in Iw^ Umumes

Clarence tdd
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Tb^Jo-bnCburcbCompany

LuncuD
 THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
r
A METHOD FOR
PIPE ORGAN
BY

CLARENCE EDDY
A SERIES OF ONE HUNDRED GRADED
LESSONS IN TWO VOLUMES

VOL. II

PRICE. $3.00 EACH. NET

THE JOHN CHURCH COMPANY

CINCINNATI NEW YORK LONDON
Copyright MCMXVII by The John Church Company
Intemaiional Copyright
 MUSK
HIBRARY

£23 'TW

Preface

These one hundred lessons for the organ are designed especially
for students who have already acquired a sound knowledge of the
rudunents of music, and who are familiar with the key signatures, the
construction of major and minor scales, elementary harmony, etc.,
and who have obtained facility in playing all the major, mmor, and
—
chromatic scales, etc., upon the pianoforte in other words, a mastery
of finger technic covered by the third or fourth grades of pianoforte
playing, without which it would be impossible to develop any great
degree of skiU upon the organ.
In these lessons considerable space has been allotted to the use
of both feet in pedal- playing, the correct position of the pupil at the
organ, the height of the bench, etc., the free and independent use of
both feet in playing the pedals, the employment of both toe and heel,
the various kinds of touch, and the paramount importance of a perfect
legato. The combination of pedal and manual playing is then taken
up, and a study of rhythm, accentuation and phrasing is given
particular attention.
A table and description of the various stops and mechanical
accessories to be found in the most modem organs will be seen, to-
gether with numerous examples connected with the selection and use
of those stops, couplers, etc. The proper management of the swell
pedals, the use and abuse of the tremulant, and the different methods
employed for playingwith expression.
Practical examples are given in hymn-tune playing, trio play-
ing, etc., dignity of style, taste in registration, the means for ob-
taining the greatest variety of effects upon the organ, as contrasted
with those employed upon the pianoforte.
Unusual attention has been paid to the important subject of
phrasing, and many practical illustrations are given.
In connection with, and immediately following, the above Method
for the Pipe Organ, there will shortly appear Standard Compositions
for the Organ, with Special Interpretative Annotations by Clarence
Eddy, in two, or more volumes.
These compositions will be analyzed and minutely fingered,
pedaled and phrased, with their appropriate registration, various
marks of expression, and the proper metronomic indications.
Clarence Eddy.
 INDEX
Lesson No. 56 page 5 Lesson No.
57 9
58 13
59 17
60 22
61 27
62 31
63 36
64 41
65 47
66 50
67 54
68 58
69 62
70 69
71 75
72 81
73 88
74 94
75 100
76 106
77 113
 Lesson N9 56

Phrasing: (Continued)

An elastic swing of the triplet movement in the Prelude in C major by J. S. Bach

(Vol. 2 No. 8) is preserved by strongly defining the individual phrases in the following
manner. Avoid however any exaggerated shortening of the final note of each phrase:

i¥ n^).^.^ ^
Izsw^pW p trm mwffi
^ :2=

m ^r v} p

The theme of the Fugue which follows, consists of one unbroken phrase, and is given
out by the alto:

w T: u. f

I79II
 :

It appears twice in the pedal part towards the .close in augmented and inverted form,
as follows;

^): r-' F ^ ^
S ^«

The great charm of the Prelude in A minor by- ness of form and proportion.
Bach (Vol. 2 No. 8) lies in its smoothness and The Prelude should be played throughout in .

evenness, as well as in its steadiness of time and a moderately rapid tempo, and interpretated in the

rhythm, rather than in any particular art of following rhythmical style, with special accents
phrasing, nevertheless a definite grouping of the upon the first and third beats of each measure:
various melodic figures is essential to its clear-

The triplets which follow should be phrased in this manner

These are succeeded by the following groups of four sixteenths:

and the following triplets are p'ayed thus:

,F^/ff/:rn /^j

^M
^ m.g.
m.d.

J— 7^ i^ yj

I7SII
 The question and answer effect of the following passage should be boldly stated,

m ^ w^ m M
* i=r m?mv -

^m
Wu
Fed.
^^a
S
^j^ ^m
^j< ^
i « ^ ^^^m
and the pedal solo phrased as follows:

^ i
^mi^ ^

^^:M

It is recommended that the theme of the Fugue be phrased in the following manner, at a
moderately rapid tempo; (J' =144)

j,i; T^mo_?m^m^m^^
The final pedal passage comes out most clearly when phrased
^
in this manner:
s

^^ m
/•—
. / z

9^1^ m
I79II
 #

PRELUDE IN D MAJOR
Sw. . full.

Prepare <( Gt . and 4' Sw. to Gt.

_ 8'
JOHANN CHRISTIAN KITTEL
Pfd.- 16' and 8' Gt.and Sw. to Ptd. (1732 - 1809)
(Last Pupil of Johann Sebastian Bach)
Edited by Clarence Eddy
Andante con moto.

Manual
fTf
9= c i

^_
fff
EH
m m^
i^
rrr ^ff
m.g.
GtA--

^S #
f-nr

A A

Pedal m, v^=s- .ii-J^ i

o^A^
:a

i_J B
i— ^'i
«=^ #^ 5S I #^

cr um I
i»-»-i»-

m A o
m 22

^;-fa I J "^f^ i HI xn xe: 331

A;>—_2_

i;9ii
 9

Lesson N9 57

Phrasing^ (Continued)

The great Prelude and Fu^ue in E minor by themes denote therefore great strength when
J.S.Bach(Vol.2 NoJ)) are both heroic in charac- played with breadth and dignity, the Prelude
ter and of gigantic proportions. The various j opening in the following stately nianner:

The same strengt h of character is also fel t in the following measures;

I7SII
10

a sense of determined vigor will be seen in the following:

mw 1^^ ^ tefi ^^^ #

u

and pf wonderful solidity in the following pedal passage;

With the above material Bach has built up a suggested appearance, inasmuch as it starts
most imposing musical structure. out with a single note, and gradually expands
The theme of this Fugue has been desig- to the interval of an octave:
nated as' the wedge theme'' on account of its

I79II
 11

This first section should be played perfectly legato, but with an accent upon the first

of each phrase of four notes, thus:

iV* ^ J
i

^JZB k->^^ hrl: ^rji ^

The second section then follows in one phrase, namely:

^-

"TT

^
The entire theme therefore is as follows, and should be phrased accordingly:

*E 3
^•.

i V^ k
f
331

The second division of the Fugue, consisting ofamore rapid figuration in sixteenth notes,
smoothly and evenly played, but with the same rhythmical swing, as follows:

^1 ^S ^M a—rn aar.

Hif'
rJwiW.

I79II
 — r

12
TWO-PART FUGUE IN D MAJOR
Svv. - 8' and 4'
Pre pare
Gt. - 8' and 4' Sw. to Gt.
G. F. HANDEL
Edited by Clarence Eddy
Allegro moderato (J = 104)

Manual

P I
E P

Gt. (both hands)

^
—m— 0-

^ T
i

^
k^f
S
*
h r*^

fe
#
^
—a P-

^ ^ r ,
^^
iS^
<S^

#—*—(»
p
ip
^^ ^^^
^
^;:
i E

ag
^ *
^
*£i
i9-

jz:
nz -^

S^ m p m \'''P=-^ fS^
i 1[^ r

^^^ i
^
^ 1^
^
/vy

TT XT

-O-

I7SII
 13

Lesson N9 58

Phrasing- (Continued)

The Prelude and Fugue in B minor, J.

S.Bach, note lies in the bold opening theme of the Prelude,

(Vol. 3 No. 10) occupy a position of the highest im- which must be played in moderato tempo as a

portance among the Giant compositions lor the Or- single phrase:

gan by the great Johann Sebastian Bach. The Key-

^
W^ ^^ M Li FF?^

The long appoggiatura, or grace note d, receiving an accent and being executed precisely like a

sixteenth note:

h n r

Observe the phrasing in the following measures, and do not hurry the tempo:

'>--h I) fi ^
fr^rfr fr r^^^^

The motive of the episode is sometimes phrased as follows:

I79II
14

A simpler and less affected phrasing however, would be more in keeping with the true dignity
of the composition, thus:

iw^ m ? ^ m ^
^^''jj

^ fe=^ * fe ^

The long passages in thirty second notes should be uniformly grouped,as follows:

In the following measures sharply define the phrases of two notes:

y'^f-

''i •" •'•

u ^
^=f
i ' •''

I79II
 —
15

P-H
^ K > > ^ ^ V */ ^ £

The Fugue, consisting of three divisions, the second of which being a lengthy episode,is construct-
ed upon two very powerful and important themes, namely:

j^
V .... 1 1 1
1
------
 .

16

ANDANTINO IN B FLAT
Sw. Soft 8' & 4'
Prepare iGi. Soft 8', Sw. to Gt
^Ped. Soft 16', Sw. to Fed.
M. G. FISCHER
Edited by Clarence Eddy

Aiidautiuo (J

Manuals
I ^/^r
P Sw.
w ^ ^Hi ^
^i TT-
^
m »-*-
i.

i M^ 3^ r^h^d
*

Pedal

Ufn
 17

Lesson N9 59

Phrasing- (Continued)

In the Peters Edition of the Prelude in E sistent and very confusing. For instance we
flat major by Bach (Vol.3 No.l) there is a find the same figuration phrased in two dif-
certain attempt of phrasing, but it is incon - ferent ways, namely:

">-n''i r r-rr-n^ > \y tjd J ' =^b

The second is more nearly correct , but it should however be phrased as follows;

i9 # ^m

In another instance the following phrasing is given:

aK^

2=12:

to be contradicted further on by the following grouping

^^ i rn I v^ m,„j^T^^
=7=^
S" f

17)11
18
The logical phrasing would seem to be ure receives a primary accent, and the third
determined by the character of the first four beat a secondary accent, thus:
measures, in which the first beat in each meas-

i!''",:^!
r
—^^hci ]i
"'
^k
I ^
fe

f f^
^ ^ I o
^ 1 o
3x:

i rMF #^
f ^m
The following measures therefore should be phrased in a similar manner, thus carrying
out a uniform rhythmical idea:

"

m C ^^^
^^ ^ T^flpJ
?
^ V? ii J |
{
^
7?ii

The first theme of the episode is written thus:

^
^m
^^
¥^f =P

I79II
 19
In order however that the staccato notes may not be too short, it would be better

^
to play them marcato , thus:
_

cU'" -j ^
w.
-^
J
r f /W

^m ^ m f

^m ?
The succeeding passage should be phrased as follows:

>^
\-.m^j
i,|'i.
I ^T/ '

?
r f
sa # r f r'

^^^^^
•h i

'i.
r r r
^
* SE5

m
*
iJ ^Jrr;

^ and the second theme of the episode in this manner:

I' l l •' r - ^^

rm L^
^^ r r r

*
47—^
t^B^ mij^/^ *r P p

m ^
I7SII
«0
PRELUDE IN B FLAT
Constructed upon the scale of B flat major

Sw. Soft 8' with Oboe

Prepare JGt Fl. 8
.

'Ped. Soft 16' and 8'

A MUHLING
Edited by Clarence Eddy

^
i
Andante con moto (J

^
r 84>
Sw

^ ¥=0-

Manuals

KEf
Gt.

^ ^
Pedal i p-n-
P

^ ^ ^
-g_^ t^i

! i ^ s ^ if

g
A
zs:
-o- -«- ^
I79II
 «1
PRELUDE IN D MAJOR

J. G. ALBRECHTSRERGER
Edited by Clarence Eddy

I fe
Moderato
s
^ ^1 =p^ «g h^
— ^i;

»f
Manuals

')
h It
Gt.

rr
t Sw./"

fc=i £ ^
Pedal F%^

ii
* V ^n
f^
TV
-O- "Tjr
^1^
^^ a ^ J ^
s::
^I

>
S ^
^2.
-O- zz:

S ^ A o A „
-o-

^^ ^ 331 xn
-o- '%

I79II
22

Lesson N? 60

Phrasing' (Continued)

The Fugue in E flat by Bach, so called subjects, the first one being the initial

the "St. Anns Fugue',' consists of three well phrase of the familar "St. Anns" hymn:
contrasted divisions each having
, its individual

A break is sometimes made between the B flat and E flat in the second measure;

which disturbs the smoothness and dignity with no break between th^ short phrases,
of the phrase, and is not to be recommended. but the six -eight rhythm should be strong-
The tempo should be very moderate (<J : 66), ly felt by a persistent emphasis upon the

and the entire movement played absolutely first and fourth beats of each measure ,

legato. and the entrance of the theme must be

The second division, which is somewhat clearly defined:
more animated, should also be quite legato,

I79II
 23

The third section is still more animated, ( J^t leo) with a theme of wonderful decision and
character, which is particularly distinguished by the following phrasing:

Be careful to keep the staccato eighth (about i^zVAt). The sixteenth notes should
notes well separated, and so not run the six- fl ow along smoothly and with great clearness,
teenth notes together. and a majestic rhythmical swing is obtained
The great Toccata inF major (Vol. 3 by accenting the first beat of each measure,
No. 2) does not call for any great variety of but with a special stress upon the first note
phrasing. It should above all be played with of every other measure:
absolute steadiness, and only moderately fast,"

The eight notes in the third

measure may ticularly when contrasted with the canonic
be played legato as above, but they "come out" entrance of the theme, as follows:
much more distinctly if played staccato, par-

I79II
 !

24

Do not play too fast

Observe the following phrasing in the episode:

#=^
^^S p

The principal theme of the Fugue should be phrased as follows:

-^^ '^ ir
-o- 'j vr>
3x:

and the secondary theme in this manner:

foi'<l''
<^ff fTf y/i ?
[J

I/9II
 ^ 25

PRELUDE IN F MAJOR
,Sw. Full
Freparel Gt. 8' and 4', Sw. to Gt.
^Ped. 16'and 8', Sw. to Ped.
M. G. FISCHER
Edited by Clarence Eddy
Moderato (Jr

^^,^JJJ i
Manuals< Sw.S
(j
^
r ' ^e_^— p
^
s
^
v^r'i \

t y, 8 ^ lS>^
Pedal § ^=4:

^^ ^I i ^^-^T^
f
^
rT^-prtc/^"^^
i

^9^^
> >
-•^

^
A o
^ #

S S^ ^ A
?
-^-^^-

I79II
 —
J6

^ ^^ ^^gP3
p^f^ f^f^?^^
m. ,-M.
^
g=^y| zj:
-* "*
Jjt

tr
(
zz:
^ ^ ^ ^
^ ):
I

A
22
o
^^
T
^'S^
f=t
^ r
^^i^
r

(^ A o
^ ^
A o A o
^
r A o

I79II
 27

Lesson N9 61

Phrasing- (Continued)

The 'Doric Toccata" (J. S. Bach, Vol . 3 rhythm the sixteenth notes are grouped as
No. 3) should be played only moderately fast follows, but these groups should not be

and in absolutely strict time. For the sake of separated;

IE P^^

JBj ^
Ir tf^r^
1 ia
m
The following figuration should be played in one phrase;

likewise the following:

I7SII
28

The theme of the Fugue should be phrased as follows:

and not like this;

ir
i!
d—-6^ ^E^ ^ i fzat

The Fugue in D Minor (J. S. Bach, Vol. 3 No. 4) should be phrased in a similar manner
to "bowing" upon the violin, the principal motive being marked as follows:

and other quasi violin phrases as follows:

P^ffl if
i/
yg^^^4;^ ^F=f
l

^Q^^jyjTp

The theme Fugue in G minor (J. S. Bach,Vol.3 No. 5) should be played with
of the
absolute precision, and phrased in the following manner:

I79II
 29

FUGUE IN A MINOR
.Sw. full
PreparelGi. full to Octave, Sw. to Gt.
^Ped. 16'& 8', Sw. & Gt.to Ped. GUSTAV MKRKEL
Edited by Clarence Eddy

Manuals

Pedal

-i—

IT9II
30

^!l7^J
J
ffl

^^ A o

?E^

rit.
/T\

e^^ fMWwJi 'Lust

*yff
3DC
*_#
X r
~rr-

^ # ^
g i ^ fc 33C

A^

^^^
g xn XE xn -Cf- "Tir

I79II
 31
Lesson N? 62
Phrasing- (Continued)
The Fantasie in C minorCj. S. Bach Vol. 3 teen and eight feet stops on the pedals, this
No. 6) contains some charming bits of phrasing, Fantasie possesses great beauty and deep
and great pains must be taken to define them. sentiment.
Taken at a moderately slow tempo (Jree) The theme, which is given out in Canon form,
and with well balanced foundation stops of is characterizd by the following phrasing:
eight feet pitch on the manuals, and of six-

# fcb
=6=
* -• ^^^=?
r-
f ^m
Observe the following study of phrasing throughout the Fantasie;

The Fantasie ends on the Dominant, and in double time (Ji66). The principal theme of
proceeds immediately to the Fugue in approx- the Fugue should be phrased as follows:
imately the same movement, although written

i i
f=^
^
r- r T Uj.

I7tll
 32

The chromatic theme in the second section should not be played like a scale, but phrased in
the following manner:

There is nothing in the Pelade in C major The Fugue consists of two sections separat-

(J.
S.Bach, Vol.7 No. 6) which calls for particu- ed by a florid interlude. The principle theme
lar comment, except a smoothness and evenness of the first section should be given out and
of execution, and the usual accentuation of com- phrased as follows:
mon time.

iS m- i m #•

I nnfi

And the main theme of the third section is as follows:

'M
:4 r P ^^ r p r-

I7SM
 33

ALLEGRETTO IN G MINOR
ft'and 4'
iSw.
Gt. Soft 8', Sw. to Gt.
Ped. Soft 16'and 8', Gl.and Sw, to Fed.
Edited by Ctarencf Eddy
Allegretto (il : 126)

Manuals

Pcidal

^-^
^
£ 1^

i h
^ rf^^
^
i 'ip
I
r T I
£

^
ro
A

!-LJ aI i £
^^ Ssfe
ij .

^^ ^
-o A'

£^
I

§^ J g P I
P
f

±^
f^^ j
##-

^
^^ :£!
*
i==^
^S
^
S
Off Gt.to Ped.
J it:::i)

i
J-
m-n
I

I79II
34

Sw.
rit

^5 i
-X

W^= ^XT ?=*? 9 -.

"J T
S /

Gt.
o
m
A
Sw.
t

-^ ^ • ^
?^ A °
I •

A-

I7SII
 35

ADAGIO IN F MAJOR
8'
,S\v. Flutes and String-s
Prepare {„ , „ „. ,„, ^ „,
<Ped. Sort 16 & 8
GUSTAy MKRKEL
Edited by Clarence Eddy
Adagio cJ = 52

Manual

I79II
36

Lesson N9 63
Phrasing: (Continued)

In the Toccata and Fugue in C major up however into disjointed fragments. There
(J.
S.Bach, Vol. 3 No. 8), many interesting points should always be a fundamental legato feel-
of phrasing occur, about which there will al - ing, and the tempo should be such as will
ways be many differences of opinion. enable the player execute the runs and fig-
to
The introductory figuration in theToccata urations without a particle of haste or hesi-
should undoubtedly be grouped suchamanner
in tation.
that the rhythmical pulsations of each measure Observe the following method of group-
are definitely preserved, without breakingthem ing the opening manual figurations:

111. No. 1;
^7T r l^ i
^ iii.No.2
^ ^r^ ^

17911
 37
In endeavoring to phrase the long pedal freedom in outlining the various melodicper-
solo which follows, the organist should keep iods. This freedom is determined by the
uppermost in mind the natural accentuations, character of the answering motive, Illustra-
but at the same time he must consider a certain tion No. 5 :

^)'
111. No. 5 f ^ ^ h

Therefore the second motive of the opening phrase would not be phrased like this, Illustration
No. 6:

Ill.No.6

but as shown in Illustration No. 7:

111. No. 7 ^^^^

The pedal solo therefore would best be phrased
entire in the following manner, as shown in

Illustration No. 8 :

^ ^^m
111. No. 8

^
m
I7SII
r*^I
""Tn ° ^ --"^

^^
..^^ ^. o

A
oAoo-A

A
^^
Ir^
38

The movement of the Adagio should be together with the accompanying inner parts,
absolutely steady; much like a solemn march and in playing the manual and pedal parts
(•Hi 66). All of the eighth notes in the pedal precisely together.
part are to be played with a tenuto touch, The Grave movement which follows,
perfectly equal and regular, and with no should be given with the utmost breadth and
attempt at phrasing. Great care and good majestic dignity, and with the appropriate
taste however must be displayed in properly harmonic phrasing. Illustration No. 9:
phrasing the beautiful melody of the soprano,

Ill.No.9'i:iL,..

The theme of the Fugue consists of two repetitions of the same motive, as shown in Illustration
No. 10:
111. No. 10

^i^yt Jr-JTJ^J JJ i
J^7 7j J^]j:j^ ^
These motives of the theme may be phrased in half a dozen or more different ways, as
shown in Illustration No. 11 (a-6-c-d-e and/"):
(a) ^ (b)

111. No. 11

For logical reasons of rhythm and contrast however, we prefer the method of playing
this theme shown in Illustration No. 12:
111. No.12

h 7 i j)

17911
 '

39

SHORT FUGUE IN G MINOR N9 1

Sw. Full
rrepareSOii. 8'&4; Sw. toGt.
'Ped. 16'A8; Svv.&Gt.toPed. REMBT
J. C.
Edited by Clarence Eddy

Manuals
i ^
Alia 6reve(dz 63)

Gt. (both hands)

( Swell box open
it
I
^
^^^C
k
n Jl
^
^^
Pedal ^m
n —n ^ ^^
s
m^
63
Qj
'
f f ^
%

i
1
"m
t>p-
kf
1
§
Sh
g

Ie
I
•

te.

IT"

• r »
^ j«-
I
r
J

m ^ ?*^ ts^

A o A o^^ '^L o

^Ff T V '
r
Ia
liiJ J
aI r^ r
f
it-i I

r r
'
A
r

17911
 1

40

4f ryi; i i^ 3^
ii
b''

^O ikJ- . ,. i iJ

^ rnTF^ r I'

^i"
fr

s^ ^^
% :^^^=^
tf.* #-
fS^ _(2_

'>-^"l"r Mfr i"«=^

A
^ o " o

A
te
o f
A o
=FtF

^ T
i
ne=^ r
T rfTTj f

m a± A

V- I,l'
i

>f^
P

J=^ 4^^ ^^ i ^
^=fTf r

^ ^ i ^
^ ^ 3 «i-^

A
^ S2=t2at
A A

o t

:^^ m 1
'

=1^
!![
"'
v- y^^
i
fr*
rit.

^ oo

^gjg
^^ £ ^-*
Up cjrP ^^ _o_

I79II
 41

Lesson N9 64

Phrasing (Continued)

The Prelude and Fugue E minor (J. S.

in full organ is employed, it should be even
Bach,Vol.3 No. 10), are usually played much slower.
too fast, and with little or no appreciation of Fundamentally there should be a strong
their true sublimity of character. This compo- legato feeling, nevertheless the subject of
sition if properly played is most dignified and phrasing enters deeply into the character of
impressive. this composition. The solo passage which
The correct tempo for both the Prelude begins the Prelude should be grouped as
and Fugue is about as follows: (Jr 58), and in follows, although the groups of notes are not
very large, resonant auditoriums, when the to be separated, Illustration No.l:

I11.N9 1

Observe carefully the following phrasing. Illustration No. 2

I11.N9 3

mm^!^
Likewise the following:

*3fc 1 i'}:ti^}.r \\ ^^J'iK^ !'p»h^l^ i i

)>k ^
•!
M ±MAl
AM4--

m ¥ E5=5 i
>>:|t ; yfp,p,M\'j> ,*p,p. r •>
PvF7''r i r fpiPifl^ ^fpy^^'^Tf

The theme of the Fugue is phrased as follows:

I79II
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r ^
»
T /*|v

a
42
and the Mordent ('«K), should be played with the s emitone below the given note;

although it is sometimes played with the whole-tone below;

.y.^''^^'

A careful study of the Prelude and Fugue ure phrasing.

in C major S.Bach, Vol. 4 No. l) will convince
(J.
Observe the difference of effect, as ap-
the most skeptical that a thematic phrasing is plied to the first four measures of the Prelude
greatly to be preferred to the ordinary meas- alone:

Ordinary measure phrasing:

Thematic phrasing

The theme of the Fugue gains tremendously in interest by the following phrasing:

* ^^Mm^ rimnra.^ja
m M
Sv-UJl' SB
The thematic germ

^
of the Prelude in G major, Bach, Vol. 4 No. 2) lies in the
(J. S.
following motive:

and the theme of Fugue calls for the following phrasing:

I79II
 43
The introduction to the Prelude in D third beats of each measure, the thematic de -

major,(J S.Bach, Vol. 4 No. 3) should be tak- signs should however be clearly defined by ap-
en only moderately fast, with natural rhythmical propriate phrasing. The following illustrations
pulsations and strong accents upon the first and will serve as a key to the general plan:

jh 7 i

The Alia breve, or double time, requires beat only of each measure. This movement
very smooth legato playing, with well-defined consists largely of two-measure phrases, of
phrasing, and a strong accent upon the first which the following are illustrations:

I79II
 —
44

g ^f-^-^ r ^
^
rrr=g
#• is^

>^% I »
^ # ^ #5 ^ i
^m Z2I
rJ jf iJ'-PL[i: i

c^ ^

if
t^I 5 S y~=j 5
S ^ t
r fft frr^
^ T^
J J

^^
J
r^

^
feM
-it^— ^'1
S ^ ^ ^
The theme of the Fugue is phrased as follows;

The tempo should be taken moderately fast, but not too hastily, and great care must be
exercised that each group of sixteenth notes be played very distinctly.

I79II
 45

SHORT FUGUE IN G MINOR N0 2

Sw. Full
Frefiare {Gt. 8'A 4' Sw.toGt.
Fed. 16'& 8' Sw. A Gt.to Fed.
J. C. REMBT
Edited by Clarence Eddy
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I79II
 47

Lesson N9 65

Phrasing- (Continued)

There would seem to be as many different sider some of the individual phrases.
ways of playing the popular Toccata and Fugue The four opening phrases of the Toccata
in D minorQ. S. Bach, Vol.4 No. 4) as thereare should be played authoritatively, and with a
organists. We can however at this timeonlycon- proper sense of proportion.

The Mordent (4-) is usually played here with the note below in the scale;

Phrase the Prestissimo movement in the following manner, but do not separate the groups,
excepting at the end of the long phrases. Play in time and not too fast.

m^^^
\13\\
48

The following passage should be phrased thus;

Allegro

% ^ m rrfrrffr

l^ I srni 1
w \

and the following passage thus:

• J —
* # ^^" ^ ^r^ ^ M i
P V F f
^ ^^^ ^M
;i ^
P

^
The Prestissimo figurations which follow, should however be phrased in this manner:

The Fugue must be played strictly in time, with the theme phrased as follows:

1/911
 49
The brilliant recitative passages near the close of the Toccata should be rhythmically treated
in the followi ng manner:

and the Vivace movement immediately preceeding the final chords (Molto Adagio), will be
found extremely effective when phrased as follows:
Vivace

" •

i) y^i ) I

rg •'ff'i 3
V-[,
P? 7_P_p.7 "yp l py 7pp7 7 pip? 7ff p 7 ^ fllltiV ^ AJ\ 7 i^

Molto adagio

I79II
50
Lesson N9 66
Phrasing- (Continued)

PRELUDE IN C MAJOR
/Sw. Full
J'rrparclGt. A 8' 4', Sw. to Gt. yOHANN GEORG ALBHHCTSBERGER
Ped. 16' A 8' Sw. & Gt.to Ped. Edited hy Clarence Eddy

Modcnitn (J ;7h)

Manuals \

n f 7 r IX i p

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Pedal
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I79II
54

Lesson NQ 67
Phrasing (Continued)

The pedal solo which opens the Prelude in C organ.

minor, S.Bach, Vol.4 No. 5) should be played Observe the phrasing, which is indicated with a
(J.

strictly in time, and in moderate tempo, with full view in mind towards defining the melodic figuration:

4^

The theme of the Fugue is most remarkable in its conception, and will prove exceedingly inter-

esting as phrased in the following manner:

^^i4^^^^H#irFj \W^^^\m^^^p
The Fugue in C minor, (J. S.Bach, Vol.4 No.G) may be divided into three sections, with the fol-

lowing themes as their principle motives;

k
¥¥^
I lltt r
'
^
wj^^ tj- ' P
firyg
^^
Or r
'

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 oo

The so-called "little G minor Fugue,"(J.S. Bach, Vol.4 No. 7) is constructed upon a long theme,
which we would play moderately fast, and phrase in the following manner:

# m^ ^ 1;^ J ^ j
^
The beautiful Canzona, (J.
S.Bach, Vol.4No. tically the same theme, but phrased quite dif-
10) particularly designed for strings and flute- ferently, inasmuch as the first section is written
tone stops, is divided into two sections, each of in common time and the second in triple time,
which contains a perfect development of prac- thus:

It is evident that the brilliant passages of it is just as obvious that a strong rhythmical sense
the Introduction to the Fantasia in G major, (J.
S. of four beats to the measure should be defined
Bach, Vol. 4 No. 11) should be played rapidly, but thus;

^s *^ # #

a" ^'
#-=-# • _•
a-'a*
I79II
56

The magnificent five-part chorus in very slow the entrance of each four -note motive

double time (Grave), should of course be played should be distinctly

* P^ felt.

in a sustained and dignified manner, and yet

Grave

The closing section, marked lentement,should elaborate figuration in thirty- second notes how-
indeed be played in a slow common time, with ever, should "come out" very clearly and with
great solidity in the pedal part and a strong em- exceeding brilliance;
phasis upon the first and third beats. The

* '^ Sza ft/^

^"^^S^^^r^
^
gj^ ^ M ^

m
FW ^ tf 0^=0^
a^ s -M-
t

I79II
 57

The majestic five-part Fantasia in C minor, (J.S. Bach, Vol. 4 No. 12) must be played perfectly le-
gato, with a strong accent upon the first beat;

Lento
^

yrt^
J- ^^J j] hU
^^ ^ feJS
f
S
-^ t^
I?,

I?
/*

^ w>^^
•*-

The wonderful Passacaglia, (J.

S. Bach, Vol.1 this remarkable composition is constructed.
No. 2) is replete with interesting subjects for It will be observed that the eight - measure
phrasing, but we can content ourselves at this theme is made up of two -note phrases:
time only with the bass theme itself, upon which

^U-i ^
-n

^^
^

Played manner, the theme would appear however exceedingly disjointed, and also quite
in this

as unsatisfactory if played in one monotonous phrase, like this:

^m
It is recommended therefore that the theme be divided into two sections, with slight pulsations
between each section, as follows:

P ^^ i

I79II
 ^

58
Lesson N? 68
Phrasing" (Continued)

PRELUDE IN F MAJOR
!Svv. 8' Awithout reeds.
4',

Gt. 8' without reeds. S\v. to Gt.

Xi 4', JOHANN GEORG ALBRECHTSBERGKR
Ped. Bourdon 16 , Sw. Ac Gt. to Fed. {Edited by Clarence Eddy)

Anda vie (J =72)

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62

Lesson N? 69

Prelude and Fugue in C Major(./ s. Bac/i)

The "Eight little Preludes and Fugues" from country. After an extensive study of the music

which this excerpt is taken, belong to the earliest and characteristics of this great master, the ten-

period of the organ compositions by the great dency is to define the phrases more clearly and
Johann Sebastian Bach. They were evidently to play with greater repose.

intended for instructive purposes, for,in form and This Prelude is characterized by a quiet dig-

contents they are somewhat "sketchy" and meagre nity rather than any great degree of brilliancy.

when compared with his later works-, neverthe- In order that the performance of this composition

less, they are forerunners of Bach's great art of may be consistent with its character, it must be

organ playing, and deserve to be studied in a con- played with a positive rhythmical swing' in mod-

scientious and painstaking manner, if not indeed erate time. A fairly full organ should be used, re-

in a reverential spirit. serving the reeds and mixtures of the Great Or-

Bach left very few, if any, indications as to gan for the repetitions.

how his compositions should be played, not even After arranging the stops, as indicated, com-

in the matter of tempo, while registration and mence playing on the Great Manual with both hands.

phrasing are left almost entirely to the discretion Attack promptly the first pedal note, C, with the
>
of the player. There is a certain style, however, left toe, giving it a decided accent: *j:f^ ^
in the interpretation of music of this period, and Play the 16th notes perfectly even

particularly that of Bach, which is recognized as and legato throughout the Prelude, making no
traditional. This applies to all contrapuntal mu- break between the phrases. Do not fail to accent

sic, such as fugues, trios and thematic part-writ- i\\e first and third beats of each measure, as

ing. The most important requisites of this style are: you will remember that the first mentioned beat

1. Steadiness and strength of rhythm. receives the primary accent, and the last men-
2. Eveimess and clearness of melodic figur- tioned beat the secondary accent; also that the

ation and design. effect of an accent is obtained by giving a slight

3.- Significance of phrasing. stress on those notes intended to be accented.
4. Fine sense of proportion. When a figure is repeated, the initial note of the

5. Nobility of charactei', etc. first figure, receives a strong accent, while that

All of these however, may perhaps be summed of the second figure receives a weaker one, as in
Measure 5
up in the words: " sound judgment and ffood taste'.' measure 5.

The conception of these featm-es of expression

varies widely in different countries and with dif- Observe with special care all of the rests, and
Measure 2 _
ferent people. For instance, in the matter of always release the keys ,^^ ^^

tempo alone, as applied to Bach's compositions, ^edal as well as manual) \[^ ^ M S^^
the German organists, as a rule play everything exactly on the rest, as u
very much
slower than those in England orinthis in measure 2.
NOTE: The Measures referred to in the text are numbered in music.
l?9ll
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 63

We speak of this, particularly) as it is of the As a rule, continuous phrases of more than

utmost importance that the fingers and feet be two notes are not detached, but played legato with
raised from the keys at precisely the proper in- merely a slight "dwelling" upon the first note of

stant. This point cannot be too strongly empha- each group, as follows (Measure 9):

sized. Be sure that you observe the dashes%vhich

Mea
you will find writtenunder, or over many notes
throughout this composition. These dashes, -as The trill at the end of measure 11 is played in

be held this manner:

you know, indicate that the notes are to
Measure 11

for their full time value. The notes which are

marked with the dash and a dot should be slight-

The trill at the end of measure 35 should be
treated as follows:
ly shortened, as in measure 2:

Measure 2 Measure 35

^ ^
In measm-e 42 the trill is played in this manner:
When a single note is repeated a number
Measure 4.

of times, as in measure 5, each note should be

slightly detached, and the foot should leave the In measure 45 the trill is played the same as
above in measure 35:
key only long enough to repeat each note dis-
Measure 45
tinctly. The first note of each group, however,

should receive a particular stress, or accent, in At the close of the Prelude a slight ritardan-

order to maintain uniform rhythm. do is customary, but at the end of the Fugnie one
Measure 5 can indulge in a broader and more extended slack-
ening of speed (riYe/ZK^o), thereby indicating the

a phrase, as in measure final close. The ritenuto,\\.o\ve\eY, should be

The last notes of 10,
perfectly gradual, and not in any manner over-done.
and in fact all similar phrases, should be shortened
The fermata^oT pause,over the final
one half their length. By so doing each phrase may
chord may be held at the discretion of
be actually separated from the one following.
Measure 10
the player, but good judgment in this
m
instance would dictate that the ritard r\
begun in the last measure but one, be m
carried gradually through the last measure, and
that the chord be promptly released upon the
first beat following that measure.
The theme of the Fugue should be "given out"

in precisely the same tempo as the Prelude,but with

Be sure that you connect all notes which are very marked and positive rhythm. Due value
slurred together, properly: the first note in a phrase must be given to each individual note and rest.
of two, is accented and the second note, as a The same"pointing" should be carried out at each
rule, loses one half its time value. 111. N9 1 (a) entrance of the theme throughout the entire com-

and (b) shows how slurred notes are written and position, thus presei'\-ing its inherent character.

how they should be played. Above all do not hurry! Many organists
as written seem to have acquired a habit of "running away,"
especially when playing anything of a contrapun-
111. N9 1 «* plai/ed
tal nature, like fugues, and the effect is always
(b)
"^""Tvrjrv[;i^ restless, confused and unsatisfactory.
U3II
 64

PRELUDE AND FUGUE IN C MAJOR

r Swell- Full.

Prepare jcreat- Foundation stops, 8' 4' & 2\ S\v. to Gt.

' Pedal- Foundation stops, 16' & 8', Sw. and Gt. to Ped.
JOHANN SEBASTIAN BACH
Edited by Clarence Eddy
Prelude
Moderato (J -12)
5

Manuals

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 e«

Lesson N9 70

Prelude and Fugue in D minor (J.S.Bach)

This Prelude and Fugue may be played faster than the preceeding one in C major,but the
tempo should be very steady throughout.
In the original edition there are no indications of tempo, registration, nor phrasing; for a

clearer understanding of this composition we have supplied these omissions and defined the

phrases. Observe carefully the various signs of touch, particularly the tenuto sign (the tenuto
sign is a short straight line above a note-p) indicating that the note or chord must be held its

full time value.

The final notes of the short consecutive phrases should be somewhat shortened so that

these phrases may be properly separated,as shown in measures 1,2 and 3, Illustration No.l:

Measure 1

III. No.l.

The last notes of the final phrases, as indicated by the tenuto signs, must be held their full

value. Great pains must be taken not to disconnect the intermediate notes of the phrases.
In order to preserve the correct "rhythmical swingj' the first beat of each measure should
receive a particular stress, and a secondary accent should be placed upon the third beat.
A slight ritard is permitted at the close of each complete cadence; and a more extended ritard
at the final close of the composition.

Musical figures such as are found in measures 13, 15 andl7 should not be separated, but the first
notes of each figure should be slightly accented.
The trills found in measures 6, 12 and 30 should be played as shown in Illustrations Nos 2 .

and 3 :

Measures 6 and 30 Measure 12

111. No. 2. No. 3.

111.
i^JJJJJJJ ^
I79II
 .

90
PRELUDE AND FUGUE IN D MINOR
/Swell -Full.
Prepare < Great - Foundation stops, 8' and 4] Sw. to Gt
(Pedal- Foundation stops, 16' and 8] Sw. to Fed.
JOHANN SEBASTIAN BACH
Edited by Clarence Eddy

^
Prelude
Moderato con moto ( J = 66 ) 2 ®
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 71

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75

Lesson N9 71

Prelude and Fugue in E minor (J. S.Baeh)

This remarkable Prelude is characterized lude must be executed throughout with great
by great strength, nobility and grandeur. It clearness, and absolute precision of attack:
should be played in a very dignified manner, with Play connectedly, but avoid all blurring. The
full, deep toned Diapasons of 16 and 8 feet' pitch. end of phrases must be sufficiently detached to
Although the style in which this composition permit a clearcut attack of the following phrase,
should be played is essentially legato, the Pre- as shown in measure 2, Illustration No. 1.

Measure 2

111. No. 1.
J^

Mijf^ J J
^-

P
^
In measure 6, the soprano note E, should second beat), to preserve the inherent legato
be tied to the same note in the alto part (on the character, as shown in Illustration No. 2:

111. No. 2

The D in the alto part (3d beat of the same to the Prelude. The first note in each measure
measure) must of course be repeated by the sop- should receive a special emphasis and an un-
rano part immediately following. swerving tempo must be maintained throughout
In order to play che inner parts perfectly the composition. A smooth flowing legato is called
legato in measures 12,13,14,15,16 and 17, certain for, but the plaj^er should strive for perfect clear-
alto notes have been bracketed with the tenor part. ness and distinctness in the performance of each
In measures 18,19 and 20, the thumb of the voice-part; also to preserve an absolute steadi-
right hand must play the successive notes with a ness of rhythm. The fingering indicated in meas-
sliding motion, while a substitution of the other ures 70, 71 and 72 will be found most helpful in
fingers is necessary for a perfect legato. keeping these passages in thirds perfectly clear
The character of this Fugue is bright and and steady.
cheerful, and it should be taken moderately fast. In measures 75 and 76, the soprano must re-
Played in this manner it furnishes a good contrast peat each note upon the second beats as shown in
Illustration No. 3:
Measure 75

111. No.

Observe the change of time from 4 to^ at the two measures is doubled. Only a slight ritard is
close of the Fugue, whereby the length of the last therefore required.
76
PRELUDE AND FUGUE IN E MINOR
Swell-Full
Prepare \ Great- Full to Fifteenth,Sw. to Gt.
Pedal- Foundation stops 32,' 16'and 8J Sw. and Gt. to Ped.

JOHANN SEBASTIAN BACH

Eidited by Clarence Eddy

Prelude ,

Adagio (J = 42)

Manuals

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 SI

Lesson N9 72

Prelude and Fugue in F Major (J.S.Bach)

The character of this Prelude and Fugue is bright andcheer- manuals, (Swell, Great and Choir) but if the instrument has on-
ful throughout, and both movements may be taken at a moder- ly two manuals, the part marked for the Choir organ may be
ately fast tempo. The nature of the Fugue however, demands played upon the Swell organ. The triplets in measures 5 and 6
a slightly slower and more dignified tempo than that of the of this Prelude, should not be separated, but played legato with
Prelude. We have indicated for each movement an approxi- a slight accent upon the first note of each group. The first trip-
mately correct metronomical tempo. let in each measure should receive the most emphatic accent,

It will be noticed that the given registration calls for three as shown in measure 5, Illustration No.l;
Measure 5

Ill.No.l P
^' 'jy^jy '
'JJ '3/ 'jy-
This rule regarding accents applies also to the repetition of similar phrases in the Fugue, The groups of sixteenth noies
should not be separated, but played legato, with an accent upon the first note of each group, as shown in measure 60, Illus-
tration No. 2: m
Measure co
59 60
*
Ill.No.2
*v. irf~p~r~'T i rrrrrrrr r r r r r r fi

The C on the fourth beat of the right hand part in measure 67 should be accented, and the rest in the left hand part begins ex-
upon the fourth beat, as shown in Illustration No. 3:

^m e ^
actly
Measure 67

Ill.No.3
^F=r

The
^i ^
^
quarter notes on the first beat of measure 70 should be shortened about one half theirvalue,and an accent placed upon E,the
second beat in the alto part, as shown in Illustration No. 4:
Measure 70

IIl.No.4< ^
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measure 71,the first note D should be shortened,and an accent placed upon the note G on the second
In the right hand part of
beat. The note Asame measure,on the third beat in the tenor part,should be shortened and an accent placed upon the
in the
following note D, on the fourth beat, as shown in Illustration No. 5:
Measure 71

Ill.No.5

Do not shorten the tied and slurred notes of the manual parts in measures 83 and 84, but observe the rests exactly as they
are \\,-ritten, as shown in Illustration No.6;
Measure 83 84

^
III. No.6 ^^
i

m^ ff f V f

N.B.
Play both Prelude and Fugue '•teadily and in strict time throue:hout, with a slight natural ritaid at the end of each movement.
17911
83
PRELUDE AND FUGUE IN F MAJOR
Swell. 8 & 4' (without reeds)

Great. Flute & Gamba 8; Sw. to Gt.

Prepare
Choir- 8'& A', Sw.toCh.
Pedal. Bourdon 16' & F1.8', Sw.&Gt.to Ped.

JOHANN SEBASTIAN BACH

Prelude Edited by Clarence Eddy
Allegro moderato (J': 132)

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88

Lesson N9 73

Prelude and Fugue in G Major (J.S.Bach)

The first section of the Prelude (measures lto5)demands Measure 25

an extremely broad and majestic interpretation. It should

I11.N0.2 'y^ frjyprfpr \^^^^T ^t \

be played very slowly with Full organ, and concluded with a

Or as in Illustration No. 3:
ritard . Particular attention is called to the tenuto sign '• )

Measure 25
in measures 3,4 and 5, which indicates greater emphasis and
Ill.No.3
power upon these notes.

The broken chords in measure 3 should be played in- Both of these methods appear disjointed, angular and eccen-

cisively, with a similtaneous accent upon the top note of each tric, and a more natural, rational and beautiful interpretation will be

chord. The trill in measure 5 is played as shown in Illustra- found in the following phrasing, Illustration No. 4:'

tion No.l: Measure 25

Measure 5
Ill.No.4

Or as expressed verbally; a pure legato touch throughout

Beginning with the last group of sixteenth notes in meas- the entire theme,with a primary accent upon the first beat,

ure 5 of the Prelude, the movement changes to a more rapid and a secondary accent upon the third beat of each measure.

tempo (Allegro moderato), and continues in this manner to the This will enable the player to convey the impression of ac-

end of the Fugue, excepting two ritards in measures 19 and centuation, and at the same time preserve a perfect steadiness

24 of the Prelude, and the more extended one at the end of

of rhythm, without which all "Bach playing" to say the least, is

the Fugue.
faulty and unsatisfactory.
Before beginning the Allegro moderato in the Prelude,
For the sake of variety, the section between measures 41
the reeds, mixtures and 16 ft. stops should be taken off, to be
and 46 may be played upon the Swell manual, the right hand
brought on again during the sixteenth rest in measure 19 ,

returning to the Great on the second beat of measure46iand the

just before commencing the short pedal cadenza.
lefthandpart on the last half of the second beat in measure 47.
These stops should be taken off again before beginning
This will bring out the entrances of the theme more clearly
the Fugue in measure 25, but the Swell organ remains coupled
and conspicuously, and also make thecompositionfar more inter-
to the Great throughout.
esting. Exactly upon the third beat of measure 54 the Full
The ritard in measures 24 and 25 continues through the

The Allegro Great should be brough' on by a pedal or piston, and upon the
quarter rests on the second beat in measure 25.
first b^at of measure 58 the Full Organ might be added by a
moderato tempo is then taken up promptly at the entrance of

the Fugue -subject. Opinions differ as to the manner of phra*^ crescendo or sforzando pedal, thus bringing this remark-

ing this subject or theme. Some students of Bach advocate that able"little Prelude and Fugue" to a dignified and logical con-

it should be divided into fragments and broken, as shown in clusion.

Illustration No. 2:

1/911
 —
89
PRELUDE AND FUGUE IN G MAJOR
Swell . Full
Prepare \ Great. Full, Sw. to Gt. JOHANN SEBASTIAN BACH
Pedal . Full, Sw. and Gt.to Fed. Edited by Clarence Eddy

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Prelude
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94

Lesson N? 74

Prelude and Fugue in G Minor (J. S.BacA)

Observe in the registration given for this composition, that the Great to Pedal is not included. The coupler is omitted so
hand part of measures 2,4,23,25 and 27, which is played upon the Great manual,
that the entrance of the figure in the left
may be distinctly heard. The Great to Pedal coupler should be drawn during the rest in measure 35, and remain so during
the balance of the composition. Some players separate the last quarter note in measure 1 of the Prelude from the following
Measure 1

chord, as shown in Illustration No. 1 : 111 No. 1. (

^P f J f f f J ^ {j as well as in other similar cases, such as
are found in measures 3,23,24 and 26 .

This method however destroys the proper legato connection of these phrases, it is therefore better to tie the last quarter note to

i: SE
the same note in the following chord, as showir in Illustration No. 2 : 111. No. 2 . m^ \ J f f f

The groups of eight notes in measures 9,10,11,12 and 13 are sometimes phrased as shown in Illustration No. 3
Measure 9 10 11 12 13

111. No. 3

This phrasing interrupts and destroys the rhythmical swing, as established by the groups of eight notes in measure 8,and
also by similar groups imneastires 14, 15,20,21, 29, 30, 31 and 32. We prefer therefore to phrase these passages as shown in

Illustration No. 4:
Measure 9 10 11 12 13

111. No. 4

and to indicate the rhythm of three beats in every measure, by accenting each beat.
The pecular phrasingof the Fugue. subject,measures 39and40,isanatural outcome of the repeated notes, as shown in Illus-

Measures 39 40

tration No.5: III -.3 ^^' Jj^ |

JF-{]
22Z

This no doubt adds musical charm to the character of the Fugue. The staccato notes in the Fugue should not be too de-
tached, but played sufficiently "short "for a perfectly clear and distinct repetition.

The trill in measure 16 should be played as shown in Illustration No. 6

111. No.

The trill in measure 22 as shown in Illustration No. 7:

111. .N0.7 ^^'' is r

'
1

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And the trill in measure 36 as shown in Illustration No. 8:

111. No. 8

I79II
 )

95
PRELUDE AND FUGUE IN G MINOR

Swell. Full
J>repare\ Great. Flutes 8' and 4'and Gamba, Sw. to Gt.
Pedal- Bourdon and Violone 16' and Flute (or Violoncello) 8,' Sw. to Pcd.

JOHANN SEBASTIAN BACH

Edited by Clarence Eddy
Prelude ,

Andante con moto J = 72

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100

Lesson N9 75

Prelude and Fugue in A Minor i J. S.Bach)

Absolute steadiness of rhythm is of the utmost importance in playing this Prelude, therefore great cart must be taken to
preserve a relative proportion in the valuation of the different kinds of notes.
A moderate tempo may be indicated by the metronome at about 63, barring the two ritards, this
should be taken, which
tempo should be kept like thependulum of a clock, unswerving to the end of the Prelude. As in all movements of com-
mon time, a primary accent should fall upon th&first beat, and a secondary accent upon the third beat in each measure.
The thirty-second notes in the second half of measure 3 should be played as a single part, but by both hands, in a per-
fectly clear, but legato manner, as if the notes were written as shown in Illustration No.l:

111. No.

The passage of thirty-second notes in the first half of measure 5 should of course be played in precisely the same manner.
In order to preserve an uninterrupted figuration of sixteenth notes in measures 6 and 7, the quarter notes in the alto part

^
must be repeated as indicated at the sign "x" as shown in Illustration No. 2:
Measure 6

111. No.
'3' J
J J ^
5f

^ Oj-i ^ "^ ^ m^^ ; »f r r P

The repeated notes in the left hand and pedal parts of measures 4 and 5 should be slightly detached, while the thirtj-

second notes in the right hand part are played perfectly legato, as shown in Illustration No. 3:

Measure 4 Measure 5

111. No.

.. .
J i r^ ^ ^^^
^ ^
The trill at the end of measure 10 is played as shown in Illustration No. 4:

The Fugue should be taken at

111. No.

about the same tempo as the Prelude, with two beats

^ JT I
]

in the measure, and an accent upon

the first beat only. This buoyant rhythm should be preserved throughout,except for an easy and gradual ritard at the end
of the enttre^ composition.
The trill in measures 23 and 68 are played as shown in Illustrations Nos.5 and 6, respectively.

111. No. ^^
(^ r 7 r r r r ? '^

111. No.
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101
PRELUDE AND FUGUE IN A MINOR
Swell .Full
Prepare ) Great- Foundation stops, 8'4'and Z\ Sw. to Gt.
( Pedal- Foundation stops, 16' 8'andA^ Sw. and Gt.to Fed.
JOHANN SEBASTIAN-BACH
Edited by Clarence Eddy
Prelude
Moderato ( J r 63

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Fugue
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 : *

106

Lesson N? 76

Prelude and Fugue in B flat Major (J.S.Bach.)

This Prelude should be played in a moderate tempo, but with animation and a strong,steady pulsation throughout. With

the exception of certain repeated notes, as indicated, the entire composition should be treated in a pure legato style. The
best effect is obtained by employing at the very beginning the Foundation stops of 8 and 4 feet pitch of the Great organ,

with the Full Swell coupled.

The Full Pedal organ should be prepared in advance for the Pedal Solo in measures 8,9,10,11,12 and 13, and the Full

Great added during the quarter rests in measure 8. The reeds and mixtures of the Great organ and the Pedal reeds might

be taken off at the end of the Pedal Solo, and added again for the repetition of this section, on the first beat of measure 23.

After the hold at the end of the Prelude there should be a slight pause, during which the Great organ may be reduced tcthe

Octave (or Principal 4'.) The theme of the Fugue should then be taken. up promptly in about the same tempo as the Prelude,

though perhaps a trifle slower. This Fugu6 subject,as written by Bach, is one long continuous phrase,as shown in Illustra-

tion No . 1

Ill.No.l j^'' j|J]?Jf |J]3j.

^^
It is evident however from the nature of the theme, that it should be divided into four periods, as shown in Illustration No.2.

111. No. 2 J^J- |

il3j,pl TO m
The first two of these phrases should be separated,as shown in Illustration No. 3:

111. No. 3 m^
The last two phrases do not need to be separated, but should be played perfectly legato with an accent upon the first beat

of each measure, as shown in Illustration No. 4:

111. No. 4
^ «— i 5

A definite rhythmical pulsation should be felt and demonstrated throughout this entire Fugue. It may be urged that the

broken fifths and sixths in the third phras« should be separated,as shown in Illustration No. 4 (a) and (b):

111.

Either of these ways however

No. 5

is
m *y * y *y
i
t7- ^y^^r:^

rediculous and entirely at variance with the true dignity and simplicity of Bach, whose writ-

ings require above all a solid rhythmical foundation.

I79II
 107
PRELUDE AND FUGUE IN B FLAT MAJOR
(Last of the Eight little Preludes and Fugues)

.Swell- Full
Prepare /Great- Foundation Stops 8'& 4', Sw. to Gt.
'
Pedal - Full, Sw. and Gt. to Ped.

JOHANN SEBASTIAN BACH

Prelude Edited Clarence Eddf/

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Moderato con moto ( J = 72)

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Fugue
Moderate (J =72)
5 -3
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ir.
i
5^ ife 3
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r (Red ice Gt.to Octave)

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 —
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I79II
 113

Lesson N? 77
Trio Playing-

The value and importance of Trio-playing will also prove beneficial in forming a per-

have already been strongly emphasized, and it fect style of touch, fingering and phrasing.

has been explained that each part should be care- Many of the original compositions for the

fully studied separately, with its proper finger- organ by Sebastian Bach are written in Trio

ing and pedaling. The final joining of all the form, the most notable being his Six Sonatas.

parts will then lead not only to the foundation Among the earlier composers who have
of clearness in part -playing and intelligent placed special importance upon Trio -writ-

phrasing, but it will establish an independence ing may be mentioned, Wilhelm Friedemann

between the hands and feet, which is absolute- Bach, Kirnberger, Albrechtsberger, Pachabel

ly indispensable for the technic of a skillful and Krebs, while of the more modern writ-

organist. ers, perhaps the most conspicuous are Men-

A preparatory study of the two-part and delssohn, Johann and Friedrich Schneider,

three-part Inventions for the piano by Sebastian Gustav Merkel, Josef Reinberger and Max

Bach will prove of very great value to every Reger.

serious minded organist, while the more am- We have confined ourselves in this Les-

bitious student will find plenty of material for son to a few excellent examples by Friedrich

advanced thought and work in the remarkably Schneider, taken from his 48 Trios for the

clever arrangements by Max Reger and Karl organ, to which we have supplied the phras-

Straube of the 15 two-part Inventions of Bach, ing, fingering, pedaling and appropriate re-

to which they have added a third part in free gistration.

imitation. Their work, which is entitled "A

School of Trio- playing," is designed for a

highly developed virtuoso technic, and as

such it is entitled to the highest consideration.

The two and three-part Preludes and

Fugues from the "Well tempered- Clavichord"

(73n
 a

114

/Sw. 8' A 4'

Prepare) Gt. Flute 4 Gamba 8'

fPed. Soft 16' <^ 8'

FRIEDRICH SCHNEIDER

Largo (J=
J=40;
40)

tA
^s.s-^^
Sw.

^ S
Manuals

I ^ Gt.
:^
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1^'- J |,J
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;^F=^ » J J iJ ?

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s^^^ s

I79II
 )

115

/Sw. 8' with Oboe

Prepare) Gt. Flute 8'

(Ped. Bourdon lfi'AF1.8'(or Gt. to Ped. without Fl. 8')

FRIEDRICH SCHNEIDER

An dan te can tab He J =

( 58

3s-^^ I
Manuals

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I79II
 *

11(>

!Sw. 8'* 4'

Gt. FIutesAString-s 8'

Ped. Bourdon 16' & Violoncello 8'

FRIEDRICH SCHNEIDER

Andatitino (Jr66)

2'^ 1

Manuals
Gt.

5i

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17911
 117

8'
!S\v. Flutes and Strings
Gt. Melodia 4 Dulciana 8'
Ped. Bourdon 16; Gt. to Ped.
FRIEDRICn SCHNEIDER

Adagio (JziS)

Manuals<
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N. B. Pedal part played by the left foot alone.

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I79II
 ^
118

/Sw. 8' with reed 8'

Prepare )Gt. Soft Flutes and Strings 8'

(ped.Soft 16'* 8-

FRIEDRICH SCHNEIDER

LargAettoiJzi,^)

^ 1/ i*> r > »
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I73II
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 119

Lesson N9 78

Trio Playing: (Continued)

The turns in the following Trio by Merkel should be played thus:

**:

the trills in the Trio by Albrechtsberger in the following manner:

2nd measure 4tb measure

^ P and
t
i5*r-^

and the shake? in the Canonic Variation by Bach as follows:

rig-ht hand part left hand part

in 2^^ measure in 21"^ measure

m and

I79II
12

TRIO IN CANON
,Sw. Soft 8' and 4'

8'
I'/t'J)>ne iGt. Flute and String-
'Ped. Soft 16' and 8'
GUSTAV MERKEL
Edited by Clarence Eddy
Lcurghetto (J':60)
(J^r60)

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I7?ll
 ^

121

TRIO IN F MAJOR
Sw. 8'* 4'

Prepare jCt. Flute A String" S'

^
Fed. Soft 16' A 8' JOHANN GEORG ALBRECHTSBERGIR
Edited by Clurfjici' Kdriy

Andante maestoso (J r 56)

m
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Manuals

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17911
 —

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I79II
 123

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124

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I79II
 Lesson N9 79 125
Trio Playing: (Continued)

CANONIC VARIATION
On the Christmas Song:
Vom Himmel hoch d^ komm ich her"
(From Heaven above I come to thee)
(Sw. Foundation stops 8' and 4'
Prepare <Gt. Flutes 4 String's 8^ Flute 4' and Bourdon 16'
<Ped Trumpet 8' (or other assertive 8' stop) J. S. BACH
Edited by Clarence Eddy
Andante con moto (dliios)

Manuals

Pedal

I/9II
136

3 1
1 2.

* ^^^^^^ '/':)•
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:^ 1 a 3 1 d
3 2 13

S P

I79II
 127

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I79II
 -

128

Lesson N? 80
Hymn -tune Playing

The sole aim of a great majority of org-an quite as reprehensible as that of playing or

students is to become church organists, and singing out of time.

their ambitign seems to end with the one de- Many congregations have a bad habit

sire of just being able to ''play well enough to of dragging the tempo, while others rush
play in church',' regardless of the fact that a through the hymns in such an exasperating

good choir accompanist must have a solid manner, that they fairly gasp for breath in

technical foundation, a sound knowledge and a vain attempt to keep up with the whirl -

command of the instrument, and an ability to wind of rapidly following verses, they do

execute with a certain degree of skill and not appreciate the difference between sing-
freedom. ing promptly and singing fast ,and the usual

Unquestionably the most important re- result is an utter lack of true devotional
quirement for the church organist lies in the spirit.

proper playing of Hymn-tunes, and yet the As a rule the organist is to blame for
study of this branch of organ- playing is such deplorable conditions, for he should

usually very much neglected. not only set the proper pace in giving out

The manner of "giving out"a hymn-tune the tune, but he should maintain the speed

prior to its being sung by the choir, or con- throughout the hymn tune, by accuracy and
gregation, is susceptible of considerable precision of attack, steadiness of rhythm

variety, and depends entirely upon the taste and phrasing.

and skill of the player. It should be his province to l ead and
Four fundamental principles should not to follow .

always be well considered, namely; The prevailing tendency in this country

1. Absolute precision of attack and release to hurry in all church music, and especially
of every note. in the congregational singing, is mainly due

2. Smoothness and clearness of execution. to a restless, undignified and superficial

3. Steadiness of time and rhythm. attitude of the younger generation of organ-

4. Proper division and subdivision of syl ists, who evidently have little appreciation

labic phrases. of the meaning and character of the words

The bad habit indulged in by some or - to be sung, and much less for the spirit of
ganists of ragged and slovenly playing of of the sanctuary. They are quite as apt

chords and music of two or more parts, is to gallop through "Nearer, my God, to Thee','

l?9ll
 .

129

as "There is a Happy Land', and the calmer 2. Sing- them exactly as they are printed here, without

and more solemn moods of the church service altering" or mending" them at allj and if you have learned

are interpreted in precisely the same manner to sing them otherwise, unlearn it as soon as you can.

as those calling for praise and rejoicing. 3. Sing" All. See that you join with the congreg-ation as

The effect upon one of a religious and sen- frequently as you can. Let not the slightest degree of

sitive nature is offensive and disgusting. weakness or weariness hinder you. .If it is a cross to

In the selection of hymns and tunes for you, take it up, and you will find it a blessings.

congregational singing, the organist, or the 4. Singf lustily and with good courage. Beware of singing

director of music should be guided by the as if you were half dead, or half asleep^ but liftupyour.

following rules: voices with strength. Be no more afraid of your voice

1. That the words and music are well suited now, nor more ashamed of it being heard , than

to each other. when you sung the song"s of Satan .

2. That the compass of the music is neither 5. Sing modestly. Do not bawl, so as to be heard above

too high nor too low. or distinct from the rest of the congreg-ation, that you

3. That the accent coincides in both hymn may not destroy the harmony, but strive to unite your

and. tune voices together, so as to make one. clear melodious sound.

4. That the tunes are singable, and contain 6. Sing in time . Whatever time is sung,be sure to keep

no difficult melodic intervals. with it. Do not run before nor stay behind it; but

5. That the words and music are devotional attend close to the leading voices, and move there-

in character. with as exactly as you canj and take care not to

6. That the music is either familiar , or sing too slow . This drawling, way naturally steals

that it can be easily memorized. on all who are lazy; ,and it is high time to drive

Most hymn books contain too many poor it out from among us, and sing all our tunes as

and unsingable tunes and useless hymns ,

quick as we did at first.

hence the need of careful discrimination, and 7. Above all sing spiritually. Have an eye to God
although the manner of playing hymn - tunes in every word you sing . Aim at pleasing Him
upon the organ concerns us chiefly at this more than yourself, or any other creature. In or-

time, yet the following quaint directions der to do this, attend strictly to the sense of what
forsinging them, which are taken from the you sing, and see that your Heart is not carried

preface of little old English hymnal, should away with the sound, but offered to God contin-

prove of interest in all churches where good ually; so shall your singing be such as the Lord

congregational singing is desired: will approve of here, and reward you when He
1 . Learn these Tunes before you learn any others; after - Cometh in the clouds of heaven.

wards learn as many as you please.

I79II
 -

130
Lesson No 81
Hynin-tuiie playing (Continued)

As an example of a plain choral -tune let us in its simplest form would naturally be done up-
take the widely familiar one, entitled Old Hun- on one manual as follows:
dred (attributed by some to G. Franc and by
others to Louis Bourgeois), the playing of which

OLD HUNDRED
G. FRANC
y.
(cl=54)
3C
=^=g i i i
YT r r n
m ^
u La
^
A A
^r P
r

n\ r\
^ ^
# T
^ W ^ F^ i X

r
P
AA
^ f^
A Ai
r
In the playing of tunes of this class two Consequently, instead of repeating the en-
very important things are necessary, namely; tire chord at the beginning of the follow-
smoothness and distinctness, a combination of ing example, and in other similar instances
motion and repose resulting in the effect of le- certain harmonic tones should be sustained,
gato, which is indispensible to all good organ as indicated by the tied notes.
playing. Bear in mind however that the notes
Great expertness in changing the fingers of the melody should not be tied, but al
upon the keys is required. ways clearly defined, or repeated.
This subject has already been discussed in

the Lessons upon legato -playing.

In order to preserve the effect of legato
while playing the preceeding example, and
yet keep its rhythm intact, certain notes
should be tied together which do not inter-
fere with the melodic character of the tune.

17)11
 ,

131

id)
rs
* i i
i ^ f
-A
i jy
"^WPf
?^
^ i ^ f^ r

The repeated notes at («), (^),and(«?), are pedals in the lower or upper octave of the key-

not to be played staccato, but the keys must be board must be left almost entirely to the judgment

released and attacked very promptly, in order of the player, who will learn by experience when to

to insure distinctness of "speech'.' The alto note give greater or less support, which is to be derived

A at (d) is tied over from the soprano part for from the deep and solid foundation tones of the
the sake of greater smoothness. If the pedals pedal organ.
are used, both feet should be employed with In the playing of choral tunes, particularly for

eqaul independence, so that the same legato effect congregational singing, and whenever a strong

maybe cfctained which is required from the manuals support of the manuals is needed, the pedals
and this habit of obligate pedal-playing cannot be should be used mainly in the lower octave of the

urged too strongly. The question of using the keyboard, as indicated in the following example :

I79II
 .

132
Vo^o h-^^
r\ r\
t i
f= f
FF^f urf
^ ^ ^
?
A
f—^f-f' P^ P
Fed. Soft 16', Sw. toPed
A

The doubling of the bass part above is in- nate upon the manuals, and those of the sixteen-

tended merely to strengthen the harmonies, and foot pitch upon the Pedal organ.
not to interfere with the obligate character of In accompanying solo voices, duetts, quar-

the pedal part tettes, etc., particular attention must be paid to

The subject of registration will be fully con- the proper balance of tone, both in regard to pitch

sidered later on, but at the present time the fun- and quality, but in the matter'of hymn-tune play-
damental principles of stop- combinations must ing, especially for large choirs, choruses or con-

at least be touched upon. Both in accompaniment gregations, the main thing is to adapt the pro-

and solo playing upon the organ, stops which pro- portions of tone to the relative power requir-

duce tones in unison with the human voice, name- ed to properly sustain the added number of voices-.

ly those of the eight-foot pitch, should predomi-

I79II
 135

Lesson N? 82
Hyiiiii-tuiie Playing (Continued)

The Hymn-tunes selected for this les- will be observed that the lower octave is used

son are familiar to all Protestant churches, .

where the greatest support is needed.

and belong in the same category with 'Old The tune, St. Ann's" is ascribed to William

Hundred" and 'Dundee" used as examples in Craft an Englishman who was born in 1078

Lesson N9 05. They should be played per- and died in 1787. Johann Sebastian Bach

fectly legato in a moderate, steady tempo, must have been greatly attracted by the mel-

and with a fairly powerful organ in which a ody, inasmuch as he appropriated the first

solid foundation of sixteen feet stops is giv- strophe for the opening theme of his great

en to the pedals. In each example the pedal- three-part Fugue in E flat.

part has been carefully written out, and it

ST. ANN'S
WILLIAM CRAFT
(JG78-1727)

(J -. 44)

i J I J J I J i^ ^ i
f f^ rf
^ -t^
Gt.

^-JM. tt
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m * A
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^
^
^ j5X

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J j

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r
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r T -
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P^ JV- /C\

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n
To? " A
I

i
* ^ I

i^
I

^
i ^ A A

I79II
136

Repetitions of the same chord such as are tion by the manuals alone and not by the ped-
found in the following example, are essential als, except for defining more sharply the di -

to rhythmical and syllabic clearness. This vision of rhythmical phrases as for instance

should however be accomplished with discre- at (a) in the sixth measure.

FEDERAL STREET
n. K. OLIVER
(J: 56)

Observe particularly the phrasing in the following example, and emphasize the first
beat of each measure:
DUKE STREET JOSEPH HATTON

I79II
 137

In the following example the notes to be repeated are indicated by marcato or staccato

signs. Observe the phrasing and dwell slightly upon the first beat of every measure.

STATE STREET
J. C. WOODMA.S

Ues^
T
(J

:2-
-.
56)

^
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r r r r r

SIP;: Ie f « g
s r r r
~rr

I79II
 -

138

The following example is written in |- time, ided each of these phrases into two parts,
and yet the natural pulsations of rhythm clearly not with the intention however of breaking ,

indicate double time. It were better therefore or separating them, but with a view towards
to feel two beats in the measure and not four. a better understanding of the meaning of each

This entire hymn is divided into four complete musical phrase.

sections, each of which constitutes a phrase,
but it will be observed that we have subdiv

HAMBURG
Arranged by LOWELL MASON
(Jr48)

I79II.
 141

Lesson N9 83
Hymn-tune Playing- (Continued)

American Hymn-tunes

Without entering into the history of Amer- "his own carver'.' It is quite evident that he was

ican church music, it will be of interest to con - "an original geniusj' and although he published
sider that the beginning in this country was many volumes of ''psalm -tunes',' yet very few
made by "William Billings, who was born in of his "compositions" have survived even to
Boston Oct. 7^-^ 1746, and died there Sept. this day. His best known tune entitled Ches-
29tb 1800. He was entirely self taught, and ter"was frequently sung and played during
to use his own words, did not believe in con- the time of the Revolution, and became very
fining himself to any Rules for Musical Com- popular throughout New England We . give it

position laid down by any that went before him, here in its original form merely as a matter
but thought it best for every composer to be of curiosity;

CHESTER, L. M.
BILLINGS, 1770

Ten. -»- ^ %
Let the high heav'n your song-s in - vite, Those spa-cious fields of bril - liant light,

Alto
iS Let the high heav'n your
IE
songs
IE
in -
-O-
vite,
IE
Those spa-cious fields of
32
bril - liant
-O-
light,

Sop,
=3=

Let the high heav'n your songs in -

il

vite,
I2Z

Those spa-cious
p f ^ f p
fields
^ ^z—g^
of
^'y
bril -
d
liant
I
o
light,

'
^ ^ f f
Bs § ^-g-
> >:, P (&
^ ^ zssz

Let the high heav'n your songs in - vite, Those spa-cious fields of bril - liant light,

^ u 3E p r w—
m *^
'^

Where sun and moon

r
and
r I
r
plan -
r r
ets roll And stars that glow
w
from pole to pole

^ mi

^
Where sun and moon and plan - ets roll, And stars that glow from pole: to pole.

P i
-O —n-^
?
^ ^^
m
I79II
Where sun and

M *

Where sun and moon

moon and

and
plan

plan
ets

;ts
roll,

-e

roll,
And

&

And
stars that

rr
stars that
i
glow

rrL;rJ ^
glow from pole
.
from pole.

^
to

to
polt

pole.
142

N.B. As was customary then in part- writing, tune"Coronation"however,has stood the test of
the first line was assigned to the tenor, the time, and is as popular today as it was a hun-

second to the alto, the third to the soprano, dred years ago. The tune should be^given out"

and the fourth to the bass voice. with powerful stops, and played throughout upon
Contemporary with Billings was Oliver the Great with the full Swell coupled, augment-

Holden, who held about the same views re- ed by an adequate Pedal organ. The third line
garding musical composition, and whose writ- however should be played by the manuals a-
ings belong in about the same class. Hishymn- lone as follows:

CORONATION
OLIVER HOLDEN
(J --96) 1765-1844

i
r¥^ tt 4-^
i
r
i
FTrrr
m^=^ f
^ ^
fr r~^ r
mU j^
^
J: "U±i ^^ rj rj

^:^
§
A
^ ^ A
2Z
o ^^
I79II
 -

143

Notwithstanding the fact that Billings The following are among the most pop-

and Holden, and some other writers of hymn- ular of his hymn-tunes, and they may all

tunes were pioneers, the real honors belong to be characterized as simple, melodious, de-

Lowell Mason, who may justly be considered votional , dignified, and singable:

"The father of American Church Music? Bethany, Sabbath, Laban, Olivet, Boyl
Aside from being the father of four musically ston, Downs, Meribah, Harwell, Ariel,
gifted sons, among whom was William Mason Henley, Migdol, Naomi, Star Wesley,
the eminent pianist and teacher of many fa- Hebron, Olmiitz , and Missionary Hymn.
mous pupils, he was the author of a vast num- It is impossible to reproduce here all

ber of hymn-tunes which are widely known and of these hymn-tunes, but let us consider a

loved in America, and the foundation of a few which are typical examples and pre- ,

refined musical culture throughout this coun- sent them for manuals and pedals as they
try is largely due to his influence. should be"given out.

Lowell Mason was born in Medfield Mass.

Jan. 8th 1792, and died in Orange New

Jersey August ll^h 1872. The degree of
Doctor of Music was conferred upon him by

the University of New York in 1855.

17911
144
Lesson N9 84
Hymn-tune Playing (Continued)

BETHANY
N9 1
LOWELL MASON
(Ji60)

f/^^fTl m
i^ZrJ v=n
sncr
TT"
-cr
^^
CTT
Sw.JtAg'

')* i -o-
r g ^ i

^
Ped. Soft 16; Sw. to Fed

S^:RF ^ xn
A
-^

* J J- i> J- :^
i -^ o
^[ -e |

fTf
-

"TT"

s ^ s ^ O
f=^=f
• •

^^
^:b
i 3Ce: -O-
-^ -^ -o-

rzV!

t J J- J)
-^ s J J J ^ "0~

>>^tt r r p ^ ^ _o_

^ 1 ' A '
Tf

I79II
 145

SABBATH

NO 2 LOWELL MASON

I79II
146

BOYLSTON

LOWELL MASON
N9 3

^
if t f
g cU- ^

^^ 31:
^ TTf f ^
A
32:
g
5iF
^ o
zzz:

i
TV
o . A o

tun
 147

ARIEL
/Sw. 8'.^ 4'

PreparelOii. F1.8' Sw. toGt.

( Fed. Bourdon 16' Sw. to Fed.

N94 LOWELL MASON

^^ i
SwAWyW 8'&4'
f
^
^ ^m r r^TJ t^^
S^ f
* >:,l > ,
M
^E^ i^^ ^ ^
Ped. Soft 16' Sw. to Fed.

^"1'
u I
f r P

5d2: ^
^ 1=^
f=T
M.^^
^
^
Gt.,

»
Sw
p-
;y
p r f-

-h '

-i,
r ^^p ^ ^^
A

^^ I?
P ^^

^^ ^ » Sw.
li
With Oboe
^^^
«^#-^

Gt.<
P
IS

^ i ^ r po p
^## 1
^ :2z:

A^

r r ir r
A^

i^ ^ ^^ z=~7y

I79II
148

MISSIONARY HYMN

LOWELL MASON
N9 5

i ^ 1
GtV /coupled

'i
^^E^
to Sw.
i-i-^j^

yb-f--r
-J

r ^^ ^i

fit. to Ped. A
A
=«^ g ^
f ?
A^-^ ° A

I79II
 # '

149

HARWELL

NO 6 LOWELL MASON

* ^5
t3
cJ:72)

^
Gt. 8'A t'with Full Sw.

m nrtTTTff$ i!i*
f ^S
«.#
r ^ m •
flP rp

^ MM J)
i
f^
U ^ iE
},r:TJ

s •
^^g^• • ^^ sO-J.
*'
-
ssa
# T #
A
" A A

^^ »
Sw.

*: ^^ i
Sw.

s f f >
^
^^ 'j--

r ^ f
^3e^?e
.«

£ ?=?
4K

S
m ^ =^ ^

^ CA
r r r
p
M ^
fffirf^
—

i
j»o(?o r«Z!

m ^ m ^^m E
m M^
^ # — S ^^ ^
I79II

\
 -

150

Lesson N9 85
Hynin-tune Playing (Continued)

American Hymn-tunes (Concluded)

It would be more
difficult to find three Albany and New York, and received the degree of
melodious or popular hymn-tunes than "Top Doctor of Music from the Universilyof New York
lady," 'Retreat"and"Ortonville" by Thomas in 1858.
Hastings, who was born in Washington Conn. Each of these tunes maybe played upon one
October 15, 1784, and died in New York City, manualjin the manner of those given in the preced-

May 15 1872 He was a teacher

, . of music in Utica, ing lessons, or by separating the parts in a more
melodious way as follows:

Sw. with reed & Tremolo

8'
TOPLADY
Prepare \ Ch. Dulciana 8'
Fed. Bourdon 16' Ch.to Fed THOMAS HASTINGS
N91 (^--^*)
Sw,

I79II
 —
151
The simplicity of the next hymn-tune is better preserved however by playing it in the
following raan-ner.

RETREAT
THOMAS HASTINGS
(J: 92)

B ^ —&
Sw. 8'
m
p^
t t i
i i i •

^ ^—TJL fe^ #
Ped. Bourdon 16^ Sw. to Ped.
~J^
'M J I J. J
-G-^

rit

^ W=^
m =^
m
^
szizs:
i «=*=# I ^^
^t >:
i g i £
o
2Z5

A
''>'' rj

r pr-tr-s^
J tS^
M. J. rJ' rJ

Likewise the following:

ORTONVILLE THOMAS HASTINGS

^
(i^zlOS)

^£
fet
S ^
f ^=1S=5
Sw.8 6 4
^^

'y-h^'^ p ^ ^^ ^
#-= p-

I79II
 .

152

The tune Martyn 'by Simeon B. Marsh, the eighth notes.

set to Rev. Charles Wesley's hymn :"jesus, lover Student should observe carefully the
of my soul," about which the Rev. Henry Ward syllabic repetitions, without however destroy-
Beecher said : "l would rather have written that ing the sense of legato phrasing.
hymn, than to have the fame of all the Kings The composer of this tune was born in
that ever sat upon the earthl,'is dear to the hearts this country June ist, 1798, and died July
of American church-goers. It is exceedingly 14t>, 18 75
simple in style, and must not be sung too fast,

the most appropriate tempo being about 92 for

MARTYN
^Sw. 8' & 4'
Prepare\Gi. F1.8', Sw. to Gt
Ped. Bourdon 16 Sw. to Ped.
,
SIMEON B. MARSH
(^z 92)

^# ^rm
Sw. < Je -sus, lov-er of
P
mv soul, Let me to Thy bos - om
:3^r
i ^i^ i-

While the near-er While the tem-pesf high._

Sw.

m ^^ A
^ i

17911
 157

Gt.
m i£
i J ii

i il) J- ;. i) i)

Gt . to Pcd .

m CI.
t
A o

Other hymn-tunes of American origin F. F. Flemming, "Hymn" by J. E. Gould,

might be cited, but the following are es- '

Bemerton" by H.W. Greatorex, "America"
pecially recommended to the student as by Henry Carey, Webb by George J. Webb,
typical examples: ''Rest" and Woodworth"by "Rockingham" by E. Miller, "Wareham"by
William B. Bradbury, Frederick ',
"Newbold',' William Knapp, "Stephanos" by H. W.

"Heber'' and "Ware" by George Kingsley, Baker, and Shining Shore" by George F.

"Greenwood by Joseph E. Sweetser/ Rath- Root.

bun" by Ithamar Conkey, 'Flemming" by

I79II
 -

158

Lesson N9 87
Hymn-tune Playing (Continued)

English Hymn -tunes

Many of the English hymn -tunes sung in Sir Joseph Barnby, "O Paradise"

this country are noted for their rare beauty "Lades Domini"
and sterling worth, and it must be admitted >> "Merrial"

that those which we have selected as exam- "St. Andrew"

ples, are models of form and religious mu- "St. Anselm"
sical expression. It is indeed very difficult }} "Perfect Love"

to choose from the following remarkably choice )) "Requiem"

list, but special attention is called in the "St. Chrysostom"

list given, to the syllabic repetitions of cer- Edward J.

Hopkins/'Ellerton"

tain notes, and also to the manner of phras „ "Temple"

ing indicated, with particular reference to William Henry Monk/'Eventide"

a proper enunciation of the accompanying n "Hursley"

words. (Arranged from Peter Ritter)

Rev. John B. Dykes, "Nicaea" Sir Arthur Sullivan,"St. Gertrude"

"St. Oswald" >) Resurrexit"

''Vox Dilecti" ''Angel Voices"

"Vox Angelica" "The Homeland"

"St. Agnes" Heaven is my home"
"Lux Benigna" John Reading, "Adeste Fideles"
"St. Cuthbert" In playing the following tune, Nicaea"

"Sanctuary'' by J. B. Dykes, note the difference of touch;

"Almsgiving" marcato staccato and tenuto but do

, , not ex-

"Gerontius" aggerate the shortening of either the marcato

Sir George John Elvey,"Diademata" or staccato touches, the main object being to

-
n "St. George's Windsor'' acquire clearness and distinctness of enun

Alexander Ewing, "Ewing'' ciation.

I79II
 # ,

159
NICAEA
J. B. DYKES
1SS3 - 187S

% f^T^ J- Ji i ^
Ear - ly
i
in the
^rr
morn ing our
r=f=r T
song shall rise to

ag I :| *f^

g^
aft i i -^
f A o A

U. m
F
— P
^^ 7"
J.

i^:ZE
J^ J J

Ho mer

^
- ly, ho - ly, ho ly, - ci - ful and

f ^
?
g^ 1^
icffii^rrzz 221
jch
DOC

^ r?i; /T\

God in three
f
per
M
sons bless -ed
"T^
Trin
^^

gt l9- _(2
£
,^

A
I79II
160
"/
The same thing is true in playing "O Paradise" by Joseph Barnby, one of the most
beautiful of all hymn-tunes.

PARADISE
JOSEPH BARNBY

^^
(J: 116)

k :s:

t }-. "g '

; t f^
O Par - a-dis^e! O Par - a - dise WTio doth not crave for rest?
mfl -
!

s-w. s'fr 4

h ^
Fed. 16' Sw.toPed.
? e A A A

l> I ? 4
i U- i 'J ^ i
^
A A

Who would not seek tEe

?
T
hap -
^
py land,
^
W
Where
g^f 1P
'

they that loved are

i i
blest?

I79II
 161

Lesson N? 88

Hymn-tune Playing (Concluded)

<'i
Observe in the following- tune,'" Ewing',' only slightly, in order that the smooth and

the uniformity of phrases throughout: flowing character of the hymn -tune may be
1 /'Jerusalem the golden." perfectly preserved, and if played with ex-

2. "With milk and honey blest I" pression, the Swell -pedal should be used

3. "Beneath thy contemplation!' with great discretion and skill, without

4. "Sink heart and voice oppressed/ etc. disturbing the true legato style of the pedal

Each phrase however should be separated part .

EWING
A. EWING
1830-1S95
(J :52)

;79ll
 A

162

4
fc

w
neath thy
LJf
con - tem
f
pla - tion,
f
Sink
C^5?
heart and voice op pressed:

» :fc, f r * m 19-^

g3
g i^ ^^=±4=^

^
^^f:
know
r V r^r
not, Oh
i

I know
^=i
not.
if^ f
WTiat
-J-

^F^
so -
J)

cial joys are there,

g
¥5rg;^
^^p=^ ^=^ m
s A
^ o I

^ o m»-
A
-S:

oA
^-'

rtf.

£
f T~rf_p T
What ra - dian - cy of glo - ry: What light be-yond com pare

"^
If ^
.o A_

J r r J I

o
1

^^
'A A
^
JSI

17911
 •

163
"^Eventide"is a devout and prayerful hymn- supported by one soft sixteen foot stop in
tune, and should be played in a very quiet, smooth the Pedal organ (preferably the Bourdon),
and sustained manner, with soft flute and string: to which the Swell manual should be coup-
tone stops of eight feet pitch,upon the Swell organ, led.

EVENTIDE W. H. MONK
18^3 - 18S9
(J .-88)

nh \ ^
Ped.16' b Sw.

\'
to Fed.

i o A ^
331
^ A o

m i=t
-o-

dee - pens
f=T
Lord with me
;;a

a
-o-
"TX"

bidel hel - pers

^ # -o-

^iSTtiT

i ^ -o- ZZZI

tx> oo
rPr
fail, and com-forts flee, Help of the help-less, Oh a - bide with me!

Sis "o
E
K
-»-
O '

W m -^
TT-

I79II
 .

164

On account of the martial character of the time (alia breve), with a strong accent and

following hymn-tune "St. Gertrude^' the re

;
- stress upon the first beat in each measure.

petitions of the syllables should be marked Do not separate the phrases indicated by

very clearly and distinctly by the manuals,the the double bars, but play in absolutely strict

pedal part being sustained however in a time, with the exception of the two closing

legato and dignified manner. Although written measures, where a positive ritard may be

in ^ time, the best effect is obtained in double made.

ST. GERTRUDE
,Sw. Full
rreparelci. 8'&4', Sw. to Gt
^Ped. 16'&8', Sw. & Gt.toPed.
ARTHUR SULLIVAN
1842 - 1900
(J -.54)

t=^ s
fV "- ^ "-

^
Gt. 'On-ward Chris-tian March - ing as to war.

^ >:4 =f -o-
g fc^ , o

Ped./16'& 8', Sw. & Gt.to Fed.

s &^
A

i i i ^ i^ ^ TT
'i
With
^
the
}
cross
r
of
^
Je
^
sus
^^
Go ing
% f
on
-*>-

fore:

f
-JZL it
')\ f f f

TT"
3x: -O-
A

I79II
 J —
165

1
* tilt 1

Christ
i

the Roy
J

-
J

al
^^
Mas
$
ter.
r r
Leads a
j

-
r
J

gainst the
j
r
foe;

Kf r r r r r f=^=# <>

^ P
-^
A

-O-

J J J J — J— ^^
-
r

For -ward
f
j

r
in -
r
to
f=f
bat
J

tie,.
r
See, His
r f

ban-ners
f
:§:

8:0

j ^- j^ - ^
% J
I
j
?
J
-J%__ —_-c
^

f ^
J J J
-n-

offGt.to Fed.

^ 3x:

it t r r r r" t t t r
Sw. <On-ward,Chris-tian sol diers, March-ing as to war

^ it «

A Gt.
m
m -e>-

Gt.

With
m the
i=J:
?^^^
cross of Je -
^
sus,
2^

Go
r?7.

- ing on
E

be
/Ts

<>i>

fore.

—^
§
if-

^ ^ E

^
I79II
Gt.to Fed.

iq:
/C\

'
A
160

''Adeste Fideles'' commonly known as the was born in Winchester, England, early in

Portuguese Hymn," is generally attributed the 17th century, and died there in 1692.

to John Reading, an English organist who

ADESTE FIDELES
J. READING

(J:,. 6)

1^-^
^ i ^m
Gt.8
r r_ r r
with Full Sw. ,

come, all ye faith -ful, joy-ful and tri um - phant,

f!0

'y-h l V T r r i

S
Ped.l6'& 8', Sw. & Gt.to Fed.
^ VitJ 4
^=V
^
A
f

!79ll
 r »

167

man
i
^
- ger,
1^
lies the King
m =^P-^ of An -
i
gels;

L±J£ i^£ £
:^
off Gt.

^ i 7^ 5"
A oA ^
_ to Fed.

^f
,Sw.

o
t
come let
^

us a dore
r
Him,
i
T
O
r
come
—
^^^^=^^
let us a dore Him,

^m
Gt.

N#^ f —
^^ J i "i

'^ f
fa#^
^ ?
i^
f^ ^=^
^
r
Gt.< O come let us a dore Him,, Christ- the Lord.

5^
J

Gt.to Fed.
^i=. J 1
^U
^rt
3
ZZ
A A

i
A
i
o
^ J
I

o E

I79II
168

Lesson N9 89

Interludes

The average interlude inserted between dulge in this opportunity for exhibiting their

the verses of a hymn in a religious service, is skill, or egotism.

an abomination to the Lord. This custom may If for any reason the organistwws/'play

have been designed either for the purpose of a little piece" between the verses, he should

furnishing the choir, or congregation, an op- either be prepared to a certain extent, to ex-

portunity to take a long breath, or a desire on temporize in accordence with the laws of cor-

the part of the organist to "show off." In any rect musical construction, or else confine him-

event there should really be no necessity for self strictly to repeating a strain of the tune

playing an interlude after every verse, and which has just been sung.

the less frequently it is introduced, so much In the first case a knowledge of the
the better. There was a time when organ- fundamental laws of harmony and correct

ists considered it the proper thing to play an chord progressions is required , even by those

interlude between every other verse of the who are gifted with musical invention.

hymn, but even this habit has become al-

most obsolete, and few organists to-day in-

I79II
 169

The words of the succeeding verse of the The pupil should therefore avoid in play-

hymn should always determine the style or ing everything of a frivolous and disturbing na-

character of the interlude to be played, and in ture, and cultivate a feeling of devotion in keep-

length the interlude should not exceed eight ing with the spirit of the sanctuary, and while ex-

measures. It stands to reason that the tonali- temporizing or playing even an interlude, he

ty of the hymn-tune must always be preserved, should endeaver to have in mind a definite

and that the interlude shall not modulate into idea of accomplishing something appropriate

remote keys. If the tune happens to be in minor, to the occassion,which shall be of some musi-

the interlude should at least end with amin- cal or aesthetic value.

or,and not a major chord, and vice versa. If he can aid in depicting a correct relig-

It is also logical and sensible to extempor- ious mood, so much the better.

ize in the same metre as that of the tune itself, There is nothing more offensive in a church

and not to change from double to triple time, or service than the playing of long, meaningless,

in the opposite manner. and rapid interludes, exceptijig perhaps a vulgar

A melody played upon a solo -stop may be mutilation of the hymn-tunes themselves.We have

utilized in an interlude, if it is appropriate to the seen that the source of an interlude may be deriv-

sentiment of the hymn, but all runs, trills, ar- ed from the sentiment of the words to be found in

peggios or variations, are not only distracting, the succeeding verse of the hymn, but it may also

but woefully out of place in this connection. be constructed upon some motive or characteristic

I79II
170

interval of the tune itself, which method is term- the utilizing of such characteristic motives, or

ed "a thematic treatment!' germs of thought, as are to be found in nearly

In the limited scope of an interlude how- every hymn-tune. For instance; the familiar

ever, the development of a theme is naturally tune, "Seymour" which by the way, is of a theme

very much restricted, and it should be worked byC.M.vonWeber,andis constructed mainly upon

out only in an imitative or sketchy manner. the interval of a major or minor second,name-

Nevertheless the student will find a most in- ly: 1, j

Ji
J :

f n as

teresting and valuable source of material, in will be seen in the following examples:

f
i
Tf
i
f § Mr m ^ i
r

La
^^ ^ ^ 1 J J-A id
f i^
J

^
-I

N
4

n i ^
f i T r
^ m r

^P^
La ^ u J=A

I79II
 171

Further analysis will disclose the same intervals in the tenor part:

m N^
In the second and fourth sections of the hymn-tune, the interval of the minor third forms a

characteristic feature, namely ;

'^J' j, f^
^
^m p

A peculiar analogy of the repeated notes in the soprano part of the second section:

^ -#
^
/L [y J 3~"J^^ is found in the bass part of the first and third sections: J:^
and each of these characteristic motives may be utilized in the playing of interludes.

Take for instance the familiar hymn-tune "Sabbath" by Lowell Mason:

SABBATH

m:
^m m
i.
f
LOWELL MASON

-e-

b^ _^2n_

m
^

[\nil UJ f ^ r
h i i.
^
"ynrf f r r r
'

I79II
172

# f m P f

^ 7 j:

^ f

1=^=^ t ^ 4
t=A
» W
f f ^ f
h i i
^# i ^ f r

The principle motives of course are as follows:

m^ P m
#i-*

4
*
^ i==
^
The tune "Dennis," which is an adaptation of a theme by H. G. Nageli, is made up almost

entirely from the following short motives:

^
I79II
 173

m ^
6

9 10

^ ^

as will be seen by comparing them with the tune itself, as follows:

DENNIS
Arr. from H. G. NAGELI

^i i ^ t ^

^^ iU UA
^¥
J
^ ^=^
f=f
U4 ^

^ ^^ i
r t
m i
f
^
r=T 3

^^ i i=J=J:
^^^ « iJ
P=^ g
J i i Ji iOJ- I
f F^
It is therefore recommended that the student select several familiar hymn-tunes, and
write out the characteristic motives to be found in each of them.

I79II
174

Lesson N9 90

Canon in F, OUSTAV MERKEL

Edited by Clarence Eddy

This remarkably fine Canon was orig:inally that the smoothness in the legato playing of

written in F sharp and

, is transposed a semi - the pedal part is not thereby disturbed.

tone lower for the sake of greater convenience A frequent use of the heels will add very

in playing the pedal part, which requires equal much to the general smoothness and ease

smoothness and finish of phrasing as the man- in playing the pedals, not only in this Can-

uals. on, but in other similiar selections, and it

In order to acquire perfect independence is urged that the student carefully consider

between the hands and feet,it is recommended this phase of his organ playing.

that the pedal part be practiced first alone, In preparing this edition great pains

then with the left hand , and finally with both have been taken not only with the fingering

hands. It would bewail to practice the right and pedalling throughout, but with the mark-

hand part also alone, for the sake of acquiring ing of every individual phrase.

skill in fingering and phrasing. Note for example the opening phrase

An occasional use of the Swell pedal in the leading soprano part.

will relieve a monotony which would other-

wise result, but great care must be taken

I79II
 175

which is broken at the repetition of the A legato. The answer in the tenor part is

natural, and each section is fingered in such phrased and fingered with precisely the

a manner that it can be played absolutely same care.

g^ P=gi
3 12 12
8 2

The second note of all phrases of two phrases somewhat less than that , for in-

notes should be shortened about one half stance;

its length, and the final note of longer

i=i=^
rCJL/'iTfrr
In the following measure, the left hand must assist the right hand in playing the alto

part;

and the final note (F) of the soprano part, The movement should be perfectly steady
shortened sufficiently to enable the second throughout, at a metronome tempo of about 72

finger of the right hand to take the half for the quarter notes, and a gradual ritard
note C. made during the last two measures only.

I79II
176
CANON IN F MAJOR
Opus 39, N9 3

,Sw. 8'& 4' without reeds

I'reparelGi. Flute A Gamba 8'

^Ped. Bourdon 16', Sw.to Fed.

GUSTAV MERKEL
Edited by Clarence Eddy
ifoderato (J r 72)

Manuals

I79II
 ^
177
52 4 5 45 4
81 -
5
2 1 1
5
1 i
1
5-5
3 1 ;s
» 5 5

^i W^
5

? i
J
i 4— i-

i ^^^^F^ r^

% p-prrrr ^ ftfli^ ^ ^Mi

o . A

m m
A o o ?
A o

)79li
178

J
^^
^
4 3 4 4 3 2 3
5 t 5
3 2
h 2 1 1 Z' - 2 3 1 2

ya^
* CIFT r^^m4ffi
.^^
341218
i^ ^ 1 4 5
vm^
^-^
12 1 2 3 2 3 1 3 4

17911
 179

Lesson N9 91

Canon in B Minor, ROBERT SCHUMANN

Edited by CLARENCE EDDY

This exquisite Canon was written for musical charm, especially if the subject, or

the Pedal-Piano, and published in a collect- antecedent , and the answer, or consequent

ion of Six Studies in canonic form for the which follows, are well contrasted in their

Pedal-Piano . individual tonal qualities.

Originally it offers therefore no tonal In the registration which we have selected,

contrasts, and is merely a study in dynamics, an extremely effective contrast will be no-

the musical interest lying only in its scien- ticed between the predominating reed tones

tific construction as a Canon between the of the Swell organ, and the bold flute tones

soprano and tenor parts, but when transfered of the Great organ, as follows:

to the organ it is imbued with new life and

Sw. Reed

^^^^^^ i i
; ^ \

Flute

t
S ^
P V-
Ifp V- p 9'
P ^ ^

!79ll
 1 ,

180

It is understoed of course,that the chords which support the theme, are merely added to

supply the fundamental harmonies, viz;

* ^ ft
^ Jlv' JU
i ^ J^^.Ji^'ltJi^
PTTJTfl
! Tjw^y^ f
SwA sjjj
Gt.

y-H ^ ^ i ^^ ^^ ^ -^ ? ^^p rM^^

In order to mark the entrance of certain player open and close the Swell-box sudden-

phrases, Schumann placed a sforzando sign; ly, but only sufficiently however to intensify

(yf), and followed it immediately with a the accentuation. The appoggiaturas through-

piano sign; (/?). These signs we have left out , should be played very short and precede

in the copy, and would suggest at those places the notes of the chord, as follows:

which are marked by this sign •,(s/jif) that the

^^^^^m ± ^
Ms
s 1^
i

Sw.
Gt.

m c « «.

.V-* tt N^^f^ l^ p;^ -p ^ Itp ; p ,- Eg^ ^

A sharp accent should be placed upon the note, or chord, which immediately follows the

grace note

1791
 # -

181

Great care must be taken to preserve of this study, and it is urged that a bright,

a uniform staccato touch upon the manuals brisk tempo, be maintained* but without any

and the pedals, and the best results are feverish hurrying. A slight ritard may be

obtained when the hands and the feet are made in measure 82, immediately preceeding

kept rather close to the keys, therefore, do the repetition of the first section, but there should

not raise them too highl Promptness in at be no ritard whatsoever at the end of the piece.

tacking and releasing every note and chord, For the sake of incisiveness,the trills in measures

is a very important feature in the playing 58 and 59, should each begin with the g^ven note,

as follows:

^
Measure 58

i— "'

Measure 59

I79II
18S

CANON IN B MINOR

/Sw. Soft 8 'A 4' with reed (Cornopean preferred)

Prepare iGt Loud Flute 8'(Doppel Floete) and soft String- 8'
.

^Ped. Bourdon 16'& Dulciana, or Bell Gamba, 16'and F1.8'

ROBERT SCHUMANN
Edited by Clarence Eddy

iVo/ too fast (J: 96)

5 4
2 2
1 1
^

SfEjte^p^ \, h. i : ^

\^n li^uJiU^^M W*^ j ?3>:l^ j^

i

Manuals Sw. ifP Gt.

^*^
^y-h'i ?pv'^» ."j'^'
"M P^ P^ ;yP^P ;y*P j
I? ^ l

Pedal

®
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^m ^ ^•
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I79II
 — #

183

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^^^^^ ii.^v F
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I79II
184

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^S JW 7 I
p ? 1' ?
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I79II
 —
185

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I79II
186
Lesson N9 92
Canon in B minor, ROBERT SCHUMANN
(Concluded)

add Open Diap. 8' to Sw. Edited by Clarence Eddy

^
^. \

T^wi
i h^H
^^
ViFTi
ni i ¥ r— W'^ ^r^
w »• i J
f
^3; fiyiyjw
3 -i
r^i^

I79II
 187

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I79II
 188

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I79II
 — ?

191

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I73II
198
Lesson N9 93
CANON IN E MINOR
Op. 21 N9 1
/Sw. All soft 8' stops* Fl. i'
)Gt. Flute & Gamba 8'
Prepnre<iQ^^ Flute & String's 8'

'Ped. Bourdon 16'& Flute 8'(or Svv. to Fed.) THEODORE SALOME

Edited by Clarence EUiiy
Aiidantino, ma ito/i troppo (J ; 66)

Manuals

Pedal

S-w.
„ -4 5 3 5

4^^&J
5 i 2 -

n^pT^
1

t--j

t Ch.

/^ pgLTS
PI
n ri

Ch.

^ p
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p ^ 3^^^
A

l7Sil
 193

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^
1 2 12 5

- g
•^'N^ l

i^^ r If" J''

j'""j'
A
7
o
7
A

I73II
194

:79l!
 105

Ch. Sw.

^
*

A
f

J »
^ ^V-
1^=g?
^rfihH
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^^
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f rrrfr-
5 ~T~

4-3Z^
4^ ^
//6'ry rit.

P^^ 5
te'

T
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1

A To
'o
r ' [ ' H

I79II
I79II
 197

a tempo

5 %
1, 2,

± \ i=i=r
^ isfe^ ^
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^ r/r f J^^ i:*

.>)^<» i' ^ »
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7 k 7 ^ ^^J' •'

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m: ^^ ^Ei
cre.sv.

^ ^ ]!t te £

^|E^ } LJl 7 , h ^ ^^ i

I79II
198

<*
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m i. 1

^^
^#
di?rL
^
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3
1

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,Sw.

i
dim.

t
I f=?^
f /'l^
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1 I T

Tl o A o
Ch. 2
4
2
5
2
4

''^ cjr ''

I
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nrji ^

Sw.
? 1
5 —a

y • i
'^ r
a r
f"'^ »
^ Ch.

2
5
^
iEs

I
*
r»j;

add Fed. Violoncello 8'

fr
Gt.
fiifi
BZIll^
r'^t.

^^ ^^3 ^^ ° ' ^i-i^A

A ^ o ''^-yjJ
-A-
TTTT
m ZSJZ

I79II
 199

Lesson N9 94

CANON IN A MAJOR
Op. 21, N9 2

A regular movement, like the swinging of means arbitrary, but the two parts in imitation

a pendulum, should be kept up throughout this should not only contrast in character,but their

graceful Canon. The registration given is by no different qualities of tone must harmonize.

Soft 8' stops i Oboe

Gt. Soft String- 8' & Fl 4'
ISw. .

Ch. Flute 8' 4 String 8' THEODORE SALOME

Fed. Bourdon 16 & Flute 8
'
'

Edited by Clarence Eddy

J^oco All egretto (J-: 108

Manuals

Pedal

ui ^m 81

^^ I

i^ ^y=r 3: :zn

17911
 —
200

P fc^
^ ^ 2 ^1 J> 2

f
1 ^

-•— i-^
^ ' it i
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12
f: ^
F #
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^ 4 3

')¥ J . ?
1 '

f
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7 ^ 7 ; 7 ^ 7=

1 *^
r^
-7—7- ^ 31

!^S ffidi
1'^ # I w

s ii r¥fP P ^^ g t4

^
1 3 15

:2c

17911
 ^

201

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2
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g^ ^ ? A
22

Ch.

m ^
^^=^
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g ^ ^^ -T—
^
I79II
 # —
202

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I79II
 203

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I79II
204

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I79II
 205

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I79II
200
Lesson N9 95

CANON IN F MAJOR
Op. 21 H° 3
/Sw. All 8'&4' stops with Reeds 8' THEODORE SALOME
/>repare<Gi All 8' stops 4 Fl. 4' (without reeds) Sw. to Gt
. Edited by Clarencf Eddy
^Ped. Foundation stops 16'& 8', Sw.4 Gt. to Fed.

Allegru moderator

Manuals

Pedal

4
2
I

7 f!:

i 4l
fc i ^
I
1
^
i m m 1 5

^
\. -i A

^ ? ^ ^

17911
 307

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K^
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I

^^ ^S
|

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3E *^ s
? * ^

I79II
208

A.

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1 ?

5
1
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f
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^
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17911
 209

s . ^ti^rti

I79II
210

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W ^ A o o A
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I79II
 211

o A

I79II
212

I73II
 -

213

Lesson N9 96
Theme and Variations in A flat, Op. 34
ADOLPH HESSE

In the entire range of organ literature, and yet the choice of stops indicated, which

no finer variations of a moderate grade of is similiar to that employed by Hesse, will

difficulty, can be found than those in A flat be found quite adequate for the effective

major, and A major by Adolph Hesse, which ness of each variation •

are presented in these Lessons . It will be Emphasis should be made upon defining
seen that great pains have been taken, not each section of the melody, and in carrying

only in the phrasing, but in the fingering out the same plan of phrasing in all the dif-

and pedaling of this edition. In the matter ferent variations, which is found in the first

of registration much has been left to the exposition of the Theme. For example, the

taste and discretion of the individual player, opening phrase of two measures, consists of two

divisions,which should be clearly defined as follows:

w;g=B^ ^^
T-

^^ Jr^
S v-y^
i

:^ i

the second note (Ab in the soprano) of the first measure (Ab) should be repeated, for

division being played like an eighth note. which reason attention is called to the

The second phrase is unbroken, although particular fingering given:

the first note in the alto part of the second

^
S gdt i -2
45

I79II
214

The first note of the next phrase must be shortened in order to accent the following-

note:

In the second part of the Theme the shortening of the second note of each phrase against

the sustained note in the alto part, will add a pleasing variety.

H r^
^^ J J I.J J
JtH
^-^ i
^=r=r=^
riii i ^ jTj i 1

The first variation should be played very liant, but flowing manner, with strong rhyth-

smoothly, but with a careful observance of the mical accents, and individual phrasing.

proper phrasing. The fourth variation in Gtl minor, is in

The second variation consists of a clever direct contrast to the preceeding, and follow-

canon between the soprano and pedal parts, ing variations. It should be played very qui-

therefore the latter should be phrased with etly, with a perfect legato touch and finish
equal care, and made a trifle more prominent. of phrasing. The portion marked for Choir

The third variation (Lesson N? 97) in organ may be played equally well upon the

triplet movement, should be played in a bril- Swell Manual.

17911
 215

The close of this variation was written the difficult reach of a tenth with the right

for the manuals alone. For g-reater facility hand in two of the measures;

of execution, but more particularly to avoid

m T Jr
fefcj:

r J
i
r?
-O-

TT"

It would be far better to g-ive the lowest notes been changed and simplified in several in-

to the pedals, as has been indicated. stances, especially where the notes assign-

The last variation is very brilliant, but ed to the pedals duplicate those which were

not excessively difficult. It should be taken given to the left hand. The following pas-
in a moderately fast tempo, and played strict- sage, as it appears in the original edition,

ly in time. The disposition of the notes has

if
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p \mfmm m i
^^ ^± bJ^

becomes very much easier of execution and smoother in its performance^if played as follows:

4 3 2 1 4 3 2 1

I ^^''^W
te =5
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•'>'i> v- ^ ££e
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I79II
m
5 3 2 5 3 2

m ^
aiG
THEME AND VARIATIONS IN A FLAT
Opus 34

-Sw. Open A St. DiapasonsS'and Salicional

JGt. Flute & Gamba 8', Sw. to Gt.
Melodia 4 Dulciana 8', Sw. to Ch.
^Ped. Soft 16 '4 8' Sw.4 Gt.to Ped. ADOLPH HESSE
Edited by Clarence Eddy

Manual

off Open Diap.

34 ad lib.
2 I
1 1 2
2

H"^ 1^

i i-~i J J >-:^ i V
^
—2 1

I79II
 217

Draw the
Open Diap.

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45 4 3 4
ri 3 4

s ^^
1 - -i I -i
-

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5 4 jl

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VAR. 1

(Add 4' stops to the Swell)

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A A
A A

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I79II
21S

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I79II
 219
YAR. 3

Pfe^^ «»o-
Sw. /8'& 4' (box closed)
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(Take off Gt.to Fed.)

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I79II
220
Lesson N9 97

Theme and Variations in A flat, Op. 34

(Continued)

Gt. 8'& 4' with Full Swell (box open) ADOLPH HESSE
add Fed. Open Diap.l6'
w._ jindante {d-.io6)
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I 79 I I
 221

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I79II
 »

322
VAR. 4
Reduce Swell to Soft Flute & Strings with Vox Cele»ti»
Reduce Pedal to Bourdon 16'
4 5 4

i^
Andatite (d:
4
'a^)

^^
rUi f
Sw.< P

^ % =f!== 33:

off Gt.to Fed.

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2 13 12 4 2 5 2

Ch.to Fed.

§16
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I79II
 223

17911
 VAR. 5

^
4 5 4
(J: 69) 3
1
Full Gt. Sw.Sr Fed,

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f
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 225

I79tl
 # A —
226 Full Organ

5' ^-5
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p
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SE

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A"
I79II
 227

Lesson NQ 98

Introduction, Theme and Variations, Opus 47

ADOLPH HESSF

In this composition the famous German dom of expression as possible, the theme being

organist has shown perhaps his greatest skill "brought out" upon the Swell organ with an ef-

as a composer and virtuoso. It is not only fas- fective 8'reed like the Cornopean, or other ex-

cinating for the player, but of unusual interest pressive reed stop. The pedaling has been in-

to the listener. dicated with reference to the possibilities of this

The introduction should be played in a expressive feature. It is needless to add that

very broad and majestic style, and with spe- the. phrasing in this variation, should be done

cial pains in attacking the chords, and other in the same manner as was given to the first

voice-parts precisely to-gether. announcement of the Theme, and that the ac-
In defining the phrases care must be tak- companiment requires the same careful treat-

en in releasing the final notes. ment.

The fingering and pedaling demand care- The third variation should be played

ful study, in fact nothing can be well done with great animation but perfect clearness,

without taking "infinite pains." the rhythm being well defined by means of

The original and very beautiful Theme sharply accenting the triplet figurations and

is similar in form to the one employed by Hesse short chords upon the manual, while the ped-

in his Variations in A flat (Lessons 96 and 07), als are played very legato, for example;
and it should be phrased in the same finished

manner. This movement is marked Allegretto,

but it should not be taken too fast;namely about
60 for the quarter notes, that is, neither hurried-

ly nor sluggishly. A slight ritard maybe made

at the final ending only.
The first variation should be taken in ex-

actly the same tempo as the Theme,and played

in a very smooth and peaceful manner, like a
deep flowing river.

The second variation may be played a

trifle slower, in order to permit as much free- The fourth variation in A minor should be

I79II
228

played very quietly (about 72 for the eighth Do not take the tempo too fast however.but at

notes), with soft 8 ft. stops on the Swell manual about 96 metronome for the eighth notes.

and one soft 16ft. stop on the Pedal. If the or- With promptness in attacking and releasing
gan should not possess a Vox Celestisas call- each key, this tempo will insure the desired an-

ed for,the St. Diapason and Salicional should imation and clearne'ss of execution. Great care

be used with the Tremulant, and at the begin- has been taken in dividing the manual parts, so

ning of the Adagio (last three measures of that they may be played with perfect facility

this variation) the Stopped Diapason should and smoothness.

be thrown off. Note for example the difference in finger-

The Finale , or fifth variation, designed for ing of the following passage in the original

Full organ, requires a very brilliant and facile and revised editions:
execution, both upon the manuals and pedals.

Orig"inal edition

Revised edition

^ r^:ii ^
The chords at the close of this variation ing rests their full value. The composition
should be played in strict time and exactly to- ends quietly with the theme, reproduced in its

gether. Be particular also to give the interven- original simplicity.

179! I
 229

INTRODUCTION, THEME AND VARIATIONS

Opus 47

Sw. Full (Box open)

|Gt. Fulltol5'Sw. toGt.
Prepare <

Ch. Melodia A Dulciana 8'

Ped. 16'.% 8' (without reeds), Sw.& Gt.to Ped.

ADOLPH HESSE
Edited by Clarence Eddy
Introduction .

Anclanie(4zh8)

Manua]

Pedal '>h^'i C i tA'^

I79II
 —
830

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I7SII
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17911
233

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rit.

j^-r-

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I73II
 233
Lesson N9 99
Introduction, Theme and Variations, Op. 47

(Continued)

/Sw. to 8'4 I'without reeds

Reattce<Gt. to Diapasons 8'
'Ped. to Bourdon & Soft 8'
ADOLPH HESSE
Edited by Clarence Eddy
Allegretto (J:60)

I " i V-
Manual

Pedal

M|iii r r r *f P^

^g

I79II
234

^m
a
35

^ S^ 4 a i
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f
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8 5 4 3 5 4
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I79II
 235

YAR. 1

feti
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179 II
236

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I79II
 237
Reduce Sw. to 8' Foundations, and draw Cornopean, or other 8' Reed
off Sw. & Gt. to Fed. and draw Ch.to Fed.
YAR.2 J, 5,
Ch. 4|

*hm^¥Tm if^H# s ^^m al

^
1
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A

I79II
 ^
238

5 5

m
*^ 4M S ^ >"•** m m
r '^^ y p r p—

s *: 1
* ^
Sf^-^
i ^
V'V l M s^:^ ^ ^ Ao A

4
2
I 3
2
1
4
2,-
Si
1—

§
.1

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S ?«=:*: S }) M*
^^=f=?

^
tt :ft i ^
ft

2 1

I79II
 239

Lesson N9 100

Introduction, Theme and Variations, Op. 47

(Concluded)
,Sw. Full
PreparelGt. 8;4'& 2' (Sw. to Gt.)
ADOLPH HESSE
^Ped. 16'A8' (Sw. & Gt.to Fed.) Edited by Clarence Eddy
VAR.3
(J-- 108)
(J--
? s^-y
,y_l .?
12 3
^°—J?^-ffl^iS
^%=g
Manual

Pedal

I79II
240

3 ^

ur=*^^ m
ai 1 a 1

^
W 4^ i^l

^W^H^
V' ^
.y .y

^g ft ^fi^
n.P.. r 1 3 2 12 3
5-

Ai^ A o ^o^^^ o ^A

I79II
 241
Reduce Sw.to St. Diap. Salicional and Vox Cclesti*
"AR.4 and Fed. to Bourdon 16/ with Sw.to Fed.
(J : 72) 1 "*
^ ^

A o

I79II
242

Adagio

17911
 243
VAR.5 Full Gt. «• Sw. (coupled) with Full Pedal

I79II
244

I79II
 245

M TOHTIji^F^ ^E?
^ #:

4 1 3 - 3
* #=t= #
4 3
:«
i
5 4 3

Si^E ?
A o
m r m
A o A
? ^^

(24 time o)

I79II
240

inolto rit
tranquillo off St.Diap.
off Vox Celestis

I79II
 University of California
SOUTHERN REGIONAL LIBRARY FACILITY
90024-1388
405 Hilgard Avenue, Los Angeles,
CA
Return this material to the library
from which it was borrowed.

rEB n
 LIBRARY

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182
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