’anches combination?

III. Final Thoughts

a. It is up to the organist to make thoughtful and informed decisions about registration for any composition from any stylistic period. Differences in an instrument (digital, pipe, virtual), acoustical environment, personal taste, and previous positive (or negative) experiences all combine to yield the final product we might hear in a performance of organ music.

b. With the advent of YouTube and other online media sources, one truly has a wealth of knowledge that one can access to help inform one’s playing! In the words of the late BYU piano faculty member Dr. Paul Pollei, “be curious!”

2 “Grand Choeur Registrations in the Works of César Franck and Beyond,” The American Organist, May 2023, pp. 60-65 and “Reviews: Ten Symphonies for Organ by Charles-Marie Widor, ed. Luc Dupuis,” The American Organist, March 2024, pp. 79-80.

3 Eschbach, “Grand Choeur Registrations . . .”, p. 64.

Advanced Hymn Playing

Daniel Kerr

Soprano Solo

For an entire verse, solo out the SOPRANO voice with the right hand (play soprano on a manual with a more prominent [solo] sound, and play alto and tenor on a different manual with a less prominent [accompaniment] sound). Choose one of the following ways of applying this "soprano solo" technique:

a.Play the soprano solo in the normal written range.

b.Play the soprano down an octave. (Move the hand; don't just use lower-pitched stops.)

Tenor Solo

Choose a section of a hymn (at least two phrases) where the TENOR line has melodic interest. Solo out the tenor voice with the left hand (play tenor on a manual with a more prominent [solo] sound, and play soprano and alto on a different manual with a less prominent [accompaniment] sound). Choose one of the following ways of applying this "tenor solo" technique:

a.Play the tenor solo in the normal written range.

b.Play the tenor up an octave. (Move the hand; don't just use higher-pitched stops.)

Alto Up an Octave

Choose a section of a hymn (at least two phrases) where the ALTO line has melodic interest, and play the alto voice an octave higher. In this way the alto will be played an octave higher than written by the upper part of the right hand (fingers 3, 4, and 5), and the soprano will be played as written but with the lower part of the right hand (fingers 1, 2, and 3).

Soprano/Tenor Switch

a.Play the hands on the same manual or two different manuals. With the left hand, play the tenor voice up an octave (as described in the preceding paragraph). With the right hand on another manual, play the soprano voice an octave lower and the alto voice in the normal written range. In this way the soprano will be played by the lower part of the right hand (an octave lower than written), and the alto will be played by the upper part of the right hand (in the normal written range). For the registration of the left-hand (tenor) voice, you may choose either a more prominent (solo) sound, or a sound similar or identical to that of the right hand. The role of the right hand may be easier understood by thinking of the "alto played up an octave" technique, as described a few paragraphs above, but with the whole right hand played down an octave. This seemingly complicated technique then becomes simply a combination of the "tenor solo" technique (up an octave) for the left hand, and the "alto up an octave" technique (with the hand played down an octave) for the right.

b.Play the hands either on the same manual or on different manuals. With the left hand, play the soprano voice down an octave. With the right hand, play the tenor voice up an octave and the alto voice in the normal written range. If you choose to play on different manuals, use stops that would give the soprano voice (played by the left hand in the tenor range) a more prominent sound.

Passing and Neighbor Tones

Where musically effective in the alto, tenor, and/or bass voice(s), add PASSING TONES to fill in melodic skips of a third, and insert NEIGHBOR TONES between repeated notes.

“PullingOutAlltheStops” RegistrationfortheNewOrganist

Instructor:KymberlyPayne,M.M.,NCTM www.PayneMusicStudio.com

Asaneworganist,youmayhaveheardotherorganistscasuallymentiontheword“registration.”Inthe dictionary,registrationhasseveraldifferentmeanings.Whenyouheartheterm“registration”inreferencetothe organ,itmeanstheselectionofstopsbyanorganisttoproduceaparticularsound.Thetwotypesoforgan registrationyouwillcommonlyuseasanorganistaskedtoplayforworshipservicesareChorusRegistration, andSoloandAccompanimentRegistration.

ChorusRegistrationisamethodofselectingstopsformusicwhereallvoices/partsareequallyimportant.We usechorusregistrationwhenweaccompanycongregationalsingingofhymnsinthenormalarrangement (Soprano,AltoandTenorvoicesontheGreat,andtheBasslineinthePedals).Ifyouencounterothermusic writtenfororganwithbothhandsonthesamemanual,youwillusechorusregistration.

SoloandAccompanimentRegistrationisamethodofselectingstopsformusicwhereonevoice/partismore prominentthantheothers.Manybooksofpreludeandpostludearrangementsonhymnsusethistexture,aswell alotofgreatorganrepertoire.Whenplayingthistypeofmusic,typicallyonehandwillplaythesoloparton eithertheSwellortheGreat,andtheotherhandwillplaytheaccompanimentontheothermanual(thebassline isalsopartoftheaccompaniment,andisplayedonthepedals).Youwillselectamoreprominentregistration forthesolopartandalessprominentregistrationfortheaccompaniment.

ThefollowinghandoutpageshavesomegreatexamplesofbothChorusRegistrationandSoloand AccompanimentRegistrationfromtheBYUTravelingOrganWorkshopHandoutPacket.Wewillworktogether tocreatesomeofthesesoundsineachrespectiveclasssoyoucanwalkawaywiththeconfidenceyouneedto selectyourownsoundsinallaspectsofyourroleasorganistinworshipservices. (Andmaybeevenpulloutallthestops!)

ReferencesandResources:

● BYU Traveling Organ Workshops Handout Packet 1 https://organ.byu.edu/workshops/organ-workshop-handouts.pdf

● Full Organ App - gives registration suggestions for common organ models found in chapels of The Church of Jesus Christ of Latter-day Saints. This is a valuable resource for beginners striving to select their own sounds, but be aware that some of the suggestions include celestes, which are not recommended for hymn accompaniment https://fullorgan.app/

● The New LDS Organist https://organ.byu.edu/newldsorganist/packet.pdf

● The New Ward Organist https://drive.google.com/file/d/1h4D-9A3Hsp1rBcQd2rVm64g5dF8lf2kn/view

● The OrganTutor Workbook - Don Cook https://creativeworks.byu.edu/CreativeWorksStore/ProductViewDetail?ProductId=10&SiteID=30

● Sharee Thompson’s Hymn Registration Guidelines - a cleanly designed, single page PDF with a hymn registration buildup from meditative to jubilant using generic stops. This allows you to use it as a guide when selecting hymn registration on the organ you play on.

https://shareethompson.org/wp-content/uploads/2024/05/Hymn_Registration_Guidelines.pdf

Hymn Registration Shortcuts

F ollowing is an easy-to-use “shortcut” plan for selecting stops in either meditative or jubilant hymns for congregational singing. It can be used with most pipe or electronic church organs.

A FEW OF THE MOST IMPORTANT GUIDELINES

1.Support the congregation with confidence, but do not overpower

2. Let the text guide the registrational plan for the hymn

3. Begin with stops from the principal chorus, especially at the 8' level

4. 8' and 4' pitches are minimum for the manual; 16' and 8' are minimum for the pedal

5. In meditative hymns, substitute flutes for principals at 4' and 2' levels as needed to reduce sharpness

6. Use changes of registration between verses and/or between verse and chorus

BASIC HYMN REGISTRATION

MEDITATIVE HYMNS:

Begin with this basic combination

•Great: Principals 8' and 4' (the stops may be called Principal, Diapason, Octave, or Prestant)

•Pedal: The main 16' stop (may be called Principal, Subbass, Bourdon, or Gedackt), and Great to Pedal

JUBILANT HYMNS:

Add the 2' Principal on the Great to the meditative hymn combination, resulting in─

•Great: Principals 8', 4' and 2' (the 2' stop may be called Super Octave, Fifteenth, or Doublette)

•Pedal: The main 16' stop, and Great to Pedal

FOR A SINGLE CHANGE OF REGISTRATION

BETWEEN VERSES

MEDITATIVE HYMNS:

Couple the Swell chorus 8' 4' 2' to the Great Begin with the Basic Hymn Registration for Meditative Hymns (above). Also, prepare the following:

•Swell: flutes or principals 8' and 4' and flute 2' resulting in:─

–8' stop (Bourdon, Gedackt, Geigen Prinzipal, or Diapason)

–4' stop (Flute, Nachthorn, Spitzprinzipal, Octave, Prestant, or Kloppelflute)

–2' stop (Piccolo, Blockflute, Flute à bec)

Later, between verses or between a verse and the chorus, add the Swell to Great coupler

JUBILANT HYMNS: Add the Great chorus mixture

•Begin with the Basic Hymn Registration for Jubilant Hymns (see above)

•Later, between verses or between a verse and the chorus, add the Great chorus mixture (usually called Mixtur[e], and always followed by a Roman numeral)

•For yet another change, you might add a chorus reed 8' on the Great or Swell (Trumpet, Trompette, Tromba, or Fagott)

Guidelines for Hymn Registration in Congregational Singing

by Don Cook

IN GENERAL

1. Support the congregation with confidence, but do not overpower.

2. The principal chorus (especially the 8' Principal) should form the basis for registration in congregational singing.

3. In meditative hymns, stops from the flute chorus might be substituted in place of Principal stops to minimize sharpness, especially at the 4' and 2' level.

4. 8' and 4' pitches are minimum for the manual; 16' and 8' are minimum for the pedal.

5. The Great to Pedal and Swell to Pedal couplers provide homogeneity between all voices; avoid them if independence in the pedal line is desired.

6. For clarity, build upward with only one stop per pitch.

7. For fullness, build outward then upward in pyramid fashion.

8. Use economy of means; add a stop only if it contributes to the ensemble. Celestes, for example, are not effective for congregational accompaniment.

9. Use 8' (and possibly 4') reeds to add fire to a bright principal chorus, or 8' and light 16' reeds to add gravity to a more foundational principal chorus.

10. The normal position for the expression pedal (“swell pedal”) is fully open. The normal position for the crescendo pedal is fully closed.

11. If the crescendo pedal and the sforzando ("tutti") reversible have been regulated properly, use them when appropriate. If not, either have them regulated until they are useful or avoid using them.

AVOID

12. Generally avoid 16' manual stops, sub-couplers, and thick, heavy 8' stops.

13. Avoid overusing full organ.

14. Never use the tremulant for congregational accompaniment.

TO INSPIRE MORE SINGING

15. Note the message of the hymn text in general and the message of each verse. Let them guide the registrational plan for the hymn.

16. Use text-directed changes of registration primarily at ends of verses (or between a verse and chorus). However, a change is not necessary following every verse of every hymn. Occasionally it might even be appropriate to play the entire hymn very simply–with no registration change.

17. If the text fails to suggest a registrational direction, build upward gradually as the hymn progresses to encourage increased congregational singing. Using another effective approach, diminish the organ after the congregation gains strength, and then build the organ again for the final verse.

18. When using solo lines in congregational accompaniment, avoid softer solo stops; use large reed or principal stops or combinations to lead out. Be sure the accompaniment combination (as well as the solo combination) is supportive enough for the congregation.

19. Use manual-only playing as a contrast to constant deep pedal tone. When the secondto-last verse is played manual only, the impact of the pedal entrance on the last verse is increased.

Registration Suggestions for Prelude / Postlude Music

by Don Cook

CHORUS REGISTRATION

Music that is carefully selected and properly presented can greatly enhance the spirit of worship. … Quiet prelude and postlude music creates an atmosphere of worship that invites the Spirit into Church meetings. The organist or pianist usually plays hymns or other appropriate music for five to ten minutes before and after a meeting.

Handbook 2: Administering the Church: Music in the Ward, 14.4, 14.4.3

Tobuild a stop combination for a prelude or postlude that accomplishes the purposes described above, first identify these important characteristics in the music. If these are not indicated in the score, make the decision yourself:

1. MOOD: Meditative or jubilant? Use more words that describe the mood or sound more precisely (light or heavy, clear or rich, sparkling or foundational, simple, calm, reverent, ethereal, solid, majestic, quietly jubilant, etc.)

2. VOLUME: Overall volume level (very soft, soft, medium, etc.)

3. SOLO: Will a solo and an accompaniment be played on two separate manuals (solo and accompaniment registration), or will both hands play on the same manual (chorus registration)?

Next, decide on the sound that you want and find it on the organ.

For “chorus-type” registration, in which both hands play on the same manual, try the combinations given below.

Use the handout “Common Stop Names Listed by Pipe Category and Family of Organ Tone” to find particular flutes, principals, strings, reeds, or hybrids (as indicated below) on your organ.

The following list begins with the softer stops or combinations, which are usually most effective in enhancing the spirit of worship:

1. A soft 8' stop alone –flute, hybrid, or string

2. The celeste effect – use two 8' stops (hybrid, flute, or string, with celeste), or a single celeste stop marked “II” like Gemshorn Celeste II 8')

3. Two soft 8' stops –flute and hybrid, flute and string

4. Flutes 8' and 4'

5. Two soft 8' stops and flute 4'

6. Flutes 8', 4', and 2' (or flute 8', principal 4', and flute 2')

7. Principal 8' alone

8. Principal 8' and flute 4', or flute 8' and principal 4'

9. Principals 8' and 4'

10. Principal 8' plus no. 1, 3, 4, 5, or 6 above

11. Principals 8' and 4' plus no. 1, 3, 4, 5, or 6 above

12. Principals 8', 4', and 2' (note the brightness of the 2’ principal)

13. Adding the chorus mixtures and/or chorus reeds probably reach beyond an appropriate volume level for preludes and most postludes in Sacrament meeting.

SOLO AND ACCOMPANIMENT REGISTRATION

For “solo and accompaniment” registration, one hand (usually the right) plays the solo part on either the Swell or the Great, and the other hand (usually the left) plays the accompaniment on the remaining manual. First, decide whether the sound of the solo or the accompaniment is most important to you, and begin building that combination. Next, build the other combination, balancing it with the first. For the accompaniment (usually played by the left hand), use one of the chorus-type registrations given above.

For the solo part (usually played by the right hand), you need only find a more prominent (louder) stop or combination. The solo may be registered with any chorus-type registration (see above), as long as the accompaniment is softer. Celeste effects, however, are usually most effective in the accompaniment part.

The following is a list of solo stops or combinations that are not included in the chorus registrations given above. These usually result in a more colorful solo:

1. A single harmonic flute 8’

2. Flutes 8' and 2' – a “gap” combination

3. Combinations of the 8' flute and other stops from the Cornet (pronounced “cor-NAY”):

a.Flutes 8' and 2 2/3' (an especially effective soft solo combination)

b.Flutes 8', 4', and 2 2/3'

c.Flutes 8', 2 2/3', and 1 3/5' (“Sesquialtera”)

d.Flutes 8’, 4’, 2 2/3', and 1 3/5'

e.Flutes 8', 4', 2 2/3', 2', and 1 3/5' (the full Cornet)

4. String 8' (may sound like a soft reed)

5. Flute 4'

6. Soft reed 8' (Oboe, Cromorne, Clarinet, French Horn, English horn, Schalmei)

7. Soft reed 8' “rounded out” with other mild 8' and 4' stops (flutes, hybrids, strings)

8. All the 8’ stops on the Great that blend, possibly including the Swell to Great coupler (a very warm, “singing” solo combination)

9. A larger chorus reed 8' (Trompette, Fagott) (more effective as a meditative solo stop when played in the tenor range)

10. A larger chorus reed 8' “rounded out” with other 8' and 4' stops

Registration Suggestions for Prelude / Postlude Music continued

PEDAL BALANCE

Build the bass part to balance with the chorus-type combination (not the solo). Choose a soft 16' and 8' stop from the Pedal division (Subbass, Bourdon, Gedackt, Lieblich Gedackt). As an alternative, select a soft 16' Pedal stop and Swell to Pedal or Great to Pedal (whichever does not have the solo). To balance larger manual combinations, add larger 16' stops followed by 8' stops in the Pedal as needed. If manual-to-pedal couplers are used, the 8' balance will occur automatically as manual stops are added.

Write down the combination or save it to memory for later use.

Once you have selected the combination that you want, write down the stops in pencil on the music. You can then draw this combination by hand whenever you play that piece on that organ — if you have time. If you will not have time to draw the stops by hand, set the combination on a combination piston (“preset”). Be sure to double-check your preset just before the meeting!

ConsoleFacilityfortheFeet

Theorganistneedstobe“facile”withtheirfeetandbeableto ﬁndnotonlythepedalnotes, butalloftheothertoestudsandbalancedpedalsoftheconsolethatwillassisttheirplaying. Thesubjectof“consolefacility”concernsfamiliarityandeaseinusingallthetoolsthatarenot thekeys/pedalsthemselves.

BalancedPedals

Theorgan’sbalancedpedalsarefoundcenteredontheconsole,abovethepedalboard.Ona pipeorgantherewillgenerallybeonepedalforeachoftheorgan’sexpressivedivisions(Swell, Choir,Solo),thustheyaresometimescalled“expressionpedals.”Thesepedalsopenandclose theshuttersorshadesthatenclosethosedivisionsofpipes,lettingoutmoreorlesssoundinto theroom.Onadigitalorgan,youmay ﬁndapedalthatcontrolsboththeGreatandthePedal volumetogether.ThisispossiblebecauseneithertheGreatnorthePedaldivisionshavereal pipesthatspeakdirectlyintotheroom,andthevolumecanbedigitallycontrolledbytheone pedalforthosedivisions.

Thefarthestpedaltotherightwillusuallybethe“crescendopedal”whichfunctionsto graduallybringonalloftheorgan’sstopsinaprogrammedsequence.Theseexpression pedalsasagrouparegenerallyorganizedleft-to-righttocorrespondtothemanualsfrom bottomtotop.Onadigitalorgan,thismightbeGreat/Pedalonthefarleft,Swellinthe middle,andCrescendoontheright.Onafour-manualpipeorgan(wheretheGreatandthe Pedaldivisionsarenotunderexpression),thepedalline-upwouldmostlikelybe:Choiron thefarleft,Swellnext,Soloafterthat,andtheCrescendoonthefarright.

Toestuds

1.Generals-thesegenerallyreproducesomeofthegeneral“thumb”pistonsofthe correspondingnumbersupabove.Sometimesyourfeetarefreewhenyourhandsare not.

2.Pedaldivisionals-asthenamesuggests,thesedivisionalsonlycontrolstopsinthe pedaldivision.Sometimestheyareduplicatedbythumbpistonsupabove,sometimes not.

3.Reversibles-theseusuallyincludethemanual/pedalcouplers:Swell/Pedal, Great/Pedal,Choir/Pedal,etc.andcanalsoincludeone(ortwo!)Tuttireversiblesthat willbringonthewholeorgan.Onepushbringsthecoupler(ortutti)intoplay,thenext pushtakesito.Eachpush“reverses”whathappenedbefore.

4.The“Next”button/toestud.Ifyouareluckyenoughtohaveoneofthese,itactsasa sequencer,bringingonthenextregistrationchangeinwhateversequenceyouhave

programmed.Unlikeareversible,this“next’button,or“stepper,”willmovetothenext combinationofstopswiththenextpush,andsoon,throughyoursequence.Nomore havingtohuntfortheelusivepistonortoestud,aslongasyourtoeisfree!Itisusually foundjusttotherightofthecrescendopedalandlooksliketheothertoestuds.Often thereisacorresponding“Back”buttonthatwilltakeyoubackthroughyoursequence.

Tipsformastery

Wheretostart:

1.Theswell‘pedal’withtherightfoot.Sneakapeekwhenyouarelocatingitthe ﬁrstor secondtime,thenpractice ﬁndingitwithoutlooking.

2.Otherexpressionpedalswiththerightfoot.

3.TheGreat/Pedalreversibletoestud.Knowingwherethisiswillbeagreatadvantage. Youwillaccessthispiston/toestudmorethananyothercoupler.

4.Gettingambidextrousinthefeet:nowfocusongettingyourleftfootcomfortablewith ﬁndingandadjustingtheexpressionpedals.(Didyouknowthecorrecttermforbeing abletousebothfeetequallywellis“ambipedal?”Soperfectfororganists.)Whileyou won’tchoosetodothisforfun,thereareoftenspotsinmusicwhenyourrightfootis notavailabletomaneuvertheexpressionpedalsandyourleftfootwillhavetogetthe jobdone.

Graduatingtothenextlevel:

5.LocateoneortwoGeneraltoestudsthatyoucanpractice ﬁndingwithoutlooking, thenpracticeusingtheminapiece.

6.WitheitherfootonaGeneraltoestudthatyoucan ﬁndwithoutlooking,youcanmove throughacrescendoordecrescendosequencebysmoothlyslidingyourfoottothetoe studnextdoor,thentheonenexttothat,etc.

7.LocateoneortwoPedaldivisionaltoestudsthatyoucan ﬁndwithoutlooking,then practiceusingthem.

8.ForGeneralsandPedaldivisionalsbeyondtheonesyoucanlocatewithoutlooking,it’s perfectlyOKtolookdowntoconﬁrm.Makesureyoupracticewhereyouwilllookas partofthechoreographyofyourpiece,andthatyouhaveasecurenotememory.

Withtheabovemastered,youarewellonyourwaytohavingexcellentconsolefacilityforyour feet!Oneadditionaltip:whenemployingthecrescendopedalattheendofabigpiece,do mark“crescendoo!”inyourscore.Morethanafew(hundred)concertorganistshavegotten backontothebenchfollowingthestandingovation,notrememberingthatthecrescendo pedalisstillopen,hitthepistonfortheircharminglylightencore,andproceededtotreatthe audiencetofullorgan…again.

Paul Fritts & ComPany oPus 43

St. Thomas Episcopal Church | Terrace Park, Ohio

A New World-Class Organ from conception to completion.

PAUL FRITTS &COMPANY |OPUS 43

Specification

Great Swell

PAUL FRITTS &COMPANY |OPUS 43

PAUL FRITTS & COMPANY | OPUS 43

Specification

Great Swell Pedal

Pedal

1. Bourdon 16' 1. Præstant 8' 1. Subbaß 16'

Great Swell

Pedal

1. Bourdon 16' 1. Præstant 8' 1. Subbaß 16'

2. Principal 8' 2 Principal 8' 2. Principal 8'

3. Rohrflöte 8' 3 Gedackt 8' 3. Bourdon 8'*

2. Principal 8' 2 Principal 8' 2. Principal 8' 3. Rohrflöte 8' 3. Gedackt 8' 3. Bourdon 8'* Octave 4' Violdigamba 8' Octave 4'

5. Spitzflöte 4' 5 Voix céleste 8' 5. Nachthorn 2'

4. Octave 4' 4 Violdigamba 8' 4. Octave 4'

6. Quinte 2 2/3' 6. Octave 4' 6. Posaune 16'

5. Spitzflöte 4' 5. Voix céleste 8' 5. Nachthorn 2'

7. Octave 2' 7 Rohrflöte 4' 7. Trompet 8' Tierce 1 3/5' Nasat 2 2/3' Trompet 4'

6. Quinte 2 2/3' 6 Octave 4' 6. Posaune 16'

7. Octave 2' 7 Rohrflöte 4' 7. Trompet 8' 8. Tierce 1 3/5' 8. Nasat 2 2/3' 8. Trompet 4'

9. Mixture IV-VI 9. Octave 2'

10. Trompet 8' 10 Blockflöte 2'

11. Dulcian 8' 11 Terz 1 3/5'

2. Principal 8' 2 Principal 8' 2. Principal 8' 3. Rohrflöte 8' 3. Gedackt 8' 3. Bourdon 8'* 4. Octave 4' 4 Violdigamba 8' 4. Octave 4' 5. Spitzflöte 4' 5 Voix céleste 8' 5. Nachthorn 2' 6. Quinte 2 2/3' 6. Octave 4' 6. Posaune 16' 7. Octave 2' 7 Rohrflöte 4' 7. Trompet 8' 8. Tierce 1 3/5' 8. Nasat 2 2/3' 8. Trompet 4' 9. Mixture IV-VI 9. Octave 2' 10. Trompet 8' 10 Blockflöte 2' 11. Dulcian 8' 11. Terz 1 3/5' 12 Larigot 1 1/3' 13 Mixture IV-VI 14. Fagott 16' 15 Trompet 8' 16 Hautbois 8' *Octave Transmission from

12. Larigot 1 1/3'

10. Trompet 8' 10 Blockflöte 2' 11. Dulcian 8' 11. Terz 1 3/5'

Couplers: Swell to Great

Great to Pedal

Swell to Pedal

Couplers: Swell to Great Great to Pedal

Swell to Pedal

Compass: Manual: 58 notes

Pedal: 30 notes

Compass: Manual: 58 notes

Pedal: 30 notes

Other: Polished tin front pipes

Couplers: Swell to Great Great to Pedal Swell to Pedal

13 Mixture IV-VI

12 Larigot 1 1/3'

13 Mixture IV-VI

14. Fagott 16'

14 Fagott 16'

15 Trompet 8'

16 Hautbois 8'

Compass: Manual: 58 notes

16. Hautbois 8'

Pedal: 30 notes

*Octave Transmission from Subbaß 16'

Other: Polished tin front pipes

Solid wood casework with carved pipe shades

Suspended, direct mechanical key action

Mechanical stop action

Multi-level combination system with divisionals, generals, and sequencer

Tremulant

Wind Stabilizer

Zimbelstern

Solid wood casework with carved pipe shades

Wind Pressure: 68mm

Suspended, direct mechanical key action

Solid wood casework with carved pipe shades

Mechanical stop action

Suspended, direct mechanical key action

Multi-level combination system withdivisionals, generals, and sequencer

Mechanical stop action

“An incredible accomplishment!”

Multi-level combination system withdivisionals, generals, and sequencer

Tremulant

WindStabilizer

Zimbelstern

Nathan Laube Eastman School of Music

Zimbelstern

WindPressure: 68mm

“One of the finest organs I have played in this country!”

Ed Parmentier University of Michigan

Websites

https://stthomasepiscopal.org/category/chancel-renovation-new-organ/

https://pipeorgandatabase.org/instruments/60684 http://frittsorgan.com/opus_pages/galleries/opus_43/specification.html

https://shorturl.at/7s0mu (also accessible with QR Code)

BYU Organ Workshop 2024

The French Romantic Organ Sound Ideal

Dr. Neil Harmon

The French Romantic Organ Sound

1. Organ builder Aristide Cavaillé-Coll

2. Composer César Franck

Aristide Cavaillé-Coll

1. Enlarged Récit and Pédale divisions

2. Raised wind pressures

3. Used harmonic flues and reeds to strengthen the treble

4. Gave each division a chorus of brilliant reeds

5. Developed a system of iron ratchet pedals for coupling and activating stops

6. Incorporated Barker levers to lighten the weight of the heavy key action

7. Order of manuals (top to bottom)

a. Récit

b. Positif

c. Grand Orgue

8. Fonds d’orgue

a. Montre

b. Bourdon

c. Viole de gambe

d. Flûte harmonique

9. Anches

a. Chorus reeds

b. High-pitched flues and mixtures on the same windchest

10. Pédales de Combinaison

a. Tirasses – pedal couplers

b. Accouplements – manual couplers

c. Octaves graves – suboctave couplers

d. Anches – ventil pedals activating the reed and high-pitched flue and mixture stops of each division

e. Pédale d’expression – expression pedal operating the vertical shutters of the Récit chamber or Swell box.

César Franck

1. Six piéces (composed 1860-62)

2. Grand piece symphonique

BYU Study Tour to France (and England) 2024

Getting Started Composingfor the Organ: A Beginner’s Guide

Dr. Tyler Boehmer (tboehmer14@gmail.com)

There is nothing greater than the joy of composing something oneself and then listening to it. -Clara Schumann

Step 1: Gather your tools

A. Notation Software (**You could also opt for notation paper and pencil if you choose**)

a. Sibelius (by Avid)

i. $0-$199/year depending on the subscription option you want

ii. https://www.avid.com/sibelius

b. Finale (*This is considered the music industry standard)

i. $99-$299 depending on your individual circumstances

ii. https://store.makemusic.com/Store/default.aspx?tab=notation&_ga=2.1 9928568.1938928513.1720803319-969617074.1720803319

c. MuseScore

i. Free Download

ii. https://musescore.org/en

B. Access to an instrument

a. Because there are many variables (such as pedaling and registration) that you cannot get easily at a piano, I recommend getting access to an organ

C. Listen to lots of music

a. Notable composers of organ music include: J.S. Bach, Felix MendelssohnBartholdy, César Franck, Louis Vierne, Florence Price, and many others

Step 2: Getting Started

A. Create or borrow a melody/theme (I have found that it was easier for me to start by using a melody that was already in existence rather than create my own)

a. “Lesser artists borrow, great artists steal.” – Igor Stravinsky

b. Melody should be mostly stepwise motion and singable

c. Examples: Come, Come, Ye Saints, Shenandoah, Ode to Joy, Thaxted, Divinum Mysterium

B. Think Form

a. Microform

i. Come up with a motive (a small musical/rhythmic gesture) to help unify the piece

1. The motive can come from a descriptive word about the piece, be based on the main melody of the piece, or be newly conceived

Example: The rhythmic and melodic character

Example: The “WATER” is Wide of the first portion of “Come, Come, Ye Saints” (flowing motive like water)

b. Macroform

i. Plan how often you will state the melody

ii. Plan the key structure/voice parts for the melody

iii. I tend to think of one verse of a hymntune as a good reference guide

iv. Example: The Water is Wide

1. 3 verses

2. 1st and 2nd verses in B-flat Major, 3rd verse in D Major

C. Special Compositional Considerations for Organ

a. Avoid pianistic idioms that fall short on organ

i. Rapid repeated notes for percussive effect

1. These CAN work, but the percussive effect is lessened when doing it on organ

b. Registration Considerations

i. Think how to use registration color as part of the composition

1. Solo out a voice

2. Use of reeds

3. Example: The Water is Wide with pedal solo on 2’ stop

c. Voice-Leading

i. In general, follow good voice-leading principles

d. Pedal Treatment

i. Pedal should be an integral part of the piece

ii. Pedal should be independent – don’t have it simply double another voice

Example: Pedal active during Come, Come, Ye Saints

e. Manual Considerations

Example: Hands play same note on different manuals

i. If hands are on different manuals, remember that they can play in the same portion of the keyboard

How to set up a Hauptwerk (or similar) Organ

Harold Stuart, CAGO

MIDI Console Options

Option 1: Used Console

Must be MIDI compatible!

Advantages

• Much lower price (but can still cost several thousand)

• Local dealer support

• Can act as a stand-alone instrument

Disadvantages

• Used, lots of potential problems

• May have compatibility problems with modern systems

Option 2: Build Your Own Console

Advantages

• Lower price than a dealer system, even with the computer

Disadvantages

• No dealer support – fix it yourself

• Must assemble yourself or pay an aggregator to do it for you

• Need to know a lot about organs to make sure you get the right things – keyboards, pedalboard, table, touch screens, pistons, cables, etc.

Option 3: Enhance a New Console

Advantages

• New organ

• Can be competitive with build your own console systems

• Some dealer support

• Can act as a stand-alone instrument.

Disadvantages

• May have minimal features and voices

How to set up a Hauptwerk (or similar) Organ

Harold Stuart, CAGO

Computer Requirements

• Hauptwerk

o Relatively expensive

Software

o Many sample sets available

• Grande Orgue

o Free

o Some sample sets available

• Computer

Hardware

o MacOS and Windows both supported

o Minimum of 32 gb ram, 64 gb recommended (the more, the better)

o 2 touch screens

o Video cards for the touch screens (Windows only)

o Low-latency sound output devices (2 outputs minimum, 4 preferred)

• MIDI Interface (Available from Guitar Center, Amazon, zZounds, etc.)

o Recommend at least 4 input ports

• Sound Output

o Simple headphones will do

§ Direct connection to the computer is recommended

o Can do multiple channels and high-end equipment, make sure a sound bar can support an analog input.

I recommend that you run your organ on a dedicated computer. While this costs more, it’s well worth it.

Hymn Playing in the Sustained Style, Part I

David C. Pickering, DMA, AAGO (dpickeri@ksu.edu)

Rudiments of the sustained legato style

• Perfect legato: no breaks between notes that are not repeated.

• Precise releases: due to the less-than-ideal acoustical situations in which many organs are placed in the United States, it is imperative to release a note or any combination of notes precisely and with purpose!

• Independence of line: playing two different voices in the same hand (one voice repeats while the other plays legato)

o The key to achieving independence of line is placing more space between the repeated notes, allowing the brain enough time to comprehend the two different tasks: 1) repeat the repeated note and 2) play the non-repeated note legato. If the organist does not place enough space between the repeated notes to allow time for the mind to comprehend what is happening, then the likelihood that both voices will be broken is higher.

o A general rule of thumb: rearticulate repeated notes over the bar line. An exception to this will be discussed later in the presentation.

o Example 1: “Praise to the Lord, the Almighty,” mm. 1-2

o Common Tones: occur when the same note moves from one neighboring voice part to another (for our purposes here, we are only addressing this occurrence between the soprano and alto voices).

▪ If the soprano note becomes the alto note, tie up (indicated by the tie in m.1, beats 2-3) This permits a smooth transition between beats. If an organist were to break the repeated note in this scenario, then a break will occur in the melody line between two non-repeated notes.

▪ Example 2: Hymn #125, “How Gentle God’s Commands,” mm. 1-2 (only common tones have been altered by rests or the addition of a tie in this example)

▪ If the alto note becomes the soprano note, break down (noted by a dotted line underneath beats 2-3 of m. 1). This creates a clear arrival on the new soprano note that would not be clearly heard if the two notes were tied.

▪ Example 3: Hymn #67, “Glory to God on High,” mm. 1-3.

• How to play unison notes: a unison occurs when two parts converge or diverge on the same note (S-A, A-T, T-B) The scenario organists encounter most frequently in hymn playing is how to handle unisons between the soprano and alto voices. The answer is always to tie out of a unison note, even if it occurs over the barline (Example 4) or within the same measure (Example 5). See the first bullet point under “Common Tones” for clarification.

• Example 4: Hymn #142, “Sweet Hour of Prayer,” m. 1 (tied unison occurring over a barline)

• Example 5: Hymn #166, “Abide with Me,” mm. 1-2 (tied unison occurring within a measure)

Planning fingering and pedaling

• Plan a fingering that incorporates multiple techniques (direct fingering, substitution, dividing inner voices between the hands, finger glissando, and thumb glissando). This prevents the “alto hopscotch” effect.

• When planning fingering, try to utilize fingering that is comfortable for your hand and which hand position shifts are minimized as much as possible.

• Practice fingering and pedaling consistently and slowly.

• Pedaling will incorporate a combination of alternating toes or toe-heel movements. Mark pedaling with ^ for toes and o for heels.

• Analyze sample fingering and pedaling for Hymn #67, “Glory to God on High”

How to Handle Repeated Notes

• All repeated notes in the soprano must be repeated.

• Most repeated notes in the lower three voices will be played as written. The decision about whether to tie a repeated voice is often made on a case-bycase basis with the following guidelines in mind:

o Strong beats should be tied to weak beats, except a pick-up note unison which is tied to the downbeat of the following measure (see Example #4) An example of this is found here

o Example 6: Hymn #3, “Now Let Us Rejoice” has many repeated notes that could be tied in the following manner.

Hymn Playing in the Sustained Style, Part II

David C. Pickering, DMA, AAGO

Registration

• Use a minimum of 8’ and 4’ manual pitches from the principal family to support congregational singing at the softest levels. Flute stops 8’ and 4’ may also be needed, particularly on digital organs, to help round out the tone. The Swell may need to be coupled to the Great to produce sufficient volume. Successive buildup steps are:

o +2

o +Chorus Mixture(s) (stops with Roman numerals, typically III and IV)

o +Chorus Reeds at 8’ pitch (Trumpet, Trompette, Tromba, etc)

o +Chorus Reed at 4’ pitch (Clairon, Clarion)

• For hymn pedal registration, select the main 16’ pedal stop (usually called Principal or Diapason but possibly Bourdon or Gedeckt in some cases) and couple the manual(s) on which you’re playing to the pedal (Great-Pedal, SwellPedal).

• Do not use the Tremolo (Tremulant) for congregational hymn singing

• Do not use any celeste stops (string or flute) for congregational hymn singing

• For a more detailed, shorter discussion about hymn registration, please read the following document.

Evaluate the Text

• Hymn texts are poetry and should be analyzed.

• Most hymns employ four-measure phrases (although variations are possible), even though congregational singers tend to breathe every two measures. Avoid the temptation to breathe with them every two measures, but help maintain the hymns’ textural integrity.

• In some instances, however, the text does not dictate a break at the end of a phrase, such as Hymn #141, verse 2, end of m. 7. In such instances, two solutions are possible:

o Hold all voices and play legato into the next measure

o Lift the three lower voices to acknowledge the break that will happen as most singers breathe but continue to hold the soprano voice to acknowledge that the text does not dictate a breath.

• Avoid fussiness breathing after weaker forms of punction (commas and semicolons). Remember that accompanying a congregation of mostly untrained singers is not conducting a choir.

Practicing

• Plan your practice sessions before you arrive at the organ, to maximize your available time at the instrument most effectively. Plan enough time to be realistic in achieving your goal. You may experience some trial and error until you can accurately gauge how much you can accomplish in x amount of time.

• Depending on your circumstances and skill level, you may not be able to perform all hymns in “polish mode.” Do not feel guilty about this! Strive for excellence! It is more important to play fewer things well than to play more things less securely.

• Plan a workable fingering and pedaling (see “Hymn Playing in the Sustained Style, Part I” handout for clarification How much fingering and pedaling you write may vary, depending on your skill level and the difficulty of the music.

• Practice slowly enough to think at least one beat ahead.

• Practice manual parts on a piano or keyboard utilizing your organ fingering. If practicing at the piano, do not use the damper pedal.

• Utilize the power of mental practice to go through a work away from the organ. Rearranging Voices:

• Tenor Solo:

o Left hand plays the tenor part on one manual with a prominent solo combination while the right hand plays the soprano and alto parts on another manual with a less prominent registration. The feet play the bass part on a registration balanced with the right hand.

o Effective when the tenor line is melodically interesting; can be used for an entire verse or just a portion.

o Usually most effective on an internal verse, after the congregation has become accustomed to singing the hymn tune.

o May be played in the normal tenor range (tenor-range countermelody) or played up an octave (soprano-range descant).

• Manual only:

o All four parts of the hymn are played on a single manual (usually the Great) without pedal.

o Requires mastery over the basic hymn playing techniques (independence of voices and handling of repeated notes).

o When playing a verse manual only, the sudden absence of the pedal stops especially the characteristic 16’ foundation can be enough contrast that no additional registration change may be needed.

o Manual-only technique is most appropriate when verses contain questioning or reflective texts.

Creative Hymn Introductions That Inspire Singing

• Play the hymn as written (either utilizing suggested introductions marked in the hymnal or modifying to suit your purposes). For less familiar hymns, playing the entire hymn as an introduction can be helpful to acquaint the congregation with the hymn melody.

• Play the melody in octaves

o This technique could be augmented by alternating with material from the hymnal, especially if lines are repeated (#18) or fall into a call-andresponse pattern (#25).

• Play the introduction beginning with the soprano only, adding alto, tenor, and bass voices by phrase (#174).

• More advanced ideas:

o Solo out the soprano voice, particularly for hymns that may be unfamiliar to the congregation. If soloing out the soprano line is difficult for you, write out the soprano solo version of the hymn so you can play it confidently.

o Use a mixture of manual changes and voice additions to create a gradual crescendo.

▪ Phrase 1: play on the Swell: soprano line in unison, manuals only

▪ Phrase 2: play on the Swell: soprano and alto voices man. only

▪ Phrase 3: play the melody on the Great, keeping alto and tenor voices on the Swell.

▪ Phrase 4: move alto and tenor voices to Great and add bass voice, played by the pedal.

Low-Stress Performance

Become a more resilient and confident performer

Dr. Valerie Harris

Pre-Performance Routine / Centering:

 Identify a focal point; form a clear intention

 Breathe mindfully and release all tension

 Process cue

Confidence & Trust: Practice with intention:

 Define goals / envision results

 Mentally & physically practice performing

 Note successes (no matter how small)

 Find process flaws / strategize a resolution

Focus and Flow:

 Fixed attentional capacity; use it wisely

 Attentional direction: internal / external

 Attentional width: broad / narrow

 Focus intently on the most important aspects, so you don’t have processing power to worry

Singing Brain

 Lead with your inner voice

 Hear the sound as you play

 Listen to yourself without analysis

Eliminate Monkey Mind

 Play as long as you can stay focused

 When mind wanders, gently bring it back Adversity Training

 Practice with distractions

 Practice in an unfamiliar place

 Audio/visual recordings

 Gradually increase stakes: start with low stress simulation, then build up

Attention Scripting Strategy

 Envision what you’ll think about

 Envision the whole performance including arrival, waiting, setup, etc.

 Practice performing exactly how you want the whole performance to go (envision, then physically perform) including arrival, waiting, setup, what you’ll think while waiting, putting your music up, sitting at the organ, playing

Attentional Control Training

 Play as long as you can

 When mind wanders, stop, note, try again

 See if you can go longer each time

Mental Resilience:

Problem with mistakes: -Diverts attention

-Snowball effect

Practice a new response:

Rapid Recovery Reflex

 Let it go! Don’t judge!

 Relax

 Recovery cue

 Focus on NOW

 Don’t overcompensate

 Singing Brain

Mental protection

 attentional force field

 circle of success

Express your inner music!

 Speak through your instrument

 Tell a story

 Get into the moment

 Shape the phrases, let the music breathe

Resources:

Performanceanxietyblog,freeemailnewslettersand “Beyond Practicingcourse”: https://www.bulletproofmusician.com

Mindfulness:https://www.blog.oup.com/2019/06/five-attitudesmindfulness-performing-musician

Mindset: Dweck,CarolS. Mindset : the New Psychology of Success 1sted.NewYork:RandomHouse,n.d.

Self-acceptance:http://consciouslifestylemag.com/selfacceptance-self-judgment

SilencingtheInner Critic:Green,Barry.,and W.Timothy. Gallwey. The Inner Game of Music 1sted.GardenCity,N.Y: AnchorPress/Doubleday,n.d.

Trust:Westney,William. The Perfect Wrong Note : Learning to Trust Your Musical Self . PomptonPlains,N.J:AmadeusPress, n.d.

https://www.ted.com/talks/sian_leah_beilock_why_we_choke_ under_pressure_and_how_to_avoid_it

Music Theory for the Organist, Levels 1-2

BYU Organ Workshop 2024

Joseph Peeples, Instructor

Text

Harder, Paul O. and Greg Steinke. Basic Materials in Music Theory: A Programmed Course. Tenth edition. Upper Saddle River, New Jersey: Prentice Hall, 2003.

Chapter 1 - The Basic Materials of Music: Time and Sound

• Sound is produced by a vibrating object, such as a column of air, a reed, or a string.

• Four properties of sound:

o Pitch (frequency) – Determined by the speed at which an object vibrates

o Intensity – Determined by the amplitude of the sound wave

o Timbre (tone color) – Determined by the number, distribution, and relative intensity of various harmonics

o Duration – The length of the tones. Patterns of duration create rhythm.

Chapter 2 – The Notation of Pitch

• Modern clef signs are stylized forms of the Gothic letters G (treble), C (alto), and F (bass), and indicate the placement of these notes on the staff.

• The range of the staff may be extended by use of ledger lines or the ottava sign (8va).

• The half step is the smallest interval in the tonal system.

• A whole step is equal to two half steps.

• Accidentals are used to alter basic notes: Double sharp (+2), Sharp (+1), Natural (cancels previous accidentals), Flat (-1), Double flat (-2).

• Accidentals typically only affect the line or space on which they are written, and remain in effect throughout the measure in which they occur.

• Notes are enharmonic when they are written differently, but represent the same pitch (Csharp/D-flat).

• A chromatic scale includes all twelve pitches, and can be written using either sharps, flats, or both (convention: sharps for ascending, flats for descending).

• Standardized designations may be used to refer to a note in a specific octave.

o CCC, CC, C, c, c1, c2, c3, c4 (Middle C = c1)

Chapter 3 – Time Classification

• Beats divide music into regular units of duration.

• Meter organizes beats into regular patterns of stress using strong beats and weak beats.

o Duple (2/4) – S-W

o Triple (3/4) – S-W-W

o Quadruple (4/4) – S-W-S-W

o Quintuple (5/4) – S-W-S-W-W or S-W-W-S-W

• Beats can be divided and subdivided

o Simple – Beats are divided into two equal parts.

o Compound – Beats are divided into three equal parts.

Chapter 4 – Note and Rest Values

• Notes and rests exist for note values ranging from the double whole note (breve) to the 128th note.

• A dot increases the value of a note by one half of its original value.

• A second dot increases the value of a note by one half of the value of the first dot.

• Dotted notes divide naturally into three equal parts.

• The unit in simple time is always an un-dotted note; the unit in compound time is always a dotted note.

Chapter 5 – Time Signatures

• Metrical organization in music is indicated by a time signature

• Time signatures with an upper number of 6, 9, 12, 15, or 18 represent compound time

• A signature with any other upper number (including 3) indicates simple time

• Upper number:

o The upper number of simple time signatures indicates the number of beats per measure.

o The upper number of compound time signatures indicates the number of divisions of the beat per measure. Therefore, to determine the number of beats per measure, this number must be divided by three.

• Lower number:

o The lower number of simple time signatures indicates the unit.

o The lower number of compound time signatures indicates the division of the unit.

Simple 2/2, 2/4, 2/8 3/2, 3/4, 3/8 4/2, 4/4, 4/8 5/2, 5/4, 5/8

Compound 6/4, 6/8, 6/16 9/4, 9/8, 9/16 12/4, 12/8, 12/16 15/4, 15/8, 15/16

• A tie connects two notes of the same pitch to express a longer duration.

• Syncopation occurs when notes are tied in such a way that the longer values do not coincide with the beat.

Chapter 6 – Intervals

• An interval is a measurement of the distance between two tones.

• Two tones sounding simultaneously produce a harmonic interval.

• Two tones sounding successively produce a melodic interval.

• The numerical classification of an interval is determined by counting the number of basic notes encompassed by the interval.

• Intervals larger than on octave are called compound intervals (10 = 3, 12 = 5, etc.).

• The numerical classification of intervals is not affected by accidentals.

• Additional terminology is used to distinguish different types of 3rds, 6ths, and so on.

o Group I (Unison, 4th, 5th, Octave) – Diminished, Perfect, Augmented

o Group II (2nd, 3rd, 6th, 7th) – Diminished, Minor, Major, Augmented

• Interval inversion changes the numerical classification, and can also change the quality of an interval.

Chapter 7 – The Basic Scales

• A stepwise arrangement of the tones contained in one octave is called a scale.

• A diatonic scale consists of all seven basic notes plus the octave duplication of the starting note.

• A chromatic scale contains all twelve pitches plus the octave duplication of the starting note.

• The first and last note of a scale is called the tonic or keynote

• Each basic scale contains a different pattern of whole and half steps.

• Each basic scale has a corresponding modal name:

o A – Aeolian

o B – Locrian

o C – Ionian

o D – Dorian

o E – Phrygian

o F – Lydian

o G – Mixolydian

Chapter 8 – The Major Scale

• The basic scale on C exhibits a pattern of whole and half steps known as the major scale

o W-W-H-W-W-W-H

• A major scale may start on any note.

• Major scales consist of two identical tetrachords

Chapter 9 – The Minor Scales

• The minor scale has three forms, each with a distinctive arrangement of whole and half steps.

• The basic scale on A forms the natural minor scale.

o W-H-W-W-H-W-W

• Three forms of the minor scale:

o Natural

o Harmonic – Natural minor with raised 7th degree (creates an augmented 2nd)

o Melodic:

§ Ascending – Natural minor with raised 6th and 7th degrees

§ Descending – Same as natural minor

• The lower tetrachord of all three forms is identical.

Chapter 10 – Key Signatures

• The sharps and flats used in a particular scale may be grouped together and placed on the staff immediately after the clef sign. This is called a key signature.

• The key of a composition is the same as the tonic note of its principal scale.

• The sharps or flats of a key signature apply to all notes of that name, unless superseded by accidentals.

• Sharps and flats are added in a particular order:

o Sharps: F, C, G, D, A, E, B

o Flats: B, E, A, D, G, C, F

• Each key signature may indicate either a major key or a minor key

• Determining the key from a key signature:

o Sharps – The last sharp indicates the 7th scale degree of the major key.

o Flats – The last flat indicates the 4th scale degree of the major key (and the second-to-last flat indicates the tonic).

• The system of major keys may be arranged in a pattern called the circle of fifths (see illustration on next page).

• Keys that contain the same pitches but are notated differently are enharmonic keys.

• Major and minor keys that share a common key signature are called relative keys.

o The tonic of the relative minor is located on the 6th degree of the major scale.

• The sharps or flats of a key signature produce the natural minor scale. Accidentals are used to create the harmonic and melodic minor scales.

• Major and minor keys that have the same tonic note are called parallel keys

http://en.wikipedia.org/wiki/File:Circle_of_fifths_deluxe_4.svg

Chapter 11 – Triads

• Harmony in tonal music is based on three-note chords called triads.

• The major/minor scale generates four types of triads: major, minor, augmented, and diminished.

• The tones of a triad are related to one another by the interval of a 3rd.

• A triad may be constructed on any note of a scale.

• The notes of a triad:

o The lowest tone of a triad is called the root.

o The middle tone is called the third.

o The highest tone is called the fifth.

• Types:

o Major

§ Tones correspond to the 1st, 3rd, and 5th scale degrees of the major scale.

§ M3-m3

o Minor

§ Tones correspond to the 1st, 3rd, and 5th scale degrees of the minor scale.

§ m3-M3

o Diminished

§ A minor triad with the fifth lowered by a half step.

§ m3-m3

o Augmented

§ A major triad with the fifth raised by a half step.

§ M3-M3

• Roman numerals are used to identify the scale degrees on which triads are built.

o Major triads are indicated by uppercase numerals (I, IV, V).

o Minor triads are indicated by lowercase numerals (ii, iii, vi).

o Diminished triads are indicated by lowercase numerals followed by º (viiº).

o Augmented triads are indicated by uppercase numerals followed by + (III+).

Major Scale Roman Numeral Analysis IiiiiiIVVvivii°

Minor Scale Roman Numeral Analysis

Scale Degrees

TonicSupertonicMediantSubdominantDominantSubmediantSubtonic (LeadingTone)

Major Scale 7th Chords

Figured Bass

Most Common Symbol

Minor Scale 7th Chords

Inversions

Basic First Principles of Voice Leading

• What is Tonality?

{ Harmony–the sound that results when two or more pitches are performed simultaneously. The vertical aspect of music, produced by the combination of the components of the horizontal aspect.

{ Tonal (Functional) Harmony–music with a tonal center, based on major and/or minor scales, and using tertian chords that are related to one another and to the tonal center in various ways.

• Melodic Line–Simple Rules to Begin

{ Rhythm–simple, with most durations being equal to or longer than the duration of the beat. Final note on strong beat.

{ Harmony–Every melody note should belong to the chord that is to harmonize it.

{ Contour–primarily conjunct motion with single focal point (highest note)

{ Leaps–avoid augmented intervals, 7ths, and larger than an octave

{ Tendency Tones–Sevenths want to go to 1 except in descending scalar line; fourths want to go to 3

• Voicing

{ Close structure–less than an octave between soprano and tenor

{ Open structure–an octave or more between soprano and tenor

• Motion

{ Parallel–motion of two or more voices in the same direction maintaining the same interval. One of the goals of voice leading in tonal music is to maintain relative independence of individual parts, thus parallel motion can be perilous. Objectionable parallels include P5 and P8. Consecutive P5 and P8 by contrary motion also generally avoided. Unequal 5ths okay unless involving bass and another voice

{ Similar–motion of two or more voices in the same direction but with different intervals

{ Oblique–motion when one or more voices move and one voice remains the same

{ Contrary–motion of two or more voices in different directions

• General Principles

{ No parallel 5ths or 8ths

{ 7ths resolve down by step

{ Leading Tone resolves up by step

{ Use of correct doublings

{ Adjacent parts stay within an octave (except tenor and bass)

{ No voice crossing (horizontal or vertical)

{ Inner voices move as little as possible; leave common tones in the same voice and take all other voices to nearest possible pitch

{ Avoid moving all 4 voices in the same direction; at least one voice should move contrary (or oblique) to the other voices

{ Avoid voice overlap and voice crossing

Rules of Doubling

Chord

Position

Preference

Primary Root root, fifth, thrid

Secondary Root root, fifth, third

Primary 1st Inversion root, fifth, third

Secondary 1st Inversion third, root, fifth

Augmented & Diminished All fifth, root

• All 2nd Inversion triads double the 5th

• 7th chords may only be doubled if the 5th is omitted and the root is doubled

• Based on the Circle of Fifths

Basic Harmonic Progression

{ Chord successions that are typical in tonal harmony

{ Unity through sequencing and imitation

• Tonal–pattern in a single key

• Modulating–patter that transposes to new key

• Modified–neither tonal, nor modulating pattern

{ Harmonic Sequencing

• Commonly done traveling the circle of fifths

• Major Progression

• Minor Progression

Triad Inversions

• First Inversion Triads

{ Often used as substitutes for root position triads to

• Improve contour of the bass line

• Provide greater variety of pitches in bass line

• Lessen the importance of V and I chords that do not serve as goal of harmonic motion

{ Inverted triads always complete in four-part texture

• When doubling, use result for best voice leading

• Provide desired sonority

• Best not to double leading tone

• Second Inversion Triads

{ NOT used as substitutes for root position. Much less stable sonority than root position and first inversion.

{ Types of second inversion

• Bass arpeggiation

• Cadential 64

• Passing 64

• Pedal 64

• Beginning General Principles

{ When a major or minor triad is in first inversion, the soprano is usually doubled

{ When a diminished triad is in first inversion, the bass is usually doubled

{ When a triad is in second inversion, the bass is doubled

Tones (also called " non -harmonic tones " or " embellishing tones ")

NonChord

Dissonant note occurs on a Dissonant note is resolved

Dissonant note is approached

By step (in opposite direction)

Weak beat (sometimes a strongbeat "Accented Pa ssing Tone" is called an appoggiatura )

By LEAP (!)

Example

Dissonant "a" (2nd) LEAPS from previous note, and is resolved by step in bar 2.

Type

In each case, only ONE note is the actual dissonance , and that dissonant note is "approached" (by the note before) and "resolved" (by the note after) in a certain way.

By step down

STRONG beat

By same pitch

Dissonant "c" on the STRONG beat of bar 2 is prepared by the same pitch in bar 1, and resolves down by step in bar 2. [Dissonance is a 4 th against the bass = 43 suspension ]

Suspensions DO NOT have to be prepared with a tie just approached by the same pitch.

Appoggiatura

Dissonant note is resolv ed

By step (in the same direction)

Most dissonances happen on a weak beat, and usually are approached/resolved by step.The interval that involves the dissonance is measured by its distance from the bass note.

Dissonant note occurs on a

Weakbeat If it occurs on a strong beat , it is called an "Appogiatura" or "Accented Passing Tone"

Dissonant note is approached

By step

Example

Dissonant "d" (2nd) in bar 1 is a 2nd that is approached by step and resolves by step in the same direction.

Suspension "4 -3 suspension" (see example) " 7-6 suspension" & " 9-8 suspension are same idea as 4 -3 " 2-3 suspension" ( dissonance is in the LOWER voice and still resolves down )

Bac k by step to approach note

Weak beat

By step above or below

By step up

STRONG beat

By same pitch

Retardation (similar to a suspension, but the dissonant note resolves UP)

Dissonant "b" on strong beat of bar 2 is prepared by the same pitch in bar 1, and resolves UP by step in bar 2.

More examples: (from Josquin Despre z's motet Ave Maria...virgo serena )

By step Weak beat Same pitch

Dissonant "d" (2nd) in bar 1 is approached by step and resolves in opposite direction back to the starting note. (this example = "upper neighbor")

Type

Tone

Passing

Note: A passing tone that occurs on a strong beat is called an "Appogiatura" or "Accented Passing Tone"

Neighbor tone (also called " Neighbor note ") " Upper Neighbor": dissonant note is higher than the starting note; "Lower Neighbor": dissonance is lower.

Anticipation

Dissonant "b" (7th) in bar 1 is approached by step and resolves when that same pitch becomes a chord tone in bar 2.

By step (from the last note of the pair)

Weak beat

By step (to 1st note of the pair)

Cambiata (also called " changing tones "): upper and lower "neighbo r notes" in a pair

Dissonant pair "a" and "d" (7th and 2nd) have a step approach before the "b" and a step resolution after the "d".

By LEAP in opposite direction (to a chord tone)

Weak beat

By step

Dissonant "d" (2nd) i s approached by step from previous note, and is resolved by LEAP in bar 2.

Escape tone

Bb: VI

Imperfect auth entic cadence:

• Either or both of the above two rules are broken. Either bass does not go from 51 or soprano does not end on 1.

• T he progression could involve an inversion of the V chord, and inversion of the I chord, or both chords in inversi on.

Bb: V 4 3 I V I

• The progression could also be a leading tone chord to tonic (viioI); this progression will always be an imperfect authentic since 51 can never be the bass.

Bb: viio7 i 3

A cadence is a resting point in music. Cadences occur at the end of phrases (statements of music). Some cadences are more conclusive than others; some cadences are final they signal the end of a part of music and some are nonfinal they are temporary resting points . In all of music, there are four basic kinds of cadences: Final Cadences Nonfinal Cadences

Authentic Half Plagal Deceptive

Authentic cadences :

• Authentic cadences contain a dominant functioning chord followed by a tonic chord.

• The dominant functioning chord may be a V, V7, viio, and vii fully diminished or halfd iminished seventh, and any other their inversions.

Bb: V I viio7 I

Plagal Cadence

• Usually c onsists of IVI.

• Sometimes called the “Amen cadence” since this is the progression used for the word Amen at the end of hymns.

Bb: IV I

Half cadence

• Any cadence that end on a V chord.

• Sounds incomplete. A phrase ending on a half cadence usually has another phrase after it to complete the thought .

Bb: IV V

• A V(7)I cadence is the st rongest cadence since the roots moves down by 5 th –the strongest root movement

• Authentic cadences may be perfect or imperfect.

Perfect Authentic cadence:

• Must hav e scale degree 1 in soprano in the tonic chord. 2

• The bass m ust have scale degree 5 followed by scale degree 1

https://musictheorymaterials.utk.edu

BarbaraMurphy,2018

Bb: V I

Imperfect authentic cadence:

• Either or both of the above two rules are broken.Either bass does not go from 51 or soprano does not end on 1.

• T he progression could involve an inversion of theV chord, and inversion of the I chord, or both chords in inversi on.

BarbaraMurphy,2018 https://musictheorymaterials.utk.edu

Phrygian Cadence

• A type of half cadence that is a iv6-V in a minor key.

• Called a Phrygian half cadence due to the half step in the bass – the same interval between scale degrees 2-1 in the Phrygian mode.

g: iv6 V

BarbaraMurphy,2018 https://musictheorymaterials.utk.edu

Deceptive Cadence

• Any progression that takes that dominant functioning chord to a chord other than the expected tonic chord.

• Most times, it is a V-vi chord progression.

V vi

• In a minor key, the third of the VI chord must be doubled in order to prevent parallel fifths, parallel octaves or moving a voice an A2 interval melodically. g: V VI

BarbaraMurphy,2018 https://musictheorymaterials.utk.edu

Bb:

O Savior, ou Who Wearest a Crown Herzlich tut mich verlangen

Hans Leo Hassler | harm. Johann Sebastian Bach

Karen Lynn Davidson

Herzlich tut mich verlangen

Johann Sebastian Bach

BWV 727

Music Theory for the Organist: Levels 5-6

Text:Harder,Paul. Basic Materials in Music Theory,PartII BYU Organ Workshop 2024, Instructor: Dr. Valerie Harris

For the slides from the class presentation, go to www.dontstopnoworgan.com

Prior Knowledge: fluency in diatonic chord progressions and functions, cadences and key identification

Day 1

Seventh Chords: triads with a third added; introduces dissonance as a part of the harmony

Dominant Seventh Chords: Major triad built on 5th degree of scale with added minor seventh; usually resolves to tonic

In minor keys, the leading tone is raised by a half step to create a strong tendency to tonic by half step (so V is almost always major in a minor key

Enharmonically reinterpreted diminished 7th chords: fully diminished chords can be respelled to function in different keys; aids in modulation to distantly-related keys

Chromatic harmony makes music more colorful and interesting!

Non-dominant Seventh Chords: doesn’t have dominant function

Common Tone diminished seventh chords: expands another chord; uses common and neighbor tones

Tonicization: non-tonic chord temporarily sounds like tonic

 Applied (secondary) dominant = any chord that functions as a dominant of a chord other than the tonic

 Most common is V/V

 Any major or minor triad can be tonicized

Day 2

Modulation: the change from one tonality to another, emphasizing a new tonic

 Includes a clear cadence to the new key

 Usually a phrase or longer

 Often creates structure or form; adds interest

 Temporary or permanent

 To closely related keys or distant keys

Recognizing a Modulation:

• Look for consistent changes in accidentals.

• Is there a cadence in a new key?

• Is there a pivot chord that could function in both keys?

• Begin noting roman numerals on a new line. Tonicization is brief and usually emphasizes a chord; modulations usually have a clear cadence

Types of modulation



Transient modulation: no clear cadence

Direct (phrase) modulation: moving suddenly to a new key without a pivot

 Pivot chord modulation (common chord/diatonic): at least one chord native to both old and new keys

 Chromatic modulation: chromatic alteration of a note between two chords (no pivot); often between unrelated keys

 Sequential modulation: sequence of pattern to accomplish modulation

Sequential pivot chord modulation

Modal Mixture: chords drawn from parallel modes (major/minor)

 Can occur in chord or phrase

 Borrowed chords: harmonic function of chord doesn’t change

 Picardy third: minor tonic triad at end of phrase is replaced by Major triad

Augmented Sixth Chords: chromatic chords built on the interval of a major 3rd and an augmented 6th. They drive to climactic cadence or modulation.

•Augmented sixths often drive to climactic cadence or modulation

•Chromatic predominant chords

•Have no root

•Resolve to a root-position dominant chord

•Augmented 6th between scale degrees 6 and 4

Day 3

Neapolitan Sixth chords: chromatic chord built on the flattened supertonic (ii) of a key, usually written in 1st inversion.

• Usually in minor, a Major triad built on lowered scale degree 2

•Usually in first inversion

•Functions as chromatically altered predominant chord with a goal of V(7)

•Any chord that leads to iiº6 can lead to ♭II 6

•Tip: look for ♭2

Putting it all together: Compose your own modulation

OrganMusicbyWomen Composers

WendyJohnston,MM,AAGO wendyjpiano@gmail.com

I. Women Composers Presented during this Session

a. Elisabeth Jacquet de la Guerre (1665-1729)

i. Unusual, in that her brilliance and gifts were noticed and supported during her lifetime.

ii. Associated with the court of King Louis XIV, she was praised and supported by the king. In turn, she dedicated many of her works to him.

iii. She published 2 books of music written for harpsichord

iv. Basse de Trompette, arr. Anne Marsden Thomas

b. Clara Wieck Schumann (1819-1896)

i. A famous virtuoso pianist in her own right

ii. Married composer Robert Schumann, and together they had a happy marriage, producing eight children.

iii. Her performing career and composing were curtailed by domestic responsibilities and her husband’s declining mental health.

iv. Prelude and Fugue in D Minor

c. Undine Smith Moore (1905-1989)

i. Known as “The Dean of Black Women Composers” ii. Born the granddaughter of slaves

iii. Graduated from Fisk University with highest honors, and M.M. from Columbia University. Additional study at the Juilliard School, Eastman School and Manhattan School of Music.

iv. Variations on NETTLETON

d. Marianne Kim (b. 1972)

i. Korean born composer, pianist, organist and harpsichordist

ii. B. Mus. from Busan University, Korea. M. Mus. Northern Illinois University in Jazz Studies and Organ Performance

iii. Performs and composes in a wide array of styles, including classical, jazz, Broadway musical, R&B, gospel, traditional & contemporary church music, and more.

iv. Every Time I Feel the Spirit

e. Chelsea Chen (b. 1983)

i. Taiwanese American

ii. Studied with Leslie Robb, and the Monte Maxwell, organist at the Naval Academy. After only 2 years of organ study, she was accepted at the Juilliard School and studied with John Weaver and Paul Jacobs. Received a Fulbright Fellowship to study and perform in Taiwan, then went on to receive an Artist Diploma, studying with Thomas Murray at Yale University.

iii. Taiwanese Suite, I. Hills in the Springtime

f. Kristina Arekelyan (b. 1994)

i. British Armenian composer, pianist, educator

ii. Educated at The Royal Academy, Kings College and Oxford

iii. Works have been broadcast and performed internationally, including in her native Armenia

iv. Perpetuum Mobile

II. Resources for Exploring Works by Women Composers

a. Websites

i. The AGO Website, a rich resource includes links to 13 entities promoting women composers. https://www.agohq.org/wpcontent/uploads/2024/02/WCSResourceSheet.pdf. Check past issues of The American Organist or the website for free printed music in the public domain by women composers.

ii. A Great Host of Composers https://www.greathostcomposers.org. A curated database of sacred music compiles choral music and voluntaries by women composers.

iii. The Boulanger Initiative. Celebrating, Performing and Supporting Music by Women Composers. https://www.boulangerinitiative.org

iv. Oberlin University Library. Multiple resources, including a link to https://donne-uk.org, which has a multimedia menu of videos, playlists, and podcasts on women composers. See video on Lili and Nadia Boulanger: https://www.youtube.com/watch?v=QH9RLh1153w&t=2s.

b. Collections

i. The Oxford Book of Organ Music by Women Composers, Anne Marsden Thomas and Ghislaine Reece-Trapp. Exhaustive collection covering six centuries of music. Graded for difmiculty.

ii. Organ Music by Female Composers, published by Schott. Twenty pieces, including Emma Lou Diemer, Nadia Boulanger, Cécile Chaminade, Ethel Smyth and others.

iii. Women Composers Album, ed. Charles Callahan, published by MorningStar. Twenty pieces, moderately easy.

iv. Organ Music by Women Composers Before 1800, ed. Calvert Johnson. Three pieces.

c. Individual Composers Worth Exploring (and many others not on this list)

i. Emma Lou Diemer

ii. Florence Price

iii. Jeanne Demessieux

iv. Amy Beach

v. Elisabeth Stirling

vi. Fanny Mendelssohn

vii. Clara Schumann

viii. Rachel Laurin

ix. Brenda Portman

x. Pamela Decker

xi. Marianne Kim

d. Some Names to Explore (seen, heard or discussed at the 2024 San Francisco AGO Convention)

i. Jessica French

ii. Elsa Barraine

iii. Natalie Draper

iv. Jessica Meyer

v. Sharon J. Willis

vi. Eurydice V. Osterman

James Welch

Organ Music of Franklin Ashdown Reading Session

BYU Organ Workshop

August 6, 2024

A Millennial Trumpet

A Tuscan Adagio

Ascension Alleluias

Hail the Day that Sees Him Rise

Bright and Guiding Star

Coventry Carol

We Three Kings of Orient Are

British Inspiration

A Gaelic Idyll (Slane)

A Millennial Trumpet

Partita on “O Waly Waly”

Pastoral on “Afton Water”

Tuba Tune on “Kingsfold”

Joy in the Morning

“Kingsfold” Chorale (Kolob)

Paraphrase on Two Hymn Tunes

Coronation

Old Hundredth

Postludes on Hymns of Faith and Assurance

All Hail the Power of Jesus’ Name

Come, Thou Fount of Every Blessing

Praise to the Lord, the Almighty

Scenes from the Life of a Doctor

A Guide to the Pipe Organ

Delerium, Anaphylaxis, Dysrhythmia

The Alleluia Collection

Alleluia on Lasst uns erfreuen

Adagio on Hyfrydol

A Trumpet Alleluia

Augsburg, 1999

MorningStar, 2000

Sacred Music Press, 2023

Augsburg, 2013

Augsburg, 2005

Augsburg, 2011

H. W. Gray, 1998

MorningStar, 1993

Augsburg, 2013

Wayne Leupold, 2004

Concordia, 2007

p.2 Franklin Ashdown

The Desert Wayne Leupold, 2003 A Guide to the Pipe Organ Optional narrator

The Eventide Collection

Concordia, 2006 Suo Gan Reverie Prelude on Eventide (Abide with Me) Adagio on a Welsh Air (All Through the Night)

The Golden Trumpet

H. W. Gray, 2002 Based on Moroni’s Golden Trumpet

Three Celebratory Pieces

MorningStar, 2016 Fête, quoting For the Beauty of the Earth

Three Festive Trumpet Tunes

H. W. Gray, 1990 Fanfare – Trumpet Tune Trompette de Noel Jubal’s Trumpet

Three Folksong Paraphrases

MorningStar, 2012 Annie Laurie Londonderry Air The Ash Grove

Three Hymns for the Evening

Birnamwood/MorningStar, 2009 St. Clement

Three Organ Hymns

Gentry, 1983 God Be with You All is Well My Redeemer (O My Father)

Three Trumpet Chorales

Warner Bros., 1996 Trumpet Voluntary on “Llanfair”

Tuba Tune in D-flat

H. W. Gray, 1995

Variations on “Come, Come, Ye Saints” Belwin Mills, 1993

p.3 Franklin Ashdown

Christmas

A Carol Fantasy

Truth from Above

Holly and the Ivy O Little One Sweet

Good King Wenceslas

Silent Night

The First Noel

Chorale Variants on Two Noels

Hereford Crol

Cradle Song

Noel! Christmas at the Organ

Bethlehem Sicilienne Fantasia Navideña Antigua (Riu riu chiu)

The First Noel Still, Still, Still

“Sussex” Variations

H. W. Gray, 2002

Flammer, 1989

Augsburg, 2008

H. W. Gray, 1997

ORGAN TECHNIQUE AND REPERTOIRE PREPARATORY LEVEL OPTION

The Preparatory Level Option offers training for pianists in the most basic skills needed in classical or sacred organ playing. It is designed to be learned, practiced, and completed during the BYU Organ Workshop, while still allowing attendance at the Level One organ instruction and hymn playing instruction classes. As an alternative, the level may be prepared during the year and completed either during the Workshop or during the year.

The Preparatory Level requires playing only one easy three-part piece in legato style, applying the skills described below. The piece may be a three-part hymn setting, an organ piece, or an organ arrangement. Choose the piece from one of the following options (listed below from easier to more difficult):

1.Any of the single-page pieces in Croft, D. Kim. Nine Hymn Studies. Orem, UT: Pioneer (Jackman Music), 1986.

2.The setting of Lawrence Lyon's tune, "Saints, Behold How Great Jehovah," in Cook, Don. The OrganTutor Workbook. Spanish Fork, UT: Ard, any edition.

3.Any one of the three Hymn Project 1 options in The OrganTutor Workbook (see #2 above).

4.Any hymn setting (preferably one of the easier ones near the front of the book), in Cook, Don Easy Organ Hymn Settings Orem, UT: Jackman Music, 1992.

5. Any simple three-part hymn setting, organ piece, or organ arrangement in legato style with a single-line part for the right hand, one for the left hand, and one for the pedal.

Demonstrate the following skills as you play your selected piece (each box should be initialed by an instructor):

1.  Apply the three organ listening skills

a.Perfect legato

b.Precise releases (clearly articulated repeated notes, rests accurately observed)

c.Independence of line

2.  Use the following elements of good legato pedal technique. Wearing shoes adequate for organ playing is recommended.

a.Position the bench and yourself properly at the console

b.Tip (rock) the feet slightly inward, playing just forward of the ball of the foot (sharp keys) or on the ball of the foot (natural keys)

c.Use ankle motion, not knee motion, when playing pedal keys

d.Use both feet to play the pedal line, keeping the knees reasonably together

e.Use contact between the feet to span the intervals of a second, third, or fourth

f.Keep the eyes up on the music when passing off the piece

Play the following steps in order:

1.  INDIVIDUAL PARTS

a.Be able to play either the right-hand or left-hand part on either the Great or the Swell

b. Play the bass part alone in the pedals

2.  TWO-PART COMBINATIONS.

a. Play both manual parts on the Great or split between manuals (as specified)

b. Play the right-hand part on one manual in combination with the pedal part

c. Play the left-hand part on one manual in combination with the pedal part

3.  ALL THREE PARTS

Play all three parts together, with both hands on the Great or split between manuals (or as specified)

Unless the composer or arranger specifies otherwise, you might use the following stop combination or its equivalent:

Great: Principal 8', Octave 4' (these stops may also be called Diapason, Prestant)

Swell: Flute 8', Flute 4' (these stops may be called Bourdon, Gedeckt, Stopped Diapason, Rohrflöte, Spitzflöte)

Pedal: Flute 16', Flute 8' (these stops may be called Subbass, Lieblich Gedeckt, Bourdon, Gedackt, Stopped Diapason, Rohrflöte, Spitzflöte)

This level may be completed during the BYU Organ Workshop or during the year.

During the Workshop, auditions can occur at one of the following times:

1.during Preparatory Level Supervised Practice (schedule, no fee)

2.private organ instruction (schedule, fee)

3.supervised practice (schedule, no fee)

During the year, the preparatory level may be completed in one of the following ways:

1.a private lesson with any instructor who has taught at the BYU Organ Workshop (fee as arranged)

2.a private lesson with an instructor (fee as arranged) approved by the BYU organ faculty. This instructor should have a degree in organ. Contact Don Cook (doncook@byu.edu) or Neil Harmon (neil_harmon@byu.edu)

3.a video session with a link emailed to a BYU organ faculty member or graduate student (send $30 fee)

HYMN PROJECT 1

Saints, Behold How Great Jehovah

(Edgar)

With energy q = 88-108

A COMMA is a phrasing breath, and in this piece it should be treated exactly like an EIGHTH REST.

For each of the practice steps, play at least five repetitions with attention to EACH of the following:

•FINGERING CORRECT

•LEGATO PERFECT

•PRECISELY-TIMED RELEASES AT COMMAS

IF A MISTAKE CREEPS IN:

FIND the problem spot(identify)

FENCE it in (isolate)

FIX it (repetitions)

FIT the pieces back together (context)

I: Trompette 8'

II: Principals 8', 4'

Pedal: Principals 16', 8'

PRACTICE STEPS:

A.For measures 1-4 practice each of the following, SLOWLY AT FIRST:

1.Right hand (RH) part alone

2.Left hand (LH) part alone (meas. 2-5)

3.Pedal part alone

4.LH and Pedal (measures 1-5)

5.RH and Pedal

6.RH and LH

7.All three parts, SLOWLY AT FIRST

B.Repeat the seven steps for measures 5-9, SLOWLY AT FIRST (LH should wait to enter at measure 6).

C.Practice all nine measures—

ALWAYS PLAYING SLOWLY ENOUGH TO STAY IN CONTROL

BYU Organ Workshop 2024

Organ Technique and Repertoire, Level 1

Dr. Neil Harmon

Welcome to playing the organ! This class will address basic organ techniques and repertoire featured in the BYU Organ Workshop Study Level 1. If you have music scores for Level 1, please bring them to class with you. Participants are invited and encouraged to play technique exercises and repertoire pieces from Level 1 for feedback.

Pedal Technique

• Nearly everyone can learn to play the pedals. With consistent practice you will develop confidence and technique quickly. Avoid procrastination and learn pedals first!

• Adjust the bench

o Up and down: with legs relaxed, one should be able to comfortably play with heels and toes without having to stretch uncomfortably.

o Forward and back: with legs relaxed, toes should fall just shy of the sharp keys

o Side to side: left foot over C; right foot over F.

• Proper shoes are essential.

• Ankle motion with “quiet” releases: relax ankle to allow pedal key to come back up.

• Organists play with their toes and heels. Play on the inside ball of the foot (toe); center the heel over each note (heel)

o At first, look at feet to make sure technique is correct; eventually find notes without needing to look.

• Pivot body on bench to reach extremities of the pedalboard. Do not scoot from side to side.

• Prepare for the next note to be played by each foot (pre-location).

• Notate, and follow, pedaling in the score.

Manual Technique

• Attack and release

o Precise releases

o “Quiet” releases

• Finger independence

o Tension-free

• Legato fingering

o Finger substitution

o Finger crossing

o Finger glissando

o Thumb glissando

• Notate, and follow, fingering in the score.

SW:Strings8'(Celestes)

GT:Principal8'

PED:Soft16',SW/PED

Preludeon NETTLETON

OrganTechniqueandRepertoire,Level2

“Losenoopportunityofpracticingontheorgan;thereisnootherinstrumentwhichtakesaswifterrevengeon anythingunclearorsloppyincompositionorplaying.”-RobertSchumann

“There’snothingremarkableaboutit.Allonehastodoishittherightkeysattherighttimeandthe instrumentplaysitself.”-JohannSebastianBach

“Ifyouarecalledontoplayachurchservice,itisagreaterhonorthanifyouweretoplayaconcertonthe finestorganintheworld…ThankGodeachtimewhenyouareprivilegedtositbeforetheorganconsoleand assistintheworshipoftheAlmighty.”-AlbertSchweitzer

Tuesday

ManualTechnique

Legatovs.detachednotes(independenceofline):OrganTutorbyDonCook,Manual16:9a Fingerglissando:OTManual372aand2b Thumbglissando:BasicOrganTechniquebyJ.J.Keeler,#33 Threepartmanualstudy:“Lento”JohannRinckTheOrganists’ManualbyRogerDavis,p.79

PedalTechnique

Alternatetoesandpivoting:OTPedal16a

Toeandheel:BOT#95-96,OTPedal34a,c

Crossing:OMp.32#1-2

Glissando:OMp.33#1

Substitution:OTPedal43a,45a

PuttingItAllTogether

Threepartmanualandpedalstudy:“Preludeon‘Converse’”OTRepertoire19

Literature

“Abidewithus,OLordJesusChrist”Seventy-nineChoralesfortheOrganbyMarcelDupré,#1 “AbidewithMe,‘TisEventide”HymnPreludesforOrgan,Book1byRobertManookin,p.25 “Fugato”byJ.G.AlbrechtsbergerOMp.115,orMethodofOrganPlayingbyHaroldGleason,p.183

Wednesday

ManualTechnique

Fingercrossing:BOT#27-28

Thumbglissando:BOT#34

Threepartmanualstudy:BOT#55

PedalTechnique

Glissando:OTPedal41aandb

PuttingItAllTogether

Twoandthreepartstudies:BOT#132,#139

Literature

“HerzliebsterJesu,washastduverbrochen”byHelmutWalchaOMp.110 “Trio”byJosefRheinbergerOMp.114

Thursday ManualTechnique

Thumbglissando:OTManual392c,Manual403c Threepartmanualstudy:BOT#60

PedalTechnique

Alternatetoes:BOT#91(Dothisoneeveryday!)

Toeandheel:BOT#98

PuttingItAllTogether

Threepartmanualandpedalstudy:BOT#141

Literature

“GlorybetoGodonhigh”79Dupré,#4

“Canon”byJacquesLemmensOM,p.121;orOTRepertoire7;orGleasonp.171

“Lord,WeComeBeforeTheeNow”ManookinHPbook1,p.5

Friday QuestionsandAnswers!

Ideasforcontinuingyourorganstudyandstayingmotivated.

Literature

“BelovedJesus,herewestand”79Dupré,#52

“Litany”byFranzSchubert,OTRepertoire12-13

“TheFirstNoel”byWilburHeldSixCarolSettingsp.12

Resources

OM=TheOrganists’ManualbyRogerDavis,pub.Norton.Currentlyoutofprintbutusedcopies sometimesavailableonamazon.com,ebayandothersites.

BOT=BasicOrganTechniquesbyJ.J.Keeler,availableatsheetmusicplus.com

OT=OrganTutorWorkbookbyDonCook,availableatardpublications.com

SixCarolSettingsbyWilburHeld,availableatcph.org

HymnPreludesforOrgan,Book1byRobertManookin,availableatjackmanmusic.comor sheetmusicplus.com

Seventy-nineChoralesfortheOrganbyMarcelDupré,availableonamazon.com& sheetmusicplus.com

Organshoes-Organmastershoes.com

Organ Technique and Repertoire: Level 3

Tyler Boehmer, DMA (tboehmer14@gmail.com)

Technique: Introduction to Ordinary Touch

A. What is “Ordinary Touch?” (Sometimes referred to as “Baroque touch,” “Articulated touch,” or “Articulate legato”)

a. Ordinary touch is a technique employed in music written before the 1800s. It is characterized by having a space between notes (sometimes referred to as articulation)

b. The easiest comparison to make is to wind and string instruments

i. When a wind instrument is tongued, it puts a slight bit of space between the notes.

ii. When a stringed instrument has alternating bows, it puts a slight bit of space between the notes.

c. Sometimes this space is quite noticeable and distinct, giving the note the feeling of an accent. Other times it is so subtle that the ear can hardly perceive it.

B. Practicing Ordinary Touch

a. The goal here is to get your ears and your fingers/feet to sync up

b. Start by playing a single melodic line with one finger:

c. Practice this with varying degrees of space in between the notes. First, try to minimize the space as much as possible. Then try some of the following variations:

d. Once you have tried these and other variations, try it out with different fingers.

Example:

e. Make sure to also practice this with your left hand and your feet in the same way

f. In addition to having space in between notes, we need to consider the relationship between meter and articulation. Think, for example, of a poem with alternating weak and strong syllables:

O God, Thou faithful God, Thou fountain ever flowing, Without whom nothing is, All perfect gifts bestowing, Grant me a healthy frame, And give me, Lord, within, A conscience free from blame, A soul unhurt by sin.

g. See Organ Technique: Modern and Early by Ritchie/Stauffer, pgs. 189-196 for an example

i. Focus on attacking and releasing fingers together. Try to play it in two different ways:

1. Play it with the same amount of space between every quarter note

2. Play it thinking about the meter, emphasizing strong beats by having more space before them (think about the poem above)

h. See Organ Technique: Modern and Early by Ritchie/Stauffer, pgs. 197-199 for an example

i. This piece focuses on having differing touches in each hand

ii. Recommended practice technique: Play hands separately and SLOWLY, listening for good techniques as discussed in our class. Play the hands together after each is comfortable on its own, and begin, measure by measure, from the end

i. See Organ Technique: Modern and Early by Ritchie/Stauffer, pgs. 200-202 for an example

i. The piece focuses on adapting articulation/ordinary touch to a triple meter piece

j. “Christus, der ist mein Leben” by Johann Pachelbel (from 80 Chorale Preludes, #19)

i. See attached score for more information

ii. General concepts:

1. Sharing of a 3rd voice part between the hands

2. Transitioning from a duple meter to a triple meter

k. “Herr Christ, der einge Gottes Sohn” by Johann G. Walther (from 80 Chorale Preludes, #37)

i. See attached score for more information

ii. General concepts:

1. Three-voice contrapuntal texture

2. Handling of unifying motive throughout the work

l. “Vom Himmel hoch” by Friedrich Wilhelm Zachau (from 80 Chorale Preludes, #68)

i. See attached score for more information

ii. General concepts:

1. Three-voice texture, cantus firmus in the bass

2. Two different ways of playing

a. RH and LH play the treble clef, pedal plays the bass clef

b. LH plays the cantus firmus, RH plays the treble clef

3. Independence of each line having their own phrasing and ordinary touch/articulation

tboehmer14@gmail.com.

OrganTechnique&Repertoire,Level4

Instructor:KymberlyPayne,M.M.,NCTM www.PayneMusicStudio.com

Objective

Inthisclass,wewillcoverupperintermediatetechnique,performancepracticeandrepertoire.Duringourfour sessionstogether,Iwillgiveyouthetoolsyouneedtolearnthetechnique&repertoirefromtheLevel4BYU IndependentStudyOrganCoursewithconfidence!Inaddition,youwillbeexposedtowonderfulrepertoireand comeawaywithconcreteideastoimplementintoyourpracticeassoonasyougethome.

Schedule

Tuesday:

● TechniqueRefresh:BrushingUpYourManual&PedalTechnique

● ABriefHistoryoftheOrgan&PerformancePractice

● HowtoLearnANYPieceofMusic!

Wednesday:

● HistoricalBackgroundandMasterClass*onOrganMusicPre-1750

○ J.S.Bach(1685-1750)

○ DieterichBuxtehude(1637-1707)

○ Louis-NicolasClerambault(1676-1749)

○ FrançoisCouperin(1668-1733)

○ JoséLidon(1748-1827)

○ JohnStanley(1712-1786)

○ JanPieterszoonSweelinck(1562-1621)

Thursday

● HistoricalBackgroundandMasterClass*onOrganMusic1750-1900

○ JohannesBrahms(1833-1897)

○ FelixMendelssohn-Bartholdy(1809-1847)

○ JosefRheinberger(1839-1901)

Friday

● HistoricalBackgroundandMasterClass*onOrganMusicafter1900

○ MarcelDupré(1886-1971)

○ HermannSchroeder(1904-1984)

○ NedRorem(b.1923)

○ Othernotable20thcenturycomposers

● WrappingUp:WhereDoIGoFromHere?

*Pleasenote:In-personattendeesareinvitedtoperformpiecestheyhavepreparedfromtheIndependentStudyLevel4 techniqueandrepertoirelistduringthesessions.Ifyouwouldliketoplay,pleasebringyourmusicandorganshoes. Onlineattendeesareinvitedtosubmitvideorecordingsforfeedbackduringthesessionsaswell.Ifsubmittingvideosfor demonstrationtheweekoftheworkshop,pleasesendaprivateYouTubelinkofyourrecordingto paynemusicstudio@gmail.com

Organ Technique and Repertoire Level 5

Welcome! This class will address the techniques, skills, and repertoire found in Level 5. Please bring your music scores to class, if possible. Also, participants are invited and encouraged to play the technique and repertoire they have prepared for feedback. If online, send your YouTube link to organ@byu.edu with name and level.

Tuesday, Parts I & II

Piano Technique, Part I

1. Ideas for successful piano technique:

• Find a consistent time to practice with daily and long-term goals. Set a timer.

• Practice accurately and slowly at first, without tension for a quality outcome.

• Incorporate variety in each technical study. Use different rhythms, accents, dynamics, note values, speed, etc. (ie. Accent the first of two notes, then accent the second note, etc.)

• Use the metronome for measured success! Speed it up and slow it down. Also try half speed and full speed.

• Rely on the Lord to make up the difference.

2. Scales & Arpeggio Helps:

• Discover fingering patterns among the keys. Ex. C, G, D, A, and E all have the same fingering. Block and “chunk” scales so that patterns and topography are under your control.

• Be careful of the “thumb.” Tuck the thumb quickly.

• Contrary minor scale’s motion can be problematic- same fingering but different notes due to accidentals…start working on them now

3. Chords: Blocked and Broken

• Learn fingering carefully for the blocked chords to facilitate ease on the broken chords

4. Selected technique study

“Work smarter, not harder.” (Horowitz)

• Work through some of the suggested volumes and choose several to work on. Choose a weakness to work on or showcase your strengths. Remember, the journey is often more important than the end goal.

Organ Repertoire & Masterclass, Part II PRE-1750

Repertoire General Ideas:

• Obtain a good score: https://organ.byu.edu/materials.pdf (included at the end of handout book)

• Learn about the time period, stylistic considerations, composer, and specific piece.

• Prepare the piece well: mark, sing, and play the melody, theme(s), subject, or motives throughout; and write in fingerings, pedal markings, manual changes, use of expression pedals, registrations, and articulations.

• Listen to and watch recordings.

Historical Background

Composers: Johann Sebastian Bach (1685-1750), Dieterich Buxtehude (1637-1707)

Important Terms & Stylistic Elements (see box)

Forms & Repertoire: Chorale Preludes

Johann Sebastian Bach: (Choose two)

“Der Tag, der ist so freudenreich” (BWV 605)

“Herr Jesu Christ, dich zu uns wend” (BWV 532)

“Vater unser in Himmelreich” (BWV 636)

“Es ist das Heil uns kommen her” (BWV 638)

Dieterich Buxtehude: (Choose one)

“Nun bitten wir den Heiligen Geist” (BuxWV 208 or 209)

“Puer natus in Bethlehem” (BuxWV 217)

“War Gott nicht mi tuns diese Zeit” (BuxWV 222)

Dieterich Buxtehude: (Choose one)

Fugue in C Major (BuxWV 174)

Toccata in F Major (BuxWV 157)

Other Resources:

o Doctrines of Affection

o Ornamentation

o Baroque Articulation

o Counterpoint

o Imitation

o Cantus Firmus

o Other Clef Signs

o Suspirans

o Orgelbüchlein

o Stylus Phantasticus

• Editions: Some Buxtehude editions (Dover) have the left hand in the alto clef. Look for a good Urtext edition. Consider the newest Harald Vogel’s Breitkopf & Hartel edition on Buxtehude published in 2021.

• Books:

Butt, John. Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach. NY: Cambridge University Press, 1990.

Ritchie, George H., and George B. Stauffer. Organ Technique: Modern and Early. NY: Oxford University Press, 2000.

Stauffer, George B. J.S. Bach: The Organ Works. NY: Oxford University Press, 2024 Stinson, Russell. Bach: The Orgelbüchlein. NY: Oxford University Press, 1999. Williams, Peter. The Organ Music of J. S. Bach. NY: Cambridge University Press, 2004. Wolff, Christoph. Johann Sebastian Bach. NY: W. W. Norton & Company, Inc., 2000.

• Recordings:

BuxWV 217- Jean-Charles Ablitzer: https://www.youtube.com/watch?v=NVewmb44yzY

BWV 632- Bovenkirk Kampen: https://www.youtube.com/watch?v=LOo7YHJzRIU (slower tempo with beautiful phrasing)

Wednesday, Part III PRE-1750 (Continued)

Forms & Repertoire: Free Works- Canzonas, Fugues, Preludes, and Toccatas

Johann Sebastian Bach: (Choose two)

Bach’s Canzona in D Minor (BWV 588)

“Little” Fugue in G Minor (BWV 578)

Prelude and Fugue in C Minor (BWV 549)

Toccata and Fugue in D Minor (BWV 565)

Other Resource:

Magical recording of the Canzona in D by Dorien Schouten: https://www.youtube.com/watch?v=wn8Jrj_ch0k&list=RDwn8Jrj_ch0k&start_radio=1

Thursday, Part IV, 1750-1900

Historical Background

Composers: Johannes Brahms (1833-1897), César Franck (1822-1890), Felix Mendelssohn-Bartholdy 1809-1847)

Important Terms & Stylistic Elements (see box)

Forms & Repertoire: Chorale Preludes, Fantasies, Preludes, Fugues, Variations, Sonatas

Johannes Brahms: (Do both)

“Herzlich tut mich verlangen” (op. 122, no. 9)

“O Welt, ich muss dich lassen” (op. 122, no. 11)

César Franck: (Choose one)

Adagio from “Fantaisie in C”

Prelude from “Prelude, Fugue and Variation”

Felix Mendelssohn-Bartholdy: (Do all four movements)

Sonata II, op. 65

Other Resources:

o Style gallant

o Sturm and Drang

o Touch & Articulation

o Cavaillé-Coll Organs

• Edition: César Franck: The Complete Organ Works, Leupold Foundation

• Books:

Owen, Barbara. The Organ Music of Johannes Brahms. NY: Oxford University Press, 2007.

Little, Willliam A. Mendelssohn and the Organ. NY: Oxford University Press, 2010.

Friday, Part V, Since 1900

Composers & Works: (Choose two of the following)

• Leon Boёllmann: Toccata from Suite Gothique, op. 25

• Douglas Bush: Hymn Settings for Organ (any piece of medium difficulty)

• David Chamberlain: LDS Hymn Voluntaries (any piece of medium difficulty)

• Marcel Dupré: “How Fair and How Pleasant Art Thou,” from Fifteen Pieces founded on Antiphons, op. 18, no. 5

• Joseph Jongen: “Chant de Mai,” op. 53, no. 1

• Louis Vierne: “Carillon” from Twenty-four Pieces in Free Style, vol. 2

• Helmut Walcha: “Weicht ihr Berge, fallt ihr Hügel from Funfundzwanzig Choralvorspiele

• Dale Wood: “Let Us Break Bread Together”

• Searle Wright: “Carol-Prelude on Greensleeves”

o Any hymn setting of medium difficulty from this period may be acceptable.

Book: Welch, James. Dale Wood: The Man and His Music, 2020. (Amazon)

Organ Terminology Boot Camp

Elizabeth Forsyth

Organ Terminology Boot Camp

The pipe organ is a wind instrument controlled by one or more keyboards. Electronic organs try to look and sound like the real thing, and much of organ terminology applies to both pipe and electronic instruments.

Manual - Previously, a booklet you read to get instructions. Starting today, one of the keyboards on the organ.

Great - On a two manual organ, the lower manual.

Swell - On a two manual organ, the upper manual. See how positive and uplifting the organ is?

Choir - the third manual (below the Great) on a three manual organ. On some organs this is called the Positiv!

Pedalboard - The keyboard for your feet. Do not worry, playing with your feet is much easier than it looks.

Rank - a row of pipes of one sound or color, one pipe per key.

Stop - a knob or tablet used to turn a rank on or off. Pushing it in “stops” the pipes of that rank from sounding. Drawknobs, tabs or rocker tabs are all types of stops.

What are all those buttons?

1) Pistons: These remember combinations of stops for you. General pistons remember the entire organ, divisional pistons remember one division (manual or pedal).

2) Cancel button: Look for the piston, usually at the bottom right, with the 0. This cancels your registration. Use in between hymns so no one hears when you accidentally step on a pedal. And at other times.

3)Large buttons that look like doorknobs down by the pedals: these are called “Toe Studs.” We won’t tell them they aren’t all that great looking. They function the same way pistons do, but are used by your feet if your hands are busy playing a toccata.

Memory levels - If you are lucky, your organ will have memory levels. Each level will remember all of your pistons you have set. This is a big blessing when there’s more than one organist.

Couplers - used to connect one division to another, usually found on stop tablets above the top manual. Their name tells you their function. The Swell/Great adds all the stops pulled on the Swell to the Great. The Great/Pedal adds all the stops pulled on the Great to the Pedal.

Reversible - a reversible can be a piston or a toe stud. One push brings something on, a second push takes it off. Some examples are the Great/Pedal and the Tutti which brings on the entire organ. Remember Tutti Fruity gum? All the fruits.

Swell Pedal - This is the thing that resembles a large gas pedal, directly above the pedalboard. In a pipe organ, this opens and closes the “shades” (think vertical blinds) of the swell “box” letting more or less sound out into the room.

Other pedals - All ‘enclosed’ divisions (Swell, Choir) have an expression pedal controlling the volume. On an electronic organ, there are no rooms full of pipes with shutters to open and close, so frequently the Great is also ‘under expression’ and there will be a pedal that controls the Great (often the Great AND the Pedal together).

Generally, the expression pedal on the farthest left will correspond to the lowest manual, and so on, with the one on the far right being the crescendo pedal (see below). Remember this when you play the Tabernacle or Conference Center organs.

Crescendo Pedal - on the far right, this pedal gradually brings on ALL the stops on the organ, regardless of which stops are pulled. Should generally not be used in church.

PedalTechnique

NoraHess,MM,CAGO

Goodpedaltechniqueisasessentialasgoodmanualtechnique.Bylearninggoodhabitsnow, youwillbeabletoplaythepedalsmoreeasilyfortherestofyourlifeasanorganist.

1.Organshoes:

○Organshoesareusedtoallowyoutoglideeasilyoverthepedals,feelwhereyou arethroughthesolesofyourfeet,andreachonefootacrossintervalswithout depressingthepedalsinbetween.Agoodorganshoehasathin,moderately slipperysole,aflexibleleatherupper,aseparateheelthatisnottoohigh,narrow, orwide,andameansofkeepingitfirmlyattachedtoyourfoot,suchasastrapor shoelaces.Mostorganistsdonotweartheirshoesawayfromthekeyboardin ordertoprotectthem.

2.Wheretositattheconsole:

○Sitinthecenteroftheorgankeyboards,whichisNOTinfrontofMiddleC! CenteryourselfinfrontoftheDorEbinthemiddleofthepedals.

○Sitwiththebenchsupportingabouthalfyourthighs,withyourupperandlower legsforminga90degreeangleattheknees.Adjustthebenchupanddownuntil yourfeet,bothtoeandheel,restlightlyonthepedalsinfrontofyou.Youshould beabletodepressyourheelstoplayanotewithoutstraining,butnotfeelas thoughyouarestrainingupwardtoavoidplayingthepedalsaccidentally.

○Adjustthebenchforwarduntilyoucanrestyourentirefoot,toeandheel,onthe Swellexpressionpedal.Leaveenoughroombetweenthesharpsandthebench tocrossonefootbehindtheotheronthepedalsifneeded.

○Ifyouhaveloweredthebenchallthewayandarestilltooshorttorestyourfeet onthepedalswhilethebenchissupportinghalfyourthighs,movethebench backalittlebitandsitclosertothefrontedge.Ifyouhaveraisedthebenchall thewayandarestilltootalltorestyourfeetonthepedalswithoutstrainingto holdyourlegsintheair,sitfurtherbackonthebench,orconsiderplacingblocks underthesidesofthebenchtoraiseitfurther.

3.Bodyposition:

○Keepyourfeettippedtowardthecenterofthepedalboardsoyoucanplayonthe edgesofthepedalsratherthantheirtops,whichareusuallyconvexratherthan flat.Thisisaccomplishedbykeepingyourkneesandheelstogetherasmuchas possible.Whenyoumustmoveyourfoottoanewpositiononthepedalboard, keepyourkneesclosertothecenterofthepedalboardthanyourfeetaretokeep yourfeettipped.

○Whenplayingwithyourfeetclosetogether,keepyourheelstogethertohelp locatenotes.Ifyourfeetaretooclosetogether,moveonefootslightlybehindthe otherandtouchitsarchtotheheelofthefrontfoot.Whenyourfeetarefurther

apart,keepyourfeetrelativelyparalleltothekeysratherthananglingtheminor out,unlessyouareattemptingtospanalargeintervalwithonefoot.

○Pivotyourbodyonthebenchbypushinggentlywithyourhandsorfeettoreach theextremeedgesofthepedals,ortoshifttoanewposition.Remainseatedin thecenteroftheorganbenchratherthanslidingleftorright.

○Continuetositwitharelaxed,uprightposturewhileplaying.Donotallowyourself toliftyourlegsfromthehips,ortoleanforwardandback,whenyoudepressor releaseindividualpedals.

4.Footposition:

○Toplaywithyourtoes,useyourankletogentlypointyourtoeanddepressthe pedal,allowingyourheeltoliftintotheairslightly.Donotraiseorloweryour wholelegtodepressorreleaseanote.Whenyouarereadytoreleasethenote, relaxyourheelbackdownandallowthepedaltopushyourtoebackup.Never losecontactbetweenyourtoeandthepedalbefore,during,orafterplayinga note,evenwhenyouareplayingwithyourheel.

○Toplaysharps,touchtheinsidecornerofthesharppedalwiththeupperedgeof theballofyourfoot,justbetweenyourbigtoeandsecondtoe,unlessyourfeet aretippedtowardyourlittletoesinstead.Inthatcase,touchthecornerwiththe upperedgeoftheballofyourfootbetweenyourthirdandfourthtoes.

○Toplaynaturals,keepyourtoesrestingjustinfrontofthesharps.Feeltheinside edgeofthenaturalontheupperedgeoftheballofyourfoot.

○Toplaywithyourheels,centeryourheeloverthepedaljustslightlytowardthe insideedge,sothatyourheelplaystheedgeratherthanthecenterofthepedal. Thiswillpreventyourheelfromslidingoff.Keepyourtoeincontactwithanother pedalwhileyoupositionyourheel.Besuretotouchthenotebeforeyouplayit. Donotraiseyourtoetoplayyourheel;rather,keepitrestingonthepedals.To releasethenote,allowyourheeltorelaxandletthepedalpushyouritbackinto aneutralposition.Usearockingmotiontoalternateplayingtoeandheel.

5.Findingyournotesonthepedalboard:

○Avoidlookingdownwhileplayingthepedals,exceptforunusuallylargeleapsor virtuosicpassages.

○Prelocateyourfeetwellbeforeitistimetoplaythem,usuallyimmediatelyafter releasingthepreviousnote.Toprelocateyourheel,locateaneighboringsharp withyourtoefirst.Alwaystakethetimetopositionyourfootpreciselywhereit shouldbe,tippedandreadytogo.Donotplayanotebeforeitissecure,orplay allovertheedgesandbottomsofyourfeetbecauseyouareinahurry.

○Forsmallintervals,keepyourheelstogetherandscissoryourtoesoutwardto measuredistances.Otherwise,findnotesbyfeelingforthegroupsofsharps, glidingyourtoesacrossthekeys,orfeelingforthegapsbetweenthepedals. Yourbrainwilllearntomeasuredistanceseasilyasyoupracticewithoutplaying incorrectnotes.Avoidhoveringoverthepedalswithyourfeet,butkeepthemin contactwiththepedalsinsteadsoyoualwaysknowwhereyouare.

Piano Technique for Organists Alena Hall

"Genius is one percent inspiration and ninety-nine percent perspiration." attributed to Thomas Edison

Keys to success:

1. Just start. Keep it simple and make it a habit.

2. Repetition. Repetition. Repetition. The goal is slow, perfect, relaxed repetitions with good technique.

3. The metronome is your friend!

4. Variety.

5.Record your practicing and progress. Create a plan or a chart.

6.Involve others. (a formal teacher, an "exercise buddy")

Drills for piano technique (and repertoire):

1 Thumb drills

"Thumb-unders" Part 1: Play finger 1, then finger 2. As you play finger 2, tuck finger 1 into your palm without lifting or moving your wrist and arm. Once this is easy go on to Part 2 Part 2: Play finger 1, then 2, then 3. As soon as finger 1 finishes playing, it needs to tuck. Finger 2 then finger 3 will play while the thumb is tucking. This prepares it for the next note in the scale that it will play. 10-20 repetitions of this will be helpful. You could do this same exercise for any scale or arpeggio.

"Thumb Liberation" YouTube video: Piano Think with Dr. Scott Holden: Thumb Liberation

2. Chunks

When practicing scales in chunks, play the thumb alone, then fingers 2 and 3 together or fingers 2, 3, and 4 together:

3. Accents

Rhythms

Level 1:

Scales (major, one form of minor, and chromatic)--parallel and contrary motion (M/m), one octave in quarter notes at MM=100

Arpeggios (major and minor)--two octaves in eighth notes at MM=80

Block chords (major and minor, 4 note chords)-- two octaves in quarter notes at MM=40

Broken chords (major and minor, 4 note chords)-- two octaves in eighth notes at MM=80

Level 2:

Scales (major, one form of minor, and chromatic)-- parallel and contrary motion (M/m), one octave in quarter notes at MM=160

Arpeggios (major and minor)--three octaves in triplets at MM=80

Block chords (major and minor, 4 note chords)-- two octaves in quarter notes at MM=50

Broken chords (major and minor, 4 note chords)-- two octaves in eighth notes at MM=100

Level 3:

Scales (major, one form of minor, and chromatic)-- parallel and contrary motion (M/m), two octaves in eighth notes at MM=132

Arpeggios (major and minor)--four octaves in sixteenth notes at MM=72

Arpeggios (diminished 7th)--four octaves in eighth notes at MM=100

Block chords (major, minor, diminished 7th, 4 note chords)-- two octaves in quarter notes at MM=50

Broken chords (major and minor, 4 note chords)-- two octaves in eighth notes at MM=120

Level 4:

Scales (major, one form of minor, and chromatic)-- parallel and contrary motion (M/m), two octaves in eighth notes at MM=160, then transition to two octaves in sixteenth notes at MM=80

Arpeggios (major and minor)--four octaves in sixteenth notes at MM=80

Arpeggios (diminished 7th and dominant 7th)--four octaves in eighth notes at MM=120

Block chords (major, minor, diminished 7th, 4 note chords)-- two octaves in quarter notes at MM=60

Broken chords (major and minor, 4 note chords)-- two octaves in sixteenth notes at MM=80

Level 5:

Scales (major, one form of minor, and chromatic)-- parallel and contrary motion (M/m), two octaves in sixteenth notes at MM=112

Arpeggios (major and minor)--four octaves in sixteenth notes at MM=88

Arpeggios (diminished 7th and dominant 7th)--four octaves in sixteenth notes at MM=66

Block chords (major, minor, diminished 7th, 4 note chords)-- two octaves in quarter notes at MM=88

Broken chords (major and minor, 4 note chords)-- two octaves in sixteenth notes at MM=88

Add technical studies

Level 6:

Scales (major, one form of minor, and chromatic)-- parallel and contrary motion (M/m), two octaves in sixteenth notes at MM=120

Arpeggios (major and minor)--four octaves in sixteenth notes at MM=96

Arpeggios (diminished 7th and dominant 7th)--four octaves in sixteenth notes at MM=76

Block chords (major, minor, diminished 7th, 4 note chords)-- two octaves in quarter notes at MM=96

Broken chords (major and minor, 4 note chords)-- two octaves in sixteenth notes at MM=96

Continue technical studies

Planning, Prelocating, and Pivoting: the 3 “P”s for Perfect Pedal Technique

Objective: Discover new or “renewed” ideas to enhance your current hymn pedal technique

Planning (& Preparing) beforeplaying

1. Preparing Positions: Bench, Body and Feet

▪ Bench buzz words

o Right Left - Right foot is centered over D,E, or Eb. Be consistent.

o Forward Back - Bench is forward enough to fall 1 to 2 inches in front of black keys

o Up Down - Arms are close to a right angle on the great manual Feet are lightly resting, but not playing. You are not holding them up.

▪ Body cues

o Sit tall. Think of a string attached to your chest.

o Place half of your thigh on the bench

o Legs are hanging at a 90-degree angle

o Knees and thighs are comfortably together.

o Keep eyes up.

▪ Feet guides

o Use ankle motion

o Use the inside of the foot (ball of foot and big toe) to play white pedal keys. Use the big toe to play the black keys.

o Keep heels touching and hanging downward up to an interval of a fifth.

o Keep your feet in contact with the pedal keys

2. Mark the score using pedal notation

▪ Know what the pedal techniques and how they are notated:

➢ Alternate toes

➢ Toe-heel pedaling

➢ Foot Crossing

➢ Substitution

➢ Toe Glissando

(See “Legato Pedal Techniques”; “Pedal Technique Checkpoints”; and “Pedal Basics for Beginners” in this handout booklet for additional information.)

▪ Use in the order of effectiveness - least amount of motion and ease

▪ Find the lowest and highest notes and notate which foot and foot part. Or, start backwards.

▪ Mark the pedal notation for surrounding notes

▪ Don’t forget to mark in articulations as you mark the pedal notation.

▪ Once the pedal markings are finalized, stick to them!

Laurie Swain

Prelocating & Pivoting beforeplaying

1. Use intervallic relationships with heels together up to a 4th or 5th

2. Consider gliding using silent notes (notes drawn in and not played).

3. Draw in correct “toe heel” shape.

4. Use navigation points such as Bb and C# or Eb and F# to find notes.

5.For large intervals such as octaves, use the “V” in the knees.

6. Find and mark your pivot spots that will enable your knees to be over the notes you are playing.

GOAL: TRY TO TOUCH THE NOTE BEFORE IT IS TIME TO PLAY!

Playing Cathedral Organs with a Laptop

Fri. 11 Aug, 1:30–2:20 in the Recital Hall Kenneth Ray — (360) 947-1958 kjray416@gmail.com

Feel free to reach out to me if you have questions!

What is MIDI?

MIDI is not and does not carry sound. It stands for Musical Instrument Digital Interface and is more of a standardized language that allows computers and electronic instruments from different manufacturers to communicate with each other, give each other instructions, &c. Many electronic instruments will have specialized ports that allow them to send and receive MIDI data through cables. Perhaps unintuitively, you should plug IN cables into OUT ports and vice versa, because the data comes out from the instrument and into the cable.

Where do I get the software/organs?

There are a variety of virtual organ softwares available at different prices with various pros and cons associated with each. While Hauptwerk is the oldest, most well known, has the largest community, and the most fully developed, it is also quite expensive so I recommend looking around and seeing what might work best for you.

Virtual Organ Software: Pros/Cons:

Hauptwerk

Sweelinq

GrandOrgue

Organteq

Best sound quality but also expensive

Simpler to use, yearly subscription

Free, smaller list of available sample sets

Based on pipe modeling, not as memory intensive

Vendor

Milan Digital Audio

Sonus Paradisi

Piotr Grabowski

Evensong Music

Lavender Audio

OrganArt Media

Inspired Acoustics

Forestpipes

Melotone Sound Productions

Paramount Organ Works

Pipeloops

Voxus Virtual Organs

Prospectum

Organ Expressions

Sygsoft

Virtual Pipes

Jeux d'orgues

CLR Resources

Voxus Virtual Organs

Etcetera Pipe Organs

KeyMedia Productions

Silver Octopus Studios

Beauty in Sound

To the left is a list of companies that sell sample sets for Hauptwerk. The three above the line are those whose sets I have installed on my computer and use often. Milan Digital Audio is the company that also produces Hauptwerk. Their sets are not very RAM intensive, but they have a lower quality as a result. I often use Salisbury. I own and use three of Sonus Paridisi’s sample sets because of their excellent sampling quality and the wide variety of periods and countries covered. Caen (the best available Cavaillé-Coll) and Rotterdam are perhaps the most popular sample sets available for Hauptwerk. Bückeburg is free in the stereo version and is also excellent. Many of Piotr Grabowski’s early sample sets are free and are also available for use with GrandOrgue. This includes Friesach, which is widely considered to be the best free sample set and one of the best without reservation. Although Evensong is one of the few to offer instruments in the American Classic style and are relatively cheap, I have trialed several of their sample sets and was found wanting.

Where do I go for help?

There are many communities and sources where you can turn to for advice or help with making your own virtual organ setup. These have been invaluable to me as I learned how to use Hauptwerk over the past year: organforum.com, the Hauptwerk

Virtual Organ Users group on Facebook, and the Beauty in Sound YouTube channel.

Playing Pianistic Hymns at the Organ, Part I

David C. Pickering, DMA, AAGO, dpickeri@ksu.edu

Hymn #219, Because I Have Been Given Much

• Play bass note with the pedal; play other parts as written.

• Employ selective tying with repeated notes to achieve a convincing legato that is more conducive to the organ

o Remember the most important general rule of tying applicable in most instances tie from a strong beat to a weak beat, not a weak beat to a strong beat, unless you are moving from a unison note that divides

Hymn #221, Dear to the Heart of the Shepherd

• Divide most of the parallel sixths that occur in the treble clef of the Duet section between the hands to achieve a seamless legato. The right hand will occasionally be able to play both notes of the sixth.

• The bass line in mm. 2, 4, and 6 could be played as written in the pedals. A more effective solution that helps convey the sonority of the damper pedal that a pianist might employ in m.2, for example (and which is easier to play!), might be:

This slight reworking could also be easily applied to mm. 4 and 6.

This same technique might also be used in Carry On (Hymn #255) in the following measures:

m.4

mm.14-16

m.12

Hymn #249, Called to Serve

• The simplified version of this hymn found in the Primary Children’s Songbook (#174) is an excellent template upon which one might base a hymn accompaniment that is more conducive to the organ.

• Some of the techniques that have been referenced earlier in this handout can be applied to Called to Serve, and a few instances are given below:

o mm. 1-7: Play as written (pedal plays bass clef notes, hands play treble clef notes)

o m. 8: Pedal can play bass line as written. Since the harmony is a G Major-minor seventh chord, the pedal can simply play G in the pedal and the walking bass line down to C can simply be omitted.

o mm. 9-15: Play as written

o m. 16:

o mm. 17-19: Play as written

o m. 20: The harmony is an F Major chord so the pedal can simply play F in the pedal and hold it for four beats.

o m. 22: Play the C Major second inversion chord written as a dotted half note as written. Omit the pedal for the rest of the measure and have the right and left hands play the rest of the measure as written.

o mm. 23-25: Play as written.

Hymn #308, Love One Another

• The arpeggiated accompanimental pattern can be blocked as a single chord, which can be accomplished as follows:

• mm. 1-4

Playing Pianistic Hymns at the Organ, Part II

David C. Pickering, DMA, AAGO (dpickeri@ksu.edu)

Hymns for Home and Church, A Focus on Five Hymns

#1006: “Think a Sacred Song”

• The notes played by the left hand are mostly arpeggiated chord figures In many of the measures, the chord root is written first; this note could be played by the pedal and held for the entire measure, approximating the effect of the damper pedal.

o Example #1: mm. 1-4

o Example #2: mm. 7-8, suggesting playing the chord root of m. 8 at the beginning of the measure, thus avoiding an awkward pedaling from G-D.

o Example #3: mm. 12-15, suggest playing the chord root of m. 13 at the beginning of the measure, in addition to a slight suggestion in m. 15.

#1009: “Gethsemane”: Note: A simplified version may be found on Gospel Library

• Mm. 1, 15-17, etc. could be performed similarly to Example #1 in “Think a Sacred Song”

• Dotted quarter note accompaniment is used quite often, and this figuration could be adopted in the following measures: 11-14, Coda: mm. 1-2.

• Example #4: Two accompaniment pattern choices: mm. 11-12 (example of chordal accompaniment), mm. 13-14 (example of adapting accompaniment based on prolonging bass line).

• Example #5: Coda, mm. 8-11: Divide thicker-textured chords between hands (right only) and omit the tenor line, usually found in the right hand. Slightly modified bass

#1002, “When the Savior Comes Again”

• Do not cheat the half notes rhythmic values in the alto line. Those must be held for their full value! Holding these notes will cause some challenges playing the right hand legato; I’d recommend either having the left hand help or use some subtle “alto hopscotch” in the alto line as long as you can play consecutive thumb notes smoothly.

• If the chords in the first two measures of the chorus are uncomfortable for the right hand to play, simply eliminate the bottom note. Those notes are usually found elsewhere and will not be missed.

#1005, “His Eye Is on the Sparrow”

• m. 18: two sixteenth notes tied to create an eighth note.

• m. 19: the first two notes and third and fourth notes can be tied together to create two dotted quarter notes, the beat unit for 6/8 time.

#1204, “Star Bright”

• the first left-hand note of each measure can be held for the whole measure. The lowest A in small print is for piano only.

• Subtly articulate the staccato notes, a little staccato goes a long way at the organ.

• Do not roll the final left hand chord.

Playing This sunday When There’s no Time To PrePare!

We don’t always have weeks or months to prepare our organ music for an event. Sometimes we find ourselves asked at the last minute to play this Sunday! Some strategies to help you prepare when there just isn’t a lot of time.

1. Don’t Panic!

• 1 Nephi 4:6 | I was lead by the spirit, not knowing beforehand the things which I should do

• “I still think sincere pessimism the unpardonable sin.”

2. Prepare

• “Success depends upon previous preparation.”

–G. K. Chesterton

–Confucius

• “Give me six hours to chop down a tree and I will spend the first four sharpening the blade.”

• “He who is best prepared can best serve his moment of inspiration.”

–Abraham Lincoln

–Samuel Taylor Coleridge

• “If you believe you can accomplish everything by “cramming” at the eleventh hour, by all means, don’t lift a finger now. But you may think twice about beginning to build your ark once it has already started raining.”

–Max Brooks

• D&C 38:30 | If ye are prepared ye shall not fear

• Develop regular practice habits

• Practice sight-reading

• Regularly play for enjoyment, not just practicing for upcoming responsibilities

3. Simplify

• K.I.S.S. 

• Simple and Good is better than complex and messy

•

4. Play to Your Strengths

• Know what you do well and plan and work toward those strengths

• Don’t try to do something you can’t do or can’t do well

5. Be Organized

• D&C 88:119 | Organize yourself; prepare every needful thing; establish a house of prayer

• Prioritize what needs to happen

• Take all non-musical elements out of the equation or consideration

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6. Build Up a Core Repertoire

• Have 3-5 preludes you can easily play

• Back-pocket repertoire

• No need for showy or difficult pieces

• Hymnal is your friend–when in doubt, play a hymn!

Time to Prepare! Wednesday, August 8, 2024 | 2:30 p.m.

noTes for more ideas

BYU Organ Workshop 2024

Practice Techniques that Lead to Mastery

Dr. Neil Harmon

1. Begin each practice with prayer. (Alma 34:24-25, 2 Nephi 32:9)

2. Schedule organ practice into your daily calendar.

3. SMART goals:

a. Specific

b. Measurable

c. Achievable

d. Realistic

e. Timely

4. Divide pieces into small jobs, like LEGO instructions.

5. Take frequent breaks for mental and physical sharpness.

6. Consistency is more important than quantity.

7. Continue piano practice for technique and to learn manual parts.

8. Mental practice can be extremely helpful.

9. Four Fs, from Organ Tutor 101 by Don Cook

a. Find it

b. Fence it

c. Fix it

d. Fit it

10. Seven step method

a. Right hand

b. Left hand

c. Pedal

d. Right hand & pedal

e. Left hand & pedal

f. Right hand & left hand

g. All parts together

11. Notate fingering and pedaling

12. Practice slowly enough to stay in control; use metronome to help.

13. Learn the piece backward.

14. Record yourself during practice.

15. Practice in alternate rhythms.

16. Memorize difficult passages

17. Tackle the hard parts first.

18. Notice patterns and harmonic structures.

19. Silent practice; no stops in one or several parts.

20. Pay attention to what your body is telling you about tension and comfort.

Registration Basics

Part I: The Organ Console and Families of Organ Tone

Wendy Johnston, MM, AAGO wendyjpiano@gmail.com

The Organ Console is the Control Center of the Organ

Keyboards:

• Manuals

o Great: The main division of the organ The ﬁrst and lower manual on a twomanual organ; the backbone of the organ, use for accompanying congregational singing of the hymns.

o Swell: The secondary and higher manual on a two -manual organ Used for solo registration and for coupling to the Great. Colorful, ﬁery reeds and ﬂutes are found here.

• Pedalboard

o Pedal: The keyboard played by the feet. Middle C is the right-most pedal C. When appropriate pedal stops are engaged and played, they help provide broad, foundational sound which supports congregational singing. Stops

• Speaking stops

o Families or sounds of organ tone (Flute, String, Principal, Reed)

• Non-speaking stops (addressed in Part II)

o For speciﬁc actions: Couplers, Unison oK, Tremulant

Expression and Crescendo Pedal

• Expression Swell Pedal. Controls the volume of the Swell division. Normal position is fully open. On some digital organs, there is only one expression pedal. If so, this pedal controls the volume of the entire organ.

• Crescendo Pedal. Adds volume by adding stops. Normal position is fully closed.

Thumb Pistons (Presets), and Toe Studs

• Combination action saves memorized combinations of stops for convenience

Registration Basics Part II:

Pitches, Questions & Answers

Wendy Johnston, MM, AAGO wendyjpiano@gmail.com

Stop Pitch Designation: What do the Numbers Mean?

Arabic Numbers refer to the length of the pipe

• Octave sounding or unison pitches:

o 8’ sounds at unison pitch, or normal pitch

o 4’ sounds one octave higher than unison pitch

o 2’ sounds two octaves higher than unison pitch

o 16’ sounds one octave lower than unison pitch

o 32’ sounds two octaves lower than unison pitch

• Mutations

o 2 2/3’ sounds one octave and a ﬁfth higher than unison pitch

o 1 3/5’ sounds two octaves and one third higher than unison pitch

o 1 1/3’ sounds two octaves and one ﬁfth higher than unison pitch

Roman Numerals refer to the number of ranks (rows of pipes) engaged when the stop is pulled.

• Fourniture IV is a Mixture, which means that four ranks are engaged when that stop is pulled. Mixtures add high registers and brilliance and are appropriate for jubilant hymns. Mixtures are meant to be used with a Principal Chorus or full registration.

• Other combinations and types of Mixtures are possible, such as Cymbal III, or Scharf III Some are higher, others lower. Use your ear to decide which balances best with your ensemble.

• Cornet II, III or IV stops are combinations of Mutations (usually 2 2/3’ and 1 3/5’).

Couplers: Do what they sound like. They “couple” or bring sound from one division to another. Couplers may include:

• Swell to Great

• Swell to Pedal

• Great to Pedal Some organs have super couplers or sub couplers.

• Swell to Great 4’ is a super coupler. It couples the Swell at 4’, or one octave higher.

• Swell to Great 16’ is a sub coupler. It couples the Swell at 16’ or one octave lower.

Registration Basics, Part II

Non-Speaking Stops

Wendy Johnston, MM, AAGO wendyjpiano@gmail.com

Some stops are non-speaking when engaged. Their purpose is to initiate an action or to assist a speaking stop rather than to initiate or imitate a sound.

Couplers

• Intermanual Couplers.

o Couple or bring the sounds from the engaged stops on one manual to another. Examples: Swell to Great, Swell to Pedal, Great to Pedal.

o Super or Sub Couplers may be found on some organs, such as Swell to Great 4’ or Swell to Great 16’.

• Intramanual Couplers

o Work within a manual rather than transferring sound from one manual to another.

o Examples are Swell to Swell 4’, and Great to Great 16’. If Swell to Swell 4’ is engaged, all the stops engaged on the Swell will sound at both Unison and at 4’ pitch.

Tremulant

• Creates an undulating e[ect to the engaged stop. This imitates a string player or singer ’s vibrato.

• Typically used with soft registrations or a soft solo voice

• Never used with congregational singing!

Unison OC

• A useful helper. It can create stops that don’t exist on your organ. A Larigot 1 1/3’ can become a Nazard 2 2/3’.

• When engaged, this causes the stops engaged on that division to NOT sound.

• If the Unison O[ is engaged on the Swell with stops pulled, and Swell to Great is also engaged, those stops will sound on the Great but not the Swell.

• If stops are engaged with Unison O[ on the Swell and coupled with the Swell to Swell 16’, they will only sound an octave lower on the Swell and NOT at unison pitch.

Resources:

Dr. Tyler Boehmer ’s handout from BYU Organ Workshop Handouts and Information Booklet, p. 70. 2023

Laurie Swain, Organ for Primary, Level 2. Desert Sunrise Publications, 2022.

Registration Decision Making and Score Preparation. Dr. Linda Margetts

“VARIETY IS THE SPICE OF LIFE”

To create a beautiful visual experience (a painting) the painter manipulates the three primary colors of yellow, blue and red to create secondary colors which in turn combine to create tertiary colors. With good taste, the variety among paintings is remarkable.

To create a beautiful aural experience (a piece of organ music) the organist manipulates the four families of organ tone (principals, ﬂutes, strings, and reeds) which in turn can be modiﬁed by reinforcing selected overtones. With good taste, we can invite the spirit, which is our goal.

Your congregation will enjoy/appreciate a variety of beautiful sounds from your organ.

Examples:

Prelude music using soft strings accompanying a ﬂute or soft solo reed Hymns based on the principals with mutations, mixtures or reeds added for verses

Postlude melody of a strong reed in the tenor range accompanied by principal tone.

Prelude music using soft strings of each division changing manuals for each phrase Hymns introduced with the melody/tenor solo reed accomp, by principles

Postlude of ﬂutes at 8’ and 2 2/3’ accompanied by strings or softer ﬂutes

Prelude music using soft ﬂutes in alternation or as a solo/accomp. Hymns that move through the harmonic series with each verse

Postlude of multiple 8’ & 4’ stops (listen carefully to avoid a muddy sound)

Prelude with ﬂutes accompanying (or including) a soft percussion stop Hymns a mixture of principle family and ﬂute family

Postlude Consider alternating/contrasting the principal choruses

Capture your Registrations: Writing them down is best. When you know what can be done, you can look at music compositions with these suggestions, among others, in mind!

Always check balances and volumes. Begin with swells open so the pipes or electric substitutes speak at their “normal” volume. Make recordings/get friendly feedback.

Check composer’s notes/comments/registrations. Do they transfer directly?

Consider the organ options from that time/area and what comparable composer ’s work’s suggest. Find recordings to see what others do. (Don’t get discouraged. Just concentrate on painting with the wonderful aural colors of your organ!)

Sight-Reading and Transposition Tips

SIGHT-READING

The only thing that will develop your sight-reading skills is practice. No amount of finding material, organizing your schedule, or fussing with registrations will make any difference unless you actually practice sight-reading.

Make a goal to work on sight reading every time you practice. Just 1 or 2 minutes or 1 page or even one line of music. It is the cumulative effort over an extended period of time which will yield the best results.

What to look for – before you start to play:

Key signature: What is the key? Check final chord to determine major or minor modality What are the primary triads? What are the black notes?

Time signature: What note value gets a beat?

What is the tempo marking? Is there a metronomic marking as well?

Are there accidentals, fermatas, repeat signs, D.C. marks?

Are there unusual rhythms: Dotted figures; triplets?

Are the lines mostly scale-wise? Are there skips or arpeggiated triads?

How challenging is the pedal part? Is it possibly the roots of the primary triads?

If circumstances allow, play through the example mentally or on a silent keyboard, counting as you play.

When playing, choose a conservative tempo.

Practice with a metronome.

Rule #1: Keep tempo absolutely steady. Do not stop no matter what! Do not fix anything; do not correct anything; do not back up. Steady tempo is highest priority. READAHEAD!

Rule #2: Be prepared to drop notes. Try to keep melody going if that is all you can manage. Keep going. Add whatever notes you can. BUT KEEP GOING!

Music to use: Hymn books from other denominations; repertoire lists from BYU certification levels; repertoire from AGO exams; hymn prelude collections

Harder music to use: Trios; Bach 371 chorales.

“There are many rules to succeed, but none of them work unless you do.”

Don Hale, founder of 2 iconic SLC restaurants (Hires Big H and Litza’s Pizza)

TRANSPOSITION

Some things to know which make transposition easier (all related to music theory):

1. Key signatures – major and minor

2. Scales – major and 3 types of minor (which steps are likely to change in minor? 6 & 7)

3. Triads in major and minor scales (4 types possible)

4. Basic triads in a given key, especially primary triads (tonic, dominant, etc.)

5. Intervals at a glance

Learn to play basic chord progressions in any key. Any keyboard harmony book will have many examples. For instance:

I IV V I

I iii V I

I vi IV V I

Some longer and more complicated progressions listed in Level 6 requirements.

For key ½ step away with same letter name (e.g., A and Ab; C and C#), imagine a different key signature, and then play the notes right off the page. For instance, change EM to Eb M by mentally changing the key signature from 4 sharps to 3 flats. Any accidentals will require additional adjustment.

For a transposition a third away, it may be possible to mentally erase a line of the staff at the bottom and add a line at the top. (Or the other way around.) For instance, the notes in an A Major piece become the notes in an F Major piece by mentally erasing the bottom line (and space) and mentally adding it to the top of the staff.

When transposing, look for repeated notes; common tones; scale passages; triads in block form or broken into an arpeggio; octaves within the chords; parallel and contrary motion.

As you begin to practice transposition, start with just one voice; then two, three, four, etc.

The 4 levels of transposition requirements in BYU certification (levels 1 and 2 have none):

Level 3: Soprano only: up and down no more than M2

Hymns (prepared ahead of time – 2 required): 28, 29, 166, 172, 176

Level 4: Soprano and alto: up and down no more than M2

Hymns (prepared ahead of time – 1 required): 204, 95, 166, 72

Level 5: All voices: up and down no more than M2

Hymns (prepared ahead of time): from Simpler Hymn list

At sight (one minute preparation): soprano and alto of a simple hymn or folk tune

Level 6: All voices: up and down no more than M2

Hymns (prepared ahead of time): from Simpler Hymn list

At sight (one minute preparation): four voices of a simple hymn or folk tune

STAGE DEPORTMENT

“People listen with their eyes.” Mack Wilberg

Knowing exactly what you should do in performance brings self-confidence and helps overcome nervousness. These are acquired skills, more natural for some people, but still acquired. “There is compelling evidence that people who cope with stressful and anxiety-provoking situations well do so at least in part by visualizing them in great detail well ahead of time as a means of advance preparation.” (TAO May 1991 p. 56)

CLOTHING

Dress up! You should be at least slightly more dressed up than any audience member. Do not wear anything which needs recurring attention. Your clothing should not have a low-cut neckline, be tight, or revealing. Do not wear anything in which you have not practiced performing (preferably on the performance instrument.) Be able to forget about your outfit and bring full concentration to the music. Hair must be under control, not needing attention. Women wear understated make-up. Men and women – eliminate all accessories and jewelry, especially on the hands or arms.

WALKING OUT

Raise the expectations of your audience with your entrance. Project enthusiastic anticipation for the event. Be composed and relaxed but with good, erect posture. If there is applause, go directly to the front of the instrument and bow once. Then sit down.

PERFORMANCE

Demonstrate intense yet calm concentration during performance. Avoid all dramatic gestures and annoying physical habits such as humming, licking lips, mopping brow. Do not react in any way to mistakes. You must practice this in your private practice situation in order to do it under pressure in an actual performance situation.

ACKNOWLEDGING APPLAUSE

The location where you will bow should be chosen beforehand. Choose a place where the light is strongest. After playing, move quickly and purposefully to the spot chosen. (Do not collect music or fuss with organ first.) Stop; look at audience, establishing eye contact. Bow with feet together; shoulders down; hands and arms at side. Lower eyes to floor as you bend from waist to about a 45-degree angle. Move head and body together. Keep hands in one place at your sides. Hold this position for a few seconds. Say “thank you” in your mind, but not with your lips. Stand back up, and stay in that spot until you have re-established eye contact with audience. All the while, maintain a sincere and pleasing facial expression.

QUESTIONS TO ASK YOURSELF

Have you practiced the music adequately?

Are you confident and enthusiastic about performing?

Did you take time to look your best?

Have you organized your stage management so that it runs smoothly? Have you done everything possible to eliminate repetitive or annoying movements? Have you practiced your responses to potential comments from others?

Reference: Hagberg, Karen. Stage Presence from Head to Toe. Lanham, MD: Scarecrow Press, 2003

“If you are not at all nervous, your standards are too low.” Richard Elliott

TEACHING BEGINNERS THROUGH THE ORGANFORPRIMARYSERIES

• Start young or old: 6, 7, or 90 years old or about a year or two into piano studies and fairly comfortable with two octaves of music notation (Organ for Primary does not teach music notation. A piano background is a help to any organist.)

• Get access to organ shoes and an organ: church, store, home, used organ, organ builder, etc.; organmastershoes.com for shoes

• Decide when you are going to teach or practice organ: summer camp, monthly group, weekly segment, private lessons, before or after a piano lesson, daily practice time, etc. Remember, consistent organ practice makes the difference in good organ playing

• Work short organ segments with a goal in mind: Sometimes two measures might be a worthy goalstarting at the end of the song. Those two measures add up to a well-prepared piece. Or, consider doing one page in a unit.

• Practice from the “bottom to the top”: build the hamburger starting with the weak link

• Find a way to provide accountability: play for someone, record yourself, go to a workshop, participate in a recital, church service, NFMC festival, etc.

Level Key Concepts For Mastery Organ for Primary Songs

Level 1 Coordination of the independence of line between the pedal and LH, accompanied with precise releases on repeated notes, phrase endings, and rests

Level 2 Prelocating the next pedal note right after release through gliding in small intervals

Toe-Heel Pedaling Coordination

“This Is God’s House” and “Book of Mormon Stories” (or any of the other 5 two-part song arrangements with pedal and LH)

“Follow the Prophet” (TwoPart)

“When I Am Baptized” Emerging coordination for three-part playing

“A Prayer” (ThreePart) or “Help Me, Dear Father” (Three- Part)

Other Resources

Use any three-part songs focusing on the pedal and LH first going for accurate, independence of line, and precise releases: The New Ward Organist three-part hymns; Croft’s Nine Hymn Studies, Dr. Harmon’s Hymn Settings for Organ, volume 6; Dr. Cook’s Easy Organ Hymn Settings, Organ Tutor Workbook, etc.

Use any three-part hymns listed above

Level 3 Prelocating pedal notes right after release to play larger intervals

“Follow the Prophet” (FourPart)

Start simple four-part hymns such as “Sweet Hour of Prayer”, “I Know My Father Lives” Making registration changes effectively

“I’ll Follow Him in Faith” or “Baptism” Handling crossings in both the fingers and the feet

“Mary’s Lullaby” (Four-Part), “Nephi’s Courage,” ”Families Can Be Together Forever”

ORGAN PRIMARY FOR

Organ for Primary is a fun and fast-paced organ program designed for piano students, ages 6 to 96, who have already taken piano lessons for a year or two. Note reading is not addressed in Organ for Primary. This series consists of three workbooks which teach important steps for learning to play the organ for congregational singing, using organ arrangements of children's songs from the ChurchofJesusChristofLatter-daySaints.

TeachershavefoundOrganforPrimaryusefulinthefollowingsettings:

• privatelessons

• groupclasses

• 5-10minutesegmentsofastudent'sweeklypianolesson

PianoplayerscanuseOrganforPrimaryasaself-studyguideforlearningtoplay the organ. However, it would be important to review the assignments with a teacherforcorrecttechniqueandaccuracy.

Each Organ for Primary level is divided into six units. Most units include the followingsections:

OrganDiscovery-howtheorganworksandfunctions

PedalTools-howtouseyourfeetcorrectlythroughpedaltechniquesandMusic

Blocks (short music segments for practice)

Manual Tools - how to use your hands correctly through manual techniques and

Music Blocks ( gments for practice short music se )

PuttingItAllTogether-howtopracticeandputpartstogetherusingorgansongs

Extra Credit Challenge - how to reinforce unit skills through additional songs

ReviewChallenge-howtotestyourknowledgeoftheunit

Level 1

Organ Discovery

The Organ Console

Organ Stops, Rails, and Jambs

After Playing the Organ

Organ Sound vs. Piano Sound

Families of Organ Tones:

Principals

Flutes

Strings Reeds

Registrations

Composer Clues

Pipe Ranks and Divisions

Expression Pedals

Crescendo Pedals

Level 2 The Pipe Organ and How It Works

Hybrid Stops

Flue and Reed Pipes

Harmonic Series

Mutations

ORGAN PRIMARY FOR

Pedal Tools Manual Tools

Organ Shoes

Bench and Body Positions

Pedal ABC’s

Organ Pedaling

Legato and Non-Legato

Counting - A Must!

Music Blocks

Alternate Toes

Prelocation, Pivoting and Intervals

Incomplete Measures

Ostinatos

Pedal Lines

Non-Legato Spacing

Position Check

Gliding

Toe-Heel Pedaling

Marking the Pedal Part

Foot Substitution: One Foot

Foot Substitution: Toe to Toe

Bench and Body Positions

Legato and Non-Legato

Counting - A Must!

Music Blocks

Direct Fingering

Redistribution

Finger Crossing

Fingering Questions

Finger Glissando

Common Tone Rule

Level 3

Compound Stops and Mixtures

Celeste Stops

Non-Speaking Stops: Couplers

Non-Speaking Stops: Tremulant

Solo Registrations and Unison Oﬀ

Repeated Notes Between Voices

Ensemble or Chorus Registration

Tips for Choosing Hymn Chorus

Registrations

Registrations for Louder, Brighter

Heel Slides

Finding the Octave

Gliding to Larger Intervals using Navigation Points

Sustaining Notes in the Same Hand

Finger Substitution: One Note

Finger Substitution: Two Notes

Legato Thirds in RH and LH Hand Other

Registrations for Softer, Prayerful

Hymns

Solo and Accompaniment

Hymns Registration

Cornet

Combination Action: Pistons and Toe Studs

Combination Action: Setting Pistons and Toe Studs

Fold-Out Guide

Foot Substitution: Foot Options

Pedal Scale Lines

Foot Glissando: Black to White

Using the Expression Pedal

Foot Crossing: Black Keys

Foot Crossing in Scale Passages

Foot Crossing: Two Plane Pedaling

Foot Glissando: Black to Black

Thumb Glissando

Other Resources

For Your Information

Bibliography

Answer Key

ORGAN PRIMARY FOR

Putting It All Together Primary Songs

Bottom to the Top

The 2P’s: Prepare Music and Positions and Practice Smart

Independence of Line

This is God’s House

We Bow Our Heads

Thank Thee, Father

Jesus Wants Me for a Sunbeam

I Hope They Call Me on a Mission

To Be a Pioneer

Book of Mormon Stories

Beautiful Savior

Thank Thee for Everything

Practice Tools Review: 2 P’s, Music

Blocks and Song Checklist

Articulation

Measuring Non-Legato Spacing

Adding Voices

More Practice Tools

Position Check Review

Organ Volume Changes

Family Prayer

Help, Me Dear Father (Two Part)

Away in a Manger

Mary’s Lullaby (Two Part)

Follow the Prophet (Two Part)

I Will Try to Be Reverent

Father Up Above (Two Part)

A Prayer (Two Part)

Reverently, Quietly

When I Am Baptized

Choose the Right Way

A Prayer (Three Part)

Father Up Above (Three Part)

Seek the Lord Early

I Want to Live the Gospel

Help Me, Dear Father (Three Part)

Love One Another

Keep the Commandments

The Chapel Doors

I Am a Child of God

I Love to See the Temple

Mary’s Lullaby (Three Part)

Marking Your Own Music Blocks

Importance of Text: Registering

Hymn Texts

Accents on the Organ

Manual Registration Changes

Playing Legato Between Parts

Preludes and Postludes

Page Turns

Introductions

When Jesus Christ Was Baptized

Heavenly Father, While I Pray

The Church of Jesus Christ

The Things I Do

When to Tie and Not to Tie between Verses or Choruses

Dare to Do Right

Can a Little Child Like Me?

Follow the Prophet

I Feel My Savior's Love

Mary's Lullaby (Four Part)

Easter Hosanna

Oh, Hush Thee, My Baby

We'll Bring the World His Truth

Tips for Learning a Four Part Hymn

Baptism

The Holy Ghost

I'll Follow Him in Faith

If the Savior Stood Beside Me

I Know That My Savior Loves Me

I Will Follow God's Plan

Nephi's Courage

This Is My Beloved Son

Kindness Begins with Me

Search, Ponder and Pray

The Priesthood Is Restored

The Still Small Voice

I'm Trying to Be Like Jesus

Teach Me to Walk in the Light

Touch:TheOrganist’sPrimaryMeansofExpression

Asorganists,wemayfeelthatwehavefewerresourcesforexpressionthanother instrumentalistsorvocalists,withtheirdynamicandaccentingcapabilities.Whilethereissome overlapintoolsatourdisposal(rubatoforstarters),afterthestopsaresetmostofwhatwedo to“makemusic”attheorgancomesdowntowhenweattackandreleasenotesandchords,as wellashowlongwemayholdagivennote.Thissoundssimplebutcangetwonderfully complex!

AttackandReleaseinHymns

Beginningthephrase:Isthereapick-up?Shoulditbelegatoordetached? Duringthephrase-independenceofline -Helpfultothinkof“heavy”vs.“light” Endingthephraseorverse- beascleanwithyourreleaseasyourwerewithyourattack Planningthespacein-betweenverses Yourarticulation,likeyourregistration,mayvarybasedonroom-size,acoustics,and congregationsizeandevenmedianage.

WaystoEmphasizeaNote

1.Createanticipationbydelayingtheentranceofthenote.

2.Createaddedimportancebyslightlylengtheningthenote.(Generallyreferredtoas agogicaccent;agogicsrelatestothesmallmodificationsoftempowhicharenecessary inplayingexpressively.)

3.Createaformofaccentbylifting(creatingspace)beforethenote.

4.Theabovethreemethodscanbecombinedwhenappropriate.

PlayingExpressively

Itisuptoyou,theorganperformer,tobetheguideandletthelistenerknowwheretheyare metrically(example:BachGMajorfuguesubject).Becausethefirst-timelistenerdoesnotknow ifthefirstnoteyouplayisapick-up,adown-beat,orsomeotherbeat,it’suptoyoutomakethat clear.Youwanttoavoidanyunintentionalhiccups.

Organistsaresometimesaccusedofnotplayingmusically(wedohavealotgoingon!)andwe needtobesureweareplayingsecurelyenoughtobeabletolistentowhatweareproducing. Whileplaying,askyourself:Doesthemusicflow?Isthereshapetothemelody?Areimportant pointsinthestructureandformofthepiecebeinghighlighted?Isthemusicbeingallowedto breathe?Noonewantstohearmusicwithoutbreath.

DegreesofArticulateTouch

1.Fulllegato

2.Detachedlegato

3.“Ordinary”or“articulate”touchinearly(pre-1750)music

a.Importanceofthebeathierarchy:goodvs.badbeats

b.Beingconsistentinarticulation,includingfuguesubjectsineachiteration

4.Staccato

PedalArticulation

InBaroque/earlymusic,becarefultokeepyourarticulationinthefeetascarefulandconsistent asifyourhandswereplayingthenotes.Typically,youwillnever‘legato’overabarline (exceptingties),andyouwilldetachoctaveleapsmorethanothernotes,especiallywhen occurringaspartofacadence.It’seasytoplayanunintentionallegatowhenmovingfromone foottotheother.Justbecauseyouareabletoplaylegato,doesn’tnecessarilymeanyou should.

AdditionalConsiderations

Whatdolinesovernotesmeaninorganscores?Tenuto?Sostenuto?Separated?Theanswer is“yes”–anyofthoseandtheremaybeevenmoreinterpretations.

PuttingitAllTogether

Let’slookatvariouspiecesandapplytheabovetechniquestothem.(Theseexampleswillbe usedduringbothclasses.)

RobertCundick“Meditation”(Level3repertoire)

JohannPachelbel“ToccatainEMinor”(Level4repertoire)

DanGawthrop“Krypton”

NeilHarmon“PostludeonDulcimer”

J.S.Bach“DerTag,deristsoFreudenreich”BWV605(Level5)

Bach“FugueinDminor”BWV565(Level5)

RalphVaughanWilliams“Rhosymedre”(Level6)

Using OrganTutor in Private and Group Instruction

OrganTutor Organ 101 helps teach basic organ skills to the pianist. It serves like a “teaching assistant” that the student can call on between lessons to demonstrate and describe manual and pedal techniques and teach organ registration, hymn playing, and other general concepts. This frees up the live instructor to do what he/she does best: hear and see the student play, and then provide the kind of feedback and direction that only a human can offer.

OrganTutor uses a new approach to help teach an old subject – it is an interactive multimedia organ tutorial:

• INTERACTIVE. OrganTutor responds to information provided by the user. Its responses are customized to user needs.

• MULTIMEDIA OrganTutor uses various types of media: text, photographs, drawings, sound, and video.

• ORGAN TUTORIAL. This “Tutor” was created as an aid to ‒ not a replacement for ‒ the live organ instructor.

Students can come to their lessons or classes better prepared and with more confidence with the help of OrganTutor:

• 62 complete lessons

• Over 140 video demonstrations easily accessible with QR codes in the Organtutor Workbook

• Over 250 audio examples that play through the computer speakers or headphones

• Hundreds of photographs and illustrations

• Self testing: Quick Reviews and Lesson Tests with feedback

• Hundreds of hypertext links and pop-up definitions

• Used in college organ courses by over 6900 students since 1996

• Written by Dr. Don Cook (doncook@byu.edu), a veteran university organ professor and church organist

• Useful as a complete course or as a reference tool

• Runs through a standard web browser on PC or Mac, on tablets, or smartphones (high-speed Internet required)

• Easy to use, with convenient point-and-click operation

Students can work systematically through all 62 lessons by following the Weekly Preparation Guide. OrganTutor teaches organ registration, hymn playing, and other general concepts in “study lessons.” Lesson Objectives are provided for note taking to help focus on the most important points of each study lesson. It also offers specific direction in legato manual and pedal technique and in hymn playing projects. Exercises and projects are modeled in “Video Demonstrations”. These, along with the Helpful Hints in the workbook, lead to deep learning.

Students may also use OrganTutor as a practical reference on specific topics. The lessons are grouped under six units, each of which contains a series of lessons on that topic that can be studied as needed or in order:

•General Concepts • Manual Technique • Pedal Technique • Organ Registration • Hymn Playing • Projects

Teachers can use OrganTutor as a sort of “teaching assistant” by sending the student from each organ lesson with an assignment, which may include selected lessons in one or more of the units. For example, an assignment from Stage 3 of the Weekly Preparation Guide might include the following lessons:

• Finger substitution (exercises in the Workbook with video demonstrations in the Manual Technique unit of the online tutorial)

• Pedal Group 4: Single Foot on Naturals & Natural/Sharp Combinations (exercises with video demo’s in the Pedal unit)

• Organ Types and Components (a study lesson in the Organ Registration unit of the online tutorial)

• Hymn Playing: Introduction (a study lesson in the Hymn Playing unit of the online tutorial)

Working through these lessons at their own pace, the student can use the following learning aids to prepare for the next organ lesson:

• Video demonstrations and written instructions for the finger substitution and pedal technique exercises

• A helpful list of “Do’s and Don’ts” for those exercises

• Photographs and textual descriptions on Organ Types and Components

• Score examples, audio examples, and textual descriptions on the basics of hymn playing

• Quick Review questions and a Lesson Test in each study lesson to assess their understanding of the concept

Order through the website: organtutor.byu.edu

The OrganTutor Workbook $23.00 + s/h (292-pages), $9.50 in pdf format, digital delivery. Discounts for the workbook (20%) are available for organ or piano teachers. Email organtutor@gmail.com OrganTutor Online Tutorial subscription $30 (6 months) or $50 (3 years) (no discounts) (or email organtutor@gmail.com for a free 2-week subscription code).

For lesson plans, courses, and other supporting materials, visit the Organ Study at BYU website organ.byu.edu

WHAT I WISH I HAD KNOWN SOONER

1. Importance of a good edition of the music

2. Value of preparing the music (paste up or tablet) right away. Don’t wait until the week before performance. Practice with it. Use it to study the form, spot repetitions, identify hard sections.

3. Practicing

Improved practicing

Deliberate practice – what it is

Learn back to front (or hardest part first)

Rudolf Serkin: I think of practicing like digging a ditch; every day I get out my shovel and remove a bit of dirt

Drill difficult sections; even very hard pieces are not uniformly hard; there are usually sections that need special attention

Slow practice: Norene Emerson;Alexander Schreiner; Richard Elliott; Rudolf Serkin

Separate rhythm from notes (French count, count sing, etc.)

Work in small sections – Yo Yo Ma and Bach cello suites

Know what you can accomplish in just a few minutes

Identifying what is most important to work on (not just the most interesting, most attractive, part you like best, part you know best, etc.)

4. Marking the music

Mark everything! You will not remember! Especially under stress!

There are no points for clean music, only for clean performances

Leave written notes clear enough that you (or someone else) can easily repeat it in the future

Save everything; don’t clean it up first; just label it and save it

5. Recording registrations

Develop a system

Use abbreviations

Take a photo on your phone of each division and just write number of tab or knob

Make a chart

Mark by families – P842

6. Performance

Everything can be practiced!

Don’t just play the odds; find ways to put the odds in your favor (as much as possible)

Muscle memory: Consistent repetition over time; put time in your favor

JTL: Put the music on the rack; play beginning to end without stopping; put the music on the rack; play beginning to end without stopping; put the music on the rack; etc.

JTL: Make every possible mistake in practice – in order to avoid it and to develop a strategy to recover from it

WHAT I WISH I HAD KNOWN SOONER (continued)

7. Personal issues

Relationships are more important than musical taste; treat everyone with kindness and respect; you cannot perform in a vacuum; you will have to interact with people

Stress control – know how much you can agree to without adverse mental or physical issues

Diet, exercise, sleep, meditation – all affect performance; know what works for you

Independence vs. reliance on others; seek good advice, but learn to make your own decisions; you will fail sometimes, but otherwise you will never be able to act on your own

Be brave – try things!

Don’t worry so much about what other people will say

There is no organ police!

8. Pre-emptive strikes what you can do ahead of time

Learn all the hymns, including the new ones; and mark them!

Make up sets: Preludes and postludes, funeral music, solos that don’t need practice – keep written records!

Learn/review Easter hymns in January and Christmas hymns in September

Repeat something done before when there is no prep time

Drill with things that will help you: Difficult hymns; hymns with hard pedal parts; pieces you play all the time with troublesome sections; pedal scales and arpeggios

When you have an unpleasant surprise, do something to make sure it never happens again – write everything down!

9. Tricks

My own small clock

Sticky note over opening to remind yourself of something

Play list on sticky note for funerals or other long sets, to show where to cut or jump

Put a star where you can easily set tempo mentally and look for it before you begin

Extension list: 2-line hymns listed by key; chart to show where to go next (for uncertain start times)

Have check lists to prepare for events that will repeat

Make more copies of the music – don’t try to go back to find something to repeat

FINALOBSERVATIONS

You will perform exactly as you have practiced, except worse

Nothing ever magically (or miraculously) improves in performance

Getting it right once was an accident It must be perfect in private to be passable in performance

Working Out Challenging Pedal Parts

Pedal Method Books

Sheri Peterson, MM, CAGO

Barnes, Edward Shippen Barnes. School of Organ Playing. Boston: Boston Music Co.

Buck, Dudley Studies in Pedal Phrasing for the Organ New York: G. Schirmer, Inc

Cook, R. Don Cook Organ Tutor. Spanish Fork, UT: Ard Publications, n.d.

Davis, Roger E. The Organists’ Manual: Technical Studies & Selected Compositions for the Organ. New York: W. W. Norton.

Dunham, Rowland W. Pedal Mastery: A Manual for Organists. Bryn Mawr, PA: Theodore Presser Co.

Dupre, Marcel Méthode d’Orgue en Deux Parties. France: Alphonse Leduc.

Gleason, Harold. Method of Organ Playing. Englewood Cliffs, N. J.: Prentice Hall.

Jones, Joyce Pedal Mastery for Organ. New York: Bradley Publications.

Keeler, J. J. and E. Donnell Blackham. Basic Organ Techniques. Bryn Mawr, PA: Universe.

Nilson, L. A System of Technical Studies in Pedal Playing for the Organ New York: G. Schirmer, Inc.

Peeters, Flor. Ten Studies for Pedal Playing. Kalmus.

Stainer, Sir John. The Organ: A Manual of the True Principles of Organ Playing. Bryn Mawr, PA: Theodore Presser Co.

Legato Pedal Techniques

1 GLIDING

The individual foot “gliding” from key to key

•Play natural keys about an inch from the sharps, remembering to tip the foot inside and play on the ball of the foot.

–With the right foot, play back and forth from C to D (steps), expand from C to E (thirds), now C to F (fourths), and C to G (ﬁfths) [farther if you wish]

•Now play some sharps, using the pad of the big toe. Cover no more than half the sharp key. –Left foot play C to B-flat (steps), down to A-flat (third), now to G (fourth), and F (fifth).

2 ALTERNATE FEET

Place the feet in contact with one another, measuring the distance from one key to another. On natural keys, play either the right or left foot slightly forward so that the feet ﬁt together like puzzle pieces. On sharps, this is not necessary.

•Place the toes of the two feet on C and D (a second), with either right or left foot slightly forward, the feet in contact with one another. Play C and D alternately. Make sure you are keeping contact and that your knees are comfortably together as well.

•Now scissor the right foot out to E, keeping the two feet in contact. Knees still together! This is a third.

•Now scissor the right foot out to F, keeping the two feet in contact. This is a fourth. Now break the contact and move the right foot one key out to G. That is how we measure ﬁfths: a fourth plus one.

•Now take the right foot up to C. Keep the knees together. That’s the octave. The muscle tension you feel is valuable: this kinesthetic sense eventually helps us ﬁnd keys without looking.

3 TOE/HEEL PEDALING

•Play the right toe on middle F-sharp, place your right heel on F-natural and rock back and forth between the two notes.

•Use your ears to get a perfect legato between the two tones. No over-legato, and no breaks.

•Now heel/toe it from F clear up to B-ﬂat and back.

– Center the heel on the natural key.

– Keep your toe covering no more than half the sharp key.

4 CROSSING

The toes and heels can cross over and under one another in many ways.

•The easiest way: using the sharps to cross over. Play left toe on D, right on E, and cross over with the left to F-sharp.

•A more complex way: using heel and toe crossing. Place left toe on A-flat, right on B-flat. Keep the feet close together. Play left toe A-flat, right toe B-flat, swivel around to plan left heel C, (keep feet together) right heel D, cross left toe over to E-flat, right toe on F.

5 SUBSTITUTION

The toes or heels can substitute for one another while the key is being played. Play left toe C, right toe forward on D and immediately substitute left toe underneath on D, right toe plays E and immediately substitute left toe.

6 TOE GLISSANDO

The wider foot can rock the toe back and forth on sharps to achieve a legato connection. The more narrow foot must angle the foot over the two keys, and then lift the heel while using a ﬂexible toe to achieve the legato. Try both methods on your imaginary keyboard.

PRE-LOCATE

Simply prepare any free foot over the next key to be played as soon as possible. This “buys” peace of mind

Pedal Technique Checkpoints

Skillful and conﬁdent use of the feet in organ pedal playing can be developed in a short period of time if you are able to internalize a few simple “checkpoints” so that you follow them AUTOMATICALLY whenever the feet play. When all the checkpoints operate subconsciously, a dependable reference system is activated that directs the feet to the right keys. Precision, ease of execution, and habit building—NOT SPEED—are of the essence. Observe, as usual, the cardinal rule: Always practice slowly enough to stay in control

ADJUST POSITION Checkpoint 1

✔ LEFT AND RIGHT. Square the bench to the console, then CENTER YOURSELF ON PEDAL D. Be able to pivot—not slide—to reach extreme ranges, then return to center. Some suggest centering on E-ﬂat or E. More importantly, choose one of them on which to center and be consistent.

✔ FORWARD AND BACK. Bench and “person” placement. Sit far enough forward to allow pivoting to reach either end of pedalboard, and to allow the right foot to set ﬂat on the swell pedal. Sit far enough back to allow toes to clear sharps easily when crossing feet. Set the bench in the optimum forward-back position to allow both leg support and clearance of the sharp keys.

✔ UP AND DOWN. Arrange BENCH HEIGHT so that both toes and heels can play and release without leaning the torso forward or back or pressing the legs into the bench, and so that they can refrain from playing without causing leg strain or back discomfort. If the bench is not adjustable, place it on risers or 1" x 4" boards to raise it, and arrange for the bench to be shortened by at least ¾" if necessary. It may then be raised, lowered, or restored to its original height as needed.

✔ POSTURE AND RELAXATION. Keep your back and head in straight but relaxed alignment—as though being suspended at the crown by a string. Relax shoulders, elbows, and wrists—“ﬂoat” over the manuals. Curve ﬁngers well, with a sense of pulling inward rather than pressing downward when playing a key. For pedal solos or exercises, hands might either rest on the bench, grasp the “key cheeks,” or remain suspended above the keys.

KNEES AND ANKLES Checkpoint 2

✔ KNEES TOGETHER. When both feet are involved, keep knees as close together as is comfortable through the octave.

✔ MOTION LIMITED. Use a quick, decisive attack. The sole of the shoe stays in contact with or very close to the key surface. Heels also stay close to the key surface. When playing toes, use ONLY ANKLE MOTION (knee does not move up and down). Allow minimum knee motion when playing heels. Note: heel playing involves the whole leg, so when choosing between toe and heel, if other factors are equal, use the toe.

✔ KEEP FEET REASONABLY PARALLEL TO THE KEYS. This is made easier when the knees pivot around WITH the feet in extremely high or low ranges. Divide up the angles between the feet when using heel/arch or heel/heel contact—do not let one ankle do all of the scissoring out.

SHARPS Checkpoint 3 play only toes on sharps

✔ COVER NO MORE THAN HALF THE SHARP KEY. The “corner” of the sharp ﬁts between the big toe and the “ball” of the foot.

✔ TOES. Tip (rock) the foot inside and play on the inside of the foot. Exceptions: tip to the OUTSIDE of the right foot on the lowest keys, and to the OUTSIDE of left foot on the highest keys. The main point: AVOID PLAYING FLAT-FOOTED.

✔ CONTACT. Keep the heels together when toes span up to a fourth on sharp keys—“HEEL/HEEL”. Use a ‘scissor’ action to measure 2nds, 3rds, and 4ths. Maintain contact between the feet for these intervals whenever both feet are active. Move one foot slightly forward when playing in extreme ranges.

NATURALS Checkpoint 4 play toes or heels on naturals

✔ PLAY JUST CLEAR OF SHARPS. Avoid playing forward in the gaps or back underneath the bench.

✔ TOES. Tip (rock) the foot inside and play on the ball of the foot. (Note the same exceptions as in Sharps— tipping to the OUTSIDE in extreme ranges.)

✔ HEELS. Center the heel over the key. Place the heel carefully, “feeling” the key before playing. As the heel pivots on the key to allow the toe to move right and left, keep the heel centered.

✔ CONTACT. Keep the feet together when the toes play on natural keys that are separated by a 2nd, 3rd, or 4th. When both feet play natural keys, OFFSET the feet (place the heel of one foot in the arch of the other—“HEEL/ARCH”). Usually, place the RIGHT foot forward (unless the left foot plays a sharp).

IN GENERAL Checkpoint 5

✔ PRE-LOCATE. As soon as a foot ﬁnishes playing a key, prepare (pre-locate) the foot over the next key.

✔ EYES UP. Train your mind more quickly by avoiding glancing down at the feet except to check on details of technique during practice. Develop the “reference system” techniques (knees together, heel-arch, heel-heel, gliding from key to key, gaps for large skips), rather than depending on the eyes to locate pedal keys.

Refer to this “Yellow Card” regularly during all pedal practice until these details become second nature

PEDAL TECHNIQUE CHECKPOINTS

ALWAYS PRACTICE SLOWLY ENOUGH TO STAY IN CONTROL

ADJUST POSITION (CHECKPOINT 1)

• LEFT AND RIGHT. Square the bench to the console, then CENTER YOURSELF ON PEDAL D. Be able to pivot—not slide—to reach extreme ranges, then return to center. Some suggest centering on E-ﬂat or E. More importantly, choose one of them on which to center and be consistent.

• FORWARD AND BACK. BENCH AND “PERSON” PLACEMENT. Sit far enough forward to allow pivoting to reach either end of pedalboard, and to allow the right foot to set ﬂat on the swell pedal. Sit far enough back to allow toes to clear sharps easily when crossing feet. Set the bench in the optimum forward-back position to allow both leg support and clearance of the sharp keys.

• UP AND DOWN. Arrange BENCH HEIGHT so that both toes and heels can play and release without leaning the torso forward or back or pressing the legs into the bench, and so that they can refrain from playing without causing leg strain or back discomfort. If the bench is not adjustable, place it on risers or 1” x 4” boards to raise it, and arrange for the bench to be shortened by at least 3/4” if necessary. It may then be raised, lowered, or restored to its original height as needed.

• POSTURE AND RELAXATION. Keep your back and head in straight but relaxed alignment—as though being suspended at the crown by a string. Relax shoulders, elbows, and wrists—“ﬂoat” over the manuals. Curve ﬁngers well, with a sense of pulling inward rather than pressing downward when playing a key. For pedal solos or exercises, hands might either rest on the bench, grasp the “key cheeks,” or remain suspended above the keys.

KNEES AND ANKLES (CHECKPOINT 2)

• KNEES TOGETHER. When both feet are involved, keep knees as close together as is comfortable through the octave.

• MOTION LIMITED. Use a quick, decisive attack. The sole of the shoe stays in contact with or very close to the key surface. Heels also stay close to the key surface. When playing toes, use ONLY ANKLE MOTION (knee does not move up and down). Allow minimum knee motion when playing heels. Note: heel playing involves the whole leg, so when choosing between toe and heel, if other factors are equal, use the toe.

• KEEP FEET REASONABLY PARALLEL TO THE KEYS. This is made easier when the knees pivot around WITH the feet in extremely high or low ranges. Divide up the angles between the feet when using heel/arch or heel/heel contact—do not let one ankle do all of the scissoring out.

SHARPS (CHECKPOINT 3) (play only toes on sharps)

• COVER NO MORE THAN HALF THE SHARP KEY. The “corner” of the sharp ﬁts between the big toe and the “ball” of the foot.

• TOES. TIP (ROCK) THE FOOT INSIDE AND PLAY ON THE INSIDE OF THE FOOT. Exceptions: tip to the OUTSIDE of the right foot on the lowest keys, and to the OUTSIDE of left foot on the highest keys. The main point: AVOID PLAYING FLAT-FOOTED.

• CONTACT. Keep the heels together when toes span up to a fourth on sharp keys—“HEEL/HEEL”. Use a ‘scissor ’ action to measure 2nds, 3rds, and 4ths. Maintain contact between the feet for these intervals whenever both feet are active. Move one foot slightly forward when playing in extreme ranges.

NATURALS (CHECKPOINT 4) (play toes or heels on naturals)

• PLAY JUST CLEAR OF SHARPS. Avoid playing forward in the gaps or back underneath the bench.

• TOES. TIP (ROCK) THE FOOT INSIDE AND PLAY ON THE BALL OF THE FOOT. (Note the same exceptions as in Sharps— tipping to the OUTSIDE in extreme ranges.)

• HEELS. CENTER THE HEEL OVER THE KEY. Place the heel carefully, “feeling” the key before playing. As the heel pivots on the key to allow the toe to move right and left, keep the heel centered.

• CONTACT. Keep the feet together when the toes play on natural keys that are separated by a 2nd, 3rd, or 4th. When both feet play natural keys, OFFSET the feet (place the heel of one foot in the arch of the other—“HEEL/ARCH”). Usually, place the RIGHT foot forward (unless the left foot plays a sharp).

IN GENERAL (CHECKPOINT 5)

• PRE-LOCATE. As soon as a foot ﬁnishes playing a key, prepare (pre-locate) the foot over the next key.

• EYES UP. Train your mind more quickly by avoiding glancing down at the feet except to check on details of technique during practice. Develop the “reference system” techniques (knees together, heel-arch, heel-heel, gliding from key to key, gaps for large skips), rather than depending on the eyes to locate pedal keys.

You Can Pass the AGO Service Playing Exam

for a given piece, candidates must choose one from which to play. IMSLP editions are only permitted when explicitly listed by edition and IMSLP number. Candidates should verify the number on IMSLP prior to downloading, to ensure that they have the proper score.

EXAMINATION WORKSHEETS

Paper will be supplied for paperwork sections. For the Choir Master, Associateship, and Fellowship exams, no papers, books, or electronic devices may be brought into the examination room. All candidates’ answer sheets are retained at AGO Headquarters. Candidates will receive examiners’ comments as a matter of course.

SERVICE PLAYING REQUIREMENTS

The repertoire pieces are played separately: at the beginning (S1), middle (S7), and conclusion (S10). Candidates will perform one work each from Lists A, B, and C. The test will be recorded at a site with a suitable organ and recording equipment, then sent to AGO Headquarters for evaluation by two national examiners. The recording must be continuous, completely unedited, and provided as a single track. A proctor will be appointed and will be the only person in the room with the candidate when the test is given. (The singer employed for sections S3 and S6 will be permitted in the room only at that time.)

LIST A

J.S. Bach: Any of the following chorale preludes from the Orgelbüchlein: Ich ruf zu dir, Herr Jesu Christ, BWV 639; Komm, Gott Schöpfer, heiliger Geist, BWV 631; Nun komm, der Heiden Heiland, BWV 599; Jesu, meine Freude, BWV 610; Wer nur den lieben Gott lässt walten, BWV 642; Das alte Jahr vergangen ist, BWV 614 (Concordia 975774)

J.S. Bach: Any of the following fugues from the Eight Little Preludes and Fugues (attributed to the Bach Circle): D Minor, BWV 554; G Major, BWV 557; B-flat Major, BWV 560 (Les Éditions Outremontaises: IMSLP #381015); or the Fugue in E Minor (“Cathedral”), BWV 533 (Les Éditions Outremontaises: IMSLP #129530)

Dieterich Buxtehude: Any of the following chorale preludes: Christ unser Herr zum Jordan kam, BuxWV 180; Herzlich tut mich verlangen, BuxWV 178; Nun komm, der Heiden Heiland, BuxWV 211 (Concordia 977201)

LIST B

Samuel Coleridge-Taylor: Melody from Three Short Pieces (Novello: IMSLP #385111)

Jeanne Demessieux: Hosanna filio David or Rorate caeli from Twelve Chorale Preludes on Gregorian Chant Themes (Alfred 00-0603)

Marcel Dupré: Te lucis ante terminum from Le Tombeau de Titelouze (Alphonse Leduc)

Felix Mendelssohn: Any of the following movements: Prelude in G Major, Op. 37 (prelude only); Sonata No. 3, mvmt. 2; Sonata No. 4, mvmt. 2; Sonata No. 6, Finale (Edition Peters EP1744; also: IMSLP #04743, #58280)

Louis Vierne: Berceuse or Lied from 24 Pièces en style libre, Livre II (Durand & Cie.: IMSLP #04038)

LIST C

Kenneth Leighton: Rockingham from A Leighton Organ Album (Oxford University Press)

Paul Manz: Liebster Jesu from God of Grace: A Compilation of Favorites for Organ (Canticle Distributing/MorningStar MSM-10-599)

Craig Phillips: Prelude on Engelberg from Glad Praises We Sing (Selah Publishing 160-814)

Robert Powell: There Is No Rose from A Medieval Carol Celebration (Wayne Leupold Editions)

Florence Price: Adoration from Short Organ Works, Vol. 2 (ClarNan Editions CN24)

Margaret Sandresky: IV. Cantabile from Six Variations on a Ground Bass in Organ Music, Vol. 6 (Wayne Leupold Editions)

Candidates seeking NPM certification should choose either the Dupré or Demessieux piece as their List B selection.

S1: Prelude repertoire (20 points). The candidate will prepare and perform one work from either List A, B, or C.

S2: Opening hymn with two transpositions (20 points). The candidate will select and use one hymn from the 2023 Examination Hymn Booklet The hymn will be transposed into two keys, one no more than a major second higher and one no more than a major second lower, playing one verse in each key, as indicated in the table of contents of the 2023 Examination Hymn Booklet The transposed versions are not to be written out in advance, and the hymn is not to be played in the original key at any point during the exam. No introduction is to be played.

DISABILITIES ACCOMMODATIONS

The AGO aims to make the certification examinations inclusive of all qualified organists and conductors, regardless of disabilities. To that end, the AGO invites candidates with disabilities to submit requests for reasonable accommodations using its standard Request for Reasonable Accommodations form, which is available on request from the program administrator. All requests will be handled in strict confidence. For all exams, these requests must be received in proper form at least one month prior to the regular online application deadline.

S3: Psalm playing (20 points). The candidate will select one of the seven psalm accompaniments in the 2023 Examination Hymn Booklet and will play refrains (if printed) and four verses of the psalm as though it were being sung in a service of worship. A singer is required in order to render a satisfactory performance on the test. The candidate must engage (at their own expense) a singer, who may be one with whom they perform regularly. Neither the candidate nor the examination proctor may serve as the singer (The singer will be permitted in the examination room only during this portion and the S6 portion of the test.) The identity of the singer will not be revealed on the recording to examiners, in order to preserve the candidate’s anonymity. For NPM certification candidates, the required psalm selection is either Psalm 22/23 (Gelineau) or Psalm 22/23 by Mary Francis Reza (Oregon Catholic Press 93688).

S4: Anthem accompaniment (20 points). Choice of one anthem from the following anthem list. The candidate will play the accompaniment as though accompanying a competent choir.

Moonyeen Albrecht: O Pray for the Peace of Jerusalem (available on the AGO website as a PDF, courtesy of St. James Music Press)

Martin How: Day by Day (GIA G-4178)

William Bradley Roberts: For the Bread Which Thou Hast Broken (available on the AGO website as a PDF, courtesy of St. James Music Press)

Richard Shephard: Tomorrow Shall Be My Dancing Day (available on the AGO website as a PDF, courtesy of St. James Music Press)

[Note to candidates using this selection: play choral parts in passages with no accompaniment marked “acc. ad lib.”]

Charles Villiers Stanford: O for a Closer Walk (GIA G-4181)

S5: Middle hymn, no required transposition (20 points). The candidate will select and use one hymn from the 2023 Examination Hymn Booklet, different from the hymn chosen for S2, above. They will play all three stanzas as though leading a large, enthusiastic congregation, using an introduction that may be a full play-through of the hymn or selected phrases of the hymn; but this introduction must effectively introduce the tune and conclude with the last line of the hymn. Use of pedals for at least one stanza is mandatory. Some contrast in the presentation of the three stanzas is expected, as is sensitivity to the text. NPM candidates are required to play “Draw Near” by Steven Janco (Oregon Catholic Press 30134643) or “Alabaré,” as found in the 2023 Examination Hymn Booklet

S6: Accompaniment of a vocal solo (20 points). Hal Hopson: The Gift of Love, medium low solo (Hope Publishing Company #371). A singer is required for the performance of this work.

S7: Offertory repertoire (20 points). One piece from the remaining lists, not chosen for S1.

S8: Sight-reading (20 points). The candidate will sight-read a short passage of music with minimal pedal. The candidate’s grade will be based on their ability to maintain the indicated tempo with accuracy of notes and rhythm. (The sight-reading question and information regarding the examination procedure will be sent from AGO Headquarters to the chapter dean prior to the test date.)

S9: Closing hymn, no required transposition (20 points). The candidate will select and use one hymn from the 2023 Examination Hymn Booklet, different from the two hymns chosen for S2 and S5. They will play three stanzas as though leading a large, enthusiastic congregation, using an introduction that may be a full play-through of the hymn or selected phrases of the hymn; but this introduction must effectively introduce the tune and conclude with the last line of the hymn. Use of pedals for at least one stanza is mandatory. Some contrast in the presentation of the three stanzas is expected, as is sensitivity to the text.

S10: Postlude repertoire (20 points). One piece from the remaining list, not chosen for S1 or S7.

Note: In S5 and S9, the first stanza must be played using the harmonization provided in the 2023 Examination Hymn Booklet. In S2, exactly two stanzas (without introduction) are to be transposed using the given harmonization, one stanza in each key, as printed in the table of contents of the 2023 Examination Hymn Booklet

oth $ 450 ; single $ 3 50 Student rate $ 325 ; $2 50 B oth $ 450 ; single $ 3 50 S tudent rate $ 325 ; $2 50

; single $150 S tudent rate $ 225 ; $125

3 individual selections from 3 general groups choose 1 of 4 selections in each of 3 groups (changes e very other y ear ) choose 1 in each of 4 groups (changes each year) choose 1 in each of 4 groups (changes each year)

none

rehearse and direct choir in performance of 3 given selections (changes each year) TRANSPOSITION

1 from hymn booklet

1 from NEW hymnboo k (chosen in advance) not more than M2; no play through; not written out homophonic passage not more than M2; 8 measures or less; some preparation time passage not more than M2; play through once passage not more than M3; no play through

1 from standard hymnal ( 3 stanzas with bridge ) none

2 from NEW hymn book (3 stanzas with changes )

2 from NEW hymn book ( 3 stanzas with changes )

HYMN PLAYING

accompany choir in rehearsal (optional)

short passage from figured bass (at sight) from the piano accompaniment of a vocal score, arrange at sight for the organ

Accompaniment for 1 vocal solo & 1 p salm [ singer require d for both ] , and 1 of 5 anthems (all 3 to be prepared in advance) 1 choral selection and 1 vocal solo (both to be prepared in advance)

ACCOMPANIMENT

none

SIGHT READING passage on 3 staves passage on 3 staves in trio texture longer passage in open score using G & F clefs on 4 staves (a) organ piece with manual and registration changes; (b) polyphonic passage in open score ( C &F )

(a) melody; (b) progressions with specific cadences

none

none simple hymn tune , plainsong melody, or “ folkstyle” hymn tune ( some preparation time ) passage in 4 parts –portions of treble melody and of unfigured bass are given

HARMONIZATION

none

P iece approximately 34 minutes in ABA form; theme A is given

3 choices , all including modulation ( some preparation time ) v ariations on ground bass, or prelude on hymn tune or chant

one 2part; one identify errors

one 4part; one 2voice counterpoint

none

IMPROVISATION

one melodic line; one 2part

none add missing pitches; identify comp. devices

none extensive extensive extensive extensive

EAR TESTS

WRITTEN

* S urcharg e of $115 for nonmembers of the AG O . S tudent candidates must be age 30 or younger

Appendix

REQUIREMENTS FOR LEVELS 1-2

BYU INDEPENDENT STUDY ORGAN COURSES

This is an in-depth organ training program offered through the Brigham Young University organ faculty and Independent Study. The six courses (“Levels”) are designed to provide motivation and instruction for organists to improve their skills by working toward specific goals. An organist who succeeds through Level 6 should feel prepared to move into the Service Playing or Colleague certificates of the American Guild of Organists. Organists may enter at any level for which they feel prepared. Interactive written instruction is offered through books and computer lessons, while performance instruction is coordinated with qualified organ instructors in the vicinity of the student. Each course is designed to be completed within one year.

THIS SUMMARY COVERS LEVELS 1 AND 2 ONLY 5/2023

College-credit courses: Music 399R Sections/Levels 1-2 ($450 per course plus materials and lessons); Levels 3-6 ($675-$1125) elearn.byu.edu/catalog (University Courses > Fine Arts and Communications > Organ Performance)

Noncredit courses

Levels 1-2 free self-study versions: organ.byu.edu > Off Campus Students > Music 71 [or 72] (Level 1 [or 2]) Free Version Levels 1-6 certificate-only versions ($150): is.byu.edu/catalog-landing (Community Education Courses > Music)

For a list of materials needed, visit organ.byu.edu/materials.pdf

Call 1-800-914-8931; write BYU Independent Study, 206 Harman Building, P.O. Box 21514, Provo, UT 84602-1514

LEVEL 1

Level 1 – Beginning organ (for pianists who have had little or no formal organ training, or who need help applying what they have learned in their organ playing. Prerequisites: note reading skills; able to play hymn-like pieces fluently at the piano.)

I. ORGAN TECHNIQUE

Choose an organ method book from which to learn organ technique. The following are recommended. You may choose any one or a combination of more than one from which to play. If you desire, you may use another method book with the approval of the course instructor Any method you choose should develop the concepts and skills listed below using comparable exercises.

The OrganTutor Workbook (required) and The OrganTutor Online Tutorial (optional) are the basic texts for the course, containing materials needed for passing the written assignments and exams for Levels 1-2 and for Unit 1 in Levels 3-6. If you decide also to learn organ technique through OrganTutor, you will not need to purchase the Davis, Gleason, or Keeler books. Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. The OrganTutor Workbook. ("OTW") Spanish Fork, UT: Ard Publications, n.d. (ardpublications.com)

This volume contains the materials developed for the Brigham Young University Group Organ Program and the Independent Study organ courses. Its primary strength lies in the written materials, handouts, worksheets, and exercises that cover a wide range of topics. It is revised frequently to meet current needs. Ideally The OrganTutor Workbook is used together with The OrganTutor Online Tutorial

Cook, Don. The OrganTutor Online Tutorial. Provo, UT: Brigham Young University, 1998/2018. (organtutor.byu.edu)

An online organ tutorial that supports The OrganTutor Workbook. A subscription for the online tutorial can be purchased for 6 months ($30) or 3 years ($50). Free 2-week subscriptions are available by emailing organ@byu.edu. The technique exercises and hymn projects appear in the workbook for practice and are demonstrated through video clips. Registration and other concepts are demonstrated through hundreds of audio clips.

Davis, Roger. The Organist's Manual. New York: W. W. Norton, 1985. (amazon.com availabilities)

This method book is widely accepted in organ teaching circles It provides written instruction on important topics such as part playing, phrasing and articulation, fingering, and ornamentation, with useful appendices. Davis uses a moderately thorough approach to teaching technique. The choice of repertoire and careful editing are particular strengths of this volume. Unfortunately it is out of print and expensive to acquire, even used.

Gleason, Harold. Method of Organ Playing 8th ed. Englewood Cliffs, NJ: Prentice-Hall, 1995. (amazon.com availabilities)

important topics, with a wide range of carefully-edited repertoire. The refinement of this book reflects Harold Gleason's many years of experience during and after his tenure at the Eastman School of Music. Gleason’s wife Catharine Crozier continued with revisions in the editions published since his death. Unfortunately it is out of print and expensive to acquire, even used.

Keeler, J. J., and E. Donnell Blackham. Basic Organ Techniques. 3rd ed. Bryn Mawr, PA: Universe, 1998. (jackmanmusic.com)

Many organists associated with Brigham Young University have benefitted from the meticulous approach of J. J.Keeler. The technical studies in this volume represent a good approach to teaching legato technique. The repertoire section has been omitted in this edition. Some written instruction is included.

The played portions of Level 1 are passed off to an approved evaluator in three played assignments. For the organ technique portion of each assignment (see below), practice the exercises and studies listed under the method(s) you have chosen. Prepare one set of exercises from each technique listed in the table. For example, for Played Assignment 1 below, the Attack & Release technique, choose the exercises listed under Davis, Gleason, Keeler, or OrganTutor Workbook.

In preparation for Played Assignment 1, first work through Lessons 1 and 2 on organ technique and take the two Quizzes Then begin practicing the requirements for Played Assignment 1. Either pass them off over time to your instructor (if they are also an approved evaluator), or, when all the requirements are ready, make arrangements to pass them off to an approved evaluator Prepare Played Assignments 2 and 3 in the same way (but there are no additional lessons or Quizzes). Although not ideal, you may play more than one assignment in a single session. Either way, be sure to prepare each item thoroughly.

The Organ Technique portion of Played Assignment 1 (Level 1)

DAVIS GLEASON KEELER ORGANTUTOR WORKBOOK MANUAL TECHNIQUES

Attack & Release

p.3: 1-3 p.28: 1-2 p.1: 1-2

p.2: 5

Legato p.4: 1-2 p.3: 6-7

Legato and Detached Notes p.6: 5 p.31: 1, 4 p.2: 4

Finger Independence p.5: 1 p.33: 1 p.4: 11a-b

Finger Crossing p.7: 1, 3 p. 45: 7 p.11: 26

Finger Substitution p.9: 1 pp. 35-37: 1-2 p.5: 12 p.6: 15

Finger Glissando p.11: 1 p.40: 1 p. 13: 31

Two-Part Studies p.68: 1 p. 63: 3 p.15: 41 pp. 16-17: 44

PEDAL TECHNIQUES

Alternate Toes pp. 20-21: 1-7 p.111: 1 p.112: 1-2 p. 113: 3-7

Toe & Heel p.23: 1-4 p.24: 1 p.112: 2 top p.114: 1-4 top

MANUAL & PEDAL STUDIES

pp. 28-29: 72-75 p. 30: 79-82

pp. 33-34: 95-96

Two-Part p.96: 1-2 p.153: 1-3 p.45: 122-123

p.83: 1, 5

p.85: 12

Three-Part Croft (choice) p.155: 10 p.48: 133-134

2+ Parts in 1 Hand – Attack & Release: 1-4

1 Part in Each Hand – The Heavy & Light Hand (all)

1 Part in Each Hand – Redeemer of Israel (soprano & tenor only)

2+ Parts in 1 Hand – Attack & Release: 5-6

2+ Parts in 1 Hand: The Shifting Heavy Part – Exercises: 5a, 6a

Finger Crossing: 1a (all 6 fingerings)

Finger Substitution: 1a-b, 2a-b (all 4 fingerings in each hand)

Finger Glissando: 1a-b, 2a-b

Repertoire: “Now Thank We All Our God” (2-part version), Elliott

Pedal: ex. 1-8, 15a, 16a, 21

Pedal: ex. 25a, 26a

Repertoire: "Saints, Behold . . ." play each hand separately with pedal (right hand & pedal, left hand & pedal)

Repertoire: "Saints, Behold . . ." as trio

The Organ Technique portion of Played Assignment 2 (Level 1)

DAVIS GLEASON KEELER ORGANTUTOR WORKBOOK MANUAL TECHNIQUES

Legato and Detached p.6: 6 p.31: 2 p.2: 4

1 Part in Each Hand: How Gentle God’s Commands (soprano & tenor only) 2+ Parts in 1 Hand Exercises: 9a

Finger Crossing p.7: 2 p.44-45: 4, 6 pp. 10-11: 24, 27 Finger Crossing: 1b (all 4 fingerings), 5 (both fingerings, hands separately)

Finger Substitution p.9: 2-3 p.37: 2-3

Thumb Glissando p.11 bottom – read p.12: 1, 3 p.42: 1-2 p.43: 2

pp. 7-8: 18, 21 Finger Substitution: 2a-b (all 4 fingerings in each hand), 3a-b

p.13: 33-34

Two-Part Studies p.69: 3 pp. 70-71: 12 p.15: 42

Three-Part Studies p.73: 9 p.65: 5 p.22: 58

PEDAL TECHNIQUES

Toes p.21: 8 p.22: 1-4

Toe & Heel p.24: 2-5

p.25: 6

p.114: 1, 2 bottom pp. 115-116: 3-5

p.116: 1, 3

p.31: 84-87 p.32: 88-89

p.29: 76-77

p.34: 97-98

Thumb Glissando: 1a-b, 3a-b

Repertoire: “Duo on 'Lasst uns erfreuen',” Elliott

Repertoire: “Prelude on 'Deliverance',” Elliott (manual only)

Pedal: ex. 22a, 23a-b, 9-12, 18a

Pedal: ex. 34a, 35a-b, 36a-b

Heel Slide p.33: 1 top p.116: 2 pp. 29-30: 78 Pedal: ex. 37a, 38

Glissando Black to Wh p.33: 1 bottom p.136: 1

p.35: 103b Pedal: ex. 42a Crossing p.32: 1-2 p.129: top half (pedal only)

MANUAL & PEDAL STUDIES

Two-Part pp. 96-97: 3-4 pp. 153-154: 4-7

Three-Part Croft (choice) p.155: 11 p.156: 12

p.35: 99 Pedal: ex. 55a-b

p.45: 124-125

p.46: 126-127

p.49: 136-137

Repertoire: “Prelude on 'Dennis',” Elliott

The Organ Technique portion of Played Assignment 3 (Level 1) DAVIS GLEASON KEELER ORGANTUTOR WORKBOOK

MANUAL TECHNIQUES

Legato & Detached p.6: 8 p.31: 3 p.2: 4 (in eb, e) 2+ Parts in 1 Hand – Exercises: 11a-b

Finger Crossing p.7: 4 p.44: 5 pp. 11-12: 28 Finger Crossing: 3a-b

Finger Substitution p.10: 4 p.38: 1 p. 39: 3 p.8: 19-20

Thumb Glissando p.12: 2, 4 p.43: 1 p.13: 34 p.14: 36

Finger Substitution: 3a-b, 4a-b

Thumb Glissando: 2a-b

Three-Part Studies p.79: 14 p.64: 4 pp. 22-23: 59 Repertoire: “Prelude on 'St. Catherine',” Harmon (manual only)

PEDAL TECHNIQUES

Toes p.26: 1 pp. 117-19: 1-6 p.32: 90-91

Toe & Heel p.25: 7-8 p.28: 1 p.119: 1-4 p.120: 5-6 p.37: 110-111

Pedal: ex. 13a, 14a, 19a

Pedal: ex. 39a

Glissando Black to Bl p.34: 1, 3 p.137: 4 p.35: 102 Pedal: ex. 41a-b

Substitution p.31: 1 p. 120: 1-2 p.36: 105 p.37: 109

Crossing p.32: 3 p.132: 5-note scales (pedal only) p. 35: 100 p.35: 101

MANUAL & PEDAL STUDIES

Two-Part p.97: 6 p.155: 8-9 p. 46: 128

Pedal: ex. 43a, 44, 45a

Pedal: ex. 56a, 57a

Three-Part p.97: 7, 98: 8 p. 156: 13 p.50-51: 139 Repertoire: “Prelude on 'Deliverance',” Elliott (manual and pedal)

II. ORGAN REPERTOIRE

Three pieces are required for Level 1. For video or audio examples of selected pieces visit organ.byu.edu/rep-levels. Prepare them as specified below Other pieces may be substituted with the prior approval of the course instructor.

May be played for Played Assignment 1 only (but you may also choose from the rest of the list): From OrganTutor:

Abide With Me by Kim Croft (see contents)

For Played Assignments 2 and 3: Choose TWO different pieces from the following, playing one for Assignment 2 and the other for Assignment 3. Both might be chosen from within a single volume, but a diversity of musical style is recommended. Other pieces may be substituted with the approval of the BYU faculty course instructor.

From Croft, Kim. Nine Hymn Studies. Orem, UT: Pioneer (Jackman Music), 1986: How Great The Wisdom And The Love (p. 8) (do not use this one for Played Assignment 3)

From Harmon, Neil. Hymn Settings for Organ, Book 6. Murray, UT: Day Murray Music, 2020: Prelude on ‘Niblet’ (p. 18)

Prelude on ‘Sweet Hour’ (p. 14)

From Davis: Verset by Léon Boëllmann (Davis p. 103) (play manual only or with pedal)

From OrganTutor or Davis: Moderato con moto by César Franck (Davis p. 113) (in OrganTutor, see contents)

From Manookin, Robert P. Hymn Preludes for Organ, Book One. Orem, UT: Sonos (Jackman Music), 1976: Sweet is the Work (p. 9) In Humility, Our Savior (p. 17)

From Dupré, Marcel. Seventy-Nine Chorales for the Organ, Opus 28. New York: H. W. Gray, 1932. Abide with us, O Lord Jesus Christ (piece no. 1, page 2).

III. HYMN PLAYING

All hymns in this level should be prepared with a sustained legato approach. As described in OrganTutor under "Listening Skills for Practice," pay particular attention to precise releases, perfect legato, and independence of line.

For all levels of hymn playing, the following books are also helpful: Belnap, Parley L. Hymn Studies for Organists Rev. ed. Provo, UT: BYU Creative Works Office, 2003 Lovelace, Austin C. The Organist and Hymn Playing Rev. ed Carol Stream, IL: Agape, 1981.

Hymns of the Church of Jesus Christ of Latter-day Saints Salt Lake City, UT: Church of Jesus Christ of Latter-day Saints, 1985. Most of these hymn tunes may be download without cost from churchofjesuschrist.org/music/index/hymns/number?lang=eng&_r=1 Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

The following hymns from the hymnbook listed above are well suited to this level. Other hymns of comparable difficulty may be substituted. Before beginning practice, obtain approval from your BYU course instructor.

6 Redeemer of Israel

100 Nearer, My God, to Thee (Bethany)

117 Come unto Jesus

125 How Gentle God's Commands (Dennis) 302 I Know My Father Lives

Played Assignment 1: Play hymn 302 or another easy three-part hymn on a manual only (no pedal).

Played Assignment 2: Play hymn 6 or 100 with the soprano, alto, and tenor parts on the Great and the bass part in the Pedal. Play an introduction and all verses, using a change of registration between verses at least once throughout the hymn.

Played Assignment 3: Play two other easy four-part hymns using the same procedure described for played assignment 2.

IV. MUSIC THEORY

The text for the music theory portion of Level 1, which will also be used in Levels 2 and 3, is: Harder, Paul Basic Materials in Music Theory 10th ed. Upper Saddle River, NJ: Prentice Hall, 2002, Chapters 1-5. Other editions may be used, but specific frame numbers referenced in this course may not be accurate.

The Paul Harder book is a programmed learning text in music theory, designed for self-study. Chapters 1 through 5 should be completed during Level 1. The following topics are included:

Chapter 1 – The Basic Materials of Music: Time and Sound (time and sound, sound waves, pitch, intensity, timbre, harmonics, the harmonic series)

Chapter 2 – The Notation of Pitch (the staff, notes: symbols for tones, basic scale, treble clef, bass clef, C-clefs, ledger lines, grand staff, ottava sign, half- and whole-steps, accidentals, enharmonic notes, chromatic scale, pitch designations)

Chapter 3 – Time Classification (beat, meter, simple and compound time, borrowed divisions, subdivisions of the beat)

Chapter 4 – Note and Rest Values (relative value of notes and rests, the dot, division of dotted and undotted notes and

rests, subdivision of dotted and undotted notes and rests, the unit in simple and compound time, metronome indications, terms that express tempo)

Chapter 5 – Time Signatures (time signatures in simple and compound time, relation of time signatures to time classification, common time, alla breve, the tie, rhythmic patterns, syncopation)

V. ORGAN REGISTRATION

The organ registration portion of this level is divided into six lessons, each of which culminates in an online-graded Quiz OrganTutor contains the needed study materials. Information may also be found in other resources, including those listed in the bibliography. Each of the following concepts should be thoroughly learned by studying the sections given in OrganTutor. Refer to its table of contents for specific page numbers.

Registration Lesson 1: Organ Types and Components, and The Organ Console

Registration Lesson 2: Classification of Organ Stops by Pitch (Pitches of Organ Stops)

Registration Lesson 3: Classification of Organ Stops by Family (Families of Organ Tone)

Registration Lesson 4: The Three Primary Types of Organ Registration (Introduction)

Registration Lesson 5: Chorus Registration

Registration Lesson 6: Guidelines for Hymn Registration in Congregational Singing (Hymn Playing–Registration)

VI. SIGHT-READING

Sight-read (play at sight) single-line melodies. Use good legato organ technique where appropriate. Practice sight-reading individual soprano, alto, tenor, and bass parts from a hymnbook. For bass parts easier than and equal to the difficulty of the Level 1 hymns, be able to play the bass in either the manual or the pedals.

Sight-reading should be passed off as part of Played Assignment 3. The evaluator will provide music appropriate to this level, and you may take up to one minute to look through the music prior to playing

LEVEL 2

Level 2 – Review basics (those with organ training, but who would benefit from a review of basic legato organ technique, repertoire, hymn playing, and registration. Should be able to sight-read single-line melodies. Music Theory prerequisites: an understanding of the music theory topics listed under Level 1.)

I. ORGAN TECHNIQUE

See the organ methods recommended and instructions given under Level 1: Organ Technique.

The Organ Technique portion of Played Assignment 1 (Level 2) DAVIS GLEASON KEELER ORGANTUTOR WORKBOOK

MANUAL TECHNIQUES

Attack & Release p.3: 3 p.30: 7 p.2: 5 2+ Parts in 1 Hand – Attack & Release: 2, 3, 7, 8

Legato & Detached Notes p.6: 5 p.31: 1 p.2: 4 2+ Parts in 1 Hand – Exercises: 9a

Finger Crossing p.7: 1 p.45: 6 p.11: 26

Finger Crossing: 1a (all 6 fingerings)

Finger Substitution p.9: 1 pp. 36: 1 p.6: 15 Finger Substitution: 10a-b

Finger Glissando p. 11: 1-2 p.40: 1 p.41: 1 p.13: 31-32

Finger Glissando: 1-2

Thumb Glissando p.12: 1-2 (hands sep) p.42: 1-2 p.13: 33 Thumb Glissando: 1a-b, 3a-b

Three-Part Studies p.79: 14 p. 64: 4 p. 20: 54 Repertoire: “Allegretto,” Raffy PEDAL TECHNIQUES

Alternate Toes pp. 20-21: 1-6 p. 114: 1-2 bottom p.28: 72-75 p.30: 79-82

Toe and Heel p.23: 1-4 p.28: 1 p. 116: 1-3 p. 119: 1-2 p. 29: 76-77 pp. 33-34: 95-96

Pedal: ex. 1-8, 15a, 16a, 21

Pedal: ex. 34a, 34c

Crossing p.32: 1-2 p.129 5-note scale, ped. only p.35: 99 Pedal: ex. 55a

Glissando p.33: 1 bottom p.136: 1 p.35: 103b Pedal: ex. 42a

Substitution p.31: 1 p.120: 1 p.36: 104

MANUAL & PEDAL STUDIES

Pedal: ex. 43a, 45a

Two-Part p.97: 2, 3 p.155: 8 p.47: 131 Repertoire: “Prelude on 'Converse',”

Elliott (play right hand and pedal, and left hand & pedal)

Three-Part p.97: 7 p.155: 11 p.49: 137 Repertoire: “Prelude on 'Converse',”

Elliott (play all three parts)

The Organ Technique portion of Played Assignment 2 (Level 2)

MANUAL TECHNIQUES

DAVIS GLEASON KEELER ORGANTUTOR WORKBOOK

Legato & Detached Notes p.6: 7 p.31: 2 p.2: 4 (in F, F#) 2+ Parts in 1 Hand – Exercises: 11a, 12a

Finger Crossing p.7: 2-3 p.45: 7 p.11: 25, 27, 28 Finger Crossing: 1b (all 4 fingerings)

Finger Substitution p.10: 5-6 pp. 37: 2-3 p.9: 22a-b Finger Substitution: 11a-b

Thumb Glissando p.12: 3 p.43: 3 top p.13: 34 p.14: 36 Thumb Glissando: 1c, 2a-2b

Three- and Four-Part Studies p. 81: 17 p. 71: 13 p.21: 55 Repertoire: “Anthem, Op. 42, No. 38,” Batiste (manual only, measures 1-16)

PEDAL TECHNIQUES

Alternate Toes p.21: 7-8 pp. 117-19: 1-6 p.31: 83-87 Pedal: ex. 17a, 18a

Toe and Heel p.28: 2-3 p.123: 1-2 p.34: 97 Pedal: ex. 35a-b

Crossing p.32: 4 p.132 5-note scale, ped. only p.35: 100 Pedal: ex. 56a, 59

Glissando p.33: 2 bottom p.137: 4 p.35: 102 Pedal: ex. 41a, 41b

Substitution p.31: 3 p.120: 2 p.36: 105 Pedal: ex. 46

MANUAL & PEDAL STUDIES

Two-Part p.97: 4, 6 p.155: 9 p.48: 132

Three-Part p.114: 11 begin p.156: 12 pp. 50-51: 139 Repertoire: “In dulci jubilo,” J. M. Bach (begin)

The Organ Technique portion of Played Assignment 3 (Level 2)

MANUAL TECHNIQUES

DAVIS GLEASON KEELER ORGANTUTOR WORKBOOK

Legato & Detached Notes p.6: 8 p.31: 3 p. 2: 4 (in G,Ab) 2+ Parts in 1 Hand – Exercises: 11b, 12b

Finger Crossing p. 8: 5 p.44: 3 p.10: 24 (if reach is impossible, omit long notes) Finger Crossing: 5 (hands separately)

Finger Substitution p. 10: 4, 7 p.37: 4 p.38: 1 pp. 9-10: 23a-b Finger Substitution: 12a-b, 14a-b

Thumb Glissando p.12: 4 p.43: 1-2 p. 14: 38 Thumb Glissando: 2c, 3a-b-c

Three- and Four-Part Studies p.80: 16 p.65: 5-6 p.23: 60 Repertoire: “Anthem, Op. 42, No. 38,” Batiste (manual only, measures 17-35)

PEDAL TECHNIQUES

Alternate Toes p.26: 2-3 p.121: 1-2 p.32: 90-91 p.33: 92

Pedal: ex. 19a, 20a

Toe and Heel p.29: 2-3 p.123: 3-4 p.34: 98 Pedal: ex. 36a-b, 39a

Crossing p.32: 3 p.132 5-note scale, ped. only p.35: 101 Pedal: ex. 60

Glissando p.34: 4 p.137: 5 p.35: 103a Pedal: ex. 44

Substitution p.31: 5 p.120: 1-2 p.37: 109 Pedal: ex. 47a, 63

MANUAL & PEDAL STUDIES

Three-Part p.114: 11 finish p. 156: 13 p.52: 141 Repertoire: “In dulci jubilo,” J. M. Bach (finish)

II. ORGAN REPERTOIRE

You will learn four organ pieces in this level. Choose one of the following pieces to prepare and perform for Played Assignment 1. Another piece may be substituted with the approval of the BYU Organ Faculty course instructor. No pieces may be repeated from previous played assignments or levels. For video or audio examples of selected pieces visit organ.byu.edu/rep-levels.

Played Assignment 1: Choose ONE piece from the following: Dupré, Marcel. Seventy-Nine Chorales for the Organ, Opus 28. New York: H. W. Gray, 1932. Abide with us, O Lord Jesus Christ” (piece no. 1, page 2), OR Glory be to God on high (piece no. 4, page 5), OR Beloved Jesus, here we stand (piece no. 52, page 62)

Played Assignments 2 and 3: Choose THREE different pieces from the following, and play one for Played Assignment 2 and the other two for Played Assignment 3. Both might be chosen from within a single volume, but a diversity of musical style is recommended. Other pieces may be substituted with the approval of the course instructor.

From Davis: Herzliebster Jesu, was hast du verbrochen by Helmut Walcha (p. 110)

From Davis or Gleason:

Fugato by J. G. Albrechstberger (Davis p. 115 or Gleason p. 183)

From Davis or OrganTutor: Trio by Josef Rheinberger (Davis p. 114)

From Davis or Gleason or OrganTutor: Canon by Jacques Lemmens (Davis p. 121 or Gleason p. 171)

From Keeler/Blackham Basic Organ Techniques and Repertoire, or OrganTutor: Litany by Franz Schubert (Keeler/Blackham p. 112)

From Manookin, Robert P. Hymn Preludes for Organ, Book One. Orem, UT: Sonos, 1976: Lord, We Come Before Thee Now (p. 5) Abide With Me; 'Tis Eventide (p. 25)

From OrganTutor:

Trio, Op. 49, No. 1 by Josef Rheinberger

From Held, Wilbur. Six Carol Settings. St. Louis, MO: Concordia, n.d. The First Noel (p. 12)

III. HYMN PLAYING

For all levels of hymn playing, the following books are also helpful: Belnap, Parley L Hymn Studies for Organists Rev. ed Provo, UT: BYU Creative Works Office, 2003 Lovelace, Austin C. The Organist and Hymn Playing. Rev. ed Carol Stream, IL: Agape, 1981. Hymns of the Church of Jesus Christ of Latter-day Saints. Salt Lake City, UT: Church of Jesus Christ of Latter-day Saints, 1985. Most of these hymn tunes may be download without cost from churchofjesuschrist.org/music/index/hymns/number?lang=eng&_r=1 Woolard, Margot Ann G A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

The following hymns from the LDS hymnbook are well suited to this level. Most of these hymn tunes may be download without cost from churchofjesuschrist.org/music/index/hymns/number?lang=eng&_r=1 Other hymns of comparable difficulty may be substituted, including those from the Examination Hymn Booklet of the American Guild of Organists (request one from exams@agohq.org; no. 12, “Azmon,” is rather well suited to this level). Before beginning practice, obtain approval from your BYU course instructor.

See the list of books recommended under Level 1: Hymn Playing. Understand and apply any concepts pertinent to this level.

3 Now Let Us Rejoice*

19 We Thank Thee, O God, for a Prophet*

67 Glory to God on High* (Italian Hymn)

116 Come, Follow Me* (Invitation)

195 How Great the Wisdom and the Love*

294 There is Beauty All Around

(see the table on the following page)

Normal arrangement

Manual only

Complete hymn

Played Assignment 1 Played Assignment 2 Played Assignment 3

No “normal-arrangement” hymn required for Played Assignment 1

For Played Assignments 2 and 3 play ONE of the hymns listed above, one verse only, in the normal arrangement. Use hymns other than normal-arrangement hymns from Played Assignment 1 and other than complete hymns from Played Assignments 2 and 3.

For Played Assignments 1 and 2 play ONE hymn, one verse only, on the Great manual (no pedal). These may duplicate normalarrangement or complete hymns, but choose a different manualonly hymn for each assignment.

No “complete hymn” required for Played Assignment 1

No manual-only hymn required for Played Assignment 3

For Played Assignments 2 and 3 play one hymn completely, with no more complexity than for a church service (introduction and all verses, using a rearrangement of parts and/or a change of registration between verses at least once throughout the hymn). Use the two hymns not played as normal-arrangement hymns. An evaluator will conduct all or part of the hymn, and you should be able to yield to his/her beat with precision and flexibility. Include with each hymn tenor solo technique as described below:

Tenor Solo. Choose a section of a hymn (at least two phrases) where the TENOR line has melodic interest. (A few hymns that may include such sections are marked above with an asterisk [*]). Solo out the tenor part with the left hand (play tenor on a manual with a more prominent [solo] sound, and play soprano and alto on a different manual with a less prominent [accompanimental] sound). Prepare this "tenor solo" technique in two ways:

a.Play the tenor solo in the normal written range.

b.Play the tenor up an octave. (Move the hand; don't just use higher-pitched stops.)

IV.MUSIC THEORY

The text for the music theory portion of Level 2, which is also used in Levels 1 and 3, is: Harder, Paul Basic Materials in Music Theory 10th ed. Upper Saddle River, NJ: Prentice Hall, 2002, chapters 6-11. Other editions may be used, but specific frame numbers referenced in this course may not be accurate

Chapters 6 through 10 should be completed during Level 2. They are arranged in four lessons, each of which culminates in an online-graded Quiz

Theory Lesson 1:

Harder Chapter 6 – Intervals (harmonic and melodic intervals, numerical classification of intervals, compound intervals, classification of intervals by quality, inversion of intervals, enharmonic intervals)

Theory Lesson 2:

Harder Chapter 7 – The Basic Scales (structure of the basic scales, modes, the keynote)

Harder Chapter 8 – The Major Scale (structure of the major scale, use of accidentals to form major scales on any note)

Theory Lesson 3:

Harder Chapter 9 – The Minor Scale (the natural, harmonic, and melodic minor scales; diatonic and chromatic intervals)

Theory Lesson 4:

Harder Chapter 10 – Key Signatures (key and tonality, major key signatures, relative keys, minor key signatures, use of accidentals to form the various minor scales, the circle of fifths)

Harder Chapter 11 – Triads (Triads (the tertian system, basic [diatonic] triads, major, minor, augmented, and diminished triads, Roman numeral identification, chord symbols)

V.ORGAN REGISTRATION

The organ registration portion of this level is divided into six lessons, each of which culminates in an online-graded Quiz. The OrganTutor Online Tutorial and The OrganTutor Workbook contain the needed materials in organ registration for this level. Information may also be found in the resources on registration listed in the bibliography. Each of the following concepts should be thoroughly learned by studying the sections given in OrganTutor. Refer to its table of contents for specific page numbers.

Registration Lesson 1: Organ Types and Components (review)

Registration Lesson 2: Non-speaking stops

Registration Lesson 3:

Classification of Organ Stops by Pitch (Pitches of Organ Stops) (review) Classification of Organ Stops by Family (Families of Organ Tone) (review)

Registration Lesson 4: The Three Primary Types of Organ Registration (introduction only, review) Chorus Registration (review) Guidelines for Hymn Registration in Congregational Singing (review)

Registration Lesson 5: Solo and Accompaniment Registration

Registration Lesson 6:

Registration Mechanics

Score Preparation (in the OrganTutor Online Tutorial), and Redeemer of Israel – Example of Fully-Prepared Score (in The OrganTutor Workbook)

VI. SIGHT-READING

Sight-read two-part music. Use good legato organ technique where appropriate, and always maintain independence of line. Practice sight-reading the following combinations of easy to moderate four-part hymns: soprano and alto (right hand), alto and tenor (right and left hand, or left hand only), tenor and bass (be able to play tenor with left hand and bass in the pedals, and both tenor and bass with left hand).

BIBLIOGRAPHY

In addition to the method books cited above, the following resources might be helpful:

The BYU Organ Study website organ.byu.edu

Engel, James An Introduction to Organ Registration St. Louis, MO: Concordia, 1986.

Geer, E. Harold. Organ Registration in Theory and Practice. Glen Rock, NJ: J. Fischer, 1957. (Out of print)

Goode, Jack C. Pipe Organ Registration Nashville, TN: Abingdon Press, 1964 (Out of print)

Mitchell-Wallace, Sue. The Art and Craft of Playing Hymns. New York: American Guild of Organists, n.d. (videotape)

Ritchie, George and George Stauffer. Organ Technique: Modern and Early. London: Oxford, 2000.

Sumner, William Leslie. The Organ. 4th ed. London: MacDonald, 1973

Williams, Peter. A New History of the Organ Bloomington: Indiana University Press, 1980. (Out of print)

Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

The American Organist. (The monthly magazine of the American Guild of Organists, 475 Riverside Dr., Suite 1260, New York, NY 10115) agohq.org

Diapason. thediapason.com/magazine

AMERICAN GUILD OF ORGANISTS

Educational resources for the new organists: agohq.org/new-organist

The six BYU Independent Study organ courses are designed to lead into the more demanding certificates (exams) of the American Guild of Organists (AGO). For information on the Service Playing or Colleague certificates of the American Guild of Organists, visit agohq.org/certification

Other online study resources are available through the AGO website: agohq.org/education/educational-resources/

GENERAL

100 Strategies for Successful AGO Certification (CD)

Preparing for AGO Exams. New York: American Guild of Organists, 1997. (Articles reprinted from The American Organist)

Professional Certification Requirements. See the most recent July issue of The American Organist, which includes the times, fees, repertoire, and precise format for each exam. Also, for the most current Chart of Requirements or Detailed Requirements, visit agohq.org/certification/certification-chart

Transposition and Modulation Workshop. (CD)

SERVICE PLAYING

Groom, Lester H. Study Guide for the AGO Service Playing Test (Contains many of the items listed above) agohq.org/wp-content/uploads/2015/07/Service-Playing-Study-Guide-Chapter-One.pdf

COLLEAGUE

Description agohq.org/ago-colleague-certification

Colleague Study Guidelines agohq.org/wp-content/uploads/2017/02/CAGO-First-10.pdf

Colleague Exams. (Complete exams from previous years: agohq.org/ago-colleague-certification

REQUIREMENTS FOR LEVELS 3-6

BYU INDEPENDENT STUDY ORGAN COURSES

THIS SUMMARY COVERS LEVELS 3, 4, 5, AND 6 ONLY 5/2023

Noncredit courses

For a list of materials needed, visit organ.byu.edu/materials.pdf

Call 1-800-914-8931; write BYU Independent Study, 206 Harman Building, P.O. Box 21514, Provo, UT 84602-1514

LEVEL 3

Level 3 – Early Intermediate (those with substantial training and fluency in the basic organ fundamentals listed in Level 2. Should be able to sight-read two-part music. Music Theory prerequisites: an understanding of the music theory topics listed under Levels 1-2, “IV. Music Theory”.)

I. ORGAN TECHNIQUE

The following organ method books are recommended. You may choose one of the five from which to play. If you desire, you may use another method book with the approval of your BYU course instructor. Any method used should develop the concepts and skills listed below using comparable exercises.

*Required texts: The OrganTutor Workbook (required) and The OrganTutor Online Tutorial (optional) are basic texts for the course, containing materials needed for passing Unit 1 in Levels 3-6. If you decide also to learn organ technique through OrganTutor, you will not need to purchase the Davis, Gleason, or Keeler books. The Ritchie/Stauffer text is also required for its organ historical/registration information.

Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. The OrganTutor Workbook ("OTW") Spanish Fork, UT: Ard Publications, n.d. (ardpublications.com)

This volume contains the materials developed for the Brigham Young University Group Organ Program and the Independent Study organ courses. Its primary strength lies in the written materials, handouts, worksheets, and exercises that cover a wide range of topics. The latest editon – version 4.0 in 2022 – was a thorough revision with repertoire additions Ideally The OrganTutor Workbook is used together with The OrganTutor Online Tutorial

Cook, Don. The OrganTutor Online Tutorial. Provo, UT: Brigham Young University, 1998/2021. (organtutor.byu.edu)

This online organ tutorial supports The OrganTutor Workbook. The technique exercises and hymn projects appear in the workbook for practice and are demonstrated through video clips. Registration and other concepts are demonstrated through hundreds of audio clips. A subscription is available for 6 months ($30) or 3 years ($50) A free 2-week subscription for trial purposes is available by emailing organ@byu.edu

Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early. New York: Oxford, 2000. (amazon.com availabilities)

Davis, Roger. The Organist's Manual. New York: W. W. Norton, 1985. (amazon.com availabilities)

uses a moderately thorough approach to teaching technique. The choice of repertoire and careful editing are particular strengths of this volume. Unfortunately it is out of print and expensive to acquire, even used.

Gleason, Harold. Method of Organ Playing. 8th ed. Englewood Cliffs, NJ: Prentice-Hall, 1995. (amazon.com availabilities)

This has been a standard resource in organ instruction for many years. It represents a thorough approach to teaching technique, and contains generous written instruction on elements of performance practice and other important topics, with a wide range of carefully-edited repertoire. The refinement of this book reflects Harold Gleason's many years of experience during and after his tenure at the Eastman School of Music. Gleason’s wife Catharine Crozier continued with revisions in the editions published since his death. Unfortunately it is out of print and expensive to acquire, even used.

Keeler, J. J., and E. Donnell Blackham. Basic Organ Techniques. 3rd ed. Bryn Mawr, PA: Universe, 1998. (jackmanmusic.com)

A. MANUAL TECHNIQUE: In addition to being fluent in basic skills, learn to perform varieties of legato, non-legato, and staccato, as well as articulations and phrasings. Choose one of the following pieces from each of the two time periods: Before 1800:

Ritchie/Stauffer (fully fingered pieces): pp. 189-196; 197-199; 200-202

Bach, J. S. "Gottes Sohn ist Kommen" (in Davis, pp. 82-83; Gleason, pp. 82-83)

Pachelbel, Johann. "Christus, der ist mein Leben" (in 80 Chorale Preludes, ed. Hermann Keller, #19, pub. by C. F. Peters)

Walther, Johann G. "Herr Christ, der einig Gottes Sohn" (in 80 Chorale Preludes, #37)

Zachau, Friedrich Wilhelm. "Vom Himmel hoch" (in 80 Chorale Preludes, #68)

After 1800:

Franck, César. “Andantino” (in OrganTutor)

Any selection from Ritchie/Stauffer pp. 61-73

Alain, Jehan. “Choral cistercien pour une elevation” (in Gleason p. 101)

Dupré, Marcel. “Christus, der uns selig macht” (in Davis p. 80 and Ritchie/Stauffer p. 67)

Elwell, Herbert. “Pentatonic Study” (in Gleason p. 64)

Pinkham, Daniel. “Blest Be the Ties” (in Gleason p. 94)

Pinkham, Daniel. “Voluntary IV” (in Gleason p. 98)

Rorem, Ned. “Serenade” (in Gleason p. 99)

B. PEDAL TECHNIQUE: In addition to being fluent in basic pedal techniques, learn to perform varieties of legato, nonlegato, and staccato, as well as articulations and phrasings. Prepare the indicated exercises/studies from one of the following method books:

OrganTutor: Groups 5, 8, 13, 15, 18, 19

Keeler and Blackham: exs. 111b, 112, 113, 115-117

Gleason: p. 131, no. 1; p. 132, no. 2; p. 133, nos. 1-3; p. 138, nos. 1-2, p. 139, nos. 1-2; p. 142

Davis: p. 30, no. 2; p. 31, no. 6; p. 32, no. 4; p. 34, nos. 4, 5; p. 35, no. 4; p. 37, no. 1

Ritchie/Stauffer: p. 85 ex. 9-10; p. 87 ex. 14-15, p. 97 ex. 20-23; p. 112 ex. 35-36; p. 124 ex. 49-51c; p. 175 ex. 4-6 plus the Fischer, Bach circle, and Fischer examples; p. 185-187

C. COMBINED MANUAL AND PEDAL TECHNIQUE: Play the exercises/studies from one of the following method books:

OrganTutor: Canon (Lemmens), Moderato con moto (Franck)

Keeler and Blackham: exs. 146, 149, 152, 153, 154, 157, 158

Gleason: pp. 164, 166-173

Davis: p. 104, nos. 2-3; p. 106; p. 107; pp. 110-111

Ritchie/Stauffer: p. 96; p. 107; p. 110; p. 127

II. ORGAN REPERTOIRE

Learn and polish pieces from the following list as specified. For video or audio examples of selected pieces visit organ.byu.edu/rep-levels You are welcome to propose comparable alternatives to the BYU organ faculty instructor Please do so, however, prior to beginning work on the pieces.

A. PRE-1750

Choose at least two works from the following four during Level 3:

Bach, Johann Sebastian, from Das Orgelbüchlein: "Ich ruf zu dir" (BWV 639)

“Christe du Lamm Gottes” (BWV 619)

“O Lamm Gottes unschuldig” (BWV 618)

Buxtehude, Dieterich. "Nun komm der Heiden Heiland" (BuxWV 211) (C.F. Peters ed., vol. 2)

Eight Short Preludes and Fugues, attrib. J. S. Bach. Learn at least one prelude and fugue or two preludes during Level 3 – either option counts as one "piece" or “work”:

Prelude in C Major (BWV 553)

Prelude and Fugue in D Minor (BWV 554)

Prelude in F Major (BWV 556)

Prelude and Fugue in G Major (BWV 557)

Prelude in G Minor (BWV 558)

B. 1750-1900

Brahms, Johannes. “Es ist ein Ros' entsprungen,” op. 122 no. 8, from Eleven Chorale Preludes

Karg-Elert, Sigfrid. “Freu dich sehr, o meine Seele, ” in Keeler and Blackham, pp. 110-111.

Mendelssohn-Bartholdy, Felix. Sonata IV, op. 65: Andante.

Rheinberger, Josef. “Trio No. 1 in G Minor,” in OrganTutor, and Ritchie/Stauffer pp. 117-119.

C. Since 1900

Cundick, Robert. "Meditation," from A First Album for Church Organists, or free download organ.byu.edu/cundickmeditation1-4.pdf

Dupré, Marcel. Seventy-Nine Chorales, nos. 2, 12, 22, 28, 44, 48 (choose two – counts as one “piece” or “work”). Peeters, Flor. "O Gott, du frommer Gott," from Ten Chorale Preludes, op. 68 (also useful in Level 6)

III. HYMN PLAYING

Be able to play any hymn you choose with a sustained legato approach in addition to any alternative approaches you might be using. As described in OrganTutor under "Listening Skills for Practice," pay particular attention to precise releases, perfect legato, and independence of line.

The following resources may be helpful in preparation for the performance of hymns: Belnap, Parley L. Hymn Studies for Organists Rev. ed. Provo, UT: BYU Creative Works Office, 2003. Cook, Don. OrganTutor Online (or OrganTutor Workbook). Provo, UT: Brigham Young University, 1998/2021 Lovelace, Austin C The Organist and Hymn Playing. Rev. ed. Carol Stream, IL: Agape, 1981. Hymns of the Church of Jesus Christ of Latter-day Saints. Salt Lake City, UT: Church of Jesus Christ of Latter-day Saints, 1985. (Free downloads of most hymns from churchofjesuschrist.org/music/index/hymns/number?lang=eng&_r=1 Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

The following hymns from the hymnbook listed above are well suited to this level. Other hymns of comparable difficulty may be substituted, including those from the Examination Hymn Booklet of the American Guild of Organists (request a pdf copy by emailing info@agohq.org) Before beginning practice on substitute hymns, obtain approval from your BYU Organ Faculty course instructor The tune names of hymns that might be found in other hymnals are given in parentheses below.

2 The Spirit of God

12 `Twas Witnessed in the Morning Sky (Solemn Melody)

15 I Saw a Mighty Angel Fly (Forest Green)

22 We Listen to a Prophet's Voice

24 God Bless Our Prophet Dear

26 Joseph Smith's First Prayer

28 Saints, Behold How Great Jehovah (Edgar)

30 Come, Come, Ye Saints (All Is Well)

31 O God, Our Help in Ages Past (St. Anne)

40 Arise, O Glorious Zion

45 Lead Me into Life Eternal

47 We Will Sing of Zion

49 Adam-Ondi-Ahman (Prospect of Heaven)

50 Come, Thou Glorious Day of Promise

57 We're Not Ashamed to Own Our Lord

66 Rejoice, the Lord is King! (Jubilate)

72 Praise to the Lord, the Almighty (Lobe den Herren)

73 Praise the Lord with Heart and Voice

135 My Redeemer Lives

141 Jesus, the Very Thought of Thee (St. Agnes)

147 Sweet is the Work

153 Lord, We Ask Thee Ere We Part

172 In Humility, Our Savior (Hyfrydol)

175 O God, the Eternal Father (Abschied)

182 We'll Sing All Hail to Jesus' Name

184 Upon the Cross of Calvary

187 God Loved Us, So He Sent His Son

188 Thy Will, O Lord, Be Done

202 O Come, All Ye Faithful (Adeste fideles)

218 We Give Thee But Thine Own (Schumann)

222 Hear Thou Our Hymn, O Lord

247 We Love Thy House, O God

267 How Wondrous and Great (Lyons)

The following items are divided between the three played assignments:

A. SINGLE VERSE. Choose and prepare one verse each of twelve hymns with the soprano, alto, and tenor voices on the Great manual and the bass voice in the pedals. In addition, prepare two hymns (which may be selected from the twelve) to be played on a manual only (no pedal). The score should be prepared as needed for a polished performance.

B.COMPLETE HYMN. Choose two or three hymns from this level to play completely (introduction and all verses, using a rearrangement of voices and/or a change of registration between verses at least once throughout the hymn). The score should be prepared as needed for a polished performance. Include each of the following techniques (soprano solo and tenor solo) at some point in one of the hymns. Use them more than once and/or in more than one hymn if you wish, but do not overuse:

1. Soprano Solo. For an entire verse, solo out the SOPRANO voice with the right hand (play soprano on a manual with a more prominent [solo] sound, and play alto and tenor on a different manual with a less prominent [accompanimental] sound). Use this "soprano solo" technique in two ways:

a. Play the soprano solo in the normal written range.

b. Play the soprano down an octave. (Move the hand; don't just use lower-pitched stops.)

2. Tenor Solo. Choose a section of a hymn (at least two phrases) where the TENOR line has melodic interest. Solo out the tenor voice with the left hand (play tenor on a manual with a more prominent [solo] sound, and play soprano and alto on a different manual with a less prominent [accompanimental] sound). Choose one of the following ways of applying this "tenor solo" technique:

a. Play the tenor solo in the normal written range.

b. Play the tenor up an octave. (Move the hand; don't just use higher-pitched stops.)

All information may be found in:

IV. MUSIC THEORY

Steinke, Greg A. and Paul Harder. Harmonic Materials in Tonal Music Part I. 10th ed. Upper Saddle River, NJ: Prentice Hall, 2010, chapters 1-5.

Other editions may be used and are even encouraged, but specific frame numbers referenced in the instructor feedback of the Quizzes may not be accurate.

Know the following:

1. Basic terms and definitions of tonal music (tonal, keynote, key, iteration, tonality, tonal center, tonal harmony, intervals, chords, triads, harmonic interval, root, diatonic triads)

2. Names of the degrees of the scale, names and qualities of chords on degrees of the scale, primary and secondary triads, and basic harmonic progressions

3. Triads in root position – doubling and spacing (basic principles, chord spelling, figured bass, voice ranges, close and open structure)

4. Triads in root position – voice leading (practical writing from figured bass, kinds of relative motion, principles of good melodic motion, principles of good voice leading when connecting triads with roots a fifth, second, or third apart)

5. Triads in first and second inversion (identify root, figured bass, chord spelling, proper doubling, part writing, open and close structure, cadential six-four chords, Roman numeral analysis)

The Greg Steinke/Paul Harder books are programmed learning texts in music theory, designed for self-study. Chapters 1-5 should be completed during Level 3. Concepts covered in these chapters will be included in Quizzes 2-4 and in each written examination or review.

V. ORGAN REGISTRATION

Information may be found in the pamphlet Timeline of the Organ: 2600 Years of History (required – request from organ@byu.edu), in The OrganTutor Workbook (required), in the OrganTutor Online Tutorial (optional), in Organ Technique: Modern and Early (required), and in the books on registration listed in the bibliography (optional) Know the following:

Lesson 1 – History & Development of the Organ (Timeline of the Organ)

Lesson 2 – Types of Organ Registration and Musical Texture (OrganTutor)

Lesson 3 – Chorus Registration (OrganTutor)

Lesson 4 – Hymn Registration (OrganTutor)

Lesson 5 – Solo and Accompaniment Registration (OrganTutor)

Lesson 6 – Trio Registration (OrganTutor)

Lesson 7 – The Process of Registrational Decision Making and Registration Mechanics (OrganTutor)

Lesson 9 – Historical Styles in Organ Building and Registration: Seventeenth- and Eighteenth-Century Germany, Austria, and the Netherlands (Organ Technique: Modern and Early)

Lesson 12 – Historical Styles in Organ Building and Registration: J. S. Bach (Organ Technique: Modern and Early)

The Organ Registration portion of this course is in two parts. Lessons 1-7 cover the same basic competencies that are essential for all organists. These are taught in Levels 1-2 and reviewed in every level thereafter. Lessons 9 and 12 are new topics that continue a course of instruction on important style periods in organ construction, composition, and registration.

VI. ACCOMPANIMENT SKILLS

Practice reading easy four-part vocal scores (choral octavos in open score – where each part is written on its own staff). The voices should move in a hymn-like style. Choose and prepare one vocal score each to play for Played Assignments 2 and 3. These free online downloads for practice are selected from many others available at https://www.cpdl.org/wiki/index.php/Category:SATB: https://www.cpdl.org/wiki/images/c/ce/AdoramusTeChristeDuboisSATB.pdf

https://www.cpdl.org/wiki/images/c/c6/AdmonitionRead1807bpr.pdf

https://www.cpdl.org/wiki/images/5/50/Adoro_Te.pdf

https://www.cpdl.org/wiki/images/4/4e/Auge_Domine_by_Fabio_Solda.pdf

https://www.cpdl.org/wiki/images/e/e2/Galliculus_Aparuit.pdf

https://www.cpdl.org/wiki/images/5/57/AnnapolisRead1785dpr.pdf

https://www.cpdl.org/wiki/images/c/cc/Praetorius-Aus_tiefer_Not_%28mel.1%2C_4vv-2%2C_XLV%29.pdf

https://www.cpdl.org/wiki/images/3/37/Schütz_Becker_Psalm7_1628.pdf

https://www.cpdl.org/wiki/images/4/4b/Heinichen-Ave_Maris_Stella.pdf

https://www.cpdl.org/wiki/images/f/f8/Selig_sind_die_Toten.pdf

https://www.cpdl.org/wiki/images/b/bb/Schütz_Becker_Psalm137_1628.pdf https://www.cpdl.org/wiki/images/d/da/Nh_Aiblinger_VP_01_Dixit.pdf https://www.cpdl.org/wiki/images/1/17/Arcadelt_Amor_tu_sai_pur_fare.pdf https://www.cpdl.org/wiki/images/f/f4/Willaert_Ave_dulcissime_Domine.pdf https://www.cpdl.org/wiki/images/f/f5/Orlando_di_Lasso_-_Anna%2C_mihi_dilecta.pdf

https://www.cpdl.org/wiki/images/3/33/CPDLAbschied_vom_Walde.pdf

https://www.cpdl.org/wiki/images/2/29/Prae-ach_gott.pdf

https://www.cpdl.org/wiki/images/4/4e/Cava-arg.pdf

https://www.cpdl.org/wiki/images/c/ce/Schütz_Becker_Psalm6_1628.pdf

https://www.cpdl.org/wiki/images/d/d3/307.pdf

VII. SIGHT-READING

Practice sight-reading pieces of comparable difficulty to the following very easy three- or four-part pieces, hymns, or hymn arrangements Prepare to sight-read in this way for the evaluator during Played Assignments 1 and 3:

From Croft, Kim. Nine Hymn Studies. Orem, UT: Pioneer Music Press (Jackman Music), 1986 (pedal in slow-moving note values with two easy manual parts):

Abide With Me

How Gentle God's Commands

Jesus, the Very Thought of Thee Sweet is the Work

Lauda Anima, Azmon, Tuolon, Amazing Grace; and LDS Hymns 163, "Lord, Dismiss Us with Thy Blessing" (Greenville), and 117, "Come Unto Jesus"

VIII. TRANSPOSITION

Transpose the soprano voice (only) of two of the following hymns (may substitute) up to and including a major second up and down Play one each for Played Assignments 1 and 3:

28 Saints, Behold How Great Jehovah

29 A Poor Wayfaring Man of Grief

166 Abide with Me! (Eventide)

172 In Humility, Our Savior (Hyfrydol)

176 'Tis Sweet to Sing the Matchless Love

LEVEL 4

Level 4 – Intermediate (those with substantial training and fluency in the basic organ fundamentals listed in Level 2. Have training in organ pieces in both legato and articulate styles Should be able to play easy four-part vocal scores, to sight-read simple three- and four-part organ music and hymns, and to transpose hymn melodies (only) up to and including a major second up and down. Music Theory prerequisites: an understanding of the music theory topics listed under Levels 1-3.)

I. ORGAN TECHNIQUE

The following organ method books are recommended. (See full descriptions under Level 3.) You may choose one of the five from which to play If you desire, you may use another method book with the approval of your BYU course instructor. Any method used should develop the concepts and skills listed below using comparable exercises.

*Required texts: The OrganTutor Workbook (required) and The OrganTutor Online Tutorial (optional) are basic texts for the course, containing materials needed for passing Unit 1 in Levels 3-6. If you decide also to learn organ technique through OrganTutor and/or Ritchie/Stauffer, you will not need to purchase the Davis, Gleason, or Keeler books. The Ritchie/Stauffer text is also required for its organ historical/registration information.

Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. *The OrganTutor Workbook. ("OTW") Spanish Fork, UT: Ard Publications, n.d. (ardpublications.com). With its companion resource: The OrganTutor Online Tutorial. Provo, UT: Brigham Young University, 1998/2022. (organtutor.byu.edu)

*Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early. New York: Oxford, 2000. (amazon.com availabilities)

Davis, Roger. The Organist's Manual. New York: W. W. Norton, 1985. (amazon.com availabilities)

Gleason, Harold. Method of Organ Playing. 8th ed. Englewood Cliffs, NJ: Prentice-Hall, 1995. (amazon.com availabilities)

Keeler, J. J., and E. Donnell Blackham. Basic Organ Techniques. 3rd ed. Bryn Mawr, PA: Universe, 1998. (jackmanmusic.com)

Before 1800:

Frescobaldi, Girolamo, “Canzona dopo l’Epistola” (in Ritchie/Stauffer pp. 207-210)

Zachau, Friedrich Wilhelm. "Komm, Heiliger Geist, Herr Gott" (in 80 Chorale Preludes, ed. Hermann Keller, pub. by C. F. Peters, #49)

Walther, Johann G. "Ein Feste Burg" (in 80 Chorale Preludes, #24)

Walther, Johann G. "Lobt Gott ihr Christen allzugleich" (in 80 Chorale Preludes, #52)

Bach, J. S. “Was Gott tut, das ist wohlgetan, BWV 1116 (in Ritchie/Stauffer pp. 211-212)

Bach, J. S., attrib. "Es ist gewisslich an der Zeit" (in 80 Chorale Preludes, #28)

After 1800:

Lemmens, Jacques-Nicolas. “Mélodie” or “Pastorale” (in OrganTutor)

Archer, J. Stuart. “Fughetta” (in OrganTutor)

Rinck, Johann. “Lento” (in Davis p. 79)

Boëly, Alexandre-Pierre-François. “Verset for the Kyrie” (in Davis p. 85)

Brahms, Johannes. “Es ist ein Ros’ entsprungen” (in Davis pp. 90-91)

Boëllmann, Léon. “Verset” (in Davis p. 81)

Vierne, Louis. “Berceuse” (in Davis p. 126, and fully fingered in Ritchie/Stauffer p. 156-160)

Schroeder, Hermann. “Andantino” (in Ritchie/Stauffer pp. 72-73)

Dupré, Marcel. “Christus, der uns selig macht” (in Davis p. 80, and Dupré Seventy-Nine Chorales p. 17)

Alain, Jehan. “Choral Cistercien pour une élévation” (in Gleason p. 101)

Rorem, Ned. “Serenade” (in Gleason p. 99)

B. PEDAL TECHNIQUE: In addition to being fluent in basic skills, learn to perform varieties of legato, non-legato, and staccato, as well as articulations and phrasings. Prepare the indicated exercises from one of the following method books: OrganTutor Workbook: Groups 16, 17, 19, 20, and “Pedal Passages from Organ Works of J. S. Bach”

Keeler and Blackham: exs. 118-121

Gleason: p. 129, no. 1; p. 130, nos. 2-4; p. 134; p. 139, nos. 3-5; pp. 143-144

Davis: p. 37, nos. 2-4; p. 38, no. 1; p. 39, no. 3

Ritchie/Stauffer: p. 135; p. 141; pp. 240-241

II.ORGAN REPERTOIRE

For each played assignment, play three or four of the ten pieces that you have chosen from the following list (different pieces each time). For video or audio examples of selected pieces visit organ.byu.edu/rep-levels You are welcome to propose comparable alternatives (lower-medium difficulty) to the BYU organ faculty instructor. Please do so, however, prior to beginning work on the pieces.

A. PRE-1750

Bach, J. S. (During Level 4, choose two works from Orgelbüchlein, and one prelude and fugue. For this level a “prelude and fugue” counts as one work.)

from Orgelbüchlein:

“Herr Christ, der ein’ge Gottes-Sohn” (BWV 601) (fully fingered in Ritchie/Stauffer pp. 255-256)

"Christ lag in Todesbanden" (BWV 625)

“Jesus Christus, unser Heiland” (BWV 626) (fully fingered in Ritchie/Stauffer pp. 253-254)

"Erschienen ist der herrliche Tag" (BWV 629)

"Alle Menschen müssen sterben" (BWV 643)

from Eight Short Preludes and Fugues, attrib. J. S. Bach:

Prelude and Fugue in E Minor (BWV 555)

Fugue in G Minor (BWV 558)

Prelude and Fugue in Bb Major (BWV 560) (fully fingered in Ritchie/Stauffer pp. 242-247)

Prelude and Fugue in E Minor ("Cathedral") (BWV 533) (in Leupold edition of Orgelbüchlein)

Other composers (for this course, choose one work):

Sweelinck, Jan Pieterszoon, “Toccata” (fully fingered in Ritchie/Stauffer pp. 224-226)

Buxtehude, Dieterich:

"Erschienen ist der herrliche Tag" ("Wir danken dir, Herr Jesu Christ" in Breitkopf & Härtel edition) (BuxWV 224)

"In dulci jubilo" (BuxWV 197)

“Ach Herr, mich armen Sünder,” BuxWV 178 (in Ritchie/Stauffer pp. 227-230)

“Präludium in G Major, BuxWV 147 (fully fingered in Ritchie/Stauffer pp. 248-252)

Pachelbel, Johann:

Toccata in E Minor

"Vom Himmel hoch" (trio)

Couperin, François, “Récit de Cromhorne” (fully fingered in Ritchie/Stauffer pp. 327-330 plus ornamentation info.)

Clerambault, Louis-Nicolas, “Basse et Dessus de Trompette, ou de Cornet separé, en Dialogue” (in Davis pp. 88-89, and fully fingered in Ritchie/Stauffer pp. 220-223)

Stanley, John, “Voluntary in G Minor, Op. 5, No. 9” (fully fingered, in Ritchie/Stauffer pp. 213-220)

Lidon, José, “Sonata de 1o tono” (fully fingered in Ritchie/Stauffer pp. 231-234)

B. 1750-1900 (for this course, prepare three works, or approved alternatives): Brahms, Johannes. "Herzliebster Jesu" from Eleven Chorale Preludes, op. 122, no. 2 Mendelssohn-Bartholdy, Felix.

Sonata III, op. 65: Andante tranquillo

Sonata VI, op. 65: Fugue in D Minor (in Ritchie/Stauffer pp. 151-156)

Rheinberger, Josef.

Pastorale Sonata, op. 88, no. 3: slow movement

Trio No. 6 in E-flat Major (in Ritchie/Stauffer pp. 148-151)

Trio No. 4 in D-flat Major (in Ritchie/Stauffer pp. 132-134)

Rinck, Johann Christian Heinrich, “Postlude in D Minor” (in Ritchie/Stauffer pp. 142-148)

C. Since 1900 (for this course, choose two works):

Dupré, Marcel

"I Am Black but Comely" from Fifteen Pieces Founded on Antiphons, op. 18, no. 3

Seventy-nine Chorales, op. 28, nos. 6, 32, 33, 38, 39 (no. 32 is in Ritchie/Stauffer pp. 127-128)

Schroeder, Hermann. "In stiller Nacht" from Sechs Orgelchoräle, op. 11

Rorem, Ned, “There Is a Spirit That Delights to Do No Evil” (fully fingered in Ritchie/Stauffer pp. 161-163)

III. HYMN PLAYING

The following resources may be helpful in preparation for the performance of hymns: Belnap, Parley L. Hymn Studies for Organists. Rev. ed. Provo, UT: BYU Creative Works Office, 2003. Cook, Don. OrganTutor Online (or OrganTutor Workbook). Provo, UT: Brigham Young University, 1998/2021 Lovelace, Austin C. The Organist and Hymn Playing. Rev. ed. Carol Stream, IL: Agape, 1981.

Hymns of the Church of Jesus Christ of Latter-day Saints. Salt Lake City, UT: Church of Jesus Christ of Latter-day Saints, 1985. (Free downloads of most hymns from churchofjesuschrist.org/music/index/hymns/number?lang=eng&_r=1

Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

The following hymns from the hymnbook listed above are well suited to this level. Other hymns of comparable difficulty may be substituted, including those from the Examination Hymn Booklet of the American Guild of Organists (request a pdf copy by emailing info@agohq.org). Before beginning practice on substitute hymns, obtain approval from your BYU Organ Faculty course instructor Do not choose hymns for this level that you played in previous levels, or those on the suggested list of simpler hymns. Also, do not play the same hymn in more than one played assignment. The tune names of hymns that might be found in other hymnals are given in parentheses below.

5 High on the Mountain Top

27 Praise to the Man

53 Let Earth's Inhabitants Rejoice

55 Lo, the Mighty God Appearing!

58 Come, Ye Children of the Lord (Spanish Hymn)

59 Come, O Thou King of Kings

62 All Creatures of Our God and King (Lasst uns erfreuen)

63 Great King of Heaven

64 On This Day of Joy and Gladness

65 Come, All Ye Saints Who Dwell on Earth

68 A Mighty Fortress is Our God (Ein’ feste Burg)

69 All Glory, Laud, and Honor (St. Theodulph)

71 With Songs of Praise

81 Press Forward, Saints

83 Guide Us, O Thou Great Jehovah (Cwm Rhondda)

85 How Firm a Foundation

94 Come, Ye Thankful People (St. George’s Windsor)

95 Now Thank We All Our God (Nun danket)

97 Lead, Kindly Light

113 Our Savior's Love

124 Be Still, My Soul (Finlandia)

133 Father in Heaven (Integer vitae)

134 I Believe in Christ

137 Testimony

146 Gently Raise the Sacred Strain

166 Abide With Me (Eventide)

171 With Humble Heart

176 `Tis Sweet to Sing the Matchless Love

183 In Remembrance of Thy Suffering

189 O Thou, Before the World Began

190 In Memory of the Crucified

198 That Easter Morn

199 He is Risen! (Neander)

200 Christ the Lord is Risen Today (Easter Hymn)

206 Away in a Manger (Cradle Song)

209 Hark! the Herald Angels Sing (Mendelssohn)

220 Lord, I Would Follow Thee

246 Onward, Christian Soldiers (St. Gertrude)

262 Go, Ye Messengers of Glory

264 Hark, All Ye Nations

275 Men Are That They Might Have Joy

279 Thy Holy Word

291 Turn Your Hearts

293 Each Life That Touches Ours for Good

The following items are divided between the three played assignments:

A. SINGLE VERSE. Choose and prepare one verse each of twelve of the hymns listed above with the soprano, alto, and tenor voices on the Great manual and the bass voice in the pedals. In addition, prepare two hymns (which may be selected from the twelve) to be played on a manual only (no pedal). The score should be prepared as needed for a polished performance.

B. COMPLETE HYMN. Choose three or four hymns from this level to play completely (introduction and all verses, using a rearrangement of voices and/or a change of registration between verses at least once throughout the hymn). The score should be prepared as needed for a polished performance. Include each of the following techniques at some point in one of the hymns. Use them more than once and/or in more than one hymn if you wish, but do not overuse:

1. Alto Up an Octave. Choose a section of two hymns (at least two phrases) where the ALTO line has melodic interest, and play the alto voice an octave higher Therefore, the alto will be played an octave higher than written by the upper part of the right hand (fingers 3, 4, and 5), and the soprano will be played as written but with the lower part of the right hand (fingers 1, 2, and 3).

2. Nonharmonic Tones. Where musically effective in the alto, tenor, and/or bass voice(s), add PASSING TONES to fill in melodic skips of a third, and insert NEIGHBOR TONES between repeated notes. Also, use PEDAL POINT effectively in the pedals.

3. Tenor Solo. Choose a section of a hymn (at least two phrases) where the TENOR line has melodic interest. Solo out the tenor voice with the left hand (play tenor on a manual with a more prominent [solo] sound, and play soprano and alto on a different manual with a less prominent [accompanimental] sound). Choose one of the following ways of applying this "tenor solo" technique:

a. Play the tenor solo in the normal written range.

b. Play the tenor up an octave (Move the hand; don't just use higher-pitched stops.)

4. Soprano Solo. For an entire verse, solo out the SOPRANO voice with the right hand (play soprano on a manual with a more prominent [solo] sound, and play alto and tenor on a different manual with a less prominent [accompanimental] sound). Choose one of the following ways of applying this "soprano solo" technique:

a. Play the soprano solo in the normal written range.

b. Play the soprano down an octave. (Move the hand; don't just use lower-pitched stops.)

All information may be found in:

IV. MUSIC THEORY

Steinke, Greg A. and Paul Harder. Harmonic Materials in Tonal Music. Part I. 10th ed. Upper Saddle River, NJ: Prentice Hall, 2010, chapters 6-10.

Other editions may be used and are even encouraged, but specific chapter numbers and the frame numbers referenced in the instructor feedback of the Quizzes may not be accurate.

Know the following:

1. Introduction to seventh chords (diatonic seventh chords, seven types, Roman numeral analysis, figured bass, inversions, close and open structure, active tones, resolution, irregular doubling, dominant seventh)

2. Phrase structure and cadences (phrase, melodic contour, authentic cadence, plagal cadence, half cadence, deceptive cadence, final and non-final cadences, perfect and imperfect cadences, Picardy third, phrygian cadence)

3. Nonharmonic tones (identify and know how to write the following: passing tone – unaccented and accented, neighboring tone, appoggiatura, escape tone, anticipation, suspension, retardation, ornamentation, changing tone, pedal, free tone).

4. Harmonic progression (progression/retrogression, relative strength of various types of root movement, primary triads and their secondary triads in harmonic progression, structural and embellishing harmony, relation of a basic harmonic structure to the phrase as a whole).

5. Melody harmonization (tonality, choice of cadence, harmonic rhythm, tonic emphasis, basic harmonic structure, embellishments of basic harmonic structure, bass line, alto and tenor, adjustments).

The Greg Steinke/Paul Harder book is a programmed learning text in music theory, designed for self-study. Chapters 6-10 should be completed during Level 4. Concepts covered in these chapters will be included in Quizzes 3-4 and in the exams/reviews for Units 2 and 3.

V. ORGAN REGISTRATION

Information may be found in Timeline of the Organ: 2600 Years of History (required – request from organ@byu.edu), in The OrganTutor Workbook (required), in the OrganTutor Online Tutorial (optional), in Organ Technique: Modern and Early (required), and in the books on registration listed in the bibliography (optional). Know the following:

Lesson 1 – History & Development of the Organ (Timeline of the Organ)

Lesson 2 – Types of Organ Registration and Musical Texture (OrganTutor)

Lesson 3 – Chorus Registration (OrganTutor)

Lesson 4 – Hymn Registration (OrganTutor)

Lesson 5 – Solo and Accompaniment Registration (OrganTutor)

Lesson 6 – Trio Registration (OrganTutor)

Lesson 7 – The Process of Registrational Decision Making and Registration Mechanics (OrganTutor)

Lesson 9 – Historical Styles in Organ Building and Registration: Seventeenth- and Eighteenth-Century France (Organ Technique: Modern and Early)

Lesson 12 – Historical Styles in Organ Building and Registration: Nineteenth-Century Germany (Organ Technique: Modern and Early)

The Organ Registration portion of this course is in two parts. Lessons 1-7 cover basic competencies that are essential for all organists. These are taught in Levels 1-2 and reviewed in every level thereafter Lessons 9 and 12 are new topics that continue a course of instruction on important style periods in organ construction, composition, and registration.

VI. ACCOMPANIMENT SKILLS

A. Score reading. During this level, prepare four four-part vocal scores either manual only or with pedal. Read from the open score, not a two-stave reduction. Choose from the following, or play substitutions of comparable difficulty (no approval required):

From the voice-parts edition of Master Choruses, selected by Hugh Ross, John Smallman, and H. Alexander Matthew. Boston, MA: Oliver Ditson, 1933: "In dulci jubilo," p. 96, verse 1 "Jesu, Word of God Incarnate," p. 191 "O vos omnes," p. 284

From the Internet - free downloads (this list is also used in Levels 5 and 6): Bruckner, “Pange Lingua” https://www.cpdl.org/wiki/images/6/65/Pange_lingua_Bruckner.pdf Durón, “Negliya que quele” https://www.cpdl.org/wiki/images/0/01/Dur-neg2.pdf

Gounod, “O Divine Redeemer” http://www.musicbyandrew.ca/data/odivine.pdf

Liszt, “Salve Regina” https://www.cpdl.org/wiki/images/a/aa/Ws-lis-salv.pdf

Martini, “Populum humilem” https://www.cpdl.org/wiki/images/7/77/Populem_Humilem_Martini.pdf Mendelssohn, “Three Motets” (selections)

https://www.cpdl.org/wiki/images/6/6e/Mendelssohn_ThreeMotetsOp69.pdf

Morales, “Pastores dicite” https://www.cpdl.org/wiki/images/f/f7/Morales1546-11.pdf

Morley, “Now is the Gentle Season” https://www.cpdl.org/wiki/images/0/07/Now_is_the_gentle_season__The_fields_abroad.pdf

Mozart, “Rex tremendae” https://www.cpdl.org/wiki/images/sheet/moz-6264.pdf

Stainer, “O Emmanuel” https://www.cpdl.org/wiki/images/d/d3/O_Emmanuel_Stainer.pdf

Stanford, “Peace; Come Away” https://www.cpdl.org/wiki/images/5/5a/Peace_come_away_Stanford.pdf

B.Accompaniments. Prepare the following accompaniments from The Choirbook, Salt Lake City, UT: Church of Jesus Christ of Latter-day Saints, 1980. (The following resource might be helpful: Campbell, John. Accompaniment and Adaptation Practicum agohq.org/accompaniment-adaptation-practicum. New York: American Guild of Organists.)

"God So Loved the World," by John Stainer, p. 28

"Beautiful Savior," arr. J. Spencer Cornwall, p. 38

"Most Holy Spirit," by Leroy J. Robertson, p. 41

"Behold a Host Arrayed in White," by Edvard Grieg, p. 15

Works of similar difficulty may be substituted in either score reading or accompaniment sections.

VII. SIGHT-READING

Be able to sight-read pieces of comparable difficulty to the following (very easy pedal, one part in each hand): From Croft, Kim. Nine Hymn Studies. Orem, UT: Pioneer Music Press (Jackman Music), 1986: How Great the Wisdom In Humility Our Savior Israel, Israel, God Is Calling Oh How Lovely Was the Morning Poor Wayfaring Man of Grief

Lemmens, Jacques, “Short Trio No. 1 in C Major,” in Ritchie/Stauffer p. 108 Elliott, Richard L., “Prelude on ‘Converse’,” in OrganTutor Workbook

Four-part hymns: How Gentle God's Commands [Blest Be the Tie] (Dennis) In Humility, Our Savior [Jesus, Jesus, We Adore Thee] (Hyfrydol)

VIII. TRANSPOSITION

Practice transposing two-part voice combinations from simple hymns and folk tunes into all keys up to and including a major second up and down. You will be asked to transpose into those keys the soprano and alto parts of one of the following hymns (of the evaluator’s choice) for each played assignment:

204 Silent Night (Stille Nacht)

95 Now Thank We All Our God (Nun danket) or 166 Abide with Me (Eventide)

72 Praise to the Lord, the Almighty (Lobe den Herren)

LEVEL 5

Level 5 – Early advanced (those with substantial training and fluency in the basic organ fundamentals listed in Level 2, and in intermediate organ pieces in both legato and articulate styles. Should be able to play moderately difficult four-part vocal scores and easy choir accompaniments, to sight-read moderately difficult four-part organ music and hymns, and to transpose simple hymns into all keys up to and including a major second up and down. Music Theory prerequisites: an understanding of the music theory topics listed under Levels 1-4.)

I. PIANO TECHNIQUE

Practice the following technical studies hands separately then together at the piano. For each played assignment, choose two of the six items (a different pair of items each time, hands together) to play for the evaluator:

1. Scales: four notes to the beat (M. 112), parallel and contrary motion, 2 octaves up and down in all major and at least one form of minor keys

2. Chromatic scale: four notes to the beat (M. 112), two octaves up and down

3. Arpeggios (four notes to the beat, four octaves up and down):

a. Root position (M. 88), all major and minor keys

b. viio7 chord (M. 66), starting on C, C#, and D

c. V7 chord (M. 66), starting on all 12 keys

4. Block chords: four notes in each hand, as in 3a, 3b, and 3c above, inverted through a compass of two octaves up and down, each chord being played as a quarter note (M. 88)

5. Broken chords: all major and minor keys, two octaves up and down (M. 88)

6. Selected studies from any of the following:

a. The Virtuoso Pianist by Hanon

b. 160 eight-measure exercises by Czerny

c. School of Velocity, op. 299, by Czerny

d.Comparable from Bertini, Cramer, Loeschhorn, Dohnanyi, etc.

II. ORGAN TECHNIQUE

Please choose one organ method from which to review organ technique. (See full descriptions under Level 3.) The following are recommended, but you may use another with the approval of your BYU course instructor. Any method used should develop the same concepts and skills as those listed below using comparable exercises. For Played Assignment 2, be able to play any manual or pedal exercise in the method you have chosen.

*Required texts: The OrganTutor Workbook (required) and The OrganTutor Online Tutorial (optional) are basic texts for the course, containing materials needed for passing Unit 1 in Levels 3-6. If you decide also to learn organ technique through OrganTutor and/or Ritchie/Stauffer, you will not need to purchase the Davis, Gleason, or Keeler books. The Ritchie/Stauffer text is also required for its organ historical/registration information.

*Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early. New York: Oxford, 2000. (amazon.com availabilities)

Davis, Roger. The Organist's Manual New York: W. W. Norton, 1985. (amazon.com availabilities)

Gleason, Harold. Method of Organ Playing. 8th ed. Englewood Cliffs, NJ: Prentice-Hall, 1995. (amazon.com availabilities)

Keeler, J. J., and E. Donnell Blackham. Basic Organ Techniques. 3rd ed. Bryn Mawr, PA: Universe, 1998. (jackmanmusic.com)

III. ORGAN REPERTOIRE

For each played assignment, play five of the fifteen pieces that you have chosen from the following list (a different set of five pieces each time). For video or audio examples of selected pieces visit organ.byu.edu/rep-levels. You are welcome to propose

comparable alternatives (medium difficulty) to the BYU organ faculty instructor. Please do so, however, prior to beginning work on the pieces.

A. PRE-1750

Bach, J. S. (two of the larger works:)

Canzona in D Minor (BWV 588)

“Little” Fugue in G Minor (BWV 578)

Prelude and Fugue in C Minor (BWV 549)

Toccata and Fugue in D Minor (BWV 565)

(two works from Orgelbüchlein:)

"Der Tag, der ist so freudenreich" (BWV 605)

"Herr Jesu Christ, dich zu uns wend" (BWV 632)

"Vater unser in Himmelreich" (BWV 636)

"Es ist das Heil uns kommen her" (BWV 638)

Buxtehude, Dieterich (other German organ composers from this period may be considered) (one chorale-based work:)

"Nun bitten wir den Heiligen Geist" (BuxWV 208 or 209)

"Puer natus in Bethlehem" (BuxWV 217)

“Wär Gott nicht mit uns diese Zeit” (BuxWV 222)

(one other work:)

Fugue in C Major (BuxWV 174)

Toccata in F Major (BuxWV 157, complete)

B.1750-1900

Brahms, Johannes (do both, from Eleven Chorale Preludes, op. 122:)

"Herzlich tut mich verlangen" (op. 122, no. 9)

"O Welt, ich muss dich lassen" (op. 122, no. 11)

Franck, César (choose one:)

Adagio from "Fantaisie in C"

Prelude from "Prelude, Fugue and Variation"

Mendelssohn-Bartholdy, Felix. Sonata II, op. 65 (all four movements).

C.Since 1900 (two of the following:)

Boëllmann, Leon. Toccata from Suite Gothique, op. 25. Bush, Douglas. Hymn Settings for Organ (visit sheetmusicauthority.com and search for “douglas bush”), any piece of medium difficulty.

Chamberlin, David. LDS Hymn Voluntaries. (ChamberlinMusic.com), any piece of medium difficulty Dupré, Marcel. "How Fair and How Pleasant Art Thou," from Fifteen Pieces founded on Antiphons, op. 18, no. 5. Jongen, Joseph. "Chant de Mai," op. 53, no. 1 (J. & W. Chester)

Vierne, Louis. "Carillon" from Twenty-four Pieces in Free Style, vol. 2 Walcha, Helmut. "Weicht ihr Berge, fallt ihr Hügel" from Fünfundzwanzig Choralvorspiele (C. F. Peters nr. 4850) Wood, Dale. "Let Us Break Bread Together" (Augsburg 11-0856) Wright, Searle. "Carol-Prelude on Greensleeves" (H. W Gray, St. Cecilia Series 798)

Any hymn setting of medium difficulty from this period may be acceptable

IV. HYMN PLAYING

The following resources may be helpful in preparation for the performance of hymns: Belnap, Parley L. Hymn Studies for Organists Rev. ed. Provo, UT: BYU Creative Works Office, 2003. Cook, Don. OrganTutor Online (or OrganTutor Workbook). Provo, UT: Brigham Young University, 1998/2021 Lovelace, Austin C. The Organist and Hymn Playing. Rev. ed. Carol Stream, IL: Agape, 1981. Hymns of the Church of Jesus Christ of Latter-day Saints. Salt Lake City, UT: Church of Jesus Christ of Latter-day Saints, 1985. (Free downloads of most hymns from churchofjesuschrist.org/music/index/hymns/number?lang=eng&_r=1 Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

The following hymns from the hymnbook listed above are well suited to this level. Other hymns of comparable difficulty may be substituted, including those from the Examination Hymn Booklet of the American Guild of Organists (request a pdf copy by emailing info@agohq.org) Before beginning practice on substitute hymns, obtain approval from your BYU Organ Faculty course instructor Do not choose hymns for this level that you played in previous levels, or those on the suggested list of simpler hymns. Also, do not play the same hymn in more than one played assignment. The tune names of hymns that might be found in other hymnals are given in parentheses below.

The Spirit of God Like a Fire is Burning*

8 Awake and Arise

27 Praise to the Man

41 Let Zion in Her Beauty Rise (Ellacombe)

50 Come, Thou Glorious Day of Promise*

61 Raise Your Voices to the Lord*

63 Great King of Heaven

68 A Mighty Fortress (Ein’ feste Burg)

70 Sing Praise to Him (Mit Freuden zart)

82 For All the Saints (as written) (Sine nomine)

87 God is Love*

110 Cast Thy Burden upon the Lord (Birmingham)

123 Oh, May My Soul Commune with Thee*

138 Bless our Fast, We Pray

151 We Meet, Dear Lord*

155 We Have Partaken of Thy Love

169 As Now We Take the Sacrament*

170 God, Our Father, Hear Us Pray

176 Tis Sweet to Sing the Matchless Love

183 In Remembrance of Thy Suffering

200 Christ the Lord is Risen Today (Easter Hymn)

222 Hear Thou Our Hymn, O Lord

231 Father, Cheer Our Souls Tonight

240 Know This, that Every Soul is Free

243 Let Us All Press On

268 Come, All Whose Souls Are Lighted*

287 Rise, Ye Saints, and Temples Enter

291 Turn Your Hearts

The following items are divided between the three played assignments:

A. SINGLE VERSE. For each played assignment, choose and prepare one verse each of four of the hymns listed above with the soprano, alto, and tenor voices on the Great manual and the bass voice in the pedals. In addition, prepare one hymn (which may be selected from the twelve) to be played on a manual only (no pedal). In all hymn playing, your choice of registration should reflect the spirit of the text.

B. COMPLETE HYMN. For each played assignment, choose one hymn from this level to prepare and play completely (creative introduction and all verses, using a rearrangement of voices and/or a change of registration between verses at least once throughout the hymn). Prepare the score completely, and prepare and execute a registrational plan that reflects the messages in the various verses of text.

For each complete hymn, play an effective CREATIVE INTRODUCTION. Make use of one or more creative techniques (pedal point, passing tones, reharmonization, etc.), while at the same time accomplishing the main purposes for the introduction (set the key, meter, tempo, and mood; clarify the hymn melody; encourage members of the congregation to sing). Use short or long introductions, depending on the traditions and expectations of your congregation. Create at least one of these introductions yourself; for the rest you may use those composed by others as long as they are effective.

C. CREATIVE TECHNIQUES. Include each of the following techniques in some hymn (either those in A or B above) at some point in the course. Use them more than once or in more than one hymn if you wish, but do not overuse creative techniques in any one hymn:

1. Alto Up an Octave. Choose a section of a hymn (at least two phrases) where the ALTO line has melodic interest, and play the alto voice an octave higher. In this way the alto will be played an octave higher than written by the upper part of the right hand (fingers 3, 4, and 5), and the soprano will be played as written but with the lower part of the right hand (fingers 1, 2, and 3).

a. Play the tenor solo in the normal written range.

b. Play the tenor up an octave. (Move the hand; don't just use higher-pitched stops.)

3. Soprano and Tenor Switched. Choose a section of a hymn (at least two phrases each) from those marked with an asterisk (*) to play with the SOPRANO AND TENOR SWITCHED. Use one of the following methods:

The role of the right hand may be easier understood by thinking of the "alto played up an octave" technique, as described a few paragraphs above, but with the whole right hand played down an octave. This seemingly complicated technique then becomes simply a combination of the "tenor solo" technique (up an octave) for the left hand, and the "alto up an octave" technique (with the hand played down an octave) for the right.

range If you choose to play on different manuals, use stops that would give the soprano voice (played by the left hand in the tenor range) a more prominent sound.

4. Soprano Solo For an entire verse, solo out the SOPRANO voice with the right hand (play soprano on a manual with a more prominent [solo] sound, and play alto and tenor on a different manual with a less prominent [accompanimental] sound). Choose one of the following ways of applying this "soprano solo" technique:

a. Play the soprano solo in the normal written range.

b. Play the soprano down an octave. (Move the hand; don't just use lower-pitched stops.)

5. Nonharmonic Tones. Where musically effective in the alto, tenor, and/or bass voice(s), add PASSING TONES to fill in melodic skips of a third, and insert NEIGHBOR TONES between repeated notes. Also, use PEDAL POINT effectively in the pedals.

6.Suspensions. Choose two of the more meditative hymns in which to add two or three SUSPENSIONS. (If your congregation sings in parts, do not use this technique as part of your complete hymn. It would be more appropriate for prelude-style harmonic embellishment.)

7. Free Accompaniment. Find an appropriate FREE ACCOMPANIMENT (hymn harmonization, reharmonization) for each of two hymns, and play it on the last verse You may play an interlude prior to the free accompaniment if you wish.

V. MUSIC THEORY

All information may be found in:

Steinke, Greg A. and Paul Harder. Harmonic Materials in Tonal Music. Part II. 10th ed. Upper Saddle River, NJ: Prentice Hall, 2010, chapters 1-6.

Other editions may be used and are even encouraged, but specific chapter numbers and the frame numbers referenced in the instructor feedback of the Quizzes may not be accurate.

Know the following:

1. Seventh chords (dissonance, diatonic seventh chords [major-minor, half-diminished, inverted, etc.], dominant seventh chord

2. Nondominant seventh chords (passive resolution, cadence effect, sequence patterns, regular and irregular resolutions)

3. Altered nonharmonic tones and secondary dominants (foreign tones, tonal color, alteration of scale degrees, chromatic passing tones, false [cross] relation, double neighboring tones, chromatic mediants, tonicization, dominant function, dominant relation, leading tone relation, sequence of chords)

4.Modulation to closely related keys (transcient modulation, tonal reference, change of mode, phrase modulation, modulating sequence, pivot chord modulation, diatonic modulation, chromatic modulation)

5. Borrowed chords (modal mixture, modal exchange, Picardy third, deceptive cadence, ambiguity of modality)

6.Augmented sixth chords [Italian, German, French, English] (chromatic alteration, altered chords [subdominant, subdominant seventh, supertonic seventh], motive/motif)

The Greg Steinke/Paul Harder book is a programmed learning text in music theory, designed for self-study. Chapters 1-6 should be completed during Level 5 Concepts covered in these chapters will be included in the Quizzes and exams/reviews for Units 2-3.

VI. ORGAN REGISTRATION

Lesson 1 – History & Development of the Organ (Timeline of the Organ)

Lesson 2 – Types of Organ Registration and Musical Texture (OrganTutor)

Lesson 3 – Chorus Registration (OrganTutor)

Lesson 4 – Hymn Registration (OrganTutor)

Lesson 5 – Solo and Accompaniment Registration (OrganTutor)

Lesson 6 – Trio Registration (OrganTutor)

Lesson 7 – The Process of Registrational Decision Making and Registration Mechanics (OrganTutor)

Lesson 9 – Historical Styles in Organ Building and Registration: Nineteenth Century France (Organ Technique: Modern and Early)

Lesson 12 – Historical Styles in Organ Building and Registration: Seventeenth- and Eighteenth-Century Italy (Organ Technique: Modern and Early)

continue a course of instruction on important style periods in organ construction, composition, and registration.

VII. ACCOMPANIMENT SKILLS

A. Score Reading. Throughout this level, prepare and play one four-part vocal score (choral music in open score – where each part is written on its own staff) for each of the three played assignments. Read from the open score, not a two-stave reduction. For each piece decide whether to play the bass part in the manual or the pedal. Choose from the following (works of a similar nature may be substituted – no approval required):

From the voice-parts edition of Master Choruses, selected by Hugh Ross, John Smallman, and H. Alexander Matthew. Boston, MA: Oliver Ditson, 1933:

"If Thou but Suffer God to Guide Thee," p. 47 "Cherubim Song," p. 59 "Tenebrae factae sunt," p. 230

From the Internet - free downloads (choose from those that you did not use in Level 4):

Bruckner, “Pange Lingua” https://www.cpdl.org/wiki/images/6/65/Pange_lingua_Bruckner.pdf

Durón, “Negliya que quele” https://www.cpdl.org/wiki/images/0/01/Dur-neg2.pdf

Gounod, “O Divine Redeemer” http://www.musicbyandrew.ca/data/odivine.pdf

Liszt, “Salve Regina” https://www.cpdl.org/wiki/images/a/aa/Ws-lis-salv.pdf

Martini, “Populum humilem” https://www.cpdl.org/wiki/images/7/77/Populem_Humilem_Martini.pdf Mendelssohn, “Three Motets” (selections)

https://www.cpdl.org/wiki/images/6/6e/Mendelssohn_ThreeMotetsOp69.pdf

Morales, “Pastores dicite” https://www.cpdl.org/wiki/images/f/f7/Morales1546-11.pdf

Morley, “Now is the Gentle Season” https://www.cpdl.org/wiki/images/0/07/Now_is_the_gentle_season__The_fields_abroad.pdf

Mozart, “Rex tremendae” https://www.cpdl.org/wiki/images/sheet/moz-6264.pdf

Stainer, “O Emmanuel” https://www.cpdl.org/wiki/images/d/d3/O_Emmanuel_Stainer.pdf Stanford, “Peace; Come Away” https://www.cpdl.org/wiki/images/5/5a/Peace_come_away_Stanford.pdf

B. Accompaniments. Prepare and play one accompaniment for each of the three played assignments. (During this level one of them must be a realization of a figured bass from the Baroque period.) The following resource might be helpful for both the accompaniments and the adaptation (below): Campbell, John. Accompaniment and Adaptation Practicum https://www.agohq.org/accompaniment-adaptation-practicum/ New York: American Guild of Organists, n.d.

Choose from the following (works of a similar nature may be substituted):

From the Internet (free downloads):

Brahms, “Geistliches Lied” https://www.cpdl.org/wiki/images/f/fd/Geistliches_Lied.pdf (easy) Vierne, “Ave Maria” https://www.cpdl.org/wiki/images/6/6e/Vierne_-_Ave_Maria.pdf (easy) Stainer, “Agnus Dei” https://www.cpdl.org/wiki/images/b/b1/Agnus_Dei_in_F_Stainer.pdf (easy) Brahms, “Ave Maria” https://www.cpdl.org/wiki/images/4/4c/Op._12_Ave_Maria-Brahms-SSAA-Org.pdf Buck, “He shall come down like rain” https://www.cpdl.org/wiki/images/7/79/Ws-buck-hes.pdf Buck, “Lord, thou hast been our refuge” https://www.cpdl.org/wiki/images/3/36/Ws-buck-mi1.pdf Dubois, “Ave Maria” https://www.cpdl.org/wiki/images/4/4d/Dubo-ave.pdf

Elgar, “Fear not, O land” https://www.cpdl.org/wiki/images/a/a5/Elgar_fear_not.pdf

Franck, “Psalm 150” https://www.cpdl.org/wiki/images/1/14/Franck_Psaume_150.pdf

Ireland, “Jubilate Deo” https://www.cpdl.org/wiki/images/f/f0/Ireland-Jubilate_Deo_In_F.pdf Stainer, “Magnificat and nunc cimmitis”

https://www.cpdl.org/wiki/images/c/cc/Stainer_magnificat_and_nunc_dimittis_in_b_flat.pdf (long) Stanford, “And I Saw Another Angel” https://www.cpdl.org/wiki/images/0/07/Ws-stan-371.pdf

Stanford, “How Beauteous are their feet”

https://www.cpdl.org/wiki/images/9/93/How_beauteous_are_their_feet_Stanford.pdf

Stanford, “Why seek ye the living?” https://www.cpdl.org/wiki/images/3/31/Ws-stan-why.pdf

From The Choirbook, Salt Lake City, UT: Church of Jesus Christ of Latter-day Saints, 1980: "The Morning Breaks," arr. Hal K. Campbell, p. 4

"A Marvelous Work," by Alexander Schreiner, p. 12

"Jesus, Saviour," by W. A. Mozart, p. 33

"The Lord's Prayer," by B. Cecil Gates, p. 42

"Song of Praise," by Leroy J. Robertson, p. 56

With figured bass (basso continuo) (free downloads): Fawcett, “Lo, he comes with clouds descending” https://www.cpdl.org/wiki/images/2/21/FawcJLoHeComes.pdf (very easy)

Leach, “O love divine, how sweet thou art” https://www.cpdl.org/wiki/images/1/18/LeacJ-OLoveDivine.pdf

Buxtehude, “Cantate Dominum” (any movement) https://imslp.org/wiki/Special:ImagefromIndex/97896/hfhg Clark, “He that hath made his refuge God” https://www.cpdl.org/wiki/images/4/49/ClarT-HeThatHathLangport.pdf

Clark, “When, overwhelmed with grief” https://www.cpdl.org/wiki/images/1/1f/ClarT-WhenOverwhelmed.pdf

Figured bass resources:

For a quick reference on basso continue playing, visit this YouTube video https://www.youtube.com/watch?v=XEHg-3tVJAo or this Wikipedia article http://en.wikipedia.org/wiki/Figured_bass

For a more thorough discussion of figured bass, search “figured bass derek remes”. Find many more online resources by searching “figured bass”.

See below two examples below of basso continuos that have been realized – for reference only:

Purcell, “Love thou art best of Humane Joys” http://www.drdrbill.com/downloads/music/Purcell/Orpheus/Love/Love.pdf

Purcell, “Sound Trumpet Sound, beat ev’ry Drum” http://www.drdrbill.com/downloads/music/Purcell/Orpheus/Trumpet/Trumpet.pdf

C. Adaptation. In preparation for Played Assignment 3, study and compare the vocal/piano and the vocal/organ scores of “The Lord’s Prayer,” by Albert Hay Mallott. Identify each pianist pattern that was adapted for the organ, and be able to describe how it was adapted. Your understanding of this process will be evaluated as part of Played Assignment 3. (The following resource might be helpful: Campbell, John. Accompaniment and Adaptation Practicum agohq.org/accompaniment-adaptation-practicum. New York: American Guild of Organists.)

VIII. SIGHT-READING

As part of Played Assignments 1 and 3 you will be presented with an example to sight-read that is comparable to those described below (moderately easy pedal, three parts between the two hands). You will have one minute to look through the music before playing.

Practice sight-reading four-part hymns of comparable difficulty to the suggested list of simpler hymns marked with an asterisk (*).

Also, practice sight-reading organ pieces of comparable difficulty to the following pieces composed or edited by Robert Cundick (free download at organ.byu.edu/cundickBookComplete.pdf):

"Andante Espressivo," p. 4, by J. J. Froberger

"Interlude," p. 7, by B. Marcello

"Sarabande," p. 8, by J. J. Froberger

"Andantino in G Minor," p. 12, by A. F. Hesse

“Meditation,” p. 44 (only), by R. Cundick

“Variations on a Ground Bass,” p. 48, 50, 51, 55 (only), by T. Vitali

IX. TRANSPOSITION

Practice transposing the simpler hymns (see suggested list) into all keys up to and including a major second up and down. The use of the pedal is recommended but not required. Do both of the following for Played Assignments 1 and 3:

A. Prepared transposition. Transpose one hymn (your choice) as described above. Use a different hymn for each played assignment. No play-through in the original key or written transposition will be permitted.

B. Transposition at sight. Transpose at sight the soprano and alto lines (together) of a simple hymn or folk tune. The music will be provided, and one minute of preparation time away from the keyboard will be permitted.

LEVEL 6

Level 6 – Advanced (those with substantial training and fluency in the basic organ fundamentals listed in Level 2, and in early advanced organ pieces in both legato and articulate styles. Should be able to play more difficult four-part vocal scores and choir accompaniments, to sight-read more difficult four-part organ music and hymns, and to transpose moderately

difficult hymns into all keys up to and including a major second up and down. Music theory prerequisites: an understanding of the music theory topics listed under Levels 1-5.)

I.PIANO TECHNIQUE

Practice the following technical studies hands together at the piano. For each played assignment, choose two of the six items (a different pair of items each time) to play for the evaluator:

1. Scales: four notes to the beat (M. 120), parallel and contrary motion, two octaves up and down in all major and at least one form of minor keys

2. Chromatic scale: four notes to the beat (M. 120), two octaves up and down

3.Arpeggios (four notes to the beat, four octaves up and down):

a. Root position (M. 96), all major and minor keys

b. viio7 chord (M. 76), starting on C, C#, and D

c. V7 chord (M. 76), starting on all 12 keys

4. Block chords: four notes in each hand, inverted through a compass of two octaves up and down, each chord being played as a quarter note (M. 96)

5. Broken chords: all major and minor keys, two octaves up and down (M. 96)

6. Selected studies from any of the following:

a. The Virtuoso Pianist by Hanon

b.160 eight-measure exercises by Czerny

c. School of Velocity, op. 299, by Czerny

d.Comparable from Bertini, Cramer, Loeschhorn, Dohnanyi, etc.

II. ORGAN REPERTOIRE

For each played assignment, play five of the fifteen pieces that you have chosen from the following list (a different five pieces each time). For video or audio examples of selected pieces visit organ.byu.edu/rep-levels You are welcome to propose comparable alternatives to the BYU organ faculty instructor. Please do so, however, prior to beginning work on the pieces. They must be of upper-medium difficulty.

A.PRE-1750

Bach, Johann Sebastian (from Orgelbüchlein, at least two:)

"Gott, durch deine Güte" (BWV 600)

"In dulci Jubilo" (BWV 608)

"O Lamm Gottes unschuldig" (BWV 618)

"Christus der uns selig macht" (BWV 620)

"Erstanden ist der heil’ge Tag" (BWV 628)

"Komm Gott Schöpfer" (BWV 631)

"Dies sind die heil'gen zehn Gebot" (BWV 635)

"Wenn wir in höchsten Nöten sein" (BWV 641) (at least one prelude and fugue:)

Prelude and Fugue in A Major (BWV 536)

Prelude and Fugue in C Major (BWV 545)

Buxtehude, Dieterich (other German organ composers from this period may be considered) (one chorale-based work:)

"Ein Feste Burg" (BuxWV 184)

"Herzlich tut mich verlangen" ("Ach Herr, mich armen Sünder") (BuxWV 178) (one other work:)

Passacaglia in D Minor (BuxWV 161)

Präludium in C Major (BuxWV 136)

Other Baroque works (choose one work:)

Couperin, François. "Chromhorne sur la taille" (Gloria, 5th couplet) from Mass for the Convents Or any single verset from Mass for the Convents or Mass for the Parishes.

Frescobaldi, Girolamo. Toccata per l'Elevatione from "Messa delli apostoli," Fiori musicali (1635)

Pachelbel, Johann. Fugue on "Vom Himmel hoch"

Stanley, John.

Voluntary VII, op. 5

Voluntary IX, op. 7

Any piece of upper-medium difficulty from 80 Chorale Preludes. B.1750-1900

Brahms, Johannes. From Eleven Chorale Preludes, op. 122 (choose both of these works or the Frank work:) "Herzlich tut mich erfreuen" (op. 122, no. 4)

"Herzlich tut mich verlangen" (op. 122, no. 10)

Franck, César. Fugue and variation from "Prelude, Fugue and Variation."

Mendelssohn-Bartholdy, Felix. (choose one): Sonata IV, op. 65: Allegretto Sonata VI, op. 65: Andante (Choose two more pieces from the remainder of the 1750-1900 list:)

Rheinberger, Josef.

Intermezzo, from Sonata 4

Intermezzo, from Sonata 3 Cantilene, from Sonata 11 Saint-Saëns, Camille.

Prélude, op 99, no. 3

Prélude, op. 109, no. 1

Schumann, Robert.

Studies for Pedal Piano, op. 56, no. 1

Sketches for Pedal Piano, op. 58, No. 1 or no. 4

Fugue on BACH, op. 60, no. III

Samuel Wesley.

Air and Gavotte (from Tallis to Wesley, No. 7, Samuel Wesley: Twelve Short Pieces, no. 8 & 9. [These two count as one piece.])

C.Since 1900 (choose four pieces:)

Bush, Douglas. Hymn Settings for Organ (visit sheetmusicauthority.com and search for “douglas bush”), any piece of upper-medium difficulty.

Chamberlin, David. LDS Hymn Voluntaries. (chamberlinmusic.com/index.php), any piece of upper-medium difficulty.

Gigout, Eugéne. Toccata.

Karg-Elert, Sigfrid. "Abide, O Dearest Jesus," op. 65, no. 1.

Manookin, Robert. "How Gentle God's Commands."

Manz, Paul. "Open Now Thy Gates of Beauty (Neander)." In Ten Chorale Improvisations, Set 1. "God of Grace." In Ten Chorale Improvisations, Set 5.

Parry, C. Hubert H. Chorale Prelude on "Melcombe."

Peeters, Flor. "Wake, Awake, for Night is Flying" ("Wachet Auf"), op. 68, no. 5.

Reger, Max. Melodia, op. 59, no. 11 (bk 2).

Vaughan Williams, Ralph. Prelude on "Rhosymedre."

Vierne, Louis. “Communion,” Op. 8. Wesley, Samuel Sebastian. “Choral Song.”

Any hymn setting of upper-medium difficulty from this period may be acceptable.

III. HYMN PLAYING

Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

The following hymns from the hymnbook listed above are well suited to this level. Other hymns of comparable difficulty may be substituted, including those from the Examination Hymn Booklet of the American Guild of Organists (request a pdf copy by emailing info@agohq.org). Before beginning practice on substitute hymns, obtain approval from your BYU Organ Faculty course instructor Do not choose hymns for this level that you played in previous levels, or those on the suggested list of simpler hymns. Also, do not play the same hymn in more than one played assignment. The tune names of hymns that might be found in other hymnals are given in parentheses below

28 Saints, Behold How Great Jehovah

31 O God, Our Help in Ages Past (St. Anne)

35 For the Strength of the Hills

62 All Creatures of Our God and King (Lasst uns erfreuen)

69 All Glory, Laud, and Honor (St. Theodulph)

72 Praise to the Lord, the Almighty (Lobe den Herren)

81 Press Forward, Saints

150 O Thou Kind and Gracious Father

166 Abide with Me! (Eventide)

197 O Saviour, Thou Who Wearest a Crown (Passion Chorale)

203 Angels We Have Heard on High (Gloria)

205 Once in Royal David's City (Irby)

209 Hark! the Herald Angels Sing (Mendelssohn)

215 Ring Out, Wild Bells

218 We Give Thee but Thine Own (Schumann)

246 Onward, Christian Soldiers (St. Gertrude)

The following items are divided between the three played assignments:

A.SINGLE VERSE. For each of the played assignments, choose and prepare one verse each of three of the hymns listed above with the soprano, alto, and tenor voices on the Great manual and the bass voice in the pedals. In addition, prepare one hymn (which may be selected from those you will play in this level) to be played on a manual only (no pedal). In all hymn playing, your choice of registration should reflect the spirit of the text.

B. COMPLETE HYMN. For each of the played assignments, choose one hymn from this level to prepare and play completely (a creative introduction and all verses, using a rearrangement of voices and/or a change of registration between verses at least once throughout the hymn). Prepare the score completely, and prepare and execute a registrational plan that reflects the messages in the various verses of text. For each complete hymn, play an effective CREATIVE INTRODUCTION. Make use of one or more creative techniques (pedal point, passing tones, reharmonization, etc.), while at the same time accomplishing the main purposes for the introduction (set the key, meter, tempo, and mood; clarify the hymn melody; encourage members of the congregation to sing). Use short or long introductions, depending on the traditions and expectations of your congregation. Create at least one introduction yourself; for the rest you may use those composed by others as long as they are effective.

1. Alto Up An Octave. Choose a section of a hymn (at least two phrases) where the ALTO line has melodic interest, and play the alto voice an octave higher. In this way the alto will be played an octave higher than written by the upper part of the right hand (fingers 3, 4, and 5), and the soprano will be played as written but with the lower part of the right hand (fingers 1, 2, and 3).

a. Play the tenor solo in the normal written range.

b. Play the tenor up an octave. (Move the hand; don't just use higher-pitched stops.)

3. Soprano and Tenor Switched. Choose a section of a hymn (at least two phrases) to play with the SOPRANO AND TENOR SWITCHED. Use one of the following methods:

complicated technique then becomes simply a combination of the "tenor solo" technique (up an octave) for the left hand, and the "alto up an octave" technique (with the hand played down an octave) for the right.

b. Play the hands either on the same manual or on different manuals. With the left hand, play the soprano voice down an octave. With the right hand, play the tenor voice up an octave and the alto voice in the normal written range. If you choose to play on different manuals, use stops that would give the soprano voice (played by the left hand in the tenor range) a more prominent sound.

a. Play the soprano solo in the normal written range.

b. Play the soprano down an octave. (Move the hand; don't just use lower-pitched stops.)

7. Pedal Solo. Choose two hymns in which to treat the soprano voice as a PEDAL SOLO, registered with one or more prominent 4' stop(s). Play the alto, tenor, and bass voices on a manual with a softer accompanimental registration. Rather than using this technique as part of your complete hymn, it is more practical when used as a prelude-style rearrangement of voices.

8. Free Accompaniment. Write an appropriate FREE ACCOMPANIMENT (hymn harmonization, reharmonization) for each of two hymns, and play it on the last verse. You may play an interlude prior to the free accompaniment if you wish.

IV MUSIC THEORY

All information may be found in:

Steinke, Greg A. and Paul Harder. Harmonic Materials in Tonal Music. Part II. 10th ed. Upper Saddle River, NJ: Prentice Hall, 2010, chapters 7-11.

Other editions may be used and are even encouraged, but specific chapter numbers and the frame numbers referenced in the instructor feedback of the Quizzes may not be accurate.

Know the following:

1. Neapolitan sixth chord, altered dominants, and diminished seventh chords (altered supertonic triad, tritone relationship, altered dominants, diminished seventh chords, enharmonic spellings)

2. Chromatic third-relation harmony (tonal instability, tonal expansion, color harmony, functional/nonfunctional harmony, “chromatic stress”, ambiguous tonal effect, tonal fluidity, symmetrical relationships)

3.Modulation to foreign [remote, distant, semirelated] keys (2 chapters)

4. Ninth, eleventh, and thirteenth chords (tertian extension, incidental melodic occurrences, tone cluster, chromatic median seventh chord, dominant [eleventh, thirteenth] chord, polychord, appoggiatura chord, impressionistic music, palindrome, pandiatonicism, atonality, pantonality)

The Greg Steinke/Paul Harder book is a programmed learning text in music theory, designed for self-study. Chapters 7-11 should be completed during Level 6. Concepts covered in these chapters will be included in the Quizzes and exams/reviews for Units 2-3.

V. ORGAN REGISTRATION

Lesson 1 – History & Development of the Organ (Timeline of the Organ)

Lesson 2 – Types of Organ Registration and Musical Texture (OrganTutor)

Lesson 3 – Chorus Registration (OrganTutor)

Lesson 4 – Hymn Registration (OrganTutor)

Lesson 5 – Solo and Accompaniment Registration (OrganTutor)

Lesson 6 – Trio Registration (OrganTutor)

Lesson 7 – The Process of Registrational Decision Making and Registration Mechanics (OrganTutor)

Lesson 9 – Historical Styles in Organ Building and Registration: 20th Century (Organ Technique: Modern and Early)

Lesson 12 – Historical Styles in Organ Building and Registration: Seventeenth- and Eighteenth-Century England (Organ Technique: Modern and Early)

The Organ Registration portion of this course is in two parts. Lessons 1-7 cover basic competencies that are essential for all organists. These are taught in Levels 1-2 and reviewed in every level thereafter. Lessons 9 and 12 are new topics that continue a course of instruction on important style periods in organ construction, composition, and registration.

VI. ACCOMPANIMENT SKILLS

A. Score Reading. Prepare and play one four-part vocal score (choral music in open score – where each part is written on its own staff) for each of the three played assignments. For each piece decide whether to play the bass part in the manual or the pedal. Choose from the following, or substitute works of a similar nature and level of difficulty to those on the lists:

From the voice-parts edition of Master Choruses, edited by Hugh Ross, John Smallman, and H. Alexander Matthews (Boston: Oliver Ditson, 1933):

"In Dulci Jubilo," p. 46

"Ye Watchers and Ye Holy Ones," p. 44

"Holy Art Thou," p. 62

"How Lovely Are the Messengers," p. 90

"Jesu, Word of God Incarnate," p. 100

"Christ the Lord is Risen Today," p. 123

From the Internet (free downloads – do not use any for a played assignment that you played in Levels 4 or 5):

Bruckner, “Pange Lingua” https://www.cpdl.org/wiki/images/6/65/Pange_lingua_Bruckner.pdf

Durón, “Negliya que quele” https://www.cpdl.org/wiki/images/0/01/Dur-neg2.pdf

Gounod, “O Divine Redeemer” http://www.musicbyandrew.ca/data/odivine.pdf

Liszt, “Salve Regina” https://www.cpdl.org/wiki/images/a/aa/Ws-lis-salv.pdf

Martini, “Populum humilem” https://www.cpdl.org/wiki/images/7/77/Populem_Humilem_Martini.pdf Mendelssohn, “Three Motets” (selections) https://www.cpdl.org/wiki/images/6/6e/Mendelssohn_ThreeMotetsOp69.pdf

Morales, “Pastores dicite” https://www.cpdl.org/wiki/images/f/f7/Morales1546-11.pdf

Morley, “Now is the Gentle Season” https://www.cpdl.org/wiki/images/0/07/Now_is_the_gentle_season__The_fields_abroad.pdf

Mozart, “Rex tremendae” https://www.cpdl.org/wiki/images/sheet/moz-6264.pdf

Stainer, “O Emmanuel” https://www.cpdl.org/wiki/images/d/d3/O_Emmanuel_Stainer.pdf Stanford, “Peace; Come Away” https://www.cpdl.org/wiki/images/5/5a/Peace_come_away_Stanford.pdf

B. Accompaniments. Prepare and play one accompaniment for each of the three played assignments. Your choices must include an organ accompaniment for choir, an organ accompaniment for vocal/instrumental solo, and an organ adaptation of a piano score. The following resource might be helpful for both the accompaniments and the adaptation: Campbell, John. Accompaniment and Adaptation Practicum agohq.org/accompaniment-adaptation-practicum New York: American Guild of Organists.

Choose from the following, or substitute works of a similar nature and level of difficulty to those on the lists:

1. Organ accompaniments for choir

(The following are composed for organ accompaniment): From the Internet (free downloads): Stanford, “Ye Choirs of New Jerusalem” http://dovetonmusic.com/PDFfree/StanfordYeChoirsLET.pdf Stainer, “Gloria in Excelsis” https://www.cpdl.org/wiki/images/sheet/stai-glo.pdf

Ireland, “Greater Love Hath No Man” https://www.cpdl.org/wiki/images/sheet/ire-grea.pdf

Faure, “Messe Basse” https://www.cpdl.org/wiki/images/sheet/faure/faur-msb.pdf (long, parts, L6) Vierne, “Kyrie” (Messe Sollennelle) https://www.cpdl.org/wiki/images/1/13/VierneMS.pdf

Bairstow, “Sing Ye To The Lord” https://www.cpdl.org/wiki/images/2/20/Bairstow_Sing_ye_to_the_Lord.pdf

From The Choirbook (Salt Lake City: Church of Jesus Christ of Latter-day Saints, 1980):

arr. Christiansen, "Now Let Us Rejoice," p. 54

arr. Manookin, "Sweet is the Work," p. 20

Stephens, "Let the Mountains Shout for Joy," p. 50

(The following require organ adaptation of a piano score, from The Choirbook, described above): Gates, "The Lord’s Prayer," p. 42

arr. Lyon, "Though Deepening Trials," p. 16

Stephens, "Hosannah Anthem," p. 69

Titcomb, "Jesus! Name of Wondrous Love," p. 24

2. Organ accompaniments for vocal/instrumental solo

(The following are composed for organ accompaniment): Fauré, "Il est né le divin enfant" (very easy) https://imslp.org/wiki/Special:ImagefromIndex/26813/hfhg Franck, "Veni Creator" https://imslp.org/wiki/Special:ImagefromIndex/255195/hfhg

(The following require organ adaptation of a piano score): Burleigh, "Deep River" http://conquest.imslp.info/files/imglnks/usimg/a/a0/IMSLP257335-PMLP417359deepRiver HT_Burleigh.pdf

Chadwick, "Faith" https://imslp.org/wiki/Special:ImagefromIndex/03585/hfhg

Elgar, "Dry Those Fair, Those Crystal Eyes" https://imslp.org/wiki/Special:ImagefromIndex/57404/hfhg Schubert, "Ave Maria" (piano and voice, in B-flat) https://imslp.org/wiki/Special:ImagefromIndex/407797/hfhg Schubert, "Do Not Approach the Urn" (Vier Canzonen von Metastasio, no. 1) https://imslp.org/wiki/Special:ImagefromIndex/481560/hfhg

Sullivan, "The Lost Chord" https://imslp.org/wiki/Special:ImagefromIndex/75214/hfhg

VII. SIGHT-READING

As part of Played Assignments 1 and 3 you will be presented with an example to sight-read that is comparable to those described below (moderate pedal, three to four parts between the two hands). You will have one minute to look through the music before playing.

In addition to those on the suggested list of simpler hymns not marked with an asterisk (*), practice sight-reading hymns of more moderate difficulty.

Also, practice sight-reading organ pieces of comparable difficulty to the following pieces: Pieces composed or edited by Robert Cundick (free download at organ.byu.edu/cundickBookComplete.pdf):

Guilmant, "Andante in F," p. 30

Frescobaldi, "Preambule," p. 39

Pachelbel, "Allein zu dir, Herr Jesu Christ," p. 40

Vitali, "Variations on a Ground Bass," (complete), p. 48

Stanley, "Cornet Voluntary in D minor," p. 56

Cundick, "Prelude on ‘Coventry Carol’," p. 62 Manookin, Robert, Hymn Preludes, vols. 3, 6

Prepare to sight-read a hymn and/or piece provided by the evaluator during Played Assignments 1 and 3 with no more than one minute to scan the example.

For additional sight-reading resources, you can download Service Playing Sight Reading Examples (American Guild of Organists), which includes eight sight-reading examples from past years’ Service Playing Tests.

VIII. TRANSPOSITION

B. Transposition at sight. Transpose at sight a simple four-part hymn or folk tune. The music will be provided, and one minute of preparation time away from the keyboard will be permitted.

BIBLIOGRAPHY

In addition to the method books cited above, the following resources might be helpful: The BYU Organ Study website organ.byu.edu

Engel, James. An Introduction to Organ Registration St. Louis, MO: Concordia, 1986.

Geer, E. Harold. Organ Registration in Theory and Practice. Glen Rock, NJ: J. Fischer, 1957. (Out of print)

Goode, Jack C. Pipe Organ Registration Nashville, TN: Abingdon Press, 1964. (Out of print)

Mitchell-Wallace, Sue. The Art and Craft of Playing Hymns. New York: American Guild of Organists, n.d. (videotape)

Ritchie, George and George Stauffer. Organ Technique: Modern and Early London: Oxford, 2000

Sumner, William Leslie. The Organ. 4th ed. London: MacDonald, 1973.

Williams, Peter. A New History of the Organ Bloomington: Indiana University Press, 1980. (Out of print)

Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

The American Organist (The monthly magazine of the American Guild of Organists, 475 Riverside Dr., Suite 1260, New York, NY 10115) agohq.org

Diapason thediapason.com/magazine

AMERICAN GUILD OF ORGANISTS

Educational resources for the new organists: agohq.org/new-organist

Other online study resources are available through the AGO website: agohq.org/education/educational-resources/

GENERAL

100 Strategies for Successful AGO Certification (CD)

Preparing for AGO Exams. New York: American Guild of Organists, 1997. (Articles reprinted from The American Organist)

SERVICE PLAYING

Groom, Lester H. Study Guide for the AGO Service Playing Test (Contains many of the items listed above) agohq.org/wp-content/uploads/2015/07/Service-Playing-Study-Guide-Chapter-One.pdf

COLLEAGUE

Description agohq.org/ago-colleague-certification

Colleague Study Guidelines agohq.org/wp-content/uploads/2017/02/CAGO-First-10.pdf

Colleague Exams. (Complete exams from previous years: agohq.org/ago-colleague-certification

MATERIALS NEEDED FOR INDEPENDENT STUDY ORGAN COURSES

LEVELS 1-6

dc 5/23

Because the six BYU Independent Study organ levels (courses) build upon one another, some of the books required in one level will be used again in higher levels (see items marked with an asterisk*). Also, you may choose from various options in the Technique, Organ Repertoire, and other sections. Make your final choices in consultation with your organ teacher, who may suggest substitutions as permitted in your course instructions. The following may serve as a starting point (and any given prices are only approximate). For more details about these courses, visit organ.byu.edu/orcert.html)

A few of these items are available for purchase through the BYU Store. However, this document is more reliable than the BYU Store website for distinguishing between required and optional texts. Even more reliable than this document are the played assignment instructions within each course. Be aware that pricing and availability as given below change frequently, and are only given as ballpark estimates.

For more details regarding the requirements for the various levels, follow these links:

Levels 1-2 organ.byu.edu/orgcertlev1-2.pdf

Levels 3-6 organ.byu.edu/orgcertlev3-6.pdf

*Books marked with an asterisk are either required or optional in more than one level.

LEVEL 1

ORGAN TECHNIQUE

Play from one or more of the following (also used in all other levels):

*REQUIRED TEXT for this level: Cook, OrganTutor Workbook (Ard Publications, $23.00), and the accompanying OrganTutor Online Tutorial (organtutor.byu.edu, $30 for 6 months or $50 for 3 years).

*Davis, The Organist’s Manual (out of print, available used) or

*Gleason, Method of Organ Playing (out of print, available used) or

*Keeler/Blackham, Basic Organ Techniques (Bountiful, UT: Jackman Music, $16)

Note: if OrganTutor is used to learn manual and pedal technique, any of the other method books would be optional.

ORGAN REPERTOIRE

Three pieces are required for Level 1 – one for each of the three played assignments For video or audio examples of selected pieces visit organ.byu.edu/rep-levels. The pieces might be chosen from within a single volume, but a diversity of musical style is recommended. Other pieces may be substituted with the approval of the BYU faculty course instructor.

From *OrganTutor Workbook:

Prelude on “Abide With Me” by Kim Croft (see contents). This piece can be used for Played Assignment 1 only.

From *OrganTutor or Croft, Kim. Nine Hymn Studies. Orem, UT: Pioneer (Jackman Music), 1986. This piece may be played for Played Assignment 1 or 2 only: How Great the Wisdom by Kim Croft (see contents)

From *Harmon, Neil. Hymn Settings for Organ, Book 6. Murray, UT: Day Murray Music, 2020: Prelude on ‘Niblet’ (p. 18)

Prelude on ‘Sweet Hour’ (p. 14)

From *Davis: Verset by Léon Boëllmann (Davis p. 103) (play manual only or with pedal)

From OrganTutor or Davis: Moderato con moto by César Franck (Davis p. 113) (in OrganTutor, see contents)

From *Manookin, Robert P. Hymn Preludes for Organ, Book One. Orem, UT: Sonos (Jackman Music), 1976: Sweet is the Work (p. 9)

In Humility, Our Savior (p. 17)

From *Dupré, Marcel. Seventy-Nine Chorales for the Organ, Opus 28. New York: H. W. Gray, 1932.

Abide with us, O Lord Jesus Christ (piece no. 1, page 2).

HYMN PLAYING (same materials in all levels)

Required: *Hymns of the Church of Jesus Christ of Latter-day Saints (1985), or alternative hymnal (4-part vocal). Most of these hymn tunes may be downloaded free from churchofjesuschrist.org/music/index/hymns/number?lang=eng&_r=1

Optional:

*Belnap, Hymn Studies (Published and distributed by BYU Creative Works, $16, or available in BYU Store [text floor])

*Lovelace, The Organist and Hymn Playing. (Agape, ISBN 0-916642-16-X, $6)

*Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

MUSIC THEORY

*Harder, Paul, and Greg A. Steinke. Basic Materials in Music Theory (9th thru 12th editions available used; 13th edition eText from $4.99/mo, or in print for $90.66) (Allyn & Bacon)

ORGAN REGISTRATION

*Cook, OrganTutor Online Tutorial and OrganTutor Workbook (Details in the Organ Technique section above)

SIGHT-READING

From any hymnbook containing traditional 4-part hymns, practice sight-reading (play at sight) individual soprano, alto, tenor, and bass parts (May use the same hymnbook for sight-reading as used for hymn playing)

LEVEL 2

ORGAN TECHNIQUE

Play from one or more of the following (also used in all other levels):

*REQUIRED TEXT for this level: Cook, OrganTutor Workbook (Ard Publications, $23.00), and the accompanying OrganTutor Online Tutorial (organtutor.byu.edu, $30 for 6 months or $50 for 3 years).

*Davis, The Organist’s Manual (out of print, available used) or

*Gleason, Method of Organ Playing (out of print, available used) or

*Keeler/Blackham, Basic Organ Techniques (Bountiful, UT: Jackman Music, $16)

Note: if OrganTutor is used to learn manual and pedal technique, any of the other method books would be optional.

ORGAN REPERTOIRE

Played Assignment 1: Choose ONE piece from the following:

*Dupré, Marcel Seventy-Nine Chorales for the Organ, Opus 28. New York: H. W. Gray, 1932. Abide with us, O Lord Jesus Christ” (piece no. 1, page 2), OR Glory be to God on high (piece no. 4, page 5), OR Beloved Jesus, here we stand (piece no. 52, page 62)

From *Davis: Herzliebster Jesu, was hast du verbrochen by Helmut Walcha (p. 110)

From Davis or *Gleason: Fugato by J. G. Albrechstberger (Davis p. 115 or Gleason p. 183)

From Davis or *OrganTutor: Trio, Op. 49, No. 1 by Josef Rheinberger (Davis p. 114)

From Davis or Gleason or OrganTutor: Canon by Jacques Lemmens (Davis p. 121 or Gleason p. 171)

From *Keeler/Blackham Basic Organ Techniques and Repertoire, or OrganTutor: Litany by Franz Schubert (Keeler/Blackham p. 112)

From *Manookin, Robert P. Hymn Preludes for Organ, Book One. Orem, UT: Sonos, 1976: Lord, We Come Before Thee Now (p. 5)

Abide With Me; 'Tis Eventide (p. 25)

From Held, Wilbur. Six Carol Settings. St. Louis, MO: Concordia, n.d.

The First Noel (p. 12)

HYMN PLAYING (same materials in all levels)

Optional:

*Belnap, Hymn Studies (Published and distributed by BYU Creative Works, $16, or available in BYU Store [text floor])

*Lovelace, The Organist and Hymn Playing (Agape, ISBN 0-916642-16-X, $6)

*Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

MUSIC THEORY

*Harder, Paul, and Greg A. Steinke. Basic Materials in Music Theory (9th thru 12th editions available used; 13th edition eText from $4.99/mo, or in print for $90.66) (Pearson)

ORGAN REGISTRATION

*Cook, OrganTutor Online Tutorial and OrganTutor Workbook (Details in the Organ Technique section above)

SIGHT-READING

From a hymnbook containing traditional 4-part hymns, practice sight-reading (play at sight) two-part music. Use good legato organ technique where appropriate, and always maintain independence of line. Practice sight-reading the following combinations of easy to moderate four-part hymns: soprano and alto (right hand), alto and tenor (right and left hand, or left hand only), tenor and bass (be able to play tenor with left hand and bass in the pedals, and both tenor and bass with left hand). (May use the same hymnbook for sight-reading as used for hymn playing)

LEVEL 3

ORGAN TECHNIQUE

Play from one or more of the following (also used in all other levels):

*REQUIRED for this level: Cook, OrganTutor Workbook (Ard Publications, $23.00). The accompanying OrganTutor Online Tutorial (organtutor.byu.edu, $30 for 6 months or $50 for 3 years) is optional for this level

*REQUIRED: Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early (Oxford, $47)

*Davis, The Organist’s Manual (out of print, available used) or

*Gleason, Method of Organ Playing (out of print, available used) or

*Keeler/Blackham, Basic Organ Techniques (Bountiful, UT: Jackman Music, $16)

Note: if OrganTutor is used to learn manual and pedal technique, any of the other method books would be optional.

ORGAN REPERTOIRE

Required (or comparable alternatives) (Besides the published editions listed below, many of these titles are available as free downloads in imslp.org, although they vary widely in quality):

*Bach, Eight Short Preludes and Fugues, from the following, choose at least one prelude and fugue or two preludes Either option counts as one “piece” or “work”: Prelude in C Major, Prelude and Fugue in D Minor, Prelude in F Major, Prelude and Fugue in G Major, Prelude in G Minor. (first choice: Wayne Leupold editions WL 600024 $24; less expensive alternative: Kalmus Complete Organ Works vol. 8 $11) (This volume is also required in Level 4)

*Bach, Orgelbüchlein, choose one or two from BWV 618, 619, 639. (first choice: Wayne Leupold editions WL 500006 $36; alternative: Concordia Orgelbüchlein $50; less expensive alternative: Kalmus Complete Organ Works vol. 5 $16) (also required in Levels 4-6)

A possible alternative:

*Buxtehude, “Nun komm der Heiden Heiland.” (In *Gleason method book; first choice: Breitkopf 6664 $30 [also useful for Levels 4-5]; second choice: Hansen 3928 vol. 4 $29 [also useful for Levels 4-6]; less expensive alternative, but uses alto clef heavily in the chorale preludes: Dover 6-256820 $17) [also useful for Levels 4-6]. Also in *80 Chorale Preludes, ed. Hermann Keller, C. F. Peters, $35-$60, which volume is also useful in Levels 4 and 6

Three of the following four pieces are required during Level 3. Other pieces from this period can be substituted with prior BYU Faculty Course Instructor approval:

*Brahms, “Es ist ein Ros’ entsprungen,” in *Eleven Chorale Preludes, Op. 122. (first choice: Mercury 453-00260 $8; an alternative includes Mendelssohn and Schumann, but brief passages in the Brahms are written in the alto clef: Dover 0-486-26828-4 $12) (also required in Levels 4-5 and useful in Level 6)

Karg-Elert, “Freu dich sehr, o meine Seele” (in Keeler and Blackham, pp. 110-111; first choice: *Chorale-Improvisations (66), Op. 65, vol. I, Masters Music $15; alternative: same title, Breitkopf $15) (this volume also useful in Level 6)

*Mendelssohn, Sonata IV, Op. 65: Andante. (first choice: Novello vol. 4 NOV 01 0218 $38; less expensive alternative: Kalmus 3670 $16; another alternative includes Brahms and Schumann: Dover 0-486-26828-4 $12)

*Rheinberger, “Trio No. 1 in G Minor,” in OrganTutor, and Ritchie/Stauffer pp. 117-119.

Three of the following pieces are required during Level 3. Other pieces from this period can be substituted with prior BYU Faculty Course Instructor approval: Cundick Book (free download), “Meditation”

*Dupré, Seventy-Nine Chorales, Op. 28, choose two from nos. 2, 12, 22, 28, 44, or 48. (Gray, $15) (also required in Levels 1, 2, and 4)

*Peeters, “O God, Thou Faithful God” in Thirty Chorale Preludes on Well-known Hymn Tunes, Op. 68, vol 1. (Peters 6023, $19) (also useful in Level 6)

HYMN PLAYING (same materials in all levels)

Required: *Hymns of the Church of Jesus Christ of Latter-day Saints (1985), or alternative hymnal (4-part vocal) Most of these hymn tunes may be downloaded free from churchofjesuschrist.org/music/index/hymns/number?lang=eng&_r=1

Optional:

*Belnap, Hymn Studies. (Published and distributed by BYU Creative Works, $16, or available in BYU Store [text floor])

*Lovelace, The Organist and Hymn Playing (Agape, ISBN 0-916642-16-X, $6)

*Woolard, Margot Ann G. A Mini-Course in Basic Organ Registration. agohq.org/mini-course-basic-organ-registration

MUSIC THEORY

*Harder, Paul, and Greg A. Steinke. Basic Materials in Music Theory (9th thru 12th editions available used; 13th edition eText from $4.99/mo, or in print for $90.66) (Pearson) (was also required in Levels 1 and 2)

*Steinke, Greg A. and Paul Harder. Harmonic Materials in Tonal Music. Part I. (10th ed. or as recent as possible available used;) 10th edition in print for $138.66) (Pearson) (also required in Level 4)

ORGAN REGISTRATION (same in Levels 3-6)

*Cook, OrganTutor Workbook and (optional) OrganTutor Online Tutorial (Details in the Organ Technique section above)

* Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early (Oxford, $58)

* Timeline of the Organ: 2600 Years of History (required in Levels 3-6 – request from organ@byu.edu)

ACCOMPANIMENT

Practice reading easy four-part vocal scores (choral octavos in open score – where each part is written on its own staff). The voices should move in a hymn-like style. Choose and prepare one vocal score each to play for Played Assignments 2 and 3. Many free online downloads for practice are listed under Level 3 at organ.byu.edu/orgcertlev3-6.pdf

SIGHT-READING

*Croft, Kim. Nine Hymn Studies. Bountiful, UT: Pioneer Music Press (Jackman Music), 1986 (pedal in slow-moving note values with two easy manual parts) (this volume is also useful for sight-reading in Level 4)

*Use hymnbooks containing unfamiliar hymns for practice, and very simple three-part pieces on three staves. For example: Lauda Anima, Azmon, Tuolon, Amazing Grace; and LDS Hymns 163, "Lord, Dismiss Us with Thy Blessing" (Greenville), and 117, "Come Unto Jesus"

TRANSPOSITION

*One or more hymnbooks for practice.

LEVEL 4

ORGAN TECHNIQUE

Play from one or more of the following (also used in all other levels):

*REQUIRED TEXT for this level: Cook, OrganTutor Workbook (Ard, $23.00) or OrganTutor OrganTutor Online Tutorial (organtutor.byu.edu, $30 for 6 months or $50 for 3 years)

*REQUIRED: Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early (Oxford, $47)

*Davis, The Organist’s Manual (out of print, available used) or

*Gleason, Method of Organ Playing (out of print, available used) or

*Keeler/Blackham, Basic Organ Techniques (Bountiful, UT: Jackman Music, $16)

Recommended: *80 Chorale Preludes, ed. Hermann Keller (C. F. Peters, $35-$60) (also useful in Levels 3, 5, and 6)

ORGAN REPERTOIRE

Required:

*Bach, Eight Short Preludes and Fugues, prepare one prelude and fugue (E Minor or Bb Major) (first choice: Wayne Leupold editions WL 600024 $24; less expensive alternative: Kalmus Complete Organ Works vol. 8 $11) (also required in Level 3)

*Bach, Orgelbüchlein, choose two from BWV 601, 625, 626, 629, 643. (first choice: Wayne Leupold editions WL 500006 $36; alternative: Concordia Orgelbüchlein $50; less expensive alternative: Kalmus Complete Organ Works vol. 5 $16) (also required in Levels 3, 5, and 6)

*Dupré, Seventy-Nine Chorales, Op. 28, choose 1 or 2 from nos. 6, 32, 33, 38, 39 (Gray, $15) (also required in Levels 13)

Possible alternatives:

*Brahms, “Herzliebster Jesu,” in *Eleven Chorale Preludes, Op. 122. (first choice: Mercury 453-00260 $8; an alternative includes Mendelssohn and Schumann, but brief passages in the Brahms are written in the alto clef: Dover 0-48626828-4 $12) (also required in Levels 3 and 5, and useful in Level 6)

*Buxtehude, at least one chorale prelude or präludium from BuxWV 147 (fully fingered in Ritchie/Stauffer), 178 (in Ritchie/Stauffer), 197, 224 (In *Gleason method book; first choice: Breitkopf 6664 $30; second choice: Hansen 3928 vol. 4 $29; less expensive alternative, but uses alto clef heavily in the chorale preludes: Dover 6-256820 $17) (also useful for Levels 3, 5, and 6)

*Dupré, “I Am Black but Comely,” in Fifteen Pieces Founded on Antiphons, Op. 18. (Gray, $8) (also useful in Level 5)

*Dupré, Seventy-Nine Chorales, Op. 28, choose nos. 6, 32, 33, 38, or 39. (Gray, $15) (also useful in Levels 1-3)

*80 Chorale Preludes, ed. Hermann Keller (C. F. Peters, $35-$60) (also useful in Levels 3 and 6)

*Mendelssohn, Sonata III, op. 65: Andante tranquillo; or Sonata VI, op. 65: Fugue in D Minor (first choice: Novello vol. 4—NOV 01 0218 $38; less expensive alternative: Kalmus 3670 $16; another alternative includes Brahms and Schumann: Dover 0-486-26828-4 $12) (also useful in Levels 3, 5, and 6)

Pachelbel, “Toccata in E Minor.” (In *Keeler/Blackham; Kalmus vol. 1 $9; another alternative: Dover 0-486-27858-1 $14).

Rheinberger, Pastoral Sonata, op. 88, no. 3 (slow movement) (out of print check the Organ Study at BYU website [organ.byu.edu])

Schroeder, Hermann. "In stiller Nacht" in Six Organ Chorales, Op. 11. (Schott 2265 or American Edition A.P. 326 $10; free download at hermann-schroeder.de/downloads/instillernacht.pdf)

Other alternatives are listed in the Level 4 requirements.

HYMN PLAYING (same in all levels)

Required:

*Hymns of the Church of Jesus Christ of Latter-day Saints (1985) $15, or alternative hymnal (4-part vocal).

Recommended:

*Belnap, Hymn Studies. (BYU Creative Works, $16, available from BYU Bookstore or Creative Works Catalogue)

*Lovelace, The Organist and Hymn Playing (Agape, ISBN 0-916642-16-X, $ 6)

*Mini-Courses on Hymn Playing. (American Guild of Organists, $18-$77)

MUSIC THEORY

*Steinke, Greg A. and Paul Harder. Harmonic Materials in Tonal Music. Part I. (10th ed. or as recent as possible) (Prentice Hall, $50-$75) (also required in Level 3)

ORGAN REGISTRATION (same in Levels 3-6)

*Cook, OrganTutor Organ 101 or OrganTutor Workbook.

* Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early (Oxford, $47)

* Timeline of the Organ: 2600 Years of History (required in Levels 3-6 – request from organ@byu.edu)

ACCOMPANIMENT

Choose four 4-part vocal scores of medium difficulty, either manual only or with pedal. Include required selections from the following (or approved substitutions):

*Ross, Hugh, and John Smallman and H. Alexander Matthew Master Choruses. P. 1, 100, 124. (Ditson) (also useful for Levels 5-6)

*The Choirbook. (Church of Jesus Christ of Latter-day Saints, $3 Search online, “the choirbook”) (also useful for Levels 5-6)

Many free online downloads for practice are listed under Level 4 at organ.byu.edu/orgcertlev3-6.pdf

SIGHT-READING

Simple three-part pieces on three staves, as in *Kim Croft, Nine Hymn Studies (Jackman, $5) (also useful for Level 3) (very easy pedal, one part in each hand)

*Hymnbooks containing very easy unfamiliar four-part hymns for practice.

TRANSPOSITION

*One or more hymnbooks for practice.

LEVEL 5

TECHNIQUE

*Technical studies for the piano (also useful for Level 6):

Any resource containing fingering for scales and arpeggios (such as The Virtuoso Pianist by Hanon) would be helpful Hanon, Czerny, Bertini, Cramer, Loeschhorn, Dohnanyi, or similar.

Play from one or more of the following (also used in all other levels):

*REQUIRED TEXT for this level: Cook, OrganTutor Workbook (Ard, $23.00) or OrganTutor Online Tutorial (organtutor.byu.edu, $30 for 6 months or $50 for 3 years)

*REQUIRED: Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early (Oxford, $47)

*Davis, The Organist’s Manual (out of print, available used) or

*Gleason, Method of Organ Playing (out of print, available used) or

*Keeler/Blackham, Basic Organ Techniques (Bountiful, UT: Jackman Music, $16)

ORGAN REPERTOIRE

Required:

*Bach, Complete Organ Works, choose two from Canzona in D Minor, Fugue in G Minor, Prelude and Fugue in C Minor, or Toccata and Fugue in D Minor (all four options are in vol. 4 Peters 243 $25 or Kalmus 3073 $11; Toccata and Fugue in D Minor is in Leupold edition of Orgelbüchlein) (also required in Level 6)

*Bach, Orgelbüchlein, choose two from BWV 605, 632, 636, 638. (first choice: Wayne Leupold editions WL 500006 $36; alternative: Concordia Orgelbüchlein $50; less expensive alternative: Kalmus Complete Organ Works vol. 5 $16) (also required in Levels 3, 4, and 6)

*Brahms, “Herzlich tut mich verlangen [#9]” and “O Welt, ich muss dich lassen” in *Eleven Chorale Preludes, Op. 122. (first choice: Mercury 453-00260 $8; an alternative includes Mendelssohn and Schumann, but brief passages in the Brahms are written in the alto clef: Dover 0-486-26828-4 $12) (also required in Levels 3 and 5, and useful in Level 6)

*Buxtehude, one chorale prelude from BuxWV 208, 209, 217, or 222 (first choice: Breitkopf 6664 $30; second choice: Hansen 3928 vol. 4 $29); and one other work from BuxWV 174 or 157 (first choice: Breitkopf 6662 $30; second choice: Hansen 3922 vol. 2 $29) (less expensive alternative, but uses alto clef heavily in the chorale preludes: Dover 6-256820 $17) (also useful for Levels 3, 4, and 6)

*Dupré, Seventy-Nine Chorales, Op. 28, choose 1 or 2 from nos. 6, 32, 33, 38, 39. (Gray, $15) (also required in Levels 13)

Franck, Adagio from “Fantaisie in C,” or prelude from “Prelude, Fugue and Variation.”* (Kalmus 3443, $9) (also useful in Level 6)

*Mendelssohn, Sonata II, op. 65, all four movements (first choice: Novello vol. 4 NOV 01 0218 $38; less expensive alternative: Kalmus 3670 $16; another alternative includes Brahms and Schumann: Dover 0-486-26828-4 $12) (also useful in Levels 3, 4, and 6)

Required (choose six from the following):

Boëllmann, “Toccata” from Suite Gothique, Op. 25. (Kalmus 3234, $8) Bush, Douglas. Hymn Settings for Organ (douglas_bush@byu.edu), any piece of medium difficulty (also useful in Level 6)

Chamberlin, David. LDS Hymn Voluntaries. (http://ChamberlinMusic.com), any piece of medium difficulty (also useful in Level 6)

*Dupré, “How Fair and Pleasant Art Thou,” in Fifteen Pieces Founded on Antiphons, Op. 18. (Gray, $8) (also useful in Level 4)

Jongen, “Chant de Mai,” Op. 53. (Shawnee, $8) Vierne, “Carillon” from Twenty-four Pieces in Free Style, vol. 2. (Masters Music, $10) Walcha, “Weicht ihr Berge, fällt ihr Hügel” from Fünfundzwanzig Choralvorspiele, vol. 1. (Peters 4850, $28)

Wood, “Let Us Break Bread Together.” (Augsburg 11-0856, out of print check the Organ Study at BYU website [organ.byu.edu])

Wright, “Carol-Prelude on Greensleeves.” (Gray St. Cecelia series 798, out of print check the Organ Study at BYU website [organ.byu.edu])

Any hymn setting of medium difficulty from this period may be acceptable

HYMN PLAYING (same in all levels)

Required:

*Hymns of the Church of Jesus Christ of Latter-day Saints (1985) $15, or alternative hymnal (4-part vocal).

Recommended:

*Belnap, Hymn Studies (BYU Creative Works, $16, available from BYU Bookstore or Creative Works Catalogue)

*Lovelace, The Organist and Hymn Playing (Agape, ISBN 0-916642-16-X, $ 6)

*Mini-Courses on Hymn Playing (American Guild of Organists, $18-$77)

MUSIC THEORY

*Steinke, Greg A. and Paul Harder. Harmonic Materials in Tonal Music. Part II. (10th ed. or as recent as possible) (Prentice Hall, $50-$75) (also required in Level 6)

ORGAN REGISTRATION (same in Levels 3-6)

*Cook, OrganTutor Organ 101 or OrganTutor Workbook.

* Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early (Oxford, $47)

* Timeline of the Organ: 2600 Years of History (required in Levels 3-6 – request from organ@byu.edu)

ACCOMPANIMENT

Choose three 4-part vocal scores of medium difficulty, either manual only or with pedal. Include required selections from the following (or approved substitutions):

*Ross, Hugh, and John Smallman and H. Alexander Matthew. Master Choruses. P. 11, 27, and 106 (Ditson) (also useful for Levels 4 and 6)

*The Choirbook. p. 4, 12, 33, 42, 56 (Church of Jesus Christ of Latter-day Saints, $2. Available through BYU bookstore or store.churchofjesuschrist.org online distribution) (also useful for Levels 4 and 6)

Many free online downloads for practice are listed under Level 4 at organ.byu.edu/orgcertlev3-6.pdf

SIGHT-READING

Pieces with moderately easy pedal and three parts between the two hands, as in *Cundick Book (free download), p. 4, 7, 8, 12, 44, 48, 50, 51, 55 (also useful for Level 3)

*Hymnbooks containing hymns of comparable difficulty to the suggested list of simpler hymns marked with an asterisk (*)

TRANSPOSITION

*One or more hymnbooks for practice.

LEVEL 6

TECHNIQUE

*Technical studies for the piano (also useful for Level 6):

Any resource containing fingering for scales and arpeggios (such as The Virtuoso Pianist by Hanon) would be helpful Hanon, Czerny, Bertini, Cramer, Loeschhorn, Dohnanyi, or similar.

There is no specific organ technique requirement for Level 6.

ORGAN REPERTOIRE

Required:

*Bach, Complete Organ Works, choose two Prelude and Fugue in A Major or C Major (both options are in vol. 2 Peters 241 $25 or Kalmus 3071 $11) (also required in Level 5)

*Bach, Orgelbüchlein, choose two from BWV 600, 608, 618, 620, 628, 635, 641. (first choice: Wayne Leupold editions WL 500006 $36; alternative: Concordia Orgelbüchlein $50; less expensive alternative: Kalmus Complete Organ Works vol. 5 $16) (also required in Levels 3-5)

*Buxtehude, one chorale prelude from BuxWV 184 or 178 (first choice: Breitkopf 6663 $30; second choice: Hansen 3928 vol. 4 $29); and one other work from BuxWV 174 or 157 (first choice: Breitkopf 6662 $30; second choice: Hansen

3922 vol. 2 $29) (less expensive alternative, but uses alto clef heavily in the chorale preludes: Dover 6-256820 $17) (also useful for Levels 3-5)

*Mendelssohn, Sonata IV, op. 65: Allegretto; or Sonata VI, op. 65: Andante (first choice: Novello vol. 4 NOV 01 0218 $38; less expensive alternative: Kalmus 3670 $16; another alternative includes Brahms and Schumann: Dover 0-48626828-4 $12) (also useful in Levels 3-5)

Required (choose either both Brahms works or the Franck sections):

*Brahms, “Herzlich tut mich erfreuen [#4]” and “Herzlich tut mich verlangen [#10]” in *Eleven Chorale Preludes, Op. 122.(first choice: Mercury 453-00260 $8; an alternative includes Mendelssohn and Schumann, but brief passages in the Brahms are written in the alto clef: Dover 0-486-26828-4 $12) (also required in Levels 3- 5); or

*Franck, Fugue and Variation from “Prelude, Fugue and Variation.” (Kalmus 3443, $9) (also useful in Level 5)

Required (choose one from the following):

Couperin, François, “Cromhorne sur la taille” from Mass for the Convents. (Kalmus 3315, $10); or any single verset from Mass for the Convents or Mass for the Parishes (Kalmus 3314, $10)

Frescobaldi, Toccata per l’Elevatione” from “Messa delli apostolic” in Fiori musicali. (Bärenreiter 2205, $30)

Pachelbel, fugue on “Vom Himmel hoch.” (Kalmus 3761 vol. 2 $9; another alternative: Dover 0-486-27858-1 $14). Stanley, Voluntary VII, op. 5 (free download https://s9.imslp.org/files/imglnks/usimg/4/4f/IMSLP379648-PMLP10505Stanley_Voluntaries_Op.5.pdf); or Voluntary IX, op. 7 (free download https://s9.imslp.org/files/imglnks/usimg/b/b4/IMSLP379651-PMLP10516-Stanley_Voluntaries_Op.7.pdf)

*Any piece of moderate difficulty from 80 Chorale Preludes, ed. Hermann Keller (C. F. Peters, $35-$60) (also useful in Levels 3-4)

Required (choose two pieces from the following):

Rheinberger, Josef. Intermezzo, from Sonata 4 (free download https://imslp.org/wiki/Organ_Sonata_No.4%2C_Op.98_(Rheinberger%2C_Josef_Gabriel); Cantilene, from Sonata 11 (free download https://s9.imslp.org/files/imglnks/usimg/1/10/IMSLP18122-Rheinberger_Sonata11op148.pdf)

Saint-Saëns, Camille. Prélude, op. 99, no. 3 (free download https://s9.imslp.org/files/imglnks/usimg/6/63/IMSLP01480Saintsaens-Prelude_op99_no3.pdf)

Schumann, Robert.

Studies for Pedal Piano, op. 56, no. 1 (free download https://s9.imslp.org/files/imglnks/usimg/2/21/IMSLP271959PMLP50362-Schumann,_Robert_Werke_Breitkopf_Gregg_Serie_7_Band_5_RS_65_Op_56_scan.pdf); Sketches for Pedal Piano, op. 58, No. 1 or no. 4 (free download https://s9.imslp.org/files/imglnks/usimg/1/16/IMSLP271960-PMLP77932Schumann,_Robert_Werke_Breitkopf_Gregg_Serie_7_Band_5_RS_66_Op_58_scan.pdf)

Fugue on BACH, op. 60, no. III (free download https://s9.imslp.org/files/imglnks/usimg/5/5d/IMSLP279486PMLP64378-Schumann,_Robert_Werke_Breitkopf_Gregg_Serie_8_RS_78_Op_60_scan.pdf)

Samuel Wesley. Air and Gavotte from Tallis to Wesley, No. 7, Samuel Wesley: Twelve Short Pieces, no. 8 & 9. (These two count as one piece.) (free download for Air https://s9.imslp.org/files/imglnks/usimg/7/7c/IMSLP534239PMLP863876-Wesley_Air.pdf; for Gavotte https://s9.imslp.org/files/imglnks/usimg/9/94/IMSLP34663PMLP78058-Wesley_-_Gavotte_in_F_major.pdf)

Required (choose four from the following): Bush, Douglas. Hymn Settings for Organ (douglas_bush@byu.edu), any piece of upper-medium difficulty (also useful in Level 5)

Chamberlin, David. LDS Hymn Voluntaries. (http://ChamberlinMusic.com), any piece of upper-medium difficulty (also useful in Level 5)

Gigout, “Toccata.” (first choice: Ten Pieces, Masters Music, $13; an alternative: French Masterworks for Organ,* J. Fischer, $12)

Karg-Elert, “Abide, O Dearest Jesus,” Op. 65, No. 1. (first choice: *Chorale-Improvisations (66), Op. 65, vol. I, Masters Music $15; alternative: same title, Breitkopf $15) (this volume also useful in Level 3)

Manookin, Robert, “How Gentle God’s Commands” in Organ Book, vol 1, ed. Bush (Jackman, out of print check the Organ Study at BYU website organ.byu.edu)

Manz, Paul. "Open Now Thy Gates of Beauty (Neander)." In Ten Chorale Improvisations, Set 1; "God of Grace." In Ten Chorale Improvisations, Set 5.

Parry, C. Hubert H. Chorale Prelude on "Melcombe." Seven Chorale Preludes, Set 1. (Novello, $14)

*Peeters, “Wake, Awake” in Thirty Chorale Preludes on Well-known Hymn Tunes, Op. 68, no. 5 (vol 1). (Peters 6023, $15) (also useful in Level 3)

Reger, “Melodia,” op. 59, bk. 2. (Kalmus 9092, $8)

Vaughan Williams, “Rhosymedre” in Three Preludes Founded on Welsh Hymn Tunes. (Masters Music, $5)

Vierne, “Communion” in *French Masterworks for Organ.* (J. Fischer, $12) (this volume also useful for the Gigout work above)

Wesley, Samuel Sebastian. “Choral Song” in Wedding Music, Part I. (Concordia, $15)

Any hymn setting of upper-medium difficulty from this period may be acceptable

HYMN PLAYING (same in all levels)

Required:

*Hymns of the Church of Jesus Christ of Latter-day Saints (1985) $15, or alternative hymnal (4-part vocal).

Recommended:

*Belnap, Hymn Studies. (BYU Creative Works, $16, available from BYU Bookstore or Creative Works Catalogue)

*Lovelace, The Organist and Hymn Playing (Agape, ISBN 0-916642-16-X, $ 6)

*Mini-Courses on Hymn Playing. (American Guild of Organists, $18-$77)

MUSIC THEORY

*Steinke, Greg A. and Paul Harder. Harmonic Materials in Tonal Music Part II. (10th ed. or as recent as possible) (Prentice Hall, $50-$75) (also required in Level 5)

ORGAN REGISTRATION (same in Levels 3-6)

*Cook, OrganTutor Organ 101 or OrganTutor Workbook.

* Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early (Oxford, $47)

* Timeline of the Organ: 2600 Years of History (required in Levels 3-6 – request from organ@byu.edu)

ACCOMPANIMENT

Choose three 4-part vocal scores of medium difficulty, either manual only or with pedal. Include required selections from the following (or approved substitutions):

*Ross, Hugh, and John Smallman and H. Alexander Matthew. Master Choruses. P. 46. 44, 62, 90, 100, and 123 (Ditson) (also useful for Levels 4-5)

*The Choirbook. p. 16, 20, 24, 42, 50, 54, 69 (Church of Jesus Christ of Latter-day Saints, $2. Available through BYU bookstore or www.lds.org online distribution) (also useful for Levels 4-5)

Many free online downloads for practice are listed under Level 4 at organ.byu.edu/orgcertlev3-6.pdf

SIGHT-READING

Pieces with moderate pedal, three to four parts between the two hands

*Hymnbooks containing hymns of moderate difficulty, comparable to the suggested list of simpler hymns not marked with an asterisk (*)

Pieces with moderate pedal, three to four parts between the two hands, of comparable difficulty to the following: those composed or edited by Robert Cundick, p. 30, 39, 40, 48, 56, 62 (free download at organ.byu.edu/cundickBookComplete.pdf)

Manookin, Robert, Hymn Preludes, vols. 3, 6

Recommended:

Service Playing Sight Reading Examples (free download, American Guild of Organists)

TRANSPOSITION

*One or more hymnbooks for practice.

Getting Answers to Questions

As questions come up regarding your course, you will save time by going directly to the best source for answers. Basically, if your question deals with the mechanics of your course, look towards BYU Independent Study resources. For questions dealing with the course content, look towards the BYU faculty resources.

BYU INDEPENDENT STUDY RESOURCES

For questions about the policies and procedures for your course, please look for answers in the syllabus. Most questions are answered there). If you still cannot find answers, contact BYU Independent Study directly by phone at 1-877-897-8085 or by email (https://elearn.byu.edu/contact-form).

BYU ORGAN FACULTY RESOURCES

In addition to the information you will receive from Independent Study for your level, other resources are available on the Organ Study at BYU website: (organ.byu.edu). This will be updated frequently with new and interesting organ-related resources, some of which are designed specifically for BYU Independent Study organ students. In addition, appendix B of the course manual contains a list of supplemental texts that you may also find useful.

If you are enrolled in Music 71-76 Community Education courses (not the free version) or Music 399R sections 1-6 and have questions dealing with the content of your course, please contact your course instructor directly: Dr. Don Cook (801-422-3260) or email (doncook@byu.edu).

BYU ORGAN PROGRAMS FOR OFF-CAMPUS ORGANISTS

BYU INDEPENDENT STUDY ORGAN COURSES (Offered by BYU Independent Study)

The Brigham Young University organ faculty and BYU Independent Study offer a variety of organ courses designed to provide motivation and instruction for organists to improve their skills by working toward specific goals. Traditional instruction is offered through books and online lessons, while performance instruction is coordinated with qualified organ instructors in person (in the vicinity of the student) or online.

These courses are a multi-level, in-depth organ training program created by the BYU organ faculty. Each of the six levels/courses (organ.byu.edu/trainingresources.pdf) is available in both college-credit and non-credit versions. College-credit versions (Music 399R Sections 1-6 (is.byu.edu/site/courses/index.cfm?school=univ) offer between 2 and 5 hours of college credit (fee: $478-$1195) and a certificate of completion. Non-credit “Continuing Education” versions (Music 71-76) offer a certificate of completion but no college credit ($150 per course). Visit elearn.byu.edu, and then click Course Catalog > Music, and then find Organ Performance, Level 1, etc. Free versions are available for Levels 1 and 2 only, offering neither college credit nor a certificate. Visit organ.byu.edu, click “Off Campus Students” then “BYU Programs” and find Independent Study Organ Levels 1-2 (free versions).

The courses begin at Level 1 with basic organ skills for the pianist, and end at Level 6 at the point of readiness for the Colleague and Service Playing certificates of the American Guild of Organists. Visit agohq.org/certification/.

Students, in consultation with their instructors, enroll at the level that best suits their needs. Each course/level allows up to one year to pass the requirements. Upon passing, students may enroll for the next level. In the free versions of Levels 1 and 2, students are welcome to pick and choose the topics that they wish.

Each level presents two types of instruction: 1) written assignments and exams/reviews on organ technique, organ registration, and music theory, and 2) played assignments on specified exercises, organ repertoire, hymn playing, sight-reading, transposition, and accompaniment. The written assignments are graded by computer. Students may pass off the played assignments with an approved evaluator or possibly with a member of the BYU organ faculty. Some may be submitted by video recording. To see a summary of the requirements for Levels 1-2, visit organ.byu.edu/orgcertlev1-2.pdf. For levels 3-6, visit organ.byu.edu/orgcertlev3-6.pdf.

Seek out a qualified organ instructor to meet with either in person or online as often as needed to help you complete the course requirements. Instruction customized for each level is also offered during the annual BYU Organ Workshop (see below). Other instructional materials are available at organ.byu.edu. The cost for the instructor and course materials is in addition to any course fees.

For more information, follow the links above, visit organ.byu.edu, or email indstudy@byu.edu

BYU ORGAN WORKSHOP (Offered by the BYU School of Music, for adults)

The BYU Organ Workshop offers four days of instruction in organ playing skills. Participants can choose to come to Provo or to participate online. Several classes are scheduled nearly every hour to meet the needs of beginning to advanced organists. Whether you use your skills in the church service, for teaching, or for your own enjoyment, you will be taught and encouraged by more than a dozen seasoned instructors.

Supervised Practice Sessions (no fee) and Private Instruction ($60) provide an opportunity to play hymns or organ pieces for an instructor and receive personalized feedback, instruction, and motivation. Most organists prepare hymns or organ repertoire pieces from the six Independent Study organ levels (visit the web site for a detailed list of requirements at each level), but any form of organ performance preparation is acceptable.

Return home from this intensive workshop with the seeds of new skills and with the motivation to follow through with organ study throughout the year. Use this workshop as a springboard for lifelong learning in organ. If you wish, enroll in a BYU Independent Study organ course (see above) to help you along during the year. Return the following year and take workshop classes that will prepare you for the next level of study. The fee is approx. $125-$300.

For more information, visit organ.byu.edu/organworkshop, call 801-422-7692, or email organ@byu.edu.

BYU MUSICIANS’ SUMMERFESTIVAL (BYU Conferences and Workshops, for young musicians)

The BYU Musicians’ SummerFestival is a workshop for young instrumentalists and vocalists ages 14–18 who want to improve their musical skills and talents. It is a six-day musical experience with instruction in more than 20 instruments. Instruction is by School of Music faculty and guest instructors, and is offered at the beginning level for pianists who want to study organ, and also at the intermediate and advanced levels. Several BYU organ majors began their organ studies with the SummerFestival.

Workshop Package: Approx. $500-600 (includes daily lunch), plus optional food and housing package approx. $300 (housing and all meals). Counselors provide excellent supervision.

For more information, visit summerfestival.byu.edu, call 801-422-7692, or email youthcamps@byu.edu

Organ Training Resources Available through Brigham Young University

MAIN BYU ORGAN STUDY WEBSITE: organ.byu.edu

BOOKS AND SOFTWARE

OrganTutor Organ 101 (Cook) (visit organtutor.byu.edu and then follow the specific links)

email organ@byu.edu

OrganTutor Online Tutorial (for smartphones, tablets, laptops, desktops) ($50 for 3-year subscription, $30 for 6 months) The OrganTutor Workbook only (no Online Tutorial) (printed version: $23.00+shipping) (pdf $9.50) ardpublications.com

Hymn Studies for Organists (Belnap) ($15.95+shipping) creativeworks.byu.edu > Catalog > search “Belnap”

Three-Stave Hymn Accompaniments (Cundick) (free downloads) organ.byu.edu/3StaveHymns/index.htm

Manual-Only Hymns for Organ (Cundick) (free downloads) churchofjesuschrist.org/bc/content/shared/english/pdf/callings/music/manualonly-100602.pdf?lang=eng and Transformations (Cundick) (use with Manual-Only Hymns to create easy preludes and postludes) churchofjesuschrist.org/bc/content/shared/english/pdf/callings/music/transformations-100618-eng.pdf?lang=eng

ORGAN COURSES THROUGH BYU INDEPENDENT STUDY AND ONLINE

College-credit courses: Music 399R Sections (Levels) 1-6 ($478-$1195) elearn.byu.edu/catalog (scroll to Fine Arts & Communications – Organ Performance) Noncredit courses

Levels 1-2 free self-study versions: organ.byu.edu > Off Campus Students > Music 71 or Music 72 (Level 1 or 2) Free Version

BYU Programs . . . > Independent Study Organ Levels 1-2

Levels 1-6 certificate-only versions ($150) elearn.byu.edu > Course Catalog > Music

Level 1 – Beginning organ: for pianists with little or no previous formal organ training, or who need help in applying what they have learned in their organ playing.

Level 2 – Review of basics: for those with organ training, but who would benefit from a review of basic legato organ technique, repertoire, hymn playing, and registration. Should be able to sight-read single-line melodies.

Level 3 – Early intermediate: for those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, and registration. Should be able to sight-read two-part music.

Level 4 – Intermediate: for with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, and registration. Have training in playing organ pieces in both legato and articulate styles. Should be able to play easy four-part vocal scores, to sight-read simple three- and four-part organ music and hymns, and to transpose hymn melodies (only) up to and including a major second up and down.

Level 5 – Early advanced: for those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, registration, and in intermediate organ pieces in both legato and articulate styles. Should be able to play moderately difficult four-part vocal scores and easy choir accompaniments, to sight-read moderately difficult four-part organ music and hymns, and to transpose simple hymns into all keys up to and including a major second up and down.

Level 6 – Advanced: for those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, registration, and in early advanced organ pieces in both legato and articulate styles. Should be able to play more difficult four-part vocal scores and choir accompaniments, to sight-read more difficult four-part organ music and hymns, and to transpose moderately difficult hymns into all keys up to and including a major second up and down.

The New Ward Organist (A “quickstart” organ course in 8 videos & packet) (free online) organ.byu.edu/the-new-ward-organist

Creative Hymn Playing Techniques (Music 116R podcasts audio lessons) organ.byu.edu/116podcasts.htm

ONLINE TRAINING and WORKSHOPS

Online Training Sessions (free - selected Thursday evenings) organ.byu.edu/online-training-sessions

The BYU Organ Workshop (online or in person, for ages 18+, Aug. 4-8, 2025) organ.byu.edu/organworkshop

The BYU Musicians’ SummerFestival (in person only, for ages 14-18, June 15-21, 2025) summerfestival.byu.edu

BYU Traveling Organ Workshops (free - multi-stake or other) organ.byu.edu/workshops

Internet Resources for Organists

General “Hot Spots” of Organ-Related Web Resources

• American Guild of Organists agohq.org

The New Organist (videos and other resources) agohq.org/new-organist

Educational Resources https://www.agohq.org/education/educational-resources/ Lessons for the New Organist and other educational videos youtube.com/user/GuildofOrganists/playlists

• Wikipedia en.wikipedia.org/wiki/Pipe_organ

Specific Areas of Interest to Organists

• BYU

Organ Study at BYU organ.byu.edu

BYU Organ Workshop organ.byu.edu/organworkshop

BYU Musicians’ Summerfestival (ages 14-18) summerfestival.byu.edu

The New Ward Organist organ.byu.edu/the-new-ward-organist

OrganTutor organtutor.byu.edu

Independent Study Organ Courses

College-credit courses (Levels 1-6): elearn.byu.edu/catalog (scroll to Fine Arts & Communications – Organ Performance)

Certificate-only courses (Levels 1-6, noncredit) elearn.byu.edu > Course Catalog > Community Ed. Courses > Music Free courses (Levels 1-2 only, noncredit, no certificate) organ.byu.edu > Off Campus Students > BYU Programs . . . >

Independent Study Organ Levels 1-2

• Organists of the Church of Jesus Christ of Latter-day Saints

Organ Training Resources organ.byu.edu/trainingresources.pdf

Facebook groups:

“BYU Organ Discussion Group” – a great way to get questions answered facebook.com/groups/byuorganworkshops

Organ Pedagogy facebook.com/groups/1535239366756069

Latter-day Saint Organists’ Chat facebook.com/groups/200735804094251

Resources for LDS Organists (DeeAnn Stone) LDSOrganists.info

Belnap Hymn Studies for Organists creativeworks.byu.edu > Catalog > search “Belnap”

Carol Dean marked Hymnbook (about $35+shipping, email Jennifer Morgan ldsorganistblog@gmail.com)

History of LDS Hymns en.wikipedia.org/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints_hymns

Temple Square Organs mormontabernaclechoir.org/about/organs?lang=eng Jackman Music jackmanmusic.com

Online Music for the LDS Organist wardorganist.com

• Organ Music sheetmusicplus.com, michaelsmusicservice.com, loisfyfemusic.com, organhistoricalsociety.org, theleupoldfoundation.org

Kelvin Smith online music library untraveledroad.com/music/music.htm

• Recordings and broadcasts

Pipedreams Program Archives pipedreams.publicradio.org/listings/2020 JAV Recordings pipe-organ-recordings.com

Pro Organo (Zarex) proorgano.com

Bach Organ Works (free online recordings – Kibbie) blockmrecords.org/bach OrganLive.com (free Internet audio station) organlive.com

• The organ itself

Organ Stop Library organstoplibrary.byu.edu

Encyclopedia of Pipe Organ Stops organstops.org/index.html

Organ History organhistoricalsociety.org/OrganHistory/

A Young Person’s Guide to the Pipe Organ (The Pipe Organ Guide) agohq.org/young-persons-guide

• Miscellaneous

Facebook pages: AGO Organ Forum (closed group) facebook.com/groups/AGOCG

Facebook Organists’ Assoc. (private group) facebook.com/groups/organists

AGO Young Organists agohq.org/ago-young-organists

A Wiki resource on organ playing organplayingwiki.byu.edu

Pipe Organs: Remarkable and Historical Instruments from Around the World mypipeorganhobby.blogspot.com

Secrets of Organ Playing: Down to earth tips, advice, and training for organists (Vidas Pinkevicius) organduo.lt

Organ Pedagogy (Myrna Layton) guides.lib.byu.edu/c.php?g=216674&p=1428271

A series of eight video lessons to assist the pianist in getting started as an organist for the Church of Jesus Christ of Latter-day Saints. The free YouTube videos are hosted by Dr. Don Cook of the Brigham Young University Organ Department, with graduate students Samantha Adair, Amber Dahlberg, and Taryn Harding.

Lesson 1 – Introduction (Cook) 2:34

Lesson 2 – How to Start Playing the Organ (Adair) 8:13

Lesson 3 – Choosing Organ Stops (Dahlberg) 9:43

Lesson 4 – How to Play a Hymn (Harding) 10:37

Lesson 5 – How to Play the Pedals (Adair) 10:22

Lesson 6 – Advancing Your Hymn Playing (Harding) 11:14

Lesson 7 – Prelude and Postlude Tips (Dahlberg) 6:04

Lesson 8 – Continuing Your Organ Training (Cook) 10:44

Visit youtube.com and search “New Ward Organist”. Click the link in any video description to download and print the free packet (in pdf format).

For questions or more information: Email – organ@byu.edu Website – organ.byu.edu

THE BYU PRACTICE AND STUDIO ORGANS

The BYU organ department has six pipe organs and one digital organ used for practice in the Music Building. Five of these are located in the Organ Suite (corridor 1231), one is located in room 4110, and one in the Choral Hall loft (3225). In addition, two larger pipe organs are housed in the two faculty offices, 1231A and 1231D. All of them were moved from the Harris Fine Arts Building in 2022-2023 These practice and teaching studio organs represent a wide array of organ types: from those reminiscent the organs of the seventeenth century through those that use modern digital technology. The twelve digital organs in the Organ Lab are also used for practice. These organs are available to see and practice on according to the schedules for your event.

1231A (built by RODGERS Instr. LLC in 2009)

Press the top half of the power switch, located under the Solo stops to the right of the manuals. This teaching studio contains a four-manual custom electronic organ console that is fitted with eight ranks of pipework. Both the pipes and speakers are enclosed in a swell box controlled by the left-most “Case” expression pedal. The console features OSI pipe organ keyboards. The organ contains 384 voices, organized into five or more independent stoplists that imitate important historic organ types. It is also equipped will a MIDI sequencer/sound module and other items to allow faculty and students to explore applications of modern technology into the traditional pipe organ world.

1231B (built by CASAVANT in 2006)

This is a two-manual electric-action organ of 6 ranks. There is one expressive division.

1231C (built by Kenneth COULTER in 1988)

Press the power button located to the left of the manuals

Turn on the “light switch” to the right underneath the manuals. This is a two-manual tracker organ of 9 ranks. It features a flat pedalboard and a very sensitive key action.

1231C (Austin, rebuilt by SCHOENSTEIN in 1988)

Press the red power button located to the left of the manuals

This is a three-manual electro-pneumatic organ of 10 ranks. There are two expressive divisions. The console was rebuilt by Mike Ohman in 2022 with a new combination action.

1231D (built by M.L. BIGELOW and Company in 1996)

Pull the "wind" stop to your right to start the blower.

This teaching studio contains a two-manual tracker organ of seven ranks. All but the 8' Principal are located within the swell box. The organ focuses on stops of 8' pitch, offering the student who spends two or more hours in daily practice a wide choice of stops that are easy on the ears. Some of the stops are playable on either the Great or the Swell, but not both at the same time.

1231E (built by RODGERS Instr. LLC in 2000)

Press the top half of the power switch, located under the Great stops to the right of the manuals.

This “traveling organ” is a three-manual digital organ console that is fitted a rolling platform and up to four rolling speaker cabinets. It is moved to spaces where an organ is not usually available for recitals and accompaniments

1231E (built by P & S in 2001)

This is a two-manual tracker organ of 6 ranks. There are no expressive divisions.

Choral Hall, room 3225 (built by Kenneth JONES in 1988)

To power up the organ, turn the key to the left of the manuals.

Turn the key that is located low and to the right, just above the higher pedal keys.

This is a three-manual tracker organ of 22 ranks. In a "tracker" key action such as this, there is a direct mechanical connection between the key and the valve underneath the pipe. It allows the organist greater control over the way the pipe speaks than in an electric or electro-pneumatic key action. This organ is used as a teaching instrument, offering a large variety of stops in a small space, and for rehearsal and performance. There is one expressive division, the Swell. It was revoiced in 2023 to better fill the larger space in its new home

4110 (built by Karl WILHELM in 1987)

The "on" switch for this organ is the white switch just under the right end of the Great manual. This is a two-manual tracker organ of six ranks. It features a flat pedalboard, similar to those commonly found in Europe. The pipework is enclosed behind cabinet-style shutters that can be set in position by the organist. The manuals are coupled by means of a shove-coupler: grasping the small knobs to the right and left of the Great allow you to push the manual in or out. It is coupled to the Swell when it is pushed in. The hook-down pedals near the pedal keys are pedal stops and manual/pedal couplers.

Organ Lab, room 2217 (built by ALLEN in 2021)

The "on" switch is to the lower left of the manuals

Of these twelve digital organs, eleven are model LD34B, and one is an earlier drawknob model donated by Parley and Bona Belnap This room is used for group organ classes and for student practice. A thirteenth LD34B organ, located in Music Library of the Harold B.Lee Library, is available for perusing organ scores.