npm 2018 national convention, baltimore, md p-06 •...
TRANSCRIPT
NPM2018NationalConvention,Baltimore,MD P-06•PressedintoService:TransitioningfromPianotoOrganJuly10,10:30–11:30KellyDobbs-Mickus,EditoratMorningStarMusic/ECSGoal:ExplorethebasicdifferencesbetweenpianoandorganandsharetoolsforassimilatingthemPrimaryresources:JoyceJonesKingofInstruments(MorningStar)
AlanHommerdingFromthePianoBenchtotheOrganBench(WLP)
Differencebetweenpianoandorgan
Whatthatmeans
Whatyouneed tolearn
I.Morethanonekeyboard,
pedals
Differentposture,balance.Increased
coordination.
Familiarity,comfortwithconsole.Targeted
coordinationpractice.
II.Soundproducedbyairmoving
throughpipes,not hammer
strikes
Nodecay.Articulationachieveddifferently.(Nosustainpedal)
Legatotouchisprimary.Attack andreleaseforarticulation.
III.Manysounds/colors,
multiplepitchesforone
note
Understandingofstops,
combinations,pistons
Study&experiment
withregistrations.
Everyorganisdifferent:Numberofmanuals,Keyboardcompass,
Tracker,electro-pneumaticorelectronic,
Numberandtypeofstops,Drawknobsvs.stoptabs,
Numberofexpressionpedals,thewaytheorgansoundsin
theroom,andmore.
DEVELOPINGSOMEOFTHESEBASIC
SKILLSWILLHAVEYOUSOUNDING
ANDFEELINGLIKEANORGANISTIN
NOTIME!
IV.Practicetips.
Slowerisbetter!
V.Hymns/songsand
servicemusic
VI.Solorepertoire
VII.Encourage-
ment
www.morningstarmusic.com
I.Morethanonekeyboard(manual),pedals Theconsole:Position,posture,balance,andspecialshoes Keyboards(manuals)correspondtodivisions:Greatismain,Swellissecondary(andenclosed),etc.
Keyboardandpedalcompass(mostinU.S.are61,32inpedal)Pedalboardsusuallyconcave,someflat
Increasedcoordination,especiallyforpedals,isbuiltbyslow,deliberatepractice(see7-stepmethodbelow)II.Soundproducedbyairmovingthroughpipes,nothammerstrikes Trackerorelectro-pneumaticorgan,differenceismostlythetouch;electronic.
Nosustainpedalmeanslegatotouchisprimary;fingersubstitutionandfingerindependencenecessary.Legatopedalplayingrequiresbothfeet,toeandheel,footsubstitutionandsometimescrossingfeet.Pedalplayingassistedbykeepingkneesandheelstogether(to“measure”space).Articulationsmadebyattackandrelease,notweight.
III.Manydifferentsoundsandcolors,multiplepitchesforonenote:Registration 4familiesoftone:Principal,Flute,String(StringCeleste),Reed:Listenandcompare. Pitchdesignations:16’,8’,4’,2’,mutationsandmixtures(meansonenotecanplayseveralpitches)
Becauseeveryorganisdifferent,thenotationformanuals/registrationscanbeonlysuggestions.Couplersallowstopsfromonemanualtobeplayedonanother.Combinationactionallowsforpre-setcombinationsofsoundstoberecalled/clearedatthepushofapiston/toestud.Generalpistons(wholeinstrument)andDivisionalpistons(singlemanual)Expressionpedalsforencloseddivisions;crescendopedal,tuttiA“plenum”registrationisbuiltonsuccessivepitchesandbalancedbetweenmanualsandpedals.Endlesspossibilitiesforsolosounds,accompanimentcombinations,andmore,evenmelodyinthepedal!
IV.Practicetips Usemasteredexercisesaswarm-upstoreinforcetechnique. 7-stepmethod(JoyceJonesbook)
Slowandaccuratealwaysbestandsavestimelater.Practiceproblemspotsfirst,thenreviewwhole.Ifsomethingisn’tworking,stoptofixit(fingering,pedaling).Varymanuals(don’tgetinarut)toincreasecomfortandconfidence.Setgoals(toavoidwastingtime)andkeeptrackofwhatyou’veaccomplished.
V.Hymns/Songsandservicemusicplaying Steadyrhythm/tempomostimportantfactor(useametronome).
Breathingimportant,bothbetweenphrasesandbetweenstanzas/verses/refrains.Singalongtomakedecisions.SATBvoicingforhymns:Tyingnotes(butnotmelody)avoidschoppiness,butdon’ttieoverbarline.
Bassinpedal.Short-termsolutions:basscoupler;minimalpedal(cadences);blockchordswithbassinpedal. “Standard”registrationsforhymns,responsorialpsalms,etc.(Isitclearwhenassemblysings?) Simplevariedtreatments:Solomelody,alternatephrasesondifferentmanuals,varyacc.texture(manualsonly,etc.)VI.Solorepertoire Doesn’thavetobedifficulttobeeffective;lotsofmanuals-onlymusicoutthere;somepianomusicworksonorgan.
Roomforcreativityinregistration.Lastweek’spreludecanbethisweek’spostludebychangingregistration/tempo.Hymn-basedcanbehelpfulforassembly,alsopointstoseasonorfeast.Improvisationfor“filling”oftenneeded.Payattentiontoarticulationsandphrasing;theywillenlivenyourplayingandmake“simple”piecessoundgood.Adaptandexcerpt:Youdon’thavetoplaythewholepieceexactlythewayitispresented.Keeptrackofwhatpiecesyouhavelearned,whenyouplayedthem,whatregistrations;usethemagain.
VII.Encouragement
Don’ttrytodoitallatonce,especiallypedals.Giveyourbraintimetoassimilatethecoordinationexercises.Usethe7-stepmethodtolearnservicemusic/hymnsandsolomusic;bepatientanditwillstick.
Gethelpfromacolleague,joinAmericanGuildofOrganists,gotoworkshops,recordandlisten,etc. Keepplayingthepiano;rememberyoucanpracticeorganmusiconpiano,especiallytolearnnotes. Spendsomeofyourtimeattheorgandoingwhatisfunforyou,keepinginmindgoodtechnique.
Copyright©2018byMorningStarMusicPublishes,adivisionofBirnamwoodPublishing,St.Louis,Missouri.
2
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2-3
2-3
2-3
2-3
2-3
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3 4
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4
5 4
5
Fin
ger
Subst
ituti
on
Su
bst
itu
tio
n i
s u
sed
fre
qu
entl
y o
n t
he
org
an,
in o
rder
to
mai
nta
in a
leg
ato
lin
e. P
ract
ice
sub
stit
uti
ng
rh
yth
mic
ally
, o
nth
e h
alf
bea
t.
e =
88
RH
: F
lute
8',
4'
LH
: P
rin
cip
al 8
'
In t
he
foll
ow
ing
do
ub
le t
hir
ds,
th
e su
bst
itu
tio
n o
f b
oth
no
tes
can
be
mad
e at
th
e sa
me
tim
e. T
his
is
call
ed s
imu
ltan
eou
ssu
bst
itu
tio
n.
e =
88
RH
: F
lute
8'
LH
: V
iola
8'
Wh
en t
he
stre
tch
es a
re s
uch
th
at t
he
sub
stit
uti
on
s ca
nn
ot
be
mad
e si
mu
ltan
eou
sly,
it
is n
eces
sary
to
use
su
cces
siv
esu
bst
itu
tio
n,
on
e n
ote
at
a ti
me.
Th
e su
bst
itu
tio
ns
sho
uld
be
mad
e q
uic
kly
, th
e lo
ng
er fi
ng
ers
cro
ssin
g o
ver
an
d t
he
sho
rter
fin
ger
s g
oin
g u
nd
er.
Succ
essi
ve
Subst
ituti
on
e =
10
0
RH
: F
lute
8',
4'
LH
: P
rin
cip
al 8
'
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ual
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die
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Man
ual
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hn
iqu
e
In o
rder
to b
ecom
e a
good o
rgan
ist,
you s
hould
firs
t be
a good p
ianis
t. W
arm
up o
n t
he
pia
no, beg
innin
g w
ith s
cale
s,ar
peg
gio
s, a
nd c
hord
s. T
ry t
o p
lay a
t le
ast
two m
ajor
and m
inor
scal
es e
ach d
ay, so
that
in a
wee
k’s
tim
e you w
ill
hav
eco
ver
ed a
ll m
ajor
and m
inor
key
s. M
any o
f th
e org
an s
tudie
s ca
n b
e le
arned
firs
t on t
he
pia
no. T
his
is
espec
iall
yhel
pfu
l fo
r w
ork
ing o
ut
finger
ing. E
ven
if
you h
ave
an o
rgan
avai
lable
, it
is
good t
o w
ork
out
dif
ficu
lt s
pots
on a
pia
no.
Leg
ato
Lis
ten c
aref
ull
y a
s you p
lay t
his
. P
lay w
ith a
per
fect
leg
ato, w
ithout
a bre
ak i
n s
ound o
r over
lappin
g o
f note
s.
q =
60
Gt:
Flu
te 8
'
Att
ack
an
d R
elea
se
Pla
y w
ith a
cle
ar, posi
tive
atta
ck a
nd r
elea
se o
f th
e key
s. B
e ce
rtai
n t
hat
all
par
ts i
n a
chord
are
pla
yed
wit
h p
reci
sion
and t
hat
the
rele
ases
are
cle
an a
nd c
risp
. It
is
hel
pfu
l to
thin
k o
f a
rest
as
a note
that
is
pla
yed
upw
ard.
q =
72
Sw
: F
lute
8'
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Man
ual
Stu
die
s
Man
ual
Tec
hniq
ue
In o
rder
to b
ecom
e a
good o
rgan
ist,
you s
hould
firs
t be
a good p
ianis
t. W
arm
up o
n t
he
pia
no, beg
innin
g w
ith s
cale
s,ar
peg
gio
s, a
nd c
hord
s. T
ry t
o p
lay a
t le
ast
two m
ajor
and m
inor
scal
es e
ach d
ay, so
that
in a
wee
k’s
tim
e you w
ill
hav
eco
ver
ed a
ll m
ajor
and m
inor
key
s. M
any o
f th
e org
an s
tudie
s ca
n b
e le
arned
firs
t on t
he
pia
no. T
his
is
espec
iall
yhel
pfu
l fo
r w
ork
ing o
ut
finger
ing. E
ven
if
you h
ave
an o
rgan
avai
lable
, it
is
good t
o w
ork
out
dif
ficu
lt s
pots
on a
pia
no.
Leg
ato
Lis
ten c
aref
ull
y a
s you p
lay t
his
. P
lay w
ith a
per
fect
leg
ato, w
ithout
a bre
ak i
n s
ound o
r over
lappin
g o
f note
s.
q =
60
Gt:
Flu
te 8
'
Att
ack a
nd R
elea
se
Pla
y w
ith a
cle
ar, posi
tive
atta
ck a
nd r
elea
se o
f th
e key
s. B
e ce
rtai
n t
hat
all
par
ts i
n a
chord
are
pla
yed
wit
h p
reci
sion
and t
hat
the
rele
ases
are
cle
an a
nd c
risp
. It
is
hel
pfu
l to
thin
k o
f a
rest
as
a note
that
is
pla
yed
upw
ard.
q =
72
Sw
: F
lute
8'
Fin
ger S
ubst
itutio
n
& ?44 44. . . .
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11
4 5
-4 5-4 5-4 5-4 5-4 5
-4 5 4-5 4-5 4-5 4-5 4-5 4-5 4
3 4
-3 4-3 4-3 4-3 4-3 4
-3 4 3-4 3-4 3-4 3-4 3-4 3-4 3
2 3
-2 3-2 3-2 3-2 3-2 3
-2 3 2-3 2-3 2-3 2-3 2-3 2-3 2
1 2
-1 2-1 2-1 2-1 2-1 2
-1 2 1-2 1-2 1-2 1-2 1-2 1-2 1
1 2
-1 2-1 2-1 2-1 2-1 2
-1 2 1-2 1-2 1-2 1-2 1-2 1-2 1
2 3
-2 3-2 3-2 3-2 3-2 3
-2 3 2-3 2-3 2-3 2-3 2-3 2-3 2
3 4
-3 4-3 4-3 4-3 4-3 4
-3 4 3-4 3-4 3-4 3-4 3-4 3-4 3
4 5
-4 5-4 5-4 5-4 5-4 5
-4 5 4-5 4-5 4-5 4-5 4-5 4-5 4
3
4-3 4-3 4
-3 1
2-1 2-1 2
-1 et
c.
4 5 4 5 4 5 4 5 4 5
1 2 1 2 1 2 1 2 1 2
1 2 1 2 1 2 1 2 1 2
4 5 4 5 4 5 4 5 4 5
Fin
ger
Subst
ituti
on
Su
bst
itu
tio
n i
s u
sed
fre
qu
entl
y o
n t
he
org
an,
in o
rder
to
mai
nta
in a
leg
ato
lin
e. P
ract
ice
sub
stit
uti
ng
rh
yth
mic
ally
, o
nth
e h
alf
bea
t.
e =
88
RH
: F
lute
8',
4'
LH
: P
rin
cip
al 8
'
In t
he
foll
ow
ing
do
ub
le t
hir
ds,
th
e su
bst
itu
tio
n o
f b
oth
no
tes
can
be
mad
e at
th
e sa
me
tim
e. T
his
is
call
ed s
imu
ltan
eou
ssu
bst
itu
tio
n.
e =
88
RH
: F
lute
8'
LH
: V
iola
8'
Wh
en t
he
stre
tch
es a
re s
uch
th
at t
he
sub
stit
uti
on
s ca
nn
ot
be
mad
e si
mu
ltan
eou
sly,
it
is n
eces
sary
to
use
su
cces
siv
esu
bst
itu
tio
n,
on
e n
ote
at
a ti
me.
Th
e su
bst
itu
tio
ns
sho
uld
be
mad
e q
uic
kly
, th
e lo
ng
er fi
ng
ers
cro
ssin
g o
ver
an
d t
he
sho
rter
fin
ger
s g
oin
g u
nd
er.
Succ
essi
ve
Subst
ituti
on
e =
10
0
RH
: F
lute
8',
4'
LH
: P
rin
cip
al 8
'
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sand
o
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5 4 - 4
3
-
3
2
-
2 1
-
1 2 - 2
3
-
3 4 - 4
1 -
1 2 - 2
3
-
3
4
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4 5
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5 4 - 4
3
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3 2 - 2
1 - 1
- 1
Rep
eate
d N
ote
s
Sin
ce t
he
org
an c
an s
ust
ain
a n
ote
as
lon
g a
s it
is
hel
d,
rep
eate
d n
ote
s re
qu
ire
spec
ial
atte
nti
on
. A n
ote
th
at i
s to
be
rep
eate
d n
eed
s to
be
sho
rten
ed,
in o
rder
to
all
ow
tim
e fo
r th
e p
ipe
to c
ease
sp
eak
ing
an
d b
e re
ady
to
so
un
d a
gai
n.
In a
rap
id t
emp
o,
the
firs
t n
ote
co
uld
be
sho
rten
ed b
y h
alf
its
val
ue.
In
a s
low
er t
emp
o,
the
firs
t n
ote
co
uld
be
sho
rten
edb
y o
ne-
fou
rth
its
val
ue.
A d
ott
ed n
ote
sh
ou
ld b
e sh
ort
ened
by
th
e le
ng
th o
f th
e d
ot,
th
us
giv
ing
th
e n
ote
tw
o-t
hir
ds
of
its
wri
tten
val
ue.
In
a s
low
er t
emp
o,
the
amo
un
t o
f th
e b
reak
co
uld
be
hal
f th
e le
ng
th o
f th
e d
ot.
Gli
ssan
do
Th
e fi
ng
er g
liss
and
o i
s u
sed
to
ass
ist
in p
lay
ing
leg
ato
. Alt
ho
ug
h t
his
tec
hn
iqu
e is
no
t u
sed
as
oft
en a
s so
me
oth
ers,
it
is g
oo
d t
o k
no
w a
nd
pra
ctic
e h
ow
to
do
th
is.
Sli
de
fro
m o
ne
no
te t
o t
he
nex
t.
q =
92
Sw
: F
lute
8',
2'
1 - 1
- 1
1 - 1
-
1
Th
um
b G
liss
and
o
Th
um
b g
liss
and
o i
s n
ot
use
d o
ften
bu
t ca
n b
e v
ery
hel
pfu
l o
n o
ccas
ion
. S
om
etim
es g
liss
and
o c
an b
e u
sed
in
stea
d o
fsu
bst
itu
tio
n. T
hu
mb
gli
ssan
do
is
acco
mp
lish
ed i
n t
wo
way
s. I
n t
he
foll
ow
ing
ex
amp
le,
pla
y w
ith
th
e ti
p o
f th
e ri
gh
tth
um
b,
then
sli
de
do
wn
to
th
e fi
rst
join
t o
f th
e th
um
b w
hil
e lo
wer
ing
th
e w
rist
. T
his
fre
es t
he
tip
of
the
thu
mb
to
pla
yth
e n
ext
no
te a
s th
e w
rist
is
rais
ed.
Fo
r g
oin
g t
he
oth
er d
irec
tio
n,
rev
erse
th
e p
roce
du
re.
e =
88
Gt:
Pri
nci
pal
8'
1 - 1
-
1
&4486
ÏW
ritt
en:
ÏÏ
Ïj Ï
Pla
yed: ä
j Ïä
j Ïä
j Ïä
. ÏW
ritt
en:
. ÏÏ
Pla
yed:
äÏ
ä
&4343
. ˙W
ritt
en:
˙P
laye
d:
Î. ˙
Wri
tten
:
˙P
laye
d:
j Ïä
& ?44 44Ï#
ÏÏ
ÏÏ#
ÏÏ
ÏÏ#
ÏÏ
ÏÏ#
ÏÏ
ÏÏ#
ÏÏb
ÏÏ#
ÏÏb
ÏÏb
ÏÏ
ÏÏb
ÏÏ
Ï
& ?44 44ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÎ
ÏÏ
ÏÎ
12
5 -
5 4 - 4
3
-
3
2
-
2 1
-
1 2 - 2
3
-
3 4 - 4
1 -
1 2 - 2
3
-
3
4
-
4 5
-
5 4 - 4
3
-
3 2 - 2
1 - 1
- 1
Rep
eate
d N
ote
s
Sin
ce t
he
org
an c
an s
ust
ain
a n
ote
as
lon
g a
s it
is
hel
d,
rep
eate
d n
ote
s re
qu
ire
spec
ial
atte
nti
on
. A n
ote
th
at i
s to
be
rep
eate
d n
eed
s to
be
sho
rten
ed,
in o
rder
to
all
ow
tim
e fo
r th
e p
ipe
to c
ease
sp
eak
ing
an
d b
e re
ady
to
so
un
d a
gai
n.
In a
rap
id t
emp
o,
the
firs
t n
ote
co
uld
be
sho
rten
ed b
y h
alf
its
val
ue.
In
a s
low
er t
emp
o,
the
firs
t n
ote
co
uld
be
sho
rten
edb
y o
ne-
fou
rth
its
val
ue.
A d
ott
ed n
ote
sh
ou
ld b
e sh
ort
ened
by
th
e le
ng
th o
f th
e d
ot,
th
us
giv
ing
th
e n
ote
tw
o-t
hir
ds
of
its
wri
tten
val
ue.
In
a s
low
er t
emp
o,
the
amo
un
t o
f th
e b
reak
co
uld
be
hal
f th
e le
ng
th o
f th
e d
ot.
Gli
ssan
do
Th
e fi
ng
er g
liss
and
o i
s u
sed
to
ass
ist
in p
lay
ing
leg
ato
. Alt
ho
ug
h t
his
tec
hn
iqu
e is
no
t u
sed
as
oft
en a
s so
me
oth
ers,
it
is g
oo
d t
o k
no
w a
nd
pra
ctic
e h
ow
to
do
th
is.
Sli
de
fro
m o
ne
no
te t
o t
he
nex
t.
q =
92
Sw
: F
lute
8',
2'
1 - 1
- 1
1 - 1
-
1
Thum
b G
liss
ando
Th
um
b g
liss
and
o i
s n
ot
use
d o
ften
bu
t ca
n b
e v
ery
hel
pfu
l o
n o
ccas
ion
. S
om
etim
es g
liss
and
o c
an b
e u
sed
in
stea
d o
fsu
bst
itu
tio
n. T
hu
mb
gli
ssan
do
is
acco
mp
lish
ed i
n t
wo
way
s. I
n t
he
foll
ow
ing
ex
amp
le,
pla
y w
ith
th
e ti
p o
f th
e ri
gh
tth
um
b,
then
sli
de
do
wn
to
th
e fi
rst
join
t o
f th
e th
um
b w
hil
e lo
wer
ing
th
e w
rist
. T
his
fre
es t
he
tip
of
the
thu
mb
to
pla
yth
e n
ext
no
te a
s th
e w
rist
is
rais
ed.
Fo
r g
oin
g t
he
oth
er d
irec
tio
n,
rev
erse
th
e p
roce
du
re.
e =
88
Gt:
Pri
nci
pal
8'
1 - 1
-
1
Fing
er in
depe
nden
ce
& ?44 44. . . .
. . . .. . . .
. . . .. . . .
. . . .Ï Ï
Ï ÏÏÏ
ÏÏw Ï Ï
Ï ÏÏÏ
ÏÏw
Ï ÏÏ Ï
ÏÏÏÏ
w Ï ÏÏ Ï
ÏÏÏÏ
ww ÏÏ
ÏÏÏÏ
ÏÏw ÏÏ
ÏÏÏÏ
ÏÏ
& ?
. . . .
. . . .. . . .
. . . .
w ÏÏ
ÏÏ
ÏÏ
ÏÏ
w ÏÏ
ÏÏ
ÏÏ
ÏÏ
w ÏÏ
ÏÏ
ÏÏ
ÏÏ
w ÏÏ
ÏÏ
ÏÏ
ÏÏ
w ÏÏ Ï
ÏÏÏ Ï
w ÏÏ Ï
ÏÏÏ Ï
& ?44 44Ï ÏÏ Ï
Ï ÏÏ Ï
ÏÏÏ ÏÏÏ
ÏÏw Ï Ï
Ï ÏÏ Ï
Ï ÏÏÏÏ ÏÏÏ
ÏÏw
Ï ÏÏ Ï
ÏÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏÏ
w Ï ÏÏ Ï
ÏÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏÏ
w
Ï ÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏÏ
ÏÏÏ Ï
w Ï ÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏÏ
ÏÏÏ Ï
w
& ?w Ï ÏÏ Ï
ÏÏÏ Ï
ÏÏÏÏ
ÏÏÏ Ï
w Ï ÏÏ Ï
ÏÏÏ Ï
ÏÏÏÏ
ÏÏÏ Ï
w Ï ÏÏ Ï
ÏÏÏÏ
ÏÏÏÏ
ÏÏÏ Ï
w Ï ÏÏ Ï
ÏÏÏÏ
ÏÏÏÏ
ÏÏÏ Ï
w w w w w w
13
Fin
ger
Indep
enden
ce
Fin
ger
indep
enden
ce i
s es
senti
al t
o b
ecom
ing a
good o
rgan
ist.
Oft
en t
his
req
uir
es m
uch
pra
ctic
e. A
s you p
lay t
he
foll
ow
ing, li
sten
to m
ake
cert
ain t
he
whole
note
s ar
e pla
yed
leg
ato w
hen
goin
g f
rom
one
mea
sure
to t
he
nex
t. P
ract
ice
tran
sposi
ng t
his
into
dif
fere
nt
key
s.
Note
: A
good s
upple
men
tary
sourc
e fo
r m
ore
exer
cise
s in
finger
indep
enden
ce i
s th
e li
ttle
book b
y A
loys
Sch
mit
t,P
repara
tory
Exerc
ises
for
the P
iano (
G. S
chir
mer
, In
c. I
SB
N 0
-7935-2
557-8
), e
spec
iall
y e
xer
cise
s 34 t
hro
ugh 6
4. T
his
is h
ighly
rec
om
men
ded
.
q =
56
RH
: F
lute
8',
2'
LH
: F
lute
8',
4'
q =
56
RH
: F
lute
8',
2'
LH
: F
lute
8',
4'
& ?44 44. . . .
. . . .. . . .
. . . .. . . .
. . . .Ï Ï
Ï ÏÏÏ
ÏÏw Ï Ï
Ï ÏÏÏ
ÏÏw
Ï ÏÏ Ï
ÏÏÏÏ
w Ï ÏÏ Ï
ÏÏÏÏ
ww ÏÏ
ÏÏÏÏ
ÏÏw ÏÏ
ÏÏÏÏ
ÏÏ
& ?
. . . .
. . . .. . . .
. . . .
w ÏÏ
ÏÏÏ
ÏÏ
Ïw Ï
ÏÏÏ
ÏÏ
ÏÏ
w ÏÏ
ÏÏÏ
ÏÏ
Ïw Ï
ÏÏÏ
ÏÏ
ÏÏ
w ÏÏ Ï
Ï ÏÏ Ï
w ÏÏ Ï
Ï ÏÏ Ï
& ?44 44Ï ÏÏ Ï
Ï ÏÏ Ï
ÏÏ ÏÏÏ
Ï ÏÏ
w Ï ÏÏ Ï
Ï ÏÏ Ï
ÏÏ ÏÏÏ
Ï ÏÏ
w
Ï ÏÏ Ï
ÏÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏÏ
w Ï ÏÏ Ï
ÏÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏÏ
w
Ï ÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏÏ
ÏÏÏ Ï
w Ï ÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏÏ
ÏÏÏ Ï
w
& ?w Ï ÏÏ Ï
ÏÏÏ Ï
ÏÏÏÏ
ÏÏÏ Ï
w Ï ÏÏ Ï
ÏÏÏ Ï
ÏÏÏÏ
ÏÏÏ Ï
w Ï ÏÏ Ï
ÏÏÏÏ
ÏÏÏÏ
ÏÏÏ Ï
w Ï ÏÏ Ï
ÏÏÏÏ
ÏÏÏÏ
ÏÏÏ Ï
w w w w w w
13
Fin
ger
Indep
enden
ce
Fin
ger
in
dep
end
ence
is
esse
nti
al t
o b
eco
min
g a
go
od
org
anis
t. O
ften
th
is r
equ
ires
mu
ch p
ract
ice.
As
yo
u p
lay
th
efo
llo
win
g,
list
en t
o m
ake
cert
ain
th
e w
ho
le n
ote
s ar
e p
lay
ed l
egat
o w
hen
go
ing
fro
m o
ne
mea
sure
to
th
e n
ext.
Pra
ctic
etr
ansp
osi
ng
th
is i
nto
dif
fere
nt
key
s.
No
te: A
go
od
su
pp
lem
enta
ry s
ou
rce
for
mo
re e
xer
cise
s in
fin
ger
in
dep
end
ence
is
the
litt
le b
oo
k b
y A
loy
s S
chm
itt,
Pre
pa
rato
ry E
xerc
ises
fo
r th
e P
ian
o (
G.
Sch
irm
er,
Inc.
IS
BN
0-7
93
5-2
55
7-8
), e
spec
iall
y e
xer
cise
s 3
4 t
hro
ug
h 6
4. T
his
is h
igh
ly r
eco
mm
end
ed.
q =
56
RH
: F
lute
8',
2'
LH
: F
lute
8',
4'
q =
56
RH
: F
lute
8',
2'
LH
: F
lute
8',
4'
From
The
Kin
g of
Inst
rum
ents
by
Joyc
e Jo
nes,
90-
29©
Mor
ning
Star
Mus
ic P
ublis
hers
. R
eprin
ted
for e
duca
tiona
l use
onl
y.
3
Hym
n tu
ne
exer
cise
Ñm
ake
up
your
ow
n!
Atta
ck a
nd re
leas
e, a
ltern
ate
feet
, toe
s on
ly
?44 Ï ^
ÎÏ
ÎÏ
ÎÏ
ÎÏ ^
ÏÏ
ÏÏ
ÎÏ
ÎÏ
ÎÏ
Î
?Ï
ÎÏ
ÎÏ
ÏÏ
ÏÏ
ÎÏ
Î˙
˙. ˙
Î
?44 . .
. .. .. .. .
. .. .. .
Ï ^
Ï^Ï ^
Ï^Ï
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
Î
?. .
. .. .. .. .
. .. .. .
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÎ
?. .
. .. .. .. .
. .. .. .
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÎ
?. .
. .. .. .. .
. .. .. .
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÎ
?. .
. .Ï
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
Î
15
Att
ack
an
d R
elea
se
Ped
: F
lute
8',
4'
Alt
ern
ate
feet
, to
es o
nly
q =
84
q =
88
Ped
: P
rin
cip
al 8
'
Hea
l and
toe,
alte
rnat
e fe
et, l
egat
o
? 44Ï
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
Ï
? ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏb
ÏÏ
ÏÏ
?Ï
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
ÏÏ
Ï˙
? 43
.ÏJÏ ^
ÏÏ ^
Ï Ï ^
Ïj Ï ^
ä. Ï^
j Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^j Ï ^
ä.Ï^
j Ï ^Ï^
? Ï ^
Ï^Ï ^
Ï^j Ï ^
ä. Ï^
j Ï ^Ï^
Ï ^
Ï^
Ï ^
Ï^
Ï ^Ï U
. Ï^j Ï ^Ï^
. ˙ ^
? 44Ï ^
Ï U
Ï ^
Ï U
Ï ^Ï U
Ï ^Ï U
Ï ^
Ï U
Ï^ÏU
Ï^ÏU
Ï ^
Ï U
Ï^ÏU
ÏÏU
ÏÏU
Ï^ÏU
? Ï ^Ï UÏ ^Ï UÏ ^Ï UÏ ^
Ï^ÏU
ÏÏUÏÏU
Ï ÏUÏ Ï^ ^
Ï ÏU U
Ï Ï^ ^
Ï ÏU U
Ï Ï ^
Ï ÏU U
Ï Ï ^
Ï ÏU U
Ï Ï ^^Ï Ï UUÏ Ï ^^Ï Ï UU˙ ^^
16
Ped
al S
kip
s
Sw
: F
lute
8',
2',
Sw
. to
Ped
.
Alt
ernat
e F
eet
Hee
l an
d T
oe
q =
10
0
q =
72
Ped
: F
lute
4'
Ped
: F
lute
8',
Pri
nci
pal
4'
q =
92
Foot
Cro
ssin
g
Subs
titut
ion
?b44
Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^
?bÏ ^
ÏÏ ^
Ï^Ï ^
ÏÏ ^
Ï^Ï ^
ÏÏ ^
Ï^w ^
?43 Ï ^
Ï ^
^Ï ^
^Ï
Ï^ ^
Ï ^
^Ïb ^
Ï ^
^Ïb
^
^Ïb^
Ïb ^
^Ï ^
^
?Ï ^
Ï ^
^Ï ^
^Ï
Ï^ ^
Ï ^
^Ïb ^
Ï ^
^Ï
. ˙b ^
?43
. .Ï U
Ï# ^Ï ^
Ï U
Ï# ^
Ï U
Ï# ^
Ïn U
Ï# ^Ïn ^
Ï U
Ïb ^Ï Ï UU
Ï#^ÏU
Ï#^Ï
ÏU
?. .
Ï#^Ïn^ÏUÏb^ÏUÏb^
Ï ÏU U
Ï Ï# #^ ^
Ï ÏU ^
Ï Ïb n^ U
Ï Ïn #^ ^
Ï ÏU U
Ï Ï# #^ ^
Ï Ïn n^ U
Ï Ï#U ^
Ï Ïb n^ ^
Ï ÏU U
Ï Ï# #^ ^
. .˙ UU
17
Foot
Cro
ssin
g
Subst
ituti
on
Ped
al G
liss
ando
The
feet
may
cro
ss o
ver
or
under
, dep
endin
g o
n w
her
e th
e fo
ot
cross
ing o
ccurs
on t
he
ped
al b
oar
d a
nd/o
r w
hic
h w
ayis
eas
ier
or
feel
s m
ore
sec
ure
.
The
subst
ituti
ng f
oot
slid
es u
nder
the
foot
curr
entl
y p
layin
g t
he
note
.
Ped
al g
liss
andos
are
alw
ays
done
wit
h t
he
toe
and a
re a
ccom
pli
shed
sim
ilar
ly t
o a
finger
gli
ssan
do b
y m
erel
y s
lidin
gth
e to
e port
ion o
f th
e sh
oe
from
one
note
to t
he
oth
er.
q =
72
e =
88
Ped
: F
lute
8',
4'
Ped
: P
rinci
pal
8',
4'
q =
58
Ped
: F
lute
4'
?b44
Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^Ï ^
Ï^
?bÏ ^
ÏÏ ^
Ï^Ï ^
ÏÏ ^
Ï^Ï ^
ÏÏ ^
Ï^w ^
?43 Ï ^
Ï ^
^Ï ^
^Ï
Ï^ ^
Ï ^
^Ïb ^
Ï ^
^Ïb
^
^Ïb^
Ïb ^
^Ï ^
^
?Ï ^
Ï ^
^Ï ^
^Ï
Ï^ ^
Ï ^
^Ïb ^
Ï ^
^Ï
. ˙b ^
?43
. .Ï U
Ï# ^Ï ^
Ï U
Ï# ^
Ï U
Ï# ^
Ïn U
Ï# ^Ïn ^
Ï U
Ïb ^Ï Ï UU
Ï#^ÏU
Ï#^Ï
ÏU
?. .
Ï#^Ïn^ÏUÏb^ÏUÏb^
Ï ÏU U
Ï Ï# #^ ^
Ï ÏU ^
Ï Ïb n^ U
Ï Ïn #^ ^
Ï ÏU U
Ï Ï# #^ ^
Ï Ïn n^ U
Ï Ï#U ^
Ï Ïb n^ ^
Ï ÏU U
Ï Ï# #^ ^
. .˙ UU
17
Fo
ot
Cro
ssin
g
Su
bst
itu
tio
n
Ped
al G
liss
and
o
The
feet
may
cro
ss o
ver
or
under
, dep
endin
g o
n w
her
e th
e fo
ot
cross
ing o
ccurs
on t
he
ped
al b
oar
d a
nd/o
r w
hic
h w
ayis
eas
ier
or
feel
s m
ore
sec
ure
.
The
subst
ituti
ng f
oot
slid
es u
nder
the
foot
curr
entl
y p
layin
g t
he
note
.
Ped
al g
liss
andos
are
alw
ays
done
wit
h t
he
toe
and a
re a
ccom
pli
shed
sim
ilar
ly t
o a
finger
gli
ssan
do b
y m
erel
y s
lidin
gth
e to
e port
ion o
f th
e sh
oe
from
one
note
to t
he
oth
er.
q =
72
e =
88
Ped
: F
lute
8',
4'
Ped
: P
rinci
pal
8',
4'
q =
58
Ped
: F
lute
4'
?b44
Ï ^
Ï^Ï ^
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^
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. .Ï U
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Ï Ï#U ^
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Ï ÏU U
Ï Ï# #^ ^
. .˙ UU
17
Fo
ot
Cro
ssin
g
Su
bst
itu
tio
n
Ped
al G
liss
and
o
Th
e fe
et m
ay c
ross
ov
er o
r u
nd
er,
dep
end
ing
on
wh
ere
the
foo
t cr
oss
ing
occ
urs
on
th
e p
edal
bo
ard
an
d/o
r w
hic
h w
ayis
eas
ier
or
feel
s m
ore
sec
ure
.
Th
e su
bst
itu
tin
g f
oo
t sl
ides
un
der
th
e fo
ot
curr
entl
y p
lay
ing
th
e n
ote
.
Ped
al g
liss
and
os
are
alw
ays
do
ne
wit
h t
he
toe
and
are
acc
om
pli
shed
sim
ilar
ly t
o a
fin
ger
gli
ssan
do
by
mer
ely
sli
din
gth
e to
e p
ort
ion
of
the
sho
e fr
om
on
e n
ote
to
th
e o
ther
.
q =
72
e =
88
Ped
: F
lute
8',
4'
Ped
: P
rinci
pal
8',
4'
q =
58
Ped
: F
lute
4'
Coo
rdin
atio
n: 7
-ste
p Pr
actic
e M
etho
d
1. L
H
2. R
H
3. P
edal
Alte
rnat
e w
ay to
m
ark
peda
ling.
Dr
aw a
line
und
er
the
bass
cle
f, m
ark
RF a
bove
line
, LF
belo
w.
Peda
l glis
sand
o
(Fro
m H
omm
erdi
ng b
ook)
& ? ?43 43 43ÏÏ .
Ï .˙
Ï
. ˙^
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.˙^
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& ? ?
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Ï
.˙^
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Ï˙
Ï
.˙ ^
ÏÏ.
Ï.
ÏÏ
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. ˙^
.˙ .˙ . ˙ ^
& ? ?43 43 43Ï3 1
II
Ï4 1
Ï5 2
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Ï. ˙ .˙^
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Ï4
Ï#3
Ï4
,.˙ . ˙ . ˙U
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2
. ˙ .˙ .˙^
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Ï ÏÏ4 2
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.˙ . ˙ ^
˙5 2
Î˙
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Î
19
Tri
o i
n C
LH
: F
lute
8'
RH
: O
bo
e 8
'
Ped
: B
ou
rdo
n 1
6',
8'
Joy
ce J
on
es
Inte
rlu
de
in C
Ob
serv
ing
th
e fi
ng
erin
g i
nd
icat
ion
s w
ill
hel
p i
n p
lay
ing
th
is l
egat
o. T
his
may
als
o b
e p
lay
ed o
n S
trin
gs.
Bo
th h
and
s o
n I
I: F
lute
8',
4'
Ped
: S
oft
16
', 8
'G
eorg
Jo
sep
h V
og
ler,
17
49
-18
14
Wri
te i
n t
he
fin
ger
ing
bef
ore
pla
yin
g.
Use
th
e S
even
-Ste
p M
eth
od
(p
age
9)
to p
ract
ice
this
. T
he
left
han
d a
nd
ped
alsh
ou
ld b
e p
lay
ed l
egat
o,
wh
ile
the
rig
ht
han
d i
s ar
ticu
late
d.
q =
84
q =
72
3. L
H a
nd P
edal
4. R
H a
nd P
edal
5. R
H a
nd L
H
7. P
UT
IT A
LL
TOG
ETH
ER!
Trio
in C
(Jon
es)
Cop
yrig
ht ©
200
6 B
irnam
woo
d Pu
blic
atio
ns (A
SCA
P)A
div
isio
n of
Mor
ning
Star
Mus
ic P
ublis
hers
, Inc
., St
. Lou
is, M
OA
ll rig
hts r
eser
ved.
P
rinte
d in
U.S
.A R
epro
duci
ng th
is p
ublic
atio
n in
any
form
is p
rohi
bite
d by
law
with
out t
he p
erm
issi
on o
f the
pub
lishe
r.Th
e C
CLI
Lic
ense
doe
s not
giv
e pe
rmis
sion
to c
opy
this
mus
ic
Cha
rles C
alla
han
Tune
: 15t
h ce
nt. F
renc
h pr
oces
sion
al
Ven
i, Em
man
uel
&#Setti
ng 1 ‰m
fSo
lo œjœœ
œœœœ
œ œœ‰ œj œ
œ œœœ œ
œ œ?#Œ
mp w
˙w w
˙?#
mp œ
wœœ
˙˙
4 &#œ
‰œjœœœœœ
œœœ
‰œjœœœœ
?#œ
œw
œœ
œ œœ œ
œ œœ œ
?#Œ
œw
Œ˙
7 &#œœœœœ
‰œ Jœ
œ Jœ
œ Jœœœœ
?#œ
œœ œ
œ Jœ œ
œ Jœ œ
œ œ˙
?#˙
Œœ
Œœ
Ó˙
10 &#œ
‰œj
œœœœœœœœ
˙œj‰
?#œ œ
œ œ˙
˙˙
œ œ J‰
?#œ
œ˙
˙˙
œ J‰
MSM
-10-
597
147
Veni
Em
man
uel
From
The
Art
of H
ymn
Play
ing,
Vol
. 1, b
y C
harle
s C
alla
han,
10-
597
© M
orni
ngSt
ar M
usic
Pub
lishe
rs.
Rep
rinte
d fo
r edu
catio
nal u
se o
nly.
4
⇥ ⌅� �44 44� �� �
� �� �
4. M
or
-3
. Al
-2
. All
1. J
oy
-
tals
way
sY
ou
rfu
l,
join
giv
-w
ork
sjo
y-
the
ing
wit
hfu
l,
��
��
��
� �
� ��
� �� �
mig
ht
-an
djo
yw
e
yfor
-su
r-
a-
cho
-g
iv-
rou
nd
do
re
rus,
ing
,Y
ou
,Y
ou
,
��
� �� �
� �� �
� �� �
� �� �
Wh
ich
Ev
-E
arth
Go
d
the
erand
of
mo
rn-
ble
ss-
hea
vÕn
glo
-
ing
ing
,re
-ry
,
� �� �
� �� �
⇥ ⌅� �⇤ ⇤� �⌃� �
star
sev
-flect
Lo
rd
be
-er
Yo
ur
of
gan
;b
lest
,ra
ys,
lov
e;
⇤ ⇤� �⇧� �
� �� �
� �� �⌥
Go
dÕs
Wel
l-
Sta
rsH
eart
s
ow
nsp
rin
gan
du
n-
lov
eo
fan
-fo
ld
isthe
gel
sli
ke
� �� �
� �� �
� �⌥� �
� �� �
reig
n-
joy
sin
gflow’rs
ing
ofa
-b
e-
oÕe
rli
v-
rou
nd
fore
us,
ing
,Y
ou
,Y
ou
,
� �� �
� �� �
⇥ ⌅� �� �� �
� �� �
Join
-O
-C
en-
O-
ing
cean
ter
pÕn
ing
peo
-d
epth
of
to
pleof
un
-th
e
� �� �
� �� �
⇤ ⇤� �⌃�
han
dh
ap-
bro
-su
n
inpy
kena
-
han
d.
rest
!p
rais
e;b
ov
e.
⇧�
⇤ ⇤� �⇧� �
� �� �
� ��
Ev
-L
ov
-F
ield
Mel
t
ering
and
the
sin
g-
Fa
-fo
r-
clo
ud
s
ing
,th
er,
est,
of�
� �� �
� �� �
⇥ ⌅� �� �� �� �� �
�
mar
chC
hri
stv
ale
sin
we
ou
ran
dan
dsa
d-
mo
un
-B
roth
-o
n-
nes
s;ta
in,
er,
war
d,�
� �� � �
� �� �
� ���
� �� ��
Dri
ve
Flo
w-
Let
Vic
-to
rs
the
Õry
Yo
ur
dar
km
ead
-li
gh
tin
of
ow
,u
p-
the
� � �� �
�� ��
� �
�� ��
d
ou
bt
flash
-o
nm
idst
a-
ing
us
of
way
;se
a,sh
ine;
stri
fe;
� �⌥
� �� �
�
6/2
8/1
73
34
55
43
-JO
YF
U-A
ah,
pag
e 1
Joyf
ul, J
oyfu
l, W
e A
dore
You
⇥ ⌅� �� �� �
� �� �⌥
Giv
-C
han
t-T
each
Joy
-
er ing
us
ful
how
mu
-
of
bir
d,
im-
and
to sic
�� �
� �� �
�
� �⌥� �
� �� �
mor
-flow
-lo
ve
lead
s
tal
ing
each us
gla
d-
foun
-oth
-su
n-
nes
s,
er,
war
d
tain
� �� �
� �� �
� �� �� �
� �F
ill
Pra
is-
Lif
tIn
us
ing
us
the
wit
h
to tri-
You
the e
-th
eum
ph
� �� �� �
� �
⇤ ⇤� �⌃ �
light
ter-
joy
song
of
di-
of
nal
-day
!
vin
e.li
fe.
ly!
⇧� ⇤ ⇤� �⇧� �
6/2
8/1
73
34
55
43
-JO
YF
U-A
ah,
pag
e 2
Tune:
Hen
ry v
an D
yke,
1852Ð1933, al
t.T
une:
HY
MN
TO
JO
Y, 8 7
8 7
D;
arr.
fro
m L
udw
ig v
an B
eeth
oven
, 1770Ð1827, by E
dw
ard H
odges
, 1796Ð1867
& ? ?b b b44 44 44ÏÏ
ÏÏÏ
Ï˙
ÏÏ
∑
In
trod
ucti
on
*
ÏÏÏ
ÏÏ
˙Ï
Ï
∑
ÏÏÏ
ÏÏnÏ#
Ï˙
Ï#Ï
∑
Ï ÏnÏn
˙Ï
Ï˙ ∑
& ? ?b b b
5
ÏÏ
ÏbÏ
˙Ï
Ï
w
ÏÏ
ÏÏ
˙˙
w
ÏÏ
ÏÏ
w w w
. Ïj Ï˙
w ˙˙
˙˙
.˙Î
. .˙Î
.˙Î
& ? ?b b b
10
ÏÏ
ÏÏ
˙Ï
Ï
wSett
ing
ÏÏ
ÏÏ
ÏÏ
ÏÏ
w
ÏÏ
ÏÏ
ÏÏ
ÏÏ
Ï
w
.Ïj Ï
˙
. ÏJÏ
˙w
22
MS
M-1
0-6
17
Hym
n t
o J
oy
Ly
nn
Tra
pp
Co
py
rig
ht
© 2
01
3 B
irn
amw
oo
d P
ub
lica
tio
ns
(AS
CA
P)
A d
ivis
ion
of
Mo
rnin
gS
tar
Mu
sic
Pu
bli
sher
s, I
nc.
, S
t. L
ou
is,
MO
All
rig
hts
res
erv
ed.
Pri
nte
d i
n U
.S.A
. 1
.80
0.6
47
.211
7
ww
w.M
orn
ing
Sta
rMu
sic.
com
Rep
rod
uci
ng
th
is p
ub
lica
tio
n i
n a
ny
fo
rm i
s p
roh
ibit
ed b
y l
aw w
ith
ou
t th
e p
erm
issi
on
of
the
pu
bli
sher
.T
he
CC
LI
Lic
ense
do
es n
ot
giv
e p
erm
issi
on
to
co
py
th
is m
usi
c.
Tu
ne:
HY
MN
TO
JO
Y,
fro
m L
ud
wig
van
Bee
tho
ven
, 1
77
0Ð
18
27
, ar
r. b
y E
dw
ard
Ho
dg
es,
17
96
Ð1
86
7 (
PD
).M
usi
c: N
ewly
co
mp
ose
d,
and
co
py
rig
ht
© 2
01
3 w
ith
th
is p
ub
lica
tio
n.
* E
nti
re p
iece
or
chose
n p
hra
ses
may
be
pla
yed
on o
ne
man
ual
or
wit
h r
ight
han
d a
s so
lo a
nd l
eft
han
d a
s ac
com
pan
imen
t.
& ? ?b b b
14
ÏÏ
ÏÏ
ÏÏ
ÏÏ
w
ÏÏ
ÏÏ
ÏÏ
ÏÏ
w
ÏÏ
ÏÏ
w w w
. Ïj Ï
˙w ˙
˙
˙˙
& ? ?b b b
18
ÏÏ
ÏÏ
˙Ï
Ï
w
ÏÏÏ
ÏÏ
˙Ï
Ï
w
ÏÏÏ
ÏÏ
˙Ï
Ï
w
ÏÏ
˙Ï
Ï Ïn˙
˙˙
ÏÏ
ÏÏ
ÏÏ
ÏÏ
w
& ? ?b b b
23
ÏÏ
ÏÏ
ÏÏ
ÏÏ
w
ÏÏ
ÏÏ
w˙
w
To n
ext s
tanz
a
. Ïj Ï˙
ÏÏ
˙˙
˙
˙˙
.˙Î
.˙Î
. .˙ .˙Î
To in
terlu
de
. Ïj Ï˙
ÏÏ
˙˙
˙
˙˙
& ? ?b b b
28
ÏÏÏ Ï
ÏnÏ#Ï
˙Ï#
Ï
∑
In
terlu
de
Ï ÏnÏn˙
ÏÏÏ
Ïb ÏÏ
∑
Ï ÏÏÏb
w w∑
ÏbÏ Ï
Ï
w w∑
Ï ÏÏÏ
w w
. Ïj Ï˙
˙˙
˙˙
To n
ext
stanza
.˙Î
. .˙Î
.˙Î
MS
M-1
0-6
17
23
From
Hym
ns o
f Pra
ise
Then
Let
Us
Sing
, by
Lynn
Tra
pp, 1
0-61
7©
Mor
ning
Star
Mus
ic P
ublis
hers
. Rep
rinte
d fo
r edu
catio
nal u
se o
nly.
Hym
n to
Joy
54
& ? ?# # # # # #
46 46 46˙ î î
ÏÏÏ Ï
ÏÏ. .w w . w^
w˙
˙˙
î
w ^
î
ÏÏÏ Ï
ÏÏw w
˙
w^
U
wÏ Ï
˙˙
˙
w ^
˙
& ? ?# # # # # #
˙˙
Ï Ï˙
˙˙
˙U
˙ ^
˙
˙˙
˙
˙ #˙
î˙U
˙ ^
î
Ï ÏÏ Ï
ÏÏ. .w w . w^
w˙
˙˙
î
w ^
î
Ï ÏÏ Ï
ÏÏw w
˙
w^
U
wÏ Ï
˙˙
˙
w ^U
& ? ?# # # # # #
˙˙
Ï Ï˙
w
˙ ^w U
˙˙
Ï Ï
Ï Ïw w
˙ ^
w^
˙˙
Ï Ï
˙ #w w
˙ U
w ^
˙˙
Ï ÏÏ Ï
˙˙
˙#^˙U
˙
. w ˙˙
˙
˙N ^
˙˙ ^
w w w w^
44
All
Cre
ature
s of
Our
God a
nd K
ing
(Key
of
D)
Bas
ed o
n L
ASST
UN
S E
RF
RE
UE
NJo
yce
Jo
nes
from
Gei
stli
che
Kir
cheg
esŠng, 1623
Ped
: P
rinci
pal
16',
8',
4'
LH
: P
rinci
pal
8',
4'
RH
: S
olo
Tru
mpet
8'
h =
84
Th
is p
iece
is
also
fo
un
d i
n t
he
key
of
E-fl
at o
n p
age
45
.
Fo
r ad
dit
ion
al p
ract
ice
in t
ran
spo
siti
on
, tr
y p
lay
ing
th
is p
iece
in
D-fl
at m
ajo
r.
& ? ?# # #44 44 44. . . . . .
. . . . . .
ÏI
ÏÏ
ÏÏ
ÏÏ
ÏÏ
Ï
˙˙
ÏÏ
˙Ï
Ï˙
˙ ^
˙
ÏÏ
ÏÏ
ÏÏ
ÏÏ
w ^
ÏÏ
˙Ï
Ï Ï˙
˙ U
˙
& ? ?# # #ÏÏ
ÏÏ
ÏÏ
ÏÏ
˙˙U
. ÏJÏ
˙˙
˙
ÏÏ ^
˙
ÏÏ
ÏÏ
˙˙
w ^
ÏÏ
˙Ï
Ï˙
˙ U
˙
?#44 . .
. .Ï ^
Ï U
Ï ^Ï U
Ï^ÏU
ÏÏU
ÏÏU
ÏÏU
Ï ^
Ï U
Ï ^Ï U
w ^
?#Ï ^
Ï^Ï ^
Ï^ÏÏ
ÏÏÏÏ
ÏÏÏÏ
ÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏ Ï
Ï ÏÏ^Ï UÏ ^
20
For
the
Bea
uty
of
the
Ear
th
Ped
: B
ou
rdo
n 1
6',
Pri
nci
pal
8'
by
Co
nra
d K
och
er,
17
86
-18
72
Bo
th h
and
s o
n I
: P
rin
cip
al 8
', 4
'B
ased
on
DIX
Joyce
Jones
Ped
al E
xer
cise
in
G
This
set
ting m
ay b
e use
d a
s an
eas
y a
ccom
pan
imen
t fo
r si
ngin
g t
he
hym
n. W
rite
in t
he
finger
ing b
efore
pla
yin
g.
Ped
: F
lute
8',
Pri
nci
pal
4'
q =
84
q =
100
Cop
yrig
ht ©
200
6 B
irnam
woo
d Pu
blic
atio
ns (A
SCA
P)A
div
isio
n of
Mor
ning
Star
Mus
ic P
ublis
hers
, Inc
., St
. Lou
is, M
OA
ll rig
hts r
eser
ved.
P
rinte
d in
U.S
.A R
epro
duci
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is p
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atio
n in
any
form
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rohi
bite
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law
with
out t
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erm
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f the
pub
lishe
r.Th
e C
CLI
Lic
ense
doe
s not
giv
e pe
rmis
sion
to c
opy
this
mus
ic
Cha
rles C
alla
han
Tune
: H. F
. Hen
ry, 1
818–
88R
efra
in: J
. G. W
alto
n, 1
821–
1905
St. C
athe
rine
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1 Solo
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MSM
-10-
597
118
Dix
Lass
t uns
erfr
euen
St. C
athe
rine
From
The
Art
of H
ymn
Play
ing,
Vol
. 1, b
y C
harle
s C
alla
han,
10-
597
© M
orni
ngSt
ar M
usic
Pub
lishe
rs.
Rep
rinte
d fo
r edu
catio
nal u
se o
nly.
From
Hym
ns o
f Pra
ise
Then
Let
Us
Sing
, by
Lynn
Tra
pp, 1
0-61
7©
Mor
ning
Star
Mus
ic P
ublis
hers
. Rep
rinte
d fo
r edu
catio
nal u
se o
nly.
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4 MS
M-1
0-6
17
Ade
ste fi
dele
s
Ly
nn
Tra
pp
Co
py
rig
ht
© 2
01
3 B
irn
amw
oo
d P
ub
lica
tio
ns
(AS
CA
P)
A d
ivis
ion
of
Mo
rnin
gS
tar
Mu
sic
Pu
bli
sher
s, I
nc.
, S
t. L
ou
is,
MO
All
rig
hts
res
erv
ed.
Pri
nte
d i
n U
.S.A
. 1
.80
0.6
47
.211
7
ww
w.M
orn
ing
Sta
rMu
sic.
com
Rep
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ng
th
is p
ub
lica
tio
n i
n a
ny
fo
rm i
s p
roh
ibit
ed b
y l
aw w
ith
ou
t th
e p
erm
issi
on
of
the
pu
bli
sher
.T
he
CC
LI
Lic
ense
does
not
giv
e per
mis
sion t
o c
opy t
his
musi
c.
Tune:
AD
ES
TE
FID
EL
ES, Jo
hn F
. W
ade,
1711Ð1786, C
antu
s D
iver
si, 1751 (
PD
).M
usi
c: N
ewly
com
pose
d, an
d c
opyri
ght
© 2
013 w
ith t
his
publi
cati
on.
& ? ?# # #
15
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MS
M-1
0-6
17
5
Ades
te fi
dele
s
From
The
Kin
g of
Inst
rum
ents
by
Joyc
e Jo
nes,
90-
29©
Mor
ning
Star
Mus
ic P
ublis
hers
. R
eprin
ted
for e
duca
tiona
l use
onl
y.6
From
Mar
ian
Hym
ns fo
r Man
uals
, 10-
510
© M
orni
ngSt
ar M
usic
Pub
lishe
rs. R
eprin
ted
for e
duca
tiona
l use
onl
y.
From
17t
h an
d 18
th C
entu
ry O
rgan
Vol
unta
ries
for M
anua
ls a
nd M
anua
ls
with
Ped
al P
oint
s, e
d. M
icha
el B
urkh
ardt
10-
770
© M
orni
ngSt
ar M
usic
Pub
lishe
rs. R
eprin
ted
for e
duca
tiona
l use
onl
y.
Vo
lun
tary
in
G b
y H
enry
Her
on
From
The
Mem
oria
l Alb
um, C
harle
s C
alla
han,
10-
598
© M
orni
ngSt
ar M
usic
Pub
lishe
rs. R
eprin
ted
for e
duca
tiona
l use
onl
y.
From
In C
omm
unio
n: 4
0 H
ymnt
une
Med
itatio
ns (F
or o
rgan
or p
iano
)10-
829
© M
orni
ngSt
ar M
usic
Pub
lishe
rs. R
eprin
ted
for e
duca
tiona
l use
onl
y.
& & ?bb b bb b bb b
44 44 44Len
to (
q =
76
)
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17
î˙ ∑
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25
w î˙
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˙ cres
c.
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w î˙
î˙
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36
MS
M-1
0-5
98
Pri
•re
Ale
xan
dre
Guil
man
tE
dit
ed C
har
les
Cal
lahan
, A
SC
AP
Co
py
rig
ht
© 2
01
0 B
irn
amw
oo
d P
ub
lica
tio
ns
(AS
CA
P)
A d
ivis
ion
of
Mo
rnin
gS
tar
Mu
sic
Pu
bli
sher
s, I
nc.
, S
t. L
ou
is,
MO
Rep
rod
uci
ng
th
is p
ub
lica
tio
n i
n a
ny
fo
rm i
s p
roh
ibit
ed b
y l
aw w
ith
ou
t th
e p
erm
issi
on
of
the
pu
bli
sher
.
S
w:
Ped
:
Voix
CŽl
este
8',
Vio
le d
e G
amb
e 8
'B
ourd
on 1
6',
Sw
. to
Ped
.
Mu
sic:
Ale
xan
dre
Gu
ilm
ant,
18
37
-19
11
.T
his
ed
itio
n c
op
yri
gh
t ©
20
10
wit
h t
his
pu
bli
cati
on
.
& & ?bb b bb b bb b
44 44 44Len
to (
q =
76
)
î˙
w wπ
∑
∑˙n
˙
˙b˙
˙˙ ∑
w˙n
˙˙#
w∑
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wb wn ˙˙n ∑
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∑
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w ˙˙ n ∑
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w w w w w
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9
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∑
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& ? ?bb b bb b bb b
17
î˙ ∑
w î˙ ∑
˙˙
˙˙
Ï Ï˙
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∑
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˙˙
˙˙
w∑
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wb w wn∑
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w î˙ ∑
˙˙
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∑
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˙˙n
˙˙
w∑
˙˙
w ˙˙
w∑
& ? ?bb b bb b bb b
25
w î˙
î˙
î˙
î˙
˙ cres
c.
˙˙
˙w
˙
˙˙
w î˙
î˙
î˙n
î˙n
˙˙
˙#˙
w˙
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36
MS
M-1
0-5
98
Pri
•re
Ale
xan
dre
Gu
ilm
ant
Ed
ited
Ch
arle
s C
alla
han
, A
SC
AP
Copyri
ght
© 2
010 B
irnam
wood P
ubli
cati
ons
(AS
CA
P)
A d
ivis
ion o
f M
orn
ingS
tar
Musi
c P
ubli
sher
s, I
nc.
, S
t. L
ouis
, M
OR
epro
duci
ng t
his
publi
cati
on i
n a
ny f
orm
is
pro
hib
ited
by l
aw w
ithout
the
per
mis
sion o
f th
e publi
sher
.
S
w:
Ped
:
Voix
CŽl
este
8',
Vio
le d
e G
ambe
8'
Bourd
on 1
6',
Sw
. to
Ped
.
Mu
sic:
Ale
xan
dre
Gu
ilm
ant,
18
37
-19
11
.T
his
ed
itio
n c
op
yri
gh
t ©
20
10
wit
h t
his
pu
bli
cati
on
.
76
From
Cha
nt-b
ased
Mus
ic fo
r Man
uals
, 10-
849
© M
orni
ngSt
ar M
usic
Pub
lishe
rs. R
eprin
ted
for e
duca
tiona
l use
onl
y.
From
Mus
ic w
ith M
inim
al P
edal
: Eas
ter-P
ente
cost
10-
425
© M
orni
ngSt
ar M
usic
Pub
lishe
rs. R
eprin
ted
for e
duca
tiona
l use
onl
y.
& ? ?# # # # # #22 22 22˙S
w.ƒm
arc
ato
. .œ œj œ œ
h = 76 ˙
.œJœ
∑
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. ˙œ ∑
˙˙
˙˙# ∑
w w w
∑
˙ fG
t.le
gato
˙
w˙ ∑
& ? ?# # # # # #
6
œ œœ œœ œœ œ
˙˙
œœœœ
∑
w˙
w˙ ∑
w w w w∑
˙(G
t.)
.œj œ
˙˙
˙S
w.
. œJœ
w
˙˙
. ˙œ
w
& ? ?# # # # # #
11
˙˙
˙˙
w
. .˙œ œ
.˙œ
Gt.
˙œœ
˙˙
˙˙
w
˙œœ
œœœœ
˙œ œœ œ
w
w ˙˙
˙˙
w
28
MS
M-1
0-3
01
Ch
rist
Is
Ali
ve!
Let
Ch
rist
ian
s S
ing
from
T. W
illi
ams,
Psa
lmodia
Eva
ngel
ica
, 1789
Bas
ed o
n T
RU
RO
Wil
bu
r H
eld
Ped
: 16',
8',
Gt.
to P
ed.
Gt:
Foundat
ions
8',
4'
Sw
: T
rum
pet
8'
Ch:
8',
4'
Copyri
ght
© 2
005 B
irnam
wood P
ubli
cati
ons
(AS
CA
P)
A d
ivis
ion o
f M
orn
ingS
tar
Musi
c P
ubli
sher
s, I
nc.
1727 L
arkin
Wil
liam
s R
oad
, F
ento
n, M
O 6
3026-2
024
All
rig
hts
res
erved
. P
rinte
d i
n U
.S.A
.R
epro
duci
ng t
his
publi
cati
on i
n a
ny f
orm
is
pro
hib
ited
by l
aw w
ithout
the
per
mis
sion o
f th
e publi
sher
.
fP
fƒ & ? ?# # # # # #22 22 22˙
Sw
.ƒm
arc
ato
. .œ œj œ œ
h = 76 ˙
.œJœ
∑
. .˙œ œ
. ˙œ ∑
˙˙
˙˙# ∑
w w w
∑
˙ fG
t.le
ga
to
˙
w˙ ∑
& ? ?# # # # # #
6
œ œœ œœ œœ œ
˙˙
œœœœ
∑
w˙
w˙ ∑
w w w w∑
˙(G
t.)
.œj œ
˙˙
˙S
w.
. œJœ
w
˙˙
. ˙œ
w
& ? ?# # # # # #
11
˙˙
˙˙
w
. .˙œ œ
.˙œ
Gt.
˙œœ
˙˙
˙˙
w
˙œœ
œœœœ
˙œ œœ œ
w
w ˙˙
˙˙
w
28
MS
M-1
0-3
01
Chri
st I
s A
live!
Let
Chri
stia
ns
Sin
g
from
T. W
illi
ams,
Psa
lmodia
Eva
ngel
ica
, 1789
Bas
ed o
n T
RU
RO
Wil
bu
r H
eld
Ped
: 16',
8',
Gt.
to P
ed.
Gt:
Foundat
ions
8',
4'
Sw
: T
rum
pet
8'
Ch:
8',
4'
Copyri
ght
© 2
005 B
irnam
wood P
ubli
cati
ons
(AS
CA
P)
A d
ivis
ion o
f M
orn
ingS
tar
Musi
c P
ubli
sher
s, I
nc.
1727 L
arkin
Wil
liam
s R
oad
, F
ento
n, M
O 6
3026-2
024
All
rig
hts
res
erved
. P
rinte
d i
n U
.S.A
.R
epro
duci
ng t
his
publi
cati
on i
n a
ny f
orm
is
pro
hib
ited
by l
aw w
ithout
the
per
mis
sion o
f th
e publi
sher
.
fP
fƒ
From
Thi
ne th
e G
lory
: Acc
essi
ble
Mus
ic fo
r Len
t and
Eas
ter-1
0-30
1 ©
Mor
ning
Star
Mus
ic P
ublis
hers
. Rep
rinte
d fo
r edu
catio
nal u
se o
nly.
8
From
Won
drou
s Lo
ve,
Four
Len
ten
Prel
udes
for O
rgan
, 10-
350
© M
orni
ngSt
ar M
usic
Pub
lishe
rs. R
eprin
ted
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MorningStar Organ Music for Manuals Only or Manuals with Minimal Pedal
* = Musical examples included in handout
INSTRUCTIONAL / HYMN PLAYING*King of Instruments, by Joyce Jones [90-29] (Primary Resource for Pedagogical material for this workshop)
A short, easy introduction to the organ, intended to provide pianists a quick method that will get them playing
as rapidly as possible. Includes instructional material, exercises, and some useful hymn-based pieces.
*Hymns of Praise Then Let Us Sing by Lynn Trapp [10-617]
21 hymn settings on standard tunes with minimal, yet supportive, pedal and accessible hand positions. Each
tune has two or more of the following: Introduction, Setting 1, Interlude, and/or Setting 2.
*The Art of Hymn Playing, Volumes I and II by Charles Callahan [10-597, 10-607]
Charles Callahan's years of leading worship from the console are reflected in these two expansive volumes of useful pieces for the church organist. Volume I contains over 250 introductions, preludes, alternate
harmonizations, and free accompaniments; another 250 are in Volume II. Lots of accessible material.
Creative Hymn Playing: Improvisation, Exercises, and Repertoire by Michael Burkhardt [10-380]
Discover new ways to think about playing hymns with this performance guidebook for organists! A great tool to
help improve hymn playing and invigorate congregational singing.
Easy Hymn Settings (Several seasonal and general volumes) by Michael Burkhardt [General I: 10-815]
Designed for organists at early stages of technical development. Includes registration, finger/pedal markings plus comprehensive information on each hymn. Also useful as introductions and alternate hymn
accompaniments. Excellent source for beginning creative hymn playing.
NON HYMN-BASED*17th and 18th Century Organ Voluntaries Ed. by Michael Burkhardt [10-770]
Organized by country of composer, this collection features music specifically for Manuals and Manuals with Pedal Points. A very useful book.
Preludes and Postludes for Manuals by Charles Callahan [10-744] A useful collection of music from
composers spanning the 17th-21st centuries
Four Lyrical Pieces by Charles Callahan [10-909]
Soaring melodies and typically lush Callahan harmonies. Longer pieces (4 pages) with mostly minimal pedal,
good registration suggestions and manual changes add to expressive nature.
Keyboard Classics, Sets I and II Compiled and ed. by Charles Callahan [10-942, 10-944] Set I: Eight pieces
for piano, organ, or harpsichord representing 6 composers from 17th & 18th centuries: Arne, Bach, Handel,
Krieger, Marcello, Zipoli. Set II: Seven pieces by Alberti, Clarke, Paradisi, Pescetti, Purcell, Vento.
Ten Voluntaries William Boyce, Ed. by Charles Callahan [ECS 1461]
Edited by John Fesperman for organ or harpsichord. The scholarly yet performance-oriented preface by the
editor includes information about the English voluntary, tables of ornaments,and more.
*The Memorial Album (For organ or piano) Ed. by Charles Callahan [10-598]
Compiled as a book of thirty selections for funerals or memorial services, this collection has wide possibilities
for useÑ a practical addition to any organ or piano library.
Three Psalm Preludes by Robert Powell [10-930]
Manuals only. Based on Ps. 18:1 “I Love You, O Lord, My Strength,” Ps. 42:6 “Why Are You So Full of Heaviness, O My Soul?” and Ps. 104:1 “Bless the Lord, O My Soul.” Contemplative to joyous.
10
HYMN-BASED COLLECTIONS9 Easy Chorale Preludes (Advent/Christmas) by James Engel [10-119]
Written as study pieces for student who has not yet achieved pedaling facility. Includes fingerings.
*Cantad al Se– or: 12 Spanish and Latin American Hymn Settings for Organ by Charles Callahan [10-684].
9 of the 12 have minimal pedal parts or could be played on any keyboard instrument.
*In Communion: 40 Hymntune Meditations (For organ or piano) Charles Callahan [10-829]
Based on familiar hymns. Grouped by key centers so that they may be played in succession.
*Music for Manuals Series by Charles Callahan. Several volumes: e.g., Easter Music for Manuals [10-408],
*Chant-based Hymns [10-849], *Marian Hymns [10-501], Wedding Classics [10-616], etc.
The composer is a master at making practical, manuals-only music both enjoyable listening and fun to play.
Music for Manuals: 3 volumes for Manuals Only for Advent/Christmas/Epiphany, Lent/Passiontide/Easter
[10-346], and General/Fall Festivals. Edited by Rodney Schrank. Includes these composers and more: Biery,
Burkhardt, Callahan, Engel, Ferguson, Held, Hobby, Manz.
*Music with Minimal Pedal: 6 volumes for Organ with Minimal Pedal: Advent/Epiphany, Christmas, *Lent,
Easter/Pentecost [10-425], General/Fall Festivals 1 [10-559], General 2. Edited by Rodney Schrank. Includes
these composers and more: Biery, Burkhardt, Callahan, Engel, Ferguson, Held, Hobby, Manz.
*Nowell, Nowell: Six Carol Settings for Organ with Minimal Pedal by James Biery [10-173]
Due to the popularity of Ò The Holly and the Ivy,Ó James Biery has penned a second set of Christmas carols for
organ. 6 carols of varying nationalities and moods are set approachably but with creativity and freshness.
New! O For a Thousand Tongues: 12 Preludes & Postludes for the Church Year by Robert Powell [10-696]
One of our best-selling composers lends his fun, fresh approach to ten hymn tunes spanning the church year
plus two originals, Ò Lullaby for the Christ ChildÓ and Ò A Joyous Noel.Ó
Partita on Veni Creator Spiritus Austin Lovelace [10-503]
Four variations are for manuals only. Melody in pedal on last variation.
Partita on Now Thank We All Our God Kenneth Kosche [10-604] This set of variations on NUN DANKET
ALLE GOTT is intended for manuals alone. Can be played as a whole or as individual sections to introduce the
hymn, congregational singing, prelude, voluntary, or postlude.
The Holly and the Ivy: Six Traditional Carols for Organ by James Biery [10-159]
Six pieces based on traditional Christmas carol tunes that are popular throughout the world and regularly sung
by choirs. Minimal use of pedal, appealing to the Ò newÓ organist, while rewarding the experienced player.
The Lord Is Risen: Easter and Pentecost Music for Organ or Piano by Marilyn Biery [10-428]
Eight manuals-only pieces with plenty of harmonic interest for this long season of the church year.
*Thine the Glory: Organ Music for Lent and Easter by Burkhardt, Callahan, Cherwien, Held, Hobby
[10-301] This collection combines oft-used tunes for the seasons of Lent and Easter and is designed to be easily
learned and frequently used for organists of most denominations and skill levels.
*Variations for Organ on Dix by David P. Dahl [10-212]
Although these five variations for manuals only were composed to portray a portion of the text from each of the five stanzas of “As with Gladness Men of Old,” they may be used with other hymn texts. Very inventive writing.
*Wondrous Love: Four Hymn Preludes for Lent by Neil Harmon [10-350]
Accessible service music for Lent, with sustained pedal parts and lots of opportunity to explore solo colors if
you have them at your disposal. The writing is calm and solemn in style.
Worship the King by Joyce Jones [10-575] More than 20 pieces of service music with fanfares, interludes and
meditations all written in an accessible style. Excerpted from The King of Instruments (MSM-90-29). 11
PUBLISHERS OF ORGAN MUSIC
www.augsburgfortress.org Augsburg Fortress, a primarily Lutheran publisher with lots of organ editions; see the Augsburg Organ Library series, and others. www.cph.org Concordia Publishing House, a primarily Lutheran publisher. Several series: The Church Organist, The Parish Organist, Laudate,, Easy Hymn Preludes, Basic Hymn Accompaniments, Baroque Music for Manuals, etc. global.oup.com/ Oxford University Press. Especially Old English Organ Music for Manuals Books 1Ð6, O xford Service Music for Organ, manuals only, volumes 1-3, etc. www.kevinmayhew.com/ Kevin Mayhew, lots of arrangements for organ, also good amount of manuals-only www.alfred.com/ Alfred carries Kalmus editions of standard organ repertoire, including Bach works, Handel concertos, Couperin, Guilmant, etc. Also The Church OrganistÕ s Library anthology of easy organ music. www.lorenz.com Large catalog of organ music, including editions from Sacred Music Press www.selahpub.com/ Selah Publishing Co., many seasonal and other collections, series of hymn intonations, harmonizations and preludes www.wayneleupold.com Wayne Leupold Editions. Lots of repertoire, organ methods, known for periodical issues of organ music. www.edition-peters.com Edition Peters, good source for Bach, Buxtehude, Franck, Rheinberger, Stanley, and other standard organ repertoire. Also Healy Willan and Flor Peeters. www.giamusic.com GIA Publications, a growing catalog of practical organ music. www.wlp.jspaluch.com/ World Library Publications, many organ editions, lots hymn-based. Alan HommerdingÕ s Feet DonÕ t Fail Me Now Series for beginning organists. http://imslp.org IMSLP: International Music Score Library Project: Sharing the WorldÕ s Public Domain Music
ORGANIZATIONS DEVOTED TO THE ORGANThe American Guild of Organists: Membership organization, magazine, conferences, local chapters, certification programs, professional concerns. Also Ò Pedals, Pipes and PizzaÓ and Ò Pipe Organ EncountersÓ for young people. www.agohq.org The Diapason: International journal devoted to the organ, the harpsichord, the carillon, and church music. www.thediapason.com/ Organ Historical Society: Membership organization, also has extensive catalog: www.ohscatalog.com/ Quarterly journal is Ò The Tracker.Ó
ADDITIONAL METHOD BOOKSHarold Gleason and Catherine Crosier, Method of Organ Playing (Prentice Hall)
David Johnson, Instruction Book for Beginning Organists, Revised Ed. (Augsburg-Fortress)
Richard Enright, Fundamentals of Organ Playing (Concordia Publishing)
Wayne Leupold First Organ Book, 3rd Ed. (Wayne Leupold)
MISCELLANEOUS RESOURCESNPM Website: Sections tab has pages for Organist and Pianists
September 2014 Issue of Pastoral Music: Ò Pastoral KeyboardistsÓ
Ò The New OrganistÓ page on the AGO National Website: https://www.agohq.org/neworganist/ Tons of information and
resources for beginning organists, links to video tutorials.
http://www.reluctantorganist.co.uk
TodayÕs workshop sponsor!
www.morningstarmusic.comLarge catalog of organ music by Paul Manz, Charles Callahan, Michael Burkhardt, John Ferguson, David Cherwien, Gerald Near, Robert Hobby, and others.