in Iw^ Umumes Clarence tdd .■_j-«. Tb^Jo-bnCburcbCompany LuncuD THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES r A METHOD FOR PIPE ORGAN BY CLARENCE EDDY A SERIES OF ONE HUNDRED GRADED LESSONS IN TWO VOLUMES VOL. II PRICE. $3.00 EACH. NET THE JOHN CHURCH COMPANY CINCINNATI NEW YORK LONDON Copyright MCMXVII by The John Church Company Intemaiional Copyright 'TW MUSK HIBRARY £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. INDEX Lesson 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. 78 page 119 « <« 79 <1 125 11 C« 80 44 128 « C( 81 44 130 <« 41 82 « 135 <• f< 83 44 141 If 1« 84 (4 144 «> l< 85 44 150 «• K 86 (4 154 «( « 87 44 158 •1 (f 88 44 161 4« <« 89 44 168 « « 90 41 174 « • ( 91 44 179 (1 t< 92 44 186 « «< 93 44 192 — _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 strengt h of character is also fel t in the following measures; I7SII 10 a sense of determined vigor will be seen in the following: m tefi u # 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 ^ J i ^JZB k->^^ hrl: ^rji ^ The second section then follows in one phrase, namely: ^- "TT The entire theme therefore is as follows, and should be phrased accordingly: * E i V^ k 3 f ^ ^•. 331 The second division of the Fugue, consisting ofamore rapid figuration in sixteenth notes, smoothly and evenly played, but with the same rhythmical swing, as follows: ^1 ^S ^M a— rn aar. Hif' rJwiW. I79II 12 TWO-PART FUGUE IN D MAJOR Pre pare Svv. - 8' and 4' Gt. - 8' and 4' Sw. to Gt. Allegro moderato (J = 104) G. F. HANDEL Edited by Clarence Eddy Manual E Gt. (both P I P — m — 0- hands) ^ ^ T i k^f h r*^ S # — a — P- ^ ^^ --h I) fi fr^rfr fr r^^^^ ^ The motive of the episode is sometimes phrased as follows: I79II 14 A simpler and less affected phrasing however, would be more in keeping with the true dignity of the composition, thus: i w ^ 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 — ------ ^ -# — r m yit.i ,aj4=f^ i r; ^ /r I The entire theme should be played strictly legato, with merely a stress, or accent, upon the first and third beats of each measure, for the sake of emphasizing its rhythm: fc S J #^ The second theme however, must be grouped as follows, with a tenuto accent upon the quarter notes; p^L M i^^.^ I79II 16 ANDANTINO IN B FLAT Sw. Soft 8' & 4' Prepare iGi. Soft 8', Sw. to Gt . ^Ped. Soft 16', Sw. to Fed. Aiidautiuo (J M. G. FISCHER Edited by Clarence Eddy Manuals Pedal I ^/^r Sw. P m ^ »-*- i. i w ^i ^ * M^ ^ Hi 3^ 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 ^k fe ]i "' I ^ f 1 f^ ^ 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 m f ^m ? The succeeding passage should be phrased as follows: i,|'i. I ^T/ ' >^ r \-.m^j f ? # r f r' s a ^^^^^ •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 * m I7SII 47—^ t^B^ * mij^/^ r ^ P p «0 PRELUDE IN B FLAT Constructed upon the scale of B flat major Sw. Soft 8' with Oboe Prepare JGt . Fl. 8 'Ped. Soft 16' and 8' Andante con moto (J r 84> A MUHLING Edited by Clarence Eddy Manuals Pedal i Sw ^ Gt. KEf ^ ^ ^ ¥=0- ^ i p-n- P ! ^ ^ i ^ -g_^ ^ s t^i ^ if g A zs: -o- -«- ^ I79II «1 PRELUDE IN D MAJOR J. G. ALBRECHTSRERGER Edited by Clarence Eddy Moderato I fe Manuals 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 ( ir 3x: and the secondary theme in this manner: foi'^ ^^ ^ i ^^-^T^ ^ i I 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; I E P^^ JBj Ir 1 tf^r^ ia m ^ The following figuration should be played in one phrase; likewise the following: I7SII 28 The theme of the Fugue should be phrased as follows: and not like this; ^ i ir i! ^E^ fzat d— -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 with absolute precision, and phrased in the following manner: I79II 29 FUGUE IN A MINOR .Sw. full PreparelGi. full to Octave, Sw. to Gt. ^Ped. 16'& 8', Sw. & Gt.to Ped. GUSTAV MKRKEL Edited by Clarence Eddy Manuals Pedal -i— IT9II 30 ffl J ^!l7^J A o ^^ ?E^ ^ #♦ g i e^^ rit. MWwJi /T\ f *yff ^ 'Lust 3DC *■_# X r fc ~rr- ^ 33C g A^ ^^^ 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= ^m fcb * -• ^^^=? 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: i S i m m- #• 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 MINOR iSw. 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 'ip I r T I r £ A o Ssfe !-LJ a I ij . i ^ £ ^^ ^^ ^ § -o I A' g J P I f P £^ ^ ±^ ^^ :£! * i==^ ^S j f^^ ##- ^ ^ J it:::i) J- -n m I i S Off Gt.to Ped. I79II 34 Sw. ^5 i -X rit W^= ?=*? 9 -. "J T ^XT S / m t Gt. o A Sw. -^ ^ ?^ • I ^ • A ° A- I7SII 35 ADAGIO IN F MAJOR ,S\v. Flutes and String-s 8' Prepare {„ , „ „. ,„, ^ „, p- kf Ie te. IT" ^ I J • r » ■^ r j«- ^ ?*^ ts^ m A o A o^^ '^L o T V r liiJ J r^ r it-i I r r r ' Ia aI f ' A ^Ff 17911 40 b'' ikJ- . ■ ,. i iJ ^O 4 f ryi; ^ i rnTF^ i ^ 3^ r I' ^i" fr ii % s^ ^^ :^^^=^ tf.* #- fS^ _(2_ '>-^"l"r Mfr i"«=^ ^ o " o A o te =FtF f A A o i ^ f ne=^ T rfTTj T m a± A r V- I,l' i >f^ P J=^ 4^^ ^^ i ^ ^=fTf r ^ i ^ ^ ^ A A ^ 3 t «i-^ ^♦ S2=t2at o A m 1 1 ' i rit. :^^ ^ =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. ±MAl i •! )>k ^ M - A M4- ¥ E5=5 i r •> PvF7''r i 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 s emitone below the given note; although it is sometimes played with the whole-tone below; .y.^''^^' A careful study of the Prelude and Fugue 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.^ja m M ^ SB Sv-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 movement consists largely of two-measure phrases, of which the following are illustrations: I79II 44 ^ ^ g ^f-^-^ r rrr=g ■>^% I » ^ #• is^ # — ^ #5 ^ i ^m rJ jf iJ'-PL[i: i c^ ^ Z2I if 5 S 5 S ^ t t^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 be exercised that each group of sixteenth notes be played very distinctly. I79II 45 SHORT FUGUE IN G MINOR N0 2 Sw. Full Frefiare {Gt. 8'A 4' Sw.toGt. Fed. 16'& 8' Sw. A Gt.to Fed. ^lla breve (Jr 63) J. C. REMBT Edited by Clarence Eddy Gt. ^ Manuals Pedal ^S -^^^ ^s Gtr i ^E^ I' III., ^ ""r c c y s I79II 4« i £k. "fe- ^ s ^#f^ s f p f p \ rj P [ I r r -o- Jf f ll l 3 ^ i ^5 I m ^^ oo ^f=^ o I79II 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 1 w 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 49 The brilliant recitative passages near the close of the Toccata should be rhythmically treated in the followi ng manner: and the Vivace movement immediately preceeding the final chords (Molto Adagio), will be found extremely effective when phrased as follows: Vivace i) y^i " • ) I rg •'ff'i 3 V-[, P? 7_P_p.7 "yp l py 7pp7 7 pip? 7ff p 7 ^ flll tiV ^ AJ\ 7 i^ Molto adagio I79II 50 Lesson N9 66 Phrasing- (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) yOHANN GEORG ALBHHCTSBERGER Edited hy Clarence Eddy Manuals \ Pedal n f 7 r IX i p t ):4 i I79II A A ^ A A U«J :i =! ^r y' m a L-^ p [j "^ 2 L •. u 1 5 ■0 P- :^ 1 ^ >>^ f r , p ^[g ^ ^^ ^ s I79II ^ E^E t ^ s S 1 1^^ ^ m ..2 H 1 :i 1 ^5 — a -*■ ^ s Gt. i i r , r LJ //• 3 ^ vGt.tO Ped. o K fee A P A^ o ^ ^ ^ ^ fczi ? ^ Gt. to Fed. A^"";^ o •)■■ "J V P i', off Gt.to Fed. ^ 3 A l: r P r ^t. to Fed. =«^ P ^^ A A 1 t. ^ ^ ^-^4 ^ ^ ^ ^ :£ ^^^^ £ g ^ A o A P I /•/:?! 1 X H 2 4 1 ^ .)-rf f //- J Jij ? ^^ ^^ i ^ ^i^. I 2 1 t v r> S /v 77 ^ I79II 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^^^p The Fugue in C minor, (J. S.Bach, Vol.4 No.G) may be divided into three sections, with the fol- lowing themes as their principle motives; k I ^^ Or r ' r ¥¥^ lltt r ' ^ wj^^ tj- ' P f iryg 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^ m a^ s -M- t I79II 57 The majestic five-part Fantasia in C minor, (J.S. Bach, Vol. 4 No. 12) must be played perfectly le- gato, with a strong accent upon the first beat; Lento ^ J- ^^J j] hU ^ feJS yrt^ ^^ 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: ^m It is recommended therefore that the theme be divided into two sections, with slight pulsations between each section, as follows: P ^^ i I79II 58 Lesson N? 68 Phrasing" (Continued) PRELUDE IN F MAJOR !Svv. 8' 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) Anda vie (J =72) t Manuals Pedal Gt. 3 ^ » — ^ # ^m h - ;v; 5 A, ^^ A o I79II 61 W m W P " • ' ^ ^^ 'J ^ TTT^ 5= I V^b P l|. ^ £ I79II 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: " sound judgment 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\\e first 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, and Measure 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, should be 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. m r\ 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. Prelude Moderato (J -12) 5 Manuals JOHANN SEBASTIAN BACH Edited by Clarence Eddy / /L • , 1 • m ■ — iF— — -i — —-^~i — -——— i -^ — HtJ-i-« — *0~»— ^ B • ^ ^ ^ — JJJ — JJJU^^^JJ* I ')■■ r r f— • iff' ^jijiffj- . ^ . . ^^ . . . > _ _ ^ — i — i — i — i — ''-■ — T — T — T — ' > > > _ _ _ A -^ — ^ — d — i-^r — r — r — r— -^ • — p • • 1 — ' ' ' ' • • • • ^1 1 ] — 1 A I79II 65 .33 M m. f f p f SJ J—s- i l l i .J ) i» ^ ■'^ S 4 t^ i • • * — w -0 — # -o- m m ®: ^ 1 J^ ^'J"J^ @ i^ jg^ ¥ E «^?f i mumJL =taTTt;^-f j»oeo rz7 ^ 1 ,^nk a tempo 2d time ^ _ (off Gt. Reeds & Mixtures ) k on the 4th beat ^ i ^ ^Ei^ ^ jB-A^ 26 r ^ ^ac^rT r T J 5i P ^ 4 2 1 A O ^ ^^^^ J S (15) >2 ^jJ^ftJ^JI ar^.; ^ ' HI r i mr ^•m0 ^0 iu sLfl fl[ stf ' m ' F=f » ^P i m r Gt.toPed.off 1 A V' l l J ) ^f ^ f^ (close the Swell) 2E5t =f ""'^t. to Ped.on A I79II 66 ®^ ^m ^pT^j t r • r (open the swell) rmi I ^ IS ^ i ^ fi * #- 1 2 1 Repeat with Gt. 2 Reeds & Mixtures Fugue ■A ^ i 3 ¥ , ,^31' I J . j\n ^^ a tempo a tempo 'off Gt. Reeds & Mixtures. (Swell open) A o '^ ^arrr^TTf fe^ I79II \ o 67 3^=i J V ^ ## 2 mg a m s Sa/c^^^ ^ 31 a^s ir ■■ T r r f .1 LTorr vf s ^ ^^ ^ ^ 3^^^^^^ m ^^ rp » r i azfr f m-m-0- if-r-»- I ^a^ m m m. ^ ^ -fi- m i»f-' s f r f r ^r g 2 3 A A O A A £ > i o A O A A -^-^r^f H-L / [J/r > ^ 1 ^ -^ m J V i'r: j-H i r r^ ^ r r^ T ITT^ rr rr 2 M: rmi or r ^ Sw. - 1 e 3 A 1 4 ^^ g o I79II 68 r ^ "fflr ^E^ # ^^^ i-^-r CJ • ttr < > t tfTTr r t i- ^ & ^j: r] J75 J J J J SJi Hi J J-] ^-^ A O A O 35 5 12 A O A A o „_ i=-~^ 4 i ^ 7 kJ m L^: -'^ i^^m r r r ^ f ,ffffrf Full Organ #^--^#> « it -4 — a- A A O m ? Si ^ *- TT WWW ^^ -rrif — ^:~zVT'~'^^aan #^^^ rff f A A O. ^A O A m m A I 1 i;9ii e« Lesson N9 70 Prelude and Fugue in D minor (J.S.Bach) This Prelude and Fugue may be played faster than the preceeding one in C major,but the tempo should be very steady throughout. In the original edition there are no indications of tempo, registration, nor phrasing; for a clearer understanding of this composition we have supplied these omissions and defined the phrases. Observe carefully the various signs of touch, particularly the tenuto sign (the tenuto sign is a short straight line above a note-p) indicating that the note or chord must be held its full time value. The final notes of the short consecutive phrases should be somewhat shortened so that these phrases may be properly separated,as shown in measures 1,2 and 3, Illustration No.l: Measure 1 III. No.l. The last notes of the final phrases, as indicated by the tenuto signs, must be held their full value. Great pains must be taken not to disconnect the intermediate notes of the phrases. In order to preserve the correct "rhythmical swingj' the first beat of each measure should receive a particular stress, and a secondary accent should be placed upon the third beat. A slight ritard is permitted at the close of each complete cadence; and a more extended ritard at the final close of the composition. Musical figures such as are found in measures 13, 15 andl7 should not be separated, but the first notes of each figure should be slightly accented. The trills found in measures 6, 12 and 30 should be played as shown in Illustrations Nos . 2 and 3 : Measures 6 and 30 Measure 12 111. No. 2. 111. No. 3. i^JJJJJJJ ^ I79II 90 PRELUDE AND FUGUE IN D MINOR /Swell -Full. Prepare < Great - Foundation stops, 8' and 4] Sw. to Gt . (Pedal- Foundation stops, 16' and 8] Sw. to Fed. Prelude Moderato con moto ( J = 66 ) 2 JOHANN SEBASTIAN BACH Edited by Clarence Eddy Manuals ( Pedal "of. i \ 1 jH ^ - f ^ Gt. ^B F=»^ ^m ® :t 1i J ^m ^H^^ m ^^ ^ tiJ ? A A A o I79II 71 g^g^ l 'j vjj^ B a tempo 3® ^^ i^ ^ i v n n r r -i) J) J) i) p ^ p ^ p ^ p •I' p ^ p ^ f = ^ 3 2 1 « 1- -^y\, b> W^-^ ;^v J\v i Jl ri J ? Itiii V i)V g^)y J) W9II 72 5 4 S ^^^^^ ^^^^^ m ^^ S2 rfl^^^"c£rP i ? ^ 4 5 4 5 4 5 4 5 4 off Gt.to Ped. S I79II 73 ^ TZJ lipfji ^ m tr 5 2 ^^ m infe Irsf a F1 ^^^^^ i v bj^P i ^ TtcJ/^ r^'l i ff 1 4 ^ , \ Gt. 3. — T ^ j?J^,bJ....:^ i r fi ii ^^JSTr f ^ tefts i r c^y 1S>-^ l A A A g ^3 i > A o A A . S=3=« Lo A _S- A-^ - Ao 3^^ I 79 1 1 74 t m ^P r — r ^ ^ f r 1* f. £ Sw. m m ^ fe ^ ^ ?:^ J j r cJ/ ^^ ^ ^j J \ add Full Gt. 4 2 s ^^p i i J , J--jI3 j rzY. 1 35—4 a 34 JL ^ ^ zz: S j^j'r Qgr i rj^ CN f o A \ ^ A '^^ ^A 351 IZZI I79II 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 composition should 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. The end 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 J M ^-■ 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 same measure) must of course be repeated by the sop- rano part immediately following. In order to play che inner parts perfectly legato 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 a sliding motion, while a substitution of the other fingers is necessary for a perfect legato. The character of this Fugue is bright and cheerful, 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 measure should 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 MINOR Swell-Full Prepare \ Great- Full to Fifteenth,Sw. to Gt. Pedal- Foundation stops 32,' 16'and 8J Sw. and Gt. to Ped. JOHANN SEBASTIAN BACH Eidited by Clarence Eddy Prelude , Adagio (J = 42) Manuals Pedal I79II I79II 78 ^^ Fugue I ^ Allegro modera to (J =144) ;^^ s ::a ~nz off Gt.l2lh&l5yi andPed.32' ^ n^-^ ^ i ^ ^ ^^ i ^ S P ^ P i nnf f^ rag. If rr r^^ rr m ^g iW (g) Gt. m i ?5 ^ Ji fiLC^I r ^ ^"^ f=^ ^ =5^ S ?z: s gg Gt. 5 *^ i ri J- ^;j- ;:*: ^'-f' p ^^ f r f=^ rr^' >>.-tf *r tf r ^S 4 If i i s»^ ; I f fe^ r "r I f' \ A ? ;;22 USII 79 m f ^ A- g J-lf- e ^ I ^ ^ ^ / / r ^ ^ =ez^ -^^ I/9II If r 5 12 1 2 3 w ^w w^ ? 1 ^S ^ s =» g i M i I79II SI 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 Cr S ^^ 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 83 PRELUDE 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 Prelude Allegro moderato (J': 132) JOHANN SEBASTIAN BACH Edited by Clarence Eddy Pedal ® ^ Ffg^f?^ 8 ^ ^8 ^ ^3 ^mm ^^^ J ? y J ? y J sy ' uy * a^ crese. ^ ^^ W- s i 9 — 0- 1/911 © a tempo, f S3 m 3 ». ^3 - >^ 3 6 ^^^ m ^ ^^^=^ \n\\ I79IJ 85 p £|j££;££j^ cresc. ^ &^££j g ^ i ^ ^^ Fugue vS> Moderato. ( J r 84) ^ Full Sw. Vg --^ \': ^- r ^ off Gt. reeds, mixtures and 16' also Fed. reeds and 32' =F gi ^ f ®. wW^ ® tP^ ^ 1 3 «5Pl; g i-jf^ 1?9I, "^'i ^^LLl <^^* ^ ^^ X5I -O- -T = "-^ •-' I79II 91 *>■« P V ? ^^ @ J30C0 rzY, j== ^m J * rit. P yy o " A A A Fugue a tempo (Alleg-ro moderato) S § ?^ rr off Gt.l6'also reeds and mixtures ^;;tf ■ ^4-f^l ^ s ^ s A o s A O to ^ s^ A o I79II 92 T f^ tr W^^ ^m m r C^CfET ~i~ y ? £ ^ ^^ r r=f=r ^^ 'r~^r-S ' i :rg:i:fn2" jmj^ r Tr r^ ^* ^ ^ ^ > r # " £ ^ "F>~F e^ S ll^ fH^T"^ ^^ ^ ^^=^ E^S ^^F¥ J^^^-J^J^_^ ^ CrT gf ^^JT^y ~^. -r-. — A^ ^ -.-^ A ^ m=trf J^J-J A ^ Sw. 17911 93 4(§)? f m ^tf^ ^c 1 H I— ^ 5 ^jy Gt. 3 T -T - f/ J ' J -_ 2 3 J _ J7fJV7^^^j-^fr ^ 2 PP ^N y^ n ^ I. # 2 32 1 -? Gt. ^ ^^O J J' #1^ ")'« I L| I r i i f QT T I i M ^ ^=^ ^ 5S g ^^ ^ A - ^ ^ w '¥ Pr •'P ^ Gt forte. / (55) tr r -t; r r '^Pf 'P i C; ra*' '^ e 5^ ^ «rij J. J^ l ^ = ^M I79II 94 Lesson N? 74 Prelude and Fugue in G Minor (J. S.Bac A) 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 — f i: 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 22Z tration 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 MINOR 95 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 BACH Edited by Clarence Eddy Manuals ( Pedal i: 2 4 ® 1 2J___© ® O-^i^ ^ Gt. ^S m ^ -»-=- ? ^ ^ ^ S^ ^fFi^ XSj ^ IOj j; ^ i ?; S: 4- 13 25 S 3i: ® ® ^ -6--S- ® ^^ ^ iiiHj iS S S -»-=- xsi -o- ^e^ @ fcZM ^ ^ ^ 4 3 4 1 3 ® s 3 5 4.13 S jCC ^ zz: _0_: -o-^ -3311 -»- I79!l g _o_ r^ r r j- o 1 -©^ 3 2 — A o- -o- xsi @). 2 1 3 1 s hi 2 14 1^- ^ , 5 3 , ^^ *2= -^^ * * * * 3S -^ ^^ ^ . _-^ ^^ -o-=- f\ i 24 .^ 1 2 4 1 T 4 i s ?; « ^ ~^5L fe-^ * t luJi " s ?; 5 I ^^ 1 2 24 s ^> o-^ 351 -O-^ 3i; 35^ A i;9ii /^ / •T^^ — 97 f. Vtt~i kr~^ TTTl ' ''.''■'.. 'fs^;^ rF n ^ ' ' ■ ,' iS^i; I'TT'i 'rPrt — MM JT|-^J J i J NTl Ti J | ^h+i | M 1 J Tl" 1 1 1 J 1 i >..^r4 — » — = — = 40 A C Ml M J " ■ 2 13 1 ii^ -4^ ■^ r^7. (35) - i tr i E ^ -O-* f -»- r -o^ s XE ^ • # m TV ^ -O- "TT= <>• E ^ ^ 14 3 .Gt.toPed. A' — 5— ^ 1 :s= ix -©^ S Fugue i Moderato (J. 80) @ Gt. ts^ ^ i y?R ^ i i^ ^ In* ^^ N.B. add Open Diap 8' to Gt. and Open Diap 16[ to Ped. Gt. ^S ^F^ 1791 f 98 i ^-.Jn- ^^ i $ i ife ^r^ ^lfi^^ g s ? ff^ s i ^ /^ ^=^ ^Ef !''g5' ;t'i' ^^juJ-f-Tf r vF ^f ^^' ^ ^^ ^ 3 ^ » . A ^ o A~7r~"\A A \. Z^ -<- o A m m ^ A A ,Sw. 3 3 i 3&J=dJ J n ' ui ' i *» J J ^ ,» * ^ J ^ ^ r^^ f '^ P ^ f' ^^T^^^ »r.i. tfr f ^ ^ #ff£f^ 4L^ ^ it£ Sw A ^ i r^ P '^— P- I 1.1' ] j j ^^N^ Gt. ^ S^ ^ I * . ^f rp # r^ a:^ ^i I 4 'Gt. m I7SII 99 w^ ^ N ^'^.^c^.tfca- | "tfc^ M ^l^M i ^^ A A A A ^ A A AAA g A A ^^ J IJ J J ^ @ ^ I *=^ i tr W^ ^-utiruur m ^B ^^t 1 4 3 8 1 ¥ _ 1 5 — ^¥F 'N'-i ) - J ^® i S # # ^ ^W ^ tJt^crcfi^ P^ "T^^ mm> J vrrfrcr fefe r vpr.vP gf^ A A^,^ — , A o A j r ^r ir v^pr^t^ i ^^ry if^ ^ '^ ^ AAA A add Octave 12t]i & ISl^ to Gt. ^ ifeS n'^. S 3 ^ P i ^ ^^^ -*-»^ -o- r r— 'CiT'T rr v> ig^ ^ ^^ i S^ S ^ g a ? 1 2 J I79II 100 Lesson N9 75 Prelude and Fugue in A Minor i J. S.Bach) Absolute steadiness of rhythm is of the utmost importance in playing this Prelude, therefore great cart must be taken to preserve a relative proportion in the valuation of the different kinds of notes. A moderate tempo 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. Prelude Moderato ( J r 63 ) JOHANN SEBASTIAN-BACH Edited by Clarence Eddy Manual Pedal i i'. n ^ -p^ r ^3 Gt.< '>-i'. r hr J L ^ ^Sw. Sw.(open) '>■•<'• J \ ® \-iw\^W \ ^w^ m\l\ ii J ^^W d s Gt. i^ uWw-u ^ I79II 103 I79II 103 Fugue (S) Allegro moderato (•j^ Sw. (20) !| ~J. V v^.i) ^ rj^JT-ZTTJ: -JT^J Ji /F^- fe^Ei r J. n r- V! s ^^ I79II 104 tf^ '• ^ 7 ^ ^ft f^lT) f m ,Sw. S \ V V V [ £ ^ s ^ @ ^^ ^ Sw. ^ ^ ^r^ci l cj tt^ fj ^i-^r-^ ^^^^^^f ^r i t i): rraf *::!- :i'^ • ^^m Sw. S 1 79 1 1 m 105 (50) iGt. J !(JT3 J^—VT] 4 ^ ^ ^ ^^ i P i T— -— — -ir {■ •/ » ^ nf — t- s '{ V j JH^ A A idfFuU Gt. sS ^ *j i 5; s^ # — ♦-^ f W ^m t r- m ^^ i ^^ ~J r i s rs *^ ? ?23 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,pl TO m The first two of these phrases should be separated,as shown in Illustration No. 3: 111. No. 3 m^ The last two phrases do not need to be separated, but should be played perfectly legato with an accent upon the first beat of each measure, as shown in Illustration No. 4: 111. No. 4 ^ « — * i 5 A definite rhythmical pulsation should be felt and demonstrated throughout this entire Fugue. It may be urged that the broken fifths and sixths in the third phras« should be separated,as shown in Illustration No. 4 (a) and (b): 111. No. 5 m * y * y *y i t7- ^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. Prelude Moderato 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 © off Gt. reeds and mixtures, also Ped. reeds la te mpo 109 '^ 5 J • • # * s Li 5 fe^ ^ -^—^ ^ S r ^ 'ip :3=S A ~ A i ©J-' 3 ^ 3 2 1 4 ? J J J iE^^ ^& J yJTD t ^a^ #^^ ^^Q" P=^1S r^^ r ''cxr rT^T s # « * r » vff ^t m 1=^ lS^ ^ A 1^ o A A I ^:r ^ i crrj- > off Gt.fo Ped. A } \ J # S S . ! > J J J @ f^^ ± ffl"ffi ^S ^ 22 ^5 Gt. r s JTj\;:i -SM- f^S 55 ^ ^3 ii m- r rT _• « »-. W^ jEz • rjc Sw. I7SII 112 @ ^^ tr m y 9 g Gt. r i: Ulr NLa* i— j- ^ -J (■■ — \r ptg Gt. 5^---__~_ 4 5 ^^ ^ A Gt.to Ped. ^ ^ 3 4 5 ^ Q j a'TO f ^^- m ^)--\j' r^^f r P i^ :? 1 i A A @ -A o add Full iGt.and Ped. 23 1 — i f .^J>..^ te^ ^ £ W ^ -J ^^ i' a i Ui ; i i iM ^ A A J J J IJ J J i ° A A o rzV ® 4 i ; jU_J -zii ~n tr -Gh^ 0\ I ^ ? *! #1 < r "zr; A O ^ i I79II 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-^^ I Gt. ^ :^ ^ S I t ^ 2=zs: i 1^'- J |,J ^E^S ^ ^ J ;^F=^ » J J iJ ? J J iiJ 1 •^ ♦ ^f IZ^» — . — a * ^ s s ^^^ f 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 3 s-^^ ,Gt. ^ 'V. H *~^ I JL "W ^^ g * m ^ ^ 1 -^p A ffl^ =3p mm m m m-zz r A >> !Sw. 8'* 4' Gt. FIutesAString-s 8' Ped. Bourdon 16' & Violoncello 8' FRIEDRICH SCHNEIDER Andatitino (Jr66) 2'^ 1 Manuals Pedal Gt. 5i m. T==f I i ^m n J J J d • " 94 ^,% ^ ^ \^ o A gs S A A i ^ p ^ — * A o \? f^Pf \ f-l -^ 1 W -• #- ^ ^ Ip r ' ^rr^ ■A . ;s -1» (T 4 3 a ^P ^ r^T; i # • tlJ ^b < ^^ A o . A ^ Q0 ^^ A O ^ A o ''A J A 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 &^ Gt. w tfc^ \'^ \y^' f izt ^ 2 S. m^m f #-— "-^ i ^■il'iX'. J ? J j iJ > J I I J ? I ^ IJ ^ J » N. B. Pedal part played by the left foot alone. 1 i' ^^ " 1 [># h0 ^ - ^^ ^ r pj » P^ " ijijjiijj II ^* ~r"* — 7 — ~r» .v%\^ r ? r » If ? J ? \ I ^ ^ ? J \ ^ S 1^ i fci P rrt ^^ ^ yfc> f Mf » If ^ r ^ If ^ r ^ '^ ^ ^ ^^ ' 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 ^ > » ^^ ^=^^ j:S ^ B P I ^^i> I r » ^ 1 1 * H. ^ r i rrrrr " i # i kfe 3 • * • # mm m — ^ 3 2 S i r i j r J r f^ i ii»^> ^ 3^2 1 ^ f=^ F^ rit ^V r\ *} t m m ^ ? ' d ' ^=g ffl^S ^ s mm A o i A o A A A ^^ 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^^ measure left 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 U i Lcurghetto (J':60) Sw. ^ GUSTAV MERKEL Edited by Clarence Eddy '^ -m^ ^P i k Gt. '<^5 ¥$^ JS ^ P^ *^ ^ ^ ^ ff^ ^s r p J 3 1 ^ OA ° o_^^ is ^ ^ 3 CV 1 2 vl # r"y ^ g ')'%" m .4^««- ^ ^ ^ ? v-iirCT), > l i i ^^ A o ^ A o SfbA A o i « ^^ * 1 4_ _ m fefe^ rit 4^ 3"~-\2 A ' ' ' 4 1 ^^^- ^ ' ^^ ^ ^ ^ ^ • #- ^^ l^fe 4 1 r/«: o A •'^V'Cjir^ J I J' erg A o A A A A^ A -A A o - X o ^ ° f ^"A° A A o 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 ALBRECHTSBERGIR Edited by Clurfjici' Kdriy f ')\ :. .. g o. A i ^ 4^^ 5 ^ ^ £ «• Jt iiL ^— ^ j J J 'Li ^. s F? o 1 *')\ I I [ ^5 ? 17911 122 ^^ ^ "~\3 iC '^ \ 14 m ■N — 1^^3 ^ i 'l p f » p i' f^j r^i S==53tiEi3 o A m m i cfc=zi ^ 3-^ 4 i ^ ^F=5 ^ i o A 0- A o ^^* a I ^ A A I s ^ r T ^ £ m h/%^ S 4 • o A 2^v^l >):,. P J^ r f f ?^ ^^ o A I79II 123 ^ w i T ~ ^ 1 3% 1 ^nT* 1 s ^ Wf 5=? ^ ?^ A A A o A I JMpP LI-^.^- .*n cJy L-^ ^ a ^5 2 A g I A /^o A ~^ Av^ I73IJ 124 4 a w ^ '^ 4' p JtiJ t Hr . r -^— r- ^ # i ^ P 7 y(&Jl A -^A -^'^- p ^ g j r r - ^: j t f p ^ ^ A ^ *' ^ 2\1 #--'' :V Jil~ fi i i f r r -1^ ^^ s J J^J' ii JTJ ^p Lf] tei J' JJ ^ J) m A A o /^ ^^ S w-f-'-F p r £/fl >. f ^f ^ J^f J^j. #=^ P ^# "w'LL'J ' fe^ \ , O A i fe!=£ ^ AV^o_ O 3 j'^rf f 2 i 3 ^ 3 i^ 2 /^ 'i ^^ ri/J ^ ^3^ ,-A 4 ^ # i^ m I79II (Sw. Prepare --n il l J n I i ^ I I i A5 To? * i^ ^ 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 STREET JOSEPH HATTON I79II 137 In the following example the notes to be repeated are indicated by marcato or staccato signs. Observe the phrasing and dwell slightly upon the first beat of every measure. STATE STREET J. C. WOODMA.S (J -. 56) Ues^ ^ =s= i i jO. -o- :2- VrTf T ^gr r rrvr -t»- ^ -^>- 33: <' >:i^ia m A zz: Ty =^ =;? TT TF" o A i >:, ^ 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 rr i 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 HOLDEN 1765-1844 i 4-^ tt i i m^=^ ^ ^ r¥^ r j^ f fr FTrrr r~^ r m U J: "U±i ^^ rj rj ^ ^:^ § ^ ^ 2Z ^^ A A 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) BETHANY N9 1 (Ji60) f/^^fTl i^ZrJ Sw.JtAg' ')■■* i r g m v=n ^ sncr TT" -cr -o- Ped. Soft 16; Sw. to Fed S ^:RF ^ xn -^ A LOWELL MASON ^^ CTT i ^ * J J- i> | J- :^ -e o - i fTf ^[ -^ "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 3 LOWELL MASON i f t f g cU - ^ ^ ^^ 31: ^ TTf f ^ 5iF g ^ o . A TV o zzz: i A 32: 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 * >:,l > , M f ^E^ i^^ ^ ^ S ^ Ped. Soft 16' Sw. to Fed. ^"1' u I f r P ^ 1=^ M.^^ Gt., ^ » ;y p- p r f- 5d2: ^ f=T ^ Sw -h ' -i, r ^^p ^ ^^ A ^^ I? P ^^ ^^ ^ » ^^^ P IS ♦li «^#-^ Sw. With Oboe Gt.< ^ i ^ r po p A^ A^ r r ir r i^ ^ ^## ^^ 1 ^ :2z: z=~7y I79II 148 MISSIONARY HYMN N9 5 LOWELL MASON i -J yb-f--r r ^ ^^ 1 ^E^ ^ ^i GtV /coupled to Sw. 'i i-i-^j^ A fit. to Ped. A =«^ A^-^ ° A f ? g ^ I79II HARWELL 149 NO 6 cJ:72) Gt. 8'A ■t'with Full Sw. * t m n ^ i!i* LOWELL MASON $ ^S 3 flP ^5 r rtTTTff ^ m • f rp i «.# ^ MM ■J) i U ^ E f^ s },r:TJ s ^^g^ ^^ ssa • • • " A A * ' # T # - A O-J. *: ^^ i Sw. ^^ » s f f >■ ^^ 'j-- r ^ f Sw. .« 4K S ^ ^3e^?e £ ?=? m =^ ^ ^ ^ r r p ' M — j»o(?o r«Z! i ^ fffirf^ r m CA ^ m ^^m E M^ m ^ S ^^ ^ # — # 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: TOPLADY Prepare \ Sw. 8' with reed & Tremolo Ch. 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 i m 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 =^ I i m szizs: «=*=# ^^ ^ ^ i g i £ 2Z5 ' '>'' rj t >: r pr-tr-s^ J M. J. o A tS^ rJ' rJ Likewise the following: ORTONVILLE fet (i^zlOS) THOMAS HASTINGS S ^ ^ f S=5 ^ £ ^=1 Sw.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 July 14t>, 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^r Sw. < 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 t CI. 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 NICAEA 159 J. B. DYKES 1SS3 - 187S % J- Ji i i ^ f^T^ Ear - ly in the ^rr r=f=r song shall rise T to morn ing our I ag :| *f^ aft i i g^ f -^ A o A U. m ^^ J. J^ J J P ♦ — # ho 7" i^:ZE F Ho - ly, ho - ly, ly, ^ mer - ci - ful and f ^ ? 1^ g^ icffii^rrzz 221 DOC jch ^ r?i; /T\ ^^ f M "T^ God in three gt per 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. PARADISE JOSEPH BARNBY (J: 116) k g ^^ :s: }-. " ' ; t t doth not crave for f^ O s-w. s'fr 4 mfl - h Par - a-dis^e! O Par - a - dise ! WTio ^ rest? ? e Fed. 16' Sw.toPed. A A A i U- i 'J ^ i l> I ? 4 A A ^ ^ ^ i i ? 1 W g^f ' P Who would not seek tEe T hap - py land, blest? Where they that loved are I79II 161 Lesson N? 88 Hymn-tune Playing (Concluded) <'i Observe 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. EWING 1830-1S95 ;79ll 162 4 fc w LJf neath thy con - tem :fc, f r * f pla - tion, m f Sink C^5? heart and voice op pressed: 19-^ » g3 g 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;^ ^=^ m g ^^p=^ s ^ m -S: ^ A o I A o »- oA A ^-' rtf. What ra - dian - cy of "^ If .o A_ glo - ry: ^ f What £ T~rf_p light be-yond com T pare J r r J I 1 ^^ 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) 163 supported by one soft sixteen foot stop in the Pedal organ (preferably the Bourdon), to which the Swell manual should be coup- led. W. H. MONK 18^3 - 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 rPr tx> oo fail, and com-forts flee, Help of the help-less, Oh a - bide with Si s 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 SULLIVAN 1842 - 1900 fV "- ^ "- s t=^ 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 J J tilt Christ the Roy - al ■ Kf r r r $ ^^ Mas ter. r r ■1 j J j r 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. - 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 ^m r_ r r joy-ful and tri r Gt.8 with Full Sw. , f!0 1^-^ come, all ye faith -ful, 'y-h l V T r r i um - phant, Ped.l6'& 8', Sw. & Gt.to Fed. ^ VitJ 4 ^ S f ^=V A !79ll 167 i m i ^ =^P-^ 1^ man - ger, lies the King of An - gels; L±J £ i^£ £ :^ ^ off Gt. _ to Fed. ^ i 7^ 5" A oA ,Sw. ^ ^ i ^^^ ^=^ ^ f t r o come let us a dore Him, T O 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 ^U r Lord. Gt.to Fed. ^rt ZZ A A 3 E i i ^ J I o A 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, J i j J : f n will be seen in the following examples: as f i f i § m ^ i M T 1 J f J-A r id La i 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. m f m LOWELL MASON -e- [\nil UJ "ynrf h i i. m f r r r f ^ ^ ^ b^ ' r _^2n_ r I79II 172 # ^ 7 j: f ^ m P f f 1=^=^ f h i ^ # t ^ 4 » W i f i ^ 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: DENNIS Arr. from H. G. NAGELI i i ^ J iU UA ^=^ ^ t ^ U4 ^^ ^ ^¥ ^ f=f ^ ^ i t m i ^ ^ f i r=T 3 r i ^ i=J=J: « iJ J i Ji 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 MAJOR Opus 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 MERKEL Edited by Clarence Eddy Manuals I79II 177 52 4 5 5 45 4 81 - 2 1 1 i ? i ^ 5 1 J » 5 ■i 5-5 1 3 1 ;s i ^i 5 5 4— i- ^^^^F^ r^ W^ % p-prrrr ^ ftf li^ ^ ^Mi m o . A m ? A o A o o )79li 178 5 3 2 * h CIFT .^^ ^ t J ^ 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 SCHUMANN Edited 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 ^^^^^^ i i ; ^ \ S t Flute ^ P V- Ifp V- 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' JU PTTJTfl f Tjw^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 ± s M Sw. , Gt. m c « «. .V-* t t 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^^M Manuals Sw. ifP Pedal ^y-h'i I? ^ ?pv'^» l ."j'^' "M P^ P^ 5 4 2 2 1 1 SfEjte^p^ W*^ Gt. ^*^ ROBERT SCHUMANN Edited by Clarence Eddy \, h. i ^ : ^ j i ?3>: l^ j^ ;yP^P ;y*P j * « ® it Jt ? V , } Jt ji n l 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 ^5 fe ^ 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 s ■J — 9 — # i l -!-V y # f ^ E r^nf y ^ p y p . p^ p ? p^ p y ^ ^m :^^ jl? ^ P ? M ' P ^ ^ 14 3 1 1 * @ ^ ^. ^ ^- SW J 't' ^^ I; ^ f sfp Sw. Gt. P .I" . P .v^'it p »-p4 r ^ ^ '- ^ p ; P" ^ H ' ^ ' ^ ^^^^^ ii.^v F ±^ I79II 184 i « 4 2 1 ^^^^^^^ J' ^ j' ^ i' ^ ^i * S 1 ?=^ p^P^P y^P i '^H J^? 7 ^ J'w ^ ji i' ^ I ^fe ^ f p ^ p f fr ?>-tfit p ^ ^ ^ ^ ? ^ >-/'^J^J'^ ^ ^ ^ -0 — ^^ — — * — ^ ? ^tifl ; g ^ ^^ ^ y i 'r-H;\^y ) }]:/ 1 P ^ ^ ? 4*11 Ji^l^? jH^p ; '. ^^ H ^ ? JTYJY^ f f F ^ '>--h P 7 " P =1 P w^ Sw. p y Up y p ^ ^ M U* M P ^ ^ ^S JW 7 I p ? 1' ? ^ ¥ I79II 185 .*'lt ^ /> . > ^ a fe3^3 -m — — r Gt. i ^^^^^^p ^^ fefe^ @ y I " ? p' ? p ^ p 7 EJ^ P ? ^ A A o ^^ 4 I' ; . ji J' f 1 fe^ ^L-si-^-r4 ^^ #=iti lt« ^ ffp T f Sw. Gt. ^ y-h ^ hu ^ ^ J .^ . 9 p r u p ? '^ ^ ' v' ^ ^ .V'*lt ii y 7 » il. V ^ d l ^ 7 r ^ 7 4 8 1 ^ *=^^ ^^ w^ ii y^^»^ #* >>:ft, P . y F ^ L.-j r r ^TTii .^ V ' ■? ^^ ^ J^ :y 7 £— 1£^^^ g 7^ ? ^ I79II 186 Lesson N9 92 Canon in B minor, ROBERT SCHUMANN (Concluded) add Open Diap. 8' to Sw. Edited by Clarence Eddy i ■^. \ ^ w h^H T^wi ¥ ViFTi J f n i i i W' ^ ^r^ r— »• ^3; ^ ^ fiyiyj w r^i^ 3 -i I79II 187 ^^ k ^ I 1 r-Q^r^ s f p- "^ ji ? /I J ? Jl S ^ 5E^ #* tti '■^'■^ M ' i' ^ ^ ? ? j^ -^ ? il ? i^^^ I f # *»: 5 -5 ^ ^ i* i @ %\ ^m ± ^- i. j^ ? J ? = ? g^ ?= ' - n - * * i t /r ^ g ? ^ i? ^ ^ ^-4^ o A ^ •> f' ^ I79II 188 ^' > ^' ? i n f ? i{i j"^ ? .>: |>„ P ^ P ^ P , ^ i ;^ P . LJF, P ^^ £ # g ± 4 ^^ ^^ i^ 9 A 4 ^1 1 I f l ? '' '' : ^^ ^ i£ ^s ^^p^ ^ H ? M ^»=si =^ 4 7 ') h 'I y r P ^^ il ? J) ? Jw j ^ il ? /^ JH jtf y- *i j^ i' ■> p ? -^ I f! y •> p y •> I ji ? •> A o 4 1 1 i m h i ^ •74 3 ^^ ^ ? A ? . ^ ^=^ ^ iJ ^ n^ "? 3 J $ ' r * I p y p ^ ^ ^ ^i^^ = A V- h j) ? •> ;^^ I p v" M M @ H 4 f 7 .h^ « S t#^ 7 k J'^^?] ^ •i 1 1 f^ ihiK'^ i f i 7-h M h p ^ p ; ji ^f ^ji ^ ifrrp 1 A v^ * ft p ? j) ^ J i ? f ij ) j-i y ■> 't' ^ i I79II 1S9 *: I @ s ■i i 1 1 y-" )! ^ y ''-f^ ^ ^ "p ? MP? 1 ^ ^ 3^^^ p ? ^p ^ Vw ^ ^ ^^S A o m m m ^ J ? J ^< f r ^ ^^3 m^ E I 1 # it h. i *3S^ -F^ t>f F? p ? P ? ' ? s ^^ 4 3 wm •> p ? I h? ■> ? ^ fc=fc ^^ g s 1 p ? Jl ? t^W J ? ^ f ? •' y it? 4V i> "P ^ ^ ? i' y h Ji ? = ;^=i ? Jl? V ^ ^^p y s ^s 17911 190 I R 4 i i ^^^^=^\ ^? •< i m^^ i f^TWW^ y *f a^P^P ^*P y ^-^-^^ :J-'*lt J^? ■> }\ H 'I I Ji?^^ ^ a^ 'i » J ? . ^i @ H tti ? i^m . ? V ^ feESS H'v KJi 7 j': t=^ * — 'W -0 n» ? ^?f^ ^^ ^^:ita ^^ v^^ii '-g ^ i^p ^g^S :/ i^P ^ b' ^ '^ P ^ ^^p ^ P y 'Ip ^ y ^ i t jt y 7 P T^ 7 I ^ ^7 7 Ip^ ^^ i I i ^^ Se! E * ^^ • • * ^^^ ;^ fvuJW^ 'fP Sw. -n3 n ? P N p ?p y p ^^^?^ y^ f "^ p ? ^'^ p ^ n ^*i t j^^ -> j ? ? ^ I J ? ^ ^ p ^ i ^ fe ^^=1^ ^ — • 4 1 •1— 3— » ^ rrr^ ? P— ? iff ^tJii i B ? c dM^^ P ^ ^ P ? P ? (|- 7 p ;? 7 p ^ ^ ^*r ^ fr^ t I79II 191 :4 L-^^^ f, p^ ^^m K . 5 ^^^ 9J fy 4 • -ji ? ^ ;w7' ? a^ fl ? I' Jl ? Ep^ 5eE 4 r i f JM J? ^^F ^ r w ^ m m f * [# J ^/n^ I ^ jc^roe ^ £ ^^ £ * £ i 5 r^ ? ff ' ^^.^V 2 3 2 4 ETH 2 3 2 4 S ^^ ^^ ^ 2 12 3 1 ^S- 9& ivithout - - rit 3 5 I 1 ^ ^ ^ r: Sw. S 2 ^ « — p- ir—9- £ "f' ^1 A 2 * 2 14 2 12 'y^ ;> r ) #^ ^ I73II 198 Lesson N9 93 CANON IN E MINOR Op. 21 N9 1 /Sw. All soft 8' stops* Fl. i' )Gt. Flute & Gamba 8' Prepnre#^^ 'L=i i ij^ J^j. Ji._^ ^ ^ S P- # P ?^ fi*» i^^r-T~ ^ 1 2 12 5 •^'N^ - l i^^ r If" J'' j'""j' ^ 7 g 7 A o A I73II 194 :79l! 105 * Ch. Sw. f ^ ^V- ^rfihH « ^^ J itj 1 =cz:p^ ^ A J » 1^=g? "2 r ^* -■^ — ' — ■- ^,n r m 5 ~T~ f rrrfr- 4 - 4^ 3Z^ ^ P^^ - te' //6'ry rit. ^eeM 5 T A 'o To 1 r ' [ ' H I79II I79II 197 a tempo ± \ 5 % 1, 2, isfe^ i=i=r ^ ^ T^ ^ r/r f i:* J^^ .>)^<» i' ^ » ^ ^^J' •' i' ' P 7 k 7 ^^^ a i: ^^ i S ^ ^ ^ cre.sv. m: ^^ ^Ei ^ ^ ]!t te £ ^|E^ } LJl 7 , h ^ ^^ i I79II 198 <* Up f^ * . L - i. 1 m ^^ I 3 _ 1 ^# ^ ,Sw. i I t f=?^ di?rL f * ^ Tl /'l^ ' 1 I T Ch. 2 2 2 4 5 4 o A o ■'■'^ cjr '' I ' iAi ' 1^ o-r ^ i nrji ^ dim. y ^ ^^ Ch. Sw. ? 1 5 —a r»j; ^ iEs • i '^ r f"'^ a r fiifi 2 I 5 * f BZIll^ r'^t. » Gt. r ^^3 add Fed. Violoncello 8' -A- ^^ ° A '■ ^i-i^A ''^-yjJ TTTT m ZSJZ A ^ o I79II 199 Lesson N9 94 CANON IN A MAJOR Op. 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 All egretto (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 SALOME Edited by Clarence Eddy Pedal u ^m 81 ^^ i I ( i^ ^y=r 3: :zn 17911 200 ( fc^ P ^ 2 ^1 ^ ffjffif ^ f: ^ J> 2 f F # 1 ^ ^ -• — i-^ ^ ' it i i 4 3 12 ^ ( ')■■¥ J . ? 1 ' f •/ 7 ^ 7 ; 7 ^ 7 = 1 *^ ^ 31 !^S ffidi ■ 1'^ # I — w r^ -7—7- s ^ ii r¥fP P ^ ^ g 15 t4 1 3 :2c 17911 201 .* m^^ 5 1 2 ^ ^ ^ ^=^ iia e ^ 3 a 1 2 1 § t g^ ^ ? 22 A Ch. ^ m ^^=^ S 1 g ^ ^^ -T— ^ ^ I79II 202 ^ fe ^ ^ . f f E ^— # £ i i; ^ ^ i ^ ]f ■^ 1 •> ^^ 8 1 O m g 3 13 A n :2=:^ ^ ^A # ^^^ t tf 1 ^ ^ ? h f ^ * — ' — #■ -*— #- 3 ^ A ^ ^^ [ g, )^ i j t-f > V I r p r ^' t .-.n~^^ tf tempo ^ A Gt. r i i { •> \^ f- ^-F ^ t> I 7 f =^ P /7£ 3 ^^ A r' ir^ r A A 7 7 I79II 203 m W¥ ^ ^ ■)■■ h r V r »P ^ £ ,=^ ^ -at- 'J:. Ji 1 2 Si ^ "Y-^ ^ r Tt i 3 2 1 2 E ^■— i rnhn ^ ^ i J- g m 1 2 A A . ^o ^^ ^ A Sw. 5^ 3i* i ■ nj j) ^^ ^77 7^-7- i e ^ ?^=^ -7-^ 12 3 4 -7-^^ ^^^ 122 I79II 204 ^m ^g ^ ^ ^ "^ J j^ ^^^ 31 A 1 2 2 1 ^^ ^ r ^ ? ^ p ^P r *r 2,3 1 tf r p := :g It ,> It ^ |7 ttr r ^ = -^^ it^ ^ :£ 14 2 14 ,")• <^j|t^ f-?^ ^1^-?^ -y | r -?i^ =^=ti 2 3 A ^ I79II 205 ^ iMtg ? ^^ m,m _5 1 5 — ^'^ L_ "3~»- t ?#^ 7* "If ^f :^ Ch. ^^ r b y r p 'r Pf P f 1 5 » ^#^ 2Z /*?>/ lento %S^ -Ov 8 1 s ^ m X* J- J J i jJ rit. 5 1 :i*#- 2 1 ^* fe £ ^ Z' 1 1223 I ^ I79II 200 Lesson N9 95 CANON IN F MAJOR Op. 21 H° 3 /Sw. All 8'&4' stops with Reeds 8' />repare 'T ^ ^E i^ !| fe^ J * d ^ ^ . kyu^i ^ A' , o A ^^9 ) 1 . '^ = ^ - ^ m 3 17911 209 s . ^ti^rti I79II 210 M 1 =r=^ iri f W ^ P P # ¥==* 1 A o o A gF^ UL-L-T A o M 1.^ 4 2 H= ^^ 3 1 ^^ Gt. p r .^ ^ «J - 1 3 ^ ^^ m A o ^^ S * i; 7 :*: ^ ^ ^#-^- ^ 3 A s 2 4 A f ^ J s ?l^^ i ii « S ¥ i 1 2 3 m m 4 5 m g s A ^ =Z^ g I79II 211 o A I79II 212 I73II 213 Lesson N9 96 Theme and Variations in A flat, Op. 34 ADOLPH HESSE In the entire range of organ literature, 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- S v-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: ^ S gdt i -2 45 I79II 214 The first note of the next phrase must be shortened in order to accent the following- note: In the second part of the Theme the shortening of the second note of each phrase against the sustained note in the alto part, will add a pleasing variety. H r^ J J I.J J ^-^ 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: i m -O- T r Jr 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 i m ^^ ^± bJ^ becomes very much easier of execution and smoother in its performance^if played as follows: 4 3 2 1 I te 4 3 2 1 ^^''^W IT < \ r'^ i =5 fck •'>'i> v- £ tf ^ ^f: -:^ i V ^ 2 1 — 2 I79II 217 ri 3 4 1 - 1 45 4 3 4 1 - -i I -i Draw the Open Diap. 5 4 ^ ^W jl s ^ ^^ ^ r -o- :i:^ -S^A iz U. g ^ ^^^ u^ 2 1 T f f= ^ 5 28 i r 45 31 31 ^g VAR. 1 (Add 4' stops to the Swell) A o ^^ ^ t ji^ i^i^ « ^ ^ o r iii ^o i^^v^^SSi^ A A A A ^ fct -O- A A I79II 21S fe p o' 7 r w 1 W ^ m P i fe rrrjf f ? # p # ^ ^ ■1.; f ; ^ ^> J * fff't^i\ m ^ 5 } 1 1= f c _ ^ A o I A o A :g:r-77 ^ ^-b^ i ^P^ i jJ^^^^TT] ^ * * ^ T in A -^ni-i> T ^r m ^ ^-j^=^ 0-^ rrrrr r i=^ ^ S=F S ^^i A A o A A ^ A-A O A A W m W J-'i-^fLL; ^^ e=it^ ^'v r I P A - A ° '^^ ° A A A A^ J ^J ^ ^ '] l./^ - f 3 s ■: :h 4 5 4 — ^^ ' ' J b J t] J i^ * < 24 ^ ^ 24 ^^ ^_ I at fr^ ^ ¥?^ -i iM r f rit >>:J.,,^F. ^fV^I^ ^r > f'r^' ^ ^ 5 ^ TT A -iS>- A o /\ o ^ o A ^ a I79II 219 YAR. 3 Pfe^^ J=J. ^ «»o- -o- Sw. /8'& 4' (box closed) ^^ -t>- ±^J m ~i ^ 9w^ (Take off Gt.to Fed.) T A o A f-f-te:r 3 ■«»■ A o A 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' w._ jindante {d-.io6) YAH. 3 -^ ^ 1^ ^ W^ ^ m mJTOiJi^ * 2 ;^_ ADOLPH HESSE 15 4 3 mgg OT? -t- .? ..?. Gt.' \f ^ i ^^^^i^n ^ i'ii r — f^ pr f^ l,V<'' 1^. i 2 A. 1 2 4 - ^g^ i ±*: _o A_ ^ ^ i fc^ Ag=^ ^cir dirf- w y=^ was* ^>-lUJ fliSj m ^ iii G a~~^j if3 ^ i 5^ p A o A A o A . ■ I ^ " ^ — /^ " A — rr«i ■ I A ^ 5 4 5 A ^ Vd I 79 I I 221 i kU l l I^— & 3 2 ^cLr^cJrSri * 2 * , ,4 k rr-^ \n\ [i£f w 7 r p ^ '^ ^ '^f^- ^ffitx ■fv i trf rr i I e^ftit £ ^ a* T X A o [^r_l r i r ^ ^ A A-A # ^fe^ -J v^"it- r T r 1—1 3 4 5 s ^ ^^ U l>i ^ ^gf 7^ — A- o A ^ 1 2 Jii ^^ S^ i 12 13 2 S^ ir ^ 24 12 3 2 1 iEEi W2. J* f y r l> ¥r^ r^p i^i-.i rji y^ ^Fporr^rfrrr f EJ ^ ^rl^ ^^ ];j]"yi"^p P 5 4 5 ^ 3^ 1 A ft fcf= A ^^ 3 1 A I79II 322 VAR. 4 Reduce Swell to Soft Flute & Strings with Vox Cele»ti» Reduce Pedal to Bourdon 16' Andatite (d: 'a^) 4 3 i^ 4 5 4 ^^ f r Ui Sw.< P % J=^ i=fc ^ ^ 33: L; r *r =f!== P W off Gt.to Fed. ^Pp 45 5 3 4 1-2 f^ ^ ,Ch 4 ( 4 'k s fci e^=^ T i =?- - Si i t^ r ttr r 3S » # — (► ^^ * — » f 2 13 12 4 2 5 2 Ch.to Fed. §16 ^i ^M U i J J ^ ^?^ A o A ^ o o_A ^^o I79II 223 17911 fe VAR. 5 (J: 69) Full Gt. Sw.Sr Fed, 2 4 3 1 5 4 ^ f •n'-iH-fhr rrrr g ^ hLn/Lli 2 3 2 13 4 1 3 ^ ^^ 225 I79tl 226 Full Organ * .sT^ -^ I7V .rr^rrr^rrr *^^*i 5' ^-5 a _ 2 3 s ^ p ?"' > ? r r r ^ f r r r # # \ M SE tE3E ^^ y4 :i^ A A- A- A If^ ^^=r ^i J A =t^ lq^^=¥= 1 3 T ^ 5EE » — # l|J ^ * 'LL7t_LLj a ^e ^ 7 f f -i» 4 5 i 'n"i> J J # • I k* S ^ I a 1 1 i 2 1 2 1 ^ # ♦ # — r — 1^ • ^ • CJlLT LIU ^I kJ -J # pt^ ^ # — a — (^ LLU^in j: ^M & ^^ J J J iJ J ^ J rti -2 1 i I ^=F= r g=^ E*E^5 d f * 4 ^ -^ i i bi f-r r f i)f r r : I % ^ jEEEi •/bS> J i l ^ 2 3 r 5 A ^ i ^r^r-- r^~T 4 ^1 ^r=^ J IJ ^ c ? ^^ A" 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 VARIATIONS Opus 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) '>h^'i C i ADOLPH HESSE Edited by Clarence Eddy t A'^ I79II 830 u sGt.Cadd FullGt.) m 't — 0- f J ^g 11 m inn\^ ^^ ^ I7SII 2H1 -^ .1^ t ^ ' f=^ ^=^ H ^ it ^ ^ ^ Gt. ^ i I i i ^^ feH^ ^ ? f f j i0 af' '■y-hHP if » P 'r r ^r r ^M 2z: 17911 233 ^^m A i i ^^ rit. ^ r^ ■j^-r- ^ V li t tfP 2=_j3 ^j-m #i -^. ^ ^ i P I73II Lesson N9 99 Introduction, Theme and Variations, Op. 47 233 (Continued) /Sw. to 8'4 ■I'without reeds Reattce^X>Z F" S^ P - ^J^^ ^ ni e i '^. ^^ a 35 2 35 ^ i I79II 235 YAR. 1 feti Lir t s ^ ^^ Sf A^ ^^ ^^ A o P g' * A o A I A A o i ^i^d ffi IT .^ if¥^ ;fe - J ~i) i r :^;^« FP^ f f^ f ^^^^^ 1^ -^f i -> y. ^ x f r bj^ ^ 1 4 '>■■¥> ^j A A p^il J i A A 179 II 236 H: e 1 S fc: 4S J 1^ i|j J iJ =Hail ^ i ^ 'I f Ttf r" I .m te "fe ^^ ^ ^ ^r r^f ^ s 4 3 2 1 ^^^ ^ m E ^ fe i * .f^n ^ ^ js 7^ 7 7 ^^=^ ^ rii! ->- ^i' Y r r r ''^ i ~iTLi JH #:^P ^gy^ 1 I79II 237 Reduce Sw. to 8' Foundations, and draw Cornopean, or other 8' Reed off Sw. & Gt. to Fed. and draw Ch.to Fed. YAR.2 J, 5, Ch. 4| *hm^ m s al if^H ^^m 1 f ¥T # Wm "y-U f CTfi g : S ^^ S i -o TT ■w A P fier^ p p ^ A. II ? P- I79II 238 *^ 5 5 4M ^ >"•** m m m S '^^ y p r p— r s *: 1 * ^ Sf^-^ i ^ V'V l M ^ s^:^ ^ Ao A OaL § 4 2 I 2 3 1 .1 ^ }) M* 4 Si 2,- 1— ^ S S ?«=:*: ^^=f=? tt :ft i ^ ft ^ 2 1 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 HESSE Edited by Clarence Eddy (J-- (J -- 108) ? ,y_l s^-y ^%=g Manual Pedal ^°— J?^-ffl ^iS .? 12 3 I79II 240 u 3 r=*^^ ^ ai 1 a 1 ^ 4^ i^l V' ^ m W ^W^H^ .y .y ^g ft ^fi^ n.P.. r 1 3 2 12 3 5- Ai^ A o ^o^^^ o ^A I79II 241 Reduce Sw.to St. Diap. Salicional and Vox Cclesti* "AR.4 and Fed. to Bourdon 16/ with Sw.to Fed. (J : 72) ^ ^ 1 "* A o I79II 242 Adagio 17911 243 VAR.5 Full Gt. «• Sw. (coupled) with Full Pedal 2 I79II 244 I79II 245 ■ M TOHTIji ^ E? ^F^ #: * # :« i ^ 4 1 3 - 3 #=t= 4 3 5 4 3 Si ^E ? A o m r m A o A ? ^^ (24 time o) I79II 240 tranquillo off Vox Celestis inolto rit off St.Diap. I79II University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. rEB n LIBRARY •Mt 182 E23m T. 2 MT 182 E23m V.2 MUSIC Lir-'.'.t