organ workshop class descriptions - organ… · organ music and hymns, and to transpose moderately...

ORGAN WORKSHOP CLASS DESCRIPTIONS

Workshop classes and events are described in detail below. Each one is intended for organists at a certain level of training or range of levels. Decide which of the levels below describes your training most accurately, and then choose classes designed for that level. If you intend to work through one of the BYU Independent Study organ courses (“levels”) in the months following the workshop, you will benefit directly from classes that correspond with your level. Follow these links to see the list of requirements for Levels 1-2 and Levels 3-6. Preparatory Level: a beginning level intended for completion during the workshop itself. This level applies the main

listening skills used by organists in a single piece of music. *Level 1: beginning (Pianists with little or no formal organ training, or who need help in applying what they have

learned in their organ playing. No music theory prerequisites.) Level 2: review basics (Those with organ training, but who would benefit from a review of basic legato organ technique,

repertoire, registration, hymn playing, and registration. Should be able to sight-read single-line melodies. Music Theory prerequisites: see Theory Requirements for Level 1).

Level 3: early intermediate (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, and registration. Should be able to sight-read two-part music. Music Theory prerequisites: see Theory Requirements for Levels 1-2).

Level 4: intermediate (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, and registration. Have training in playing organ pieces in both legato and articulate styles. Should be able to play easy four-part vocal scores, to sight-read simple three- and four-part organ music and hymns, and to transpose hymn melodies [only] up to and including a major second up and down. Music Theory prerequisites: see Theory Requirements for Levels 1-3).

Level 5: early advanced (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, registration, and in intermediate organ pieces in both legato and articulate styles. Should be able to play moderately difficult four-part vocal scores and easy choir accompaniments, to sight-read moderately difficult four-part organ music and hymns, and to transpose simple hymns into all keys up to and including a major second up and down. Music Theory prerequisites: see Theory Requirements for Levels 1-4).

Level 6: advanced (Those with substantial training and fluency in legato organ technique, repertoire, registration, hymn playing, registration, and in early advanced organ pieces in both legato and articulate styles. Should be able to play more difficult four-part vocal scores and choir accompaniments, to sight-read more difficult four-part organ music and hymns, and to transpose moderately difficult hymns into all keys up to and including a major second up and down. Music Theory prerequisites: see Theory Requirements for Levels 1-5).

Beyond Level 6: begin working on the professional certificates of the American Guild of Organists. Normally, the Service Playing Certificate or Colleague Certificate would follow Level 6.

*Classes and items marked with an asterisk (*) are of particular value to beginning organists. They make up a complete curriculum that is strongly recommended to those with keyboard training but little or no organ instruction. hrs level Description Notes from Don – Please read those

corresponding to YOUR classes 3 1-6 *Pre-Workshop Seminar, Monday 3-6 p.m.

A RONDO: IS THERE ANY OTHER ORGAN MUSIC? HOW WAS IT PLAYED? OPPORTUNITIES, CHOICES, AND PATHS. No one is more highly engaged in the production of materials for organists and teachers than Wayne Leupold. The BYU Organ Workshop is fortunate to have him here through Wednesday to describe his work, editions, foundation, and archives. Many of his materials will also be available at the displays as well. This seminar is outlined as follows: • Beginnings; Wayne Leupold Editions (urtext editions with

insightful prefaces, learning for a lifetime) • The Leupold Foundation (the preservation, reproduction, and

dissemination of the culture of the pipe organ) • The Leupold Archives (a repository of the past and present

for the future) • Closing Thoughts; Questions

http://www.organ.byu.edu/orcert.html

http://www.organ.byu.edu/orgcertlev1-2.pdf


http://www.agohq.org/certification/

2 3-6 ADVANCED HYMN PLAYING TECHNIQUES (Levels 3-6)

This course is intended for pianists or organists who have had substantial introductory organ training and who are applying it in their hymn playing. The following topics will be covered: Rearranging Parts (soprano solo, tenor solo, alto up an octave,

soprano/tenor switch, manual only) Nonharmonic Tones An Introduction to Creative Introductions and Interludes An Introduction to Free Accompaniments Bring a hymnbook and receive specific direction and ideas for the coming year's practice. Hymnbook required. Organ shoes recommended. Also recommended:

Belnap, Parley L. Hymn Studies for Organists. Rev. ed. Provo, UT: BYU Creative Works Office, 1992/2004. Available at displays.

Cook, Don. OrganTutor Organ 101 [complete with computer tutorial or workbook only]. Provo, UT: BYU Creative Works Office, 1998/2008. Available at displays.

You should be familiar with the concepts covered in the course, “Hymn Playing in the Sustained Style.” Note: hymn registration is covered in another course.

Please focus on the four given subtopics to the left. There is a specific section on Rearranging Parts and a page on Nonharmonic Tones in the OrganTutor workbook. In addition, teach selected specific items from the Hymn Playing section of Independent Study organ Levels 3-6. You will not have time to cover everything, so try to cover a representative sample so that students feel comfortable following the models you provide. Please stay close to the topic. Hymn registration is covered in some detail in another class, as are free accompaniments. If students ask registration questions, please answer them quickly and then get back on track. Try to give a few students opportunity to play what they might have prepared for the class. Hands-on experiences are always valuable; however, participants do not want to hear organists “struggling through” hymns during the class.

3 6+ AFTER LEVEL 6: FROM THEORY TO PRACTICE – LEARNING TO IMPROVISE You are well versed in music theory, but when it comes to creating your own music at the keyboard, you are not confident. It’s time – time to use your musical skills as a tool for improvisation. While you may not become a master improviser by the end of the week, you will learn how to practice improvisation (yes, practice improvising!) so that next year you might amaze yourself with what you will be able to do “on the fly.” Limited to 12 participants. This is an advanced class. Should be comfortable with the concepts covered in Music Theory for the Organist Levels 1-6.

This course should give the participants (12 maximum) some immediate gratification; that is, be able to apply some simple improvisational ideas or formulas during the week. Also, they should take home some specific options/outlines for continuing their improvisation practice during the year. Finally, be sure that participants leave the class feeling good about their potential.

1 1-6 THE BYU CONCERT, STUDIO, AND PRACTICE ORGANS You will have access to some fine organs during this week, all housed within the Fine Arts Center. This session will describe each of them, their special features, and how you can gain access.

Please use a picture of each of the 7 (+1) practice organs, the two studio organs, the Walcker organ in the Madsen Recital Hall, and the loaner organs (if possible). Briefly describe its interesting features, why it might be of value to them, and how to gain access.

1 1-6 THE BYU LDS ORGAN WORKSHOPS ON THE ROAD Bring a corner of this workshop to your own area. Learn about the whole range of possibilities, and whether one these events might be a good fit for your community. No budget? No worries! Come and find out how it works. Visit the BYU LDS Organ Workshop website

.5 1-6 CONTINUING YOUR EDUCATION As we bid you farewell for the year, we challenge you to make this year’s workshop a springboard to personal growth through continued organ study. The instructor will uncover an abundance of ways to do that, in addition the BYU programs that have been referred to all week.

This will be a new 10-15 minute presentation as part of the closing session. The goal is to inspire the participants to immerse themselves in the world of organ playing and church service through music (AGO workshops, conventions, private/group lessons, learning from recordings, enrichment and motivation from attending live concerts of all kinds, etc.) Please be sure to include the thirty new AGO videos called Lessons for the New Organist.

2 5-6 CREATING A BRIDGE BETWEEN HYMNS The ability to join two hymns with a bridge of your own creation has many applications. By the time you leave this hands-on class,

Two things: 1. Please make reference to the bridge possibility in the AGO Colleague, and the requirement in the AGO Associate exams;

http://www.organ.byu.edu/ORSHOE.html

http://creativeworks.byu.edu/Catalog/ViewItem.aspx?item=SM004

http://www.organtutor.byu.edu/



http://organ.byu.edu/pracorg.html

https://byuorganists.wordpress.com/

https://www.youtube.com/playlist?list=PLSJ9JGlhsPJuklW5F3yEQSXhpJzPgAJcL

https://www.agohq.org/ago-colleague-certification/

https://www.agohq.org/wp-content/uploads/2017/06/Certification-Requirements_2018.pdf

you should feel better prepared to practice this during the year. 2. Emphasize that bridges (e.g., Organ Chains)

are NOT necessary when playing preludes and postludes.

1 1-6 DISCOVER THE BASICS Wayne Leupold will discuss first-year keyboard study at the organ. Discover the Basics is a four-volume series of introductory study (a primer series) that develops the skills of music reading, keyboard coordination, musicianship, music theory, and a basic knowledge of the four families of organ tone, stop names, and registrational practices.

1 1-6 DISCOVER THE ORGAN Wayne Leupold will discuss teaching keyboard study at the organ, years two through five. Discover the Organ continues the development of basic keyboard skills and beginning pedal technique at the organ. This multi-level method contains series at each level for repertoire, technique, supplemental simplified hymns, organ and instrument, beginning pedal technique, and repertoire with more active pedal parts.

1 2-6 EASY AND EFFECTIVE HYMN INTRODUCTIONS Effective hymn introductions can set the tone for more meaningful hymn singing. This session will introduce several ways to accomplish this, ranging in difficulty from very easy to more challenging.

Please be sure to help them draw the line between introductions that might be seen as “just showy,” and those that are truly effective in inspiring more meaningful worship through hymn singing.

1 1-6 FINDING APPROPRIATE MUSIC FOR PRELUDE AND POSTLUDE What are the best ways to determine whether or not a piece of music might be appropriate for prelude or postlude? We’ll talk about his, and also offer a number of good resources for “hymns and other music that might be appropriate” for those needs.

For the LDS organist, begin with a good discussion of Handbook 2 instructions on the topic, including how to deal with a “hymns only” situation. Be sure that it is very clear to them that the bishopric has the final say on matters of appropriateness of music for services. Also, acknowledge and adapt your comments to include non-LDS organists.

1 1-2 *FUNDAMENTALS OF HYMN REGISTRATION Learn how the principles of organ tone families apply in hymn registration. This session offers an easy-to-understand approach that can be used by the brand new organist. Likewise, this information could be of great value to the organ teacher/mentor.

Other classes cover pitches, families of organ tone, chorus registration, etc. This class should go directly to simple formulas and approaches to hymn registration. There will be no time for much background information or theory. Participants should leave the class with confidence that they could register a meditative or a jubilant hymn this weekend on their organ without having to take a course or earn a certificate. Related OrganTutor lessons: Hymn Playing: Registration See also The New LDS Organist podcast 4, “Effective Hymn Playing: An Overview.”

2 1-2 *HYMN PLAYING IN THE SUSTAINED STYLE (Levels 1-2) This course teaches how to learn hymns in the sustained legato style: evaluating the text, dealing with the repeated notes, planning fingering and pedaling, and practicing. In addition, this class touches on basic introductions and interludes, and offers a few “shortcuts” to help you meet the immediate needs while you work on your long-term hymn-playing skills. It is intended for pianists or organists who have had little or no formal organ training or who need help in applying that training in their hymn playing. Bring your hymnbook and receive specific direction and ideas for the coming year's practice.

Begin by focusing on the rudiments of the sustained legato style (perfect legato, precise releases, and particularly independence of line). Please include each of the subtopics listed in the class description to the left. There are specific sections on these topics (except for “introductions and interludes”) in OrganTutor (complete with computer tutorial or workbook only). Note: cover only basic hymn registration; more advanced hymn registration is covered in another course. A separate “shortcut course” in hymn registration may also be offered – check the schedule.

http://www.wayneleupold.com/organ-teaching-methods.html


https://www.lds.org/handbook/handbook-2-administering-the-church/music?lang=eng


http://www.organ.byu.edu/newldsorganist/transcripts.pdf


Hymnbook required. Organ shoes recommended. Also recommended:



There have been particular requests to offer clear instructions on dealing with repeated notes. If you offer a set of “rules,” however, please promote them as guidelines from your perspective, stating clearly that there is a wide range of acceptable treatment of repeated notes in the hymn playing world. In addition, teach selected specific items from the Hymn Playing section of Independent Study organ Levels 1 and 2, including tenor solo. You will not have time to cover everything, so try to cover a representative sample so that students feel comfortable following the models you provide as they practice throughout the year. Please stay close to the topic. Try to give a few students opportunity to play what they might have prepared for the class. Important: Distinguish between complete and polished learning (“polish mode”) and simply doing the best you can with the time available for preparation (“shortcut mode”). You might consider providing a handout titled something like “Hymn Playing Shortcuts” that lists ways to get through Sunday morning when preparation time does not allow fully polished hymn playing. Related OrganTutor lessons: Hymn Playing (entire unit)

3 3-6 HYMN REGISTRATION FOR THE INTERMEDIATE TO THE ADVANCED ORGANIST (Levels 3-6) 1. What are the principles of hymn registration? (brief review) Understanding, applying, and teaching these important concepts 2. What is an organ specification? Why do you need to understand your organ’s specification? How can you gain a fuller understanding of it? 3. Finding suitable registrations for hymns of quiet, moderate, and energetic character 4. Examples of effective hymn registration beyond the basics 5. Mechanics of Organ Registration To get the most from this class, bring a list of the stops on the organ that you play, including pitch designations. List them under each division (for example: Great: Principal 8', Octave 4', Mixture IV, etc.; Swell: Bourdon 16', Geigen Principal 8', etc.; Pedal: Principal 16', Lieblich Gedackt 16', etc.) Refer to your list throughout the course. Participants should be familiar with the concepts covered in the Registration Basics class.

You would be safe to assume that those in this class have once learned the following topics: Introduction to the Organ Console Using Console Devices Families of Organ Tone Pitches of Organ Stops Chorus Registration Solo and Accompaniment Registration Trio/Duo Registration This class may include brief review of these topics, but should quickly move on to the concepts given to the left. You are welcome to modify the four concepts as you see fit. If you do, please announce the changes to the class.

1 3-6 IDEAS FOR ORGAN TRAINING IN YOUR WARD OR STAKE There are many ways and formats to conduct organ training - learn some of them during this session. More importantly, learn the common threads in the most successful training experiences.

I would imagine that in addition to exploring various formats, you would already plan to cover such successful “common threads” as enthusiasm, hands-on experience, speaking their language (not organ jargon), encouraging practice (and dealing with those who cannot practice at that point in their lives), etc.

1 5-6 INTERPRETING THE REGISTRATION INDICATIONS OF CÉSAR FRANCK

I have a good handout on this topic that could save you some time, if you are interested.






you should feel better prepared to practice this during the year. 2. Emphasize that bridges (e.g., Organ Chains)

are NOT necessary when playing preludes and postludes.

1 1-6 DISCOVER THE BASICS Wayne Leupold will discuss first-year keyboard study at the organ. Discover the Basics is a four-volume series of introductory study (a primer series) that develops the skills of music reading, keyboard coordination, musicianship, music theory, and a basic knowledge of the four families of organ tone, stop names, and registrational practices.

1 1-6 DISCOVER THE ORGAN Wayne Leupold will discuss teaching keyboard study at the organ, years two through five. Discover the Organ continues the development of basic keyboard skills and beginning pedal technique at the organ. This multi-level method contains series at each level for repertoire, technique, supplemental simplified hymns, organ and instrument, beginning pedal technique, and repertoire with more active pedal parts.

1 2-6 EASY AND EFFECTIVE HYMN INTRODUCTIONS Effective hymn introductions can set the tone for more meaningful hymn singing. This session will introduce several ways to accomplish this, ranging in difficulty from very easy to more challenging.

Please be sure to help them draw the line between introductions that might be seen as “just showy,” and those that are truly effective in inspiring more meaningful worship through hymn singing.

1 1-6 FINDING APPROPRIATE MUSIC FOR PRELUDE AND POSTLUDE What are the best ways to determine whether or not a piece of music might be appropriate for prelude or postlude? We’ll talk about his, and also offer a number of good resources for “hymns and other music that might be appropriate” for those needs.

For the LDS organist, begin with a good discussion of Handbook 2 instructions on the topic, including how to deal with a “hymns only” situation. Be sure that it is very clear to them that the bishopric has the final say on matters of appropriateness of music for services. Also, acknowledge and adapt your comments to include non-LDS organists.

1 1-2 *FUNDAMENTALS OF HYMN REGISTRATION Learn how the principles of organ tone families apply in hymn registration. This session offers an easy-to-understand approach that can be used by the brand new organist. Likewise, this information could be of great value to the organ teacher/mentor.

Other classes cover pitches, families of organ tone, chorus registration, etc. This class should go directly to simple formulas and approaches to hymn registration. There will be no time for much background information or theory. Participants should leave the class with confidence that they could register a meditative or a jubilant hymn this weekend on their organ without having to take a course or earn a certificate. Related OrganTutor lessons: Hymn Playing: Registration See also The New LDS Organist podcast 4, “Effective Hymn Playing: An Overview.”

2 1-2 *HYMN PLAYING IN THE SUSTAINED STYLE (Levels 1-2) This course teaches how to learn hymns in the sustained legato style: evaluating the text, dealing with the repeated notes, planning fingering and pedaling, and practicing. In addition, this class touches on basic introductions and interludes, and offers a few “shortcuts” to help you meet the immediate needs while you work on your long-term hymn-playing skills. It is intended for pianists or organists who have had little or no formal organ training or who need help in applying that training in their hymn playing. Bring your hymnbook and receive specific direction and ideas for the coming year's practice.

Begin by focusing on the rudiments of the sustained legato style (perfect legato, precise releases, and particularly independence of line). Please include each of the subtopics listed in the class description to the left. There are specific sections on these topics (except for “introductions and interludes”) in OrganTutor (complete with computer tutorial or workbook only). Note: cover only basic hymn registration; more advanced hymn registration is covered in another course. A separate “shortcut course” in hymn registration may also be offered – check the schedule.



https://www.lds.org/handbook/handbook-2-administering-the-church/music?lang=eng




Hymnbook required. Organ shoes recommended. Also recommended:



There have been particular requests to offer clear instructions on dealing with repeated notes. If you offer a set of “rules,” however, please promote them as guidelines from your perspective, stating clearly that there is a wide range of acceptable treatment of repeated notes in the hymn playing world. In addition, teach selected specific items from the Hymn Playing section of Independent Study organ Levels 1 and 2, including tenor solo. You will not have time to cover everything, so try to cover a representative sample so that students feel comfortable following the models you provide as they practice throughout the year. Please stay close to the topic. Try to give a few students opportunity to play what they might have prepared for the class. Important: Distinguish between complete and polished learning (“polish mode”) and simply doing the best you can with the time available for preparation (“shortcut mode”). You might consider providing a handout titled something like “Hymn Playing Shortcuts” that lists ways to get through Sunday morning when preparation time does not allow fully polished hymn playing. Related OrganTutor lessons: Hymn Playing (entire unit)

3 3-6 HYMN REGISTRATION FOR THE INTERMEDIATE TO THE ADVANCED ORGANIST (Levels 3-6) 1. What are the principles of hymn registration? (brief review) Understanding, applying, and teaching these important concepts 2. What is an organ specification? Why do you need to understand your organ’s specification? How can you gain a fuller understanding of it? 3. Finding suitable registrations for hymns of quiet, moderate, and energetic character 4. Examples of effective hymn registration beyond the basics 5. Mechanics of Organ Registration To get the most from this class, bring a list of the stops on the organ that you play, including pitch designations. List them under each division (for example: Great: Principal 8', Octave 4', Mixture IV, etc.; Swell: Bourdon 16', Geigen Principal 8', etc.; Pedal: Principal 16', Lieblich Gedackt 16', etc.) Refer to your list throughout the course. Participants should be familiar with the concepts covered in the Registration Basics class.

You would be safe to assume that those in this class have once learned the following topics: Introduction to the Organ Console Using Console Devices Families of Organ Tone Pitches of Organ Stops Chorus Registration Solo and Accompaniment Registration Trio/Duo Registration This class may include brief review of these topics, but should quickly move on to the concepts given to the left. You are welcome to modify the four concepts as you see fit. If you do, please announce the changes to the class.

1 3-6 IDEAS FOR ORGAN TRAINING IN YOUR WARD OR STAKE There are many ways and formats to conduct organ training - learn some of them during this session. More importantly, learn the common threads in the most successful training experiences.

I would imagine that in addition to exploring various formats, you would already plan to cover such successful “common threads” as enthusiasm, hands-on experience, speaking their language (not organ jargon), encouraging practice (and dealing with those who cannot practice at that point in their lives), etc.

1 5-6 INTERPRETING THE REGISTRATION INDICATIONS OF CÉSAR FRANCK

I have a good handout on this topic that could save you some time, if you are interested.






The registration directions on Franck’s works are easier to understand and “translate” to our organs than one would think. Starting with the works by Franck in Levels 5 and 6, this class will consider “authentic interpretation” of Franck’s indications, and explore practical adaptation of those directions as well.

Email me if you want. (translations of the terms)

1 1-6 INTRODUCING THE ORGAN AND RECRUITING NEW ORGAN STUDENTS Wayne Leupold will present a survey of Organ Demonstrators and Organ Activity Educators that demonstrate various aspects of the organ to targeted age groups. He will also present ideas and describe outreach programs aimed at recruiting new organ students.

1 1-6 IDEAS FOR SETTING UP AN ORGAN TRAINING PROGRAM IN YOUR AREA If you are interested in helping others in your area to learn to play the organ, know this: you are not alone! You are not the first, and there are online resources that can assist you on many levels. Most of these are specifically geared to the needs of the LDS organist, but they can be adapted to include non-LDS musicians as well. This session will familiarize you with some of these resources, and you should leave feeling empowered!

Several possible objectives: • You are not alone. There are several

resources that can make it easier for you to help others to develop their organ skills.

• Share with them the outlines available at the bottom of this web page: http://organ.byu.edu/ldstrainingprose.htm

• Spend a little time on The New LDS Organist, and the 5-week course given on the web page above, and how helpful this resource AND the outlines can be for someone who needs lots of help in teaching

• Familiarize with the LDS Organ Workshops on the Road, and how they can get one in their area. There is usually a whole session on this topic during this workshop.

• OR you may want to avoid these, which are treated throughout this workshop, and deal with other effective approaches.

I also thought of possibly approaching it this way: 1) single sessions as a means of motivating and recruiting for longer courses; 2) 3- to 5-session courses as a means of getting some good solid training started and of establishing some ongoing training, and 3) discussing the possibilities for long-term training. Also, you could discuss the LDS Organ Training workshops on the Road, and how they can serve to get things started in a multi-stake area.

2.5 6+ LESSONS BEYOND LEVEL 6: MASTER CLASSES 1 AND 2 These two master classes are opportunities for a group of organists who have gone through Level 6 to play some pieces for one another and get feedback from a concert organist and instructor. Select and learn your pieces in advance, and then register for these master classes during workshop registration.

Check with the registration desk after the opening session to see who has signed up and what pieces are to be included. Since this type of master class has not been attempted before as a workshop offering, it is very possible that there will be too few pieces to fill the time. In that case, please have a “pet topic” ready to present that would be of interest to a few organists who feel that they are beyond the Level 6 Organ Technique and Repertoire classes.

2.5 6+ LESSONS BEYOND LEVEL 6: SKILLS INCLUDED IN Please help participants to make the transition


http://www.wayneleupold.com/organ-demonstrators.html

http://www.wayneleupold.com/organ-demonstrators.html

http://organ.byu.edu/ldstrainingprose.htm

http://organ.byu.edu/ldstrainingprose.htm

THE AGO SERVICE PLAYING AND COLLEAGUE CERTIFICATES The BYU Independent Study Organ Courses are designed to lead into the certificates offered by the American Guild of Organists. The AGO exams emphasize practical skills that are introduced and developed in the BYU courses, but further development is a very good idea. These two sessions will go over these skills, offering ideas for you to take home with you.

between the BYU Level 6 requirements, and those of the Service Playing and Colleague exams.

4 1-6 *LUNCHTIME LISTENING SESSIONS Bring a lunch while you listen to experienced organists from a variety of backgrounds and perspectives play their music. Helpful lists and spoken announcements by the performers will reveal their sources – a valuable resource for all who attend. This is an excellent opportunity to hear new pieces and make choices for future study. In the Tuesday session, "Examples from Levels 1 Through 6," examples are played from each of the six Organ Instruction (Independent Study) levels. This is an excellent time to place yourself into one of the Organ Technique and Repertoire levels for the workshop. Wednesday session presents, “Christmas Repertoire.” Organist Sheri Peterson shares a sampling of Christmas music for organ that might be considered for preludes, postludes, and solos. Thursday’s session presents, “Free Accompaniments.” Temple Square Organist Bonnie Goodliffe will sample currently available hymn reharmonizations for congregational accompaniment that are currently available. The Friday session is a hymn playing master class. Several workshop participants will have the opportunity to demonstrate their best hymn playing, and the instructor will offer feedback from which all can benefit. Those interested in playing should submit their name and hymn to Don Cook Tuesday or Wednesday during the workshop.

For the Tuesday Session: Please do not go over time (Independent Study organ Levels 1 and 2: 5 minutes each; Levels 3-6: 8 minutes each). Familiarize listeners with the Organ Repertoire from your assigned levels by playing representative examples or sections. Talk very little and play a lot. Be positive and encouraging. A handout is not needed for this session. For the Wednesday and Thursday sessions: Play music that might be of interest to and learnable by your audience. Understand that a few of your participants are not LDS – however, most are. These sessions are primarily directed to the LDS organists. Please start your session by presenting the description of prelude or postlude music in Handbook 2. As a point of reference, if pertinent, I would recommend becoming familiar with the two lessons on these topics in The New LDS Organist http://www.organ.byu.edu/newldsorganist/transcripts.pdf For the master class: feel free to offer both encouragement and suggestions for continued improvement. Please make sure that your student leaves the organ bench feeling good about their playing, and not overwhelmed or discouraged.

6 1 2 3-4 5-6

*MUSIC THEORY FOR THE ORGANIST (Levels 1-6) Why is music theory central to musicianship? These classes provide an opportunity to go over some key concepts with an expert, and serve as a springboard for further study throughout the year. We recommend that you attend the earliest level that teaches concepts with which you are not yet familiar.

Note: The Greg Steinke/Paul Harder books referenced below are programmed learning texts in music theory, designed for self-study. The courses were designed around the 10th edition for Levels 1-4, and the 12th edition for Levels 5-6. Other editions (i.e., used books or newer editions) may be used and are even encouraged, but specific chapter numbers and the frame numbers referenced in the instructor feedback of the Speedback Assignments may be slightly inaccurate. *Level 1 (chapters 1-5 in Paul Harder, Basic Materials in Music Theory): Time and sound (sound waves, pitch, intensity, timbre, harmonics, the

harmonic series), The notation of pitch (symbols for tones, basic scale, treble clef, bass clef, C-clefs, ledger lines, grand staff, ottava sign, half- and whole-steps, accidentals, enharmonic notes, chromatic scale, pitch designations), Time classifications (beat, meter, simple and compound time, borrowed divisions, subdivisions of the beat), Note and rest values (relative value of notes and rests, the dot, division of dotted and undotted notes and rests, subdivision of dotted and undotted notes and rests, the unit in simple and compound time, metronome indications, terms that express tempo) Time

Independent Study organ students at Levels 1-2 will be studying from Paul Harder, Basic Materials in Music Theory. For those at Levels 3-4: Steinke/Harder, Harmonic Materials in Tonal Music, Part 1; and for Levels 5-6: Harmonic Materials, Part II. Structure your class to include student involvement, not merely lecture. Written in-class exercises are often very effective. Let your people know that there will simply not be time to cover these topics thoroughly. Focus on the topics that might be of greatest concern to a majority of the class, and for which a live instructor might offer the greatest benefit. Encourage them to learn on their own during the year from the books listed above. If you taught the same level(s) during the previous workshop, you should change up at least some of the topics that you choose to

https://www.agohq.org/certification/






http://www.amazon.com/gp/search/ref=pd_lpo_ix_dp_go_ca_us_en?keywords=harder%20basic%20materials&tag=lpo%5Fixdpgocausen-20&index=blended



signatures (time signatures in simple and compound time, relation of time signatures to time classification, common time, alla breve, the tie, rhythmic patterns, syncopation)

Level 2 (chapters 6-11 in Paul Harder, Basic Materials in Music Theory): Intervals (harmonic and melodic intervals, numerical classification of

intervals, compound intervals, classification of intervals by quality, inversion of intervals, enharmonic intervals), The basic scales (structure of the basic scales, modes, the keynote), The major scale (structure of the major scale, use of accidentals to form major scales on any note), The minor scale (the natural, harmonic, and melodic minor scales; diatonic and chromatic intervals), Key signatures (key and tonality, major key signatures, relative keys, minor key signatures, use of accidentals to form the various minor scales, the circle of fifths),Triads (the tertian system, basic [diatonic] triads, major, minor, augmented, and diminished triads, Roman numeral identification, chord symbols)

Level 3 (chapters 1-5 in Steinke/Harder, Harmonic Materials in Tonal Music, Part 1): Definitions (tonal, keynote, key, iteration, tonality, tonal center, tonal

harmony, intervals, chords, triads, harmonic interval, root, diatonic triads), The structure of tonality (harmonic tonality, functional harmony, primary triads, secondary triads, neutral chord, active triad, progressions [basic, opening, closing], basic harmonic phrases, retrogression, tonal variety), Triads in root position: doubling and spacing (figured bass symbols, three- or four-part texture, voice crossing, close/open structure, vacant tone, sonority), Triads in root position: voice leading (relative motion, consecutive intervals, common tones, redistributing tones, augmented intervals, doubling principles, spacing principles), Triads in first and second inversion (root position, inverted triads, sonority, incorrect parallel motion, irregular doubling, active tone, six-four chord types, irregular resolution, nonessential function)

Level 4 (chapters 6-10 in Steinke/Harder, Harmonic Materials in Tonal Music, Part 1): Introduction to seventh chords and the dominant seventh (dissonance,

diatonic seventh chords [major-minor, fully diminished, etc.], first/second/third inversions, dissonant elements), Phrase structure and cadences (phrase, melodic contour, cadence types [authentic, plagal, half, deceptive, final and non-final, perfect and imperfect, picardy third, Phrygian]), Nonharmonic tones (identify and know how to write the following: passing tone--unaccented and accented, neighboring tone, appoggiatura, escape tone, anticipation, suspension, retardation, ornamentation, changing tone, pedal, free tone), Harmonic progression (progression & retrogression, relative strength of various types of root movement, primary triads and their secondary triads in harmonic progression, structural and embellishing harmony, relation of a basic harmonic structure to the phrase as a whole), Melody harmonization (choice of cadence, base line, tonality, harmonic rhythm, basic harmonic structure, embellishments of basic harmonic structure)

Level 5 (new in 2013, this program covers chapters 1-6 in Steinke/Harder, Harmonic Materials in Tonal Music Part II):

Seventh chords (dissonance, diatonic seventh chords [major-minor, half-diminished, inverted, etc.], dominant seventh chord, Nondominant seventh chords (passive resolution, cadence effect, sequence patterns, regular and irregular resolutions), Altered nonharmonic tones and secondary dominants (foreign tones, tonal color, alteration of scale degrees, chromatic passing tones, false [cross] relation, double neighboring tones, chromatic mediants, tonicization, dominant function, dominant relation, leading tone relation, sequence of chords), Modulation to closely related keys (transcient modulation, tonal reference, change of mode, phrase modulation, modulating sequence, pivot chord modulation, diatonic modulation, chromatic modulation), Borrowed chords (modal mixture, modal exchange, Picardy third, deceptive cadence, ambiguity of modality), Augmented sixth chords [Italian, German, French, English] (chromatic alteration, altered chords [subdominant, subdominant seventh, supertonic seventh], motive/motif

Level 6 (new in 2013, this program covers chapters 7-11 in Steinke/Harder, Harmonic Materials in Tonal Music Part II):

Neapolitan sixth chord, altered dominants, and diminished seventh chords

cover. This way, for example, someone in Level 3 last year who advances to Level 4 this year will be exposed to some new material, even though they attend the same workshop class.



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http://www.amazon.com/Harmonic-Materials-Tonal-Music-Programed/dp/013033197X/ref=sr_1_2?s=books&ie=UTF8&qid=1401346110&sr=1-2&keywords=Harmonic+Materials+in+Tonal+Music+part+II

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(altered supertonic triad, tritone relationship, altered dominants, diminished seventh chords, enharmonic spellings), Chromatic third-relation harmony (tonal instability, tonal expansion, color harmony, functional/nonfunctional harmony, “chromatic stress”, ambiguous tonal effect, tonal fluidity, symmetrical relationships), Modulation to foreign [remote, distant, semirelated] keys, Ninth, eleventh, and thirteenth chords (tertian extension, incidental melodic occurrences, tone cluster, chromatic median seventh chord, dominant [eleventh, thirteenth] chord, polychord, appoggiatura chord, impressionistic music, palindrome, pandiatonicism, atonality, pantonality)

1 1-6 NEVER TOO OLD TO LEARN This class is taught by an instructor who recently completed two organ degree programs at a “non-traditional” age. She will share learning strategies and tips on how to learn effectively, especially later in life.

10 min

1 *ORGAN INSTRUCTION PLACEMENT AUDITION If you are not sure how your organ playing skills match up with the workshop’s organ instruction levels, you can find out by attending a 10–minute session on Monday with an instructor. Play a well–prepared hymn and/or a piece from the organ literature, and the instructor will recommend the organ instruction level that is most appropriate for you. There is a fee of $10 for this service. Sign up for it during the workshop registration process.

1 3-6 ORGAN SKILLS Wayne Leupold will present a pedagogy and publications for keyboardists beginning at the organ who have had at least three to four years of previous keyboard study or who have progressed through the Discover the Basics and the Discover the Organ publications.

5 1-6+ *ORGAN TECHNIQUE AND REPERTOIRE These courses offer training for pianists or organists in basic organ manual and pedal technique, and in organ repertoire. Choose the level appropriate for your needs, as described at the top of the class descriptions.

Important: to make the most of these classes, bring materials for the appropriate level and receive specific direction and ideas for the coming year's practice. Although some titles (i.e., OrganTutor workbook and computer tutorial) will be available at the workshop displays or possibly the BYU Store, contact Day-Murray music to order a copy and have it waiting for you at the workshop. If you wish to try out the skills and techniques that you learn during the workshop, sign up for practice room time or drop into the organ lab during Supervised Practice or at any other open time. (no charge) If you want personalized feedback or direction from an instructor, sign up for Supervised Practice sessions (no charge) or for Private Instruction (fee). It is highly recommended that you bring the following from the appropriate Organ Technique (or Independent Study organ course) level: One of the organ methods Your choices of the listed repertoire pieces (See the lists for Levels 1-2 or Levels 3-6) Organ shoes

See the current list of requirements for Independent Study organ Levels 1-2 and Levels 3-6. Teach the requirements for your level(s) under these topics only: Organ Technique, Organ Repertoire. Levels 1-6: Be sure to give students who have prepared pieces from your level an opportunity to play for you and the class and receive feedback. You might ask during the first class day who has done so. Deal with hymn playing only in the areas of manual and pedal technique (including fingering). If questions arise about other areas (hymn registration, text, treatment of repeated notes, music theory, etc.), answer them briefly and then refer students to any workshop classes specific to that area. IMPORTANT: Especially for the beginning organist, please provide clear summaries of the most important points that should be understood and applied. These may be effective either in the form of handouts or as verbal summaries. Level 1: The first session of the Level 1 Organ Technique class also needs to cover the requirements for the Preparatory Level, explaining how to work on it during the workshop. Give instructions on how to sign up for the Preparatory Level Supervised Practice


http://www.organ.byu.edu/materials.pdf


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https://www.sheetmusicauthority.com/








http://organ.byu.edu/preplevel.pdf

sessions (sign up for them during or immediately after this class period – probably with a clipboard passed around the class??). Preparatory Level requirements can also be passed off during normal Supervised Practice sessions. Beyond Level 6: The AGO Service Playing and Colleague Certificates, etc. This class is for those few participants who are at a playing level beyond Level 6, and/or who have decided to learn the literature for these two certificates. View the requirements for the AGO Service Playing and Colleague Certificates, and focus first on the literature (repertoire) requirements. You could branch out into other requirements if you wish, or into other pieces that participants have brought to the class. If you feel that a participant fits better into one of the other classes, do not hesitate to guide him/her to the proper level. Related OrganTutor lessons: Manual Technique (entire unit) Pedal Technique (entire unit) General Concepts (entire unit)

2 5-6 THE ORGAN WORKS OF JEHAN ALAIN One of the great organ composers of the first half of the twentieth century, Jehan Alain, left us few but highly interesting and influential organ works. Even those who may never play his more advanced works will find this presentation interesting and worthwhile.

1 1-6 ORGANIZE YOUR TIME None of us have time to waste. Learn some practice strategies that will help make the best use of that valuable preparation time. In fact, better time management may carve out some time you didn’t think you had so that you can fit organ practice into your life. Also, learn ways to minimize distractions and maximize effectiveness.

1 1-6 *ORIENTATION, QUESTIONS, AND ANSWERS This session describes the workshop in detail, explains how to participate with or without being involved in the BYU Independent Study organ courses, and offers plenty of opportunity to get your questions answered.

1 1-4 *PEDAL TECHNIQUE This class covers the most important foundations of good legato pedal technique. After attending this class, attend one “Pedal Technique ‘Feet On’” session to get experience and individual guidance on your pedal technique. Those who attend this class will be the first to be permitted to sign up for one of the “Pedal Technique ‘Feet On’” sessions described below.

This is a lecture-demonstration intended for a large group. Please cover the most important foundations of good legato pedal technique. The fundamentals that you teach should be mostly in harmony with (but not necessarily identical to) the OrganTutor “Pedal Technique Checkpoints.” Please recommend to participants that they sign up for one of the “Feet On” sessions during or immediately after attending this class. Related OrganTutor lessons: Pedal Technique (entire unit), including the Pedal Technique Introduction lesson.

1 1-4 *PEDAL TECHNIQUE “FEET ON” SESSION There will be up to 12 people in the room for





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https://www.youtube.com/watch?v=PrH-zCJMb7s

http://organ.byu.edu/756-2/

http://organ.byu.edu/756-2/


This session provides an opportunity to practice the techniques covered in the Pedal Technique class (see above) with the help of an instructor. Beginning organists should definitely schedule one of these sessions during the week, and experienced organists who want pedal technique pointers are also welcome. Bring pedal studies or music that you prepare before the workshop, or use materials provided by the instructor.

To receive priority registration for this “Feet On” session, attend the Pedal Technique class described in the box above and sign up during or immediately after that class. Organ shoes highly recommended.

each session. They should spend most of their time practicing pedal studies or playing for feedback from you. Please structure the session in such a way that students have an opportunity to apply specific pedal techniques, and will feel better equipped to internalize them during the year.

1 2-6 PIANO TECHNIQUE FOR THE ORGANIST For many reasons it is extremely helpful for the organist to develop finger strength and dexterity at the piano. The instructor will offer some ideas on good routines for daily practice.

Please become familiar with the piano technique requirements of Levels 5 and 6. Although no piano technique is required at the earlier levels, please offer them ways to build up to the Level 5 requirements so that it will be a natural development through the earlier levels.

1 1 *PREPARATORY LEVEL SUPERVISED PRACTICE The Preparatory Level is introduced during the first session of the “Organ Technique and Repertoire – Level 1” class. It offers training for pianists in the most basic skills needed in classical or sacred organ playing. The Preparatory Level is designed to be learned, practiced, and completed during these Preparatory Level Supervised Practice sessions, while still allowing attendance at the Level 1 organ instruction and hymn playing classes. As an alternative, the level may be prepared during the year and played either during the next Organ Workshop or during the year with a qualified organ instructor. Music will be provided. Class size limit: 12 students per session. Limit: 1 session per participant. • Organ shoes highly recommended. • Attendance at the Tuesday 1:30 Organ Technique and Repertoire class (Level

1) is required. Sign-up for the Preparatory Level Supervised Practice will take place during that class.

Teach the requirements for Preparatory Level only. If questions arise about other areas (Hymn Playing Level 1, organ technique, accompaniment, etc.), answer them briefly and then refer students to any workshop classes specific to that area. Include the Preparatory Level Option handout as one of your handouts. IMPORTANT: Please provide a clear summary of the most important points that should be understood and applied. This may be effective either in the form of a handout or as a verbal summary. Related OrganTutor lessons: Nature of organ tone Listening Skills for Practice Hymn Project 1

25 or 50 min

1-6 PRIVATE INSTRUCTION These are one-on-one organ lessons with your choice of both instructor and organ – an excellent opportunity to receive help in hymn playing, organ pieces, BYU Independent Study organ course requirements, or in any area of organ performance. Play hymns and/or organ repertoire that you have prepared for the instructor, who will comment on your preparation and provide guidance for further study. Pre-register or sign up at the information desk for one or more 25- or 50-minute appointment(s) with the instructor and instrument of your choice (space limited). Limited practice time and choice of instruments will be available throughout the workshop. A $25 fee is required per 25-minute session, and a $40 fee for a 50-minute session. Remember that there will also be some opportunity for individualized feedback, at no extra charge, during the Supervised Practice and Study sessions scheduled throughout the week. Sign up for these during workshop registration. Organ shoes highly recommended.

Lessons are scheduled through Conferences and Workshops. Please notify them if you are interested in teaching (see the “Instructor To-Do’s”), and list your 30- or 60-minute slots for them. For students working on hymn playing or the Independent Study organ levels, please see that your instructions help them towards their goals. In hymn playing, for example, they “must be able to play . . . with a sustained legato approach. . . . Pay particular attention to these listening skills: precise releases, perfect legato, and independence of line.” In organ repertoire, they must be able to accomplish “. . . his or her intentions, including familiarity with at least one approach to solving problems of style. High standards should be maintained in whichever approach the student chooses.” Above all, please be positive and encouraging in all your comments, and motivate your students to continue their


http://www.organ.byu.edu/preplevel.pdf










organ study!

1 1-6 *QUESTIONS AND ANSWERS FROM LDS CHURCH HEADQUARTERS Steven Schank, Music Manager for the Music & Cultural Arts department of the LDS Church, will make a presentation and field questions about serving as an organist in the LDS church. Frequent reference will be made to the music section of Handbook 2.

Currently we are planning on simply allowing participants to ask questions aloud during the class. One alternative we have used effectively in the past would be to keep a “question” box at the registration desk all week, and then you could prepare for the class. If you don’t specify otherwise, we’ll plan on just letting them ask questions in person.

3 1-2 *REGISTRATION BASICS (Levels 1-2) This three-part series explores several fundamentals in organ registration that must be understood by all organists. Part 1: ORGAN CONSOLE, and FAMILIES OF ORGAN TONE Mysteries of the organ console are revealed, including the divisions of the organ and console devices such as thumb pistons and toe studs, expression and crescendo pedals, and other registrational aids. The division of speaking stops into Principal, Flute, String, and Reed families is also introduced. Part 2: PITCHES, AND CHORUS REGISTRATION The numerals (pitch designations) found on stops are explained, leading to a discussion of the basics of building a good ensemble. Basic and effective hymn registration is introduced. Part 3: SOLO AND ACCOMPANIMENT, AND TRIO/DUO REGISTRATION Various types of solo stops and combinations are explored, along with ways to create balanced accompaniment combinations. Trio/Duo registration is also introduced, as well as the similarities and differences between these two registrational types. Thorough lessons on these topics are found in OrganTutor.

As part of your preparation, please become familiar with the pertinent sections (lessons) in OrganTutor. Contact Don Cook if you need a reference copy. IMPORTANT: As part of each class session, please provide a clear summary of the most important points that should be understood and applied by the beginning organist who plays for church or for his/her own enjoyment. This would probably be most effective in the form of a handout, but may be given verbally. Also, there have been specific requests that this topic might cover “what everything does” on the organ console. Related OrganTutor lessons: Organ Registration unit: Introduction to the Organ Console Using Console Devices Families of Organ Tone Pitches of Organ Stops Chorus Registration Solo and Accompaniment Registration Trio/Duo Registration

2 3-6 REGISTRATION IN THE FREE WORKS OF J.S. BACH The organs of Bach’s time and region, his few registration indications, and the writings of his contemporaries offer some direction for registering the preludes, fugues, and other free works. Consider the possibilities as the instructor explores historical and practical considerations, leading to the end result that we all want – playing the music beautifully!

Please at least touch on the areas that are mentioned in the class description. I highly recommend Barbara Owens’ book, The Registration of Baroque Organ Music, as a resource for the presentation, and as a resource to recommend to the participants. http://www.iupress.indiana.edu/product_info.php?products_id=780697

1 1-6 SCORE PREPARATION FOR HYMN PLAYING You have a thousand things that you could do to make your hymn accompaniment effective. How can you prepare your score so that your plan will be easy to follow?

Please be sure that the following aspects of hymn score preparation are included: phrasing the text, adding ties, fingering and pedaling, registration (pistons, adding stops by hand, which manuals to play on, manual-only, etc.) Related OrganTutor lesson: Hymn Playing: Score Preparation

1 1-6 *SIGHT-READING TIPS Playing a piece of music at sight is one of the most valuable and enjoyable skills that an organist can develop. This skill is usually strengthened by diligent practice and through experience, but a few helps and hints could straighten out some of the bends in the road.

The general approach for sight-reading in Independent Study organ courses is as follows: Level 1 – single-line parts from hymns Level 2 – two-part music Level 3 – very easy three-part pieces Level 4 – easy three-part music and very easy four-part hymns Level 5 – easy four-part hymns and pieces Level 6 – hymns and pieces of lower moderate

http://www.lds.org/handbook/handbook-2-administering-the-church/music?lang=eng

http://www.lds.org/handbook/handbook-2-administering-the-church/music?lang=eng

http://organtutor.byu.edu/


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difficulty

var 1-6 *SUPERVISED PRACTICE AND STUDY The BYU Organ Lab (room E-354 HFAC) offers a unique way to practice and learn about organ playing. During Supervised Practice time you may practice on your own on any of the twelve electronic organs in the lab. If you want up to ten minutes with an instructor to answer questions and offer suggestions (no extra fee), sign up during workshop registration. This is an excellent time for “hands-on or feet-on” training. You might also consider bringing a copy of the stoplist of your organ to Supervised Practice and Study to get a few registration tips from the instructor. Four of the organs will be reserved for these ten-minute supervised practice sessions. The other eight organs will be open for practice or computer study without supervision on a first-come first-served basis. In addition, you can study selected basic organ topics in the Organ Lab through OrganTutor, a computer tutorial. Each organ in the lab is equipped with a computer that allows you to explore at your own pace such important topics as Families of Organ Tone, Pitches of Organ Stops, and Three Primary Types of Organ Registration. See various pedal and manual techniques demonstrated in full-motion video clips. Together with interactive hypertext links and self-tests, this system will help clarify these important topics at your own pace. OrganTutor is available for purchase at the displays. The computers will also allow you to view a video of a few selected classes from previous workshops. You are welcome to use the Organ Lab and the organ practice rooms (E225, E229, E222, E226, E104, E106, C180) without supervision whenever they are not being used for classes throughout the workshop. The keypad combination is 33333. Organ shoes highly recommended.

Spend up to ten minutes (no more, please!) with the person at each of the four organs assigned to you during your hour. For students working on hymn playing or an Independent Study organ level, please see that your instructions help them towards their goals. In hymn playing, for example, they “must be able to play . . . with a sustained legato approach. . . . Pay particular attention to precise releases, perfect legato, and independence of line.” In organ repertoire, they must be able to accomplish “. . . his or her intentions, including familiarity with at least one approach to solving problems of style. High standards should be maintained in whichever approach the student chooses.” Above all, please be positive and encouraging in all your comments, and motivate your students to continue their organ study!

1 3-6 TRANSPOSITION TIPS “This piece is just too high. Can you play it down a whole step? Tomorrow?” The organ accompanist is rarely given enough notice to prepare adequately. Also, practicing transposition is a great way to start learning to play by ear. Learn some transposition “tricks” and ideas on how to acquire this useful skill.

The general approach for transposition in the BYU Independent Study organ courses is to transpose the following up and down a major and a minor second: Levels 1-2 – not required Level 3 – hymn melodies only Level 4 – soprano/alto combination of simple hymns Levels 5-6 – simple four-part hymns. See the specific requirements for more detail at http://www.organ.byu.edu/orgcertlev3-6.pdf

1 3-6 WORKING OUT CHALLENGING LEGATO FINGERING PASSAGES Composers must be crazy – they don’t seem to understand that I only have ten fingers! The instructor will present several perplexing fingering passages where legato is expected, and will work them out right in front of the group. You should leave the session better equipped to handle these situations on your own.

I would recommend choosing a few challenging fingering passages from hymns, preludes/postludes, and legato-style organ literature. Ideally you would include passages requiring at least some thumb glissando, redistribution, crossing, finger glissando, substitution. You might use a document projector or Powerpoint or ???

1 3-6 WORKING OUT CHALLENGING PEDAL PARTS When it comes time to learn a particularly difficult pedal part, the key is creating the most effective and efficient plan from the beginning. During this session, the instructor will present several

I would recommend choosing a few challenging pedal passages from hymns, preludes/postludes, “toe-dominant” early organ music, and legato-style organ literature. You

http://organ.byu.edu/lab.html

http://organtutor.byu.edu/






examples, and will work them out right in front of you. You should leave the session better equipped to handle these situations on your own.

might use a document projector or Powerpoint or ???

GENERAL AND EVENING EVENTS 1 1-6 *CLOSING SESSION

The closing session is an opportunity to put the workshop in perspective. Enjoy some success stories involving workshop participants, some words of encouragement by the workshop co-directors, and a final opportunity to enjoy the company of new friends and partners in music making. Those who stay for this Closing Session will be richly rewarded.

All available instructors are encouraged to attend this meeting – it is very rewarding to rub shoulders with our patrons and fellow instructors one last time! Be sure to introduce the AGO, inviting all to become members, and go over “Continuing Your Organ Training.” Organist: No prelude. Please choose an opening and a closing hymn, tell Don what they are, and prepare to play them with or without a director. (If you want a director, please recruit one!) A single jubilant postlude (but not too long).

1-6 *DISPLAYS A few vendors will be offering music and materials for sale during selected hours throughout the workshop. Materials recommended or required for the workshop classes may be available for purchase. The only way to be sure, however, is to order them ahead of time through Day-Murray Music phone: 1-866-DAY-1946 Internet: http://www.daymurraymusic.com email: [email protected] Some BYU-specific materials (i.e., OrganTutor, mp3 players pre-loaded with The New LDS Organist) can be ordered through Ard Publications.

8 1-6 *FIELD TRIP M.L. Bigelow Organ Builder The first stop on our trip is the organ shop of nationally-respected organ builder Mike Bigelow. He will show us through the wood shop and the erecting room, describing current and past projects. The quality of his work can be seen and heard in the BYU organ practice room E-226. Salt Lake Tabernacle Organ Demonstration We will be seated in the choir seats while one of the tabernacle organists demonstrates the mighty Aeolian-Skinner organ. This world-famous instrument has been the spiritual and musical inspiration for many throughout the world, and this demonstration will reveal much that can only be experienced in this up-close-and-personal setting. Cathedral of the Madeleine Organ Performance Recent BYU organ graduate Levente Medveczky will play for us his final performance as cathedral organ scholar. Later he will move to New York City to pursue graduate organ study at the Juilliard School of Music. His program will explore the vast resources of the beautiful four-manual Kenneth Jones tracker organ. Tabernacle Choir Rehearsal We spend the last hour of our field trip enjoying a rehearsal of the famed Mormon Tabernacle Choir. This takes place in the vast new Conference Center, with its beautiful five-manual Schoenstein organ. Sign-ups



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mailto:[email protected]

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http://www.bigeloworgans.com/home.aspx

https://www.mormontabernaclechoir.org/about/organs/organ-information/tabernacle.html

http://utcotm.org/

https://www.mormontabernaclechoir.org/

https://www.mormontabernaclechoir.org/about/organs/organ-information/conference-center.html

Note that we will not take time for dinner as a group in Salt Lake City, so be sure to sign up for the box dinner or bring your own. Sign-ups for the bus and the box dinner on Tuesday (only) at the information desk. Our buses will depart from the BYU Conference Center on Thursday at 3:00 p.m. and return at approximately 10:30 p.m. Some walking between sites is required. The schedule: 3:00 Buses depart from Art Museum 3:30 Tour of M.L. Bigelow Organ Builder, American Fork 5:00 Buses depart for SLC (box dinners) 6:00 Tabernacle organ demonstration 7:00 Buses depart for Cathedral 7:15 Recital at Cathedral of the Madeleine 8:00 Buses depart for Conference Center 8:15 Attend Tabernacle Choir Rehearsal 9:30 Buses depart from Temple Square for BYU Conference Center

(arrive around 10:30) 1 1-6 *HYMN SING

One of the week’s highlights, the hymn sing, is a chance to sing and hear a number of hymns played by one of our Workshop Instructors. This year workshop instructor Elizabeth Forsyth joins assistant concertmaster of the Orchestra at Temple Square Kathryn Collier present CHRISTMAS IN AUGUST! The organist applies hymn playing techniques that are described during the workshop and taught through the Independent Study organ courses. This is a gold mine for ideas that you might consider for either a special Christmas event or for a worship service.

The goal: give your audience an uplifting experience in congregational hymn singing through creative and spiritually enlightened hymn playing. This is a highlight of the workshop for many. Include both meditative and jubilant hymns. Hold to 60 minutes total. Draw attention to any hymn playing techniques you use that are taught in the workshop (soprano solo, tenor solo, etc. – see the Level 6 hymn playing section at www.organ.byu.edu/orgcertlev3-6.pdf). If you want a director, recruit one from among the workshop instructors (and we may be able to pay them a $50 fee), or from outside that group (no fee). VERY IMPORTANT: Provide a handout that lists any free accompaniments or other resources that you use. Please also consider including copies of your original material (creative introductions, interludes, free accompaniments, etc.).

1 all *INSTRUCTOR RECITAL – BRIAN MATHIAS Workshop instructor and BYU organ faculty member Dr. Brian Mathias will raise the roof with a full program of concert organ music.

We can print the program as late as the day before, if it is already formatted and ready to go. Or, if you prefer, you could include it in the handout book.

1 1-6 *OPENING SESSION This is an opportunity to set the right tone for the BYU Organ Workshop by joining with the rest of the participants in meeting the instructors and listening to an uplifting keynote address by Tabernacle Organist Clay Christiansen.

Organist: Ten-fifteen minutes of prelude – need not be sacrament meeting style, but could. Doesn’t need to be particularly postlude-like either. Participants will listen and appreciate, so prepare well! Please choose an opening hymn, let Don know what it is, and prepare to play it with or without a director. (If you want a director, please recruit one!) No postlude.

INFORMATION ON ORGAN METHODS -- -- If you wish to be actively involved in the Organ Technique and

Repertoire classes and/or an Independent Study organ course, choose an organ method book from which to learn organ technique. The following are recommended. You may choose any one or a combination of more than one from which to play. If you desire, you may use another method book with the approval of the course instructor. Any method you choose should develop the



http://organ.byu.edu/orcert.html

concepts and skills listed below using comparable exercises.

OrganTutor Organ 101 Complete or The OrganTutor Workbook is a required text for the course, containing materials needed for passing the written assignments and exams for Levels 1 and 2. If you decide also to learn organ technique through OrganTutor, you will not need to purchase the Davis, Gleason, or Keeler books.

Cook, Don, with contributions by Parley L. Belnap and Richard L. Elliott. The OrganTutor Workbook. ("OTW") Spanish Fork, UT: Ard Publications, n.d. (organtutor.byu.edu)

This volume contains the materials developed for the Brigham Young University Group Organ Program and the Independent Study organ courses. Its primary strength lies in the written materials, handouts, worksheets, and exercises that cover a wide range of topics. It is revised frequently to meet current needs. OrganTutor Organ 101 Complete consists of this volume together with the OrganTutor computer tutorial.

Cook, Don. OrganTutor Organ 101 Complete. Provo, UT: Brigham Young University, 1998/2008. OR Spanish Fork, UT: Ard Publications, n.d. (organtutor.byu.edu)

This is a computer organ tutorial with workbook. The tutorial can be purchased and installed either onto PC or Mac, or run directly over the Internet through a subscription. The technique exercises and hymn projects appear in the workbook for practice and are demonstrated through video clips. Registration and other concepts are demonstrated through hundreds of audio clips.

Davis, Roger. The Organist's Manual. New York: W. W. Norton, 1985. (amazon.com availabilities)

This method book is widely accepted in organ teaching circles. It provides written instruction on important topics such as part playing, phrasing and articulation, fingering, and ornamentation, with useful appendices. Davis uses a moderately thorough approach to teaching technique. The choice of repertoire and careful editing are particular strengths of this volume.

Gleason, Harold. Method of Organ Playing. 8th ed. Englewood Cliffs, NJ: Prentice-Hall, 1995. (amazon.com availabilities)

This has been a standard resource in organ instruction for many years. It represents a thorough approach to teaching technique, and contains generous written instruction on elements of performance practice and other important topics, with a wide range of carefully-edited repertoire. The refinement of this book reflects Harold Gleason's many years of experience during and after his tenure at the Eastman School of Music. Gleason’s wife Catharine Crozier continued with revisions in the editions published since his death.

Keeler, J. J., and E. Donnell Blackham. Basic Organ Techniques. 3rd ed. Bryn Mawr, PA: Universe, 1998. (Jackman Music)

Many organists associated with Brigham Young University have benefitted from the meticulous approach of J. J. Keeler. The technical studies in this volume



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represent a good approach to teaching legato technique. The repertoire section has been omitted in this edition. Some written instruction is included.

Ritchie, George H. and George B. Stauffer. Organ Technique: Modern and Early. New York: Oxford, 2000. (amazon.com availabilities)

This relatively new method book explores two basic techniques that are particularly fitting for Level 3: “modern” and “early,” for music written since and before about 1750. Its greatest strength lies in its coverage of organ historical information, and it serves as the required text for several of the Level 3-6 lessons.

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organ workshop class descriptions - organ… · organ music and hymns, and to transpose moderately...

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