Escolar Documentos
Profissional Documentos
Cultura Documentos
edu; 801-422-3260
v.1205
This course of twelve lessons is designed to help pianists adapt their skills to the organ as soon as
possible. Lessons 1-5 and 10-12 are for everyonethose who must begin very soon to play for church
meetings might consider themselves in shortcut mode and skip lessons 6-9. These four lessons are for
those who can spend the time required to refine their playing in polish mode before beginning to serve
as an organist.
All twelve lessons are available free over the Internet as audio podcasts. There is a total of just over
four hours of instruction, with each lesson lasting between five and thirty-five minutes plus pause time.
The lessons involve listening to instruction, trying out new skills at the organ, and playing simplified
hymns. Organists with MP3 players can download the podcasts from iTunes and take the lessons at the
organ console. Those without MP3 players can hear the lessons through their computer. Those without
computers can print the lessons and study them in written form.
A packet of supporting written materials can also be downloaded free over the Internet (in Adobe pdf
format). In addition to the many useful handouts, the packet contains over twenty-five simplified hymns
that can be used in those first weeks of service.
Instructions on how to access the course can be found online at <www.organ.byu.edu>. Those who are
all ready familiar with iTunes can simply search for new lds organist and download it as usual.
The lesson titles are listed below. For a more detailed list of subtopics, visit <www.organ.byu.edu>.
Lesson Titles
1. Welcome to Organ Playing! (35 minutes)
2. First Steps in Pedal Playing (13 min.)
3. Playing Prelude Music that Invites the Spirit (13 min.)
4. Effective Hymn PlayingAn Overview (11 min.)
5. Hymn Playing in Shortcut ModePlaying Hymns Right Now (5 min.)
(lessons 6-9 are for those who can dedicate the time to learning to play in polish mode):
6. Hymn Playing in Polish ModePlaying Single Lines in Legato Style (21 min.)
7. Hymn Playing in Polish ModePlaying Two Independent Legato Lines (28 min.)
8. Hymn Playing in Polish ModePlaying Three Independent Legato Lines (31 min.)
9. Hymn Playing in Polish ModePlaying Four Independent Legato Lines (38 min.)
10. Hymn PlayingDeciding When to Tie Repeated Notes (25 min.)
11. Playing Postlude Music Appropriately (17 min.)
12. Continuing Your Organ Training (15 min.)
The New LDS Organist was produced by Dr. Don Cook of the Brigham Young University School of
Music, assisted by graduate students Jane Dye, Ruth Eldredge, and Shinji Inagi.
Copyright 2007 by Brigham Young University. All Rights Reserved.
These materials may be freely reproduced for incidental, noncommercial church or home purposes.
For complete Copyright and Use Information, visit http://www.organ.byu.edu/copyright.html
This is not an official publication of The Church of Jesus Christ of Latter-day Saints
TheNewLDSOrganist3
Table of ContentsPacket
Supporting Materials for the Lessons
The supporting materials appear in the order of their first use in the lessons. For a list of all materials
that should be at your fingertips for each lesson, see the next page, Materials Needed for Each Lesson.
4
5
6
7
8
9
11
12
14
15
16
18
19
20
21
22
23
Title
Now Let Us Rejoice
High on the Mountain Top
We Thank Thee, O God, for a Prophet
A Poor Wayfaring Man of Grief
Come, Come, Ye Saints
Come, Ye Children of the Lord
Glory to God on High
Dearest Children, God is Near You
I Need Thee Every Hour
Nearer, My God, to Thee
Precious Savior, Dear Redeemer
Did You Think to Pray?
Sweet Hour of Prayer
No. of
parts
4
3
4
3
3-4
4
3
3
3
3
3
3
3
Hymn
no.
143
163
174
177
181
193
200
201
247
274
292
294
Title
Let the Holy Spirit Guide
Lord, Dismiss Us with Thy Blessing
While of These Emblems We Partake
Tis Sweet to Sing the Matchless Love
Jesus of Nazareth
I Stand All Amazed
Christ the Lord Is Risen Today
Joy to the World
We Love Thy House, O God
The Iron Rod
O My Father
Love at Home
No. of
parts
4
4
3
4
3
3
4
3
4
3
4
3
TheNewLDSOrganist5
Other Resources
Organ Study at BYU website <www.organ.byu.edu>
Resources for LDS organists < http://www.geocities.com/ddstone48/>
LearningOrgan (Internet discussion group) < http://groups.google.com/group/LearningOrgan>
Howarth, Paul R. Tips for Beginning Organists. Ensign, September 2002.
TheNewLDSOrganist6
Swell
Tutti reversible
Power
Setter
General combination pistons
Division (local) combination
pistons
Expression pedals
Great
Cancel
Crescendo pedal
Great to pedal
reversible
Toe studs
Pedals
www.agohq.org/guide/index.html
Miscellaneous
PIPORG-L (to join the group) https://list.uiowa.edu/scripts/wa.exe?SUBED1=piporg-L&A=1
A Wiki resource on organ playing http://organplayingwiki.byu.edu
BACHorgan.com www.bachorgan.com
MIDI primer http://arts.ucsc.edu/EMS/Music/tech_background/MIDI/MIDI.html
Pedal Orientation
Organ Shoes
see <www.organ.byu.edu/ORSHOE.html>
Upper
(snug fit, flexible)
Heel
(wide, about 1 inch high)
Sole
(thin, slide easily, not wider than shoe)
Arch
(no bridge between heel and sole)
Continue by learning the pedal line of Hymn 142, Sweet Hour of Prayer (simplified for organ in three
parts) as described near the end of Lesson 2.
TheNewLDSOrganist9
Manual-Only Hymns for Organ and Transformations. Provo, UT: Brigham Young University, 2010.
Visit http://lds.org/cm/display/0,17631,4774-1,00.html (free download).
Manual-Only Hymns is designed to assist the LDS pianist in making the transition to the organ. With practice, the voice
parts of these 38 hymns can be played smoothly and with independence of line. This is enabled by eliminating the pedal
parts, by reducing the voice parts from four to three, by arranging the hymns for ease of execution, and by providing organ
fingering. Transformations is a companion volume to Manual-Only Hymns that provides easy supplemental material to
transform the hymns into simple preludes or postludes.
Croft, D. Kim. Nine Hymn Studies. Orem, UT: Pioneer Music Press, 1986.
Visit www.jackmanmusic.com
These simple three-part hymn settings are fingered and pedaled in legato style, and include a very easy pedal part. They
are some of the easiest available pieces to play for prelude or postlude, but not for congregational accompaniment.
Cook, Don. Easy Organ Hymn Settings. Orem, UT: Jackman Music, 1992.
Visit www.jackmanmusic.com
This collection contains 28 three-part transcriptions of LDS hymns. The original soprano part is played by the right
hand. The left hand plays a new middle part that leaves the harmony unchanged from the original. The bass part, also not
deviating from the original notes, appears on its own pedal staff. Repeated notes are sometimes tied in the bass and middle
parts. Fingering and pedaling are provided. These transcriptions can be used for congregational hymn accompaniment, or
for prelude or postlude. They were designed to provide a bridge between the very easy Nine Hymn Studies by Kim Croft and
the four-part hymns in the Hymnbook.
Cook, Don. OrganTutor Organ 101 Workbook. Provo, UT: Brigham Young University, 1998/2007.
Visit www.organtutor.byu.edu
This organ method contains a few hymn settings and pieces that were hand-picked for the early-level LDS organist, such
as Prelude on Deliverance by Richard Elliott. The method, along with the computer tutorial, also serves as the basic text
for the Level 1 and 2 BYU Independent Study organ courses.
Dupr, Marcel. Seventy-Nine Chorales for the Organ, Opus 28. New York: H. W. Gray, 1932.
These one- or two-page pieces are provided with fingering and pedaling in legato style. A few are based on hymns in
the LDS hymnbook. This book is required in the Level 1 and 2 BYU Independent Study organ courses.
Manookin, Robert P. Hymn Preludes for Organ, Book One. Orem, UT: Sonos (Jackman Music), 1976.
Visit www.jackmanmusic.com
This is the first of many volumes of LDS hymn preludes by Robert Manookin. This first volume contains two or three
pieces that are particularly useful for the early-level organist. These pieces are on the repertoire list for the BYU Independent
Study Level 1 and 2 organ courses.
(continued)
TheNewLDSOrganist10
Cundick, Robert and Don Cook. Three-Stave Hymn Accompaniments. Provo, UT: BYU Creative
Works Office, 2003. Search <three stave hymn> to order bound volume or for free download.
This is a collection of 62 hymns transcribed for organ on three staves. The goal: make it easier for an organist to play the
hymns well by writing the bass part on its own pedal staff and adding ties generously between repeated notes. Fingering and
pedaling must be added, and the text is not present in the score.
Belnap, Parley L. Hymn Studies for Organists. Rev. ed. Provo, UT: BYU Creative Works, 1992/2003.
Search <hymn studies for organists>.
This method book on hymn playing provides fingering and pedaling for many hymns, as well as generous instruction on
all aspects of hymn playing. The hymn text is not present in the scores.
Hymns of the Church of Jesus Christ of Latter-day Saints. Salt Lake City, UT: Church of Jesus Christ
of Latter-day Saints, 1985.
Prelude and postlude music can be played directly from the hymnbook. Variety can be introduced by applying the
registration suggestions and rearrangement of parts as suggested in Lessons 3 and 11. Later, you can learn more details on
rearranging parts through the Music 116Organ Techniques and Literature podcasts. Go to iTunes and search organ
techniques.
In addition to the websites given above after some listings, most of these items are also available
through the BYU Bookstore. Visit www.byubookstore.com or call 1-800-253-2578.
TheNewLDSOrganist11
TheNewLDSOrganist12
To build a stop combination for a prelude or postlude that accomplishes the purposes described above,
first identify these important characteristics in the music. If these are not indicated in the score,
make the decision yourself:
1. MOOD: Meditative or jubilant? Use more words that describe the mood or sound more precisely
(light or heavy, clear or rich, sparkling or foundational, simple, calm, reverent, ethereal, solid,
majestic, quietly jubilant, etc.)
2. VOLUME: Overall volume level (very soft, soft, medium, etc.)
3. SOLO: Will a solo and an accompaniment be played on two separate manuals (solo and
accompaniment registration), or will both hands play on the same manual (chorus registration)?
Next, decide on the sound that you want and find it on the organ.
CHORUS REGISTRATION
For chorus-type registration, in which both hands play on the same manual, try the combinations
given below. Use the handout Common Stop Names Listed by Pipe Category and Family of Organ
Tone to find particular flutes, principals, strings, reeds, or hybrids (as indicated below) on your organ.
The following list begins with the softer stops or combinations, which are usually most effective in
enhancing the spirit of worship:
1. a soft 8 stop alone (flute, hybrid, or string)
2. the celeste effect (use two 8 stops [hybrid, flute, or string, with celeste], or a single celeste stop
marked II [like Gemshorn Celeste II 8])
3. two soft 8 stops (flute and hybrid, flute and string)
4. flutes 8 and 4
5. two soft 8 stops and flute 4
6. flutes 8, 4, and 2 (or flute 8, principal 4, and flute 2)
7. principal 8 alone
8. principal 8 and flute 4, or flute 8 and principal 4
9. principals 8 and 4
10. principal 8 plus no. 1, 3, 4, 5, or 6 above
11. principals 8 and 4 plus no. 1, 3, 4, 5, or 6 above
12. principals 8, 4, and 2 (note the brightness of the 2 principal)
13. Adding the chorus mixtures and/or chorus reeds probably reach beyond an appropriate volume
level for preludes and most postludes in Sacrament meeting.
TheNewLDSOrganist13
TheNewLDSOrganist14
TheNewLDSOrganist15
Finger Glissando
Finger Substitution
Thumb Glissando
TheNewLDSOrganist16
TheNewLDSOrganist17
As you put the sections together, devise and begin practicing a REGISTRATIONAL PLAN that reflects
the meaning of the text and the spirit of the music, and that supports and encourages the congregation.
TheNewLDSOrganist18
THE FIFTEEN-STEP METHOD (for the more challenging pieces). Each voice is treated as a unit:
Single voices first: soprano, alto, tenor, bass
All two-voice combinations next: bass/tenor, bass/alto, bass/soprano, tenor/soprano, alto/soprano,
alto/tenor
All three-voice combinations next: soprano/alto/tenor, soprano/alto/bass, soprano/tenor/bass,
alto/tenor/bass
Finally, all four voices together: soprano/alto/tenor/bass.
THE SEVEN-STEP METHOD (for less challenging pieces). Each hand or the feet are treated as a unit:
Single units first
1. right hand (including soprano and most of the alto voice)
2. left hand (including tenor and occasional notes from the alto voice)
3. pedal
Two-unit combinations
4. pedal and left hand
5. pedal and right hand
6. right hand and left hand
All three units
7. right, left, and pedal
TheNewLDSOrganist19
Most of the hymns in the LDS hymnbook are marked in this manner. Contact Carol Dean at
carolorg@msn.com
TheNewLDSOrganist20
Aimed at ease in performance, this four-part version offers a separate pedal staff and a good treatment
for the repeated notes. Fingering, pedaling, and phrasing must be added as has been done below.
ORGAN WORKSHOPS
The BYU Organ Workshop (for adults, first Tuesday thru Friday of August annually) http://organworkshop.byu.edu
The BYU Young Musicians SummerFestival (for ages 14-18, annually in mid-June) http://summerfestival.byu.edu
TheNewLDSOrganist22
Redeemer of Israel
Example of Fully-Prepared Score
The following have
been added into the
score:
Text
Keywords underlined
Phrasing (given with
slurs, breath marks [V]
and verse numbers in the
text)
Fingering and
pedaling
(note changes in the last
two measures to allow for
right-hand stop changing
between verses)
MusicInstructions
for the introduction
Modified boundaries
(marked with double
diagonal lines)
Idea (soprano and alto
duet, then accompanied)
Registration (trumpet
duet alone, then with flue
accompaniment)
Registrational plan
Combination listed for
pistons 1 and 2
Manual indications
(given at the beginning of
each verse)
Stop change indications
(given at the end of each
verse)
TheNewLDSOrganist23
q=100-120
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name.
name.
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grace
arm
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high!
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bove
and
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as
on
and
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-
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love,
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dous
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great
all
e
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3
67
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each played on different
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all
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tress
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q. = 42-48
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of care
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2
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& b
3
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5
5
1
3
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1
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heal our hearts
3
1
1.Let the ho - ly
2.Let the ho - ly
3.Let the Spir - it
1
4
2
3 4
2
fy of Christ,
safe - ly home
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what is true.
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peace.
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163
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Fervently
q=72-88
b 3 3
b
& b 4
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b
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tice
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be
ful
a
and
177
h. = 44 - 52
Reverently
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2
5
3
3
1
1.'Tis
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181
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q=80-92
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3
1
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5
q 96-108
200
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201
Jubilantly q76 - 96
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to
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her King!
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heart
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found.
God.
247
&c
q = 72-88
1.We
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&
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And
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4
1
God,
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joy
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5
1
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earth - ly
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3
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hon - or
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Where - in
thy
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word that
3
joy ex
flock to
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cels.
greet.
cease.
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274
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4
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q = 80-96
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.
&
.
.
J
Hold
to
the rod,
the
ron
rod;
&
##
The
? # #
1
i - ron
rod
is the word
of
shown an i - ron
rod.
per - il ev - 'ry
hour.
heav - en's aid im - plore.
5
4
.
J
2
God,
pow'r,
o'er,
Was
In
And
'Tis
2
5
4
j 2
j
? # # c . . .
A
vi - sion came from
Be - neath temp - ta - tion's
Our
path - way cloud - ed
God; 'Twill
..
2
safe - ly
1
j
.
guide us
true.
.
through.
..
O My Father
292
# 3
& 4
3
1
q = 42-56
3
3
1.O
2.For
3.I
4.When
my
a
had
I
? # 43
&
thou
glo call
frail
when
And
But,
Fa
3
2
.
.
? #
&
And
Of
Was
In
5
a - gain
be - hold
my
for - mer friends
knew
re - stored,
I
your
roy - al courts
3
3
the
hast
thy
I
..
5
1
.
.
high
and
placed
me
Spir - it
lay
this
1
5
2
1
3
shall
I
re - gain
with - held
the
rec
un - til
the
key
ther,
Moth - er,
may
.
.
4
1
that
dwell - est
In
rious
pur - pose Thou
thee
Fa - ther, Thru
ex - is - tense, When
place,
earth
high,
by,
? #
(5)-4
glo - rious
on
here
from
on
mor - tal
4
1
2 1
1
.
.
4
1
Fa - ther,
wise
and
learned
to
leave
this
thy
and
not
on
3
1
face?
birth;
why.
high?
.
2
In
Yet
In
Then,
3
3
thy
pres ol - lec of
knowl I
meet
5-4
4
1
1
2
ence
tion
edge
you
5
1
.
.
thy
ho - ly
oft - times
a
the
heav'ns
are
at
length, when
O My Father
&
2
3
1
2
# .
& .
5
1
1
2
2
3
.
.
.
.
hood,
dered
nal
tion
2
3
1
3
Was
From
Tells
Let
I
a
me
me
5
1
..
nur more
I've
come
.
.
3
3
3
4
2
tured near
thy
ex - alt - ed
a moth - er
with
and dwell
3
j
In
And
Truth
With
5
4
2
2 1
3
5
1
3
3
first
pri - me - val child
felt
that I
had wan
e - ter
rea - son; truth
mu - tual ap - pro - ba
? # ..
4
1
Did
my
spir - it once
re - side?
Whis - pered, "You're
a strang - er
here,"
No,
the thought makes rea - son
stare!
All
you
sent
me forth
to
do,
.
1
hab - i - ta - tion,
se - cret some - thing
par - ents
sin - gle?
I've
com - plet - ed
?#
side?
sphere.
there.
you.
my
I
is
your
Love at Home
294
#
& 44
q=
&
.
3
There
Hate
All
beau - ty
cot - tage
heav - en
is
joy
in
and en - vy
the world is
ev - 'ry sound
ne'er an - noy
filled with love
? # w
&
# 3 .
&
13
? # .
w
here
a -bide,
neath ourfeet;
brook - let by;
.
w
3
Time
doth soft - ly,
Mak - ing life
a
Oh,
there's One who
3
sweet - ly glide
bliss com-plete
smiles on high
w
5
When
When
When
there's love
there's love
there's love
w
1
.
.
home.
home.
home.
.
2
ev - 'ry side.
gar - den sweet,
az - ure sky.
3
j
w.
5
.
4
at
at
at
home;
home;
home;
..
at
at
at
j
4
.
w
? # .
w
all
a - round
there is joy
smiles a - bove
j 1
1.There is
2.In
the
3.Kind - ly
? # 44
5
88-108
at
at
at
.
.
home.
home.
home.
2
Love at Home
17
&
Love
Love
Love
? # w
&
.
3
at
at
at
home,
home,
home,
.
.
21
? # .
w
3
j 1
sweet - ly glide
bliss com -plete
smiles on high
w
5
at
at
at
love
love
love
home;
home;
home;
w
3
..
4
U4 U
2
.
.
at
at
at
home.
home.
home.