in Iw^ Umumes

Clarence tdd._j-«.

Tb^Jo-bnCburcbCompany

LuncuD

THE LIBRARYOF

THE UNIVERSITYOF CALIFORNIALOS ANGELES

r

A METHOD FORPIPE ORGAN

BY

CLARENCE EDDYA SERIES OF ONE HUNDRED GRADED

LESSONS IN TWO VOLUMES

VOL. II

PRICE. $3.00 EACH. NET

THE JOHN CHURCH COMPANYCINCINNATI NEW YORK LONDON

Copyright MCMXVII by The John Church Company

Intemaiional Copyright

'TW

MUSKHIBRARY

£23

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 playing with 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.

INDEXLesson No. 56 page 5

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

9

13

17

22

27

31

36

41

47

50

54

58

62

69

75

81

88

94

100

106

113

Lesson No.

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^).^.^ ^¥ mwffiIzsw^pW trmp

^ :2=

^r v} pm

The theme of the Fugue which follows, consists of one unbroken phrase, and is given

out by the alto:

w fT: u.

I79II

6

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-

Bach (Vol. 2 No. 8) lies in its smoothness and

evenness, as well as in its steadiness of time and

rhythm, rather than in any particular art of

phrasing, nevertheless a definite grouping of the

various melodic figures is essential to its clear-

ness of form and proportion.

The Prelude should be played throughout in .

a moderately rapid tempo, and interpretated in the

following rhythmical style, with special accents

upon the first and third beats of each measure:

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 /^jm.d.^M J—7^ i^ yj

m.g.

I7SII

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

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

Fed. ^^aS ^^j^ ^m ^ i j< « ^ ^^^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^^ s

The final pedal passage comes out most clearly when phrased in this manner:

m m^^ /•—. / z

9^1^

I79II

8

PRELUDE IN D MAJOR

Sw. . full.

Prepare <( Gt . _ 8' and 4' Sw. to Gt.

Pfd.- 16' and 8' Gt.and Sw. to Ptd.

Andante con moto.

JOHANN CHRISTIAN KITTEL(1732 - 1809)

(Last Pupil of Johann Sebastian Bach)

Edited by Clarence Eddy

Manual

Pedal

fTfGtA--

^S

9= ci ^_

fff

EH

#

mrrr

f-nr

i^m^m.g.

^ff

m, v^=s-.ii-J^ iA A

o^A^:a

i #^ i_J IB^'i—

#

5S #^«=^ i»-»-i»-

cr um I

m m 22

^;-fa I J "^f^

A o

iHI xn xe: 331

A;>—_2_

i;9ii

9

Lesson N9 57

Phrasing^ (Continued)

The great Prelude and Fu^ue in E minor by

J.S.Bach(Vol.2 NoJ)) are both heroic in charac-

themes denote therefore great strength when

played with breadth and dignity, the Prelude

ter and of gigantic proportions. The various j opening in the following stately nianner:

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

I7SII

10

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

m tefiu#w ^1^^ ^^^

s

and pf wonderful solidity in the following pedal passage;

With the above material Bach has built up a

most imposing musical structure.

The theme of this Fugue has been desig-

nated as' the wedge theme'' on account of its

suggested appearance, inasmuch as it starts

out with a single note, and gradually expands

to the interval of an octave:

I79II

11

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

of each phrase of four notes, thus:

i*V ^ Ji

^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:

*Ei V^ k

3f

^ ^•.

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

12

TWO-PART FUGUE IN D MAJORPrepare

Svv. - 8' and 4'

Gt. - 8' and 4' Sw. to Gt.

Allegro moderato (J = 104)

G. F. HANDELEdited by Clarence Eddy

Manual

EGt. (both

P I

P—m—0-

hands)^ T

i

k^f h r*^

S #—a

—

P-^ ^^ <S^

* fe ^ ^ r ,iS^^ #—*—(»

p

i ^p^^ ^^^^;:i E

i9-^ ^ ^

ag * *£i

jz: nz -^

S^ m p m \'''P=-^ ifS^

1[^ r

r

^^^ i

^1

/vy

TT

^XT

-O-

I7SII

13

Lesson N9 58

Phrasing- (Continued)

The Prelude and Fugue in B minor, J. S.Bach,

(Vol. 3 No. 10) occupy a position of the highest im-

portance among the Giant compositions lor the Or-

gan by the great Johann Sebastian Bach. The Key-

note lies in the bold opening theme of the Prelude,

which must be played in moderato tempo as a

single phrase:

^ ^^ M Li FF?^W^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^rfrfr 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 i•"

•'•

' •'' u ^^=f

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:

1

j^ V .... 1 1 1

1

—

------

16

ANDANTINO IN B FLATSw. Soft 8' & 4'

Prepare iGi. Soft 8', Sw. to Gt

.

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

Aiidautiuo (J

M. G. FISCHEREdited by Clarence Eddy

Manuals

Pedal

I^/^rSw. P

m ^»-*-

i.

i

wi

^*M^

^Hi3^ r^

^h^d TT-

Ufn

17

Lesson N9 59

Phrasing- (Continued)

In the Peters Edition of the Prelude in E

flat major by Bach (Vol.3 No.l) there is a

certain attempt of phrasing, but it is incon -

sistent and very confusing. For instance we

find the same figuration phrased in two dif-

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

=7=^ ^^S"i rn

I v^ m,„j^T^^f

17)11

18

The logical phrasing would seem to be

determined by the character of the first four

measures, in which the first beat in each meas-

ure receives a primary accent, and the third

beat a secondary accent, thus:

i!''",:^! hci ^kfe

]i"'

I ^ f

1f^

^r—^^I ^ o o^ 3x:

i rMF ^m#^

f

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 ^ -^ J

^m^

w. r f

^/W

mf^m ?

The succeeding passage should be phrased as follows:

i,|'i.

I ^T/' >^

r

\-.m^jf ?

# r f r'sa

^^^^^•h i

'i.r r r

^ SE5* *

iJ ^Jrr;

m

and the second theme of the episode in this manner:

I' l l •' r -^ ^^

rm L^^^ r r r

*mI7SII

47—^t^B^*mij^/^r

^

P p

«0 PRELUDE IN B FLATConstructed upon the scale of B flat major

Sw. Soft 8' with Oboe

Prepare JGt . Fl. 8

'Ped. Soft 16' and 8'

Andante con moto (J r 84>

A MUHLINGEdited by Clarence Eddy

Manuals

Pedal

iSw^

Gt.

KEf ^

^ ^ ¥=0-

^i p-n-

P

!^ ^

i

^-g_^

^ s

t^i

^ if

gA

zs:

-o- -«- ^I79II

«1

PRELUDE IN D MAJOR

J. G. ALBRECHTSRERGEREdited by Clarence Eddy

Moderato

IfeManuals Gt. t Sw./"

') h It r r fc=i

^ ^1=p^£

s^

«h^g—^i;

»f

Pedal F%^

* ii s::V ^n

f^

TV

S

-O-

^2. >

"Tjr^1^ ^^ a ^ J ^ ^I

^-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

the "St. Anns Fugue',' consists of three well

contrasted divisions , each having its individual

subjects, the first one being the initial

phrase of the familar "St. Anns" hymn:

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

which disturbs the smoothness and dignity

of the phrase, and is not to be recommended.

The tempo should be very moderate (<J : 66),

and the entire movement played absolutely

legato.

The second division, which is somewhat

more animated, should also be quite legato,

with no break between th^ short phrases,

but the six -eight rhythm should be strong-

ly felt by a persistent emphasis upon the

first and fourth beats of each measure ,

and the entrance of the theme must be

clearly defined:

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

notes well separated, and so not run the six-

teenth notes together.

The great Toccata in F major (Vol. 3

No. 2) does not call for any great variety of

phrasing. It should above all be played with

absolute steadiness, and only moderately fast,"

(about i^zVAt). The sixteenth notes should

fl ow along smoothly and with great clearness,

and a majestic rhythmical swing is obtained

by accenting the first beat of each measure,

but with a special stress upon the first note

of every other measure:

The eight notes in the third measure maybe played legato as above, but they "come out"

much more distinctly if played staccato, par-

ticularly when contrasted with the canonic

entrance of the theme, as follows:

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:

-^^ '^-o- 'j vr>

ir3x:

and the secondary theme in this manner:

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

I/9II

25

PRELUDE IN F MAJOR,Sw. Full

Freparel Gt. 8' and 4', Sw. to Gt.

^Ped. 16'and 8', Sw. to Ped.

Moderato (Jr

M. G. FISCHEREdited by Clarence Eddy

Manuals<

Pedal

^^,^JJJ i(j

^ r ' ^e_^—

^

Sw.S

v^r'i \

^p s ^

ty, 8 ^§ ^=4:lS>^

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

^9^^-•^ > > ^ #

^A o

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

I79II

J6

^ ^^ m. ,-M.

^^gP3 g=^y| -*

—

"* Jjt

p^f^f^f^?^^ zj:

tr

(^ ^zz: ^^

^):I ^^22

A o

^ ^ i^^'S^T f=t

(^r 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

No. 3) should be played only moderately fast

and in absolutely strict time. For the sake of

rhythm the sixteenth notes are grouped as

follows, but these groups should not be

separated;

IE P^^

JBjIr

1tf^r^

iam ^

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;

^ iir

i! ^E^ fzatd—-6^

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:

i/ yg^^^4;^ P^ffl l if

^F=f

^Q^^jyjTp

The theme of the Fugue in G minor (J. S. Bach,Vol.3 No. 5) should be played withabsolute 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 MKRKELEdited by Clarence Eddy

Manuals

Pedal

-i—

IT9II

30

fflJ^!l7^J

A o^^ ?E^

^ #g i

e^^rit.

MWwJi/T\

f *yff

^

'Lust3DC*_#

X r

fc

~rr-

^33C

gA^

^^^ xn XE xn -Cf- "Tir

I79II

Lesson N? 62

Phrasing- (Continued)

31

The Fantasie in C minorCj. S. Bach Vol. 3

No. 6) contains some charming bits of phrasing,

and great pains must be taken to define them.

Taken at a moderately slow tempo (Jree)

and with well balanced foundation stops of

eight feet pitch on the manuals, and of six-

teen and eight feet stops on the pedals, this

Fantasie possesses great beauty and deep

sentiment.

The theme, which is given out in Canon form,

is characterizd by the following phrasing:

#=6= ^mfcb * -• ^^^=? f

r-

Observe the following study of phrasing throughout the Fantasie;

The Fantasie ends on the Dominant, and

proceeds immediately to the Fugue in approx-

imately the same movement, although written

in double time (Ji66). The principal theme of

the Fugue should be phrased as follows:

i i ^f=^

r T Uj.r-

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

(J.S.Bach, Vol.7 No. 6) which calls for particu-

lar comment,except a smoothness and evenness

of execution, and the usual accentuation of com-

mon time.

The Fugue consists of two sections separat-

ed by a florid interlude. The principle theme

of the first section should be given out and

phrased as follows:

iS i mm- #•

I nnfi

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

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

I7SM

33

ALLEGRETTO IN G MINORiSw.

ft'and 4'

Gt. Soft 8', Sw. to Gt.

Ped. Soft 16'and 8', Gl.and Sw, to Fed.

Allegretto (il : 126)

Edited by Ctarencf Eddy

Manuals

Pcidal

£^-^

1^ ^ rf^^^ i h ^

i 'ipI r T I

r£

A o

Ssfe!-LJ a I

ij . i ^ £^^^^ ^

§-o

IA'

gJP I

f P £^^

±^ ^^ :£!

*i==^^Sjf^^

##-

^

^ J it:::i)J- -nm I

iS

Off Gt.to Ped.

I79II

34

Sw.

^5 i-X

rit

W^= ?=*? 9 -.

"J T^XTS / m t

Gt.o A

Sw.

-^ ^?^ • I ^ •

A °A-

I7SII

35

ADAGIO IN F MAJOR,S\v. Flutes and String-s 8'

Prepare {„ , „ „. ,„, ^ „,<Ped. Sort 16 & 8

Adagio cJ = 52

GUSTAy MKRKELEdited by Clarence Eddy

Manual

I79II

36

Lesson N9 63

Phrasing: (Continued)

In the Toccata and Fugue in C major

(J.S.Bach,Vol. 3 No. 8), many interesting points

of phrasing occur, about which there will al -

ways be many differences of opinion.

The introductory figuration in theToccata

should undoubtedly be grouped in suchamanner

that the rhythmical pulsations of each measure

are definitely preserved, without breakingthem

up however into disjointed fragments. There

should always be a fundamental legato feel-

ing, and the tempo should be such as will

enable the player to execute the runs and fig-

urations without a particle of haste or hesi-

tation.

Observe the following method of group-

ing the opening manual figurations:

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

17911

In endeavoring to phrase the long pedal

solo which follows, the organist should keep

uppermost in mind the natural accentuations,

but at the same time he must consider a certain

37

freedom in outlining the various melodicper-iods. This freedom is determined by the

character of the answering motive, Illustra-

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

Illustration No. 8 :

111. No. 8^ ^^m

m I""Tn ° ^ --"^ ..^^ ^. o oAoo-A ^ ^^^^r*^

A AIr^

I7SII

38

The movement of the Adagio should be

absolutely steady; much like a solemn march

(•Hi 66). All of the eighth notes in the pedal

part are to be played with a tenuto touch,

perfectly equal and regular, and with no

attempt at phrasing. Great care and good

taste however must be displayed in properly

phrasing the beautiful melody of the soprano,

together with the accompanying inner parts,

and in playing the manual and pedal parts

precisely together.

The Grave movement which follows,

should be given with the utmost breadth and

majestic dignity, and with the appropriate

harmonic phrasing. Illustration No. 9:

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 iJ^7 7j J^]j:j^^

These motives of the theme may be phrased in half a dozen or more different ways, asshown 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.

Alia 6reve(dz 63)

J. C. REMBTEdited by Clarence Eddy

iManuals

'

Pedal

^Gt. (both hands)

( Swell box open

iIt

^^

k

^^^C nJl^

^m

m^ % n 1—n ^^ 1Sh63 ^ "m ^ §Qj

'f f

gI

•

s i t>p- kf Iete.

IT"

^

I J• r » ^ rj«-

^ ?*^ ts^mA o A o^^ '^L o

T V r liiJ J r^ rit-i I

r r r' Ia aI f

' A^Ff17911

40

b'' ikJ- . ,. i iJ^O 4f ryi; ^ irnTF^

i^ 3^

r I'

^i"frii

%s^^^ :^^^=^

tf.* #-fS^ _(2_

'>-^"l"r Mfr i"«=^^o " o A o

te=FtF

fA A o

i^ fne=^ T rfTTjT

m a± A

r

V- I,l'i

>f^P

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

^ i ^^

^A A^ 3 t«i-^ ^ S2=t2at

oA

m 1

1

'

irit.

:^^ ^=1^!!["'

v-y^^ fr*oo

^gjg ^ £ ^-*Up cjrP ^^ _o_^

I79II

41

Lesson N9 64

Phrasing (Continued)

The Prelude and Fugue in E minor(J. S.

Bach,Vol.3 No. 10), are usually played much

too fast, and with little or no appreciation of

their true sublimity of character. This compo-

sition if properly played is most dignified and

impressive.

The correct tempo for both the Prelude

and Fugue is about as follows: (Jr 58), and in

very large, resonant auditoriums, when the

full organ is employed, it should be even

slower.

Fundamentally there should be a strong

legato feeling, nevertheless the subject of

phrasing enters deeply into the character of

this composition. The solo passage which

begins the Prelude should be grouped as

follows, although the groups of notes are not

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

m

1 i'}:ti^}.r \\ ^^J'iK^ i!'p»h^l^

>>:|t ; yfp,p,M\'j> ,*p,p.

±MAli •!)>k ^ M - AM4-

¥ E5=5 i

r •> PvF7''ri r fpiPifl^ ^fpy^^'^Tf

The theme of the Fugue is phrased as follows:

^a;^r ^ T /*|v» a

I79II

42

and the Mordent ('«K), should be played with the semitone below the given note;

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

.y.^''^^'

A careful study of the Prelude and Fugue

in C major (J. S.Bach, Vol. 4 No. l) will convince

the most skeptical that a thematic phrasing is

greatly to be preferred to the ordinary meas-

Ordinary measure phrasing:

ure phrasing.

Observe the difference of effect, as ap-

plied to the first four measures of the Prelude

alone:

Thematic phrasing

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

*^Mm^ rimnra.^jam M^ SBSv-UJl'

The thematic germ of the Prelude in G major, (J. S. Bach,Vol. 4 No. 2) lies in the

following motive: ^and the theme of Fugue calls for the following phrasing:

I79II

The introduction to the Prelude in D

major,(J S.Bach, Vol. 4 No. 3) should be tak-

en only moderately fast, with natural rhythmical

pulsations and strong accents upon the first and

43

third beats of each measure, the thematic de -

signs should however be clearly defined by ap-

propriate phrasing. The following illustrations

will serve as a key to the general plan:

jh 7 i

The Alia breve, or double time, requires

very smooth legato playing, with well-defined

phrasing, and a strong accent upon the first

beat only of each measure. This movementconsists largely of two-measure phrases, of

which the following are illustrations:

I79II

44

^^g^f-^-^r rrr=g

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if5S 5

S ^ tt^I y~=j

fft frr^r^ r^

J J J feM^^ ^T^

-it^—^'1 ^S ^ ^

The theme of the Fugue is phrased as follows;

4

The tempo should be taken moderately fast, but not too hastily, and great care must beexercised 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.

^lla breve (Jr 63)

J. C. REMBTEdited by Clarence Eddy

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47

Lesson N9 65

Phrasing- (Continued)

There would seem to be as many different

ways of playing the popular Toccata and Fugue

in D minorQ. S. Bach, Vol.4 No. 4) as thereare

organists. We can however at this timeonlycon-

sider some of the individual phrases.

The four opening phrases of the Toccata

should be played authoritatively, and with a

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 1w

and the following passage thus:

^^" ^ ^r^ ^M i• J *—#

P V F f^^ ^^ ;i ^ ^M

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

49The brilliant recitative passages near the close of the Toccata should be rhythmically treated

in the following 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 3V-[,

P? 7_P_p.7 "ypl py 7pp7 7 pip? 7ff p7 ^ fllltiV ^ AJ\ 7 i^

Molto adagio

I79II

50 Lesson N9 66Phrasing- (Continued)

PRELUDE IN C MAJOR/Sw. Full

J'rrparclGt. 8' A 4', Sw. to Gt.

Ped. 16' A 8' Sw. & Gt.to Ped.

Modcnitn (J ;7h)

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Manuals \

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54

Lesson NQ 67

Phrasing (Continued)

The pedal solo which opens the Prelude in C

minor,(J.

S.Bach, Vol.4 No. 5) should be played

strictly in time, and in moderate tempo, with full

4^

organ.

Observe the phrasing, which is indicated with a

view in mind towards defining the melodic figuration:

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^^^pThe 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 ^^Or r'

r

¥¥^

lltt r' ^ wj^^ tj- ' P firyg

I79II

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.

10) particularly designed for strings and flute-

tone stops, is divided into two sections, each of

which contains a perfect development of prac-

tically the same theme, but phrased quite dif-

ferently, inasmuch as the first section is written

in common time and the second in triple time,

thus:

It is evident that the brilliant passages of

the Introduction to the Fantasia in G major,(J.

S.

Bach, Vol. 4 No. 11) should be played rapidly, but

^ *^# #

it is just as obvious that a strong rhythmical sense

of four beats to the measure should be defined

thus;

#-=-#

a" ^' a-'a*• _•s

I79II

56

The magnificent five-part chorus in very slow

double time (Grave), should of course be played

in a sustained and dignified manner, and yet

the entrance of each four -note motive

* P^ should be distinctly felt.

Grave

The closing section, marked lentement,should

indeed be played in a slow common time, with

great solidity in the pedal part and a strong em-

phasis upon the first and third beats. The

elaborate figuration in thirty- second notes how-

ever, should "come out" very clearly and with

exceeding brilliance;

* Sza ft/^'^^"^^S^^^r^^

gj^ ^ ^M

FW ^ tf 0^=0^ma^ 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

^

J- ^^J j] hU ^feJSyrt^ ^^f

S I?, /*-^

t^ I?

w>^^•*-

The wonderful Passacaglia,(J.

S. Bach, Vol.1

No. 2) is replete with interesting subjects for

phrasing, but we can content ourselves at this

time only with the bass theme itself, upon which

this remarkable composition is constructed.

It will be observed that the eight - measure

theme is made up of two -note phrases:

^U-i -n ^

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

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

^mIt 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' A 4', without reeds.

Gt. 8' Xi 4', without reeds. S\v. to Gt.

Ped. Bourdon 16 , Sw. Ac Gt. to Fed.JOHANN GEORG ALBRECHTSBERGKR

{Edited by Clarence Eddy)

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62

Lesson N? 69

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

The "Eight little Preludes and Fugues" from

which this excerpt is taken, belong to the earliest

period of the organ compositions by the great

Johann Sebastian Bach. They were evidently

intended for instructive purposes, for,in form and

contents they are somewhat "sketchy" and meagre

when compared with his later works-, neverthe-

less, they are forerunners of Bach's great art of

organ playing, and deserve to be studied in a con-

scientious and painstaking manner, if not indeed

in a reverential spirit.

Bach left very few, if any, indications as to

how his compositions should be played, not even

in the matter of tempo, while registration and

phrasing are left almost entirely to the discretion

of the player. There is a certain style, however,

in the interpretation of music of this period, and

particularly that of Bach, which is recognized as

traditional. This applies to all contrapuntal mu-

sic, such as fugues, trios and thematic part-writ-

ing. The most important requisites of this style are:

1. Steadiness and strength of rhythm.

2. Eveimess and clearness of melodic figur-

ation and design.

3.- Significance of phrasing.

4. Fine sense of proportion.

5. Nobility of charactei', etc.

All of these however, may perhaps be summed

up in the words: "soundjudgment and ffood taste'.'

The conception of these featm-es of expression

varies widely in different countries and with dif-

ferent people. For instance, in the matter of

tempo alone, as applied to Bach's compositions,

the German organists, as a rule play everything

very much slower than those in England orinthis

NOTE: The Measures referred to in the text are numbered in

l?9ll

country. After an extensive study of the music

and characteristics of this great master, the ten-

dency is to define the phrases more clearly and

to play with greater repose.

This Prelude is characterized by a quiet dig-

nity rather than any great degree of brilliancy.

In order that the performance of this composition

may be consistent with its character, it must be

played with a positive rhythmical swing' in mod-

erate time. A fairly full organ should be used, re-

serving the reeds and mixtures of the Great Or-

gan for the repetitions.

After arranging the stops, as indicated, com-

mence playing on the Great Manual with both hands.

Attack promptly the first pedal note, C, with the>

left toe, giving it a decided accent: *j:f^ ^Play the 16th notes perfectly even

and legato throughout the Prelude, making no

break between the phrases. Do not fail to accent

i\\efirst and third beats of each measure, as

you will remember that the first mentioned beat

receives the primary accent, and the last men-

tioned beat the secondary accent; also that the

effect of an accent is obtained by giving a slight

stress on those notes intended to be accented.

When a figure is repeated, the initial note of the

first figure, receives a strong accent, while that

of the second figure receives a weaker one, as in

measure 5.Measure 5

Observe with special care all of the rests, andMeasure 2 _

always release the keys ,^^ ^^

^edal as well as manual) \[^ ^M S^^exactly on the rest, as

in measure 2.

f/ie music.

u

.V-- .' ->

fi r ^

We speak of this, particularly) as it is of the

utmost importance that the fingers and feet be

raised from the keys at precisely the proper in-

stant. This point cannot be too strongly empha-

sized. Be sure that you observe the dashes%vhich

you will find writtenunder, or over many notes

throughout this composition. These dashes, -as

you know, indicate that the notes are to be held

for their full time value. The notes which are

marked with the dash and a dot should be slight-

ly shortened, as in measure 2:

Measure 2

^ ^When a single note is repeated a number

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

slightly detached, and the foot should leave the

key only long enough to repeat each note dis-

tinctly. The first note of each group, however,

should receive a particular stress, or accent, in

order to maintain uniform rhythm.

Measure 5

The last notes of a phrase, as in measure 10,

and in fact all similar phrases, shouldbe shortened

one half their length. By so doing each phrase may

be actually separated from the one following.

Measure 10

Be sure that you connect all notes which are

slurred together, properly: the first note in a phrase

of two, is accented and the second note, as a

rule, loses one half its time value. 111. N9 1 (a)

and (b) shows how slurred notes are written and

how they should be played.as written

111. N9 1 «* plai/ed

(b) "^""Tvrjrv[;i^U3II

63

As a rule, continuous phrases of more than

two notes are not detached, but played legato with

merely a slight "dwelling" upon the first note of

each group, as follows (Measure 9):

Mea

The trill at the end of measure 11 is played in

this manner:Measure 11

The trill at the end of measure 35 should be

treated as follows:

Measure 35

In measm-e 42 the trill is played in this manner:

Measure 4.

mr\

m

In measure 45 the trill is played the same as

above in measure 35:

Measure 45

At the close of the Prelude a slight ritardan-

do is customary, but at the end of the Fugnie one

can indulge in a broader and more extended slack-

ening of speed (riYe/ZK^o), thereby indicating the

final close. The ritenuto,\\.o\ve\eY, should be

perfectly gradual, and not in any manner over-done.

The fermata^oT pause,over the final

chord may be held at the discretion of

the player, but good judgment in this

instance would dictate that the ritard

begun in the last measure but one, be

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

very marked and positive rhythm. Due value

must be given to each individual note and rest.

The same"pointing" should be carried out at each

entrance of the theme throughout the entire com-

position, thus presei'\-ing its inherent character.

Above all do not hurry! Many organists

seem to have acquired a habit of "running away,"

especially when playing anything of a contrapun-

tal nature, like fugues, and the effect is always

restless, confused and unsatisfactory.

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.

PreludeModerato (J -12)

5

Manuals

JOHANN SEBASTIAN BACHEdited by Clarence Eddy

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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. 111. No. 3. i^JJJJJJJ ^

I79II

90PRELUDE 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.

PreludeModerato con moto ( J = 66 ) 2

JOHANN SEBASTIANBACH

Edited by Clarence Eddy

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75

Lesson N9 71

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

This remarkable Prelude is characterized

by great strength, nobility and grandeur. It

should be played in a very dignified manner,with

full, deep toned Diapasons of 16 and 8 feet' pitch.

Although the style in which this compositionshould be played is essentially legato, the Pre-

lude must be executed throughout with great

clearness, and absolute precision of attack:

Play connectedly, but avoid all blurring. Theend of phrases must be sufficiently detached to

permit a clearcut attack of the following phrase,

as shown in measure 2, Illustration No. 1.

Measure 2

111. No. 1.

J^ ijf^ J JM ^-

P

^In measure 6, the soprano note E, should

be tied to the same note in the alto part (on the

second beat), to preserve the inherent legato

character, as shown in Illustration No. 2:

111. No. 2

The D in the alto part (3d beat of the samemeasure) must of course be repeated by the sop-rano part immediately following.

In order to play che inner parts perfectlylegato in measures 12,13,14,15,16 and 17, certain

alto notes have been bracketed with the tenor part.

In measures 18,19 and 20, the thumb of the

right hand must play the successive notes with asliding motion, while a substitution of the otherfingers is necessary for a perfect legato.

The character of this Fugue is bright andcheerful, and it should be taken moderately fast.

Played in this manner it furnishes a good contrast

Measure 75

111. No.

3

Observe the change of time from 4 to^ at the

close of the Fugue, whereby the length of the last

to the Prelude. The first note in each measureshould receive a special emphasis and an un-swerving tempo must be maintained throughout

the composition. A smooth flowing legato is called

for, but the plaj^er should strive for perfect clear-

ness and distinctness in the performance of each

voice-part; also to preserve an absolute steadi-

ness of rhythm. The fingering indicated in meas-

ures 70, 71 and 72 will be found most helpful in

keeping these passages in thirds perfectly clear

and steady.

In measures 75 and 76, the soprano must re-

peat each note upon the second beats as shown in

Illustration No. 3:

two measures is doubled. Only a slight ritard is

therefore required.

76

PRELUDE AND FUGUE IN E MINORSwell-Full

Prepare \ Great- Full to Fifteenth,Sw. to Gt.

Pedal- Foundation stops 32,' 16'and 8J Sw. and Gt. to Ped.

JOHANNSEBASTIANBACHEidited by Clarence Eddy

Prelude ,

Adagio (J = 42)

Manuals

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Lesson N9 72

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

The character of this Prelude and Fugue is bright andcheer-

ful throughout, and both movements may be taken at a moder-

ately fast tempo. The nature of the Fugue however, demands

a slightly slower and more dignified tempo than that of the

Prelude. We have indicated for each movement an approxi-

mately correct metronomical tempo.

It will be noticed that the given registration calls for three

Measure 5

manuals, (Swell, Great and Choir) but if the instrument has on-

ly two manuals, the part marked for the Choir organ may be

played upon the Swell organ. The triplets in measures 5 and 6

of this Prelude, should not be separated,but played legato with

a slight accent upon the first note of each group. The first trip-

let in each measure should receive the most emphatic accent,

as shown in measure 5, Illustration No.l;

Ill.No.l P^' 'jy^jy ' 'JJ '3/ 'jy-

The groups of sixteenth noies

Illus-

Measure 59

This rule regarding accents applies also to the repetition of similar phrases in the Fugue,

should not be separated, but played legato, with an accent upon the first note of each group, as shown in measure 60,

tration No. 2: m co 60

Ill.No.2

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-

actly upon the fourth beat, as shown in Illustration No. 3:

Measure 67

*v. irf~p~r~'T i rrrrrrrr r r r r r r fi*

Ill.No.3

^m^ i

e^F=r

^The 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<^ ^r 5

CrS ^^S

In the right hand part of measure 71,the first note D should be shortened,and an accent placed upon the note G on the second

beat. The note A in the same measure,on the third beat in the tenor part,should be shortened and an accent placed upon 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

^

m^ ff f V f

i^^III.No.6

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

83PRELUDE AND FUGUE IN F MAJOR

Prepare

Swell. 8 & 4' (without reeds)

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

Choir- 8'& A', Sw.toCh.

Pedal. Bourdon 16' & F1.8', Sw.&Gt.to Ped.

U^A->^.

Manuals

PreludeAllegro moderato (J': 132)

JOHANN SEBASTIANBACHEdited by Clarence Eddy

Pedal

®

^ Ffg^f?^ 8 ^ ^8 ^ ^3^mm ^^^J ? y J ? y Jsy ' uy * a^

crese.

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Full Sw.

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I79II

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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

an extremely broad and majestic interpretation. It should

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

ritard . Particular attention is called to the tenuto sign '•)

in measures 3,4 and 5, which indicates greater emphasis and

power upon these notes.

The broken chords in measure 3 should be played in-

cisively, with a similtaneous accent upon the top note of each

chord. The trill in measure 5 is played as shown in Illustra-

tion No.l:

Measure 5

Beginning with the last group of sixteenth notes in meas-

ure 5 of the Prelude, the movement changes to a more rapid

tempo (Allegro moderato), and continues in this manner to the

end of the Fugue, excepting two ritards in measures 19 and

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

the Fugue.

Before beginning the Allegro moderato in the Prelude,

the reeds, mixtures and 16 ft. stops should be taken off, to be

brought on again during the sixteenth rest in measure 19,

just before commencing the short pedal cadenza.

These stops should be taken off again before beginning

the Fugue in measure 25, but the Swell organ remains coupled

to the Great throughout.

The ritard in measures 24 and 25 continues through the

quarter rests on the second beat in measure 25. The Allegro

moderato tempo is then taken up promptly at the entrance of

the Fugue -subject. Opinions differ as to the manner of phra*^

ing this subject or theme. Some students of Bach advocate that

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

Illustration No. 2:

Measure 25

I11.N0.2 'y^ frjyprfpr \^^^^T\ ^tOr as in Illustration No. 3:

Measure 25

Ill.No.3

Both of these methods appear disjointed, angular and eccen-

tric, and a more natural, rational and beautiful interpretation will be

found in the following phrasing, Illustration No. 4:'

Measure 25

Ill.No.4

Or as expressed verbally; a pure legato touch throughout

the entire theme,with a primary accent upon the first beat,

and a secondary accent upon the third beat of each measure.

This will enable the player to convey the impression of ac-

centuation, and at the same time preserve a perfect steadiness

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

faulty and unsatisfactory.

For the sake of variety, the section between measures 41

and 46 may be played upon the Swell manual, the right hand

returning to the Great on the second beat of measure46iand the

lefthandpart on the last half of the second beat in measure 47.

This will bring out the entrances of the theme more clearly

and conspicuously, and also make thecompositionfar more inter-

esting. Exactly upon the third beat of measure 54 the Full

Great should be brough' on by a pedal or piston, and upon the

first b^at of measure 58 the Full Organ might be added by a

crescendo or sforzando pedal, thus bringing this remark-

able"little Prelude and Fugue" to a dignified and logical con-

clusion.

1/911

PRELUDE AND FUGUE IN G MAJOR89

Swell . Full

Prepare \ Great. Full, Sw. to Gt.

Pedal . Full, Sw. and Gt.to Fed.

PreludeGrave (J = 40)

JOHANNSEBASTIANBACHEdited by Clarence Eddy

Manuals

Pedal

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I79II

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

that the entrance of the figure in the left hand part of measures 2,4,23,25 and 27, which is played upon the Great manual,

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

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

—

fi: SE

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

22Ztration No.5: III -.3 ^^' Jj^

|JF-{]

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.

6

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

111.

I

.N0.7 ^^'' is r'1 ^ m

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

111. No. 8

I79II

PRELUDE AND FUGUE IN G MINOR95

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.

Prelude ,

Andante con moto ( J = 72

)

JOHANN SEBASTIAN BACHEdited by Clarence Eddy

Manuals

(

Pedal

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I79II

100

Lesson N9 75

Prelude and Fugue in A Minor iJ. 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 should be taken, which may be indicated by the metronome at about 63, barring the two ritards, this

tempo should be kept like the pendulum 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.

1

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.

2

'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.

3

.. .J

—

i r^^

^ ^^^^

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

111. No.

4

^ JT I ]

The Fugue should be taken at about the same tempo as the Prelude, with two beats 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.

5

(^ r 7 r r r r? '^^^

111. No.

6

LAL£^£:4r^i;9ii

PRELUDE AND FUGUE IN A MINOR 101

Swell .Full

Prepare ) Great- Foundation stops, 8'4'and Z\ Sw. to Gt.

( Pedal- Foundation stops, 16' 8'andA^ Sw. and Gt.to Fed.

PreludeModerato ( J r 63

)

JOHANN SEBASTIAN-BACHEdited by Clarence Eddy

Manual

Pedal

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Sw.(open)

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I79II

103

I79II

103

Fugue(S) Allegro moderato (•j^

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I79II

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,plTO 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. No. 5 m *y *y *yit7- ^y^^r:^

Either of these ways however is rediculous and entirely at variance with the true dignity and simplicity of Bach, whose writ-

ings require above all a solid rhythmical foundation.

I79II

PRELUDE AND FUGUE IN B FLAT MAJOR 107

(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.

PreludeModerato con moto ( J = 72)

JOHANN SEBASTIAN BACH

Edited *.y Clarence Eddf/

Manuals

Pedal

^ 3 ^^ 4 3

:2

'Gt. (with Swell open)

^S

^S

-I— 9 3-^i £

Gt.5 .3 4 2

*m _ m

1 3

^

I79II

108

^IP-^ 9

m ®

s^

^—0-

I79II

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la tempo 109

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113

Lesson N? 77

Trio Playing-

The value and importance of Trio-playing

have already been strongly emphasized, and it

has been explained that each part should be care-

fully studied separately, with its proper finger-

ing and pedaling. The final joining of all the

parts will then lead not only to the foundation

of clearness in part -playing and intelligent

phrasing, but it will establish an independence

between the hands and feet, which is absolute-

ly indispensable for the technic of a skillful

organist.

A preparatory study of the two-part and

three-part Inventions for the piano by Sebastian

Bach will prove of very great value to every

serious minded organist, while the more am-

bitious student will find plenty of material for

advanced thought and work in the remarkably

clever arrangements by Max Reger and Karl

Straube of the 15 two-part Inventions of Bach,

to which they have added a third part in free

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"

will also prove beneficial in forming a per-

fect style of touch, fingering and phrasing.

Many of the original compositions for the

organ by Sebastian Bach are written in Trio

form, the most notable being his Six Sonatas.

Among the earlier composers who have

placed special importance upon Trio -writ-

ing may be mentioned, Wilhelm Friedemann

Bach, Kirnberger, Albrechtsberger, Pachabel

and Krebs, while of the more modern writ-

ers, perhaps the most conspicuous are Men-

delssohn, Johann and Friedrich Schneider,

Gustav Merkel, Josef Reinberger and Max

Reger.

We have confined ourselves in this Les-

son to a few excellent examples by Friedrich

Schneider, taken from his 48 Trios for the

organ, to which we have supplied the phras-

ing, fingering, pedaling and appropriate re-

gistration.

(73n

114

/Sw. 8' A 4'

Prepare) Gt. Flute 4 Gamba 8'

fPed. Soft 16' <^8'

FRIEDRICH SCHNEIDER

J=40;Largo (J= 40)

Sw.

Manuals

Pedal

tA^s.s-^^

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1^'- J |,J^E^S ^ ^ J ;^F=^ » J J iJ ?

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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

)

Manuals

Pedal

3s-^^

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11(>

!Sw. 8'* 4'

Gt. FIutesAString-s 8'

Ped. Bourdon 16' & Violoncello 8'

FRIEDRICH SCHNEIDER

Andatitino (Jr66)

2'^ 1

Manuals

Pedal

Gt.

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JA

17911

117

!S\v. Flutes and Strings 8'

Gt. Melodia 4 Dulciana 8'

Ped. Bourdon 16; Gt. to Ped.

Adagio (JziS)

Sw.

FRIEDRICn SCHNEIDER

Manuals<

Pedal

fctA^ i* mi¥^=l &^

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wtfc^

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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-

LargAettoiJzi,^)

FRIEDRICH SCHNEIDER

Manuals

Pedal

^ 1/ i*> r ^> »

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^^I73II

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

^ P

4tb measure

and i5*r-^t

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

rig-ht hand part

in 2^^ measureleft hand part

in 21"^ measure

m and

I79II

12

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

I'/t'J)>ne iGt . Flute and String- 8'

'Ped. Soft 16' and 8'

(J^r60)

Manuals

Pedal

UiLcurghetto (J':60)

Sw. ^

GUSTAV MERKELEdited by Clarence Eddy

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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'

Manuals

Pedal

Andante maestoso (J r 56)

JOHANN GEORG ALBRECHTSBERGIREdited by Clurfjici' Kdriy

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17911

122

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I79II

123

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I73IJ

124

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I79II

(Sw.Prepare <Gt.

<Ped

Lesson N9 79Trio Playing: (Continued)

CANONIC VARIATIONOn the Christmas Song:

Vom Himmel hoch d^ komm ich her"(From Heaven above I come to thee)

Foundation stops 8' and 4'

Flutes 4 String's 8^ Flute 4' and Bourdon 16'

Trumpet 8' (or other assertive 8' stop)

Andante con moto (dliios)

125

J. S. BACHEdited by Clarence Eddy

Manuals

Pedal

I/9II

136

*3 1

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I79II

127

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I79II

128

Lesson N? 80

Hymn -tune Playing

The sole aim of a great majority of org-an

students is to become church organists, and

their ambitign seems to end with the one de-

sire of just being able to ''play well enough to

play in church',' regardless of the fact that a

good choir accompanist must have a solid

technical foundation, a sound knowledge and

command of the instrument, and an ability to

execute with a certain degree of skill and

freedom.

Unquestionably the most important re-

quirement for the church organist lies in the

proper playing of Hymn-tunes, and yet the

study of this branch of organ- playing is

usually very much neglected.

The manner of "giving out"a hymn-tune

prior to its being sung by the choir, or con-

gregation, is susceptible of considerable

variety, and depends entirely upon the taste

and skill of the player.

Four fundamental principles should

always be well considered, namely;

1. Absolute precision of attack and release

of every note.

2. Smoothness and clearness of execution.

3. Steadiness of time and rhythm.

4. Proper division and subdivision of syl

-

labic phrases.

The bad habit indulged in by some or -

ganists of ragged and slovenly playing of

chords and music of two or more parts, is

quite as reprehensible as that of playing or

singing out of time.

Many congregations have a bad habit

of dragging the tempo, while others rush

through the hymns in such an exasperating

manner, that they fairly gasp for breath in

a vain attempt to keep up with the whirl -

wind of rapidly following verses, they do

not appreciate the difference between sing-

ing promptly and singing fast ,and the usual

result is an utter lack of true devotional

spirit.

As a rule the organist is to blame for

such deplorable conditions, for he should

not only set the proper pace in giving out

the tune, but he should maintain the speed

throughout the hymn tune, by accuracy and

precision of attack, steadiness of rhythm

and phrasing.

It should be his province to lead and

not to follow .

The prevailing tendency in this country

to hurry in all church music, and especially

in the congregational singing, is mainly due

to a restless, undignified and superficial

attitude of the younger generation of organ-

ists, who evidently have little appreciation

of the meaning and character of the words

to be sung, and much less for the spirit of

of the sanctuary. They are quite as apt

to gallop through "Nearer, my God, to Thee','

l?9ll

129

as "There is a Happy Land', and the calmer

and more solemn moods of the church service

are interpreted in precisely the same manner

as those calling for praise and rejoicing.

The effect upon one of a religious and sen-

sitive nature is offensive and disgusting.

In the selection of hymns and tunes for

congregational singing, the organist, or the

director of music should be guided by the

following rules:

1. That the words and music are well suited

to each other.

2. That the compass of the music is neither

too high nor too low.

3. That the accent coincides in both hymn

and. tune

.

4. That the tunes are singable, and contain

no difficult melodic intervals.

5. That the words and music are devotional

in character.

6. That the music is either familiar , or

that it can be easily memorized.

Most hymn books contain too many poor

and unsingable tunes and useless hymns,

hence the need of careful discrimination, and

although the manner of playing hymn - tunes

upon the organ concerns us chiefly at this

time, yet the following quaint directions

forsinging them, which are taken from the

preface of little old English hymnal, should

prove of interest in all churches where good

congregational singing is desired:

1 . Learn theseTunes before you learn any others; after -

wards learn as many as you please.

I79II

2. Sing- them exactly as they are printed here, without

altering" or mending" them at allj and if you have learned

to sing them otherwise, unlearn it as soon as you can.

3. Sing" All. See that you join with the congreg-ation as

frequently as you can. Let not the slightest degree of

weakness or weariness hinder you. .If it is a cross to

you, take it up, and you will find it a blessings.

4. Singf lustily and with good courage. Beware of singing

as if you were half dead, or half asleep^ but liftupyour.

voices with strength. Be no more afraid of your voice

now, nor more ashamed of it being heard, than

when you sung the song"s of Satan .

5. Sing modestly. Do not bawl, so as to be heard above

or distinct from the rest of the congreg-ation, that you

may not destroy the harmony, but strive to unite your

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

6. Sing in time . Whatever time is sung,be sure to keep

with it. Do not run before nor stay behind it; but

attend close to the leading voices, and move there-

with as exactly as you canj and take care not to

sing too slow . This drawling, way naturally steals

on all who are lazy; ,and it is high time to drive

it out from among us, and sing all our tunes as

quick as we did at first.

7. Above all sing spiritually. Have an eye to God

in every word you sing . Aim at pleasing Him

more than yourself, or any other creature. In or-

der to do this, attend strictly to the sense of what

you sing, and see that your Heart is not carried

away with the sound, but offered to God contin-

ually; so shall your singing be such as the Lord

will approve of here, and reward you when He

Cometh in the clouds of heaven.

130

Lesson No 81

Hynin-tuiie playing (Continued)

As an example of a plain choral -tune let us

take the widely familiar one, entitled Old Hun-

dred (attributed by some to G. Franc and by

others to Louis Bourgeois), the playing of which

in its simplest form would naturally be done up-

on one manual as follows:

y.(cl=54)

OLD HUNDRED

3C i i iG. FRANC

n=^=g

LaYT r r

m u A A

^ ^ P^r r

#n\ ^ ^

r\

T^ i X AA A AiW P^ F^ ^ f^r r

In the playing of tunes of this class two

very important things are necessary, namely;

smoothness and distinctness, a combination of

motion and repose resulting in the effect of le-

gato, which is indispensible to all good organ

playing.

Great expertness in changing the fingers

upon the keys is required.

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.

Consequently, instead of repeating the en-

tire chord at the beginning of the follow-

ing example, and in other similar instances

certain harmonic tones should be sustained,

as indicated by the tied notes.

Bear in mind however that the notes

of the melody should not be tied, but al

-

ways clearly defined, or repeated.

17)11

131

i* i

id)

irs

f^

i-A

"^WPfjy

?^ ^ i ^ f^ r

The repeated notes at («), (^),and(«?), are

not to be played staccato, but the keys must be

released and attacked very promptly, in order

to insure distinctness of "speech'.' The alto note

A at (d) is tied over from the soprano part for

the sake of greater smoothness. If the pedals

are used, both feet should be employed with

eqaul independence, so that the same legato effect

maybe cfctainedwhich is required from the manuals

,

and this habit of obligate pedal-playing cannot be

urged too strongly. The question of using the

pedals in the lower or upper octave of the key-

board must be left almost entirely to the judgment

of the player, who will learn by experience when to

give greater or less support, which is to be derived

from the deep and solid foundation tones of the

pedal organ.

In the playing of choral tunes, particularly for

congregational singing, and whenever a strong

support of the manuals is needed, the pedals

should be used mainly in the lower octave of the

keyboard, as indicated in the following example :

I79II

132 Vo^o h-^^r\

t ir\

f= fFF^f^ ^ ^ A urf

? f—^f-f' P^ PFed. Soft 16', Sw. toPed

A

The doubling of the bass part above is in-

tended merely to strengthen the harmonies, and

not to interfere with the obligate character of

the pedal part

.

The subject of registration will be fully con-

sidered later on, but at the present time the fun-

damental principles of stop- combinations must

at least be touched upon. Both in accompaniment

and solo playing upon the organ, stops which pro-

duce tones in unison with the human voice, name-

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

nate upon the manuals, and those of the sixteen-

foot pitch upon the Pedal organ.

In accompanying solo voices, duetts, quar-

tettes, etc., particular attention must be paid to

the proper balance of tone, both in regard to pitch

and quality, but in the matter'of hymn-tune play-

ing, especially for large choirs, choruses or con-

gregations, the main thing is to adapt the pro-

portions of tone to the relative power requir-

ed to properly sustain the added number of voices-.

I79II

135

Lesson N? 82

Hyiiiii-tuiie Playing (Continued)

The Hymn-tunes selected for this les-

son are familiar to all Protestant churches, .

and belong in the same category with 'Old

Hundred" and 'Dundee" used as examples in

Lesson N9 05. They should be played per-

fectly legato in a moderate, steady tempo,

and with a fairly powerful organ in which a

solid foundation of sixteen feet stops is giv-

en to the pedals. In each example the pedal-

part has been carefully written out, and it

will be observed that the lower octave is used

where the greatest support is needed.

The tune, St. Ann's" is ascribed to William

Craft an Englishman who was born in 1078

and died in 1787. Johann Sebastian Bach

must have been greatly attracted by the mel-

ody, inasmuch as he appropriated the first

strophe for the opening theme of his great

three-part Fugue in E flat.

ST. ANN'S

(J -. 44)

i J I J J I J i^

WILLIAM CRAFT(JG78-1727)

^ if

Gt.f^

-t^-JM.

m"^

rf

tt

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uzai

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fe^

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r T -

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It"

-1

A " A ^

ns

A A

^P

JV-

^/C\P^

I79II

136

Repetitions of the same chord such as are

found in the following example, are essential

to rhythmical and syllabic clearness. This

should however be accomplished with discre-

tion by the manuals alone and not by the ped-

als, except for defining more sharply the di -

vision of rhythmical phrases as for instance

at (a) in the sixth measure.

FEDERAL STREET(J: 56)

n. K. OLIVER

Observe particularly the phrasing in the following example, and emphasize the first

beat of each measure:

DUKE STREETJOSEPH 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

(J -. 56)

Ues^ ^ =s= i i jO. -o-:2-

VrTfT ^gr r rrvr -t»-

^ -^>- 33:

<'>:i^iam Azz: Ty

=^=;? TT TF"o A

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I

J J .1

^ r r r frTj J ^ J TT

r r r r t

SIP;: Ie

r r r r r

f « gsr r r

~rr

I79II

138

The following example is written in |- time,

and yet the natural pulsations of rhythm clearly

indicate double time. It were better therefore

to feel two beats in the measure and not four.

This entire hymn is divided into four complete

sections, each of which constitutes a phrase,

but it will be observed that we have subdiv

-

ided each of these phrases into two parts,

not with the intention however of breaking,

or separating them, but with a view towards

a better understanding of the meaning of each

musical phrase.

HAMBURG(Jr48)

Arranged by LOWELL MASON

I79II.

141

Lesson N9 83

Hymn-tune Playing- (Continued)

American Hymn-tunes

Without entering into the history of Amer-

ican church music, it will be of interest to con -

sider that the beginning in this country was

made by "William Billings, who was born in

Boston Oct. 7^-^ 1746, and died there Sept.

29tb 1800. He was entirely self taught, and

to use his own words, did not believe in con-

fining himself to any Rules for Musical Com-

position laid down by any that went before him,

but thought it best for every composer to be

"his own carver'.' It is quite evident that he was

"an original geniusj' and although he published

many volumes of ''psalm -tunes',' yet very few

of his "compositions" have survived even to

this day. His best known tune entitled Ches-

ter "was frequently sung and played during

the time of the Revolution, and became very

popular throughout New England . We give it

here in its original form merely as a matter

of curiosity;

CHESTER, L. M.

^

BILLINGS, 1770

%Ten.

Alto

Sop,

-»-

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

iS IE IE IE 32-O- -O-

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

=3= p f ^ f p ^z—g^il I2Z ^ ^'y dI

o

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

> >:, ^ P§ ^ f' f^ (&

Bs ^ zssz^-g-

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

^r r I r u r r

3E '^ p r w m w— *^

Where sun and moon and plan - ets roll And stars that glow from pole to pole

^ mi

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

-O—n-^ ^P i ^ ? ^ ^m

Where sun and moon and

M *

plan ets roll, And stars that glow from pole. to polt

rri rrL;rJ ^-e &

^Where sun and moon and plan ;ts roll, And stars that glow . from pole to pole.

I79II

142

N.B. As was customary then in part- writing,

the first line was assigned to the tenor, the

second to the alto, the third to the soprano,

and the fourth to the bass voice.

Contemporary with Billings was Oliver

Holden, who held about the same views re-

garding musical composition, and whose writ-

ings belong in about the same class. Hishymn-

tune"Coronation"however,has stood the test of

time, and is as popular today as it was a hun-

dred years ago. The tune should be^given out"

with powerful stops, and played throughout upon

the Great with the full Swell coupled, augment-

ed by an adequate Pedal organ. The third line

however should be played by the manuals a-

lone as follows:

CORONATION(J --96)

OLIVER HOLDEN1765-1844

i4-^ tt i i m^=^ ^ ^r¥^ r

j^

f frFTrrr r~^ r

m U J: "U±i ^^ rj rj

^^:^§ ^ ^ 2Z ^^

AA o

I79II

143

Notwithstanding the fact that Billings

and Holden, and some other writers of hymn-

tunes were pioneers, the real honors belong to

Lowell Mason, who may justly be considered

"The father of American Church Music?

Aside from being the father of four musically

gifted sons, among whom was William Mason

the eminent pianist and teacher of many fa-

mous pupils, he was the author of a vast num-

ber of hymn-tunes which are widely known and

loved in America, and the foundation of a

refined musical culture throughout this coun-

try is largely due to his influence.

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.

The following are among the most pop-

ular of his hymn-tunes, and they may all

be characterized as simple, melodious, de-

votional , dignified, and singable:

Bethany, Sabbath, Laban, Olivet, Boyl

-

ston, Downs, Meribah, Harwell, Ariel,

Henley, Migdol, Naomi, Star Wesley,

Hebron, Olmiitz , and Missionary Hymn.

It is impossible to reproduce here all

of these hymn-tunes, but let us consider a

few which are typical examples , and pre-

sent them for manuals and pedals as they

should be"given out.

17911

144

Lesson N9 84

Hymn-tune Playing (Continued)

BETHANYN9 1

(Ji60)

f/^^fTli^ZrJSw.JtAg'

')* i r g

mv=n

^

sncrTT"-cr

-o-

Ped. Soft 16; Sw. to Fed

S:RF ^ xn -^

A

LOWELL MASON

^^CTT

i

^* J J- i>

|

J- :^-e o -ifTf ^[ -^

"TT"

O^• •^ f=^=f ^^s s

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

t J J- J)

rzV!

-^

>>^tt r r p ^s J J J ^

^

"0~

_o_

^1 ' A '

Tf

I79II

145

SABBATH

NO 2 LOWELL MASON

I79II

146

BOYLSTON

N9 3LOWELL MASON

i f t fg cU-

^^

^^ 31: ^ TTf f ^

5iFg ^o . A

TV o

zzz:

iA32:

o

tun

147

ARIEL/Sw. 8'.^ 4'

PreparelOii. F1.8' Sw. toGt.

( Fed. Bourdon 16' Sw. to Fed.

N94 LOWELL MASON

^i ^ ^m^

f ^ t^^SwAWyW 8'&4' r r^TJ

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M f ^E^ i^^ ^ ^S^Ped. Soft 16' Sw. to Fed.

^"1'u I f r P

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I79II

148

MISSIONARY HYMN

N9 5LOWELL MASON

i

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GtV /coupled to Sw.

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A fit. to Ped. A

=«^

A^-^ ° Af ? g ^

I79II

HARWELL

149

NO 6

cJ:72)Gt. 8'A t'with Full Sw.

*t mn^ i!i*

LOWELL MASON

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I79II

\

150

Lesson N9 85

Hynin-tune Playing (Continued)

American Hymn-tunes (Concluded)

It would be difficult to find three more

melodious or popular hymn-tunes than "Top

-

lady," 'Retreat"and"Ortonville" by Thomas

Hastings, who was born in Washington Conn.

October 15, 1784, and died in New York City,

May 15 , 1872 . He was a teacher of music in Utica,

Albany and New York,and received the degree of

Doctor of Music from the Universilyof New York

in 1858.

Each of these tunes maybe played upon one

manualjin the manner of those given in the preced-

ing lessons, or by separating the parts in a more

melodious way as follows:

TOPLADYPrepare \

Sw. 8' with reed & TremoloCh. Dulciana 8'

Fed. Bourdon 16' Ch.to Fed

N91 (^--^*)

THOMAS HASTINGS

Sw,

I79II

The simplicity of the next hymn-tune is better preserved however by playing it in the

following raan-ner.

151

RETREAT

(J: 92)THOMAS HASTINGS

B ^ i im t t i i•—&

Sw. 8'

p^

^ ^—TJL fe^ #Ped. Bourdon 16^ Sw. to Ped.

'M J I J. J~J^

-G-^

^ W=^rit

m =^

Ii m szizs:«=*=# ^^

^ ^ i g i £ 2Z5 ''>'' rj

t >: r pr-tr-s^ J M. J.

o AtS^

rJ' rJ

Likewise the following:

ORTONVILLE

fet

(i^zlOS)THOMAS HASTINGS

S ^^ f S=5 ^£ ^=1Sw.8 6 4 ^^

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

—

p-

I79II

152

The tune Martyn 'by Simeon B. Marsh,

set to Rev. Charles Wesley's hymn :"jesus, lover

of my soul," about which the Rev. Henry Ward

Beecher said : "l would rather have written that

hymn, than to have the fame of all the Kings

that ever sat upon the earthl,'is dear to the hearts

of American church-goers. It is exceedingly

simple in style, and must not be sung too fast,

the most appropriate tempo being about 92 for

the eighth notes.

Student should observe carefully the

syllabic repetitions, without however destroy-

ing the sense of legato phrasing.

The composer of this tune was born in

this country June ist, 1798, and died July14t>, 18 75

MARTYN^Sw. 8' & 4'

Prepare\Gi. F1.8', Sw. to Gt

.

Ped. Bourdon 16 ,Sw. to Ped.

SIMEON B. MARSH

(^z 92)

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

i ^i^ i-

^

While the near-er

Sw.

m

While the tem-pesf high._

^^ ^A

i

17911

157

m i£i J ii

Gt.

i il) J- ;. i) i)

Gt . to Pcd .

m tCI.

A o

Other hymn-tunes of American origin

might be cited, but the following are es-

pecially recommended to the student as

typical examples: ''Rest" and Woodworth"by

William B. Bradbury, Frederick ', "Newbold','

"Heber'' and "Ware" by George Kingsley,

"Greenwood by Joseph E. Sweetser/ Rath-

bun" by Ithamar Conkey, 'Flemming" by

F. F. Flemming, "Hymn" by J. E. Gould,

' Bemerton" by H.W. Greatorex, "America"

by Henry Carey, Webb by George J. Webb,

"Rockingham" by E. Miller, "Wareham"by

William Knapp, "Stephanos" by H. W.

Baker, and Shining Shore" by George F.

Root.

I79II

158

Lesson N9 87

Hymn-tune Playing (Continued)

English Hymn -tunes

Many of the English hymn -tunes sung in

this country are noted for their rare beauty

and sterling worth, and it must be admitted

that those which we have selected as exam-

ples, are models of form and religious mu-

sical expression. It is indeed very difficult

to choose from the following remarkably choice

list, but special attention is called in the

list given, to the syllabic repetitions of cer-

tain notes, and also to the manner of phras

-

ing indicated, with particular reference to

a proper enunciation of the accompanying

words.

Rev. John B. Dykes, "Nicaea"

"St. Oswald"

''Vox Dilecti"

"Vox Angelica"

"St. Agnes"

"Lux Benigna"

"St. Cuthbert"

"Sanctuary''

"Almsgiving"

"Gerontius"

Sir George John Elvey,"Diademata"

n "St. George's Windsor''

Alexander Ewing, "Ewing''

Sir Joseph Barnby,

>>

}}

))

"O Paradise"

"Lades Domini"

"Merrial"

"St. Andrew"

"St. Anselm"

"Perfect Love"

"Requiem"

"St. Chrysostom"

Edward J. Hopkins/'Ellerton"

„ "Temple"

William Henry Monk/'Eventide"

n "Hursley"

(Arranged from Peter Ritter)

Sir Arthur Sullivan,"St. Gertrude"

>) Resurrexit"

''Angel Voices"

"The Homeland"

Heaven is my home"

"Adeste Fideles"

In playing the following tune, Nicaea"

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

marcato , staccato and tenuto , but do not ex-

aggerate the shortening of either the marcato

or staccato touches, the main object being to

acquire clearness and distinctness of enun -

ciation.

John Reading,

I79II

NICAEA159

J. B. DYKES1SS3 - 187S

% J- Ji

ii ^

f^T^Ear - ly in the

^rr r=f=rsong shall rise

Ttomorn ing our

Iag :| *f^

aft i ig^ f -^A o A

U.m ^^ J. J^ J J

P—

#

ho

7"i^:ZEF

Ho - ly, ho - ly, ly,

^ mer - ci - ful and

f ^?

1^g^icffii^rrzz 221 DOCjch

^ r?i; /T\

^^f M "T^

God in three

gtper

l9-

sons

,

_(2

bless -ed Trin

£

I79II

,^

A

160

"/The same thing is true in playing "O Paradise" by Joseph Barnby, one of the most

beautiful of all hymn-tunes.

PARADISEJOSEPH BARNBY

(J: 116)

kg ^^ :s:

}-. " ';t t

doth not crave forf^

Os-w. s'fr 4 mfl -

hPar - a-dis^e! O Par - a - dise ! WTio

^rest?

? eFed. 16' Sw.toPed. A A A

i U- i 'J ^ il>I? 4

A A

^ ^ ^ i i? 1W g^f 'PWho would not seek tEe

Thap - py land, blest?Where they that loved are

I79II

161

Lesson N? 88

Hymn-tune Playing (Concluded)

<'iObserve in the following- tune,'" Ewing','

the uniformity of phrases throughout:

1 /'Jerusalem the golden."

2. "With milk and honey blest I"

3. "Beneath thy contemplation!'

4. "Sink heart and voice oppressed/ etc.

Each phrase however should be separated

only slightly, in order that the smooth and

flowing character of the hymn -tune may be

perfectly preserved, and if played with ex-

pression, the Swell -pedal should be used

with great discretion and skill, without

disturbing the true legato style of the pedal

part .

EWING

(J :52)

A. EWING1830-1S95

;79ll

162

4fcw LJfneath thy con - tem

:fc, f r *

fpla - tion,

m

fSink

C^5?heart and voice op pressed:

19-^»g3g i^ ^^=±4=^

^f: i ^=i -J- J)

if^ f ^F^r V r^r

know not, Oh I know not. WTiat so - cial joys are there,

¥5rg;^ ^=^ mg^^p=^

s ^ m-S:

^Ao I

A

o »- oAA ^-'

rtf.

What ra - dian - cy of

"^ If

.o A_

glo - ry:

^

fWhat

£T~rf_plight be-yond com

Tpare

J r r J I1^^o 'A A

^JSI

17911

"^Eventide"is a devout and prayerful hymn-tune, and should be played in a very quiet, smooth

and sustained manner, with soft flute and string:

tone stops of eight feet pitch,upon the Swell organ,

EVENTIDE(J .-88)

163supported by one soft sixteen foot stop in

the Pedal organ (preferably the Bourdon),to which the Swell manual should be coup-

led.

W. H. MONK18^3 - 18S9

Ped.16' b Sw. to Fed.

nh \ \' ^ i 331 ^^o A A o

m i=t ;;a -o--o- f=T

dee - pens

•

Lord with me a

"TX"

bidel

#

hel - pers

^ -o-

^iSTtiT

i ^ -o- ZZZI

rPrtx> oo

fail, and com-forts flee, Help of the help-less, Oh a - bide with

Sis E -»-O '

"o K W m -^

me!

TT-

I79II

164

On account of the martial character of the

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

petitions of the syllables should be marked

very clearly and distinctly by the manuals,the

pedal part being sustained however in a

legato and dignified manner. Although written

in ^ time, the best effect is obtained in double

time (alia breve), with a strong accent and

stress upon the first beat in each measure.

Do not separate the phrases indicated by

the double bars, but play in absolutely strict

time, with the exception of the two closing

measures, where a positive ritard may be

made.

ST. GERTRUDE,Sw. Full

rreparelci. 8'&4', Sw. to Gt

.

^Ped. 16'&8', Sw. & Gt.toPed.

(J -.54)

ARTHUR SULLIVAN1842 - 1900

fV "- ^ "-

st=^

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

^ >: , 4 o =f ^war.

g -o-fc^

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

s&^A

i i i ^ i^%

^ TT

'i ^ } r ^ ^sus

f^^ -*>-

With the cross of

')\ f f f f

Je

-JZL

Go

it

ing on

3x:

A

-O-

fore:

TT"

I79II

165

* 1 i JJtilt

Christ the Roy - al

Kf r r r

$^^Mas ter.

r r

1 jJ

jr r r r

Leads a - gainst the

f=^=#

foe;

<>

A^ P-^

-O-

J J j J J—J J—

J

^^r r f f

-r f r r

For -ward in - to

J j j J

f=f :§:

bat tie,.

% I ?

^-^ j^

See, His ban-ners

-^ J J J

8:0

f-n-

^-J%__ —_-c

offGt.to Fed.

^ 3x:

r"it t r r

Sw. <On-ward,Chris-tian

rsol diers,

^t t t r

March-ing as to

it «

war

mA Gt.

m -e>-

Gt.m i=J: ^2^ r?7. /Ts

E?^^^Je - sus, Go - ing on be

<>i>

With the cross of

§if- ^ ^ E

fore.

—^

—

Gt.to Fed.^ /C\

iq:

' A

I79II

160

''Adeste Fideles'' commonly known as the

Portuguese Hymn," is generally attributed

to John Reading, an English organist who

was born in Winchester, England, early in

the 17th century, and died there in 1692.

ADESTE FIDELES

(J:,. 6)

^ i

J. READING

^mr_ r r

joy-ful and tri

rGt.8

with Full Sw. ,

f!0

1^-^

come, all ye faith -ful,

'y-hlV T r r i

um - phant,

Ped.l6'& 8', Sw. & Gt.to Fed.

^VitJ 4 ^S f^=VA

!79ll

167

i m i^ =^P-^1^

man - ger, lies the King of An - gels;

L±J£ i^£ £:^

^off Gt.

_ to Fed.

^i7^ 5"

A oA

,Sw.^ ^ i ^^^^=^ ^f t r

o come let us a dore Him,

TO

r—

r

come let us a dore Him,

Gt.

^m N#^ f—

»

^J i "i

'^ fa#^^

i^ ^f f^? ^=^

Christ-Gt.< O come let us a

J

5^ ^i=.

dore Him,,

J 1

the

^Ur

Lord.

Gt.to Fed.

^rt ZZA A

3 Ei i ^ J

I oA o

I79II

168

Lesson N9 89

Interludes

The average interlude inserted between

the verses of a hymn in a religious service, is

an abomination to the Lord. This custom may

have been designed either for the purpose of

furnishing the choir, or congregation, an op-

portunity to take a long breath, or a desire on

the part of the organist to "show off." In any

event there should really be no necessity for

playing an interlude after every verse, and

the less frequently it is introduced, so much

the better. There was a time when organ-

ists considered it the proper thing to play an

interlude between every other verse of the

hymn, but even this habit has become al-

most obsolete, and few organists to-day in-

dulge in this opportunity for exhibiting their

skill, or egotism.

If for any reason the organistwws/'play

a little piece" between the verses, he should

either be prepared to a certain extent, to ex-

temporize in accordence with the laws of cor-

rect musical construction, or else confine him-

self strictly to repeating a strain of the tune

which has just been sung.

In the first case a knowledge of the

fundamental laws of harmony and correct

chord progressions is required , even by those

who are gifted with musical invention.

I79II

169

The words of the succeeding verse of the

hymn should always determine the style or

character of the interlude to be played, and in

length the interlude should not exceed eight

measures. It stands to reason that the tonali-

ty of the hymn-tune must always be preserved,

and that the interlude shall not modulate into

remote keys. If the tune happens to be in minor,

the interlude should at least end with amin-

or,and not a major chord,and vice versa.

It is also logical and sensible to extempor-

ize in the same metre as that of the tune itself,

and not to change from double to triple time, or

in the opposite manner.

A melody played upon a solo -stop may be

utilized in an interlude, if it is appropriate to the

sentiment of the hymn, but all runs, trills, ar-

peggios or variations,are not only distracting,

but woefully out of place in this connection.

The pupil should therefore avoid in play-

ing everything of a frivolous and disturbing na-

ture, and cultivate a feeling of devotion in keep-

ing with the spirit of the sanctuary, and while ex-

temporizing or playing even an interlude, he

should endeaver to have in mind a definite

idea of accomplishing something appropriate

to the occassion,which shall be of some musi-

cal or aesthetic value.

If he can aid in depicting a correct relig-

ious mood, so much the better.

There is nothing more offensive in a church

service than the playing of long, meaningless,

and rapid interludes, exceptijig perhaps a vulgar

mutilation of the hymn-tunes themselves.We have

seen that the source of an interlude may be deriv-

ed from the sentiment of the words to be found in

the succeeding verse of the hymn, but it may also

be constructed upon some motive or characteristic

I79II

170

interval of the tune itself, which method is term-

ed "a thematic treatment!'

In the limited scope of an interlude how-

ever, the development of a theme is naturally

very much restricted, and it should be worked

out only in an imitative or sketchy manner.

Nevertheless the student will find a most in-

teresting and valuable source of material, in

the utilizing of such characteristic motives, or

germs of thought, as are to be found in nearly

every hymn-tune. For instance; the familiar

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

byC.M.vonWeber,andis constructed mainly upon

the interval of a major or minor second,name-

ly: 1,Jij J :

f nwill be seen in the following examples:

as

fif

i § m ^ iMT

1 J

f

J-A

r

idLai

J

r

-I^^ ^ ^ f ^ ^

n i ^4

i N m^La

f

^T r

^P^u

J=A

r

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:i.

mfm

LOWELL MASON

-e-

[\nil UJ"ynrf

h i i. mf r r r

f^

^

^

b^

'

r

_^2n_

r

I79II

172

#^ 7 j:

f

^

m P f

f

1=^=^

fh i^ #

t ^ 4» W

i

fi

^

t=A^

f

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:

1

m

^I79II

173

m 6^

9

^

10

^

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

DENNISArr. from H. G. NAGELI

i i^

J iU UA ^=^

^ t ^

U4^^ ^ ^¥ ^f=f

^ ^ it m i ^^ f

i

r=T 3r

i^ i=J=J: « iJ J iJi iOJ- I

g^ ^^^ P=^ 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

written in F sharp , and is transposed a semi -

tone lower for the sake of greater convenience

in playing the pedal part, which requires equal

smoothness and finish of phrasing as the man-

uals.

In order to acquire perfect independence

between the hands and feet,it is recommended

that the pedal part be practiced first alone,

then with the left hand , and finally with both

hands. It would bewail to practice the right

hand part also alone, for the sake of acquiring

skill in fingering and phrasing.

An occasional use of the Swell pedal

will relieve a monotony which would other-

wise result, but great care must be taken

that the smoothness in the legato playing of

the pedal part is not thereby disturbed.

A frequent use of the heels will add very

much to the general smoothness and ease

in playing the pedals, not only in this Can-

on, but in other similiar selections, and it

is urged that the student carefully consider

this phase of his organ playing.

In preparing this edition great pains

have been taken not only with the fingering

and pedalling throughout, but with the mark-

ing of every individual phrase.

Note for example the opening phrase

in the leading soprano part.

I79II

175

which is broken at the repetition of the A

natural, and each section is fingered in such

a manner that it can be played absolutely

legato. The answer in the tenor part is

phrased and fingered with precisely the

same care.

g P=gi^8 2 3 12 12

The second note of all phrases of two

notes should be shortened about one half

its length, and the final note of longer

phrases somewhat less than that , for in-

stance;

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,

shortened sufficiently to enable the second

finger of the right hand to take the half

note C.

The movement should be perfectly steady

throughout, at a metronome tempo of about 72

for the quarter notes, and a gradual ritard

made during the last two measures only.

I79II

176

CANON IN F MAJOROpus 39, N9 3

,Sw. 8'& 4' without reeds

I'reparelGi. Flute A Gamba 8'

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

ifoderato (J r 72)

GUSTAV MERKELEdited by Clarence Eddy

Manuals

I79II

177

52 4 5 5 45 481 - 2 1 1

i ? i ^ 51

J» 5

i 5-51 3 1 ;s

i ^i5 5

4—i-

^^^^F^ r^ W^

% p-prrrr ^ ftfli^ ^ ^Mi

mo . A

m?

A oA o o

)79li

178

5 3 2

*h

CIFT

.^^^

tJ ^

ya^5 4 3 4

r^^i^

^-^

^^ 4 3 2 3

2 1 1 Z' - 2 3 1 2

m4ffi

vm^341218 1 4 5 12 1 2 3 2 3 1 3 4

17911

179

Lesson N9 91

Canon in B Minor, ROBERT SCHUMANNEdited by CLARENCE EDDY

This exquisite Canon was written for

the Pedal-Piano, and published in a collect-

ion of Six Studies in canonic form for the

Pedal-Piano .

Originally it offers therefore no tonal

contrasts, and is merely a study in dynamics,

the musical interest lying only in its scien-

tific construction as a Canon between the

soprano and tenor parts, but when transfered

to the organ it is imbued with new life and

musical charm, especially if the subject, or

antecedent , and the answer, or consequent

which follows, are well contrasted in their

individual tonal qualities.

In the registration which we have selected,

an extremely effective contrast will be no-

ticed between the predominating reed tones

of the Swell organ, and the bold flute tones

of the Great organ, as follows:

Sw. Reed

^^^^^^ ii ; ^ \

S tFlute

^P V-

IfpV- p 9' P^ ^

!79ll

180

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

supply the fundamental harmonies, viz;

*ft

i ^ J^^.Ji^'ltJi^^!

^ Jlv' JUPTTJTfl fTjw^y^

SwA sjjj

y-H ^ ^ i ^^ ^^ ^

Gt.

-^ ? ^^p rM^^

In order to mark the entrance of certain

phrases, Schumann placed a sforzando sign;

(yf), and followed it immediately with a

piano sign; (/?). These signs we have left

in the copy, and would suggest at those places

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

player open and close the Swell-box sudden-

ly, but only sufficiently however to intensify

the accentuation. The appoggiaturas through-

out , should be played very short and precede

the notes of the chord, as follows:

^^^^^m ^ s 1^ i± sMSw.

,

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

1

181

Great care must be taken to preserve

a uniform staccato touch upon the manuals

and the pedals, and the best results are

obtained when the hands and the feet are

kept rather close to the keys, therefore, do

not raise them too highl Promptness in at

-

tacking and releasing every note and chord,

is a very important feature in the playing

of this study, and it is urged that a bright,

brisk tempo, be maintained* but without any

feverish hurrying. A slight ritard may be

made in measure 82, immediately preceeding

the repetition of the first section, but there should

be no ritard whatsoever at the end of the piece.

For the sake of incisiveness,the trills in measures

58 and 59, should each begin with the g^ven note,

as follows:

Measure 58

i ^"'—

#

f

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'

iVo/ too fast (J: 96)

\^n li^uJiU^^MManuals Sw. ifP

Pedal

^y-h'i I? ^ ?pv'^» l ."j'^'"M P^ P^

5 42 21 1

SfEjte^p^W*^Gt.

^*^

ROBERT SCHUMANNEdited by Clarence Eddy

\, h. i^:^

ji?3>:l^ j^

;yP^P ;y*P j

*«

®it Jt ? V , }

Jt ji nl Ul y !i ^^ *^ ^

^^

'7 M "P^ ^^^^3%^^ t^ 4

ffp

'y-h g y ^ ^ ^^^ %>

^i' ? i P ^ ''p ^ p » ^' ^

y*lt ji ; V ^ n 7 P ^5fe^

IIF

v^t>Ji W'^ ^f ^^j i t 1 !

f ^ ^'' p'' ^ F^t^f^f

^^^^^^^ ^ /^k ^^

I ?W p ? p ^

^m ^^•jw V i

I79II

183

@ .

jS^ji

»ji

? ^

m\ p ^'-rt^ p y ^

P sJ

—

9—

#

il -!-V y# f^ Er^nf

y

^ p y p . p^ p ? p^ p y ^^m :^^ jl? ^ P ? M '

P ^ ^

14 31 1

*@

^ ^. ^^-SW J 't' ^^ I;^f

sfpSw.

Gt.

P .I" . P.v^'it p »-p4 r^ ^'-^ p ; P" ^ H ' ^ ' ^

^^^^^ ii.^v F ±^

I79II

184

i«

421

^^^^^^^J'

^ j' ^i'

^ ^i*

S 1?=^ p^P^P y^P i

'^H J^? 7 ^ J'w ^ ji i'^

I^fe^ f p ^ p ffr

?>-tfit p ^ ^ ^ ^ ? ^

>-/'^J^J'^^

^^

-0 —^^——* —^

? ^tifl ; g ^^^^ y i

'r-H;\^y ) }]:/ 1 P ^^?

4*11 Ji^l^? jH^p; '.

^^H ^ ?

JTYJY^ f fF

^

'>--h P 7 " P =1 Pw^Sw.

p y Up y p ^^ M U* M P^^

^S JW 7 I p ? 1' ? ^ ¥

I79II

185

.*'lt ^ /> . > ^ afe3^3-m—

—

r

Gt.

i^^^^^^p

^^fefe^

@

y I" ? p' ? p ^ p 7 EJ^ P ? ^

A A o

^^

4I'

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186Lesson N9 92

Canon in B minor, ROBERT SCHUMANN(Concluded)

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

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198 Lesson N9 93

CANON IN E MINOROp. 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.)

Aiidantino, ma ito/i troppo (J ; 66)

Manuals

Pedal

THEODORE SALOMEEdited by Clarence EUiiy

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Lesson N9 94

CANON IN A MAJOROp. 21, N9 2

A regular movement, like the swinging of

a pendulum, should be kept up throughout this

graceful Canon. The registration given is by no

ISw.Soft 8' stops i Oboe

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

Ch. Flute 8' 4 String 8'

Fed. Bourdon 16' & Flute 8 '

J^oco Allegretto (J-: 108

Manuals

means arbitrary, but the two parts in imitation

should not only contrast in character,but their

different qualities of tone must harmonize.

THEODORE SALOMEEdited by Clarence Eddy

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Lesson N9 95

CANON IN F MAJOROp. 21 H° 3

/Sw. All 8'&4' stops with Reeds 8'

/>repare<Gi . All 8' stops 4 Fl. 4' (without reeds) Sw. to Gt

^Ped. Foundation stops 16'& 8', Sw.4 Gt. to Fed.

Manuals

Allegru moderator

THEODORE SALOMEEdited by Clarencf Eddy

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213

Lesson N9 96

Theme and Variations in A flat, Op. 34

ADOLPH HESSE

In the entire range of organ literature,

no finer variations of a moderate grade of

difficulty, can be found than those in A flat

major, and A major by Adolph Hesse, which

are presented in these Lessons . It will be

seen that great pains have been taken, not

only in the phrasing, but in the fingering

and pedaling of this edition. In the matter

of registration much has been left to the

taste and discretion of the individual player,

and yet the choice of stops indicated, which

is similiar to that employed by Hesse, will

be found quite adequate for the effective

-

ness of each variation •

Emphasis should be made upon defining

each section of the melody, and in carrying

out the same plan of phrasing in all the dif-

ferent variations, which is found in the first

exposition of the Theme. For example, the

opening phrase of two measures, consists of two

divisions,which should be clearly defined as follows:

w;g=B^

T-

Sv-y

^^:^

^^Jr^ i

i

the second note (Ab in the soprano) of the first

division being played like an eighth note.

The second phrase is unbroken, although

the first note in the alto part of the second

measure (Ab) should be repeated, for

which reason attention is called to the

particular fingering given:

^Sgdt i

-245

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 ^-^ i^^^=r=r=^

1

JtH

riii i ^ jTj i

The first variation should be played very

smoothly, but with a careful observance of the

proper phrasing.

The second variation consists of a clever

canon between the soprano and pedal parts,

therefore the latter should be phrased with

equal care, and made a trifle more prominent.

The third variation (Lesson N? 97) in

triplet movement, should be played in a bril-

liant, but flowing manner, with strong rhyth-

mical accents, and individual phrasing.

The fourth variation in Gtl minor, is in

direct contrast to the preceeding, and follow-

ing variations. It should be played very qui-

etly, with a perfect legato touch and finish

of phrasing. The portion marked for Choir

organ may be played equally well upon the

Swell Manual.

17911

215

The close of this variation was written

for the manuals alone. For g-reater facility

of execution, but more particularly to avoid

the difficult reach of a tenth with the right

hand in two of the measures;

fefcj: im -O-

T rJr J r?TT"

It would be far better to g-ive the lowest notes

to the pedals, as has been indicated.

The last variation is very brilliant, but

not excessively difficult. It should be taken

in a moderately fast tempo, and played strict-

ly in time. The disposition of the notes has

been changed and simplified in several in-

stances, especially where the notes assign-

ed to the pedals duplicate those which were

given to the left hand. The following pas-

sage, as it appears in the original edition,

if'!> p \mfmm im

^^ ^± bJ^

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

4 3 2 1

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4 3 2 1

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THEME AND VARIATIONS IN A FLATOpus 34

-Sw.

JGt.

^Ped.

Open A St. DiapasonsS'and Salicional

Flute & Gamba 8', Sw. to Gt.

Melodia 4 Dulciana 8', Sw. to Ch.Soft 16 '4 8' Sw.4 Gt.to Ped. ADOLPH HESSE

Edited by Clarence Eddy

Manual

3 41

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ad lib.

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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)

add Fed. Open Diap.l6'

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Reduce Swell to Soft Flute & Strings with Vox Cele»ti»

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I79II

227

Lesson NQ 98

Introduction, Theme and Variations, Opus 47

ADOLPH HESSF

In this composition the famous German

organist has shown perhaps his greatest skill

as a composer and virtuoso. It is not only fas-

cinating for the player, but of unusual interest

to the listener.

The introduction should be played in a

very broad and majestic style, and with spe-

cial pains in attacking the chords, and other

voice-parts precisely to-gether.

In defining the phrases care must be tak-

en in releasing the final notes.

The fingering and pedaling demand care-

ful study, in fact nothing can be well done

without taking "infinite pains."

The original and very beautiful Theme

is similar in form to the one employed by Hesse

in his Variations in A flat (Lessons 96 and 07),

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-

dom of expression as possible, the theme being

"brought out" upon the Swell organ with an ef-

fective 8'reed like the Cornopean, or other ex-

pressive reed stop. The pedaling has been in-

dicated with reference to the possibilities of this

expressive feature. It is needless to add that

the. phrasing in this variation, should be done

in the same manner as was given to the first

announcement of the Theme, and that the ac-

companiment requires the same careful treat-

ment.

The third variation should be played

with great animation but perfect clearness,

the rhythm being well defined by means of

sharply accenting the triplet figurations and

short chords upon the manual, while the ped-

als are played very legato, for example;

The fourth variation in A minor should be

I79II

228

played very quietly (about 72 for the eighth

notes), with soft 8 ft. stops on the Swell manual

and one soft 16ft. stop on the Pedal. If the or-

gan should not possess a Vox Celestisas call-

ed for,the St. Diapason and Salicional should

be used with the Tremulant, and at the begin-

ning of the Adagio (last three measures of

this variation) the Stopped Diapason should

be thrown off.

The Finale , or fifth variation, designed for

Full organ, requires a very brilliant and facile

execution, both upon the manuals and pedals.

Orig"inal edition

Do not take the tempo too fast however.but at

about 96 metronome for the eighth notes.

With promptness in attacking and releasing

each key, this tempo will insure the desired an-

imation and clearne'ss of execution. Great care

has been taken in dividing the manual parts, so

that they may be played with perfect facility

and smoothness.

Note for example the difference in finger-

ing of the following passage in the original

and revised editions:

Revised edition

^ r^:ii ^

The chords at the close of this variation

should be played in strict time and exactly to-

gether. Be particular also to give the interven-

ing rests their full value. The composition

ends quietly with the theme, reproduced in its

original simplicity.

179! I

229

INTRODUCTION, THEME AND VARIATIONSOpus 47

Prepare <

Sw. Full (Box open)

|Gt. Fulltol5'Sw. toGt.

Ch. Melodia A Dulciana 8'

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

Manua]

Pedal

Introduction .

Anclanie(4zh8)

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ADOLPH HESSEEdited by Clarence Eddy

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I73II

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

233

(Continued)

/Sw. to 8'4 I'without reeds

Reattce<Gt . to Diapasons 8'

'Ped. to Bourdon & Soft 8'

Allegretto (J:60)

Manual

Pedal

ADOLPH HESSEEdited by Clarence Eddy

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I79II

234

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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|

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I79II

238

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I79II

239

Lesson N9 100

Introduction, Theme and Variations, Op. 47

(Concluded)

PreparelGt. 8;4'& 2' (Sw. to Gt.)

^Ped. 16'A8' (Sw. & Gt.to Fed.)

,Sw. Full

VAR.3

ADOLPH HESSEEdited by Clarence Eddy

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Pedal

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I79II

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

2

I79II

244

I79II

245

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I79II

240

tranquillooff Vox Celestis

inolto ritoff St.Diap.

I79II

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