The Technique and Art of Organ Playing (Dickinson,Clarence)

I

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f([T

HE TECHNIQUE

and

ART

OF

ORGAN PLAYING BY

CLARENCE DICKINSON M.

A., Litt. D., Mcrs.

With the

H. A.

Doc.

collaboration of

DICKINSON M.

A.,

PH. D.

v i

Fifth Printing

Paper Cover $3.50 Boards $4.00 Cloth $5.00

NEW

THE H. W. GRAY CO. SOLE AGENTS FOR NOVELLO 6- CO., Ltd. YORK

.

.

Copyright.

1922.

by

THE

H.

W. GRAY COMPANY NUde

THi

S

in

U. S. A.

CTCTOSf^

^

IRIGHAM YOUNG UNIVERSITT PROYO, UTAH

—

—

CONTENTS

PART

I.

TEXT

Chapter I.

page

THE ORGAN AS AN INSTRUMENT

7

Origin—development—divisions—pistons—couplers—Crescendo Pedal—building up II.

full

organ—classification

of stops.

MANUAL TOUCHES

11

—

—

—

—

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

—

III.

PEDAL TECHNIQUE

16

—

The pedal keyboard position of Substitution I, II—playing thirds

feet

—exact positions for playing intervals within an octave —Glissando touches

legato

1, 2, 3,

4

—sequential pedaling—extended pedal glissando—Semi-detached, Marcato and Staccato

touches.

IV.

PART-PLAYING, INCLUDING THE PLAYING OF

HYMNS

— — — maintaining the tempo—the Amen —Anglican chanting.

21

Treatment of repeated notes: separation, tying importance in phrasing playing for congregational singing volume of organ tone "expression"

V.

—importance in Hymn-playing—announcing a Hymn of a Hymn —time allowance between verses and lines

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

—

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

—

VI.

off

26

chords down-

—

ADAPTING PIANO ACCOMPANIMENTS TO THE ORGAN

—

29

—

—

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

—

—

—

VII.

— —

— —

—

THE MANIPULATION OF THE SWELL PEDAL

38

—

— —

—

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

—

VIII.

—

—

ACCENT

41

Accent by means of Swell Pedal, pause, tenuto—its dramatic value—a factor of climax. IX.

RHYTHM

42

— —

—

—

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

—

X.

—

—

—

THE PLAYING OF ORNAMENTS

47

Bach's table of ornaments—his "Applicatio" for Friedemann time values of the appoggiatura. in old music

Bach—some

other graces and signs

—

XI.

—diatonic character of graces

REGISTRATION AND COLOR

49

—

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

effects,

—

—

—

— —

—

— —

—

—

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

—

Chimes

—the development of a sense of color.

registration of pre-Bach

—

3

PART

MUSIC

II.

pace

Section I.

II.

III.

IV. V.

VI. VII.

VIII.

IX.

X. XI. XII. XIII.

XIV.

Manuals

alone: Attack

and Release; Legato playing: Substitution

XV. XVI. XVII. XVIII.

XIX.

XX.

;

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

.

.

Composer

PART

.

'

Etude Etude

Alone in for Pedal Alone in for Pedal

Trio in

Chorale Chorale Chorale Chorale

.

.

.

.

A

.

Best Clerambault Couperin ESLAVA Franck, C. .

F

sharp minor

Prelude "O Sacred Head" Prelude "Blessed Jesu" Prelude "In Dulci Jubilo" Prelude "Our Father in Heaven"

C

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

Frescobaldi

Canzona Caprice in Elevation

Marche

Handel Krebs Lemmens

Prelude and Fugue in Trio in F Fanfare

B

95 101

106 54

flat

Religieuse

Prayer in

F March

D

Liszt

Ora Pro Nobis

Mendelssohn Mendelssohn Mendelssohn Pachelbel Rembt

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

.

.

.

Steggall .

.

171

.

Processional

.

C

C

guilmant guilmant guilmant guilmant guilmant .

151

Soeur Monique Postlude

Adagio in

117 126 138

198 201 127 179 176 73 60 66

F

Partita in

.

101

page

Adagio from Sonata IV

.

91

II

Title

Alkan Alkan Archer Bach Bach Bach Bach Bach Bach Bach

20 30 38 47 64 78 89

164 169 178 181 198

.

IN

15

151

.

MUSICAL COMPOSITIONS INCLUDED

Thomas

1

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

.

57 59 154 55 189 164 98 70 134 Ill

92 104 119 175

132 169 145 147

4

PREFACE

This book

is

designed to provide the teacher with the technical material

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

acquirement of complete in

command

one volume a study of

enough

illustrations

and

all

of his instrument.

may

may

once

will at

division,

by supplying a book

material from which themes points

which they

exercises through

hoped that the textual

teacher's time

to include

the distinctive principles of organ technique, with

with interesting compositions which It is

The aim has been

Part

may

be mastered, together

call for their application. I,

may

prove of value in saving the

of reference for students

and

also

by providing

be drawn for class conferences in which these

be discussed and enlarged upon.

In assembling in one volume studies of

all

the various points of organ technique

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

by which each is to be mastered, the author has had in mind, also, the many students who must pursue their work without the personal guidance of a To the studio of every teacher there come pupils who are able to remain teacher. of the process

only a short time, to their posts to

who

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

do the best they can

for their further

advancement

in their art,

Of course nothing can ever take the place of the personal guidance and example of an inspired teacher; and to teach others out of

their

still

limited equipment.

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

may aid

in

comprehension and application; and, in Part

order, just as

many

to supply, also in logical

exercises as are absolutely necessary to cover each point,

pieces which, although they is

II,

demand the

and

application of each point of technique as

it

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

as will be of use to the organist always, recital

and

of so great variety in style that effective

programs can be made from just these numbers.

PART

I

CHAPTER

I

THE ORGAN AS AN INSTRUMENT AS

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

l\

many

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

ferent lengths is constructed in each tone quality; these are

from an inch and a half to sixty-four to

wooden pipes so

feet,

large that a Shetland

and

known

in circumference

pony can stand

as "ranks" of pipes.

from the small metal pipes the

for the feet,

known

size of

in length

a lead pencil

inside.

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

from the keyboard

They may vary

known

as manuals; others, less extensive,

as the pedal.

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

Talmud

is

de-

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

as part of the furnishing of the

—

The

—

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

we have seen, any means of

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

ment was used

for this purpose,

which was at

portable, but which, when it

first

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

make

it

possible for

known

A smaller instru-

choir.

was gradually enlarged

as a Positive. This

is

controlling the

until it

became

the present Choir

one organist to play both solo and accompanying instruments

this Positive

was

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

manual was given a different place an organ has three manuals is as follows: ference its

in different countries; the

— Swell — Great — Choir

Upper Middle Lower

In this trans-

arrangement in America, as in England, when

there

If

a fourth manual

is

it is

known

as the Solo organ and

is

placed above the other manuals; in

are assem-

it

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

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

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

to the fact that difference in pitch

is

ob-

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

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

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

— sounds an octave lower than an 8-foot; a 32-foot, two octaves lower. thick quality; they should be employed sparingly, therefore,

and must form the foundation of

pitch

On all

all

and with

Used on the manuals these possess a somber, discrimination.

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

in the Netherlands devised

by

levers

of the organ

still

a plan

8-foot tone

is

the normal

regular organ work.

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

ulated

The

for shutting off the

When

a key was pressed

In the sixteenth century an organist

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

which stopped the wind from entering the pipes.

slides

manip-

These levers were known as stops, and the stops

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

its

own

set

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

pipes,

and so on.

many

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

When

there are a great

stops on

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

By means of a remarkable device known as the in

dynamic

tone

is

succession, building

built as follows:

Draw

up to first

full

"Crescendo Pedal" the organist can draw

organ and reducing the tone again to

silence.

all

Speaking generally,

sideratum; the stop added next in

ume

full

organ

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

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

the stops in the organ

Of course

this

is

the

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

of tone.*

Classification of Stops

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

* For a

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

in

Musical History."

Flues are subdivided into four classes:

Gamba

I.

Diapasons;

On an

tone; IV. the Gemshorn, a hybrid family.

II. (a)

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

instrument of good

size the stops in

each of these classes

would be disposed about as follows:* I.

Great

Diapasons; also called Principals

16'

Diapason

8'

Diapason

8'

Diapason, Geigen Principal

4'

Octave

8'

Dulciana

2%' Twelfth

4'

Octave

2'

Choir

Fifteenth

16'

Diapason

Mixtures seldom

Some Mixtures Swell

Solo

16'

Dulciana

16'

Diapason

8'

Diapason

8'

Vox Angelica

4'

Octave

2'

Flautino

Pedal

8'

Stentorphone

32'

Diapason

16'

Diapason

8'

Octave

4'

Octave

Some Mixtures II.

Great

16'

Flutes and Gedackt

Bourdon

Choir

16' 8'

8' Clarabella

8'

Harmonic Flute

8'

Melodia Concert Flute

8'

Gross Flute

8'

Flute Celeste

8'

Quintadena

4'

Flute d 'Amour

8'

8' 4'

Swell.

Bourdon Gedackt

16'

Doppel Flute Flute

4'

Suabe Flute 2%' Nazard ?! Piccolo

Bourdon, or Liebhch Gedackt

8'

Rohr

8'

Chimney Flute

8'

Flute Celeste

Flute,

Solo

Gedackt

8'

Harmonic Flute

8'

Concert Flute

4'

Suabe Flute Harmonic Flute

4'

8' Clarabella 8' Spitz

8'

Pedal

32'

Flute

16'

16' Lieblich

Stopped Diapason or Gedackt

8'

4' 2'

Harmonic Flute Piccolo

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

CC

you hear the chord

e, g, c.

Gedackt

Flute

8' Still 4'

with a Mixture stop drawn, instead of hearing

Bourdon Bourdon

Gedackt

Flute

For instance: when low

Moreover, the pitch

is

C

is

played

slightly different,

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

Tempering

is

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

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

its

length, or at a point

which

will give the desired pitch.

The

extra length of pipe gives additional fullness, rich-

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

*

A

detailed study of the subject of organ stops

is

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

10

III.

Great

8'

Gamba Tone Choir

Gamba d'Amour

8' Viole 8'

Strings, or

16'

Contra-Gamba

16'

8'

Dulciana Dulciana Dulcet Unda Maris Dulciana

4'

Viola

8'

Gamba Gamba

8'

Keraulophone

8'

Swell

16'

8' Viole

8'

8'

Contra-Gamba d'Orchestre

Unda Maris Solo

d'Amour

8' Viole

8'

8' Salicional 8'

Voix Celeste

8'

Aeoline

Pedal

16' Violone

16'

Gamba

16'

Dulciana

4' Violina 4'

There

is

8'

4'

Reeds

in color more nearly a String or soft

Gemshorn Gemshorn

may be

I.

II.

8' Violoncello

Celestina

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

and Flute tone,

Celeste

Diapason tone.

8'

Gamba

is

a combination of soft String tone

It includes

Some Mixtures

8'

Erzahler

8'

Kleine Erzahler

roughly divided into two classes:

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

I.

Great

16' Ophicleide

Choir

Solo

8'

8'

8'

Tuba Tuba

4'

Clarion

4'

Clarion

16'

Mirabilis

Posaune or Horn

Pedal

32'

Bombarde

8'

Trumpet

8'

Cornopean

16' Ophicleide

8'

Oboe

16'

4'

Clarion

16' 8'

8'

Horn or Horn Trumpet or Tuba II.

Orchestral, Reeds:

Horn

Great

16'

Swell

8'

Cornopean

8'

Oboe

8'

16'

Solo

Trumpet

8'

Tuba

4'

Clarion

8'

Oboe English Horn French Horn Clarinet (or Corno di

8'

8' 8'

Fagotto (Bassoon)

8' Orchestral Oboe 8' English Horn

French Horn

Orchestral

Bassetto)

8' Clarinet

8'

8'

Vox Humana

8' Fliigelhorn

Posaune or Trombone

Woodwind Tone

8' Frttgelhorn

Choir

16' Ophicleide

Tuba Trumpet

16'

Swell

Chorus Reeds: Brass, Trumpet Tone

Pedal

8'

Heckelphone

8'

Musette

16'

Horn

16'

Fagotto

CHAPTER

II

MANUAL TOUCHES so

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

to devote time to gaining finger

flexibility

and

agility.

Position at the

The

point of attention for the organ student

Organ

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

twenty inches from the top of middle

is

D

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

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

Organ touch

differs

in piano playing.*

The very

first

technical point to which the student should direct his attention

key; the matter of release

with

is

much more important on

is

that of attack and release of a

the organ than on the piano, since the organ tone

is

sustained

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

full

of all,

gfEElEEj $

*

ft-9f-

±

1

mm

^ *

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

11

electric

t

t $

first

* 1321 -iS>-

or pneumatic action; the old mechanical action is passing

12

Legato Touch

The

characteristic touch of the organ

The

of organ playing.

who would

to those

not raising them at

With

This

is

It is

an eighth of an inch down a spring in succession

key begins to sound.

is

the

first

and absolute

applies with emphasis

is

is

on an instrument the keys

when you

the principle of legato touch:

some

resistance to the player,

of which are pressed, not struck.

down a key, at a point about moment the pipe begins to speak.

press

and at that

at the

it is

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

is

if it

does not come on

Great delicacy of digital and aural perception and

not legato.

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

high demands this most distinctive feature of really good organ playing

one's best endeavors towards

Legato

;£fpEg

essential

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

In letting go the key again

two keys

offers

acquirement

a most delicate matter and demands the cultivation of great acquired in the first place by keeping the fingers always touching the keys,

entirely possible

relation to the instrument this

its

"He who cannot join his notes cannot sing,"

This legato touch

and hearing.

all.

the legato touch and

Italian principle of bel canto,

play the organ.

sensitiveness of touch

is

-m—P-

most

and

rare,

it is

worth while to bend

mastery.

its

#.##

+-4

is

Because of

#-*-

+-&

*=

iw

?-

izl

4-*-

EtC

?-*-+ -&

i

Substitution

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

is

effected in

In

many

two ways:

I.

of these cases the

Finger Substitution,

Substitution of one finger for another on a key

I.

is

it

would be impossible

problem can be solved by the employment of "SubstiII.

Hand

Substitution.

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

ample, in the following passages in thirds and sixths: 5 3

a

l

a

4

3

4

6

I

=t

iaiffio?

4--

21 43

i

21 43

3

Substitution of one

ferent manual,

3

4

5

2 4

t

i

II.

2

draws a

hand

stop, turns

for

another

4

H£

5

5

2

2

45 12

45 12

1

22

5

^EHEHEJi

is

employed when,

4

1

for instance, the organist begins to play

on a

3]

dif-

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

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

the term glissando

is

of these

two extras

is

known as "Thumb

Glissando."

The

pianis-

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

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

to be played itself,

The employment

13 In organ playing,

when

designated as

"Thumb

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

Glissando";

it is

—

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

Thumb

Glissando

In passing from a black key to a white,

I.

from black to black or white to white, This form of glissando may be employed by the fingers also.

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

or, rarely,

?:

ill^ Thumb Glissando

II.

1

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

scale of

C

v

as for instance

4 a l

I

i you have only two the

D

first

and want to change to

•gj

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

fingers,

4 and

thumb

as an extra finger to hold

joint of the

two upper

2,

£

3

down the E

B

slide

over to D.

Use

you shove the thumb over so that the tip depresses The hand will be raised a trifle to effect this. The

as

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

will

fingers depress the next notes,

be found in Part

II,

Section V.

In an ascending scale passage, as:

with the fingers well in on the keys the hand

is

raised from the wrist until the

thumb

is

almost upright on E; the hand

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

pulled out

4

6 3

2

im

toZZ^L

in order to

move from F to Eb without breaking the

board, just as far as key.

you

G and E will permit you, that

Thus, holding down the will find

F with

that the tip of the

break in the legato.

legato

is,

you must shove the thumb

until the cushion of the

the second joint of the

thumb

will

I

thumb

thumb

(or the part

in as far as possible

on the key-

strikes against the edge of the

between the second and third

G

joints),

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

14

You will note the necessity for

employment of all three forms of glissando in,

the

for

example, the scale of

D/ in which

45 45

i

^m

Gliss.

you employ:

Ill

Gliss.

II

£

Glissando HI: Hold

firstly,

5

z2:

Gliss.

F

I

thumb;

C; to pass to BP the

thirdly, Glissando I:

^

III

thumb between the second

D^

Pass from

and the

joint

II

I

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

to

:

Pass from

C

necessary to shove the hand in as far as

it is

II

1

*=^ # #

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

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

when you pass from a white note

to a black.

Thus,

Crossing a Longer Finger over a Shorter

Yet another aid

in maintaining a perfect legato

it

the employment of a practice in fingering which

Thus, when the

the organ: passing a longer finger over a shorter.

passed over the top of

is

fifth finger is

is

peculiar to

occupied, the third or fourth

may be

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

by any other procedure.

m

is

1

-&-

Importance of a Perfect Legato

Any one who known

has ever watched Alexandre Guilmant, the master

in organ playing, could not fail to be struck

keys, as

it

were, weaving in and out.

maintained with unremitting care.

be even more

brilliant in inspired

they were indisposed and "didn't little interest;

The

by the manner

who in

attained the most perfect legato

which

his

we have

hands seemed to creep over the

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

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

moments, sweeping the feel like it" their

listener along

with them with

irresistible

who might

power, yet, when

technique suffered a lapse and their playing was of comparatively

but so unfailingly had Guilmant observed

all

these points of technique, never permitting himself an

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

instant's carelessness, that they

—

—

a large one, but, as a matter of

fact,

mental matter of quality of touch.

make

the fewer the resources of the organ the more imperative

is

perfection in the ele-

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

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

quite an impression without doing

playing, but

Touches other than Legato Nevertheless, though a fine legato it

is

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

exclusively unvaried legato playing is deadly. ;

Its

beauty can be fully brought out only by being thrown into

relief

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

16

II.

notes. if

"F ~£

III.

Marcato, indicated by

IV.

Staccato, indicated

The

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

It is

by

line or

dot and

is

thus:

#

dot, thus:

used in passages which are legato in

a heavy body of tone

line,

'

\

effect,

but which

if

played absolutely legato sound blurred, especially

The touch

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

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

is

In rapid legato passages that must be played at a tempo

tips.

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

which gives an the

nails.

effect of

very clean yet flowing playing

So, for instance, in the

Bach

is

by curving the fingers so as to play on the tips of which there must be not the slightest overhang or blur:

obtained

D major Fugue, in

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

smooth

effects in rapid playing.

Marcato touch

stresses the note

by

giving

it

— according as

a long or a short note

it is

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

thus produced, for which reason the marcato touch

on "Accent").

In very rapid passages

in passages in slow

tempo marcato touch

it is

is

much used

the note seven-eighths of

its

and the note

it

following.

An

in organ playing (see also the chapter

practically impossible to differentiate the

will give

— only from seven-

marcato and

brillante touches;

value while brillante will give

it

about

fifteen-sixteenths.

Guilmant, Sonata Quasi Recit.

_

III

_

7

J5L

By

the employment of marcato touch attention

and forcefulness.

This will be appreciated

if

may

be called to a melody, or

some such experiment

is tried

it

may

be given added impressiveness

as the following

:

play these opening measures

of the "Pilgrims' Chorus" legato:

I t The melody

is pleasing,

v

rather sentimental; play

^F

mm

mm

them marcato:

mm

it is

mm

instinct with pulsing

life,

vigor,

and

virile force-

fulness.

IV.

Staccato touch separates each note sharply from

its fellows.

This touch

is

acquired not

by

lifting

the

fin-

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

on the piano, but by shaking the

wrist; the action

CHAPTER

III

PEDAL TECHNIQUE The only to

pedal keyboard on modern organs runs from

On

d.

mediaeval organs

Since pedal

still

in use in

work demands a clean and

consistent with perfect comfort, and

as

is

of

medium

Europe

CC it

to g; on older organs

extends from

D

to

d

it

extends only to

and on older

still

only.

sensitive pedal touch the organist should

made on

f,

wear shoes which are as narrow

a straight last so that the soles do not project.

They should be

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

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

Before beginning practice

well to glance at your organ pedals to

it is

make

sure that they are clean, smooth, and

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

slippery.

keys.

bench,

came

began the

left

his seat

and

recital.

When you have the

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

in with a cloth

on C, the

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

right

The

on D.

feet

should be

flat

on the keys.

Some

down

straight

and

close together,

older instruction books direct the student

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

to play with the tips of the toes; in those

books to see that this

responsible.

The

foot should be flat

on the key, the playing done on the

The ankle movement corresponds ankles amazingly

stiff,

as in ordinary

to the wrist

life

movement

in

ball of the foot.

manual technique, and most students

will find their

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

flexible

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

moving the

possible for the ankle without

ankles

means simply acquiring that

leg,

side-to-side

as

it is

for the wrist

without moving the forearm; limbering up the

movement.

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

and beautiful touch

— and of the various touches —

is

as important for the pedals

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

as for the manuals. finger legato.

of correct

principle

is

moment

the same: the keys are pressed, not struck.

When you

play upon two keys in succes-

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

at which your

first

Positions for Playing Intervals within an Octave

Do

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

—

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

was obliged, as a student, to strap

his knees together for a

time when practising in order to

16

fix

the habit.

17

To

play a Second:

^e Bring the

feet together, touching.

play D, bring

To

up

it

until

it

~KT II

For example, when the

left

foot

is

on

C

and you want to make the

right foot

clicks (noiselessly) against the left foot.

play a Third:

±£e 3 Do

Bring the feet together so that the ankles touch.

To play a

£:

i

not forget that your knees must always be held together.

Fourth:

££: The

heels touch

To

and the ankle bones touch, with the

toes turned out as far as possible.

play a Fifth:

*E The knees must

To

^11

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

play an Octave: 4*.

i The knees must be

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

natural angle without any straining.

The Fourth, of the

Fifth,

and Octave

— the Subdominant,

Dominant, Tonic

— are the

most important

positions, as

most frequent occurrence.

The remaining

To

intervals are found from those already acquired.

play a Sixth:

&-

:fe Take the

To

position for a Fifth

and play the next note above.

play a Seventh:

^E Assume the

position for the Octave

play, just as they are the

most

A

step greater than this

is

anywhere, at

1



difficult in sight-singing, it is

These two intervals are always the hardest to in which they are found in exactly the same way. easy to find one over the Octave, in the same manner as one

rare in simpler music, in hymns, simple anthems,

by the time the student reaches the more elaborate he his foot

-iG>-

and play the next note below.

This takes care of everything up to the Octave; below.

i

will

be

sufficiently at

home on

and vocal accompanying, and

all

parts of the keyboard to put

will.

Sufficient practice

with this system will

any more than you do at the manuals. Nor

fix

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

will

you need to

fall

back upon other aids sometimes suggested, such as

18 always verifying your notes by indulgence in

it

first

Do

touching the nearest black note.

One who has taught many

destroys your confidence.

not allow yourself to yield to this weakness,

organists realizes

how many

are veritable slaves

to this "black note habit."

Legato Touch on the Pedals Legato touch on the pedals I.

With

alternate feet;

is

obtained in four ways:

II.

With toe and

heel;

Glissando;

III.

IV.

Substitution.

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

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

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

raising the toe barely

manuals.

Do

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

signifies

-+

U

when you

A

I

d. U

A

U In other scales,

\ below the note signifies left toe. right heel, U below the note signifies left heel.

signifies right loe,

A

^

left

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

must be When playing on white and black

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

it

again.

In the five notes,

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

this is taken out

by the

as a black key occurs in the

right foot, the other four notes only being played

by the

first

left foot.

Otherwise proceed as before.

a

U

A

5=j-j

march along

side

by

i\

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

the feet also, very closely. feet

U

p

u

A

u Beginning with this

A

This

will

make the work not only more exact, but

easier as well.

So

in the scale of

E the

side touching each other all the time.

Pedal Glissando

When

B

the scale of

is

reached a

new procedure

demanded to permit of passing legato from F$ This is glissando, which may, therefore, fitly be considered here. is

ascending scale, AJf to Gjf descending. Glissando on the pedal is used with frequency in four (2)

to

G§ in the

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

A

fields,

PPfet=± the only

way

to play legato

position to play the FJf

.

to slide from

D

U

A

i

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

CJJ!

to

19

down with

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

itioving

111

(2)

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

If

if

possible,

up with the

left foot,

the action of the organ

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

or, frequently,

when you

it is

full

m$j

thus, left foot

Occasionally

are playing

9

$ A

*£

but right foot

1

A

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

when both

feet are

busy:

U

mimkwmm A

A

A

r

W

i

A

and

-A

u

Passing from a white key to a white or from a white key to a black as described at the end of this chapter. (3)

(4)

is

demanded only

in glissando runs,

Substitution

Another aid to legato playing which is

of

two kinds:

as indispensable to pedal as to manual technique

Substitution of one foot for another;

Substitution of one foot for another

I.

in

I.

is

immediate succession,

is

is

Substitution.

This

Exchange of heel and toe of the same foot. necessary to maintain the legato when two extended melodic skips occur II.

as:

U

m

m^

A

A

Play low heel

with the

and play high

toe, or will

C

a toe

for

left toe,

C with

a heel

;

if

second

right toe.

the heel

is

C

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

Only so can

this

be played

legato.

Always,

if

left

toe for right

possible, substitute

a heel for a

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

it,

there

for

some

be no danger of tripping. II.

Exchange of heel and toe of the same

When you good and

find yourself in

foot.

a position which demands that a white key

shall

be followed by a black, and

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

m This form of substitution It is well to

is

A-U

U

A

A

frequently overdone; organists will sometimes play

avoid unnecessary and superfluous use of

it,

as

it

can establish

itself

down a whole scale

in this

manner.

as a sort of nervous habit.

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

is

adjacent keys, but thirds, fourths, and

fifths.

20

ZEZ^ e &-

:±

^±

-A

U

When

:±

ZT

-at-

U

A

playing a sixth, or anything larger, which the

from the Swell pedal

for the

u

3S

—

u

-A

u

i

h-

cannot compass alone, bring the right foot down

left foot

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

II,

Section

XX.

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

$

^E when

the right toe depresses middle

to G; then use the toe which

is

A

^

t

swing the heel over

D; then use the

benefit of its arch in avoiding

F

C

U

depressing

G

heel

which

u

A

i

D

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

is

depressing

E

as a pivot

as a pivot to swing the heel over

A

full

on which to swing the toe over

to B.

Sequential Pedaling

A point of general importance in tial

pedaling, as indeed in

passages occur in the music the pedaling

some awkward spots

it is

worth while to

manual technique as

well, is to take care that

— or fingering — shall be sequential

persist in this as it is

much

easier

also.

Even though

and more satisfactory

when sequenthere

may

be

in the end.

g!eEpEps U

A

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

When

it is

necessary to execute

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

When this run includes

both black and white notes, as the scale of

EK

for

example,

A

A

^

#

+ +

mss 5

9

-(Z-

1

pull the foot with heel first

E^

to D,

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

the toe in and play up on the black note

up on

to permit is,

Bi?.

At>,

G, F,

call for

only familiar movements; then toe in again and play

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

Et>. it

of course,

scale of

EP

the

movements

in; slide

Sometimes

in

will

AV turn the foot around, with to EP with the heel in, toe out.

toe turned in; to reach

with the toe

it is

up on the black key from the white, pulling the foot impossible on an old-fashioned, straight, stiff keyboard.

to slide

Going back up the

ball of

such runs, as in the scale of

sando on the white notes with the

E

necessary always to raise the toe sufficiently in

and out

in order to reach the keys.

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

first

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

major, for example,

heel; see Part II, Section

it will

This

with the

C

and

be found advantageous to effect the

D

glis-

XX.

Touches other than Legato The other organ touches III.

They

Staccato, are employed

besides the legato, namely,

I.

on the pedal as on the manuals,

are controlled from the ankle.

Non-legato, Semi-detached, or Brillante; in the

same kinds

of passages

Studies in these touches will be found in Part

II,

II.

Marcato;

and with the same

Sections X,

XL

effects.

CHAPTER

IV

PART-PLAYING, INCLUDING THE PLAYING OF HYMNS Treatment of Repeated Notes In part-playing applies to both inner

when a note

is

immediately repeated in the same part the

first

note

given half

is

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

is

its

value; this

This

repeated.

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

J

If the

is

J

J

should be played

*

J

«

J

«

J

J

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

first

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

On

repeated note

This

J

is

be raised from the key and the wire

But on the organ

there

is still

vibrating

must be interruption

you can keep on

of the tone in order to cause

repeated note there must be a certain period of silence.

soundings of a note half repeat the note, but tie

its

it

striking the

The

over, with resultant destruction of

key and

to sound again; to obtain the effect of a

became so general that Widor,

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

is

to give the

Too many

melody and rhythm.

definite

value.

effect repetition of the tone.

general principle, therefore,

all

its

the piano, even though the damper

This must be done even in absolutely legato playing.

value.

ing sufficient time between repeated notes

by an eighth

it

note three-quarters of

The

first

of

two

players do not

habit of not allow-

in desperation, in the second edition of his

first

note as a double-dotted half note followed

rest:

Second Edition

First Edition

SL

jSE

-&.

jZI-

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

it

m

was so general that composers

for violin finally

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

instead of

When

J

J

J

J they

write

*f

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

voices exchange a note, these repeated notes are tied,

r

C

is

really held,

but as

it

appears in a

is

to say,

when two

and not separated.

i* Here the

pPi^T^H • i 1 •

•

r

new part

it

takes on

new

character and sounds as though

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

21

it

were

22

Durand,

J.

"Feuillet

Andante

(b)

Such a phrase I

I

11

'

Op. 4

as

is

if^^

played

tM

l

|^^^

combination of both, as

f a J j i

r

while

g

P

3

I

is

^^^fe^fl

played

^^^3^

***-

Close observance of the principles of separating repeated notes, with

make

Album,

1

i-

A

d'

others played legato, will, in most cases,

all

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

clear the phrasing of

Fugue

in

G minor "

Bach

Written

n»

E$

1

E te-J

—

ifc

=*

^frrFr^fl

r_e

r

r

i

f~r~w

Tlayed

pm

*

•

n

-

y

1

*

7

1 #

—#: —

•-

^i

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

movement

of a sonata, exercising the

necting with perfect legato all others.

same care

Play a

in separating notes repeated in

L.

Adapted from

1

§

,

111111

f

,fe

»-

to

—t-t 3

God -(2-

*z

H be

long;

•f-

Crown him, ye

.

-r

r

t-

na

.f-

-©-

Mason a

Gregorian Chant

« r r^m

^^3K^^a=^EEJEE2 T3

King - doms and thrones

you would the same part and conas

Thus the tune "Hamburg"

Hamburg

IEE3

hymn

-

tions,

^

in

your

song

* zz:

i

23

fNlNN His

1

£

#±

£

and

t-

!_

=^=T

4

I

2CI

pow'r

re

-

hearse

;

His

hon

-

ors

-s

»• .. g

£*•

gg

rr-t^-t

thave prevailed

verse

l

$=$

m w*

f E f ^ fci £ inconsistent practices

h

H

\

Some

your

rich

S

^ ^

1*-

f

-

r

gE^E ^E^^^J JE

I

-0

1=

t

£^

II

^— m

-e>-

Should be played as follows

f-r«-|»

en

shall

g-

Sil

£

=

I

won-drous name

-&

——

-Is*

j

J

—

-^-

p:

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

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

all tied

together ^discriminatingly so that the playing

with assurance just where part, as in such

it is

singing.

This

a hymn as "Sun of my Soul,"

is

for

is

without pulse, and the congregation does not

most destructive, of course, when the notes are

which see Part

II,

Section VII.

Indefiniteness

know

tied in the soprano

and the resultant

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

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

in

has to play a Gospel quick succession.

Hymn of the least musical type,

To avoid an

in which identically the

impression of extreme commonplaceness he

same chord

hymns having anything

legato, slower

repeated

many times

may sustain the inner voices and repeat

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

bering that

is

It is also

worth remem-

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

tempo, and seriously, to endow them with

the dignity possible.

all

It is

always the organist's privilege

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

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

the soprano

pedal;

(c)

on the

pedal.

An

may

it

may be

(a) It

may be played through on the manuals on the founda-

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

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

illustration of

each of these methods will be found in Part

II,

Section VII.

Accompanying Congregational Singing In playing a

on the

pedal.

congregation

hymn

This pedal part should be played where it is

upper parts are taken on the manuals, the lowest part written, although, occasionally, in a hymn sung by a large

for congregational singing the three it is

an octave to give greater sonority, especially on a small organ. This should would destroy the outline of the melody of the bass, as, for instance, when it would

permissible to drop

never be done, however, where

it

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

24

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

It is well

sing.

fair-sized congregation

worth while

for the organist to take considerable pains to estimate this point

with respect to his organ,

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

edifice,

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

own

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

voices,

the sudden change in the middle of a

hymn that is disastrous.

This does not apply to a church in which

it is

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

in

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

as

he would a

choir.

Such churches are

still,

however, very greatly in the minority.

Time Allowance between Verses and Lines

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

It is

how-

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

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

gregation are singing

— with the right hand and pedal on the Great

its full value,

then, as

you

signal

your choir (with

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

any break whatever. Choir and congregation

Last chord of

hymn

«*,

^

-*«-

If manifestly

intended to be played as detached harp-like chords

it is

Played

Written

Ch. Celesta 8

Sw.

Strs.

i^ge

ft.

pp

or Fl. 8

ft.

33 3.

Extreme Skips

Skipping from one extreme of the keyboard to the other

times.

is

a proceeding quite out of keeping with the nature of

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

the organ as ah instrument.

keyboard

is

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

followed immediately

Played on the organ exactly as written

to hold the lower chord with the left

it

produces an effect almost ridiculous.

this figure

This

is

is

avoided by continuing

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

Written

repeated several

right hand:

Played

-*s-

I ^

^c Ped.

f

Passages with Upper and Lower Parts widely Separated

4.

Passages in which there

is

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

is

to say, in which

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

played on the organ as they are written.

It is necessary to

fill

in the middle part

Haydn Written

:

=E££

*-#-

PtLd.

5.

Chords

in

Low

Register

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

register; usually it will suffice to

play them an octave higher than they are written, giving

the bass part on the pedal:

Mendelssohn Written

Pfe gite

I

i

-

£

k

1=^-

*=

4

fe=£

-B-*-

l=t

-»

f

i=t

r

m-

34 Played

4e——

i

P^fe

J

£

i

*

i

t=

-

*t

*=s=*

*=*

* i

£2

t==t

3

6.

When

^4=f

r

§5SEEi

Hi

k

i=f=J:

9

Tremolo Chords

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

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

The necessity

for

making

the tremolo the effect

deadened and

its

"The Sorrows

of

is

this

adjustment arises most frequently in

utterly unorganistic;

dramatic quality

Death"

lost.

A

in Mendelssohn's

if all

agitato passages in oratorios.

this is found in the

"Hymn of Praise":

Written

+=* Will

the

night

soon pass

3l

Played.

5

T

is

accompaniment to the Tenor solo

Mendelssohn

i

notes are given

notes are sustained the intense excitement of the passage

good example of

*

If all

?

35 Jit.

Sometimes, but the half tone below:

rarely,

when the tremolo

in the bass,

is

Played

Written

7.

it is

effective to let the pedal

trill

on the bass note and

:

Rolled Chords

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

drop out of

it

until after

it.

Release of Chords Just here

we may note in passing

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

not

is

Even a poor downward release will be less noticeable than which is certain to sound thin and insistent. With practice the student can secure a

conscious of any one note hanging

on

after

any

other.

the overhang of an upper note, downward release which is clean and satisfying. notes are released at exactly the same

moment

If

the acoustics of the building are perfect a chord in which

gives the

most

all

brilliant effect.

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

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

clearer,

Registration of Orchestral Accompaniments

Some knowledge

often enable the accompanist to make fitting choice of colors for the background of the accompaniment, and of stops (instruments)

of orchestration

is

of great value in accompanying;

a more reasonable and to bring out counter melodies. For example: in the accompaniment of "It

is

it will

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

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

scored for Violoncello,

is

best brought out

by the Cornopean

(or

Gamba

on the organ, while the Celeste), with

obbligato, originally

which the Tremulant

will

be

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

But the ment.

organist

First of

all,

he

who will

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

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

melody to be played.

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

played as written, for impassioned, dramatic will be again employed.

effect.

With the return of the

original

melody the

original registration

"IT IS ENOUGH." Adagio.

= 66

Elijah

Organ.

Fed

* 1 + 7 7 •

r i ? f f *

f i • 7 7

X

n

37 fc)

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

—

for Strings.

A

distinguished bass asked

me

recently

why young

organists almost invariably

accompany him on

Flutes,

which

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

'

tial,

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

etc.,

are used for obbligato bits, as

we have

Good accompanying demands the Your part may be rather colorless and part.

Moreover,

it is

from

it,

even

is

Enough."

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

uninteresting but

it

must be played with

all

the verve that

accompaniment.

may lie

in the vocal

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

every nuance of color, volume, or rhythm. as the song.

seen in the above consideration of "It

The

You can enhance immeasurably spoil it altogether,

singer should never be obliged to carry the organ

and organist as

well

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

by poor accompanying or contradictory

registration.

CHAPTER

VII

THE MANIPULATION OF THE SWELL PEDAL The technique

of the Swell pedal means,

first

with no sudden outbursts or dampenings of sound

The exception to

tice.

accent

an

perfect

illustration of

command

which

In some cases,

all,

perfect

will

is

command

of a gradual crescendo and diminuendo,

— a nicety of control which

this is the sforzando passage, or the

by means of the Swell pedal

The same

of

sudden crescendo

of carefully graduated

when you want only a it

movement

were; that

slight crescendo

much

careful prac-

the sake of accent; this matter of

is

essential also in the use of the Crescendo Pedal,

is

Section

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

Bach " Fugue

in

open box, as the growth in the volume of sound Swell box one-quarter open and finish with

II,

it

D minor " is

XIX.

and diminuendo and a quick one,

using the middle contacts only of the set of electrical contacts

the following passage from the

for

gained only by

considered in Chapter VIII.

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

on the middle of the Swell, as

is

is

by which the modern Swell

absurd

if

you go from the

it is

necessary to play

Mechanically, this means is

The

operated.

tightly closed

effect in

box to the wide-

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

three-quarters open.

Bach

A llegromoderato

This It is

is

a point of great importance in playing accompaniments, when

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

out letting go the pedal note the foot the right foot middle

is

occupied in playing.

same

foot.

Two

adjacent pedals

may be opened and closed together by putting the

it;

very often

For instance, when the

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

Swell box with the toe of the

they

must be very

effects

may

foot half

hold

When you

are playing

two melodies on

different

E with the heel and open or close the

half

on the other;

its

Swell box, and this one

proportion, as in singing

first

one

may be opened

close the other.

importance the former

to advance into prominence by opening

a duet, and

or,

manuals the manual which has the important part must have

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

made

E and

Pedals

its

is

holding lower

be manipulated at the same time with one foot;

on one and

Two Swell

can be moved with-

it

left foot is

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

Balancing

delicately calculated.

will require careful

its

Swell box wider.

study that the balance

nuances not only proper but musical.

38

may

is

subdued by closing This

is

a matter of

be perfectly adjusted and the

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

—*—*—•

is

ft.,

ft.,

Strs. 8

Orch. Ob. 8

ft.,

Liszt

ft.

Quint., Strs. 8

ft.,

16 ft

—H»

§

irk

This

Ob. 8

ft.,

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

on increased

interest, so that it

out into the prominence

it

may even become of greater consequence than the

deserves

by means of the

Swell pedal.

Too

melody;

it

should then be brought

often an accompaniment to a melody

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

soft,

is

per-

and with

its

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

ment to the solo. Andante Sw. Cornopean

St. Cecilia Series,

No-

Dickinson " Canzona

From

8i.

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

To

gradually close the Choir and open the Swell.

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

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

what

is

more common, where stops from one manual are

borrowed on another. 2.

Smooth and gradual

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

pedal.

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

3.

From ft.,

4

"

Dickinson Storm King " Symphony

ft.

Different qualities of tone color can be

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

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

it

note after note from the bottom upward

that

is

closed, slowly

it will

come on even more

gradually; then slowly close the Swell;

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

when

CHAPTER

VIII

ACCENT The is

assertion that

no accent

is

possible

on the organ

is

absurd, and

its effect in

application would be deadly.

It

not obtained by increased pressure, however, but in various other ways. 1.

Accent

may

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

The

process

may

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

Sw. Reeds Marzidle

H

i£^a 2.

Accent

implies a pause

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

ments of dramatic effect or climax.

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

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

be better realized

if

The

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

slighter the separation the lighter the accent.

such a passage as the following from Liszt's

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

—

before the last one that

power of even

it

may

be unmistakably the climax.

Unaccented, the compelling

virility

and sweeping

this splendid phrase are lost.

Adagio

> Allegro moderato

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

is

not peculiar to the organ, but

is

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

41

CHAPTER IX

RHYTHM The music. "

ultimate element of style in organ playing It is

like color, is

may

a

not easy to impart or to acquire gift,

it

There

not an acquirement.

aid the student in gaining control of his

is

rhythm;

it is

indeed the assertion

;

are,

own

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

often

however, points which

feeling for

rhythm,

in

made

may

that

it is

impossible; that rhythm,

be mastered, and some suggestions

which direction training

is

necessary even for

those most highly endowed by nature.

An

important detail which

may

be mentioned at the very outset

is

the necessity of always adjusting yourself

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

about to play; put yourself into

its

mood,

its

tempo, and

its

rhythm.

be mentally ready beforehand for each change and climax within

Then never

"let

number you

are

go" again during the number;

it.

Holding steadily to the Beat

The first

essential in developing

unvarying recurrence of the beat.

a sense of rhythm

The

is

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

careless, lazy player lets it drag,

temperamental player hurries, and breaks, or unreasonably varies is

it.

and

slip,

and become

ally, and.

and the

This mastery of steady observance of the beat

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

ritardando; the student of rhythm should learn to build

indefinite,

diminuendo passages without

up such passages and permit them

to subside again very gradu-

with absolute steadiness.

Perfect Proportion in Changing Tempo Having acquired the ability to hold steadily to the beat

in all kinds of passages, the next step

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

same amount

^^ 42

is

to learn to increase to say, to

move

of time from each successive beat.

example, in such a passage as

^^.

is

in

For

43

253 z^zqe

^^^ =

= 3*jW*?-

-*-

from Guilmant's "Marche R£ligieuse," Part

^

II,

Section XII, page 171, take

off, say,

one-ninetieth of the value of

1,

and so on. The figures the absolute regularity and proportion

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

are not given as a statement of actual physical measurement, but to illustrate of the speed progression. sixtieth, to one-forty-fifth,

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

Just here

it

may

not be amiss to note that the indication acceL

immediate, quite violent quickening of the tempo.

This

is

not

is

too often interpreted as calling for a sudden,

its significance;

but rather "accelerate," do not jump.

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

It implies

faster

ening of the tempo.

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

Too

frequently are the crescendo

an accelerando. Dickinson From Scherzo, " Storm King Allegretto

.

#»=* Tfr

'

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.

r

f

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if

f r$ k

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

is

not altered; the rhythm marches right along, the

Rhythm

is

varied with

two main

initial

pulse of each measure beating with perfect regularity.

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

44

Agogics (

1)

When this variation

the tone,

it is

is

made

for purposes of dynamics, that

poco

poco

_

accel.

//II

the slight hold on the

loss of

—— —

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I

time which must be made up by the quickening of the

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

and the theme

In such a phrase as

-II-

note of each bar causes a

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defined,

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obtained, the

is

rhythm

distinctly enunciated.

is

Longer measures necessitate secondary accents as ten.

&

m That such proper agogics are

well.

poco

poco

_

accel.

accel.

'It-

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essential in preserving the identity of

may

be more

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you

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

changes the theme entirely.

_

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accel.

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accel.

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which

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He

it is

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effect of

much

variation of volume

changing volume and accent he desires

will

makes use of them when, in playing full organ, for of accent and increased or diminished volume of sound without any actual enlarging

be obtained through the application of these effect

1

accel.

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the following pieces

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