2025 Organ Workshop Handouts by BYUSchoolofMusic

BYU Organ Workshop 2025

Handouts and Information Booklet

Music Building Maps

Monday, August 4

2:00-5:00 p.m.

BYU ORGAN WORKSHOP 2025

This schedule is subject to change

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

Private Lessons (scheduled, $60)

3:00-5:00 p.m. Supervised Practice Hall 2217 (Organ Lab) (no charge; four per hour scheduled, walk-in for unsupervised practice)

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

4:00-5:00 Displays open 2221

5:00-7:00 Seminar: German Baroque Registration Kerr Concert 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 Stories of Your Peers Harris

Tuesday, August 5

New to the Organ

Experienced Organists Special Topics

8:00 Registration Check-in 2nd Floor Lobby Displays open 8:00-8:50 2221 Breakfast, with Questions and Answers Harmon North Ensemble

9:00 Opening Session Harmon, Larsen Concert Hall Keynote Address Heidi Alley

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

11:00 Registration Basics (Part 1) Larsen 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) Margetts South Ensemble Advanced (Level 6) Harris Concert Hall

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

12:30 Lunchtime Listening Session: The Music of Dale Wood Welch North Ensemble

Supervised Practice

Supervised Practice (Lessons Beyond Level 6 Only) (Part 1) (2 hours) Johnston 2217 (Organ Lab)

“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.) Gastelum, Johnston, Larsen 2217 (Organ Lab)

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 Practice”) Early (Level 2) Forsyth Recital Hall

3:00 Registration Basics (Part 2) Larsen Choral Hall

4:00 1. Beginning Piano Technique for Organists Hall Choral Hall

2. Preparatory Level 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, Pickering 2217 (Organ Lab)

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

7:00 Instructor

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

Adapting Non-Organistic Hymns to the Organ (Part 1) Kerr North Ensemble

Push Your Pedal Technique With Pedal Etudes Boehmer North Ensemble

1. Figurenlehre - A Baroque Musical Language (1.5 hours) Johnston Concert Hall 2. Organ for Primary for Teaching Beginners (1.5 hours) Swain South Ensemble

OrganTutor’s ReadyMade Lesson Plans South Ensemble

About the Liturgical Year Forsyth South Ensemble

Supervised Practice (1 5 hours) Hess 2217 (Organ Lab)

Supervised Practice Welch 2217 (Organ Lab)

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

Wednesday, August 6

New to the Organ Experienced Organists Special Topics Supervised Practice

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) Hess

Choral Hall

11:00

Chorus Registration Larsen

Choral Hall

12:00

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

Pickering North Ensemble

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

Kerr South Ensemble

2. Improvising a Theme and Variations for a Hymn Prelude (Part 1) (for those who are comfortable with Level 5-6 Theory Topics) Hofeling 2217 (Organ Lab)

Organ Technique and Repertoire (Part 2):

Intermediate (Level 3) Boehmer Recital Hall

Upper Intermed. (Level 4) Payne North Ensemble

Early Advanced (Level 5) Margetts South Ensemble

Advanced (Level 6) Harris Concert Hall

iPad and forScore for Beginners

Peeples North Ensemble

Interpreting Buxtehude (Part 1) Harmon South Ensemble

Supervised Practice (Lessons Beyond Level 6 Only) (Part 2 – Custom Presentation) Johnston 2217 (Organ Lab)

Supervised Practice Goodliffe 2217 (Organ Lab)

Lunch Break (note: no food allowed in the next session) Displays open (11:55-1:20; closed for the week Thursday 1:20) 2221

12:30 Lunchtime Listening Session: Demonstration of the New Letourneau Organ Harmon Concert Hall (no food in Concert Hall)

“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.) Gastelum, Peeples, Larsen 2217 (Organ Lab)

1:30 Organ Technique and Repertoire (Part 2): Beginning (Level 1) Harmon Choral Hall

Early (Level 2) Forsyth Recital Hall

2:30 1. Preludes and Postludes for Beginners (Part 1) Hall Choral Hall

2. Preparatory Level 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, Pickering 2217 (Organ Lab)

3:45 (prepare for Field Trip)

Advanced Hymn Playing (Part 2) Hall North Ensemble

At Ease in All the Keys: Extending Preludes and Postludes (Part 1) Margetts South Ensemble

Adapting Non-Organistic Hymns to the Organ (Part 2) Kerr North Ensemble

Developing the Next Generation of Organists Harris South Ensemble

Supervised Practice Goodliffe 2217 (Organ Lab)

3:45 Buses depart from south of Music Building

4:45 Arrive at the SLC Food Court – dinner on your own

6:15 Conference Center Schoenstein organ Demonstration Recital by Dr. Richard Elliott

7:45 Buses depart from west of Conference Center for BYU Music Building

Thursday, August 7

New to the Organ Experienced Organists Special Topics Supervised Practice

8:30

10:00

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

Peeples Choral Hall

11:00

12:00

12:30

Hymn Playing in the Sustained Style (Part 2) Hess

Choral Hall

Solo and Accompaniment

Registration Larsen Choral Hall

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

Pickering North Ensemble

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

Kerr South Ensemble

2. Improvising a Theme and Variations for a Hymn Prelude (Part 2)

Hofeling 2217 (Organ Lab)

Organ Technique and Repertoire (Part 3):

Intermediate (Level 3) Boehmer Recital Hall

Upper Intermed. (Level 4) Payne North Ensemble

Early Advanced (Level 5) Margetts South Ensemble

Advanced (Level 6) Harris Concert Hall

iPad and forScore – Beyond the Basics Peeples North Ensemble

Interpreting Buxtehude (Part 2) Harmon South Ensemble

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

Supervised Practice (Lessons Beyond Level 6 Only) (Part 3) Johnston 2217 (Organ Lab)

Supervised Practice Boehmer 2217 (Organ Lab)

Lunchtime Listening Session: Chorale Preludes – Songs of Faith Through the Ages Johnston 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.) Gastelum, Peeples, Larsen 2217 (Organ Lab)

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

Beginning (Level 1) Harmon Choral Hall

Early (Level 2) Forsyth Recital Hall

2:30 Preludes and Postludes for Beginners (Part 2) Hall Choral Hall

3:30

1. So, You're A New Organist! How to Perform the Balancing Act Hess Choral Hall

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

4:30 Preparatory Level Practice (repeat, 12 seats only for those who sign up during Tue. 1:30 class) Peterson, Margetts 2217 (Organ Lab)

7:00

Advanced Hymn Playing (Part 3) Hall North Ensemble

Choir Accompaniment for Organists (Part 1) Harris North Ensemble

Concert Programming for Young Organists Gastelum South Ensemble

At Ease in All the Keys: Extending Preludes and Postludes (Part 2) Margetts South Ensemble

Running a Successful Private Studio Payne South Ensemble

The History of the BYU Organ Program Pickering North Ensemble

Low-Stress Performance Opportunity (Part 1 –Prep Session – limited to 8 participants) Goodliffe 2217 (Organ Lab)

Supervised Practice Harmon 2217 (Organ Lab)

Community Hymn Sing Hofeling followed by reception Concert Hall

Friday, August 8

New to the Organ Experienced Organists Special Topics Supervised Practice

8:30

10:00

Music Theory for the Organist Level 1-2 (Part 3)

Peeples Choral Hall

Hymn Playing in the Sustained Style (Part 3)

Hess Choral Hall

11:00 Registration Decision Making and Score

Preparation Larsen Choral Hall

12:00 Lunch Break

12:30

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

Pickering North Ensemble

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

Kerr South Ensemble

2. Improvising a Theme and Variations for a Hymn Prelude (Part 3) Hofeling 2217 (Organ Lab)

Organ Technique and Repertoire (Part 4):

Intermediate (Level 3) Boehmer Recital Hall

Upper Intermed. (Level 4) Payne North Ensemble

Early Advanced (Level 5) Margetts South Ensemble

Advanced (Level 6) Harris Concert Hall

Practicing: What I've Learned Since My Student Days Goodliffe North Ensemble

Samuel Wesley - "The English Mozart" (Part 1) Peterson South Ensemble

Lunchtime Listening Session: Hymn Playing Masterclass Hofeling North Ensemble

Supervised Practice (Lessons Beyond Level 6 Only) (Part 4 - play for one another!) Johnston 2217 (Organ Lab)

Supervised Practice Peeples 2217 (Organ Lab)

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

Beginning (Level 1) Harmon Choral Hall

Early (Level 2) Forsyth Recital Hall

1 Choir Accompaniment for Organists (Part 2) Harris Concert Hall

2. iPad and forScore for Beginners (repeat) Peeples North Ensemble

2:30 Update and Q&A from Church Headquarters Choral Hall

3:30

Samuel Wesley - "The English Mozart" (Part 2) Peterson South Ensemble

Closing Session Harmon, Gastelum Concert Hall

Low-Stress Performance Opportunity (Part 2 – play for one another! Only for those in the Thu. 1:30 session) Goodliffe 2217 (Organ Lab)

Supervised Practice Hess 2217 (Organ Lab)

(Part 2)

Technique and Repertoire - Level 2 (Part 2)

(Part 2)

Theory for the Organist - Levels 3-4 (Part 2)

(Part 3)

(Part 4)

(Part 1)

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

Technique and Repertoire - Level 2 (Part 4)

Accompaniment for Organists (Part 2)

Samuel Wesley - "The English Mozart" (Part 2)

3:30

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

ABOUT THE LITURGICAL YEAR

You’ve heard about it, but just what is it? Learn about the church calendar that has inspired countless compositions and is still used in many mainstream Christian denominations today.

ADAPTING NON-ORGANISTIC HYMNS TO THE ORGAN

Organists are increasingly expected to accompany hymns and songs at the organ that were intended for the piano. This class will cover some of the strategies for doing so effectively.

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. Available through Printology in American Fork, UT.

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

AT EASE IN ALL THE KEYS: EXTENDING PRELUDES AND POSTLUDES

We’ll explore playing the chords of a given key in a descending 5ths sequence, as used by composers in the common practice period. Learning this technique and using it in improvisational moments (i.e., to extend a prelude and bring it to a satisfying close). This is also useful in modulating to a new key and aids composition techniques.

BEGINNING 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 earlylevel organists.

Note: this class does not cover the piano technique requirements in Levels 5 and 6

CHOIR ACCOMPANIMENT FOR ORGANISTS

A great choral accompanist does more than just play the notes they inspire, support, and enhance the choir’s sound. This class will explore essential techniques for organists accompanying choirs, including registration choices, balancing with singers, adapting to conductors, shaping musical phrasing, and adapting piano scores to the organ. Whether you’re accompanying a small church choir or a large ensemble, you’ll gain practical skills to become a more confident and responsive collaborator.

CHORUS REGISTRATION

Once you are familiar with organ stops, how do you combine them into useful combinations for organ pieces and hymns? We use “chorus registration” when several musical lines or voices are to be played on the same sound, as when both hands play on the same manual. It 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.

CONCERT PROGRAMMING FOR YOUNG ORGANISTS

When you have an opportunity to play a single organ piece or a whole program, it pays to consider programming one or more pieces designed to appeal to young people. And there are ways to draw that fledgling audience into even the more serious organ pieces. Learn some of great strategies for involving young people in the organ world from Renee Gastelum, whose emphasis in music education gives her a valuable fresh perspective.

DEVELOPING THE NEXT GENERATION OF ORGANISTS

The pipe organ is probably the most fascinating instrument in the world majestic, awe-inspiring, and full of possibilities. Put a young person at the console and let them explore the sounds at their fingertips and feet, and they can be instantly hooked. This session offers creative ways to entice youth and children to try the organ, along with tips and tricks for engaging their curiosity, building their confidence, and keeping them motivated to become lifelong organists.

FIGURENLEHRE – A BAROQUE MUSICAL LANGUAGE

Discover the forgotten and almost lost Baroque musical language of Figurenlehre, or “Doctrine of Musical Figures” which was used extensively by Bach and other Baroque composers to express emotions and ideas. You will leave with a deeper understanding of their music and an appreciation for what these composers were seeking to communicate through their compositions.

THE HISTORY OF THE BYU ORGAN PROGRAM

For those interested in the BYU Organ Department and its rich history, this session will be particularly interesting. Dr. Pickering has done extensive research that he is willing to share with us at this pivotal time with a new building, the advent of a wonderful concert organ, and a “changing of the guard” on the faculty.

HOW TO MAKE THE MOST OF THE BYU ORGAN WORKSHOP (Introductory video for all participants. Click here to watch the video.)

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!

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. Available through Printology in American Fork, UT.

HYMN PLAYING MASTERCLASS

Workshop instructor Jacob Hofeling 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 6. 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 27.

IMPROVISING A THEME AND VARIATIONS FOR A HYMN PRELUDE

Theme and variations is one of the most oft-used forms for composition and improvisation. This special class is a hands-on experience with improvisation in that form. It is limited to 12 participants with extensive music theory backgrounds – that is, beyond the Level 6 theory topics.

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

Pay the fee at the time of registration, and then scheduling will open in mid-July. More information is available on our website.

INTERPRETING BUXTEHUDE

The organ works of Dieterich Buxtehude are some of the most dramatic and interesting of 17th-century Germany. This course will explore performance considerations that can enliven your interpretation of these works, such as registration, tempo, style, and more.

iPAD AND FORSCORE FOR BEGINNERS

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

AND FORSCORE – 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

This special advanced technique and repertoire course is available for up to 12 participants. Bring your pieces for supervised practice and customized feedback. You may choose to participate in a low-stress performance opportunity at the end of the week.

Part 1: Presentation on effective practice techniques, time for practice.

Part 2: Possible customized presentation and time for practice.

Part 3: Time for practice.

Part 4: Mini-recital (optional - low stress!)

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! For the first session, bring your prepared piece to the Organ Lab 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!

Limited to 8 participants

LUNCHTIME LISTENING SESSIONS

Bring a lunch (except for Wednesday) 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 Dale Wood.

James Welch, who has published some of Dale Wood’s organ music, will share some of his best organ pieces.

Wednesday session: Demonstration of the New Letourneau Organ.

The 81-rank four-manual Letourneau Concert Organ will be demonstrated, including a video tour of the organ chamber.

Thursday session: Chorale Preludes – Songs of Faith Through the Ages.

Composers have long written their faith and love for God into their music. From the Baroque chorale preludes of Bach to African American spirituals, workshop instructor Wendy Johnston will explore together a wide range of these “songs of faith.”

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 by Wednesday during the workshop. Video submissions possible.

MUSIC THEORY FOR THE ORGANIST

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. This year we invite you to recommend topics to be discussed by clicking this link and entering your name, the level (see below), and the topic. 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 FOR PRIMARY FOR TEACHING BEGINNERS 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.

ORGAN TECHNIQUE AND REPERTOIRE

To make best use of these classes, please read this section entirely so that you will 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 stock many of the titles used in BYU organ programs. 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 1 (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

Your choices of the listed repertoire pieces (See the lists for Levels 1-2 or Levels 3-6) Organ shoes

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 some 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.

ORGANTUTOR’S READY-MADE LESSON PLANS

The early stages of learning organ can be much easier for both student and teacher with tried and tested lesson plans. This session will explore OrganTutor’s fifteen-stage Weekly Preparation Guide and explain its many benefits.

PEDAL TECHNIQUE

This class covers the most important foundations of good legato pedal technique. Following 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 above and follow the instructions to sign up during or immediately after that class. Organ shoes highly recommended.

PRACTICING: WHAT I’VE LEARNED SINCE MY STUDENT DAYS

Temple Square Organist Emeritus Bonnie Goodliffe continues to share her valuable experience as a professional organist with our workshop participants. If you are interested in secrets to making the most of your valuable practice time, don’t miss this session!

PRELUDES AND POSTLUDES FOR BEGINNERS

When you’re just getting started as an organist, it’s not easy to find easy preludes and postludes that are also good music. Part 1: We will explore a wide variety of published pieces that can fill that need. Part 2: Learn to create your own simple preludes and postludes using the hymnal.

PREPARATORY

LEVEL 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 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 – either in person or 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 Practice will take place during that class. Class size limit: 12 students per session. Participation 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 4 and Friday, August 8. The lesson can be in person or online. Pay at the time of registration, and scheduling will open in mid-July. Watch for an email with scheduling details. No refunds for missed appointments.

These lessons are an excellent opportunity to receive help with 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.

PUSH YOUR PEDAL TECHNIQUE WITH PEDAL ETUDES

Are you at the point where you would enjoy bringing your pedal technique closer to the level of your manual playing? Pedal etudes may be just the ticket! Dr. Boehmer will share some resources that could help your feet find their way around more easily.

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. Dividing 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.

RUNNING A SUCCESSFUL PRIVATE STUDIO

Just as there is a pressing need for new organists, there is an equally pressing need for organ teachers. Whether you are a piano teacher looking to introduce the organ to your students or a highly trained organist hoping to help more advanced organists along, Kymberly Payne will give you some specific ideas for creating or enhancing your own organ studio.

SAMUEL WESLEY – “THE ENGLISH MOZART”

This important British composer, a child prodigy, left behind a large body of accessible and interesting organ music. He was also the father of Samuel Sebastian Wesley, another important composer. Learn about some organ works that might find a new place in your own repertoire.

SO, YOU’RE A NEW ORGANIST! HOW TO PERFORM THE BALANCING ACT

Welcome to the wonderful world of being a ward organist! Learn ways to plan ahead, work together, and organize your time so you cannot just survive, but thrive in your new calling.

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.

STORIES OF YOUR PEERS

Inspired by the occasional stories shared between organ workshop participants, instructor Valerie Harris interviewed many of you in previous years and put together videos of some of those stories. Learning of the strength and determination in our fellow workshop participants can inspire us to press forward through our own journeys.

SUPERVISED PRACTICE

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 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.

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 AGO Certification and some words of encouragement by the BYU organ faculty. Those who stay for this Closing Session will be richly rewarded.

COMMUNITY HYMN SING

In one of the week’s highlights, the Hymn Sing, the organist will accompany a live audience in a wonderful program of hymns. They will apply hymn playing techniques that are often described during the workshop and taught through the Independent Study organ courses. This is a gold mine for ideas that you might consider for either a special cultural event, worship services, or even your own hymn sing.

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 Day Murray 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!

• Day-Murray Music (in-person vendor for this year’s workshop) (including the hymn prelude volumes of Dr. Neil Harmon and Dr. Douglas Bush): 1-866-DAY-1946; daymurraymusic.com

• Best In Music: 1-801-802-8022; bestinmusic.net

• 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 Salt Lake City. First, we’ll take time for dinner at or around the Food Court near Temple Square. Then we’ll walk to the Conference Center, where Dr. Richard Elliott will conduct – just for us – a demonstration/recital in the Conference Center on the magnificent 110-rank five-manual Schoenstein organ.

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

INSTRUCTOR

RECITAL

Several 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.

OPENING SESSION

The opening session features a keynote address by Heidi Alley. Heidi grew up in a very musical family, earned a degree in organ performance, and has spent her life in service as a wife, mother, and organist. She exemplifies what it means to be a lifelong learner. We are privileged to listen to her story and perspectives, which will set the tone for our workshop.

During the Opening Session you will also meet the instructors and hear comments from workshop organizers.

QUESTIONS AND ANSWERS

While you enjoy a light breakfast and wait for the opening session, workshop organizers 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!

SEMINAR: GERMAN BAROQUE ORGAN REGISTRATION

Dr. Kerr will explore the varied nature of organs in the late 17th and early 18th centuries. Understanding these instruments, and knowing the registration instructions and traditions from that period shed light on how we might register German Baroque organ literature on our modern instruments.

UPDATE AND Q&A FROM CHURCH 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.

INFORMATION ON ORGAN METHODS

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.

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 4.0 in 2022. 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 benefited 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 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.

About the Liturgical Year

What is it?

The liturgical calendar is used by many Christian faiths. It follows the birth, life, death, and resurrection of Jesus. Some denominations follow a calendar that observes more specific events and traditions than others. J. S. Bach’s Orgelbüchlein was originally conceived to have 164 settings of chorale (hymn) tunes sung during the church year so that each part of the year was represented. However, only 46 of these chorale preludes were completed. Here are key time periods, focal points, liturgical colors and a few hymn examples for each church season.

Advent

1. Advent is the first season of the church year, the word advent coming from the Latin “adventus” which means “arrival” or “coming.”

2. Advent begins four Sundays before Christmas Day and concludes on Christmas Eve.

3. This season is a time of preparation for and anticipation of the birth of Jesus.

4. The liturgical color is purple.

5. Advent hymns include “O Come, O Come, Emmanuel,” “Of the Father’s Love Begotten,” and “Wake, Awake, for Night is Flying” (Sleepers Awake).

Christmas (or ‘Christmastide’)

1. The Christmas season lasts 12 days, ending on January 5, and celebrates Jesus’ birth.

2. The liturgical color is white.

Epiphany

1. The Feast of Epiphany is on January 6, and is generally observed on the closest Sunday.

2. The word epiphany comes from the Greek “epiphaneia,” meaning “manifestation.”

3. Epiphany commemorates the revelation of Jesus as the Son of God, primarily through the visit of the Magi to the ‘infant’ Jesus.

4. The liturgical color is white.

5. Epiphany hymns include “We Three Kings” and “What Star is This that Shines so Bright.”

Ordinary Time

1. The word “ordinary” comes from the same root as “ordinal,” and refers to counted weeks,

or the weeks that don’t belong to a proper season.

2. The Ordinary Time following Epiphany is the first of two Ordinary Time periods.

3. This portion of Ordinary Time runs between the Feast of the Baptism of Christ (observed the Sunday following Epiphany) until the day before Ash Wednesday. It covers three to eight Sundays, depending on where Easter falls.

4. The liturgical color is green.

Lent and Holy Week (Passiontide)

1. Lent is a major penitential season of preparation for Easter.

2. It begins on Ash Wednesday, and if Good Friday and Holy Saturday are included, lasts for 40 days (since the six Sundays in this season are not counted).

3. The word “Alleluia” is symbolically buried and not said or sung until Easter Sunday.

4. Holy Week begins with Palm Sunday (also called Passion Sunday), the Sunday before Easter, and includes Maundy Thursday, Good Friday and Holy Saturday.

5. The liturgical colors are purple for Lent, scarlet for Palm Sunday, and black for Good Friday.

6. Lenten hymns include “Lord, Who Throughout These Forty Days,” “All Glory, Laud and Honor” (Palm Sunday), “O Sacred Head Now Wounded” and “Ah, Holy Jesus” (Good Friday).

Easter

1. Easter is the celebration of the resurrection of Jesus.

2. The date of Easter varies from year to year, and is computed by a lunar calendar dating system. (“Date of Easter” on Wikipedia gives a good explanation.)

3. Ascension Thursday celebrates Jesus’ return to heaven following his resurrection and takes place on the fortieth day of Easter.

4. Pentecost is the fiftieth (or forty-ninth if you don’t count Easter Sunday) and last day of the Easter season. It celebrates the Apostles receiving the Holy Spirit/Holy Ghost.

5. The liturgical color for the Easter season is white, and is red for the Day of Pentecost.

6. Easter Hymns include “Christ the Lord is Risen Today,” “Now the Green Blade Rises,” and “Thine is the Glory.” Pentecost hymns include “Every Time I Feel the Spirit” and “Come, Holy Ghost, Our Souls Inspire.”

Ordinary

Time, Time after Pentecost

1. This period of Ordinary Time begins on “Pentecost Monday” (the day following Pentecost) and ends the Saturday before the first Sunday of Advent.

2. The liturgical color is green.

Adapting Non-Organistic Hymns to the Organ

Daniel Kerr

1. The adaptation of a piano score must sound idiomatic to the organ. It needs to sound like it belongs on the organ – that it was meant for the organ. This means that we’ll put the bass line in the pedals, with both 8’ and 16’ stops. We’ll play to the strength of the instrument, which allows for a legato, sustained sound.

2. Simplify! – Some lines may need some adjustment, particularly arpeggiated figures.

3. Divide the notes as comfortably as possible between the hands. The bass line goes to the pedal. And it needs to be the actual bass line – which is not necessarily the bottom line of the piano part. It is usually the root of the chord being played, which is indicated by the guitar chords above the staff.

4. Observe the musical values of the piano score: rhythm, phrasing, characteristic figurations, accents, written instructions.

5. Pianistic effects (like arpeggiated chords) must be adapted. However...

6. Be sure to preserve the motion of the music; do not reduce all pianistic devices to chords.

7. For arpeggio passages, sustain each pitch as the chord ascends, drop out sustained parts as the chord descends (creating the effect of a damper pedal).

8. Where the arpeggio is part of the melodic structure (and needs to be heard as such), play it in one voice as written, and accompany it in the other voice with a corresponding chord sustained on a second manual.

9. Registration should be bright, clear, well balanced, and appropriate to the style of the music.

10. Reeds, mutations, and célestes all have their uses when they are suitable to the character and style of the music.

Advanced Hymn Playing

Alena Hall

Advanced hymn registration

Thoughtful and well-executed hymn registrations can encourage singing and point the congregation to the written text. Organists should carefully consider the text as choices concerning registration and creative techniques are made.

Organists who play frequently in sacrament meeting (or other worship services) may also consider setting general and divisional pistons that add stops on successive pistons. (Example: If 10 pistons are available, #1 would be the softest registration that could support a congregation with #10 be the biggest registration one might use.Aseamless crescendo would be created from pistons #1-#10).

Nonharmonic Tones

Passing Tones are notes that pass between two notes that are a third (a skip) apart.

Neighbor Tones are notes that can be added above or below two repeated notes.

Suspensions occur when a note of the chord is delayed by first playing a note above or below the chord tone. Most often it is the third of a chord that is moved up a half step before resolving to the written note (the third).

A Pedal Point occurs when a single note is held, usually the tonic or dominant note (1st or 5th scale degree), while the rest of the notes continue to be played.

Rearranging Parts

Manual only: all four parts are played by the hands on the same keyboard.

Tenor solo: the tenor part is played by the left hand on the more prominent keyboard with a solo registration. It can be played in the written range or an octave higher. The right hand, (soprano and alto voices) is played on the less prominent keyboard using an accompaniment registration that is strong enough to support the congregation. The feet play the pedals. Make sure that you use this on a hymn that has an interesting tenor line.

Soprano solo: the soprano part alone is played by the right hand on the more prominent keyboard with a solo registration. It can be played in the written range or an octave lower. The left hand (tenor and alto voices)

is played on the less prominent keyboard using an accompaniment registration that is strong enough to support the congregation.

Alto up an octave: the normal arrangement for hymns is used, except that the alto part is played an octave higher, which puts it above the soprano line. The inner part of the right hand plays the soprano and the outer part of the right hand plays the alto line.

Soprano/tenor switch: the soprano and tenor voices switch ranges (the soprano part is played down an octave and the tenor part is played up an octave). The easiest way to execute this is to write it out so the right hand can play the tenor part (up an octave) and the alto part. The left hand would then play the soprano part an octave lower.Alternatively, a crossing-hands method can be used: the right hand plays "alto up an octave" an octave lower than normal. The left hand crosses over the right hand and plays the tenor part up an octave.

Creative Introductions and Interludes

Agood introduction will introduce the hymn melody, establish the key, tempo and meter, set the mood, and ideally inspire the congregation to open the hymnbook and sing.

Ideas for creative introductions include:

Soloing out the melody

Adding nonharmonic tones

Rearranging the parts Voices entering one at a time

Changing harmonies Canonic use of the melody

Solo the melody over patterns (try 3rds or 6ths in the LH) Fanfare

Beginning an interlude: the interlude should signal to the singers (congregation) that a change is about to occur.Agood place for this is in the last measure of the hymn. It can be a harmonic change for the last chord or a change of motion (through melody or bass line).A change of key does not have to occur.

Ending an interlude: interludes can be used to establish a new key, create anticipation, or simply to provide a break for the congregation. When ending the interlude, it should be clear to the conductor and the congregation that it is now time to begin singing. This is best done by ending on the dominant or tonic chord of the new key It should be obvious to the congregation what notes they are going to sing and when they should come in.

FreeAccompaniments

The congregation should be instructed to sing in unison prior to using a free accompaniment. Create your own by changing some or all of the harmonies. You could also use an existing reharmonization: https://organ.byu.edu/freeaccomp.pdf https://wardorganist.com/ or https://www.organmusicdownloads.com/ Carson, Mike. https://www.carsonhymns.com/ Nisbet, Stephen. Creative Last Verses https://www.sheetmusicplus.com Staten, Chad. https://chadstatenmusic.com/ Thompson, Matt. https://hymnharmonizations.com/

Final Thoughts

The standard for hymn playing in worship services should be a well-played hymn as written in the hymnal.Applying too many of these creative techniques, implementing them poorly, using them too frequently, or using them to draw attention to the organist can detract from the spirit of worship in a sacrament meeting. Please be judicious and prayerful as these techniques are applied.

$500 (student rate $

$475 (student rate $375)

$350 (student rate $25 0 )

$250 (student rate $150)

JUDGING recorded –local organ recorded –local organ on site judges –exam center on site judges –exam center on site judges –exam center

June 3, 2026

rehearse and direct choir in performance of 3 given selections (changes each year)

none

June 4 and 5, 2026

DATES October 1, 2025 through March 31, 2026 Nov. 14, 2025 and May 15, 2026

1 from hymn booklet

LITERATURE 3 individual selections from 3 general groups choose 1 of 4 selections in each of 3 groups (changes every other year) choose 1 in each of 4 groups (changes each year) choose 1 in each of 4 groups (changes each year)

accompany choir in rehearsal (optional)

1 from NEW hymnbook (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

TRANSPOSITION

none

1 from standard hymnal (3 stanzas with bridge)

2 from NEW hymnbook (3 stanzas with changes)

HYMN PLAYING

from the piano accompaniment of a vocal score, arrange at sight for the organ

Accompaniment for 1 vocal solo & 1 psalm [singer required 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) short passage from figured bass (at sight)

ACCOMPANIMENT

(a) melody; (b) progressions

(a) organ piece with manual and registration changes; (b) polyphonic passage in open score (C&F)

SIGHT READING short passage on 3 staves passage on 3 staves in trio texture longer passage in open score using G & F clefs on 4 staves

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 none

HARMONIZATION

Piece approximately 34 minutes in ABA form; theme A is given none

3 choices, all including modulation (some preparation time) variations on ground bass, or prelude on hymn tune or chant

none

IMPROVISATION

none add missing pitches; identify comp. devices one melodic line; one 2part one 4part; one 2voice counterpoint one 2part; one identify errors

none extensive extensive extensive extensive

EAR TESTS

WRITTEN

* * Above fees are for the entire exam; fees are reduced if taking only part of the exam.

S urcharg e of $115 for nonmembers of the AG O

S tudent candidates must be age 30 or younger wit h valid student

Dr. Linda Margetts: instructor

Wednesday 1:30-2:20 Part I

Thursday 1:30 –2:20 Part 2

At Ease in All the Keys: Extending Preludes and Postludes

1.Jean Phillip Rameau’s“theory of inversion”

2.Use of“falling 5ths”in common practice period

3.Practicing falling 5ths with your daily scale work

4.Open and closed organ pipes and harmonics

5.Practical use: extending preludes and postludes, creating bridges, and modulating

Beginning Piano Technique for Organists

Alena Hall

Preparatory Level:

5 finger patterns (major, minor)-- parallel and contrary motion, up and down in quarter notes at MM=160

Piano Technique

Arpeggio crossovers (major, minor)-- 5 octaves, quarter notes at MM=160

Block chords and inversions (major and minor, 3 note chords)-- one octave in quarter notes at MM=160

Broken chords and inversions (major and minor, 3 note chords)-- one octave in eighth notes at MM=160

Keys to success:

1. Just start. Keep it simple and make it a habit.

2. Start with correct fingering.

3. Repetition. Repetition. Repetition. The goal is slow, perfect, relaxed repetitions with good technique.

4. The metronome is your friend! Set specific goals metronome goals.

5. Variety. Use different drills and/or rhythms to stay mentally engaged.

6. Record your practicing and progress. Create a plan or a chart.

7. Involve others. (a formal teacher, an "exercise buddy")

Drills for piano technique (and repertoire):

1. Accents

2.Rhythms

3. High Loud Fingers

1-Straight up (Finger 4 works with finger 5)

2-Down curved (knuckles engaged)

3-Relax (circle down and out while releasing tension)

Alena's piano technique recommendations for Levels 1-6 of the BYU Independent Study Organ Courses (Levels 5 and 6 required)

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

Choir Accompaniment for Organists

Instructor: Valerie Harris

GENERAL PRINCIPALS

Prepare the music

- Look for sections, key changes, choir entrances, difficult spots, styles, adaptations needed for organ, parts to solo out?

- Listen to recordings but know your conductor might do things differently

- Mark score: fingering/pedal markings, registration, entrances, tempo/key changes, rit./rall./section endings, choir breaths, vertical alignment, phrasing

- Prepare for page turns: whether using a pasteup score or a digital score, if there are few lines per page, you can reduce by cutting/pasting the accompaniment only to reduce pages turns. If you do, have the original handy during rehearsal for choir parts. Write in choir entrances (words) into your reduction.

- Add measure numbers if not present; highlight choir rehearsal letters if present

Prepare for the rehearsal

- Give yourself plenty of time to prepare

- Learn the notes, choir parts, potential cues, challenging spots first

- Set up registration and practice changes in tempo

- Practice by section at different tempos

- Play with a recording

- Envision playing with the conductor so you can practice looking at the conductor (will you be using a mirror or will you have direct-line-of-sight

- Know your music so well that you can be aware of conductor, how you are balancing with the choir, and can make changes if necessary

- Communicate with the conductor ahead so you know what cues to expect or any changes they will make

During the rehearsal

- Be prepared to shift to vocal parts at any time.

- Be prepared to play “shadow” accompaniment on a capella spots (soft flutes/strings 8’ only)

- Be prepared to shift to vocal parts or adding extra cue notes if needed

- Watch the conductor for cueing (be prepared to read their mind)

- When the conductor stops during a rehearsal, scan quickly to anticipate where they might want to start again

- Stay attentive at all times

During the performance

- Be able to see conductor; adjust music on rack if needed

- Have music organized

- Take a deep breath before you begin; enjoy and breathe throughout

- Focus on music; keep moving, no matter what happens!

- Be aware of music, conductor, balance with choir; be able to adjust if needed

REGISTRATION

- Listen for overall balance with size of choir

- Use expression pedal to create crescendos/dimuendos so if using a pipe organ, focus on using the “swell” or “choir” division if under expression

A “Swell-oriented” registration scheme

● Begin with Swell-Great and Swell-Pedal coupled

● Pull swell stops for tonal color

● Draw a combination of 8’ and 4’ on Great; Pedal 16’ and 8’ foundations

● If pedal line becomes more prominent, add stops

● Play on Swell during passages with thinner choral textures or that need expression (on pipe organ - open/close swell box)

● Play on Great when more prominent sound needed

● Set up divisional or general pistons to add or subtract during breaks

Creating a standard crescendo

● Light 8’ foundations

● + 4’ flute

● + more 8’ foundations

● + 8’ foundations (couple SW-GR if no other foundations available)

● + 4’ flute

● + 4’ principal

● + 8’ oboe

● + mixture or reeds

Creating an orchestral crescendo

● 8’ string and string celeste

● + 8’ flute

● + 4’ flute

● + 8’ diapason

● + 4’ flute and 8’ oboe

● + 16’ flute and/or 4’ octave

ADAPTING PIANO OR ORCHESTRAL ACCOMPANIMENTS

Goal: Create an effective accompaniment that is idiomatic for the organ.

● Maintain the intent and spirit of the original but adapt for organ

● Simple modifications on sight; more complex can be written out

Adapting an orchestral score

● Some piano scores are actually reductions of orchestral scores (i.e. Messiah). If so, look at original orchestral score (see imslp.org). Listen to recordings of the orchestral score.

Thin the texture

● Omit unnecessary doubling (same note in different octaves)

● Reduce outer voices (especially if using 4’ or 2’)

Continuo vs. tutti

● This is most common in Baroque music - study original score to see if a section was meant for a small ensemble or the larger ensemble so you can compensate with lighter or fuller registration

● Manual changes help create this effect easily

Techniques

● Omit octaves (8’ and 4’ accomplish the same thing)

● Watch repeated chords

● Divide the notes comfortably between the hands

● Preserve the motion of the music, especially if it is very pianistic

● For arpeggiated passages, omit octave doublings, sustain each pitch as the chord ascends, drop out sustained parts and the chord descends

● Rapid bass passages can be played with the hands with a 16’ stop

● Repeated chords can be simplified by sustaining some of the chord and repeating only part of the notes

● Balance difficult parts between hands

Above all, keep the intended effect with phrasing, registration, rhythms, flow, but fitting into your hands and feet so you can better support the choir!

BYU Organ Workshop – Chorus Registration

Brigham Young University – Summer 2025

Instructor: Connor Larsen

The “Rules” of Chorus Registration:

1-Both hands will be playing on the same manual

2-We build upon an 8’ set of stops in the manual, and 16’ in the pedal. Pedal will function as the bass.

3-No part is more ‘prominent’ than another. Equally balanced.

What types of music call for chorus registration? Standard hymns, Bach Preludes/Toccatas and Fugues, etc.

What score markings should I look for? Manual indications in between the staves (even if they don’t have a line to indicate), Registration indications that indicate both hands, etc.

How to build chorus registrations:

Using our “ladder of pitches” we can “build up” our chorus registrations, beginning with the 8’ pitch in the manuals, and 16’ in the pedals. The difficulty in building these registrations is finding adequate balance between the manuals and pedals.

Here’s how I would work my way up the ladder:

1-Draw an 8’ pitched stop (often a principal) in the manuals and a 16’ in the pedal.

2-The next step would be to work our way up the ladder by adding a 4’ in the manual, and an 8’ in the pedal. Notice that a good starting place to balance is to make sure the pedal is offset by one “rung” of the ladder.

3-Next, if searching for a brighter sound, we can add a 2’ in the manual and a 4’ in the pedal.

4-From here, lots of options are available. Reeds could be added, a mixture could be added for brightness, a 16’ could be added in the manuals for richness, etc. No one option is “correct”. From here balance can be achieved by coupling manuals to the pedal using the “Swell to Pedal” or “Great to Pedal” couplers.

Some tips:

-Below I visualize the “offset rung” approach to balancing manual and pedal lines. The circles indicate which pitches I’ll use. Notice how the pedal is just one “rung” below the manual? This should give you a starting point in achieving balance.

Pedal: Manual:

-Don’t be afraid to include multiple stops at each pitch to help achieve richness.

-When registering for a congregational hymn always start with an 8’ and 4’ principal in the manuals with the pedals to balance. Though it may feel too loud, it will provide the necessary support for a congregation. If you still feel it’s too loud, try coupling the 4’ principal from the swell, or additional 4’ flutes to help fill the sound.

-Tremulants are NOT your friend in a chorus registration (unless you’re playing something wild from the repertoire!)

-Do not be afraid to couple the manuals together (Swell to Great) when you’d like to pull additional richness, reeds, or other stops in.

-Mutations (stops with fractions) can be used to help with richness and act as a reed. Use your ear to determine whether your organ is voiced well enough to use this technique.

-If pedal reeds are too much, try pulling the reeds from the manuals using couplers.

-If a stop is no longer “contributing” to the combination, don’t be afraid to remove it. Often an 8’ string becomes obsolete by the time

-Not every step needs to be a principal. Maybe taking a step up using a 2’ flute, and then the following verse adding the principal gives you a more gradual build.

-Try setting up a gradual crescendo over your pistons. Piston 1 would be a combination with 8’ and 4’ balanced with pedal, 2 could be adding a 2’, 3 could be adding a mixture or reed, and so on and so on.

-Don’t be afraid to try things!

-Most of all: Trust your ear! If something sounds “off”, it probably is!

CONCERTPROGRAMMINGFORYOUNGORGANISTS

ReneeChiuGastelum

Outline

1. Performer-centeredconcertvs.audience-centeredconcert

2. Understandingyouraudience

3. Performanceconsiderations

4. Performanceideas

Performer-centeredconcertvs.audience-centeredconcert

Brainstorm—Whatisthedierencebetweenthesetwo?Whatdoeseachonelooklike?

Understandingyouraudience

Forthepurposeofthissession,“youngorganists”willrefertoyoungerMillennials,GenerationZ,andGenerationAlpha.In otherwords,organistswhogrewupwiththeInternet.

TheInternetchanged1)theaccessibilityofinformation,2)thepresentationofinformation,and3)theamountof informationatourdisposal.

Performanceconsiderations

ThesechangesduetotheadventoftheInternetreectgrowingtrendstowardsusingexperientiallearning,implementing multiplemodalitiesoflearning,andimprovingcommunicationofthesignicanceofwhatisbeingtaught.

Performanceideas

Whenisyournextperformance?Whatdemographicisyouraudience?

Howmightyouuseexperientiallearning,incorporatedierentmodalitiesoflearning,andhelpyouraudienceunderstandthe signicanceofyourrepertoire?

Whenperformingforyoungorganists,howyoupresentyourrepertoiremattersmorethanwhatrepertoireyouchoose.

Developing the Next Generation of Organists

BYU Organ Workshop 2025, Instructor: Dr. Valerie Harris

https://dontstopnoworgan.com | dontstopnoworgan@gmail.com follow me on Instagram #dontstopnoworgan

Capture Their Attention

- Let them play a piano song on the organ

- Add a few pedal notes or pedalpoint to a song they know

- Pick out a song by ear or teach by rote on manuals (i.e.: Bach Toccata in D Minor)

- Pick out a song by ear on pedals

- Explore stops and sounds – how does it change their song? What do they hear?

Show Them What’s Possible

- Take them to an organ concert/recital or hymn festival or watch one online

o Look up your local chapter of the American Guild of Organists – https://agohq.org

o Visit churches with pipe organs (locate through AGO chapter or www.pipeorgandatabase.org

- Visit a fun organ i.e. Organ Stop Pizza (Mesa, AZ), or a silent movie theater showing (American Theater Organ Society) – or look for recordings online

- Let them experience well-supported hymn accompaniment

o Hymn festival, Hymn Sing, Sacred Music Fireside (ward, stake, any church in your area)

o Play hymns with solid techniques: well-supported, phrasing, creative introductions, interludes/modulations, registration changes to highlight text, reharmonize, focus on text

o Listen to strong hymn-playing online at another church’s steamed service

- Pedals, Pipes & Pizza – AGO sponsors, but you can design your own

- Summer Organ Camp

- Stake / Ward training

- BYU Organ Workshops

o Online during BYU Organ Workshop in August: https://organ.byu.edu/organworkshop/youth/

o Summer Festival: https://musicians-summerfestival.ce.byu.edu/

o Youth track of traveling workshops: https://organ.byu.edu/workshops/

- American Guild of Organists chapters

o Scholarship programs (i.e. https://cazago.org/scholarships; look for your local chapter)

o Activities for youth (i.e. Pedals, Pipes and Pizza)

o Online resources (local chapter or national at https://agohq.org/education)

o Pipe Organ Encounter: https://www.agohq.org/education/poe/

- Orgelkids Kit: https://orgelkidsusa.org/where-in-the-world/

- Get involved yourself (teach workshops, events, master classes, activities)

- Start your own group

o Offer camps, resources, training, field trips, etc. for youth!

o Need an expert? Contact your local AGO chapter

Engage in learning

- Individuals

o Teach piano students: If you have access to an organ during piano lessons, have a student come early/stay late, give them a small assignment and have them pass it off. If you can overlap 2 students, you can teach them both a concept, then have one work individually while the other has a piano lesson (use headphones if your organ has a jack); if you don’t have an organ, you can work on a digital keyboard with organ sound for weekly lessons, then meet with them weekly, bi-weekly or monthly at church. Give them manageable chunks they can accomplish.

o If you need an organ – check facebook marketplace, ebay, local dealer (used or new – some are quite small – tax deductable expense for your teaching studio)

- Group

o Teach workshops on a ward or stake level or any small group

o Give monthly workshop on a regular basis

o Give weekly group classes after church, before youth activities, etc.

- How to teach

o Methods and Learning/Teaching Resources

▪ The New Ward Organist: https://organ.byu.edu/the-new-ward-organist/

▪ OrganTutor 101 by Don Cook: https://www.ardpublications.com/indexAot.html

▪ AGO videos: https://www.agohq.org/lessons-for-the-new-organist/

▪ First Organ Book, published by Wayne Leopold

▪ Suzuki Organ School, published by Alfred Publishing

▪ The New Oxford Organ Method, published by Oxford Publishing

▪ The Church Musician (Glover/Gunther), published by Alfred Publishing

▪ Discover the Organ (Rowley and Leopold), published by Wayne Leopold

▪ Fast Track to Organ PlayingComing soon: new method geared specifically for LDS youth (https://dontstopnoworgan.com)

- Give them pedaling

o Lübeck, Bach, hymns – anything with pedaling

- Give them pieces that interest them

- Make sure they get organ shoes or wear church shoes (no high spiky heels, though)

- Start with 9 Hymn Studies by D. Kim Croft or easier pieces in OrganTutor

- Show them what you have learned at this workshop

- Teach as part of their studio time or give a summer organ camp or monthly group training

- Meet weekly or monthly as a group: before youth activities, after church, Saturday morning, etc. to present new ideas. Make it fun!

Get Them Performing

- Staged Approach

o Play a piece for prelude

o Play all of the prelude

o Play prelude and postlude

o Play prelude and one hymn

o Play prelude, one hymn, and postlude

o Play whole service

- Help them build small successes with low-stakes opportunities, then work up

o Play prelude or hymns for small group first, then with someone singing or conducting

o Practice with a recording of the hymn playing: https://www.churchofjesuschrist.org/music/library/hymns

o Adversity training (with distractions, with metronome, on a different instrument)

o Record themselves, listen to themselves, make changes, then record again

- Other thoughts for success

o Make sure they are well-prepared to build confidence

o Work with your music chairman to make sure the music is planned well in advance

Resource list

- A Young Person’s Guide to the Pipe Organ (https://www.agohq.org/young-persons-guide/)

- AGO Achievement Awards Program (https://www.agohq.org/ago-achievement-awards/)

- National Federation of Music Clubs’ Festival Program (find your local Festival at https://nfmc-music.org)

- Anna Lapwood – follow on TikTok or watch her on youtube at https://youtu.be/TzK-tYFGQx4

- How a Pipe Organ Works - https://www.pipedreams.org/page/how-a-pipe-organ-works

- The Story of the Walt Disney Concert Hall Organ - www.aforestofpipes.com/organ-diagram/

Figurenlehre: A Baroque Musical Language

Wendy Johnston, M.Mus., A.A.G.O.

Tell me more, what is it?

Figurenlehr is the doctrine of musical figures. A musical figure is a pattern of notes corresponding to a rhetorical expression. German Baroque composers used musical figures as a symbolic representation of ideas, emotions or even specific words. The terms musical figure, figurenlehre, or rhetorical figure can be used interchangeably.

Key facts:

• Analogous to rhetoric, in the same way that orators would use phrases and devices to sway audiences; composers used figures to convey emotions or to underline ideas in their compositions; it corresponds to a literary idea and to what we call a “figure of speech.”

• Intimately connected with the concept of Affektenlehre, or “the doctrine of affections” which explored how music could arouse emotions in the listener.

• For it to be a musical figure, rather than text painting, it must be repeated throughout the composition.

• There is no standardized one-to-one correspondence between musical figures and specific meanings. Musical figures are best interpreted through context.

It is Largely a German Baroque Phenomena. Why?

• Martin Luther’s writings had an enormous influence on German Baroque music for centuries.

• Luther believed that music was God’s divine gift to humanity, second only to the Word of God, establishing God as the author. Through music, God was understood and worshipped.

• Rhetoric had a very specific task: the preacher was to use the persuasive power of oration to admonish and edify his congregation. Luther maintained that preaching also occurs specifically through music, particularly when music is combined with a sacred text. A musical composition could thus become a “sermon in sound.”

• The musical composition was the “living voice of the Gospel, the viva vox evangelii. And like the preacher, the composer was to use any artistic means necessary to convince the listener. The use of rhetorical devices and structures in music was one of these methods.

Figurenlehre: A Baroque Musical Language (cont.)

Wendy Johnston, M.Mus., A.A.G.O.

A List of Common Musical Figures

1. Suspirans: most common. Suspirans is a Latin term which means “to sigh” or “to breathe deeply.” A musical figure of a short rest representing the breath, followed by three quick notes: a figure rebounding from silence on a strong beat.

2. Anaphora: the repetition of a figure in different voices on different pitches. Increasing emphasis. Martin Luther King’s “I Have a Dream” speech is an example of a literary anaphora.

3. Anabasis: an ascending musical passage used to musically recreate the effect of an ascending image or thought found in the text.

4. Exclamatio: a musical exclamation using an interval larger than a 3rd, frequently associated with an exclamation in the text. Walther states that an agitated exclamation “can be realized very appropriately in music through an upward-leaping minor sixth.”

5. Catabasis: a descending musical passage which expresses descending, lowly, or negative images or affections. Kircher writes that catabasis expresses affections opposite to those of the anabasis, such as servitude, humility, and interestingly truthfulness.

6. Tmesis (aposiopesis): an unexpected silence or extreme reduction of texture occurring on a strong pulse. A sudden interruption or fragmentation of the melody through rests. Signifies a fragmentation; the literal meaning of the word as a cut or incision.

7. Circulation: a figure circling around a note, crossing above and below it.

8. Passus duriusculus: a chromatically altered ascending or descending melodic line, usually contained within the interval of a 4th. The term is a vivid description of the musical device: a “hard” or “harsh” (duriusculus) “step” or “passage” (passus)

9. Saltus: a large leap used for an expressive purpose.

a. Da Jesus an dem Kreuze stund, (As Jesus hung upon the cross) BWV 621. Pedal leaps of octaves and in one case a minor 7th .

10. Saltus duriusculus: a leap to a dissonant note. A harsh, dissonant leap.

11. Sighing figure. Two-note slurred figure, usually with the second pitch lower than the first. Used to denote despair, suffering, sorrow, longing.

German Baroque Organ Registration - Daniel Kerr

Instructions for Organ Registration

from Andreas Werckmeister and Johann Mattheson

1.The Tierce is not very useful without the Quint, but Tierce and Quint combinations can sound well in fast passagework.

2. Do not draw two stops of the same pitch but differing scales (e.g. a principal – narrow scale and a flute –wide scale).

3.Avoid really peculiar combinations, such as basing a registration on a quint, or playing slow chords on just a Gedackt 8’ and Quint 2 ⅔’; “nobody could have such a strange sense of hearing” as to do things like that!

4.Do not draw reeds with the manual fluework unless there is a reed on the pedal.

5.Reeds should be kept out of the plenum (principal chorus), but a 16’ reed may be used in the Pedal.

Note that the next two stipulations relate to each other, and were later recinded:

6.“Thin” and “fat” stops should not be mixed in the plenum, but the two families may be contrasted in solo or alternating registrations. (25 years later, Matheson changed his mind and allows such mixing, perhaps due to more stable wind supply.)

7.Draw only one stop of each pitch length in any given combination. (Note that this is a north-German stipulation that is not observed in the later Baroque or in central/southern Germany.)

8.Let the sense of the words guide you in choosing registrations for chorale-preludes.

In the end, Werkmeister advises us that “a good ear is the best criterion” and advises organists to hear and understand all the stops on their instrument and use good musical judgment.

Sources for more information

David, Hans T. and Arthur Mendel, ed. The New Bach Reader. New York: W.W. Norton & Company: 1998.

Faulkner, Quentin. The Registration of J.S. Bach’s Organ Works. Colfax: Wayne Leupold Editions, Inc., 2008.

Laukvik, Jon. Hisstorical Performance Practice in Organ Playing, Volume 1. Stuttgart: Carus, 1996.

Owen, Barbara. The Registration of Baroque Organ Music. Bloomington: Indiana University Press, 1997.

Wolff, Christoph and Markus Zeph. The Organs of J. S Bach: A handbook. Urbana: University of Illinois Press, 2008.

The Registration of J.S. Bach’s Organ Works

Dr. Daniel Kerr

“Nobody knew how to register the organs as well as he did. Organists were often frightened when he wanted to play on their organs and applied registration in his own manner, as they did not believe that it could possibly sound well in the way he wanted it, but they subsequently heard…an effect which astounded them. This knowledge died with him ” (letter of C.P.E. Bach to Johann Forkel)

Organo pleno — a combination of all the Principal stops (16’), 8’, 4’, 3’ (=2 2/3’), 2’, Mixtur, (Scharff). Generally, no reeds or flutes; can include a principal tierce (tertian, sesquialtera).

A second manual (Oberwerk / Rückpositiv) can be similarly registered and coupled to the Hauptwerk. In the pedal, reeds and principals are both included, e.g., Gross Posaun 32’ and Principal 32’, Posaun 16, Principal 16; Octava 8, Trommete 8, Octava 4, Schallmey 4.

As with all registrational suggestions, one must always consider the resulting sound rather than just confiding in the instructions from contemporary sources – especially when playing on modern instruments. “If you do not want it to be too strong, then take something away, as you wish.” (Johann Mattheson)

Other ensemble registrations — During the course of the 18th century, players tended to prefer more foundational sound by combining the number of stops of one pitch, and the organs built during this period boasted multiple stops at the same pitch level. Agricola writes, “I have heard a Lieblich gedackt, Vugara, Quintadene, and Hohlflöte played together on a certain organ, all at 8’ and without any other stop, which produced a beautiful and strange effect…”. Reed stops were not used alone, but in combination with a flue stop of 8’ and/or 4’ pitch.

The Pedal is an independent keyboard, equal in importance to the manuals.

Solo registrations – These allow for a high degree of imagination, from a single stop (perhaps a 4’ played an octave lower), to a gentle reed, to 8’, 4’, 2 2/3’ – even to this assertive combination (from 1747):

Prinzipal 8’, Flöte 8, Oktave 4’, Flöte 4’, Salicet 4’, Superoktave 2’, Trompete 8’

“Split sounds” (Spaltklänge) were also not uncommon, for instance:

Gedeckt 8’ + Sifflett 1’ + Tremulant

Prinzipal 8’ + Gedeckt 8’ + Quinte 2 2/3’

Krumhorn 8’ + Superoktave 2’ + Quintflöte 1 1/3’

Trio registrations – A variety of stops can be combined for the manual parts of trios. Movements with quicker tempos benefit from a lighter 8’ fundamental with the addition of a combination of upper partials (2 2/3’, 2’, 1 1/3’, 1’). Higher mutations should be assigned to the upper voice; the left hand part should utilize a lower-pitched chorus. Slow trio movements can employ single stops set against each other (perhaps two 8’ flutes or a string or reed paired with a flute). Pedal can be 8’ or 16’ + 8’, depending on whether tenor and bass parts cross.

Changing manuals — Depends on the piece:

Yes, if the piece requires or encourages it, generally if the change of manuals helps to shape the form and shows dialog between sections; pauses between individual sections makes this obvious. Sometimes Bach specifies manual changes to illustrate the principle of dialog (for instance in the “Dorian” Toccata BWV 538 and Praeludium in Eb, BWV 552).

No, generally for fugues or wherever logical manual changes would be difficult to manage.

The History of the BYU Organ Department, David C. Pickering, DMA, AAGO

I.Early BYU University and Music History:

A.Brigham Young University Academy established in 1875; music courses added in 1876

B. Church Organ Music course in place by 1892, one of seven departmental courses

C.Academy renamed Brigham Young University in 1903.

II.Format of Early Organ Music Instruction:

A.Church organ music in the Church of Jesus Christ of Latter-day Saints at the time utilized a mixture of foot-pumped harmonics and electrified reed harmoniums with pedalboard.

B.Earliest instruction was most likely done at the harmonium, since BYU had harmoniums at the time.

C.A traditional pipe organ as we know it most likely did not exist in Utah County until 1907,

D.BYU would not receive a “traditional” pipe or electric organ until 1935.

III.Early Organ Instructors:

A.Clare W. Reid (1902-04, 1905-07):

a.First listed organ instructor at BYU, organist at the Provo Tabernacle, Studied organ at New England Conservatory with Henry Dunham, 1904-05.

B.Gerrit deJong, Jr. (1926-31, 1933-56)

a.Hired to be the first Dean of the College of Arts and Sciences at BYU.

b.From Amsterdam, developed an early love for the piano and eventually studied organ under Tabernacle Organist Tracy Cannon.

C.J.J. Keeler (1935-96)

a.First organ faculty member who viewed the organ as his primary instrument.

b.Pre-college organ studies with deJong, Alexander Schreiner, and Frank Asper

c.Organ studies in Germany (Karl Straube) and England (Ernest Bullock), 1932-33

d.Hired as Instructor of Music at BYU in 1935.

IV.Early University Organs

A.College Hall Auditorium Organ (Robert Morton III/10, 1927)

B.Keeler studio organ (1935-46): Mason and Risch reed organ

C.Baldwin Model 5 (1946-50) and Model 10 (1950-64)

V. Early Guest Recitalists (Provo Tabernacle, 1938-49)

A.André Marchal (1938), Marcel Dupré (1938, 1936, 1949), Joseph Bonnet (1940, 1942), Carl Weinrich (1943), Hugh Porter (1944), Arthur Poister (1944), Flor Peeters (1947), Claire Coci (1948)

VI.Joseph Smith Auditorium Organ

A.Joseph Smith Building was completed in 1941 student union building of the time with ballroom, cafeteria, and auditorium. Not used much for classroom teaching.

B.Keeler submitted a proposal to President McDonald for Casavant organ in 1939.

C.Austin Op. 573 (1916, with revisions in 1927 and 1940) the predecessor to the AeolianSkinner organ, was relocated to the Joseph Smith Auditorium in 1949.

VII.New Practice Pipe Organ Purchases, both of which were three ranks

A.1948: M.P. Möller “portable”, 1949: Felix Schoenstein & Sons

IX. Continued Growth in 1960s

B.Sampled Guest Recitalists

a.E. Power Biggs (1953, 1955), David Craighead (1949), Fernando Germani (1949, 1951, 1954, 1957, 1961), Anton Heiller (1962), Jean Langlais (1953, 1956), Flor Peeters (1950)

X.Harris Fine Arts Center (HFAC)

A.Need for new Fine Arts building, construction began in June 1963; building dedicated in April 1965

C.Six new Wicks organs were installed in the new building:

a.Four practice organs, ranging in size from 3-5 ranks; two studio organs (III/13 and II/10)

D.Parley Belnap hired in 1965 to primarily teach theory but to assist in teaching organ

a.Studied with Keeler at BYU and Flor Peeters in Belgium

XI.Madsen Recital Hall Organ (E.F. Walcker Op. 5258, 1970)

A. Represented department’s hope for a performance instrument, since JSB organ was in declining condition.

B.BYU faculty not consulted in the HFAC design and recital hall was problematic in layout and acoustic.

C.E.F. Walcker provided larger specification than other builders and after hearing one of the company’s installations at St. Anthony Parish in Missoula, Montana, Keeler and Belnap selected Walcker.

D.Organ was dedicated by Flor Peeters in December 1970

XII.Additional BYU Faculty Who Supplemented Organ Teaching

A.Wm. Foxley (1970-78), John Longhurst (1969-80), Robert Manookin (1970-74), Doug Bush (1978-2013)

XIII.Keeler-Belnap Transition

A.Keeler retired in the spring of 1978, continuing to teach part-time until his passing in 1996.

B.Parley Belnap assumed leadership of the organ department upon Keeler’s retirement:

a.“I wanted to bring scholarship, spirituality, expertise, and excellence to BYU because it’s such a wonderful place. I wanted to share with good students what I’d learned from all my experiences. I thought a number of students could be more dedicated to the principles of the gospel and more supportive of the Church. I never wanted to hamper their faith but wanted them to become excellent in their field and their performance, and still love the Church.”

C.Workshop on Church Music

b.Belnap’s initial idea for the workshop came as he was teaching group organ classes for the Church General Music Committee in the western United States and Canada.

c.Began in 1979 as a joint effort between organ, choral, and music education: 350 came to the first year’s workshop and 500 the second year. Attendance in rose to 1250. Discontinued in 1999.

D.New faculty hires:

a.Brett Zumsteg (1982-88), Joan Stevens (1988-98)

b.Richard Elliott (1988-91), Don Cook (1991-2025)

1.Richard Elliott and Don Cook were responsible for developing new curricula for group organ instruction utilizing twelve organs installed in an organ lab. Elliott developed initial materials and Cook developed the OrganTutor computer program which began in 1996.

E.Continual Struggle for Performance Organ

a.Loss of Joseph Smith building Austin in 1991 with demolition of building

b.Museum of Art organ recital hall project, deJong Allen organ installed in 1992, Provo Tabernacle Austin organ rebuilding by Ron Poll completed in 2001, which was lost in 2010 fire.

c.Cook and Bush were in discussion with Church officials about the installation of a new organ by the Vleugels organ company in Germany in the rebuilt Provo Tabernacle. The Church decided to build the Provo City Center on the site of the former tabernacle instead.

XIV.Further Disappointment and Heartache

A.Bush diagnosed with metastasized melanoma in 2013 and died that same year.

B.School of Music administration elected to replace Bush’s full-time position with a part-time position, which has been held since by Brian Mathias and Neil Harmon (2018-2025)

XV.The Rising of the Sun

A.Marjorie Volkel’s financial support after visiting BYU campus in November 2013.

B.The development of Traveling Organ Workshops, 100 conducted as of May 2025 reaching a total of 11,411 participants from 2335 stakes, 26 states, and three Canadian provinces

a.Three-track workshop beginning with Friday evening recital and concluding by 2 PM Saturday

C.Online organ workshops (75 workshops conducted as of May 2025)

D. Adjunct faculty hires: Nora Hess (2018-20), Zhenya Janes (2016-present), Sheri Peterson (2017-pesent)

E.Additional administrative assistance provided beginning in 2016: Kimberly Payne (2016-19), Sharee Thompson (2019-21), Elena Brooks (2021-present), and Kathleen Stuart (2022-present).

E. New BYU Music Building announced February 20, 2020 that would contain 1,000-seat concert hall.

a.Organ in English Town Hall style to be built by Orgues Létourneau of St, Hyacinthe, Quebec

b.Organ’s installation began June 6, 2024, voicing completed in Fall Semester 2024

F.Organ Alumni Conference, October 25-29, 2024

a. Daniel Cook, Master of the Choirs and Organist at Durham Cathedral in England, played the inaugural recital. Don Cook and Neil Harmon performed a shared faculty recital the following evening. Other events included masterclasses, community hymn sing, and alumni presentations.

Hymn Playing in the Sustained Style

Remember:

1)Begin where you are.

2)Slow and steady wins the race.

3)It will be easy someday!

Rules of thumb for legato playing:

1) Use the Listening Skills: Precise Releases, Perfect Legato, and Independence of Line.

2) Choose fingering and pedaling that allow you to play legato. Do this before anything else!

3) Decide where to breathe according to the text for each verse.

4) If you decide to use ties:

a) Avoid creating drones (too many tied notes) or drum beats (too few).

b) Maintain the legato integrity of the soprano line.

c) Don’t tie over the bar line.

5) Practice in horizontal and vertical sections to establish perfect legato, precise releases, and independence of line.

6) Choose and practice an inspiring introduction.

7) Make it easy to sing! Keep the beat clear, and be true to the mood and text of the hymn.

Resources for Easy/Beginning Hymns:

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/)

Cook, Don. Easy Organ Hymn Settings. Orem, UT: Jackman Music, 1992. Visit www.jackmanmusic.com

Cundick, Robert. Three-Stave Hymn Accompaniments (4 parts). http://creativeworks.byu.edu/Catalog/ViewItem.aspx?item=SM003 (free downloads @ http://www.organ.byu.edu/3StaveHymns/index.htm)

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

Pickering, David. Pathway to Hymn Playing (trios).

https://www.wardorganist.com/pathway-to-hymn-playing ($12.99 + shipping)

Leupold, Wayne. Easiest Hymns (trios; from many faith traditions). https://www.wayneleupold.com ($14.99 + shipping)

Practice Techniques:

1) Divide the hymn into short sections.

2) Practice parts alone and in partial combinations:

7-Step Method:

RH, LH, PD alone

LH w/ PD, RH w/ PD, RH w/ LH

All together

15-Step Method: S, A, T, B alone

SA, ST, SB, AT, AB, TB SAT, SAB, STB, ATB, then all together

Nora Hess

3) Use the Freeze Technique for perfect practice: Freeze, release, prelocate, resume.

4) Practice the 4 F’s: Find the mistake, Fence it in, Fix it, Fit it back in.

5) Move from perfect practice to metronome practice (and back again) as needed.

Examples of Prepared Scores:

Legato fingering techniques, from easiest to most difficult:

1) Direct Fingering (DF)

2) Redistribution of the inner part (RD)

3) Finger crossing (FC)

4) Finger glissando (FG)

5) Finger substitution (FS)

6) Thumb glissando (TG)

Legato pedaling techniques, from easiest to most difficult:

1) Direct pedaling (DP)

2) Using heels to span 2nds or 3rds (H)

3) Toe glissando (TG)

4) Toe crossing (TC)

5) Heel-toe substitution (HT)

6) Toe substitution (TS)

Hymn Registration:

Don’t forget to listen, listen, listen! Your goal is to help the congregation sing with all their hearts. The following are well-established hymn registration “rules of thumb” and work best in most situations. Start with a column of principals, then add or subtract depending on the nature of the hymn, the sound of your organ, the size of the congregation, etc.

ImprovisingaThemeandVariationsforHymnPrelude

Dr.JacobHofeling

August2025

ThemeandVariations:Amusicalforminwhichathemeiselaboratedwithmultiplevariationsthatalter themelodic,harmonic,orrhythmicelementsbetweeneachvariation.Oftencalledpartitas.

PopularVariationsinLiterature:

● J.S.Bach’sGoldbergVariations(BWV988)

● J.S.Bach’sChoralePartitas(BWV768-770)

● JohannPachelbel’smanypartitas

● DieterichBuxtehudeAufmeinenlieben Gott,Nunkomm,derHeidenHeiland

HowareVariationsCreated?

1. Melody-changetheoriginalmelody

a. Addnotes(addition)

b. Removenotes(subtraction)

c. Inversion(ifmelodygoesupa3rd, choosetogodowna3rd.)

d. Ornamentation(trills,etc)

2. Accompaniment

a. Chooseaninterestingrhythmicor melodicpatternandsticktoit throughout.

b. Considerputtingthemelodyinthe LHorPedalandaccompanimentin theRH

Addingnotestothemelodyoraccompaniment:

● Melody

○ Addpassingtonesbetweengaps ofa3rdormore

○ Addneighbortonesbetween repeatedmelodynotes(either upordown)

● MauriceDurufleChoraleVariationsonthe themeVeniCreatorSpiritusop.4

● Andmanymore!

3. Rhythm

a. Changerhythmseitherinthe melodyoraccompaniment

4. Harmony/Tonality

a. Changethekey

b. Alterthetonality(ifthemelodyis major,makeitminor)

5. TimeSignature

a. Changea4/4metertoa3/4meter orviceversa

● Harmony

○ Determinewhichharmonynote shouldbeusedtoharmonizethe melody.

○ Addnotestobridgethegap betweenthedeterminedpitches. Don’tbeafraidtoleapor changedirection

○ Decidetouse2,3,or4notes betweeneachharmonypoint

ExamplesfromPachelbel’sHerzlichtutmichverlangen(OSaviorThouWhoWearestaCrown#197)

● Accompanimentinmoving8thnotes

● Accompanimentinmoving16thnotes

● AccompanimentinPedal

TypesofVariationTreatmentwithExamples

● OrnamentedMelody

○ J.S.Bach-OMenschbeweinBWV622

● AccompanimentinMovingnotes

○ JohannPachelbel-Herzlichtutmich verlangen,var.1,3

● Bothhandsornamented

○ JanPieterszoonSweelinck-Pavana Hispanica,var.7

● Echo

○ J.S.Bach-OGottdufrommerGottBWV 767,var.9

● Accompanimentwithshorteighthrest andchromaticnotes

● Movingnotesinbothparts, landingonmelodynotesonbeat

● Arpeggiation

○ GeorgBöhm-Freudichsehr,omeine Seele,var.9

● Ostinato

○ J.S.Bach-OGott,dufrommerGott BWV767,var.2

● MelodyinLH

○ J.S.Bach-Christ,derdubistderhelle TagBWV766,var.5

● Chromaticaccompaniment

○ JohannPachelbel-Herzlichtutmich verlangen,var.5

● MelodyinPedal

○ J.S.Bach-Christ,derdubistderhelle TagBWV766,var.

Interpreting the Organ Music of Dietrich Buxtehude BYU Organ Workshop 2025

Dr. Neil Harmon

1. Editions:

a. No Buxtehude manuscripts exist; the extant copies are all in Tablature notation or 2-stave handwritten form.

i. Discrepancies in pedal parts

ii. Discrepancies in meters

iii. Discrepancies in notes

b. Performer should consult as many editions as possible

2. Interpretation of stylistic features:

a. Stile antico – vocal style

b. Style brisé – broken chords

c. Stylus phantasticus – theatrical, dramatic, sudden surprises

d. 5-part form: free – strict – free – strict – free

e. Durezze e ligature

f. Trillo longo

g. Tirade

h. Repeated notes

3. Registration:

a. Antegnati’s L’arte Organica (1608)

i. Preludes & Toccatas: principal chorus

ii. Canzonas and quick pieces:

1. 8’, 4’, 1 1/3’

2. 8’, 4’

3. 4’ (with or without tremulant)

iii. Motets (slower fugues)

1. 8’, 4’

2. 8’

b. Werkprinzip: Pedal – 32’; Great – 16’; Positiv – 8’; Swell (Brustwerk) – 4’

c. Consort registration: the organ imitates period instruments (Harald Vogel/Scheidt)

d. Organ specifications from St. Mary’s

4. Articulation:

a. Scheidt’s Tablatura Nova (1624): imitatione violistica – violin bowings

b. Fingerings grouped in 2’s and 4’s

c. Strong/weak notes and beats

5. Ornamentation:

a. Avoid mechanical ornaments – try shortening the anticipation that follows a trill

b. Upper(auxiliary)-note trills unless it does not create a dissonance

c. Unique ornamentation that appears in Buxtehude’s music

Lessons Beyond Level 6

Wendy Johnston, M.Mus.,A.A.G.O

Objective:

Participants will learn effective practice techniques, have an opportunity for supervised practice, with time for individual questions and customized instructor feedback during class.An optional low-stress performance opportunity, a mini-recital, is offered on the last day of class. Bring one piece to class that you are working on and would like to further polish during the week and possibly perform on Friday

Tuesday: Ashort presentation on effective practice techniques and time for practice

Wednesday: Ashort, customized presentation at the beginning of class and time for practice

Thursday: Time for practice

Friday: An optional low-stress performance opportunity.

Effective Practice

First, Prepare.

Listen to a recording first and frequently, to internalize as much about the music as you can.

Prepare your score: fingering, pedaling, registration, everything: pencil it all in. This is the only way you can be consistent in your practice. As Bonnie Goodliffe says, “Mark everything! You will not remember! Especially under stress!”

Divide up your piece in sections and mark them in your score. Analyze the score.

Second, Effective Practice means Intentional Practice. Spend time analyzing and problem-solving.

Learn the most difficult part first. Often that is the end of the piece. Work back to front, in sections.

Your job as a performer is to “show the form” the way a tour guide shows the significant places on a tour. Mark those significant places and play them in a way that the audience can hear and enjoy them.

SLOW PRACTICE, always playing with ease and as much relaxation as possible. Slow practice is slower than you think. Each movement is intentional. “Now I am lifting my 4th finger. Now I am putting it down.”

Anticipate every potential difficulty, strategize a way to master it and make it 100% secure.

Record both audio and video of yourself daily before performing anything. Your audio/video recorder does not lie. Use the information to improve, one thing at a time. Make it more difficult in practice than it will be in performance.

Practice is not entertaining yourself. Practice is work. “If you are bored, you aren’t doing it right.”

Third, Practice performing.

Performing is a different skill than practicing. Too often we practice the piece, but we don’t practice performing.

Have a pre-performance routine and practice it, including how you will take a bow, walk to the console, set up your registration, place your music, ready yourself mentally, and play the first few measures.

Record your performance. Fine tune.

Be creative and try your piece different ways, different tempos, different styles and different touches. This builds flexibility, creativity and confidence into your performance. No performance ever goes exactly the way you practiced it. You may be nervous, and you may play faster than you usually practice. Prepare for that eventuality.

When you perform, that’s the time to take risks and accept your humanness. Practice is time to explore, problem solve, and build a solid foundation for accuracy and confidence that you can do it.

Compliment yourself on the good things you do! Notice them! Write them down! Say them out loud! “Good job, Wendy—loved that expressively shaped phrase just now!” Enjoy each thing you do well! If you enjoy those moments, your audience will too.

Strive for perfection during practice and accept your humanness during performance. Always keep your mind focused on the music ahead, never be looking in the rearview mirror. Each performance is an offering to God and a gift to your audience. It is about the music; it isn’t about you.

Last of all. . .

Remember: nothing worthwhile comes without MUCH hard work, MUCH effort and some personal risk. Personal growth is your reward. Sharing your music is a beautiful gift to others.

James

Welch The Music of Dale Wood

The Essential Dale Wood: 40 Classic Hymn Tune Settings for the Organ

https://www.lorenz.com/shop/keyboard/organ-solo/the-essential-dale-wood

$48.00 download PDF

$56.00 hard copy (spiral bound)

Bold = tunes in our hymnal (11)

Italic = other familiar tunes (10)

Abide with Me

All Things Bright and Beautiful Amazing Grace Aria on “Jewels”

The Ash Grove

Be Thou My Vision (hopefully one of the new hymns coming)

Beautiful Savior (in Children’s Songbook)

Brother James’ Air

Caricature of a Sunday School Song (Jesus Loves Me)

Children of the Heavenly Father

Come, O Thou Traveler Unknown (Ye Banks and Braes) Come, Thou Fount of Every Blessing

Come With Us, O Blessed Jesus (Jesu, Joy of Man’s Desiring)

The Gift to Be Simple

God Renew Us By Your Spirit! (Restoration)

God, Who Stretched the Spangled Heavens (Holy Manna) Guide Me Ever, Great Redeemer (Beach Spring)

How Firm a Foundation (traditional tune, not the one in our hymnal)

I Heard the Voice of Jesus Say (Kingsfold) (“Kolob”)

I Love to Tell the Story

I Need Thee Every Hour

If God Himself Be for Me (Irish melody)

In Christ There Is No East or West (McKee)

In Thee is Gladness (In Dir ist Freude, found in Bach’s Orgelbüchlein)

Just as I Am, Without One Plea

The King of Love My Shepherd Is (St. Columba) (23rd Psalm)

Lead, Kindly Light

My Faith Looks Up to Thee

My Shepherd Will Supply My Need (Resignation)

O Jesus, King Most Wonderful (Hiding Place)

O Master, Let Me Walk With Thee

Praise and Thanksgiving (Bunessan) (Morning Has Broken)

Savior, Like a Shepherd Lead Us

Softy and Tenderly, Jesus is Calling

There is a Happy Land

There’s a Wideness in God’s Mercy (Beecher)

This Is My Father’s World

Though I May Speak (O Waly Waly)

We Praise You, O God (We Gather Together)

When Morning Gilds the Skies

Other Collections by Dale Wood

All published by Sacred Music Press except where noted

Christmas Pipings, 1997

Wood Works for Christmas, 1990

Lyric Pieces for Organ, 2001

Music for Organ, 1975

Organ Book of American Folk Hymns

Seven Folk Tune Sketches, 1966, H. W. Gray

Softly and Tenderly, Vols. 1-3, 1992, 1993, 1994

Wood Works for Lent and Easter, 2000

Wood Works for Organ, Vols. 1-4 1986, 1989, 1991, 2001

Wood Works on International Folk Hymns, Vols. 1-2, 1995, 2001

Wood Works on Original Themes, 1996

Biography of Dale Wood by James Welch

Dale Wood: The Man and the Music, 2020

Available at Amazon.com and at www.welchorganist.com

Music Theory for the Organist, Levels 1-2

BYU Organ Workshop 2025 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.

o Diatonic half steps - use two basic notes (notes appearing on consecutive lines/spaces)

o Chromatic half steps - use one basic note (notes appearing on the same line or space)

• 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. Often used to express musical ideas that are “strong” and “straightforward.”

o Compound – Beats are divided into three equal parts. Often used to express musical ideas that are “flowing” or “swaying in nature.”

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.

• Undotted notes divide naturally into two equal parts.

• Dotted notes divide naturally into three equal parts.

• The note that represents the duration of the beat is called a unit

• 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

• There are two main types of time signatures: simple and compound

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

• A signature with any other upper number less than 6 (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

• Two time signatures are traces from earlier systems of notation:

o Common time () - 4/4 (simple quadruple)

o Alla breve, or “cut time” () - 2/2 (simple duple)

• 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 basic classification of intervals is numerical (1 to 8).

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

o Be sure to count both the lower and upper notes as part of the interval!

• Intervals larger than an 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 (d), Perfect (P), Augmented (A)

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

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

Numeric Inverts to Unison (1st) Octave (8th)

Chapter 7 – The Basic Scales

Quality Inverts to Diminished (d) Augmented (A) Minor (m) Major (M) Perfect (P) Perfect (P)

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

• A basic scale is based on the unaltered notes A, B, C, D, E, F, G, which correspond to the white keys of the piano.

• 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.

• Basic scales may bein on any unaltered tone from A to G.

• Each basic scale has a corresponding modal name:

o A – Aeolian

o B – Locrian

o C – Ionian

o D – Dorian

Chapter 8 – The Major Scale

o E – Phrygian

o F – Lydian

o G – Mixolydian

• The basic scale on C (Ionian mode) exhibits of a pattern of whole and half steps known as the major scale.

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

• A major scale may start on any note.

• Major scales consist of two groups of four notes each (X-W-W-H), called a tetrachord, with a whole step between them.

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 (Aeolian mode) forms the natural minor scale.

o X-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).

• 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 M3+m3 = Major Tones correspond to the 1st, 3rd, 5th scale degrees of the major scale.

o m3+M3 = Minor Tones correspond to the 1st, 3rd, 5th scale degrees of the minor scale.

o m3+m3 = Diminished A minor triad with the fifth lowered by a half step.

o M3+M3 = Augmented A major triad with the fifth raised by a half step.

• 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+).

o The roman numerals of a major key: I ii iii IV V vi viiº

o The roman numerals of a minor key: i iiº III iv v VI VII

§ Use of the harmonic scale enables III+ V viiº

Majestically q = 58-72

PraiseGod,fromwhomallbless-ingsflow;Praisehim,allcrea-turesherebe-low;

#4 4

Praisehima-bove,yeheav’n-lyhost;PraiseFa-ther,Son,andHo-lyGhost.

Text: Thomas Ken, 1637–1711

Music: Louis Bourgeois, ca. 1510–1561. From Genfer Psalter, 16th century. Psalm 148:1–2, 10–14 Ephesians 1:3

Text: Thomas Ken, 1637–1711

Music: Louis Bourgeois, ca. 1510–1561. From Genfer Psalter, 16th century. Psalm 148:1–2, 10–14 Ephesians 1:3

Music Theory for the Organist Levels 3-4, Part I

David C. Pickering, DMA, AAGO

I. Voicing a Single Triad (video recap: https://youtu.be/usvzveESYEE)

A. Open Structure: Less than an octave between soprano and tenor

B. Close Structure: An octave or more between soprano and tenor

C. Observe the Following Rules:

1. Follow the traditional arrangement of the soprano voice being the highest voice, the alto the next highest, the tenor the highest bass clef voice, and the bass the lowest ] bass clef voice

Do not cross voices (put the alto above the soprano, bass above the tenor, etc.).

2. Observe the following spaces between voice parts:

aa. No more than an octave between the soprano and alto

bb. No more than an octave between the alto and tenor

cc.More than an octave may exist between the tenor and bass

II. Avoid the following part-writing errors that can occur between the following voice combinations: (video recap: https://youtu.be/CDdWoXh-fTs)

A. Sop.-Alto, B. Sop.-Tenor, C. Sop.-Bass, D. Alto-Tenor, E. Alto-Bass, F. TenorBass

1. Parallel Octaves: occurs when a perfect octave moves to another perfect octave in the same direction between any of the above voice combinations.

2. Parallel Fifths: occurs when a perfect fifth moves to another perfect fifth in the same direction between any of the above voice combinations.

3. Contrary Octaves: occurs when a perfect octave moves to another perfect octave in the opposite direction between any of the above voice combinations.

4. Contrary Fifths: occurs when a perfect fifth moves to another perfect fifth in the opposite direction between any of the above voice combinations.

The following part-writing errors can only occur between the SOPRANO and BASS:

5. Direct (or hidden) Fifths: occur when the outer parts move in the same direction to form a perfect fifth, with a leap in the soprano part.

6. Direct (or hidden) Octaves: occur when the outer parts move in the same direction to form a perfect octave, with a leap in the soprano part.

III. Other Basic Part Writing Tips

1. Avoid large leaps, particularly in the alto and tenor voices. Any leap a fourth or larger should be carefully scrutinized to see if smoother voice leading is possible.

2. Keep common tones between chords where possible (tenor in this instance). It allows for smoother connections between chords.

3. Be very careful that the leading tone (seventh scale degree) resolves properly, particularly when it is in an outer voice (3A’s soprano voice should move to C, the tonic note, which is where the leading tone wants to resolve)! Leading tones in inner voices do not necessarily need to be resolved (3B), particularly if there is a good reason not to resolve it (such as a complete tonic chord!).

4. Be careful of voice overlap, where the bass note goes above the previous tenor note (in this instance).

5. Particularly avoid the interval of an augmented second in minor keys between the sixth scale degree and the raised leading tone (occurs in the soprano voice in this instance)

Videos that outline various root position partwriting movements:

Repeated root: https://youtu.be/-Q10PATmeYQ

Root movement of fourth and fifth: https://youtu.be/sYIl39a-dB4

Root movement of third and sixth: https://youtu.be/wtFCi_QvLDA

Root movement of second and seventh: https://youtu.be/r93YsacsW3o

Partwriting short root progressions: https://youtu.be/Jy6QhE9w33M

Music Theory for the Organist Levels 3-4, Part II

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

I. Harmonic Progression

A. The following diagrams represent the most common chord progressions:

Major Keys:

Minor Keys:

II. Other Part Writing Errors:

A. Avoid all augmented and diminished intervals that occur between the notes in any one voice part. Augmented and diminished intervals become especially problematic in minor keys.

B. Avoid any intervals larger than a fourth that occur between the notes in any one inner voice part (alto or tenor).

III. Harmonizing a Simple Melody (for root position chords only):

Video recap: https://youtu.be/yq7C1YrrUIw

A. Use only chords in root position and NO diminished triads.

B. Write out the chord possibilities for each chord, remembering that every melody note can serve as the root, third, or fifth of a triad.

C. Select chords that conform to the chord progression diagrams in II. A.

D. Spell, space, and write each of the chords on the staff, avoiding any part-writing errors.

E. Play through your given progression to hear how it sounds.

Triads in First Inversion: Video recap: (https://youtu.be/ts2bI6fBxAQ)

• A chord is in root position when the root of the chord is in the bass voice.

• A chord is in first inversion when the third of the chord is in the bass voice.

• It is important to know which tone is the root of each chord. This is no problem when all chords are in root position, since the bass voice will always contain the root of the chord. When a chord is inverted, you must rearrange the tones mentally in order to locate the root.

• The figured bass symbol 3 indicates a chord is in first inversion. Most often, the superscript 6 is placed to the right of a roman numeral to indicate that a chord is in first inversion.

• If neither the third nor sixth of a chord is altered, the figured bass symbol for a chord inversion in first inversion will remain the same.

• If you see a figured bass symbol of 6 that contains a slash through it or a sharp or plus (+) on either side of 6, then the note that is located a sixth above the bass note is raised a half step.

• If you see a figured bass symbol of 6 that contains a flat sign on either side of 6, then the note that is located a sixth above the bass note is lowered a half step.

• If a sharp or flat is found by itself underneath the bass note, then the note that is located a third above the bass is raised a half step (if a sharp sign is found) or lowered (if a flat sign is found)

• Triads in first inversion are used for variety, to improve the bass line, and to lessen the weight of some I and V chords as well as for other reasons.

• First inversion also allows the use of diminished triads because these are not commonly used in root position.

• Inverted triads in four-part textures are usually complete, with no tones omitted.

• Double any triad factor that facilitates smooth voice leading. Favored notes are the soprano (found often) and bass (slightly less common). Never double the leading tone (seventh scale degree). Observe general recommendations regarding voice ranges, order of voices, and spacing.

• For diminished first-inversion triads (viio6), double the third of the chord, which is the bass note.

• Move the soprano, alto, and tenor voices with as much stepwise movement as possible. Avoid any unnecessary leaps.

Triads in Second Inversion: (Video recap: https://youtu.be/2k2Pv3JynEM)

• A chord is in second inversion when the bass voice contains the fifth of the chord. 6

• The figured bass symbol 4 indicates a chord is in second inversion.

• The second inversion of any chord should be used with extreme caution because of its unstable nature. Historically, if the interval of a perfect fourth involved the lowest voice of a chord, the chord was considered to be dissonant.

• The second inversion of the tonic chord is common, but that of other triads is found only occasionally.

• The cadential six-four chord is a tonic six-four that delays the arrival of the V chord that follows it. It depends totally on the V chord for its meaning, and it should not be thought of as a substitute for a tonic chord in root position or first inversion.

• A passing six-four chord harmonizes the middle note of a three-note scalar figure in the bass. The most common passing six-four chords are the dominant six-four and tonic six-four chords.

• A pedal six-four chord elaborates the root position chord that precedes it and usually follows it as well. Most pedal six-four chords are the tonic six-four or subdominant six-four chords.

• The voice leading into and out of a six-four chord is usually as smooth as possible, with stepwise motion prevailing. In a four-voice texture, the bass (fifth of the chord) is doubled.

The language and ideas in this handout were obtained from the following textbook:

Kostka, Stefan and Dorothy Payne. Tonal Harmony, 5th ed. New York: McGraw-Hill, 2004. See pages 85-93, 109.

Music Theory for the Organist Levels 3-4, Part III

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

Cadences: (Video recap: https://youtu.be/76v-G6c9PW8, authentic and half cadences) (https://youtu.be/HJfSirnXyB0, phyrgian half, plagal, and deceptive cadences)

• A phrase is a substantial musical thought, which ends with a musical punctuation called a cadence. Phrases are created in music through an interaction of melody, harmony, and rhythm.

• A harmonic cadence is a musical punctuation that closes a phrase or section of music. Some signify the end of a complete musical thought and may be compared to the period (.). Others end an incomplete idea but suggest something else to come. These may be compared to the comma (,) or a semicolon (;). Most cadences conclude with the V or I chord.

• Perfect Authentic Cadence: is a progression from V to I in major keys and V to i in minor keys. Both chords must be in root position. In this cadence, the tonic note must also be the highest sounding pitch in the tonic triad. From the standpoint of finality, the perfect authentic cadence is the strongest cadence of all.

• Imperfect Authentic Cadence: this cadence is slightly weaker than the perfect authentic cadence. The following three scenarios all qualify as imperfect authentic cadences:

1. The highest sounding tone in the tonic triad is a tone other that the tonic note.

2. The viio triad is substituted for the V, making the cadence viio6-I or viio6-i.

3. One or both of the chords (V or I) is inverted. Examples are: Vo-I or V-io

• Half Cadence: If the second chord of a cadence is V, it is a half cadence. This permits a large number of possibilities, but composers actually employ only a few. I-V, IV-V, or ii-V account for the vast majority of half cadences. A half cadence from ivo-V in a minor key is called a Phrygian half cadence.

• Plagal Cadence: The plagal cadence is the progression IV-I or iv-I.

• Deceptive Cadence: If the first chord in a cadence is I (i) and the second is not I (i), the cadence is deceptive. Although there are a large number of possibilities, composers most often select vi (VI).

The Technique of Melody Harmonization:

l) Determine the Tonality: Sing or play the melody to become familiar with its characteristics and to determine the appropriate key in which it is written.

2) Choose an Appropriate Cadence: The last two notes of the melody might give hints to possible cadences. Note that there may be more than one possibility.

3) Choose an Appropriate Harmonic Rhythm: “Harmonic rhythm” is the rate at which the chords change in a composition. The melody may suggest a particular rate of chord change, such as one or two per measure, or perhaps call for a chord change for each note.

4) Select Chords for Melody Notes: The melody note can serve as the root, third, or fifth of any triad, which gives three chord possibilities for each melody note. Write the three roman numerals that reflect the three chord possibilities underneath the grand staff under each melody note. Check each chord progression to make sure that it conforms to the recommended series of chord progressions for major and minor keys that appear on the opposite page.

5) Write the Bass Line: It is vital that the bass be an effective melodic line that complements the soprano. The use of some contrary motion between the soprano and bass is desirable as it gives each a measure of independence. The soprano and bass voices define the “vertical” limits of

music, and individuality in these voices contributes greatly to the musical interest. Look for these qualities in writing an effective bass line:

a) Melodic Contour: the bass line should not jump around too much even though more leaps are to be expected than in the upper parts.

b) Contrapuntal Interest with the Soprano: The bass and soprano together should make effective two-part writing some contrary motion is desirable.

c) Tonal Variety: Chord inversions help provide a more melodic bass line and contribute to tonal variety.

d) Parallel Motion: Always check for parallel fifths and octaves between the bass and soprano before writing the remaining voices.

6) Write the Alto and Tenor Voices: If the previous steps have been followed closely, one should have little trouble adding the alto and tenor voices to a harmonized melody. Be sure to make sure that any inner voice does not move more than a fifth in any direction. Smooth voice leading is the watchword!

7) Check for Part Writing Errors: Check for incorrect doubling, spacing, and parallel perfect intervals.

8) Make Adjustments if Necessary: Sometimes part writing problems arise that cannot be solved with a current harmonic progression. When this happens, changes in the bass line, such as the use of different inversions, or even the selection of new chords, will be necessary. Even with only the limited harmonic material with which we are working there are many ways a melody can be harmonized. So do not be reluctant to substitute one chord for another no matter how enamored you are of your first choice. Part writing difficulties sometimes are solved by the selection of a different chord, or by the use of inversion.

Some of the definitions and language used for this handout were obtained from Greg Steinke’s Harmonic Materials in Tonal Music, the recommended theory book for Organ Certification Levels. In addition, the following two music theory textbooks provide invaluable reference material and were also very helpful in the preparation of this handout. Additional definitions and helps were obtained from these theory textbooks.

Benward, Bruce and Marilyn Saker. Music in Theory and Practice, vol. 1, 7th ed. New York: McGraw-Hill, 2003. See pages 177-182.

Kostka, Stefan and Dorothy Payne. Tonal Harmony, 5th ed. New York: McGraw-Hill, 2004. See pages 109-111.

Music Theory 5-6

Borrowed Chords

Borrowed chords are usually formed when the lowered scale degrees 3, 6, or 7 are borrowed from the parallel minor scale and are used to alter chords in a major mode.

Seventh Chords

These are the five most common seventh chords in the common-practice period. The top label indicates a usual function in a given key; the second label is the technical name that describes (first) the triad and (second) the seventh used in constructing the chord; the third label is the common name. In normal resolution, the seventh moves down and the leading tone (if present) moves up by step.

Secondary Dominants

A secondary dominants is a major-minor 7th chord that functions as the dominant of the major or minor chord that follows it (that is not the actual tonic of the prevailing key). A secondary dominant temporarilay “makes tonic” the major or minor chord that follows it, or can signal a modulation into the key they it is tonicizing.

Chromatic Mediants

refer to chords that are related in the following ways: their roots are a m3 or M3 apart, and they are either both major or both minor triads. There will be one common tone between the two chords. The doubly chromatic mediant relationship combines chords of opposite mode and share no common tones.

Enharmonic Resolution

The fully diminished 7th chord is useful in modulating to distant keys. Each member of this 7th chord can be considered the root of the chord and resolve to the key (either major or minr) that is a half-step above the designated root.

Augmented Sixth Chords

These pre-dominant chords are defined by the interval of an augmented sixth that usualy outlines the chord. Each nationalistic “variety” includes the flat-6, tonic, and sharp-4 scale degrees of the prevailing key. The French 6th adds the 2 and the German adds a flat-3 to the basic recipie.

Dominant Seventh Resolution

This series of cadences shows how the V7 chord in C can have various interpretations depending on the resolution and the key that it is functioning in.

& ?

Beethoven

ORGAN FOR PRIMARY FOR TEACHING BEGINNERS

A dynamic, fast-paced organ program with three workbooks that teach the basics of playing the organ for congregational singing, using organ arrangements of 52 Latter-Day Saint primary songs.

Each Organ for Primary level is divided into six units. Units include the following sections and information:

-how the organ works and functions

-how to use your feet correctly through pedal techniques

• Organ Console

• Organ Stops, Rails, and Jambs

• After Playing the Organ

• Organ Sound vs. Piano Sound

• Families of Organ Tones

• Registrations

• Composer Clues

• Pipe Ranks and Divisions

• Expression Pedals

• Crescendo Pedals

• Organ Shoes

• Bench and Body Positions

• Pedal ABC’s

• Organ Pedaling

• Alternate Toes

• Prelocation, Pivoting and Intervals

• Ostinatos

• Pedal Lines

• Non-Legato Spacing

• Legato and Non-Legato

• Counting A Must!

• Music Blocks

• Direct Fingering

• Redistribution

• Finger Crossing

• “Bottom to the Top”

• The 2 P’s: Prepare Music and Positions and Practice Smart

• Independence of Line

Other tools included are: Extra Mile Challenges; Review Challenges; Fold-out Guide; Families of Organ Tones; Two - Manual Organ Stoplist; Three-Manual Organ Stoplist; For Your Information; Bibliography; and Answer Keys

• The Pipe Organ and How it Works

• Hybrid Stops

• Flue and Reed Pipes

• Harmonic Series

• Mutations

• Solo Registrations

• Compound Stops and Mixtures

• Celeste Stops

• Non-Speaking Stops: Couplers

• Non-Speaking Stops: Tremulant and Unison Off

• Repeated Notes Between Voices

• Gliding

• Toe-Heel Pedaling

• Marking the Pedal Part

• Foot Substitution: One Foot

• Foot Substitution: Toe to Toe

• Fingering Questions

• Finger Glissando

• Common Tone Rule

• Practice Tools Review

• Articulation

• Measuring Non-Legato Spacing

• Adding Voices

• Position Check Review

• Organ Volume Changes

• Ensemble or Chorus Registration

• Tips for Choosing Hymn Chorus Registrations

• Registrations for Louder, Brighter Hymns

• Solo and Accompaniment Registration

• Cornet

• Combination Action: Pistons and Toe Studs

• Combination Action: Setting Pistons and Toe Studs

• Heel Slides

• Finding the Octave

• Gliding using Navigation Points

• 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

• Sustaining Notes in the Same Hand

• Finger Substitution: One Note

• Legato Thirds in RH and LH Hands

• Finger Substitution: Two Notes

• Thumb Glissando

• Marking Your Own Music Blocks

• Hymn Texts and Registering between Verses or Choruses

• Accents on the Organ

• Manual Registration Changes

• Playing Legato Between Parts

• Preludes and Postludes

• Page Turns & Introductions

• Tips for Learning a Four-Part Hymn

• When to Tie and Not to Tie

For ordering or questions contact Laurie Swain at

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 2025

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 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.

BYUOrganWorkshop2025

ElizabethForsyth

OrganTechniqueandRepertoire,Level2

“Losenoopportunityofpracticingontheorgan;thereisnootherinstrumentwhichtakesaswifterrevengeon anythingunclearorsloppyincompositionorplaying.” -RobertSchumann

“There’snothingremarkableaboutit. Allonehastodoishittherightkeysattherighttimeandthe instrumentplaysitself.” -JohannSebastianBach

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

Tuesday

Manual Technique

Legatovs.detachednotes(independenceofline):OrganTutorbyDonCook,Manual16:9a

Fingersubstitution:OTManual3410aand10b

Fingerglissando:OT Manual372aand2b

Thumbglissando:BasicOrganTechniquebyJ.J.Keeler, #33

Threepartmanualstudy: BOT#54

Pedal Technique

Alternatetoesandpivoting:OTPedal16a

Toeandheel:BOT#95-96,OTPedal34aand34c

Crossing:OMp.32#1-2

Glissando:OMp.33#1

Substitution:OTPedal43a,45a

Putting It All Together

Threepartmanualandpedalstudy: “Preludeon‘Converse’” OT Repertoire19

Literature

“Abidewithus,OLordJesusChrist” Seventy-nineChoralesfortheOrganbyMarcelDupré,#1

“AbidewithMe,‘TisEventide” HymnPreludesforOrgan,Book1byRobertManookin,p.25

“Fugato”byJ.G.Albrechtsberger OMp.115,orMethodofOrganPlayingbyHaroldGleason,p.183

Wednesday

Manual Technique

Fingercrossing:BOT#27-28

Thumbglissando: BOT#34

Threepartmanualstudy: BOT#55

Pedal Technique

Glissando: OT Pedal41aand41b

OrganTechniqueandRepertoire,Level2

Putting It All Together

Twoandthreepartstudies:BOT#132,#139

Literature

“HerzliebsterJesu,washastduverbrochen”byHelmutWalchaOMp.110

“Trio”byJosefRheinbergerOMp.114

Thursday

Manual Technique

Thumbglissando: OT Manual392c,Manual403c

Threepartmanualstudy:BOT#60

Pedal Technique

Alternatetoes: BOT#91 (Dothisoneeveryday!)

Toeandheel: BOT#98

Putting It All Together

Threepartmanualandpedalstudy: BOT#141

Literature

“GlorybetoGodonhigh”79Dupré,#4

“Canon”byJacquesLemmens OM,p.121;orOTRepertoire7;orGleasonp.171

“Lord,WeComeBeforeTheeNow” ManookinHPbook1,p.5

Friday

QuestionsandAnswers!

Ideasforcontinuingyourorganstudyandstayingmotivated.

Literature

“BelovedJesus,herewestand” 79Dupré,#52

“Litany”byFranzSchubert,OT Repertoire12-13

“TheFirstNoel”byWilburHeld SixCarolSettingsp.12

Resources

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

BOT=BasicOrganTechniquesbyJ.J.Keeler,availableatsheetmusicplus.com,jackmanmusic.com oramazon.com

OT=OrganTutorWorkbookbyDonCook,organtutor.byu.edu

SixCarolSettingsbyWilburHeld,availableatConcordiaPublishingHouse(cph.org)

HymnPreludesforOrgan,Book1byRobertManookin,availableatjackmanmusic.com or sheetmusicplus.com

Seventy-nineChoralesfortheOrganbyMarcelDupré,availableonamazon.com&IMSLP: imslp.org/wiki/79_Chorales,_Op.28_(Dupré,_Marcel)

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)

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?

Dr.LindaMargetts

Organ Technique and Repertoire LEVEL 5

PRE-1750

Bach,J.S.(twoofthelargerworks:)

CanzonainDMinor(BWV588)

“Little”FugueinGMinor(BWV578)

PreludeandFugueinCMinor(BWV549)

ToccataandFugueinDMinor(BWV565) (twoworksfromOrgelbüchlein:)

"DerTag,deristsofreudenreich"(BWV605)

"HerrJesuChrist,dichzuunswend"(BWV632)

"VaterunserinHimmelreich"(BWV636)

"EsistdasHeilunskommenher"(BWV638)

Buxtehude,Dieterich(otherGermanorgancomposersfromthisperiodmaybeconsidered) (onechorale-basedwork:)

"NunbittenwirdenHeiligenGeist"(BuxWV208or209)

"PuernatusinBethlehem"(BuxWV217)

“WärGottnichtmitunsdieseZeit”(BuxWV222) (oneotherwork:)

FugueinCMajor(BuxWV174)

ToccatainFMajor(BuxWV157,complete)

B.1750-1900

Brahms,Johannes(doboth,fromElevenChoralePreludes,op.122:)

"Herzlichtutmichverlangen"(op.122,no.9)

"OWelt,ichmussdichlassen"(op.122,no.11)

Franck,César(chooseone:)

Adagiofrom"FantaisieinC"

Preludefrom"Prelude,FugueandVariation" Mendelssohn-Bartholdy,Felix. SonataII,op.65(allfourmovements).

C.Since1900(twoofthefollowing:)

Boëllmann,Leon.ToccatafromSuiteGothique,op.25. Bush,Douglas.HymnSettingsforOrgan(visitsheetmusicauthority.comandsearchfor“douglasbush”),anypiece of mediumdifficulty.

Chamberlin,David.LDSHymnVoluntaries.(ChamberlinMusic.com),anypieceofmediumdifficulty. Dupré,Marcel."HowFairandHowPleasantArtThou,"fromFifteenPiecesfoundedonAntiphons,op.18,no.5. Jongen,Joseph."ChantdeMai,"op.53,no.1(J.&W.Chester).

Vierne,Louis."Carillon"fromTwenty-fourPiecesinFreeStyle,vol.2.

Walcha,Helmut."WeichtihrBerge,falltihrHügel"fromFünfundzwanzigChoralvorspiele(C.F.Petersnr.4850).

Wood,Dale."LetUsBreakBreadTogether"(Augsburg11-0856).

Wright,Searle."Carol-PreludeonGreensleeves"(H.W.Gray,St.CeciliaSeries798).

Anyhymnsettingofmediumdifficultyfromthisperiodmaybeacceptable.

Organ Technique and Repertoire Level 6

Instructor: Valerie Harris

Technique

• Make it part of your daily routine; start your practice with technique.

• Use the metronome - vary the speeds; set mini-goals each practice.

• Use a variety of techniques such as rhythm patterns, accenting different parts of the pattern, varying the speed, using different touches (legato, staccato).

Preparing Repertoire

• Study the time period, stylistic characteristics, composer, and the piece.

• Listen to recordings of the piece but also of other pieces from the composer and the time period. Listen to recordings of other instruments playing similar music.

• Look at score before you play. Find the subject or motives. Understand structure by looking for cadential points. What sections do you see? Do you see the main theme return? Are there modulations? What patterns do you see?

• Prepare the piece by marking ﬁngerings, pedal markings, manual changes, expressive markings, registrations, sections.

Repertoire Practice Ideas

• Mark sections and practice by section

o Try starting with the hardest section ﬁrst

o Try learning the last section ﬁrst, then work your way back - then you’ll always know the last best, building conﬁdence as you play.

• By section, use your metronome, working up the tempo each practice.

• For 16th or 8th note patterns, try these: for trick spots, try this per measure:

Legato and staccato, 1 measure pattern repeated

Practice 1 measure with downbeat of next

Speciﬁc forms

• Chorale Preludes

o Find chorale tune and decide which voice it’s in

o Is the chorale easily recognizable or is it ornamented? What types of counterpoint?

• Fugues

Identify structure: How many voices? In which order do they enter? What is the subject and countersubject? Mark entrances of subject. Identify exposition (all 4 voices have entered). Where else do you see the motives and are they altered? Mark any cadential points. What other structural elements do you see?

Performance Practice - pre-1750 and after

16th, 17th and 18th century works are EASIER to PERFORM and sound more stylistically convincing using the methods of that time. Use the appropriate styles for pre and post 1750 works for greatest success.

Summary of general characteristics: Pre 1750 19th century and beyond Position at console Like riding a bike Like driving a car

Articulation “ordinary touch”, articulate touch or structured legato Legato, slurred legato

Fingering Not much thumb use, good/bad fingers, finger skipping, hand shifting, adjacent fingers

Phrasing Emphasis on metrical groupings, good/bad or strong/weak beats, breaks before leaps /downbeat

Scale Patterns Note pairing

Repertoire

Thumb under, glissando, ﬁnger crossing, thumbing down, ﬁnger substitution

Emphasis on longer phrase structures and lines

Modern scale ﬁngering with thumb under

See Level 6 listing in handout book for complete list of works. Select the appropriate number from a variety of time periods. Find good editions (see section in handout book or at www.organ.byu.edu/materials3-6.pdf for ideas).

Pre-1750: Bach, Buxtehude, Couperin, Frescobaldi, Pachelbel, Stanley

1750-1900: Brahms, Franck, Mendelssohn, Rheinberger, Saint-Saëns, Schumann, Wesley

Since 1900: Gigout, Karg-Elert, Reger, Vierne, Peeters, Vaughan Williams, Parry, Manz, Manookin, Bush, Chamberlin

Pre-1750

(Although there are many organ composers, onl y those represented in the Level 6 repertoire list are speciﬁed below)

German: (Pachelbel, Buxtehude, Bach)

- Chorale preludes using a chorale (Lutheran hymn) as cantus ﬁrmus (main melody) and using a variety of counterpoint techniques

o Ornamented chorale melody

o Cantus ﬁrmus in pedal with 4’ stop

o Cantus ﬁrmus in any of the voices with other voices in canon, or using ﬁguration

- Freely composed (no cantus ﬁrmus):

o Toccatas

o Preludes

o Fugues (subject, countersubject, exposition, motives)

o Passacaglias (repeated bass pattern under other voices)

- Counterpoint common

o Canon – 1 voice follows the other with same melodic and rhythmic content (think “Row, Row, Row Your Boat)

o Fugues

- Pre-Bach works often very sectional with different styles

- Stylus Phantasticus “fantastical style” – characterized by dramatic ﬂourishes, sudden pauses, fast passages, interspersed with fugal and strict counterpoint

- Organs in Central and Northern Germany had well- developed pedalboards but not in Southern Germany or other national regions. Organs did not have swell boxes.

Bach:

o Bach used a variety of nationalistic styles (French, Italian, German) into his compositions i.e. French overture or Italian ritornello and concerto.

o Bach’s works were the pinnacle of the Baroque; he developed Baroque forms to a new height by developing motivic material, enabling longer fugues.

o Frequently used patterns modulating through circle of 5ths, motivic material and patterns (sometimes inverted, retrograde, diminution or augmentation), chains of suspensions, motoric movement. Motives can be melodic or rhythmic.

French: (Couperin)

- Very stylized short works, many intended for liturgical use, often for masses.

- Short versets played in alternatum with choir/vocalists singing plainchant

- Heavily ornamented

- Notes inegale – playing even notes (often 8th notes) unevenly, similar to modern “swing 8ths”

- Works were often named for the registration used i.e. Tierce in Taille (tierce stop for the solo voice in the tenor) or Bassus de Trompette (trompette stop for the bass voice)

- French overture style: works in full principal chorus, characterized by chords and strict rhythms

Italian: (Frescobaldi)

- Frequent use of ritornello (return of the main theme – precursor to sonata allegro form)

- Lyric use of ornamentation that imitated vocal ornamentation

English: (Stanley) – Voluntaries a common form

1750-1900

- Not much in the canon of literature for organ during “classical” period

- Organ composition began to develop again during the 19th century

- With the development of the piano, the legato touch also developed on the organ

- Mendelssohn brought a renewed interest in Bach’s music so many composers wrote in the structures of Chorale Preludes and Preludes & Fugues but with 19th century harmonization and phrasing with legato touch.

- Organ Sonata developed during 19th century (multi movement works with each movement indicated by the tempo marking)

- Organs had well- developed pedalboards and crescendo

French: (Franck, Saint-Saens)

- Symphonic organs started in Paris with the builder Cavaille-Coll – these instruments imitated a symphony with high pressure stops with a variety of tonal colors and the ability to add stops quickly for a crescendo effect)

- Organ Sonatas were a common structure

- Many important composers during the 2nd half of the 19th century into the 20th century

German: (Mendelssohn, Schumann, Brahms, Rheinberger)

- When asked by an English publisher to compose voluntaries, he instead composed sonatas - Brahms – wrote op 122 (11 chorale preludes) during an early period of his life as he studied Bach. He then revisited some early sketches and composed new ones of the set later in life, a few on his deathbed.

- Schumann composed for the Pedal Piano, an instrument similar to a piano with a pedalboard attached (frequently used by organists to practice at home so they didn’t have to get someone to pump the bellows while they rehearsed)

English: (Wesley)

Since 1900

Organs continued to develop with balanced swell pedal. Interest in reproducing historically inspired instruments prevalent along with the development of organs that allowed an organist to effectively play a variety of time periods and nationalistic styles.

French: (Gigout, Karg-Elert, Vierne)

English: (Vaughan Williams, S.S. Wesley, Parry)

Belgian: (Peeters)

American: (Manz, Bush, Manookin, Chamberlin)

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.

ORGANTUTOR ORGAN 101 ONLINE UNITS AND LESSONS

The lessons are listed below in a logical study sequence under each unit. If you plan to complete the entire course, you will gain most by learning the objectives of each lesson before proceeding to the next lesson in the same unit. However, work on various units at the same time. For example, each week you should be practicing manual techniques, pedal techniques, and hymn playing, as well as studying lessons in the General Concepts and Organ Registration units. Use the Weekly Preparation Guide, found in the back of this Workbook, to work through the ﬁfteen “Stages” one at a time. You may be able to complete one stage in as little as a week, but you may need more time. Customize the Weekly Preparation Guide to meet your needs and abilities, and take time to enjoy learning to play the King of Instruments!

ORGAN REGISTRATION unit

Introduction to the Organ Console

Organ Types and Components

Using Console Devices

Pitches of Organ Stops

Families of Organ Tone

Non-Speaking Stops

Three Primary Types of Organ Registration

Chorus Registration

Solo and Accompaniment Registration

Trio/Duo Registration

HYMN PLAYING unit

Hymn Playing—Introduction

Hymn Playing—Phrasing

Hymn Playing—Repeated Notes

Hymn Playing—Tempo

Hymn Playing—Registration

MANUAL TECHNIQUE unit

Manual Technique—Introduction

Independence—One Part in Each Hand

Direct Fingering

Finger Crossing

Finger Substitution

Redeemer of Israel—soprano & tenor

How Gentle God’s Commands—soprano & tenor

Finger Glissando

Thumb Glissando—Inward

Independence—Two+ Parts in One Hand

Thumb Glissando—Outward

Redistribution of the Inner Part

Eﬃciency of Various Fingering Techniques

Independence—Three Parts in Two Hands

PEDAL TECHNIQUE unit

Organ Shoes

Pedal Technique—Introduction

Groups 1-2: Precise Attack & Release; Alternate Toes on Sharps

Group 3: Alternate Toes on Sharps—Spanning 2nd & 3rd

Group 4: Single Foot on Naturals & Natural/Sharp Combinations

Group 5: Single Foot on Naturals & Natural/Sharp Combinations

Group 6: Alternate Toes on Sharps—Spanning 2nd, 3rd, 4th

Group 7: Alternate Toes on Natural/Sharp Combinations

Group 8: Alternate Toes on Naturals

Group 9: Independent Feet on Sharps

Group 10: Toe-Heel of a Single Foot on Sharps & Naturals

Group 11: Single Foot on Sharps

Group 12: Toe-Heel of a Single Foot—Half- & Whole-Steps, 3rds

Group 13: Heel Slide; Toe-Heel of a Single Foot on Naturals

Group 14: Toe Glissando—Sharp to Sharp & Sharp to Natural

Group 15: Substitution Between Two Feet

Group 16: Single Foot on Naturals & Natural/Sharp Combinations

Group 17: Toe Crossing on Naturals & Natural/Sharp Combinations

Group 18: Toe-Heel Crossing on Naturals & Natural/Sharp Combinations

Group 19: Scales Using Various Techniques

Group 20: Arpeggios

Marking Challenging Pedal Parts

PROJECTS unit

Hymn Project 1: 3-Part Hymn With Easy Pedal

Hymn Projects 2 & 3: 3-Part Hymns

Left Hand and Pedal Studies

Hymn Project 4: 4-Part Hymn

GENERAL CONCEPTS unit

Nature of Organ Tone

Listening Skills for Practice

Practice Techniques

Correct Position at the Organ Touch

Score Preparation

SYSTEM REQUIREMENTS

OrganTutor Online is an Internet-based tutorial for desktop and laptop computers, tablets, and smartphones. The device must be capable of downloading and running YouTube videos and mp3 audio ﬁles, and displaying standard high-resolution graphics.

PRACTICE

OT  and P  Hymn

Project 2. Choose a three-part hymn setting from pp. Hymns 11-13. Continue using the practice steps on p. Hymns 8. Begin practicing single parts and two-part combinations only. Play for your instructor at various stages of your progress. The finished pieces is due by the beginning of Stage 5 .

 Pedal Technique (p. Pedal 3: “Naturals”)

P  Group 4 (pp. Pedal 11-13)

OT  (Projects unit) and P  LH/ Pedal Studies. Learn at least four during the course, LH and pedal parts only. Choose from pp. Hymns 11-13. The first LH/Pedal Study is due by the beginning of Stage 5

OT  Hymn Playing—Introduction (Hymns 51 Suppl.)

P  Group 5 (pp. Pedal 14-15)

P  Finger Substitution (pp. Manual 29-35)

OT  Organ Types and Components (Organ Registration unit) (Intro 10-11 Suppl.)

OT  Using Console Devices (Organ Registration unit)

Stage 3

P  Hymn

Project 3. Learn step 13 on p. Hymns 18 or p. Hymns 25. Continue using the practice steps on p. Hymns 8. Begin practicing single parts and two-part combinations only (both hands on the Great). Play for your instructor at various stages of your progress. The finished project is due by the beginning of Stage 7 .

P  Group 6 (pp. Pedal 16-18)

P  Redeemer of Israel—soprano & tenor (pp. Manual 6-8)

OT  and W  Pitches of Organ Stops (Organ Registration) [Registration 23-25 Suppl.] (Written assignment on p. Registration 3)

dates________

Stage 4

dates________

OT  Hymn Playing—Phrasing (Hymns 50-52 Suppl.)

P  LH/Pedal Study 2 due by the beginning of Stage 7 .

P  Blest Be the Tie (How Gentle God’s Commands)—soprano & tenor (pp. Manual 9-11)

OT  Touch (General Concepts unit) (Intro 20-21 Suppl.)

Stage 5 dates________

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 7100 students since 1996

• Written by Dr. Don Cook (doncook2931@gmail.com), 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

PEDALTECHNIQUE

ReneeChiuGastelum

ConsiderationsforBeforePlaying

Organshoes

● Sockswillslideonthepedalkeysandworkifyouhavetoplaybeforeyourshoesareready.

● Organshoeshaveawideheelandbrushedleather.YoucanorderthemonAmazonorOrganMasterShoes,or repurposeshoes(e.g.,tapshoes)thatalsohaveawideheelandbrushedleatheronthebottom.

Checkthebenchposition

● Yourfeetshouldnaturallybrushthepedalkeys.

● Ifyourbenchdoesn’tadjustandyouneedittaller,youcanputhymnalsundereachsideofthebench.

● Ifyourbenchdoesn’tadjustandyouneeditshorter,contactyourstake’sfacilitiesmanagertomakethebenchshorter orreplaceit.

● Youshouldbeabletoeasilyreachthevolumepedalsoftheorgan.

● CenteryourselfontheDinthemiddleofthepedalboard.

Pedaling

Forabeginningorganistplayinghymns,playlegatoexceptforrepeatednotes.

Technique#1:Gliding/Gaps

Glidefromkeytokeytofeelthegroupsoftwoandthreeblacknotesandndyournote.

Technique#2:Pre-location

Haveyourfreefootndthenextnote.

Technique#3:AlternatingFeet

Mostofthetime,you’llbeplayingwithyourtoesusingalternatingfeet.

Technique#4:Heel/Toe

Youcanusetheballofyourfoot(“toe”)oryourheel.

Technique#5:Crossing

Onefootcancrossinfrontorbehindtheotherfootwhoseheelisraised.

Technique#6:Substitution

Youcanchangefeetonasinglenotewithoutreleasingthenote(thenextfootcangooverorunder).

Technique#7:ToeGlissando

Youcanslidebetweentwoblacknotes.

Example:TheSpiritofGod

● Playthebasslinewithyourfeetandthetopthreevoiceswithyourhands.

● Markyourpedaling.Markingsabovethenotesarefortherightfoot,andmarkingsbelowarefortheleftfoot.^means toe,andomeansheel.

Refer to this “Yellow Card” regularly during all pedal practice until these details become second nature

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 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.

The Practice Session

EFFECTIVE PRACTICING

•Learn back to front (or at most difficult part first). [Reid Nibley]

•There is a tempo at which you can play at 100% accuracy. Find it! Start there! [Norene Emerson]

•Resist the temptation to dive in and play. First mark repeats, phrases, fingering, pedaling; then work 1 voice, 2 voices, 3 voices. [Richard Elliott]

•Practice each hand alone, feet alone, 2 units together, 3 together. [Parley Belnap]

•Do the hardest parts first as exercises; then with rhythms.

•Write in pedaling and fingering (then follow them) to put habit in your favor.

•If you don't like a printed fingering or pedaling, change it. Don't just ignore it.

•Use isolation and augmentation for problem spots.

•Use a metronome; it keeps you honest.

•Work on a piece slowly, one phrase or section at a time; don't reinforce errors with repetition.

•If you make a mistake twice, do something to prevent it next time.

•Don't sit on the bench for more than 45-50 minutes without a break.

•Don't stay on one piece too long.

•Incorporate all elements as you learn (within reason).

•Do not always start at the beginning; be able to start anywhere.

•Separate rhythm from music to get it right.

•Use a consistent counting system (e.g., French count).

•Start counting the measure(s) before the places where you have rhythmic problems.

•Mark everything: YOU WILL NOT REMEMBER, especially when stressed.

Preparing for Performance

•Remember that you will perform exactly as you practice, except worse; do not expect some miraculous transformation in performance.

•Learn the difference between the two modes: practice and performance.

•Do not stop at mistakes in performance mode.

•Practice "the first time through."

•Aim for 115% accuracy in practice. Then when you lose 20% in performance (conservative estimate), you will be at 95%, not 75%.

•Do not practice in a vacuum; you won't be that lucky in performance.

•Do not make significant changes (including corrections) close to performance time.

•Use slow practice (half time, quarter time), especially just before performances.

•Practice everything: walking out, getting on the bench, setting up the music, hitting pistons, turning pages, getting off the bench, etc.

•Choose clothes carefully – not too tight, not too slippery, not too much friction, not restrictive (cuffs, skirt length and width, SLIPS).

•Practice performing the whole thing in your mind (imagery).

In Performance

•Be sensible: get enough sleep and exercise; avoid caffeine and medication if possible.

•Try not to get tight and tense or hunch your shoulders. Practice relaxation and deep breathing.

•Find ways to get back on track when things go wrong: sing along, zero in, count.

•When necessary, reduce demands. (Do the double instead of the triple.)

Additional Advice

•Put time in your favor! All practice time is not equal. Five hours at 30 minutes a day for ten days will make more difference than five hours in one sitting.

•Remember that playing for yourself (or anybody else) is NOT practicing.

EFFECTIVE PRACTICING (continued)

Effective practicing in a nutshell:

1.Start sooner

2.Stop wasting so much time

3.Learn the hard parts first

4.Practice all aspects of performance

Develop a set of symbols to prevent mistakes. For example: chord symbols; step-wise; not step-wise; chromatic; white-black; all black; # notes; letter names; left; right; arrow up; arrow down; arrow horizontal to the right (as an alert); stay; off.

Alexander Schreiner was particular about his student’s practice regimen and emphasized the importance of consistent slow practice. “In the first place one should avoid making a mistake, ever! When you start to learn something new, play it so slowly that the notes, the time, and the rhythm are all played perfectly. Then gradually start to play faster, but it must always be played correctly.” He would often suggest that students follow a six-point practice routine over the course of preparing a work for performance:

1.Overview for style

2.Slow exact reading without metronome

3.Half-tempo with metronome

4.Three-quarter tempo with metronome

5.Nearly full tempo with metronome

6.Performance – full tempo without metronome

[from Alexander Schreiner, Mormon Tabernacle Organist, by Daniel Berghout, dissertation 1999, University of Kansas, p.129]

John Longhurst’s performance advice:

1.Put the music on the rack and play beginning to end without stopping; put the music back on the rack and play beginning to end without stopping; repeat; repeat; repeat.

2.Make every possible mistake in practice so that: (a) you are alerted to the problem and try to avoid it, and (b) you will devise a way to recover from it.

Golfer Johnny Miller said this about golf great Jack Nicklaus: “When Jack Nicklaus plays well, he wins; when he plays badly, he finishes second; when he plays terrible, he finishes third.”

[from Deseret News, May 2, 1995, column by Dennis Lythgoe]

“I think of practicing like digging a ditch: Every day I get out my shovel and remove a bit of dirt.”

[Rudolf Serkin]

“Inspiration exists, but it has to find you working.”

[Pablo Picasso]

When Pablo Casals (then age 93) was asked why he continued to practice the cello three hours a day, he replied: “I’m beginning to notice some improvement.”

Preludes and Postludes for Beginners

Alena Hall

Published Preludes and Postludes:

Berghout, Dan. Easy Trios on Hymns of Prayer and Comfort, Easy Trios on Sacrament Hymns , Fourteen Easy Trios on Christmas Hymns , More Easy Trios on Christmas Hymns

Bush, Douglas. Organ Preludes on Children's Hymns

Carson, Mike. Twelve Primary Songs

Chamberlin, David. LDS Hymn Voluntaries

Volume 1, hymns #1-10

Volume 21, hymns #201-215

Christianson, Clay. Primary Colours

Volume 1

Volume 2

Croft, D. Kim. Nine Hymn Studies

Cundick, Robert. Sunday Morning

Harmon, Neil. Hymn Settings for Organ

Volume 6: Beginner

Volume 7: Primary Songs, Beginner

Hawkinson, Florence. Preludes & Postludes for the Beginning Organist

Jorganson, Brent. The New Organist Volumes 1-10

Lemmon, Douglas. Preludes SAC*

Manookin, Robert P. Hymn Preludes for Organ Volumes 1-10

Pedersen, Laurel Hunt. Organ Preludes (Free)

Stuart, Harold The Organ is Praise (Free)

Method Books that include easy preludes and postludes :

Swain, Laurie. Organ for Primary (A Method book for beginning organists with little or no piano background)

Volumes 1-3

Cook, Don. OrganTutor Workbook (Detailed Method book)

Preludes and postludes that can also be used to accompany congregational singing:

Carson, Mike. Hymns with easy or no pedals (Free)

Cook, Don. Easy Organ Hymn Settings

Cook, Don and Robert Cundick. Three Stave Hymns (Free)

To purchase a physical copy: https://creativeworks.byu.edu/CreativeworksStore/P roductCategory?siteID=10&searchText=cundick

Pickering, David. Pathway to Hymn Playing

Manual-Only Hymns for Organ : Simplified transcriptions of well-known LDS hymns. (Free)

The New Ward Organist: Simplified Hymns for Beginning Organists (Free)

Transformations (meant to be used with Manualonly Hymns for Organ) (free)

Creating Preludes and Postludes using the Hymnal :

Add variety through changes in registration, texture, and notes.

Registration:

*Similar Stops vs. Contrasting stops

Examples 1: Contrasting Registration

Verse 1: Great

Verse 2: Swell

SW: Strings 8’ (Viola 8’, Viola Celeste 8’)

GT: Flute 8’, Flute 4’

*Tenor or Soprano Solo

A few ways to make the soprano solo slightly easier:

Example 2: Similar Registration

Phrase 1: Swell

Phrase 2: Great

Phrase 3: Swell

Phrases 4 and 5: Great

SW: Flute 8’, Flute 4’

GT: Flute 8’, Flute 4’

1-Leave the alto line out. Play the tenor in the left hand on the Great and the bass with the feet.

2-Use the bass coupler. LH=Tenor/Bass on the Great . RH=Soprano on the Swell.

3-Use the bass coupler and the melody coupler. Play all the parts with both hands on the Great.

Examples 1: Tenor Solo

Swell: LH playing tenor

Great: RH playing soprano and alto

Pedal: Feet playing bass

SW: Oboe 8’, Flute 4’

GT: Gemshorn 8’, Gemshorn Celeste 8’

Pedal: Flute 16’, GT/Ped

Texture:

Example 2: Soprano Solo

Swell: RH playing soprano

Great: LH playing alto and tenor

Pedal: Feet playing bass

SW: Flute 8’, Flute 4’, Flute 2 ⅔’

GT: Gemshorn 8’

Pedal: Flute 16’, GT/Ped

Vary how many of the individual parts are sounding at a given time. Examples of this include:

1-Play the soprano part alone or in octaves.

2-Play the soprano part as a duet /trio with one/two of the other parts (SA, ST, SB, SAT, or SAB)

3-Begin by playing just the soprano part on the first phrase of the hymn. Add one additional part for each phrase (Phrase 1: S, Phrase 2: SA, Phrase 3: SAT, Phrase 4: SATB)

4-Begin by playing all 4 parts on the first phrase of the hymn. Remove one part for each phrase. (Phrase 1: SATB, Phrase 2: SAT, Phrase 3: SA, Phrase 4: S)

Examples 1: “Our Savior’s Love”

Phrase 1: Soprano part alone

Phrase 2: Soprano part in octaves

Phrases 3 and 4: Soprano and bass parts

Example 2: “I Need Thee Every Hour”

Phrase 1: Soprano, Alto, Tenor, Bass

Phrase 2: Soprano, Alto, Tenor

Phrase 3: Soprano, Tenor

Phrase 4: Soprano part alone

Notes:

Adding additional notes or slightly changing the written notes (and/or rhythms) can enhance the hymns in subtle ways and meaningful ways. (Passing tones, neighbor tones, suspensions, pedal points, augmentations, diminution, meter changes, etc.) Additional explanations nonharmonic tones can be found in the handout for "Advanced Hymn Playing."

Create a prelude plan using some of the techniques listed above:

Example: Intro (last phrase=ATB); Verse 1(Phrase 1 S, Phrase 2 SA, Phrase 3 SAT, Phrase 4 SATB); Verse 2 (Tenor solo); Verse 3 (non-harmonic tones); Coda (augmentation)

Push Your Pedal Technique with Pedal Etudes Dr.

Tyler Boehmer

Begin with a correct understanding of the leg and foot anatomy

Important Considerations:

- Note that the knee joint is NOT at the same position as the kneecap

- Take note that the ankle joint is not the back of the foot, but at the front of the heel bone

- For organists, movement of the foot using the ankle joint in all directions is extremely important for proper technique, so the foot, ankle, and leg must be relaxed

Next, answer some key questions about the pedal etude(s) you are considering learning.

1. Is this etude helpful for me at my current level of playing?

a. Put another way, is this pedal etude too easy? Too hard? Just challenging enough?

2. What technique or techniques is this etude addressing?

a. Example Pedaling techniques:

i. All-toe pedaling

ii. Pedal substitution

iii. 4-note chords in the pedal

iv. Octaves

3. Is this etude fun to play? Would I want to perform it in a recital, or is it simply going to be part of my warm-up routine?

Finally, here is a partial list of pedal etudes. Every effort has been made to put them in order of difficulty.

1. Pedal Scales (found in many method books)

a. Example: Ritchie, George and George Stauffer. Organ Technique: Modern and Early. Oxford: Oxford University Press, 2000, pgs. 135-136.

2. Pedal Etudes for Organ by Paul Page

a. Page, Paul. Pedal Etudes for Organ. https://www.paulpage.org/Paul_Page_Music/Pedal_Etudes_for_Organ.html.

3. Pedal Exercitium (attr. To J.S. Bach, but may be by CPE Bach)

a. https://vmirror.imslp.org/files/imglnks/usimg/d/d1/IMSLP126539WIMA.d180-Bach_Pedal_Exercitium_BWV598.pdf

4. Sept Etudes pour le pedalier seul by Eric Lebrun

5. Quatre Etudes-Caprices by Naji Hakim

6. “Perpetuum Mobile,” from Konzert für Orgel by Wilhelm Middelschulte

a. https://www.free-scores.com/download-sheetmusic.php?pdf=53463#google_vignette

7. Ten Studies for Pedal Playing by Flor Peeters

a. https://www.vitalsource.com/products/ten-studies-for-pedal-playing-for-organflor-peeters-v9781457479052?srsltid=AfmBOoq7CH_HGAiQdXDMcdGxnRfp1UGVCtfJWoAch16T0fjEa3vmkkN

8. Symphonic Etude for Solo Pedal: Variations on “That Good Old Baylor Line,” Op. 72 by Rachel Laurin

a. https://theleupoldfoundation.org/product/etude-symphonique-pour-pedalesolo-op-72-rachel-laurin/

9. 12 Etudes pour les pieds seulment by Charles-Valentin Alkan

a. https://s9.imslp.org/files/imglnks/usimg/3/33/IMSLP11252Alkan_woo_Douze_etudes_pour_les_pieds.pdf

**The images above are from the following resource:

Mark, Thomas. What Every Pianist Needs to Know About the Body; with Supplementary Material for Organists by Roberta Gary and Thom Miles. Chicago: GIA Publications, 2004, pgs. 29-30.

BYU Organ Workshop – Registration Basics (Parts 1 & 2)

Brigham Young University – Summer 2025

Instructor: Connor Larsen

The Organ Console

I remember when I first walked up to an organ console. It felt a little bit like this…

Quickly I learned that lots of pieces of the organ console are standard. While this isn’t ALWAYS the case, it gives us some firm ground to stand on. If we hyper focus on organs in Latter-day Saint chapels, we see that most of these standards are upheld.

REFERENCE MAP

Definitions:

Toe studs

Crescendo pedal

Expression (or swell) Pedals

Pedalboard

The best news is that (for the most part) things are labeled. Even if parts of the organ are in different places, they’ll be labeled or operate similarly. Use the following definitions to help you track things down. This isn’t an exhaustive list but should give you plenty to work from and keep you from getting lost!

General Pistons: These buttons (often found on the left side of the organ beneath the manuals) serve as preset buttons where combinations of stops can be saved. On some organs, these buttons can be located elsewhere, but you can easily tell what they do because they’ll allow you to save combinations for the whole organ.

Swell

Great Stops

Divisional Pistons

General Pistons

Stops: Sometimes appearing as knobs on the side of the console, flip tabs above the manuals, or lit tabs as shown in the picture on the previous page, stops are how we control what sounds engage on the organ. Fun fact: The phrase “pulling out all the stops” is an organ influenced term!

Divisional Pistons: These buttons (often found in the middle of the organ beneath the manuals) serve as preset buttons where combinations of stops can be saved, but only for a specific division (like the great or swell.) They are often located beneath their “assigned” division.

The Swell Division: This manual (or keyboard) is connected to the stops grouped near a label that reads “swell”. On a two manual organ, it will be the top manual.

The Great Division: This manual (or keyboard) is connected to the stops grouped near a label that reads “great”. On a two manual organ, it will be the top manual.

Toe Studs: These buttons are located near the pedalboard. Look for labels because they can serve a few purposes. Sometimes they’ll double a general piston (sometimes both hands are busy, so a free foot can press one. These are often found to the left of the expression pedals). Other times they’ll serve as the pedal division’s divisional pistons (often on the right side of the expression pedals).

Crescendo Pedal: Not all organs are equipped with one of these, but it is located near the expression pedals. It will be labeled. This pedal gradually adds stops as it is opened and removes them as it is closed. Its standard position is closed! If left open without being aware, it can confuse an organist!

Expression (or swell) Pedal(s): These pedals often have a label above or below them indicating what division (or set of stops) they control. These operate differently than a crescendo pedal and only adjust the volume of a division by opening and closing shutters (or simulating that action).

Pedalboard: This is the pedal board that we play using our feet. The stops connected to this division are grouped near a label that reads “pedal”.

Other Terms that we’ll learn but I didn’t label in the diagram:

“Cancel” Piston: This piston (often located below the great manual on the far right side) could be labeled with “cancel”, or a “0”. This cancels are stops currently engaged.

“Set” Piston: This piston (often located below the great manual on the far left side) is often labeled “set” and if pressed and held while pressing another piston can save combinations of stops to the selected piston.

Couplers: Can be labeled in a variety of ways and be in several places, but will be formatted like this: “Sw. to Gt.” or something similar. This pulls sounds from one division to another.

Tutti piston: Can be labeled in a variety of ways and can often be found under the swell manual on the far right side. It engages all the stops on the organ. Sometimes there’s two of differing levels.

Pro-Tip from Connor: If you see a button that doesn’t look familiar…try it out! There’s no shame in testing things to figure out what they do. I do it all the time!

Families of Organ Tone

One of the most common questions I hear from new organists is “what stops do I use?” and boy do I wish I could just give you a list of exactly what to do! This class will introduce the different families of organ tone, and then we’ll talk about how to being to think about combining them.

To create different sounds from the organ, we build pipes in different ways. The biggest things that change are the materials used, the length, and the shape. These adjusted physical characteristics change how the pipe sounds, and we categorize these sounds and construction methods into several categories.

Families of Organ Tone

Reed Pipes

Flue Pipes

This first division we make is between pipes with a reed (like a woodwind instrument) and pipes without one. A diagram showing examples is shown above. Now let’s extend our “family tree”.

Families of Organ Tone

Reed Pipes

Reeds

Flue Pipes

Flutes

Strings

Principals

One of my favorite parts of playing the organ is listening to other organists describe the sounds that different stops make. Here’s some examples using the families listed above.

Reeds: Reedy, Brassy, Trumpety (Look for brass and woodwind instruments in the name)

Flutes: Flutey, Round, Warm (Look for the word flute, flöte, etc. in the name)

Principals: Firm, Full, Clear (Look for diapason, principal, or an interval in the name.

Strings: Thin, Sharp, Stringy (Look for modern and ancient string instrument names.)

Pitches at the Organ

One of the other helps in organ registration is the number on the stop. This number represents what octave the stop will sound in.

Our standard concert pitch is 8’. So, an 8’ stop playing a middle c would match middle c on the piano. As we move up and down our “ladder of pitches” we move up and down octaves of pitch so we can layer octaves to support the tone and create new combinations.

Could add reeds or mixtures

As we build up pitch levels we can build upward for clarity of sound as shown with the ladder or build out for richness with the pyramid. To build “out” we use several 8’ stops, less 4’, and less 2’. From there reeds or mixtures can be added.

Higher pitches create: Brightness, clarity

Lower pitches create: Foundation, thickness

Remember! There are many ways to combine pitches of organ tone. This is just one technique that can be used.

This diagram from Don Cook helps capture how mutation stops (or those with fractions) are heard by the ear.

Concert Pitch +1 Octave Octaves Octaves Octave

BYU Organ Workshop – Registration Decision Making/Score Preparation

Brigham Young University – Summer 2025

Instructor: Connor Larsen

Making Registration Decisions

Now we can really get to some orchestration. The biggest complexity we have, is that not only do we have to make the decision, but we must execute the change as well! We’ll now talk about how to make a registration plan, and how to execute it. Some general guidelines.

1-Be true to the composer first: Start where the composer indicates. If performing pieces from the repertoire, additional thought can be given to what their instrument would have sounded like. Even similar stop families don’t sound exactly the same as you get around the world!

2-Use a variety of console devices: Find what’s easiest to reach. Don’t over-set things. If you have a combination, you keep returning to, find a piston that’s easy to reach and set it there. Use the same one for every spot, your accuracy will be better! If you’ve got a really tough change, place it in the easiest to reach place on the console!

3-Don’t set yourself up for failure: If parts of the organ don’t work or get stuck, don’t get surprised if they don’t work when you try to use them!

Common Approaches

Here’s a couple of approaches to planning registration for a piece.

1-Front to Back: Sometimes it’s best to just start at the beginning of the piece, and plan each registration and change through to the end.

2-Build-up: Crescendos/Decrescendos can be tricky to successfully execute. Try setting your quietest point and your loudest point and then identifying what you need to bridge those two points and saving them in between.

3-Take-down: This is the opposite of the build-up approach, but it keeps you from going “too big.” This is especially helpful if you’re tastefully avoiding full organ while still maintaining a strong registration.

4-Point to Point: This approach would be helpful in a piece that calls for specific combinations. You’d move from point to point, saving the registration at each point.

Registration Mechanics

Now how do we execute things?

1-By hand: Perhaps you’re only changing one stop. Would it be worth taking up a slot where something else could be saved on a piston? Try grabbing it by hand!

2-Divisional Piston: If you’ve got a big change in one division, try a divisional piston to leave more general pistons for bigger changes.

3-General Piston: These are great for starting points or big changes in a piece.

Expression Pedals

Don’t forget that expression pedals can be used to help ease changes, provide dynamic shape, and can really change the whole tone of a combination. Expression pedals should generally be used gently and almost unnoticeably but could also be kicked open for quick changes in dynamics. Get used to using them as your pedal or play other passages!

Making Changes

Now, let’s talk the actual changes:

1-Make sure it saved! Check your combinations quickly before you use them. It could be tragic to learn someone had changed your combination on the spot.

2-Get free: Make sure you have a hand, thumb, pinkie, toe, etc available to make the change. Sometimes this could require redistributing chords to make sure your hand is available.

3-Make the Change: Hit it!

3-Get back to the music: Make sure you’ve got a sufficient exit strategy so there’s no lapse in the music.

Connor’s tips:

Here’s some tips to keep in mind:

-Just because we call them thumb pistons doesn’t mean you can only hit them with your thumb. If you’ve got a firm and strong pinkie available that helps you keep you hand more locked where it’ll need to go, do it!

-Be open to saving things differently than you’re used to. Sometimes you need a coveted piston or toe stud to catch a particularly difficult registration change. Be open to that, but mark it clearly so you don’t forget!

-As you jump around organs, try and save things similarly. It’ll help your muscle memory and give you a bit more bandwidth to use while playing!

-Keep your ear open for delays, and other technical difficulties that may arrive. Make note and do your best to navigate around them.

-Don’t get too flustered if you miss something, just make a quick decision on what is the least distracting way to fix it. Sometimes that’s don’t nothing and catching the next piston change!

-Pedal divisional toe studs are your best friend when it comes to adding a rumbling 32’ to a combination. Ped. 1 is one of my most used console devices!

-Sometimes you don’t need a combination change, you can just open/close the expression pedals.

-Get used to using both feet to adjust the expression pedals. They can be incredibly helpful and you don’t want to limit yourself.

-Try things! If one physical layout of pistons doesn’t work, try something else.

-Make careful markings so you don’t forget what your plan is!

RunningaSuccessfulPrivateStudio

Instructor:KymberlyPayne,M.M.,NCTM

www.PayneMusicStudio.com/OrganResources

Herearesomeofmybestpracticesforrunningaprivatestudio:

● Establishyourgoals-brainstormandcatchthevision!

● Workthroughlogistics-whenandwherewillyouteach

○ UtilizeAI!

● Valueyourtime-whenyousayyestoonething,yousaynotosomethingelse

● Treatyourprivatestudioasabusiness

○ SetupaLLC

○ Takethechurch’s“StartingandGrowingMyBusiness”self-relianceclass

● Establishastudiopolicy-haveboundaries,butknowwhentoextendgrace

● Chargeratesappropriatetoyourareaandexpertise

● Usetime-savingstudiomanagementsoftware

○ MyMusicStaff-ScantheQRcodetotryMyMusicStaffforfree!Ifyoudecide tobecomeapaidsubscriber,webothgetafreemonth.

● Provideexperiencesforyourstudents

○ Hymnsings,accompanyingopportunities,recitals

● Takeadvantageofprofessionalorganizations

○ AmericanGuildofOrganists(AGO)

■ Performingopportunitiesforyouandyourstudents

■ Organcontests

■ Networking

○ MusicTeachersNationalAssociation(MTNA)

■ NationallyCertifiedTeacherofMusicprogram

■ Stateandlocalchaptershavetheorytestsandperformanceconteststhataregreatly beneficialforschool-agedstudents

● Knowhowtofindnewstudents

○ Performandaccompanyinyourcommunity

○ Giveafreeorgantraininginyourstake

○ MTNAteacherregistry

○ Website

○ SocialMedia

○ Wordofmouth

● FindsupportonSocialMedia

○ FacebookOrganists'Association

○ OrganPedagogyFBGroup

○ AGOOrganForumFBGroup

○ Latter-daySaintOrganists'Chat

○ PianoTeacherCentralFBGroup

● Rememberyourwhy

Sheri Peterson

Samuel Wesley - "The English Mozart"

18th & 19th Century English Organs

St. Dunstan-in-the-East

Great (GGG-d’’’)

Open Diapason

Swell (G-d’’’)

Open Diapason

Choir (GGG-d’’’)

Stopped Diapason

Stopped Diapason Principal Principal

Principal Cornet III (c# ‘) Cremona

Fifteenth Trumpet Vox Humana

Sesquialtera III

Trumpet

Clarion

Cornet III

Foundling Hospital, built by Thomas Parker (1768), rebuilt by Hugh Russel (1805)

Great Swell

Double Diapason

Open Diapason

Choir

Stopped Diapason

Open Diapason Stopped Diapason Dulciana

Open Diapason Principal Principal

Stopped Diapason Cornet Flute

Principal Trumpet Fifteenth

Twelfth Hautboy Cremona

Fifteenth Clarion

Seventeenth

Sesquialtera

Furniture

Cornet

Trumpet

18th & 19th Century English Organs, cont.

Great Swell Pedal

Open Diapason I

Open Diapason II

Open Diapason 1 ½ octaves of pull-downs

Stopped Diapason

Stopped Diapason Principal

Principal Cornet

Flute Trumpet

Twelfth

Cornet (treble)

Sesquialtera (bass)

Mixture

Trumpet I

Trumpet II (=Swell)

Stopt Diapason

Open Diapason

Open Diapason Principal Principal

Principal Block Flute (c# ’) Cornet

Flute Vox humana Trumpet

Twelfth Cremona

Fifteenth

Block Flute (c# ‘)

Sesquialtera

Cornet (c# ‘)

Trumpet (c# ‘?)

Pedal

Pull-downs from the Great?

Sheri Peterson

Surrey Chapel, built by Thomas Elliot (1794)

Chapel Royal, Whitehall (Banqueting Hall), built by Bernard Smith (1699)

Great (GG-c’’’)

Choir (GG-c’’’)

Echo (ga-c”’)

18th & 19th Century English Organs,

Standard Pitches

Diapason = 8’

Principal = 4’

Flute = 4’

Twelfth = 2 2/3’

Block Flute = 2’

Fifteenth = 2’

Seventeenth = 1 3/5”

Sesquialtera = III

Cornet = III

Vox humana = 8’

Hautboy = 8’

Cremona = 8’

Trumpet = 8’

Clarion = 4’

Published Organ Works of Samuel Wesley

Grand Duet for the Organ, KO 604

Introduction to J. S. Bach’s Fugue in Eb, KO 669 (1814)

Seven Duets for Eliza (1814)

Twelve Short Pieces for the Organ with a Full Voluntary Added, KO 617 (1816)

Variations on God Save the King, KO 619 (1820)

Variations on ‘Rule, Britannia’, KO 620 (1820)

A Book of Interludes for Young Organists, KO 618 (1834)

Twelve Voluntaries for the Organ, Op. 6, Volumes 1 & 2, KO 621 (1816)

Voluntary in B Flat, KO622

Voluntary no. 1 in C Minor, KO 606

Voluntary no. 2 in G, KO 607

A Short and Familiar Voluntary in A, KO 608

A Voluntary for the Organ, KO 623

Two Voluntaries for the Organ, no. 1, KO 624 and no. 2, KO 625

Six Fugues with Introductions for Young Organists, KO 612

Six Organ Voluntaries Composed for the Use of Young Organists, KO 613

Six Organ Voluntaries in Two Sets, KO 615/616

Six Introductory Movements and a Loud Voluntary, KO 610

Voluntary (in B flat), KO 626

Fuga (in D), KO 603

34 Miscellaneous Short Pieces for Organ

12 Miscellaneous Longer Voluntaries for Organ

Sheri Peterson

So, You’re a New Organist! How to Perform the Balancing Act

Nora Hess

5 basic hymn registrations to start with:

1. For very quiet hymns (use sparingly on single verses; congregation will sing softer)

GT Pr 8’, Fl 4’

PD Pr 16’ OR Fl 16’ + Fl 16’, Fl 8’

Bass Coupler if needed, GT to PD coupler if needed

2. For contemplative hymns:

GT Pr 8’, Pr 4’

PD Pr 16’ OR Fl 16’ + Fl 16’, Pr 8’

Bass Coupler if needed, GT to PD coupler if needed

3. For moderate hymns:

GT add Pr 2’

PD add Pr 4’

Bass Coupler if needed, GT to PD coupler if needed

4. For jubilant hymns:

GT add mixture

PD add mixture

Bass Coupler if needed, GT to PD coupler if needed

5. For single verses on very jubilant hymns:

GT add Trumpet 8’

PD add GT to PD coupler

Bass Coupler if needed

5 Subject Practice Plan:

● Weekly preparation for church

● Manual and Pedal exercises, organ study time

● Hymns

● Prelude and postlude

● Literature

A few resources:

Ideas for prelude and postlude music from the hymnal:

1. Choose single soft 8’ stops (except 8’ celestes, which should never be used alone)

2. Try String 8’ plus 8’ string celeste, or Flute 8’ plus 8’ flute celeste. If either of these pairs are on one combined stop, it will be labeled with the Roman numeral II.

3. Match the Pedals to the Great by choosing similar stops one octave lower and using the bass coupler.

4. Play a verse one octave higher

5. Play just the melody, or just two or three parts instead of all four.

6. Change registration and/or manuals between verses.

7. Using pauses and changes of key and registration to help focus the congregation.

8. Use prelude music to introduce new or unfamiliar hymns.

9. Postlude music can be a little louder and more lively, depending on the spirit and occasion of the meeting.

7-Step Practicing:

● Parts alone

● Parts in pairs

● 3 parts together

● All parts together

Divide the piece into short (1-4 bar) overlapping sections and become fluent with each step before moving to the next.

The Freeze Technique:

● Freeze BEFORE the issue

● Carefully execute the correct motion

● Freeze ON the issue

● Prelocate the next notes

● Proceed

Organ Tutor Workbook, and Organ Tutor Online Tutorial https://www.ardpublications.com/indexAot.html

Easy Organ Hymn Settings, …transcribed for Organ in Trio, by Don Cook. https://jackmanmusic.com Hymns from the LDS Hymnal, by Carol Dean. https://printologyprinting.com Hymn Settings for Organ, Volume 6: Beginner, by Neil Harmon. https://www.sheetmusicauthority.com

BYU Organ Workshop – Solo/Accompaniment Registration

Brigham Young University – Summer 2025

Instructor: Connor Larsen

The “Rules” of Chorus Registration:

1-Hands will be playing on different manuals

2-We build upon an 8’ set of stops in the manual, and 16’ in the pedal. Pedal will often function as the bass. Theoretically, it could also operate as the solo.

3-One part stands out compared from the rest, while the other provides accompaniment.

What types of music call for chorus registration? Standard hymns played in creative styles, repertoire, hymn preludes, etc.

What score markings should I look for? Manual indications close to one stave (even if they don’t have a line to indicate), Registration indications that indicate one hand apart from another, differing numerals or dynamic markings for different staves.

How to build solo/accompaniment registrations:

The point of a solo/accompaniment registration is that one part is a solo, and the other an accompaniment. At it’s heart, one part just needs to stand out from the other. Keep some of the ideas if chorus registration in mind when thinking about dynamics (8’, 4’, 2’ would be louder than an 8’ accompaniment.) My hope is to expand your view of what you could use as a solo. Below I’ll provide some combination ideas at different dynamic levels, and I’ll attempt to translate them into whatever organ you have at your disposal.

Some quick tips:

-Try using different families of tone in your accompaniment/solo so they really stand out from one another.

-Sometimes you’ll need to swap where your accompaniment/solo is depending on where the desired stop is. This can be fun and challenging to make things work in the way you want.

-Trust your ear to decide if things are balanced!

Piano/Pianissimo Combinations

First, one of my favorites…strings as an accompaniment! Here’s some thoughts.

Swell: Strings 8’ (with celeste)

Great: This is where your solo would be. Here’s some options:

8’ flute

All of the 8’ stops (especially effective an octave lower),

8’ & 4’ flute

8’ and 2’ flute (this is called a gap registration. The gap is the lack of a 4’.)

A warm 8’ reed (a clarinet/krummhorn) You could include an 8’ flute for warmth. Chimes

If you have a celeste on the great, you could also pull a solo from the swell!

Swell: Flutes 8’ (and 4’)

Great: This is where your solo would be. You would want to avoid flutes that blend with the accompaniment, our goal is to have it stand out.

All of the 8’ stops (especially effective an octave lower),

8’ and 2’ flute (this is called a gap registration. The gap is the lack of a 4’.)

A warm 8’ reed (a clarinet/krummhorn) You could include an 8’ flute for warmth.

Mezzo-Piano/Mezzo-Forte Combinations

These could be helpful as combinations you could use in most hymns. A registration like this could help a congregation with a new hymn.

Swell: 8’ Trumpet (could add 4’ reed for brightness or 16’ for breadth.)

Great: Principals 8’ and 4’ (could add 2’ for brightness, or 16’ for richness.) You could also use the great trumpet as a solo, and place your accompaniment on the swell with those principals.

Swell: 8’, 4’ (maybe a light 2’)

Great: Principals 8’, 4’, 2’ and mixture. Though from the same family this could provide sufficient brightness to be a solo.

Forte/Fortissimo Combinations

These could be helpful as combinations you could use in loud and energetic hymns.

Swell: Principals 16’, 8’, 4’, 2’, mixture (maybe an 8’ reed)

Great: 8’ Solo Reed (this would be a large reed like a tuba, or sharp trumpet. You could easily swap this manual with the swell if your tuba is located up there!)

This shouldn’t serve as an exhaustive list, but something to give you a start with. Try other combinations!

Songs of Faith Through the Ages

Wendy Johnston, M.Mus., A.A.G.O

What is a chorale prelude? It is a short liturgical (for worship purposes) organ composition using a chorale (or hymn) tune as its basis.

Chorale Prelude on “In dulci jubilo,” BWV 729 (Johann Sebastian Bach)

Exuberant, joyful – “In sweet rejoicing”

Christmas Eve or Christmas Day

Improvisatory, virtuosic Jlourishes between chorale phrases, inJluence of Buxtehude and the North German stylus phantasticus

Liebster Jesu, wir sind hier, BWV 731 (Johann Sebastian Bach)

“Dearest Jesus, we are here,” an introspective prayer asking for guidance and light

Ornamented melody chorale

Expressive, contemplative, intimate

Lobe den Herren, den mächtigen König der Ehren (Johann Gottfried Walther)

Praise to the Lord, the Almighty

Cantus (hymn tune) is found in the pedal

Listen for vorimitation in the manual voices (anticipation of the tune)

Sweet is the Work, (Doug Bush)

Written in the Baroque style of an ornamented chorale prelude

Vorimitation in the interludes between phrases of the tune

Hymn text by Isaac Watts, hymn tune by Joseph McClellan

The King of Love My Shepherd Is, (Robert Hobby)

Robert Hobby is a Lutheran organist and composer

Melody heard twice, second time in canon (leading/following)

Listen for snatches of “Brother James’ Air”

Antioch: Carillon, (Mary Beth Bennett)

Mary Beth Bennett is a performer, improviser, organist and composer from Richmond, VA.

Combines a carillon motive with the hymn tune ANTIOCH, mixed meters

Children of the Heavenly Father with Come Thou Fount, (Andrew Johnson)

Illinois native Andrew Johnson is an organist and composer working on his doctorate at The Eastman School.

Lovely setting combining two hymns, currently unpublished

Children of Our Heavenly Father is #299 in the LDS Hymnal

Talk About a Child that Do Love Jesus, (Calvin Taylor)

African American composer, organist and pianist, performer from Los Angeles, California

Personal, childlike faith: Talk about a child that do love Jesus, here is one, here is one.

Down by the Riverside, (Marianne Kim)

Korean born composer, organist, pianist, improviser

African American spiritual emphasizing the themes of peace and reconciliation and the rewards that await the faithful in heaven. Dual meaning: liberation awaits one who crosses the River Jordan to freedom

Amazing Grace, (George Shearing)

British jazz pianist and composer George Shearing, popular 1950s to 1990s. Blind from birth

One of the most oft sung hymns in all Christendom, Amazing Grace was written in 1772 by Englishman John Newton, former slave trader turned Anglican priest.

Shall We Gather at the River, (Richard Elliott)

Richard Elliott: Baltimore native and principal organist at the Tabernacle

The lyrics are a reference to John’s vision in Revelation 22: the crystal-clear river’s water Jlows from the throne of heaven, representing the waters of life. The tree of life sits on its banks and its leaves are for the healing of the nations.

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

Toe and Heel p.29: 2-3 p.123: 3-4 p.34: 98

Pedal: ex. 19a, 20a

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

Substitution p.31: 5 p.120: 1-2 p.37: 109

MANUAL & PEDAL STUDIES

Pedal: ex. 44

Pedal: ex. 47a, 63

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)

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.

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.)

IV. MUSIC THEORY

All information may be found in: 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:

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.

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:

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). If you play on two manuals, for the registration of the left-hand (tenor) voice, you may choose either a more prominent (solo) sound, or a sound similar to that of the right hand.

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 1-2 ($498) Currently only Levels 1 & 2 are offered for college credit. elearn.byu.edu/catalog (scroll to Fine Arts & Communications – Organ Performance)

Certificate-only courses (no college credit): Music 71-76 (Levels 1-6) ($150 each plus lessons & materials) elearn.byu.edu > Course Catalog > Music

Free noncredit courses

Levels 1-2 only: Free self-study versions (no certificate or progress tracking): organ.byu.edu > Off Campus Students > Music 71 or Music 72 (Level 1 or 2).

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. 3-7, 2026) organ.byu.edu/organworkshop

The BYU Musicians’ SummerFestival (in person only, for ages 14-20, June 14-20, 2026) 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 > Membership > AGO Young Organists

Educational Resources agohq.org > Education

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

Certificate-only courses (Levels 1-6, noncredit) elearn.byu.edu > Course Catalog > Community Education > Music

College-credit courses (Levels 1-2): elearn.byu.edu/catalog (scroll to Fine Arts & Communications – Organ Performance)

Free courses (Levels 1-2 only, noncredit, no certificate) organ.byu.edu > Off Campus Students > Music 71 or Music 72

• 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 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 (email ldsorganistblog@gmail.com for up-to-date information)

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) smtd.umich.edu/bach-organ-works 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 search “young person’s 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 > Membership > 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 organ.byu.edu/the-new-wardorganist for links to each video and to download and print the free packets (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.

SPECIFICATION for a new PIPE ORGAN for

Brigham Young University Provo, Utah

81 ranks, 66 stops Two 4-manual consoles

Great Swell (expressive) Choir (expressive) Solo (expressive) 16' Double Open Diapason 16' Contra Gamba 16' Lieblich Gedact 8' Flauto mirabilis

8' First Open Diapason 8' Open Diapason 8' Geigen Diapason 8' Viole d'orchestre

8' Second Open Diapason 8' Concert Flute 8' Rohr Flute 8' Viole Celeste

8' Harmonic Flute 8' Gamba 8' Dulciana 8' Clarinet

8' Viola di Gamba 8' Voix Celeste 8' Vox Angelica 8' English Horn

8' Stopped Diapason 8' Bourdon 4' Fugara 16' Contra Tuba

4' Principal 4' Principal 4' Koppel Flute 8' Tuba

4' Open Flute 4' Flauto traverso 2 2/3' Nazard 4' Tuba Clarion

2 2/3' Twelfth 2' Fifteenth

Gemshorn 8' Tuba mirabilis (Ch)

2' Fifteenth 2' Piccolo harmonique 1 3/5' Tierce

1 3/5' Seventeenth 1 1/3' Mixture III-IV 1 1/3' Larigot

2 2/3' Grand Mixture II-III 16' Double Trumpet 1' Mixture III

1 1/3' Mixture IV 8' Trumpet 16' Contra Fagotto

1/2' Sharp Mixture III 8' Oboe

16' Contra Posaune 8' Vox Humana

Trumpet

Cremona 8' Trumpet 4' Clarion

Tuba mirabilis

4' Clarion

8' Tuba mirabilis (Ch)

Great 16’

Great Unison Off

Great 4’

Cymbelstern (digital)

Nachtigale (digital)

Tremulant (not affecting 16’ Double Trumpet, 8’ Trumpet, or 4’ Clarion)

Swell 16’

Swell Unison Off †

Swell 4’

Tremulant (not affecting 8’ Tuba mirabilis)

Great Reeds on Choir

Choir 16’

Choir Unison Off †

Choir 4’

Tremulant (not affecting the 16’-8’-4’ Tuba rank)

Great Reeds on Solo

Solo 16’

Solo Unison Off †

Solo 4’

Chimes (digital)

Harp (digital)

Glockenspiel (digital)

Pedal

32' Double Open Diapason

32' Contra Bourdon

16' Open Wood

16' First Open Diapason (ext.)

16' Second Open Diapason (Gt)

16' Bourdon (ext.)

16' Gamba (Sw)

16' Lieblich Gedact (Ch)

10 2/3' Grand Quint

8' Open Wood (ext.)

8' Principal

8' Spitz Flute

4' Choral Bass

2 2/3' Mixture IV

32' Contra Posaune (Gt ext)

16' Contra Tuba (So)

16' Trombone

16' Fagotto (Ch)

8' Tuba (So)

8' Trumpet

4' Tuba Clarion (So)

4' Clarion

8' Tuba mirabilis (Ch)

Great Reeds on Pedal

TWO FOUR-MANUAL CONSOLES

Tracker (in façade) and electric (movable, on stage)

Stage console with terraced stopjambs for a low profile

Shared combination action

COMPASSES – Manual: 61 notes (c1 to c61); Pedal: 32 notes (c1 to g32)

INTERMANUAL COUPLERS (not affecting Solo 8’ Tuba mirabilis)

Great to Pedal

Great 4’ to PED

Swell 16’ to GR

Swell to Great

Swell 4’ to GR

Swell 16’ to CH

Swell to Choir

Swell 4’ to CH

Swell to Pedal Swell 4’ to PED

Choir 16’ to GR

Choir to Great Choir 4’ to GR

Solo 16’ to CH

Solo to Choir

Solo 4’ to CH

Solo to Swell Choir to Swell (stage console only)

Choir to Pedal Choir 4’ to PED

Solo 16’ to GR

Solo to Great Solo 4’ to GR

Great to Choir (stage console only)

Great to Solo Choir to Solo Swell to Solo

SOLID STATE ADJUSTABLE COMBINATIONS

999 levels of memory and optional libraries

16 general pistons (thumb and/or toe)

8 divisional pistons on Great, Swell, Choir

8 divisional pistons on Pedal (thumb and/or toe)

6 divisional pistons on Solo

General Piston Sequencer – Next (+) thumb (6) and toe (2)

General Piston Sequencer – Previous (-) thumb (4) and toe (1)

Set (with PIN memory lock)

Go To

General Cancel

BALANCED PEDALS

MISCELLANEOUS

GR-CH Manual Transfer

Record-playback (wireless, iPad)

Pedal Divide

Pedal Stops on Great Divisionals

All Pistons Next

All Swells to Swell

Bar graphs for expression shades

Sostenutos (manuals I, II, III, IV)

Solo to Pedal Solo 4’ to PED