/ BACH FOR BEGINNERS IN ORGAN-PLAYING Compiled and edited By EDWARD SHIPPEN BARNES. F BOSTON MUSIC COMPANY - BOSTON Copyright, 1018, by The Boston Music Co.FOREWORD The intention in preparing this volume has been to provide, in an easily accessible form, and in logical sequence, the very easiest organ compositions of Johann Sebastian Bach. There have been many editions of “ Bach for beginners” in the realm of piano music, and it is our hope that this collection will supply the same need as regards organ music. The simplest original organ compositions for the manuals alone, ‘are placed first in this volume, and are followed by other works, for manuals only, of gradually increasing difficulty. Then follow the simplest of Bach’s compositions for manuals and pedal. The entire book is in- tended for the beginner, and the last pieces to be found in it are of only a very moderate grade of difficulty. ‘This book is not an “organ method,” but is intended, rather, to accompany and supplement the stu- dent's regular study derived from any reliable course of study or method for organ. It will not be out of place, however, to present at this point a few of the rules which are essential to the proper performance of the works of Bach: In performing the simplest or the greatest works of Bach, a sense of dignity and repose must be cultivated. To this end special care should be taken to avoid hurrying the tempo of Bach’s music. A perfect rhychm is essential, and the slightest deviation from this principle (except where a proper ritardando is to be made, as at the close of a composition) should be instantly detected and corrected. ‘A perfect legato is essential, and should be acquired by the use of any and every device of finger- ing and pedalling which may be of assistance. The principal devices which are of help to obtain perfect degaio are (1) Substitution of one finger for another upon the same note; (2) Sliding with the finger from a black key to a neighboring white one without causing a break in the continuity of sound produced, and (3) the special use of the thumb in tying together adjacent notes. This latter expedient, which is awkward at first, and requires considerable practice, is effected by advancing the thumb so far along a white key that it ie supported by the second joint of the thumb, while the nail is turned outwards (ie., to the left, in the case of the right-hand) over the neighboring key. This key is then played by a quick and real stroke, and no gap is made in the continuity of the sound, The thumb, when advanced 2s explained above, can readily play adjoining black keys, without break of sound, In the fingering of the pieces which follow, this use of the thumb is frequently required, when the thumb is indicated for several successive adjoining notes. Repeated notes should be carefully enunciated, In music of 4 fairly rapid sempo they should be held only for exactly half of their value, For example: on the organ, the following passage :— ete., should be played ete, & giving notes and rests their exact value, In slow fempo, repeated notes should be lifted at a definite time-interval, and not merely caused to sound again, as is customary in piano playing, Example :— Adagio (played) In the following instance, and in similar passages, the note at * should be omitted in performance: Allegro —¢ BM Co. 970FOREWORD ‘On the same principle, staccate notes, in organ playing, should be held for half of their value, and not be merely enunciated in a short, crisp fashion, as in piano-playing, Trills, mordents and all ornamentations start upon the beat where they are indicated, and do not precede it. Trills always start upon the upper note of the trill Thus a till indicated upon the note C, employing C and D, will start upon D. ‘The only exception to this rule is in the case when the trill is approached from the note above. If D is the note preceding a trill upon C, the trill must be- in upon C. visto nok use 16-foot manual tone jn contrapuntal music, except as it is properly introduced (or unavoidably introduced through the Crescendo Pedal) at climaxes of great power, or in imprese sive concluding passages. Do not change registration by adding or subtracting stops during a musical phrase, but only be- tween phrases. Do not over-registrate by changing effects too frequently in any works of Bach, Any excess of this sort produces an undignified impression. Rapid or frequent use of the Swell Pedal is to be avoided. Crescendi and diminuendi in Bach’s works are usually of long duration and very gradual, Above all, as stated at the beginning, never cease the endeavor to convey an imposing and dignified impression. Listen intently to your own playing, that a calm and quiet style may be developed, and the dangers of a careless technique avoided. In the following pieces, only the essemial fingering and pedalling is given. These indications follow in general the principles of playing set forth in Lemmens’ Method, It has not been our intention to sup- ply these numbers with a minute and exhaustive fingering and pedalling, but to indicate the proper execu- tion of all difficult or obscure passages, ‘The following signs are used to indicate the pedalling: A = toe; O= heel, Placed above a note they indicate use of the right-foot ; placed below, the use of the left-foot. Practice of each number should always be commenced very slowly. The metronome matks indicate approximately the correct sempi of the various numbers, Epwaro Surrren Barnes Nore, Ie is gested that after completing the we of this volume the student may autaby study Bach's Trio Sonata for orga. BM. Co, $970a CONTENTS PAGE, CuoraL Paetups ('“To God alone be highest praise”) 3 ‘Vaniarion (On the Choral: “O Christ, Thou art the beauteous day") 7 Vaxsation (On the Choral: "Be Thou welcome, gentle Jesus") 10 Fucaerra (On the Choral: ‘“The Son of God is come”) 14 FucHerta (On the Choral: “Praise be to Almighty God") 16 Fuonerta (On the Choral: “O Christ, the only Son of God") 18 Variation (On the Choral: “O God, Thou just Lord”) 20 Fucnerra (On the Choral: “Now should we be praising Christ") 22 Kynie (“God, the Father Everlasting”) 4 Vaniation (On the Choral: “O God, Thou just God") 26 Fucuerra (On the Choral: “Praised be Thou, O Jesus Christ”) 27 Variation (On the Choral: “O Christ, Thou art the beauteous day") 28 Pretupe, 1x C 30 Cutorat ("7m dulci jubilo”) 33 PASTORALE 37 CitorAt. PRELUDE (“O Lord our God, Thy sacred Word" 40 Prevuve, 1n C (Pro organo pleno) 42 Cuorat Pretune (""To my beloved God") “4 Caxowie Variation (On the tune: “From High Heaven") 46 FUGUE, IN A siNoR 49 Fucur (On the Choral: “To God alone be highest praise”) 32 ‘Apacto (From st Concerto) 56 CaNZ0NA, 58 Fucur (On the Choral: “In Adam's fall” 66 ‘Cutorar. Pretune (“O Christ, Thou Lamb of God") 70 FuovE ("We believe in one God") a PreLupe AND Fuove, 1 C 45 PRELUDE AND FuGvs, IN D s1K0R at Pretupe aNp FUGUE, 18 Eason 87 PRELUDE AND FuGue, 18 G MINOR 2 CHORAL Pretuve ("The Son of God is come") 98 Citonat (‘‘All men must die”) 100 Citonat. (“Christ lay in death's embrace”) 102 Fvovg, 1x D 104 ‘Cutorat. ("Now is salvation come") 106 CitoaL PRELUDE (“Praised be Thou, © Jesus Christ”) 108 Gove aun Cuorat ("0 Sacred Head, now wounded") 14 ‘Vaniation (On the Choral: “Be Thou welcome, gentle Jesus") 116 Vaniation (On the Choral: “Be Thou welcome, gentle Jesus") 122 CHonaL Prevuve (“Our Father, who art in Heaven") 124 Baca #70q To Abel Decauz, Instructor at the Schola Cantorum, Paris Bilt Bab BACH For Beginners in Organ Playing 1 Choral Prelude “To God alone be highest praise” Batted by Bdward Shippen barnes ds 00 Manuals 3 JOHANN SEBASTIAN BACH A/a Sekt ton te, s970€ Copyright, 1910, by The Boston Music Co. Printed in U.S.A.Bee. 597064A2 7 Variation On the Choral: “‘O Christ, Thou art the beauteous day” Beited by Réward Shippen Barnes JOHANN SEBASTIAN BACH ids 40) (Hands on separate Manuals) Manuals a. te.se70 6Buco. 59706te, 5970 6 v10 3 Variation ne On the Choral: “Be Thou welcome, gentle Jesus” Pited by award Shipper Barnes JoHN SEBASTIAN BACH Molto moderato ( Manuals aco seesace.s970 612 euce.sa70€13a 4 Fughetta noe On the Choral: “The Son of God is come” Eedited by Bidward Shipton Barnes JOHANN SEBASTIAN BACH (d 66)13, Baw ce, 5970616 5 eH Fughetta \ On the Choral: “Praise be to Almighty God” asted by baward Shippen Barnes JOHANN SEBASTIAN BACH 50) Manuals Bows co, $97066 Fughetta On the Choral: “O Christ, the only Son of God” Basted by Bavard Shiften Barnes JOHANN SEBASTIAN BACH Bw to, 5970620 7 Variation On the Choral: “O God, Thou just Lord” Belted by Béward Shipper Barnes JOHANN SEBASTIAN BACH d \ Manuals na.c9.s97024ze 8 Fughetta On the Choral: “‘Now should we be praising Christ” Peaited by Biscard Shipper Barnes JOHANN SEBASTIAN BACH dese) %) The object of this exercive isto obtain a perfect Zegato by the proper division of the parts between tke hands. The dotted tse indicates this division fm, 9, $970623 Bu coseaa 9 Kyrie : “God, the Father Everlasting” aited by Kavword Shippen Barnes JOHANN SEBASTIAN BACH idzs0) Manuals same23 Bu ce-si70€26 10 Variation On the Choral: “‘O God, Thou just God” woe Edited by Edward Shippen Barnes JOHANN SEBASTIAN BACH Allegro (= 60) - (Hands on separate Manuals throughout; Right-hand slaccafo throughout) Manuals {soft stops) #.m.co, $9706tt en Fughetta On the Choral: “Praised be Thou, O Jesus Christ” Kéited by Edward Shippen Barnes a JOHANN SEBASTIAN BACH rere ete SS SS SS d= 0) Baste. 870 €28 12 Variation On the Choral: O Christ, Thou art the beauteous day” Eeited by Béwerd Shippen farses JOHANN SEBASTIAN BACH Allegro (d= 80) 5 © Manuals log Soft Fivfes 844 ta. co, S970 €C Buco, S870 680 13 Prelude in C Basted by Reward Shipper Harnes JOHANN SEBASTIAN BACH de0s) Manuals34 2. n.te, $9706 TARP 268z wu co. 5970614 33 Choral Bodied by Bdward Shippen Burnes JOHANN SEBASTIAN BACH Moderato d= wo Mont Manuals Bm. to, $87034 Hw, co, 5970 \0, $870 6 35se a $< Baste, soe45 37 Pastorale Edited by Baward Shippen Barnes JOHANN SEBASTIAN BACH ‘Andante con’ moto d.- 6 : sw » by legato Gt ren), Gtlor cn.) 4 ce. suo ¢3 ee Geo Ch.) Gt.(or en) 4 2 1 be, eee. how te. sn0eGtior Ch) Se _____™ Bea Ue the Fastorale, adding a simple cadence in the key of Fat the point marked %# in measure 10, sae40 16 Choral Prelude “O Lord ourGod,Thy sacred Word” aa BAsted by Bdsward Shippen Barnes des) ery ° Manuals JOHANN SEBASTIAN BACH Pedals Ba. te, S906AL 8m, C0, $970 6az 17 Prelude in C Pro organo pleno Betited by Bde vd Shippin Barnes JoHANN SEBASTIAN BACH dese . Manuals PedalSH ao Bato. $9706” 18 Choral Prelude we “To my beloved God” Per Cunonem Basted by Baars Shippon Warnes JOHANN SEBASTIAN BACH easy Be Manuals Pedal baco.se7aaS B.ute.s970 646 19 Canonic Variation On the tune “From High Heaven” Eeited by Edvard Shippen Barnes JOHANN SEBASTIAN BACH Alio modo in Canone alla Quinta d= 44) Man. | Pedal Hueco. 59706 éa748 B.w.te.ss70.¢ao 20 Fugue in A minor JoHANN SEBASTIAN BACH Baited by Fdword Shippen Burnes Moderato (¢.:50) Manuals Pedal 8.4m. 62.9706Saco ser0e52 21 Fugue “To God alone be highest Fated by Radscard Shipper Rarnes JOHANN SEBASTIAN BACH des) Manuals Pedal fom. ¢0.5970 © i58 bo, 9706fw co, 3870655 Bw, co, s870656 22 Adagio From 41st Concerto Kadited by Rdward Shippen Parnes JOHANN SEBASTIAN BACH Grave (d=) Manuals Pedal bu. ce, 9706Bu. to, se70658 23 Canzona Paited by Rascard Shippon Barves JOHANN SEBASTIAN BACH tdeso) Manuals Pedal wm co, saraBom G0, $870 ©46. 59706ws 1 60.89706ou t0.8970¢os wu. to.s9706bd [dd ddd BM, 0, $97065 wa ce, 8970 6r 24 Fugue On the Choral: “In Adam’ fall” Fisted by Kavward Shippen Barnes JOHANN SEBASTIAN BACH (dese) Manuals Pedal tw. co.s970€o7 Bu. 3.5970668 au. co.s970 670 25 Choral Prelude “O Christ, Thou Lamb of God” ” Batted by award Shippen Barnes JOHANN SEBASTIAN BACH In Canone alla Duodecima(d= 96) vl Bm. ¢0.5870¢26 ma Fugue “We Believe in One God” Peited by Bavcurd Shi ppen Hares JOHANN SEBASTIAN BACH (ds49) Manuals Pedal om to, $970072 fm, Go, 5970673tuto, $9706cry 29 Prelude and Fugue in C* Edited by Ridward Shitpen barnes JOHANN SEBASTIAN BACH Praeludium (d-s0) - $4. pas St Manuals: Pedal = pat = = ZIT simile sempre simile sempre *) no. from “Bight Little Preludes and Fugues!? Bu co csar0s8. €0.5970 6at 28 Prelude and Fugue in D minor “* Réited by Féward Saippen Burnes JOHANN SEBASTIAN BAcH Praeludium (d: 56) "Dp Manuals Pedal (Sw. ad 1.) %) wo.2 from “Eight Little Preludes and Fugues?” 5970 €83 a.m. ¢8. 5970684 Fuga8587 29 Prelude and Fugue in E minor “* Béited by Ratward Shippon Barnes JOHANN SEBASTIAN BACH Praeludium (dea) Manuals Pedal No.a from “Bight Little Preludes and Fugues?” 2.u, ¢0.5870 689 Fuga dso 8 A Bm te, $9706Bou. Go, s910e9192 30 Prelude and Fugue in G minor * \ - asted by Bavard Shippen parnes JOHANN SEBASTIAN BACH Praeludium (d= 66) Manuals Pedal %) No.6 from"Bight Little Preludes and Fugues!” 8.m. co, 970 €93 awe. $979 €on Hw co. $970 €Sem co. s870 ©9697 Bu. 0.5870 €98 31 Choral Prelude ca “The Son of God is come” \ Reited by Etscard Shippen Barnes JOHANN SEBASTIAN BACH (2: 0) rrr? ; rrirr Manuals Pedal Ba. G0. 3970 €99 Bem ce. 3979 ¢100 32 Choral “All men must die” Filed by Edward Shippen Barnes JOHANN SEBASTIAN BACH (de s0) Manuals a ce ‘\ Pedal Bato. 59706401 e.n.co, $9706102 33 Choral i “Christ lay in Death's embrace” ) Faited by kascard Shippen Barnes JOHANN SEBASTIAN BACH S33 = M: Hs oo = = ee ee Pedal DEE — ty: Hwee, $9706103 a.m. te, 59706404 34 Fugue in D aaa Sa Goa stones Pees Jouany Senastiale Bact Maestoso id= 48) 1 Manuals Maes y tod is tm co.s970 6103 to. sa70€106 35 Choral - “Now is salvation come” ) Eaited by Edward Shippen Barnes JOHANN SEBASTIAN BACH Allegro (d= 160) Manuals (ight Flute stops) £ Pedal mh We Bu. o.s9706107 Bu. ce.soroe408 36 Choral Prelude “Praised be Thou, O Jesus Christ” we Béited by Edvward Shippen Rarnes JOHANN SEBASTIAN BacH (d:60) Manuals Pedal bu. t0.5970 6109110 Port lParer iP a.m. ¢0.5970 €it 37 n Gigue Baited by Ratoard Shippen Barnes JOHANN SEBASTIAN BACH (de 90) Mas. 1 Manuals Pedal 1k a eo. serveez, wt, sore113 iM. te, se70618 38 Choral Play the melody upon the Swell ” , oti ‘0 Sacred Head, now wounded with Oboe or Cornopean, §) the other two manwal parts should be taken on Great or Choir (soft) with the left hand. Euited by Edward Shippen Parnes Adagio espressivo ( Sw, Oboe (or Corsopean) 8° Manuals Gtr Ch) soft tops: an in Gt.lor Chyo Ped. Pedal anos. s9706 fa - JOHANN SEBASTIAN BACH; yfaai fai fed116 39 Variation : On the Choral: “Be. Thou welcome, Gentle Jesus” Poited by Bdscurd Shippen Parnes JOHANN SEBASTIAN BACH Andante, quasi adagio (d: s) ee p Manuals Gt. (or Ch) Gt, (oF Ch.)to Ped Pedal sont oA * Sem Ge (or Ch.) ie he co. $9706a7 Gis (or Ch)4s Bom, 8, $9706Gt. (or Cho) Bt. (or Ch.) Gt. (or Ch.)¥. t0.s970¢Azz 40 Variation ‘On the Choral: “Be Thou welcome, Gentle Jesus” \ 1B wet, in organo pleno 7 Edited by Bdward Shippen Barnes JOHANN SEBASTIAN BACH () SS Manuals NS : a Pedal Bm. 60,5970 6123,124 “ Choral Prelude “Our Father, who art in Heaven” Reted by Ratward Shijpen Warnes JOHANN SEBASTIAN HacH dew) i Manuals ; ‘ DJ J Pedal Bu. Ge. 89706fu ce, see