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    21 views33 pages

    Organ Playing PDF

    Uploaded by

    Angelita Moris

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 33
    . P { ; age iis at reo Partl. Maal Studies. Parts.Prdal Siudirs. Parts. Art af Registration. . Part4. Cinch ov Service Playing: Sale ar Gauneert Playing. gene Introduced in the Boston Conservatory of Music. BosTon ritfer &- it PREFACE. In th following work the author his attempted to present a Compe Organ Sell, AWhough many ne works nnendy exist thor no ono work, we beliove, which teats fully of each and al of tho ve chief divisions of Organ playing, vis: MANUAL STUDIES. PEDAL STUDIES. THE ART OF REGISTRATION. CHURCH OR SERVICE PLAYING. SOLO OR CONCERT PLAYING. ‘these we hope to have fully tented agparately (cach part being complete inset) and eoeeivelys om tho smsplest rudiments to the most advanced degree of diieulty; And with what euccss it is eR toa practical tost of the work to determine. “The materials have been dawn ftom every available good source, supplemented by the rests of ‘along experience as player and teacher of ‘his grandest of all instruments, Te Organ, Viale this sehoo is founded mainly upon the works ofthe greatest ofall organ player an composes JOH. SEBASTIAN BACH, Otuer writers dnd schools have not been ignored, but rather presented in their most favorable light. For the true ongan student ehould be fomiliae with ll school trsting to bis own teste ripened by years and exporienee and to the guiding influence of good teachers to form hi msoal chameter. And the result cane trusted; for if he be futhfal and industrious he wil come at last — and glad, t00)— (0 the great, the true, and the good eho student wi follow this work through, stadying al things dlorougt, he exnmot fi of beooming arimater of the Organ and its resources, Add to this the daily study of the works of Bach and other reat masters, and all things will be possible to him ao far ashe has been endowed by his Creator. “Atha fs required isa real Tove of the instrament and peteeveringindustry.‘Theso mat! and always do conquer when guided by proper instruction and example ‘The plan of the work is as follows:— Jm Pane 1, Manual Playing is tronted separately 5 the pedals not ‘being introduoud although they may be used in many of the pieces after a moderate degree of pedal execution is acquired. ‘We havo treated the manva only a fist —not distracting the atention with pedsl playing —as we aid in manual playing at the commencement of study, posible. ‘most fully believe that if » sure foundation is not ail fatare progres or the attsinment of any good of desirable proficiency vill be simply Tn Pant TL. Pedal paying is treated from the rudiments to an advanced degree of difculty 5 thi of course, including « continued advancement in manual execution, iin Pant IIL the Art of Registration (making combinations is presonted in what ve believe to be a now and complete system; #0 simple that oll may understand, etsily remember and make practically ‘weful. By this method ve believe thatthe sudént can at any organ make all desirable combinations with Tittle or no difficulty. ane IV, presents the Art of Service Playing in its various forms, that the student wy be able to play church compositions, from the plain chant to the Te Deum or fom the simple Congregational Serve tothe Grand Mass, Brio, tho art of accompanying 8 pertaining to the Organ bat Deen uw trated, Pune V, is devoted to Solo playing, and contains a course of stdy and suggestions for those desiring to become public performers. ‘This Yeas tho stadent through the masterwork of Baels ‘Handel, Mendels soln, Thilo, and other grext composers for the Orgun this completing the work. Tt is only necessty to add that tho para must bo sted sriatin, asthe student sony Ate for each pert when the pr ceeding cones have been faithfully studied. Only sich compositions of the sutor have been introduced as would assist rake the work thoroughly progrosive in its chareter, os it vas deemed much better to sleet from good an great works already existing than to make the work a medium of presenting origins! compositions; the ai being the wlvance- iment of the Art rather than personal distinction. With the ception of the preliminary exercises and sre aa theme wl be fund wll or she orcomert us, This we ene wil and to darters an ine wil be ytd om oso arable fr oe wal pepo nde be wet in ancting any dsxng to tly he ong and in Sting them to co iors tha plomoreot any pol oof Ul condeting ai woo then we al bem esd forall ho tne and efit hs cost 8. shan a Ara Ong payng ny in oorown native land enc highest advancement an th anany shall be its worthy disciples i the sineere wish of THE AUTHOR. Bostox, 1870. Yd THE ART OF ORGAN PLAYING. COMPLETE IN FIVE PARTS, By... EUGENE THAYER. ...- op 16 PART FIRST. PRELIMINARY REMARES. Tefore commencing the study of the Organ, the piano should be studied until a tolerable exeeution and a degree of fluency in reading music are acquired. Tt is also advisable for the ors student to play daily the wore solid piano studies, and such musi a the Sonatas of Mozart and pieces of a similar charae- ton, ‘Thie-wll give a certain ease of manipulation which is desirable, and which eannot be acquired by the exclusive practice of Organ music. {HE POSITION AT THE ORGAN. ‘The Orgun seat should be of plain wood (ancovesed), and twenty-one inches high fom the top of the Jong pedal Keys, more of lets according to the snturo of the player. ‘The position of the player should to opposite the centre of the manuals the seat as far fol and the player 8 Ser foreard as is consistent ‘sts a firm postion and a fecling of eourty 5 that the Tims may be untrammelied by the edge of the hve fee mange in pedal playing. ‘This position should be stictly maintained, simply turning to tho right ot left im playing bigh or Tow pedal notes, or makings combinations. Only in this way can the player acquire or maintain n full and sure command of the instrament: seat, and the fe ORGAN TOUCH “Tho Ong touch is quick, strong, frm blow given by the fingexs moving from the Knuckles ‘The Keys should never be prewed ({« slowly pusted down) but srack—by te fingers—quiekly and with decision, While down they must remain Gm, and in rising, the finger must be withdrawn 68 quickly as possible that the Key mny rise instantly. ‘The wrist is never used in Tegitimate Organ playing, all chords boing struck by the forearm moving from the elbow. t OA ‘Thero must be a strong, firm grasp(the word grip eeems to better express the meaning) of the manuals in order to have firmness with ease, promptness without violence, or to acquire any execution’ which, un- der all circumstances, can betimplicity relied upon, : In brief, the Keys mast 7 ‘Go vows scwxixx, . aaa Snar vows pucroxouy, axD Con ve pecimepux. Inno other manner eqn a good tone be produced, ora firm eofitrol of the organ be maintained, ‘We give below three plates to illustrate the organ touch, “POSITION OF THE HAND, ARM AND FINGERS. 1. Cocoon ofthe tana rest Level to the ecm jit ofthe Magara, Th free fs alight etna dows fom the oom exept when paging on heuer nu {&. Foeari set trike chord Matin whol tom the sn Wk gee fm an orebie, Thaw {0 etd fon tno fo ee nc, ne oe ong at never Vo Lento. > 2. Ex. {© Gt. Diapason w should be invariable, vhatever orm, ever ly On win marae iy roth The ap latte den oe iar eT : Exenetszs_m Sustarvep Notes. Nore, Jtis advissble'%o practice much with the manuals coupled until firm tovel fs permenienty aequteed, ; h Exd. t cca eat 933] 4,3 er exeroien fv In this workjenn be practined on the plano iteare is taken to NOTE. These 1 sinmly old he attained “THREE PART. PLAYING. , foi and, me Nore. Allnotes preceeding a skip ave to be played with one hand if possible. Andante, — CE —_? Cc tn} ce oa (He oe CG Gist Se oer lanl cs (se ce exer sev. cae easy cea played with much strength and femmes, (ae Tobe 4 (a8 Exercises mv Susstirurion « Giissanno. ae (ate 1 ore, Always divide the parts as equally as possible bebroen the to hands. g 12 Srupres m Susrarven Norzs. FOUR SHORT STUDIES. ‘Tove played stvietly teguto and with a careful substitution of fingers wherever requited. * andante. RINK: APA. Gt. Diapasons’ | M4, Moderato. Full Organ. * _OFFERTOIRE. - POSTLUDE. (Fult Ong) He Inmweis. iF apie may also be played ax a Prelude with Soft Organs PRELUDE. (For Soft Organ.) ap OFFERTOIRE. (PRELUDE.) (For Soft Organ.) ‘EUGENE THAYER. TEE lito molto. > oF cee FUGHETTA. POSTLUDE. (Fult Organ) RIK. Allegro moderato. i OFFERTOIRE. * (PRELUDE) For Soft Organ. LENMENE. ff i 9 FOUR PART PLAYING. a: CHORALS. . ‘The four notes composing cach chord must be played with absolute precision. NO 1, Allein Gott in der Hoh’ sei Bhr’ a ly $ 4 © NOTE, "There Chorals canbe played with Band 16. registers or Pull Organs a (N98.‘Hew Jesu Christ dich zu uns wend. a m Geyrrat Exercisrs. osu 23 “ VARIOUS. PIECES. Nore. ‘The Podal may he used in alLof the following pieces after Paxt IL of this work has been studied, POSTLUDE. (Putt organ.) Moderato, * RINK, OFFERTOIRE. fe (PRELUDE.) (For Soft Organ.) Lakes. 26 OFFERTOIRE. --(PRELUDE.) Py : PRELUDE. (Fult Organ.) ~ : Aspxe. Maegtoso.. % a. OFFERTOIRE. 29 weed (PRELUDE) 7 Euckiee THAYER. - Adagio. —e MANL./ a i . ‘incl or Flute, BF : Ws.) :

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