METHOD OF ORGAN PLAYING

HAROLD GLEASON

EASTMAN SCHOOL -OF MUSIC

UNIVERSITY OF ROCHESTER
ROCHESTER, N.Y.
METHOD OF ORGAN PLAYING
No. 1 Ruth Zimmerman Steese

CHORAL MUSIC IN THE AMERICAN COLLEGES

No. 2 Leonard Ellinwood

MUSICA HETh~ANNI CONTRACTi

No. 3 Gustave Fredric Soderlund

EXAMPLES ILLUSTRATING THE DEVELOPMENT OF

MELODIC LINE AND CONTRAPUNTAL STYLE FROM
GREEK MELODY TO MOZART
For use in classes of Counterpoint and
History of Music

No. 4 Gustave Fredric Soderlund

EXAMPLES OF GREGORIAN CHANT AND WORKS BY

ORLANDUS LASSUS AND GIOVANNI PIERLUIGI PALESTRINA
For use in classes of Counterpoint

No. 5 Harold Gleason

METHOD OF ORGAN PLAYING

 .e . ·. S\:~c:"·~
t

Eastman School of Music Publication ,No. 5

METHOD OF ORGAN PLAYING

By
HAROLD GLEASON
of the
OrgmJ Department and the Graduate Departmellt of J1rfusicology
Eastman School of Music
Unif!ersity of Rochester

PUBLISHED BY THE EASTMAN SCHOOL OF MUSIC

...,.- OF THE UNIVERSITY OF ROCHESTER, ROCHESTER, N.Y •
\
1 937
\3 2.
 Copyright I 9 37
by the Eastman School of Music
University of Rochester
Rochester 1 N.Y.

PRINTED IN U.S.A.
Lithoprinted by Edwards Brothers, Inc., Litltoprinters and Publishers
Ann Arbor, Michigan, 1937
 ,. '

To

JOSEPH BONNET

'•
 PREFACE

The purpose of this Method is to provide the beginning student

with a solid musical and technical foundation for organ playing. The
material is progressively arranged, and is based primarily on the needs
of students taking the Course in Organ Playing at the Eastman School of
Music of the University of Rochester.

Detailed instructions and explanations of the means by which

various basic problems of organ playing can be mastered, precede each
section.

The music used in this book is either purely technical or of

definite musical value. Many of the studies were selected not only for
their musical quality but to give the student a brief survey of the de-
velopment of organ music from Conrad Paumann (c. 1410-1473) to J. S.
Bach (1685-1750).

The principles of technique and performance presented are de-

rived mainly from the Modern French School of Organ Playing, founded by
Jacques Lemmens (1823-1881) and developed by Alexandre Guilmant (1837-
1911), Charles Marie Widor (1845-1937) and their many distinguished
pupils. Some of these principles are: perfection of technical details,
a highly developed s~nse of rhythm and phrasing, a recognition of the
true organ style, and fidelity to the highest standards of repertoire
and interpretation.

Specifications of a number of important organs dating from the

time of Arnold Schlick (d. 1517) will be found in Appendix C. A study
of these will be of value to the student in selecting registration, par-
ticularly for music by Bach and his forerunners.

A bibliography of important books useful to the organist will be

found in Appendix D.

The writer is greatly indebted to Dr. Leo Sowerby, Dr. Wayne

Barlow, Mr. Allen McHose and Mr. Philip Kreckel for original composi-
tions, and to Mr. Donald Harrison, technical advisor for the Aeolian-
Skinner Organ Company, for material used in the chapter on Registration,
particularly the sections on Mutations and Mixtures.

Acknowledgment is made to the H. W. Gray Company, of New York,

for permission to use English translations of Choral verses.

v
 TABLE OF CONTENTS

Page
PART I

INTRODUCTION- REGISTRATION- ORNAMENTS.................... 1

PART II

M.ANUAL TECHNIQUE. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 9
Position at the organ - Organ Touch - Rules for Practic-
ing - Attack and Release - Lega~o - Extension and Com-
traction- Finger Independence - Finger Substitution-
Glissando - Crossing Fingers - Chord Progressions -
Staccato.

PART III

M.AN'UAL STUDIES. • • • . • • • • • • • • . • . • • • • • • • • • • • • • • • • • • • • • . . • • • • • • 61
Fingering - Phrasing - Memory - Easy Studies in 2, 3 and
4 parts - Chorale Preludes for Manuals, Bach.

PART IV

PEDAL TECHNIQUE............................................ 85
Explanation of Pedal signs Position - Attack and Re-
lease - Staccato - Alternate Toes -Heel and Toe of each
foot - Glissando - Crossing the feet - Substitution -
Double Pedals - Broken Chords - Pedal Exercitium, Bach.

PART V

STUDIES FOR MANUALS AND PEDAL ••••••••••••••••••••.••••.•••• l4l

PART VI

SCALES FOR MANUALS AND PEDAL ••••••••••••••••••••••••••••••• 20l

Major Scales - Chromatic Scales.

APPENDIX

A. Graded Course in Piano Playing •••••••••••••••.••••••••• 257

B. Four Year Course in Organ Playing •••••••••••••••••••••• 258
C. Specifications •••••••••••••.•.••••••••••••.••••••••••.• 260
D. Bibliography........................................... 269

vii
 INTRODUCTION

A well-grounded piano technique is essential for a thorough and

rapid development in organ playing. At the Eastman School of Music, or-
gan students are required to complete six grades of Piano instruction
before beginning the Organ course, and to complete eight and one-half
grades of Piano before graduation. It is advisable to continue some
piano practice, particularly of a technical nature, indefinitely. A
graded list of piano music is given in Appendix A.

The simple manual studies should be mastered first and then the
study of the pedal begun, so that the hands and feet may be combined be-
fore the completion of the manual studies. At the end of the first year
the student should be ready to begin the practice of the pedal scales in
Part VI, continuing with the more difficult pedal studies. The practice
of these scales and studies may extend over the entire second year or
longer if necessary. A variety of material is given to enable the teach-
er to select music suitable to the needs of the individual pupil. This
material may be supplemented by additional music as outlined in the Four
Year Course in Organ Playing, in Appendix B.

Absolute accuracy in regard to technical details, if insisted

upon from the first lesson, will soon become a habit.

The study of registration, style, interpretation and memoriza-

tion should accompany the technical development of the student.

Ability to read at sight is an important accomplishment and may

be ~ultivated by giving the student an opportunity to review earlier ex-
ercises and to play new ones of corresponding difficulty. These should
be played through once only and slowly enough to insure accuracy, in-
creasing the tempo as skill develops.

The systematic study of transposition and extemporization, and

the acquiring of a 1-vide musical background will further aid the organist
in developing a sound musicianship.

C. F. Lbdy '~'illiams in his book "The Story of Organ Musicrt

prints the follm\lng rules, drawn up over four-hundred years ago, for
the examination of organists at St. Mark's, Venice.

"1. The book of the chapel is to be opened at random, and the

commencement of a Kyrie or Motet to be copied out. The candidate has
to play a properly constructed Fantasia on it, in which the parts must
be kept clear, as if four singers were performing.

ix
 METHOD OF ORGAN PLAYING
"2. The book of Plainsong is to be opened at random, and a Canto
Fermo, or Introit, or something else, is to be copied out and sent to
the candidate, who has to add three parts to it, placing the Canto Fermo
in the bass, tenor, alto, and soprano, using fugal work, and not merely
accompaniment.
"5. The singers must sing one verse of a little known composi-
tion, the style of which the organist must imitate in the same and other
keys."
 METHOD OF ORGAN PLAYING
REGISTRATION
The artistic use of tone color in
organ playing is one of the most interest-
ing and important subjects in connection
with the interpretation of organ music.
Every organ differs in its effect,
and a registration suitable for one organ
may be totally ineffectual on another. Al-
most any stop or combination of stops may
be appropriate at some particular time,·
and the choice must depend on the sensi-
tivity to tone color and the artistic dis-
crimination of the organist.
The student should learn the tone
quality of each individual stop on the or-
gan he is playing, then become familiar
with the simple combinations of stops.
These individual tone colors and various
combinations should be listened to until
they can easily be recognized when played
by someone else, and heard mentally without
sounding them.
The effect of similar and contrast-
ing colors on different manuals and pedal
organ may then be observed, first with
prime tones and then with various combina-
tions. Solo and accompanimental combina-
tions should also be worked out.
There are almost no indications of
registration or manual changes in Bach's
organ music or in that of the period before
Bach except in edited editions. The very
general indications of registration made by
Mendelssohn, Rheinberger and others, and
the more specific registration indicated by
Cesar Franck and more modern composers must
be considered only as suggestions, unless
one is familiar with the tone qualities of
the organs for which the music was regis-
tered.
Practicing on a small organ and
making artistic use of every possible com-
bination will teach restraint and develop
ingenuity in solving the problems of regis-
tration.
For a comprehensive knowledge of
registration some of the books listed in
Appendix D may be studied, but for the
beginning student the following inforinati.on
will prove helpful.
THE CONSOLE
The usual console will have from
two to four manuals or keyboards, and a
Pedal keyboard. Each manual has its own
stops and constitutes a separate organ.
These organs may be connected to each other
and to the Pedal keyboard by means of stops
or tablets called Couplers. In a two man-
ual organ the lowest manual controls the
Great organ, and the upper manual the Swell
organ. The latter manual is usually en-
closed in a box with shutters, which may be
opened or shut by means of the Swell ex-
pression pedal located over the middle keys
of the Pedal keyboard. Three-manual organs
have the Choir manual below the Great, and
in four manual organs a Solo or Echo manual
is placed above the Swell. The stops of
these organs are usually enclosed in Swell
boxes. Combination pistons operating on
the various manuals and Pedal, and on the
entire organ, are standard accessories on
modern organs.
The recent development toward
greater clarity in organ tone has brought
about a revival of the Positiv organ, an
unenclosed division on low pressure, of
classical design, and playable from the
Choir and other manuals.
THE SWELL PEDALS
The use of the Swell pedal was un-
known to Bach and his predecessors, and it
isnot essential for the performance of
this music. The expression is written in-
to pre-romantic music and crescendos and
diminuendos can be suggested by proper
touch control and sensing the expressive
content and structure of the music. This
natural flexibility, when achieved, ·is
much more subtle and artistic than the ar-
tificial flexibility of the boxes. If,
however, the Swell pedal is used in music
of this type it is advisable to use it in
long lines to augment the natural cresendos
and diminuendos present in the music and to
avoid exaggerated and accordian-like effects.
2 METHOD OF ORGAN PLAYING
The Swell pedal is very effe·cti ve
in building up crescendos in the following
manner: Play on the Great with the Swell
and Choir coupled and with the Swell box
closed. Add the Swell Stops successively,
open the Swell box smoothly, and then add
the Choir and Great Stops from the softest
to the loudest until the desired volume of
tone is reached.
In a diminuendo reverse the proc-
ess. Reduce the Choir and Great, close
the Swell and finally reduce the Swell.
Add stops on accent~at rests o~
between phrases and reduce stops on weak
beats,at rests or between phrases.
A brilliant crescendo can be ob-
tained after the rest of the organ has been
built up to an ensemble by adding Reeds and
Mixtures to the closed Swell and then open-
i.ng the box.
Do not begin a phrase with the
Swell box closed and immediately open it
to its full capacity. Suit the tonal
gradations to the length and character of
the passage. A more satisfactory crescendo
and diminuendo can usually be obtained by
starting with the Swell box partially
opened and not closing it completely until
the end of a section or possibly the end
of the composition.
In Romantic and Modern Music many
varied effects are produced by the Swell
pedals and their artistic use requires
careful practice and study.
The use of the Crescendo pedal ex-
cept for special effects is better avoided
unless absolutely necessary.
CLASSES OF STOPS
The word "stop" signifies a set, or
rank, of pipes of the same quality, with
one pipe for each note of the scale. It
also means the stop knob or tablet which
controls the rank or pipes. 'The name "stop"
derives from the fact that in the old or-
gans the knobs were connected with sliders
which "stopped" that particular rank of
pipes from speaking. The word "register"
is often used in place of "stop."
There are two general classes of
stops:--Flues or Labials, and Reeds or
Linguals. In the Flue pipes the tone is
produced by a vibrating column of air, and
the length of the pipe determines the
pitch. In the Reed pipes the air vi-
brates a metal tongue or reed. This vi-
bration is amplified by a resonator which
forms the top part of the pipe, and the
length of the tongue, as well as the
length of pipe,determines the pitch. To
these two groups may be added Percussions.
These are sounded by hammers striking
metal bars or tubes, and they are repre-
sented by the Harp or Chimes.
PITCH OF STOPS
Stops of unison pitch are called
eight foot (8') stops, because the low-
est CC pipe of an open stop sounding the
unison pitch is approximately eight feet
long. If the lowest open pipe is four
feet long the stop will sound an octave
higher and is called a 4' stop. Similar-
ly a 2' stop will sound an octave higher
than the 4', and two octaves higher than
the 8'. A 16' stop will sound an octave
lower than the 8', and the 32' two oc-
taves lower than the a•. Other pitches
will be discussed under the subject of
Mutation stops.
The 16', 8' and 4' Couplers couple
one manual to ano·cher, or a manual to it-
self at the sub-octave (an octave below the
unison), the unison and the super-octave
(an octave above the unison) pitch. Man-
ual to Pedal Couplers are at 8' and 4 1
pitch. The unison Couplers; Great to
Pedal, Swell to Great, etc., are frequent-
ly without the pitch number (8') on the
coupler.
MUTATION STOPS
Mutation stops reinforce the nat-
ural harmonics or overtones of the unison
stops. With properly voiced and untem-
pered mutation stops the combination of
two or more should result in a new dis-
tinctive tone, and not merely a sounding
of two or more colors and pitches. For
instance, the combination of a suitable 8'
flute, a 2 2/3' Nazard, and a 1 3/5'
Tierce will produce a quality resembling
the Clarinet, indicating a perfect blend

of the three pitches. The Schni tger and
Silbermann organs of Bach's _time, as well
as others of that period and before, were
rich in Mutation stops, and a large number
of solo combinations were therefore possi-
ble which were particularly useful in
Chorale Preludes.
If the organ at the disposal of
the student contains Mutation stop~ these
should be combined with various 8' and 4'
stops in every way possible, and the vari-
ous resulting tone qualities·· carefully not....
ed.
The following. table gives the har-
monic upper partials and their pitches,
when found as separate stops. The 8' se-
ries usually appears in the manual divi-
sions and the 16' series in the Pedal.
8' Fundamental Pitch
Upper
Partials
First 1' Octave
Second 2 2/5 1 Twelfth (Nazard)
Third · 2' Fifteenth (Piccolo)
Fourth 1 5/5' Seventeenth (Tierce)
Fifth 1 1/5' Nineteenth (Larigot)
Sixth Flat twenty-first
1 1/7'
(Septieme)
Seventh 1' 'lirenty-aecond 2'
MIXTURES
A mixture sounds two or more ranks· produces a joyous, scintillating effect.
or harmonics or mutation stops. The chief
purpose of the mixture stops is to give
clarity to the ensemble. This is accom-
plished by breaking back the various ranks
at the proper place in the compass, re-
sulting in the lower notes having the high- · (111 Rks) would be 36- 40- 43, repeating
er pitched ranks, and the higher notes hav- each octave.
ing the lower pitched ranks. This tends to
bring up the lower and more obscure part of
the compass, and to broaden the thin upper
part of the scale.
When correctly made the mixture
will generate the fundamental tone and add
breadth to the ensemble. The addition of
color and brightness and to some extent
power, is another function of the mixture.
When the pitch of the mixture is indicated
on· the/ stop knob it refers ·to the longest the other pipes to give it special promi-
pipe of the gravest rank at low C. Thus,
2 2/3' Mixture (IV Rks) would indicate that
METHOD OF ORGAN PLAYING 3
the low C begins with the twelfth or
2 2/3' pitch, and that there are four sets
of pipes drawn by the one stop knob.
Th·ere are three main types of mix-
tures:-
1. Chorus Mixtures. These are
composed of unison and 5th sounding ranks,
breaking one rank at a time. The follow-
ing is a typical Fourniture (IV Rks). The
numbers refer to the number of notes above
the fundamental 8' pitch. Thus, 19 means
19 notes or two octaves and a 5th (1 1/3')
above the fundamental.
CC to F 19-22-26-29 18 Notes
F# to D 15-19-22-26 9 Notes
D# to D 12-15-19-22 12 Notes
16' D# to A 8-12-15-19 7 Notes
Upper A# to top C 1- 8-12-15 15 Notes.
Partials
This shows clearly how the tenor
8' and bass are brought up and clarified, and
5 1/5' the treble brought down and broadened.
41
5 1/5'2. Cymbals. These mixtures are
usually composed of unison and fifth sound-
2 2/5 1
ing ranks, although in some cases the
2 2/7'
Tierce (1 3/5') is introduced.
The unusual feature of the Cymbel
is that the ranks repeat in every octave,
giving very acute or high pitched ranks in
the bass, and correspondingly grave or low
pitched ranks in the treble. The tone is
silvery, and when used with an 8' Flute
Sometime~ the Cymbel is used for- the sec-
ond Mixture of higher pitch than the other
Mixtures in the same department, in which
case the breaks are more normal.
A typical repeating 1/4' Cymbel
3. Cornets. The true Cornet,
which is usually of five ranks, differs
from the other mixtures in that the Tierce
and unison are introduced and there are no
breaks.
The chief fun~tion of the Cornet
is that of a solo voice. In older organs
it often is extended from middle C up, and
was sometimes mounted above the level of
nenoe.
A typical Cornet (V Rks) with the
4 METHOD OF ORGAN PLAYING
larger ranks omitted from the tenor and
bass would be:-
CC to B 12- 15- 17 12 Notes
Tenor C to E 8- 12- 15- 17 12 Notes
Middle C to top C 1- 8- 12- 15- 17 57 Notes.
When no Cornet is in the organ it
can usually be built up from separate muta-
tion stops.
QUALITIES OF TONE COLOR
There are three principal quali-
ties of tone color produced by Flue pipes:
1. Diapason Tone (16 1 , a•, 2 2/3•,
2', 1 1/3•, 1•, Mixtures).
(Principal, Open Diapason, Oc-
tave.) As. the principal foundation tone of
the organ it should have a rich singing
tone and blend well with the other voices.
The Principal Chorus (Foundation stops and
Mixtures) should give authority to the in-
strument as a whole, and have the effect
of transparency and clarity. It is ideal
for polyphonic music. The Diapason is the
one tone quality that is particularly char-
acteristic of the organ.
2. Flute Tone. (16', at, 4',
2 2/3', 2•, 1•.) This quality may be di-
vided into various types of tone. These
varieties are usually differentiated by
emphasizing one or more of the upper par-
tials, frequently the octave or twelfth.
(a) Open Wood Flutes (Concert
Flute, Melodia, Clarabella).
(b) Open Metal Flutes (Nach-
thorn, Sifflote).
(c) Rectangular Wood Flutes
(Hohlpfeife).
(d) Stopped Flutes (Stopped
Diapason, Flute dtAmour, Bourdon, Gedackt).
These pipes are wood or metal half the
length of open pipes of the same pitch,
and with only half of the upper partials
present.
(e) Quintatons. (16', a•, 4').
Stopped metal pipes having the twelfth very
highly developed.
(f) Harmonic Flutes (Traverse
Flute, Piccolo). The pipes are doub]._e: -'~h~ ·
length of open pipes of the same pit~h:~
(g) Half Sto~ped Pipes (Chim-
ney Flute, Rohrflote, Koppelflote).
(h) Spitzflote (16', a•, 4',
2 2/3', 2 1 , 1 3/5 1 , 1 1/3', 1', 4/5').
(Erzahler, Gemshorn, Blockfl5te.) The
pipes of this family are tapered or coni-
cal, with the octave prominent. They are
excellent blending stops and are often
used for mutations.
Flutes, when properly voiced, form
an ideal basis for building up various
combinations with mutation stops, and may
also support the full Chorus without using
the a• Principal. Used alone they are
particularly effective in high solo pas-
sages, and in rapid passages where quick-
ness of speech is necessary.
3. String Tone. (Aeoline, Sal-
icional, Voix Celeste, Gamba, Viole
d 1 Orchestre.) The tone may be smooth or
pungent, but it is generally unsatisfac-
tory as an imitation of the orchestral
strings. These stops are most useful in
romantic and modern music and in slow
movements in low or medium registers. The
Voix Celeste is tuned a trifle sharp, pro-
ducing a vibrato when drawn with the
Salicional, or other string of like in-
tensity, and should never be used with
full toned stops such as the Diapason,
Reeds or heavy Flutes.
4. Reed Tone.
(a) Chorus Reeds. (Trumpet,
Oboe, Cornopean, Posaune, Tuba, Clarion,
Trombone.) These stops are used for solo
or ensemble effects, and correspond some-
what to the brasses of the orchestra. The
Krummhorn of the classic organ is espe-
cially effective as a solo stop, and in
combination with mutations.
With properly proportioned and
voiced manual mixtures the full ensemble
is quite complete and satisfying without
Chorus Reeds, especially those of a broad
type. The mixtures give the effect of
Reeds without obscuring the polyphony.
The use of Reeds in the Pedal di-
vision of the organ is particularly effec-
tive in sustaining a broad and powerful
Cantus Firmus.
(b) Orchestral Reeds. (Clari-
net, English Horn, French Horn, Bassoon,
Orchest~a Oboe.) These stops are imita-
tive Of the orchestra wood-wind tone. They

are most useful in romantic and modern
music as solo stops, and occasionally in
ensemble. Their place is frequently taken
by mutations and mixtures,especially in
older organ music.
GENERAL RULES FOR REGISTRATION
1. Keep the tone light and clear so that
all of the parts may be heard.
2~ Let the registration grow out of the
structure and inner content of the
music.
3. Make important changes when the music
demands it, and do not strive for va-
riety and unusual effects which may
only serve to confuse the listener.
4. Have the manuals uncoupled and the
Pedal independent whenever possible.
5. As a rule avoid 16' manual stops and
heavy combinations in contrapuntal
music.
"Explication of various signs, showing how certain manieren may be played neatly."
• -r
!
1~1 r IIF
Trillo. Mordant.
'-1 5 CS'"r'll ifF" II [C
!~! r u'r
! Idem.
~~ r~s55555 5 5ST II CJ
6. Change stops only when it can be done
without breaking the rhythm.
7. Do not use more stops in a combination
than are necessary.
8. Indicate suitable registration for each
exercise or composition that is played.
9. Make the most of the organ at your dis-
posal and eliminate stops that are un-
satisfactory.
ORNAMENTS
The ability to play ornaments cor-
rectly is a necessary part of the organ-
ist's equipment. Ornaments are, in almost
METHOD OF ORGAN PLAYING 5
every case, integral parts of the melodic
line, and as such cannot be considered as
superficial embellishments to be omitted
at the option of the player, or played
without regard for their correctness.
Bach was familiar with the music
of many composers and was strongly in-
fluenced by their methods of playing orna-
ments. Some of these men were Fr. Couperin
(1668-1733), D'Angelbert (c. 1650), Fro-
berger (1605-1667), Kerl (1628-1693),
Buxtehude (1637-1707), Pachelbel (1653-
1706), de Grigny (1671-1703) and Dieupart
(c. 1660-1740).
Detailed information in regard to
the playing of ornaments by Bach and his
predecessors is given by Dannreuther in
his comprehensive work "Musical Ornamenta-
tion" based largely on instruction books
published from the time of Diruta (c.l560-
1639) to C.P.E. Bach (1714-1788). J. S.
Bach himself tabulated the most used orna-
ments for his son Friedmann in the
"Clavierbuchlein" begun at Cothen in 1720.
IIF
C'- c.w
nr
~
IIF IIF
Trillo und Mordant. Cadence. Doppelt-cadence. Idem. DoppMelt-dcadtence
und or an.
~
5 f''"'~"
-- ~ -··II r -··
-·11:: ----··II fl".-l"rf'rl"-··II'~"" 1"1"1".-f'-·_,II
-··11.-l"fl"rf'rl"--··
I" .. I"
-~·- ~- :.
..,.. ........ "'-
II'F u'r II r II
Accent
steigend.
Accent
fallen d.
Accent und
Mordant.
Accent und
Trillo. Idem.
GENERAL RULES FOR THE PLAYING OF ORNAMENTS:
1. The first note of any ornament begins
on the beat and not before the beat.
2. The ornaments are always diatonic,
i.e., in the scale of the key in which
the passage is written, but not neces-
sarily in the key of the composition.
3. The speed of playing the ornament may
vary with the character of the music.
4. Ornaments must agree with the basic
rhythm and time of the music.
. .; .6_ _ _ _ _ _ _ _ _ _ _ _ _ _METHOD OF ORGAN PLAYING
wrlttea played
ORNAMENTS IN THE WORKS OF J. S. BACH ~~
THE TRILL.
of the trill note~ mrrgrrrrrrttr
TRILLS WITH A PREFIX FROM ABOVE:
1. Trills as a general rule begin
on the upper note. 1. Double cadence (Trill with tur~.
written played

~ ~§~[If
2. Double cadence and Mordent
&1written. tr Played.
(Trill with turn and closing notes).
!f 1 ~ ;: aw ;::a JJSJlif
11
playecl
a. Exceptions:--The trill be-
gins on the main note.
.mrrrrgaS'fi;{kSf r
1) When the trill forms the
first note of a phrase. TRILLS WITH A PREFIX FROM BELOW.
2) When the trill begins im-
mediately after a rest. 1. Double cadence (Trill with turn).
3) When a characteristic in-
terval in the melodic outline is effected.
4) When the trill note is
preceded by the note above.
b. Any number of alternations of 2. Double cadence and mordent
principal and accessory note are possible. (Trill with turn and closing notes).
c. Trills before a rest occupy
written played
only part of the value of the main note.
d. Trills in expressive music
may be "modulated."
~ rrrrgg.n·. arrr
1) Begin slowly and gradually
increase the tempo. TRILLS PRECEDED BY AN APPOGGIATURA.

2. Conclusion of Trills. Played.

a. Trills on dotted notes stop ;,!3J55ft=

i
on the dot;
~pi~ THE PRALLTRILLER \Schneller, Transient
Shake, Inverted Mordent). According to
~ hf[f(ECJf
;:
C• P • E • Bach •

b. When closing notes are writ-

~~~"·
. <4W - - - Played . Qr

ten out =t~ the trill may stop on the

dot or continue, concluding with the clos-

ing notes in either case.
c. Trills on notes of even
value may stop at half or three-fourth of
the value of the note depending on the
tempo.
d. Trills on successive notes
will continue for the full value of each
note.
e. Trills on tied notes should
stop on the main note just before the end
The dif~iculty in properly inter-
preting this ornament lies in the fact
that Bach was careless in his use of the
sign and uses it to indicate either a
Pralltriller or Trill sometimes in the
same composition.
The content, tempo, melodic out-
line and other considerations will help in
deciding which interpretation is the most
satisfactory •. Bach has written out the
 METHOD OF ORGAN PLAYING 7

notes for the Pralltriller in several in- beat and followed by the other three notes.
stances and these are a valuable aid in
carrying out his intentions.
or rrcr
1. As a general rule the Pralltril-
ler begins on the upper note when the pre-
ceding note is of the same pitch. 2. Over a dot it is played as fol-
lows:

- PGrcre ~

~
pla.y~

r1rr
2. After a downward skip the
Pralltriller can be begun on the upper 3. Between two notes~
note, particularly at a cadence.
G'-)

3. Pralltriller tied to the pre- r r

ceding note.
THE SLIDE (Schleifer).
Andatne. _. (played)~

=:cr·e- r II iCJ·· err n Bach

~9
played

:fe t:fl I c::tR=W'R gi I (iFF ~I

~ .V 1. Begin on the beat.

4. When the closing notes are writ- APPOGGIATURA (Accent, Vorschlag).

ten out in full a Trill is usually in- The use of Appoggiaturas is rare
tended. in Bach's organ works. In "0 Mensch,
bewein' dein' S~nde gross", (Peter's Ed.
Played. Vol. V.) and "Vater unser im Himmelreich"
the A'ppoggiaturas are written out, clear-
ly indicating the way Bach wished to have
them performed.
5. According to C. P. E. Bach, the C. P. E. Bach, in his "Versuch uber
Pralltriller can only be applied before a die wahre Art das Klavier zu spielen" 1753.
descending second. A distinction is made (Essay on the true manner of playing the
between the Schneller and Pralltriller in Clavier), says "All graces written in small
that the Schneller may appear on detached notes belong to the next following large
notes. note, and the value of the preceding large
note must never be lessened."
THE MORDENT.
Written. Playeo.
1. Short Mordent.
~:_ ~or or

=iEfi=·
2. Long ~ordent. ~or or

Played.

~ .. rr r. rr The Appoggiatura in the above ex-

amples may be played as a sixteenth note,
a. Notice that the line comes depending ~n the context. The actual
before or in the middle of the sign. When written value of the Appoggiatura bears
placed at the end of the sign the line rep- little relation to the actual time value
resents closing notes. which it should be given in performance.
THE TURN (Cadence, Doppelschlag).

1. Over a note it is played on the

8 METHOD OF ORGAN PLAYING

In general, the slower the tempo

and the larger the value of the main note,
Bach
the longer will be the value of the
Appogg ia t·ura.
The ornaments used by the French
School of Composers are interpreted in
practically the same way with this impor-
tant exception. The Sign ..., always indi-
cates a "Cadence" or Simple-Trill and be-
gins on the note above. The Pralltriller
was apparently not used in France.
 PART II
MANUAL TECHNIQUE
POSITION AT THE ORGAN
A correct position at the organ·
should be taken from the very beginning of
study in order to develop the physical
control which is essential to technical
precision and ease of performance.
The bench should be straight and
set back far enough to reach the upper
manual .comfortably. The height should be
very carefully determined by resting the
feet flat on the pedals so that a key can
be easily played by the toe or heel, using
the ankle as a fulcrum. Twenty inches
from the top of pedal "E" to the top of
the organ bench is the average height. If
a well built adjustable organ bench is not
obtainable, have the legs of the bench
shortened or lengthened to the correct
height. When playing on the manuals
alone the feet should rest lightly on the
pedal board. Fatigue may be avoided by
occasionally placing the right foot on the
Swell Expression Pedal and hooking the
heel of the left foot under the bench.
In order to maintain perfect bal-
ance the player must sit s·quarely and
solidly in the middle of the bench, and
not on the edge. This position should be
in the exact center of the manual and
pedal keyboards, and can easily be found
by putting the left toe on pedal ncn, and
the right toe on Pedal "G" (on "F" for
pedal boards of 3I notes). With the heels
together the player should be directly
over pedal "E" ("E flat" on "F" pedal
boards) and in front of the manual space
between f' and gr. When this position has
been taken do not slide up or down the
bench. Sit erect with the elbows close to
the body. Remain perfectly relaxed and
play without any unnecessary motions.
It may be of interest to quote
from Girolamo Diruta's "Il Transilvano,"
"a dialogue upon the true way to play the
organ and quilled instruments (virginals,
spinets, etc.) ••••• A work newly made,
9
most useful and necessary to professors of
the organ." This work, published in 1597,
is the oldest existing instruction book
which differentiates. between the organ and
other keyboard instruments. The "Rules
for playing the organ with propriety and
elegance" are here summarized and apply
remarkably well to organ playing today.
1. The player should sit in the middle of
the keyboard.
2. His body and head should be held up-
right and graceful, and there should be
no movement of either in playing.
3. The arm should guide the hand; both
should be held straight, neither being
higher or lower than the other, which
will happen when the wrist is kept at
the proper height.
4. The fingers should rest upon the keys,
slightly curved, not straight, and the ·
hand should be light and relaxed, or
else the fingers can not move with
agility and promptness.
5. And lastly, the keys should be gently
depressed, never struck, and the fin~
gers withdrawn in lifting the key.
ORGAN TOUCH
The principle of the key action of
the modern electropneumatic organ is quite
different from that of the piano. Its
sole function is to open and close a
let under the pipe. In the usual type of
action the resistance of the key is con-
trolled by a spring beneath it, and may be
very light or fairly heavy. All organ
touch is based on the principle of pres-
sure, which will naturally vary somewhat
with different key actions. It is assumed
that most students today have access to or-
gans with electropneumatic action, and
these remarks are based on this assumption.
There should be little or no
10 METHOD OF ORGAN PLAYING
confusion between the piano and organ touch
for a well prepared student. The attack is
similar to the so-called finger pressure and
weight touch used in modern piano playing.
The organ differs from the piano in that
the power of the tone is uninfluenced by
the force of the attack, that the tone con-
tinues at the same intensity until the key
is released, and that the touch does not
effect the tone quality. The time of re-
lease of the organ key between two consecu-
tive notes determines the type of touch
produced, and this may vary through all
varieties of legato and staccato.
The development of a real feeling
for organ touch (despite the fact that many
musicians seem unaware that there is such
a thing) should always be stressed.
RULES FOR PRACTICING
It should be the aim of the pupil
to perform each exercise or composition
with musical and technical perfection.
This perfection can be achieved only by
correct practice habi~s. The following
suggestions will help in acquiring these
habits.
1. Practice slowly, carefully and thought- ~~~~~~~~~~~~~~~~~~~~~~~
fully.
2. Always use the same fingering and ped-
alling.
3. Avoid playing wrong notes or incorrect
time values from the first time an ex-
ercise or piece is practiced.
4. Concentrate on the work at hand and
avoid automatic practice.
5. Practice short sections at a time, al-
ways beginning and ending on a strong
beat.
6. Practice with the right hand alone,
then with the left, then each hand with
the Pedal. Play the several parts to-
gether as soon as they can be played
correctly.
7. Always listen and hear that the parts
sound together, are released together,
ana that the legato and staccato are
perfect and the rhythms accurate.
8. Analyze every composition from a musi-
cal and technical standpoint, and en-
deavor to find out what the composer
has to say and his manner of saying it.
Then try to recreate with clarity,
honesty and effectiveness the beauty
and meaning of the music.
ATTACK AND RELEASE
1. The hand position should be the
same as for the piano, relaxed, with the
fingers slightly curved and the wrist
about on a level, or a little lower, than
the knuckles. This position will vary
somewhat when playing on different man-
uals.
2. Keep all of the fingers in con-
tact with the keyboard at all times, and
press them quickly and firmly down to the
bottom with finger pressure and the weight
of the hand only. Diruta in his "Il
Transilvano," shows the difference in the
effect produced by pressing or striking the
keys thus:
(Pressing) (Striking)
IE
Buono (Good) Cattivo (Bad)
adding: "The bad organists who strike the
keys and raise their hands lose half the
harmony."
3. Play the rests with the same
care as the notes, releasing the key with a
quick upward movement of the finger at
exactly the time the rest begins. The fin-
gers should be raised only to the top of
the keys, and the hand, wrist and forearm
kept perfectly quiet .and relaxed.
4. Listen with acute attention to
every note played and released, and hear
that every tone in every part is sounded
and released at the correct instant.
 Exercises In Attack and Release

Practice eaqh hand alone and then both hands together.

Practice in all keys with the same fingering.
Count the time in each measure. An excellent plan is to
count 11 0ne" in the attack and "Two 11 on the release of each note.

" I 2 t
"' I
.
I7 • ... + .... • + - + • +
at.\•
(
I I I I I I
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12
 Exercises In Manual Legato

MANUAL LEGATO

A perfect legato is one of the most essential an difficult requirements of good or-
gan playing. Its development requires a sensitive ear and the application of correct prin-
ciples of touch and fingering. Consecutive tones must be connected in such a way that
each note will be heard instantaneously after the other. Not the slightest break or over-
lapping is permissable, and the ideal should be to produce a continuous flow of sound,
vital and plastic, and not with one note monotonously following the next.
In playing several parts together many new problems are presented, and in order to
obtain a pure legato a number of fingerings, more or less peculiar to the organ, must be
used.
1. Substitution.
2. Finger and thumb glissando.
3. Crossing fingers.
The preliminary exercises in Legato should be practiced, and then a few of the ex-
ercises in Extension and Contraction and Finger Independence.
The study of Finger Substitution may then be begun, and the exercises in Extension
and Contraction and Finger Independence continued as long as they are of value to the stu-
dent.
s-
3
.
1..
(7
~
.. 11 - •
:
.. :
... • • •
("W'
: ~
.
I I
J I

.:t 3 5
- ... .. - - ....

..
I I .1.3 I I ~ I = I IIIIo.

(7 ... +" J

+ !I.'• .... ' -- ... , ..

~

I
• • I. ........ ~ ~~ ·, t.. t .t. - "
.,.
"
I
~I I

I
5' J" 2. I S" ~.:t I - 5" -.a. I ~
L 3 .:2. I S" ~:~.I
.... J'" 'f' :t I
--
..
. .
. ... .
I i 3

..
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~-
(l" ~ . • •• • .. -
( . . .
I L I I
l

~ 1 { , l
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,... I I
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..
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: : :
• - - ... -...
(

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. . ..
"'

I ~
·•
+ ......
.. • ..
. . 0 •

I
I l I I I

13
 LEGATO AND DETACHED NOTES

Give the correct time values to the rests and notes.

,_
(
J f _l
- . 1 1. 1
~
..
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3
. .
) 'f 3
I

-
I.
]
t7t,t7~"r • ~i :,~ ,.t-,j "i i
i~ • ~
T"
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. 1~1 I---;-- ~-~., ~' ~.,
l. I
.
I( '! i .,
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r ~ "ffl Ill'
:
I_

.. ,l I
I .2.~ "J ;~ .,.z.~ ~ I
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:
I

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t'--:..-T
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14
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I ..J ..J J .d ..-J. .,j
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3
S'

15
 EXTENSION AND CONTRACTION

In the following exercises avoid stretching small hands too far.

V&ry slowly

"'
_1 i. ~
( J .... 1, ~ ,, ..-r I
l. <

l
-
.; • c,

.
1\ A~,..:~ 3 .1. 1 :

• - I - • -e-
.< ' J

( . l ... • - + . .... ... • ..

PYa.of,,E ,;., all lreys

.. ) a. I 3 .a. I
} ~ } -!, ate.
,...
,J.s".:JS"
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+ • T •
•
:;.
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- • .,. - . . ... - ... • -

Ffa.c.fi (..e. i" 4 // ke,s

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( 1 +
7 t

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f>ra.~+i<.e.
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a a + ...... ~ . * .... ... • ..
, ·y I I
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etc.
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et '·

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II II I ; i .:1. I

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17 ... • ... ... • ... kty.s

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I

5. ri-~a."~ ''C. in CLII

~

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- • , ... + + ... ·~·
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f : ·1 ·; f •fc.
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etc..

16
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3

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+ • ... .... .... ... + .... • ...
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Sw. p,.,u:ilc& IIJ o../1 key$
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7 5w.
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+ ..... b. ... - ... ~... + .... ... ... .... ... • + • :
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17
 1/
I

(\ '- Ll I I .i

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t "="~ali •
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 FINGER INDEPENDENCE

A selected number of these exercises should be practiced every day.

-. .
3 II S' I

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:

.~

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--- ...........

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19
7.
:I.
I
·.

20
 FINGER SUBSTITUTION

In order to play a smooth legato, when several parts are employed, it is fre-
quently necessary to substitute one finger for another on the same note.
1. Always place the finger immediately over the next note ready to play.
2. Count carefully and make the substitution at a rhythmical point in each beat.
3. Be careful not to repeat the note held and play slowly and in perfect time.
4. Practice all of the following exercises with each hand separately and then to-
gether.
5. Various combinations of substitutions between the right and left hand should be
practiced for instance in Ex. 1 use 1; 2-1; 2-1; etc., in the right hand and 2; 3-2; 3-2;
in the left hand.

Exercises In Finger Substitution

These exercises are to develop facility in substitution. It is obviously not

necessary to substitute fingers in single note scale passages.
Indicate registration for each exercise.

Ma.n.l
I .:J...-1 :i-1 I I
-. - J. ,_ 2. /1-.2.1
.
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I I ..... ...... •._• -e-
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21
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I
.1.
! I
'1-.2 'f-.1.
J-; )·S J·S .J S-3 S-J

22
 If S-"1 J"-lf
J 'f~J 'i ~J

-" },1;
.t
I
I
J
~-t
.t.
·.t J ·.t
~-1
J .r-t .1. ~ t .e. ~ J-S"'
, .t
:
( 'i e. - •
~

l .
.. .. 1\

...,
~
-& ...
~

3
/-.J..
.t
1·:1
-
IS" J I
I
J -
.:t ·3 :1-.J .t
l •l( 3 ·"' 3
.1( -S' .1( -S" 41

-- -- ~
-- /f
---- r.- --........
.
(

<

l .
l
*!.
-e-4 3-¥ - ..
3 - . t - - ~-&!::"

~-- )
3

i•3
.._.!._
t'---&.t.
-;~,;;.'f

-!-.t
... &;,..::

i".-
. . )·.t
.J

3
:
-·· -&

-..:_.
-

.. I I
-
I 1
}·t' .3 ::l 3 -¥-J L.f
I 1
f'-'f

I
S'

_
.
....
IJ ~-- "'--- l,.;.--- L...--- ---- ~-

10
I
•
r-..
...
....

""• .... -~ ~ .... ~---

:
-..
I I
3

Al-

I I I I l 1-1 1

:
lh:t
I ..... ---1 r r
..1 J I
.
I
~-.,

23
 SUBSTITUTION IN THIRDS

1. Count the time and make the substitutions rhythmically on the second half of
each beat, i.e.

II
2. Substitute both fingers at the same time.
3. Make the attack upon both keys firmly and exactly together. The release must
be equally precise.
4. Strive for a perfect legato.

24
 Mo,..n. I l l.f-l l.i -J e. t "·
I .t -1 .t-1

PI"a. c t /c. e 1n a. II k e. 1 s .

1 "1 .) ., - j , -Y
3
3 ..1
I .;a. -J .t-1 I \
"'
lJ ... Q
- I
- I;;'
-&
l .~
{ :
v .I..
~ ~ + 0
- I .... ~
• -i-
:
#
.t. I .t. I l .;t
3 I .2.

J
s-

s- 't -r If -s-
3 .a.-3 .1..-.3
"1 J-¥
-
.J-'f -
.t. I .a.. rl-.2. I .i I
.
[ J - c ....
~

§ ~
,., .. I

( ... ..... ~ .... j.

* l t i- ... 0
-
I;L_ I .t I .t I .t.;;.;..T
3-"1 3-'1
.l..-3 .l.-3
4 -s- "1-5"

.1( J-4
.1.. I 4
&
.l..-1 .2_ -,

( 1 V-l-"f#4 c;;l 1fJC

- l
- 'fC ~~~ ~· "i!!t

~- ~0 ~H hr
( ....
.I L. -. 1"\ t"' .... L. -
.
'.:t. I J. I -.l..
/. ..t-t J

25
 .
1-J .1/-J
f"\_ I .a. -1 2-1 2..1 /1-2 I

.,_. ,_ :
_._ J

-& "~ 'l(i;) .. - . y- ····g- ll'l=f

-
.. .1.1 "".11 .- L 0 ~.. .... ~ blo \.- ,\
' l

In..L.. ..A_ :
""" .2. 7 .2.. I
I .:t J .1
j
s
 SUBSTITUTION IN SIXTHS
1~ Count the time and make the substitutions rhythmically upon the ~econd half of
each beat as in previous exercises.
2. Substitute both fingers at the same time, i.e.

I 2. -I

Small hands may have to substitute the first finger for the second and then the

,, ~ ~~
fourth for the fifth finger, i.e.
~ S'-'1

a. -I
3·-. Have the fingers over their respective notes before making the substitution ..
4. Practice each hand alone; then both together.

I.

/, a. II k c.J' s•

I
J * . 1-.1. 1-2
~ L"'l
-
I I
I

- g
..
I

-
S"'-'(
7- - I I

I
- ~
• ~
. t
l.
\ l ~
• ~ .. - ~ I I

:
l

- ... tij;l ... I I .1. I

I
I - g
it

( -
..
;
~

/I
iS"'-1/ -
_, :1-t

I
~ .. ~ t ef ~ . l"'\
-
I I
I
.
....
..,.
-.
J

t I 1 I .. 0 ~
• ~
- I I

.
~
.... I I
I .z. _, l
I .... ~
ii
-

27
 1-.l. 1-~
'i -s- '1~

SUBSTITUTION ON COMMON NOTES

The substitution of the fingers should take place separately, ie.

s--'1 s
3 l-1. 'I
·~

i· ··!~
. 1. 3-l. 'l

--
....__..., .....

u
~
·-1.
~-'4
I
2..

.2.
-",-' .:l. ,I_ 1-.:t I
.
.2...
I :L I .0

(. ...--
., --~J----*
-··;;;:::::
-~

...- ~...---f ...... -

-r:::r
I~ T I .t. 1-.ll I ..t I .2. I .:L
3" - .l. "f-.Z '¥

Pra.c..tic.e ,·n a.f/ ke.ys

28
 5-.3
J
~
I
-
~-1 ..z -..!----. 0
3-.:t.
.:t.-1
-- -
t ~0 1-.l,. 1-.:1..
-
~
-
.2.
3
.l.
I

..---- - --- .
1\

(J I r ........
l.
~

I -,-..:t.
..-.- --
1

1-:J..
-
-
1/-.,t.
-
.l.. J
..3 -S"
·-
I
.:l.
~
.3
r -J
-..z
I -
I

~~~-
.If -:t
.r-3
.

P,.a s i iee Ut A..'/ Re ys

..
1
l -..J----- ~-- '......---:---..'.; !- ~ ~
,._,
•, ~~-I
•2,
,\: 1.
..
.
(\ 2.- I -:1.

( J ... -- I I
~ - .......__.
j .
- .ho-----...

-----
I I

~----.
r'---'
J.
I,.
,-z.J • l-2.
I
I L.,..... 1::S-l. 1.-....,___
-1"----.... -
-&. t

29
 SUBSTITUTION IN SEVERAL PARTS

'I-f ¥-5
.a.--J -- .J.--3 1/·S
.:t-3
... t' .r ~~
:;:::::=A-
I
.I 't_
I
..1--=-.. I
I - -.2
!' I
~
'1 I
:t
......

~ J
j - ~~
I

J.--
I
II I
~r I
r I

. -'· ~' = -~--~- ~ . = ~-t "'

r ..t'
i~ ~ i~ ~'1t
\;

•• l'\ .... 1-- ~~ J..--r---

.1-1 .a.-t .J.·I
J--2
5-------'f ~---¥.
3--.l
S" J--.z 'f .) l -=::!......~ f s 3
:J.-1 ....
.)
.t-1
3 - - . t 'f

.lf·S '1-S 3
~-r J ..:t-"-s-3 Jf. .a. _1_3 .a.-- .a.-
I .2 t---2 1- ,.l.l 2 I I' I ~ I t

I
~~ . _1~---r~--·
I
.. J
J.
J--~~ J -= & ~-~- " 1---~--~ -
3----~-'~ 2
3---- -~'~
I I I
3-
5---------¥5--------13
1\ 'JT.il .;t
I r
3
.1 '
.a. 3
J I
.a.. 3,. I .a. • ~, I .a.. ~

r f .. - .. v-1-·
....
\ - I \ \ I
T 1'-
~-il J--- r~ J- ~~ I_ J.l I I .
r
~ .t·l I .:1.·1 I
_-_a If r
.1.-1
3 - - 2 'f
4-1
:J 'I s----'2"1
r - J_ _ _
3 3
s----.:t_, f :J
'.t.

30
 1(--S
-3 ,_
- . --
2. .:t-3
1 ~-3 .1-3 .l-3
I
-d • .:t I ... ~ I
. .:l I .:t I ;,2

(
J I I I
I ll I
I - I I r-- ~

5.
~
J... - . ,.
= .it· ~ • ~l~· • .. rf' _0 - ~J· - ·""' r.J .
,.,
I .1•/ .:1.-I .a-1 .1-1
-_-_-_.a. i' .! -_,.---:2 '1 3 --.r---=--=--_-_-_.:l'1
;,J
3 _ _.r
____ ..J -~~p:-===3"- '( 3

lf--s-
A~-S'
.;z-J
"f-S"
.:l-3 6 . ,(I
.~~--r

4;--
.z.-3
':J. ~
.:t-3
.:l I
4.! - - S "
:J. - J
.:t
.:t I
.
.z.l
"' ... ~.l ...1-------.....
...
( ~ ~n I r-- "'1\ t- ~--' .... .J I

<
I
.-d. ..ll'c
T ,r J- -
...-&·
- -- _t-_- t. ~ ... _ "'J. ~--
~~ - -""~ .......-
I"'

I I I .:l-/
;2~.2
3.-1 .J-
--~--'~~ ~ :4 3
3 ...J--
- .t
-I(
,J
S'----"-T
.s----~ s·-----¥ .;:---'(

_, lf--S"
.a.-1
¥-S"
~-J ·--5' .1-3 If - - S '
.a-.3
. _I ...----a..' I
~ I
I
..t I
I ~ ', :t
"
. ...___
( J I r I -
~--·
I
I ~~·. It·~
~
(
---l J-- ~1~
-+ -~
.
.1·/
J- - -1 'A' ~- -J. d-- J j
..
---""-J.
.t
s--"f S--lf
.2-:
3----~:l .J----1
s--i'
;2 3------<2.
I

s.--"1
;J-f
.J
I :1•/ I

31
 SYNCOPATED SIXTHS
In the following exercises substitute the fingers as shown in Examples 1 and 2.

.J
S-'f S
:1.

L.H. s 1-2,
1-3
If-f'
.-1
a.-3
&f-,.
Practice the hands separately and then together~

~~~-~-."'l-
'1 .r-~1 s---~
]_
J. ,..-.....
S"
If· .1/-
d j J~J J I .If

.
( J
r; ~., J_, d-r .1·/ .2. ~ --.t 1/--.t ~·--.:tl/--..:1. - f

. .,.., ,c-.z. J'

. .l 1 ~-~ ~y .at --.t. j•-.zJ!-.:Z
. •
I

I
s--'f s --~ 1
5"--i' lr- ._, ~~--'f T'-" T I I - I I
it-s-
..,
"'S' 'I·!
Pr-1:4'- t;,e. m ctll kty~

J/·S $-"1 J ' - - If .r--

J I l "'·S' "'·I
--
(\ i I I A/ __... I 1 I

..
( J
l,-l.tl,-.2 T;-.t jt--.Z. 1:----l~-J. fqt_,t s. t
~-l
:t.•l

(
~ ~ 1-- ~~ :t' 1'-- ~J 1' ·r,_ ! .Z·I l
.
I

I 1 .-- r--.J ~ ~--- r--

s -t.r ~ s---.lf'!i ll--'1 IS" - - ' I I.s 3 ,:Z-.!
4t -'1 5-
14(
s -
J'f"'.'- t i"e. /n a. II keys

--i'
f 'I
J "'·I AI·S' "1-S' 'I·S"

..
.
_.... l 1 I _1 _L

~~ ] .. ';-3 i4-J .,._, _ _:!

"1-3 3 'I 3I I(
~ If

.a.--- ~ .z.
.:t-1 I ~

~J' ~l--
.t.
a.-1
;{ .a ~~ ~.J. J--bJ 1'-- ~J .:ZJ_...
..
.:·J
..t-3 .z.:~
'I· '"' } ~ } .1
If
3
S"
.t
"f

f',..a.c..the irt St.lltl"a..l lcey.s

32
 SUBSTITUTION OF ONE HAND FOR ANOTHER

Pass the left hand over the right ascending, and the right hand under the left de-
scending.
There should be no break in the sound during the substitution or between chords.

.
.:t
I
1'
.2.

I.'\...- J ,-...,. b~~-t-

l
J,........- ,,
..J. :l
I

c y•-t i
--~.,
G,t. !,~o~.
k.3 (it.
I
.:z.
~of
s. . . 5'
.:t
j
G.t.
t,..,
s- s..,.
-T
It ·-t j-
'. Sw.
't
5 S" 't (it.
s-
[

:l
I I,
,, ~-
- ..a I~--.
,,_ 5
3
:l
I I

- _,
( J
-.~~ •::::... ~ I
I
.:t II -~~ ·~t i ....
Sw. - i Gtt. I
.1. Sw,
.1.
lf C:rt. j. S~.o~.
.:t.
} G.t. ..,.:t s.., . .2. I ~..;.

~-.
5' 5"
J. .It

I
. 'I
5 5

[;;;;;;>
I
Gtt.

33
 GLISSANDO

The term glissando (with gliding motion), which is used in piano playing to indi-
cate a rapid drawing of the finger nail across the keys, is also applied to organ tech-
nique, but in a different manner. Here the term refers to the sliding of the fingers or
thumb from one key to another.
The following exercises are divided into two parts:
1~ Finger glissando.
a. The sliding of the fingers (or thumb) off a black key to the adjacent white
key above or below it.
2. Thumb glissando.
a. From one white key to the next white key up or down.
b. From a white key to a black key at the distance of a semitone.
c. From a white key to a black or white key at the distance of a tone or more.
d. From a black key to a black key.

Exercises In Finger Glissando

From a black key to a white key.

1. Keep the wrist low and slide the finger quickly off the corner of the.black key.
2. The notes should sound with perfect legato and rhythm.
 - - - 1-1 - 3-3 "' - II - .,-
L I

.
\ J
. ' I

.~

. I I I I I
l
-"- ..1 - .:l 3 - - r-s I
3-J
.I. I ,_, I

·-~
r-Sj "'f-r ,_,
... . ,. -
I ·I .:a.-.t '-3 J-~ .2-.:t ,4-.:t
..
l] -
"l\
J• t J+ • l'

. ,,
3.
(
I
- [JI._
• b• I. .. IL
. '
$"'....;._~
1v -"! 3-3 .1-.1
,_, .a.-4 3-J 141-¥ s- S"' AI-~~

.. 3-j
"' ¥ ~-..-. "f~ .)
~ .a. .:z. .. 3 ~ ~
l-l
"' "t

,. . .
j
• J a. Tl
i

Jl. .i.... I~ li. • I .d. ...

.
lf.
~·-L.-al I ...' 1-
.
,_,
I
3 3 2 -.1. 1-1 e:l. .4 3 3 I, .J-.J
- - ~
- -
,_,
I -1 i.:.-: t~-·. 1-11 t,.;.. r -..r I
1"-S"
~... b.
1-1
b.-~ ,_, h!""-.r .
.
ft.

(7 ...-

•'
I d
- Jl. a b. 1... 1..- I
.
,. _-- - . -- ,_, r-r ,_, r-lr ,_, r-s- ,_, v,-_J, ,_,
,_, -r "1- r--r --.·, ..t.-.1
Lr l I
3 --.J
"'· -
:
,.
tJ I I I

'I
- , __, -
I

-
I I

, __
·-- -
' I
:

·~r
I
--r :J--3 -

35
 GLISSANDO WITH TWO OR MORE NOTES

1. Slide the fingers with even pressure.

2. Listen and hear that every note of the chord is released at the same instant,
and that the next chord follows perfectly legato and the notes sound exactly together.
3. Glissando with two or more notes is most useful to small hands in the music of
Franck and more modern composers, and also provides stretching exercises for the fingers of
the beginning organist.

1 J ., --3
~
-"~
~
--
T=1 ~
,._
3-J "-.:t.. ¥ --'1 ~
.2.-.1
-:;:-;:z l ~ 3-J
.z. -.:t.. ~~~
I I 7 :} J-11
3 -l
I -I -
.. ..
1\

( ~·
. :
·-
.
J I 1 I

i.
,oil,_
• ,#"!" .. h~....... ~- L.. ....
-:;;;;:-;;
~· .
L
.. .. .. ..
r-
I
I I
'- I I I I I

g
.:t~.t.
_,
-l{

1 '::1 Jf 5
r3-.3r
-;;=:-rr
jl.-.:t..
I I I ,, ,, 7 ,_,
3-3
" . :
I

~r
.<
11 I
,. I
I I 1 I

~~-
& L. .!. ... • .II ..
• I
.
: : : :
--- I I I ~ i I '!!' i ...!1.1

11-'1
"1-"1 .;a.-.;t ~-
;t-J.
3-J
'I I
~
b.
3=-i
1 1- 1 \ JL·
~ ;--....:
:--,: ..
~-1{

.\'-' .. ..
s--~
.. a-.a.
.
~ ~

( 1 T I I
J

"'!
Ia
\ .I I
. .f I

. . I I I ... ..
....
fiiiii'
,. - I _T • i~.:.-a. 1/ II ~~ .2.
- Tl

I
.

1,
S"-S"

36
 ,_,
., -1(
,_,
lj-&/
~ - I( f- ,
s-s
I - ( l..-1 s:=T
,., ~- 1.. ~~-~ b.~-~
I I "

.J I
I 1 I J I I

I .... . I I • 1 r L.... I
10 •
~- . ~
I l
_lll
~

i:_~ ~ ~ =~ ''1,-',
.1-.l "'~-~
.., - y
,. - { "\ 'l r-s F-S"

.f -.s-
3-.3
a. -.:t
tj _.., Si milt.
2. -~
,_, ,_,
~-;a.

I l I I
1\

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1 #;+ • ~· 'q.;.
n 11 1

11 .
~
Jh • .d~ ... 1.--.
. __i_ ..#~ . J1 ll't'\.. .~-~-
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a- It-'•
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.,._- Jf-S
3-3
I
;-s
3-J
s-4/
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1
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v- ... ~-
.
.:t-.:l
I I

: : : :

lJ
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J J _.j_J
IJ.
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0 .
,, ,,
,, /-~ I, ~ 3 ..... J
5-S"
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3-J

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. j~ ~~
3-l
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1-1
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1-,'1 1-.l. J~J
.
,.
1\
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( J I J

13.
r I I

~~~ ~-- .
'C
. I.- j._i~ ~_d:_ ...
: : : :
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4-.z
J "I
"f-'( .2.-.:t I_
.., -3 - t I
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I
s--s ~-'(
s--.s

37
 s--r
,_, ,- ,
.:t.-.1 r-s
2.-.t
1,_,
~-·
1-1
A
j_ -, J. J • _l u. _... ... _L _.
: : : .
~ ., ...I
,...
" 'If l I \ J I I
J
I~. 16.
. ~-"'-. . I
.. l l \ l \ I
. . I I
{ : X ..il • ::1£--

.t .z. ":tt•t.t r I.:.:!.~ ., -,..'l.; I·~-;

J-.3 I
3-J
r-s
I
- - -

r-s
)-.3
.a.-.a. ,_,
,~-~· j,i1,- ~~ .. ...."1~ ,i..... .~:~.• ..- b~#~ ..
...
. ~ I. ...
. .
I
\ J I I I
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'-- .... !.....
.I I I
. .
d I I .... I. ... I I
.
, .• li_'•
I
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1\ l I I I n I l I I
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: ' 1 L 4 I

I I. I I I -1 •, .J, "J~j· "J :.=1;

.t.-.1
.J-..J
.a.-~
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AI-r S'"-S"

38'
 Exercises In Thumb Glissando

From one white key to another:

1. Slide the thumb forward on the key and lower the wrist slightly, moving the tip
of the thumb over the next note. Then with a quick upward motion of the wrist depress the
next key, being careful not to disconnect or blur the two notes. Exercise 1.
2. In Exercise 2 reverse the directions given above. Begin with the tip of the
thumb on the first key and a slightly high wrist. Attack the next key with the bass of
the thumb·and lower the wrist.

( J
I - 1 - 1 - t - 1 -1-1-1

·~
- . . Jn::::= _ .... .
.........
.
4

.1.
,_,_,_, _ , - , _, -f

+. ., ~

.... _ ~
I
. .
'_, -l-1-1-1-1-1 I I I - I - 1 - I -1 -1

From a white key to a black key at the distance of a semitone.

1~ Follow the directions given for Exercise 1, sliding the thumb as far forward
as possible.

I
..
I
' 111-ljl-1-1
.
J
........ .......,... ,
- . • 11•.
~
" I -
1-1 _,_,_
f- , _ , _ , - ( -
1-f-1-t-1-
Jf. ,_,_,_,_
' ~. ~ ;tt- r-t .. -
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f- ,_, _,
Jl. •!-~
I
I t , I I I I I S"

.1. 3 3 2 .,
.:..-3
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: . """' ;-"

:
...............
--......
I I

·-·
I
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I I I I I
3-.z
-'·I

3
- l.f ,_,3
,. ,_,
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., S"-¥
-
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f ,

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ba .. - ba
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.,_,... + •
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,. ,_,
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3-1(- I-I I
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5"-'f

39
 ,
S'" __, "(-$"
I -1I

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I I I
l l I

.
... ..
( J 'i' • •
7.
( ~
• t ... • . I l l
.
I,_, ,,_I, . ~-4 q~ ,_,I'+
li-s-

Extended Exercises in Sixths, Octaves and Three Parts.

1. Have the tip of the thumb and the fourth finger over their respective notes be-
fore the attack.
2. Attack both keys quickly and exactly together.

-
~ ~ . .it_ ~ I

:
( 1
l - 1-1 _ · _ , - I
I
'
! -
5.
.
,_ ~t,-11- 1-1 1
~ _ ...
it "?. -.
_l!l.

"'·S' I I

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... t ... ~
t 1."'\
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< ~- 1--1
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. .A. I

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# s-1.1 's-"f Is-- if - '-1
•
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, __ ,_,l_ ~"-' I I .... • it _.. I 1 I

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it ... :..s- r I ,.., 5"-"f !.7-"1 I"-"' • 1r ~
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"(-S 'f -s- ·5"

40
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a ha - I._ I I I I

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¥~ij ~~ ~=-1~ ~_i~ f:_i_~

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3 ~ 3 .:2. 3 .2. 3

J ~l I
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41
 • a.-
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l-1~1- 1I - 1 - - l -1 - 1 - 1 -t-1 ...
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( "J t-- r 1-l...:.:t- r I~ :l I '3 .:t I 3 ..1 3-..t

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42
 From a white key to a black or white key at the distance of a tone or more.
From a black key to a black key.

1--1--- I --1 ---1--1 ---1-- I

Y r ..
I J I I I

~
1--1
, __ ,
I :

.. I I

: :
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• " I I J 1--1

I - - I --··---"- ' - t - - - 1 I
lll !1.1. ,_,
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: : . I I

;
-

r .,.s- ¥ s--.,. s
.2_-----.,.------
.
m"\.""
L~
J-1.
b~ ..---::::-~
- -.....b~ . "
....
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l
'l.a.. ,_J,...=I,~, I

I
J

:t~.
r,_r, I I
I -1\;"~-1
L 1..- - I. 1 l

--
~
~•T

1...-
. ""--
"I. "
: :
I-..._1.. T L
3
.r
• ""

43
44

CROSSING FINGERS

The passing of one finger over or under another one is useful in helping to pre-
serve a perfect legato, and in avoiding unnecessary substitution, particularly in faster
tempos. It is the easiest of execution and most practical when passing upwards from a
white to a black key, and when a long finger crosses over a shorter one or a shorter one
under a longer.
J sI .
~.
s 'I
cl
I 3 .:t

/-------
.II. it. I l. J .(/ I I

(
.I

li
--
~ .... ....
---
__.........
- .-- 'i' .;,.
--
___

.....

t
.....
_..
-~---------
!= a ..,.. ~
:
--
H'
I :
.t 4" 3 ~ .F Jf .3 .;z.
"' "t .3

Depress the hana wnen crossing th~ finger over in ascending, and raise the hand,
turning the wrist toward the center, when passing the finger under in descending passages.
 ....
J 3

"'.,
3 ;L 3 ..t. I .:t. 3 J
. J 2.. 3 .l. I :l 3 S" ¥, ,I -ffl Si 11] Si if\ r i' 3 2..

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....,;

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...
•
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r
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.... ....
e-
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J .if 3 ~ I
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~ ["'r'. IS"" "f .r -v 3 2..

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I•
5.
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. -- - ,.....-
- ----. - - - ~ --..... ....... -
.....

I .t
.) '"' IS' !J 1"1' fr 1-Y jJ'" l'f IJ .z. l..J l"f (r l" l"f ,, Ff IJ !F l~t 'J
"" 15" 1¥ JS

45

/
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.... _ -~----

i.
I ---- 3 'I
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-
Thirds and Fourths without Substi tion

¥ "#
1 I I

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I I
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.
2 I ... II 1. ~ .4 I ~
I I Oi . I .a
"{ AI J ., 3

46
 T II J 'I 3
. I .t I ~ II I .:t. I ..tl I

II. ~
c~~
\ J . • I T· l ..... .-
:
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.... • - - •
r•";
I I
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:t I
3
l.;t I I - ~ .t

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.
~ ', 1t I .l I .:t I :l

47
48

REPEATED NOTES

As has been stated before, rhythm, phrasing, clarity and vitality are essential
points in the technique of organ playing. Nothing aids in securing these more than care
in playing r·epeated notes, particularly in polyphonic music. To repeat a note on the
piano it is sufficient to strike the r9peated note at the proper time, as the sound of
each note diminishes rapidly in intensity from the time it is struck. On the organ, due
to the fact that the sound continues at the same intensity as long as the key is held, it
is only by raising the key for a definite interval of time that the repeated notes can be
separated and clearly heard. A pianistic non-legato style of playing, which is foreign
to the style of the organ, will never produce the clarity obtained through carefully play-
int the legato and repeated notes.
Some ~omposers are now writing the rests into the music to avoid the careless
playing of the repeated notes. To the student who may feel this exactness is unnecessary
and pedantic. the following illustration will clarify the point; given a series of re-

peated notes 1££ l J J J jJ-. what would be t.P.e re~ult if the rests between them were

not exact? Perhaps this ~~ t ] f B t , !- 1 II or this I~ £i t 1 t~ J ~ I or

some other arrangement.

The proper rendering {11 t 1 t 1 J \I shows clearly the clarity, rhythm and

vitality obtained from this method.

After understanding the principles or repeated notes the student should cultivate
the habit of analyzing the music and deciding on the length of rest between the repeated
notes that is best suited to the style and tempo of the music. The important point to re-
member is that the rests between the repeated notes should be of a definite time value and
played exactly.
An exception may be rouna in certain types or music 1n which the rest values
.eed not be exact, but very short, and of a length suited to the character of the the
music. This "close repetition" usually occurs in expressive melodies and should not
be attempted until the strict theory of repeated notes is thoroughly mastered.
The following examples illustrate the various types of repeated notes. In each
example the student should practice the rirst exercise and observe its application in
the examples from various compositions which follow.
At the conclusion or the section on Repeated Notes special rules for the per-
formance of polyphonic music are given with examples.
 Repeated notes which occur in the same part may be divided into threa classes.

1. Repeated notes of equal value (half notes, quarters, eighths or sixteenths).

a. In fast or moderately fast tempo make the rests for the repetition exactly
half the value of the note. Ex. 1.

Ex. I. a.. b. Pla.ycd.

(
J . .. .. .
"
(

... ~ . ~

c. Pl"'yed. d..

1-' . . ,. .. r r I .I
r ., , r
f IP ,. ,.
<

(
.. .. .. .. .. ... - .. l\ ~ &
• ~
• b I

••••

e. F"" 9u.c in Ci. ma.jor. Bq,cJt (Sd,;,..,,,., Vol. .II f· 3Jf) ?la.yecl,

ljc 1 1nllll !lllQ Jlll It I ~c ' ! ' p @d; ~ d s I

etc.
t. F141u.• in C minor. 8a.ch (Schirmer', VoJ. m: p.:&-'1.) Pla.yed.

l~l~ c r ll l l l IJ B&e% c t_j} 1 t d rljj)

6 I I 1 ..1. I I I

l
.,; - .I

<
(. ~ ~ -& -~-·-~ . ... _
et,.

. • ~· ... _:.. ..... ... _

et,

49
 b. In ternary rhJthm of the following type the rests are half the value of the
note. Ex. 2-

l
- ,-.
""'
.........-...._

r r
"
<

... . .. " -
. ...

w
I . '"' I .. . "" .. ., ~

P/o. ye.d..

c. In slow tempos or with notes of long duration make the rests for the repeated
notes one-fourth the value of the note, or rarely, one-eighth of the value of the note.
This will avoid too long a break in the sound and an interruption of the melodic line.
Ex. 3.

Ra.re I~

...

.. ..

. .
I
I"'
r
'"' "' ... .. ..... ., ..
<
.. .. .. ... . ... 1.. .. .. ..
I .
c:.
-
I " ...
I"

.. ....
I

50
 cl. Herr Christ, d.cr ein~e G.ottu ·Sohn.

:DIFiRE.N"AS So&RE !L. '-ANTO l'EL CA8Al.Li.R01 CA8E%OIV (Sormet, Hi,tori"a.l Seri•s Vol. I)
e. ( Art~::l4nte) Plo.t•d.
(
I"'
l I
,...___ ~ T I"' I I......__
T
et,. T etc.
J. J
<

l l I
:
l ~ l A I

.;. FANTA&IA IN i'H" ITYL!. S~o~uJinc.k {Bunet,/listo,.ir.a.l Seri&s Vol. I)

F'lo.yed.
~-
I
J
"' etc.
<
( :
it :!' .Q. ... .
ii: t Q. ~

2. Repeated dotted notes.

a. In moderately fast tempo make the rest equal to the value of the dot.
b. In slow tempo the rest should be half the value of the dot. Ex. 4.

Pla..yed.
Poc.c AJ!eq,.o
. - -
l7 v I
. . .. • -y

~
.- t. I L .. .
(

b.
- Oc.D ro ....--... -
I
J

<

(
. . . ..
•'
T

51
 i- q~· + t. . 1 .l. Pla.yed. q~
~ ~ ~-4. 7
• 1 .la -
(
,J
J

<
e.tc.. etc.

r
~ - • .t... t .. :t....
-- -. .~. .... t4.t ....

• +
4.. CQ..n.tona.. Sa.c.f, (s,,~,;,..m,,., Yol. II P· 71 ) Plc..yed.

(
i.J d....J'r J
"
<
: - . .... -
etc:. 0,..

"'
.. •
e.tc:..

3. Notes tied over and then repeated.

a. In fast or moderately fast tempo omit the tied note.
b. In slow tempo make the rest half the value of the tied note. Ex. 5.

E.,.,.s. a..
- I I

(
J

~
.,..- ....
... +. - • +a . l

....--
..
.... .....
b.
- - ~'fro .....---
(
', ... - '"'-lo....l .. -..........,
~

( .
+,..-.. !'- ......... ... .._. .- ....,,.,-- ....... +·

'

~.

- -
(
,J .. - ~

<
{
.. ...,.,.-- r-..,. .... ... .... .
"'

52
 etc.

etc.

SPECIAL RULES

1. The value of the rest between repeated notes will often be equal in value to
the shortest note found most frequently in the piece. In repeated notes of unequal value
select a unit of rest appropriate to the tempo and style of the composition.
2. When two different voices succeed each other on the same note, tie the common
note if it is part of the same harmony and repeat it if it is part of a different harmony,
unless an important melodic line would be broken. Ex. 6.

El.b. Lob 5&i dem a.llmii.c.ldi,en G.ott. Ba.ch (Pete,.~,Vol. r p."'l, ba.f'S r-v)
Pla.yed

a. When both parts are moving contrapuntally tie the common note. Ex. 7.

53
 l1. 1. Ail. Me~tsc.htrr miis$•rt stcrl.n Ba..c.~ (P,te~-1, Vol. I p.2 ba.r.s '1· 10)
I:\ PlAyed

3. When a voice enters on a note which has j11st been sounding in another voice,
tie the two voices. Ex. 8.

Ex.l. Fu.au.e
01
"'A ma 1·0 ,., 5o..cn ('Sc.hirmu Vol. Ir.p. St ha.r.1 'q~ro)
'
Al. i ...
PI a.ye.J.
.6.it .. I I 1

(
r I \.........., 1-' I
I"--
I
I

<
J
~
t i ¥ T
..~~.. ... " ...
(
• + • •
If it marks the entrance of a fugal subject or an important theme, make a rest be-
fore the entering note. Ex. 9.

c,
. - ~- , . '? J
a.v• ,.......

,..... .,- •; I
~
r,tme Theme
........
. ~

- ~

4. When a voice moves into unison with a stationary note, make a rest in the sta-
- I
'••F

tionary note. Ex. 10.

J. Octave skips and frequently fourth and fifths are traditionally played staccato
(half value) when followed by a rest. Ex. 11.

54
E1. U. a.. Po..rtita. I. Sa.ch. Christ, d.er d.u. bist d.tr hr.f/e Ta.s

b. (Sa.rs 10-11)

Pl&yed.

c.
p ~ J.- ... "'- .. ~ .tnlJ l .f~I*Ll 1!1 i Il l,-_l
Sa."".
.. I"'
..lii;,J ~ t
- - I 'tl
~
etc..
(Sc,J,irmef"~
- -
r.J
~

..... ...... ......____.....

I
-
•..........__...• .... +.......__..,+
*'
....... d
- -- ~
- :::=1\

.,- "! ..
• - -............J ... :;.
PJa.yed.
. "'· _.,,-~,_~; ... ~!
J.. *w J l
l; !:'~'~".:- n Il :f ~~l.
(

<
J =::L...J l:i::I:Siiiiliil""" I
- ........... I 1.1
e.tc .
... --
[

I"' ..... ~..... ; ""1'*' I~ • ....

... .....__,.

.. q•
~

....
d

-
;,.
- - - 1!!!!!1!!!!1~

~ 't ~

55
 e. Basses of an orchestral character may be detached. Ex. 12.

l'lo. y eJ.
.f.' "'*·· .. " " 4-' 4i.... lt/W
l
7 - .. .J

'(
.. I ~. 1
" L .. ~

(
,t
.J
i
. :
, "t f
.
i
I ttc.
.!

.
t
- -
r .I
~
etc.
~

I I I "l I I .....- ..
7. When combined with triplets the rhythm~ is played~ • Ex. 13.

E1. 1~. Pre I u..d.e in C mil'tor. Ba.c/,. ( Sc.~irmer, Vol. 1ll p. J l 04r 6 7)
Pia. e.d

56
 CHORD PROGRESSIONS

Successions or chords may be played in one of three ways:

1. Some voices detached and some legato.

2. All voices legato.
3~ All voices detached.

The appropriate method of playing chord progressions may be determined by the style
of the passage and the character of the writing.
The principles of repeated note playing should be applied to repeated chords when
the chord successions are the result of the moving polyphonic parts. By lifting the notes
repeated in the same voice, and making the remaining voices legato, the melodic lines and
harmonic progressions will be brought out.

Example A. 1, 2, 3.

:t.
. .. . .
ll ., II ~~~ ll - 1111 . --J:l . 1 I I I ~

tJ
----
I .r ........
~-'I
J J I
..._
1.-J.
;L--1 l .. J.. "I ~
...._ ~
<

:
... ~ ..... if] r f i1 ....
'A
etc..
. :
~-- .- •
....... r. ..................
etc.
r--.

- I •

==~c:z::::l!!!!~ ~t::::l:::::l~~
:
- - •• T +i• . II

3.
,,M.

J "' ,
- ett;.

..... _. . . . - ... ..

57
58

When there are no repeated notes the voices are played legato if they are the re-
sult of polyphonic movement. Example A. 1, Left Hand, bar 2.
Consecutive chords·in brilliant or vigorous music are frequently completely de-
tached, especially when the melodic lines are broken.
Example B. 1, 2, 3.

B. To~+"- itt F "'~jl1f-

.
+-
•
L)
- -~

.M .
I~
I lI -
ll---~
1
etc..

I
l l /. . - ...
""
- -
• •

Fu9ue ll'l D M~ja't'-

l) II ~.. II I'.. I
""
.i.

J I II I 'I ~
J.G.

l
! k! b i ... <4 ~~ }~
..
~~

i -- ~~
 STACCATO

Staccato is used in music of all periods, although there are very few notes writ-
ten with the staccato sign by Bach or composers before him. Combined with legato, stac-
cato is most useful in phrasing, bringing inner parts out with remarkable clearness. Fre-
quent use of staccato is found in rapid music of a Scherzo type, and in brilliant Toc-
catas ..
Staccato notes are indicated thus: ~ and are always played half value.

Written Played

. . . II
There are t~o methods of playing staccato notes:
1 .. Finger staccato ..
a .. This method is useful in playing a few staccato notes in succession, par-
ticularly in phrasing.
b. The staccato note should be lifted by raising the finger with quickness and
precision at exactly half the value of the note, keeping the other fingers in contact
with the keys. The principle is the same as that applied to the repetition or release of
a note.
c. Practice five finger exercises and scales slowly with finger staccato,
counting none" on the attack, and "two" on the release of each note. The tempo can then
be gradually increased.

2. Wrist staccato.
This method is useful in playing long successions of staccato aotes or complete
compositions. The hand is raised from the wrist, the fingers taking no active part in the
process except for a slight lowering of the finger which is to play the note.

Preliminary Exercises for Wrist Staccato

a. Play a note w1 th the third fingE.;r on count "one."

b.· On the count of "two" raise the hand from the wrist as high as it will com-
fortable go and then let the hand drop back immediately to the surface of the keys, and
keep it there ready to attack the next note.
c. Repeat the same process with the same finger, and then with all ot the fin-
gers of both hands until the wrist motion' is definitely established.

Final Exercises
a. Play five finger exercises and scales with each hand separately, counting
none-two" to eaCh note, gradually increasing the tempo and lowering the hand until it
raises the fingers only to the surface of the key.
b~ B.r repeating one note rapidly, (half value), lifting the finger from the
·wrist but keeping it in contact with the key, the final perfection of wrist staccato may
bA observed.
The practice of the finger and wrist staccato should continue over a considera-
ble period of time until thoroughly mastered.
60

Non-Legato and Marcato

These touches are in frequent use but are not required by the beginning organist.

1. The non-legato touch is indicated by i~rr and requires quick finger and

wrist action, with the slightest possible separation between the notes.

2. Maracato touch is indicated by rF and is usually applied to powerful notes

or chords where special accents are desired. The marcato note is separated from the next
following by a short interval of time, usually a sixteenth or thirty-second rest.
In releasing marcato or staccato chords there should be a slight pressure on the
keys just before the release, bringing the hands up decisively and releasing all of the
notes at the same instant.
 PART III
MANUAL STUDIES
FINGERING
Correct fingering on the organ is
extremely important, for on this depends
in large measure surety of touch and clear-
ness of style.
Before the time of Bach, probably
due to the short keys, the thumb was rare-
ly used in scale passages and the fingers
were passed over one another. Bach de-
veloped the use of the thumb on a par with
the fingers, although in bravura passages
the hands were usually alternated. Bach
continued, however, to make use of the
crossing of fingers and many difficult pas-
sages may be simplified by this means.
Arnold Dolmetsch in "The Interpretation of
the Music of the XVII and XVIII Centuries"
pp. 412-418, prints two of the three
pieces known to have been fingered by Bf.. ';h
in which these various devices of finger-
ing are clearly indicated.
The student should study the fin-
gering given in the exercises and gradual-
ly acquire the habit of discovering the
best fingering for himself. Some hands
will find other fingerings more satisfac-
tory than those given, in which case the
fingering should be changed. Music which
does not have the fingering indicated is
to be carefully fingered by the pupil and
brought to the teacher for cvrrection be-
fore being practiced.
---- In single note passages the finger-
ing used in piano-forte playing will usual-
ly be correct. This fingering is based on
the natural position of the fingers over
the five consecutive scale notes, and is
developed by extension and contraction from
this position. Changes of position are ef-
fected by passing the thumb under the fin-
gers, or fingers over the thumb. As a gen-
eral rule substitution in rapid tempos or
on short notes should be avoided. Se-
quential passages should be fingered alike.
The problem before the student is
to make the most efficient use of all the
61
devices of fingering, especially those
characteristic of organ style; substitu-
tion, glissando, crossing the fingers and
dividing inner parts between the two hands.
PHRASING
1. The following compositions
should be phrased by the student and
brought to the teacher for correction be-
fore practicing.
2. Do not break the melodic line
except for important divisions in the music
or before entries of important themes.
3. Always phrase themes the same
way at each entry.
4. Ascending octaves are usually
played legato. Descending octaves at the
end of a phrase are played staccato.
5. When one phrase ends and an-
other begins on the same note do not break
the legato.
6. Learn to "feel" the phrase lines
particularly in counterpoints to the prin-
cipal themes. These will often begin on
the off-beat.
7. Play the principal themes with
more emphasis than the counterpoint. The
slight difference in touch will make the
theme stand out with greater clarity.
MEMORY
Memorizing is a great help in de-
veloping concentration, and will make for
better performance and a more thorough
knowledge of all the details of a composi-
tion.
The routine of memorizing will vary
with the student, depending on his natural
gifts, but use should be made of the fol-
lowing well-known principles of memorizing.
1. Analytical and Musical.
62 METHOD OF ORGAN PLAYING
Analyze every phrase of the
music, rhythm, melody and musical content.
Always look for the unusual, and associate
one thing with another. The analytical
met~od is the basis for all memorizing.
2. Visual.
This type of memory makes use of
a mental image of the music and the place
and shape of each passage on the keyboard.
To memorize by eye look at one bar and then
look away and write it out or reproduce it
on the keyboard. Eventually think through
the entire composition away from the key-
board.
5. Aural.
Ear memory is useful in telling
what is coming and in detecting wrong notes.
To develop aural memory learn to sing each
part without referring to the music.
4. Muscular.
This memory is automatic and is
most useful in establishing fingering. It
is extremely unreliable unless used in con-
nection with the other types of memory.
In memorizing use each faculty
in turn and then combine several. The
final test is to be able to play each
part of a composition separately. Memo-
rizing requires concentrated effort, but
in performance memory should become prac-
tically automatic, leaving the performer
free to interpret the music. Do not think
of the difficulties ahead or the associa-
tion of note to note, and phrase to phrase,
will be lost.
It is advisable to memorize a
piece when learning it, as the quality of
attention is closer. The piece must,
however, be carefully read through first
to guard against inaccuracies. A wrong
note, chord, or rhythm memorized and later
corrected, will often return in a public
performance.
 Du..o Antonio cle Ca.bc-\.•11
(ISIO -IS"66)
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"organizing," i.e., to organize or
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compose a part over a given tenor.
Music by Paumann is also found in the
"Bu:x:heimer Orgel buch," ms. (c. 1460).
3

65
 .Du..o
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(c. 15~0- 16 361)

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1 J l J 1 II - -1 l - .... 1609. Meth-
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~~~~~~~~~~·~~ii~~~~~From "Annuake, che contiene tutto quello che deve fare

1
T t ... t r """'
"" un Organista per risponder al Choro tutto l'Anno"
....
I Venice 1645. Intended as a help to organists in the
J I daily services throughout the year.
( .

66
 Cred..o

IJ•\ Cret d.or: r r1n 1

ill "'-· num d.e · u,m,

Modera.to

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67
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 Vor.spi~l tu.: Vom Himmtl hod1, d.a. komm ic.h her
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70
 Fughetta super: HERR CHRIST, DER EIN'GE GOTTES-SOHN BACH
~
I.'

J r It r T T [ J. · =II
0 Thou, of God the Father Of whom tis surely written,
The true Eternal Son, That Thou with Him art one:

1¢**fl1t r r r
Thou art the bright ana morning
IT uT s~ar,
I
Beyond all other radiance
'="
J T. \ t T ! 1 I J. II
Thy glory streams afar.

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71
 Fughetta super: NUN KOMM' DER HEIDEN HEILAND BACH

,,,.. e J J J j ttJ J J
1':'\

I {J j T r IT ·y
i
Come. Redeemer or our race, Virgin-born by holy grace
""=" -"":'

1&•~ T I tJ r I t1
wondering
J u
earth:
I J ... J l
God· of ·old
J ID his
j J
birth.
I
Hail'd by all tne ordained
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72
 Fughetta super: LOB SEI DEM ALLMACHTIGEN GOTT BACH

IJ•i d t J d f f If f f If -
f f J J ,; II

'
T \1 \

To God we render thanks and praise. Wbo pitied mankind's fallen rae?.,

And gave His dear and only Son, That us, as children, He migbt own.
f
t
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73
 Fughetta super: GOTTES SOHN IST KOMMEN BACH

I t ! ! r ! ~ ~i f
Once He came in blessing; All our life redressing; Came in likeness lowly,
~

tf i l J~ II
lJ l 1. I J f1l ± IT IJ J l JJ
Son of God most ho1y~ Bore the Cross to save us, Hope and freedom gave us.
I ~I I 1 I "I ~!.... a. ~~
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74
 0 GOTT, DU FROMMER GOTT BACH

p
I e J IT-T T I I f . . T II T I t 1-r l ~ll I J J ls J I J :- ~
0 God, Thou faithful God, Thou Fountain ever flowing, A pure and healthy frame o
Without whom nothing is, All ne~~P.ct gifts bestowing;

1;W& ·~ l 4 l IJ ~ J IT •r TI . I f " qT 11 'T I T I T· il

give me, And within a conscience tree from blame,
I

l-l

75
 WER NUR DEN LIEBEN GOTT LASST WALTEN BACH

It e I I ~ l r r I J Q ,J
It thou but suffer God to Guide tnee. And
I] ,l l J I l l l •l
hope in Him through all thy ways,
=II

He'll give thee strength whate'er betide thee.And bear thee through the evil days.
I":'\ r.'t

; Who
r IT
trusts
I I
in God•s
T \r t T r I I
unchanging love. Builds on
T T
the
l]
rock that
\ T
nought
r J
can move.
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76
 WER NUR DEN LIEBEN GOTT LASST WALTEN BACH
S' lf-S"
I I llt..

77
 VATER UNSER IM HIMMELREICH BACH

Our Father, Thou in heaven above, Who biddest us to dwell in love, As brethren of one family, Ana

cry for all we need to Thee; Teach us to mean the words we say, And from.the inmost heart to pray.
S ~ ~ I

4·~ .,
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7 ,_,
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78
VATER UNSER IM HIWELREICH BACH

79
 CHRIST, DER DU BIST DER HELLE TAG BACH
"' !"!'

IJNe J 1J JJ J 1J J T r r r r IT'tJY u
1 ± J l 1J 11 J
0 Christ, Who art the Light and Day, Thy beams chase night's dark shades away; The very Light of
"'='
I T T T 1 IJ J J J J 1 r r I l l t
II
Light Thou art, Who dost Thy blessed Light Impart. Who dost Thy blessed Light impart.
PARTlTA IV. • ..,. .If .a 3

80
PARTITA V. CHRIST, DER DU BIST DER HELLE TAG BACH

"' I

81
Pl!.RTITA VI. CHRIST, DER DU BIST DER HELLE TAG BACH

82
 Fughetta super: CHRISTUM WIR BOLLEN LOBEN SCHON BACH

IJ c nll J J Jai l J
From east to west, from shore to shore,
J Ij T IJ l
Let every heart awake and sing
fi ! If·
The holy
~

Child whom Mary bore, The Christ, the everlasting King.

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83
 Fughetta super: GELOBET SEI 1 ST DU, JESU CHRIST BACH
~ "'!"

l~c J ll l J l IT I f 1 tJ r T !J )J J J J
u r Jjj
1! ----~
Now blessed be Thou, Christ Jesu; Thou art man borne, this is true: The angles made a

I; ijJ l
""=" ~

j J IJ ~ J 1 ftJ l I1 J I d l l IJ J II
merry noyse, Yet have we more cause to rejoyse. Kirieleyson

84
 PART IV

PEDAL TECHNIQUE

The science of pedal technique has The various methods of pedal play-
ad'V'anced with great rapidity since the ing will be studied in the followipg order:
time of Lemmens who first made extensive 1. Attack and Release.
use of the heel. The old unnatural 2. Alternate toes.
straight pedalboard has developed into ·the 3. Heel and toes of each foot.
radiating concave pedalboard which conforms 4 .. Glissando.
more nearly to the natural position of the 5. Crossing the feet.
feet in any part of the compass. On the 6 .. Substitution.
organs of Bach's time, and before, the 7. Double pedals.
pedal keys were very short, making it al- 8. Broken Chords.
most necessary to use toes only, with fre- These methods need not be studied
quent crossing of the feet. With modern independently. After practicing Attack and
pedal technique crossing the feet is avoid- Release the second and third methods may be
ed by using the heel and keeping the feet practiced together, thus developing the use
together, resulting in a much smoother, of the toes and heels uniformly from the
more accurate and efficient system of first. As soon as the student has suffi-
pedalling .. cient manual and pedal technique the study
The pedal parts of good organ music of some of the duos and trios may be com-
are of equal importance w1 th the manual menced.
parts, and the pedal technique should be
developed to the same degree of proficiency
as the manual technique .. EXPLANATION OF PEDAL SIGNS
There are two methods for acquiring
Signs placed above the staff indicate the
the ability of finding the pedal notes
right foot.
without looking at the feet or feeling for
Signs placed below the staff indicate the
the spaces between :the black keys.
1. The relationship between the left foot.
two feet, with the knees and heels as a
guide to the interval. . The heels are kept " = the toe.
together at all intervals up to and in- 0 u = the heel.
cluding the Fifth. The knees are kept to-
gether as far as the Octave.
1\-1\ = a glissando with the toe.
2. The second method is the inde-
pendent motion of each foot in playing in-
tervals. The right or left foot moves the
~-u =a silent substitution of the
heel for the toe of the same
distance of the vario·us intervals w1 thout foot.
regard to the other foot.
This method is of most value when u-/\ = a silent substitution of the
the feet are separated by more than a toe for the heel of the same
Fifth. However, it is an aid to speed and foot.
aceuracy when used in conjunction with the
first method, and exercises are given to =a substitution of the left toe
develop this ability. The ":(eel" of any for the right heel.
interval will eventually become second na-
ture, and absolute accuracy and confidence / u=a substitution of the right
at any tempo will result. A heel for the left toe.

85
 POSITION
The position taken for playing the
manuals and pedals has already been de-
scribed in the chapter on Position, page 9.
1. Sit in the exact center or the
pedal and manual keyboards.
2. Do not slide on the bench.
3. To reach high and low notes
turn the legs but keep the body racing for-
ward.
4,. Be sure that the bench is
straight and at the proper height.
ATTACK AND RELEASE
The principles or pedal attack and
release are similar in many respects to
those given for the manuals.
1. Always use the ankle as a
fulcrum for the up and down motion of the
toe or heel.
2. Keep the ankles relaxed and do
not move the legs up and down.
1. 1.l. 1 J. 11 2.11 J. 1 J. 1 3.1 ~ J n 1
s. I J m I 7· Iill .J I
3. Attack quickly and firmly from
the top of the pedal key with a slight
forward pressure.
4. Do not strike the key with a
stiff ankle and a downward motion.
5. Release quickly and decisively,
with a slight forward motion.
6. Keep the feet in contact with
the keys.
7. Prepare each note played. As
soon as the foot has played a note,move it
over the note that is to be played next.
STACCATO
The Pedal Staccato is performed
with the same attack and release always
making the notes exactly half value.
Exercise 2 illustrates the method
or performing staccato half notes. Exer-
cise 3, staccato quarters and halves.
All of the exercises for alternate·
toes should be practised legato, staccato,
and in the following rhythms.. (See the
Introduction to Pedal Scales, Part VI .. )
4.1 J n J 1 s. 1 n J .1 1
 Exercises In Attack and Release

: I i, . .
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90
 Exercises For Alternate Toes
Black and White Keys
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98
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99
100
 Exer.cises In Which Each Foot Moves the Interval ot a Third

White Keys

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101
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 Black and White Keys

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104
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105
 Exercises In Which Each Foot Moves the Interval of a Fourth

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108
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109
 Exercises In Which Each Foot Moves the Interval of a Fifth

White Keys "

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110
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Black and White Keys

111
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 b. :

Exercises In WhiCh Each Foot Moves the Interval of a Sixth

White Keys

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Black and White Keys

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114
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115
 Mixed Intervals

White and Black Keys

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117
118 METHOD OF ORGAN PLAYING

Exercises For the Heel and Toe

1. In exercises 1, 2, 3 raise the toe or heel as high as possible but return to the top
of. the key for the next attack.
2. Attack with the heel by slightly raising the toe and using the ankle as a fulcrum.
3. Always attack from the surface of the key quickly and firmly.
4. The release is accomplished by slightly lowering the toe and raising the heel.
5. Practice some of the exercises for alternate toes with the heels only.
 6TT

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128
 PEDAL GLISSANDO

From a Black Key to a White Key

1. Slide the toe quickly off the corner of the black key nearest to the next
white key.
2. Keep the heel low and avoid making unnecessary noise.

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From a Black Key to a Black Key

1. In descending with the left toe and ascending with the right toe turn the heels
in toward the center.
2. Slide the toe forward on the first key until the point of the toe is over the
next key.
3. Tip the toe quickly down and resume the original position of the foot.
4. In ascending with the left toe and descending with the right toe turn the
heels out away from the center and follow directions 2 and 3.

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Left toe back. Right heel forward. Right toe back. Left heel forward.

Right heel :forward Substitution

Left toe under
One foot :for another on the same note.

131
 Each foot alone.

132
 Double Pedals

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 Octaves

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139
 PART V

STUDIES FOR MANUALS AND PEDAL

Indicate appropriate registration. Con-

tinue to follow the suggestions regarding fin-
gering, pedalling, memory, phrasing, and prac-
ticing.
It is not intended that all of these
studies should be learned or that they should
be practiced in the order in which they are ar-
ranged. The choice will depend on the needs of
the pupil.

141
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144
 Zweiter Ton (Hypodorian) S" "Wegl4leiser ... '' 169J.
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The 11Wegweiser die Orgel recht zu schlagen" wa.s a popular

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organ instruction book in Germany in the early 18th Cen-

tury. It is quite probable that Bach himself used this
book for his first studies on the organ and practiced these
exercises.
Siebenter Ton (Mixolydian) OJ IG'l~

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 Preambulum in re. Leonhard Kleber
(c. 1490-1556)
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Kleber was probably a pupil of Schlick. His 17 Praambeln are transcribed in Monatschefte
ttir Ku•1kgeschiChte, Beilage, Vol. 19, 1888-89.

146
 s· Versi "" tL• Septimo Tono
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 E. in .feJte Burs ist u.n5er G. ott.

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Zachow was an important musician of his time but is chiefly known now as the teacher of
aandel. His Works are printed in the Denkmaler deutscher Tonkunst. Vol. 21/22.

150
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Praludium in fa. (c.

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Kotter was a pupil of Hofhaimer, court-organist of Maximilian II of Austria. The pre- "
ambles of this early period are especially important in that they represent the beginning of
the development of a definite keyboard style.
161
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Diruta was a pupil of Zarlino, Andrea Gabrieli and Claudio Merulo. His Il Transilvano
1593, 1597, 1609, is an important source for the technique and music of the early Italian
School. See Krebs. Girolamo Dirutas Transilvano, Vierteljahrschrift fUr Musikwissenschaft
VIII.
170
 Herr Jesu- ChrisC me1nes Le.ben.; Licht J.s. Bad,
. Con I'YinfD {161'5·17So)

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171
 Wenn hllr ,·, noch~ten Notften sein.
J. Chr. Bach
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173
 /Vu..n ru.hen aile Wi:i/Jer ~ J.S. Ba.c.h
s 3 (16tS-11S"o)
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174
 FusQ., tc. J.C. AI/Jrecllf6.iJerqrr
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175
 Je.4u., meines Lehen.s Le..bt.n
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Kittel was one of the last pupils of J. S. Bach. He wrote an Organ School Der Angehende
Praktische Organist and was the teacher of c. H. Rinck.

176
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178
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179
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180
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181
 KJe ine Fu.s en tn F d.u.r J. K. F. Fiacher
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182
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Krieger of Zittau was an important organist of his time and his music was much admired by
Handel.

184
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Polish, German,
~~~~~~~~~~~~~flr~·-~·~'~~~~~~~~~~~~~~~~~~~Netherland
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Frescobaldi represents the culmination of the early Italian School. His "Fiori Musicali"
(Modern edition, ,Senart, Paris, 1922) was well known to Bach.

191
 hoc.h. G.c.utav Mel" kef
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Buxtehude probably exerted the strongest influence on Bach of all the masters of his period.
A modern edition of his works is published by Senart, Paris, 1923.

193
 Ma. r i a. zo., rt
Ar,old Schlick

MA-n.l
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I ..I .- From "Tabulaturen etlicher lobgesang vnd vff

~ die orgeln vnd laute~ --------" Published
.... ..... in 1512 by Peter Schoff~~ in Mainz. It con-
tains fourteen organ pieces based mainly on
"'v religious themes.

u
II
1\

196
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197
 t'a.storCll
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J. S. Ba.ch
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199
 PART VI

SCALES FOR MANUALS AND PEDAL

The famous Belgian organist and teach-

er, Jacques Lemmens (1823-1881), was the first
to advocate the extensive use of the heel in
pedal playing, and is generally known as the
founder of modern pedal technique. His prin-
ciples have been extended by his many Pupils
and finally systematized by 1. Nilson in 11 Tech-
nical Studies ~n Pedal Playing," and revised
by Caspar P. Koch in his valuable "Book of
Scales for the Organ. n
Following the preliminary technical
studies for manuals and pedals alone, and sim-
ple exercises in combination, the practice of
scales for pedals and manuals together are es-
sential in the acquiring complete independence
of hands and feet.
To gain increased facility the scales
should be practiced legato, staccato, and in
various phrasings and rhythms.

201
 1. Phrasings.
Written
I. ,-. ... :-... i ; tf~..f- .........
IL_. ~
- .(""..- ... ~
:
,) .,
~

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202
 2. Rhythms:

I.

ip~ 1. t1 ri l ! r t II tr :I l £1 t :\1 ~

s.
II J~ nJl. \0!! \!! 1_l J

3. Memorize every scale.

Keep the heels and knees together and do not cross one foot over the other.
In ascending scales let the left foot the right into position, and in de-
scending scales the right foot will push the left into position.
Chose a bright clear registration for the manuals and use 8' and 4' stops for
the Pedal, or couple one of the unengaged manuals to the pedals.

203
 C Mo.jor

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 APPENDIX A
GRADED ~OURSE
I. Bilbro--First Grade Book; Streabbog--
Studies, Opus 63; Gurlitt--Studies,
Opus 82, Book I; Diller and Quaile--
First Solo Book; Loeschhorn--Studies,
Opus 65, Book I or Duvernoy--Studies,
Opus 176. Major Scales.
II. Kohler--Studies, Opus 157; Mac-
Dougall--Melody Playing Book I;
Diller and Quaile--Second Solo Book;
Czerny--Studies Vol. I, Part I
(Germer); Burgmliller--Studies, Opus
100, Book I or Carroll--First Lessons
in Bach, Book I. Major and Minor
Scales.
III. Czerny--Studies Volume I, Part II
(Germer); Burgm~ler--Studies, Opus
100, Book II; MacDougall--Melody
Playing Book II; Heller--Studies,
Opus 125; Bach--Ten Easiest Pieces
(Schmidt); First Year Bach (Foote);
Gaynor--First Pedal Studies; Litolff
Album, Volume 1511. Scales and
Arpeggios.
IV. Duvernoy--Studies, Opus 120 (for
speed), or Loeschhorn--Studies, Opus
66, or Czerny--Studies, Volume II,
Part I (Germer); Heller--Studies,
Opus 47; Burgmuller--Studies, Opus
109, Book I; Krause--Trill Studies,
Opus 2, Book I; Smith--Pedal Studies;
Bach--Little Preludes; Sonatina Al-
bum (Schirmer), or Sonatina Album
(Presser) or Litolff Album, Volume
1512. Scales and Arpeggios.
V. Czerny-Velocity Studies, or Hasert--
Studies, Opus 50, Book I, or Loesch---
horn~-Studies, Opus 136, Book I, or
Czerny--Studies Volume II, Part II
IN PIANO PLAYING
(Germer); Heller--Th1rty Selected
Studies (Presser); Bach--Two Part
Inventions; Mendelssohn--Songs with-
out Words; Mozart--Easiest Sonatas.
Scales and Arpeggios.
VI. Lueschhorn--~tudies, Opus 136, Book
II; or Cramer--Studies, or Czerny--
Studies, Volume III, Part I (Germer);
Bach--Two and Three-Part Inventions;
Medelssohn--Songs without Words;
Mozart--Sonatas, or Haydn-Sonatas.
VII. Czerny--Studies, Opus 740; Bach--
Three Part Inventions; Beethoven--
Sonatas equivalent in grade of diffi-
culty to Opus 10, No. 1, C minor and
Opus 14, No. 1, E major; romantic
and modern pieces.
VIII. Clementi--Gradus ad Parnassum; Bach--
Well Tempered Clavichord; Beethoven--
Sonatas equivalent in grade of diffi-
culty to Opus 2, No. 3, C major, or
to Concerto, C minor; Mendelssohn--
Concerto G minor; romantic and modern
pieces.
IX. Chopin--Etudes; Beethoven--Sonata
equivalent in grade of difficul tj· to
Opus 31, E flat, or a classic or mod-
ern concerto; Bach--Well Tempered
Clavichord; classic, romantic and
modern pieces.
X. Work of preceding grade intensively
continued with added material such as
Liszt 1 s Etudes, one of the later
Beethoven sonatas or a larger work
by Bach.
257
 APPENDIX B
FOUR YEAR COURSE IN ORGAN PLAYING
I Frescobaldi, Palestrina, Couperin,
This material is planned for a student who
is majoring in Organ and ha·s time for
three hours of practice daily ..
Manual Technique
Pedal Technique
Manual Studies
Studies for Manuals & Pedal
Bach--Chorale Preludes
Book v, Peters Edition, Nos. 5,
38, 2, 3, 22, 16.
Variation XI, p. 91.
Short Preludes and Fugues
In C Major, D Minor'· g Minor (II)
Canzona (II)
Variation X (Peters Edition V,
p. 88)
Prelude and Fugue in l~ Minor
(Little) (III)
(Roman numerals refer to the vol-
ume in the Schirmer Edition)
II
Continuation of Pedal Studies and
Studies for Manuals and Pedal
Bach--Fantasie and Fugue in C Minor (III)
Fugue in.G Minor (II)
Chorale Prelude, Herzlich thut mich
verlangen, (Peters v, No. 27)
Prelude and Fugue in C Major (III)
Chorale Prelude, In dir ist Freude
(Peters v, No. 34)
Selection of works from. Bonnet, His-
torical Series Vol. I, by Gabrieli,
258
DuMage, Clerambault and others.
Bach--Prelude in C Minor (III)
Prelude and Fugue in B Minor (IV)
Chorale Prelude, Wir Glauben all.
(Peters VII, No. 60)
First Sonata (V)
Prelude in ·F Minor (IV)
Fugue in D Minor (Violin) (II)
Modern compositions.
III
Bach--Kyrie (Peters VII, No. 39 c) Gott
heiliger Geist
Prelude and Fugue 1n E Minor (Wedge)
(III)
Brahms--Chorale Preludes
Bach--Chorale Prelude, 0 Lamm Gottes,
unschuldig (Peters VII, No. 48)
Toccata and Fugue in D Minor (II)
Franck--Fantasie in C Major
Bach--Chorale Prelude, 0 Mensch, bewein'
dein' Sfrnde gross (Peters v, No.
45)
Second Sonata (V)
Prelude and Fugue in A Minor (IV)
Franck-Cantabile.
Bach--Tocc~ta (Dorian) (III)
Prelude and Fugue in D ·Major (II)
Franck--Prelude, Fugue and Variation
Bach--Prelude and Fugue in G Major (IV)
Franck--Pastorale
 METHOD OF ORGAN PLAYING 259

Bach--Chorale Preludes POST GRADUATE

Franck--Piece H~roique Bach--Fifth Sonata (V)

Modern Compositions. Karg-Elert--Symphonic Chorals

Mendelssohn--First or Third Sonata

IV Year Karg-Elert--Chaconne and Fugue Trilogy

Bach--Third Sonata (V) Jepson--Third Sonata

Chorale Prelude, An Wasserflussen
Babylon (Peters VI, No. 12) Franck--Choral in E Major

Mendelssohn--Sixth Sonata Litzt--Prelude and Fugue on B A C H

Franck--Choral in A Minor Sowerby--Suite

Bach--Chorale Prelude, Nun freut euch. Roger-Ducasse--Pastorale in F Major

(Peters VII, No. 44)
Bach--Greater Chorale Preludes
Vierne--Prelude and Finale (1st Symphony)
Widor--Gothic Symphony
Bach--Chorale Prelude, Aus tiefer Noth
(Peters VI, Now 13) Reubke--The Ninety-fourth Psalm
Toccata, Adagio and Fugue in C
Major (II) Bennett--Sonata

Franck--Choral in B Minor Vierne--Symphonies II, III, IV, V or VI

Bach--Toccata in F Major(IV) Dupre--Preludes and Fugues

Widor--Fifth Symphony (First and last
Movements)
Bach--Chorale Prelude, Christ, unser Herr.
(Peters VI, No. 17)
Shorter works for recital programs.
Works for Organ and Orchestra
Hanson--Concerto

Karg-Elert--Choral-Improvisations Sowerby--Media~val Poem

Bach--Prelude and Fugue in E Flat Major DeLemarter--Concerto
(St. Anne's) (III)
Hindemith--Concerto
Widor--Sixth Symphony
Handel--Concertos
Bach--Passacaglia and Fugue in C minor
Casella--Concerto
Sowerby--Symphony in G Minor
Sower by--Concerto
Modern compositions.
 APPENDIX C

SPECIFICATIONS

I. Arnold Schlick 1511 zans and the acoustics of the buildings in

II. Cathedral of Brescia
III. Castle Chapel of Gr~ninge::J.
IV. Totentanz Organ (Lubeck)
v. St. Moritzkirche (Halle)
VI. Saint-Gervais (Paris)
VII. Weimar Castle XVII Cen.
VIII. St. Jacobikirche (Hamburg)
IX. Frauenkirche (Dresden)
X. Sainte-Clotilde (Paris)
XI. University of Rochester
Specifications of organs built in
America and England are easily obtained
from organ journals and various publica-
tions, and for that reason are not in-
cluded h3re.
The study of specifications means
little without a knowledge of the sound of
the various stops, the location of the or-
1580 which they are placed. Some of this in-
1596 formation may be obtained from reading,
1621 but every opportunity should be taken of
1624 hearing the actual instruments.
1649 A good Dictionary of Organ Stops
(Mahrenholz or Audsley) should be consult-
1692 ed for obsolete or unfamiliar names.
1736 Specifications of the organs played
1859 by Charles Marie Widor, (Saint-Sulpice),
1937 Louis Vierne (Notre-Dame), Alexandre Guil-
nant (Palais du Trocadero), Ca~ille Saint-
aaens (La Mandeleine), Joseph Bonnet
(Saint-Eustache) and others, will be found
in the Organ in France by Wallace Goodrich,
and Les Grandes Orgues des Eglises de
Paris by F~lix Raugel. The instruments on
which these organists and composers played
definitely influenced the registration in-
dicated in their published works.

SPECIFICATION l

THE FtENAISSANCE ORGAN (XV Century)

Specifications given by the Heidelberg Organist, Arnold Schlick (c. 1452-1517)

in his work on organ building, "Spiegel der Orgelmacher und Organisten" published in
1511.

MANUAL PEDAL RUCKPOSITIV

Prinzipal 8' + 8' (Prinzipal 16') Prinzipa1 8'

Oktave 4' Prinzipal 8 + 8' Gemshorn (Nachthorn) 2'
(Oktave) 2' Oktave 4' Zymbel
Gemshorn 4' [Oktave 2'] Hintersatz
(Gemshorn) (2') Hintersatz [Sesquialtera]
Zymbel 3 Rks. [Zymbel]
Der Hintersatz 16-18 Rks. Posaune or [BRUSTPOSITIV]
Rauschpfeife Trompete
Zink Prinzipal 4'
Hultze glechter Gemshorn 2'
[Schwiegelpfeife 21 or 1'] Zymbel
Regal Hintersatz
[Nasat] (3 1 ) Terzian

The Registers in parenthesis Schick includes in large organs. The Registers in

brackets he mentions but does not think necessary.
260
 METHOD OF ORGAN .PLAYING 261

SPECIFICATION II
CATHEDRAL OF BRESCIA

Built b.1 Bartolomeo Antegnati in 1580

This organ is suitable tor Italian organ music or the Renaissance.

JUNUAL

Principal a (32')
Principale Spezzato (divided between the Manual and the Pedal) 16'
L'Ottava 8'
The Quinta decima (Principal octave) 4r
The Decima nona (Fifth or "Nasard") 2 2/3 1
The Vigesima seconda (Doublette) 2'
The Vigesima sexta (Little "Nasard") 1 1/3'
The Vigesima nona (Piccolo) 1'
The Trigesima terza (an overshrill stop an octave higher than the
little Nasard) 2/3'
The Vigesima seconda (utilised with the stops 3 and 5 to make a
ncornet")
F1auto in quinta decima (Flute 4 feet) 4'
Flauto in ottava (Flute 8 feet) 8'

PEDAL-BOARD

Working on the Bass or the 2nd Principale, the manual sounding the upper part of the
stop.

SPECIFICATION III

THE BAROCK ORGAN (XVII Century)

CASTLE CHAPEL OF GROBINGEN

Built by David Beck or Halberstadt in 1596

This organ was played by Michael Praetorius who gives the Specifications in his
"0rganographia" published in 1619.
OBERWERK RUCKPOSITIV PEDALWERK
Grosaquintadena 16' Quintadena 8' Gross Prinzipalbass 16'
Prinzipal 8' Prinzipal 4' Gross Gemshorn 16'
Octava 4' Octave 21. Gross QuertlOtenbass 8'
Quinta 5 1/3' Quinta 1 1/3' Gemshornbass 8'
Kixtur 8 Rks. llixtur 4 Rks. Quintfl5tenbass 5 1/3'
Kleingedacktbass 4'
Bo1tl8te 8' Gemshorn 4'
Grobgedackt 8' Gedackt 4' Posaunenbass 16'
Gemshorn 8' Bpitzf'lOte 2' Sordunenbass 16'
lachthorn 4' SitflOte 1' Trommetenbass 8'
Bchalmeyenbass 4'
262 METHOD OF ORGAN PLAYING

SPECIFICATION III (Cont'd.)

OBERWERK RUCKPOSITIV BRUSTWERK (ZUM PEDAL)

GrossquerflOte 8' Sordun 16' Quintflotenbass 10 2/3'

Kleinquerfl8te 4' Trompete St Bauerfl8tenbass 4'
Zimbel 2 Rk:s. Krummhorn 8' Zimbelbass 3 Rks.
Klein Regal 4' Rankettbass 8'
BRUSTWERK (ZUM MANUAL) Zimbel 3 Rks. Krummhornbass 8'
Kleinregalbass 4'
Rankett 8'
Regal 8 1
Zimbel Regal 8'
Klein Gedackt 2'
Klein Octava 18'
Zimbel 2 Rks.

SPECIFICATION IV

TOTENTA~Z ORGAN, MARIENKIRCHE (Lubeck)

This organ dates from 1487-1547-1621, and was played by Bach when he was a
pupil of Buxtehude (October 1705- February 1706).

HAUPTWERK:

Quintadena 16' Trompete 8'

Prinzipal 8'
Oktave 41
Mixtur 4-5 Rk:s. Flote 4'

BRUSTWERK:

Gedackt 8' Trompete 8'

Gedackt 4'
Sesquialtera 3 Rks.
RUCKPOSITIV:

Prinzipal 8' Quintadena 8' Dulzian 16'

Oktave 4' Rohrfl8te 4' Trichterregal 8'
Mixtur 3 Rks. Sesquialtera 2 Rks. Rohrflote 8'
Flote 2

PEDAL

Prinzipal 16' Quinte 10 2/3 1 Posaune 16'

Oktave 8' Gedackt 8' Trompete 8'
Oktave 4' Schalmei 4'
Oktave 2'
Mixtur 3 Rks.
 METHOD OF ORGAN PLAYING 263

SPECIFICATION V

ST. MORITZKIRCHE (Halle)

Built by Heinrich Compenius in 1624 under the direction of Samuel Scheidt.

HAUPTWERK RUCK.POSITIV PEDAL

Quintadena 16' Quintadena a• Subbass 16'

Prinzipal 8' Oktave 4' Oktave 8'
Oktave 4' Oktave 2' Oktave 4'
Oktave 2' Mixtur of.
Mixtur Posaune 16'
Gedackt 8.' Kornett 2'
Gedackt 8' Gedackt 4' Spitzflote 1'
Gedackt 4' Gemshorn 2'
Nasat 2 2/3' Siftlote 1 1/3'
Spitzflote 1'
Trompete 8'
Krummhorn 8'
Schalmei 4'

SPECIFICATION VI

SAINT-GERVAIS (Paris)

Built by P. Thierry in 1649

The famous family of Couperins were organists here from 1650 to 1826. Four and
even five manual organs were not unknown in France in the XVIII Century and this organ
has five manuals at the present time. The Pedal of early F~ench organs was very limited
and was used to play the tenor melody, the Grand Orgue playing the real bass. In Eng-
land, Pedals were not in use until late in the XVIII Century.

GRAND ORGUE

Montre 16' Flute 4' Trompette (8')

Montre 8' Nasard (2 2/3') Clair on (4')
Bourdon 8' Grosse Tierce (5 1/5') Voi.x hum.aine (B')
Prestant 4' Petite Tierce (1 3/5')
Doub1ette 2' Cornet
Fourniture
Cymbale
POSITIF
Montre 4' Flageolet (1') Cromorne (8')
Bourdon 8l
Doublette 2'
Fourniture 3 Rk:s.
Cymbale 3 Rks.
,
PEDALE

Huit pieds ouvert (8') Trompette (8')

Quatre pieds ouvert (4')
284 METHOD OF ORGAN PLAYING

SPECIFICATION VII

WEIMAR CASTLE

Bach was the organist here from 170a-17 and composed many of his great organ
works during this period.

OBERWERK BRUST-POSITIV PEDAL

Quinta ton 16' Principal a• Gross untersatz 32'

Principal a1 Viola da gamba ar Sub-bass 16'
Gemshorn at Gedackt ar Violon-bass 16'
Gedackt a' Kleingedackt a' Principal-bass a•
Quinta ton 4' Octave 4' Cornet-bass 4'
Octave 4' Waldflote 2' Posaun-bass 16'
Mixture 6 Rks. Sesquialtera Trompe ten-bass at
Cymbel 3 Rks. Trompete a•
Glockenspiel

SPECIFICATION VIII

ST. JACOBIKIRCHE (Hamburg)

Built by Arp Schnitger (16aa-1692). Bach sought and failed to get an appoint-
ment at St. Jacobikirche in 1720.
u
WERK (OBERWERK) RUCKPOSITIV HAUPTWERK

Krununhorn a• Baarpfeiffe ar Principal 16'

Cimbel 3 Rks. Sifflet 1 1/2' Trommete 16'
Octava 2' Sesquialtera 2 Rks. Quintadena 16'
Nasat 3' Querfl5te 4' Spitzflote a•
Octava 4' Octava 4' Octava 4'
Rohrflote 8' Gedact 8' Rohrfl()te 4'
Principal 4' Principal 8' Super-O.ctava gr
Holtzflete 8l Quintadena 8' Octava 8'
Spitzflote 4' Flote 4' Gedact im Cammerton 8'
Gemshorn 2' Scharff 4 1 5,6 Rks~ Rauschflote 2 Rks.
Mixtura 6 Rks. Dulcian 16' Blockflote 2'
Trommete 8' Schallmey 4' Mixtura 6 Rks.
Trommete 4' Blockflote 2'

BRUST PEDAL

Trichter-Regal ar Principal 32'

DulciSJ" ar Posaune 32'
Scharff 5 Rks. Posaune 16'
Waldflote 2' Nachthorn 2'
Octava 4' Rauschpfeiffe 2 Rks.
Principal ar Dulcian 16'
Hohlflote 4' Octava 16'
Sesquialtera 2 Rks. Octava a•
Octava 4'
Subbass 16'
Mixtura 6 Rks.
Trommete a•
Trommete 4'
Cornet 2'
 METHOD OF ORGAN PLAYING 265

SPECIFICATION IX

FRAUENKIRCHE (Dresden)

Built by Gottfried Silbermann (1683-1753) in 1732-1736. On December 1st, 1736,

Bach played this organ for two hours, winning the great admiration of all present. In
1731 he opened the new Silbermann organ in the Sophienkirche in Dresden, and his son
Friedmann was later appointed organist there.

HAUPTWERK OBERWERK

Principal 16' Principal 8'

Octav-Principal 8' Quintaden 16'
Viol di Gamba B' Quintaden 8'
Rohr-Flothen 8' Gedackt 8'
Octava scharff 4' Octava 4'
Spi tzflothe 4' Flo then 4'
Quinta 3' Octaven 2'
Super-Octava 2' Nasat 3'
Tertia 1' Sesquialtera 2 Rks.
Cornetti 5 Rks. Mixtura 4 Rks.
Mixtura 6 Rks. Vox Humana 8'
Cymbel 3 Rks.
Fagotti 16'
Tromp eta B'
BRUSTWERK PEDAL

Principal 4' Principal-Bass 16'

Gedakt 8' Grosser Untersatz 32'
Rohrflote 4·' Octav-Bass 8'
Octava 2' Octav-Bass 4'
Nasat 3' Posaunen-Bass 16'
Gemshorn 2' Trompeten-Bass 8'
Quinta scharff 2 1/2' C1airon 4'
Siff1et 1' Mixtura 6 Rks.
Mixtura 3 Rks.
Cha1umeau 81

SPECIFICATION X

SAINTE-CLOTILDE (Paris)

Built by Cavaill~-Coll in 1859

C~sar Franck was the organist from 1859-1890 and his ·compositions are registered
for this instrument.

Grand Orgue Positif

Montre 16' Bourdon 16'

Bourdon 16.' Montre 8'
Montre 8' Gambe 8'
Gambe 8' Flute harmonique 8'
Flute harmonique 8.' Bourdon 8'
Bourdon 8' Salicional 8'
266 METHOD OF ORGAN PLAYING

8PECIFICATION X (Cont 1 d.)

Grand Orgue Positif

Prestant 4' Prestant 4'

Octave 4' Flute octaviante 4'
Quinte 2 2/3' Quinte 2 2/3'
Doublette 2' Doublette 2'
Plein jeu Plein jeu
Bombarde 16' Clarinette 8'
Trompette 8' Trompette 8'
Clairon 4' Clair on 4'
,
RECIT PEDALE PEDALES DE COMBINAISON

Bourdon 8' Quinta ton 32' Tirasse Grand Orgue

Flute harmonique 8' Contrebasse 16' Tirasse Positif
Viole de gambe 8' Flute 8' Tirasse Recit
Voix celeste 8' Octave 4' Grand Orgue sur machine
Flute octaviante 4' Bombarde 16' Copula Positif sur Grand Orgue
Octavin 2' Easson 16' Copula Recit sur Positif
Basson-Hautbois 8' Trompette 81 Octaves graves Grand Orgue
Voix humaine 8' Clair on 4' Octaves graves Positif
Trompette 8' Octaves graves Recit
Clairon 4' Anches Pl!dale
Anches Grand Orgue
Anches Positif
Anches Recit
Tremblant du R~cit
Expression du R~cit

SPECIFICATION XI

STRONG AUDITORIUM, UNIVERSITY OF ROCHESTER

Built by the Aeolian-Skinner Organ Company in 1937

This instrument represents the combination of the classical and modern ideal in
one instrument,.

GREAT ORGAN - Win.d Pressure 3" PIPES

16' Violone 61
8' Principal 61
8' Diapason 61
8' Hohlflate 61
8' Gemshorn 61
4' Octave 61
4' Flute B.armonique 61
2 2/3' Quint 61
2' Super Octave 61
2' Blockflote 61
2 2/3' Full :Mi.xture (IV Rks.) 244
2' Fournit;ure (IV Rks.) 244
1' Cymbel (III Rks.) 183
Chimes (In Choir Box)
 METHOD OF ORGAN PLAYING 267

SPECIFICATION XI (Cont'd.)

SWELL ORGAN - Wind Pressure 3 3/4" and 6" PIPES

16' Gedackt 73
8' Geigen Principal 73
8' Stopped Flute 73
8' Viola da Gamba 73
8' Viola Celeste 73
4' Octave 73
4' Flute Triangulaire 73
4' Violina 73
2 2/3' Nazard 61
2' Flageolet 61
2' Full Mixture (IV Rks.) 244
1' Plein Jeu (IV Rks.) 244
16' Double Trumpet 73
8' Trumpet 73
4' Clarion 73
8' Oboe 73
Tremolo

CHOIR ORGAN - Wind pressure 3 3/4"

16' Dulciana 73
8' Viola 73
81 Orchestral Flute 73
81 Dol can 73
8' Dolcan Celeste 61
4' ZauberflBte 73
2 2/3' Nazard 61
2' Piccolo 61
1 3/5' Tierce 61
8' Clarinet 73
Chimes - 25
Tremolo

POSITIV ORGAN - Wind Pressure 2 1/2"

8' Koppel.flote 61
8' Quintade 61
4' Prinzipal 61
4' Nachthorn 61
2 2/3' Nasat 61
2' Blockflote 61
1 3/5' 'Terz 61
1 1/3 1 Larigot 6'1
1' Siff1&te 61
1 1/3 1 Scharf (IV Rks.) 244
1/2' Zimbel (III Rks.) 183
8' Krummhorn 61

SOLO ORGAN - (Enclosed in Choir box) Wind Pressure 7")

8' Orchestral Oboe 61

8 1 Harmonic Trumpet 61
4' Clarion 61
Tremolo
268 METHOD OF ORGAN PLAYING

SPECIFICATION XI (Cont'd.)
PEDAL ORGAN - W:lnd Pressures 3 3/4" ana 511 PIPES

16' Principal 32
16' Contre Basse 32
16' Violone (Great)
16' Flute Conique 32
16' Gedackt (Swell)
16' Dulciana (Choir)
a~' Octave 32
8' Open Flute 32
8' Violoncello (from Great 16' Violone)
8'· Gedackt (Swell)
8' Dulciana (Choir)
4' Super Octave 32
4' Nachthorn 32
2' Block:flote 32
3 1/5' Mixt:t:.re (III Rks.) 96
1 1/5' Fourni ture (II RKs.) 64
16' Trombone 32
8' Trumpet 32
8' Bassoon 32
4' Clarlon 32
ChimHS (Choir)
 APPENDIX D
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