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f([T

HE TECHNIQUE

and

ART

OF

ORGAN PLAYING
BY

CLARENCE DICKINSON
M.

A., Litt. D., Mcrs.

With the

H. A.

Doc.

collaboration of

DICKINSON
M.

A.,

PH. D.

v
i

Fifth Printing

Paper Cover $3.50

Boards $4.00 Cloth $5.00

NEW

THE H. W. GRAY CO.

SOLE AGENTS FOR NOVELLO 6- CO., Ltd.
YORK

Copyright.

1922.

by

THE

H.

W. GRAY COMPANY
NUde

THi

in

U. S. A.

CTCTOSf^

IRIGHAM YOUNG UNIVERSITT

PROYO, UTAH

CONTENTS

PART

I.

TEXT

Chapter
I.

page

THE ORGAN AS AN INSTRUMENT

OrigindevelopmentdivisionspistonscouplersCrescendo Pedalbuilding up
II.

full

organclassification

of stops.

MANUAL TOUCHES

11

Height of organ bench correct position of player action of keys attack and release Legato touch: its mechanical meaning
acquirement through (1) Finger Substitution, (2) Hand Substitution, (3) Thumb Glissando I, II, III, (4) Crossing a longer fnger
over a shorterSemi-detached, Non-legato or Brillante touchMarcato touch: indispensable to accenteffect when applied to a
melody Staccato touch.
its

III.

PEDAL TECHNIQUE

16

The pedal keyboard position of

Substitution I, IIplaying thirds

feet

exact positions for playing intervals within an octave Glissando touches

legato

1, 2, 3,

sequential pedalingextended pedal glissandoSemi-detached, Marcato and Staccato

touches.

IV.

PART-PLAYING, INCLUDING THE PLAYING OF

HYMNS

maintaining the tempothe Amen Anglican chanting.

21

Treatment of repeated notes: separation, tying importance in phrasing

playing for congregational singing volume of organ tone "expression"

V.

importance in Hymn-playingannouncing a Hymn

of a Hymn
time allowance between verses and
lines

CHANGING FROM ONE MANUAL TO ANOTHER. PLAYING ON TWO MANUALS SIMULTANEOUSLY WITH
ONE HAND

Changing manuals legato for change of color, in playing a melody, in playing chords, in Hymn-playing taking
ward changing manuals staccato playing counter melody with thumbs or fingers on another manual.

VI.

off

26

chords down-

ADAPTING PIANO ACCOMPANIMENTS TO THE ORGAN

29

Adaptation of piano accompaniments repeated chords arpeggios of single notes or chords skips from one extreme of the keyboard to the other passages with upper and lower parts widely separated chords in low register chords corresponding to
String tremolo in the orchestra rolled chords volume of accompaniment the partly open Swell box value of knowledge of
orchestration registration of Mendelssohn s "It is Enough" quality of stops suitable to soloist and character of music.

VII.

THE MANIPULATION OF THE SWELL PEDAL

38

Control"the gradual and the sudden crescendo and diminuendo accent Crescendo Pedal playing on the middle of the Swell
various ways of moving the Swell Pedal balancing two Swell Pedals change of tone quality without change of manual by
means of the Swell Pedal smooth transitions from one color to another.

VIII.

ACCENT

41

Accent by means of Swell Pedal, pause, tenutoits dramatic valuea factor of climax.
IX.

RHYTHM

42

Preparatory adjustment to holding steadily to the beat crescendo and diminuendo passages regular proportion in accelerando
and ritardando passages significance of accel. agogic accent tempo rubato cadenza and recitative passagesworking up a
climaxvalue of rests drawing stops without loss of rhythm chief factors in destruction of rhythm.

X.

THE PLAYING OF ORNAMENTS

47

Bach's table of ornamentshis "Applicatio" for Friedemann

time values of the appoggiatura.
in old music

Bachsome

other graces and signs

XI.

diatonic character of graces

REGISTRATION AND COLOR

49

Families of tone color variation in color in different registers the various Flutes: rapid runs, solo passages, arpeggios, harp-like
quick-moving chords the Gemshorn color principal functions of String tone functions of various woodwind stops in
producing color the Vox Humana the Tremulant function and value of Trumpet tone surprise and climax employment

effects,

musichow to color
of stops in four various ways to obtain color setting up the pistons of the organ
stops of tht: various families color through the use of couplers orchestral effect the solo with accompanimentthe Celesta and

Chimes

the development of a sense of color.

registration of pre-Bach

PART

MUSIC

II.

pace

Section
I.

II.

III.

IV.
V.

VI.
VII.

VIII.

IX.

X.
XI.
XII.
XIII.

XIV.

Manuals

alone: Attack

and Release; Legato playing: Substitution

XV.
XVI.
XVII.
XVIII.

XIX.

XX.

Changing Manuals
v
Playing on Two Manuals at the same time with one hand
Fugues and Other Four-part Playing
Ornaments
Pedal alone: Octaves, Sixths, Thirds, Chords; Double Pedal with Manuals
Extended Pedal Glissando; Two Etudes for Pedal alone
.

Composer

PART

'

Etude
Etude

Alone in
for Pedal Alone in
for Pedal

Trio in

Chorale
Chorale
Chorale
Chorale

Best
Clerambault
Couperin
ESLAVA
Franck, C.
.

sharp minor

Prelude "O Sacred Head"

Prelude "Blessed Jesu"
Prelude "In Dulci Jubilo"
Prelude "Our Father in Heaven"

minor
Prelude and Fugue in
Postlude in C minor
Prelude in D minor

Frescobaldi

Canzona
Caprice in
Elevation

Marche

Handel
Krebs
Lemmens

Prelude and Fugue in

Trio in F
Fanfare

95
101

106
54

flat

Religieuse

Prayer in

F
March

Liszt

Ora Pro Nobis

Mendelssohn
Mendelssohn
Mendelssohn
Pachelbel
Rembt

Chorale from Sonata VI

Adagio from Sonata III
Andante from Sonata VI
Christmas Pastorale
Fughetta
Prelude
Postlude

Steggall
.

171

Processional

guilmant
guilmant
guilmant
guilmant
guilmant
.

151

Soeur Monique
Postlude

Adagio in

117
126
138

198
201
127
179
176
73
60
66

Partita in

101

page

Adagio from Sonata IV

91

II

Title

Alkan
Alkan
Archer
Bach
Bach
Bach
Bach
Bach
Bach
Bach

20
30
38
47
64
78
89

164
169
178
181
198

IN

15

151

MUSICAL COMPOSITIONS INCLUDED

Thomas

Pedal alone: Alternate feet

Manuals and Pedal in Combination; Pedal for alternate feet only
Pedal alone: heel and toe
Manuals alone: Legato playing: Thumb and Finger Glissando; Crossing a longer finger over a shorter
Manuals and Pedal in combination: Pedal part for heel and toe
Part-playing, Harmonic and Polyphonic Hymns and Chorales
Pedal Scales: Pedal alone; Pedal with Manuals
Manipulation of the Swell Pedal; Balancing Two Swell pedals
Touches other than Legato: Semi-detached; Marcato
Touches other than Legato: Staccato
Pedal: Crossing the feet; Substitution; Skips of a Third
Crossing the Hands; Trios
Manual and Pedal Arpeggios

57
59
154
55
189
164
98
70
134
Ill

92
104
119
175

132
169
145
147

PREFACE

This book

is

designed to provide the teacher with the technical material

necessary to carry the student from the beginning of his studies through to the

acquirement of complete
in

command

one volume a study of

enough

illustrations

and

all

of his instrument.

may

may

once

will at

division,

by supplying a book

material from which themes

points

which they

exercises through

hoped that the textual

teacher's time

to include

the distinctive principles of organ technique, with

with interesting compositions which

It is

The aim has been

Part

may

be mastered, together

call for their application.

I,

may

prove of value in saving the

of reference for students

and

also

by providing

be drawn for class conferences in which these

be discussed and enlarged upon.

In assembling in one volume studies of

all

the various points of organ technique

necessary to the equipment of the organist with as detailed a description as possible

by which each is to be mastered, the author has had in mind, also,

the many students who must pursue their work without the personal guidance of a
To the studio of every teacher there come pupils who are able to remain
teacher.
of the process

only a short time,

to their posts to

who

then, although eager for further study, are obliged to return

do the best they can

for their further

advancement

in their art,

Of course nothing can

ever take the place of the personal guidance and example of an inspired teacher;
and to teach others out of

their

still

limited equipment.

book simply aims to provide the "next best thing" for students who must
continue their studies thus or not at all. With their needs in view the author has
endeavored, in Part I, to take up each point of technique in logical and related
order, and to describe it clearly and definitely, with illustrations whenever they
this

may aid

in

comprehension and application; and, in Part

order, just as

many

to supply, also in logical

exercises as are absolutely necessary to cover each point,

pieces which, although they

is

II,

demand the

and

application of each point of technique as

it

acquired and are therefore excellent studies, are never mere studies, but are such

as will be of use to the organist always,

recital

and

of so great variety in style that effective

programs can be made from just these numbers.

PART

CHAPTER

THE ORGAN AS AN INSTRUMENT

AS

one of the most ancient instruments of music the organ had its origin in the flute, a wind or "flue" instrument which readily suggested itself to primitive man when he found he could make a musical sound by blowing
through a stalk of bamboo or other reed. In the development of the organ this "flue" has been multiplied into

l\

many

on a chest and controlled by keys which let into them the wind furnished by centrifugal fans
which may be operated by man-power, by water, or by electricity.
The ancient flute had holes along the side by which the player could obtain variety of pitch. The shorter the
pipe the higher the pitch of tone it gives forth, and the flute player could shorten or lengthen his pipe at will by putting
In the organ, instead of boring holes along the side of one pipe, a set of pipes of difhis finger on one of these holes.
pipes which are set

ferent lengths is constructed in each tone quality; these are

from an inch and a half to sixty-four

to

wooden pipes so

feet,

large that a Shetland

and

known

in circumference

pony can stand

as "ranks" of pipes.

from the small metal pipes the

for the feet,

known

size of

in length

a lead pencil

inside.

Certain ranks of pipes are controlled from the keyboards for the hands,

from the keyboard

They may vary

known

as manuals; others, less extensive,

as the pedal.

An organ which has only one manual always consists of what is known as the Great organ. This is the descendant of the ancient Roman Hydraulus, or water organ, invented by Ctesibius of Alexandria in the third century B.C.,
of which a model was found when the ruins of Carthage were excavated, and which was probably modeled on a much
older instrument, such as the one of ten keys with ten pipes to each key, of tremendously powerful tone, which

Talmud

is

de-

Temple at Jerusalem.
If there are two manuals the lower will be the Great and the upper the Swell organ.
The volume of tone of the
ancient Great organ was, of necessity, always full and unvaried. In 1711 Abraham Jordan and his son, of London,
conceived the idea of enclosing an organ in a chest with shuttered sides which could be opened and closed gradually
by means of ropes attached to a pedal, thus enabling the organist to swell and diminish the tone at will. This "Swelling" organ was then incorporated in the same case with the Great organ and provided with its own keyboard. It
is still known as the Swell organ and the pedal by which it is operated as the Swell pedal.
In some modern organs the idea of the Swell has been extended to apply to the other organs also, so that each
the Great and the Choir as well as the Swell
organ
is enclosed in its own separate swell box, thus giving the player
control over the dynamic resources of his entire instrument.
scribed in the

as part of the furnishing of the

The

ancient Great organ in the cathedrals and churches, in which, as

we have seen, any means of

tremendous volume of sound was lacking, could not be used to accompany the singing of the

ment was used

for this purpose,

which was at

portable, but which, when it

first

too big to carry about, was given a fixed position and was therefore
organ. In order to

make

it

possible for

known

A smaller instru-

choir.

was gradually enlarged

as a Positive. This

is

controlling the

until it

became

the present Choir

one organist to play both solo and accompanying instruments

this Positive

was

moved up behind his bench, so that he could play his organ numbers on the Great organ, then swing around on the
bench and accompany the choir on the Positive. At last it occurred to some one as yet anonymous to set this Choir
organ in the case with the Great, giving it its own keyboard, as had been done with the Swell organ.

manual was given a different place

an organ has three manuals is as follows:
ference its

in different countries; the

Swell
Great
Choir

Upper
Middle
Lower

In this trans-

arrangement in America, as in England, when

there

If

a fourth manual

is

it is

known

as the Solo organ and

is

placed above the other manuals; in

are assem-

it

and stops of extra heavy pressure.

A fifth manual is rarely found on the most modern organs in this country, but when there is one it is usually devoted to what is known as the Echo or Celestial organ. In the sixteenth century an organist in the Netherlands conceived
the idea of enclosing some of the pipes of the organ in a box to gain softness and an illusion of distance. This enclosed
organ produces the effect suggested by its name. Now, however, the Echo organ is seldom given a manual of its own,
but can be played from one or two of the other manuals.
The Pedal organ was, in the beginning, and as late as the closing years of the fifteenth century, nothing more
bled special solo stops

than a clamp which held down a bass note or two. In 1470 Master Bemhard, organist of St. Mark's, Venice, put a
pedal keyboard in the floor and attached it with ropes to draw down the bass keys of the manuals. In the seventeenth
century the pedal keyboard, greatly enlarged, was given independent inner works, and the Pedal organ created.

We have already referred to the great number of pipes in the organ and

to the fact that difference in pitch

is

ob-

by making a difference in the length of pipes which produce the same tone quality. If we draw the stop on
the Great organ marked 8-foot we get the pitch which corresponds to that of the piano. It receives its name because the
organ keyboard begins at CC and the pipe which sounds that tone is eight feet long. The pipes controlled by the stop
marked 4-foot are four feet in length and sound an octave higher than the 8-foot. Those marked 2-foot sound two
tained

A 16-foot stop sometimes spoken of as a "double"

octaves higher added to the 8-foot stops these brighten the tone.
;

sounds an octave lower than an 8-foot; a 32-foot, two octaves lower.

thick quality; they should be employed sparingly, therefore,

and must form the foundation of

pitch

On
all

all

and with

Used on the manuals these possess a somber,

discrimination.

the ancient Great organ there was no means of regulating the volume of sound.

in the Netherlands devised

by

levers

of the organ

still

a plan

8-foot tone

is

the normal

regular organ work.

the pipes of that pitch sounded at once, so that the noise was overpowering.

ulated

The

for shutting off the

When

a key was pressed

In the sixteenth century an organist

sound of any rank of pipes as desired, by means of

which stopped the wind from entering the pipes.

slides

manip-

These levers were known as stops, and the stops

perform their original function; when pushed in each one stops the wind from entering

its

own

set

when drawn the obstruction is removed and the pipes are free to speak in response to the pressing of the keys.
By a sort of figure of speech the name "stop" has come to be applied not only to the lever but to the ranks of pipes
which it controls; thus we speak of Flute stops, Diapason stops, when we mean ranks of Flute pipes, ranks of Diapason
of pipes;

pipes,

and so on.

many

an organ the organist is now enabled to draw whole groups at one time
by means of "pistons" placed between keyboards, or by "toe pistons" or combination pedals placed above the pedal
keyboard, each of which will control a definite group of stops. Two manuals may be made to speak at the same time,
or the pedal organ and any manual, by drawing "couplers," which are tilting tablets, usually placed above the upper

When

there are a great

stops on

manual, which couple, for instance, Swell to Great, Swell to Pedal, Swell to Swell-Super-Octave, and so forth.

By means of a remarkable device known as the

in

dynamic

tone

is

succession, building

built as follows:

Draw

up to
first

full

"Crescendo Pedal" the organist can draw

organ and reducing the tone again to

silence.

all

Speaking generally,

sideratum; the stop added next in

ume

full

organ

the softest 8-foot stop, gradually add the 8-foot stops and 4-foot stops one by

one in order of power; then the 16-foot; then the 2-foot; then the heavy Reeds and Mixtures.
barest outline of procedure, which

the stops in the organ

Of course

this

is

the

must be varied to suit each individual instrument. A smooth crescendo is the deeach case must be the one which makes the least appreciable difference in the vol-

of tone.*

Classification of Stops

With respect to quality of tone and the manner of its production, stops, that is to say ranks of pipes, are divided
into two main classes: Flues, or Labials, in which the sound is produced by setting in vibration the column of air
inside the pipes, and Reeds, or Linguals, in which the sound is produced by the vibrating of a tongue, or "reed," within
the pipes.

* For a

more detailed history of the organ as an instrument see Dickinson's "Excursions

in

Musical History."

Flues are subdivided into four classes:

Gamba

I.

Diapasons;

On an

tone; IV. the Gemshorn, a hybrid family.

II. (a)

Flutes, (b) Gedackt; III. Strings, also spoken of as

instrument of good

size the stops in

each of these classes

would be disposed about as follows:*

I.

Great

Diapasons; also called Principals

16'

Diapason

8'

Diapason

8'

Diapason, Geigen Principal

4'

Octave

8'

Dulciana

2%' Twelfth

4'

Octave

2'

Choir

Fifteenth

16'

Diapason

Mixtures seldom

Some Mixtures
Swell

Solo

16'

Dulciana

16'

Diapason

8'

Diapason

8'

Vox Angelica

4'

Octave

2'

Flautino

Pedal

8'

Stentorphone

32'

Diapason

16'

Diapason

8'

Octave

4'

Octave

Some Mixtures
II.

Great

16'

Flutes and Gedackt

Bourdon

Choir

16'
8'

8' Clarabella

8'

Harmonic Flute

8'

Melodia
Concert Flute

8'

Gross Flute

8'

Flute Celeste

8'

Quintadena

4'

Flute d 'Amour

8'

8'
4'

Swell.

Bourdon
Gedackt

16'

Doppel Flute
Flute

4'

Suabe Flute
2%' Nazard
?! Piccolo

Bourdon, or Liebhch Gedackt

8'

Rohr

8'

Chimney Flute

8'

Flute Celeste

Flute,

Solo

Gedackt

8'

Harmonic Flute

8'

Concert Flute

4'

Suabe Flute
Harmonic Flute

4'

8' Clarabella
8' Spitz

8'

Pedal

32'

Flute

16'

16' Lieblich

Stopped Diapason or Gedackt

8'

4'
2'

Harmonic Flute
Piccolo

"Mixtures" are so called because they sound, not a single tone but a chord.

CC

you hear the chord

e, g, c.

Gedackt

Flute

8' Still
4'

with a Mixture stop drawn, instead of hearing

Bourdon
Bourdon

Gedackt

Flute

For instance: when low

Moreover, the pitch

is

is

played

slightly different,

because the Mixture intervals are not tempered, for the reason that they are used to reinforce the overtones, and
overtones are natural.

Tempering

is

man's invention; nature's overtones are not tempered.

A "Harmonic" stop is created by taking a pipe of double the length necessary and piercing a hole about the middle
of

its

length, or at a point

which

will give the desired pitch.

The

extra length of pipe gives additional fullness, rich-

same time, brilliancy of tone.

The Dulciana and the Vox Angelica are really very soft Diapasons, but as they are so soft that they take on a
String tone they are used as Strings and are usually classified as such, except purely technically.
ness, and, at the

detailed study of the subject of organ stops

is

found in "Organ Stops and Their Artistic Registration," by George Ashdown Aud6ley.

10

III.

Great

8'

Gamba Tone
Choir

Gamba
d'Amour

8' Viole
8'

Strings, or

16'

Contra-Gamba

16'

8'

Dulciana
Dulciana
Dulcet
Unda Maris
Dulciana

4'

Viola

8'

Gamba
Gamba

8'

Keraulophone

8'

Swell

16'

8' Viole

8'

8'

Contra-Gamba
d'Orchestre

Unda Maris
Solo

d'Amour

8' Viole

8'

8' Salicional
8'

Voix Celeste

8'

Aeoline

Pedal

16' Violone

16'

Gamba

16'

Dulciana

4' Violina
4'

There

is

8'

4'

Reeds

in color more nearly a String or soft

Gemshorn
Gemshorn

may be

I.

II.

8' Violoncello

Celestina

a hybrid family of stops, the Gemshorn family, of which the tone

and Flute tone,

Celeste

Diapason tone.

8'

Gamba

is

a combination of soft String tone

It includes

Some Mixtures

8'

Erzahler

8'

Kleine Erzahler

roughly divided into two classes:

Chorus Reeds, which correspond to the brass of the orchestra.

Orchestral Reeds, which correspond to the woodwinds of the orchestra.

I.

Great

16' Ophicleide

Choir

Solo

8'

8'

8'

Tuba
Tuba

4'

Clarion

4'

Clarion

16'

Mirabilis

Posaune or Horn

Pedal

32'

Bombarde

8'

Trumpet

8'

Cornopean

16' Ophicleide

8'

Oboe

16'

4'

Clarion

16'
8'

8'

Horn or
Horn
Trumpet or Tuba
II.

Orchestral, Reeds:

Horn

Great

16'

Swell

8'

Cornopean

8'

Oboe

8'

16'

Solo

Trumpet

8'

Tuba

4'

Clarion

8'

Oboe
English Horn
French Horn
Clarinet (or Corno di

8'

8'
8'

Fagotto (Bassoon)

8' Orchestral Oboe

8' English Horn

French Horn

Orchestral

Bassetto)

8' Clarinet

8'

8'

Vox Humana

8' Fliigelhorn

Posaune or Trombone

Woodwind Tone

8' Frttgelhorn

Choir

16' Ophicleide

Tuba
Trumpet

16'

Swell

Chorus Reeds: Brass, Trumpet Tone

Pedal

8'

Heckelphone

8'

Musette

16'

Horn

16'

Fagotto

CHAPTER

II

MANUAL TOUCHES
so

The acquirement of keyboard technique at the piano is essential in preparation for the study of organ, as there is
much else to attend to on the latter instrument from the very beginning of study that the student cannot afford

to devote time to gaining finger

flexibility

and

agility.

Position at the

The

point of attention for the organ student

Organ

the very important one of his position at the instrument. It

is necessary for the organist to seat himself exactly in the middle of the organ bench and to stay there without sliding
around. To admit of this and of the proper manual and pedal technique the bench must be the right height, which
first

twenty inches from the top of middle

is

on the pedal keyboard to the top of the organ seat. It is an exceedingly

common practice of builders to make the bench about two inches too high, on the theory that it is easier to cut it down
than to build it up; but the almost invariable outcome is that the seat always remains as it was built. The high bench
is responsible for much poor organ playing, as the player is obliged to sit on the edge of the seat instead of being able to
maintain the perfect balance possible only when he is seated squarely and solidly in the middle, and which is essential
The organ student should never proceed to even his first hour of practice
to physical, and therefore to technical control.
without making sure that the bench is exactly the right height.
Sit down on the organ bench so that, with the feet close together, touching, the left foot will fall on C and the right
on D. Hold yourself perfectly erect; do not loll; keep the elbows close to the body; do not bend over when you reach
When you reach for a pedal note swing your legs as on a pivot
for a stop, but use your arm and not your whole body.
and keep the torso facing the keyboard. Insist to yourself upon holding this proper and erect position and playing
If you insist on it at first it will
"quietly," that is to say without unnecessary, ungraceful, and distracting motions.
soon become second nature and you will never feel the slightest inclination towards anything more lax. In his description of Bach's playing, Forkel, after telling how the great master used his hands and feet, adds, "The other parts
of his body took no part in the performance."
When you have assumed the correct position, and ascertained exactly the proper distance at which you as an
individual should be removed from the keyboard when playing, it is highly advisable to fasten a block of wood on
the floor to hold your organ bench at that distance, so that it can never vary.
is

Attack and Release of Keys

from piano touch as greatly as the keys of the two instruments differ in action. A key of
the piano is a lever which sets in motion a hammer with which a string is struck; a key of the organ simply completes
an electric circuit, and such resistance as is offered is the artificial resistance of a spring put in to create it. The keys
Of the piano must, therefore, always be struck; the keys of the organ are pressed in legato playing, and struck only
when brilliant staccato effects are desired, and even then always with a much less degree of force than is employed

Organ touch

differs

in piano playing.*

The very

first

technical point to which the student should direct his attention

key; the matter of release

with

is

much more important on

is

that of attack and release of a

the organ than on the piano, since the organ tone

is

sustained

power as long as the key is held, whereas the piano tone dies away in any case. It is essential, then,
to practise the attack and release of single notes, then of thirds and chords, in definite rhythm.

full

of all,

gfEElEEj $

ft-9f-

mm

^
*

^r^^^fr^T^^^m
* The subject of Organ Touch is here treated with reference to organs with
80 rapidly that it does not now require detailed consideration.

11

electric

t
$

first

*
1321
-iS>-

or pneumatic action; the old mechanical action is passing

12

Legato Touch

The

characteristic touch of the organ

The

of organ playing.

who would

to those

not raising them at

With

This

is

It is

an eighth of an inch down a spring

in succession

key begins to sound.

is

the

first

and absolute

applies with emphasis

is

is

on an instrument the keys

when you

the principle of legato touch:

some

resistance to the player,

of which are pressed, not struck.

down a key, at a point about

moment the pipe begins to speak.

press

and at that

at the

it is

a fraction of miscalculation in letting the second key come on too soon means that the notes blur;
soon enough the tones are separated and the playing

is

if it

does not come on

Great delicacy of digital and aural perception and

not legato.

the perfect correlation of the two are, therefore, essential, as well as the acquirement of finished technique.
its

high demands this most distinctive feature of really good organ playing

one's best endeavors towards

Legato

;fpEg

essential

moment at which this spring is released that the sound ceases. If you play on
there will be a moment at which your first key ceases to sound and a moment at which the second
Legato playing means that these shall be not two different moments but one and the same moment;

In letting go the key again

two keys

offers

acquirement

a most delicate matter and demands the cultivation of great

acquired in the first place by keeping the fingers always touching the keys,

entirely possible

relation to the instrument this

its

"He who cannot join his notes cannot sing,"

This legato touch

and hearing.

all.

the legato touch and

Italian principle of bel canto,

play the organ.

sensitiveness of touch

is

-mP-

most

and

rare,

it is

worth while to bend

mastery.

its

#.##

+-4

is

Because of

#-*-

+-&

*=

iw

?-

izl

4-*-

EtC

?-*-+
-&

Substitution

There are many passages in which with the ordinary fingering you would use on the piano
to maintain a true organ legato.
tution," which

is

effected in

In

many

two ways:

I.

of these cases the

Finger Substitution,

Substitution of one finger for another on a key

I.

is

it

would be impossible

problem can be solved by the employment of "SubstiII.

Hand

Substitution.

frequently necessary in playing successive chords, as, for ex-

ample, in the following passages in thirds and sixths:

5
3

=t

iaiffio?

4--

21
43

21
43

Substitution of one

ferent manual,

2
4

II.

draws a

hand

stop, turns

for

another

45
12

45
12

22

^EHEHEJi

is

employed when,

for instance, the organist begins to play

on a

3]

dif-

a page of music, or employs one hand to direct the choir.

Thumb Glissando
But perfect legato playing demands even more than the skillful management of the fingers usually employed in playing an instrument. To acquire it you must treat each hand as if it were equipped with six fingers instead of only five.
The second joint of the thumb, or, to be more exact, the side of the thumb between the first and second joints, is to
be considered an extra finger; and the side of the thumb between the second joint and the third, or axis, is also to be
treated as an independent finger.
tic significance of

the term glissando

is

of these

two extras

is

known as "Thumb

Glissando."

The

pianis-

applied in organ playing also for white note passages which, because too rapid

by the fingers in the ordinary way, are executed by drawing the finger nail swiftly over the keys. In
however, the term signifies "with gliding motion," and this is its significance when applied to thumb technique

to be played
itself,

The employment

13
In organ playing,

when

designated as

"Thumb

an indispensable aid to perfect legato playing.

Thumb Glissando I implies sliding from one key to another on the cushion of the tip of the thumb; Thumb Glissando II implies playing on the part of the thumb between the first and second joints; Thumb Glissando III implies
playing on the part of the thumb between the second joint and axis
these two latter, of course, always in connection
it is

Glissando";

it is

with the use of the tip of the thumb, which plays the next succeeding note.

Thumb

Glissando

In passing from a black key to a white,

I.

from black to black or white to white,

This form of glissando may be employed by the fingers also.

simply slide from one key to the other with gliding motion.

or, rarely,

?:

ill^
Thumb Glissando

II.

When you are playing sixths with thirds on the white keys only,

scale of

as for instance

4
a
l

i
you have only two
the

first

and want to change to

gj

with which to play the three new notes; the thumb has to

fingers,

4 and

thumb

as an extra finger to hold

joint of the

two upper

2,

down the E

slide

over to D.

Use

you shove the thumb over so that the tip depresses

The hand will be raised a trifle to effect this. The

as

and F.
legato will not be interrupted in the slightest degree, as it would be by any other method of approach to D.
In a descending scale passage the thumb moves along thus, performing double duty as if it were two thumbs,
and the effect is that of "picking off" smoothly note after note, maiptaining a perfect legato. Illustrations of this
as the

will

fingers depress the next notes,

be found in Part

II,

Section V.

In an ascending scale passage, as:

with the fingers well in on the keys the hand

is

raised from the wrist until the

thumb

is

almost upright on E; the hand

and down over the keyboard so that the tip of the thumb slides smoothly to F as the other two fingers
move to A and D. The wrist is raised again and the operation repeated.
Thumb Glissando III. When playing sixths and thirds involving black keys, that is to say in any other scale
than C, it-is necessary to employ the second joint of the thumb, or, more strictly speaking, to play on the side of the
cushion of the thumb between the second joint and the axis. For example, if you are moving from
is

pulled out

6
3

im

toZZ^L

in order to

move from F to Eb without breaking the

board, just as far as

key.

you

G and E will permit you, that

Thus, holding down the

will find

F with

that the tip of the

break in the legato.

legato

is,

you must shove the thumb

until the cushion of the

the second joint of the

thumb

will

thumb

thumb

(or the part

in as far as possible

on the key-

strikes against the edge of the

between the second and third

joints),

reach over to Et? and you can connect the two notes without the slightest

14

You will note the necessity for

employment of all three forms of glissando in,

the

for

example, the scale of

D/ in which

45
45

^m

Gliss.

you employ:

Ill

Gliss.

II

Glissando HI: Hold

firstly,

z2:

Gliss.

thumb;

C; to pass to BP
the

thirdly, Glissando I:

III

thumb between the second

D^

Pass from

and the

joint

II

with the cushion between the second joint and the axis of the thumb and

to

Pass from

necessary to shove the hand in as far as

it is

II

*=^
#
#

-<S-

depress E'> with the tip of the thumb; secondly, Glissando II

joint of the

l-

^3

E/

to

Db

"picking off" smoothly with the

with simple glissando.

it

will go,' to reach

The

axis (Glissando III again).

The

tip of the

thumb

is

first

now on

the position of playing on the side of

other

movements demanded by

this scale

are repetitions of these, as indicated.

Going up

this scale,

you cannot pass up Glissando

from a white to a black note, so you

will

be obliged to play on

may demand Glissando II or III and the tip of the thumb,

Ef> to F will call for Glissando III; F to Gt? for Glissando II.

the first-to-second or second-to-third joints, as the skip

when you pass from a white note

to a black.

Thus,

Crossing a Longer Finger over a Shorter

Yet another aid

in maintaining a perfect legato

it

the employment of a practice in fingering which

Thus, when the

the organ: passing a longer finger over a shorter.

passed over the top of

is

fifth finger is

is

peculiar to

occupied, the third or fourth

may be

to depress the next key above without the interruption of the legato which would be occasioned

by any other procedure.

is

-&-

Importance of a Perfect Legato

Any one who

known

has ever watched Alexandre Guilmant, the master

in organ playing, could not fail to be struck

keys, as

it

were, weaving in and out.

maintained with unremitting care.

be even more

brilliant in inspired

they were indisposed and "didn't

little interest;

The

by the manner

who
in

attained the most perfect legato

which

his

we have

hands seemed to creep over the

foregoing principles were the secret of that wonderful legato, which he

Other players there were who were at times his equal in this regard and

moments, sweeping the

feel like it" their

listener along

with them with

irresistible

who might

power, yet, when

technique suffered a lapse and their playing was of comparatively

but so unfailingly had Guilmant observed

all

these points of technique, never permitting himself an

had become second nature to him, so that even when he was indisposed or uninspired
he never failed to maintain interest by the revelation of perfect technique,
as every human artist must be at times
and, in numbers in which it was demanded, that exquisite legato which was the admiration of all.
It may sound rather singular to say that true legato playing is even more important on a small organ than on

instant's carelessness, that they

a large one, but, as a matter of

fact,

mental matter of quality of touch.

make

the fewer the resources of the organ the more imperative

is

perfection in the ele-

A large instrument offers so many effects of volume and color that it may be possible
any really very good

on a very small one each note stands forth

naked and bare, and the effect can too easily be one of naught but a "kist o' whistles." Only the employment of
a true legato touch can so bind the tones together as to produce solidity and make a degree of contrast possible.
to

quite an impression without doing

playing, but

Touches other than Legato

Nevertheless, though a fine legato
it

is

the sine qua non of good organ playing, the organist must beware of using

exclusively unvaried legato playing is deadly.

;

Its

beauty can be fully brought out only by being thrown into

relief

by the employment of other touches when they are suitable. These others give life and vigor, forcefulness and brilliancy to organ playing and must be carefully acquired. The four main touches employed in organ playing are
Legato, indicated (if at all) by a slur, thus: -"^"~""*^
I.
Semi-detached, Non-Legato, upon occasion Brillante, indicated by slur and dots, thus:
II.

16

II.

notes.
if

"F ~

III.

Marcato, indicated by

IV.

Staccato, indicated

The

semi-detached, non-legato, or brillante touch implies the slightest possible separation between the

It is

by

line or

dot and

is

thus:

dot, thus:

used in passages which are legato in

a heavy body of tone

line,

'

effect,

but which

if

played absolutely legato sound blurred, especially

The touch

demanded, or low-pitched stops are used, or the building has a marked echo.

acquired by curving the fingers so as to play with the very

is

In rapid legato passages that must be played at a tempo

tips.

which makes blurring probable, or when the keys are moist and sticky or slippery, as in hot weather, a brillante touch

which gives an
the

nails.

effect of

very clean yet flowing playing

So, for instance, in the

Bach

is

by curving the fingers so as to play on the tips of

which there must be not the slightest overhang or blur:

obtained

D major Fugue, in

This was the touch employed by the late Dr. Heinrich Reimann, the greatest German Bach player, who, after
years of Bach study and research, used to affirm unhesitatingly that this was Bach's own method of obtaining crystalclear yet
III.

smooth

effects in rapid playing.

Marcato touch

stresses the note

by

giving

it

according as

a long or a short note

it is

eighths to three-quarters its nominal or face value, so as to create a separation between

effect of accent is

thus produced, for which reason the marcato touch

on "Accent").

In very rapid passages

in passages in slow

tempo marcato touch

it is

is

much used

the note seven-eighths of

its

and the note

it

following.

An

in organ playing (see also the chapter

practically impossible to differentiate the

will give

only from seven-

marcato and

brillante touches;

value while brillante will give

it

about

fifteen-sixteenths.

Guilmant, Sonata
Quasi Recit.

III

J5L

By

the employment of marcato touch attention

and forcefulness.

This will be appreciated

if

may

be called to a melody, or

some such experiment

is tried

it

may

be given added impressiveness

as the following

play these opening measures

of the "Pilgrims' Chorus" legato:

I
t
The melody

is pleasing,

rather sentimental; play

^F

mm

mm

them marcato:

mm

it is

mm

instinct with pulsing

life,

vigor,

and

virile force-

fulness.

IV.

Staccato touch separates each note sharply from

its fellows.

This touch

is

acquired not

by

lifting

the

fin-

which in piano playing is proper to the fingers is transferred

level of the other finto the wrist, the finger which is about to strike a note being merely depressed a trifle below the
Studies in touches other than legato will be found in Part II, Sections X, XI.
gers.
gers as

on the piano, but by shaking the

wrist; the action

CHAPTER

III

PEDAL TECHNIQUE
The
only to

pedal keyboard on modern organs runs from

On

d.

mediaeval organs

Since pedal

still

in use in

work demands a clean and

consistent with perfect comfort, and

as

is

of

medium

Europe

CC
it

to g; on older organs

extends from

to

it

extends only to

and on older

still

only.

sensitive pedal touch the organist should

made on

f,

wear shoes which are as narrow

a straight last so that the soles do not project.

They should be

weight; too heavy shoes are unwieldy and interfere with the sensitiveness of the foot, while soles that are

too thin are apt to overtire the more delicate foot muscles.

Before beginning practice

well to glance at your organ pedals to

it is

make

sure that they are clean, smooth, and

You can no more do good work with muddy, sticky pedals than you could with molasses on your piano
Upon one occasion when Guilmant was playing at the Schola Cantorum, Paris, he seated himself on the organ
looked down at the pedals, got up and went out. The audience wondered greatly. In a few moments a man

slippery.

keys.

bench,

came

began the

left

his seat

and

recital.

When you have

the

and cleaned and polished the pedal keys, whereupon the great organist resumed

in with a cloth

on C, the

seated yourself in the middle of your organ bench put your feet

right

The

on D.

feet

should be

flat

on the keys.

Some

down

straight

and

close together,

older instruction books direct the student

you have only to look at the shoes in the illustrations accompanying the directions
was the method of half a century ago, for which the too high organ bench was largely

to play with the tips of the toes;

in those

books to see that this

responsible.

The

foot should be flat

on the key, the playing done on the

The ankle movement corresponds

ankles amazingly

stiff,

as in ordinary

to the wrist

life

movement

in

ball of the foot.

manual technique, and most students

will find their

they do not seem to be used in such a manner as to make them as

flexible

and their flexibility has not been increased to the same extent by piano practice.
The relation of manual and pedal positions may be clearer if you will sit down in the position for playing, with
the elbows close to the body, and take time to note how the arms from the elbows parallel the legs from the hips, and
how the feet move from the ankles as the hands from the wrists. A certain amount of side-to-side movement is
as wrists usually are,

moving the

possible for the ankle without

ankles

means simply acquiring that

leg,

side-to-side

as

it is

for the wrist

without moving the forearm; limbering up the

movement.

-^^=3=sm^i
The acquirement
The

and beautiful touch

and of the various touches

is

as important for the pedals

In legato playing the student should strive to approach the degree of perfection demanded in

as for the manuals.

finger legato.

of correct

principle

is

moment

the same: the keys are pressed, not struck.

When you

play upon two keys in succes-

key ceases to sound, and a moment at which the second key begins
to sound; legato playing means that these shall not be two different moments, but one and the same moment. Legato
playing on the pedals is more difficult, for a beginner at least, than on the manuals.
sion there will be one

at which your

first

Positions for Playing Intervals within an Octave

Do

not look at the pedals during your pedal practice; be on your guard from the beginning against forming this

you
Put your knees together and acquire the following positions for the intervals, playing them legato
only press the keys, you do not strike them. Be sure to keep your knees together. One well-known organist in Paris
habit.

was obliged, as a student, to strap

his knees together for a

time when practising in order to

16

fix

the habit.

17

To

play a Second:

^e
Bring the

feet together, touching.

play D, bring

To

up

it

until

it

~KT
II

For example, when the

left

foot

is

on

and you want to make the

right foot

clicks (noiselessly) against the left foot.

play a Third:

e 3
Do

Bring the feet together so that the ankles touch.

To play a

not forget that your knees must always be held together.

Fourth:

:
The

heels touch

To

and the ankle bones touch, with the

toes turned out as far as possible.

play a Fifth:

*E
The knees must

To

^11

touch, and the heels, with the toes turned out as far as possible without strain.

play an Octave:
4*.

i
The knees must be

together and the feet turned out, separated, to what seems to be their greatest stretch at a

natural angle without any straining.

The Fourth,
of the

Fifth,

and Octave

the Subdominant,

Dominant, Tonic

are the

most important

positions, as

most frequent occurrence.

The remaining

To

intervals are found from those already acquired.

play a Sixth:

&-

:fe
Take the

To

position for a Fifth

and play the next note above.

play a Seventh:

^E
Assume the

position for the Octave

play, just as they are the

most

step greater than this

is

anywhere, at

<S>

difficult in sight-singing,
it is

These two intervals are always the hardest to

in which they are found in exactly the same way.
easy to find one over the Octave, in the same manner as one

rare in simpler music, in hymns, simple anthems,

by the time the student reaches the more elaborate he

his foot

-iG>-

and play the next note below.

This takes care of everything up to the Octave;

below.

will

be

sufficiently at

home on

and vocal accompanying, and

all

parts of the keyboard to put

will.

Sufficient practice

with this system will

any more than you do at the manuals. Nor

fix

the intervals so that you will not need to look at the pedal keyboard

will

you need to

fall

back upon other aids sometimes suggested, such as

18
always verifying your notes by
indulgence in

it

first

Do

touching the nearest black note.

One who has taught many

destroys your confidence.

not allow yourself to yield to this weakness,

organists realizes

how many

are veritable slaves

to this "black note habit."

Legato Touch on the Pedals

Legato touch on the pedals
I.

With

alternate feet;

is

obtained in four ways:

II.

With toe and

heel;

Glissando;

III.

IV.

Substitution.

In scale playing we start with the general principle that the first five notes of the scale are played with the left
Naturally, this principle is modified as more and more black notes enter.
foot, the other three with the right foot.
To play the scale of C, for example: beginning with the left foot, when the toe depresses C raise the heel just enough to

enough to slide over D to the top of E. Do not

raise toe or heel any higher than is absolutely necessary; remember that you do not strike the note, but press it with
the side of the sole, the ball of the foot, with the same character of touch as that employed in legato playing on the

move it over on top of D then depress the heel,

;

raising the toe barely

manuals.

Do

not forget that when the right foot comes up to take its first note it must click (noiselessly) against the
in order to make sure of striking the correct note cleanly; it will blur if the right foot is not tight against the left.
A above the note
U above the note

signifies

-+

when you

d.
U

U
In other scales,

\ below the note signifies left toe.

right heel, U below the note signifies left heel.

signifies right loe,

left

are about to pass from a white key to a black key the heel on the white key

must be
When playing on white and black

enough the black key to permit of depressing the black key with the toe.
keys alternately play a little farther in on the keyboard than when playing on white keys only.
When a foot has finished playing a note, leave it lightly where it is, conveniently at hand for its next note. Do
not put it away back under the bench so that it will take a long time to bring it in from a distance when you need
just near

it

again.

In the
five notes,

D major scale we find the first exception to the general rule of pedaling,
namely F$;

this is taken out

by the

as a black key occurs in the

right foot, the other four notes only being played

by the

first

left foot.

Otherwise proceed as before.

5=j-j

march along

side

by

i\

D major scale it is necessary to be especially watchful that the knees are kept together, and

the feet also, very closely.

feet

u
Beginning with this

This

will

make the work not only more exact, but

easier as well.

So

in the scale of

E the

side touching each other all the time.

Pedal Glissando

When

the scale of

is

reached a

new procedure

demanded to permit of passing legato from F$

This is glissando, which may, therefore, fitly be considered here.
is

ascending scale, AJf to Gjf descending.

Glissando on the pedal is used with frequency in four
(2)

to

G in the

namely in passing: (1) from a black key to a white;

from a black key to a black; (3) from a white key to a white; (4) from a white key to a black.
In passing from a black key to a white, as in this passage for the right foot
(1)
A

fields,

PPfet=
the only

way

to play legato

position to play the FJf

to slide from

with the toe; this gives you the heel for E, and the toe in
Incidentally, you must guard against too much clatter of the keys.
is

CJJ!

to

19

down with

from a black key to another black key advance "toeing in,"

itioving

111

(2)

the right, as this gives you better control of the keys.

If

if

possible,

up with the

left foot,

the action of the organ

is absolutely noiseless,
organ, you can slide from one note to the other on the outer edge of the
sole of the foot; otherwise, play the first black note with the outer side of the shoe and the second black note with
the inner side, moving it over by throwing the heel in quickly:

or, frequently,

when you

it is

full

m$j

thus, left foot

Occasionally

are playing

$
A

but right foot

necessary to advance "toeing out," instead, as in octave runs

when both

feet are

busy:

mimkwmm
A

and

-A

Passing from a white key to a white or from a white key to a black

as described at the end of this chapter.
(3)

(4)

is

demanded only

in glissando runs,

Substitution

Another aid to legato playing which

is

of

two kinds:

as indispensable to pedal as to manual technique

Substitution of one foot for another;

Substitution of one foot for another

I.

in

I.

is

immediate succession,

is

is

Substitution.

This

Exchange of heel and toe of the same foot.

necessary to maintain the legato when two extended melodic skips occur
II.

as:

m^

Play low
heel

with the

and play high

toe, or
will

a toe

for

left toe,

C with

a heel

if

second

right toe.

the heel

is

with the right heel, well forward on the key; substitute

Only so can

this

be played

legato.

Always,

if

left

toe for right

possible, substitute

a heel for a

placed well forward on the key and the toe of the other foot back of

it,

there

for

some

be no danger of tripping.
II.

Exchange of heel and toe of the same

When you
good and

find yourself in

foot.

a position which demands that a white key

shall

be followed by a black, and

you have played the white key with the toe, it becomes necessary to substitute the heel for
the toe on that white key in order that the toe may be set free to play the black key without interrupting the legato.
sufficient reason

m
This form of substitution
It is well to

is

A-U

frequently overdone; organists will sometimes play

avoid unnecessary and superfluous use of

it,

as

it

can establish

itself

down a whole scale

in this

manner.

as a sort of nervous habit.

no reason that can be accepted as adequate for breaking the legato in any piece or passage which should
be played legato. When, for instance, you are playing an expressive melody and your right foot is occupied with
the Swell pedal, do not imagine that you have in this any excuse for permitting the left foot to play a legato passage roughly, or staccato; you can maintain the perfect legato with the left foot, and that not merely in playing
There

is

adjacent keys, but thirds, fourths, and

fifths.

20

ZEZ^
e &-

-A

When

ZT

-at-

playing a sixth, or anything larger, which the

from the Swell pedal

for the

3S

-A

h-

cannot compass alone, bring the right foot down

left foot

one extra note; see "Pedal Etude in A," Alkan, in Part

II,

Section

XX.

Playing Skips of a Third

In order to play thirds on the white keys legato, as in such a passage as

^E
when

the right toe depresses middle

to G; then use the toe which

is

swing the heel over

D; then use the

benefit of its arch in avoiding

depressing

heel

which

to E, turning the foot slightly in Order to have the

is

depressing

as a pivot

as a pivot to swing the heel over

full

on which to swing the toe over

to B.

Sequential Pedaling

A point of general importance in

tial

pedaling, as indeed in

passages occur in the music the pedaling

some awkward spots

it is

worth while to

manual technique as

well, is to take care that

or fingering shall be sequential

persist in this as it is

much

easier

also.

Even though

and more satisfactory

when sequenthere

may

be

in the end.

g!eEpEps
U

Extended Pedal Glissando

Extended pedal glissando has been made possible by the modern pedal keyboard.

When

it is

necessary to execute

a run on the white notes of the pedals with the right foot, draw the foot rapidly over the keys, playing on the
the foot if moving up the keyboard, on the outer side if moving down. Reverse this procedure for the left foot.

When this run includes

both black and white notes, as the scale of

EK

for

example,

+ +

mss
5

-(Z-

pull the foot with heel first

E^

to D,

D to C, movements with which you are already familiar; at C turn the foot with

the toe in and play up on the black note

up on

to permit
is,

Bi?.

At>,

G, F,

call for

only familiar movements; then toe in again and play

In passing from a white key to a black in a glissando run

Et>.
it

of course,

scale of

EP

the

movements

in; slide

Sometimes

in

will

AV turn the foot around, with

to EP with the heel in, toe out.

toe turned in; to reach

with the toe

it is

up on the black key from the white, pulling the foot

impossible on an old-fashioned, straight, stiff keyboard.

to slide

Going back up the

ball of

such runs, as in the scale of

sando on the white notes with the

necessary always to raise the toe sufficiently

in

and out

in order to reach the keys.

be reversed: Ev, F, G, are played pulling the heel

first

the toe out slide to BP; turn the heel out and slide to

major, for example,

heel; see Part II, Section

it will

This

with the

and

be found advantageous to effect the

glis-

XX.

Touches other than Legato

The other organ touches
III.

They

Staccato, are employed

besides the legato, namely,

I.

on the pedal as on the manuals,

are controlled from the ankle.

Non-legato, Semi-detached, or Brillante;

in the

same kinds

of passages

Studies in these touches will be found in Part

II,

II.

Marcato;

and with the same

Sections X,

XL

effects.

CHAPTER

IV

PART-PLAYING, INCLUDING THE PLAYING OF HYMNS

Treatment of Repeated Notes
In part-playing
applies to both inner

when a note

is

immediately repeated in the same part the

first

note

given half

is

and outer voices and to the pedal, and holds no matter how many times a note

is

its

value; this

This

repeated.

rule applies also, of course, to the playing of a melody.

If the

is

should be played

a very long note, occupying a whole measure, give the

first

a point in which organ playing differs utterly from piano playing.

On

repeated note

This

is

be raised from the key and the wire

But on the organ

there

is still

vibrating

must be interruption

you can keep on

of the tone in order to cause

repeated note there must be a certain period of silence.

soundings of a note half

repeat the note, but tie

its

it

striking the

The

over, with resultant destruction of

key and

to sound again; to obtain the effect of a

became so general that Widor,

symphonies, instead of writing two whole notes in succession wrote the

is

to give the

Too many

melody and rhythm.

definite

value.

effect repetition of the tone.

general principle, therefore,

all

its

the piano, even though the damper

This must be done even in absolutely legato playing.

value.

ing sufficient time between repeated notes

by an eighth

it

note three-quarters of

The

first

of

two

players do not

habit of not allow-

in desperation, in the second edition of his

first

note as a double-dotted half note followed

rest:

Second Edition

First Edition

SL

jSE

-&.

jZI-

This same principle applies to violin playing, and the neglect of

it

was so general that composers

for violin finally

ceased writing, for example, a series of repeated eighth notes, staccato, and write instead sixteenth notes followed by
sixteenth rests:

instead of

When

J they

write

*f

the same note occurs again immediately not in the same part but in another part, that

voices exchange a note, these repeated notes are tied,

is

really held,

but as

it

appears in a

is

to say,

when two

and not separated.

i*
Here the

pPi^T^H
i
1

new part

it

takes on

new

character and sounds as though

played again, yet gives a beautiful legato effect that cannot be obtained on any other instrument.

21

it

were

22

Durand,

J.

"Feuillet

Andante

(b)

Such a phrase
I

11

'

Op. 4

as

is

if^^

played

tM

|^^^

combination of both, as

f a J j i

while

is

^^^fe^fl

played

^^^3^

***-

Close observance of the principles of separating repeated notes, with

make

Album,

i-

d'

others played legato, will, in most cases,

all

Bach and other contrapuntal music. If you will play these measures from the Bach
according to these principles you will find that the theme naturally phrases itself:

clear the phrasing of

Fugue

in

G minor "

Bach

Written

E$

E te-J

ifc

=*

^frrFr^fl

r_e

f~r~w

Tlayed

pm

1
#

#:

^i

Hymn-Playing
These principles of part-playing should be carefully observed in the playing of hymns.
the sustained

movement

of a sonata, exercising the

necting with perfect legato all others.

same care

Play a

in separating notes repeated in

L.

Adapted from

111111

,fe

to

t-t
3

God
-(2-

*z

H
be

long;

f-

Crown him, ye

-r

t-

na

.f-

--

Mason
a

Gregorian Chant

r r^m

^^3K^^a=^EEJEE2
T3

King - doms and thrones

you would
the same part and conas

Thus the tune "Hamburg"

Hamburg

IEE3

hymn

tions,

in

your

song

*
zz:

23

fNlNN
His

and

t-

!_

=^=T

2CI

pow'r

re

hearse

His

hon

ors

-<5-

^p

?
te

*=$

P' F

in

*_

,g~

775

>J

53=

-&-

-1*-'

j.

T^-

f>s

..
g

gg

rr-t^-t

thave prevailed

verse

$=$

m w*

f E
f ^ fci

inconsistent practices

Some

your

rich

^
^

1*-

gE^E ^E^^^J
JE

-0

1=

II

^ m

-e>-

Should be played as follows

f-r-|

en

shall

g-

Sil

won-drous name

-&

-Is*

-^-

p:

hymn-playing which would not be tolerated in other part-playing, and

which are responsible in a very considerable measure for weak and indefinite congregational singing; the repeated
notes are

all tied

together ^discriminatingly so that the playing

with assurance just where

part, as in such

it is

singing.

This

a hymn as "Sun of my Soul,"

is

for

is

without pulse, and the congregation does not

most destructive, of course, when the notes are

which see Part

II,

Section VII.

Indefiniteness

know

tied in the soprano

and the resultant

uncertainty are fatal to strong, confident, universal participation in the hymn-singing.

The only exception to the strict application of the rules of part-playing to hymn-playing may be made if the organist

in

has to play a Gospel

quick succession.

Hymn of the least musical type,

To avoid an

in which identically the

impression of extreme commonplaceness he

same chord

hymns having anything

legato, slower

repeated

many times

may sustain the inner voices and repeat

the outer ones only, thus giving the rhythm decidedly but lending greater dignity to the hymn.

bering that

is

It is also

worth remem-

of this character should not be played too fast in church, but should be taken

tempo, and seriously, to endow them with

the dignity possible.

all

It is

always the organist's privilege

to exercise forethought and care to make the musical part of the service as worthy and impressive as possible.

Announcing a Hymn
There are three principal ways of announcing a hymn:
tion stops of the organ; (b)

the soprano

pedal;

(c)

on the

pedal.

An

may

it

may be

(a) It

may be played through on the manuals on the founda-

given out with the three upper parts on the manuals and the bass part on the

be played as a solo on one manual with the alto and tenor on another and the bass part

illustration of

each of these methods will be found in Part

II,

Section VII.

Accompanying Congregational Singing

In playing a

on the

pedal.

congregation

hymn

This pedal part should be played where

it is

upper parts are taken on the manuals, the lowest part

written, although, occasionally, in a hymn sung by a large

for congregational singing the three

it is

an octave to give greater sonority, especially on a small organ. This should

would destroy the outline of the melody of the bass, as, for instance, when it would

permissible to drop

never be done, however, where

it

run below the pedal keyboard and necessitate a leap back in the opposite direction.

24

on a large organ, Mezzo ForteGreat (Diapasons 8', Flutes 8', 4') with
full Swell and Choir coupled will supply about the volume of tone necessary; a larger congregation will demand greater
volume, but this is about a fair minimum, and you can rarely drop below it if you expect to have your congregation
For accompanying a

It is well

sing.

fair-sized congregation

worth while

for the organist to take considerable pains to estimate this point

with respect to his organ,

and congregation, as good, hearty congregational singing may be vastly encouraged, or it may be killed,
by the organist's manner of accompanying the hymns.
The organist must gain and keep the confidence of the congregation in his hymn-playing and never abuse it by
dropping suddenly to a pianissimo and leaving them stranded, unsupported. You have only to sit in the congregation and listen when an organist plays a hymn with exaggerated effects, to note that the people around you who have
church

edifice,

been joining heartily in the singing take alarm when the organ almost drops out in a pianissimo so that they hear their

own

and stop singing. "Expression" in hymn-playing, in accompanying a congregation, is to be indulged in

only with the most careful discrimination. You must lead and the singers must always be confident of your support.
Of course, you do play the National Anthem and "Abide with me" with different quantity and quality of tone, and,
instinctively, congregations sing them so; the fiery Reeds are called upon to stir enthusiastic response in a ringing, patriIt
otic or brilliant hymn, while the calm Diapason tone is better suited to the mood of a quiet, contemplative hymn.
is

voices,

the sudden change in the middle of a

hymn that is disastrous.

This does not apply to a church in which

it is

the custom for the members of the congregation to meet for practice

in

hymn-singing; under such conditions the organist has rehearsed his effects beforehand, so that he can accompany

as

he would a

choir.

Such churches are

still,

however, very greatly in the minority.

Time Allowance between Verses and Lines

Do not neglect to give your congregation time enough to take a breath between verses not too much time,
ever, or they lose their enthusiasm.
verses.

It is

how-

not desirable, under ordinary circumstances, to play an interlude between

A most effective finish for each verse of a hymn is to continue to hold the last chord which choir and con-

gregation are singing

with the right hand and pedal on the Great

its full value,

then, as

you

signal

your choir (with

a nod) to stop singing, take the same chord on the Swell with the Swell box closed, with the other hand and without

any break whatever.

Choir and congregation

Last chord of

hymn

<g

mm

-1*5

-&-

Next verse

silent

-*

Sw. L.H.

Gt. R.H.

/*

&

&

and Alto,
Tenor and Bass with the thumb and fifth finger of each hand to permit the second and fourth fingers of each hand to
be in position over the corresponding keys on the Swell, ready to play the chord which is to be held between verses.
In order to avoid such a break

it will

quite frequently be found necessary to hold, say, the" Soprano

Choir and congregation

Last chord of

-^

K--

Gt.

^m

Next verse

silent

fW/^

hymn

-6h-

{Ped. tst)

Ped.

Sw.

-si

Ped.

facet.

25

The
on,

and

use of this finish for each verse of a

is

not disagreeable as

is

One

on the second or

new

end of each

line.

verse

is

is

is

is

embarrassing

if

nothing

is

going

common practice. The effect is quite

moment you release this chord on the

a quite

that the

to begin and will sing the very

first

word with the

choir, instead

third.

not only between the verses of a

cession at the

away with a wait which

of its greatest advantages

Swell the congregation takes notice that a

It is

does

the sustaining of one pedal note, which

that of an echo of the last chord.

of straggling in

hymn

hymn

that a congregation needs time to breathe; there must be some con-

many of us try to
hymn tune as if the

In his "The Complete Organist" Harvey Grace complains: "Too

take our congregations by the scruff of the neck, so to speak, and haul them from line to line of a

When Debussy gives us such a rhythmical scheme

most vital thing in music were its division into bars of equal length
When our congregation gives us pretty
as a bar of four beats followed by one of five, we say, 'How delightfully elastic
much the same thing we shoot out our reeds and say, 'No, you don't!' " This elasticity does not by any means involve
!'

The hymn may be thought of as built of curving lines, not angles; its rhythm swings like a pendulum;
a pause may be made at the end of a line, like the pause at the end of a swing of a pendulum, without breaking the
loss of rhythm.

rhythm, although a pause which

is

not well calculated

will

undoubtedly do

so.

Maintaining the Tempo

When a congregation is dragging the tempo play slightly staccato, or marcato; if you continue to drone along legato
they will sing more and more slowly.

Play slightly staccato, and very slightly in advance, but not much, as you

must not disconcert them by running away from them; unconsciously they

will

quicken the tempo.

The Amen
If

hymn do not get into the habit of playing it with a reduced body of tone out of all
for the hymn itself.
It may be, perhaps it usually is, a very little softer; but an Amen is not
although too often, after a cheerful, even triumphant hymn it takes on a tone of mournful

you use an "Amen"

proportion to that used

inherently a sad thing,

after the

resignation.

Anglican Chanting
Full directions for Anglican Chanting are to be found in the

they are, therefore, not included here.

new Hymnal

of the Protestant Episcopal Church;

CHAPTER V

CHANGING FROM ONE MANUAL TO ANOTHER

PLAYING ON TWO MANUALS SIMULTANEOUSLY WITH ONE HAND

To

Changing Manuals

A.

Legato

pass from one manual to another for the sake of a change of color

I.

When you

are playing a melody, or

any one

part,

and want to drop,

for example,

from Swell to Great

another part, pull the hand out on the Swell keyboard so that the finger playing the last note on that keyboard

for
will

be on the edge of the key, and drop the other fingers to the manual below, to the keys on which they are to play.

Sw.

you wish to pass upwards, as from Great to, Swell, the process must be reversed; shove the finger playing the
note in on the keyboard. It is an advantage in this case to have the thumb play the last note if possible.
If

last

When
to a lower

in passing

from a lower to a higher manual the thumb plays the

manual

plays the

it

above or below, that

When you

is

to say,

first
it is

note,

it is

possible to

move

last note, or

when

legato not only to the next

possible to play the illustration just

above on Choir and

in going

from a higher

manual but to the second

Swell.

and wish to pass from an upper to a lower manual draw all the fingers to the
very edge of the keys and drop them. If you are playing a chord of only three notes on the upper manual, drop the
remaining two fingers over their notes below while you are still playing the chord above, so that half the work of
II.

transference

may be

are playing chords

already done:

32
Sw.

Gt.

In passing from a lower to a higher manual reverse this process; this

for congregational singing, especially

One

is

frequently

demanded

in playing

hymns

the chord on the Swell which serves as interlude between verses.

of the differences between a careful legato player

and a

careless player lies in the fact that the latter does not

exercise the foresight or take the trouble necessary to prepare his fingers for such transferences, with the result that

roughnesses and breaks always appear in his playing.

When you

are obliged to

on the lower manual at once.

its

move from a chord on the Choir to one on the Swell be

The hand naturally moves up little finger first, so that

note after the other notes of the chord have been released, causing blurring.

26

careful to take off all the notes

the

thumb

is

apt to hang on to

27
B.

Changing Manuals

Staccato

In passing from one manual to another with staccato chords swiftness, mental as well as physical,
requisite.

Your eyes must

for example,

you cannot

travel

ahead of your

finish playing

fingers.

is

the prime

In the following section of Guilmant's "Caprice in

Flat,"

the chord on the Great before you look at the keys on the Swell on which you

are to play the next chord:

It is necessary to cultivate

way

for

them;

if

the habit of having the eyes anticipate the movements of the hands and prepare the

you form the conception of the chord as

assume the position of playing

it.

Playing on

it is

to

be played,

and where, your hands

will

automatically

When it is started on its way look ahead to the next one.

Two Manuals

simultaneously with the Same Hand

A melody may be played with some of the fingers of one hand on one manual, and a counter melody with the thumb
and other

fingers of the

same hand on another manual, leaving the other hand

SERENADE
Sw. Ob.,

Fl.

ft.

free for the

accompaniment:

PlERNE

fc*=

r=*

rf^

fe

3^

4-<b-

*-

-**-

et
V-

"*

F~*

*"

1|^^

on a lower manual with both thumbs, as

all

"^4

:*=*

-^-

necessary to employ

&
it is

-*

^*
Occasionally

5^4
-*y

W-

the fingers of both hands on an upper manual and to play the melody

in the

"Rondo Capriccio" by Lemare:

R.H. Fingers on Swell

Humana,

Lieb.

Voix Cel., Lieblich, Vox

Bourdon 16 ft., Trem.

m
r f

Both thumbs on Gt. (Flute 8

A
inf
J^T^-^
t

r \m

ft.),

iw fr

coup, to S\v.

L.H. Fingers on Sw.

*
Pedal (soft 16

ft.,

8ft.).

^t

CHAPTER

VI

ADAPTING PIANO ACCOMPANIMENTS TO THE ORGAN

The

organist constantly finds

necessary to adapt to his instrument piano accompaniments to solos and choral

numbers and piano reductions of orchestral scores of oratorios. Accompaniments as printed are apt to be unorganistic in

it

the following respects particularly

1.

Repeated Chords

Numerous repetitions of the same chord in quick succession are not suited to the organ. It is necessary to modify
the manner of playing them, as follows: repeat several notes of the chord in order to give the rhythm desired, but
sustain others in order to give more body to the tone, and to bring out what melody there may be in one of the parts,
usually the upper; as in this phrase from Faure's "The Palms":
Written

Faure

Andante maestoso

Played

i?f^Z

c\
m.

in
^itee
'

J-.ni-J-J-00-

dd-

7SL

&

PedA

-&-

'-

*" d d

Add

^t^3t

Se

-f-

Sometimes, however, the notes must be played exactly as written, as in the accompaniment to the following recitative
for Bass in Haydn's "Creation," which is meant to suggest the buzzing of insects:

Bfa

r- m -m

~^~^

H
V

\t
1/

P~^

i:

Vj

Un-number'd as the sands, in swarms

This

is

the case only

when the

The

3
*

-J*-

d-d-^-d-d-d'-d-'d-sr

-n*&

rose

tttSF
L

a?

text or the emotional content

29

demands

it.

9=&
hosts of

&f=

in

Ft
sects.

30
2.

Arpeggios
Therefore, (a)

Arpeggios

made up of single notes or of chords are ineffective and thin on the organ if played as they are written.
when playing on one manual an ascending and descending arpeggio of single notes, the lower notes,

or a proportion of them, are sustained after being taken in the ascending arpeggio until they are played again
in the descending:

Written

-^

Gaul

Played

Sw. Ob.
-1

Ch. Fls. 8

States
*

i*

Ped.

V
ft.,

ft.

Written:

Gaul

Sloxvly

Played

Ped.
(b)

When playing a long, rapid, ascending and descending arpeggio on a Flute on one manual

let it

be accompanied

by the corresponding chord sustained on a second manual, in order to give body of tone, as the arpeggio alone gives
too thin an effect. The sustaining chord must, of course, be softer than the arpeggio in order not to overwhelm it.
Written

Moderate con grazia

Gaul

81
Played

Moaerato con grazia

Ch. Fl.

1&Z

When

may be

the arpeggio possesses the character of a melody, however, this effect of tenuousness

desirable, to-

gether with the resultant distinct enunciation of the different notes; or a light, delicate effect of "dropping" single,

detached notes
in

may

This

be required.

is

exemplified in the accompaniment to the Tenor aria "In Native Worth,"

Haydn's "Creation":

!*=
ller

soft

smil

unorganistic

is

Jy

ing

vir

-0

fi-

gin

looks,

t^dM
72

&.J21

(c)

form of arpeggio of very frequent occurrence which

are within the stretch of one hand.

different

sfc

is

Sustain the corresponding chord on one manual, and play the arpeggios on a

manual, or on the same an octave higher:

Written

the repetition of the arpeggios which

Played

Mendelssohn

Gt. Fl. 8

ft.

32

Played

Written

Mendelssohn

i^
i

nn
The procedure

lU-

1221

/w:
in playing

an arpeggio of chords

is

the same as in playing one of single notes:

Written

Played
Gt.

dm

trS-

i*Sfi
iLlL-jg.

Written
Slowly and smoothly

-t=X=

Sw

Se^

^
^

Played

JeS -*-*

I as

*
:^

M*^

is:

*
^=
\
^

=5^-

2Z

fcsr

/>*,

-*-

If manifestly

intended to be played as detached harp-like chords

it is

Played

Written

Ch. Celesta 8

Sw.

Strs.

i^ge

ft.

pp

or Fl. 8

ft.

33
3.

Extreme Skips

Skipping from one extreme of the keyboard to the other

times.

is

a proceeding quite out of keeping with the nature of

Quite frequently in a piano accompaniment a chord taken on the lower section of the

the organ as ah instrument.

keyboard

is

by one played on the upper part of the keyboard, and

followed immediately

Played on the organ exactly as written

to hold the lower chord with the left

it

produces an effect almost ridiculous.

this figure

This

is

is

avoided by continuing

hand and pedal while you are playing the upper chord with the

Written

repeated several

right hand:

Played

-*s-

I
^

^c
Ped.

Passages with Upper and Lower Parts widely Separated

4.

Passages in which there

is

a wide discrepancy in range between the upper and lower parts, that

is

to say, in which

the upper and lower parts are widely separated, the one lying very high and the other low, are far from satisfactory
if

played on the organ as they are written.

It is necessary to

fill

in the middle part

Haydn
Written

=E

*-#-

PtLd.

5.

Chords

in

Low

Register

When chords are written full in low register the effect on the organ is apt to be too thick and muddy. They should
be transferred to an upper

register; usually it will suffice to

play them an octave higher than they are written, giving

the bass part on the pedal:

Mendelssohn
Written

Pfe
gite

1=^-

*=

fe=

-B-*-

l=t

i=t

m-

34
Played

4e

P^fe

t=

*t

*=s=*

*=*

* i

t==t

6.

When

^4=f

5SEEi

Hi

i=f=J:

Tremolo Chords

chords appear in the form which in the piano score corresponds to the string tremolo of the orchestra the

inner voices should be sustained while the outer keys are depressed alternately in rapid succession to produce the tremolo.

The necessity

for

making

the tremolo the effect

deadened and

its

"The Sorrows

of

is

this

adjustment arises most frequently in

utterly unorganistic;

dramatic quality

Death"

lost.

in Mendelssohn's

if all

agitato passages in oratorios.

this is found in the

"Hymn of Praise":

Written

+=*
Will

the

night

soon pass

3l

Played.

is

accompaniment to the Tenor solo

Mendelssohn

notes are given

notes are sustained the intense excitement of the passage

good example of

If all

35
Jit.

Sometimes, but
the half tone below:

rarely,

when the tremolo

in the bass,

is

Played

Written

7.

it is

effective to let the pedal

trill

on the bass note and

Rolled Chords

you have played the last note of the chord,

then release them all with downward motion. It is essential to fix in the mind this conception of releasing them with
downward motion or you will certainly let the lower ones off first, giving the chord a small, thin tone; the bottom will
In playing rolled chords, sustain every note as you play

drop out of

it

until after

it.

Release of Chords
Just here

we may note in passing

that chords should be released downward, but so rapidly that the hearer

not

is

Even a poor downward release will be less noticeable than

which is certain to sound thin and insistent. With practice the student can secure a

conscious of any one note hanging

on

after

any

other.

the overhang of an upper note,

downward release which is clean and satisfying.
notes are released at exactly the same

moment

If

the acoustics of the building are perfect a chord in which

gives the

most

all

brilliant effect.

Volume of Accompaniment
Give enough organ
In accompanying vocal or instrumental solos or choral numbers beware of playing too loud.
to furnish support but never enough to interfere with the predominance of the solo part.
It is well to remember not to keep the Swell box closed for too long a period when accompanying, as it makes the

accompaniment vague and indefinite; the singer will be able to hear the accompaniment better, and will have a
more distinct impression of the pitch if you use stops that will permit you to keep it at least partly open.

clearer,

Registration of Orchestral Accompaniments

Some knowledge

often enable the accompanist to make

fitting choice of colors for the background of the accompaniment, and of stops (instruments)

of orchestration

is

of great value in accompanying;

a more reasonable and

to bring out counter melodies.
For example: in the accompaniment of "It

is

it will

Enough," from Mendelssohn's "Elijah," the accompanying chords

originally scored for Strings in the orchestra are best given to the Strings

scored for Violoncello,

is

best brought out

by the Cornopean

(or

Gamba

on the organ, while the

Celeste), with

obbligato, originally

which the Tremulant

will

be

used, as the cello player invariably employs the vibrato throughout this number.

But the
ment.

organist

First of

all,

he

who
will

not a master of orchestration may be guided aright by his knowledge of his own instrube careful to use one of the stops of greatest effectiveness in the particular range of the
is

36
Thus, in the range of the obbligato of "It is Enough" a Diapason, String, or Reed must be
Secondly, he will consider the color desired,
chosen, the Flute being too dull entirely to be used in that register.
basing his choice of stops on the character of the text and of the music which should reflect and interpret that text.
A Diapason will,
This melody "It is Enough" is in minor, warm, throbbing, the last passionate cry of despair.

melody to be played.

be too cool; a String will be much better, and may be used if an organ lacks a suitable Reed; but the
stop that best voices this emotion is a Reed, the Cornopean, with the Tremulant.
In the middle section the number changes character. The obbligato drops out and the accompaniment works
up on the foundation stops in the usual manner to full Swell. Just here, note that these repeated chords should be
therefore,

played as written, for impassioned, dramatic

will be again employed.

effect.

With the return of the

original

melody the

original registration

"IT IS ENOUGH."
Adagio.

= 66

Elijah

Organ.

Fed

* 1 + 7 7

r i ? f f *

f i 7 7

37
fc)

number as "With Verdure Clad," from Haydn's "Creation."

8' and 4' Flutes on the Swell with 8' Flute on
which is a cool, rippling melody in Flute range, use pure Flute tone
The brief agitato interlude and the vocal section corresponding call
the Choir or Great, for the short obbligato bits.
Again, in accompanying a soprano singing such a

for Strings.

distinguished bass asked

me

recently

why young

organists almost invariably

accompany him on

Flutes,

which

him no support and do not blend with his voice. Flutes can very seldom be used in directly accompanying a bass
voice, although most valuable for color relief in the interludes.
String tone and Diapason tone are the backbone of accompanying. The heavy Reeds are used for stirring, margive

'

tial,

triumphant passages, or are added to other stops for climax; the lighter Reeds, as the Oboe, Clarinet, Cornopean,

etc.,

are used for obbligato bits, as

we have

Good accompanying demands the

Your part may be rather colorless and
part.

Moreover,

it is

from

it,

even

is

Enough."

closest attention to the solo (or choral) part, as well as to the

uninteresting but

it

must be played with

all

the verve that

accompaniment.

may lie

in the vocal

necessary to be very wide awake, in closest touch with the singer, and on the alert to anticipate

every nuance of color, volume, or rhythm.

as the song.

seen in the above consideration of "It

The

You can enhance immeasurably

spoil it altogether,

singer should never be obliged to carry the organ

and organist as

well

the beauty of a solo or choral number, or you can seriously detract

by poor accompanying or contradictory

registration.

CHAPTER

VII

THE MANIPULATION OF THE SWELL PEDAL

The technique

of the Swell pedal means,

first

with no sudden outbursts or dampenings of sound

The exception to

tice.

accent

an

perfect

illustration of

command

which

In some cases,

all,

perfect

will

is

command

of a gradual crescendo and diminuendo,

a nicety of control which

this is the sforzando passage, or the

by means of the Swell pedal

The same

of

sudden crescendo

of carefully graduated

when you want only a

it

movement

were; that

slight crescendo

much

careful prac-

the sake of accent; this matter of

is

essential also in the use of the Crescendo Pedal,

is

Section

to say, not to close or open the Swell entirely.

Bach " Fugue

in

open box, as the growth in the volume of sound

Swell box one-quarter open and finish with

II,

it

D minor "
is

XIX.

and diminuendo and a quick one,

using the middle contacts only of the set of electrical contacts

the following passage from the

for

gained only by

considered in Chapter VIII.

be found in Guilmant's "Marche Religieuse," Part

on the middle of the Swell, as

is

is

by which the modern Swell

absurd

if

you go from the

it is

necessary to play

Mechanically, this means

is

The

operated.

tightly closed

effect in

box to the wide-

too great for the time allowance; the crescendo should begin with the

three-quarters open.

Bach

A llegromoderato

This
It is

is

a point of great importance in playing accompaniments, when

not always necessary to have the foot on the Swell pedal in order to move

out letting go the pedal note the foot

the right foot middle

is

occupied in playing.

same

foot.

Two

adjacent pedals

may be opened and closed together by putting the

it;

very often

For instance, when the

E and it is necessary to open or close the Swell box,

Swell box with the toe of the

they

must be very

effects

may

foot half

hold

When you

are playing

two melodies on

different

E with the heel and open or close the

half

on the other;

its

Swell box, and this one

proportion, as in singing

first

one

may be opened

close the other.

importance the former

to advance into prominence by opening

a duet, and

or,

manuals the manual which has the important part must have

Swell box opened; as soon as the other manual assumes a strain of

made

E and

Pedals

its

is

holding lower

be manipulated at the same time with one foot;

on one and

Two Swell

can be moved with-

it

left foot is

and the other dosed almost simultaneously by using the toe to open one and the heel to

Balancing

delicately calculated.

will require careful

its

Swell box wider.

study that the balance

nuances not only proper but musical.

38

may

is

subdued by closing
This

is

a matter of

be perfectly adjusted and the

39
Sw. Ob. or Sw. Eng. Hr. 16
Ch. Clar. or Ch. Eng. Hr. 16

**

is

ft.,

ft.,

Strs. 8

Orch. Ob. 8

ft.,

Liszt

ft.

Quint., Strs. 8

ft.,

16 ft

irk

This

Ob. 8

ft.,

of constant importance in playing a melody with accompaniment; occasionally the accompaniment takes

on increased

interest, so that it

out into the prominence

it

may even become of greater consequence than the

deserves

by means of the

Swell pedal.

Too

melody;

it

should then be brought

often an accompaniment to a melody

mitted to degenerate into a mere colorless background, occasionally too loud, more frequently too

soft,

is

per-

and with

its

and interest all unnoticed. The Swell pedal controlling the accompaniment should be in use almost
as much as the one controlling the melody. When you are playing such a melody with accompaniment imagine
yourself, for instance, a violinist and at the same time a pianist accompanying that violinist, and suit your accompanipoints of character

ment to the solo.

Andante
Sw. Cornopean

St. Cecilia Series,

No-

Dickinson
" Canzona

From

8i.

Change of Tone Quality by Means of the Swell Pedal

pass from one quality of tone to another without change of manual, as from String to Flute tone, draw
the Flutes in the Choir and the Strings of the same strength in the Swell, couple Swell to Choir and play on the Choir.
The change of tone quality may then be effected by the use of the Swell pedal: begin with the Choir open, Swell closed;
1.

To

gradually close the Choir and open the Swell.

This Can be done on a one-manual organ, or on an organ in which Diapasons, Flutes, Strings, and Reeds each
have a separate Swell box; or, as in Dr. Audsley's specifications, where two manual divisions of the organ are in

40
separate boxes though played from the same manual; or,

what

is

more common, where stops from one manual are

borrowed on another.
2.

Smooth and gradual

transition from one color to another is a matter of skillful manipulation of the Swell

pedal.

Allegro maestoso.
Gt. Fls., Gt. to Gt. 16

3.

From
ft.,

"

Dickinson
Storm King " Symphony

ft.

Different qualities of tone color can be

made to melt into one another like dissolving views on the stereopticon.

For instance, to change from String tone on the Swell to Flute tone on the Choir: while the chord is being held on
the Strings of the Swell with the Swell box open, take the Flute tone on the Choir with the Swell box closed; if you
take

it

note after note from the bottom upward

that

is

closed, slowly

it will

come on even more

gradually; then slowly close the Swell;

open the Choir; then release the notes on the Swell one by one from the top downward.

when

CHAPTER

VIII

ACCENT
The
is

assertion that

no accent

is

possible

on the organ

is

absurd, and

its effect in

application would be deadly.

It

not obtained by increased pressure, however, but in various other ways.

1.

Accent

may

be obtained by the sudden partial opening and closing of the Swell pedal.

The

process

may

be described as "circling the note" with the Swell pedal; the note comes in the exact center of the two movements
of opening and closing, which must both be executed at a high rate of speed. The motion is a double action of the
ankle (toe and heel), the same motion as that of the wrist in cracking a whip.

Sw. Reeds
Marzidle

i^a
2.

Accent

implies a pause

may be obtained by holding back from the attack of a note or chord a barely appreciable trifle; this
which may be infinitesimal, but which increases in length as demanded by the tempo or the require-

ments of dramatic effect or climax.

This pause catches the attention of the ear, focusses that attention on the particular

note or chord, and gives a perfect effect of accent.

will

be better realized

if

The

The effect
"Fantasia and Fugue on B-A-C-H" is played

slighter the separation the lighter the accent.

such a passage as the following from Liszt's

through smoothly, legato, without accent; then played through again with a slight holding back before the chord or
holding back slightly before each chord but a little longer
chords which constitute the final climax of the phrase

before the last one that

power of even

it

may

be unmistakably the climax.

Unaccented, the compelling

virility

and sweeping

this splendid phrase are lost.

Adagio

>
Allegro moderato

employed by players on every instrument, and by orchestral conductors. One of the secrets of Weingartner's power as a conductor was the manner in which he would work up the
orchestra in a gradual accelerando and crescendo, then, just before the climax, hold back in a sometimes barely appreciThis device

is

not peculiar to the organ, but

is

upon which the climax came with seemingly tremendous force.

Accent may be obtained by holding a note a barely appreciable fraction longer than its face value marcato
3.
or tenuto an effect which is also illustrated in the preceding example. As the matter of accent is so closely bound
up with rhythm, see also Chapter IX, "Rhythm."
able pause,

41

CHAPTER IX

RHYTHM
The
music. "

ultimate element of style in organ playing

It is

like color, is

may

not easy to impart or to acquire

gift,

it

There

not an acquirement.

aid the student in gaining control of his

is

rhythm;

it is

indeed the assertion

are,

own

truly, as Berlioz said, "the pulsing life blood of

is

often

however, points which

feeling for

rhythm,

in

made

may

that

it is

impossible; that rhythm,

be mastered, and some suggestions

which direction training

is

necessary even for

those most highly endowed by nature.

An

important detail which

may

be mentioned at the very outset

is

the necessity of always adjusting yourself

before beginning a number; take an extra second to adapt yourself mentally and emotionally to the

about to play; put yourself into

its

mood,

its

tempo, and

its

rhythm.

be mentally ready beforehand for each change and climax within

Then never

"let

number you

are

go" again during the number;

it.

Holding steadily to the Beat

The first

essential in developing

unvarying recurrence of the beat.

a sense of rhythm

The

is

the cultivation of the power to hold to the steady, implacable,

careless, lazy player lets it drag,

temperamental player hurries, and breaks, or unreasonably varies

is

it.

and

slip,

and become

ally, and.

and the

This mastery of steady observance of the beat

especially difficult of accomplishment in crescendo passages without accelerando, or in

ritardando; the student of rhythm should learn to build

indefinite,

diminuendo passages without

up such passages and permit them

to subside again very gradu-

with absolute steadiness.

Perfect Proportion in Changing Tempo

Having acquired the ability to hold steadily to the beat

in all kinds of passages, the next step

the pace, to play accelerando passages without destroying the regularity of the pulse beats; that
proportion through the change of tempo, taking off exactly the

same amount

^^
42

is

to learn to increase
to say, to

move

of time from each successive beat.

example, in such a passage as

^^.

is

in

For

43

253
z^zqe

^^^ =

= 3*jW*?-

-*-

from Guilmant's "Marche Rligieuse," Part

II,

Section XII, page 171, take

off, say,

one-ninetieth of the value of

1,

and so on. The figures

the absolute regularity and proportion

one-eightieth of the value of 2, one-seventieth of the value of 3, one-sixtieth of the value of 4,

are not given as a statement of actual physical measurement, but to illustrate

of the speed progression.
sixtieth, to one-forty-fifth,

The rhythm will not be maintained if you vary instead, say, from one-ninetieth to oneand so on. The procedure in a ritardando passage is, of course, the reverse of this.
Significance of Accelerando

Just here

it

may

not be amiss to note that the indication acceL

immediate, quite violent quickening of the tempo.

This

is

not

is

too often interpreted as calling for a sudden,

its significance;

but rather "accelerate," do not jump.

a very gradual quickening of the tempo from that point on, causing it to move steadily, in perfect proportion,
and faster as it proceeds, to the end of the passage. Piumosso is the term employed to indicate a sudden quick-

It implies

faster

ening of the tempo.

and accelerando regarded as inseparable companions, as are, likewise, the diminuendo and ritardando, and monotony of style results. A crescendo is sometimes more effective and impressive when
accompanied by a ritard, while a piquant or humorous turn may be given by the association of a diminuendo and

Too

frequently are the crescendo

an accelerando.
Dickinson
From Scherzo, " Storm King
Allegretto

#=* Tfr

'

Symphony

if

f r$ k

Having gained control of steady rhythmic movement the next desideratum is to free yourself from the metronomic
shackles with which you have willingly bound yourself, to enjoy liberty in the handling of rhythm and the "give and
take" of all truly rhythmic movement. Rhythmic freedom never means indulgence in the license of illogical hurry
or delay, or the placing of accent where it destroys the identity and coherence of the theme. The tempo may be
varied within the compass of one bar so that the ritardando exactly balances the accelerando, and the time value of the
bar

is

not altered; the rhythm marches right along, the

Rhythm

is

varied with

two main

initial

pulse of each measure beating with perfect regularity.

objects: (1) for purposes of dynamics; (2) for purposes of expression.

44

Agogics
(

1)

When this variation

the tone,

it is

is

made

for purposes of dynamics, that

poco

poco

accel.

//II

the slight hold on the

loss of

_ poco

accel.

accel.

time which must be made up by the quickening of the

following notes in the measure; the time allowance for the whole

and the theme

In such a phrase as

-II-

note of each bar causes a

first

poco

accel.

=f=Vh^

defined,

to say, to give the effect of increasing or diminishing

spoken of as agogics, and the accent obtained as agogical accent.

is

is

is

not changed, but accent

obtained, the

is

rhythm

distinctly enunciated.

is

Longer measures necessitate secondary accents as

ten.

&

m
That such proper agogics are

well.

poco

poco

accel.

accel.

'It-

I
a theme

essential in preserving the identity of

may

be more

fully realized if

you

play a group of notes with the accent at various different points in the phrase; the change in the position of the accent

changes the theme entirely.

nt.

accel.

accel.

This

is

"Fantasia in

ten.

rit.

(3)

poco

ten.

ten. rit.

ten.

accel.

rit.

yfr==

is

on organs

Bach "Fugue

in the

in

minor," or his

accel.

^m^^
____>_

in divisions of

which

under mechanical control; the

He

it is

impossible to obtain

effect of

much

variation of volume

changing volume and accent he desires

will

makes use of them when, in playing full organ, for

of accent and increased or diminished volume of sound without any actual enlarging

be obtained through the application of these

effect

accel.

ll*==

<-

example, he desires an

^7=^

accel. ten. rit.

accel. ten. rit.

accel. ten. rit.

of the organ

accel.

rit.

organist frequently plays

little

ten.

ten. rit.

accel.

rit.

mum

rit. accel.

uccel.

of tone, as

accel.

rit.

most important in enunciating contrapuntal themes, as

G," from which these passages are taken:
(a)

The

accel.

principles.

also

or dampening of the tone.

Tempo Rubato
(2)

The

variation of

rhythm

for the sake of expression is

known

as tempo rubato.

The same

principle of balance

of the ritardando and accelerando apply, although not necessarily within the confines of one measure ; the passage may be
several bars in length.

This tempo rubato

is

employed also in playing the cadenza or

recitative passages such as occur

frequently in the works of the older composers as Frescobaldi, Fioberger, Gabrieli, Bach, or of Liszt, Chopin, and

modern

orchestral writers; the general principle

is:

start very slowly, accelerate very gradually to rapid

middle point, then slow down very gradually, ending in the tempo in which you began.

tempo at the

45
Bach

Maestoso

Pedal

rit.

mm

accel.

Full.

^E

E i^

fg

ei

word of caution may be spoken against always exaggerating effects. Do not always indulge in a rushing accelerando or in an excessive holding-back for a ritardando.
By so doing you spoil the possibility of an intensely
dramatic effect when it might be secured by the employment of just such an accelerando or ritardando. Some composers endeavor to
ignored.

dare indicate

back

is

make known

their desires in this respect

by the

indication "pocorit.," but the "poco"

famous French compdser once said to me, "I would frequently

it

on the music, as

it

like

would almost invariably be interpreted as a

especially important in playing Fugues,

when

a slight holding-back, but

full-sized ritard."

is
I

often

do not

This slight holding-

serves to call the attention of the hearers to the entrances

it

theme which would otherwise slip in unnoticed, but where the introduction of a real ritard would
flow of the composition, and, in constant recurrence, would prove very wearing.

of the

interfere with the

Bach

Theme
tr.

'

J.

%i
J- #

rit.

a tempo

tr.

Ej H
Eg

,n

e^

^g

-J-

f-

Climax

To work up

a climax most

effectively,

combine a very gradual crescendo and accelerando

point of climax, then hold back a barely appreciable instant and then attack the final chord fff;

with tremendous
marcato,

force.

and with a

until just before the

it will

seem to come

Or, just before the point of climax hold back an instant and take the final three or four chords

slight ritard.

//

-ft-

cresc.

fff

A
?
ten.

rit.

i^

^G==

ten.

&
1%
ten.

pe

Sfcgil

-&

J*

Rests

much

must be paid to rests as to notes. They have just the same value
as the notes whose allotted time they fill with silence, and they must be treated as fully as significant in the interInattention to this point is a frequent fault which destroys the melodic line and ruins
pretation of a composition.
the rhythm. Beethoven said, "The rest is the most eloquent thing in music."
In any study of rhythm as

attention

46

Drawing Stops without Loss of Rhythm

Frequently the flow of rhythm

is

interrupted

by the player drawing

sounding except on an accent either real or metrical.

Do

stops.

Musical feeling

chord

is

in the

middle of a beat with a resultant disastrous change in color and volume.

is

Do

not draw stops while a note or

offended

when

stops are

drawn

not stop playing to draw a stop,

do not hang on to one note or chord long past its appointed time. It is most unfortunate for a player
to break the rhythm and utterly destroy the flow of the melody by holding on to someone chord while he draws stops,
or even makes up his mind what stops to draw. When it is necessary to make an intricate change of stops on both
sides of the console and in the shortest possible space of time do not let your eyes cling to the chord you are playing
and, above

until it is

all,

ended and then look

for

your stops.

Let your eyes anticipate your hands; while your hands are

still

on the

keys look at the stops you are about to draw and get into your mind their relation to one another so that the instant

your hands are

free

you are ready to draw the

stops.

The Chief Factors

in

the Destruction of Rhythm

In brief, the chief factors in the destruction of rhythm are (1) changing stops in the wrong place; (2) holding on
to a note or chord beyond its true time value in order to change the registration; (3) ignoring the time value of rests;
(4)

changing color too frequently and thereby breaking up the outlines of a composition

notes; (6) unsteadiness

and

pitfalls

and

which will destroy the vibrant, pulsing

for its transmission will bring its

musical movement.

(5) failure to separate

repeated

on the one hand, or to uncontrolled interest

The organist must always be on the alert lest he slip at any time into one of these

indefiniteness

and excitement on the other.

due to

life

carelessness, or laziness,

of his music constant care for the cultivation of the sense of rhythm
;

reward in the mastery of the most elusive yet greatest fascination inherent in

CHAPTER X
THE PLAYING OF ORNAMENTS
Although most modern composers write out their ornaments in

full it is

necessary for the student to understand

the ornamental signs in order to interpret correctly the works of Bach and his predecessors.

Instruction as to

by Bach is to be found in the little book which the master himself compiled
was begun at Cothen in 1720 when the boy was nine years old.

to play most of those^used

Friedemann;

it

/wvlv

i
i.

Trill.

Wilhelm

i
2.

for his son

how

Mordent.

3.

Trill

and Mordent.

4.

Cadence.

^rrrrfim'-irrrrrrrH ^

5.

Double Cadence.

T~r

pj^W=X=i=W

i
(*

<*!

I
6.

fe

Double Cadence.

Double Cadence
and Mordent.

Double Cadence and Mordent

8.

f^- #-a-#

g=^f

Rising Accent
or Appoggiatura.

10.

n. Falling Accent

12.

Accent and
Mordent.

i
following

his son

i-Jh

SS3

Accent and

-14.

Accent and
Trill.

Trill.

pT Pf

*=+ p-#-

h-

the "Applicatio"

you

will

note that the right-hand part

is

written in the old soprano clef and

should, therefore, be read a third down.

Applicatio

ftp^h*^

3v

3~v\Jv

-43

Bach

+*&-

=#-P=

N\

P^^53
t

-**>&

'i

'

might proceed at once to the application of the principles of playing ornaments Bach wrote the

little piece,

<Nv

13.

=Spc

That

Double Cadence and Mordent.

Nv

or Appoggiatura.

9.

pfp nrfz

ar

^F

7.

3
5

SS
3

47

Jv

-J-F

*)*-

48

3 *
Besides the graces included in the above the student will meet most frequently of

all

with the

slide:

Written

^E

i
Playec

i^^
^*

p=l

Trills are also indicated

|aaa,

tr.,

With Bach and

prevailing key.

downward, to

his predecessors the graces

t,

+, AAA/

were always diatonic in

style;

they should agree with the scale of the

Thus, in the following example from the Bach "Fugue in

minor" the turn involves a whole step

Alt not Ajf.

Played

Written

P3=:

?+
+-

!fl

any ornament must always be observed. This is taken, as a rule, out of the value
It should also be noted that, for the most part, the graces do not commence on the main note.
of the main note.
The appoggiatura without the line takes its time value from the note following; with the line, from the note preceding.

The

definite time value of

Written

Played

Written

Played

Ep^EH^pl^^^^^
A minute study of all
of the

the ornaments used

by the

early composers

and Bach

will

be found in "The Interpretation

Music of the Seventeenth and Eighteenth Centuries," by Arnold Dolmetsch, and

by Edward Dannreuther.

in "Musical Ornamentation,"

CHAPTER XI
REGISTRATION AND COLOR
The question

of color or registration on the organ

measure a

is

one of the most

difficult

of

all

subjects to treat.

Color sense

fundamentally, the greatest colorists.in any art are born, not made.

But even those born

with this gift have to experiment much to know that they possess it, and have to acquire the technical ability to employ it with the control and restraint which will make its expression emotionally intelligible.
Yet in this, one of
the most important of all features of organ playing, there is, perhaps, less that can be definitely imparted by one
person to another than in any other department; at most a few guide-posts may be set up, a few indications given
as to certain resources of the organ and lines of experimentation along which the student can work.
There is nothing more uninteresting than organ playing that is devoid of color; it has a grinding monotony which
Diapason tone is the foundation of the organ and should be recognized as such by builders and organists
is deadly.
alike, but the foundation is by no means the only essential, interesting, or beautiful part of tonal structure any more
is

in large

than

it is

gift;

of architectural.

superstructure of Flutes, Strings, Reeds,

further ornamentation also in the

way

is

necessary to complete the edifice, with

of exquisite solo stops, Celestes, and so forth,

if

suitable to the character of

the tonal building, and the means are at disposal.

On the other hand,

a lavish use of color becomes occasionally a device for covering up lack of technique, for blind-

an audience so that it will not realize that there is no real playing behind it. This is shallow, insincere, and tawdry.
For this very reason it is usually better for the student to practise on a small organ in which there is less to lure away
ing

from the fundamental necessity of obtaining true technical command.

be seriously hampered by the small organ.
the most possible color out of

it; it is

It

Nor need the development

of color sense

should rather sharpen the student's ingenuity to discover

truly remarkable

what

color effects can

how

to get

be obtained with an organ of just one

manual and only half a dozen stops.

Families of

The

families of tone color in the

Diapason tone;

I.

Gamba tone;
The
use
of a

is

is,

(a)
(a)

organ are, roughly speaking,

Flute tone, (b) Gedackt tone; III. Gemshorn tone; IV. String tone, also called

Woodwind tone

stops belonging in each class will be identified

is

by

Trumpet tone

reference to Chapter

that of simple, open metal pipes;

mass of tone such as one employs

rich

(Orchestral Reeds), (b)

it

full in

therefore,

more

Chorus Reeds).

should be basic, smooth, sonorous.

Its

most common

modal music, or as the foundation

in playing contrapuntal music.

an important part in modifying the color, and the Diapason, which

the lower and middle registers, becomes thin and unpleasant in the upper. Flute or String tone

all qualities

and

(Brass,

I.

in broad, full chords, slow-moving, "churchly" passages such as chorales or

In
is

V. Reed tone,

Diapason tone

I.

II.

Tone Color

of tone, however, pitch plays

satisfactory in passages of high tessitura.

In a baritone range the Diapason will serve for obbligato or solo purposes.

In the pedal, constant and unrelieved "booming" of the Diapason in forte passages

may become

rather wearing;

you have a Violor e stop use that String tone now and then for relief. It may be noted here, in passing, that, in
soft passages, instead of using a Bourdon all the time and creating thus an unceasing "pedal buzz," as is often done
to excess, it is well to relieve it by the use, now and then, of a String tone, that is to say, a Dulciana or Gamba.
II.
Of the Flute family, the Harmonic and Double Flute lend brilliancy of tone; the Concert Flute, Flute
d 'Amour, and Suabe Flute are mellow; the Concert Flute and Melodia occasionally take on something of the quality
of the horn in passages in its register; the Philomela
is clear, cool, and impersonal in tone
the largest Flute
if

quality; the Spitz Flute in combination with the Flute Celeste

are usually the

most

4', 2'; 8', 4', 16'; 4'

16'; 4', 2',

and

16'; 2'

obtained from Flutes alone.

49

Flutes

delightful stop for u^e in accompanying.

any of these combinations: 8' and 4'; 8' and

and 16'; and, very rarely, 4' and 2'. Such variety

suitable stops for rapid runs, in

and

is

2'; 8'

and

in color

16'; 8',

may

be

50

For very high solo passages the Flute

register

low range

in very

it

is

almost invariably the best stop as

becomes dull and

it is

most

upper

characteristic in the

indefinite.

Arpeggios are generally most effectively given on the Flute when there

no

is

real Celesta in the organ.

Harp-like effects are obtained by playing rolled chords on an 8-foot Flute, or an 8-foot with a soft 16-foot, the latter
preferably on another

manual coupled, so that

it

made very soft.

many Scherzo movements,

can be

Quick-moving, detached chords, such as occur in

are best brought out

Flutes respond very quickly, so that the certain crispness desired

and 4-foot Flute.

is

on an

8-foot

most readily obtainable from

them.

The Gemshorn

III.

charming or piquant.

it

may

This

is

The

The

little

distinctive to

be of great value for solo

String tone, which on the old-fashioned organs was thin,

to be used with telling effect in

in

is

families, especially if there are also

movements

Strings are also used for

It

may

be characterized as
although occasionally

use,

soft phrase.

one of the most useful of the tone

is

a cross between a Flute and a String.

chords legato in accompanying, or for detached chords with Celesta or

too small and too

be used to bring out a very

IV.

is

It is useful for soft

The tone

4-foot Flute.

or Erzahler tone

modern organs full, rich, and smooth.

some Strings of keen, "biting" quality

and dramatic intensity.

the foundation of the quiet movements of sonatas, and
instinct with passion

in passages in

which they

would be used by the orchestra.

may

Because of the definite quality of tone of the Strings, low chords

be best brought out on them, also very

high chords, for the reason that they possess the power of being very soft and at the same time distinct and clear cut.

For Solo

effects the

Gamba

Celeste in the violoncello range

Strings, that is to say, five or six powerful Strings

is

the most useful, unless you have a set of orchestral

put together to form a String organ, in which case you can bring

out a melody in any register.

It

however, in sustained movements with

is,

V.

Of the Reeds, the Woodwinds

(a)

They
The Oboe

or the Fliigelhorn,
may

range but

a lighter tone

is

parts that the greatest effectiveness of String tone

most beautiful quality

reveal their

any

possess the greatest individuality of

orchestra.

violin

many

stops,

cello

and are therefore most valuable

range when there

found.

in the range of their prototypes in the

which sometimes takes the place of the Oboe

be used satisfactorily for those in

is

is

is

for solo purposes.

best suited to melodies in

no Cornopean

when

in the organ, or

desired.

The Cornopean with the Tremulant approaches closely the timbre of the violoncello.
The Oboe may be used in sustained soft chords in place of a Vox Humana.
The tone of the Oboe may be said to be "shaded" in the following stops:
which

1.

Fliigelhorn,

2.

Orchestral Oboe, which

3.

Musette, which

scale of

is

is

and on a larger
thinner and keener;

richer, fuller,
is

much

like

scale;

the Orchestral Oboe but very

much

thinner and keener, and the smallest in

any Reed;

4.

English Horn, which, like

its

orchestral prototype, has

more

of

an

alto quality, with a certain resultant

somberness.
In a small organ the place of the Fliigelhorn, Orchestral Oboe, Musette, and English

sometimes

it will

The

it is

is

taken by the Oboe;

be found possible to use a Clarinet as substitute.

In the organ, as in the orchestra, the French

moreover, as

Horn

a comparatively

light stop in the

Horn

is

organ

it

more often used with the woodwinds than with the

properly belongs in the former class.

Clarinet and Bassoon or Fagotto partake of the quality of the orchestral instruments whose

and are used to obtain the same

effects.

Both are good

brass,

solo stops.

The

Clarinet

may

name they

bear,

be used in rapid runs and

in

chords in the lower range as well as in melodies.

The Bassoon,

or Fagotto, borrowed in the pedal

is

very useful in denning clearly a soft melody or a bass part.

For an obbligato or solo of pensive character the English Horn

the Orchestral Oboe, which

is

more

striking or brilliant

also suited to melodies of "pastorale" character, as is the Musette.

The French Horn

is

appropriate; for one

Two

and low range respectively, may be effectively contrasted by the use of a Fliigelhorn or Orchestral Oboe against a French Horn; if a French
Horn is lacking a good clear Diapason will be found very satisfactory.
will best bring

The

out a smooth, peaceful melody in lower or middle range. -

Clarinet and French

Horn

melodies, of high

are suited to harmonies in the lower register, the English

Horn

to those in higher

51

The

range.

Oboe may

Orchestral

often be rendered

more

colorful

by the addition

of a four-foot Flute; this applies

also to the Musette.

The Vox Humana may be used not only

registers

Restraint should be exercised in

it is

most

Trumpet tone

fiery, it is

is

lends a certain fullness and richness of tone quality.

well liked

upon

and which seems to meet a need

however, as well as in the use of the Vox

its use,

and middle

characteristic in the lower

it,

has always been in

for relief

Humana

from straight

as a solo stop, or

value and your music will be in danger of becoming over-sentimentalized, even mawkish.

will lose

V. (b)
or

it

when

principally with the solo Reeds, the Tremulant, which, in spite of all attacks

use since Bach's day, produces an effect which

both

solo stop

but also in combination with the Strings;

Used
tone.

as

Chorus Reeds)

(Brass,

very distinctive, powerful, and assertive.

is

Ringing, jubilant,

best suited to music of triumphant or martial character, fanfare melodies, and heavy detached chords,

such as are played by the brass of the orchestra.

In passages of gradually increasing power the Trumpets, Tubas, Trombone, and Bombarde are added to produce

final

climax of tremendous impressiveness.

Where

two Tubas the smaller

be used interchangeably with the Cornopean
there are

A true Tuba Mirabilis is rarely suitable

is

usually of so fine and smooth a tone in the

for

full

organ, as

It is generally

too large for use in chords with

dominating and obtrudes.

it is

The pedal Reeds are used to bring out melodies or runs against
Bombarde in his organ in Weimar undoubtedly inspired Bach in the

a heavy body of tone or

creation of

some

full

organ; the 32-foot

of the majestic pedal passages

organ works.

in his great

valuable artistic assets should never be overlooked: the elements of surprise

and of climax.

When

working up a tremendous climax reserve

degree of tone volume such as a Tuba and

these

can

anything except a single melody which you desire to bring out above

organ, or a passage of climax of the character indicated above.

last

it

for flowing melodies.

full

Two

modern organ that

two powerful

forces of surprise

Color in interpretation

may

if

possible

some

not shock,

but surprise

characteristic tone color or

Bombarde for the climax do not let them dominate earlier or you
;

some

sacrifice

and climax.

be obtained through the various families of stops by using them in the following

ways:
1.

In purity;

and out, as

it

2.

In combination;

In solos with accompaniment;

3.

In various color lines weaving in

were, simultaneously.

Color through Use of Stops

1.

4.

Using the stops in purity, color

may

in

Purity

be obtained even on the smallest organ by contrasting the families of

tone, as Flutes against Strings in the upper register, or either Flutes or Strings against Diapasons in the lower register.

Almost

all

organs have at least one Reed

an Oboe which

will furnish further contrast to

any one of the other

three colors.

Even

if

you have a

large organ rich in resources

do not neglect the employment of stops

in their purity.

The

combinations of stops, and therefore of varieties of tone color, on the organ are almost incomputable; Dr. Audsley
has calculated that about 134,217,700 permutations are possible with an organ of twenty -seven stops.

must never

lose sight of the fact that, after all, the

most

distinctive contrasts in color are obtained through the

by itself; for example, pure Flute tone contrasted with pure

the Reeds on one manual against all the Diapasons on another.

use of each family of stops

heavy body of

all

But the organist

String, or single

Reed; or a

Necessity of Thorough Knowledge of the Instrument to be Played

2.

Using the stops in combination, the

possibilities of color are, as

we have

seen, almost limitless.

Two

things

must apply himself in order to ascertain what colors to use in the interpretation of a
composition: (a) he must know his organ, and (b) he must study the composition to be interpreted, that he may
enter into the feeling and atmosphere of it.
(a) Take time to study your instrument and to learn its resources thoroughly do not follow any stereotyped registration absolutely, or any conventional directions, but make your own experiments.
The lazy way is, of course, the easy
way, but it seldom produces unusually interesting results in color. Be sure you know all the possibilities of your
instrument. The registration indicated by composers on their published works is necessarily either quite general, or
suited to some one particular organ, but it is suggestive of the effects desired.
If you happen to have just the same
there are to which the organist

52
organ, or
it

the requirements are very simple,

if

will yield

the desired

it

may

apply perfectly, but you should always try

Some other registration may be much more suitable on your

effect.

out to make sure

it

particular organ than that

on the music. Always work out for every composition, therefore, the registration best suited to your organ
(or to the organ on which you are going to play it at any time) and write that registration down on your music in order
to make sure of retaining it, and to save time at the performance.
indicated

Setting up the Pistons of the Organ

As an
with

organist frequently finds

it, it is

it

necessary to play a strange organ without having

advisable to use a definite system of setting

groups of stops

that

is

to say certain colors

up the adjustable

much time

to get acquainted

pistons, so that certain solo stops, certain

be always identified with certain pistons; thus no organ

shall

will

be entirely strange.

For instance:
3,

let

Piston

on Great, Choir, and Swell represent the

pure Flute tone; Piston .4, Diapason tone.

for instance,

softest stop; Piston 2, pure String tone; Piston

Reserve certain pistons for distinctive and variable combinations,

the last one on the Swell for the orchestral combination described later in this chapter.

as,

Associate solo

stops with certain pistons, as, for example, the Clarinet with the last piston in the Choir; put the solo stop

you are

Only the barest suggestions can be offered here; a concert ocganist will have definite associations with every one of probably fifty pistons; work out a more elaborate scheme
to meet your needs. It does not so much matter what your system is as that you have one according to which you
can set up an organ quickly and in a manner familiar to you, and so avoid great waste of time and nervous energy
by rendering all strange organs more or less familiar.
going to use most frequently where

it will

be easiest to

find.

Registration of Pre-Bach Music

The question

of registration of pre-Bach music

is

one which sooner or

later presents itself to the student.

playing of this early music with simple stops, employing only the resources of the archaic organ,
interesting in its quaintness for

an occasional number, but

sections of recitals in this manner, continuously, as,

of something so remote from

its

it is

on

their structure

and

lines,

not advisable to give whole recitals or very long

insisted

the same as for giving Shakespeare's plays without scenery, which

attention to concentrate

appropriate and

upon for too long a stretch, the audience wearies

The argument for the invariable use of archaic registration is

if it is

time and temper.

it is

is

The

and

is

is

undoubtedly an interesting variation, permits

therefore, sometimes,

hardly to be advocated as an unvarying rule of presentation.

After

all,

most illuminating;

nevertheless,

the pre-Bach composers and Shake-

speare alike did as they did because they "could no other"; of a certainty they employed

all

the resources they could

command. Indeed they continually devised new ones, which would seem to argue that they would not by any means
or the modern stage
can offer as aids in the interpretation of their thoughts and
ignore what the modern organ

emotions.

Color through Stop Combinations

To

illustrate

the effect of combination on the color of a stop, and as a suggestion of the

stop combinations and blending the following examples

(a)

To color a

way

to proceed to study

may serve:

Diapason:

you want clear Diapason quality, use it alone if you desire a fuller, rounder tone, add a brilliant 8-foot
Flute; if you want to intensify the serious, "churchly" effect, use with the Diapason a 16-foot Bourdon (Gedackt); to
brighten the tone, add a 4-foot Flute; to imitate the ancient full-organ tone
when playing old Church music, for
instance
use 16-foot, 8-foot, 4-foot, and 2-foot Flutes with the Diapason.
The Flute is the great color medium which is added to other stops or families of stops to shade their tones or to
produce new tones; this because it is the lowest in the color scale, the most neutral and least assertive in character.
(b)
To color a Flute:
Any coloring of a Flute amounts to intensifying its own color. Add a 16-foot Flute, and the color becomes
serious or somber; to brighten the tone, add a 4-foot; to make it still lighter, a 2-foot. A piquant effect, suitable,
for example, to a "pastoral" movement, is obtained by adding a Quintadena, which is a Flute that sounds also the
slightly.
second overtone
the Fifth
A similar effect is obtained by adding a Nazard, which sounds the Twelfth.
If

(c)

To color a

String:

String tone in combination with Flute tone of the

same

pitch, as

an 8-foot String with an 8-foot Flute, gives

53

a quality
although

like that

of a stringy Diapason; strangely enough, the use of this combination

is

considerably overdone,

produces an uninteresting, monotonous tone.

it

A 4-foot Flute added to an 8-foot String will sometimes produce a tone of silvery quality,

of character sufficiently

distinctive for use in solo passages.

16-foot

Bourdon with an

8-foot String in the low range gives a

Even

or mysterious music, or, for example, for Funeral Marches.

pitch while the Flute adds somber quality, whereas,

Diapason or an 8-foot Flute the

result

would be

It is advisable to use the powerful Strings

own tone

pasons; they are apt to retain their

if

somber tone

in the very

solemn

low range the String brings out the

Bourdon were combined with an

in this low range the

indefinite

quality,, appropriate for

8-foot

and muddy.

with attention and care, as they do not always blend with the Dia-

quality too strongly and to stand out as a distinct entity.

The more

stringy the tone of the Diapasons the better the blending.

To color a

(d)

Reed,

as, for

example, an Oboe:

you desire characteristic Oboe

you wish to "sing" a melody with violin tone quality,

add an 8-foot Flute; to make the tone cheerful and gay, use a 4 -foot Flute with the Oboe; to imbue it with serious,
meditative character, use a 16-foot Flute with it; if you wish it to take on a piquant effect, which is occasionally deIf

quality, use

it

alone;

if

a Scherzo, use with it a 2-foot Flute, a Piccolo.

Diapason added to a Reed gives more "body," roundness, or sonorousness of tone; added to the Oboe, the

sirable in

resulting tone approaches the quality of a Cornopean.

Color through the Use of Couplers

Through the use of Couplers the color of a stop may also be changed as, for example, a combination of a 4-foot
Flute on the Great and a Clarinet on the Choir, with the Choir to Great 16-foot Coupler drawn, produces a distinctive
and interesting color unobtainable by any other means.

Orchestral Effect
on the

All Strings there are

Swell, together with the

Vox Humana and Tremulant, with the

couplers Swell to

Swell 16-foot and 4-foot drawn, will most nearly approach the tone of the body of Strings in an orchestra.

you are playing in the upper register the addition of a

a very cutting, "stringy" Reed it may also be added.

Color

3. (a)

third study in color

achieve, as, for instance,

on the Swell

by means

is

is

Bourdon

of the use of a soft String or Flute

will

enhance this

effect; if

you happen to have

the Solo with Accompaniment

the solo with accompaniment.

for the solo, with, possibly,

compositions of this character

in

16-foot

When

4-foot Flute

to their easy delights, with resultant neglect of music which

it

the easiest coloring for the organist to

is

on the Choir

for the

accompaniment, an Oboe

a counter melody. Because the effect in

the organist must beware of too frequent yielding

on the Great

gained with relatively slight effort

This

for

demands more

skill

to

make

interesting.

and one which makes greater demands, is Trio playing, or developing two
melodies and a bass simultaneously. This offers an opportunity to contrast the small solo stops of an organ delightfully.
Even on a very small organ the employment of simple Flute, String, and Diapason will afford considerable
(b)

Another form of

soloing,

variety of color.

Color
4.

An

interesting study in color

is

in

Modern Music

presented in modern music in the weaving in and out, as

it

were, of various

color lines simultaneously, against a background.

Modern music

is,

to obtain color effects,

made

It is

on the whole, more colorful than ancient, because it is written in the expectation of being able
and therefore provides opportunities for them, through contrasting passages and smaller phrases.

in blocks, as

it

were, instead of in large outlines;

phrases are not long, distinct lines as in the Trio, but

its

short interweavings of several voices in and out of a background.

sharply detached, but are sometimes barely discernible within

tible.

In such music changes of color

be violent and excessive color

pretation of

many modern

if

may

it

From
when a

this

background they become occasionally

slight

change of color makes them percep-

be frequent, therefore, without interfering with

applied to the older music

may

its outline;

what would

be perfectly natural, even indispensable in the

inter-

compositions.

Nevertheless, even the

most modern composition must be studied

in its outlines

and

colored within them, in

54
such fashion as not to interrupt them or to break the flow and curve of them, but to enrich and beautify them.
frequent change of color

and thus defeating

its

may

destroy entirely the line of a piece, rendering

intention and spoiling

its effect just

it

choppy, depriving

as thoroughly as would a deadly

it

of

monotony

all

Too

continuity,

in its rendering.

Celesta and Chimes as Aids to Color

Two

percussion stops which appear on large organs for the sole purpose of creating atmosphere are the Celesta

and the Chimes.

The

Celesta

If

they are to

fulfil

their purpose they

may be used not only

must not be used too

for harp-like effects, but, in

Erzahler, Spitz Flute, to lend a certain "ping" to the tone, which

frequently, or inappropriately.

combination with other soft stops, as the Dulciana,

is felt

as a change of color without the stop being

recognizable.

The Development of a Sense of Color

One

of the greatest aids in the development of your sense of color

is

to use

it

in the sort of experimentation here

Make an effort to hear great artists on any instrument whenever possible,

and all the orchestral music you can. Much can be gained also by some study of and careful attention to the kindred arts, especially the arts of architecture and painting. From the former you can learn much concerning line,

indicated,

and

also in listening to music.

and climax; from the latter, color-blending and dramatic effects of color, light, and shade. Yet their
chief value does not lie in what they may definitely teach you, but in the enrichment of your comprehension of the
world of feeling, and of your sense of proportion, of color, and of beauty, and in the realization of the value of worthy,
decoration,

exalted, or exquisite expression of these things.

Part

II

MUSIC

Section

MANUALS ALONE
Attack and Release
Moderato
Gt.Fls. 8; 4"

gj6^feEfe^m
uai

$^b

i
ft^

^^
T

F=7

EE

is to

-<S

Ef

j j j j i 5==H 5=*
r

P^
k

LEGATO PLAYING:
Each of the following exercises

SE

r Fv r^5==p=F

?
-&-'

3=3:

f=F=f

ap ^iP^ P p

?=F?

g=r=^=?

J=F=y

j >7

g 'l

SUBSTITUTION

be played in all keys.

Maintain a perfect legato in playing.

Substitution on Single Notes

Right hand
Sw. Diap. 8'
21

21

u
2

32

21

32

32
-fi>-

54

~&

22:

^
43

54

43

54

21

22

Ms

43

21

3o
*

r^

oo
32

21

f
32

12

12

23

23

12

12

23

23

-iS*-

xr

22

23

22

43

12

23
-S*

43

43

-=;

&-

34

34

34

34

34

34

22:

ST
54

54

54
2ZI

10-

45

45

45

45

10-

2Z

10-

2Z

45

2Z

2
Left hand

=E

HL

3ft

21

21

*>

21

21

21

JJ'J
21

32

32

??

32

32

32

w
3

12

93EP

',.

43

L_

43

I3M
54

Boffi

54

43

43

23

21

21

21

54

54

21

21

21

6a

221

21

Gt.F1.8'
2
32

21

32

P
21

32

P^i

^S

Sw.'

3S
S

45

i=

321

34

ZZ

54

hands

43

21

21

ZZI

32

-G-

32

Pit

23
't?

23
tS

m
34

34

--

45

45

^M
12

12

i
12

Ml

32

12

12

23

ZZ_

12

I?

3Z
43

12

23
-6>-

12

23

3E

WE
23

?3

P
34

34

34
~

3X1

45

4
45

45
*9

12

12

12

JP.

P^
12

12

23

23

zz:

-o-

12

12

23

23

3X1

Sw. Diap.8'

SiI
32

32

ZZ

P
32

32

43

43

43

d-

zz:

Gt.Fl.8'

43

32

32

zz:
3

23

23
-

43

43

84

34

42-

PP
oq
23

23
^S

34

34
22=

23

23

34

34

--

P
Ch.Clar.

&
43

<9-

43

43

Sw. Ob.
4
54

ZE
43

i
43

54

54

54

zz:

54

P^P

34

43

J4

45

PP
34

3>

45

45

f 1

Xfc_

iv

34

34

34

45

45

45

zee

Ch.Clar.

agpt
4

i
54

54

54

54
ft4

i
45

*7

-O-

U
45

45

45

45

45

Substitution in Thirds
Right hand
Ch.Fls. 8; 4'
43
3
43
21

21

43

43

21

21

It

43

43

21

21

21

g^

PPi
*

43

54
32

I
hand
Gt.Gamba

54
32

54

32

4
o

34

34

12

12

12

BE

5
3

54
32

&

34

45
23

{j

45
23

23

45

W Q
45
23

45

45
23

23

23

3
1

4
2

Left

WM

&
23
45

23
45

3
5

# a *

r
^r^

Bo//t

f
34
-

12
34

5
4

23
45

12

23

45

f
12

34

p
*>

23
45

23
45

pp
&

12

12
*?

34

45

43

43

21

21

23
45

43

21

^3

Gt.Gamba

mm

if
34

43

43

21

21

21

43

54

i
Ml

43

32
54

32

54

21

43

21

32
54

32
54

3
5

21

21

21

43

43

43

34

34

2
4

43

21

21

21

43

43

43

43

43

43

43

54
32

54
32

54
32

&*
32

-.

54
32

54
32

54

32

m
^
^

32
54

32
54

32
54

32
54

32
54

it
12

34
12

TT^
12

21

34

83

12

12

34

34

12

12

J?

13

12

3
1

34

34

12
34

45
23

f|

t=z
32

54

23

45

23

45

12

12

12

34

34

34

^.

45

45

45
23

23

23

F=f

'

32
54

4 3

e g g

iii

f
Sw.

21

18

21

Gt.

34

fr-

32

&.

34

a2

32
54

hands

Sw.Fls. 8', 4^
43
3

32
54

2
4

&

12

if P=8 &

1 | I 1

23

45

i
8

23

45

23

45

Sw. Ob.

54

54

21

21

simile

^=3

i E

tt

Ch.Clar.

gEg

fcg

21

54

*
21

54

I
.

..

simile

45

45

18

12

simile
/?N

P la

^ m m
2
5

12

45

simile

=*

_3_

45
23

34

12

;> *

32
3

43

2t

rP-g
1

21

43

0=8

B^*

gg

simile

P^

simile

32

54

simile
/T\

"77

^^
^^

0=3

2
simile

12

34

3
5

23
45

B=5=

TT^-T

z8z

Substitution in Sixths
Eac h hand separately, then both hands together.
;>4

21

54

simile

21

45

12

:*

:r

45
12

simile

J2

z:

rrs

TIL

9-

-9-

Z7
S\v.

Strings

n\

9-

-fl

-fl

-fl

21

54

21

54

12
45

simile

-PL*.

9=22

Z7

siviile

i S.

z
1*9

54

7?

9-

g-fcg

5
2

45

42-

12

J2
45

12

J2_

-fl-

-&-

22:

.m

2:

0-

J3zs

54

4,

=tZZi

21

54

r\
ee
$ O/T\

=3
1

IE

simile

S w.St rings

-9-

simile

g=kg

-9-

-0-

-<5

trn

fe

Z3
:

simile

IT

Gzz:

12

45

Substitution in Chords
Each hand separately, then both hands together

If
45

simile

9-

Trrr

Substitution in
Right hand

__

45

45

pg

Sw.Diap?

-ft

m
P

*i

fSHr

~4

4
2

Moving Parts

45
~-

J-h
J+ J
.

J4J
^J-U

JH-.J

Ti

22n

in!

p^ff

Gt.Diap.8', Gamba,F1.4'

-J

f
**

^
'6

'

^gp
45

=
J 4-]
J+J
JI

f-r
simile

^ inf k

21

simile

pj/

Ja j

fJf

heft

hand

Allegro
t

Left

simile

hand

Gt.Camba,8'

F1.4'

Right hand
Sw. s; 4'

Sw. Fls.

8,'

Andante

Substitution in Several Parts

4'

434

54
32

5 3

Andante
4

IPE

Gt.Diaps. 16;

ZZ

2iiO-i
5

5.

8'

m
3

%
5

NM

34

11

ZOI

12

mi P^P

XE
3

Allegretto
Sw. Strs. 8'
Sw.JStrs.

simile

4!>
.

simile

45

snr^

21

Ch.Fls. 8;4'

s^
^
2

12

12

21

45

Allegretto _

Sw. Full to Gt.

Gt. ie; 8; 4'

Alia breve

j
45

i;^y
^

rf

H
54

54

12

i^

^ ^
54

JtJJJ

Andante
Sw.Strs.8', 4'

45

12

45

12

21

22

-<5

22

22

ft
Gt.

Camba,

-4

-6

22

-<S>

XE

33X

21

54

2EE
1

21

23

23
45

-6

IT

F1.4'

iyr

=-H

22

54

34
12

43

45

HANDEL
45

45

45

-^

XT
1_

45

45

i_

I
XT

1_

!f

Gt.Diap.8'

21

hand only

I,e/7

MENDELSSOHN

Gt.Gemshorn,F1.4'

5
1

^2

f2

4ft

fe

12

fe

~5

2*

21

21

54
2

21

21

54
12

54
1

34

54

54

~,4

5V^4f5

4r,

46/45

J>^

21

13

=*S3f

45

4 54 54~~B4

54 54

54 54

Adagio
5
3

3
1

Sw.Ob.

Sw. Fls. 8; 4'

Gt.Gamba,

F1.4'

Adagio
Sw

23

-I

It*

fe

3
5

21

13

35

42

3
1

ft

21

fq

53

53

31

31

4*f

IP

31

45
^

*
tiP
12

2
4

a A-

:*=*

13

&453
5354
1-2
1-2

J
1

1*

34

35

1-2

124

IB
2

Jl*

10

:toGt
"

Gt'.' i (?,

sf4
Allegro

The Student should finger

the following pieces

CORELL1

Chorale Prelude
Moderato
Sw.

JL-

&WSW

Exception: Thirds so rapidly played that Substitution

is

impossible

11

Allegro moderate)
Gt

16',

8'and

Sw. Reeds 8'and 16'

s F
mp

efei
ace

i
f

"pr

\ ft

Qp

J.L-

jj|

12
Sw.
St*. 16', 8,

,^wm
m<,i444
$
M 4J B B B
5

354543
1.21 21

Gt. Diap. 8'

g!|g|j|

f ^gpjp

Hand

Substitution

Substitution of one hand for the other on single notes played legato, with separated chords.
Sw. Bd. 16', Strings 8; Fl. 4'

Andante con moto

i1 g

n*

gall

v~~j

&iT

i
y

t'-^i'i^
:E

ttjr

"^

p#^
4
j

5 at

so

IE

tf

Npi
"7*

^
r

e^esj
F

te
3=m

v -

r*

it

te rUg
p
J>

^^

Ji

i ."

V
7

pf

h
p

J>

p=*
.1

-Jt

1/^1

13

^V^

>JUf

if

^
J*

T v

S*

b
,

,,

7^

^M
r^F

2=EE!3I

r^

"^p

7 $i <

^j*

|4

j,M>rjM J, f
in

-^

ste^a=E^

iil c-

P###
*

ri'

cf^ Hf
#g

m
w

XI

for the other in

Chords

tvl

-y

www

=i

ff

Fi

g
Substitution of one

hand

4
5

Ch.
9
5 Flutes

2
3

Sw.

Ch.

Sw.

3
2

Ch.

fSI
2

Sw.

String-.s

3
2

&

fei

HR5
Sw

5
3

3
2

i
l

2
3
5

Ch.

Sw. Ch.

Sw.

14
Substitution of one
Ch.F1.8'

Adagic^

hand

for the other in sustained

chords

in involved

passages

SECTION
Pedal Alone.

Alternate Feet

Up and Down Movement

Play

with

first

left toe,

**jeJ

jjg

j
i

Ankle

Swell Diapason and Flute 4'

feg via j~n

\

2S
3

of the

then with right toe

Pedal Bourdon 16' Sw. to Ped.

i

15

II

pp?

Hr

ir

p$fe -&

'

/T\

Repeat the above exercises on other keys

Side to Side Movement of the

Right font
non legato

'^rrrnrrr rrrnrrr
i

J J

zg:

irrr

sign A
sign A
sign U
sign U

to be played with the toe of the right foot

it is

to

placed below a note indicates that

it

rr
A

lJ- J>J

it is

placed above a note indicates that

placed below a note indicates that
placed above a note indicates that

JiJ-j>ijjjjj*

IE

non legato

6
The
The
The
The

Ankle

r fi r
A

rJ

g^

it is

is

be played with the toe of the left foot

to be played with the heel of the right foot
to be played with the heel of the left foot

j, i>

j<

jjj jj

E=*

jj_

> j

Repeat the above exercise, beginning on each black and white key from

rJ

ir

jtj

S^to J=

ir j

16

^~f[J

r)

^P4

ft

|J

fcjJ

y< nJTTTT
J J'J

J J J J
"
r

TT

-A

rN

j r J

tj

r"^?
A

l;

'

31

^
r r

FO"

one note

r|jrjf|jf j

'

^m

^m

left foot repeating

p j

P-fiM

>7
^ ^bl
iTn
,sJ

Right foot moving,

jj
^

-W-

10

XE

Left foot moving, right foot repeating one note

11

r~

p^
On

" i

j"

IE

zz:

p^

the Black Keys: Right foot moving, left foot repeating one note

is^^g

mzm

p^
Thirds
simile

s ^V-U-"A

HP^cJ

l
l

sunt I

n Jin

17

Fourths

14

simile

A,

PP^ ^
simile

p^

Fifths
A

15

simile

/\

35|

J
i

simile

mm
A

A
A

i"

N'JJ'jJ

'J

'

II

Octaves
16

S^

simile

'

rjrijriri

r j

Sixths
A

17

simile

ft

krg'i/

*fe

Sevenths
A

18

na

r? r^

'

c^

cJ

cJ"

r?

cj

rj

r^

Various Intervals
A

19
9

^T^

^J

4N

ao

simile

J J
A

'

'

^^

simile

ji

r r r

J
i

rrru

r r r

18
A

2i:S

i^
A

^^

22

^^

simile

simile

y\

'^i
A

i^PPl

simile

^=^

23

i
A

24

simile

35=
# T
A

simile

JTW

25 -s*n

AA/\AAAAA
simile

03a
26^
frV
*/

zz:

ri

'

rv

''

LJ

el

27

>^ n

L_J

^
1

'

LJ

/1

rJ

--

J'

fcl 22

28ifc#t

^Z

-o-

221

X*_

J2

simile
rJ

&-

-JL
~tf

"Z7

v VvUu^'JJ^'i'iiJ i
'

t-

o-

zz.

rJ

zz:
zz:

IT
-fi>

*>

rt
1/

simile

^ ^a pp

3^

zz

zz:

l
l
1
H

19
A

simile

*=^ g

30

[x;

P
1

JTn

j^ jii

3i"^ye

jjijpiuj

f m f

m
Rhythms

Various Intervals in Different

Diap.8; F1.4', Ped.

Gt.

32

4 J -^

bJ

33
3

^"rl

34

r'nrrrrfr

i j r^
f^ri
ritfir
i

SS
IS

r^JNJJjJijJ^^

Lrr^'

d.

P^-y

it -&

*^*

J1S]

^jjj

f*
ggjgg

'Tj^r^ig

cTtlT r
i

si
87

2ZJ

JP] f^r=^

e^
r

tf

si i
^tt

-e-

fc

ym,f

fc^>

m w >4* m

*r*

36

pa J r

15

Ped.

16',8; Violone 16, Gt. to

simile

Bourdon

--

>Ati<;f

|J^

H# J

ifi

J d J

L^

SECTION IE
Manuals and Pedal

in Combination

Pedal part for Alternate feet only

Adjacent Notes

in the

Pedal Part

Moderato

XE

-S\v.

xe
3

Diap. 8

^tff

Ped.Bd.KKSw. to Ped.
A
Ll_A.
I

XE

xj:

-o-

*&Q=

XE

SSi

'3

5E^^

22

XE

Moderato

XE

22:

^
1

S
^IP
1

XE

^ ^S
J

eee2

Gt. Diap.

"T^

o
d

XE

4
2

4
2

XE

te

22

TT

T
tS^-

XE

<5>-

XE

<5>-

r=f

;5fc

42

34

22

<s>-

zz

54
21

22:

XE

k.

^E

ffff

XE

TO Frfr ^

JO.

Hh

XE

XE

XE

22

Bd. i; 8'

Andante
Ch. Flutes 8; 4'

SE

/>

t r? r
I

a
tab

2ZZa

53

K
-y-rj 3^

is

^_

^.

Pk
rs

Z_a^=&
Li

ftat

Pl^jB
A

Bd.l0;8'

21

Left hand; various intervals in the pedal

Lento
Left ha nd Gt. Diap.8

Z3E

&

%-

PL

| f j

1^

Pedal Bd.16; Gt.to Ped.

A

_A

A.

IT

Y^~K

'A

'A

&

3-

^r

S>

f
45

p
45

f r^^ i

i\

A_

A_

XE

A^^A

Adagio

* *
.S

-^

ft

\J

<<

m 4 m S m d *

-* J J J

-p tf 4/-1

4 ^"^""i
0.

._,..

~*~ f

LiiJ

#-

&
f

J # J * J

Andante
"IP

PffF

3g

as
^

ff

simile

N5-

S
3=13

mar
m

a.

22

Moderate
4

rrrrr
nh*
i

/\

tfr ir f r rrrf

sim tie

j j j

r^H rfrrrfrfit
43

i*;#
-^? r

r*

^i:^

a #

^ j

Jt

Allegretto

9#^

^sIT

p r r r r

'

r p

"^

*p*
EsL=

E-==^-=^

*f~

wm

J J
*

r I

fl

mw

^-

^tf rrry

g 1
1 |

Both hands; various intervals

in the pedal

-O-

Sw. Diap.

a.

m
j\

,/

I"

&-

&

Z2I

Bd. 16; SW. to Ped

rJ

-jh

i-

zz:

_c_
-XL.

r>

S
^^

/2_

izz:

-<9-

XE

-<s^-

n
:

Fi=^

)i-,

$
rrr

s P*P=

m.

JZ.

zz

A,

Ar

-A

xe

~xt

it

xe

zz

*-*

ZZ

--

XE
-6*

XE

P^

-^

&

^K

321

ZZ

m
jr-j

0b.FL4:

Gt.F1.8', 4'

E
j,

legato

-o-

^
i

XE

g^i

zz

Allegretto

s^

Ped. Bd.16,8'

J2.

XE

W*

i>

j j q

XE

A^iA

=*

zz

Cantabile
Sw.

XT
ZZ

zz

Q-

fcszat

P^P?

HI
A

_A

3:

-c
A

24

Allegretto
Sw. Fls. 8; 4'
Pod. Hd. !(>' Sw.toPed.

<"

O
Sw,

r^

-o^

42.

2S

S
#E &
<

B
:e

FfT

^r

o~

IT

zz:

-o-

Xir

TH

XT

TT

31

r-fr

XE

-o-

A
A

i
1-*
p

25

Thirds in the Pedal Part

IS

zz:

t32

J.

J J J

&

lj^

Fourths in the Pedal Part

p jJp

gp^g

&

Ar J J

zz

<g

rv
zz:

^ ^

^^

Fifths in the Pedal Part

g5

S
H

j^H J*^

:?? err

1
i

J^r

-&

gUgl

P^i

5T

Sixths in the Pedal Part

26

rr

S f ^ wm
3

rfcrrrcri.^r

Pr^
i

*f ff.

^ ^

a^

Sevenths

i
in the

lH

ZZ

4*

cr rrrrrr pp
r
i

rr

=Ff

Pedal Part

^P=S

N^

?^=ife

smm

fe^
#

p^i

Octaves in the Pedal Part

fj

&

3S

P P^

-in

^^f^

m
k.

3T

e*e

1=6 i

*=P=

27
Diapasons

8',

16; Pedal 16', 8; Gt. to

Allegro

^
$ r

=E^

zr

f
i

IT

721

XE

itm

frF

Mm

-9
zz

34

Pedal

ft

>E

=&=*
Pr

-6>-

^1

21

3
S

i
"

I J #

_j

Z^rjiiij

28

Allegro

^ S=
a

9^^

XT

fi

*:

f m

S
A

fcS

3
A

simile

simile

^
XT
!

a e * e

9S*^1
K

S^QB

^^
#
^^

'

g d i

i*~a

*S

^O-

sxr

SE

j|

T
|J

3?

4ft

ZZ

I
|S
a.

:&

*
T

-fi-

zz

T
P*

^^

00-

i
BE

3^

si

^r

29

2:

Mr

r~t

2 f

s
^

Trio

Adagio

SCHNEIDER

Ch. Clar., Ch. to Ch. 16'

IP
I

^ gps

-*j

^^

CJrr

T3

^fe IP

SECTION IV

30

Pedal Alone
Sw. Flutes

8',

Heel and Toe

4'

Ped.Bd.16,'8; Sw. to Ped.

Legato
(a)

SI
(e

y ,A

\j

(c)

(b)

9-0

V-+

bat

2t

^y-r 1

m^
u

(g) r

(f>

"

bJ J

3X
u

u
A

(J

(h)
ff
i i

ii

77

&

*?

gS

* *

**

U
A

gg

A
<

U
A

5=

(i)A

a"^u

A
:

ev-

<J)

^^
A

Sgaa

ff

xs:

A^-y

<e,

(i)

EO-

(h)

rflrg

^fc

* o-

-#

ff^F*
A

&

iS
u

si ^^TjJ"

ff)

ft

<B)u

(d)

/y

-PO-

'-

U*A

* *
U

Jg

31

U n

UAU

AU

UA

U
simile

A
u
u^U

uAu

UAU
A

4^-tJ

s
A

u
~zL

IT
U
A

m
u
-J2L

27.

77

u
A
-Q-

zzz:

fi>-

-&

zt

m
U

19-

CL

-&

6-

77"

2Z

HSh

fit

-jz.

f^

32
u

A
i

y err r E=^

^
U

*
u_A

11W-

U
u

"S

A
A

^^ P
A

'u

H9-

2z:

fe?
U

u
u

n
i

I
Tu

s
j\

u
A

uju

A
0-

:zz

'F^ni

U
A

i
A

"^r.r'

3CE

^Xtf^ I

*=sJ

-#

U *

AiL_A

JCC

4
A

^fpf

"

U^A
A

fc

PE
u

33

^ittiiHj
ft

-o

r~U"

^^j ^T?JiiJ
I

rr Piritrrl Ci

ffi

I"

AU

uA

^ ff rr
u

*g|

p
S

j
A

Htt i

i ji,j j j

'
U
?A
ff

jj

n
A

i,

j j j j

jj j

aj

j j

3^
U

j j j

iiUUu^u^
A

34
u

^m

PPI
'U

ms

==*=

5E
u

p r

frr

'

J. * #
U

.tt.

* *

''P^JbJ JiJJgH
U

*i

m'
p- *-p-

-^-f

-'-+--
-

m f

-*

-
-J

'

*_=_.
*

*=F

^J^I^^J Jl^

'

s auauau
T

'

Ti

T uA
u
A

*J

J J J J J J J J

_ _
J

:u

A
a

p-

Z
u
uAuAu

* J J

AUu

Jj

J J J J J
:

3 t
A

J J

'
1

^-*

Auu
A

^
^V

=
^3 Rg&
W
A

"

l^:*^

==

AJi

*..

Au

yrf f
"*

UAUAUAUAU

^^^^^^^g
U

^UA

_|

JJI^JJJIJJ

Pil

**-

p:g

k
A

7.

A
A

U
u

T.
u

J J J J

<d=*

^^

y-f^JJJJJjJJjj J g

jj iJi

JJriUi

35
U

^rrrrt_

e^Yrrft st

^^jffl^

y^

3
e^
f'BBJg
Jffl
griCEE
yJ3B
iEc
c
A

AuAu
U

U tt A

3=q

=*=*

36

^^m
u

-6>-

-&-

1CT4

ZZ2I

zst

22:

s
u

u^

ii

IA

^f-4f

u^

Mr

gg#
A

Jj
U

u
U

'A

C, U
jJJj ir^rrr |JJJ
u
U
u

J
A
'a

A
A.

'

A_u_A

'

'

P=p

rirr

A^xu

gw-

A^

"u

u^-A

^A

32:

i
u

y_
^2:

_u
u

^A
A

t^

'

^X

'?1
r

'

'

mmmm
a

,.

^-

?Si
A

1
u

p*

#
A

-..A

tf

A
/\

^^=g

&

_u"

ua
"

vg
u

37

Ten Themes from Bach

A

c)

d)

Pw7T

-^T

A^^u

22:

g)

^
i)

S^

i'

g r

B-A-C-H
A

ri

1 hiUl

3:

A
**

^u

U>A
u^r

-o-

f9-

"U

A_U

zz

IU

fc

the initials of Bach's name:

h)

On

P
9:

'Tr

u
u

iQ

-o-

Sequential passage in both music and pedalling.

s
J)

\,

A~^L
A

^
U

s:

H\y

5
U

S
^
U

ISC

38

SECTION

Manuals Alone
LEGATO PLAYING
'a)

Thumb and

finger glissando.

(b)

Crossing the longer fingers over the shorter.

Thumb

Glissando

Maintain a perfect legato throughout the following exercises.

Each hand separately, then both together, in all keys.
Soft

Stops

8'

0-

i.

.i

fe

Right hand
45

45

45

45

45

45

54

54
54

54

54

54

rz.

45

71

t>

5
3

t?
3
*-

2
23

45

23

45
45

45

54

45

45
23

54

45
23

54

32

54
32

23

W_

54
32

54

54

g
32

32

54

i
:

1
Left

!5L
EC

/ia>irf

IQ

45

S^
5

45
45

54

54

54

54

54

54

45

45
45

45

54
*J

54

54

**

54

IS

23

45

23

45

23

45

23

45

f23
45

f
I

23

45

32
6-4

32

s
5

39
Both hands
5

45

;>
1

be^*

45

45

45
"1

2-

21

5*

*^5

45

45

45

22

-&

11-

1, 1

*r73.

27

45

4*5

45

i=f=

a-

22

21

-<9

1^
54

54

54

Thumb

2^

&.
21

21

22

-fi

T2

54

54

54

54

glissando

t
*_j!1

<2-

2-

Finger Glissando

a:

54
1

54,

-G

^T7~2

21

54,

54
1

/2_

Chromatic Scale, legato

1-1

L.

UL

54

-<2_

&-

^15rm

54,

22
2:

*5_^45

40

|-~1

'

*>

-4

65

ii

Ffi ^
5

im

1
1~1

ff

5^5

1^1

1^1

5^5

5-^5

m
1.

11

is
'

wm^

4'

5^

Chords Glissando
3"_T3
2'
"2

n4 i
rff-f -^

4
5'

H-p-z

**?&

^5

3^T3

^-#jft

2^23
3^^

J^f

i?fe*
l^
1

41

54

54 5^
32 32

5Jt

32

32

3 2

:4

32

45
23

*-6

23

Efe? i ^r

*J
23

ff-

4~5

45

23

23

-0-

5
I
23

3
5

C3

2.3

45

45

2~3

45

*=*
r~*
23
23

23
45

45

45

32
32
^

32
54

54

3 2

32
54

54

32
54

5
5

3
2

a)

b)

IBi

a3=

w
fpfc

s5pp

*J@J
2

2
3
5

3
5

Varied Applications of Glissando

5,

4,

34

5,

iE^i m

34 5

J J J J

IPf=f

TTT

34

34

34

^nnr^

Gt.

^
r;

5.

XJC

Gt.

J.

IT

Sw.

9tf

XT

fff?

zz:

xs:

!*
BE

f*

*u^ P#I

O^

^m
-e-

42

8' 4'

S\v. Strs
i>-

O-

ll

2
<5^

(5T

<5^

45

zz
I.

Wi

o
s

ABT VOGLRR

m
3

45

43

45

*H

-48

fri

HI

-24

-O

2*-

**s

^-

5
-8-

4S

--

XE

33:

2^

43-

rT

io- 77

54

54

21
5

f r

Pi

0-

45
42-

45

c
^^

12

45

r-

221

f~T

~2~

43

The student should mark

the fingering,

registration and expression in the following number.

^^ fei

Con moto
11

]LJ.

>

tt

6>-

^F

r*r

-&

2:

i!

^
P^

^^

-fw

^=T
rr.

^$
3

WF

i
r

i_iM

#Ff
i

1
t^is3

XE

test

Z2Z

I.

J=:

22

-J
flj

jfiL

|#j

2Z

ftp

F
J

32:

zz:

n=j^
i

-U

r~4-

I^t

22

ss

u4

j j

22:

rr3

--

^4

22

-6*

22

P<

Z2

22

JflJ

n^

1 i**
H

jce

4d!i*

WX-

22

o^

^EC

w^

--

r
afcdafc

XE

-o-

XT
<J

44

Crossing the longer fingers over the shorter

Left

hand

1. 1

-j,

5.

5.

4 3

.4

:_jjl

3
d

o
d

?
2

XE

xe
4

'

3E^

*E

i^M

^s

52

2
4

^bfei
XE

rrr

'

'4

CWF
'3

^
TV

XE

3
3

a
4

'.

a
4

45
I

J-

Xfl

F^
4

s
W

ite

F^TI? if
XE

-o-

^N^
PI fFfff? rr

XE
XE

12

luUJ ^4hi

y^

^q

-O-

-TTTTr

XE

XE

--

s .U^

J^J U-^

^
s

XE

upppp
m^

Pi

jjj
|

'

xe
1

j
i

5*.

'4

^U Udd k^M
14

35

53

2H

45

^4

^^
fefW
^^
r^

a j

43

Pi

3-

rrf

fh^=#
F t

IXjLji

'

rrrr

'r

V
r

jjj

H
p,| j.
i

Ml 4

r-

jjp

Eli

r=r

J
J

46

The student should mark the fingering, registration and expression

Hi

L$L^
IE

XE

te

SB

.;

f r
ggj

3
r

mr

S3i

&

'

zr

fti

akfeUy

fa

ni

^
o

te=
r-^r

.U

ri^

*-

.*

r r f

^^

^
ft

J.

^ii

*
*k
mp

rrr

^
i

fej

-&

zz:

^ *
Wi
j bJ
JtfJ

f $r~T~^

-&

i 4

two pieces.

in the following

riff rr

c^-

rry
ri

XE

r
XE

rr Ww
--

^
^ PP f#

tj-

XE

S ^

XE

i
fp

XE

XE

^Hfp
XE

8="
IfTx

W
XE

XE

^O-

XE
XE

XE

47

SECTION VI
Manuals and Pedal

in Combination

Pedal part for heel and toe

CANON

Moderate*

Sw. Cornopean

Gt.Diap.

w&*

8'

Ped.Bd.16;

Fl. 8'

CANON
Allegretto

Gt. Flute

?m

i
Ped.Ged.,Gamba

10',

^m

8'

Sw.Oboe

81

&-

U-A

s
A-4!

U
A

U A U

48
Gt. Diaps.16; 8; 4'

Ped.Diaps.16; 8; Gt.to Ped.

s M
^
^

zr

Gt.

--*-

^r

^gr

0-

-^

zz:

Z2I

"2?

Sw. Flues 8 ',4' Oboe, Sw.to Gt,

Gt.Diaps.8', Fls.8',4'

Ped.Diap.II,Gt.and Sw.to Ped

Con moto

XE
u

--

0221
2*

^9

m *

izz:

(9-

^51

f9-

x>

49

^r

rrr

xc

eA

kzz:

IS
U

U,

A.

*
U

--

&*-

-o-

3pP

feT

UA

Sw. Full,S\v.toGt.
Gt. Flues 8;4'
Ped. Flues 16; 8; Gt.and Sw.to Ped.

4
f

Gt.

i
A

i y
A

"a

so

op

^^ m

O-

351

r
i
A

Moderato

31

JE ^

"'

-o=

"^3
J->J

3X

zzm

2Z
-o-

45

Full Org-an

a.

fc-

x*_

ate
U

nt

J J j

t
u

p-m-m

J3
g

\&

XI.

si

Xl_

5
2

(2D

J
XE

A_

jttij
U

P^

_C2

u
ll

.
*>3

>

4)

XT.

%
A

"

21

5)

XE

(4

_Q_

M
i

fe3
P

t
(5

m
i

*
A

51

Gt.Diaps.16', 8; Oct. 4', Fifteenth 2'

Ped.Diaps.l6;8',Gt.to Ped.

&Q

Moderato

IIIes

<

Gt.

,!>#

^^

iB

=^^^
A

^ rr~t

^^
A

A
,

EE^E

Allegro

_L
:n:

52
Sw. Full, S\v. to Sw. 4'

Ped. All Flue?, Sw. to Fed. 8; 4'

fen.

=4=4
f

S=l

51

j;

fr

d:

<5>r

i
u

t
u

s^ip

.1

n p

?
A

E WJI3

is

/T

t?\

j.

^
o

%
U

ErvT* 5

Ch. Full

1'fd.Diap.II, Bris.

Moderato

16,'

8;

Ch.to Ped

*=*

^^

8=
r\

0-<\

>

=H J J
1

^T~~3^^"I ~^

53

s^
u^u

Sw. Full, to Gt.

GtFlues16;8;4'
Ped.FulUo Gt.and Sw.

From Sonata

Au

MENDELSSOHN

Sw.

fo-

Allegro assai vivace

Gt.

8' =

^
J

54

Postlude
M.

Cresc. Ped. on

HILARION ESLAVA
(1S07-1S7U)

Allegro moderato

12

r
965

XE

f
xe
IE

IE

XT

J=J=
XE

rr PP
P Pi

2=3

mg
K

#&

PP

Add ^z Pedal or Piston

o
(J

xe

^
XE

3H

*sa

fe

XE

EEk

XE

>y

ife

fi

j-

Pp

**

J
tl

XE

XE

J:

-o^

XE

XE

f*

=E=5f5

gEEE

15^-

IT

t,J

^^
i-

i>

'La

Ikfc=g:

P
*f

y-

^O

h.

55

a i
=g=&

_o_

-o-

n=^
^

xc

ZEE

*/

Sw. Viole d'Orchestre, Celeste,

Ch. Geig^en Principal (Diap.)
Fed. Bd.16; Sw. to Ped.

S\v.

to Ch.

Elevation

ALEXANDRE GUILMANT

^
f=f

Adagio

ism.

Sw#

rp

rrr

p^^mf

HE

zz

IE
u

rf?

^T"

3^

rr=p

ff>T?T
XT

2Z

f
A

56

pm

jN#^
r^r

gi

IS

&
r^=t

P
^
-6*

^
^

=2

P^

###
^drc

J-

F^f

1^^^

I-

<//#*.

cresc.

PP33

3^3

if

mm
A

mm
m
m

r=*t
r

Sw.Vox Humana, Spitz

Vox Angelica, Sw.

Ch.Ued.
Ped Bd.

57

Adagio

Fl.,

to C'h

CESAR FRANCK

1632,'

Gamba

16; Ged.

16; 8'

&

Adagio

1
ch.

F^W

tr

*m
s

L i

poco

cresc.

O:
5
f^^r

*S^
--

ix

j^o

58

Jr=^

fifi

^
&7

u
i*
f

^
u

s
*

if ;

i i
^

rrri

s
A

JT
E

Can zona

59

FRESCOBALDI
(15&3

Full Org-an

MANUAD

PEDAL

1644)

60

Chorale Prelude
On The Ancient Christmas Carol

Sw. 0b.,F1.4; (Sw.to Sw.

16')

"IN

Gt. Clarabella, Fl. 4'

DUL CI JUBILO"

Ch. Dul. Geig-en Principal

(Ch. to Ch. 4')
Ped. Dul. 16; Gedl6; 8'
(For a two manual organ
Substitute Gt. for Ch. throughout)

J.S.BACH
(1685 -1750)

Edited by
Clarence Dickinson

Allegretto pastorale
Sw.
JZ.

22:

-&-

:ttat I
MANUAL

p
PEDAL

39

"Z?

pff^

-&

-Or2-

et*-

Wi
-&i

tf-

-o-

f^

'I

-e^-

^H

fi f

-e*-1-

zz:

^i iP^i

li

s^
g

-O^:

-o-*-

3X

ijui^i
-o-1-

-et*-

# tempo

-o-

31

-o=-

ritar dando

JjJiJU

m>

^W

^
Historical Recital Series

eeN9 30

Copyright, 1921, by The

pe

H.W. Gray

Co.

-ee-

61

xr

n^

PP w
^

-O^r

Sw.

a tempo

Add Pedal

r~

i
-et 1

fi

--

-oe-

I ilijii

5s ^
f~

fW|?

-e-*-

Fag-.16'

^r

--

ls

62

XX

Or r r r

XE

* IX

XE

:#=?=

s:

I ix

XT

-&

--

IXX

ff^S P^?
S
XT.

**1,

XT

JTT77J

63
S\v.

(Gt. if

second ending-

used)

is

Vide Ossia
--=-

$o:

f>Tl.

-o-

-<S^

mp
rail.

a tempo
Ch.

1*33

22

^
Add Pedal

sr

s*
f

vf $

Fag-. 16'

mp

^r
3CE

IT

-O^

P
rallentando

P^

-e-*-

-e

&

i>

i
Pedal

Fag-, off

-e^-

iae

i>

OSSIA
Z/^

4-4~

"^

2-2

rallentando

Gt.
~^r

zz

ip

IP

--*-

2 i

XT

P ^

Ipf FfP

FP

^
tf

64

SECTION VII
Part - Playing
Harmonic and Polyphonic

Hymns and

Chorales

Dividing the Inner Parts between the Hands

Chorale:

"In

Deep Distress on Thee

CalF
PAUL HOFHAIMER

w
p

S\v.

.,

#^-

Soft

8,'

u J

W
J JJJ

4^

^T\

XX

V^

rj

J ^

f=ff

O
f^PpP

o-

W^

J-

IE

\y

*FpfFf
XE

Li

^^

/T\

n p

FF FFFfr

WP
I i rrr

4'

fg=

(1459.1537)

/Tn

i
#^fF

XE

^m

/^

/TN

22

r r
XE
XE

=^

* Allegretto
sempre legato

*^r-

O-

r~

\y

_^s

pp

,j

Is

fFf

\y

*)

Reprinted from The Organ 'by W. G. Alcock,by permission of Novello and Company, Ltd.

ALCOCK

65

_
f
I

Ig'tt

3^

//

tempo

5j

j-^tj

Lcnrf"

f
F

66

Chorale Prelude

Sw. 16; 8; \\ Sw. to Gt

Gt. Flues 8;4'

Moderate)

Our Father in Heaven"

j.

s.

BACH

67

Repeated Notes
When

a note

repeated immediately in the same part play each note separately; when
See Part I, Chapter IV.

is

part, tie them.

Thus, play

#^
r
.s

?^

follows:1

(',

Hi
jl hi
rrr

JV/J J==f

n?

It

fH^fi
r

in a different

Chorale

IS8

Gt.

Foundation Stops

sw. Soft s;

Gt

4',

"All

4'

8',

Men Must Die"

Sw. to Gt.

Soft 8'

lVd.Bd.16; Gamba 16; Sw.and Gt.to Ped.

^Andant e con

Ui

m oto

nTTn^J

rrr

g^
^^

ALCOCK

J^

tTi JtJ^B=^

or TT

Gt.

$
y

R*print*d

/y

from ''The Organ by W. G. Alcork.by permission of Novello and Company, Ltd.

'

1
* ?

r
1

rr

<>9

Ig

p~

r PP r

v^rr

"r

^^

If

ss ff^
fn^pp
^

Lt^p

ppni

5S

IZ2

Gt.to Ped.in

rit.

a tempo

i 3S

fTr
s 1
^XK

"r

Br
^C?fT
'

^^
rr
I

Gt
A

s$

a
==
ir I

k~^
-^c

^faj
Gt.toPed.

y
a

O^T

^-

||j| g

ra$

iy
z

j i

if

zs

^
j

t?

as

s-^

q-t

r^J
f

J
I

r>

Lrf^ t f

-^cr

Sw.

j-^j.

&*-

l^FF
Gt. to Ped. off

/Cn

70
Sw. Full, Svv.toGt.

Gt.Diaps.8;
Ped Flues HV,

Fls. 8;

Prelude and Fugue

4'

Sw. to Ped., Gt.to Ped.

8;

Cresc. Ped. on

The phrasing should be marked by the

Con

spirito

rJ-

J5

HANDEL

student.

^nU

^%-ftr^
Ped.f"

Man.

f=*=T
Ped.

Fugue
The phrasing of all parts should be marked by the student according
Allegro moderato
Sw.

sy

i
Cresc.Pod.off

Sg

to the principles of Part-playing.

^4

^ ^ ^
a^t!

I
I

f=*=r

^
^

sU

31J

tt

^ ^^^

^^

mai

^fm
m\ m

^^

i
i

p*

^^
i
1

^&

1=2 J

ii jjraUI

s ^
i

&

P^

p^

^m
^3

72

^UUU-J

u
IN
s PP
?

p^

Gt.

fix

J_i

3=2
Cresc. Ped. on

fe

nfe* s^
J

ii i

J
i

m ffr f f^ fTT ^
i-J

*y=i
1

3srir

ft

fj.

Adagio

Wm

m
-6-

-&-

73
Svv.

Chorale

Sw. to Gt.

Sirs.,

Gt. Soft 16; 8'

Ped. Bd. 32; 16;

We Are Here"

"Blessed Jesu,

8'

^ r=rr ^

Molto moderato

1
T=F

tfJ"

*ur Tr

rrVr

r -T

^^^ s^

BACH

eerier r

9#^

S.

FT

Gt.

J.

p^P?i
J

LJ"

&?

Jp =3=*

.HJ

TWf

r^
Sw.

E&tEJ

sfe

XE

err

^*

Gt.

sim

X2A

ea-r

si

-t

it

m
Au

74

Hymn -Playing
my SouV

"Rejoice Greatly

Harmonized by

J.S.BACH

Played on the manuals only

a)

&X3

"O"

Z7

32

22

32

P^V

ST

If

TI7

O-

S\v.

Flues S\ 4

IS
*

*H>

zzz

& S
J

b)

i
i

4>I

--

^
f

ZEE
--

zz

=g^

jO_

-Or

^y
-B

JO:

-o*

ffi

li

&&

^-i#

i ^-

T^

si

72Z

(9-

Xfc_

P~

H
_Q_

i
a*

--

'

>

Li

-o-

fey
^ P m sf ^
SEi'

-6*

^r

f^

=&

Hi;

~&TTT

fw

=8
f

&

J.

zz:

-O^-

fTff
J U

^^

^^
TXT
Sll

-O^

Played on manual and pedal

22

~o-

Xf

Z7

"O

<9-

ZEE

Z7

frf

~Ol>

W=^ ^

_Q_

IE

o "

fJ

-0s
TFT
-

Gt.Diaps

gdi

_Q_
*.

i'

jj

X2.

"Si

Jtt;

&

IE

31
16'

>

S',Gt.

coupled

fe^

-o^-

>

zz:

p ?

^^

75

m
m

pf

32

ZZ

IT
XV

ZZ

c)

X*

IE
xv

--

SE

$1

zz:

XV

-e1

22

XV^

^y

XE

xe

XE

XE

rr

&-

jg

&IE

o-

ii

XE

-6>

different manuals

X*

ZZ -0- P_

rwr
P=0

f3

Played on two

XV^

XE

am;iIZ3E=Zi:

x+

a-

xv

zz

gpil

Tl~

Fff

XV-

and pedals; the melody treated as solo

Gt.Diap.

xv

xv

Sw. Flues

9j3
25Z

zz

8',

xv

XT

-6*

XV

ZZ

xv
XT

xv-

4, Sw. to Gt.
9-

9- te.

XE

xv

=3

^r

Bd.16; Sw.to Ped

U
553;

-&

XE

-<9-

xv

xv

zz

xe

zz

zz

-&- zz-fg-

XVXE~

XV

zz

JTT f

rr

<9

ZZ

ZZ

xv

xf

XV
XE

xf?

19-

zz

19-

XV
XT
U

SIT

XE

XV*

zz=:

f
A

-6>-

XV-

zz

T
A

xv 9=g =
ZZ

XE

XV-

XV

rfr
XE

XE

xv

VTu

19-

xv^

^^

- :

ZZ

XE

xv

zz

XE

xe

zz

zzz^
u

XT-

XE

<9f*

-<9

xv-

pp^f

XE

XV-

xv^

#r

& ~ZEL i=i

XV-

uT

XE

XE

XE
u

zz-e-

xr

XEC

XV

xv^

3ZZZ

r r

o J a

XV
XV-

76

Part -Playing in Hymns.

W.
'"Eventide," as written

mm

-#

"T"
A

zm
i

t
:z

me

bide with

zz:

zn

-o-

Lord,

ens,

f
with

me

bS

fail,

and

'

com-forts

When

---

ZEE

Help

flee,

of

the

help-less,

&

oth

help

er

dark- ness

ers

jz.

TO

i
a

jfl

The

tide,

bide;

#k

en

IT

ev

the

IS

BE
i

falls

3:

deep

Fast

H.MONK

bide

=0

--

with

me.

f=

played:

,s

3
f

^S3
32

''I.

s He
k fek'l>

JqJ

P^
J

f
>

J^7

^E

t^

Jh

ila

f
A

2b

H^?

i *

^
r

il

m 1

jr<

^
r=

J:
ZZI

f=Ff

-O-

i
r

77

Sun of my

Soul.

W.H.MONK
"Hursley"

written as follows:

is

wm
Sun

of

my

si

r,
soul,

if

Sa

Thou

i
i

Thou_

be

near;

1
F*
may

no

To

rise

hide

Thee

^f
rom

im

7
-

born

ZZ

f
ser

vant's

eves.

72L

Played as follows:

NiPl

earth

*:

Thy

UL

not

9-

is

BJ

-^
a

It

j.

22

cloud

viour

* 3

dear,

it

S
night

p=^=f

g
^

it

o
^s^

ii
5

f
i>,

i>7

s:

J7

i> 7
is:

32:

'

IS

^^
f-^-f-^-f^-

p^^P
J-

fe

I FFT r

^^

<-

W
2Z

section vm

78

Pedal Scales
Pedal Alone
Pedal with Manuals

a)
b)

Pedal Glissando

K~\

ft

33:

:s JaJ

'VA

A-A u A-A

^ilR wJJiiJ

p ly h

L
U
A

"ulUl

ffliiifw^*^a^
aJziLj^JU

te
n^-rA

\>f>{

:1a*

U A

iTrw pI>*j>

f r ft* r

f
A

"A

irr^

"CJ

'

^rTfr mi Js

a7~a,

[]

][

ij-J
A

]j

*-*-*
u

^
u.

fwwP
A-A

The Major Scales for Pedal

A

UJ u

toil^ra

Si!

^^^l^^^^l^^JT^^

79

U^

1*#

U a

U A

|:JS
U

Au

U /Vu

g^pq
U

AU

B&i

7"

teJi

A
A

<

7u

U
A

Ay
A

^m
/T\

80

_Vn
"""

A-A

AUAUA-A

JJH

UA

uA

J{

uA

ii^Minri'iLujii
A

U
u

u
U

^
i

A
A

A^A
A-A

n^Mi--j^^fl rrrry3iJ
U

a-A

The student should

fil

k-

JJj

=ra

'

out the exercise on each scale according to the plan of those preceding.
A

A-

^^

_^_

E
A

Pp^

UA-a

A
L

The Harmonic Minor Scales

'

i m
A

"

Pf

uA
"3

WJ

4
u

m
u

"

J
r
U

K
K

PI ir

iJ
Jt=\

^*
r

4
U

ytjTi

J
u

-^

>r

pp

3=
u

^fW
^aj

AH
*
U

"r

f
A

5^*

ti
U

J
u
U

r
\

y "jiJ
UNj 'Ju
u

j
,
A

"

J
r

XT

Ipim
A

31
A

FPPP

-o-

.A

TT

^Pfp
A

A^

'

^
^

'

I
u

*Trp

'

Pi^

gfl

u
):jLft,

'u

^yijj

^i

N^H

fi"

1
u

ggfp

81

for Pedal

'

i
A

82

The Melodic Minor Scales

,U

A
\j
\

zg

"

,A

u
W-

w
u

^g^

^^^1

;!r#
>'

>

if

tr

:.

fa

^m
u

f&BS
SS

fli

,U

=M

^m

^
^

MJk^
f
k

^ MH4
Eg 5 J
:

<^

m
i

V tM
fcfc

A-

'A

'-^^^
A

sg r

= p
A

r
A

fa?

Ipi

it

j^
A

A
i

i^l

^m
i^
^m
1^

5Tin
u

u
A

A
A

A
A

y m

ML

jg

*=*

^^

,/

for Pedal

1
^3

II

11

%A

^-j
u

83

Scales played with one foot

n
* "

y ^lMjjlJJ^rlrrjJIJjjj

uA

fJTu

**
U

j\

rrnirrr
UAUAUAUA UAua

(1

.,

A f f*#-JJ

UA

j gi

Au7^

AU Au

"

^mm

Scales running two Octaves

a)

Major Scales running two Octaves

AuAuAU^UAuAuAU

A
A

35

SI

AA

7y
b)

J J
j j J

AUA

fl

uA

A'UA

frffff

rrr

r r r

",.***,-."

rr
A

"

'

AA

AU

AuA
A

"

"

^ 5
A

A^T

iHl

A_A

e=d

SSE5

rpr

r r r

j jE
U

^N
U

Minor Scales running two Octaves

AUA

JJ
J^
jj
w
A

as

''^

jj

'

u
U

u
A

ig ^jfU

hrf^fr

rrrr

ii

m^
A

A
A

u
A

TA

-m 3:

l\

84

3G^6?

A-A

TO

i
A

A-A

m
A

*^fe"-

"

U B

iii

^^

|\

r#r*!JJjJf
W *
^U
A

**&*#*

5
=
U
A

Hii

Scale passages
U

The pedalling

of the following should be

OB

?m^

simile

SS

marked by the

student.

^m

^^^^e ^^
^V"J^

j J

i^

pm

tC^r^ ^JTTjl
l

>

85
Sw; Diapasons
Ped: Violone,Bd.l6;

8',

Allegretto

5,

J J J

<

!*fs
W\F
XE

xe

XE

XE

/*.

t*
A

A^U

=?

A-A

JLJbkjMl

&P=P

XE

XE

S:

XE
,

xt
^..

XE

!*

XE1

XL

^ H

u
5

hk

3^

fe==i

35^

yj

XE

SB Uk

XT
U

^,a

UUd

XT

J J

A^A

-o~

XI

XE

fe i

tc

Si3$

XT

77
A

S P
A

86
Sw.

Bd.

16',

Strs, Sw. to Sw.

16',

Diap. II, Fl's,8;4'

Ped. Diap. II, Violone 16,' Bd.

Sw.to Gt.16, 8

Gt.

16', 8',

Sw. to Ped.

Moderate)
Sw.

Mr-^
B
Bq

fi:

Gt.

i*

wi, b r f

X*_

Sw.-e-

fc^E
SB
Gt.

(&

gfcte nn

99$^

P
S

jg^

gp3*

Allegretto
Sw. Ob

ft

jgB

3H

i*-*

Eat

Con fuoco

^e

^#fs

is

3X

JQI

^^

re

ril

| toE p#
3f&*
?

Mkm-P
n
m mi

E igp*

87
Sw: Foundation Stops 8^4'
Gt

Diap.

Pedal:

8',

Sw. to Gt.

Bd. 16; 8; Sw.toPed.

Chromatic Scale

Andante

88

Chorale

What

"Ah!

^E

Poor Sinner, do? M

g i^

^
r

i,j

'^-CJ*

/T\

^
*=f

i^

?qrg

s=s=

&EEEJ5

/Tv

:zz:

^
j

I,

/TN

*
i

shall

-o

<

J2_

jO

fhlt

*n

epp
Prom Sonata IV
Pedal Scale

Allegro maestoso e vivace

Full Or^an

BEE

i ;# r=s

fe
U

s
#

^^

3=f

#'
Ek

^a

PW

fes*

MENDELSSOHN

A
k.

f=5

E^

IP

iTlh

*=

^^

fiL
.\.

ElEEEEEEEjE

^^

3=1
A

TT

89

SECTION IX
Manipulation of the Swell Pedal
m

,>
cZ
A'JU
ru to ru
Ch. it
Unda
Maris, Ch.
Ch.4
Ped. Ged. 16,8'
-

DICKINSON

Balancing
Two Swell. Pedals
FROM "REVERIE"

Sw.

M> B
EEg

1?

P
Ch.

M>
I

1 '
P 3B

22

J00C0

,'f f f f

^B

ff 'f?

f f f f

/*#/

Hf

T5"
A

St. Cecilia Series N<2 79

Sw. Cornopean

Copyright, 1917, by The

H.W. Gray

Adagio
~

Co.

MENDELSSOHN
Ped Bd"i 6- Vio.one 16;
Sustained melody in left hand, legato thirds and sixths in right hand, and staccato pedal.
Adagio legato molto

90

>

7\, p

J)i

j v

^i

y ^m
J)

hv

^^

SECTION X

91

Touches Other than Legato

MARCATO
(a) SEMI-DETACHED (b)
Semi-detached Touch
Sw. Strs.
Gt. Flute 8

*h 1

dolce
sw.

8',

Flutes 8; 4; Sw. to Gt.

r"

j?r
T"

'

jrjisp

^SB
?

calando

calando

ORA PRO NOBIS

92

Sw. Bd 16', Unda Maris, Solo Mix.Trem.

Ch. Concert Fl 8'
Ped. Dul 16'

The melody was brought

FRANZ LISZT

to Liszt

Edited by

from Jerusalem.

Clarence Dickinson

dolctssimo

Lento

pietoso

Ch.*

^mwm

* **rip!
Ch.

^^

3E*

Pp

dim.

ten.

^m

IP^N

Pi ?

*
*

IS
sempre dolctssimo
2

^BP

3=3

Add Ob.

>

Ch

to Sw.

espressivo

WJPff

jfe^
1 g
:

(J

'p

rf

*^fe

Sw.

SB

l?p

fcp
espressivo

Historical Recital Series N.35

Copyright, 1921, by The

H.W.Gray A

Co.

fa

93

Add Quintadena

Add

Strs.

rr
Add

fe#
t

m ^W i&

gig fJTSj-^pi

TOp

a
^8 *
S^T
JPCh.

!
?
Jr

4
f

Jttft

Fl 8' Ch,

&s ^^ g

rjl,

ff

^
e

Man

r-F

^f^T

r^r

k
v

p 5 n

94

k{2 J7

i_

j^ w?& jooco valient.

i
*

yl,

J jj

I ^P
|

cr

A
JSa?? lajj
^iJPJl ^M
k
i E
S
i

a tempo

sfl

m
*

i*

tr

im $0
*un poco ritenuto

rrifL-f r

ft J733b

smorzando perdendo

Marcato Touch

*)

S\v. Full, to Gt.

Gt.

95

Postlude

mf

Ped./Sw.and Gt.toPed.

Allegro spiritoso

m m

m
m

IP 1-

Pi
u

'

*) By
Rv kind Permission- ofhuvello < Co. Ltd
t

is *

m ii
w

pre mavcato

feu
/
Sw.
A

293

*
Sw.

E*E

u
f

3 i

Gt.

Cf

J^
^r^

j-:

rrr

ji

-<9

Gt.

Sw.

Gt.

Js

>E&

to-^jJDu

P^F

5T

a
m

J,

zz

m^

2^
Gt.

fdr
A

97

sUB^

k.

"'

fe^sfe t
J.

r
1

JA<
y

Jli

^r

^*

U
u

n O

^^^
Gt,

f.

is

^y

Gt.

sis

#I

ZtE

_e

^!

(couple to Gt.)

93

He

fcfe

S
S

e^

/?\

2Z

ra//

-C--

ZJ

"

2
-*-

zr'

Z2I

2 IE

~C_

98

Processional March

Sw. Full
Gt. Full
Pcd.Full, Gt.and Sw. to Ped.

ALEXANDRE GUILMAN1

Allegro

marcat

iQ

f^

"

t)J

J .
*

si
u

s
u

^7?

=s

it

100

i=

#f

P t Sw.

ay
&

4
Si
11
h
P^_^-fl

fe
*r

<?

^F*

J i

pn
as
SSi

fe
PP#

rr

J^fe
i

Ml*lt

jJ
r

D.C.aeuza replica

SECTION XI

101

Touches other than Legato

Staccato
Single Notes

(a)

S\v.

(b)

Chords

Prelude

Ob.

Gt. Clarabella or Wald Fl.,Viole d' Amour

Ch. Fl. 8; Pic. 2' or Fl. 4 Celesta 4'

Ped. Bd. 16; Dul 16; Ged.

LOUIS NICOLAS

8'

CLERAMBAULT

(167-17'*9)

Arranged by Alexandre Guilmant

Edited by Clarence Dickinson

Allegretto

leggieramente

Historical Recital Series

N?

31

Copyright, 1921, by The H. W. Gray Co

102

(Sweet toned Stops)

103
Gt.

(Sweet toned Stops)

*r^

rr r rfrr r rfr

frwA0Tmm

It

legato
Sw.

E^

P
pp

hj

%f

IB

at

AJ^JJ

staccato

g:

S?=2

-y-r

Ch.

^
Ch.

iA

pffpr

aT

-^-b

,..,-,.

m_*.~-

p" f>> r#fffrf

fffffff

_,

~7

ij

--,,

77

Lp

ez

EP

fffchj

,z_,
Ml

ife^

h
*3

n
7

a
1

f^^^T^

104

Chorale
From Sonata VI

Staccato Pedal
Gt. Diaps, 1G; 8'

Ped. Diaps., Strs., 16; 8'

MENDELSSOHN

Andante

wf

eg

mf

Gt.

^M
S1

+*-

U UU

-&

apg

? p=+

j>

"LC^

42j

J71

'
i

r f

'

105

m
fe &m
=i

r-

^m

#5

,,.

"r

Ita

V-

j^

#f=

iPii
p

J>

\%C\

^ i
xj'

II

kf fr
*->? jj'j^r
Kb i~d-a

*^s

:=

=g

i
#

ij>

]^^|

"j

rr
-

hMMMri

IJ

J*

V*

rTr
j J- vclr^IULI

p
a

rp^7j

't-[!tfa^F

....

*J=l

-y

tf<

^^

r^ L

*H3tf r

7^j
b

-^

'

J.

'

C^frj
LTI

r>
LLIf L^J

106

Soeur Monique

Sw: Orchestral Oboe

Gt: Clarabella 8'

Ch: Concert

Fl., Fl. Cel.,

Fed: Bourdon 16;

Gamba

Ch. to Gt.
16;

Bd

(Sister

Monica)

FRANCOIS COUPERIN

.8'

(1668-1733)

Arranged by Alexandre Guilmant

Edited by Clarence Dickinson

Expressively, but without dragging

/Ch.

/-T^-7P

^m

Historical Recital Series

N2 32

Copyright, 1921, by The

H.W

Gray Co.

4-

s
^

^n^

Or)

Hv

MA^J

^=

107

f5

"V-T

M*

^
r-

#-

r-

^ it

f r

W r-r

a tempo

EE

3EI

5
jPat

r-

B^r

r-

w
-w
Ch.

i
^

3=jy

FE^EE?

'c/cxf

-J

ez:

Gt.<

add Dulciana

r^^^

tf

^rj^
pi

'^=mm

ft +.

3=^t

r^i

h^=^
r^
-fllrSTn
mm

fe

IV

Vv v\

i.

W
7

J>

ilA

Ch.<

108

_vv

^---

-%<v

J-

IJ)

*lv

^
i1

S r'^r

^J

t^E

-^
Si

w
a

-V*

Ch< add

Soft 4' Flute

^^ 5
r-

P=^
S

p^pg

\*

>vk.

Uubi

*>

-r

^^ S
S
r

-%<V

V*

109

W
1

*iv

=t
]

S\v.

Vox

'

F^

r-

angelica

#-*h

^^rr=r^

Frrfr/r.

f
-

Ped.Ged.16 only
f-

$p

"

1
5

f
rail

a
m

mm

44f\

Solo. Reeds, Solo to Gt.

Sw. Full, Sw.toGt.

__
Gt.: Diap.
Ped.: Flues 32; 16; 8; Solo, Sw. and Gt. to Ped.

Prom ie%hu
"Etude"

Allegro
misterio80

PJ

PAUL HELD

^
J

JEfi

Gt.fwp

^7T

pF=f
I c =f?=
u

3^

fr=*^

4.

ie

$?

^ S
U

*
u

I*

'

tifi

^
u

r^jr^r

feE*

ra2/?

^g |
1^

| | |

jg

B3 B i

ii

tH

i Y

J ^

P^
i

m
M
A

its

if 'f

i
i

i
u

Cresc. Ped.

^r
A

8r
A

ip

|i

^j

ffp

fr

_w

fe-

/#

^r
u

^r
u

f;

_2L

tit.

ii

^F

f
A

poco

\4

e n

lg

cresc.

h P
u

poco

\\J-

jg
1 1

poco

1 W

uaAuAAua
J

iJ

~A~

~T~ u

-&
A

g
A

Staccato Chords
Sw. Diaps. 8', Reeds 8', 4'
Gt. Diaps. 8; Reeds 8; 4'
Ped. Diaps. 16; 8; Sw. and Gt. to Ped.

ill

Fanfare
JACQUES LEMMENS

Allegro non troppo

staccato

>,

r4

S
i

Is

#S 5

S^^B
i^EEg
m

MM

m$

^^

sempre staccato

a^i
i
f

e
r

33I

'J

?
]>

12

1=

p>

*
;

f^r
y

^?

F^f

3eee

^
I

Pt
Sw.

-T

3e

PS

F=

$
EEEJE

*
f

^^?
fc

%
')

F^

fa

112

Mm
I

^^

Mm

j>

j>

^
^
s

5EEE

it

113

*F

ggj

t>

Hg?

| F |

Jlk

1^

te^

:^3

-h

F=F

3EE

J>

-k

114

cresc.

SSP:;

^=*E

4=

fr

ft=^=6t
E
?

iiH

;ee

SE?

Ji

h.

115

^=^

ft

j' i

#4
Y

* r-T-r

fP

5
y=F=f

Is

FF=y

i 2EES

bee*

Sw.

^
as

P ^^
*

a tut

f f
P

4=4
P

K=?=r

^
?

5EE

ji

% =ee^

S*
v

5EEE

^
*

i
%

Gt.

PB
^^

1U>

p^H*4
i^i
*m;

^f

rr^

-i

"C

#==t

&
=*

^^

~y^

E$

'

fr^Eft

'-7-

=5

-v

v-

ffp^
Sw.

2k--V

^F^

"

P^
i?

Gt. to Ped. off

y-

Wf
^P^
Ff^

SECTION xn

117

Pedal

33

ISffi

(A)

Crossing the Feet

Substitution
(C) Skips of a Third

(B)

Crossing the feet

A

^JJ
u

*JJ
u

i\

%m
?

^J

JJ J

*
t;

r
r

1*

tL

aL

tj

u
JLL

j
u

_U_

r
u

_U_

_.

g^P3

Substitution of a heel for a toe or vice versa.

A
A
A
u j.
u
U
u

in

-u
-^

Fin

(9-

li

S^^
A

P=^
A

u
Z2I

zz

22

"^

==1

m
u

ii

-0-

z=

T\

iTT^j

<

<

zz

A,

Z
v

^A

it

1L

1r

J>

7^77

+*A

-#

W~W
A

fi

A
9-

"^

~T~
u

u
zz

P^

<

THT

S^

1L

JLL

wL
7

BSi
B^

_U_

g-

*
ft

uU

zr

iArijp\nJr\rur\
-

tH

PPpi
u

It

^irrr
/ b yj

/I

XT

'><

-A

I
u

118
Sting-s

S\v.

Ch. Clarinet

Ped.Bd 16F1.8'
Sw.

ZE

<9-

tP

Z2I

^P

Ch.

-u

J\

ie

"if

rU

if

z-

^^
gj

lii-

f\j
r

Tt

Of

r/j/
m
:

-.

Andante

16'

and 8

31

zz:

ZC

=
u

S=ffit=a

Z^

:zt
-0-

:zz

XE

(9<s>-

Ie

ZZ

J:

*[

tpfe

o-

ifcU
p

-e>-

f> |g

fe=

3TX

119

Adagio

Sw.Strs.
Gt.

From Sonata

Diap.n

III

Ch.Fls 8'4'
Ped.Bd.16', Sw.to Ped.

Mendelssohn

Adagio

*fc

Ch

"

^
uT^

zc

W=*

piano e dolce

UlI

&

p
5

E&fe

:s

15>-

i>

g J ^

>

JZ.

211
ejt
U

3Si
i

r
,

tei

g
r

ptf

Gt.

J-

l t

-6>

P^

BT

mm
r

^_

*^-^

T*r

&*-

~o

-fiM,

F^

f t?L. ^

W~n
^.

to

HTT

2Z

zz:

m
m
ggj

120

pm
y-

F
r\

Sw.

rts

IFF

f
j*

Sw.

2s

/T\

^ ?^ T

Ch.

Ch.

lt

JO

r/'r

^T?

yfyrlp- f

ii
?=^F

cj

eI
/O

3^e^

1^1
sw. Foundation stops, Sw. to Gt.

Gt.Diaps.8'
Ped. Violone 16; Bd.

Andante

16; 8;

Substitution on a repeated note

Gt.and Sw.

to Ped.

122

i.

J.

li

SJTJJ}

J-

&r

<^"

j}i-

^"

i-'

r*

i *Q
3jp

r*

"31

j*

7Ffffff IF

i <ti>

=*2

PiP *

m^-0-0-

zz

22

Skips of a third

auAuaua

uAuA.jAu^u

"^#-"f-"A"A"A"A"

ft

A^

A
A

'Waa

A
A

3E

123
u
fc

):

Jau'uA--

^ uAuAuAu^^

Am

"

!l

TTa^^a.

V^

P^AiAuiuAuAui

AuAuAuAiiJiff^uA

legato

u
-

R
J*
m

*
A

u A u

Ax

AUu

u_

u^ u u^

iui

AuiAuA.u au

*u

^J

u^AA

a Vt
"iu

tun

^
A

rH^

j^

ttr

^r
u

ffJ
u

^A

ff

u A

ft

l^uA

,ra

JljJ

2"

;i*u*u

I^.uA uAuM

rffli

uJLoj
P

H^T"

oA

r-4

fn

Au

^u

i-^

124

yi>"

ITT

~t=t

u "f u 3:

U^A

-A

Ay

TO

A-A

sempre staccato

^& uAUyiSPiAA
*

" r r

frjNrr'll l'N' JjJM

'

*y

Alternation of legato and staccato

^ J, J J
U*A U

i
AuAu

uAu

legato

AuA

??

{rrr rrrirr r
i

S ii

gj

rri

jtJ

rr

Tr r frr

i
IF*

rrJiTrJil'Tr ffJ
i

"rr^gg
A

^?7

U,

^frJfrfJ

'-' !;

T^

11

HI ^jJljJJIjJ 2
A

'.

II

,j

AAu

AU

7.

'A

JI,

J.
uff

ri''r

JirjJi

J -'

legato

f^f

s
u

U
u

p
A

rfl rT3
simile

125

=A

3t

f=

>r-T
u

te-

g
A

i
r

Moderato

415^

--

sise
A

5
r

r-#

mm

3CE

r
-9-

TT

126

section
(a)

(b)

Crossing the hands

Gt. Fl. 8'

xm

Crossing the hands

Trios

Sw. Orchestral Ob. or

Fliig-el

127

Horn

Gt. Ganiba or Gamba Cel.

Ch. Fls-8',4',
8'
Ped. Gamba 16,Ged. 16,'

*)

Trio
FREDERIC ARCHER

Allegretto
Sw

By

kind fermission of Novella rf- Co.,Ltd

128

^s
&

\>

0~"-

ISr

ppi
e

"

a*

a tempo

/W/.

Sw.

fr

J7?7

!..

F*

i*
3*

4 *k
i

P*~

JTiJJJ

J J

ibJJJJJJJJg'

u
II

U9

130

r>
IS

21

fe

~&~-

u-4

V-

3f

*u
L.

/Ts

W*^IBi

'J^E^lT

at

^^ p

? i

/Ts

5fc=3:

gS
5

&

Crossing the hands

-

S\v.

Voix Celeste

Trio

Quintadena, Fl. 4'

Ped Ged. 10^ 8^

Ch.

RHEINRERGER

Andante

Ch..

Sw.

i
y

=3

gpgf

P
3

s=*

EE

=F
3 t:

^
3

s
u

zz:

*L.

w
u

e
"

l.^

ff

&-7T

131

b^ja^a

iT^^

1
g

#-r#
$

<5>-

IA

///

2 * f

1
U

-(9-

t
A

/T\

g^^

BE

s
m

n \-n

if

u
s:

r>

3 4

i^
^

^^-4

"^

IK

.!^-i

-&-

a
,

3E
b

E M

IS

W^
*#

IU_A

/C\

Li

132
b

GtFi

F1
8'

'

Christmas Pastorale

"From Heaven High To Earth

Ch.ciar.,
Ped.Ged. 1(),'8; Gambal6,'8; Fagr.16'

Come''
JOHANN PACHKLBEL
(1653-1706)

,,

Edited by

Allegretto quasi Andantino

MANUAL

fe
ti

Gt.

^G

^nt

(9-1-

&
i

ml

Gt.

ia -.

^
s

o-=-

Sw.

~ "T g "T"^
f

si

33

8=3:

Ch.

$
YFir
*f

5
o-

i #-^#

CHORALE

ESP =15

PEDAL

Clarence Dickinson

r^J^j

js

5-

Historical Recital S.-riV*.NC34

^^
wm&

Copyright, 1921, by The

H.W. Gray

Co.,

133

tu

5ES

i j

$r j^jfrp
r

tt

fl

jj==i

J2L

i^aij*S ?

|^r

=V

-&-

^^
p

-6M

'i>

-sU

i
22

JH

HP

'V/

rcrrrrr J.J7
/?\

rt

^pg

22

^j

XE

r^

yjciffii/

&-*-

^
*

E5^

TJ

/T\

134

Trio
Sw: Oboe
Lit:

F1.8'
J.

Ch: Clarinet

Fed: Ged.l6;s;

Gamba

16'

in
w

jv\

Gt.vV

smM
=m

g^

w*

Ch.

m
^

/vv

tt^

Historical Recital Series

NS !W

\^ -w

11

\\^

KREBS

Edited Ly Clarence Dickinson

Vivace

it-

L.

(I713-17bu;

w I

*\

*
Copyright, 1921, by The H.

i
\V.

Gray Co.

Ui'

=m
^^

fr*

eSe
^C!_jl
i

Gt.

Sf

Si

ps

5E$

>

Ch.

_z

w frs

Sw.

!i

w$

IH

*^1
*

136

>j
j|)

s;

ij

"^r

#
^

t^

t#

J*Jf P

^=g:

.->.

0L

3:

$
u

IE

3
u

137

^^

i3m

i^a
^
a^

i
^m
^m

<w

I
V

t ^

P"
p

*=.

s:

^^

mm &m ^Ig^^m

?l^
3

3=3

th.

Gt

ft

r?

[gy fr

f?

gfefe*gflfT
P ttT 3^#
i

/vX

Si

p
3

US

'-

*^: -

^
*'

accel.

tempo

/v7!

*^

^
#

SSI

jfc.

2P

</

s
I

^f

/?\

i
v^

SECTION XIV

13

Ch.Fls.8',

4',

Celesta

4'

Manual and Pedal Arpeggios

Andante con moto

tVFT

Ch.

?3P5

pr^pr

yi t Vlit

From

139

Processional March
On Two Church Hymns
"Iste Confessor"

and "Ecce Sacerdos Magnus"

Fantasia
Manual Arpeg/giosand Rolled Chords
Sw: Stop. Diap. Vox Humana, Gamba and Voix Celeste with Tremulant
Ch: Dulciana and Flute 8'
Gt:
Bd. Hi' with Sw. coupled in Unison and lower octave <adlib.)
Ped:

Bd.

16' Cli.to Bed.

GUI LM ANT

ALEXANDRE

Allegro
Is

te

Con

fes- sor

Do

mi-ni

BE
Ch.

S^

len

tes,

Quern

Pf

pi- e

lau-dant

&

rr

Plain Song-i

co

po

pu-li

per

^1

T F

J- J)

B3

bem,

se

fc

ZZZZZ2

Hac

di -

zz:

f=

lae

tus

me

ru-it

des

te

i&-

be

tas

A*
*Bt*

Scan

de-re

ppp

i
1

j^

^gjj

hv

Kv

^ Fp^

140

Mi
i

-Fp^zm

'A

>J,t> =p

.,

XE

Hff

17

Prima Volta

^S^

r-4*

T^

JJ*jfly p

>

J>' J)'

JH

fit

(f

4^

=8:

m s

ui
*

a^

4=4:

i
7

Pj, 7

J^

Iw
ZZ

:e

'

3a:

**&

1pEjp

A **

s ^

JH J

g 1i

ffi

jt^i.^^^

twv
/C\

s
M^>^iit
ai

V b Jy
:

f f

>

s
4^

zxn

/T\

j>7

ft

JSfffP p*P\P*p

p^ J^J^Jg

XT

141

Pedal Arpeggios
Moderate)
A

S
**
.^

JJ-i

A*_*

simile

jr.

...jr.

gpq
J
J

nTI
J
J

u
/7\

HH
A^

m
u

Rapid Arpeggios

Allegro

?ap^

PP!
u

u
;
P
#

I
A

142

tU

_y

Til

fu

'A

I
^A

I
T5
U

^^

59

gJEE 5

S*

*u

irl y

J.

u
ii

# *n
u^u

^
-#

it

^.

U^A

1
A

?#p

T*

*U

/JN

'

/r\

U
A

^1

*-=

"

a
<',

a
n
j J? &ee
7

fy

3
PB
-

-A

"

--#--#
A

"i *

A
A

ji
u

f
r

^.

'

"

143

Seventh Chord Arpeggios, various keys

144

Ped.32;

16; 8'

and 4 with Reeds

From Toccata

in

C Major

^^^^^Si

J.S.BACH

Allegro moderato

PEDAL SOLO

yrr?

r#g

g^a^^^nsi

ss

/v*

EJ

#-=-#

[#

145
*>

Prelude

First time, Legato Pedal.

Second time, Staccato Pedal.

STEGGALL

Maestoso

msVB

Full Orffan

i 1

#2#

--*

J:

221

u-

Jr

iUui

AL

lTA

# ^__
A

fc

U^A

JUL4

j-

iu
It

*J

J
EEEEE

From

U^

*>

PL,

^4

_u

^
m

_cl

--

#u

*E

--

iu

iu

F^r

1
XE

J:

H^^

*
ut

-J.

i
f

-1

=Jt

^p

T^

"U"

i-

zz:

rre~

r
i

XE

=*

J:

*
J

J
+

p?

Instruction Book for the Organ by Charles Steggall, by kind permission of Novello

F
& Co., Ltd.

p
i

ffl

i=l

146

& fe^

^^

J.

O-

ra//

**

Xfl

<L_^

_L

IE

J:

IT
u

-u

-**

i i

f=

zz:

V4L

U^*
J

J
M

rj

An

f=r
a1

i
zz:

0-

^^

J^

p^-

xe
xe

m
u

**#

u;

i.
xi:

XE

xe

-o-

xe
xe

SE
xe
u
u

JD

0-j-

i
'

fc-k

0-

351

#T
u

XE

5*=^

J:

J.

All

=fe
nfc

i
U

H^

zz:

fS>-

#<9

73
5^=?Z

-<5^

*"

0.0
A

J.

'

147

Postlude
CAD. THOMAS
Allegro con fuoco

?F=^
Full

-9

-a

Organ

^^

i g

B eg

:s

^Pl

_^-

S
f

&=

f=

e
rs*

*t

Cj p

pj^

|f

Jr

m
s

i
i

PI

&
15-f

ffi

W^Jj,JJJ

K.

li^

v
$EEE=5=*F=t

-JK~

J1
**

&=

zs

&

t
8

kierMTMr

totP
v

,:

B
3!

148

sempre legato

m
U^

I
m

\>A

s.

90

s-

ffr f

* v.

-90

B3

ffi

5
ept^

^-^

i&

fV f f f rfrf y

P#-Fi

P^=?

^EEj ^

^k

ftfc=#

i Hj

OF*

tiftft

^
^

J
f

J"

>p

#FT

31

S*

Jee

149

PPf
3

bi
:

ee

if

si

l
'

i
ftr

i
3b

*
4,

^=^

3EEE3E

i
r

BEE*!

if

E^t^l

a*

P^f

ft

J.

*
J*

150

t
~*"^

T^r-

J.

"

^U

d=

r.

^^

Z2I

bS

s?=

pp

fu

SECTION

XV

151

Changing Manuals
A

Monochromatic
registration:

Sw.toGt.andCh.

Sw.

Diap.I,

Gt

Dlap nn|r
C h toGt.
Diap ., FI

Ch

F1.4',

n
Polychromatic

registration:

m^
S"

Gt-

3^

Sw.

Strs.8; F1.4'

Gt
Ch>

claj:FL4.
J.

Partita

Moderato

>V ,J

at

pip

Gt.

-^

PP
st#^
/
Sw.

m ^Pn ?

Gt.

Sw.

Sw.
7

ife

Gt.

<f

i 1
V

Sw.

Gt.

afi

^r

Sw.

BACH

Gt

Sw.

S.

Gt.

2?

jpp^
T
Sw.

*-#-

ife J

^=^

i?

Gt.

152

Ch.

Sw.

-Ch

__

Tff|g

153

lJ

PiiPrriimj

^^

,,,

i>iS] JT] i

Gt.

si

r^

p Sw

/T\

'cs? V

iir

alluvgando
allarsando
Gt.

ee
v^

154

Caprice
Flute 4'

Sw:

Bourdon

Gt:

Diap.II,ClaribelFl.

Ch:

Clar.,Pic.2'

Ped:

Bourdon

16',

16',

Gambal6', Violone 16; FLDolce

ALEXANDRE GUILMANT

8'

Edited by
Clarence Dickinson

Allegretto

/Gt. /Sw.

^r-

.>

if fff<
i

J>

Sw.

ui

Gt.

?
55

St. Cecilia Series

Copyright, 1921, by

The

Sw.

<
J'

H. W. Gray Co.

Gt.

Sa

t-

155

mmm

^^^

Sw.

Gt.

Gt.

Sw.

Gt.

Sw.

*_*

og::

ft

J>

3^E

Sw.

Gt.

*
i a
Sw.

Sw.

Gt.

Gt.

* * * *

^^ ^m

ft

156

^43

Prepare Sw.

***

1
-

>

' 9

g g

3E

#^

-&

&-,

Oboe

32

SS

fefFif

^J

=5

te

Ch.

mm

it

myw

1
12Z

I
3

5E?

i
3E

5^=5

LA

-6-

157

k
p|;

ja
93
S
i

j,

t=i^

5E*

m
r

ES

-J

3E

EW?

i
?

iB
I

S
i

^J

^p

~)V

S
r=? r

S
i

?=P

f^

158

fLB
^^
&
^
rn

U-

Si
^
^^
j-

gg

S ^^
^
te'

ih,

J' y

<fes
BE

#S

-^

EE

^
p^Npip

V4

SE
=F^f
^

3Z)j[

159

tefe

J * ,

H*-

sB
Sw.

Ju

=gtr

'*T

!|

*L

>n
^

^fc^

b ee

f
Sw.

w
ft^E=

a
f^r

R Ji

t.

=a

xz
B

Et

P=i

^=1
rr

1H0

i3t

Gt.

It-

LjLjf-f

Sw.

Gt.

si
i=e

i | |jjg g

Gt.

Sw.

t i

y f

hi

Sw.

i i

Sw.

Gt.

Hf
Sw.

Gt.

liMi 4

"E

Sw.

Gt.

Ch.

=^
Prepare Sw. Bd. 16;

/i'/

Gt.

Sw.

-Gh

i
Fl.

Sw.

Gt.

=$

Sw.

Gt.

# tempo

m t

r-

fcg

gz^

t7

fc

ii

Sw.

Gt.

Gt.

Sw.

w=t
I

;>

Sw.

Gt.

^=^

>-*

Sw.

see*:

j j j

,fe^PiHi*T^

^1

:5=b

J^

Gt.

h y

^^

*=?*=*

Gt.

W
^

fr

f
Ch.

SB

zz

k =5

^m
s

SP

Ch.

Gt.

-f-

f ^^

Sf

G-

^ t7

T^r

*t5j

m=t

ast

^r ^
=5

h
i

??

162

Sw.
Sw.

Gt.

Sw.

Gt.

Gt.

Gt.

Sw.

sS
^

f5

'?

Sw.

Sw.

3 ^=^F

Gt.

Gt.

Gt.

Sw.

1=1

*=*

'

*=$=*=*

Sw.

^^
Sw.

Gt.

TPF=f

Gt.

^m

K v

jViole d'Orchestre

Prepare Sw. (Voix Celeste

s
Y

m
2

Sw.

am

7^i

r~

F*=*

\s;

J5_

_fi_

M-

J5.

f-

f
8' off

J2-

h
3E

&

Utt

SECTION XVI
Playing on Two Manuals
at the same time with one hand

Sw:
Gt:

Vox Humana
Fl. 4

Ch: Dul., Flute

Ped: Ged.16,'

(soft string's)

Prayer in

dAmour

8;

4*,

Celesta

4'

ALEXANDRE GUILMANT

Dulciana 16'

Edited by Clarence Dickinson

Andantino

St.

Cecilia Series

NO 157
Copyright, 1921, by

The H.W. Gray Co.

165

16 G

~a

&

9-^

n:

^5

4 Ona two

^^
J

E3;

^fe
^t^y

^^ ^ ^
EE

XT

manual crgan the accompaniment may be played on the

Gt.

an octave lower.

4
3

m)

SECTION XVII
Fugues and Other Four-Part Playing
Fughetta
Sw. Full
Gt.

mf

Ped.Diap.16 Sw.and Gt.to Ped.

J.

E.

REMBT

Allegretto

m
^m

in:

IT

Gt.'

i**

mk
i fp

p^ n-r
e

2ZE

aa r

15*

zz

1M

BE

m
33

fl

a*

te

*^ i
:

F=^

te*
zz

5g f

&

a
3=

170

j-~-j

y'i r

te'

f=f

1 _ IT2

ry t

-^

ft^

#-1

Jj^7iJ
f^f

31

Js

Ffe

gag

^9

Z2

^*

rft

ST

1S>-*

^-

^fe

W^-

m
^

^m
fefe
"H
t

a.

Si

j j-r J J J

f f

zz:

r=r

ij

^T^- > -ft

t,j

1,

ritard.

-6>

fT

r^

r?\

p^
f

m-

171

Prelude and Fugue

v ,1 to r*
* ph
Gt.&Ch.
Full,
Gt: Diaps. 8; Fls.8; 4'

S\v:

Ch; Full
Ped: Full except Reeds, Sw. and Gt. to Ped.
Cresc. Ped. on

J.

S.

BACH

Moderato

7m j

tHr

.hffi

S y"&ftrLr-P

.
9

j&
l

^P

7^

j.

p^f

j.

I
g

tf

j.

172

I
^$r

^TP

W^^ PP
^

^JJT^J

rf

i
s

I
*

FUGUE

174

r^
Gt.

*c

SE

f^

1 1

sF
r
i

i>

.1

^^

f^

175

Andante
From Sonata VI
Sw.Voix Cel.,Vox Angelica, Sw.to Gt.8;4'
Gt Dulciana
Pod. Ged. 1<>', Rd.lG; Sw.to Fed.

Andant*

mm
fee

Sw.

mi

mm
FT?^

^=g

r^

peadolef
e

MENDELSSOHN

^3

zz2 zs

* w

tjnmj^
S S
I

22
<S-

Add Sw.to Sw.4l

-r

aii

^
^

Ses^*a
f^

^ fK

^^y

;e

^^ ^^

M^k

ri

lii
-Ml

pr

#3

176

ffTff
Voix Cel.

off

m
Bd.oi'f

Chorale Prelude

S\v:

Cornopean

Ch:

Dulcet

Ped.

Bd.16', Ged.16',8'

Gamba

"O Sacred Head Surrounded"

J.S.BACH

16'

Edited by Clarence Dickinson

Adagio
Sw.

!)$ V

_/T\

P^

MANUAL

Lh.
Ch.

_Q

3*

PP

PEDAL

5&

^JP^

&H

177

^^8

&-

P^S

1* *

178

section

xvm

Ornaments*
:ij;:

Solo F.iiul.Hr.
Sw. Ob.
Gt. Fl.S'
Ch. Quint., F1.4'

Ad agio
Sonata IV

P-d. Ged.l()',8',Dul.10'

J.S.BACH

Adagio

3a

dolce

Sw.^

S=

&E

^Ch.'Soloj

s
t

Gt.Ro]

^^
#**

Ch.Clar.

t
I
ff

' ;

ISt:

vv>

wVW

ffi^
#-#

^
p. 100,

to

ft

yy^
*i

Soeur Moniqtte", Couperin,

S
Siv also:

^-^

fe

v_/WV

<yv

4c

.?

and "Trio

'.

Krebs, p. 134

^=

179

^r

Sw.

,vv

Gt.(Sw.)

-w

^K

TP^ j^jUl^

ai

^r

^^g
T

gg

ll

180

j)

cfrtj:

SECTION XIX

1S1

Pedal
a)

Octaves, Sixths, Thirds, Chords

b)

Double pedal with Manuals

Octaves

Care must be taken that both notes sound simultaneously.

u

WAM
^
-N-4

A.

u
u

A
A

j_

AUAu AUA uAu

uTiu

7u

J LP ^nj
|

u A

i33^[EF

tE^ ^J^^

"

^^P^;
^-A
The student should play
U

*-f-

..a

all

A-

he scale s in octaves, so far as possible.

182

^^f

<\

^-: i-^Vd^ThkLi"
4

ft

uTft
i.

**
A
{,

'\

Au

i.i

A
A

2E

t^-

i
Au

l\

U3

J
J

J 1 J J

r-i

*"*-*-

y^H

*=j

s
mm

a.

u
A

u
A

3:

Thirds and Sixths

A

,\

^^^^

*~

-^zJt^

nrr

183

ISi
A

fe

A
AA

The student should play

u

nA

^m

Pu

scales

-AA

pAA

ii

ij
A

A "u

u
:

..

-A

Thirds.

$*

A
A

n
u

AA

SA

A-

-A-

U,

.A

"*"

A
,

The student should play

A
u

A"

'A

u-A

\>

Vr i i->P
A

p
A

^5

"

"

77"

the other scales in sixths.

A

u-A

^
/?\

#-&#
^fc

*f

22:

i
u

A,

-a

A- -A

T:

m ji
T
U

A A

ilium!
A

i
H55
A

A A

ii

"

in

m
A.

-A

the other

AA

A-3-A

'

1*4

Pedal Solos Involving Various Intervals

Modcrato
legato

a poco

jjoco

ff

accelerando

poco a poco

fi

a f r^r ^
W^^

tempo

Q-

&

fi

++

a tempo

accelerando

.rt\

3gi

+ m *

# d +

W=^

accel.

rit

a tempo

Jal
j

ft

8' stops

//

^ ieS

^u

*=f

u.

tempo

rp

^P

^MU

^^h

f
-A

[j*

p r im o

^
^

"

m-rtLU

mossn

only
A

a tempo

leg a to

/>e?/

rr

fey

J--HJ

^=^t

P?

r^p^p

i
'

1>
1

mr

'

rmr

AuA

u^L
vl

185

Adagio

A.

;^
P

u
y
u

a
A

U
A

n
u

u
A

A.

m mm
A.

4jJ
r=1
u

A.

U.

fe=*

'

?%=w=&

iA

U
..

Jj

fJ

,|>J

f^^

33:

j=
i
A

Moderate)
"

3f 3

*
A

pf
l

Andante

Andante

u
'

35
'u

<i

jig

Pu

+*-

t
5
A

u
A

-6^
A

^m ^

S
A

^
u

?tr^=
u

=i=g

Hii

5
A

jpa

B
U

2=

2=5t

186

Allegro marziale
*

nn
u

53

4
C

nn

gg=*

u A-A-U

-A

8=

CJ*
u

>

4-dh2 5

if
~T=U~T

5?

<

LJL-I_J
u

A
A

rrr
u A-A u

^3

jirrrrrrr

i*r^g

u A-A u

Allegro

33=

MANUAL

fe=d

ff

i-E*

J
(9-r

*E$

J-

Uk

if

PEDAL

-9-'

15

+-9

-&*-

ff

4
^

>

"j-

iil

4-i
77-T

^
xe:
S7\

>

cr
$

^#rt

&

it

4>

ii'i

vc^

187

MANUAL

mm
m

6T-

MS*

m
m

6-

Si

TH

Q-

5T

5C

Hy

jQl

PEDAL

Maestoso

mi
,

MANUAL

=d

ff

m
PEDAL

j:

-&zz:

rr

^1

s
a

188

Andantt

MANUAL

PEDAL

m-

p"

fV-fe-f

*
r

-=

r
:

rrr rrrr

#^=^
TT

ftff r

T^f*

&*-

zz

zz:

fr-r

I
1

XE

XE

s=3

Frnffn
I

rrrr
xe

-Oc

TV

^
5 L

rf T rrr

-o-

^y

&

tr-JCTi
v

rrrr

^^

fr Vrr

ZZ

^^

*r

l!-P

J*3

<x.

T^rT

F*

XE

rrw

r'-'r

u.

i_Ju

zn

IS!)

Marche Religieuse
On

the

Your Heads,

Sw.

Flues and Reeds

8',

4', S\v.

theme of the chorus "Lift up

Ye Gates" from Handel's "The Messiah"

to Gt.and Ch.

Gt. 16; 8; 4', Foundation Stops

Ch. Full
Ped. Flues 16; 8- Sw.to Ped.

ALEXANDRE GUILMANT
Edited by
Clarence Dickinson

Allegro moderato

maestoso

MANUAL

PEDAL

JS

A
i

rU

W^U
u

^ ^5^=F?

^ J^j^
St.O'Hlia

NJ
f

15f>

ifl

J-

Q_

te

7ZL

Sff

tr f err f

pp J^^i) jv'^j^;
i

t^y
Copyright, 1921, by The H.W. Gray Co.

i>

PUfPi

190

^^
^
P

V Jl?
:

r
fr-fr

J^

fPP
*

f^

^ g ^ ^ /j g g p p p p j^i,0
|

hU>nJ^V>

191

piu mosso
5

ft
g-f

JjJJ7P_

f-

J>

"^_ r

t
Add

tJ

cPEfidr

Full Sw.

Gt. to Ped.

Eg

.-e-

Hni
F

i>J>J

5ffi

335

n
^
U

f f

fei

Ea

ft

te

*Mi

gg^

ate

J^J3j J-r--J

Q
^

^K
7

"P

&
i

!r=

JT

192

PP
w^

jg

p^
J

\J

*--#

i *=

*|

ii

3S

JJ

IS

>

.NJ

ft

zz:

b
42-

*=fc

im

Egg

_ a

Au

1*
3

p r

v il

lA ^t

^W
^
^
J

zz:

P^

p*s>-

j>

gk

W^

42-

Jb

4np
1

p:

193

--

35

f
y

fe?

E&?

3=3
Z

9W^

^jnna ^n

J' 7

N^

^
f-'

f
V

=T~V

i
CJ Littf
cffl^ lP

i9-

f 1%
*

sM=i

^S ^gf ^

5=5

>5

&

^
E

4^L
f.
f

S=E5

195

M
#m#
42

JSF
9*1

196

5'

1,

^^
IF

1W7

t^g;

*B

198

SECTION

XX

Pedal
Extended Glissando
Two Etudes for Pedal Alone
a)

b)

Extended Pedal Glissando

Allegro

'

is

Presto

in

UA

au AAu

UuAauAA

uAa

X u

a a

a a

uuAAUu

aA

uuAA

?#R*
J

Etude
For Pedal Alone
Sw. Ob. Corn. Trem.
Gt. Diaps. 8; Fls. 8; Tuba 8', Trem.
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The

First

and Only Book Published on

THE ART OF
TRANSCRIBING
FOR THE ORGAN
A

complete Text Book

for the Organist
in

arranging

Choral and Instrumental Music

By

HERBERT

F.

ELLINGFORD

Mus. Bac. Oxon.

Organist

to the

ST.

The

City of Liverpool at

GEORGE'S HALL

and only book published on this important topic by a practical master of the
Every organist is nowadays compelled to transcribe all sorts of compositions for
subject.
instrument
for church or concert use.
This book gives him the actual technique
his
which enables him to do so. For the choral and orchestral works there is given a full
page score, its pianoforte equivalent, and the method by which it is transferred to the
organ. The scheme includes, small orchestra, string orchestra, chamber and pianoforte
music and songs. With this book the whole world of music becomes available at the organ
first

bench.

There are 216 musical illustrations in the book, of which 137 are transcriptions, and
79 full-scores by such composers as Haydn, Mozart, Beethoven, Mendelssohn, Brahms,
Schubert, Schumann, Weber, Wagner, Tschaikowsky, Grieg, Smetana. Chopin, Sullivan,
and Rachmaninoff.

SUBSCRIPTION PRICE

NEW YORK
SOLE AGENTS FOR

.-.

THE

$4.00

H. W.

NOVELLO &

GRAY

CO.

CO., Ltd., LONDON

DNIAVld

NVDHO JO

1HVONV
Hfti)INH331

DATE DUE

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WTTT

II

182

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OCT

4
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2W

OCT

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NOV 15 ?sr
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-MT7
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DEMCO

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38-297

0?007